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Membra Jesu Nostri
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Membra Jesu Nostri (English: The Limbs of our Lord Jesus), BuxWV 75, is a cycle of seven cantatas composed by Dieterich Buxtehude in 1680, and dedicated to Gustaf Düben. This work is known as the first Lutheran oratorio. The text, Salve mundi salutare – also known as the Rhythmica oratio – is a poem written by Medieval poet Arnulf of Louvain (died 1250). It is divided into seven parts, each addressed to a different part of Christ's crucified body: feet, knees, hands, side, chest, heart, and head.
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.

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Encyclopedia
Membra Jesu Nostri (English: The Limbs of our Lord Jesus), BuxWV 75, is a cycle of seven cantatas composed by Dieterich Buxtehude in 1680, and dedicated to Gustaf Düben. This work is known as the first Lutheran oratorio. The text, Salve mundi salutare – also known as the Rhythmica oratio – is a poem written by Medieval poet Arnulf of Louvain (died 1250). It is divided into seven parts, each addressed to a different part of Christ's crucified body: feet, knees, hands, side, chest, heart, and head.
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 last cantata of the cycle, Ad faciem, is the only one that deviates from this pattern, with a final Amen chorus substituting for the reprise.
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 metre of the poetry itself unifies the cantatas' rhythmic patterns (Examples 1 and 2).
- Example 1 (in bold are stressed syllables):
I. Ad pedes:
Sal-ve mun-di sa-lu-ta-re
II. Ad 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
The seven cantatas
I. Ad pedes The first cantata of the cycle, Ad pedes (To the Feet), calls for two violins, viola da gamba, five voices (SSATB), and basso continuo.
- 1. Sonata (instrumental introduction: two violins, viola da gamba, and [basso] continuo)
- 2. Concerto (SSATB)
Ecce super montes
pedes evangelizantis
et annunciantis pacem
- 3. Aria (SSATB)
Salve mundi salutare,
salve Jesu care!
Cruci tuae me aptare
vellem vere, tu scis quare,
da mihi tui copiam
- 4. Aria (S)
Clavos pedum, plagas duras,
et tam graves impressuras
circumplector cum affectu,
tuo pavens in aspectu,
tuorum memor vulnerum
- 5. Aria (B)
Dulcis Jesu, pie deus,
Ad te clamo licet reus,
praebe mihi te benignum,
ne repellas me indignum
de tuis sanctis pedibus
- 6. Concerto (da capo: Ecce super montes)
II. Ad genua
- 1. Sonata
- 2. Concerto (SSATB)
Ad ubera portabimini,
et super genua blandientur vobis
- 3. Aria (T)
Salve Jesu, rex sanctorum,
spes votiva peccatorum,
crucis ligno tanquam reus,
pendens homoverus deus,
caducis nutans genibus
- 4. Aria (A)
Quid sum tibi responsurus,
actu vilis corde durus?
Quid rependam amatori,
qui elegit pro me mori,
ne dupla morte morerer
- 5. Aria (SSB)
Ut te quaeram mente pura,
sit haec mea prima cura,
non est labor et gravabor,
sed sanabor et mundabor,
cum te complexus fuero
- 6. Concerto (da capo: Ad ubera portabimini)
III. Ad manus
- 1. Sonata
- 2. Concerto (SSATB)
Quid sunt plagae istae
in medio manuum tuarum?
- 3. Aria (S)
Salve Jesu, pastor bone,
fatigatus in agone,
qui per lignum es distractus
et ad lignum es compactus
expansis sanctis manibus
- 4. Aria (S)
Manus sanctae, vos amplector,
et gemendo condelector,
grates ago plagis tantis,
clavis duris guttis sanctis
dans lacrymas cum oculis
- 5. Aria (ATB)
In cruore tuo lotum
me commendo tibi totum,
tuae sanctae manus istae
me defendant, Jesu Christe,
extremis in periculis
- 6. Concerto (da capo: Quid sunt plagae istae)
IV. Ad latus
- 1. Sonata
- 2. Concerto (SSATB)
Surge, amica mea,
speciosa mea, et veni,
columba mea inforaminibus petrae,
in caverna maceriae
- 3. Aria (S)
Salve latus salvatoris,
in quo latet mel dulcoris,
in quo patet vis amoris,
ex quo scatet fons cruoris,
qui corda lavat sordida
- 4. Aria (ATB)
Ecce tibi appropinquo,
parce, Jesu, si delinquo,
verecunda quidem fronte,
ad te tamen veni sponte
scrutari tua vulnera
- 5. Aria (S)
Hora mortis meus flatus
intret Jesu, tuum latus,
hinc expirans in te vadat,
ne hunc leo trux invadat,
sed apud te permaneat
- 6. Concerto (da capo: Surge amica mea)
V. Ad pectus
- 1. Sonata
- 2. Concerto a 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.
- 3. Aria (A)
Salve, salus mea, deus,
Jesu dulcis, amor meus,
salve, pectus reverendum,
cum tremore contingendum,
amoris domicilium
- 4. Aria (T)
Pectus mihi confer mundum,
ardens, pium, gemebundum,
voluntatem abnegatam,
tibi semper conformatam,
juncta virtutum copia
- 5. Aria (B)
Ave, verum templum dei,
precor miserere mei,
tu totius arca boni,
fac electis me apponi,
vasdives deus omnium
- 6. Concerto a 3 voci (da capo: Sicut modo geniti)
VI. Ad cor
- 1. Sonata
- 2. Concerto a 3 voci (SSB)
Vulnerasti cor meum,
soror mea, sponsa,
vulnerasti cor meum.
- 3. Aria (S)
Summi regis cor, aveto,
te saluto corde laeto,
te complecti me delectat
et hoc meum cor affectat,
ut ad te loquar, animes
- 4. Aria (S)
Per medullam cordis mei,
peccatoris atque rei,
tuus amor transferatur,
quo cor tuum rapiatur
languens amoris vulnere
- 5. Aria (B)
Viva cordis voce clamo,
dulce cor, te namque amo,
ad cor meum inclinare,
ut se possit applicare
devoto tibi pectore
- 6. Concerto a 3 voci (SSB)
Vulnerasti cor meum,
soror mea, sponsa,
vulnerasti cor meum.
VII. Ad faciem
- 1. Sonata
- 2. Concerto (SSATB))
Illustra faciem tuam super servum tuum,
salvum me fac in misericordia tua
- 3. Aria (ATB)
Salve, caput cruentatum,
totum spinis coronatum,
conquassatum, vulneratum,
arundine verberatum
facie sputis illita
- 4. Aria (A)
Dum me mori est necesse,
noli mihi tunc deesse,
in tremenda mortis hora
veni, Jesu, absque mora,
tuere me et libera
- 5. Aria (SSATB)
Cum me jubes emigrare,
Jesu care, tunc appare,
o amator amplectende,
temet ipsum tunc ostende
incruce salutifera.
- 6. Concerto (SSATB)
Amen
Recordings
- John Eliot Gardiner, English Baroque Soloists, Monteverdi Choir — Archiv Produktion 447 298-2
- Ton Koopman, Amsterdam Baroque Orchestra and Choir — Erato 2292-45295-2
- René Jacobs, Concerto Vocale — 2003 — Harmonia Mundi - Soloists María Cristina Kiehr Soprano I, Rosa Dominguez Soprano II, Andreas Scholl Alto, Gerd Turk 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 — 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
See also
External links
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