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Buxtehude: Opera Omnia V - Vocal Works Vol 2 / Ton Koopman

Buxtehude / Koopman
Release Date: 11/13/2007 
Label:  Challenge   Catalog #: 72244   Spars Code: n/a 
Composer:  Dietrich Buxtehude
Performer:  Johannette ZomerKlaus MertensJonathan MansonAndreas Karasiak,   ... 
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque OrchestraAmsterdam Baroque Choir
Number of Discs: 2 
Recorded in: Stereo 
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Notes and Editorial Reviews



BUXTEHUDE Benedicam Dominum, BuxWV 113. Befiehl dem Engel, BuxWV 10. In dulci Jubilo, BuxWV 52. Jubilate Domino, BuxWV 64. Ich suchte des Nachts, BuxWV 50. Du Frieden-Fürst, BuxWV 20. Wie wird erneuet, BuxWV 110. Ihr lieben Christen, Read more BuxWV 51. Afferte Domino, BuxWV 2. O fröhliche Stunden, BuxWV 120. 3 schöne Dinge sind, BuxWV 19. Missa brevis, BuxWV 114. Liebster meine Seele saget, BuxWV 70. Cantate Domino, BuxWV 12. Nu låt oss Gud, BuxWV 81. Herren var Gud, BuxWV 40. Heut triumphieret Gottes Sohn, BuxWV 43. Magnificat, BuxWV Anh. 1. Divertissons, BuxWV 124. Canon, BuxWV 123 Ton Koopman, cond; Amsterdam Baroque O & Ch CHALLENGE 72244 (2 CDs: 151:12 Text and Translation)


This collection of 14 cantatas and several miscellaneous works is an interesting mix of six first recordings and others more familiar. Benedicam Dominum would also count as a first recording if it had not been done at the same time by two other ensembles (31:3). The new additions to the discography are Afferte Domino, Du Frieden-Fürst, Herren var Gud, Liebster meine Seele saget, Nu låt oss Gud , and O fröhliche Stunden . This last title is not to be confused with BuxWV 84, recorded on five other discs including the Alpha disc reviewed elsewhere. This is just one reason to include Georg Karstädt’s 1972 thematic catalog numbers for identification, as useful as Schmieder’s for Bach, Werner Bittinger’s for Schütz, or others equally familiar. This package counts as the second volume of vocal works, following Das jüngste Gericht (30:6), in this label’s complete works for the Buxtehude tercentennial. In BuxWV 40 and 81 we have the first recordings known to me of Buxtehude’s Swedish-texted cantatas.


Karstädt counts only his first 112 numbers as cantatas, a term Buxtehude never used, but even those works embrace a number of forms, so there is little point in belaboring the terminology that applies to sacred vocal music for soloists or choir. The pompous Benedicam Dominum leads off this program as it did the previous issue, a work that Karstädt calls a liturgical motet and Christoph Wolff calls a psalm concerto in the notes. With six choirs and a trumpet-and-drum contingent, the lack of a recording of this work until now has been a deprivation. The two performances are very similar and the sound is captured effectively. I thought the surround sound (from normal CDs) was more effective in Roland Wilson’s recording, but the difference between the two well-engineered discs is slight. Wilson’s choir, however, is more powerful than the somewhat anemic sound of Koopman’s group, and the work comes across better.


Ihr lieben Christen leads off the second disc here, while it provided the climax to Wilson’s program. Like the previous work, this calls for five soloists but it is a complex cantata that organizes the performing forces into one vocal and three instrumental choirs. Wilson’s forces again give a more powerful performance, but the approach of both directors is similar in general. This is one of six works that Koopman has repeated from his Erato boxed set (11: 4), the largest effort up to that time to record Buxtehude’s vocal works. Wie wird erneuet is also the third duplication of Wilson’s recent disc. Karstädt classes it as a cantata, but in the notes Wolff calls it a strophic aria. This time the two performances are nearly equal. In dulci jubilo , which Wolff calls a chorale concerto, has ranked among the most-recorded of all these works, and is duplicated from Koopman’s earlier set.


