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Dietrich
BUXTEHUDE (1637-1707) O Gottes Stadt, o güldnes Licht Lauda anima mea Dominum BuxWV 67 [7:16] Herr, auf dich traue ich BuxWV 35 [10:08] O clemens, o mitis, o coelestis Pater BuxWV 82 [6:39] Entreißt euch, meine Sinnen BuxWV 25 [6:05] Schönster Jesu, liebstes Leben BuxWV 8 [5:03] Contrapunctus I & II Bux WV 76 [2:07] Was mich auf dieser Welt betrübt BuxWV105 [3:05] O Gottes Stadt, o güldnes Licht BuxWV 87 [9:20] Singet dem Herrn ein neues Lied BuxWV 98 [8:08] Also hat Gott die Welt geliebt BuxWV 5 [7:17]
Barbara Christina
Steude (soprano)
Lautten Compagney/Wolfgang Katschner
rec. Produktionsstätte Gärtnerstraße, Deustschlandradio
Kultur, Berlin, October 2006 CARUS
83.192 [66:09]
Dietrich BUXTEHUDE (1637-1707) Dein edles Herz, der Liebe Thron Nun danket alle Gott BuxWV 79 [10:14] Wo soll ich fliehen hin BuxWV 112 [17:05] Befiehl dem Engel, dass er komm BuxWV 10 [4:41] Dein edles Herz, der Liebe Thron BuxWV 14 [9:42] Jesu, meine Freude BuxWV 60 [9:48] Erhalt uns, Herr, bei deinem Wort BuxWV27 [4:52] Eins bitte ich vom Herrn BuxWV 24 [17:45]
Capella
Angelica
Lautten Compagney/Wolfgang Katschner
rec. Freylinghausensaal, Halle, January 2007 CARUS 83.193 [75:01]
Too often, in view of
the younger composer’s admiration for him, Buxtehude can
be seen as Bach-light. Until recently Buxtehude’s main
claim to fame was that Bach once walked more than 200 miles
to hear him play the organ at Lübeck, while very little
of his music was known. His tercentenary in 2007 passed
almost unnoticed by the major record labels and concert
promoters. More and more, however, we are seeing Buxtehude
as a genius in his own right, and these discs should continue
that process of discovery. They contain a wide variety
of church cantatas in excellent performances, including
seven works that have never been recorded before. They
take the listener on a most rewarding journey.
It is well known that
Buxtehude spent most of his working life as organist of
St Mary’s Church, Lübeck, which was famous for its outstanding
church music. Much of his vast output of organ music stems
from his Sunday service duties. Not the works presented
here, however, as it was not the organist’s job to provide
vocal music. It is likely that the cantatas gathered together
here were written for Lübeck’s celebrated Abendmusiken,
or evening music recitals. These were sacred concerts in
church which took place after the main services on Sunday,
containing large-scale oratorios but also mixed programmes
of smaller pieces such as those presented here. The two
discs showcase two different kinds of cantata: O Gottes
Stadt, o güldnes Licht features cantatas written for
the solo soprano voice, while Dein edles Herz, der Liebe
Thron contains works for a smaller choir and some dialogue
cantatas, a form which Bach was to make famous. Both are
accompanied by a small instrumental group, and it is this
group which provides the chiefest pleasure. Lautten Compagney
clearly has this music in its blood. It has been said that
the most successful period sound is that which does not
draw attention to itself. That is most certainly the case
here. This small ensemble has an impeccable awareness of
the correct style to deploy. Their textures are lean, their
playing supple and the poise they show is remarkable throughout.
One can well imagine this sound being produced in the Baroque
churches of Lübeck; they are a joy to listen to, and if
the sound is a little sinewy then this only adds to the
experience.
The singing is first rate
also. The soprano soloist on the first disc is Barbara
Christina Steude; she also sings in the Capella Angelica
choir on the second disc. Her command of technique is excellent
throughout. She shows secure coloratura during the fanfare-like Lauda
anima mea Dominum and is tenderly affecting for the
supplication of O clemens, o mitis. The strophic
arias on this disc (Entreißt euch, meine Sinnen and Schönster
Jesu, liebstes Leben) are flexible and never dull,
while the larger-scale title track is solemn and imposing,
expressing the soul’s longing for the heavenly city. Perhaps
there are times when Steude can reach up to the top notes
rather than sit on top of them, but the purity of her tone
is never in doubt and the ensemble playing complements
her stylishly.
There is even more pleasure
to be had in the second disc, however. There is more variety
here, and thus more colour. The orchestra adds trumpets
and flutes for some numbers and the vocal fare is more
varied too. The first and last works on the disc have the
most layered textures. Nun danket alle Gott - nothing
to do with the Lutheran chorale - is a triumphant song
of thanks, while Eins bitte ich vom Herrn is effectively
an elaborate strophic song for full chorus, with some interpolations
to vary the texture. The ten members of Capella Angelica,
who never all sing in any one number, know this music backwards.
Their technical accomplishment is consistently impressive
and the frequent solo contributions are distinguished.
These larger choral items sit next to smaller ones, such
as the cantata Jesu, meine Freude, which uses the
same chorale theme as Bach in his motet of the same name.
Most interesting, however, is the dialogue cantata Wo
soll ich fliehen hin which presents a dialogue between
Jesus and the soul, as the soul seeks rest from the pains
of the world and Jesus reassures her that it can only be
found in him. Each section is neatly contrasted with the
one before, and the two soloists inhabit their roles convincingly.
The instrumental contributions are marvellous throughout.
The whole is held together
by the expert direction of Wolfgang Katschner, who is making
a name for himself as one of our leading exponents of Buxtehude’s
music. His scholarly approach never reverts to dry academia,
and he always keeps the argument moving so that our attention
never flags. This combination of musicians have already
recorded an acclaimed Membra Jesu Nostri and if
their standards remain this high then we can only look
forward to more recordings which reveal a Buxtehude we
barely know.
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