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Track(s) taken from CDA67236

Sonata No 2 in G major, BuxWV253

circa 1694; No 2 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: 7 minutes 1 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 G major sonata prefaces a lively fugal Vivace with a brief Lento introduction; a further slow section leads into an Italianate 6/8 Allegro, this time contrasting broken-chord violin figuration with a descending chromatic bass line. After another Largo pause for breath, an Arioso with five variations follows, the figuration reminiscent of Buxtehude’s clavier variations.

from notes by Francis Knights © 2002

La sonate en sol majeur fait précéder un Vivace fugué fort enlevé d’une brève introduction Lento ; une nouvelle section lente conduit à un Allegro à 6/8 de caractère italien, opposant cette fois une figuration en accords brisés au violon à une basse chromatique descendante. Après un nouveau répit accordé par un Largo, l’œuvre se conclut par un Arioso à cinq variations dont la figuration rappelle les variations pour clavier de Buxtehude.

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

In der Sonate in G-Dur bildet eine kurze Lento-Einleitung den Auftakt zu einem ein lebhaften, fugenartigen Vivace; ein weiterer langsamer Satz führt zu einem italienisch anmutenden Allegro im 6/8-Takt, bei dem diesmal Violinenfiguration mit gebrochenen Akkorden mit einer absteigenden chromatischen Basslinie in Kontrast gesetzt wird. Nach einer weiteren langen Largo-Atempause folgt ein Arioso mit fünf Variationen, dessen Figuration an Buxtehudes Klaviervariationen erinnert.

aus dem Begleittext von Francis Knights © 2002
Deutsch: Josée Bégaud

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