Dieterich Buxtehude: Membra Jesu nostri - Sheet music | Carus-Verlag

Dieterich Buxtehude Membra Jesu nostri

BuxWV 75

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For Passion in 1680 Dieterich Buxtehude composed his largest work in the style of an oratorio, the cantata cycle Membra Jesu nostri, and he dedicated it to his friend, the Swedish Court Music Director, Gustav Düben. In each of the seven separate cantatas which, in principle, follow the scheme “instrumental introduction – choral movement with biblical texts – vocal soli (aria) with a sacred text from the Middle Ages – repetition of the choral movement,” the feet, knees, hands, side, chest, heart and face of the crucified Christ are interpreted allegorically. The original scoring for strings in No. VI ("Ad Cor") consists of a consort of five gambas. If this group of instruments is not available, then violins I/II can be substituted for gamba I/II and the gamba V parts can be played by the violone (the music for these substitute parts is contained in each respective parts), so that in this case only two gambas (III, IV) are needed. For such a performance only two copies of the Gamba performance score (Carus 36.013/16) are required.
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  • I. Ad pedes: Tutti
  • I. Ad pedes: Aria
  • I. Ad pedes: Tutti
  • I. Ad pedes: Tutti
  • II. Ad genua: Sonata in tremulo
  • II. Ad genua: Tutti
  • II. Ad genua: Aria
  • II. Ad genua: Tutti
  • III. Ad manus: Sonata
  • III. Ad manus: Tutti
  • III. Ad manus: Aria
  • III. Ad manus: Tutti
  • IV. Ad latus: Tutti
  • IV. Ad latus: Aria
  • IV. Ad latus: Tutti
  • V. Ad pectus: Voci
  • V. Ad pectus: Aria
  • V. Ad pectus: Voci
  • VI. Ad Cor: Sonata
  • VI. Ad Cor: Voci
  • VI. Ad Cor: Aria
  • VI. Ad Cor: Voci
  • VII. Ad faciem: Tutti
  • VII. Ad faciem: Aria
  • VII. Ad faciem: Voci
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  • I. To the Feet

    1. Sonata

    2. Tutti (Coro SSATB)

    Behold, over the mountains come the feet
    of the bringer of good tidings and herald of peace.
    Nahum 2:1

    3. Aria

    a) Soprano I

    Greetings, salvation of the world!
    Greetings, dear Jesus!
    Upon your Cross I truly desire
    to hang! You know the reason,
    give me your strength!

    b) Soprano II

    The nails in your feet, the hard blows
    and the so severe injuries
    I embrace with emotion.
    Shuddering at the sight of you,
    I think of your wounds.

    c) Basso

    ...
  • I. An die Füße

    1. Sonata

    2. Tutti (Coro SSATB)

    Siehe, über die Berge kommen die Füße
    des Freudenboten und Verkünders des Friedens.
    Nahum 2,1

    3. Aria

    a) Soprano I

    Sei gegrüßt, Heil der Welt!
    Sei gegrüßt, teurer Jesus!
    An dein Kreuz will ich wahrhaftig
    mich hängen! Du weißt warum,
    gib mir deine Kraft!

    b) Soprano II

    Die Nägel in deinen Füßen, die harten Schläge
    und die derart schweren Blessuren
    umfasse ich mit Ergriffenheit.
    Bei deinem Anblick erschauernd,
    gedenke ich deiner Wunden.

    c) Basso

    ...
  • I. Ad pedes

    1. Sonata

    2. Tutti (Coro SSATB)

    Ecce super montes pedes
    evangelizantis et annunciantis pacem.
    Nahum 2,1

    3. Aria

    a) Soprano I

    Salve mundi salutare,
    salve, salve Jesu care!
    Cruci tuae me aptare
    vellem vere, tu scis quare,
    da mihi tui copiam.

    b) Soprano II

    Clavos pedum, plagas duras,
    et tam graves impressuras
    circumplector cum affectu,
    tuo pavens in aspectu,
    tuorum memor vulnerum.

