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Stereo S-57 Jhis RecorD®

MUSIC GUILD ARTIST SERIES

BUXTEHUDE (1637-1707)

SON ATAS — Op. 1 for Violin, Viola da Gamba and Harpsichord

SUITE — No. 12 in E minor for Harpsichord

CANZONETTAS — In C major and G minor for Regal

Robert Brink, violin

Judith Davidoff, viola da gamba

Daniel Pinkham, harpsichord and regal

Recorded by Music Guild Records, Boston, Mass. Made in U.S.A.

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ARTIST SERIES

DIETRICH BUXTEHUDE (1637-1707)

SIDE ONE

1. Sonata in A minor, Op. 1, no. 3 Adagio—A ilegro—Lento—Vivace— Largo—Presto—Adagio

2. Canzonetta in C major Canzonetta in G minor

3. Sonata in G major, Op. 1, no. 2

Robert Brink, violin

Judith Davidoff, viola da gamba

Daniel Pinkham, harpsichord and regal

SIDE TWO | : 4

1. Sonata in F major, Op. 1, no. 1

Grave—Presto

Vivace—Lento—Allegro—A dagio——Andante—

2. Suite in E minor, No. 12 Allemande—Courante—Sarabande I & II—

Gigue

Lento—Vivace—A dagio—Allegro—Largo-—— 3. Sonata in B flat major, Op. 1, no. 4 Vivace—Allegro—Lento—Allegro Arioso and Variations

Dietrich Buxtehude (1637-1707) was born in Northern Germany near what is now Denmark. His father was an organist and probably his only teacher. In 1641 the family moved to Elsinore, and in 1660 Buxtehude was: appointed organist at St. Mary’s Church there at the age of twenty-three. In 1668 he was called to the post of organist and Werkmeister (supervisor) at the Marienkirche in Liibeck. This was a position of some importance in one of the leading cities of the Hanseatic League, and Buxtehude filled it with devotion and distinction for almost forty years until his death in 1707.

Buxtehude’s life-span falls tidily between those of Schutz (1585- 1672) and Bach (1685-1750). He was strongly influenced by the former and was a dominant influence on the latter. It was a period of great distress in Germany, for the Thirty Years War (1618-1648 ) had impoverished the country’s economy, decimated its population, and created emotional wounds and intellectual divisions which were not to heal for over a century, if ever. The small princely and ducal courts lacked the funds to support musical enterprises or a staff of musical retainers on the scale we associate with the next century. Likewise, the churches could only afford an organist, a small choir (usually unpaid) , and on occasion a few solo voices and instrumentalists. It is not sur- prising that Buxtehude should have written church cantatas for usually one or two voices and a handful of instruments, a large body of organ music, an assortment of chamber music, and some selections for the keyboard.

Despite these limitations, Buxtehude’s skill as an executant and his genius as a composer made Lubeck one of the most important centers for music in Germany of his time. Younger composers such as Georg Bohm, Nikolaus Bruhns, and Vincent Liibeck were in his orbit. His only contemporaries of equal stature were Johann Pachelbel (1653- 1722) in Nuremberg and Johann Kuhnau (1660-1722), Bach's pre- decessor in Leipzig. He instituted the custom of Abendmusiken, an annual festival of five vesper concerts given on the Sundays in Advent. These were continued well into the nineteenth century. Probably the greatest tribute to his ability was the fact that the young Johann Se- bastian Bach travelled some 200 miles on foot to hear him play. More than any composer of his generation he created a distinctively North German style in music.

Buxtehude is best known for his cantatas and organ compositions, but his chamber music and some of his pieces for solo keyboard are of equal stature. Recently, editions of cantatas and instrumental music have succeeded in making much of his music available to the public in Urtext form. The sonatas recorded here are from a set of seven pub- lished as Opus I in 1696. They are dedicated to the Lord Mayor and Town Council.

