Membra Jesu Nostri

Structure

Each cantata in Membra Jesu Nostri is divided into six sections; an instrumental introduction; a concerto for instruments and five voices (SSATB), with the exception of the fifth and sixth cantatas where only three voices are used; three arias for one or three voices, each followed by an instrumental ritornello; and an exact reprise of the concerto. The first and the last cantata of the cycle deviate from this pattern. In the first cantata the choir repeats the first aria after the reprise, in the last one, Ad faciem, 5 parts sing the last aria, and then a final Amen instead of the reprise concludes the cycle.

The structure of Membra is dictated by its text. Buxtehude selected biblical verses for the concertos, and three strophes from each part of the poem Salve mundi salutare for the arias in each cantata. The biblical words are chosen for mentioning the member of the cantata and taken mostly from the Old Testament. The metre of the poetry unifies the arias' rhythmic patterns.

Example 1 (in bold are stressed syllables):

Cantatas

The work is scored for five voices SSATB who may also form the choir, two violins and basso continuo. A viola da gamba consort is called for only in part VI, Ad cor, to the heart.

The following table shows for each cantata the title and its translation, Tempo marking, the voices (SATB, first for the choir, then for the arias, with S2 for the second soprano), the Baroque instruments of two violins (Vl) and five violas da gamba (Vg), and the biblical text source for the concerto. The source for the arias is always Salve mundi salutare. The continuo, playing throughout, is not shown.

I Ad pedes

(To the feet)

1 Sonata (instrumental introduction)

II Ad genua

(To the knees)

1 Sonata

III Ad manus

(To the hands)

1 Sonata

IV Ad latus

(To the sides)

1 Sonata

V Ad pectus

(To the breast)

1 Sonata

VI Ad cor

(To the heart)

In this part a consort of viola da gamba replaces the violins.

1 Sonata

VII Ad faciem

(To the face)

1 Sonata

Selected recordings

Choir of Magdalen College, Oxford, Opus Arte – 2014

Claudio Cavina, La Venexiana – 2009

John Eliot Gardiner, English Baroque Soloists, Monteverdi Choir – Archiv Produktion 447 298–2

Ton Koopman, Amsterdam Baroque Orchestra & Choir – Erato

René Jacobs, Concerto Vocale – 2003 – Harmonia Mundi – Soloists María Cristina Kiehr Soprano I, Rosa Dominguez Soprano II, Andreas Scholl Alto, Gerd Türk Tenor, Ulrich Messenthaler Bass (The soloists serve as the chorus) – a DVD of the recording with the same singers and the Schola Cantorum Basiliensis (2007) is available as a DVD.

The Sixteen, Harry Christophers, CORO 16082 (Re-release)

The Sixteen, Harry Christophers – 2001 – CKD 141 – Soloists Carolyn Sampson Soprano I, Libby Crabtree Soprano II, Robin Blaze Alto, James Gilchrist Tenor, Simon Birchall Bass (The soloists serve as the chorus)

Masaaki Suzuki, Bach Collegium Japan – 1997 – BIS-CD-871

Jos van Veldhoven, The Netherlands Bach Society – 2006 – Channel Classics, CCS SA 24006 – Soloists Anne Grimm Soprano I, Johannette Zomer Soprano II, Peter de Groot Alto, Andrew Tortise Tenor, Bas Ramselaar Bass (The soloists serve as the chorus)

Konrad Junghänel, Cantus Cölln – 2005 – Harmonia Mundi – HMC901912

Diego Fasolis director; Sonatori della Gioiosa Marca + Accademia Strumentale Italiana; Roberto Balconi alto, Caterina Trogu soprano I, Roberta Invernizzi soprano II, Mario Cecchetti tenor, Daniele Carnovich Bass; Choir of Radio Svizzera – 1997 NAXOS 8.553787

Erik Van Nevel, Currende – 1998 – Eufoda 1294 – Soloists Johannette Zomer Soprano I, Anne-Marie Buyle Soprano II, Vincent Darras Alto, Jan Caals Tenor, Conor Biggs Bass, Currende Consort & Capella Currende