Par BUXTEHUDE DIETRICH. This setting of Luther’s hymn perfectly typifies the basic concept of a chorale cantata as Buxtehude probably envisaged it. The first two verses are set, line by line, in a four-part homophonic texture. The two violins add interludes to the chorale, and lead in a kind of ritornello to the next verse. In the third and last verse Buxtehude departs from this model as the violins also play the chorale, and in which the lines of the hymn follow each _x000D_other without a break. This cantata has come down to us in a tabulatur from the Düben Collection. It belongs in the context of a number of chorale cantatas which were copied around 1685. / Musique religieuse / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons et Basse Continue

Par BUXTEHUDE DIETRICH. This setting of Luther’s hymn perfectly typifies the basic concept of a chorale cantata as Buxtehude probably envisaged it. The first two verses are set, line by line, in a four-part homophonic texture. The two violins add interludes to the chorale, and lead in a kind of ritornello to the next verse. In the third and last verse Buxtehude departs from this model as the violins also play the chorale, and in which the lines of the hymn follow each _x000D_other without a break. This cantata has come down to us in a tabulatur from the Düben Collection. It belongs in the context of a number of chorale cantatas which were copied around 1685. / Musique religieuse / Répertoire / Choeur SATB, 2 Violons et Basse Continue

Par BUXTEHUDE DIETRICH. Das neugeborne Kindelein (The newborn babe, the heavenly child) (BuxWV 13) for Mixed choir (SATB), Strings, Basso continuo Dietrich Buxtehude (1637-1707) was Organist of the St Marien church in Lubeck from 1668 until his death. He wrote many works for specific secular occasions, feasts and celebrations etc. and although his positon did not require him to compose vocal music he left over 120 vocal works in a wide range of scorings, style and length. Almost all texts are sacred and scorings vary from a single voice with instrument to nine voices with several instruments and continuo. Dietrich Buxtehude's Cantata forfour part chorus is suited remarkably well for the Christmas services as well as the general religious services which choruses take part in every year. This opulent-sounding work possesses its every own special Christmas magic. It is a piece which can claim a place in the repertoire of many choruses. - Score with parts (BA717), separate parts (BA717) and choral score (BA717-91) available for sale/ Répertoire / SATB

Par BUXTEHUDE DIETRICH. This setting of Luther’s hymn perfectly typifies the basic concept of a chorale cantata as Buxtehude probably envisaged it. The first two verses are set, line by line, in a four-part homophonic texture. The two violins add interludes to the chorale, and lead in a kind of ritornello to the next verse. In the third and last verse Buxtehude departs from this model as the violins also play the chorale, and in which the lines of the hymn follow each other without a break. This cantata has come downto us in a tabulatur from the Düben Collection. It belongs in the context of a number of chorale cantatas which were copied around 1685. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons et Basse Continue

Par BUXTEHUDE DIETRICH. This work has survived in an autograph, unfortunately undated, preserved in the Düben Collection. The cantata is a setting of Ecclesiasticus 50, verses 24–26. This composition is one of the most richly scored vocal compositions of Buxtehude. A ritornello, which includes a fanfare of trumpets, and a longer vocal section based on “Nun danket alle Gott” create the work’s structure. In Nun danket alle Gott Buxtehude indicated in detail, in at least one instance, the use of an a cappella entrance of the choir. If the sections without instrumental accompaniment are sung by soloists, the choir is added in the tutti passages. / Date parution : 2007-01-01/ Répertoire / Choeur SSATB, 2 Cornets à Bouquin, 2 TrompetteSBas

Par BUXTEHUDE DIETRICH. This work has survived in an autograph, unfortunately undated, preserved in the Düben Collection. The cantata is a setting of Ecclesiasticus 50, verses 24–26. This composition is one of the most richly scored vocal compositions of Buxtehude. A ritornello, which includes a fanfare of trumpets, and a longer vocal section based on “Nun danket alle Gott” create the work’s structure. In Nun danket alle Gott Buxtehude indicated in detail, in at least one instance, the use of an a cappella entrance of the choir. If the sections without instrumental accompaniment are sung by soloists, the choir is added in the tutti passages. / Date parution : 2007-01-01/ Répertoire / Choeur SSATB, 2 Cornets à Bouquin, 2 TrompetteSBas

Par BUXTEHUDE DIETRICH. This work has survived in an autograph, unfortunately undated, preserved in the Düben Collection. The cantata is a setting of Ecclesiasticus 50, verses 24–26. This composition is one of the most richly scored vocal compositions of Buxtehude. A ritornello, which includes a fanfare of trumpets, and a longer vocal section based on “Nun danket alle Gott” create the work’s structure. In Nun danket alle Gott Buxtehude indicated in detail, in at least one instance, the use of an a cappella entrance of the choir. If the sections without instrumental accompaniment are sung by soloists, the choir is added in the tutti passages. / Date parution : 2007-01-01/ Répertoire / Choeur SSATB, 2 Cornets à Bouquin, 2 TrompetteSBas

