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Ton Koopman|Buxtehude: Membra Jesu nostri, BuxWV 75

Buxtehude: Membra Jesu nostri, BuxWV 75

Ton Koopman

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Considered a "divine gift" in Lutheran Germany at the end of the 17th century, music was used to express the torments of Christ's Passion with a power at least equal to that of painting and sculpture of the time, particularly in the Protestant countries of northern Germany.

Dietrich Buxtehude's collection Membra Jesu nostri, a cycle of seven cantatas describing the terror and despair of believers in the face of Christ's suffering, but also the consolation and joy caused by his sacrifice, dates to 1680 precisely. Each of the cantatas is based on a very precise framework alternating instrumental pieces, dialogues between voices and instruments in a skilful polyphony, and arias for soloists.

Ton Koopman's fine 1987 recording is still relevant today thanks to the performance of the excellent Hannover Knabenchor and the presence of soloists Barbara Schlick and Monika Frimmer, sopranos, Michael Chance, male viola, Christoph Prégardien, tenor and Peter Kooy, bass. The Amsterdam Baroque Orchestra weaves the instrumental parts together in perfect harmony with Ton Koopman's vocal articulation and inward-looking and pious approach. He has since re-recorded these works with a different approach to casting and from a perspective that celebrates grace rather than suffering. But this first recording has lost none of its seductive power and seems to outweigh the second for most music lovers and critics. © François Hudry/Qobuz

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Buxtehude: Membra Jesu nostri, BuxWV 75

Ton Koopman

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1
Membra Jesu nostri, BuxWV 75: I. Ad pedes. "Ecce super montes"
00:08:44

Amsterdam Baroque Orchestra, Orchestra - Ton Koopman, Conductor, MainArtist - Barbara Schlick, Soprano Vocals, FeaturedArtist - Adriaan Verstijnen, Engineer - Dietrich Buxtehude, Composer - Peter Kooy, Bass Vocals, FeaturedArtist - Monika Frimmer, Soprano Vocals, FeaturedArtist - Tini Mathot, Producer - Knabenchor Hannover, Chorus, FeaturedArtist

© 2020 Parlophone Records Limited, a Warner Music Group Company ℗ 1988 Erato Disques, a Warner Music UK Division

2
Membra Jesu nostri, BuxWV 75: II. Ad genua. "Ad uber portabimini"
00:07:27

Amsterdam Baroque Orchestra, Orchestra - Michael Chance, FeaturedArtist, Alto Vocals - Ton Koopman, Conductor, MainArtist - Barbara Schlick, Soprano Vocals, FeaturedArtist - Adriaan Verstijnen, Engineer - Christoph Prégardien, Tenor Vocals, FeaturedArtist - Dietrich Buxtehude, Composer - Peter Kooy, Bass Vocals, FeaturedArtist - Monika Frimmer, Soprano Vocals, FeaturedArtist - Tini Mathot, Producer - Knabenchor Hannover, Chorus, FeaturedArtist

© 2020 Parlophone Records Limited, a Warner Music Group Company ℗ 1988 Erato Disques, a Warner Music UK Division

3
Membra Jesu nostri, BuxWV 75: III. Ad manus. "Quid sunt plagae istae"
00:09:07

Amsterdam Baroque Orchestra, Orchestra - Michael Chance, Counter-Tenor Vocals, FeaturedArtist - Ton Koopman, Conductor, MainArtist - Barbara Schlick, Soprano Vocals, FeaturedArtist - Adriaan Verstijnen, Engineer - Christoph Prégardien, Tenor Vocals, FeaturedArtist - Dietrich Buxtehude, Composer - Peter Kooy, Bass Vocals, FeaturedArtist - Monika Frimmer, Soprano Vocals, FeaturedArtist - Tini Mathot, Producer - Knabenchor Hannover, Chorus, FeaturedArtist

© 2020 Parlophone Records Limited, a Warner Music Group Company ℗ 1988 Erato Disques, a Warner Music UK Division

