Robert Smith, Pieter-Jan Belder, Rie Kimura, Fantasticus - Buxtehude: Complete Chamber Music (2025) [Hi-Res]
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BAND/ARTIST: Robert Smith, Pieter-Jan Belder, Rie Kimura, Fantasticus
- Title: Buxtehude: Complete Chamber Music
- Year Of Release: 2025
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz +Booklet
- Total Time: 03:19:04
- Total Size: 1.09 / 3.81 gb
- WebSite: Album Preview
Tracklist
01. Trio Sonata, Op. 1 No. 1 in F Major, BUXWV 252
02. Trio Sonata, Op. 1 No. 2 in G Major, BUXWV 253
03. Trio Sonata, Op. 1 No. 3 in A Minor, BUXWV 254
04. Trio Sonata, Op. 1 No. 4 in B-Flat Major, BUXWV 255
05. Trio Sonata, Op. 1 No. 5 in C Major, BUXWV 256
06. Trio Sonata, Op. 1 No. 6 in D Minor, BUXWV 257
07. Trio Sonata, Op. 1 No. 7 in E Minor, BUXWV 258
08. Trio Sonata, Op. 2 No. 1 in B-Flat Major, BUXWV 259
09. Trio Sonata, Op. 2 No. 2 in G Major, BUXWV 260
10. Trio Sonata, Op. 2 No. 3 in D Minor, BUXWV 261
11. Trio Sonata, Op. 2 No. 4 in C Minor, BUXWV 262
12. Trio Sonata, Op. 2 No. 5 in A Major, BUXWV 263
13. Trio Sonata, Op. 2 No. 6 in E Major, BUXWV 264
14. Trio Sonata, Op. 2 No. 7 in F Major, BUXWV 265
15. Sonata in F Major, BUXWV 269
16. Sonata in D Minor
17. Sonata in D Major, BUXWV 267
18. Sonata in G Major, BUXWV 271
19. Sonata in D Major, BUXWV 64
20. Sonata in D Minor (2)
21. Sonata in a M, BUXWV 272
22. Sonata in D Major, BUXWV 268
23. Sonata & Suite in B-Flat Major, BUXWV 273
24. Sonata & Suite in B-Flat Major, BUXWV 273: I. Allemande
25. Sonata & Suite in B-Flat Major, BUXWV 273: II. Courante
26. Sonata & Suite in B-Flat Major, BUXWV 273: III. Sarraband
27. Sonata & Suite in B-Flat Major, BUXWV 273: IV. Gigue
28. Sonata in C Major, BUXWV 266
New recordings which have the field almost to themselves in an overlooked corner of Buxtehude’s output.
‘One of the world’s most prolific harpsichordists’ (Gramophone), Pieter-Jan Belder now leads this comprehensive and often revelatory survey of the surviving chamber music by Dieterich Buxtehude. Comprising eight musicians active on the Dutch early-music scene, Ensemble Fantasticus presents the only complete set of this music on record, making it an essential acquisition for all Baroque-music enthusiasts, further enhanced by detailed notes on both composer and works by Jon Baxendale.
Buxtehude became the Cantor of the Marienkirche in Lübeck in 1668, at the age of 31. This would be his last church post. Bach undertook his famous journey by foot to Lübeck in 1705 – 37 years later – indicating the longevity of Buxtehude’s career. His duties required him to focus on writing music for the church, and only latterly did he turn to chamber music (much in the way that Bach did during his last decade). The seven sonatas of Op.1 were published in 1694, and Op.2 appeared two years later; these collections represent the only known examples of his music printed during his lifetime.
Buxtehude seems to have regarded the two collections as a unity, which emerges from study of their instrumentation and key structure. Seven might also be significant since it represents the number of notes in the diatonic scale and is also a number steeped in mysticism and symbolism. It also symbolises the humours of the seven planets, which Buxtehude is reputed to have described musically when encountering the astronomical clock at the Marienkirche.
