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Opera Omnia XVIII - Vocal works vol. 8
Dieterich Buxtehude

Ton Koopman

Opera Omnia XVIII - Vocal works vol. 8

Price: € 14.95 10.47
Format: CD
Label: Challenge Classics
UPC: 0608917225723
Catnr: CC 72257
Release date: 29 November 2013
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Label
Challenge Classics
UPC
0608917225723
Catalogue number
CC 72257
Release date
29 November 2013

"Whatever follows, the Buxtehude project is arguably Koopman's most important achievement: groundbreaking, ear-opening, comprehensive, scholarly, answering questions, raising others. But above all it sounds like a labour of love. Bravo Buxtehude - and thank you Ton Koopman!"

BBC Music Magazine, 01-9-2014
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Composer(s)
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About the album

In the succession of Franz Tunder in Lübeck Buxtehude broadened the scope and format of vocal composition by adding sophisticated strophic arias, increasing the role of instrumental ensembles, refining instrumental textures of the vocal scores, and making multi- movement structures are more normative feature in sacred music.

His compositions are based on one side on Latin works, p.e. “O Clemens, o mitis”, the second part of his works are settings of Lutheran hymn texts, p.e. “Wachet auf, ruft uns die Stimme”. And on the other hand her made settings of pietist poems. The pietist movement became prominent in later 17th-century Lutheran Germany and several lyrical texts set by Buxtehude reflect this leaning toward reflective individual piety. “Meine Seele, willtu ruhn” (BuxWV 74) and “O Gottes Stadt, o güldnes Licht” (BuxWV 87) represent particularly prominent examples of sacred arias.

„ It has been an extraordinary experience to study and record so many works that have rarely if ever been performed. For example: Composed by Buxtehude for his ‘amico’ the Kappelmeister Gustav Düben in Stockholm, Membra Jesu Nostri (BuxWV 75) was little known around 1980. Now the work enjoys wide renown, appearing on many CD recordings. Singers, choirmasters and instrumentalists please take note: there is much more! Listen to this music and study and perform it. Buxtehude deserves it.“ Ton Koopman
Fascinerende momenten bij uitvoering vocaal werk van Buxtehude
Deel XVIII van de Opera Omnia is het 8e album met vocale werken van Dieterich (Dietrich, Diderich) Buxtehude, uitgevoerd door Ton Koopman met het Amsterdam Baroque Orchestra & Choir. De opname bevat liturgische muziek met louter Latijnse tekst, Lutherse koraalbewerkingen en muziek op bijbelteksten. "Dit zijn geen werken die zich op de automatische piloot laten bedwingen of een routineuze aanpak verdragen. Daarom zijn er ook in dit deel zoveel fascinerende momenten, schuurt het als het schuren moet, maar zijn er evengoed zoveel van die net even geaccentueerde opstapmomenten die de aandachtig luisterende reiziger vervolgens verder voeren langs de mooiste landschappen, soms zelfs even de adem inhoudend door zoveel zich bijna als vanzelfsprekend ontvouwende schoonheid.", Aart van der Wal, Opus Klassiek, februari 2014.

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.
Ton Koopman und das Amsterdam Baroque Orchestra vollenden mit dieser Einspielung die Aufnahmen von Dietrich Buxtehudes Opera Omnia. Sämtliche Vokal- und Instrumentalwerke wurden eingespielt und bedeutenden für alle Beteiligten enorme Erfahrungen und einmalige Entdeckungen.

In der Nachfolge von Franz Tunder in Lübeck erweiterte Buxtehude Umfang und Format der Vokalmusik, fügte Strophenarien hinzu und gab dem begleitenden Instrumentalensemble eine gewichtigere Rolle. Seine komplexeren Begleitungen und die Mehrsätzigkeit in der Geistlichen Musik wurden nach Buxtehude zum üblichen Standard.
Die Werke auf dieser Einspielung basieren auf Texten unterschiedlicher Herkunft. Zum einen sind es rein lateinische Texte, wie z.B. im „O Clemens, o mitis“. Zum anderen übernahm Buxtehude Lutherische Choralbearbeitungen („Wachet auf, ruft uns die Stimme“), sowie Texte aus der Bibel („Singet dem Herrn eine neues Lied“).

„Membra Jesu Nostri (BuxWV 75), ein Werk, das Buxtehude für seinen „amico“, den Kapellmeister Gustav Düben in Stockholm komponierte, war um 1980 fast unbekannt. Heute ist das anders – es gibt mehrere Aufnahmen des Werkes. Sänger, Chordi- rigenten, Instrumentalisten: das ist nicht alles! Ich hoffe, dass viele diese Musik hören, studieren und aufführen. Buxtehude hat es verdient.“ Ton Koopman
Con questo diciottesimo volume (ottavo della musica vocale) Ton Koopman and the Amsterdam Baroque Orchestra proseguono il loro progetto di registrare gli Opera Omnia di Buxtehude: l’integrale della musica vocale e strumentale. Album doppio con le autorevoli note di copertina di Christoph Wolff.

