Laurence Equilbey - Joseph Haydn: Les sept dernières Paroles du Christ en Croix (2006)
Laurence Equilbey - Joseph Haydn: Les sept dernières Paroles du Christ en Croix (2006)
EAC | FLAC | Image (Cue & Log) ~ 236 Mb | Total time: 53:12 | Scans included
Classical | Label: Naïve | # V 5045 | Recorded: 2005
EAC | FLAC | Image (Cue & Log) ~ 236 Mb | Total time: 53:12 | Scans included
Classical | Label: Naïve | # V 5045 | Recorded: 2005
Haydn's Die sieben letzten Worte unseres Erlösers am Kreuze (The Seven Last Words of Our Savior on the Cross) is unique in his output. Commissioned in 1785 as an orchestral work for Good Friday by a church in Cádiz, Spain, it posed Haydn considerable problems as he tried to reconcile the general structural principles of the Classical era with a commission that required him, in effect, to write seven slow movements in a row – and, at a deeper level, to write a really somber work in a musical language made for humor and sunny lyricism. The seven movements, plus opening and central introductions and a final "Terremoto" or earthquake, stand in contrast with one another in both texture and tonality, although all are indeed dark in hue. Haydn apparently was pleased with his solution, for he arranged the work for string quartet and gave permission to Hummel to create a piano version. The final chapter in the work's remarkable story was added when the Baron van Swieten, later the librettist for Die Schöpfung (The Creation) and Die Jahreszeiten (The Seasons), pieced together German texts describing Christ's crucifixion with Haydn's music in 1794. Haydn, believing that he could better a previous vocal version (whose words van Swieten employed, along with those by another poet and some suggestions by Haydn himself), reworked the piece yet again, and the result was the small oratorio-like composition heard here. Each vocal movement begins with Christ's words and then proceeds to an embodiment of the reactions of the spectators. Despite the music's patchwork genesis, the final mixture of music and text is natural and moving.
A recording by the Kammerchor Stuttgart and Württembergisches Kammerorchester Heilbronn will serve those who want a traditional reading of the work, steeped in long German traditions. This performance by the French choir Accentus, with the Akademie für alte Musik Berlin, is something else again. The choir's director Laurence Equilbey, taking note of the work's orchestral origins, writes that she "opted for a relatively instrumental type of articulation," making the choir keep within the expression laid down by the orchestra rather than making it the "leading actor in the drama." The contrast between the rather chopping attacks of the historical-instrument Akademie für alte Musik Berlin and the smoothness of this rather ethereal French choir remains striking – yet Equilbey does succeed in forging a quite unusual orchestrally dominated version of a choral work. The spacious acoustic of this thoroughly stylish and well-designed recording from France's Naïve label aids in the general effort; choir and orchestra seem to float in a large, solemn space. And the celestial voice of soprano Sandrine Piau, topping off a fine group of soloists, soars above it all. The listener's reaction to a performance like this may be individual: for some, it may lack the dark solemnity at the heart of Haydn's work, but others will find it a fresh and fully thought-out approach to a difficult masterwork.–James Manheim
Performer:
Sandrine Piau, soprano
Ruth Sandhoff, mezzo-soprano
Robert Getchell, ténor
Harry van der Kamp, basse
Accentus
Akademie für Alte Musik Berlin
Laurence Equilbey, direction
Tracklist:
Joseph Haydn 1732-1809
Die sieben letzten Worte unseres Erlösers am Kreuze, Hob. XX/2
01. Introduzione: Maestoso ed Adagio
02. No. 1 Largo. Vater, vergib Ihnen, Denn sie wissen nicht, was sie tun
03. No. 1 Largo. Vater im Himmel o sieh hernieder Vom ewigen Thron!
04. No. 2 Grave e Cantabile. Fürwahr, ich sag' es dir: Heute wirst du bei mir im Paradiese sein
05. No. 2 Grave e Cantabile. Ganz Erbarmen, Gnad' und Liebe, Bist du Mittler Gotteslamm
06. No. 3 Grave. Frau, hier siehe deinen Sohn, Und du, siehe deine Mutter!
07. No. 3 Grave. Mutter Jesu, die du trostlos meinen, Seufzend bei dem Kreuze standst
08. No. 4 Largo. Mein Gott, mein Gott, warum hast du mich verlassen?
09. No. 4 Largo. Warum hast du mich verlassen? Wer sieht hier der Gottheit Spur?
10. Introduzione: Largo e Cantabile
11. No. 5 Adagio Jesus rufet: Ach mich dürstet!
12. No. 6 Lento. Es ist vollbracht!
13. No. 6 Lento. Es ist vollbracht! An das Opferholz geheftet, Hanget Jesus in der Nacht
14. No. 7 Largo. Vater, in deine Hände empfehle ich meinen Geist
15. No. 7 Largo. In deine Händ' o Herr, empfehle ich meinen Geist
16. Il Terremoto (Das Erdbeben): Presto e con tutta la forza – Er ist nicht meh
Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 1. November 2018, 8:12
Accentus, Akademie für Alte Musik Berlin, Laurence Equilbey / Les 7 dernières Paroles du Christ
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Laurence Equilbey - Joseph Haydn: Les sept dernières Paroles du Christ en Croix (2006)
Thanks to the original releaser