HAYDN Die Sieben Letzten Worte / Seven Last Words. Petra Labitzke, Daniel Sans, Chamber Choir of Europe, Kurpfaliziches Kammerorchester Mannheim / Nicol Matt. Brilliant Classics

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Haydn Die Sieben Letzten Worte Mannheim Nicol Matt Brilliant Classics

HAYDN

Seven Last Words

THE SEVEN LAST WORDS OF CHRIST ON THE CROSS (ORATORIO VERSION)

1 Introduzione I

2 No.1: Vater, vergib Ihnen, denn sie wissen nicht was sie tun

3 No.2: Fürwahr, ich sag’es dir

4 No.3: Frau, hier siehe deinen Sohn

5 No.4: Mein Gott, mein Gott, warum hast du mich verlassen?

6 Introduzione II

7 No.5: Jesus rufet: Ach, mich dürstet!

8 No.6: Es ist vollbracht!

9 No.7: Vater, in deine Hände empfehle ich meinen Geist

10 Il Terremoto (Das Erdbeben)

Petra Labitzke – soprano

Daniel Sans - tenor

Chamber Choir of Europe; Kurpfäliziches Kammerorchester Mannheim / Nicol Matt

• In recent times Haydn’s “Seven Last Words” have enjoyed increasing levels of fame and popularity.

• These intimate seven adagios show a contemplative, deeply introspective side of Haydn which many were not familiar with.

• Of the several versions of the work (solo keyboard, string quartet, string orchestra) this version for soloists, choir and orchestra became the most popular.

• Excellent performances by the Chamber Orchestra of Europe, conducted by Nicol Matt, who made their name with highly acclaimed recordings of Bach, Mozart, Mendelssohn and Brahms for Brilliant Classics.

Haydn already had a wealth of sacred works under his belt when, in 1785, aged 53 and at the height of his fame, he received a detailed commission for the cathedral of Cadiz in Spain, asking him to write ceremonial music for Good Friday. His challenge was to create an engaging and individual work out of the curious musical form prescribed by the ritual, and the resulting instrumental composition was a triumph. Its history, however, was far from complete; several years later while in Passau, Haydn stumbled upon a vocal arrangement of the work, set to excerpts of Ramler’s poem Der Tod Jesu, which he took upon himself to revise.

The ensuing oratorio, to which a woodwind intermezzo was also added, was published in 1801 and exceeded all popularity of the previous version to become one of the composer’s most performed works. That it was, according to Haydn, one of his greatest achievements can be heard in this superb account given by the talented Chamber Choir of Europe, which has already produced many distinguished recordings for Brilliant Classics. Beautifully sensitive singing enhances the individual character accorded to each of the seven Adagio movements by the composer, making this performance an invaluable addition to Haydn’s discography of sacred works.

Brilliant Classics 94290

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