Membra Jesu Nostri

As he stands as one of, if not the most important organists in mid-17th century Germany, it is natural that the keyboard music of Dieterich Buxtehude (1637/9-1707) is still often performed today. While his vocal works haven't received the same kind of attention by modern musicians, over the past twenty years there has been a a rediscovery of many excellent, moving examples within his output.

This weekend Accademia Barocca Lucernensis will perform one of Buxtehude's cantata cycles, Mebra Jesu nostri patientis sanctissima (or, The most holy limbs of our suffering Jesus). The cycle combines liturgical text with a medieval devotional poem, the Oratio rhythmica. It is organised into seven cantatas, following the structure of the poem, each being addressed to different parts of Christ's crucified body: feet (Ad pedes), knees (Ad genua), hands (Ad manus), sides (Ad latus), breast (Ad pectus), heart (Ad cor), and head (Ad faciem).

The work, composed in 1680, has been described as the first Lutheran Oratorio. While six of the seven cantatas require relatively small forces (five voices, two violins, and continuo), the sixth requires the singers to be accompanied by a consort of five viole da gamba and continuo. When listened to in sequence, the change of instrumentation for the cantata Ad cor can have quite an effect. The switch violins to a consort of gambas gives the impression of a change of perspective. While the cantata is relatively short, for a moment the cycle gains an element of introspection. It's a kind of effect which is most compelling if witnessed in person, as there is a visual element to the experience. 

Performances on Saturday, April 29, at 19:30 in the Johanneskirche, Zurich; and on Sunday. April 30, at 17:00 in the Matthaeuskirche, Luzern.

Bach Akademie Luzern

Last Friday saw the premiere professional performance of the Bach Akademie Luzern in a production of J.S. Bach's Christmas Oratorio at the Matthäuskirche in Lucerne. The first of three performances, the Orchestra, Choir, and Soloists will continue on to perform this week around Switzerland.

Five Weeks

Today marks the end of an incredibly busy chapter. Five weeks ago I boarded a plane to Amsterdam to begin the first of a series of projects which would test me both technically and psychologically. Sitting in Gatwick airport on my way back to Basel, I have yet to feel a sense of relief despite coming to the realization that I've survived this stressful period.

The Right Room

Last week I performed my first professional recital in the greater Switzerland. Along with my friends Alexandra and Ziv, I performed a program of a variety of obscure works for bassoon, including a piece of my own. The venue was a 16th century Schloss in Hahnberg, near lake Constance.

The building was incredible in that it was owned by a man who is a professional architect specializing in the restoration of 'ancient' structures. His Schloss, which he restored himself, is now in immaculate condition. The concert room, about the size of a small living-room with a vaulted ceiling, was originally a kitchen until it was renovated in the 17th century.

Most worrisome for an ensemble consisting of archlute, viola da gamba, and bassoon is balance. Though in a rehearsal setting balance isn't necessarily a primary concern (as we weren't rehearsing at the venue), we were conscious that I could easily overpower the group in a loftier acoustic. Furthermore, Alexandra and I were to play Couperin's 13e Concert, from Les Gouts-reunis, a piece which can be problematic when played by a bassoon and gamba.

Our trio at the facade of
Schloss Kleiner Hahnberg

Entering the concert room which was bursting with fifty spectators, I was curious to hear what the group sound would be. When we first arrived we got an idea of what to expect, but the presence of a crowd can have a huge impact on the acoustic. Playing the first notes of the program we were delighted. Not only was the balance excellent, but the proximity of the audience and their investment in the performance made for quite the experience.

Coming home on the train the discussion centered on the concert room. So rare is it these days that we get to perform chamber music in the very kind of room known to the composers and amazing it was that our primary concern that day was vanquished by it.