Christian Thielemann

Christian Thielemann

Friday, April 18, 2014

Dietrich Buxtehude: Membra Jesu Nostri – Chiara Banchini, Ensemble der Schola Cantorum Basiliensis, René Jacobs (HD 1080p)

Ο Ντήτριχ Μπουξτεχούντε ήταν Γερμανός οργανίστας και σημαντικός συνθέτης της εποχής του μπαρόκ. Τα έργα του για εκκλησιαστικό όργανο αποτελούν σημαντικό μέρος του βασικού ρεπερτορίου του οργάνου και εκτελούνται συχνά σε ρεσιτάλ και λειτουργίες. Συνέθεσε σε μία ευρεία ποικιλία φωνητικών και οργανικών ιδιωμάτων, ενώ το στυλ του επηρέασε πολλούς συνθέτες μεταξύ των οποίων τον Γιόχαν Σεμπάστιαν Μπαχ και τον Γκούσταβ Μάλερ. Ο Ντήτριχ Μπουξτεχούντε μαζί με τον Χάινριχ Συτς (Heinrich Schütz, 1585-1672) θεωρούνται σήμερα οι σημαντικότεροι Γερμανοί συνθέτες του μέσου της περιόδου του μπαρόκ.

Το σπουδαίο μπαρόκ σύνολο της μουσικής ακαδημίας Schola Cantorum Basiliensis της Ελβετίας διευθύνει ο διάσημος Φλαμανδός κόντρα-τενόρος και αρχιμουσικός Ρενέ Γιάκομπς. Συμπράττουν οι σολίστες Chiara Banchini (βιολί), Maria Cristina Kiehr (σοπράνο), Rosa Dominguez (σοπράνο), Andreas Scholl (κόντρα-τενόρος), Gerd Türk (τενόρος) και Ulrich Messthaler (μπάσος). Η κινηματογράφηση έγινε το 2004 από τον σκηνοθέτη Thomas Grimm, σε μονή της ελβετικής πόλης Payerne.



Buxtehude: the greatest German composer between Schütz and Bach. In 1680 the organist of the Marienkirche in Lubeck wrote a highly unusual cycle of cantatas based on a medieval Latin hymn, Salve mundi salutare, which has since become a classic of Baroque sacred music. This imaginative contemplation of the sufferings of Christ from feet (Ad pedes) to face (Ad faciem) – by way of the knees, the hands, the side, the breast and the heart – has already been recorded once by harmonia mundi, back in 1990. Now you can admire the same performers in a film dating from 2004, naturally still conducted by René Jacobs!

Source: harmoniamundi.com



Dietrich Buxtehude was the most important Baroque composer in the era immediately before Bach. Such was his repute that the 20 year old Bach walked more than 400km to hear him play in 1705. Sadly many of Buxtehude's works have not survived to the present day, but those that do mark him out as a master of both vocal and instrumental church music.

The Membra Jesu Nostri is a setting of a mediaeval poem which has as its subject the various parts of Christ's body as it lays upon the cross. Dating from 1680, it takes the form of seven cantatas, each contemplating the sufferings of a different part of the body.

The present recording from 2004 sees Renι Jacobs revisit his 2003 recording with the same singers, notably Andreas Scholl. The video was recorded in an old stone church with a small ensemble of period instruments, including theorbo, viola da gamba and violone.

The performers are spread across the church, with the instrumental players in front of the singers and Jacobs, generally unseen, conducting from the front. There seem to be quite a few cameras to catch various angles of all of the personnel.

This is a very enjoyable performance featuring excellent singing and much beautiful music.

Source: Philip Sawyer (michaeldvd.com.au)


Μία από τις καλύτερες δημοσιεύσεις του 2014  –  One of the best posts of 2014



Dietrich Buxtehude (1637-1707)

♪ Membra Jesu Nostri, BuxWV 75 (1680)


Καντάτα σε 7 κινήσεις για 5 φωνές (2 σοπράνο, κοντράλτο, τενόρο και μπάσο), 2 βιολιά, 5 βιόλες ντα γκάμπα, violone και μπάσο κοντίνουο.

