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Opera Omnia V, Vocal Works II

Ton Koopman / The Amsterdam Baroque Orchestra & Choir

Opera Omnia V, Vocal Works II

Format: CD
Label: Challenge Classics
UPC: 0608917224429
Catnr: CC 72244
Release date: 04 June 2007
2 CD
 
Label
Challenge Classics
UPC
0608917224429
Catalogue number
CC 72244
Release date
04 June 2007
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

Buxtehude the organist expanded his activities as a vocal composer in an unprecedented way.

He left a particular mark as a composer of large-scale oratorios (Abendmusiken). His oratorios have not survived, but the many other vocal compositions that have come down to us represent a substantial body of works. These include in particular larger and shorter chorale settings of various kinds, sacred concertos (i.e., motets with differentiated instrumental accompaniment), arias, and multi-movement structures consisting of concertos, arias, and chorales that were later referred to as cantatas. This album presents a mixed selection of primarily shorter works in the various genres mentioned above plus some other special pieces.

Dieterich Buxtehude (Dietrich, Diderich) was a German-Danish organist and a highly regarded composer of the baroque period. His organ works comprise a central part of the standard organ repertoire and are frequently performed at recitals and church services. He wrote in a wide variety of vocal and instrumental idioms, and his style strongly influenced many composers, including Johann Sebastian Bach. Organist at the Marienkirche in Lübeck for most of his life, Buxtehude is considered today to be the leading German composer in the time between Schütz and Bach.
Sterke en stilistisch uiterst bedreven vertolkingen van vocaal werk van Buxtehude
Deel V van de Opera Omnia bevat schitterende vocale werken van Dieterich (Dietrich, Diderich) Buxtehude, uitgevoerd door Ton Koopman met het Amsterdam Baroque Orchestra & Choir. In dit 2e vocale deel in de serie Opera Omnia zorgt de internationale bezetting van het ensemble voor hoogstaande solisten-interpretaties en prachtig spel.

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.

Op Hifi.nl verscheen in de tijd van de release van dit dubbelalbum deze recensie:
Twee albums met respectievelijk 9 en 11 korte cantates, vormen deel 2 van de vocale werken uit het grote Buxtehude-project dat Ton Koopman na de voltooiing van zijn complete Bach-cantatesm heeft verwezenlijkt. Vanzelfsprekend met de vertrouwde medewerking van The Amsterdam Baroque Orchestra & Choir en een fine fleur van uitmuntende zangsolisten die geheel vertrouwd zijn met de barokpraktijk.

Wat ongetwijfeld in deze korte cantates van de grote Noord-Duitse voorloper van JS Bach, Dieterich Buxtehude (1637-1707) opvalt, is de vlotte, goeddeels onbekommerde muzikaliteit van deze stukken. Anders dan later in de cantates van Bach, houdt Buxtehude zich verre van min of meer wijdlopige bespiegelingen in zijn aria’s, koren en koralen. Bach doet dat op zijn wijze grandioos, met wijdvertakte contrapuntische stemvoeringen, maar Buxtehude houdt het allemaal korter, meer tekstgebonden en compacter. In dit opzicht doet zijn muziek hier en daar soms meer aan Handel denken dan Bach. Hoe dan ook, Buxtehude was in zijn dagen beslist geen “ouderwets” componerende toondichter, zoals trouwens ook uit de eerder in deze serie verschenen klavecimbelmuziek en andere vocale werken blijkt.

Buxtehudes faam als componist, de Lübeckse organist en pedagoog, was in geheel Duitsland doorgedrongen en de jonge Bach zag er niet tegenop, een ruim 400 km verre voetreis uit Thüringen naar Lübeck te ondernemen om die grote meester te beluisteren en als leraar te mogen ervaren. Het klinkend resultaat is bekend: zonder Buxtehude zou Bach wellicht niet die monumentale, geniale output hebben kunnen creëren die we nu algemeen kennen en bewonderen.

Wat deze set betreft: Koopman en de zijnen zorgen voor prachtige, sterke en stilistisch uiterst bedreven vertolkingen, waaraan de prominente solisten, The Amsterdam Baroque Orchestra & Choir onder Koopmans bezielende leiding bijdragen.



Die Fortsetzung der Buxtehude Gesamtausgabe mit Vokalwerken, enthält klein und groß besetzte Kantaten des Lübecker Meisters, die von Ton Koopman und seinem Ensemble im hohen Chorton und mit großer Eindringlichkeit musiziert werden.

