the musiCAl heRitaqe society inc.

t*p»L|ti 982

DIETRICH BUXTEHUDE

MEMBRA JESU NOSTRI

A Cycle of Seven Cantatas

Barbara MILLER-LANGE, Soprano

Hanna AURBACHER, Mezzo-Soprano

Manfred GERBERT, Counter-Tenor

Theophil MEIER, Tenor

August MESSTHALER, Bass

Pforzheim Motet Choir

South-West German Viol Consort

Pforzheim Chamber Orchestra

ROLF SCHWEIZER, Conductor

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MHS 982 MHS 982

DIETRICH BUXTEHUDE (1637-1707)

MEMBRA JESU NOSTRI

A Cycle of Seven Cantatas Addressed to the Parts of the Body of Christ Suffering on the Cross

Side 1:

I. Ad Pedes (To His Feet): Ecce super montes

II. Ad Genua (To His Knees): Ad ubera portabimini

III. Ad Manus (To His Hands): Quid sunt plagae istae

IV. Ad Latus (To His Side): Surge, amica mea

Side 2:

V. Ad Pectus (To His Breast): Sicut modo geniti infantes

VI. Ad Cor (To His Heart): Vulnerasti cor meum

VII. Ad Faciem (To His Face): Illustra faciem tuam

Barbara MILLER-LANGE, Soprano; Hanna AURBACHER, Mezzo-Soprano

Manfred GERBERT, Counter-Tenor; Theophil MEIER, Tenor; August MESSTHALER,tZ?ass

Pforzheim Motet Choir • South-West German Viol Consort • Pforzheim Chamber Orchestra

ROLF SCHWEIZER, Conductor

When we think of Monteverdi or Frescobaldi, Sweelinck or Schiitz, Bach, Handel, Telemann or Mozart, it is not only their music that comes to mind. Their personality comes to life for us in their facial expression as well. We know their portraits and, aided by letters and contemporary evidence, these and many other masters have become real persons in our own consciousness.

Dietrich Buxtehude, on the other had, exists for us in a state of God-like spirituality and speaks to us only through his music. Was it his own modesty that kept him from having his portrait painted? More likely it was the sober realism of the good burghers of Liibeck that would have considered this an indefensible extravagance, a thesis apparently borne out by the lack of portraits of Buxtehude’s predecessor, Franz Tunder, and his successor, Christian Schiefferdecker.

The outline of Buxtehude’s life has now been estab- lished with reasonable certainty and may be summarized here. The son of "Schoolmaster Johannes, treasurer of the Latin School and honorary organist,” Dietrich was born in 1637 in Oldesloe, a small town midway between Hamburg and Liibeck. In 1638 or 1639, apparently after the death of his first wife, Johannes Buxtehude (1602-1674) moved to Helsingborg in Sweden where he was organist until 1641 when he moved across the Sund to Elsinore (Helsingor) in Denmark to become organist at St. Olai Church. It is here that young Dietrich spent his formative years, and it is assumed that his father was his first and only teacher. At twenty, we find him in his first organist’s post, again in Helsingborg. Then, from 1660 to 1668, he was organist at St. Mary’s Church in Elsinore.

In the latter year he succeeded Franz Tunder (1614- 1667) in one of the most prestigious church positions in Northern Europe, that of organist at the Marienkirche in Liibeck, a post he held for the rest of his life. Following established custom, he married his predecessoFs daughter, Anna Margarethe.

Aside from a visit to Hamburg to discuss with Arp Schnitger the possibility of an organ renovation (a project that never materialized), we know of no further travels by

Sid Taylor, Tape Editor

Columbia Studios

Timings:

Side 1 : 7:24 - 6:18 - 6:17 - 5:20 / 25:28 | R Side 2: 8:05 - 8:57 - 9:22 / 26:30 J 5 °

Edition:

Barenreiter

the now famous master. Admirers and students flocked to Liibeck to hear him, thus Handel and Mattheson in 1703 and Bach in 1705. Buxtehude died on May 9th, 1707, and was buried in the church he had served for almost forty years.

* * *

In connection with the work under discussion another biographical note will not be out of place. The Swedish court musician Gustaf Diiben (1624-1690) was the son of Andreas Diiben, whose father, of the same name, had been organist at St. Thomas’ in Leipzig. Andreas Diiben, a pupil of Sweelinck, settled in Sweden around 1620, became court organist and eventually also organist at the German Church in Stockholm and (in 1640) court conductor. After his death in 1662, Gustaf inherited all these positions, remaining court conductor for the rest of his life. Before assuming his new duties Diiben traveled widely, visiting, among other places, Hamburg and Liibeck, becoming ac- quainted with famous musicians and laying the foundation of his extensive collection of contemporary music for use in the German Church and at court. He became particularly friendly with Dietrich Buxtehude and, in the course of the following years, copied many of the Liibeck masteFs works for his own collection. It is actually to Diiben’s enthusiasm and collector’s zeal that we owe the survival of most of Buxtehude’s cantatas. In 1733 his youngest son, Anders von Diiben, left this collection to the University Library in Uppsala.

