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Penguin Guide, January 2009

An outstanding recital to show the full range and scope of Buxtehude’s keyboard writing. The key work here is La Capricciosa, a set of 32 greatly diverse variations on a German folk melody. (It even, in variation 27, includes a parody of a bad harpsichordist!) The two Praeludia are written in the very free style known as stylus phantasicus. The Suite in G minor is particularly attractive, while the Chorale Partita is in a hybrid format, using the same four dance movements to characterize the variants of the chorale theme. Wilson plays with great flair, and in addition provides excellent back-up documentation. He uses a modern copy of a 1626 Ruckers, which is vividly if somewhat resonantly recorded; this means that one needs to set not too high a volume in the opening virtuoso G major Toccata.



Johan van Veen
MusicWeb International, November 2006

Dietrich Buxtehude died in 1707 and event which will be commemorated next year. This has given the Dutch keyboard player and conductor Ton Koopman cause to start a complete recording of Buxtehude's extant works. This will take in all of Buxtehude’s compositions for keyboard including those without a pedal part. This aspect of the oeuvre is generally thought to be neglected by modern interpreters of baroque keyboard music. In fact the situation isn't as bad as one might think. As far as I can remember even in the vinyl era two complete recordings of Buxtehude's harpsichord works were released. And more recently Mitzi Meyerson, Lars Ulrik Mortensen and Rinaldo Alessandrini have recorded a selection of the harpsichord music. But Buxtehude's name appear only infrequently on harpsichord concert programmes. And Glen Wilson is certainly right when he writes in the booklet of this disc that "Buxtehude's large corpus of brilliant organ music has overshadowed his equally impressive vocal and instrumental music". The same could also have been said of his harpsichord works. One can only hope that the Buxtehude commemoration in 2007 is going to change all that. After all the last Buxtehude year (1987) contributed to the growing popularity of his chamber music and some vocal works, in particular the cantata cycle Membra Jesu nostri. This disc of harpsichord music is a good starting point to get acquainted with this part of Buxtehude's catalogue not that it is represents a very large corpus although the music is of high quality. It is rather surprising that none of it was ever published during the composer’s lifetime, a fact which two of Germany's most prominent writers about music in the 18th century, Johann Mattheson and Johann Gottfried Walther, deeply regretted. According to Glen Wilson Buxtehude's pieces for harpsichord "seem at first glance rather conventional. They are deceptively simple, like Scarlatti or Mozart. It is hoped that this recording will contribute to a re-evaluation of Buxtehude as one of the finest German composers for the harpsichord of the seventeenth century, the only one worthy of mention in the same breath with Froberger. He did what Bach did half a century later: he took the forms he saw around him, French suites, Italian toccatas and canzonas, variation techniques from the German Sweelinck-school and later on from Rome, and made them unmistakably his own." This disc contains pieces that reflect these different influences. In his suites Buxtehude makes use of the 'style brisé' of the French lute composers of the 17th century, which French harpsichord composers adopted. The Suite in g minor follows the French pattern in its sequence of four dances: allemande, courante, sarabande and gigue. This disc contains another suite, which can't be immediately recognized from its title: the chorale partita 'Auf meinen lieben Gott' isn't like chorale partitas by other German composers like Georg Böhm or - later - Johann Sebastian Bach. The variations on the chorale are written in the form of dances: the set starts with an allemande and its 'double', and continues with a sarabande, a courante and a gigue. A piece like this shows that there is no watershed between music played in church and at home. This chorale partita was probably first and foremost written to be played on the harpsichord at home, but there is no reason why it couldn't be played in church. And the use of sacred themes, like hymn tunes, in harpsichord music wasn't uncommon: Buxtehude's contemporary Georg Böhm composed several chorale partitas for keyboard without pedal. These can be played both on harpsichord and organ. The Italian style is represented by the Toccata in G which opens this disc. And just like the Italian composers of keyboard music Buxtehude isn't afraid of some pretty strong dissonances here and there. The two preludes, on the other hand, are typical examples of the German 'stylus phantasticus', the features of which are frequent runs, sudden shifts in tempo and rhythm and the alternation of imitative and free improvisatory sections. The largest work on this disc is a set of variations on the Bergamasca, although the subject isn't mentioned in its title. As Glen Wilson writes, there are many similarities between these variations and the Goldberg Variations by J.S. Bach. One example of this is that the same subject, known in Germany as 'Kraut und Rüben', is quoted in the Quodlibet from the Goldberg Variations. Wilson believes that Bach here paid homage to the master whom he admired and who had such a strong influence on him. Wilson has made an interesting and representative choice from Buxtehude's oeuvre. He uses a fine instrument, a copy of a Ruckers from 1626, built by Jan van Schevikhoven in Helsinki. The two manuals are used to great effect to underline the contrasts between sections. Some sections are played on the upper manual, others on the lower, which is sometimes coupled with the upper manual. This way dynamic contrasts can be created. Wilson's style is strongly gestural and rhetorical, with clear articulation. As a result this disc is a very eloquent plea for the harpsichord music of Dietrich Buxtehude.



Fanfare, September 2005

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7:51:02 PM, 26 December 2014
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