    c) Basso

    Dulcis Jesu, pie Deus,
    ...
  • Texte abrégé du livret du CD Carus 83.234

    Michael Wersin
    Traduction (abrégée): Sylvie Coquillat

    Longtemps fut attribué à saint Bernard (vers 1090–1153), l’un des représentants majeurs du culte de la Passion du Moyen-Age, un poème en latin connu sous le titre de Rhytmica Oratio, qui est une méditation sur les membres du Crucifié en sept hymnes : pieds, genoux, mains, côté, poitrine, cœur et visage font l’objet de considérations remplies d’amour fervent et de compassion. En fait, le texte, comme on le suppose aujourd’hui, est plutôt l’œuvre de l’abbé cistercien Arnulf von Löwen (vers 1200–1250) et fut plus tard agrandi à plusieurs reprises.

    Dieterich Buxtehude prit sans doute connaissance de la Rhytmica Oratio latine dans une gravure de l’an 1633 parue à Hambourg. Il choisit trois strophes de chacun des sept hymnes consacrés à un membre du corps (membrum) et les place au

    ...
  • Abridged text from the CD Carus 83.234

    Michael Wersin
    Translation: Peter Palmer

    St. Bernard of Clairvaux (ca. 1090–1153) is regarded as one of the chief representatives of the pietism of the Cross in the Middle Ages. For a long time he was thought to be the author of a Latin poem which became known as Rhytmica Oratio. Its seven hymns constitute meditations on the limbs of the crucified Christ. Full of devoted love and ready sympathy, they are addressed to the feet, knees, hands, side, chest, heart, and face. In fact, however, the poem is now believed to traceable to the Cistercian abbot Arnulf von Löwen (ca. 1200–1250). It was later extended several times.

    Dieterich Buxtehude probably encountered the Latin Rhytmica Oratio in a printing of 1633 which came out in Hamburg. He selected three verses from each of the seven hymns devoted to

    ...
  • Gekürzter Booklet-Text der CD Carus 83.234

    Michael Wersin

    Die Meditation über die Wundmale des Heilands Jesus Christus zählt zu den zentralen Elementen spätmittelalterlicher Frömmigkeitspraxis. Der Betende initiiert und kräftigt auf dem Wege der commemoratio seine Bereitschaft zu Buße und Reue, indem er des Leidens Christi am Kreuz gedenkt. Mittels der compassio, des Mit-Erleidens von Folterung und Kreuzigung, entwickelt er ein enges Liebesverhältnis zu Christus, das durchaus auch erotische Züge tragen kann. Durch das Sich-Versenken in Schmerzen und Schmach des Erlösers vergegenwärtigt er sich dessen freiwilligen Opfertod zur Rettung der gefallenen Menschheit und strebt nach conformitas, nach Gleich-Förmigkeit mit Jesus. In Einzelfällen kann es dabei zur unio mystica, zum raptus-artigen Erlebnis des mystischen Einswerdens mit dem Angebeteten, ja sogar zur Ausbildung von Stigmata (so etwa beim

