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Opera Omnia IX, Organ Works 4
Dieterich Buxtehude

Ton Koopman

Opera Omnia IX, Organ Works 4

Format: CD
Label: Challenge Classics
UPC: 0608917224825
Catnr: CC 72248
Release date: 31 October 2008
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1 CD
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Label
Challenge Classics
UPC
0608917224825
Catalogue number
CC 72248
Release date
31 October 2008
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

In my introduction to the first two CDs of Buxtehude’s organ works, I explained my division of Buxtehude’s œuvre in two
parts: works for organ in mean-tone tuning and works for organ in Werck- meister tuning. I have also adopted this
division here.

The beautiful village church in Basedow is home to a 17 th -century three-manual organ (as in Lüdingworth) in meantone
tuning. Many chorales and a few plenum pieces sound phenomenal on this colourful instrument, which was very nearly
demolished in the days of the GDR and, now fortunately restored, has its own individual sound.

Remarkably, the number of notated or- naments in the organ works of Dieterich Buxtehude is usually very small. But in
the chorale settings, most of which have been passed down to us by J.G. Walther in three collections, we see a great many ornaments. These are scorned by modern editors, who notate only a minimum of ornaments, which they ascribe to Walther. As they deem these ‘unauthentic’, they claim they are better omitted. In the Canzonetta, BuxWV 167, we see an example of a short work with many ornaments notated in the original source (in the hand of G. Lindemann, dated 5 March 1713) which we find in a relatively complete state in some modern editions. Far from complete, unfortunately, are the editions of the Prelude in A major, BuxWV 151. In addition to the chorales copied by Walther, these highly ornamented works give us an idea of the harpsichord-like playing of organists in the late 17 th and early 18 th centuries.

It would indeed be too facile to write these off as ‘unauthentic’. One organist’s ornamentation comes easier than that
of another; this was as true then as it is today. But beware: ornaments are part and parcel of the language that can enliven the rigid dynamics of the organ. A restored palace without the original decorations and embellishments looks
like a monument damaged by fire, one which lacks elegance. Unfortunately, organ music often suffers the same fate.
Ton Koopman
Buxtehude's compositorisch verfijnde orgelmuziek vertolkt door Ton Koopman
Opera Omnia deel IX bevat een selectie van geïmproviseerde composities van de orgelwerken van Dieterich (Dietrich, Diderich) Buxtehude, uitgevoerd door Ton Koopman. In dit 4e deel met orgelwerken in de serie Opera Omnia zijn preludes, fuga's en koralen opgenomen. Buxtehude creëerde hiermee een nieuwe maatstaf, zowel in compositorische verfijning als expressie. Voor een historisch verantwoorde aanpak van zijn orgelconcerten, koos Koopman de instrumenten met zorg uit. In dit album speelt hij op het gerenoveerde 17e-eeuwse orgel van de dorpskerk in Basedow, Duitsland. Een orgel dat zeer geschikt is voor de muziek in deze opname.

Buxtehude was een Deens-Duitse organist en door velen bewonderde componist uit de barokperiode. Hij componeerde vocale en instrumentale muziek. Zijn orgelwerken omvatten een aanzienlijk deel van het standaard orgelrepertoire van onze hedendaagse kerkdiensten. Buxtehude wordt beschouwd als de belangrijkste Duitse componist in de periode tussen Heinrich Schütz en Bach. Zijn stijl heeft veel componisten sterk beïnvloed. Hij was één van de grote voorbeelden van Johann Sebastian Bach. Het verhaal gaat dat Bach, toen 20 jaar, in 1705 helemaal naar Lübeck liep - 400 km - om Dieterich Buxtehude daar in de Marienkirche te horen spelen.

Wellicht dat die anekdote Ton Koopman inspireerde tot zijn project Opera Omnia om het gehele bewaard gebleven oeuvre van Buxtehude uit te voeren en op te nemen. Er was hem veel aan gelegen Buxtehude als het brein achter de vocale muziek van Bach te erkennen. Koopman is een van de meest vooraanstaande uitvoerders van oude muziek en voorzittter van het Internationale Buxtehude Gesellschaft.
Die vorliegende 4. Folge der Orgelwerke Buxtehudes enthält eine repräsentative Auswahl freier Kompositionen und solcher, die auf Chorälen basieren. Folgende Gattungen und Kategorien sind in ihr enthalten: Pedal-Präludien, Fugen und Orgelchoräle. Alle Werke weisen einen musikalischem Einfallsreichtum auf, die Buxtehude auf dieses Genre anwendet und die neue Maßstäbe sowohl hinsichtlich kompositorischen Raffinements als auch hinsichtlich der Ausdruckstiefe setzen.

