Opera Omnia XVIII - Vocal works vol. 8
Dieterich Buxtehude
Ton Koopman

Opera Omnia XVIII - Vocal works vol. 8

CD | Challenge Classics | 0608917225723 | CC 72257 | 11-13

€ 26.95 Add to cart
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

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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

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
01-09-2014 CC 72257 - Opera Omnia XVIII - Ton Koopman & Amsterdam Baroque Orchestra - BBC Music Magazine
01-08-2014 CC72257 - Opera Omnia XVIII - Ton Koopman & Amsterdam Baroque Orchestra - Choir & Organ
01-05-2014 CC72257 - Opera Omnia XVIII - Ton Koopman & Amsterdam Baroque Orchestra - Gramophone
02-02-2014 CC 72257 - Opera Omnia XVIII - Vocal works vol. 8 - Ton Koopman - Opus Klassiek

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July 2nd 2014 15:52
Challenge Records:
Dear mr Manteca, I saw your message at the other product page. You are right, we are definitely not going to left this project incomplete. The next release is planned for this fall!
July 2nd 2014 15:45
Victor Manteca:
So this project is to be left incomplete? Why? I think there's still unrecorded material for at least a pair of volumes. I'd like to know an explanation of the reasons to get to this point and then leave us without it, when we were so near the end.
March 10th 2014 19:59
In the list of organ works I cannot find BuxWV 195 "Ich dank dir schon" (choral) Mr Koopman mentioned that two harpsichord pieces (BuxWV A7 and A8) were not recorded; why not? From the list of the cantatas of BuxWV 1-112, about 25 pieces are missing; why? Finally, a few miscellaneous pieces (BuxWV 115, 117, 118 and 133) are not recorded; why not? I think it would have been a a good idea to mention the reasons in the explication of the works. Now one may have the idea that the series is rather to be named "Opera quasi omnia"!