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Buxtehude US 14/12/07 9:24 Am Page 8 557250bk Buxtehude US 14/12/07 9:24 am Page 8 Dietrich Buxtehude (c.1637–1707): Complete Chamber Music, Vol. 3 Six Sonatas without Opus Numbers BUXTEHUDE Sonata for 2 violins, viola da gamba 7:12 ^ Viola da gamba II solo: Allegro – 1:03 and basso continuo in G major, & Presto – 0:21 BuxWV 271 * Poco presto 1:17 Six Sonatas 1 Allegro – 1:02 2 Violin I solo: Adagio – Allegro – 2:06 Sonata for violin, viola da gamba 13:50 Adagio – 12/16 – Adagio a 3 – and basso continuo (organ) John Holloway and Ursula Weiss, Violin 3 Allegro – 1:34 in B flat major, BuxWV 273 4 Violin II solo: Adagio – Allegro – 1:08 ( 4/4 – 4:56 Jaap ter Linden and Mogens Rasmussen, Viola da gamba 5 Allegro 1:22 ) Adagio – Allegro – Adagio – Allegro – 3:13 ¡ Allemande – 1:59 Lars Ulrik Mortensen, Harpsichord Sonata for violin, viola da gamba 7:50 ™ Courante – 1:11 £ and basso continuo in A minor, Sarabande – 1:14 ¢ Gigue 1:17 BuxWV 272 6 4/4 – Allegro – 4:55 Sonata for 2 violins, viola da gamba 8:07 7 Adagio – 3/2 – Allegro 2:54 and basso continuo in C major, BuxWV 266 Sonata for 2 violins, viola da gamba 8:00 ∞ Adagio – 1:22 and basso continuo (organ) in F major, § Allegro – Adagio – 1:37 BuxWV 269 ¶ Violin I solo: (4/4) – Allegro – 1:31 8 4/4 – 1:51 • Adagio – Allegro – Adagio – 2:41 9 Violin II solo: 3/4 – Allegro – 1:17 Presto – Adagio – 0 Viola da gamba solo: 3/4 – Allegro – 2:15 ª Lento 0:55 ! Violin I solo: 4/4 – 1:17 @ Allegro a 3 1:20 This recording has been based on the following edition: Dieterich Buxtehude: Instrumental Works for Strings and Continuo, edited by Eva Linfield (Dieterich Buxtehude: The Collected Works, Vol. 14), New York Sonata for viola da gamba, violone 7:37 (The Broude Trust) 1994. (viola da gamba) and basso continuo Harpsichord kindly loaned by Thomas Mandrup- in D major, BuxWV 267 Foulsen # Adagio – 1:09 $ Allegro – 1:44 % Adagio – Viola da gamba I solo: 3/4 – 2:02 Allegro – 8.557250 8 557250bk Buxtehude US 14/12/07 9:24 am Page 2 Dietrich Buxtehude (c.1637–1707): Complete Chamber Music, Vol. 3 Mogens Rasmussen Six Sonatas without Opus Numbers Mogens Rasmussen was born in Copenhagen. He received his diploma from the Royal Danish Academy of Music in Copenhagen and pursued further studies with Jordi Savall at the Schola Cantorum Basiliensis. Mogens In 1668, when Buxtehude was about thirty years of age was also a vigorous tradition of secular music, and the Rasmussen appears frequently as a soloist and continuo player both in Denmark and abroad, and is a member of the he was appointed to the coveted post of organist at St municipal musicians forged a close link between international gamba consort Bourrasque. He has participated in numerous television, radio, and CD recordings, and Mary’s Church in the free Hanseatic city of Lübeck. Up ecclesiastical and municipal music. The Ratsmusik in teaches at the Funen Conservatory in Odense and at the Royal Danish Academy of Music in Copenhagen. to that time the whole of his upbringing, education, and Buxtehude’s time comprised seven highly qualified musical career had taken place within the boundaries of musicians retained, like the organist himself, directly by Lars Ulrik Mortensen the kingdom of Denmark. His father had left the little the Senate. Their duties included playing in church when Lars Ulrik Mortensen studied at the Royal Academy of Music in Copenhagen and with Trevor Pinnock in London. town of Oldesloe in the duchy of Holstein to serve as instruments were required there, as well as appearing at From 1988 to 1990 he was harpsichordist with London Baroque and until 1993 with Collegium Musicum 90. He organist in Hälsingborg, and from there he moved at the public and private functions at the command of the now works extensively as a soloist and chamber-musician in Europe, the United States, Mexico, South America, and beginning of the 1640s to Helsingør; it was in those two Senate and citizenry. The string players had particularly Japan, performing regularly with distinguished colleagues such as Emma Kirkby, John Holloway and Jaap ter cities on opposite sides of the Øresund that the younger proud traditions going back to the beginning of the Linden. Between 1996 and 1999 he was professor for harpsichord and performance practice at the Munich Buxtehude took his first steps as a professional organist, century; the violin and gamba virtuosi of Lübeck and Musikhochschule, and he now teaches at numerous early music courses throughout the world. Until recently Lars ultimately being appointed in 1660 by the German Hamburg were famed throughout Europe. Ulrik Mortensen was also active as a conductor in Sweden and Denmark, where his activities at the Royal Theatre congregation of St Mary’s in Helsingør. The musical Not far from Lübeck lay Hamburg, a major musical in