The passing of organist and composer Dietrich Buxtehude (1637 - 1707) elicited eulogies that contained phrases like "world renowned, incomparable musician and composer." While this description may not wash with some in the 21st century, we cannot forget the Dane's prfound and lasting influence on the young Bach, who journeyed the 200 miles from Arnstadt to Lübeck to hear Buxtehude's famed series of concerts, or Abendmusiken, at the Mariakirche. Organists readily acknowledge his effect on Bach, as do some enlightened choral directors, but it is both surprising and disappointing that given the artistic influence on Bach by his mentor, a larger exploration of Buxtehude's choral repertoire hasn't been undertaken. There have been attempts over the years to offer some of the cantatas in a smattering of recordings, the most impressive effort being a now unavailable multidisc set on Erato with Ton Koopman and his Amsterdam Baroque Orchestra and Chorus. More recently, the Danish label da capo released a volume of cantatas that was less than enthusiastically received in 25:2 by my colleague Brian Robins. Apparently, Buxtehude's choral works haven't fired the imagination of the A&R people at many record companies, and given the sagging classical music market, they probably won't. 'Tis a shame, for the 130-odd surviving choral works (cantatas, chorale settings and strophic arias) doubtless hold a wealth of invention if the music in this release can be deemed an accurate barometer. The complete title of this cycle is Membra Jesu nostri patientis sanctissima, or Most Holy Members of our Suffering Jesus. Written for the Passion season, the cycle contemplates seven different parts of the body of Jesus Christ on the cross: feet, knees, hands, side, breast, heart and head. The lion's share of the text that Buxtehude pressed into serviceis taken from a medieval poem, Salve mundi salutare. Buxtehude combines free prose from the Latin Bible with strophic arias for one or more soloists, and precedes each of the cantatas with a brief instrumantal movement. The result is an emotionally telling and poignant series of works that displays what Jonathan Freeman-Attwood termed "Buxtehude's genius for creating the ultimate in spiritual impact without an note of gratuitous indulgence." With the demise of Collins Classics, Harry Christophers and his chorla group, The Sixteen, have apparently found a new home with Linn. The group is exceptionally versatile and has produced a series of recordings embracing a repertoire that ranges from the Tudor period to the 20th cnetury. This is apparently their first release for Linn, and it continues the ensemble's tradition of scrupulous scholarship and musical excellence. one finds warmth and crystilline clarity wed to a sense of style that is not self-conscious and is therefore void of the preciousness that is sometimes associated with historically informed interpretations. If your interests include the emminent pre-Bach composers, this important release merits your attention. Michael Carter Fanfare USA