BY DIETRICH BUXTEHUDE VOX SCANIENSIS PETER WALLIN MEMBRA JESU NOSTRI PATIENTIS SANCTISSIMA genom den s.k. Dübensamling, en av de största Buxtehude gör till varje kantat ett tillägg till den och mest anslående samlingarna vokalmusik ursprungliga texten genom ett bibelcitat som på KANTATCYKEL ÖVER DEN LIDANDE JESU HELIGA KROPPSDELAR från 1600-talet. Gustav Düben var hovkapell- ett enkelt och genialt sätt sätter in den enskilda mästare och organist i tyska kyrkan i Stockholm. kroppsdelen i ett religiöst sammanhang. Bibelci- Under resor i Europa samlade han in musik från tatet upprepas i slutet av varje kantat. över 200 tonsättare, och Dübensamlingen har De sju kantaterna bildar en enhet. Varje del har blivit en av de viktigaste källorna till vokalmusik en enkelt uppbyggd form och sista delen avslutas frå 1600-talet, däribland ett stort antal verk av med ett anslående «Amen»! Före första kantaten Det är inte svårt att föreställa sig Dietrich Bux- övriga delar av nordeuropa och 1668 kallades Buxtehude. skriver Buxtehude «In nomine Jesu» och efter tehudes entusiasm när han i sin hand fick texten han till provspelning för den lediga tjänsten som den sista kantaten skriver han «Soli Deo Gloria», till Membra Jesu nostri, tillskriven Bernard av organist i Lübeck efter Frans Tunder som avlidit I förordet till Membra Jesu nostri benämner han som om han anbefallde sitt arbete i Guds händer. Clairvaux (c. 1090-1153). Texten är en genom- samma år. Düben inte bara som respekterad kunglig hov- gång av den korsfäste Jesu olika lemmar (fötter, kapellmästare utan även som vördnadsvärd vän. Membra Jesu nostri har blivit känt som Buxtehu- knän, händer, sida, bröst, hjärta och ansikte) och Buxtehude vann provspelningen och tillträdde De måste alltså i något sammanhang ha träffats. des kanske främsta vokalverk. Det är inte kon- den känslosamma stilen anknöt starkt till 16- en tjänst som väl närmast liknade det vi i Sverige stigt. Här förenas stor innerlighet med virtuos och 1700-talens pietism, där känslor och starka tidigare kallade klockare, dvs. förutom att vara Membra Jesu nostri är en kantatcykel i sju delar. röstbehandling i en högst tilltalande form. uttryck var centrala. Man frossade i blodsmystik organist vid veckans gudstjänster skulle inneha- Alla kantaterna utom en är för åtta stämmor och och beskrev utförligt Jesu sargade kropp och hur varen även vara administratör och ekonomiskt basso continuo, fem sångstämmor och tre instru- / PETER WALLIN människan ödmjukt faller ned i tillbedjan inför ansvarig för kyrkans olika aktiviteter. Dessutom mentalstämmor. Den femte kantaten (Ad pec- det oerhörda lidandet genomgick på korset. ingick det att ansvara för den s.k. Abendmusi- tus) är för tre sångstämmor och tre instrumen- ken, kvällskonserter med fri entré som hölls på talstämmor. Den kantat som skiljer sig från de Dietrich Buxtehude (1637-1707) föddes i Hel- adventssöndagarna varje år. Här fick Buxtehude övriga är den sjätte (Ad cor) där sångstämmorna singborg, vid den tiden en del av Danmark. tillfälle att förutom att framträda med orgelmu- bara är tre och de båda violinerna och violonen är Han växte upp i Helsingör men återvände så sik även framföra vokal- och instrumentalmusik ersatta av fem viola da gamba, en gambaconsort. småningom till Helsinborg där han innehade med varierande storlek och besättning. En del av Kanske ville han på ett särskilt sätt markera in- tjänsten som organist i Mariakyrkan. Vid fre- hans mer än 150 vokalverk kan tänkas har fram- nerligheten och kärlekshandlingen i Jesu kors- den i Roskilde 1658 blev Helsingborg en del av förts vid dessa konserter. död. Sverige och Buxtehude valde att återvända till sitt hemland där han 1660 tilldelades tjänsten i Tyvärr finns det inga källor som bekräftar vad Varje kantat inleds med en instrumental sonata. S:t Nicolai kyrka i Helsingör. Ryktet om honom som framfördes vid Abendmusiken i Lübeck utan Och alla solopartier avslutas med en, likaledes in- som musiker (fr.a. som organist) spreds snart till Buxtehudes vokalmusik känner vi till framförallt strumentell, ritornell. MEMBRA JESU NOSTRI PATIENTIS SANCTISSIMA and musicians. Some of his more than 150 vo- are replaced by five viola de gambas, i.e. a Gamba cal compositions might have been performed at Consort. Perhaps Buxtehude wanted to specifi- A CYCLE OF ON THE HOLY LIMBS OF THE SUFFERING JESUS CHRIST these concerts. cally emphasise the ardour and loving act that the death of Christ on the cross constitutes. Unfortunately, there are no sources that can confirm what was performed at the Abendmusik Each starts with an instrumental sonata and concerts in Lübeck. Instead, Buxtehude’s vocal all solo parts end with an instrumental ritornell. compositions are primarily known from the It