Dieterich BUXTEHUDE (c.1638-1707)
Opera Omnia XII
Chamber Music I: Sonatas from manuscript sources
Sonata in C major for two violins, viola da gamba and basso continuo BuxWV
266 [7:54]
Sonata in A minor for violin, viola da gamba and basso continuo BuxWV 272
[6:50]
Sonata in D major for viola da gamba, violone and basso continuo BuxWV
267 [7:54]
Sonata (with Suite) in B-flat major for violin, viola da gamba and basso
continuo BuxWV 273 [13:12]
Sonata in D minor for violin, viola da gamba and basso continuo BuxWV Anh.
5 [2:58]
Sonata in G major for two violins, viola da gamba and basso continuo BuxWV
271 [8:31]
Sonata in D major for viola da gamba and basso continuo BuxWV 268 [4:35]
Sonata in F major for two violins, viola da gamba and basso continuo BuxWV
269 [6:53]
Catherine Manson, David Rabinovich (violins); Jonathan Manson (viola da gamba);
Ton Koopman (harpsichord and organ); Mike Fentross (lute); Christine Sticher
(violone)
rec. Waalse Kerke, Amsterdam, February 2010. DDD
CHALLENGE CLASSICS CC72251 [58.50] 
This recording presents the eight unpublished chamber works of Dieterich Buxtehude.
As the excellently clear booklet notes by Christoph Wolff explain, these pieces
show a less uniform scoring than those which were published in Hamburg in
the late seventeenth-century, which, Wolff speculates, may be a reason for
their relative neglect: the varied instrumentation by which they are characterised
made them less suitable for printing as a set.
The commercial stringencies of the 1690s notwithstanding, these are marvellously
adventurous works in which all parts are given equal prominence within the
texture. The effect is of truly three-dimensional Sonatas which, in this respect,
foreshadow the String Quartets of Haydn and, more especially, of Mozart. They
are here afforded performances of much understanding by these fine musicians,
whose careful consideration of the works’ compositional structures produces
realisations which are full of energy and vitality, shot through with light;
but also of great strength and authority.
The sophistication and artistry of the performers is immediately evident from
the first piece on the disc: the Sonata in C for two violins, viola da gamba
and basso continuo (BuxWV 266). The sounds of the bowed string instruments
are well enough differentiated to enhance the counterpoint, but similar enough
to ensure an integrated sound. The bow is used primarily as an expressive
medium; and subtly shaped phrases and finely graded repeated notes serve top
enhance the structure of the melodic lines. Nuanced playing is also characteristic
of the Sonata in A minor for violin, viola da gamba and basso continuo (BuxWV
272) that follows, the violin and viola da gamba complementing each other
admirably; this Sonata is also notable for its incisive rhythmic control and
employment of virtuosic bowing techniques, which are effortlessly applied.
The continuo is brought more to the fore in the following two Sonatas: and
the fuller harmonic background appears to stimulate an even more heightened
response in terms of the shaping of melodic lines. The Sonata in B-flat (BuxWV
273) features some especially fine lute playing in the first movement, which
lends an air of Mediterranean exuberance to the work. Indeed, the use of the
lute is particularly successful in all the works presented on this disc, as
it provides a piquant contrast to the chamber organ and, even in those works
in which the harpsichord is used as the keyboard continuo instrument, the
sound is sufficiently different to allow for interesting and, at times, dramatic
changes of colour; which are, however, never employed gratuitously, but always
with regard to the formal structure of the music. The continuo instruments
are also recorded with enough clarity and afforded enough prominence to enable
both horizontal and vertical components of the part to be clearly heard.
The booklet is clearly presented with, as has previously been mentioned, extremely
informative and well-written notes. Each work on the disc is presented on
one track – the individual movements are not separated by track breaks – which
means that each Sonata is given as a single entity, and is clearly intended
to be listened to as such. The only – very minor – quibble is that the single
violinist in the works for violin, viola da gamba and basso continuo (Tracks
2, 4 and 5) is not identified.
This is an extremely intelligent, convincingly performed and well-packaged
disc, which stimulates the listener to investigate further the chamber music
of this relatively little-known, somewhat overshadowed composer. It presents
all that musical performance at its best should involve: a cerebral, authoritative
approach; a demonstrative realisation; and a performance that has a zest of
life, freshness and vigour.
Em Marshall-Luck
A performance that has a zest of life, freshness and vigour.