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Opera Omnia XI - Vocal Works 4
Dieterich Buxtehude

Ton Koopman & Amsterdam Baroque Orchestra & Choir

Opera Omnia XI - Vocal Works 4

Price: € 14.95 10.47
Format: CD
Label: Challenge Classics
UPC: 0608917225020
Catnr: CC 72250
Release date: 30 October 2009
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Label
Challenge Classics
UPC
0608917225020
Catalogue number
CC 72250
Release date
30 October 2009

"I experience a constant lightness in these versions, which ensures that after more than two hours Buxtehude still feels fresh"

Luister, 01-3-2014
Album
Artist(s)
Composer(s)
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About the album

Dieterich Buxtehude’s historical significance has been primarily defined by his organ works which represent in many ways the culmination of 17th century organ music. The vocal compositions of the distinguished Lübeck master do not show the unparalleled degree of innovation in terms of stylistic design and daring harmonic features that can be found in the organ music. At the same time, the substantial repertoire of his vocal art ranks among the most attractive ones in the later 17th century and forms a climactic point in Lutheran church music between Heinrich Schütz and Johann Sebastian Bach. The diversified body of Buxtehude’s vocal compositions reflects the rich tradition that emerged in the central and northern regions of Germany after the end of the Thirty Years War, a tradition considerably fueled by strong Italian influences of the post-Monteverdi generation.

Buxtehude composed the majority of his vocal church music not for worship services at St. Mary’s Church in Lübeck, where he served as organist. Providing vocal music for liturgical purposes was the cantor’s and not the organist’s function, for the two positions were kept separate in most large churches of Northern Germany. A number of Buxtehude’s vocal works were commissioned by his colleague and friend, Gustav Düben, capellmeister at the Royal Swedish Court and organist of the German Church in Stockholm. All of the Swedish language but also some German works were written for Stockholm. However, most of Buxtehude’s vocal output was apparently composed for the annual series of public evening concerts at St. Mary’s Church, the so-called Abendmusiken, which took place on weekends during the months of November and December, sometimes continuing even beyond Christmas.

In this regard, Buxtehude continued a tradition founded by his predecessor, Franz Tunder, that provided the organist with his own venue for composing and performing vocal music. Buxtehude’s Abendmusiken became particularly famous though the large-scale oratorios he produced for them. The young Handel and Bach, for example, traveled to Lübeck in order to experience these special musical events. Unfortunately, the music for none of these influential works survived; only printed texts for some of the oratorios are extant today. Recent research, however, turned up evidence that not only oratorios but also shorter vocal works with both German and Latin texts were performed at the Abendmusiken. Hence, the programs for Buxtehude’s winter series of church music concerts may well have resembled the kind of collection gathered in this album – pieces of varying texts, styles, genres, lengths, formats, and scorings.
Meesterlijke vertolking van vocaal werk van Buxtehude
Deel XI van de Opera Omnia is het 4e album met vocale werken van Dieterich (Dietrich, Diderich) Buxtehude, uitgevoerd door Ton Koopman met het Amsterdam Baroque Orchestra & Choir. De opname bevat korte stukken met verschillende soorten teksten, genres, lengtes en bezettingen. Volgens Frank Pothoven in 'Luister', ervaar je Buxtehude door de constante lichtheid van de stukken, ook na 2 uur luisteren, nog steeds als nieuw.

Buxtehude stond in zijn tijd, de late 17e eeuw, bekend om zijn grootschalige oratoria, die hij componeerde voor zijn Abendmusiken. De concerten die hij in de wintermaanden organiseerde voor de rijke kooplieden van de stad. Deze oratoria zijn helaas niet bewaard gebleven. Dat gold wel voor zijn andere vocale werk.

Buxtehude was een Deens-Duitse organist en een door velen bewonderde componist uit de barokperiode. Hij componeerde vocale en instrumentale muziek. Het grootste deel van zijn oeuvre bestaat uit divers vocaal werk, zoals geestelijke concerten, aria's, koralen, cantates en canons, weelderige en rijke 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 Vokalkompositionen des angesehenen Lübecker Meisters gehören zu den reizvollsten Vokalkompositionen des 17. Jahrhunderts und markieren einen Höhepunkt der Evangelischen Kirchenmusik zwischen Schütz und Bach. Das Gros seines Vokalschaffens war für die öffentlichen Konzertreihen an St. Marien bestimmt, die so genannten Abendmusiken, die jedes Jahr im November und Dezember jeweils an den Wochenenden stattfanden und manchmal sogar bis nach Weihnachten dauerten.