is easy to imagine Dietrich Buxtehude’s enthu- native country where in 1660 he was offered a so-called Düben collection which is one of the For each cantata, Buxtehude adds to the origi- siasm when he received into his hands the text position in the Church of St Nicolai in Helsingör. largest and most impressive collections of vocal nal text a quotation from the , which sim- to Membra Jesu Nostri, which has been ascribed His reputation as a musician (and primarily as music from the 1600s. Gustav Düben was Master ply but skillfully relates individual body parts to Bernard of Clairvaux (c. 1090-1153). The text an organist) soon spread across many parts of of the King’s music and an organist in the Ger- to religious contexts. The biblical quotations are forms an account of the crucified limbs of Christ northern Europe and in 1668 he was offered an man Church in Stockholm and during his travels repeated at the end of each cantata. The seven (feet, knees, hands, side, chest, heart and face) audition for the vacant position as organist in in Europe he collected music from more than cantatas form a unit and each part has a sim- and its sensitive style relates strongly to sixteenth Lübeck after Frans Tunder who had passed away 200 composers. Hence, the Düben collection ply constructed form and the last part ends by and seventeenth century Pietism, the central fo- the same year. has become one of the most important sources an impressive “Amen”. Above the first cantata cus of which is emotion and passionate expres- for vocal music from the 1600s and contains a Buxtehude writes “In nomine Jesu” and below sion. Phenomena such as blood mysticism and Buxtehude’s audition was successful and he soon great deal of Buxtehude’s compositions. In the the last cantata he writes “Soli Deo Gloria”, as if descriptions of the wounded body of Christ were took up his new duties in Lübeck, which much preface to Membra Jesu Nostri, Buxtehude refers he were commending his work into God’s hands. revelled in as well as accounts of human kind’s resembled those that in Sweden would be the to Düben as a well-respected Master of the King’s humble worship in the face of the horrific pain duties of a parish clerk. In other words, besides music as well as a venerable friend. Thus, the two Membra Jesu Nostri has come to be known as Bux- that Christ suffered on the cross. being the organist for weekly services, the posi- men must have met at some point. tehude’s possibly best vocal compilation, which tion he held comprised duties such as adminis- is not surprising as it combines great intensity Dietrich Buxtehude (1637-1707) was born in tration and financial responsibilities for church Membra Jesu Nostri is a cantata cycle in seven and fervour with his masterly ability to achieve Helsingborg, which at the time belonged to Den- activities. Additionally, he was responsible for parts. Apart from one, all cantatas are for eight vocal equilibrium in the most pleasing form. mark. He grew up in Helsingör, but eventually the so-called Abendmusik, which were admis- parts and basso continuo, i.e. five vocal parts returned to Helsingborg where he held the po- sion free, evening concerts that were performed and three instrumental parts. The fifth canta- / PETER WALLIN sition as organist in the Church of Mary. By the on Advent Sundays every year. These concerts ta (Ad pectus) is for three vocal parts and three terms drawn in the Treaty of Roskilde in 1658, gave Buxtehude opportunity to perform not only instrumental parts. The sixth cantata (Ad cor) Helsingborg became part of Sweden and Bux- organ music but also vocals and instrumental differs from the others in that it is for three vo- tehude, as a consequence, chose to return to his music with various complements of instruments cal parts and the two violins and the violoncello Cantata I Cantata I Cantata II Cantata II AD PEDES TO THE FEET A D G E N UA TO THE KNEES

Ecce super montes pedes Lo, upon the mountains come the feet Ad ubera portabimini, They will bear Thee on their breast evangelizantis of one bringing good tidings et super genua blandicentur vobis. and do Thee honour on bended knee. et annunciantis pacem. and speaking a message of peace. Salve Jesu, rex sanctorum, Hail, O Jesus, King of Saints, Salve mundi salutare Hail, O Saviour of the world Spes Votiva peccatorum. earnest hope of sinful men. Salve, salve Jesu care. Hail, beloved Jesu, Hail. Crucis ligno tanquam reus As now Thou hangest on the Cross Cruci tuae me aptare I would truly take up Thy cross, Pendens homo, veres Deus, Like Man condemned, yet Very God, Vellem vere, tu scis quare; Surely Thou knowest why; Caducis nutans genibus. Thy Knees bent in death’s weariness. Da mihi tui copiam. Give me then Thy mighty