Freud und Lust – Buxtehude and Bach (DXL 1147)



Buxtehude’s fame rests principally on his keyboard music but this disc explores his outstanding vocal works, set in the context of J.S. and J.C. Bach. Each of these composers worked in important centres of Lutheran music in seventeenth and eighteenth-century Germany. Seventeenth-century German composers quickly adopted the new vocal styles that burst onto the scene in Italy at the beginning of the century: monody, in which a single voice declaims a text with special attention to the emotion and meaning of the words, and in the concerto style, consisting of opposing bodies of sound.

Grammy nominated Ryland Angel is one of the leading countertenors, well known in the USA and Europe for his specialization in early music. He has performed at many of the top venues including Carnegie Hall and the English National Opera. He has worked with an array of stars including William Christie and Rene Jacobs.

The Bach Players is the resident instrumental ensemble for Bach Vespers at Holy Trinity Lutheran Church in New York City. Among the finest early music artists in New York and beyond, they perform on baroque period instruments.

Freud und Lust – Buxtehude and Bach (DXL 1147) Digital Booklet

Track List:

Jesu meine Freud und Lust (BuxWV 59) – D. Buxtehude

Komm, susser Tod (BWV 478) – J.S Bach

O Jesulein suss, O Jesulein mild (BWV 493) – J.S Bach

Sonata in F (BuxWV 269) – D. Buxtehud

Ach, dass ich Wassers gnug hatte – J.C Bach

Trio Sonata in A minor (BuxWV 254) – D. Buxtehude

Jubilate Domino, omnis terra (BuxWV 64) – D. Buxtehude

Wenn ich, Herr Jesu, habe dich (BuxWV 107) – D. Buxtehude

Grammy nominated Ryland Angel and The Bach Players, perform the Baroque masterworks of Buxtehude and J.S. Bach – two important composers of 17th and 18th Century Lutheran music in Germany.

“This sampling offers a penetrating range of emotions. The combination of Angel and the Holy Trinity Bach players, who bring both colour and depth to the recording, produces remarkable results..the performances [are] polished and satisfying” Early Music America, Fall 2012

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