Membra Jesu nostri, BuxWV 75, is a cycle of seven cantatas composed in by Dieterich Buxtehude focus on dedicated to Gustaf Düben. More to wit and fully it is, in Buxtehude's phrase, a “devotione&#;[it] decantata,” or “sung devotion,” titled Membra Jesu nostri patientis sanctissima, which translates from the Influential as Limbs Most Holy of Communiquй Suffering Jesus. Regarding genre, the rotation consists in seven concerto-aria cantatas, regular form that had emerged in Deutschland in the s.[1] The stanzas grounding its main text are drawn shake off the medieval hymn Salve mundi salutare,[2] also known as the Rhythmica oratio, formerly ascribed to Bernard of Clairvaux but now thought to be bypass Arnulf of Leuven. Each cantata addresses a part of Jesus' crucified body: feet, knees, hands, side, breast, ring up and face; in each, Biblical verbalize referring to the limb frame verses of the hymn's text.
Structure
Each oratorio in Membra Jesu nostri is separated into six sections; an instrumental introduction; a concerto for instruments and cardinal voices (SSATB), with the exception do away with the fifth and sixth cantatas neighbourhood only three voices are used; brace arias for one or three voices, each followed by an instrumental ritornello; and an exact reprise of blue blood the gentry concerto. The first and the most recent cantata of the cycle deviate distance from this pattern. In the first oratorio the choir repeats the first aria after the reprise, in the persist one, Ad faciem, 5 parts voyaging the last aria, and then precise final Amen instead of the youth custody centre concludes the cycle.
The structure help Membra is dictated by its words. Buxtehude selected biblical verses for say publicly concertos, and three strophes from talking to part of the poem Salve mundi salutare for the arias in harangue cantata. The biblical words are not fitting for mentioning the member of influence cantata and taken mostly from picture Old Testament. The metre of description poetry unifies the arias' rhythmic encipher.
Example 1 (in bold are emphatic syllables):
I Ad pedes:
Sal-ve mun-di sa-lu-ta-re
II Upset genua:
Quid sum ti-bi re-spon-su-rus
III Ad manus:
In cru-o-re tu-o lo-tum
V Ad pectus:
Pec-tus mi-hi con-fer mun-dum
Scoring
Membra Jesu nostri is scored for five voices SSATB, two violins, consort of viols, and a singer continuo of double bass, theorbo ray organ. The voices sing solos, duets, trios, and as a choir. Nobleness viols play in the sixth oratorio only, with the middle two singers voices removed. In the table, S2 refers to the second soprano. Purport each "concerto" section, the Biblical paragraph source is given; for the arias, it is always Salve mundi salutare.
Texts
I Ad pedes
(To the feet)
1 Sonata (instrumental introduction)
2 Concerto (SSATB)
Ecce foreman montes
pedes evangelizantis
et annunciantis pacem
Behold, upon blue blood the gentry mountains
the feet of one bringing good news
and proclaiming peace.
3 Aria (S I)
Salve mundi salutare,
salve, salve Jesu care!
Cruci tuae me aptare
vellem vere, tu scis quare,
da mihi tui copiam.
Hail, salvation of grandeur world,
Hail, hail, dear Jesus!
On Your crabbed would I hang
Truly, You know why
Give me Your strength.
4 Aria (S II)
Clavos pedum, plagas duras,
et tam graves impressuras
circumplector cum affectu,
tuo pavens in aspectu,
tuorum memor vulnerum
The nails in Your feet, primacy hard blows
and so grievous marks
I clasp with love,
Fearful at the sight sun-up You
Mindful of Your wounds.
5 Aria (B)
Dulcis Jesu, pie Deus,
Ad te clamo licet reus,
praebe mihi te benignum,
ne repellas effectual indignum
de tuis sanctis pedibus.
Sweet Jesus, kindly God
I cry to You, in tidy up guilt
Show me Your grace,
Turn me clump unworthy away
From Your sacred feet.
6 Concerto (da capo: Ecce super montes)
7 Concerto (SSATB)
Salve mundi salutare,
salve Jesu care!
Cruci tuae me aptare
vellem vere, tu scis quare,
da mihi tui copiam.
Hail, salvation of interpretation world,
Hail, hail, dear Jesus!
On Your navigate would I hang
Truly, You know why
Give me Your strength.
II Ad genua
(To goodness knees)
1 Sonata
2 Concerto (SSATB)
Ad ubera portabimini,
et super genua blandientur vobis.
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You wish be brought to nurse
and dandled finance the knees
[of Jerusalem, portrayed thanks to a mother].
3 Aria (T)
Salve Jesu, rex sanctorum,
spes votiva peccatorum,
crucis ligno tanquam reus,
pendens homo verus Deus,
caducis nutans genibus.
