Buxtehude - Opera Omnia XIII, Chamber Music 2 2011

Buxtehude - Opera Omnia XIII - Chamber Music 2

Жанр: Classical chamber
Страна-производитель диска: Made in England
Год издания диска: 2011
Издатель (лейбл): Challenge Classics
Номер по каталогу: CC 72252
Дата записи: 2010
Аудиокодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 59'53
Источник: релизер
-источник/ник/другое: Bodtje, подарок; работа с cue Хосе
: да
Треклист:

1 Trio sonatas opus 1 Sonata in F op. 1 nr. 1 BuxWV 252 09:21

2 Trio sonatas opus 1 Sonata in G op. 1 nr. 2 BuxWV 253 07:15

3 Trio sonatas opus 1 Sonata in a op. 1 nr. 3 BuxWV 254 10:14

4 Trio sonatas opus 1 Sonata in B op. 1 nr. 4 BuxWV 255 08:04

5 Trio sonatas opus 1 Sonata in C op. 1 nr. 5 BuxWV 256 08:23

6 Trio sonatas opus 1 Sonata in d op. 1 nr. 6 BuxWV 257 09:33

7 Trio sonatas opus 1 Sonata in e op. 1 nr. 7 BuxWV 258 07:00

Исполнители

Dieterich Buxtehude
Opera Omnia XIII - Chamber music vol. 2
Vll Suonate a doi
Violino & Violadagamba, con Cembalo
Opera Prima
Catherine Manson - violin
Paolo Pandolfo - viola da gamba
Ton Koopman - harpsichord and organ
Mike Fentross - lute
Recording Date: May 2010
Recording Location: Geertekerk, Utrecht (NL)
Release date: 04 March 2011

About the album

In the last decade of the 17th century, Dieterich Buxtehude published within a period of two years a group of fourteen instrumental chamber sonatas in two sets of seven each. Thereby, he contributed in a major way to a new and fashionable repertoire of trio sonatas that had originated in Italy after the middle of the century. Giovanni Legrenzi (1626-1690), the Venetian composer, had played the main influence in spreading a new type of instrumental music north of the Alps. His works published in the 1660s and 70s were well known in the Hanseatic cities around the Baltic Sea. Lübeck, one of the principal music centers in Northern Europe, was no exception in this respect. Buxtehude, who served as organist of the St. Mary’s Church in Lübeck from 1668 until his death in 1707, picked up and integrated the modern Italian style early in the instrumental introductions to his sacred concertos and cantatas, but turned to instrumental chamber music only late in his life.
Every single sonata presents different solutions in regard to section sequences; no two pieces show the same pattern. In general, the fast sections prefer more or less elaborate polyphonic and fugal designs whereas the slow sections emphasize harmonic and expressive features. Sections are sometimes connected without interruption, sometimes separated by fermatas or double bars. Towards the end of some phrases the violin makes use of double stops, in line with the overall virtuosic design of the sonatas. The compositional ideas pursued by the composer are based on the concept of the so-called “stylus fantasticus,” a manner favored in keyboard and soloist instrumental ensemble music of the late 17th-century in North Germany. According to the 18th-century Hamburg writer Johann Mattheson, “this style is the most free and unrestrained manner of composing, singing, and playing that one can imagine, for one hits first on this idea and then upon that one, since one is bound neither to words nor to melody, only to harmony, so that the singer and player can display his skill.”