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
1 CD
✓ in stock
€ 12.95
Challenge Classics
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

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.


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.



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.

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