In the same year he had published another set of seven sonatas for the same combination of instruments as Opus II. These fourteen chamber sonatas plus a few isolated examples remaining chiefly in manuscript dating from his earlier years represent his contribution to the chamber sonata. Buxtehude’s use of the viola da gamba as a second instrument (in contrast to the customary Italian practice of using two violins), enabled him to command a wider tonal range and to exploit the rich, dark timbres of the gamba’s lower register. None of these sonatas is, properly speaking, a trio sonata; he himself called them sonate a doi, and in many sections the viola da gamba doubles the continuo.

The most important portion of Buxtehude’s compositions for key- board was discovered and edited in the 1930's by Emilius Banger, choirmaster of the cathedral at Roskilde in Denmark. He edited the nineteen suites, six sets of variations, and a few miscellaneous ‘pieces which were published by Hansen in 1944.

In contrast to his keyboard music and chamber music, Buxtehude’s organ compositions never disappeared from view. Some were pub- lished during his lifetime, ee as individual pieces, and they re- mained in the organists’ repertoire.

SIDE ONE, band one: Sonata in A minor, Opus I, No. 3

The opening Adagio is a full scale, independent movement, not merely, an introduction. The second movement, Allegro, is a straight-

forward fugue for two voices. The third movement is Lento-Vivace; the Lento section is 17 bars long and leads to the Vivace with a de- scending chromatic passage, a device which recurs later. The Vivace itself is in 3/4 time and is based on two independent themes. Between the third and fourth movements, Buxtehude interpolates a brief Largo which contains a descending chromatic passage. The fourth move- ment is a Presto with much canonic imitation, but it concludes with a 5-bar Adagio passage in which the descending chromatic motive

- reappears.

Band two:

Canzonetta in C major

Canzonetta in G minor

Performed in this recording on the regal, these two short canzonettas can be considered as etudes for the organ. Each is based on a single theme developed contrapuntally but not with any idea of exploring all its possibilities. The repeated notes in the C major canzonetta suggest a perpetuum mobile. The G minor canzonetta is somewhat more seri- ous in tone, but its specific gravity is not great. The original manu- scripts for these canzonettas are in the Wenster Collection in the University of Lund in Sweden along with other works by Buxtehude.

Band three: Sonata in G major, Opus I, No. 2

The opening Vivace is preceded by three introductory measures labelled Lento. The Vivace itself is a brilliant movement in which rhythmic figures and passage work are alternately shuttled between the two stringed instruments, and even the harpsichord has its mo- ments of prominence. The second movement is an Allegro introduced by a brief Adagio that ends on a B major chord. The Allegro is in 6/8 time and requires agile passage work from both string players. Be- tween the second and third movements is a short passage marked Lento which ends on a D major chord. The third and final movement is a theme, Arzoso, and four simple variations in which the character of the theme is well preserved.

SIDE TWO, band one: Sonata in F major, Opus I, No. 1

This sonata and its companions were edited in 1957 by Bruno Grus- nick and August Wenziger. Harmonically, none of them wanders far from the principal key and closely related keys. The interesting feature is the arrangement of movements, especially the use of short passages in slow time between the major movements. These are not simply modulating bridges, nor is any of them long enough to be considered a separate movement. Buxtehude had a greater sense of artistic freedom in form than most of his contemporaries and enjoyed creating irregular patterns. .

The F Major sonata opens with a contrapuntal movement based on a single theme and marked Vivace. A short six-bar Lento separates the

first movement from the second, a two-part fugue marked Allegro. The fugue ends on a suspension which leads to a short coda-like section labelled Adagio. The third movement, an Andante, is in 6/8 time; not

. strictly fugal, it is a free imitation in which both stringed instruments play brilliantly over a richly figured bass. Eleven bars of Grave with a strong dotted rhythm lead to the fourth movement, a Presto with Intricate passage work for all participants.

‘Band two: Suite in E minor, No. 12 (ed. Bangert)

Buxtehude’s compositions for keyboard seem strongly influenced by lute music. In contrast to the formal freedom found in his chamber sonatas, Buxtehude observed the Italian tradition in the organization of his suites for harpsichord or clavichord. The allemande-courante- sarabande-gigue pattern is preserved in sixteen of the nineteen suites. The use of doubles, either so labelled or inherent in the text, is fre- quent in the allemandes and courantes. Four of the suites have two sarabandes. Five of the suites are in C major, three in D minor, three in E minor, three in G minor, and the remaining five scattered.

