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CHAN 0784
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CHAN 0784

Buxtehude: VII Suonate, Op.2

The Classical Shop
release date: February 2012

Recorded in 24 Bit / 96Khz
album available as a Studio Master
Originally recorded in 2011


Catherine Mackintosh

* violin

Catherine Weiss

† violin

Purcell Quartet


All Saints Church, East Finchley

21-23 Feb 2011


Rachel Smith


Peter Newble

Record Label



Total Time - 62:49
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Buxtehude: VII Suonate, Op. 1
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VII Suonate, Op.2

1 Suonata I, BuxWV 259 * 7:24
  in B flat major  
2 Suonata II, BuxWV 260 * 11:56
  in D major  
3 Suonata III, BuxWV 261 † 10:35
  in G minor  
4 Suonata IV, BuxWV 262 * 7:11
  in C minor  
5 Suonata V, BuxWV 263 * 8:45
  in A major  
6 Suonata VI, BuxWV 264 † 9:17
  in E major  
7 Suonata VII, BuxWV 265 † 7:41
  in F major  
 Catherine Mackintosh * violin
 Catherine Weiss † violin
  Richard Boothby - viola da gamba  
  Robert Woolley - harpsichord  

By the end of his life, the fame of Dietrich Buxtehude as an organist was so great that in 1706 the young J.S. Bach took four weeks’ leave from his employment at Arnstadt and travelled on foot over 200 miles to Lübeck to hear him perform in concert. Ironically, the meteoric rise of the career of Bach himself as a composer meant that, until very recently, Buxtehude was primarily known simply as a forerunner to the great man, when in fact he was a major composer in his own right.
These Trio Sonatas for violin, viola da gamba, and harpsichord are remarkable examples of Buxtehude’s beautiful chamber music, and anyone expecting them to follow a set of pre-established procedures will be surprised. Inventive and full of life, each of the sonatas is different from the others, ranging from dance-like pieces and little fugues to variation sets with some dynamic duets between the violin and viola da gamba, and slow, airy pieces too.
The recording complements CHAN 0766 (Trio Sonatas, Op. 1) of which Early Music Today wrote: ‘The Purcell Quartet brings its customary virtues to these perceptive period-instrument interpretations: incisiveness, tonal transparency and excellent rapport and blend.
Through twenty-nine years and nearly fifty recordings of a huge range of repertoire, The Purcell Quartet has established itself as a leader in the area of baroque chamber music, not shrinking away from taking on fully staged productions of Purcell’s Dido and Aeneas and Monteverdi’s L’incoronazione di Poppea and Orfeo. The Quartet has toured the world, including the USA, Chile, Bolivia, Colombia, Peru, Japan, Turkey, and all the countries of Europe, and collaborated with the very finest singers, among them Susan Gritton, Nancy Argenta, Catherine Bott, Emma Kirkby, Julia Gooding, Michael Chance, Dominique Visse, Guy de Mey, Mark Padmore, Charles Daniels, Peter Harvey, and Richard Wistreich. The Purcell Quartet has recorded exclusively for Chandos Records since 1987, its discography now numbering more than forty discs.

“... There is some very fine chamber music playing in this recording, but the really beautiful moments for me are those in which each of the instruments is heard solo, such as in the rigorous chords in the violin part of Sonata 3 (reminiscent of Biber) and the long recitative sections of Sonata 5; these solo sections are all highlighted with great subtlety by the ensemble.”

Ibrahim Aziz – The Consort – June 2013

“...beautifully performed ...”

Ardellla Crawford – American Record Guide – July/August 2012

                          ****   Excellent

Claudio Bolzan – Musica magazine  - May 2012

“...this is marvellous music and these are wonderful musicians ... there is no question of the disc being anything but delightful ...”

BC – Early Music Review – April 2012

 “...these sonatas have their own sense of poise and are ever likeable. As before, the violinists of the Purcell Quartet share the workload... Of the two, Mackintosh is the lighter in tone, wispier and ever so slightly astringent next to Weiss’s firmer and more nutty sound.  All four musicians, however, reveal their experience and expertise as interpreters, particularly of this kind of German repertoire, which they have been championing for some time now...”

Lindsay Kemp – Gramophone magazine – May 2012

"... the instrumental textures are rich and very appealing. Weiss’s violin playing has a delicious texture that one could almost call ’chewy’. She also seems to capture the sense of fantasy and inventon ..."

Andrew O’Connor - International Record Review  - March 2012

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