
| Dieterich Buxtehude Ton Koopman & Members of ABO Opera Omnia XII: Chamber Music vol. 1Composer: Dieterich BuxtehudeConductor: Ton Koopman Orchestra: Amsterdam Baroque Orchestra | |
|
1CD |
Challenge Classics |
0608917225129 | CC 72251 | 09-2010 €17.95
|
Catherine Manson: violin
David Rabinovich: violin
Jonathan Manson: viola da gamba
Ton Koopman: harpsichord and organ
Mike Fentross: lute
Christine Sticher: violone (BuxWV 267)
Dieterich Buxtehude’s chamber works today counts among the least known of
his compositions. They were already forgotten soon after 1700, and this
despite the fact that two third of Buxtehude’s chamber sonatas, unlike
any other category in the composers creative output, were published during
his lifetime. The publication of Sonatas indicates that there was a market for
this repertoire in the Later 17th century. Moreover, the publication of two sets of such works suggests that the fame of the Lübeck master and the success of the first set must have created the demand for a second. However, the primary reason for these works getting out of fashion by the time of Buxtehude’s death was their unconventional instrumental scoring and, more importantly, the triumphant rise of the modern Italian trio sonata by Corelli, Albinoni, and others in the early 18th century.
Buxtehude’s Chamber Music repertoire consists of altogether twenty-two works. All of Buxtehude’s chamber works present highly sophisticated compositions that belong among the most attractive and technically most demanding examples of the genre of ensemble sonata, then still in its infancy. They resemble in Many Ways the six Sonatas of the Hortus musicus (Hamburg, 1688) by Buxtehude’s colleague and friend, Johann Adam Reinken, organist at St. Catherine’s Church in Hamburg. But like Reinken’s pieces, they were influenced by Italian models, especially the instrumental Sonatas by the Venetian composer Giovanni Legrenzi (1626-1690), which were circulating widely also in Northern Europe. At the same time, they deeply reflect the improvisational, fanciful, expressive and colorful mannerisms of Buxtehude and his school, which the writer Johann Mattheson in 1739 referred to as “stylus fantasticus”.
David Rabinovich: violin
Jonathan Manson: viola da gamba
Ton Koopman: harpsichord and organ
Mike Fentross: lute
Christine Sticher: violone (BuxWV 267)
Dieterich Buxtehude’s chamber works today counts among the least known of
his compositions. They were already forgotten soon after 1700, and this
despite the fact that two third of Buxtehude’s chamber sonatas, unlike
any other category in the composers creative output, were published during
his lifetime. The publication of Sonatas indicates that there was a market for
this repertoire in the Later 17th century. Moreover, the publication of two sets of such works suggests that the fame of the Lübeck master and the success of the first set must have created the demand for a second. However, the primary reason for these works getting out of fashion by the time of Buxtehude’s death was their unconventional instrumental scoring and, more importantly, the triumphant rise of the modern Italian trio sonata by Corelli, Albinoni, and others in the early 18th century.
Buxtehude’s Chamber Music repertoire consists of altogether twenty-two works. All of Buxtehude’s chamber works present highly sophisticated compositions that belong among the most attractive and technically most demanding examples of the genre of ensemble sonata, then still in its infancy. They resemble in Many Ways the six Sonatas of the Hortus musicus (Hamburg, 1688) by Buxtehude’s colleague and friend, Johann Adam Reinken, organist at St. Catherine’s Church in Hamburg. But like Reinken’s pieces, they were influenced by Italian models, especially the instrumental Sonatas by the Venetian composer Giovanni Legrenzi (1626-1690), which were circulating widely also in Northern Europe. At the same time, they deeply reflect the improvisational, fanciful, expressive and colorful mannerisms of Buxtehude and his school, which the writer Johann Mattheson in 1739 referred to as “stylus fantasticus”.
