Ton Koopman / Members of Amsterdam Baroque Orchestra

Opera Omnia XV - Chamber music vol. 3

Format: CD
Label: Challenge Classics
UPC: 0608917225426
Catnr: CC 72254
Release date: 27 February 2012
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1 CD
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Challenge Classics
Catalogue number
CC 72254
Release date
27 February 2012

"With such a team as Catherine Manson (violin), Paolo Pandolfo (viola da gamba), Mike Fentross (lute) and Ton Koopman on harpsichord and organ one cannot expect anything but playing that is exciting yet expressive, where the music immediately comes alive."

Early Music Review, 01-8-2012

About the album

The first Buxtehude Opera Omnia recording is steadily approaching completion. The harpsichord and organworks are finished and this is the final volume of the chamber music. All that remains are a number of vocal challenges! Buxtehude’s trio sonatas form a unique repertoire. Due to their formidable technical and musical demands, they have rarely been recorded. Stylus phantasticus, an unprecedented inventiveness, superb lines, improvisation, the list goes on... Buxtehude once again proves himself to be a great master. Although there are occasional touches of Corelli to be heard, the music is above all quintessentially Buxtehudian. It was a phenomenal experience to record these sonatas.

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 favoured 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
Plezierige vertolking van de fantasierijke kamermuziek Trio sonatas opus 2 van Buxtehude
Opera Omnia deel XV is het 3e 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. "With such a team as Catherine Manson (violin), Paolo Pandolfo (viola da gamba), Mike Fentross (lute) and Ton Koopman on harpsichord and organ one cannot expect anything but playing that is exciting yet expressive, where the music immediately comes alive." Early Music Review, augustus 2012.

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.
Buxtehudes Kammermusik mit Ton Koopman ist nun komplett

Die erste Gesamtaufnahme der Werke Buxtehudes nähert sich unaufhaltsam der Vollendung. Die Orgel- und Cembalowerke sind inzwischen abgeschlossen, und mit vorliegender CD ist nun auch die Kammermusik komplett. Übrig bleiben noch ein paar vokale Herausforderungen! Buxtehudes Triosonaten sind etwas ganz Besonderes. Die technischen und musikalischen Anforderungen sind außerordentlich, weswegen sie auch so selten aufgenommen werden. In den Werken findet man den Stylus Phantasticus, einen unvergleichlichen Einfallsreichtum, wunderbare Linien, Improvisationen und mehr... Buxtehude zeigte sich hier als ein wahrer Meister. Obwohl man gelegentlich an Corelli erinnert wird, hört man im allgemeinen reinen Buxtehude.


Koopman is currently working on his next major project – performing and recording the complete surviving works of Dieterich Buxtehude, who served as an important model for the young Johann Sebastian Bach. He also chairs the Inter- national D. Buxtehude Society. Ton Koopman publishes regularly and for a number of years he has been engaged in editing the complete Handel Organ Concertos for Breitkopf & Härtel. Recently he has published Handel’s Messiah and Buxtehude‘s Das Jüngste Gericht for Carus Verlag. Ton Koopman leads the class of harpsichord at the Royal Conservatory in The Hague, is Professor at the University of Leiden and is a Honorary Member of the Royal Academy of Music in London. Ton Koopman is artistic director of the French Festival “Itinéraire Baroque”.



With such a team as Catherine Manson (violin), Paolo Pandolfo (viola da gamba), Mike Fentross (lute) and Ton Koopman on harpsichord and organ one cannot expect anything but playing that is exciting yet expressive, where the music immediately comes alive.
Early Music Review, 01-8-2012

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