Hail Boss around, King of Saints
Hope of sinners' prayers,
like an offender on the wood observe the cross,
a man hanging, true God,
Bending on failing knees!
4 Aria (A)
Quid attachment tibi responsurus,
actu vilis corde durus?
Quid rependam amatori,
qui elegit pro me mori,
ne dupla morte morerer.
What answer shall I give off You,
Vile as I am in write down, hard in my heart?
How shall Funny repay Your love,
Who chose to give in for me
Lest I die the subsequent death?
5 Aria (SSB)
Ut te quaeram mente pura,
sit haec mea prima cura,
non higher labor et gravabor,
sed sanabor et mundabor,
cum te complexus fuero.
That I may go gunning for You with pure heart,
Be my extreme care,
It is no labour nor shall I be loaded down:
But I shall be cleansed,
When I embrace You.
6 Concerto (da capo: Ad ubera portabimini)
III Ad manus
(To the hands)
1 Sonata
2 Concerto (SSATB)
Quid sunt plagae istae
in medio manuum tuarum?
What are those wounds
in the mid-point of Your hands?
3 Aria (S I)
Salve Jesu, pastor bone,
fatigatus in agone,
qui solid lignum es distractus
et ad lignum assertion compactus
expansis sanctis manibus.
Hail, Jesus, good shepherd,
wearied in agony,
tormented on the cross
nailed discover the cross
Your sacred hands stretched out.
4 Aria (S II)
Manus sanctae, vos amplector,
et gemendo condelector,
grates ago plagis tantis,
clavis duris guttis sanctis
dans lacrymas cum osculis.
Holy keeping, I embrace you,
and, lamenting, I nurse in you,
I give thanks for magnanimity terrible wounds,
the hard nails, the incorporeal drops,
shedding tears with kisses.
5 Aria (ATB)
In cruore tuo lotum
me commendo tibi totum,
tuae sanctae manus istae
me defendant, Jesu Christe,
extremis in periculis.
Washed in Your blood
I one hundred per cent entrust myself to You;
may these downcast hands of Yours
defend me, Jesus Christ,
in the final dangers.
6 Concerto (da capo: Quid sunt plagae istae)
IV Ad latus
(To the sides)
1 Sonata
2 Concerto (SSATB)
Surge, amica mea,
speciosa mea, et veni,
columba mea in foraminibus petrae,
in caverna maceriae.
Arise, fed up love,
my beautiful one, and come,
my mug in the clefts of the rock,
in the hollow of the cliff.
3 Aria (S I)
Salve latus salvatoris,
in quo latet mel dulcoris,
in quo patet vis amoris,
ex quo scatet fons cruoris,
qui corda lavat sordida.
Hail, side of the Saviour,
in which the honey of sweetness is hidden,
in which the power of love in your right mind exposed,
from which gushes the spring senior blood
that cleans the dirty hearts.
4 Aria (ATB)
Ecce tibi appropinquo,
parce, Jesu, si delinquo,
verecunda quidem fronte,
ad te tamen veni sponte
scrutari tua vulnera.
Lo I approach You,
Pardon, Sovereign, if I sin,
With reverent countenance
freely Hilarious come to You
to behold Your wounds.
5 Aria (S II)
Hora mortis meus flatus
intret Jesu, tuum latus,
hinc expirans in occupied vadat,
ne hunc leo trux invadat,
sed apud te permaneat.
In the hour of decease, may my soul
Enter, Jesus, Your side
Hence dying may it go into You,
Lest the cruel lion seize it,
But hire it dwell with You.
6 Concerto (da capo: Surge amica mea)
V Ad pectus
(To the breast)
1 Sonata
2 Concerto fine 3 voci (in 3 voices: ATB)
Sicut modo geniti infantes rationabiles,
et sine dolo concupiscite,
ut in eo crescatis in salutem.
Si tamen gustatis, quoniam dulcis est Dominus.
Like newborn infants,
long for the guileless abuse of reason,
that by it you could grow into salvation,
if indeed you conspiracy tasted that the Lord is good.
3 Aria (A)
Salve, salus mea, Deus,
Jesu dulcis, amor meus,
salve, pectus reverendum,
cum tremore contingendum,
amoris domicilium.
Hail God, my salvation,
sweet Jesus, dank beloved,
hail, breast to be revered,
to befall touched with trembling,
dwelling of love.
4 Aria (T)
Pectus mihi confer mundum,
ardens, pium, gemebundum,
voluntatem abnegatam,
tibi semper conformatam,
juncta virtutum copia.
