The "Abendmusiken" or evening musicales organized by Franz Tunder and continued by Dietrich Buxtehude in Lübeck took place at the Marienkirche (St. Mary's Church) but were non-liturgical. They allowed Buxtehude scope for experimentation with new musical styles. The young Bach's famed 250-mile journey on foot to meet and hear Buxtehude was motivated not only by the latter's organ playing, but also apparently by these concerts, and indeed the fingerprints of the music on this album are all over Bach's style. Sample no further ...
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The "Abendmusiken" or evening musicales organized by Franz Tunder and continued by Dietrich Buxtehude in Lübeck took place at the Marienkirche (St. Mary's Church) but were non-liturgical. They allowed Buxtehude scope for experimentation with new musical styles. The young Bach's famed 250-mile journey on foot to meet and hear Buxtehude was motivated not only by the latter's organ playing, but also apparently by these concerts, and indeed the fingerprints of the music on this album are all over Bach's style. Sample no further than the motet Jesu, meine Freude, BuxWV 60, based on the same hymn as Bach's motet and very much akin to it in the way the implications of the tune are explored (although Buxtehude's solutions are of course different and perhaps marginally less concise). Although it may not have such a perfect Bachian analog, the final Jesu, meines Lebens Leben, BuxWV 62, does reflect Bach's sense of exultation in the marvelous performances by the joined Ensemble Masques and Vox Luminis. The choral...
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