Jubilate Domino , another psalm concerto according to Wolff, is one of the most popular of all Buxtehude’s works and one of the most recorded cantatas. I have two versions by Alfred Deller and two by René Jacobs, but such sterling countertenors as Russell Oberlin, Paul Esswood, and Henri Ledroit have also recorded it. The present set has Daniel Taylor, whose light voice renders the notes very accurately, but he is no match for Jacobs in Koopman’s earlier set. Befiehl dem Engel , which Wolff calls a chorale concerto, has also been recorded ever since the shellac era, most recently under Konrad Junghänel (21:3), a lovely performance equaled by this one. Drei schöne Dinge sind , a true cantata with two soloists, has been recorded only by Greta De Reyghere and Max van Egmond (16:1). Here Bettina Pahn is joined by Klaus Mertens, the only familiar name among Koopman’s soloists, and they manage to produce a creditable performance that approaches the heights of the earlier, more secure one. Ich suchte des Nachts , another true cantata, is on Junghänel’s disc as well as another De Reyghere disc (11:4), both superb performances that are nicely matched here.


This set includes Missa brevis , BuxWV 114, and Magnificat, BuxWV Anh.1. The latter is usually stigmatized as “dubious,” but in fact the two works have equal claims. They are both found in the Düben collection, attributed to Buxtehude, but the lack of any function that would have moved Buxtehude to compose these liturgical settings casts a shadow over them. Yet the Missa brevis escapes the stigma because Karstädt put it in the main list. Oddly, for a work much recorded on shellac and vinyl, there have been only two CDs of the Mass, a mono archival recording from the Kreuzchor and a very early stereo version on Urania. The stigmatized Magnificat was recorded five times on LP, including that Urania disc, and twice on recent CDs, one of them reviewed herewith. They are represented here very capably.


The six first recordings include two set to Swedish texts, probably for Gustav Düben, in a form that Wolff calls chorale concertos. He applies the same term to Du Frieden-Fürst , another first recording, and to Heut triumphieret Gottes Sohn , beautifully recorded already under René Jacobs (14: 5). As for that confusing title, O fröhliche Stunden , BuxWV 120, is a wedding aria that has no text in common with BuxWV 84 beyond the first three words. Afferte Domino is a psalm concerto in Wolff’s notes, though the text is compiled from several psalms. Liebster meine Seele saget hardly belongs in the list of cantatas, for its form is a ciaconne, or variations on a bass.


Koopman has given us the beginning of the first complete set of Buxtehude’s vocal works. While they do not erase memories of the best performances of the past, they are more than fine enough to serve the need, and more first recordings will make the next installment worth waiting for.


FANFARE: J. F. Weber
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Works on This Recording

