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Contents: Bruhns, Nikolaus (1665-97) De profundis Paul Max Tipton (bass-baritone), Yale Institute of Sacred Music, Masaaki Suzuki Jauchzet dem Herren alle Welt: I. Jauchzet dem Herren alle Welt II. Geht zu seinen Toren ein James Taylor (tenor), Yale Institute of Sacred Music, Masaaki Suzuki Praeludium in E Minor “Great” /Masaaki Suzuki (organ) Mein herz ist bereit Paul Max Tipton (bass-baritone), Yale Institute of Sacred Music, Masaaki Suzuki Paratum cor meum I. Alleluja – Paratum cor meum II. Confitebor tibi in populis Domine III. Exaltare super coelos Deus Dann Coakwell (tenor), James Taylor (tenor), Paul Max Tipton (bass-baritone), Yale Institute of Sacred Music, asaaki Suzuki Chorale Fantasia on ‘Nun Komm der Heiden Heiland‘ /Masaaki Suzuki (organ) Der Herr hat seinen Stuhl im Himmel bereitet Paul Max Tipton (bass-baritone), Yale Institute of Sacred Music, Masaaki Suzuki Erstanden ist der heilige Christ I. Erstanden ist der heilige Christ II. Und wär er nicht erstanden III. Und seit dass er erstanden ist Dann Coakwell (tenor), James Taylor (tenor), Yale Institute of Sacred Music, Masaaki Suzuki When he died, Nicolaus Bruhns was just 31 years old, and only twelve of his vocal works and five organ compositions have survived. On the strength of these, he is nevertheless considered one of the most prominent North German composers of the generation between Buxtehude and Bach. Buxtehude was in fact Bruhns teacher, and thought so highly of him that recommended him for a position in Copenhagen. There he worked as a violin virtuoso and composer until 1689, when he returned to Northern Germany to become organist in the main church of Husum. It was here that most if not all of the extant works were performed. According to Bach’s obituary, Bruhns was one of the composers that he took ‘as a model’, and he is therefore naturally of interest to Bach specialist Masaaki Suzuki. On the first of two discs made in collaboration with the Yale Institute of Sacred Music, Suzuki directs – from the organ – a group of singers and musicians, in six of the vocal works: so-called ‘sacred concertos’ scored for 1 – 3 soloists and various combinations of string instruments with basso continuo. With a very generous playing time (86 minutes) there is also space on the disc for Suzuki’s performances of two organ pieces by Bruhns – the larger of the two preludes in E minor, and the fantasia on the chorale Nun komm, der Heiden Heiland. |