4
Membra Jesu nostri, BuxWV 75: IV. Ad latus. "Surge amica mea"
00:07:49

Amsterdam Baroque Orchestra, Orchestra - Michael Chance, Counter-Tenor Vocals, FeaturedArtist - Ton Koopman, Conductor, MainArtist - Barbara Schlick, Soprano Vocals, FeaturedArtist - Adriaan Verstijnen, Engineer - Christoph Prégardien, Tenor Vocals, FeaturedArtist - Dietrich Buxtehude, Composer - Peter Kooy, Bass Vocals, FeaturedArtist - Monika Frimmer, Soprano Vocals, FeaturedArtist - Tini Mathot, Producer - Knabenchor Hannover, Chorus, FeaturedArtist

© 2020 Parlophone Records Limited, a Warner Music Group Company ℗ 1988 Erato Disques, a Warner Music UK Division

5
Membra Jesu nostri, BuxWV 75: V. Ad pectus. "Sicut modo geniti infantes"
00:11:04

Amsterdam Baroque Orchestra, Orchestra - Michael Chance, Counter-Tenor Vocals, FeaturedArtist - Ton Koopman, Conductor, MainArtist - Adriaan Verstijnen, Engineer - Christoph Prégardien, Tenor Vocals, FeaturedArtist - Dietrich Buxtehude, Composer - Peter Kooy, Bass Vocals, FeaturedArtist - Tini Mathot, Producer - Knabenchor Hannover, Chorus, FeaturedArtist

© 2020 Parlophone Records Limited, a Warner Music Group Company ℗ 1988 Erato Disques, a Warner Music UK Division

6
Membra Jesu nostri, BuxWV 75: VI. Ad cor. "Vulnerasti cor meum"
00:09:53

Amsterdam Baroque Orchestra, Orchestra - Ton Koopman, Conductor, MainArtist - Barbara Schlick, Soprano Vocals, FeaturedArtist - Adriaan Verstijnen, Engineer - Dietrich Buxtehude, Composer - Peter Kooy, Bass Vocals, FeaturedArtist - Monika Frimmer, Soprano Vocals, FeaturedArtist - Tini Mathot, Producer - Knabenchor Hannover, Chorus, FeaturedArtist

© 2020 Parlophone Records Limited, a Warner Music Group Company ℗ 1988 Erato Disques, a Warner Music UK Division

7
Membra Jesu nostri, BuxWV 75: VII. Ad faciem. "Illustra faciem tuam"
00:06:50

Amsterdam Baroque Orchestra, Orchestra - Michael Chance, Counter-Tenor Vocals, FeaturedArtist - Ton Koopman, Conductor, MainArtist - Adriaan Verstijnen, Engineer - Christoph Prégardien, Tenor Vocals, FeaturedArtist - Dietrich Buxtehude, Composer - Peter Kooy, Bass Vocals, FeaturedArtist - Tini Mathot, Producer - Knabenchor Hannover, Chorus, FeaturedArtist

© 2020 Parlophone Records Limited, a Warner Music Group Company ℗ 1988 Erato Disques, a Warner Music UK Division

Approfondimenti

Considered a "divine gift" in Lutheran Germany at the end of the 17th century, music was used to express the torments of Christ's Passion with a power at least equal to that of painting and sculpture of the time, particularly in the Protestant countries of northern Germany.

Dietrich Buxtehude's collection Membra Jesu nostri, a cycle of seven cantatas describing the terror and despair of believers in the face of Christ's suffering, but also the consolation and joy caused by his sacrifice, dates to 1680 precisely. Each of the cantatas is based on a very precise framework alternating instrumental pieces, dialogues between voices and instruments in a skilful polyphony, and arias for soloists.

Ton Koopman's fine 1987 recording is still relevant today thanks to the performance of the excellent Hannover Knabenchor and the presence of soloists Barbara Schlick and Monika Frimmer, sopranos, Michael Chance, male viola, Christoph Prégardien, tenor and Peter Kooy, bass. The Amsterdam Baroque Orchestra weaves the instrumental parts together in perfect harmony with Ton Koopman's vocal articulation and inward-looking and pious approach. He has since re-recorded these works with a different approach to casting and from a perspective that celebrates grace rather than suffering. But this first recording has lost none of its seductive power and seems to outweigh the second for most music lovers and critics. © François Hudry/Qobuz

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