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Las siete últimas palabras de Cristo en la Cruz

7,00

To be reissued nextly


The Seven Last Words of Christ on the Cross

Franz Joseph Haydn.

Orquesta Barroca de Sevilla.

Conductor: Barry Sargent.

Content

  1. Introduzione in D minor – Maestoso ed Adagio
  2. Sonata I (“Pater, dimitte illis, quia nesciunt, quid faciunt“) in B-flat major – Largo
  3. Sonata II (“Hodie mecum eris in paradiso“) in C minor, ending in C major – Grave e cantabile
  4. Sonata III (“Mulier, ecce filius tuus“) in E major – Grave
  5. Sonata IV (“Deus meus, Deus meus, utquid dereliquisti me“) in F minor – Largo
  6. Sonata V (“Sitio“) in A major – Adagio
  7. Sonata VI (“Consummatum est“) in G minor, ending in G major – Lento
  8. Sonata VII (“In manus tuas, Domine, commendo spiritum meum“) in E-flat major – Largo
  9. Il terremoto (Earthquake) in C minor – Presto e con tutta la forza
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Descripción

Las siete últimas palabras de Cristo en la Cruz

The Seven Last Words of Christ on the Cross

F. Joseph Haydn

Orquesta Barroca de Sevilla

In 1785, Franz Joseph Haydn was commissioned by Francisco de Paula María de Micón, Marquis of Mérito, in Cadiz, to compose an orchestral work based on the last seven words that, according to the Gospels, were spoken by Christ before His death. It was intended for the celebration held by the Brotherhood of the Holy Cave, to which de Micón belonged, on Good Friday in the Parish of the Holy Rosary.

At the time, Haydn, 53 years old and already famous throughout Europe, was retained in the service of Prince Esterházy. A deeply religious man, Haydn was enormously gratified by the commission, and he came to consider it one of his favourite works. The letter of commission for the piece described in such detail the ritual for which the music was being composed that Haydn himself confessed, modestly, that the work owed more to the description received in the commission from Señor Micón than to his own invention, since “it clarified in such a singular manner all of the passages that it appeared, when I read the instructions received from Spain, that I was reading just music”. According to the Cadiz nobleman’s instructions, Haydn should first compose an overture that would mark the character of the service being held. Then, the officiating priest would pronounce the first of the seven sentences and go on to read a short sermon on the subject. Whilst still kneeling at the altar, the first adagio would sound, describing Christ on the Cross, but which should not last more than ten minutes. The officiant would then enter the pulpit to pronounce the second sentence with its sermon. And so, words and music alternated during the service. After the seven parts, a final movement described the earthquake that occurred after the death of Christ. During the ceremony in the lugubrious Holy Cave, and to accentuate the funereal nature of the service, the walls, windows and columns were covered in black cloth and lighting reduced to a minimum. In accordance with the request from Cadiz, Haydn’s composition had an overture, seven sonatas (that is, and in the original sense of the word, seven instrumental pieces) and a short, quick finale (a description of the earthquake). The work gained great popularity in Europe and was published in Vienna in 1787, including, as well as the original orchestra version, a version for string quartet by the composer himself (he would also later supervise an edition for piano). The original title, in Italian, was: Musica instrumentale sopra le 7 ultime parole del nostro Redentore in croce ossiano 7 sonate con un’introduzione ed al fine un terremoto.

Years later in 1794, on the way back from his second visit to London, Haydn heard a choral version of his work in Passau (Germany) by the local choirmaster J. Friebart. Using this text as a basis, and with the help of Baron van Swieten (the author of the texts of the oratorios of Haydn’s Creation and The Seasons), the composer converted The Seven Words into an oratorio for choir, soloists and orchestra. For this work, Haydn added new instrumental numbers.