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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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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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
Disc #1
01.
'Benedicam Dominum, BuxWV113'
12:11
(Dieterich Buxtehude) Bettina Pahn, Johannette Zomer, Bogna Bartosz, Jörg Dürmüller, Donald Bentvelsen, Ton Koopman, The Amsterdam Baroque Orchestra & Choir
02.
'Befiehl dem Engel, daß er komm, BuxWV 10'
06:07
(Dieterich Buxtehude) Johannette Zomer, Patrick van Goethem, Andreas Karasiak, Klaus Mertens, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
03.
'In dulci jubiol, BuxWV 52'
06:48
(Dieterich Buxtehude) Johannette Zomer, Patrick van Goethem, Klaus Mertens, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
04.
'Jubilate Domino omnis terra, BuxWV64'
08:16
(Dieterich Buxtehude) Daniel Taylor, Jonathan Manson, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
05.
'Ich suchte des Nachts in meinem Bette, BuxWv 50'
14:21
(Dieterich Buxtehude) Andreas Karasiak, Klaus Mertens, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
06.
'Du Frieden-Fürst, Herr Jesu Christ, BuxWV20'
06:14
(Dieterich Buxtehude) Bettina Pahn, Johannette Zomer, Patrick van Goethem, Andreas Karasiak, Klaus Mertens, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
07.
'Divertissons nous aujourd'hui, BuxWV 124'
01:25
(Dieterich Buxtehude) Patrick van Goethem, Andreas Karasiak, Klaus Mertens, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
08.
'Magnificat anima mea, Domine BuxWV, Anh. 1'
07:24
(Dieterich Buxtehude) Johannette Zomer, Bogna Bartosz, Jörg Dürmüller, Klaus Mertens, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
09.
'Wie wird erneuet, wie wird erfreuet, BuxWV 110'
11:47
(Dieterich Buxtehude) Bettina Pahn, Johannette Zomer, Bogna Bartosz, Donald Bentvelsen, The Amsterdam Baroque Orchestra & Choir, Ton Koopman

Disc #2
01.
'Ihr lieben Christen, freut euch nun, BuxWV 51'
10:26
(Dieterich Buxtehude) Bettina Pahn, Johannette Zomer, Bogna Bartosz, Jörg Dürmüller, Donald Bentvelsen, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
02.
'Afferte Domino gloriam honorem, BuxWV 2'
05:02
(Dieterich Buxtehude) Bettina Pahn, Johannette Zomer, Klaus Mertens, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
03.
'O frrohliche Stunden, o herrlicher Tag, BuxWV120'
04:58
(Dieterich Buxtehude) Johannette Zomer, Margaret Faultless, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
04.
'Drei schöne Dinge sind, BuxWV 19'
10:05
(Dieterich Buxtehude) Bettina Pahn, Klaus Mertens, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
05.
'Missa brevis, BuxWV 114'
07:54
(Dieterich Buxtehude) Bettina Pahn, Johannette Zomer, Patrick van Goethem, Andreas Karasiak, Klaus Mertens, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
06.
'Liebster, meine Seele saget, BuxWV 70'
04:02
(Dieterich Buxtehude) Bettina Pahn, Johannette Zomer, Bogna Bartosz, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
07.
'Canon duplex per augmentationem, BuxWV 123'
01:22
(Dieterich Buxtehude) The Amsterdam Baroque Orchestra & Choir, Ton Koopman
08.
'Cantate Domino canticum novum, BuxWV 12'
07:35
(Dieterich Buxtehude) Bettina Pahn, Johannette Zomer, Klaus Mertens, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
09.
'Nu lat oss Gud, vor Herre, BuxWV 81'
05:31
(Dieterich Buxtehude) Johannette Zomer, Patrick van Goethem, Andreas Karasiak, Klaus Mertens, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
10.
'Herren var Bud, BuxWV 40'
04:42
(Dieterich Buxtehude) Johannette Zomer, Patrick van Goethem, Andreas Karasiak, Klaus Mertens, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
11.
'Heut triumphieret Gottes Sohn, BuxWV 43'
14:48
(Dieterich Buxtehude) Bettina Pahn, Johannette Zomer, Bogna Bartosz, Jörg Dürmüller, Donald Bentvelsen, The Amsterdam Baroque Orchestra & Choir, Ton Koopman
show all tracks

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