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CHAN 0723
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CHAN 0723
Sacred Cantatas, Vol. 2

Buxtehude: Sacred Cantatas, Vol. 2

The Classical Shop
release date: August 2005

Recorded in 24 Bit / 96Khz
album available as a Studio Master
Originally recorded in 2004


Peter Harvey


Michael Chance


Emma Kirkby


Charles Daniels


Purcell Quartet


St Jude on the Hill, Hampstead, London


Rachel Smith


Jonathan Cooper

Michael Common


Record Label



Early Music

Total Time - 79:12
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Sacred Cantatas, Vol. 2



Select Complete Single Disc for
  Sacred Cantatas, Volume 2  

Das neugebor'ne Kindelein, BuxWV 13

  for soprano, alto, tenor, bass, three violins, violone and basso continuo  

Quemadmodum desiderat cervus, BuxWV 92

  Chiaccona à  
  for tenor, two violins and basso continuo  

Nichts soll uns scheiden von der Liebe Gottes, BuxWV 77

  for soprano, alto, bass, two violins, violone and basso continuo  
3 Nichts soll und scheiden von der Liebe Gottes 2:34
4 Wie sollte wohl heißen das zeitliche Leiden 1:54
5 Auch ist kein erschaffnes Vermögen zu nennen 2:00
6 Denn Gott hat die Liebe so hoch ja getrieben 3:52

Dixit Dominus Domino meo, BuxWV 17

  for soprano, two violins, two violas, violone and basso continuo  
7 Sonata 0:44
8 Dixit Dominus Domino meo 2:43
9 Juravit Dominus 0:52
10 Dominus a dextris tuis confregit 1:30
11 . . .conquassabit capita in terra multorum 1:22
12 Gloria patri et filio et spiritui sancto 2:48

An filius no est Dei, BuxWV 6

  for alto, tenor, bass, two violas da gamba, violone and basso continuo  
13 Sonata 1:16
14 An filius non est Dei 1:28
15 Quin immo Jesus est meus 5:12
16 Tu nectar es verissimum 1:09
17 Longe sapor dulcissimi 1:44
18 Amen 1:17

Lobe den Herrn, meine Seele, BuxWV 71

  for tenor, three violins, two violas, violone and basso continuo  
19 [Sonata] 0:42
20 Lobe den Herrn, meine Seele 2:12
21 Der dir alle deine Sünde vergibet 4:02
22 Der deinen Mut fröhlich macht 1:26
23 Alleluia 0:56

Jesu, komm, mein Trost und Lachen, BuxWV 58

  for alto, tenor, bass, two violins, viola, violone and basso continuo  

Herr, nun läßt du deinen Diener, BuxWV 37

  for tenor, two violins, violone and basso continuo  
25 Sinfonia 0:41
26 Herr, nun läß du deinen Diener im Friede fahren 1:43
27 . . .denn meine Augen haben deinen Heiland gesehen 2:17
28 . . .ein Licht zu releuchten die Heiden 1:57

Jesu dulcis memoria, BuxWV 57

  for alto, tenor, bass, two violins, violone and basso continuo  
Emma Kirkby, Michael Chance, Charles Daniels, Peter Harvey and The Purcell Quartet perform in this second disc of sacred music by Buxtehude.

The first volume was enthusiastically received.

All the artists here are renowned interpreters of repertoire of this kind.

This is the only available recording for many of the works on the disc.

Buxtehude’s legacy, for many centuries neglected, has more recently been re-appraised and its importance accepted, not only for the quality of its craftsmanship but also for its undeniable influence on composers such as J.S. Bach.

The organist of the Marienkirche in Lübeck, Dietrich Buxtehude would often direct a vocal piece during the morning or afternoon service. Small-scale pieces constitute the majority of his vocal output and may have been performed during such services, or outside church, in household devotion or in informal gatherings. At the Swedish court in Stockholm the Kapellmeister, Gustaf Düben, assembled a vast collection of vocal compositions, including much of Buxtehude’s output.

The tunefulness and characteristic strophic text setting of the sacred aria, although with several added layers of musical elaboration, can be heard in Nichts soll uns scheiden von der Liebe Gottes. A strophic text is also the basis of Das neugebor’ne Kindelein.The tunefulness of the aria enters An filius non est Dei whose Passiontide atmosphere is evoked with a rich texture of three violas da gamba and continuo, ideal for poignant harmonies. The constant iteration of the bass line characteristic of the ciaccona could create a mesmeric effect, particularly apt in Jesu dulcis memoria in which the onward tread of the walking bass creates continuity across the ends of strophes; the effect is like a ceaseless outpouring of sweetness.

Quemadmodum desiderat cervus also has a ciaccona bass, against which Buxtehude offers a multitude of different figures in the upper voices, ranging from lilting slurs to ecstatic melismas. A related piece is Jesu, komm, mein Trost und Lachen. Cantatas that use passages of Biblical prose set each verse of text to an individually characterised musical phrase, often with instrumental commentary, as in Herr, nun läßt du deinen Diener which concludes with a joyful gigue. A similar gigue is used at the end of Dixit Dominus Domino meo, a setting of Psalm 110. More ambitious is the setting of Psalm 103, verses 1 – 5, Lobe den Herrn, meine Seele. Here the lush key of A major and the opulent string texture of three violins, two violas and continuo all serve to strengthen the exhilaration of praise.

…a performance of great musical versatility…
Gramophone on CHAN 0715 (Bach)

Emma Kirkby and Suzie LeBlanc make an excellent pairing, distinguishable from each other in both voice and approach, yet at the same time superbly matched in duet; and Peter Harvey has the friendliest of bass voices… an expert recording in an amenable aco
Gramophone on CHAN 0691 (Buxtehude)

Charles Daniels enters into the exultant spirit of ‘Lobe den Herrn’, especially its exuberant final alleluia, and the three male voices bring an almost Italianate sweetness to ‘Jesu dulcis memoria’, one of several fine examples of Buxtehude’s fascination with the chaconne, as well as conveying all the darkness and pain of the richly-scored Passiontide meditation ‘An filius non est Dei’.
The Telegraph

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