help. Quid sum tibi responsurus; What answer shall I make Thee here; Clavos pedum, plagas duras With what ardour I embrace Actu vilis, corde durus? I, base in deed and hard of heart? Et tam graves impressuras Those nails which pierce Thy blessed Feet. Quid rependam amatori How repay my dearest Love, Circumplector cum affectu The heavy blows, the fearful stripes Qui elegit pro me mori Who chose to suffer death for me Tuo pavens in aspectu As mindful of Thy wounds I gaze Ne dupla morte morerer? And how escape a double death? Tuorum memor vulnerum. With trembling here upon Thy face. Ut te quaeram mente pura Be this, dear Lord, my chiefest care, Dulcis Jesu, pie Deus Sweet Jesus, Holy God, Sit haec mea prima cura To seek Thee with a perfect heart Ad te clamo, licet reus To Thee I cry, although a sinner yet; Non est labor nec gravabor For would I but embrace Thee here Praebe mihi te benignum Show forth Thy mercy, Lord to me Sed sanabor et mundabor It were no Toil, nor burden yet, Ne repellas me indignum And cast me not, e’en so unworthy Cum te complexus fuero. For then should I be cleansed and healed. De tuis sanctis pedibus. Away from Thy most sacred Feet. Ad ubera portabimini… Ecce super montes pedes… Salve mundi salutare… Cantata III Cantata III Cantata IV Cantata IV AD M A N U S TO THE HANDS AD L AT U S TO THE SIDE

Quid sunt plagae istae What are these wounds Surge, amica mea, speciosa mea; Arise, my love, my fair one, and come away; in medio manuum tuarum? in the middle of Thy hands? et veni columba mea in foraminibus my dove among the rocky clefts Salve Jesu pastor bone, Hail, Jesu the Good Shepherd Thou, petrae, in caverna maceriae. and stony caves. Fatigatus in agone Now wearied by Thine agony Salve, latus salvatoris, Hail, my dearest Saviour's Side, Qui per lignum es distractus As thou were tortured on Thy Cross in quo latet mel dulcoris, Wherein the sweetest honey lies, Et ad lignum es compactus By nails upon cruel wood in quo patet vis amoris Wherein the might of love is seen Expansis sanctis manibus. Thy sacred Hands were outstretched for me. Ex quo scatet fons cruoris And whence doth gush a fount of blood Manus sanctae, vos amplector Blessed Hands, I now embrace you Qui corda lavat sordida. To cleanse the soiled heart of man. Et gemendo condelector Weeping, I rejoice in You Ecce tibi appropinquo Lo, now approach I near to Thee Grates ago plagis tantis And offer thanksgiving for the blows Parce, Jesu, si delinquo. O spare me, Jesu, should I fail Thee. Clavis duris, guttis sanctis The cruel nails, the sacred Blood, Verecunda quidem fronte Let me come with holy fear, Dans lacrimas cum oculis. My kisses mingling with my tears. Ad te tamen veni sponte Gladly to fall down before Thee In cruore tuo lotum Washed in the fountain of Thy Blood Scrutari tua vulnera. To behold Thy sacred wounds. Me commendo tibi totum. I place me wholly in Thy trust. Hora mortis meus flatus May my spirit, Jesu, enter Tuae sanctae manus istae Now may those blessed Hands of Thine Intret, Jesu, tuum latus, At the hour of Death Thy Side, Me defendant, Jesu Christe Protect me, Jesu Christ, and guard Hinc expirans in te vadat, And being thence exhaled go with Thee, Extremis in periculis. In my last hour of need. Ne hunc leo trux invadat That the fierce lion may not invade me Quid sunt plagae istae… Sed apud te permaneat. But I may ever stay with Thee. Surge, amica mea… Cantata V Cantata V Cantata VI Cantata VI AD PECTUS TO THE BREAST AD C O R TO THE HEART

Sicut modo geniti infantes rationabiles, You must be born again as newborn children, Vulnerasti cor meum, Thou hast smitten my heart, et sine dolo concupiscite, but with knowledge, seek your milk without guile soror mea, sponsa. my sister my bride. ut in eo crescatis in salutem. that therein you may grow in health. Summi regis cor, aveto. Hail, Heart of the King Most High. Si tamen gustastis, And having once tasted thereof, Te saluto corde laeto. With a Joyful heart I greet Thee. quoniam dulcis est Dominus. you will see how sweet is the Lord. Te complecti me delectat Ever to embrace Thee may I delight Salve, salus mea, Deus, Hail, my Saviour and my God, Et hoc meum cor affectat And only this my heart's desire Jesu dulcis, amor meus. Sweet Jesus, Lover of my life. Ut ad te loquar animes. Thou make me worthy to address Thee. Salve, pectus reverendum, Hail to Thee, most noble Breast, Per medullam cordis mei, To my poor heart's very core, Cum tremore contingendum Thou dwelling-place of Love Divine Peccatoris atque rei, Guilty sinner though I be, Amoris domicilium. Whither trembling we draw near. Tuus amor transferatur May Thy Love be thoroughly borne Pectus mihi confer mundum; Bestow on me a perfect heart; Quo cor tuum rapiatur That thus Thy heart, with