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His teacher Dietrich Buxtehude thought highly of him and so did the syndics of Husum, who appointed him to what became an all too brief lifetime job on the basis of the shortest audition. Bruhns used to dazzle churchgoers with his improvisations, and something of that freedom and speed of thought comes across in his choral writing, which manipulates a simplicity of detail into something altogether grander and more subtle. He perhaps benefits from a drier reading than Astronio and his colleagues give him here, but these pieces – and particularly De profundis clamavi and Ich liege und schlafe – will be a revelation to any for whom Bruhns has so far merely been a name.

BRIAN MORTON Read the full review on Agora Classica


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