Franz Tunder (1614-1667): Ach Herr, laß deine lieben Engelein

Bach used the text to Tunder’s cantata Ach Herr, laß deine lieben Engelein (O lord, let Thy dear angels) in the closing chorale of Bach’s St. John Passion, it’s from Schalling’s hymn Herzlich lieb hab ich dich, o Herr (Great is my love for Thee, o Lord) but there’s absolutely no resemblance between the two…

Franz Tunder (1614-1667): An Wasserflüssen Babylon

Tunder’s setting of  An Wasserflüssen Babylon (By the waters of Babylon) is one of only seventeen vocal works of his that survived.  It’s a straightforward setting that uses the chorale melody in the vocal part and surrounds it with a delicate web of instrumental counterpoint that expresses the sense of loss and exile. It’s a…

Gaetano Veneziano (1665-1716): Iste confessor

Gaetano Veneziano was one of Provenzale’s students who rose to become one of the most sought after maestri in early 18th century Naples. His setting of Iste confessor is very typical of Neapolitan religious music of the time both in its configuration (two voices and four violins) and in its whirling and swirling structure. The…

Giovanni Rovetta (1596-1668): Beatus Vir

‘For the composition of the music and as master of the chapel, from among so many who could be found in Venice, Signor Rueti was chosen, and expressly ordered to assemble as many singers and instrumentalists as could be found in the city, in order to satisfy the magnificent projects of His Excellency, who desired…

Dieterich Buxtehude (Attrib): Magnificat

This Magnificat is attributed to Buxtehude mostly on the basis that it appears in Gustav Düben’s collection of  scores. The score has Buxtehude’s name on it in square brackets but if you look at the name it’s very obviously been added by a later hand. Other than that the sole basis for the attribution seems…

Francesco Cavalli (1602-1676): Laetatus sum

During the 1650s Cavalli  was at the height both of his fame and his creative powers, and had reached his career’s apex. This was the decade in which he published no less than fourteen of his thirty-two surviving operas and it was the decade in which he published the Musiche sacre (1656).  The Musiche sacre…