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PRESS REVIEWS
''Dit is muzikaal zo goed gedaan en er wordt zo aanstekelijk muziek gemaakt dat het uur zo omvliegt. We worden getrakteerd op niet alleen fantasierijk gecomponeerde kamermuziek maar ook nog op vertolkingen die een enorm gezag uitstralen plus het speelplezier dat voorop staat.'' Aart van der Wal opusklassiek oktober 2010
''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
"Als dit een nog onbelichte hoek van het repertoire is dan zal de muzikale originaliteit, de mix van verfijning en openheid, je meer dan waarschijnlijk boeien. Sterk aanbevolen." Mark Sealey - Classical.net - 2-2011
"If this is an as yet unilluminated corner of the repertoire, the music's originality, blend of sophistication and openness are more than likely to captivate you. Thoroughly recommended." Mark Sealey - Classical.net - 2-2011
"Dit is een serieus plezierig opname van niet-gepubliceerde kamermuziek van Buxtehude. ... Het spel van alle betrokkenen is van de eerste klasse, en ik kan deze release van harte aanbevelen aan iedereen." Brian Clark, Early Music
"This is a thoroughly enjoyable recording of Buxtehude's unpublished chamber music. ... The playing of all concerned is first rate, and I can heartily recommend this release to everyone." Brian Clark, Early Music
"De uitvoeringen zijn passend volbracht - met een natuurlijk virtuoso, zijn met warmte opgenomen en zijn gevormd met een acute bewustzijn van de retorische eb en vloed van deze muziek.... De balans tussen de instrumenten is ten alle tijde erg bevredigend." Lindsay Kemp, Gramaphone
"The performances are fittingly accomplished - naturally virtuoso, warmly recorded and paces with acute awareness of the music's rhetorical ebb and flow.... The balance between instruments here is thoroughly satisfying at all times." Lindsay Kemp, Gramaphone
"Violisten Catherine Manson en David Rabinovich vormen een uitstekend duo in de drie sonates voor twee violen, gamba en continuo, waaruit bewonderenswaardig samenspel en interactie blijkt. Het duo toont zich vakkundig in de uitgebreide imiterende en fugatische secties en blinkt uit in de dubbelgrepige delen van de C-majeur Sonata ." Robin Stowell, The Strad
"Violinists Catherine Manson and David Rabinovich form an excellent partnership in three sonatas for two violins, gamba and continuo, demonstrating admirable internal rapport and blend, voicing skilfully thier elaborate imitative and fugal sections, and excelling in the double-stopped textures of the C major Sonata." Robin Stowell, The Strad
"Terwijl de muziek zeker absorberend genoeg is, is de glorieuze vitaliteit van deze zes uiterst begaafde instrumentalisten elke moment van de muziek genietbaar, wat dit bij uitstek een van de meest luistervriendelijke CDs maakt en ik het een waar genoegen vind om hem te recenseren." Marc Rochester, International Record Review
"While the music is certainly absorbing enough, it is the glorious vitality of these six supremely gifted instrumentalists relishing every moment of the music which makes this one of the most eminently listenable discs it's been my pleasure to review." Marc Rochester, International Record Review
"Maar Koopman verschilt ook in het verwelkomen van een luit in de continuo line-up die zijn besmettelijk bijdrage niet onder stoelen of banken verbergt. De luit zorgt voor een extra laag van smaakvolle instrumentatie die ten grondslag ligt aan het maken van muziek vol zwoele stedelijkheid en vlijmscherpe reacties op 'draai-het-kwartje' stemmingswisselingen van Buxtehude ." Paul Riley, BBC Music Magazine
"But Koopman also differs in welcoming lute into a continuo line-up that never hides its infectious contribution under a bushel. The lute allows for an extra layer of artful 'scoring' which underpins music-making bursting with suave urbanity and razor-sharp reactions to Buxtehude's turn-on-a-sixpence mood swings." Paul Riley, BBC Music Magazine
''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
"Als dit een nog onbelichte hoek van het repertoire is dan zal de muzikale originaliteit, de mix van verfijning en openheid, je meer dan waarschijnlijk boeien. Sterk aanbevolen." Mark Sealey - Classical.net - 2-2011
