Dieterich Buxtehude (1637 - 1707).
Biography:
Dietrich Buxtehude, who identified him
Dieterich Buxtehude (1637 - 1707).
Biography:
Dietrich Buxtehude, who identified himself as Danish, was seemingly born in Oldesloe about the year 1637, the son of an organist and schoolmaster. His father moved briefly from Oldesloe, in the Duchy of Holstein, to Helsingborg as organist at the Mariekirke there and soon after to the Danish city of Helsingør, Hamlet's Elsinore, as organist at the St Olai Kirke, a position he held for some thirty years, until his retirement in 1671. Buxtehude was taught by his father and from 1657 or 1658 until 1660 was organist at the Mariekirke in Helsingborg, a city separated from Helsingør by a narrow stretch of water. His next appointment was at the Mariekirke in the latter city. In 1668 he was elected organist at the Marienkirche in Lübeck, where he succeeded Franz Tunder, who had died the previous year, following custom by marrying Tunder's younger daughter. Tunder's elder daughter's security had already been assured by her marriage to Samuel Franck, Cantor of the Marienkirche and the Catherineum Lateinschule, the choir-school that provided singers for the services of the Marienkirche.
At the Marienkirche in Lübeck Buxtehude made some changes in the musical traditions of the church, establishing a series of Abendmusik concerts given now on five Sunday afternoons in the year, events that attracted wide interest. As an organist Buxtehude represented the height of North German keyboard traditions, exercising a decisive influence over the following generation, notably on Johann Sebastian Bach, who undertook the long journey from Arnstadt to Lübeck to hear him play, outstaying his leave, to the dissatisfaction of his employers. Handel too visited Lübeck in 1703, with his Hamburg friend and colleague Mattheson. By this time there was a question of appointing a successor to Buxtehude, who was nearly seventy and had spent over thirty years at the Marienkirche. The condition of marriage to his predecessor's daughter that Buxtehude had faithfully fulfilled proved unattractive, however, to the young musicians of the newer generation and the succession eventually passed to Johann Christian Schieferdecker, who married Buxtehude's surviving daughter, predeceased by four others, three months after Buxtehude's death in 1707.
For a long time knowledge of Buxtehude's works was limited to the organ works and his major sacred choral works. Along with other Baroque composers, Buxtehude was "rediscovered" in the mid-nineteenth century, and his organ works were republished as an example of the style current before J.S. Bach. Interest in his chamber music works, however, has only gathered momentum in recent years. In these Buxtehude frolics with great imagination between learned contrapuntal traditions and a freer, more fanciful style. On the whole. Buxtehude's imagination is amazing, and gives his works a lively, improvisational feel. With our present-day fully-rounded picture of Buxtehude's works we can unhesitatingly count him as the greatest composer of the northern European Baroque in the period between Heinrich Schütz and J.S. Bach.
Membra Jesu Nostri:
Membra Jesu Nostri (English: The Limbs of our Lord Jesus), BuxWV 75, is a cycle of seven cantatas composed by Dieterich Buxtehude in 1680, and dedicated to Gustaf Düben. The text, Salve mundi salutare -- also known as the Rhythmica oratio -- is a poem written by Medieval poet Arnulf of Louvain (d. 1250). It is divided into seven parts, each addressed to a different part of Christ's crucified body: feet, knees, hands, side, chest, heart, and head.
1. Ad Genua.
"Ad ubera portabimini,
et super genua blandicentur vobis."
Salve Jesu, rex sanctorum,
spes votiva peccatorum,
crucis ligno tanquam reus,
pendens homoverus deus,
caducis nutans genibus.
Quid sum tibi responsurus,
actu vilis corde durus?
Quid rependam amatori,
qui elegit pro me mori,
ne dupla morte morerer.
Ut te quaeram mente pura,
sit haec mea prima cura,
non est labor et gravabor,
sed sanabor et mundabor,
cum te complexus fuero.
"Ad ubera portabimini,
et super genua blandicentur vobis."
Schola Cantorum Basiliensis.
Maria Christina Kiehr (Soprano).
Rosa Dominguez (Soprano).
Andreas Scholl (Alto).
Gerd Türk (Tenor).
Ulrich Messthaler (Basse).
Dir. René Jacobs.
To all my friends and subscribers.
(more)
(less)
Added: 3 months ago
Views: 3,699
Dieterich Buxtehude (1637 - 1707).
