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Ton Koopman - Buxtehude: Opera Omnia X - Organ Works, Vol. 5 (2009)

Classic | Author: SELMER | 9-03-2018, 10:26
Ton Koopman - Buxtehude: Opera Omnia X - Organ Works, Vol. 5 (2009)
Artist: Ton Koopman
Title Of Album: Buxtehude: Opera Omnia X - Organ Works, Vol. 5
Year Of Release: 2009
Label: Challenge Classics
Country: Netherlands
Genre: Classical
Quality: FLAC (*image + .cue, log, artwork)
Bitrate: Lossless
Time: 01:54:12
Full Size: 504 MB




Tracklist:

CD 1
01 Praeludium in e Bux WWV 142 06:55
02 Nun bitten wir den heiligen Geist Bux WV 209 02:22
03 Te Deum laudamus Bux WV 218 11:46
04 Praeludium in C Bux WV 136 05:22
05 War Gott nicht mit diese Zeit Bux WV 222 02:14
06 Toccata in d Bux WV 155 06:42
07 Von Gott will ich nicht lassen Bux WV 221 02:15
08 Praeludium in A Bux WV 151 04:29
09 Praeludium in a Bux WV 152 03:34
10 Herr Christ, der einig Gottes Sohn Bux WV 191 02:52
11 Praeludium in a Bux WV 158 04:18
12 MAGNIFICAT PRIMI TONI BUXWV 204 03:04
13 MAGNIFICAT NONI TONI BUXWV 205 02:41
14 Praeludium in g Bux WV 150 06:55

CD 2
01 Praeludium in a BuxWV 153 05:05
02 Ich dank dir, lieber Herre BuxWV 194 04:44
03 Herr Christ, der einig Gottes Sohn BuxWV 192 02:24
04 Praeludium in e BuxWV 143 04:40
05 Mensch, willt du leben seliglich BuxWV 206 01:40
06 Nun bitten wir den heiligen Geist BuxWV 208 02:00
07 Praeludium in e (thelarger) 7:33
08 Praeludium in e (thesmaller) 4:40
09 Nunkommder HeidenHeiland (original version) 9:01
10 Praeludium in G 6:47

The Buxtehude Opera Omnia series is steadily progressing. It is with great pleasure that I present to you the final part of Dieterich Buxtehude’s organ works. Now that the task of recording all the organ and harpsichord works has been completed, the astounding quality of this music has become evident. Naturally, organists play Buxtehude’s works with relative frequency. However, only a dozen or so of his works are actually performed regularly. Undoubtedly, the extreme discrepancies between the various editions are one of the main underlying reasons for this. Many questions arise: which Urtext is the real one? Are the sources of such poor quality, or are there flaws? Is it necessary to salvage the music? The indisputable fact is that the organ works of Lubeck’s greatest composer were by no mean preserved through the ages in the most ideal fashion. No less than a century and a half separate the earliest and the latest sources, there are no autographs, etc. The organist is thus compelled to undertake the performance of these works with a great deal of taste, know- ledge and courage. A creative composer requires a creative interpretation.

Bach and Mozart even survive being performed on a street organ, whereas Couperin and Buxtehude do not. There is great interpretative freedom in this ‘stylus phantasticus’; however, there are limits to what is possible. The incorrect reading of the foreword to Frescobaldi’s first book of Toccatas was once the reason behind the practice of beginning all the Preludes with an accelerando. In my view, the comparison drawn with madrigals in this same fore-word is of major significance, and can be taken to mean: each section of a Prelude and Toccata has its own tempo. A relationship between tempi no longer exists. The ‘tempo della mano’ has been replaced by ‘tempo dell’anima’. This is my most important conviction. ~ Ton Koopman



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