Ton Koopman & Amsterdam Baroque Orchestra & Choir

Opera Omnia XI - Vocal Works 4

Price: € 14.95
Format: CD
Label: Challenge Classics
UPC: 0608917225020
Catnr: CC 72250
Release date: 30 October 2009
2 CD
✓ in stock
€ 14.95
Challenge Classics
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

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.


Ton Koopman (1944) studied organ (Simon C. Jansen), harpsichord (Gustav Leonhardt) and musicology in Amsterdam and was awarded the Prix d’Excellence for both instruments. As an organist he has performed on the most prestigious historical instruments of Europe, and as a harpsichord player and conductor of his Amsterdam Baroque Orchestra (founded 1979) & Choir (1993) he has been a regular guest at venues which include the Concertgebouw in Amsterdam, the Theatre des Champs-Elysées in Paris, the Philharmonie in Munich, the Alte Oper in Frankfurt, the Lincoln Center in New York, and leading concert halls in Vienna, London, Berlin, Brussels, Sydney, Melbourne, Madrid, Rome, Salzburg, Tokyo and Osaka.Ton Koopman edited the complete Handel Organ Concertos for Breitkopf & Härtel and will edit a number of Buxtehude works for Carus Verlag. He is president of the International Dieterich Buxtehude Society.He recorded a.o. for Erato, Teldec, Sony, Philips and DGG. In 2003 he created Antoine Marchand, his own sub-label of Challenge Records. Here he publishes the Complete Bach Cantatas, as well as his other recent and future recordings, including this Complete Buxtehude project.



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

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