Artist(s)

Ton Koopman (conductor)

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...
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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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Amsterdam Baroque Orchestra & Choir

Ton Koopman founded the Amsterdam Baroque Orchestra in 1979. The group consists of internationally renowned baroque specialists who meet up several times a year and work together to prepare and perform new exciting programmes. For the musicians each concert is a new experience and Koopman's boundless energy and enthusiasm are a sure guarantee of the highest quality. The Amsterdam Baroque Choir was founded in 1992 and it made its debut during the Holland Festival of Early Music in Utrecht performing the world première of the Requiem (for 15 voices) and Vespers (for 32 voices) by H.I.F. Biber. The recording of both of these works won the Cannes Classical Award for the best performance of 17th/18th century choral music. For its rare...
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Ton Koopman founded the Amsterdam Baroque Orchestra in 1979. The group consists of internationally renowned baroque specialists who meet up several times a year and work together to prepare and perform new exciting programmes. For the musicians each concert is a new experience and Koopman's boundless energy and enthusiasm are a sure guarantee of the highest quality.
The Amsterdam Baroque Choir was founded in 1992 and it made its debut during the Holland Festival of Early Music in Utrecht performing the world première of the Requiem (for 15 voices) and Vespers (for 32 voices) by H.I.F. Biber. The recording of both of these works won the Cannes Classical Award for the best performance of 17th/18th century choral music. For its rare combination of textural clarity and interpretative flexibility, the Amsterdam Baroque Choir is considered among today’s most outstanding choirs. In 1994 Ton Koopman and the Amsterdam Baroque Orchestra & Choir embarked upon the most ambitious recording project of the last decades: the integral recording of Bach’s secular and sacred cantatas. For this extraordinary project Koopman and his ensemble received the Deutsche Schallplatten-Preis Echo Klassik. Next to the CD recordings three books have been edited and published by Ton Koopman and the musicologist Christoph Wolff and a series of six documentaries was produced and broadcasted by various TV stations.
Alongside Bach’s music the Amsterdam Baroque Orchestra & Choir has recorded all major baroque and classical works. Major recognitions include the Gramophone Award, Diapason d'Or, 10-Repertoire, Stern des Monats-Fono Forum, the Prix Hector Berlioz and two Edison Awards. In 2008 the ensemble and Ton Koopman have been honoured with the prestigious BBC Award. Since March 2003 “Antoine Marchand”, a new sub-label of Challenge Classics, took over the release of Koopman’s new recordings and among many others has published 22 CD boxes of the Bach Cantatas, a new recording of the St. Matthew Passion (on CD and DVD) and St. Markus Passion of J.S. Bach (DVD), live recorded in Milan, as well as the first seven volumes of the Buxtehude Opera-Omnia Edition. Ton Koopman and the ABO & ABC are regular guests at the major concert halls of Europe, the USA and Japan. In the 2008/09 season they will tour extensively in Europe (Amsterdam, Paris, Madrid, Vienna, Milan, Cologne, Dresden, Düsseldorf etc) and in Far East with concerts in Hong Kong, Seoul and Tokyo.
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Klaus Mertens

Bass-baritone Klaus Mertens is celebrated by critics as an “excellent master of his craft” for his “unique power of expression, his congenial timbre, his keen intuition for text, as well as his convincing manner of making music”. He has recorded more than 200 CDs, including the entire works of Johann Sebastian Bach and Dietrich Buxtehude. These testify eloquently to his art of singing, which spans a great arch from Monteverdi to his contemporaries. Characterized as “the most significant Telemann interpreter of our time”, Mertens received the Telemann prize of the city of Magdeburg in 2016. In 2019, he was honored with the renowned Bach medal of the city of Leipzig as the “ideal interpreter of Bach’s cantatas and passion texts”.
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Bass-baritone Klaus Mertens is celebrated by critics as an “excellent master of his craft” for his “unique power of expression, his congenial timbre, his keen intuition for text, as well as his convincing manner of making music”. He has recorded more than 200 CDs, including the entire works of Johann Sebastian Bach and Dietrich Buxtehude. These testify eloquently to his art of singing, which spans a great arch from Monteverdi to his contemporaries. Characterized as “the most significant Telemann interpreter of our time”, Mertens received the Telemann prize of the city of Magdeburg in 2016. In 2019, he was honored with the renowned Bach medal of the city of Leipzig as the “ideal interpreter of Bach’s cantatas and passion texts”.

