Membra Jesu nostri, BuxWV 75, is a cycle of seven cantatas composed in 1680 by Dieterich Buxtehude and dedicated to Gustaf Düben. More specifically and fully it is, in Buxtehude's phrase, a “ decantata,” or “sung devotion,” titled Membra Jesu nostri patientis sanctissima, which translates from the Latin as Limbs Most Holy of Our Suffering Jesus. Regarding genre, the cycle consists in seven concerto-aria cantatas, a form that had emerged in Germany in the 1660s. The stanzas of its main text are drawn from the medieval hymn Salve mundi salutare, also known as the Rhythmica oratio, formerly ascribed to Bernard of Clairvaux but now thought to be by Arnulf of Leuven. Each cantata addresses a part of Jesus' crucified body: feet, knees, hands, side, breast, heart and face; in each, Biblical words referring to the limb frame verses of the hymn's text.

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.

Scoring

Membra Jesu nostri is scored for five voices SSATB, two violins, consort of viols, and a basso continuo of double bass, theorbo and organ. The voices sing solos, duets, trios, and as a choir. The viols play in the sixth cantata only, with the middle two choir voices removed. In the table, S2 refers to the second soprano. For each "concerto" section, the Biblical text source is given; for the arias, it is always Salve mundi salutare.

Texts

I Ad pedes

(To the feet)

II Ad genua

(To the knees)

III Ad manus

(To the hands)

IV Ad latus

(To the sides)

V Ad pectus

(To the breast)

VI Ad cor

(To the heart) In this part a consort of violas da gamba replaces the violins.

VII Ad faciem

(To the face)

Recordings