Copenhagen met with great critical acclaim, although he has now returned to work primarily with period horizon of his youth was not restricted, however, to the centre with an opera house and a collegium musicum as instrument ensembles. Since 1999 he has been artistic director of the Danish Baroque Orchestra, Concerto immediate locality in which he lived: only forty well as its long-standing church music traditions. Here Copenhagen, and in 2004 he succeeded Roy Goodman as musical director of the European Union Baroque kilometres south of Helsingør lay the Danish capital of lived a number of prominent composers, organists, choir Orchestra. He has recorded extensively for numerous labels, and his recording of Bach’s Goldberg Variations was Copenhagen, with its flourishing musical environment directors, and others belonging to Buxtehude’s circle of awarded a French Diapason d’Or. The series of Buxtehude recordings from the 1990s for the Danish Dacapo label both ecclesiastical and secular, and Buxtehude must acquaintance, among them contemporary celebrities met with universal acclaim, and recordings of chamber music and cantatas by Buxtehude have won Danish Grammy have been familiar with developments there. In the such as Johann Adam Reincken, Johann Theile, awards, among other honours. In 2000 he was named Danish Musician of the Year for his recordings of harpsichord 1660s the Danish royal chapel was under the direction of Christoph Bernhard, and Matthias Weckmann. music by Buxtehude, which also received the Cannes Classical Award 2001. As a conductor his recordings include Kaspar Förster the Younger, and the organists of the six A great deal of the music of Buxtehude that has releases of harpsichord concertos by Bach and piano concertos by Haydn, in addition to symphonies by the Danish churches in the city attracted pupils from all over come down to us was in fact not written as part of his composers J.E. Hartmann, F.L.A.E. Kunzen and G. Gerson. Lars Ulrik Mortensen has received a number of prizes Europe. For example, Johann Lorentz the Younger, who duties as organist. Much of his church music was and distinctions, among them the Danish Music Critics’ Award in 1984 and in 2007 Denmark’s most prestigious probably taught Buxtehude, gave public recitals to large probably the result of close and fruitful cooperation with music award, the Léonie Sonning Music Prize. audiences in the church of St Nicholas. the kantors of St Mary’s, with whom he seems to have Buxtehude’s new position in Lübeck far exceeded shared the task of producing vocal music for the liturgy. St Mary’s, Helsingør, in both prestige and remuneration, Many works were also the result of initiatives not in any and in Lübeck he found a musical culture not far behind way connected with his church appointment. This that of Copenhagen; even courtly music was within his applies in particular to the famous Abendmusiken that reach, for not far away lay the palace of the Duke of had been established by his predecessor Franz Tunder; Gottorp. St Mary’s, Lübeck, was the most important Buxtehude expanded these to five annual church church in the city by virtue of its status as the official concerts with performances of big oratorio-like works, place of worship of the Senate, and in the next forty word of which spread over the whole of Northern years, until his death in 1707, Buxtehude was to practise Europe. a range of musical activities there that went far beyond When he was quite old Buxtehude published two his obligations as organist and book-keeper. While the collections of instrumental chamber music. Apart from a Kantor of the church bore the main responsibility for the few occasional works, these are the only examples of his musical establishment, and in particular for directing the art that were printed during his lifetime. Opus 1, choir, the organist had to play at services and on containing seven sonatas for violin and viola da gamba important feasts and holidays. In Lübeck, however, there with harpsichord continuo, is undated but probably 8.557250 2 7 8.557250 557250bk Buxtehude US 14/12/07 9:24 am Page 6 John Holloway appeared in 1694. Opus 2, with seven more sonatas for what the writing of sonatas meant to Buxtehude John Holloway is one of the pioneers of the modern early music movement in England. He founded his first Baroque the same combination, followed two years later. throughout his life. ensemble in 1975, and made the first complete recording of the chamber music of Handel. From 1977 to 1991 he Though instrumental composition was not one of The unpublished sonatas are for a more varied was concertmaster of Andrew Parrott’s Taverner Players, and from 1978 to 1992 concertmaster of Roger Buxtehude’s obligations as an organist, it was by no ensemble than those in Opus 1 and 2.
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