"If this is an as yet unilluminated corner of the repertoire, the music's originality, blend of sophistication and openness are more than likely to captivate you. Thoroughly recommended." Mark Sealey - Classical.net - 2-2011
"Dit is een serieus plezierig opname van niet-gepubliceerde kamermuziek van Buxtehude. ... Het spel van alle betrokkenen is van de eerste klasse, en ik kan deze release van harte aanbevelen aan iedereen." Brian Clark, Early Music
"This is a thoroughly enjoyable recording of Buxtehude's unpublished chamber music. ... The playing of all concerned is first rate, and I can heartily recommend this release to everyone." Brian Clark, Early Music
"De uitvoeringen zijn passend volbracht - met een natuurlijk virtuoso, zijn met warmte opgenomen en zijn gevormd met een acute bewustzijn van de retorische eb en vloed van deze muziek.... De balans tussen de instrumenten is ten alle tijde erg bevredigend." Lindsay Kemp, Gramaphone
"The performances are fittingly accomplished - naturally virtuoso, warmly recorded and paces with acute awareness of the music's rhetorical ebb and flow.... The balance between instruments here is thoroughly satisfying at all times." Lindsay Kemp, Gramaphone
"Violisten Catherine Manson en David Rabinovich vormen een uitstekend duo in de drie sonates voor twee violen, gamba en continuo, waaruit bewonderenswaardig samenspel en interactie blijkt. Het duo toont zich vakkundig in de uitgebreide imiterende en fugatische secties en blinkt uit in de dubbelgrepige delen van de C-majeur Sonata ." Robin Stowell, The Strad
"Violinists Catherine Manson and David Rabinovich form an excellent partnership in three sonatas for two violins, gamba and continuo, demonstrating admirable internal rapport and blend, voicing skilfully thier elaborate imitative and fugal sections, and excelling in the double-stopped textures of the C major Sonata." Robin Stowell, The Strad
"Terwijl de muziek zeker absorberend genoeg is, is de glorieuze vitaliteit van deze zes uiterst begaafde instrumentalisten elke moment van de muziek genietbaar, wat dit bij uitstek een van de meest luistervriendelijke CDs maakt en ik het een waar genoegen vind om hem te recenseren." Marc Rochester, International Record Review
"While the music is certainly absorbing enough, it is the glorious vitality of these six supremely gifted instrumentalists relishing every moment of the music which makes this one of the most eminently listenable discs it's been my pleasure to review." Marc Rochester, International Record Review
"Maar Koopman verschilt ook in het verwelkomen van een luit in de continuo line-up die zijn besmettelijk bijdrage niet onder stoelen of banken verbergt. De luit zorgt voor een extra laag van smaakvolle instrumentatie die ten grondslag ligt aan het maken van muziek vol zwoele stedelijkheid en vlijmscherpe reacties op 'draai-het-kwartje' stemmingswisselingen van Buxtehude ." Paul Riley, BBC Music Magazine
"But Koopman also differs in welcoming lute into a continuo line-up that never hides its infectious contribution under a bushel. The lute allows for an extra layer of artful 'scoring' which underpins music-making bursting with suave urbanity and razor-sharp reactions to Buxtehude's turn-on-a-sixpence mood swings." Paul Riley, BBC Music Magazine
TRACKS
- 1 Sonata in C for two violins, viola da gamba and basso continuo BuxWV 266
- 2 Sonata in a for violin, viola da gamba and basso continuo BuxWV 272
- 3 Sonata in D for viola da gamba, violone and basso continuo BuxWV 267
- 4 Sonata (with Suite) in B flat for violin, viola da gamba and basso continuo BuxWV 273
- 5 Sonata in d for violin, viola da gamba and basso continuo BuxWV Anh. 5
- 6 Sonata in G for two violins, viola da gamba and basso continuo BuxWV 271
- 7 Sonata in D for viola da gamba and basso continuo BuxWV 268
- 8 Sonata in F for two violins, viola da gamba and basso continuo BuxWV 269
Comments
Thomas Barringer14|02|2011 15:23I am seeking info. on Koopman's Opera Omnia Project - which you record. My understanding is that vols. I-XII are available and that vol. XIII will soon be available. (1) How many vols. are projected? (2) Are there plans to offer a "Complete Works of Buxtehude" set based on them? (3) If not, are there any "package discounts" available when purchasing I-XII as a set?
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