BRUHNS Cantatas and Organ Works, Vol. 1

Record and Artist Details

Genre:

Vocal

Label: BIS

Media Format: Super Audio CD

Media Runtime: 86

Mastering:

DDD

Catalogue Number: BIS2271

BIS2271. BRUHNS Cantatas and Organ Works, Vol. 1

Tracks:

Composition Artist Credit
De profundis clamavi Nicolaus Bruhns, Composer
Masaaki Suzuki, Conductor
Paul Max Tipton, Bass-baritone
Yale Institute of Sacred Music
Jauchzet dem Herren alle Welt Nicolaus Bruhns, Composer
James Taylor, Tenor
Masaaki Suzuki, Conductor
Yale Institute of Sacred Music
Praeludium Nicolaus Bruhns, Composer
Masaaki Suzuki, Organ
Mein Herz ist bereit Nicolaus Bruhns, Composer
Masaaki Suzuki, Conductor
Paul Max Tipton, Bass-baritone
Yale Institute of Sacred Music
Alleluja, Paratum cor meum Nicolaus Bruhns, Composer
Dann Coakwell, Tenor
James Taylor, Tenor
Masaaki Suzuki, Conductor
Paul Max Tipton, Bass-baritone
Yale Institute of Sacred Music
Nun komm der Heiden Heiland Nicolaus Bruhns, Composer
Masaaki Suzuki, Organ
(Der) Herr hat seinen Stuhl im Himmel bereitet Nicolaus Bruhns, Composer
Masaaki Suzuki, Conductor
Paul Max Tipton, Bass-baritone
Yale Institute of Sacred Music
Erstanden ist der heilige Christ Nicolaus Bruhns, Composer
Dann Coakwell, Tenor
James Taylor, Tenor
Masaaki Suzuki, Conductor
Yale Institute of Sacred Music

Among that group of unfortunate composers who met an early death, Nicolaus Bruhns (1665 97) is sometimes unfairly overlooked. Although he was just 31 when he died – the same age as Schubert – his surviving legacy consists of a dozen vocal works, five organ pieces and an anecdotal reputation as a great violin virtuoso. That which has come down to us is of great importance. As a young man in Copenhagen he imbibed much from local Italian players, as heard in the richness of his string-writing, especially the use of double-stopping, while his organ idiom – which owed a good deal to his teacher, Buxtehude – has a distinctive freshness and a young man’s sense of daring.

This handsome first volume includes two organ solos, both substantial and full of variety. The opening of the E minor Prelude is especially arresting and flourishsome. Masaaki Suzuki’s unpretentious use of rubato makes the fantasia-like sections flow with a winsome charm. The fullest use is made of the 35 stops of the three-manual 2007 Krigbaum organ in Yale University’s Marquand Chapel, designed in the finest 17th-century north German style. It provides heft without heaviness, and endless possibilities of tonal colour, helped by the piquancy of the meantone tuning.

In combination with theorbo, dulcian and cello, the organ also makes a perfect continuo instrument for the six multisectional vocal concertos included here in which Bruhns excelled. The trio of male soloists are superb, with the lion’s share falling to Paul Max Tipton, a bass-baritone of great sensitivity and even range. The tenors’ more technically challenging writing is also negotiated with convincing ease. The final chorale concerto, Erstanden ist der heiliger Christ, is a special delight. Clearly all the performers relish this repertory. The close nature of the recording (which dates from 2016 17) nicely emphasises the chamber nature of the music.

With a total time of just over 86 minutes the physical disc is exceptionally well filled. Its bountifulness is matched by its high quality and excellent execution. Vol 2 is eagerly awaited.

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