Biography:
Dietrich Buxtehude, who identified him
Dieterich Buxtehude (1637 - 1707).
Biography:
Dietrich Buxtehude, who identified himself as Danish, was seemingly born in Oldesloe about the year 1637, the son of an organist and schoolmaster. His father moved briefly from Oldesloe, in the Duchy of Holstein, to Helsingborg as organist at the Mariekirke there and soon after to the Danish city of Helsingør, Hamlet's Elsinore, as organist at the St Olai Kirke, a position he held for some thirty years, until his retirement in 1671. Buxtehude was taught by his father and from 1657 or 1658 until 1660 was organist at the Mariekirke in Helsingborg, a city separated from Helsingør by a narrow stretch of water. His next appointment was at the Mariekirke in the latter city. In 1668 he was elected organist at the Marienkirche in Lübeck, where he succeeded Franz Tunder, who had died the previous year, following custom by marrying Tunder's younger daughter. Tunder's elder daughter's security had already been assured by her marriage to Samuel Franck, Cantor of the Marienkirche and the Catherineum Lateinschule, the choir-school that provided singers for the services of the Marienkirche.
At the Marienkirche in Lübeck Buxtehude made some changes in the musical traditions of the church, establishing a series of Abendmusik concerts given now on five Sunday afternoons in the year, events that attracted wide interest. As an organist Buxtehude represented the height of North German keyboard traditions, exercising a decisive influence over the following generation, notably on Johann Sebastian Bach, who undertook the long journey from Arnstadt to Lübeck to hear him play, outstaying his leave, to the dissatisfaction of his employers. Handel too visited Lübeck in 1703, with his Hamburg friend and colleague Mattheson. By this time there was a question of appointing a successor to Buxtehude, who was nearly seventy and had spent over thirty years at the Marienkirche. The condition of marriage to his predecessor's daughter that Buxtehude had faithfully fulfilled proved unattractive, however, to the young musicians of the newer generation and the succession eventually passed to Johann Christian Schieferdecker, who married Buxtehude's surviving daughter, predeceased by four others, three months after Buxtehude's death in 1707.
For a long time knowledge of Buxtehude's works was limited to the organ works and his major sacred choral works. Along with other Baroque composers, Buxtehude was "rediscovered" in the mid-nineteenth century, and his organ works were republished as an example of the style current before J.S. Bach. Interest in his chamber music works, however, has only gathered momentum in recent years. In these Buxtehude frolics with great imagination between learned contrapuntal traditions and a freer, more fanciful style. On the whole. Buxtehude's imagination is amazing, and gives his works a lively, improvisational feel. With our present-day fully-rounded picture of Buxtehude's works we can unhesitatingly count him as the greatest composer of the northern European Baroque in the period between Heinrich Schütz and J.S. Bach.
Membra Jesu Nostri:
Membra Jesu Nostri (English: The Limbs of our Lord Jesus), BuxWV 75, is a cycle of seven cantatas composed by Dieterich Buxtehude in 1680, and dedicated to Gustaf Düben. The text, Salve mundi salutare -- also known as the Rhythmica oratio -- is a poem written by Medieval poet Arnulf of Louvain (d. 1250). It is divided into seven parts, each addressed to a different part of Christ's crucified body: feet, knees, hands, side, chest, heart, and head.
1. Ad Manus.
"Quid sunt plagae istae in medio manuum tuarum?"
Salve Jesu, pastor bone,
fatigatus in agone,
qui per lignum es distractus
et ad lignum es compactus
expansis sanctis manibus.
Manus sanctae, vos amplector,
et gemendo condelector,
grates ago plagis tantis,
clavis duris guttis sanctis
dans lacrymas cum oculis.
In cruore tuo lotum
me commendo tibi totum,
tuae sanctae manus istae
me defendant, Jesu Christe,
extremis in periculis.
"Quid sunt plagae istae in medio manuum tuarum?"
Schola Cantorum Basiliensis.
Maria Christina Kiehr (Soprano).
Rosa Dominguez (Soprano).
Andreas Scholl (Alto).
Gerd Türk (Tenor).
Ulrich Messthaler (Basse).
Dir. René Jacobs.
To all my friends and subscribers.
(more)
(less)
Added: 3 months ago
Views: 4,142
Dieterich Buxtehude (1637 - 1707).
Biography:
Dietrich Buxtehude, who identified him
Dieterich Buxtehude (1637 - 1707).
