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It is easy to imagine Dietrich Buxtehude’s enthusiasm when he received into his hands the text to Membra Jesu Nostri, which has been ascribed to Bernard of Clairvaux (c. 1090-1153). The text forms an account of the crucified limbs of Christ (feet, knees, hands, side, chest, heart and face) and its sensitive style relates strongly to sixteenth and seventeenth century Pietism, the central focus of which is emotion and passionate expression.
Membra Jesu Nostri has come to be known as Buxtehude’s possibly best vocal compilation, which is not surprising as it combines great intensity and fervour with his masterly ability to achieve vocal equilibrium in the most pleasing form.