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CHAN 0675 Front.eps 9/7/07 12:29 pm Page 1 CHAN 0675 CHACONNE CHANDOS early music CHAN 0675 BOOK.eps 9/7/07 12:31 pm Page 2 Klaglied – German Sacred Concertos Johann Christoph Bach (1642–1703) 1 Ach, daß ich Wassers gnug hätte*† 7:46 Lamento Adagio con discrezione Michael Chance, The Purcell Quartet, Clare Salaman, Rachel Byrt M. Allen/Lebrecht Collection M. Allen/Lebrecht Christian Geist (1650?–1711) 2 Vater unser, der du bist im Himmel‡ 8:15 Sinfonia – [ ] – Sinfonia – [ ] – Sinfonia – [ ] – Allegro Michael Chance, The Purcell Quartet Dietrich Buxtehude (c. 1637–1707) 3 Wenn ich, Herr Jesu, habe dich, BuxWV 107†‡ 7:04 Sonatina – [ ] Michael Chance, The Purcell Quartet 4 Sonata, BuxWV 266‡ 7:48 in C major . in C-Dur . en ut majeur Adagio – Allegro – Adagio – Solo – Allegro – Adagio – Allegro – Adagio – Presto – Adagio – Lento ‘In 1705 Johann Sebastian Bach came to Lübeck to The Purcell Quartet hear the famous Dietrich Buxtehude.’ Wall sculpture in the Marienkirche, Lübeck 5 Jesu, meine Freud und Lust, BuxWV 59† 7:22 [ ] – Largo – Allegro Michael Chance, The Purcell Quartet, Clare Salaman 3 CHAN 0675 BOOK.eps 9/7/07 12:31 pm Page 4 Heinrich Schütz (1585–1672) Michael Chance counter-tenor 6 Erbarm dich mein, o Herre Gott, SWV 447*† 5:27 The Purcell Quartet: Sinfonia – Solo Catherine Mackintosh violin Michael Chance, The Purcell Quartet, Clare Salaman, Rachel Byrt Catherine Weiss violin, viola* Richard Boothby bass viol, great bass viol† Johann Michael Bach (1648–1694) Robert Woolley organs with 7 Auf, laßt uns den Herren loben*† 4:38 Rachel Byrt viola Sinfonia – [ ] Clare Salaman viola Michael Chance, The Purcell Quartet, Clare Salaman, Rachel Byrt Susanna Pell bass viol Dietrich Buxtehude William Hunt great bass viol 8 Jubilate Domino, BuxWV 64 8:07 Sonata. Allegro – [ ] – Adagio – Vivace Michael Chance, Richard Boothby, William Hunt, Robert Woolley 9 Sonata, BuxWV 271‡ 6:55 in G major . in G-Dur . en sol majeur Allegro – Solo. Adagio – Allegro – Adagio – Adagio a 3 – Allegro – Solo. Adagio – Allegro – Allegro The Purcell Quartet 10 Klaglied, BuxWV 76/2 5:55 Michael Chance, Richard Boothby, Susanna Pell, William Hunt, Robert Woolley TT 70:21 4 5 CHAN 0675 BOOK.eps 9/7/07 12:31 pm Page 6 violin Catherine Mackintosh by Antonio Mariani, Pesaro 1674 Catherine Weiss by Tomaso Eberle, Naples 1770 Klaglied – German Sacred Concertos viola Rachel Byrt by Nicholas Woodward, Bristol 1985, copy of Gaspar da Salo, c. 1580 From the mid-seventeenth century, northern Highly subjective texts were set by Clare Salaman by John Cresswell, Sutton Coldfield 1985, Germany experienced a craze for the aria. Dietrich Buxtehude (c. 1637–1707), organist kindly lent by Catherine Mackintosh Simple, tuneful, strophic songs first became at Lübeck’s Marienkirche from 1668. Catherine Weiss by Rex H. England, 1997, after Guarnerius popular in Königsberg in the 1640s and Jesu, meine Freud und Lust, BuxWV 59 quickly spread along the Baltic to Danzig, sets an ecstatic, almost mystical poem, bass viol Richard Boothby six-stringed by Hendrik Jakobs, Amsterdam Lübeck and Stockholm, and then beyond to sensuously tasting Jesus’ ‘kiss’ and ‘nectar’. c. 1680, kindly lent by Michael Heale Lüneburg and Hamburg. These arias had Buxtehude’s aria is in a sweet A major and an Susanna Pell six-stringed by Jane Julier, 1999, after sacred or secular texts; they were sung both entrancing dance metre. It is not strictly Henry Smith, c. 1620 in the home and, by professionals, at strophic, but the voice alternates with the churches and courts. Some arias were quite string ritornello, culminating in a change to great bass viol Richard Boothby in G by Robert Eyland, Devon 1982, after worldly, and the rise of the genre indeed duple time for the melismas of the joyous William Hunt Ernst Busch, c. 1640, from the collection of coincided with the popularity of Italian songs ‘Amen’. Wenn ich, Herr Jesu, habe dich, William Hunt in northern Europe. But most arias were BuxWV 107 again stresses the believer’s devotional lieder whose musical simplicity personal relationship with Jesus, this time organ Robert Woolley single-manual, 5-stop continuo organ suited a new spirituality in Protestant in a simple strophic song with string (compass: C–f ’’’), ‘Aquarium’, by Mander Organs, Germany. At the start of the seventeenth ritornello. London 1997‡ century, Lutheran devotion was still founded The personal tone of Buxtehude’s arias single-manual, 4-stop continuo organ on the chorales and homilies that Luther had intensifies in his Klaglied, BuxWV 76/2, (compass: C–f ’’’), ‘Oak’, by Mander Organs, written a century earlier. By the 1660s where he sets his own elegy on the death of London 1983 devotion had become increasingly subjective his father in 1674. The song starts with and centred on the individual’s emotional Buxtehude’s bewilderment and beseeching Organs supplied and maintained by N.P. Mander Ltd experience of God. The affective and questions: ‘Muß sich der mir auch Pitch: A = 440 Hz accessible style of the aria was ideal for entwinden,/der mir klebt dem Herzen an?’ Temperament: Kellner conveying the sweetness of personal (Must it also wrest from me/The one who communion with God, as well as utter cleaves unto my heart?); but slowly his grief humility before his might. is consoled by this poetic working-out until 6 7 CHAN 0675 BOOK.eps 9/7/07 12:31 pm Page 8 in the sixth strophe (the second of the three middle section sings of the lyre over a rich, dissonant string texture. The plain penitential text drawn from the psalms and recorded here) he sings of his father’s playing repeated descending bass. chorale tune splinters into repeated vocal the Lamentations of Jeremiah: ‘Oh, that I had ‘die Freuden-Lieder/auf des Himmels-Lust- Christian Geist (1650?–1711) was an cries, as if under the weight of suffering. tears enough in my head’. It is in the Phrygian Clavier’ (songs of joy/Upon celestial itinerant organist in Baltic towns, working in Schütz wrote nothing else like this, although mode, long associated with pain and instruments). The sense of emotional release Copenhagen, Gothenburg and Stockholm. similar techniques were used by Buxtehude’s harshness, and moves via very remote, striking is immense. The Klaglied has a simple but Vater unser, der du bist im Himmel dates predecessor in Lübeck, Franz Tunder. harmonies. The voice searingly swoops plaintive tune with many heartfelt from his years in Gothenburg. Although Schütz’s setting was indeed popular in Baltic through awkward intervals, closely imitated by descending leaps. Unusually for an aria, there Geist did use the aria style, he here sets the towns, being copied, and presumably the violin as if to show the inexorability of is a contrapuntal string accompaniment, Lutheran chorale that paraphrases the Lord’s performed, in Danzig and at the royal court suffering. Like Schütz’s chorale setting this pulsing in bowed vibrato through chains of Prayer. There are three strophes of the in Stockholm. piece was popular among performers further dissonance. This contrapuntal chorale, each introduced by the same string Johann Michael Bach probably wrote Auf, north in Germany, and it was again copied for accompaniment is a link to the highly- Sinfonia and accompanied by different string laßt uns den Herren loben fifty years after use at the Stockholm court. wrought and arcane elaborations of the Nunc figuration. The last strophe moves Schütz’s piece. It is a morning hymn in the Buxtehude’s Sonata in C major, Dimittis that Buxtehude published along climactically to triple metre for the fashionable, tuneful aria style, thanking God BuxWV 266 and Sonata in G major, with the Klaglied on his father’s death. affirmation ‘von Ewigkeit zu Ewigkeit’ (for for deliverance from the perils of life and BuxWV 271 return us to the Baltic world. By contrast with the heartfelt vernacular ever and ever). war. But in a wildly creative stroke, typical of Trio sonatas were written all over Europe in arias, Buxtehude’s Jubilate Domino, The three other vocal pieces on this disc so many members of the Bach family, Johann the late seventeenth century but were a BuxWV 64 is a virtuoso showpiece, perhaps are by central German composers, culturally Michael precedes the aria with a slow compositional speciality of north German written for an Italian castrato who visited distant from the Baltic world: Heinrich Sinfonia representing the horrors from organists such as Buxtehude and Johann Lübeck in 1672. It uses the concerted style, Schütz (1585–1672) worked at the Dresden which God saves the believer. This latter is Adam Reincken. In the trio sonata these with the singer chasing a virtuosic viola da court; Johann Christoph Bach (1642–1703) scored for three viola da gambas and basso keyboardists put all the daring and fantasy of gamba part through the musical texture. The and his brother Johann Michael continuo, plus a solo violin whose virtuosic their organ music into a genre that could be three vocal sections are each separated by (1648–1694) were provincial organists in line is full of lamenting figures; it sounds played in both church and chamber. solos for the viola da gamba and the piece Thuringia. Each of the pieces, however, is like the slow movement of a violin Compared to the sonatas that Buxtehude opens with an impressive Sonata for that stylistically atypical of its composer and concerto. published in the 1690s, the two recorded instrument. The vocal writing in the outer instead is much closer to north German The same instrumental texture is used in here have an extra violin, being scored for sections obeys the psalm’s injunction to taste.