In the suite recorded here the allemande is in two sections and the courante is based on melodic material derived from it, not an uncom- mon practice. The first sarabande has a dotted rhythm and is in the Italian style; the second is more gracious and has a French flavor. The concluding gigwe is gay and frolicsome..

Band three: Sonata in B flat major, Opus I, No. 4

This sonata is in two movements, each somewhat longer and more elaborately developed than movements in the other suites. The first movement, Vzvace, is a vigorous contrapuntal structure. It opens with a rhythmic figure for the violin, and the principal subject is not an- nounced until the fourth bar, where it is stated and repeated with modification by the violin alone. The viola da gamba is silent until it repeats the melody imitatively beginning in the eighteenth bar. After the gamba has had its say, the subject is then dissected into its component parts and each of them treated by imitation and further development. Toward the end of the movement the pace slackens to Allegro as the final elaborations are made.

The second movement is introduced by a Lento section with a dotted rhythm which serves as a Zwischensatz or intermezzo. Like the first movement, it too has the vigorous ala breve feeling. It is not strictly a fugue, but falls into the group of looser fugal movements - that anticipate so much the chamber music of Bach and Handel.

Dr. William B. Ober * * * * oa

The violin used in this recording was made by Camillo de Camilli of Mantua in 1734. The viola da gamba is by an unknown baroque builder. The harpsichord was made by John Challis in 1954. It has one manual and three sets of strings (8', 8’, and 4’), there is a buff register on the back 8’. The regal was made in 1963 by The Noack Organ Co., Lawrence, Mass. It has one set of reed pipes, a compass of 44/2 octaves, FF to c, and is tuned for this recording in meantone temperament.

THE ARTISTS—Robert Brink, vzolim, and Daniel Pinkham, harpst- chord, have performed as a chamber-music duo in America and Europe since 1948. Both artists are faculty members of the New England Conservatory of Music and co-founders of the Cambridge Festival Orchestra. In addition to the standard Baroque repertory, they spe- cialize in works written for them by contemporary American com- posers including Henry Cowell, Alan Hovhaness, Charles Wuorinen and Daniel Pinkham.

Judith Davidoff, viola da gamba, also from the Boston area, is well-known as a cellist as well as a gambist. She has toured with the New York Pro Musica in Europe and Asia. She has performed fre- quently since 1955 with Messrs. Brink and Pinkham.

All three artists have participated in the Cambridge Festival Orches- tra Ensemble and may be heard in Music Guild recordings of music by Buxtehude (Music Guild 45) and Monteverdi (Music Guild 27).

Mastering: Claude Rie

Made in U.S.A.

Recording engineer: Vose Greenough

Recorded by: Music Guild Records, Cambridge, Mass.

1, PURCELL: The Indian Queen, London Chamber Singers, Orchestra and Soloists. Conductor: Anthony Bernard. (Not previously recorded.) 2. HANDEL: Ode on St. Cecilia’sy Day. London Cham- ber Singers and Orchestra: T, Stich-Randall, Soprano, Alexander Young, Tenor; Conductor: Anthony Bernard. 3. HANDEL: Organ Concerti, Op. 4/1, 4/2, 4/4, 7/). Ralph Downs at organ Royal Festival Hall, London; Lon- don Chamber Orchestra; Conductor: Anthony Bernard. 4. RAMEAU: Six Concerts en Sextuor, Chamber Or- chestra of Toulouse; Conductor: Louis Auriacombe. Rare and rich chamber music.

