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Jauchzet Dem Herren: The Psalms of David In 17th Century Northern Germany [CD]

La Fenice , Various Artists , Hans-Jorg Mammel Audio CD

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song TitleArtist Time Price
Listen  1. Dixit Dominus Domino meo, BuxWV 17Hans Jorg Mammel 8:35Album Only
Listen  2. Ludi Musici, Part I, No. 18: Canzon Cornetto A 4, Sswv 56Fenice, La 3:17£0.59  Buy MP3 
Listen  3. Aus der tiefe rufe ich, Herr, zu DirHans Jorg Mammel 7:31£0.59  Buy MP3 
Listen  4. Erstlinge musicalischer Andachten: Jauchzet Gott alle LandHans Jorg Mammel 3:33£0.59  Buy MP3 
Listen  5. Sonata a 4Fenice, La 5:57£0.59  Buy MP3 
Listen  6. Fried- und Freudenreiche Hinfahrt, BuxWV 76: No. 1. Mit Fried und FreudHans Jorg Mammel 8:51Album Only
Listen  7. Prelude and Fugue No. 2 in E minorDavid Bouwel 5:15£0.59  Buy MP3 
Listen  8. Concerto, Op. 1, No. 6, "Aus der Tiefe ruf' ich, Herr, zu dir"Hans Jorg Mammel 6:09£0.59  Buy MP3 
Listen  9. O hochster GottHans Jorg Mammel 3:05£0.59  Buy MP3 
Listen10. Frohlicher Sommerzeit: Chanson a 4Fenice, La 4:21£0.59  Buy MP3 
Listen11. Jauchzet dem Herren alle WeltHans Jorg Mammel11:43Album Only


Product Description

Product Description

After the Thirty Years War, a brilliant musical culture was able to flourish in the churches of Northern Germany. Organists such as Buxtehude, Scheidemann, Bruhns or Sommer, started to compose their own works. This new musical culture in the North of Germany fundamentally differed from what was going on in the Center or the South of the country. In these regions there remained a scholarly and speculative conception of music, inspired by the humanist spirit of the Reformation. On the shores of the Baltic and North seas it was the prosperous Hanseatic League which considerably influenced musical life. Aristocrats and burghers insisted that the members of local chapels should be allowed to practice their art, like the organists and musicians attached to the service of the different towns. Thus a generation of musicians was born. Assembled on this disc, their music probably never achieved the recognition it deserved.

Product Description

CD Composer: Various

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Amazon.com: 5.0 out of 5 stars  1 review
2 of 2 people found the following review helpful
5.0 out of 5 stars The Man Who Invented Public Concerts? 22 Dec 2011
By Giordano Bruno - Published on Amazon.com
Format:Audio CD|Amazon Verified Purchase
Another hyperbole, perhaps, but Dietrich Buxtehude (1637-1707) comes as close to deserving that acclaim as anyone. Buxtehude was Danish by language though probably Swedish by birth, but spent the forty most important years of his life in Lübeck, then a wealthy Hanseatic trading port. Buxtehude's official post, from 1668, was at the Marienkirche in Lübeck where he succeeded Franz Tunder as organist, following in the footsteps of his predecessor in proper apprenticeship. He even married Tunder's daughter Anna Margarethe. Buxtehude's father, also an organist, joined the family in Lübeck in 1673 but died just a year later. Buxtehude's post in the free Imperial city of Lübeck afforded him considerable flexibility in his musical career, and his autonomy was a model for the careers of later Baroque masters such as George Frideric Handel, Georg Philipp Telemann and Johann Sebastian Bach, all of whom organized musical occasions for public pleasure and private profit. In 1673 he organized a series of evening musical performances, known as Abendmusik, which attracted musicians from diverse places and remained a feature of the church until 1810. In fact, Franz Tunder had attempted the same feat of producing open concert for the public, but Buxtehude's were far more successful, being financed by donations from the city's leading businessmen. The Abendmusik concerts include vocal and instrumental music, and were presented annually on the five Sundays preceding Christmas. The "Dixit Dominus" that opens this CD performance was composed, not for liturgical use in any church, but for one of Buxtehude's Abendmusik events. It's a showy, spirited piece, well suited for the confident public of North Germany in the decades of economic recovery from the Thirty Years War. the other Buxtehude composition on this CD is of a more affective profundity; "Mit Fried und Freud ich fahr dahin" was Buxtehude's 'requiem' for his beloved father, composed in the year of the father's death. The piece begins with a simple tenor declamation of the well-known Lutheran chorale "With Peace and Joy I Go My Way"; that's followed by an elaborate setting of Buxtehude's own three-stanza poem lamenting his 'loss' of his truest friend and teacher, his father. It's an extraordinarily "personal" poem supported by complex instrumental polyphony of intense musical poignancy.

Nikolaus Bruhns ( (1665-1697) became Buxtehude's pupil at age fifteen. The music he wrote in his short life ranks among the finest in craftsmanship of the era. This CD includes his Prelude anf Fugue in e-moll for organ, played by David Van Bouwel on the restored pre-baroque organ of the church of Mariendrebber, an extremely appropriate choice for the music. Bruhns was less devoutly committed to the unique North German styles of Buxtehude; his Italianate setting of "Jachzet dem Herren" requires a more athletic vocal technique than most German composers would have approved of before Bach.

This recording also presents four eloquent psalm settings by lesser-known North german composers --Johann Förtsch, Julius Wieland, Christoph Bernhard, and Johann Sommer -- and three sumptuous instrumental canzonas by Samuel Scheidt, Matthias Weckmann, and Johann Sommer. Hans Jörg Mammel is the single singer heard in this performance, but with artistry like his no other voice is needed. The instrumental ensemble - La Fenice - is conducted with finesse by Jean Tubery; it includes two cornettos - Tubery himself and Gebhard David - bassoon, bass gamba, cello, theorbo, organ/harpsichord, and two violins. It's hard to conceive, listening to Tubery's lush timbres and astounding digital virtuosity, why the cornetto could have been so near the end of its reign as the 'lead instrument' in Baroque vocal-instrumental compositions.

Obscure as these North German composers have become to modern audiences, they were representative of a highly sophisticated and inspired musical milieu, and their works are better than mere historical curiosities. Of course, excellent performances like this one can make even modest compositions sound like immortal masterworks.
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