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Haydn - The Seven Last Words of Christ on the Cross
 
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Haydn - The Seven Last Words of Christ on the Cross

~ Harry van der Kamp (Bass), Franz Joseph Haydn (Composer), Laurence Equilbey (Conductor), Ruth Sandhoff (Mezzo Soprano), Berlin Akademie für Alte Musik (Orchestra), et al.
5.0 out of 5 stars  See all reviews (2 customer reviews)
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Product details

  • Orchestra: Berlin Akademie für Alte Musik, Akademie für Musik Berlin
  • Conductor: Laurence Equilbey
  • Composer: Franz Joseph Haydn
  • Audio CD (2 May 2006)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Naive
  • ASIN: B000E6G7CU
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon.co.uk Sales Rank: 40,029 in Music (See Bestsellers in Music)

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1. Introduzione: Maestoso Ed Adagio
2. No.1 Largo: Vater, Vergib Ihnen, Denn Sie Wissen Nicht, Was Sie Tun
3. No.1 Largo: Vater, Vergib Ihnen, Denn Sie Wissen Nicht, Was Sie Tun
4. No.2 Grave E Cantabile: Furwahr, ich Sag' Es Dir: Heute Wirst Du Bei Mir Im Paradiese Sein
5. No.2 Grave E Cantabile: Furwahr, ich Sag' Es Dir: Heute Wirst Du Bei Mir Im Paradiese Sein
6. No.3 Grave: Frau, Hier Siehe Deinen Sohn, Und Du, Siehe Deine Mutter!
7. No.3 Grave: Frau, Hier Siehe Deinen Sohn, Und Du, Siehe Deine Mutter!
8. No.4 Largo: Mein Gott, Mein Gott, warum Hast Du Mich Verlassen?
9. No.4 Largo: Mein Gott, Mein Gott, warum Hast Du Mich Verlassen?
10. Introduzione: Largo E Cantabile
11. No.5 Adagio: Jesus Refut: Ach Mich Durstet!
12. No.6 Lento: Es Ist Vollbracht
13. No.6 Lento: Es Ist Vollbracht
14. No.7 Largo: Vater, In Deine Hande Empfehle Ich Meinen Geist
15. No.7 Largo: Vater, In Deine Hande Empfehle Ich Meinen Geist
16. Il Terremoto (Das Erdbeben): Presto E Con Tutta La Forza-Er Ist Nicht Mehr

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19 of 20 people found the following review helpful:
5.0 out of 5 stars A Rarely Heard Haydn Choral Masterpiece, 8 Jun 2006
By J Scott Morrison (Middlebury VT, USA) - See all my reviews
(TOP 50 REVIEWER)    (REAL NAME)   
Haydn wrote four versions of 'The Seven Last Words of Christ.' It started out in 1786 as a purely orchestral piece written on commission from the Canon of Cadiz. It was a set of seven adagios to be played as meditations on the 'seven last words' (always called that, but in actuality the seven last sentences uttered by Christ) as read from the pulpit during Passiontide services. This version became popular and to capitalize on that Haydn then rescored the work and published it for string quartet so it could be more widely played (and sold). He also made a keyboard arrangement of the work. Then, in 1795 in Passau he happened to hear a cantata arrangement by Joseph Friebert, a provincial Kapellmeister who had set the Biblical words for chorus accompanied by the orchestral music. Haydn obtained a copy of that arrangement -- 'I thought I could have handled the vocal parts better myself' -- and took it home to Vienna to make his own arrangement for voices and orchestra. That is what we hear on this CD.

The choral-orchestral version differs from the instrument-only versions in that Haydn wrote orchestral introductions to each of the 'seven words' and added an instrumental movement between words IV and V; the striking 'Introduzione' is scored for winds alone. He also added words -- not from the New Testament but revised from a text by Karl Wilhelm Ramler by Haydn's friend and patron, Baron von Swieten -- to the dramatic final movement, 'Il terremoto' ('The earth moves').

By far the most commonly performed version of the 'Seven Last Words' is that for string quartet. This is probably because it requires fewer forces than any of the other versions besides the not very compelling keyboard version. I am familiar with all the versions except for the original orchestral-only version which I believe has been recorded by Riccardo Muti and the Berlin Philharmonic but which I've never run across. I've come to belief that this vocal-orchestral version is the most effective musically and dramatically of the three versions I know.

This recorded performance is superior on all counts. Accentus is an extraordinarily fine French chorus that usually sings a cappella works. They are notable for their suavity and impeccable tuning under their founder and leader, Laurence Equibey, who herself studied under the doyen of northern European choral directors, the Swede Eric Ericson. I've never heard anything by the chorus that wasn't absolutely top-drawer. Orchestral support (and it's more than that) is provided by the Akademie für Alte Musik Berlin, an original instruments group with a particularly piquant sound. I'm not generally a big fan of original instrument performances but this group brings something special to the sound of the recording, a slightly peppery yet rounded sound that spices things up a bit.

Add to that the excellent cast of soloists -- Sandrine Piau, Ruth Sandhoff, Robert Getchell and Harry van der Kamp -- who sing in precisely the manner the score calls for: their voices arise from the choral sound, as if they were members of the chorus, not big-time soloists standing in the spotlight. The sound recording emphasizes this approach. Like all the recordings of Accentus I've heard, recorded sound is a big part of the effect, enough so that the Naïve's sound producer, Jean-Pierre Loisil, and engineer, Pierre-Antoine Signoret, deserve special mention.

This is a very special disc, one that I can recommend unreservedly.

Scott Morrison
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4 of 4 people found the following review helpful:
5.0 out of 5 stars Glorious performances, 10 April 2008
The chamber music orchestra Akademie fur alte musik Berlin plays with great refinement and polish and the choral singing and soloists performances are splendid. Overall this is a glorious rendering of Haydn's choral score re-written by him on the basis of a sung text arrangement of his orchestral score by Kapellmeister Joseph Friebert and with slight modifications of his original orchestral score. The title of the work refers to the seven last phrases uttered by Christ on the Cross: 1) Father forgive them for they know not what they are doing, 2) Verily I say unto thee today shalt thou be with me in Paradise, 3) Woman behold thy son, 4) My god my God why has thou forsaken me? 5) Jesus saith: Alas I thrist! Curb your vengance, calm your anger. 6) It is finished!, 7)Father into thy hands I command my spirit. Each one of these phrases is introduced by an "a cappela" choral declamation in a style which harks back to renaissance sacred music and is then followed by full chorus. This work precedes the work of "The Creation" by 2 years and is more intimate in scale, more varied in texture and style and highly emotional in feeling. This version seems to me to be the preferred version and is in my opionion an essential Haydn recording. Since the words were added after the music was already written as an orchestral work there are moments when it seems that the music does not fit the words. The conductor seems to be aware of this and has given pre-eminence to the orchestral writing which as I said the chamber music orchestra of Berlin performs splendidly; and in these cases where the words seem a bit at odds with the music the music is played as a meditative vehicle on the words executed to great effect. One would probably also want to have the original orchestral work without the choral addition as well. Glorious and richly rewarding.
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