Love's wound blee- Ardens, pium, gemebundum, Ardent, contrite, dutiful Languens amoris vulnere. ding, Voluntatem abnegatam And make me hence deny my will Viva cordis voce clamo, May be swiftly drawn to mine. Tibi semper conformatam, And ever to Thine own conform, Dulce cor, te namque amo. I cry with loud voice from my heart, Juncta virtutum copia. Granting me succour of Thy might. Ad cor meum inclinare For so I love Thee, Sweetest Heart. Ave, verum templum Dei. Hail, Thou temple true of God. Ut se possit applicare O draw Thou near to my poor heart Precor miserere mei, Have mercy on me here, I pray, Devoto tibi pectore. That to Thyself I may apply me Tu totius arca boni, Thou resting-place of every good, Vulnerasti cor meum… With wholly dedicated breast. Fac electis me apponi, And grant a place among the chosen, Vas dives Deus omnium O precious treasure, God of all. Sicut modo geniti… Cantata VII Cantata VII AD FAC I E M TO THE FACE

Illustra faciem tuam super servum tuum; Make Thy Face to shine upon Thy servant; salvum me fac in misericordia O save me in Thy Mercy. Salve, caput cruentatum Hail, O Head all stained with blood Totum spinis coronatum, With those cruel thorns crowned, Conquassatum, vulneratum, Cruelly beaten, sorely wounded Arundine verberatum, Harshly smitten with the rod, Facie sputis illita. Thy dear Face abused by spitting. Dum me mori est necesse, When that hour that I must die shall come, Noli mihi tunc deesse O Saviour do not fail me In tremenda mortis hora But in death's dread misery Veni, Jesu, absque mora Come, Lord Jesu, come right swiftly, Tuere me et libera! Protect me then and set me free! Cum me jubes emigrare And when Thou bid'st my soul to flee Jesu care, tunc appare. O sweetest Jesu, then stand by me. O amator amplectende; In that hour in love embrace me; Temet ipsum tunc ostende Show Thy blessed Face to me In cruce salutifera. Upon Thy sweet and saving Cross. Amen Amen

WOODCUT FROM GRADUALE LUNDENSE | 1514

Solistensemblen Vox Scanienis har Kristina Hellgren (SOPRAN) är fri- varit verksam i Malmö/Lund-regionen i över 15 lansande konsertsångerska samt organist och år. Ensemblen bildades av Peter Wallin i sam- körledare. Kristina ingår i Ensemble Kairos och band med produktionen av TV-serien Andetag tillsammans med gambisten Leif Henriksson och som sändes i Sveriges Television åren 2002 och lutenisten Peter Söderberg framför hon där både 2003. Repertoaren har från början framför allt tidig och nyskriven musik. I Trio Suecia sjunger bestått av musik från renässans och barock men hon nordisk kammarmusik från 1800-tal och har så småningom utökats med både gregori- framåt tillsammans med John Ehde, violoncell ansk sång och stycken från vår egen tid av Arvo och Bengt Wittje, orgel och piano. Kristina har Pärt, Johan Magnus Sjöberg, Olivier Messiaen gjort en rad turnéer runt om i Europa. Hon har m.fl. En rad kompositioner har skrivits direkt även gjort flera CD-inspelningar med ovanstå- för ensemblen av Nils Tykesson, Stefan Klaver- ende ensembler samt inspelningar för Sveriges dal och Johannes Johansson. De senaste åren har Radio, då främst i samarbete med körprofessor Vox Scaniensis framträtt flera gånger per termin Fredrik Malmberg. Med Vox Scaniensis med- i serien Tidigt i Lund med musik av Carissimi, verkade hon 2001 och 2002 i Sveriges Televisions Schütz, Monteverdi, Buxtehude, Purcell, Hän- musikaliska programserie Andetag. del, Bach m.fl. Anna Einarsson (ALT) är utbildad vid Mu- Helena Ek (SOPRAN) har en bred repertoar sikhögskolan i Malmö och vid Statens Operhög- med tidig musik, folkmusik och nutida musik. skola i Norge. Hon debuterade vid Den Norska Hon gjorde sin debut på Drottningholms Slotts- Opera i rollen som Dryade i Ariadne auf Naxos teater och framträder i Sverige och utomlands och har efter det sjungit flera roller vid Den Nor- tillsammans med några av de främsta musiker- ske Opera. Hon uppträder regelbundet vid kon- na inom genren tidig musik. Inom den nutida serter och festivaler runtom i Europa och Asien. musiken har hon bl.a. uruppfört verk av Karin Anna Einarsson har framfört mycket barock- och Rehnqvist med Scottish Chamber Orchestra och samtidsmusik, och finns representerad på flera Svenska Kammarorkestern. Helena har medver- CD- og radioinspelningar. I 2014 blev hon Gram- kat i TV och radio och har spelat in flera skivor, mynominerad för rollen som Batsheba i Ståle bl.a. den kritikerrosade skivan Maria – Medieval Klebiergs opera David and Batsheba. Songs and Swedish Traditional Music. Johan Linderoth (TENOR) sjunger helst rar i Öresundsregionen, men det händer att hon renässans- och barockmusik och har förutom åker och spelar med sina gamla kollegor i Stor- ett långvarigt engagemang i solistensemblen Vox britannien. Hannah