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Track(s) taken from CDA67236

Sonata No 3 in A minor, BuxWV254

circa 1694; No 3 of VII Suonate án doi, Violino & Violadagamba, con Cembalo, di Dieterico Buxtehude, Organista della Chiesa della Beat. Virg. N.S. in Lubeca, Opera Prima

Recording details: October 2000
St Michael's Church, Highgate, London, United Kingdom
Produced by Martin Compton
Engineered by Julian Millard
Release date: April 2002
Total duration: 10 minutes 48 seconds


‘Invigorating playing’ (BBC Music Magazine)

‘Needless to say, the performances are excellent’ (Early Music Review)

‘Wallfisch, Tunnicliffe and Paul Nicholson are highly proficient Baroque musicians’ (International Record Review)

‘Intimate, incisive and sometimes abrasively invigorating playing … Their interpretations are always imaginative and intelligent, their sense of style matches their technical command and their enthusiasm for the music is infectious’ (The Strad)

‘[The] players make much of both Buxtehude’s deeply expressive moments and brilliant passage work’ (Goldberg)

‘This is a truly exceptional recital, enthusiastically performed, and which finally realise the full potential of these extraordinary compositions’ (Hi-Fi Plus)

‘The three performers who make up the ensemble in Convivium are all excellent musicians in their own right, and work very well together. They present a fluid, unified sound, and their playing is very tight’ (MusicWeb International)
The third sonata introduces a new, minor key feeling of pathos to the set, with an extended Adagio succeeded by a semiquaver fugue and then a change of mood to a major key Lento. A Corellian Vivace is linked by a characteristically North German chromatic Largo to a final Presto, with a brief reprise of the previous section.

from notes by Francis Knights © 2002

La troisième sonate donne pour la première fois une tonalité pathétique mineure à ce recueil, avec un long Adagio auquel succèdent une fugue en doubles croches, puis un changement de climat grâce à un Lento en majeur. Un Largo chromatique typique de l’Allemagne du Nord fait le lien entre un Vivace corellien et le Presto final, avec une brève reprise de la section précédente.

extrait des notes rédigées par Francis Knights © 2002
Français: Josée Bégaud

Die dritte Sonate führt das Pathos einer neuen Molltonart in die Sonatenreihe ein, wobei eine Fuge in Sechzehntelnoten auf ein ausgedehntes Adagio folgt und dann ein Stimmungswechsel zu einem Lento in Dur eintritt. Ein Vivace im Stil von Corelli wird durch ein auf charakteristische Weise norddeutsch klingendes, chromatisches Largo mit einem abschließenden Presto verbunden, bei dem eine kurze Reprise des vorigen Abschnitts erfolgt.

aus dem Begleittext von Francis Knights © 2002
Deutsch: Atlas Translations

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