Biography:
Dietrich Buxtehude, who identified himself as Danish, was seemingly born in Oldesloe about the year 1637, the son of an organist and schoolmaster. His father moved briefly from Oldesloe, in the Duchy of Holstein, to Helsingborg as organist at the Mariekirke there and soon after to the Danish city of Helsingør, Hamlet's Elsinore, as organist at the St Olai Kirke, a position he held for some thirty years, until his retirement in 1671. Buxtehude was taught by his father and from 1657 or 1658 until 1660 was organist at the Mariekirke in Helsingborg, a city separated from Helsingør by a narrow stretch of water. His next appointment was at the Mariekirke in the latter city. In 1668 he was elected organist at the Marienkirche in Lübeck, where he succeeded Franz Tunder, who had died the previous year, following custom by marrying Tunder's younger daughter. Tunder's elder daughter's security had already been assured by her marriage to Samuel Franck, Cantor of the Marienkirche and the Catherineum Lateinschule, the choir-school that provided singers for the services of the Marienkirche.
At the Marienkirche in Lübeck Buxtehude made some changes in the musical traditions of the church, establishing a series of Abendmusik concerts given now on five Sunday afternoons in the year, events that attracted wide interest. As an organist Buxtehude represented the height of North German keyboard traditions, exercising a decisive influence over the following generation, notably on Johann Sebastian Bach, who undertook the long journey from Arnstadt to Lübeck to hear him play, outstaying his leave, to the dissatisfaction of his employers. Handel too visited Lübeck in 1703, with his Hamburg friend and colleague Mattheson. By this time there was a question of appointing a successor to Buxtehude, who was nearly seventy and had spent over thirty years at the Marienkirche. The condition of marriage to his predecessor's daughter that Buxtehude had faithfully fulfilled proved unattractive, however, to the young musicians of the newer generation and the succession eventually passed to Johann Christian Schieferdecker, who married Buxtehude's surviving daughter, predeceased by four others, three months after Buxtehude's death in 1707.
For a long time knowledge of Buxtehude's works was limited to the organ works and his major sacred choral works. Along with other Baroque composers, Buxtehude was "rediscovered" in the mid-nineteenth century, and his organ works were republished as an example of the style current before J.S. Bach. Interest in his chamber music works, however, has only gathered momentum in recent years. In these Buxtehude frolics with great imagination between learned contrapuntal traditions and a freer, more fanciful style. On the whole. Buxtehude's imagination is amazing, and gives his works a lively, improvisational feel. With our present-day fully-rounded picture of Buxtehude's works we can unhesitatingly count him as the greatest composer of the northern European Baroque in the period between Heinrich Schütz and J.S. Bach.
Membra Jesu Nostri:
Membra Jesu Nostri (English: The Limbs of our Lord Jesus), BuxWV 75, is a cycle of seven cantatas composed by Dieterich Buxtehude in 1680, and dedicated to Gustaf Düben. The text, Salve mundi salutare -- also known as the Rhythmica oratio -- is a poem written by Medieval poet Arnulf of Louvain (d. 1250). It is divided into seven parts, each addressed to a different part of Christ's crucified body: feet, knees, hands, side, chest, heart, and head.
1. Ad latus.
"Surge, amica mea, speciosa mea, et veni,
columba mea inforaminibus petrae,
in caverna maceriae."
Salve latus salvatoris,
in quo latet mel dulcoris,
in quo patet vis amoris,
ex quo scatet fons cruoris,
qui corda lavat sordida.
Ecce tibi appropinquo,
parce, Jesu, si delinquo,
verecunda quidem fronte,
ad te tamen veni sponte
scrutari tua vulnera.
Hora mortis meus flatus
intret Jesu, tuum latus,
hinc expirans in te vadat,
ne hunc leo trux invadat,
sed apud te permaneat.
"Surge, amica mea, speciosa mea, et veni,
columba mea inforaminibus petrae,
in caverna maceriae."
Schola Cantorum Basiliensis.
Maria Christina Kiehr (Soprano).
Rosa Dominguez (Soprano).
Andreas Scholl (Alto).
Gerd Türk (Tenor).
Ulrich Messthaler (Basse).
Dir. René Jacobs.
To all my friends and subscribers.
(more)
(less)
Added: 3 months ago
Views: 2,599
|
Dieterich Buxtehude (1637 - 1707).