spelar på en fiol tillverkad Scaniensis medverkat i ensembler som Weser Re- 1618/1628 av bröderna Amati i Cremona. naissance Bremen, Berlin, Vokalharmonin i Stockholm samt Paul Hillier’s Hanna Ydmark (VIOLIN) är frilansande Theatre of Voices. Som solist har han rönt upp- barockviolinist utbildad på Musikhögskolan i skattning i internationell fackpress för sina so- Malmö och Det Kongelige Danske Musikkon- loinspelningar med lutsånger av John Dowland servatorium i Köpenhamn. Numera bor Hanna respektive Henry Purcell/John Blow samt som i Eslöv med sin familj och härifrån tar hon ofta evangelist i Paul Hillier’s inspelningar av Hein- tåget till diverse projekt och ensembler i söd- rich Schütz Lukaspassion respektive Uppståndelse- ra Sverige och Köpenhamn och Danmark. Det historia (Auferstehungshistorie). kan bli alltifrån stora operaproduktioner och konsertturnéer till mindre kyrkokonserter eller Jakob Bloch Jespersen (BAS) är opera- barnprojekt. Ensembler som Concerto Copen- och konsertsångare med bas i Köpenhamn. Som hagen, Barockksolistene och Göteborg Baroque konsertsångare är han anlitad över hela Europa är ensembler hon regelbundet arbetar med. med en repertoar som sträcker sig från 1600-ta- let ända till vår tid. Han har ett speciellt intresse i Judith–Maria Blomsterberg (VIO- tysk barockmusik, särskilt av J.S. Bach, av vilken LONCELL) är född i Tyskland men sedan nio år han har framfört ett stort antal kantater, mässor boende i Sverige varifrån hon som cellist reser i och passioner. Har är rikt representerad på skiva hela Europa. Efter examen i Tyskland har hon ut- bl.a. med musik av H Schütz och Buxtehudekan- bildat sig till en Master of musik i Holland. Efter tater tillsammans med Ars Nova Copenhagen fyra år i hamburg Staatsoper verkar hon numera och Theatre of Voices under ledning av Paul framförallt i Concrto Copenhagen där hon får Hillier. tillfälle att spela opera, kantater, kammarmusik mm. Barokksolisterna från Norge och Holland Hannah Tibell (VIOLIN) är utbildad i ba- Baroque Society är också ensembler som hon re- rockviolin i London. Efter 10 år där flyttade hon gelbundet arbetar med. till Malmö där hon nu bor. Hon jobbar numera för det mesta i med olika ensembler och orkest- Vegard Lund (LUTT) er utøver på lutt, gitar sig för att satsa på en utbildning i tidig musik og andre historiske strengeinstrumenter og er vid Bremens University of Arts och Det Kongl. en av Norges mest aktive musikere innen tid- Danske Musikkonservatorium. Idag jobbar lig musikk. Hans solodebut i St John’s Smith hon enbart som frilansgambist. Hon har haft Square, London, fikk strålende presseomtaler nöjet att under de senaste åren uppträda med og førte til engasjementer for både BBC radio ett stort antal fantastiska och inspirerande mu- og fjernsyn. Med sin egen gruppe, Ensemble siker, både vänner, kollegor och legender - på Freithoff, fremfører han alt fra verk i kammer- kurser, konserter, festivaler och CD-inspelning- musikkformat til kor og orkesterverk. Han har ar, framförallt i Tyskland och Skandinavien. også jobbet som utøver og musikalsk leder i en Utöver det har hon sina egna ensembler Violet- lang rekke teater- og operaproduksjoner, og ikke te de Nuit och Cordial Consort som ägnar sig minst som et sentralt element i lydbildet til flere mest åt musik från renässans och tidig barock. spillefilmer som Kinamann og Tordenskiold, begge i regi av Henrik Rubens Genz. Vegard Peter Wallin (ORGEL OCH MUSIKALISK Lund har deltatt på flere ti-talls CD-innspillinger LEDNING) är verksam som kyrkomusiker i Mal- som solist, akkompagnatør og kammermusiker. möregionen. Han har som körledare en bred verksamhet bakom sig med bl.a. Lunds Akade- Lars Baunkilde (VIOLA DA GAMBA) er ud- miska Kör, Gustav Adofskyrkans Motettkör, S:t dannet på kontrabas og violone i København, Johannes Motettkör och Schola Cantorum Sca- Ålborg og Den Haag. Har siden 1991 spillet i niensis med vilka han framfört en stor mängd Concerto Copenhagen og andre ensembler for kyrkomusik från den allra äldsta gregorianska tidlig musik i Europa, Japan, USA og Brasilien. sången till uruppföranden av vårt tids musik. Har medvirket på en række CD- indspilning- Han bildade år 2002 den professionella solis- er, bl.a. den anmelderroste CD The Viennese tensemblen Vox Scaniensis som arbetar med Violone udgivet på Helikon Records. Foruden musik från medeltid, renässens och barock kontrabas og violone spiller Lars også arpeggi- men också med ny musik, ibland komponerad one, et særpræget historisk strygeinstrument. direkt till ensemblen. Han är tillsammans med Johan Linderoth initiativtagare till serien Tidigt Hanna Thiel (VIOLA DA GAMBA) spelar i Lund, ett antal konserter med musik från med- gamba sedan tonåren. Fascinerad av sitt