The version included here is the original, written for an orchestra of strings, two flutes, two oboes, two bassoons, four horns, two trumpets and kettledrums. Lasting about one hour (not counting the possible spoken parts), this work is a clear reflection of the simple conception, though not without depth, that the author held of Christ’s passion. Behind the apparent simplicity, The Seven Words possesses a dramatic strength that only a very careful, expressive interpretation can reveal. Likewise, the fact that eight of the parts (all except the short final presto) are slow movements requires special concentration of the listener, who will not be disappointed if, furthermore, they contribute to reflection on the symbolic content of the work that, leaving aside all religious beliefs, invites the listener to meditate on the pain, loneliness and suffering which, like Christ in His last moments, so many human beings have suffered and continue to suffer.

Información adicional

Artista

Orquesta Barroca de Sevilla

Estilo

Clasicismo

Interpretación

Música Orquestal

Autor

Franz Joseph Haydn

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Las siete últimas palabras de Cristo en la Cruz

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Las Siete Ultimas Palabras de Cristo en la Cruz.

Franz Joseph Haydn.

Orquesta Barroca de Sevilla.

Director: Barry Sargent.


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Descripción

Las siete últimas palabras de Cristo en la Cruz

Orquesta Barroca de Sevilla

En el año 1785, recibe Franz Joseph Haydn el encargo de componer una obra orquestal sobre las siete últimas palabras que según el Evangelio pronunciara Jesucristo antes de su muerte. Este encargo lo realiza desde Cádiz, Francisco de Paula María de Micón, Marqués del Mérito, con destino a la celebración que la hermandad de la Santa Cueva, a la cual pertenece, realiza el Viernes Santo en la Parroquia del Santo Rosario y que daría lugar a la obra Las Siete Ultimas Palabras de Cristo en la Cruz.

Haydn cuenta en ese momento 53 años de edad y, aunque ya es famoso en toda Europa, sigue al servicio del príncipe Esterházy. Hombre de profunda fe cristiana, el encargo complació grandemente a Haydn quien llegaría a considerarla como una de sus obras preferidas. La carta del encargo describía con tanto detalle el ritual para el que debía ser compuesta la música que el propio Haydn confesó, con evidente modestia, que la composición de la obra se debía más a la descripción que había recibido por escrito del señor Micón que a su propia invención, porque “aclaraba de un modo tan singular todos los pasajes que parecía, cuando estaba leyendo las instrucciones recibidas de España, leer solo música”.

Según las indicaciones del aristócrata gaditano, Haydn debía componer primeramente una obertura que marcara el carácter del acto que se iba a celebrar. Después el oficiante pronunciaba la primera de las siete sentencias y daba a continuación un pequeño sermón sobre ésta. Seguidamente, y mientras permanecía de rodillas ante el altar, debía sonar el primer “adagio”, que describía a Cristo en la cruz y que no debía durar más de diez minutos. Nuevamente el oficiante subía al púlpito y pronunciaba la segunda frase y el correspondiente sermón. Así, música y palabra se alternaban durante el oficio.

Después de las siete partes correspondientes, un movimiento final describía el terremoto ocurrido tras la muerte de Cristo. Durante la ceremonia en la lóbrega Santa Cueva, y para acentuar el carácter fúnebre del acto, paredes, ventanas y columnas estaban cubiertos por lienzos negros y la luz se reducía al mínimo. De acuerdo con lo solicitado desde Cádiz la composición de Haydn consta de una obertura, siete sonatas (es decir, y en el antiguo sentido del término, siete piezas instrumentales) y un breve y rápido final (descripción del terremoto). La obra alcanzó gran popularidad en Europa y fue editada en Viena en 1787, incluyendo además de la versión original para orquesta, una versión para cuarteto de cuerdas del propio autor (más adelante también supervisó una edición para piano). El título original, en italiano, reza así: Musica instrumentale sopra le 7 ultime parole del nostro Redentore in croce ossiano 7 sonate con un’introduzione ed al fine un terremoto.

Información adicional

Estilo

Clásica

Interpretación

Música Orquestal

Artista

Orquesta Barroca de Sevilla