Considered together, the 14 sonatas (all scored for one or two solo instruments plus continuo, with strings in mind) open up an unparalleled universe of rhetorical expression that never fails to surprise or move the listener. The collection also includes unpublished pieces which round out our grasp of Buxtehude as an instrumental composer: a further 10 sonatas, not easy to date within the composer’s career, but full of striking ideas such as the ground-bass passacaglia underpinning an A minor Trio Sonata.
01. Trio Sonata, Op. 1 No. 1 in F Major, BUXWV 252
02. Trio Sonata, Op. 1 No. 2 in G Major, BUXWV 253
03. Trio Sonata, Op. 1 No. 3 in A Minor, BUXWV 254
04. Trio Sonata, Op. 1 No. 4 in B-Flat Major, BUXWV 255
05. Trio Sonata, Op. 1 No. 5 in C Major, BUXWV 256
06. Trio Sonata, Op. 1 No. 6 in D Minor, BUXWV 257
07. Trio Sonata, Op. 1 No. 7 in E Minor, BUXWV 258
08. Trio Sonata, Op. 2 No. 1 in B-Flat Major, BUXWV 259
09. Trio Sonata, Op. 2 No. 2 in G Major, BUXWV 260
10. Trio Sonata, Op. 2 No. 3 in D Minor, BUXWV 261
11. Trio Sonata, Op. 2 No. 4 in C Minor, BUXWV 262
12. Trio Sonata, Op. 2 No. 5 in A Major, BUXWV 263
13. Trio Sonata, Op. 2 No. 6 in E Major, BUXWV 264
14. Trio Sonata, Op. 2 No. 7 in F Major, BUXWV 265
15. Sonata in F Major, BUXWV 269
16. Sonata in D Minor
17. Sonata in D Major, BUXWV 267
18. Sonata in G Major, BUXWV 271
19. Sonata in D Major, BUXWV 64
20. Sonata in D Minor (2)
21. Sonata in a M, BUXWV 272
22. Sonata in D Major, BUXWV 268
23. Sonata & Suite in B-Flat Major, BUXWV 273
24. Sonata & Suite in B-Flat Major, BUXWV 273: I. Allemande
25. Sonata & Suite in B-Flat Major, BUXWV 273: II. Courante
26. Sonata & Suite in B-Flat Major, BUXWV 273: III. Sarraband
27. Sonata & Suite in B-Flat Major, BUXWV 273: IV. Gigue
28. Sonata in C Major, BUXWV 266
New recordings which have the field almost to themselves in an overlooked corner of Buxtehude’s output.
‘One of the world’s most prolific harpsichordists’ (Gramophone), Pieter-Jan Belder now leads this comprehensive and often revelatory survey of the surviving chamber music by Dieterich Buxtehude. Comprising eight musicians active on the Dutch early-music scene, Ensemble Fantasticus presents the only complete set of this music on record, making it an essential acquisition for all Baroque-music enthusiasts, further enhanced by detailed notes on both composer and works by Jon Baxendale.
Buxtehude became the Cantor of the Marienkirche in Lübeck in 1668, at the age of 31. This would be his last church post. Bach undertook his famous journey by foot to Lübeck in 1705 – 37 years later – indicating the longevity of Buxtehude’s career. His duties required him to focus on writing music for the church, and only latterly did he turn to chamber music (much in the way that Bach did during his last decade). The seven sonatas of Op.1 were published in 1694, and Op.2 appeared two years later; these collections represent the only known examples of his music printed during his lifetime.
Buxtehude seems to have regarded the two collections as a unity, which emerges from study of their instrumentation and key structure. Seven might also be significant since it represents the number of notes in the diatonic scale and is also a number steeped in mysticism and symbolism. It also symbolises the humours of the seven planets, which Buxtehude is reputed to have described musically when encountering the astronomical clock at the Marienkirche.
Considered together, the 14 sonatas (all scored for one or two solo instruments plus continuo, with strings in mind) open up an unparalleled universe of rhetorical expression that never fails to surprise or move the listener. The collection also includes unpublished pieces which round out our grasp of Buxtehude as an instrumental composer: a further 10 sonatas, not easy to date within the composer’s career, but full of striking ideas such as the ground-bass passacaglia underpinning an A minor Trio Sonata.
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