5S. BACH: Cantatas 79 and 32. Chamber Orchestra of the Sarre. Chorus and Soloists. Conductor: Karl Risten- part. .-

6. BACH: Cantatas 82 and 159. Same performers as in Record No. 5. (Cantata 159 not available elsewhere, ) 7. OKEGHEM: 3 Motets; JOSQUIN DES PRES Missa Hercule D’Este, Ensemble Roger Blanchard. Rare, beau- tiful works of 15th Century masters. 8. SCHUETZ: The Resurrection. Instrumental and Chorale Ensemble of Mozarteum, Salzburg with Soloists; Conductor: Ernst Hinreiner. A rare recording. 9. BEETHOVEN: Piano Trio Op. 121A (Kakadu) BRAHMS, Piano Trio Op. 87; 2 “Firsts” by the ALBE- NERI TRIO in our Artist Series. 10. HAYDN: Piano Trio No. 3; MOZART, Piano Trios K 548 and K 564. New recordings by the ALBENERI TRIO in our Artist Series. Il. VIVALDI: Magnificat and Nisi Dominus. Angeli- cum Orch. of Milan, Polyphonic Chorus of Turin and Soloists; Conductor: C. F. Cillario. (Not previously re- corded.) :

12. SCARLATTI, Aless: San Filippo Neri, Oratorio. Angelicum Orchestra of Milan and soloists. Conductor: F. Caracciolo. (Not previously recorded. ) 13. STRADELLA: Cantata per il SS. Natale, Angeli- cum Orchestra of Milan, Polyphonic Chorus of Turin and Soloists; Conductor: R. Maghini. (Not previously recorded.) Also: Concerto for Trumpet and Strings; Trumpet: Anania Battagliola. 14. SONS OF BACH: WM. F. BACH, Sinf. D. Min.; J. CHRISTIAN BACH, Symph. Op. 6, No. 6: Quintet in F; J. CHRISTOPH FR. BACH, Sextet in C. (Not previously recorded.)

15. CHAPELS OF THE PRINCES: (Francois 1.) Works by GASCOGNE, DE SERMISY, VERMONT, L’AINE and ATTAINGNANT,. (Not previously re- corded.) ; 16. BADURA-SKODA and DEMUS: 4 Hands Piano: SCHUBERT, Rondo in D; Fantasy in F, Minor and Grand Rondo in A; MOZART: Theme and Var., K. 501. New recording in our Artist Series. 17. DEMUS: BACH Recital: Capriccio; 6 Nos. from Anna Magdalena Notebook; Chromatic Fantasy and Fugue; Italian Concerto. New recording in our Artist Series.

18. The 18th CENTURY FRENCH SYMPHONY: MOURET: Chamber Concerto in E Maj.; BOISMOR- TIER: Sonata for Strings; DAUVERGNE: Sy, Op 3: Orchestre de Chambre Gerard Cartigny. (Not previously recorded.)

19. SCHUMANN: String Quartet Op. 41/1 A Min.; MENDELSSOHN, String Quartet Op. 44/2, E. Minor. First recording of CLAREMONT QUARTET in our Artist Series.

20. RIVERSIDE CHAMBER SINGERS: Recital of Madrigals 16th to 19th Centuries. First recording of this American Ensemble in our Artist Series. 21. COUPERIN, F: Concerts Royaux Nos. 6, 10 & 14; Sonatas, “L’Astrée” & L’Impériale”: Rampal, flute; L. Boulay, harpsichord; Fernandez & Gendre, violins; R. Boulay, viola; E. Pasquier, cello.

22. BADURA-SKODA & DEMUS: 4 Hands Piano; BIZET, “Jeux d’enfants”; BRAHMS, 10 Waltzes from Op. 39; HINDEMITH, Sonata (1938); New recording in our Artist Series.

23. DEMUS: Austrian Composers over 2 centuries. Piano works by: FUX, HAYDN, MOZART, BEETHO- VEN, SCHUBERT, BRUCKNER, BERG. New record- ing in our Artist Series.

24. MENDELSSOHN: Trio D Min. Op. 49: MAR- TINU: Trio D Min. New recording by the ALBENERI TRIO in our Artist Series.

25. GREGORIAN CHANTS: Chorus of the Monks from the Abbey of Encalcat, France.

26. GREAT ORGANS—SILBERMANN: At Ebers- munster; BOYVIN, 7 pieces, At Marmoutier; BACH, Partita C Minor; NOELIE PIERRONT, Organ. 27. MONTEVERDI: Secular Vocal Works: H. CUE- NOD, Tenor; D. PINKHAM, Hps; R. BRINK, Violin; J. DAVIDOFF, Viola da gamba. Recorded Boston, 1962.