Par BUXTEHUDE DIETRICH. This cantata combines two texts: “Erhalt uns Herr bei deinem Wort” and “Verleih uns Frieden gnädiglich. ” The Lübeckisches Gesangbuch of 1703 included both hymns, with a verse by Johann Walter added, to the melody “Erhalt uns Herr. ” This was the basis for Buxtehude’s composition. The copy of the tabulature of this cantata in the Düben Collection can be dated to the summer or autumn months of 1687. The composition consists of a four-part homophonic performance of the chorale verses, with a ritornello played by the accompanying instruments between the verses. A slightly polyphonic “Amen” completes the work. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons, Violon ou Violoncelle et B

Par BUXTEHUDE DIETRICH. This cantata combines two texts: “Erhalt uns Herr bei deinem Wort” and “Verleih uns Frieden gnädiglich. ” The Lübeckisches Gesangbuch of 1703 included both hymns, with a verse by Johann Walter added, to the melody “Erhalt uns Herr. ” This was the basis for Buxtehude’s composition. The copy of the tabulature of this cantata in the Düben Collection can be dated to the summer or autumn months of 1687. The composition consists of a four-part homophonic performance of the chorale verses, with a ritornello played by the accompanying instruments between the verses. A slightly polyphonic “Amen” completes the work. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons, Violon ou Violoncelle et B

Par BUXTEHUDE DIETRICH. This cantata combines two texts: “Erhalt uns Herr bei deinem Wort” and “Verleih uns Frieden gnädiglich. ” The Lübeckisches Gesangbuch of 1703 included both hymns, with a verse by Johann Walter added, to the melody “Erhalt uns Herr. ” This was the basis for Buxtehude’s composition. The copy of the tabulature of this cantata in the Düben Collection can be dated to the summer or autumn months of 1687. The composition consists of a four-part homophonic performance of the chorale verses, with a ritornello played by the accompanying instruments between the verses. A slightly polyphonic “Amen” completes the work. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons, Violon ou Violoncelle et B

Par BUXTEHUDE DIETRICH. This cantata combines two texts: “Erhalt uns Herr bei deinem Wort” and “Verleih uns Frieden gnädiglich. ” The Lübeckisches Gesangbuch of 1703 included both hymns, with a verse by Johann Walter added, to the melody “Erhalt uns Herr. ” This was the basis for Buxtehude’s composition. The copy of the tabulature of this cantata in the Düben Collection can be dated to the summer or autumn months of 1687. The composition consists of a four-part homophonic performance of the chorale verses, with a ritornello played by the accompanying instruments between the verses. A slightly polyphonic “Amen” completes the work. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons, Violon ou Violoncelle et B

Par BUXTEHUDE DIETRICH. This cantata combines two texts: “Erhalt uns Herr bei deinem Wort” and “Verleih uns Frieden gnädiglich. ” The Lübeckisches Gesangbuch of 1703 included both hymns, with a verse by Johann Walter added, to the melody “Erhalt uns Herr. ” This was the basis for Buxtehude’s composition. The copy of the tabulature of this cantata in the Düben Collection can be dated to the summer or autumn months of 1687. The composition consists of a four-part homophonic performance of the chorale verses, with a ritornello played by the accompanying instruments between the verses. A slightly polyphonic “Amen” completes the work. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons, Violon ou Violoncelle et B

Par BUXTEHUDE DIETRICH. In the tradition of Protestant missa brevis compositions, the music of this Mass was written in the so-called stile antico” following 16th-century models and known as Palestrina style. The surviving copy, in the Düben Collection, dates from 1675. Buxtehude adopted the strict form of the “stile antico, ” contrapuntal polyphony without instrumental accompaniment for various compositions of the same period, including Mit Fried und Freud ich fahr dahin BuxWV 76, written on the death of his father. The Missa brevis consists of the Kyrie and Gloria of the Ordinarium, so it is a “Lutheran Mass”; in 17th-century Protestant services these sections of the Mass were sung in Latin. / Messe / Répertoire / Choeur SSATB et Basse Continue

Par BUXTEHUDE DIETRICH. Buxtehude took the melody and words from the evening hymn Christ, der du bist der helle Tag. The words are embellished with coloratures and a change of meter enhances the work’s charme. This composition goes beyond the bounds of a straightforward chorale cantata through its use of concertante elements, which also applies the voice parts. The title of this work, on a copy made by Gustav Düben, refers to the accompanying violin parts in the words “con due vel piu violini”. This may indicate that each part should be played by several instrumentalists. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons, Violon ou Violoncelle et B

Par BUXTEHUDE DIETRICH. Buxtehude took the melody and words from the evening hymn Christ, der du bist der helle Tag. The words are embellished with coloratures and a change of meter enhances the work’s charme. This composition goes beyond the bounds of a straightforward chorale cantata through its use of concertante elements, which also applies the voice parts. The title of this work, on a copy made by Gustav Düben, refers to the accompanying violin parts in the words “con due vel piu violini”. This may indicate that each part should be played by several instrumentalists. / Date parution : 2007-01-01/ Répertoire / Choeur SATB, 2 Violons, Violon ou Violoncelle et B