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Opera Omnia XIV - Vocal Works 5
Dieterich Buxtehude

Ton Koopman / Amsterdam Baroque Orchestra & Choir

Opera Omnia XIV - Vocal Works 5

Price: € 12.95
Format: CD
Label: Challenge Classics
UPC: 0608917225327
Catnr: CC 72253
Release date: 13 September 2011
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Label
Challenge Classics
UPC
0608917225327
Catalogue number
CC 72253
Release date
13 September 2011

"Buxtehude's contemplative, sophisticated enslemble music, beautifully rendered by Koopman and his players, gives equal prominence to vocal and instrumental parts, and the two are expertly balanced."

Early Music Today, 01-3-2012
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Artist(s)
Composer(s)
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About the album

Fifth volume of Vocal Music in the Opera Omnia Series of Dieterich Buxtehude (XIV)

This CD could be subtitled “The Unknown Buxtehude”. It presents eight somewhat unfamiliar vocal works that differ greatly from each other, undoubtedly because of dates of their composition. Notable, of course, is the richly instrumented Ich bin die Auferstehung BuxWV 44, with five strings, dulcian, two cornettos, two trumpets and basso continuo, the only concerto for solo vocalist with such lavish instrumentation.

The other solo concerto for bass, Ich bin eine Bume zu Saron BuxWV 45, is much simpler, but more touching. The basic instrumentation of the solo concertos on this CD is two violins, violone and organ. Aside from the more elaborately instrumented BuxWV 44, two other concertos deviate slightly: Jesu, komm, mein Trost und Lachen BuxWV 58 adds a viola and Bedenke Mensch das Ende BuxWV 9 an extra violin. Notable in the latter is that it has three singers throughout, thus without the solo passages normally heard in Buxtehude. This is also the case in BuxWV 57 Jesu dulcis memoria, which is dominated by the bass theme. For basso continuo players, it is such a pleasure to play and vary this theme, especially when there are two players, as on this recording. We basso continuo players try to zestfully enliven the festive character of this very Italian concerto (compare Monteverdi!) – this relatively unknown concerto is one of his Buxtehude’s vocal works.

But there is plenty more. Two soprano solo concertos, for example, on the same text: Herr wenn ich nur dich habe BuxWV 38 and 39 -- a shorter and a longer version sung here by different sopranos. I couldn’t choose between them – both have their own charm. " (Linernotes written by Ton Koopman) But there is plenty more. Two soprano solo concertos, for example, on the same text: Herr wenn ich nur dich habe BuxWV 38 and 39 -- a shorter and a longer version sung here by different sopranos. I couldn't choose between them - both have their own charm.
Bekoorlijke en onbekende vocale werken van Buxtehude
Deel XIV van de Opera Omnia bevat 8 heel verschillende, bekoorlijke en vrijwel onbekende vocale werken van Dieterich (Dietrich, Diderich) Buxtehude. Dit is het 5e album met vocale werken van Buxtehude. Ton Koopman maakt er met zijn Amsterdam Baroque Orchestra & Choir een onvergelijkbare uitvoering van. "Buxtehude's contemplative, sophisticated enslemble music, beautifully rendered by Koopman and his players, gives equal prominence to vocal and instrumental parts, and the two are expertly balanced." Early Music Today.

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.



Unbekannte Konzerte, Arien und Kantaten

Acht reizvolle und bisher fast unbekannte Vokalwerke von Dieterich Buxtehude, die aus ganz unterschiedlichen Lebensabschnitten stammen, in der unvergleichlich präzisen und lebendigen Interpretation von Ton Koopman und seinen hervorragenden Solisten.

Artist(s)

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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Eleni Karaindrou

Eleni Karaindrou was born in the mountain village of Teichio in central Greece and grew up in Athens, where she studied piano and theory at the Hellenikon Odion. From 1969-74 she studied ethnomusicology in Paris and, on returning to Greece, founded the Laboratory for Traditional Instruments at the ORA Cultural Centre. She has since been an active campaigner on behalf of Greece's musical resources. Karaindrou has a long history of writing for film and theatre; to date, some 18 feature films, 13 plays and 10 television series have featured her music. Although most of her work has been with Greek directors, she has also collaborated with Chris Marker, Jules Dassin and Margarethe von Trotta. Eleni Karaindrou has been associated with Theodoros Angelopoulos since 1982.
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Eleni Karaindrou was born in the mountain village of Teichio in central Greece and grew up in Athens, where she studied piano and theory at the Hellenikon Odion. From 1969-74 she studied ethnomusicology in Paris and, on returning to Greece, founded the Laboratory for Traditional Instruments at the ORA Cultural Centre. She has since been an active campaigner on behalf of Greece's musical resources. Karaindrou has a long history of writing for film and theatre; to date, some 18 feature films, 13 plays and 10 television series have featured her music. Although most of her work has been with Greek directors, she has also collaborated with Chris Marker, Jules Dassin and Margarethe von Trotta. Eleni Karaindrou has been associated with Theodoros Angelopoulos since 1982.