Biography:
Dietrich Buxtehude, who identified him
Dieterich Buxtehude (1637 - 1707).
Biography:
Dietrich Buxtehude, who identified himself as Danish, was seemingly born in Oldesloe about the year 1637, the son of an organist and schoolmaster. His father moved briefly from Oldesloe, in the Duchy of Holstein, to Helsingborg as organist at the Mariekirke there and soon after to the Danish city of Helsingør, Hamlet's Elsinore, as organist at the St Olai Kirke, a position he held for some thirty years, until his retirement in 1671. Buxtehude was taught by his father and from 1657 or 1658 until 1660 was organist at the Mariekirke in Helsingborg, a city separated from Helsingør by a narrow stretch of water. His next appointment was at the Mariekirke in the latter city. In 1668 he was elected organist at the Marienkirche in Lübeck, where he succeeded Franz Tunder, who had died the previous year, following custom by marrying Tunder's younger daughter. Tunder's elder daughter's security had already been assured by her marriage to Samuel Franck, Cantor of the Marienkirche and the Catherineum Lateinschule, the choir-school that provided singers for the services of the Marienkirche.
At the Marienkirche in Lübeck Buxtehude made some changes in the musical traditions of the church, establishing a series of Abendmusik concerts given now on five Sunday afternoons in the year, events that attracted wide interest. As an organist Buxtehude represented the height of North German keyboard traditions, exercising a decisive influence over the following generation, notably on Johann Sebastian Bach, who undertook the long journey from Arnstadt to Lübeck to hear him play, outstaying his leave, to the dissatisfaction of his employers. Handel too visited Lübeck in 1703, with his Hamburg friend and colleague Mattheson. By this time there was a question of appointing a successor to Buxtehude, who was nearly seventy and had spent over thirty years at the Marienkirche. The condition of marriage to his predecessor's daughter that Buxtehude had faithfully fulfilled proved unattractive, however, to the young musicians of the newer generation and the succession eventually passed to Johann Christian Schieferdecker, who married Buxtehude's surviving daughter, predeceased by four others, three months after Buxtehude's death in 1707.
For a long time knowledge of Buxtehude's works was limited to the organ works and his major sacred choral works. Along with other Baroque composers, Buxtehude was "rediscovered" in the mid-nineteenth century, and his organ works were republished as an example of the style current before J.S. Bach. Interest in his chamber music works, however, has only gathered momentum in recent years. In these Buxtehude frolics with great imagination between learned contrapuntal traditions and a freer, more fanciful style. On the whole. Buxtehude's imagination is amazing, and gives his works a lively, improvisational feel. With our present-day fully-rounded picture of Buxtehude's works we can unhesitatingly count him as the greatest composer of the northern European Baroque in the period between Heinrich Schütz and J.S. Bach.
Membra Jesu Nostri:
Membra Jesu Nostri (English: The Limbs of our Lord Jesus), BuxWV 75, is a cycle of seven cantatas composed by Dieterich Buxtehude in 1680, and dedicated to Gustaf Düben. The text, Salve mundi salutare -- also known as the Rhythmica oratio -- is a poem written by Medieval poet Arnulf of Louvain (d. 1250). It is divided into seven parts, each addressed to a different part of Christ's crucified body: feet, knees, hands, side, chest, heart, and head.
1. Ad Pectus.
"Sicut modo geniti infantes rationabiles, et
sine dolo concupiscite, ut in eo
crescatis in salutem. Si tamen gustatis,
quoniam dulcis est Dominus."
Salve, salus mea, deus,
Jesu dulcis, amor meus,
salve, pectus reverendum,
cum tremore contingendum,
amoris domicilium.
Pectus mihi confer mundum,
ardens, pium, gemebundum,
voluntatem abnegatam,
tibi semper conformatam,
juncta virtutum copia.
Ave, verum templum dei,
precor miserere mei,
tu totius arca boni,
fac electis me apponi,
vasdives deus omnium.
"Sicut modo geniti infantes rationabiles, et
sine dolo concupiscite, ut in eo
crescatis in salutem. Si tamen gustatis,
quoniam dulcis est Dominus."
Schola Cantorum Basiliensis.
Maria Christina Kiehr (Soprano).
Rosa Dominguez (Soprano).
Andreas Scholl (Alto).
Gerd Türk (Tenor).
Ulrich Messthaler (Basse).
Dir. René Jacobs.
To all my friends and subscribers.