instru- eltid, renässans och barock i fr.a. Klosterkyrkan ment och dess underbara repertoar, beslöt hon i Lund. Solistensemblen Vox Scanienis has things, performed first time performances of Anna Einarsson (ALTO) has her degree Jakob Bloch Jespersen (BASS) is an op- been active in the Malmö-Lund region for over Karin Rehnqvist’s work together with the Scot- from Malmö Academy of Music and from the era and concert singer based in Copenhagen. He 15 years. The ensemble was founded by Peter tish Chamber Orchestra and Svenska Kammaro- Academy of Opera in Norway. She made her de- is in great demand as a concert singer all across Wallin in connection with a television series rkestern (The Swedish Chamber Orchestra). He- but as Dryade in Ariadne auf Naxos on the Nor- Europe and has a repertoire which extends all production called Andetag (Breath) which was lena has performed on both television and radio wegian National Opera and has since then acted the way from the 1600s to contemporary time. broadcast on Swedish television in 2002 and and has recorded several albums, for instance, several parts on the Norwegian National Opera. He is particularly interested in German Baroque 2003. From the start the ensemble’s repertoire the much acclaimed Maria – Medieval Songs and She performs regularly at concerts and festivals music, especially J. S. Bach by which he has per- was comprised primarily by music from the Re- Swedish Traditional Music. all across Europe and Asia. Anna Einarsson has formed a large number of cantatas, masses and naissance and Baroque periods but with time it performed a great deal of Baroque music as well passions. He is greatly represented in recordings has extended to include both Gregorian chants Kristina Hellgren (SOPRANO) is a free- as contemporary music and has performed on with music by, among others, Heinrich Schütz and contemporary musical pieces by Arvo Pärt, lancing concert vocalist, organist and choirmas- several CD and radio recordings. In 2014, she was and Buxtehude cantatas together with Ars Nova Johan Magnus Sjöberg, Olivier Messiaen and ter. Kristina forms part of Ensemble Kairos and nominated for a Grammy for her role as Bathshe- Copenhagen and Theatre of Voices under the di- others. A number of compositions have been together with Leif Henriksson, who is a gamb- ba in Ståle Kleiberg’s opera David and Bathsheba. rection of Paul Hillier. written with the ensemble directly in mind by ist, and Peter Söderberg, who plays the lute, she Nils Tykesson, Stefan Klaverdal and Johannes performs both early music as well as recently Johan Linderoth (TENOR) prefers to sing Hannah Tibell (VIOLIN) has a degree from Johansson. In the last few years, Vox Scaniensis composed music. In the group Trio Suecia she Renaissance and Baroque period music and has, London playing the Baroque violin. After ten has performed, several times per year, in the se- sings Nordic chamber music from the 19th apart from a longstanding involvement in the years in London she moved to Malmö where she ries Tidigt i Lund (Early in Lund) with music by century and onwards together with John Ehde, soloist ensemble Vox Scaniensis, participated in now resides. Nowadays, she works mostly with Carissimi, Schütz, Monteverdi, Buxtehude, Pur- violoncello and Bengt Wittje, organ and piano. ensembles such as Weser Renaissance Bremen, various ensembles and orchestras in the Öresund cell, Händel, Bach and others. Kristina has been on a number of tours all over Lautten Compagney Berlin, Vokalharmonin in region, but sometimes she returns to Great Brit- Europe. Additionally, she has recorded several Stockholm (Stockholm Vocal Harmony) and ain to play with her old colleagues. Hannah plays Helena Ek (SOPRANO) is a singer whose rep- CDs together with the ensembles mentioned Paul Hillier’s Theatre of Voices. As a solo per- a violin made in 1618/1628 by the Amati brothers ertoire of early music, folk music and contempo- above and has done recordings for Swedish ra- former, he has received praise in international in Cremona. rary music is broad. She made her debut at Drot- dio, primarily in collaboration with Fredrik journals for soloist recordings with songs for the tningholms Slottsteater (Drottningholm Palace Malmberg, professor of Choral Conducting. In lute by John Dowland and Henry Purcell/John Theatre) and performs in Sweden as well as in- 2002 and 2003 she performed with Vox Scanien- Blow respectively and as an evangelist in Paul ternationally with some of the most prominent sis in Swedish television’s musical series Andetag Hillier’s recordings of Heinrich Schütz’s St. Luke musicians within the early music genre. With- (Breath). Passion and the Story of the Resurrection of Christ in contemporary music she has, among