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The Cantatas
- Schlagt, Kunstler! die Pauken
BuxWV 122
Cantata for 4 Soloists, Capella, Strings, 2 Trumpets, Timpani and Basso Continuo
(Soloists: Maria Keohane - soprano I; Anna Jobrant - soprano II; Anna Einarsson - alto; Jan H Börjesson, bass)
- Sicut Moses exaltavit serpentem
BuxWV 97
Cantata for soprano, strings and basso continuo.
(Soloist: Maria Keohane, soprano)
- Herzlich lieb hab ich Dich, o Herr
BuxWV 41
Cantata for 5 Soloists, Capella, Strings, 2 Trumpets and Basso Continuo.
(Soloists: Maria Keohane, soprano I; Anna Jobrant, soprano II; Anna Einarsson, alto; Johan Linderoth, tenor; Jan H Börjesson, bass)
- Jesu meiner Freuden Meister
BuxWV 61
Cantata for 4 Soloists, Strings and Basso Continuo.
(Soloists: Maria Keohane, soprano; Anna Einarsson, alto; Johan Linderoth, tenor; Jan H Börjesson, bass)
- Frohlocket mit Händen alle Völker
BuxWV 29
Cantata for 5 Soloists, Capella, Strings, 2 Trumpets and Basso Continuo.
(Soloists: Maria Keohane, soprano I; Anna Jobrant, soprano II; Anna Einarsson, alto; Johan Linderoth, tenor; Jan H Börjesson, bass)
The Organ pieces
- Magnificat primi toni
BuxWV 203
Magnus Kjellson, organ soloist
Total time: 63.30
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Göteborg Baroque Arts Ensemble is an assembly of professional singers and musicians all with a special interest in performing older music. The core of the group is the vocal ensemble "Göteborg Baroque Soloists" and Musik i Väst's instrumental ensemble Corona Artis. The majority of the ensemble's members received their musical education at the School of Music in Göteborg, and many have continued further study within the early music field.
Magnus Kjellson received his education at the Sweelinck conservatory in Amsterdam as well as the School of Music at the Göteborg University (Soloist diploma) where he teaches organ interpretation,
pedagogy and liturgical organ performance. He is active as a concert
musician both in solo organ recitals and as the artistic director of
"Göteborg Baroque Soloists".
From the booklet,
an introduction by Kerala Snyder:
Dieterich Buxtehude's concert series, called Abendmusiken, achieved fame far beyond the walls of Lübeck, such that Johann Sebastian Bach timed his famous trip in the fall of 1705 to coincide with this yearly event, which took place from four to five o'clock on the last two Sundays of Trinity and the second, third, and fourth Sundays of Advent. Buxtehude's presentations normally consisted of five-part oratorios, and with one possible exception they are all lost. In the year 1700, however, he departed from his normal practice and instead presented five programs of unrelated works for voices with instruments. Whatever the reason may have been that he did not compose an oratorio that year, we can speculate that for these concerts he used music that already lay at hand. We know in fact that this was the case for the fourth Sunday of Advent: łUpon the wish of high patrons, the Jubilaeum or Hundred-year Poem which was presented at the beginning of this year 1700 will be repeated.˛ The other four concerts each consisted of three works, at least one of them a chorale setting. Every one of these compositions is lost.
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