Cantata in 7 sections for 5 voices (2 sopranos, contralto, tenor and bass), 2 violins, 5 violas da gamba, violone and basso continuo.


i. Ad pedes: Ecce super montes

ii. Ad genua: Ad uber portabimini
iii. Ad manus: Quid sunt plagae istae
iv. Ad latus: Surge amica mea
v. Ad pectus: Sicut modo geniti infantes
vi. Ad cor: Vulnerasti cor meum
vii. Ad faciem: Illustra faciem tuam

Maria Cristina Kiehr, soprano

Rosa Dominguez, soprano
Andreas Scholl, countertenor
Gerd Türk, tenor
Ulrich Messthaler, bass

Chiara Banchini, violin


Ensemble der Schola Cantorum Basiliensis

Μουσική διεύθυνση (Conductor): René Jacobs

Σκηνοθεσία – Direction: Thomas Grimm


Recorded in an abbey in the Swiss town of Payerne, 2004


Αγγλικοί υπότιτλοι – English subtitles

(HD 1080p)

Δημοσιεύτηκε στο Youtube για λογαριασμό του Blog «Πρόσωπα της Κλασικής Μουσικής»
Uploaded on Youtube for the Blog "Faces of Classical Music"

Πρώτη δημοσίευση: 18 Απριλίου 2014 – First publication: April 18, 2014
Τελευταία ενημέρωση: 20 Απριλίου 2016 – Last update: April 20, 2016














Dietrich Buxtehude's remarkable cycle of seven vocal concertos (short, condensed cantatas) sets a medieval Latin poem in both a mystical and theatrical vein, and therefore the possibilities of a visual experience of Membra Jesu nostri, with its expressive chamber ensemble of five vocal parts and strings, is an exciting prospect. One can imagine these illuminating tableaux responding well to a thoughtful production of deft lighting, keen imagery and sense of space, as the penitent disciple moves upwards from the feet to the face of Christ (the seven parts of Jesus's crucified body on which Buxtehude singularly and subtly ruminates).

Such graphic religiosity would require a far more introspective, clearly etched and wholly absorbing (even ascetic) musical experience than we receive in René Jacobs's expert but somewhat glib virtuoso workshop, where an experienced group produce a vibrant and sonorous sweep in a dangerously reverberant L'Abbatiale de Payerne (Switzerland). There is an overwhelming sense here of secular gesture, perhaps inspired by a vision of Carissimi and Rome, supported by the visible and almost operatic immediacy of the singers.

The unobtrusive film direction does indeed focus primarily on dramatic vocal delivery. The sound is, however, often dubiously balanced (Andreas Scholl is badly mixed in the fraught dissonances which surround the words in "Ad manus", "what are these wounds?") and yet intermittently impressive, such as the inspired arioso-like dialogue, "though hast smitten my heart" from "Ad cor" – a profound example of the extraordinary quality of Buxtehude's personal and elevated figural imagination.

Probably the best performances occur in the early "cantatas", where the supplication of "Ad genua" and "Ad manus" is plotted by Jacobs with some shimmering and supple juxtapositions between the gentle faithfulness of the believer and contemplative mourning on the physical manifestations of the crucified Saviour. "Ad cor", a potential high-point for its "core" devotional significance (and set luminously for a consort of viols), appears timid and musically neutral, as does "Ad faciem". Throughout the work, eagerness to register affect takes precedence over breadth and a cumulative intensity.

As the only DVD of Membra, to my knowledge, and with such distinguished singers (Scholl is outstanding throughout), this is certainly very collectable, though Jacobs doesn't really create distinctive enough an atmosphere, one specific to the pace and character of Buxtehude's still unheralded masterpiece. The dubbing is not all it should be either. Muted enthusiasm.

Source: Jonathan Freeman-Attwood (gramophone.co.uk)

René Jacobs












Andreas Scholl, Gerd Türk, Ulrich Messthaler













Maria Cristina Kiehr, Rosa Dominguez





































René Jacobs


























Δείτε επίσης – See also

Barbara Strozzi: Cantata "Che si puo fare" – Ensemble der Schola Cantorum Basiliensis

The best posts of 2014 – Οι καλύτερες δημοσιεύσεις του 2014

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