other (Auferstehungshistorie). Hanna Ydmark (VIOLIN) is a freelancing in early music in Norway. His solo debut in St Hanna Thiel (VIOLA DA GAMBA) has played dle Ages, Renaissance and Baroque periods but Baroque violinist with a degree from Malmö John’s Smith Square in London received excel- the gamba since she was a teenager. As she was also new music which is sometimes composed Academy of Music and the Royal Danish Academy lent reviews and led to engagements with both fascinated by her instrument and the wonder- with the ensemble directly in mind. Together of Music. At present, Hanna lives with her family BBC radio and television. With his own ensem- ful repertoire it offered, she decided to aim for with Johan Linderoth he has initiated the series in Eslöv, from where she often takes the train to ble, Ensemble Freithoff, he performs all sorts of a degree in early music at the University of Arts Tidigt i Lund (Early in Lund), and performed in a various projects and ensembles in southern Swe- genres from chamber music formats to in Bremen and at the Royal Danish Academy number of concerts with music from the Middle den, Copenhagen and Denmark. Such projects and orchestra compilations. Additionally, he has of Music. Today she works solely as a freelance Ages, Renaissance and Baroque periods, primar- may comprise anything from large scale opera taken on the roles of both musician and musical gambist. In the last few years, she has had the ily in the Church of St Peter’s Monastery in Lund productions and concert tours to small church leader in a number of theatre and opera produc- pleasure of performing with a great deal of fan- (Klosterkyrkan). concerts or children’s projects. She regularly tions, and, not least, has played a crucial part in tastic and inspiring musicians, friends as well as works with ensembles such as Concerto Copen- the soundscapes of several motion pictures such colleagues and legends – in courses, at concerts, hagen, Barokksolistene and Göteborg Baroque. as Kinamann and Tordenskiold, both directed by festivals and on CD-recordings primarily in Henrik Rubens Genz. Vegard Lund has partic- Germany and in Scandinavia. Apart from this ipated in dozens of CD-recordings as a soloist, Judith–Maria Blomsterberg (VIO- she has her own ensembles, Violette de Nuit and accompanist and chamber musician. LONCELLO) was born in Germany but has lived Cordial Consort, with which she performs music in Sweden for seven years and from there travels from primarily the Renaissance and early Ba- across Europe to play the cello. After graduating Lars Baunkilde (VIOLA DA GAMBA) has roque periods. in Germany she received a degree as Master of his training on the contrabass and violoncello Music in The Netherlands. After four years in the from Copenhagen, Aalborg and Den Haag. He Peter Wallin (ORGAN AND MUSICAL DIREC- Hamburg Staatsoper, she is now primarily active has performed with Concerto Copenhagen since TION) is a church organist in the Malmö region. in Concerto Copenhagen where she gets the op- 1991 as well as with other early music ensembles As a choirmaster he has extensive experience portunity to play opera, cantatas, chamber music in Europe, Japan, the USA and Brazil. He has per- from, for instance, Lund Academic , Scho- and much more. She also regularly collaborates formed on a number of CD-recordings, among la Cantorum Scaniensis and the motet choirs of with Barokksolistene in Norway and Holland Ba- them the highly praised CD The Viennese Vi- the churches of St John and Gustav Adolf with roque Society. olone which was promoted by Helikon Records. which he has performed a great deal of church Apart from the contrabass and violoncello, Lars music from the oldest Gregorian chants to first Vegard Lund (LUTE) plays the lute, guitar also plays the arpeggione, a distinctive historical performances of contemporary music. In 2002, and various other historical string instruments string instrument. he founded the professional soloist ensemble Vox and is one of the most active musicians with- Scaniensis which performs music from the Mid- CREDITS

RECORDED IN ESLÖV CHURCH, 1–4 MAY 2013 PRODUCER: ANDERS ERICSON BALANCE ENGINEER: MARTIN JONSSON TIBBLIN EDITING: ANDERS ERICSON MASTERING: MARTIN JONSSON TIBBLIN BOOKLET NOTES: PETER WALLIN ENGLISH TRANSLATION: SARA HÅKANSSON ENGLISH TRANSLATION OF LATIN TEXT: BY COURTESY OF THE SIXTEEN BOOKLET EDITOR: HEGE WOLLENG COVER DESIGN: ANETTE L’ORANGE | BLUNDERBUSS COVER AND ILLUSTRATION PHOTOS: WIKIMEDIA COMMONS ARTIST PHOTOS: STAFFAN LARSSON

THIS RECORD HAS BEEN MADE POSSIBLE WITH SUPPORT FROM BIRGIT OCH SVEN HÅKAN OHLSSONS STIFTELSE STEN K JOHNSONS STIFTELSE

ORGAN BY GERRIT KLOP, GARDEREN, HOLLAND, KINDLY LENT BY MALMÖ S:T PETRI CONGREGATION.

