Wachet auf, ruft uns die Stimme BuxWV 101
O clemens, o mitis BuxWV 82
Gen Himmel zu dem Vater mein BuxWV 32
Surrexit Christus hodie BuxWV 99
Lauda anima mea Dominum BuxWV 67
Mein Herz ist bereit BuxWV 73
Singet dem Herrn ein neues Lied BuxWV 98
Canon BuxWV 121
Gigue BuxWV 121
Meine Seele, willtu ruhn BuxWV 74
Herr, ich lasse dich nicht BuxWV 36
Wachet auf, ruft uns die Stimme BuxWV 100
O Gottes Stadt, o güldnes Licht BuxWV 87
Wie soll ich dich empfangen BuxWV 109
Sicut Moses exaltavit serpentem BuxWV 97
Salve desiderium, salve clamor gentium BuxWV 93
Gott hilf mir, denn das Wasser geht mir bis an die Seele BuxWV 34 16

Ton Koopman and the Amsterdam Baroque Orchestra now have come to the end of their project to record D. Buxtehude’s Opera Omnia, the complete vocal and instrumental works.

In the succession of Franz Tunder in Lübeck Buxtehude broadened the scope and format of vocal composition by adding sophisticated strophic arias, increasing the role of instrumental ensembles, refining instrumental textures of the vocal scores, and making multi- movement structures are more normative feature in sacred music. His compositions are based on one side on Latin works, p.e. “O Clemens, o mitis”, the second part of his works are settings of Lutheran hymn texts, p.e. “Wachet auf, ruft uns die Stimme”. And on the other hand her made settings of pietist poems. The pietist movement became prominent in later 17th-century Lutheran Germany and several lyrical texts set by Buxtehude reflect this leaning toward reflective individual piety. “Meine Seele, willtu ruhn” (BuxWV 74) and “O Gottes Stadt, o güldnes Licht” (BuxWV 87) represent particularly prominent examples of sacred arias.

„ It has been an extraordinary experience to study and record so many works that have rarely if ever been performed. For example: Composed by Buxtehude for his ‘amico’ the Kappelmeister Gustav Düben in Stockholm, Membra Jesu Nostri (BuxWV 75) was little known around 1980. Now the work enjoys wide renown, appearing on many CD recordings. Singers, choirmasters and instrumentalists please take note: there is much more! Listen to this music and study and perform it. Buxtehude deserves it.“ Ton Koopman