Wykonawcy
Catherine Manson, violin David Rabinovich, violin Jonathan Manson, viola da gamba Paolo Pandolfo, viola da gamba Ton Koopman, harpsichord and organ Mike Fentross, lute Christine Sticher, violone
CD 1 - Sonatas from manuscript sources: Sonata in C for two violins, viola da gamba and basso continuo, BuxWV 266 Sonata in a for violin, viola da gamba and basso continuo, BuxWV 272 Sonata in D for viola da gamba, violone and basso continuo, BuxWV 267 Sonata (with Suite) in B flat for violin, viola da gamba and basso continuo, BuxWV 273 Sonata in d for violin, viola da gamba and basso continuo, BuxWV Anh. 5 Sonata in G for two violins, viola da gamba and basso continuo, BuxWV 271 Sonata in D for viola da gamba and basso continuo, BuxWV 268 Sonata in F for two violins, viola da gamba and basso continuo, BuxWV 269
CD 2 - Trio sonatas Opus 1: Sonata in F Op. 1 nr. 1, BuxWV 252 Sonata in G Op. 1 nr. 2, BuxWV 253 Sonata in a Op. 1 nr. 3, BuxWV 254 Sonata in B flat Op. 1 nr. 4, BuxWV 255 Sonata in C Op. 1 nr. 5, BuxWV 256 Sonata in d Op. 1 nr. 6, BuxWV 257 Sonata in e Op. 1 nr. 7, BuxWV 258
CD 3 - Trio sonatas Opus 2: Sonata in B flat op.2 nr.1, BuxWV 259 Sonata in D op.2 nr.2, BuxWV 260 Sonata in g op.2 nr. 3, BuxWV 261 Sonata in c op.2 nr. 4, BuxWV 262 Sonata in A op.2 nr. 5, BuxWV 263 Sonata in E op.2 nr. 6, BuxWV 264 Sonata in F op.2 nr. 7, BuxWV 265
Dieterich Buxtehude’s chamber works today counts among the least known of his compositions. They were already forgotten soon after 1700, and this despite the fact that two third of Buxtehude’s chamber sonatas, unlike any other category in the composers creative output, were published during his lifetime. The publication of sonatas indicates that there was a market for this repertoire in the later 17th century. Moreover, the publication of two sets of such works suggests that the fame of the Lübeck master and the success of the first set must have created the demand for a second. However, the primary reason for these works getting out of fashion by the time of Buxtehude’s death was their unconventional instrumental scoring and, more importantly, the triumphant rise of the modern Italian trio sonata by Corelli, Albinoni, and others in the early 18th century.
Buxtehude’s chamber music repertoire consists of altogether twenty-two works. All of Buxtehude’s chamber works present highly sophisticated compositions that belong among the most attractive and technically most demanding examples of the genre of ensemble sonata, then still in its infancy. They resemble in many ways the six sonatas of the Hortus musicus (Hamburg, 1688) by Buxtehude’s colleague and friend, Johann Adam Reinken, organist at St. Catherine’s Church in Hamburg. But like Reinken’s pieces, they were influenced by Italian models, especially the instrumental sonatas by the Venetian composer Giovanni Legrenzi (1626-1690), which were circulating widely also in Northern Europe. At the same time, they deeply reflect the improvisational, fanciful, expressive and colorful mannerisms of Buxtehude and his school, which the writer Johann Mattheson in 1739 referred to as “stylus fantasticus”. Recordings: February 2010, Waalse Kerk Amsterdam (NL) (CD 1); May 2010, Geertekerk Utrecht (NL) (CD 2); December 2010 and October 2011, Waalse Kerk Amsterdam (CD 3). David Rabinovich plays a violin built by Georg Klotz, ca 1754.
Sonata in C for two violins, viola da gamba and basso continuo, BuxWV 266