1.
Benedicam Dominum in omni tempore, BuxWV 113 by Dietrich Buxtehude
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Written: Germany 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 12 Minutes 11 Secs. 
2.
Befiehl dem Engel, dass er komm, BuxWV 10 by Dietrich Buxtehude
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Written: Germany 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 6 Minutes 7 Secs. 
3.
In dulci jubilo, BuxWV 52 by Dietrich Buxtehude
Performer:  Johannette Zomer (), Klaus Mertens ()
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Written: Germany 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 6 Minutes 48 Secs. 
4.
Jubilate Domino, omnis terra, BuxWV 64 by Dietrich Buxtehude
Performer:  Jonathan Manson ()
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Written: ?1672; Lübeck, Germany 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 8 Minutes 16 Secs. 
5.
Ich suchte des Nachts, BuxWV 50 by Dietrich Buxtehude
Performer:  Andreas Karasiak (), Klaus Mertens ()
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Written: Germany 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 14 Minutes 21 Secs. 
6.
Du Friedefürst, Herr Jesu Christ, BuxWV 21 by Dietrich Buxtehude
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 6 Minutes 14 Secs. 
7.
Divertissons nous aujourd'hui, canon in 3 parts, BuxWV 124 by Dietrich Buxtehude
Performer:  Andreas Karasiak (), Klaus Mertens ()
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Written: 05/12/1670 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 1 Minutes 25 Secs. 
8.
Magnificat anima mea, BuxWV Anh 1 by Dietrich Buxtehude
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Written: Germany 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 7 Minutes 24 Secs. 
9.
Wie wird erneuet, wie wird erfreuet, BuxWV 110 by Dietrich Buxtehude
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Written: Germany 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 11 Minutes 47 Secs. 
10.
Ihr lieben Christen, freut euch nun, BuxWV 51 by Dietrich Buxtehude
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Written: Germany 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 10 Minutes 26 Secs. 
11.
Afferte Domino gloriam honorem, for SSB voices & continuo, BuxWV 2 by Dietrich Buxtehude
Performer:  Johannette Zomer (), Bettina Pahn (), Klaus Mertens ()
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 5 Minutes 2 Secs. 
12.
O fröhliche Stunden, o herrlicher Tag, aria for voice, violin, 2 oboes & continuo, BuxWV 120 by Dietrich Buxtehude
Performer:  Margaret Faultless (Violin), Johannette Zomer ()
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Written: by 1708 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 4 Minutes 58 Secs. 
13.
Drei schöne Dinge sind, BuxWV 19 by Dietrich Buxtehude
Performer:  Bettina Pahn (), Klaus Mertens ()
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Written: Germany 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 10 Minutes 5 Secs. 
14.
Missa all brevis, for SSATB voices & continuo, BuxWV 114 (possibly spurious) by Dietrich Buxtehude
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 7 Minutes 54 Secs. 
15.
Liebster, meine Seele saget, BuxWV 70 by Dietrich Buxtehude
Performer:  Johannette Zomer (), Bettina Pahn ()
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Written: Germany 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 4 Minutes 2 Secs. 
16.
Canon duplex per augmentationem, canon for 4 instruments, BuxWV 123 by Dietrich Buxtehude
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Written: 06/25/1674 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 1 Minutes 22 Secs. 
17.
Cantate Domino canticum novum, BuxWV 12 by Dietrich Buxtehude
Performer:  Johannette Zomer (), Bettina Pahn (), Klaus Mertens ()
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Written: Germany 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 7 Minutes 35 Secs. 
18.
Nun lasst uns Gott dem Herren, for SATB voices, 2 violins & continuo, BuxWV 81 by Dietrich Buxtehude
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 5 Minutes 31 Secs. 
19.
Herren vår Gud, for SATB voices, 2 violins, violone & continuo, BuxWV 40 by Dietrich Buxtehude
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Written: 1687 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 4 Minutes 42 Secs. 
20.
Heut triumphieret Gottes Sohn, BuxWV 43 by Dietrich Buxtehude
Conductor:  Ton Koopman
Orchestra/Ensemble:  Amsterdam Baroque Orchestra,  Amsterdam Baroque Choir
Period: Baroque 
Written: Germany 
Date of Recording: 03/2006/12/2006 
Venue:  Waalse Kerk, Amsterdam, The Netherlands 
Length: 14 Minutes 48 Secs. 

Customer Reviews

Average Customer Review:  1 Customer Review )
 Remarkable Project January 19, 2013 By Clifford H C. (Thompson, MB) See All My Reviews "Buxtehude - Opera Omnia - Vocal Works - Ton Koopman - Amsterdam Baroque Orchestra & Choir - This is a monumental project by Ton Koopman and his performers. Recording all of Dietrich Buxtehude extant works. The performances are very accomplished and live up to Koopmans very high standards. Buxtehude’s music runs the gamut from extreme joy to remarkable sorrow. Buxtehude’s music is always inventive and it is wonderful to hear it brought back to life. You can see why a young Sebastian Bach would travel so far to hear his music." Report Abuse
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