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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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Bogna Bartosz

The Polish mezzo-soprano and contralto, Bogna Bartosz, after leaving school, first studied singing at the Academy of Music in Gdansk (and/or Danzig Music Academy). After graduating with distinction, she continued her studies at the Hochschule der Künste Berlin (Berlin Academy of Arts) under Professor Ingrid Figur, and took part in master-classes with Aribert Reimann, Adele Stolte and Anna Reynolds. At the 9th International J.S. Bach Competition in Leipzig in 1992, Bogna Bartosz won first prize, as well as the special prize awarded by the MDR broadcasting organization in Leipzig. Since then Bogna Bartosz has sung with well-known orchestras (including Berliner Barock Orchester, Akademie für Alte Musik Berlin, Musica Antiqua Köln, Kammersolisten der Deutschen Oper Berlin, Radio-Symphonie-Orchester-Berlin, Gewandhaus- orchester Leipzig, MDR Sinfonieorchester Leipzig, Dresdner Philharmoniker and Württembergisches Kammerorchester, Amsterdam Baroque Orchestra, Israel Chamber Orchestra Tel Aviv, Japan Philharmonic Symphony Orchestra, Minnesota Orchestra)...
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The Polish mezzo-soprano and contralto, Bogna Bartosz, after leaving school, first studied singing at the Academy of Music in Gdansk (and/or Danzig Music Academy). After graduating with distinction, she continued her studies at the Hochschule der Künste Berlin (Berlin Academy of Arts) under Professor Ingrid Figur, and took part in master-classes with Aribert Reimann, Adele Stolte and Anna Reynolds. At the 9th International J.S. Bach Competition in Leipzig in 1992, Bogna Bartosz won first prize, as well as the special prize awarded by the MDR broadcasting organization in Leipzig.
Since then Bogna Bartosz has sung with well-known orchestras (including Berliner Barock Orchester, Akademie für Alte Musik Berlin, Musica Antiqua Köln, Kammersolisten der Deutschen Oper Berlin, Radio-Symphonie-Orchester-Berlin, Gewandhaus- orchester Leipzig, MDR Sinfonieorchester Leipzig, Dresdner Philharmoniker and Württembergisches Kammerorchester, Amsterdam Baroque Orchestra, Israel Chamber Orchestra Tel Aviv, Japan Philharmonic Symphony Orchestra, Minnesota Orchestra) and leading conductors (including Horia Andrescu, Moche Atzmon, Marcus Creed, Philippe Entremont, Jörg Faerber, Enoch zu Guttenberg, Philippe Herreweghe, Marek Janowski, Ton Koopman, Krzysztof Penderecki, Helmuth Rilling, Jeffrey Tate, Marcello Viotti, Lothar Zagrosek, Udo Zimmermann), in all the major concert halls in Germany (such as Berliner Philharmonie, Berliner Konzerthaus, Leipziger Gewandhaus, Alte Oper Frankfurt, Kölner Philharmonie, Tonhalle Düsseldorf, Glocke Bremen, Hamburger Musikhalle, Liederhalle Stuttgart), as well as in Europe, the USA and Israel, and at numerous major festivals.

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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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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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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

Buxtehude's contemplative, sophisticated enslemble music, beautifully rendered by Koopman and his players, gives equal prominence to vocal and instrumental parts, and the two are expertly balanced.
Early Music Today, 01-3-2012

Ton Koopman's survey of the entire works of Buxtehude seems to be getting more enjoyable and exciting with each release.  If you want to sample historically significant and beautiful music from the under-performed Buxtehude, this is a greatplace to start. 
Music Web International, 01-2-2012

The Amsterdam Baroque Orchestra's playing, in particular the shapely violin ritornelli, is delightful.
Grammophone

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