Quando nel 1668 subentrò a Franz Tunder come organista e «Werkmeister» (amministratore finanziario) della chiesa di Santa Maria di Luubecca, il principale luogo di culto di questa libera città imperiale, Dieterich Buxtehude sapeva che questa posizione gli avrebbe garantito nuove opportunità rispetto alle funzioni che esercitava a Helsingborg e Helsingør. Esse non riguardavano tanto l’aspetto amministrativo del lavoro, quanto piuttosto una significativa espansione delle sue attività musicali. Non ci sono prove che Buxtehude abbia composto altro che musica per organo prima del suo arrivo alla chiesa di Santa Maria, ma il notevole corpus di musica vocale che vide la luce dopo il 1668 comprende opere appartenenti praticamente a tutti i generi convenzionali, persino alcuni oratori di ampie proporzioni.
Christoph Wolff, dalle note di copertina

“Lo studio e la registrazione di così tante opere di raro ascolto o addirittura mai eseguite è stata un’esperienza straordinaria. Per esempio: composti per il suo amico maestro di cappella Gustav Düben, di Stoccolma, i Membra Jesu Nostri (BuxWV 75) erano poco conosciuti intorno al 1980. Ora il brano gode di grande popolarità e appare in molte produzioni discografiche. Cantanti, direttori di coro, strumentisti, per favore prendete nota: c’è molto di più! Ascoltate questa musica, studiatela ed eseguitela. Buxtehude se lo merita.”
Ton Koopman

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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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...
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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

Whatever follows, the Buxtehude project is arguably Koopman's most important achievement: groundbreaking, ear-opening, comprehensive, scholarly, answering questions, raising others. But above all it sounds like a labour of love. Bravo Buxtehude - and thank you Ton Koopman!
BBC Music Magazine, 01-9-2014

The from Koopman intiated and realised projekt - the recording of the complete works of Dietrich Buxtehude - is one of the most important ones of the last years.
Toccata, 01-9-2014

The excellent instrumentalists are supplemented by good solo singers, whose clarity of diction and expressive phrasing and dynamics are supported by fluent tempi and solid rhythmic direction.
Choir & Organ, 01-8-2014

Any fears that the concluding volume might be an assortment of odds and ends are unwarranted (the little six-part canon is rather lovely).
Gramophone, 01-5-2014

It's an album that excels in balance and suppleness.
Written in music, 22-3-2014

Ton Koopman Luister Interview
Luister, 03-2-2014

An uncompromising approach, as a result Buxtehude's music sounds like a grand monument which is unparalleled in the history of discography in this area. 
Opus Klassiek, 02-2-2014

"It's the sheer effortles sparkle and freshness of the playing that continually ambushes the listener as Koopman coaxes sectional gear changes that always exude a suave inevitability."
BBC Music Magazine

Play album Play album
Disc #1
01.
Wachet auf, ruft uns die Stimme, BuxWV 101
10:52
(Dieterich Buxtehude) Ton Koopman, Maarten Engeltjes, Tilman Lichdi, Klaus Mertens, Amsterdam Baroque Orchestra
02.
O clemens, o mitis, BuxWV 82
08:14
(Dieterich Buxtehude) Ton Koopman, Bettina Pahn, Amsterdam Baroque Orchestra
03.
Gen Himmel zu dem Vater mein, BuxWV 32
07:32
(Dieterich Buxtehude) Ton Koopman, Bettina Pahn, Amsterdam Baroque Orchestra
04.
Surrexit Christus hodie, BuxWV 99
05:51
(Dieterich Buxtehude) Ton Koopman, Bettina Pahn, Amsterdam Baroque Orchestra
05.
Lauda anima mea Dominum, BuxWV 67
08:56
(Dieterich Buxtehude) Ton Koopman, Bettina Pahn, Amsterdam Baroque Orchestra
06.
Mein Herz ist bereit, BuxWV 73
08:18
(Dieterich Buxtehude) Ton Koopman, Klaus Mertens, Amsterdam Baroque Orchestra
07.
Singet dem Herrn ein neues Lied, BuxWV 98
08:06
(Dieterich Buxtehude) Ton Koopman, Bettina Pahn, Amsterdam Baroque Orchestra
08.
Canon, BuxWV 121
01:10
(Dieterich Buxtehude) Ton Koopman, Bettina Pahn, Dorothee Wohlgemuth, Amsterdam Baroque Orchestra
09.
Gigue, BuxWV 121
02:40
(Dieterich Buxtehude) Ton Koopman, Amsterdam Baroque Orchestra

Disc #2
01.
Meine Seele, willtu ruhn, BuxWV 74
05:41
(Dieterich Buxtehude) Ton Koopman, Klaus Mertens, Dorothee Wohlgemuth, Bettina Pahn, Amsterdam Baroque Orchestra
02.
Herr, ich lasse dich nicht, BuxWV 36
09:30
(Dieterich Buxtehude) Ton Koopman, Klaus Mertens, Tilman Lichdi, Amsterdam Baroque Orchestra
03.
Wachet auf, ruft uns die Stimme, BuxWV 100
11:12
(Dieterich Buxtehude) Ton Koopman, Bettina Pahn, Dorothee Wohlgemuth, Klaus Mertens, Amsterdam Baroque Orchestra
04.
O Gottes Stadt, o güldnes Licht, BuxWV 87
09:12
(Dieterich Buxtehude) Ton Koopman, Bettina Pahn, Amsterdam Baroque Orchestra
05.
Wie soll ich dich empfangen, BuxWV 109
08:12
(Dieterich Buxtehude) Ton Koopman, Bettina Pahn, Dorothee Wohlgemuth, Klaus Mertens, Amsterdam Baroque Orchestra
06.
Sicut Moses exaltavit serpentem, BuxWV 97
06:14
(Dieterich Buxtehude) Ton Koopman, Bettina Pahn, Amsterdam Baroque Orchestra
07.
Salve desiderium, salve clamor gentium, BuxWV 93
06:30
(Dieterich Buxtehude) Ton Koopman, Bettina Pahn, Dorothee Wohlgemuth, Klaus Mertens, Amsterdam Baroque Orchestra
08.
Gott hilf mir, denn das Wasser geht mir bis an die Seele, BuxWV 34
16:43
(Dieterich Buxtehude) Ton Koopman, Miriam Feuersinger, Dorothee Wohlgemuth, Klaus Mertens, Amsterdam Baroque Orchestra
show all tracks

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