(more)
(less)
Added: 3 months ago
Views: 2,044
Dieterich Buxtehude (1637 - 1707).
Biography:
Dietrich Buxtehude, who identified him
Dieterich Buxtehude (1637 - 1707).
Biography:
Dietrich Buxtehude, who identified himself as Danish, was seemingly born in Oldesloe about the year 1637, the son of an organist and schoolmaster. His father moved briefly from Oldesloe, in the Duchy of Holstein, to Helsingborg as organist at the Mariekirke there and soon after to the Danish city of Helsingør, Hamlet's Elsinore, as organist at the St Olai Kirke, a position he held for some thirty years, until his retirement in 1671. Buxtehude was taught by his father and from 1657 or 1658 until 1660 was organist at the Mariekirke in Helsingborg, a city separated from Helsingør by a narrow stretch of water. His next appointment was at the Mariekirke in the latter city. In 1668 he was elected organist at the Marienkirche in Lübeck, where he succeeded Franz Tunder, who had died the previous year, following custom by marrying Tunder's younger daughter. Tunder's elder daughter's security had already been assured by her marriage to Samuel Franck, Cantor of the Marienkirche and the Catherineum Lateinschule, the choir-school that provided singers for the services of the Marienkirche.
At the Marienkirche in Lübeck Buxtehude made some changes in the musical traditions of the church, establishing a series of Abendmusik concerts given now on five Sunday afternoons in the year, events that attracted wide interest. As an organist Buxtehude represented the height of North German keyboard traditions, exercising a decisive influence over the following generation, notably on Johann Sebastian Bach, who undertook the long journey from Arnstadt to Lübeck to hear him play, outstaying his leave, to the dissatisfaction of his employers. Handel too visited Lübeck in 1703, with his Hamburg friend and colleague Mattheson. By this time there was a question of appointing a successor to Buxtehude, who was nearly seventy and had spent over thirty years at the Marienkirche. The condition of marriage to his predecessor's daughter that Buxtehude had faithfully fulfilled proved unattractive, however, to the young musicians of the newer generation and the succession eventually passed to Johann Christian Schieferdecker, who married Buxtehude's surviving daughter, predeceased by four others, three months after Buxtehude's death in 1707.
For a long time knowledge of Buxtehude's works was limited to the organ works and his major sacred choral works. Along with other Baroque composers, Buxtehude was "rediscovered" in the mid-nineteenth century, and his organ works were republished as an example of the style current before J.S. Bach. Interest in his chamber music works, however, has only gathered momentum in recent years. In these Buxtehude frolics with great imagination between learned contrapuntal traditions and a freer, more fanciful style. On the whole. Buxtehude's imagination is amazing, and gives his works a lively, improvisational feel. With our present-day fully-rounded picture of Buxtehude's works we can unhesitatingly count him as the greatest composer of the northern European Baroque in the period between Heinrich Schütz and J.S. Bach.
Membra Jesu Nostri:
Membra Jesu Nostri (English: The Limbs of our Lord Jesus), BuxWV 75, is a cycle of seven cantatas composed by Dieterich Buxtehude in 1680, and dedicated to Gustaf Düben. The text, Salve mundi salutare -- also known as the Rhythmica oratio -- is a poem written by Medieval poet Arnulf of Louvain (d. 1250). It is divided into seven parts, each addressed to a different part of Christ's crucified body: feet, knees, hands, side, chest, heart, and head.
1. Ad Cor.
"Vulnerasti cormeum, soror mea,
sponsa, vulnerasti cormeum."
Summi regis cor, aveto,
te saluto corde laeto,
te complecti me delectat
et hoc meum cor affectat,
ut ad te loquar, animes.
Per medullam cordis mei,
peccatoris atque rei,
tuus amor transferatur,
quo cor tuum rapiatur
languens amoris vulnere.
Viva cordis voce clamo,
dulce cor, te namque amo,
ad cor meum inclinare,
ut se possit applicare
devoto tibi pectore.
Vulnerasti cormeum,
soror mea, sponsa,
vulnerasti cormeum.
"Vulnerasti cormeum, soror mea,
sponsa, vulnerasti cormeum."
Schola Cantorum Basiliensis.
Maria Christina Kiehr (Soprano).
Rosa Dominguez (Soprano).
Andreas Scholl (Alto).
Gerd Türk (Tenor).
Ulrich Messthaler (Basse).
