Benedictus Buns - Style and Evaluation

Style and Evaluation

Buns's compositions are very important for Dutch religious music. Buns's religious compositions have to be judged against the background of the spiritual life of the Carmelites.

For Buns style is characteristic the structure from proportionally short pieces, with changing beat and speed bars. The motets on Latin texts are of a meditative nature. Further a homophone setting kind of the Primus in the upper voice, as well as larding also instrumental components in prelude and interlude plays under the designation: Symphonia, Sonata, Ritornello. However he wrote brilliant concertando masses, for instance Missa Secunda opus I for 6 vocibus, 4 vocibus in repiëno et instrumenti.

Buns uses text in the motets of literal excerpts from the Holy Scriptures, partly too of paraphrases of the Scriptures and his own additions in meditative style. The new created texts by poets in the 17th century are even real inspiration for Buns’ motets. Even literal quotations from the Scriptures text are treated by Buns in an oratical way. The instrumental part is in the first phase according to conservative habit written in three or five part, only rarely four part after more modern view. The chosen instrumentation by Buns consists of violins, alto and tenor violins, viola, viola di gamba, bass viola, violoncello, bassoon, and basso continuo, usually organ with bass-violins, sometimes with trombones. But to the contrary in sonata finalis nr. 15 opus V Buns composed for two instrumental choirs with basso continuo. This composition is representative of the modern concerto principle used by Buns. The 13 sonatas of opus VIII are written in outstanding virtuoso Baroque idiom, with some southern tint. This opus VIII - Orpheus Elianus e Carmelo in orbem editus - is a splendid example of truly inspired excellent Dutch music. Orpheus Elianus refers to the Prophet Elijah, so he did in his opus VII, Elijah the spiritual inspiration for the founders and members of the order of Carmelites to which Buns belonged.

These 13 trio sonatas opus VIII have a clear affinity with the sonata da chiesa by Corelli. They exist from short, in each other overflowing particles, often in five parts Adagio – Allegro – Adagio – Allegro – Adagio. In the same slightly one possibly the sonata finalis nr. 15 opus V for two violin choirs has to be considered as an excellent instrumental motet. Extremely surprisingly and ingenious is the alternating play between chorus I (violin 1 and 2, viola and viola di gamba) and chorus II (violin 1 and 2, viola, tenor-violin and dulciano/fagotto) having been supported by the continuo (organ, clavichord and double-bass).

The opus VIII as a whole exhibits a logical tonal system. The first six sonatas follow the circle of fifths in the minor keys, starting from c through g, d, a, and e to b. Sonata no. 7 starts in f-sharp minor but modulates to E-flat major. The last six sonatas nr. 8 up to 13 continue through the circle of fifths, but now in the major keys, from E-flat, through B-flat, F, C, G and to D. The chosen harmonic structure is interesting and lends this opus VIII a tough architecture.

Buns is strongly be influenced by Italian composers from his time, for instance Bassani and Degli Antonii. It could be Buns had some contacts with musicians of the Italian Carmelites. Unfortunately it is unknown who was Buns' music-teacher in Geldern. In the Carmelite monastery of Geldern were at that time two organs placed in the monastery-church. The Carmelites at that time had a high skill of the art of music. Perhaps a chapel-master out of Cologne? Because there exists proven contacts between the family/Count van den Bergh ‘s-Heerenbergh and chapel-masters of Cologne like Carl Rosier (1640-1725) and even the Flemish Carolus Hacquart (ca. 1640-1671). It is likely they worked in ‘s-Heerbergh. Buns’ music is based on the principles and style of the Venetian School at the beginning of the 17th century and Buns’ oeuvre has some similarity to Monteverdi and even comparison to Marc-Antoine Charpentier and Corelli can be adduced. Although Buns wrote almost exclusively religious music he has considered as the most important Dutch composer in the second half of the 17th century.