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Johannette Zomer

The repertoire of the Dutch soprano Johannette Zomer ranges from medieval music through all music of the baroque and classical eras, including opera, but also Lieder, French Romanticism and Contemporary music. Johannette’s concert appearances are also many and various. She has worked with Baroque specialists such as Philippe Herreweghe, Ton Koopman, Frans Brüggen, René Jacobs, Reinard Goebel and Paul McCreesh, but has also worked with conductors including Kent Nagano, Ivan Fisher,Daniel Harding, Valery Gergiev, Reinbert de Leeuw and Peter Eötvös. She regularly gives recitals accompanied by theorbo player Fred Jacobs or fortepiano specialist Arthur Schoonderwoerd.   Johannette made her opera debut as Tebaldo in Verdi’s Don Carlo with the Nationale Reisopera in October 1996. Since then she has made regular appearances in...
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The repertoire of the Dutch soprano Johannette Zomer ranges from medieval music through all music of the baroque and classical eras, including opera, but also Lieder, French Romanticism and Contemporary music. Johannette’s concert appearances are also many and various. She has worked with Baroque specialists such as Philippe Herreweghe, Ton Koopman, Frans Brüggen, René Jacobs, Reinard Goebel and Paul McCreesh, but has also worked with conductors including Kent Nagano, Ivan Fisher,Daniel Harding, Valery Gergiev, Reinbert de Leeuw and Peter Eötvös. She regularly gives recitals accompanied by theorbo player Fred Jacobs or fortepiano specialist Arthur Schoonderwoerd.
Johannette made her opera debut as Tebaldo in Verdi’s Don Carlo with the Nationale Reisopera in October 1996. Since then she has made regular appearances in roles including Belinda, Pamina, La Musica, Euridice, Dalinda and Ilia, and also as Amanda in Ligeti’s Le Grand Macabre and Mélisande in Debussy’s Pelléas et Mélisande.
Regularly she contributes to recording projects. A few of her releases – all very well received in both press and radio – are the Bach Cantatas album with the English ensemble Florilegium for which she won an Edison Award, the album With Endless Teares with theorbist Fred Jacobs, showing the development of English 17th Century Song, and the album Love & Madness, an album with Händel aria’s together with Bart Schneemann, oboe.
In 2013 she founded her own ensemble the Tulipa Consort. She has performed with this ensemble at the Göttinger Handel Festspiele and in Amsterdam with Dutch oboist Bart Schneemann.

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Jörg Dürmüller

The Swiss lyric tenor, Jörg Dürmüller, studied violin and voice at the Winterthur Conservatoire in Switzerland with Ruth Binder (1977-1982), and with a scholarship of the Migros-Genossenschafts-Bund at the Academy of Music and Theatre in Hamburg with Naan Pöld, Hans Kagel and Hertha Werner (1982-1987). He attended master-classes given by Edith Mathis, Christa Ludwig and Hermann Prey. Jörg Dürmüller's first opera-engagement led him in 1987 to the Bielefeld City Theatre, where he was a member of the ensemble for five years. From 1995 to 1997 he was engaged as the first tenor at the Brunswick State Theatre under Kammersängerin Brigitte Fassbaender. He appeared also at the State Opera of Hamburg, and at the Theatre in Revier Gelsenkirchen. In 1996 he appeared as a guest at the Comic Opera Berlin...
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The Swiss lyric tenor, Jörg Dürmüller, studied violin and voice at the Winterthur Conservatoire in Switzerland with Ruth Binder (1977-1982), and with a scholarship of the Migros-Genossenschafts-Bund at the Academy of Music and Theatre in Hamburg with Naan Pöld, Hans Kagel and Hertha Werner (1982-1987). He attended master-classes given by Edith Mathis, Christa Ludwig and Hermann Prey.
Jörg Dürmüller's first opera-engagement led him in 1987 to the Bielefeld City Theatre, where he was a member of the ensemble for five years. From 1995 to 1997 he was engaged as the first tenor at the Brunswick State Theatre under Kammersängerin Brigitte Fassbaender. He appeared also at the State Opera of Hamburg, and at the Theatre in Revier Gelsenkirchen. In 1996 he appeared as a guest at the Comic Opera Berlin in the role of Fernando in Così fan tutte produced by Harry Kupfer, and at the National Theatre of Braunschweig as Andres in Wozzeck by Alban Berg. In 2002 and 2003 he sang the role of Bajazete in George Frideric Handel’s Tamerlano also at the Opera Comique Berlin directed by David Alden.

