The works recorded here illustrate Buxtehude?s masterful command of the huge variety of styles that characterized the sacred cantata in Germany during the seventeenth century. Each begins with an instrumental passage, and ... more »sung text is interspersed with instrumental responses, sometimes in strophic form. In the larger cantatas for all three voices, the music allows for the maximum of contrast, whereas the four solo cantatas give a more intimate expression of Buxtehude?s craft. Into the latter category falls the extremely virtuosic Jubilate Domino, one of Buxtehude?s best-known cantatas.« less
The works recorded here illustrate Buxtehude?s masterful command of the huge variety of styles that characterized the sacred cantata in Germany during the seventeenth century. Each begins with an instrumental passage, and sung text is interspersed with instrumental responses, sometimes in strophic form. In the larger cantatas for all three voices, the music allows for the maximum of contrast, whereas the four solo cantatas give a more intimate expression of Buxtehude?s craft. Into the latter category falls the extremely virtuosic Jubilate Domino, one of Buxtehude?s best-known cantatas.
CD Reviews
Excellent and promising recording
Steven Guy | Croydon, South Australia | 08/07/2005
(5 out of 5 stars)
"Just a short review from me.
This recording is superb and the singing is very fine, indeed. The countertenor, Matthew White, is new to me and he has a very powerful and rich voice. I look forward to hearing more from him in the future. The cantatas presented here features voices, strings and basso continuo. None of the larger scaled cantatas with clarini, timpani, cornetti, tromboni and fagotti by Buxtehude are featured. However, we have a very beautiful collection of cantatas for voice(s) and small string instrumental groups. The works are sublime.
Many may already know the Jubilate Domino, BuxWV 64 from other recordings. Matthew White's interpretation is a very contender.
The Aradia Ensemble goes from strength to strength - last year they gave us a fine rendition of Rameau's Castor et Pollux and more recently they have made one of the most delightful CDs of 2005 - the 8 Symphonies of William Boyce (also on NAXOS). This Buxtehude CD will reinforce their reputation as one of the Baroque music groups that is really making entertaining, expressive, stylish, colourful and wonderful recordings these days.
Impressive? You betcha!"
Buxtehude Cantatas in Sparkling Performances
J Scott Morrison | Middlebury VT, USA | 12/21/2004
(4 out of 5 stars)
"The Aradia Ensemble has become one of Canada's, and the world's, best baroque groups. They have now recorded more than a dozen CDs on the Naxos label. This is, as far as I know, their first go at the music of Dietrich Buxtehude (ca. 1637-1707) but one hopes it won't be their last. This CD contains six sacred cantatas, all for solo singers or small vocal ensembles accompanied by small instrumental group (including at times baroque violins, viola, cello, viola da gamba, violone, theorbo and positif organ) all led by Kevin Mallon. The styles vary according to the forces called for. All have instrumental introductions, the complexity of which is determined by the form of the subsequent text and its treatment for voices and instruments. Most familiar is 'Jubilate Domino' sung with laserlike intonation and sweet tone by countertenor Matthew White. This 9-minute hymn of praise begins with a long string/organ introduction that gives us materials that are then used in the florid sung line. The form is semi-strophic, with solo instrumental intermezzi between the verses. White's solo singing is also heard in 'Jesu, meine Freud und Lust,' and 'Wenn ich, Herr Jesu, habe dich' as well as in the three cantatas that call for the singing of all three soloists. He is clearly the star of this issue and one predicts a big career for him.
Katherine Hill, a clear-voiced soprano of the Emma Kirkby stripe, is heard in another solo cantata, 'Sicut Moses' ('As Moses lifted up the serpent in the wilderness, even so must the Son of man be lifted up'). The three soloists (including bass Paul Grindlay) are heard together in three other cantatas, 'Was frag' ich nach der Welt, 'In te, Domine, speravi,' and the dramatic 9-minute 'Wie schmeckt es so lieblich und wohl' ('How lovely and good the saviour') with its introduction and instrumental ritornelli, passages for combined voices as well as those for each of the soloists. This is a virtuoso work, calling for exciting (and expertly done) fioriture from the singers and solo playing from the instrumentalists.
The CD also contains the familiar Passacaglia in D minor, BuxWV 161 (originally for organ) arranged by Mallon for strings. I prefer it on the organ, but it is nonetheless an effective transcription. (It might be added that pitch on this CD seems to be pretty close to modern concert A=440, not radically lowered as it so often is in baroque recordings.) Sound is clean and lifelike.
Scott Morrison"
Exquisite CD
Merrilea | Toronto | 04/27/2006
(5 out of 5 stars)
"The two previous reviewers did a wonderful job which I won't even attempt topping as it would be impossible. But I must say that I agreed completely that Matthew White is superb, particularly on this disk. He shines on "Jesu meine Freud und Lust", I play it over and over... its just a masterpiece and I never really remember what it means in English and it doesn't matter, I love it."
A voice teacher and early music fan
Merrilea | 05/21/2008
(5 out of 5 stars)
"THE CANADIANS MAKE THEIR MARK WITH THE GERMAN BUXTEHUDE!
Dietrich Buxtehude (1637-1707) was the leading member of the Germano-Danish musical school that flourished during his lifetime, and his organ music was widely influential. A prolific composer of both sacred and secular music, Buxtehude wrote over 120 sacred cantatas for St.Mary's, Lubeck, where he had the prestigious and highly-paid position of 'Werkmeister'.
The works here recorded illustrate Buxtehude's masterful command of the huge variety of styles that characterized the sacred cantata in Germany during the 17th century. All begin with an instrumental passage, and sung text is interspersed with instrumental responses, sometimes in strophic form. In the larger cantatas for all three voices (no tenor), the music allows for the maximum of contrast, whereas the four solo cantatas (1 sop.- 3 countertenor) give a more intimate expression of Buxtehude's craft. Into the latter category fall the extremely(much recorded) virtuostic 'Jubilate Domino', one of his best known cantatas.
This performance by the Toronto-based ensemble 'Aradia' is of the highest quality. The singers are obviously well-trained and very skillful in this music; as are the instrumentalists playing on period instruments. Mention must be made of Matthew White's excellent contribution, especially that of 'Jubilate Domino'. I have this by four other countertenors, all of whom I respect for their ability. But White seems to come closest to emulating that full-bodied operatic emotional type sound as produced by , for example: Michael Chance, David Cordier, Lawrence Zazzo and David Daniels. This is the sound that I personally enjoy; forget the 'hootiness' thin-type and sometimes nasal tone production and non-emotional renderings of many falsettists who will go unnamed.
Not to neglect soprano Katherine Hill whose voice soars effortlessly through her solo 'Sicut Moses' and Paul Grindlay (bass-baritone) who sings clearly without the 'rumble' that some low bassos seem to produce.
The instrumentalists, led competantly by Kevin Mallon, tend to use a more romantic and sustained type accompaniment that somehow suits the rest of the rendition.. This performance is a credit to all involved.
Track Listings (8) - Disc #1