BUXTEHUDE Opera Omnia XVI Vocal Works Vol. 6 Membra Jesu Nostri

1. I. Ad Pedes (Sonata)

2. I. Ad Pedes (Coro: Ecce super montes)

3. I. Ad Pedes (Aria: Salve mundi salutare)

4. I. Ad Pedes (Coro: Ecce super montes)

5. I. Ad Pedes (Coro: Salve mundi salutare)

6. II. Ad genua (Sonata in tremulo)

7. II. Ad genua (Coro: Ad ubera portabimini)

8. II. Ad genua (Aria: Salve Jesu, rex sanctorum)

9. II. Ad genua (Coro: Ad ubera portabimini)

10. III. Ad manus (Sonata)

11. III. Ad manus (Coro: Quid sunt plagae istae)

12. III. Ad manus (Aria: Salve Jesu, pastor bone)

13. III. Ad manus (Coro: Quid sunt plagae istae)

14. IV. Ad latus (Sonata)

15. IV. Ad latus (Coro: Surge, amica mea)

16. IV. Ad latus (Aria: Salve latus salvatoris)

17. IV. Ad latus (Coro: Surge, amica mea)

18. V. Ad pectus (Sonata)

19. V. Ad pectus (Voci: Sicut modo geniti)

20. V. Ad pectus (Aria: Salve, salus mea, Deus)

21. V. Ad pectus (Voci: Sicut modo geniti)

22. VI. Ad cor (Sonata)

23. VI. Ad cor (Vulnerasti cor meum)

24. VI. Ad cor (Aria: Summi regis cor, aveto)

25. VI. Ad cor (Vulnerasti cor meum)

26. VII. Ad faciem (Sonata)

27. VII. Ad faciem (Coro: Illustra faciem tuam)

28. VII. Ad faciem (Aria: Salve, caput cruentatum)

29. VII. Ad faciem (Coro: Amen)

Amsterdam Baroque Orchestra / Ton Koopman

This is the sixth volume of Vocal Music (Opera Omnia XVI) in the critically acclaimed series of the complete works of Dieterich Buxtehude from acclaimed early music specialist Ton Koopman and the Amsterdam Baroque. It features “Membra Jesu Nostri”, a rarely recorded sacred cantata based on 13th century lyric poetry.

The seven-part cantata cycle “Membra Jesu Nostri” owes its origin to the close and lasting friendship between two musicians, the Lübeck organist Dieterich Buxtehude and the Stockholm organist and capellmeister Gustav Düben. It seems likely that Düben commissioned the “Membra” from his friend for performances in Stockholm. “Membra Jesu Nostri Patientis Sanctissimi” is a multi-sectional sacred work of non-liturgical character based on lyric poetry of medieval mysticism usually attributed to St. Bernard of Clairvaux, but more likely written by Arnulf of Louvain (1200-1250). The source for Buxtehude’s text seems to have been an edition published 1633 in Hamburg under the heading “D. Bernhardi Oratio Rhythmica”.

Ton Koopman is one of the world’s foremost early music specialists and directors. In recent years his recordings of the complete Bach Cantatas with Amsterdam Baroque on Challenge Classics have received worldwide acclaim. Since then he has undertaken the daunting task of recording all of the music of his compatriot Dieterich Buxtehude. As president of the International Buxtehude Society, Ton Koopman is considered to be one of the world’s leading authorities on his music. Amongst a string of accolades for previous recordings in the series Opera Omnia X, (CC72249), was a Gramophone “Editor’s Choice”

Challenge CC72255