Dir. René Jacobs.
To all my friends and subscribers.
(more)
(less)
Added: 3 months ago
Views: 3,618
Dieterich Buxtehude (1637 - 1707).
Biography:
Dietrich Buxtehude, who identified him
Dieterich Buxtehude (1637 - 1707).
Biography:
Dietrich Buxtehude, who identified himself as Danish, was seemingly born in Oldesloe about the year 1637, the son of an organist and schoolmaster. His father moved briefly from Oldesloe, in the Duchy of Holstein, to Helsingborg as organist at the Mariekirke there and soon after to the Danish city of Helsingør, Hamlet's Elsinore, as organist at the St Olai Kirke, a position he held for some thirty years, until his retirement in 1671. Buxtehude was taught by his father and from 1657 or 1658 until 1660 was organist at the Mariekirke in Helsingborg, a city separated from Helsingør by a narrow stretch of water. His next appointment was at the Mariekirke in the latter city. In 1668 he was elected organist at the Marienkirche in Lübeck, where he succeeded Franz Tunder, who had died the previous year, following custom by marrying Tunder's younger daughter. Tunder's elder daughter's security had already been assured by her marriage to Samuel Franck, Cantor of the Marienkirche and the Catherineum Lateinschule, the choir-school that provided singers for the services of the Marienkirche.
At the Marienkirche in Lübeck Buxtehude made some changes in the musical traditions of the church, establishing a series of Abendmusik concerts given now on five Sunday afternoons in the year, events that attracted wide interest. As an organist Buxtehude represented the height of North German keyboard traditions, exercising a decisive influence over the following generation, notably on Johann Sebastian Bach, who undertook the long journey from Arnstadt to Lübeck to hear him play, outstaying his leave, to the dissatisfaction of his employers. Handel too visited Lübeck in 1703, with his Hamburg friend and colleague Mattheson. By this time there was a question of appointing a successor to Buxtehude, who was nearly seventy and had spent over thirty years at the Marienkirche. The condition of marriage to his predecessor's daughter that Buxtehude had faithfully fulfilled proved unattractive, however, to the young musicians of the newer generation and the succession eventually passed to Johann Christian Schieferdecker, who married Buxtehude's surviving daughter, predeceased by four others, three months after Buxtehude's death in 1707.
For a long time knowledge of Buxtehude's works was limited to the organ works and his major sacred choral works. Along with other Baroque composers, Buxtehude was "rediscovered" in the mid-nineteenth century, and his organ works were republished as an example of the style current before J.S. Bach. Interest in his chamber music works, however, has only gathered momentum in recent years. In these Buxtehude frolics with great imagination between learned contrapuntal traditions and a freer, more fanciful style. On the whole. Buxtehude's imagination is amazing, and gives his works a lively, improvisational feel. With our present-day fully-rounded picture of Buxtehude's works we can unhesitatingly count him as the greatest composer of the northern European Baroque in the period between Heinrich Schütz and J.S. Bach.
Membra Jesu Nostri:
Membra Jesu Nostri (English: The Limbs of our Lord Jesus), BuxWV 75, is a cycle of seven cantatas composed by Dieterich Buxtehude in 1680, and dedicated to Gustaf Düben. The text, Salve mundi salutare -- also known as the Rhythmica oratio -- is a poem written by Medieval poet Arnulf of Louvain (d. 1250). It is divided into seven parts, each addressed to a different part of Christ's crucified body: feet, knees, hands, side, chest, heart, and head.
1. Ad Faciem.
"Illustra faciem tuam super servum tuum,
salvum me fac in misericordia tua"
Salve, caput cruentatum,
totum spinis coronatum,
conquassatum, vulneratum,
arundine verberatum
facie sputis illita.
Dum me mori est necesse,
noli mihi tunc deesse,
in tremenda mortis hora
veni, Jesu, absque mora,
tuere me et libera.
Cum me jubes emigrare,
Jesu care, tunc appare,
o amator amplectende,
temet ipsum tunc ostende
incruce salutifera.
Amen.
Schola Cantorum Basiliensis.
Maria Christina Kiehr (Soprano).
Rosa Dominguez (Soprano).
Andreas Scholl (Alto).
Gerd Türk (Tenor).
Ulrich Messthaler (Basse).
Dir. René Jacobs.
To all my friends and subscribers.
(more)
(less)
Added: 3 months ago
Views: 3,552
|
