BUXTEHUDE Praeludia: in f♯, BuxWV 146; in G, BuxWV 162; in E, BuxWV 178; in E, BuxWV 141; in D, BuxWV 139. In dulci jubilo. Ach Herr, mich armen Sünder. Nun lob mein seele’ den Herren. Chiacona in e, BuxWV 160. Nun freut euch lieben Christen g’mein. Von Gott will ich nicht lassen. Canzonetta in e, BuxWV169. Toccata in F, BuxWV 156 • Ton Koopman (org) • CHALLENGE 72242 (63:38)

Dietrich Buxtehude was in many ways more of an envelope pusher than his venerated protégé Bach who assimilated his music, brought more structural clarity to it, and subjected it to far more contrapuntal rigor than the elder North German master was able to provide. I’ve often thought of Buxtehude as Bach in the raw. He is more fanciful and improvistory even at his most quietly reflective moments—most akin to Sweelinck. I’ve often thought it odd that the great North German organ tradition actually originated in Amsterdam, but that is the stuff of an essay far beyond the scope of this review.

Throughout the course of his career Ton Koopman has been a confident and incisive musician who believes that if the tempo is correct, note values are adhered to, the natural ebb and flow of musical phrases (their breathing) is projected, and contrapuntal lines are clearly and evenly articulated, the music will automatically fall into place and communicate on all levels. He is, as this release once again demonstrates, clearly on the mark. Add to this his energy, enthusiasm (love, if you will), and you will find that here Buxtehude comes alive, transcending his moment on our musicological space-time continuum, and informing ours. Koopman is a musical scholar, but his performances are never merely scholarly. They bring more to mind the pioneering work of the ill-fated David Monrow than of his many followers.

In predictable fashion, Koopman performs on an ancient instrument—the Coci/Klapmeyer organ (1498/1728), St. Nicolai Kirche, Altenbruch, Germany. Its history and full organ specs are provided. Also in predictable fashion, Challenge Classics is Koopman’s own label.

The sound on this release is fine, successfully capturing this venerable instrument in all its glory. The most formidable competition to this offering comes from Nicholas Danby performing on the similarly ancient organ of St. Laurents, Alkmaar, Holland (Virgin Classics, 91139). To sum up the differences between the two: Danby views this music from a post-Bach perspective, Koopman from a pre-Bach angle.

FANFARE: William Zagorski