28. HAYDN, M.: Divert. D. Maj: STAMITZ. Quartet E flat; DITTERSDORF, Partia D Major & Divert. B Major; VIENNA WIND QUINTET & assisting artists. 29. BACH, Joh. Chr.: DIES IRAE: Angelicum Orch. of Milan; Polyphonic Chorus of Turin and 4 Soloists: Conductor: R. Maghini.

30. HANDEL: 2 SACRED CANTATAS: DONNA CHE IN CIEL & SALVE REGINA: Angelicum Orch. of Milan; Polyphonic Chorus of Milan, Solo Soprano; Conductor: C. F: Cillario,

31. SCARLATTI, D.: Sonatas for Harpsichord. Longo 498, 406, 456, 106, 161, 249, 401, 198: FERNANDO VALENTI, Harpsichord; New recording in our Artist series; 1962.

32. 18th CENTURY FRENCH CHAMBER MUSIC: COUPERIN, Concert Royal No. 13 and Sonata “La Steinkerque”; LECLAIR, Sonata D Major; CORRETTE, Sonatille E flat; MONDONVILLE, Sonata G Major; BOISMORTIER, Quintet E Major. PARIS BAROQUE ENSEMBLE. 33. TARTINI: Concertos D Maj. & F Maj. for Violin: FRANCO GULLI, Violin; Concerto Grosso in A Minor; Angelicum Orchestra of Milan; Conductor: C. Abbado. 34. STRADELLA: S. Giov Battista, Oratorio, Angeli- cum Orchestra of Milan; Polyphonic Chorus of Turin; 5 Soloists; Conductor: C. F, Cillario. 35. HAYDN: Organ Concerto C Major (1756), FE. Hol- derlin, organ; Sinfonia Concertante B flat, Op: 84. four

' Soloists and Orchestra: Notturni Nos. 2 & 6: SAAR CHAMBER ORCHESTRA; Conductor: K. Ristenpart. 36. BEETHOVEN: Piano Trios in G major, Op: 1; No. 2 and C minor, Op. 1, No. 3. New recording by the ALBENERI TRIO in our Artist Series. 37. HANDEL: Suite in’ D = minor (Vol. -H No.4); BACH: English Suite No. 2 in A minor; RAMEAU: Suite in E minor; FERNANDO VALENTI, harpsichord. New recording in our Artist Series.

38. LOEILLET, Jean-Baptiste: Trio Sonatas, Lessons, Sonatas. P. Poulteau, recorder; A. Chevalet, oboe; Y. Schmit, harpsichord.

39. TWENTIETH-CENTURY MUSIC: MILHAUD: Divertissement; BRITTEN: Simple Symphony; POU- LENC: Suite Francaise for orchestras JOLIVET: Con- certo for bassoon; string orchestra, harp, and piano. 40. MOZART: Sonatas in C major (K. 330); in B-flat major (K. 333); Fantasy in C minor (K. 396): DANIEL BARENBOIM, piano. Debut in our Artist Series. 41. VICTORIA: Four Motets: Schola du Grand Scholas- ticat des Peres du Saint-Esprit du Chevilly; R.P.L. Deiss, conductor. Missa Quarti Toni; Chorale Sant-Jordi; O. Martorell, conductor.

42. SCHUMANN: Davidsbiindler Ténze. Op. 6; SCHU- BERT: Fantasy in C minor, D, 993: Kupelwieser-Walzer, D. 893-A; Menuett in F major, D.995, No.2. JOERG DEMUS, piano. New recording in our Artist Series. (Schubert pieces are unpublished and recorded from manuscript. )

43. PEROSI: Transitus Animae, Oratorio for mezzo- -soprano and chorus with orchestral accompaniment; F. Cossotto, mezzo-soprano; Polyphonic Choir and Angeli- cum Orchestra of Milan; C. F. Cillario, conductor. 44. VESPERS AND MATINS of the Eastern Orthodox Church; Russian Choir of Féodor Potorjinsky. (Avail- able in monaural only.)