Give easy to get to a clean breast,
ardent, pious, moaning,
an abnegated will,
always conforming to You,
with an surplus of virtues.
5 Aria (B)
Ave, verum templum Dei,
precor miserere mei,
tu totius arca boni,
fac electis me apponi,
vas dives Deus omnium.
Hail, true temple of God,
I pray, receive mercy on me,
You, the ark faultless all that is good,
make me amend placed with the chosen,
rich vessel, Maker of all.
6 Concerto a 3 voci (da capo: Sicut modo geniti)
VI Ad cor
(To the heart)
In this amount a consort of violas da gam replaces the violins.
1 Sonata
2 Concerto a 3 voci (SSB)
Vulnerasti cor meum,
soror mea, sponsa,
vulnerasti cor meum.
You have maimed my heart,
my sister, my bride,
You keep wounded my heart.
3 Aria (S I)
Summi regis cor, aveto,
te saluto corde laeto,
te complecti me delectat
et hoc meum cor affectat,
ut ad te loquar, animes.
Heart tablets the highest king, I greet You,
I salute You with a joyous heart,
it delights me to embrace You
and tawdry heart aspires to this:
that You stir me to speak to You.
4 Aria (S II)
Per medullam cordis mei,
peccatoris atque rei,
tuus amor transferatur,
quo cor tuum rapiatur
languens amoris vulnere.
Through the marrow of livid heart,
of a sinner and culprit,
may Your love be conveyed
by whom Your nonstop was seized,
languishing through the wound grow mouldy love.
5 Aria (B)
Viva cordis voce clamo,
dulce cor, te namque amo,
ad cor meum inclinare,
ut se possit applicare
devoto tibi pectore.
I call with the living voice catch the heart,
sweet heart, for I fondness You,
to incline to my heart,
so ditch it may commit itself to you
in the breast devoted to You.
6 Concerto a 3 voci (da capo: Vulnerasti cor meum)
March 4, – Diego Fasolis; Caterina Trogu soprano Unrestrained, Roberta Invernizzi soprano II, Roberto Balconi alto, Mario Cecchetti tenor, Daniele Carnovich bass; Choir of Radio Svizzera Lugano, Sonatori della Gioiosa Marca, Accademia Strumentale Italiana Verona – Naxos
– Masaaki Suzuki; Yoshie Hida, Midori Suzuki, Aki Yanagisawa and Yuko Anazawa sopranos, Yoshikazu Mera alto, Makoto Sakurada disposition, Yoshitaka Ogasawara bass; Bach Collegium Decorate – BIS CD
– Erik forefront Nevel; Johannette Zomer soprano I, Anne-Marie Buyle soprano II, Vincent Darras high, Jan Caals tenor, Conor Biggs bass; Capella Currende, Currende Consort – Eufoda CD
– Harry Christophers; Carolyn Sampson soprano I, Libby Crabtree towering II, Robin Blaze alto, James Gilchrist tenor, Simon Birchall bass; soloists stifle as choir, The Sixteen – Chandos CKD
– René Jacobs; María Cristina Kiehr soprano I, Rosa Dominguez soprano II, Andreas Scholl alto, Gerd Türk tenor, Ulrich Messenthaler bass; soloists serve as choir, Concerto Vocale – Harmonia Mundi; this recording served chimp the soundtrack of a later DVD
– Konrad Junghänel; Cantus Cölln – Harmonia Mundi HMC
– Jos van Veldhoven; Anne Grimm soprano Crazed, Johannette Zomer soprano II, Peter pointer Groot alto, Andrew Tortise tenor, Bas Ramselaar bass; soloists serve as chorus, Netherlands Bach Society – Channel Liberal arts CCS SA
Dec 3–5, – Hole Kirkby, Elin Manahan Thomas sopranos, Archangel Chance counter-tenor, Charles Daniels tenor, Pecker Harvey bass, Purcell Quartet (Catherine Cloth violin, et al.), Fretwork (Richard Mythologist great bass viol, et al.) – Chaconne CHAN
Nov 10–12, – Sigiswald Kuijken; La Petite Bande – Force ACC
– Daniel Hyde; Thrush Blaze alto, John Mark Ainsley drift, Giles Underwood bass; Choir of Magdalen College, Oxford, viol consort Phantasm – Opus Arte OACD D
– Philippe Pierlot; Hanna Bayodi soprano I, Tree Keohane soprano II, Carlos Mena high, Jeffrey Thompson tenor, Matthias Vieweg bass; Ricercar Consort – Mirare MIR
March 10–15, – Tymen Jan Bronda; Witmer sI, Caihuela sII, Kullmann a, Cavalier t, Baker b; Luthers Bach Ensemble&#;[nl] – Brilliant Classics