* ❖ *

The cantata cycle Membri Jesu Nostri, however, was not copied by Diiben. It was actually written at his request in 1680 and dedicated to him. The first performance seems to have taken place at passion time of the following year. It is thought unlikely that Buxtehude himself ever per- formed it in Liibeck. It has no place in the traditional liturgy, nor is it the type of compositiori or subject matter suitable for the Abendmusiken. But it does lend itself ad- mirably to the more intimate surroundings of a court chapel

for which Diiben no doubt had intended it. Buxtehude’s autograph is in tablature, from which Diiben copied the instrumental and vocal parts.

The text is derived from Rhythmica oratio ad unum quodlibet membrorum Christi patientis et a cruce pendentis once attributed to Bernard de Clairvaux, but now thought to have been merely inspired by his teachings. One possible author may be Arnulf of Louvain (1200-1250). Buxtehude introduces each group of verses from the Rhythmica oratio with a biblical text, mostly from the Old Testa- ment. Buxtehude’s predilection for medieval texts is well documented in several of his Latin cantatas, such as Jesu dulcis memoria, O Jesu mi dulcissime and O dulcis Jesu. But he was not alone in this. The sentiments expressed had a great appeal to Lutheran pietism of the seventeenth century, and there are a number of German translations of the Rhythmica oratio. Thus, the text of Cantata VII of this cycle, Salve caput cruentatum, became the passion chorale O Haupt voll Blut und Wunden in Paul GerhardFs paraphrase.

The cycle consisting of meditations on the various parts of the body of Christ on the cross is conceived as a unified whole as shown by the key sequence: C minor - E-flat major - G minor - D minor - A minor - E minor; then returning to C minor. Each individual cantata follows a similar plan: A Sonata, an opening chorus (on a biblical text), several arias or trios with ritornello, always written on the same bass, and finally a repeat of the chorus. Cantata I adds another chorus on the words of the first aria. The chorus does not participate in Cantatas V and VI, its place in the formal scheme being taken by a trio. The scoring is for five soloists, five-part chorus, three-part string orchestra (2 violins, violone) and continuo, a fairly Stand¬ ard instrumental group in Buxtehude’s cantatas of this type. The exception is Cantata VI, addressed to the Heart. To give it special distinction, Buxtehude here uses a group of five viols.

This performance is musically complete, some repeats having been omittedi so as to keep within the confines of two record sides.

Herman Adler

Stereo records may be played on modern mono equipment Recorded by DA CAMERA of Germany

the musical hemtaqe society inc. 1991 BROA&way, new yoRk, n. y. 10023

Library of Congress Catalog Card No.

76-750460

xmx m. Text for MHS 982

DI-ETRICH BUXTEHUDE: MEMBRA JESU NOSTRI

A Cycle of Seven Cantatas

I* Ad Pedes

Ecce super montes pedes evangelizantis et annuntiantis pacem.

Salve mundi salutare, Salve, salve Jesu care! Cruci tuae me aptare Vellem vere, tu scis quare. Da mihi tui copiam.

Dulcis Jesu, pie Deus, Ad te clamo, licet reus: Praebe mihi te benignum, Ne repellas me indignum De tuis sanctis pedibus.

Ecce super montes ...

Salve mundi salutare ...

II. Ad Genua

Ad ubera portabimini, et super genua blandientur vobis.

Salve Jesu, rex sanctorum, Spes votiva peccatorum, Crucis ligno tanquam reus. Pendens homo, verus 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 nec gravabor: Sed sanabor et mundabor. Cum te complexus fuero.

I. To His Feet

Behold upon the mountains the feet of him that bringeth good tidings, that publisheth peace!

(Nahum I, 15)

Hail to Thee, salvation of the world, Hail, hail beloved Jesus! May I take Thy cross upon myself, Indeed, you would know in what way. Give me Thy grace.

Sweet Jesus, merciful God, In spite of my sinfulness, I cry unto Thee: Bestow upon me Thy favor. Do not reject me as unworthy of Thy holy feet.

II. To His Knees

Ye shall be borne upon her sides, and be dandled upon her knees.

(Isaiah 66, 12)

Hail, Jesus, King of ali saints, The promised hope of sinners, Hanging, as though a criminal, upon a wooden cross, true God and true man, With weakened, trembling knees.

