Even not a lot of time ago Dietrich Buxtehude was more known for being Bach's mentor and for his role as organist and composer of the virtuous School of the North of Germany, in that order.
Some years would pass before his kammermusik -in spite of that it is a very small part of his work- was revealed in all its force by ensembles such as the Boston Museum Trio, John Holloway with ter Linden and Mortensen, Music Antiqua Koln or Ton Koopman among others.
Nowadays that so restricted vision has stayed in the past and Buxtehude occupies a place among the Big Baroques, both for his magnificent vocal work and for his orgelwerke, and certainly, for his chamber music.
This way of panoramic it is the vision that offers us Christophe Coin and Ensemble Baroque de Limoges in this album: two cantatas, a funeral elegy, two chamber sonatas and three works for keyboard. All joined by a conductive thread, the presence of the viola da gamba playing roles so much of soloist as of continuo.
In the Sonatas Opus 1 Coin offers us an impeccable and incisive delivery, choosing energetic tempos and delivering one of the soloists voices -usually a violin- to the viola da gamba. Jan-Willem Jansen manages with property in the stylus phantasticus that there demand the prelude, the coral and the toccata for organ (performed in an authentic organ preserved in the Eglise-Musée des Augustins in Toulousse), in spite of that some critics consider him less endowed than Chapuis or Vogel. In what concerns the cantatas, Tauran and Del Pozo carry out a correct performance, impeded partly by the balance of the recording that emphasizes the instruments. The most powerful number of the disc is the Klaglied -for soprano, two violas and continuo-, composed by Buxtehude when his father died, who delivers sounds sublime and full of emotion in a monumental four-part conterpoint.
Some years would pass before his kammermusik -in spite of that it is a very small part of his work- was revealed in all its force by ensembles such as the Boston Museum Trio, John Holloway with ter Linden and Mortensen, Music Antiqua Koln or Ton Koopman among others.
Nowadays that so restricted vision has stayed in the past and Buxtehude occupies a place among the Big Baroques, both for his magnificent vocal work and for his orgelwerke, and certainly, for his chamber music.
This way of panoramic it is the vision that offers us Christophe Coin and Ensemble Baroque de Limoges in this album: two cantatas, a funeral elegy, two chamber sonatas and three works for keyboard. All joined by a conductive thread, the presence of the viola da gamba playing roles so much of soloist as of continuo.
In the Sonatas Opus 1 Coin offers us an impeccable and incisive delivery, choosing energetic tempos and delivering one of the soloists voices -usually a violin- to the viola da gamba. Jan-Willem Jansen manages with property in the stylus phantasticus that there demand the prelude, the coral and the toccata for organ (performed in an authentic organ preserved in the Eglise-Musée des Augustins in Toulousse), in spite of that some critics consider him less endowed than Chapuis or Vogel. In what concerns the cantatas, Tauran and Del Pozo carry out a correct performance, impeded partly by the balance of the recording that emphasizes the instruments. The most powerful number of the disc is the Klaglied -for soprano, two violas and continuo-, composed by Buxtehude when his father died, who delivers sounds sublime and full of emotion in a monumental four-part conterpoint.