Artist(s)

Ton Koopman (organ)

Ton Koopman is a leading figure in Early Music and historically informed performance practice. As organist and harpsichordist Ton Koopman has performed all over the world and played the most beautiful historical instruments of Europe. His Amsterdam Baroque Orchestra & Choir has gained worldwide fame as one of the best ensembles on period instruments. Between 1994 and 2004 Ton Koopman and ABO&C have recorded all sacred and secular cantatas by Johann Sebastian Bach, an extraordinary project that earned international acclaim. After that Koopman recorded the complete works by Bach’s predecessor, Dieterich Buxtehude. Besides performing as a soloist and with his ABO&C, Ton Koopman is very active as a guest conductor for modern orchestras and also devotes part of his time...
more
Ton Koopman is a leading figure in Early Music and historically informed performance practice. As organist and harpsichordist Ton Koopman has performed all over the world and played the most beautiful historical instruments of Europe. His Amsterdam Baroque Orchestra & Choir has gained worldwide fame as one of the best ensembles on period instruments. Between 1994 and 2004 Ton Koopman and ABO&C have recorded all sacred and secular cantatas by Johann Sebastian Bach, an extraordinary project that earned international acclaim. After that Koopman recorded the complete works by Bach’s predecessor, Dieterich Buxtehude. Besides performing as a soloist and with his ABO&C, Ton Koopman is very active as a guest conductor for modern orchestras and also devotes part of his time to teaching. Ton Koopman is president of the International Dieterich Buxtehude Society and, since 2019, president of the Leipzig Bach Archiv.

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Composer(s)

Dieterich Buxtehude

Among the general public, Dieterich Buxtehude is mostly known due to the admiration Johann Sebastian Bach had for his organ and composing skills, for which Bach traveled to the North German city of Lübeck to stay with him for four months, no less. This says quite something about the quality of Buxtehude's performance, but even more so about the influence it had on Bach and all composers after him. Yet, nowadays Buxtehude's music does not need Bach to survive, as a matter of fact it is extraordinarily beautiful just by itself! Buxtehude was originally Danish, but he spent most of him life in Lübeck. His so-called 'Abendmusik', which was a series of evening concerts outside of the liturgy, grew famous. In...
more

Among the general public, Dieterich Buxtehude is mostly known due to the admiration Johann Sebastian Bach had for his organ and composing skills, for which Bach traveled to the North German city of Lübeck to stay with him for four months, no less. This says quite something about the quality of Buxtehude's performance, but even more so about the influence it had on Bach and all composers after him. Yet, nowadays Buxtehude's music does not need Bach to survive, as a matter of fact it is extraordinarily beautiful just by itself! Buxtehude was originally Danish, but he spent most of him life in Lübeck. His so-called 'Abendmusik', which was a series of evening concerts outside of the liturgy, grew famous. In the works he wrote for these occasions, his enormous fantasy and creative freedom truly shows. As an organ player, Buxtehude was widely famous. If you would listen to his Organ Preludes, you would quickly know why. Buxtehude manages to combine an unprecedented virtuosity with a large variety of styles and techniques. No wonder Bach traveled all that way to see him!


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Press

Play album Play album
01.
Praeludium in C BuxWV 138
03:15
(Dieterich Buxtehude) Ton Koopman
02.
Komm, heiliger Geist, Herre Gott BuxWV 199
03:33
(Dieterich Buxtehude) Ton Koopman
03.
Canzonetta in G BuxWV 172
02:08
(Dieterich Buxtehude) Ton Koopman
04.
Lobt Gott, ihr Christen, allzugleich BuxWV 202
01:08
(Dieterich Buxtehude) Ton Koopman
05.
Wir danken dir, Herr Jesu Christ BuxWV 224
01:10
(Dieterich Buxtehude) Ton Koopman
06.
Praeludium in G BuxWV 147
03:01
(Dieterich Buxtehude) Ton Koopman
07.
Ich ruf zu dir, Herr Jesu Christ BuxWV 196
03:00
(Dieterich Buxtehude) Ton Koopman
08.
Canzonetta in G BuxWV 171
02:01
(Dieterich Buxtehude) Ton Koopman
09.
Vater unser im Himmelreich BuxWV 219
02:28
(Dieterich Buxtehude) Ton Koopman
10.
Magnificat Primi Toni BuxWV 203
06:13
(Dieterich Buxtehude) Ton Koopman
11.
Praeludium in F BuxWV 144
02:37
(Dieterich Buxtehude) Ton Koopman
12.
Nun lob mein Seel? den Herren BuxWV 212
03:05
(Dieterich Buxtehude) Ton Koopman
13.
Kommt her zu mir, spricht Gottes Sohn BuxWV 201
02:30
(Dieterich Buxtehude) Ton Koopman
14.
Canzonetta in C BuxWV 167
01:04
(Dieterich Buxtehude) Ton Koopman
15.
Es ist das Heil uns kommen her BuxWV 186
02:36
(Dieterich Buxtehude) Ton Koopman
16.
Jesus Christus, unser Heiland BuxWV 198
01:54
(Dieterich Buxtehude) Ton Koopman
17.
Gott der Vater wohn uns bei BuxWV 190
02:49
(Dieterich Buxtehude) Ton Koopman
18.
Nimm von uns, Herr BuxWV 207
07:49
(Dieterich Buxtehude) Ton Koopman
19.
Gelobet seist du, Jesu Christ BuxWV 189
01:29
(Dieterich Buxtehude) Ton Koopman
show all tracks

Often bought together with..

Dieterich Buxtehude
Opera Omnia X - Organ Works 5
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Dieterich Buxtehude
Opera Omnia VIII, Organ Works III
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Opera Omnia VII - Vocal Works III
Ton Koopman
Dieterich Buxtehude
Opera Omnia VI, Harpsichord works II
Ton Koopman

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