HEARTFELT THANKS TO ESLÖV CONGREGATION AND MALMÖ S:T PETRI CONGREGATION.

WWW.LAWO.NO ALL RIGHTS RESERVED LAWO MUSIC LWM010 | TT 59:09 © 2016 π 2016 CD STEREO CANTATA III: AD MANUS (TO THE HANDS) 13) I. SONATA (01:00) 14) II. QUID SUNT PLAGAE – chorus (02:11) 15) III. SALVE JESU – soprano 1 (01:30) 16) IV. MANUS SANCTAE – soprano 2 (01:30) 17) V. IN CRUORE TUO LOTUM – alto, tenor, bass (01:32) 18) VI. QUID SUNT PLAGAE – chorus (02:14) DIETRICH BUXTEHUDE 1637–1707 CANTATA IV: AD LATUS (TO THE SIDE) – SOPRANO HELENA EK 19) I. SONATA (00:33) KRISTINA HELLGREN – SOPRANO 20) II. SURGE, AMICA MEA – chorus (01:32) ANNA EINARSSON – ALTO 21) III. SALVE LATUS – soprano 1 (01:18) JOHAN LINDEROTH – TENOR 22) IV. ECCE TIBI APPROPINQUO – alto, tenor, bass (01:17) JAKOB BLOCH JESPERSEN – BASS 23) V. HORA MORTIS – soprano 2 (01:20) 24) VI. SURGE, AMICA MEA – chorus (01:36) HANNAH TIBELL – VIOLIN HANNA YDHOLM – VIOLIN CANTATA V: AD PECTUS (TO THE BREAST) – VIOLONCELLO JUDITH-MARIA BLOMSTERBERG 25) I. SONATA (00:41) VEGARD LUND – LUTE 26) II. SICUT MODO GENITI – alto, tenor, bass (02:18) HANNA THIEL – VIOLA DA GAMBA 27) III. SALVE, SALUS MEA – alto (02:20) LARS BAUNKILDE – VIOLA DA GAMBA 28) IV. PECTUS MIHI CONFER MUNDUM – tenor (01:24) PETER WALLIN – ORGAN AND MUSICAL DIRECTION 29) V. AVE, VERUM TEMPLUM – bass (01:24) 30) VI. SICUT MODO GENITI – alto, tenor, bass (02:19) CANTATA I: AD PEDES (TO THE FEET) 1) I. SONATA (00:44) CANTATA VI: AD COR (TO THE HEART) 2) II. ECCE SUPER MONTES – (01:15) chorus 31) I. SONATA (01:54) 3) III. SALVE MUNDI SALUTARE – (01:29) soprano 1 32) II. VULNERASTI COR MEUM – soprano 1 and 2, bass (02:31) 4) IV. CLAVOS PEDUM (01:32) – soprano 2 33) III. SUMMI REGIS COR – soprano 1 (00:48) 5) V. DULCIS JESU (01:30) – bass 34) IV. PER MEDULLAM – soprano 2 (00:49) 6) VI. ECCE SUPER MONTES – (02:05) chorus 35) V. VIVA CORDIS VOCE CLAMO – bass (01:18) VI.A SALVE MUNDI SALUTARE – chorus 36) VI. VULNERASTI COR MEUM – soprano 1 and 2, bass (02:05)

CANTATA II: AD GENUA (TO THE KNEES) CANTATA VII: AD FACIEM (TO THE FACE) 7) I. SONATA (01:01) 37) I. SONATA (00:42) 8) II. AD UBERA PORTABIMINI – (01:21) chorus 38) II. ILLUSTRA FACIEM TUAM – chorus (01:14) 9) III. SALVE JESU (01:08) – tenor 39) III. SALVE, CAPUT CRUENTATUM – alto, tenor, bass (01:19) 10) IV.QUID SUM TIBI RESPONSURUS (01:01) – alto 40) IV. DUM ME MORI EST NECESSE – alto (01:10) 11) V. UT TE QUAERAM (01:06) – soprano 1 and 2, bass 41) V. CUM ME JUBES EMIGRARE – chorus (00:48) 12) VI. AD UBERA PORTABIMINI – (01:25) chorus 42) VI. AMEN (01:32)