    ...
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Purchase
full score Carus 36.013/00, ISMN 979-0-007-09071-5 112 pages, DIN A4, paperback
available
41,00 € / copy
vocal score Carus 36.013/03, ISMN 979-0-007-09096-8 80 pages, paperback
available
25,00 € / copy
choral score Carus 36.013/05, ISMN 979-0-007-11185-4 12 pages, DIN A4, without cover Minimum order quantity: 20 copies
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from 20 copies 8,60 € / copy
from 40 copies 7,74 € / copy
from 60 copies 6,88 € / copy
study score Carus 36.013/07, ISMN 979-0-007-13570-6 112 pages, DIN A5, paperback
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set of parts, separate instruments Carus 36.013/09, ISMN 979-0-007-21359-6 40 pages, 23 x 32 cm, without cover
available
12,20 € / copy
  • 5 x individual part, viola da gamba, playing scores (36.013/16)
    each: 5,60 €
set of parts, complete orchestral parts Carus 36.013/19, ISMN 979-0-007-09688-5 23 x 32 cm, without cover
available
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  • 1 x set of parts, separate instruments (36.013/09)
    each: 12,20 €
    5 x individual part, violin 1 (36.013/11)
    each: 5,60 €
    5 x individual part, violin 2 (36.013/12)
    each: 5,60 €
    4 x individual part, violone (36.013/13)
    each: 5,60 €
    4 x individual part, basso continuo (36.013/14)
    each: 5,60 €
    1 x individual part, organ (36.013/49)
    each: 24,60 €
individual part, organ Carus 36.013/49, ISMN 979-0-007-21365-7 36 pages, 23 x 32 cm, without cover
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full score digital (download), pdf file Carus 36.013/00-010-000, ISMN 979-0-007-25891-7 112 pages, DIN A4
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text (without music) for download, html file, Introductory text, German Carus 36.013/00-310-000
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text (without music) for download, html file, Singing text, original Carus 36.013/00-380-000
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  • There are few documents concerning Buxtehude’s life. From a contemporary article in Nova literaria Maris Balthici, published soon after his death, we know that he regarded “Denmark as his homeland, from where he came to our region.”Dieterich Buxtehude, to use the spelling of his forename which he used when signing letters, was born about 1637 in Helsingborg, so he was a subject of the King of Denmark. His father, Johannes Buxtehude, was an organist, and taught his son sufficiently for him to become, in 1657 or 1658, an organist in Helsingborg and later in Helsingør. On the 11 April 1668 he was chosen to succeed Franz Tunder as organist at St. Marien in Lübeck, and until his death on 9 May 1707 Buxtehude remained in that position, one of the most important in northern Germany. After his death in 1707 musical experts praised Dieterich Buxtehude particularly for his keyboard music. For example, Johann Mattheson referred to him as a “highly regarded, former Lübeck organist.” That appreciation was based not on printed works, but on manuscript copies of his keyboard compositions, and on his reputation as a virtuoso which he enjoyed throughout Germany. Thus in 1703 Georg Friedrich Händel and Johann Mattheson were in Lübeck, and during the winter of 1705–06 Johann Sebastian Bach also went to Lübeck to study under Buxtehude so as to perfect his technique in composition and organ playing. Together with vocal music and music for keyboard instruments, two publications of his trio sonatas are extant. We know of the “Abendmusiken” in Lübeck from libretti printed for those occasions, but unfortunately the music is lost. That tradition of events similar to concerts was taken over by Buxtehude from his predecessor Franz Tunder. Personal details

Reviews

[...] Die Membra Jesu nostri sind Musterbeispiele der hochbarocken "Concerto-Aria-Kantate". Überzeugend ist sowohl ihre formale Geschlossenheit als auch ihre tiefe Ausdruckskraft. Nicht zuletzt aufgrund von hervorragenden Einspielungen kann Buxtehudes Werk zu den bekannteren Schöpfungen der Kirchenmusik gezählt werden kann. Der Kantatenzyklus ist nicht für eine gottesdienstliche Verwendung komponiert worden, sondern gliedert sich ein in die Tradition einer Erbauungsmusik. Dauer des Werkes, kostengünstige Besetzung, sowie die musikalische Substanz und Expressitivät sprechen sehr für Aufführungen in geistlichen Abendmusiken in der Passionszeit.

Quelle: Singende Kirche 2007/2

 

[...] Der Vorteil der vorliegenden Neuausgabe ist neben dem übersichtlichen Notensatz die Tatsache, dass der Zyklus in der Ordnung des Komponisten geordnet wurde. Die ist nicht selbstverständlich, denn es existiert ebenfalls eine Abschrift des Widmungsträgers Gustav Düben, die den Zyklus in einzelne, teils veränderte Teile bearbeitete. Hier nun also die ursprüngliche, zyklische Ordnung; im Fall einer Aufführung ist demnach Vorsicht geboten bei der Verwendung von Stimmen aus anderen Editionen. Ganz sicher handelt es sich hier um ein Werk und eine Edition, die auch außerhalb des Jubiläumsjahres und ggf. auch außerhalb der österlichen Bußzeit sehr zu empfehlen ist.

Krutmann
Quelle: Kirchenmusikalische Mitteilungen im Erzbistum Paderborn 2007

 

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