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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

I experience a constant lightness in these versions, which ensures that after more than two hours Buxtehude still feels fresh
Luister, 01-3-2014

Play album Play album
Disc #1
01.
Gott fähret auf mit Jauchzen BuxWV 33
09:12
(Dieterich Buxtehude) Amsterdam Baroque Choire, Ton Koopman, Klaus Mertens, Miriam Meyer, Bettina Pahn, Amsterdam Baroque Orchestra
02.
Jesu dulcis memoria BuxWV 56
09:04
(Dieterich Buxtehude) Amsterdam Baroque Choire, Ton Koopman, Miriam Meyer, Siri Thornhill, Amsterdam Baroque Orchestra
03.
Erfreue dich, Erde! BuxWV 26
07:44
(Dieterich Buxtehude) Ton Koopman, Klaus Mertens, Patrick van Goethem, Miriam Meyer, Bettina Pahn, Amsterdam Baroque Choire, Amsterdam Baroque Orchestra
04.
Lobe den Herrn, meine Seele BuxWV 71
09:54
(Dieterich Buxtehude) Jörg Dürmüller, Amsterdam Baroque Choire, Ton Koopman, Amsterdam Baroque Orchestra
05.
O Gott, wir danken deiner Güt BuxWV 86
08:32
(Dieterich Buxtehude) Klaus Mertens, Andreas Karasiak, Patrick van Goethem, Johannette Zomer, Bettina Pahn, Amsterdam Baroque Choire, Ton Koopman, Amsterdam Baroque Orchestra
06.
Canite Jesu nostro BuxWV 11
05:15
(Dieterich Buxtehude) Klaus Mertens, Johannette Zomer, Bettina Pahn, Amsterdam Baroque Choire, Ton Koopman, Amsterdam Baroque Orchestra
07.
Erhalt uns, Herr, bei deinem Wort BuxWV 27
07:05
(Dieterich Buxtehude) Klaus Mertens, Andreas Karasiak, Patrick van Goethem, Johannette Zomer, Amsterdam Baroque Choire, Ton Koopman, Amsterdam Baroque Orchestra
08.
Att du, Jesu, vil mig höra BuxWV 8
04:18
(Dieterich Buxtehude) Bettina Pahn, Amsterdam Baroque Choire, Ton Koopman, Amsterdam Baroque Orchestra
09.
Man singet mit Freuden vom Sieg BuxWV Anh.2
05:52
(Anonymous) Amsterdam Baroque Choire, Ton Koopman, Bettina Pahn, Miriam Meyer, Patrick van Goethem, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra

Disc #2
01.
Frohlocket mit Händen BuxWV 29
06:59
(Dieterich Buxtehude) Amsterdam Baroque Choire, Ton Koopman, Bettina Pahn, Miriam Meyer, Patrick van Goethem, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra
02.
Wo soll ich fliehen hin? BuxWV 112
17:22
(Dieterich Buxtehude) Amsterdam Baroque Choire, Ton Koopman, Bettina Pahn, Patrick van Goethem, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra
03.
Ist es recht, daß man dem Kaiser Zinse gebe oder nicht? BuxWV 54
08:42
(Dieterich Buxtehude) Amsterdam Baroque Choire, Ton Koopman, Siri Thornhill, Miriam Meyer, Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra
04.
Also hat Gott die Welt geliebet BuxWV 5
07:50
(Dieterich Buxtehude) Amsterdam Baroque Choire, Ton Koopman, Johannette Zomer, Amsterdam Baroque Orchestra
05.
In te, Domine, speravi BuxWV 53
02:11
(Dieterich Buxtehude) Amsterdam Baroque Choire, Ton Koopman, Bettina Pahn, Patrick van Goethem, Klaus Mertens, Amsterdam Baroque Orchestra
06.
Herr, nun läßt du deinen Diener BuxWV 37
06:27
(Dieterich Buxtehude) Amsterdam Baroque Choire, Ton Koopman, Jörg Dürmüller, Amsterdam Baroque Orchestra
07.
Jesu, meine Freud und Lust BuxWV 59
07:38
(Dieterich Buxtehude) Amsterdam Baroque Choire, Ton Koopman, Bogna Bartosz, Amsterdam Baroque Orchestra
08.
Das neugeborne Kindelein BuxWV 13
06:51
(Dieterich Buxtehude) Amsterdam Baroque Choire, Ton Koopman, Siri Thornhill, Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, Amsterdam Baroque Orchestra
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