What can I reply to Thee, Worthless i.n deed, hard of heart ? How shall I repay such a lover, Who chose to die for me, Lest I might die a second death ?

Thus I seek Thee with a pure mind. May this be my prime concern, Neither a labor nor a burden to me, But rather healing and purifying for me, That I might Thee embrace.

4

VII. 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, 0 amator amplectende, Temet ipsum tunc ostende In cruce salutifera.

Arnen.

VII. To His Face

Make thy face to shine upon thy servant: save me for thy mercies' sake.

(Psalm 31, 16)

Hail, bloodstained head, Crowned with thorns, Abused and wounded, Scourged with reeds, The face sullied with spittle.

When at last I must die, Be not far from me. In the fearsome hour of death Come, Jesus, without delay, Protect me and free me!

When you call me to depart, Jesus dear, appear then to me. 0 embracing lover, Reveal Thyself to me then On the redeeming cross.

Arnen.

(Translation by Helen Baker)

2

III. 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.

In cruore tuo lotum Me commendo tibi totum, Tuae sanctae manus istae Me defendant, Jesu Christe, Extremis in periculis.

IV. Ad Latus

Surge, amica mea, speciosa mea, et veni: columba mea in foraminibus petrae, in caverna maceriae.

Salve latus salvatoris, In quo latet mei 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.

III. To His Hands

What are these wounds in thine hands ?

(Zechariah 13, 6)

Hail, Jesus, good shepherd, Exhausted by your final agony, Stretched out upon the wooden cross And nailed to it with Thy holy hands outstretched.

Washed by your blood, I entrust myself entirely to Thee. May those sacred hands of yours Defend me, 0 Jesus Christ, In my final hour of need.

IV. To His Side

Arise, my love, my fair one, and come away. 0 my dove, that art in the clefts of the rock, in the secret places of the stairs

(Song of Solomon 2, 13-14)

Hail, side of my saviour, In which sweet honey is concealed, Where the power of love manifests itself From which gushes a fountain of blood, Which washes clean the stained heart.

See, I draw near to Thee, Be merciful, 0 Jesus, if I falter. With downcast face nevertheless I come to Thee of my own accord To examine Thy wounds.

3

V. Ad Pectus V. To His Breast

Sicut modo geniti infantes rationabiles, et sine dolo (lac) concupiscite, ut in eo crescatis in salutem. Si tamen gustastis, quoniam dulcis est Dominus.

As newborn babes, desire the sincere milk of the word, that ye may grow thereby: If so be ye have tasted that the Lord is gracious.

(I Peter 2, 2-3)

Salve, salus mea, Deus, Jesu dulcis, amor meus, Salve, pectus reverendum, Cum tremore contingendum, Amoris domicilium.

Hail, my salvation, my God, Sweet Jesus, my love. Hail, worthy breast, Touching Thee with trembling, The dwelling place of love.

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, Vas dives, Deus omnium.

Make my heart pure, Ardent, pious and penitent. May I abnegate my will, Always conforming to Thee, United with the fullness of virtue.

Hail to Thee, truly the temple of God. I beseech Thee, have mercy on me. Thou, the shrine of ali goodness, Allow me to be included among the elect, Thou priceless vessel, God of alii

VI. Ad Cor VI. To His Heart

Vulnerasti cor meum, soror mea, sponsa.

Thou hast ravished my heart, my sister, my spouse.

(Song of Solomon 4, 9)

Summi regis cor, aveto, Te saluto corde laeto, Te complecti me delectat Et hoc meum cor affectat, TJt ad te loquar animes.

Per medullam cordis mei, Peccatoris atque rei, Tuus amor transferatur, Quo cor tuum rapiatur Languens amoris vulnere.

Hail, heart of the King of kings, I salute Thee with joyous heart. I delight in embracing Thee, And my heart longs for your Encouragement to speak to Thee.

Into my innermost heart, sinful and guilty, Let Thy love penetrate. Because of me Thy heart was shattered, Exhausted by the wounds of love.

Viva cordis voce clamo, Dulce cor, te namque amo, Ad cor meum inclinare, Ut se possit applicare Devoto tibi pectore.

With my heart's lively voice I call to Thee, sweet heart, for I love Thee Turn toward my heart, That it might rest in Thee with humble mind.

Vulnerasti cor meum ...

LIBRARY OF THE DEPARTMENT OF MUSIC HARVARD UNIVERSITY

MUSICAL HERITAGE SOCIETY

DIETRICH BUXTEHUDE MEMBRA JESU NOSTRI

MUSICAL HERITAGE SOCIETY

DIETRICH BUXTEHUDE MEMiBRA JESU NOSTRI

olf SCHWEIZER, Conductor Recorded by Da Camera