Ton Koopman & Members of Amsterdam Baroque Orchestra

Opera Omnia XIII - Chamber music vol. 2

Format: CD
Label: Challenge Classics
UPC: 0608917225228
Catnr: CC 72252
Release date: 04 March 2011
1 CD
 
Label
Challenge Classics
UPC
0608917225228
Catalogue number
CC 72252
Release date
04 March 2011
Album
Artist(s)
Composer(s)
EN
NL

About the album

In the last decade of the 17th century, Dieterich Buxtehude published within a period of two years a group of fourteen instrumental chamber sonatas in two sets of seven each. Thereby, he contributed in a major way to a new and fashionable repertoire of trio sonatas that had originated in Italy after the middle of the century. Giovanni Legrenzi (1626-1690), the Venetian composer, had played the main influence in spreading a new type of instrumental music north of the Alps. His works published in the 1660s and 70s were well known in the Hanseatic cities around the Baltic Sea. Lübeck, one of the principal music centers in Northern Europe, was no exception in this respect. Buxtehude, who served as organist of the St. Mary’s Church in Lübeck from 1668 until his death in 1707, picked up and integrated the modern Italian style early in the instrumental introductions to his sacred concertos and cantatas, but turned to instrumental chamber music only late in his life.

Every single sonata presents different solutions in regard to section sequences; no two pieces show the same pattern. In general, the fast sections prefer more or less elaborate polyphonic and fugal designs whereas the slow sections emphasize harmonic and expressive features. Sections are sometimes connected without interruption, sometimes separated by fermatas or double bars. Towards the end of some phrases the violin makes use of double stops, in line with the overall virtuosic design of the sonatas. The compositional ideas pursued by the composer are based on the concept of the so-called “stylus fantasticus,” a manner favored in keyboard and soloist instrumental ensemble music of the late 17th-century in North Germany. According to the 18th-century Hamburg writer Johann Mattheson, “this style is the most free and unrestrained manner of composing, singing, and playing that one can imagine, for one hits first on this idea and then upon that one, since one is bound neither to words nor to melody, only to harmony, so that the singer and player can display his skill.”
Ton Koopman 'verleidt' met de wonderschone kamermuziek Trio sonatas opus 1 van Buxtehude
Opera Omnia deel XIII is het 2e deel in de serie met kamermuziek van Dieterich (Dietrich, Diderich) Buxtehude, uitgevoerd door Ton Koopman en leden van zijn Amsterdam Baroque Orchestra. De kamermuziek van Buxtehude vormt een klasse apart. Zijn composities voor één of twee violen, viola da gamba en basso continuo zijn van een grote schoonheid. Dat viel eind 17e eeuw al op, want de bundels Trio sonatas opus 1 en 2, met elk 7 sonates, verschenen in 1690 al in druk. Met zijn trio sonatas droeg Buxtehude in belangrijke mate bij aan een nieuw en modieus repertoire, dat van origine uit Italië kwam. "Koopman verleidt zijn luisteraars tot actieve medeplichtigheid. Knap werk!" Marijke Schouten, Luister, april/mei 2011.

Buxtehude was een Deens-Duitse organist en een door velen bewonderde componist uit de barokperiode. Hij componeerde vocale en instrumentale 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.

Artist(s)

Ton Koopman was born in Zwolle in 1944. After a classical education he studied organ, harpsichord and musicology in Amsterdam and was awarded the Prix d'Excellence for both instruments. Almost from the beginning of his musical studies he was fascinated with authentic instruments and a performance style based on sound scholarship.

Even before completing his studies he laid the foundations for a career as a conductor of seventeenth- and eighteenth-century music and this fascination with the Baroque era led him in 1969, at age 25, to establish his first Baroque orchestra and, in 1979, to found The Amsterdam Baroque Orchestra followed in 1993 by the Amsterdam Baroque Choir.

Koopman's extensive and impressive activities as a soloist, accompanist and conductor have been recorded on a large number of LP's and CD's for labels like Erato, Teldec, Sony, Philips and DGG. Recently Ton Koopman has created his own record label: 'Antoine Marchand', with which he will publish his future recordings.

Over the course of a forty-year career Ton Koopman has appeared at the most important concert halls and festivals of the five continents. 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 & Choir 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, Madrid, Rome, Salzburg, Tokyo and Osaka. Over the past ten years Ton Koopman has been engaged in 'the recording project of the '90's' (so described by 'The Guardian' in London). Between 1994 and 2004 he has conducted and recorded all the existing cantatas by Johann Sebastian Bach, a massive work for which he has been awarded with the Deutsche Schallplattenpreis "Echo Klassik 1997", the Prix Hector Berlioz, and been nominated for both the Grammy Award (USA) and the Gramophone Award (UK). In March 2000 he received an Honorary Degree from the Utrecht University for his scholarly work on the Bach Cantatas and Passions and in February 2004 he was awarded both the prestigious Silver Phonograph by the Dutch recording industry and the VSCD Classical Music Award 2004 by the Directors of Theatres and Concert Halls of Holland. Ton Koopman is also very active as a guest conductor and he has worked with many prominent orchestras in Europe, the USA and Japan including the Amsterdam Concertgebouw, the Boston Symphony, the Vienna Symphony, the Deutsches Symphonie Orchester Berlin, the Rotterdam Philharmonic, the Danish Radio Orchestra and many others. He has been for eight years principal conductor of the Radio Chamber Orchestra in Holland and he is principal guest conductor of the Lausanne Chamber Orchestra. In the coming season he will be working with the Chicago Symphony, the Tonhalle Orchestra Zurich, the Orchestre Philharmonique de Radio France, the Helsinki Radio Orchestra, the Deutsche Kammerphilharmonie, the Frankfurt Radio Orchestra, the Symphonieorchester des Bayerischen Rundfunks, and the Vienna Symphony Orchestra.

Ton Koopman publishes regularly and for a number of years he has been engaged in editing the complete Handel Organ Concerti for Breitkopf & Härtel. Pedagogy has been an important factor in Ton Koopman's life for many years and to that end he is professor of harpsichord at the Royal Conservatory in The Hague and is an Honorary Member of the Royal Academy of Music in London.

Composer(s)

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