Buxtehude’s cantata cycle Membra Jesu nostri is an odd, totally unique, and strangely compelling work. Conceived around the idea of an observer contemplating various parts of Christ’s crucified body, the seven cantatas are based on texts from a medieval Latin hymn, “Salve mundi salutare”. Buxtehude made his own Biblical additions to each of the chosen poems, all of which are sung alternately by a small vocal ensemble, either together or in solos or trios. As the subject moves his eyes upward, beginning at Christ’s feet, then to the knees, the hands, the side, the breast, the heart, and finally to the countenance, Buxtehude makes alterations to the music, moving from flat keys to sharp, playing with different sonorities, colors, and textures–and of course changing the mixture of voices and instruments. In the sixth cantata, for example, we suddenly hear a consort of viols rather than the violins; in the third cantata, Ad manus (To the hands), we hear pungent dissonances as the text speaks of Christ’s outstretched hands, wounded by the hard nails. Together these cantatas make a structurally cohesive and spiritually meaningful work, the poetic texts conveying an eloquent and moving meditation on Christianity’s defining event.
The vocalists here make an ideally balanced ensemble, and each singer also shines as a soloist. Conductor Konrad Junghänel keeps his Cantus Cölln forces moving along but with careful attention to detail both in maintaining instrumental balances and in maximizing vocal expression through thoughtful, tasteful inflection and phrasing. The engineering brings everything together in a vibrant, richly sonorous atmosphere that casts Buxtehude’s work in a most positive, agreeable light. The filler, the chorale cantata Nimm von uns, Herr, du treuer Gott, is not a memorable creation, but its particular manner of using the hymn verses intriguingly presages Bach’s far more sophisticated exploitation of this technique years later. Highly recommended! [4/19/2006]