45. BUXTEHUDE: Cantatas— Aperite mihi portas, Jesu dulcis memoria, Salve Jesu, Singet dem Herrn, Herr, auf dich traue ich; Suite for organ. H. Cuenod. R. Con- rad, tenors; M. Pearson, bass; Cambridge Festival Orch. Ensemble; D. Pinkham, dir. Recorded in Cambridge, Mass., 1963.

46. RAMEAU, Handel, Mozart, Scarlatti, Pachelbel, Matheson, Balbastre. Variations for keyboard. FERN- ANDO VALENTI, harpsichord. New recording in our Artist Series.

47. KRAUS, Lorenziti, Telemann, C. P. E. Bach. CLAUDE MONTEUX, flute; WALTER TRAMPLER, viola and viola d’amore. New recording in our Artist Series.

48. GRAZIANI: Sonatas for violoncello and _ basso continuo, Op. 3. ALDO PARISOT, cello: Fernando Valenti and Italo Babini, continuo, New recording in our Artist Series.

49. CHARPENTIER, Lully, de Lalande: Symphonies, Royal Fanfares; MOURET: Suites. M. André, trumpet: P. Pierlot, oboe; Collegium Musicum de Paris; R, Douatte, cond.

20. HAYDN. Three concertos for flute, oboe and orchestra, J. P. Rampal, flute; P. Pierlot, oboe; Collegium Musicum de Paris; R. Douatte, cond.

a1. BOCCHERINI: Quartets, Op. 58, No. 5; Op. 64, Nos. 1 and 2; CAMBINI: Quartet in D major. Quartet Carmirelli of Rome.

52. MOZART: Symphonies K. 133 in D major and K. 319 in B-flat major; STAMITZ: Orchestral trio in C major, Op. 1, Chamber orchestra in Prague (37 mem- bers without conductor).

93. BACH: Goldberg Variations. JOERG DEMUS, piano. New recording in our Artist Series, 54. TELEMANN: Quartets in G major, E minor, A major; Sonata in A major; Trio in E Major, PARIS BAROQUE ENSEMBLE.

55. PIZZETTI, I.: Piano Trio in A major; GHEDINI, G. F.: Seven Ricercari for Violin, Cello and Piano. TRIO DI BOLZANO.

56. LECLAIR: Concertos for violin and string orch., Op. 10, nos. 2 and 6; Op. 7, no. 2. H. Fernandez, violin: Paillard Chamber Orchestra.

57. BUXTEHUDE: Trio sonatas, Op. 1, nos, 1-4; Suite no. 12; Canzonettas in C major and G minor; .R. Brink, violin, J. Davidoff, viola da gamba; D. Pinkham, harpsi- chord and regal.

58. BERG: Lyric Suite; Quartet Op. 3; Parrenin Quartet.

59. DANZI: Quintet in G minor; REICHA: Quintet in E-flat major; HAYDN: Divertimento in E-flat major; STAMITZ; Quartet in E-flat major; WIND GROUP OF THE VIENNA SYMPHONY ORCHESTRA.

THE RECORD — The original tapes for this recording were produced with the latest and most natural microphone tech- niques available and were then transferred to a master disc without changes; the original sound was preserved as per- formed. Pressings from the master disc were compared with the original tape, and only when a comparable match was effected was actual production approved. This recording fol- lows the R.1.A.A. characteristics. -

Stereophonic discs: For best playback results, play only with a stylus in good condition, preferably a diamond (maximum radius .0007”). To preserve the stereophonic quality of the record, it should not be played with a monophonic cartridge.

Monophonic discs: For best playback results, play only with a stylus in good condition, preferably a diamond (maximum radius .001”). Although the record was processed to give exceptionally high quality on monophonic playback equip- ment, stereophonic components will further enhance its sound.

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