The second collection of vocal works in Ton Koopman’s admirable endeavour to record the extant works by Dieterich Buxtehude is a mixed programme of psalm concertos, cantatas and miscellaneous liturgical works. Buxtehude was not obliged to compose church music for the Marienkirche in Lübeck, and Koopman reasonably speculates that much of the music explored here could have been composed for Buxtehude’s famous Abendmusik concerts. Unwary listeners might leap to attention with disc 1’s astonishing opening chord of splendid brass and full-blooded regal; this dynamically announces the psalm concerto Benedicam Dominum (for which Koopman provides an editorial reconstruction of the chorus’s missing soprano part).

These discs show the sentimental and technical breadth of Buxtehude’s work: opulent festive cantatas such as Ihr lieben Christen, freut euch nun (in which polychoral groups of voices, cornets and sackbuts, trumpets and dulcian, and six-part strings are used in a seven-section structure) are programmed alongside chamber ensemble pieces (such as a charming setting of the Christmas chorale In dulci jubilo in which a vocal trio alternates with two brilliant fiddles), poignant solos such as Jubilate Domino omnis terra (eloquently sung by Daniel Taylor, supported by a viola da gamba, lute and organ), and even a couple of canons Buxtehude wrote as gifts for friends.

The Amsterdam Baroque Choir and Orchestra provide well rounded choral contributions and lithe playing, each aspect performed with tangible engagement. It is particularly gratifying that there is little of the wilful stipulation of excessive ornaments evident on Koopman’s old Erato recordings of Buxtehude’s cantatas. Instead, he directs proceedings judiciously, and fields a stronger team of soloists than has sometimes been the case in his past projects. This accomplished release comfortably takes its place in the first rank of the Buxtehude discography.