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Track(s) taken from CDA67236

Sonata No 1 in F major, BuxWV252

circa 1694; No 1 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: 8 minutes 56 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 first sonata begins with a rather Corellian gesture which develops into a dialogue between high and low voices. A minor-key Lento then leads into one of those running-semiquaver fugues that are so characteristic of Buxtehude. In the following Adagio and 6/8 Andante the viola da gamba parts company with the harpsichord to produce a true trio texture, with much use of broken chord figurations and offbeat entries. A concluding Presto follows the style of the first two fast movements, now with an emphasis on repeated-note semiquavers.

from notes by Francis Knights © 2002

La première sonate débute d’une manière assez corellienne débouchant sur un dialogue entre voix aiguës et graves. Un Lento en mineur laisse ensuite la place à une de ces fugues en doubles croches ininterrompues si caractéristiques de Buxtehude. Dans l’Adagio et dans l’Andante à 6/8 suivants, la viole de gambe fausse compagnie au clavecin pour donner naissance à une véritable écriture en trio, multipliant les figurations en accords brisés et les entrées à contretemps. Le Presto final reprend le style des deux premiers mouvements rapides, mettant à présent l’accent sur des doubles croches répétées.

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

Die erste Sonate beginnt mit einer an Corelli erinnernden Geste, die sich zu einem Dialog zwischen den hohen und tiefen Stimmen entfaltet. Ein Lento in Moll führt dann zu einer jener Fugen in fortlaufenden Sechzehntelnoten, die für Buxtehude so charakteristisch sind (track 2). Im dann folgenden Adagio und Andante im 6/8-Takt löst sich die Viola da Gamba vom Cembalo, um eine wahre Triostruktur hervorzubringen, die zahlreiche Figurationen in gebrochenen Akkorden und Einsätze im unbetonten Taktteil aufweist. Ein abschließendes Presto folgt dem Stil der beiden schnellen Sätze, aber jetzt liegt die Betonung auf wiederholten Sechzehntelnoten.

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

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