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Ton Koopman & ABO
Dieterich Buxtehude Opera Omnia Volume XV
Chamber Music 3


€15.00


  

1CD | CC 72254 | 0608917225426




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.”




Quotes
  • ''A music whose elegance, stable and positive force baffled. Amazing!'' Stefan Siegert Der Freitag October 2010
  • " Key juxtapositions and tempo changes between tracks make perfect sense and the playing, recording and documentation are first rate. Koopman has done Buxtehude proud'. - Malcolm Riley – Editor's Choice in Gramophone (september 2009) for Opera Omnia X- Organ Works, Vol.5 (CC72249)
  •  ‘….with superb control of style and technique.’, jury BBC Music Awards, which Koopman won in 2008
  • 'The highlight of this edition is the cantata "Jesu dulcis Memoria" for the two sopranos, beautifully sung by Siri Thornhill and Miriam Meyer.'-  Tijdschrift Oude Muziek - January 2010 (review of Buxtehude Vocal Works 4)
  • ''This is musically so well done and music is made so contagiously, it makes the time fly by. We are treated on not only the imaginative composed chamber music but also on the interpretations that exude a huge authority plus the fun of playing that comes first."  Aart van der Wal opusklassiek October 2010
  • "The concerts in C major and D major sound clear and inspired, and in the double concerto for violin and organ violinist Catherine Manson supplies an excellent contribution, in addition Ton Koopman." Tijdschrift Oude Muziek - Nummer 1 2011
  • "Koopman seduces his audience into active complicity. Good work!" Marijke Schouten - Luister - April/Mei 2011
  • "This Buxtehude at his  best, with clever dialogue between high and low strings, and rapidly interchanging, contrasting movements ." Tijdschrift Oude Muziek - No2-2011
















































































































Recente releases

Bach Complete Cantatas

Bach Single Volume Cantatas

Buxtehude Complete Works

Overige Opnamen

Speciale aanbieding


TRACKS

Trio sonatas opus 2
Trio sonatas opus 2
Trio sonatas opus 2
Trio sonatas opus 2
Trio sonatas opus 2
Trio sonatas opus 2
Trio sonatas opus 2
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1CD | CC 72265
0608917226522
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Ton Koopman & ABO