Isabelle Debiève

Isabelle Debiève : Haydn - The Seven Last Words of Christ / Version Originale (Century’s recording : Antoni Ros-Marbà)

Franz Joseph Haydn (1732-1809) - Die Sieben Worte des Erlösers

Les Sept dernières Paroles du Christ
*Introduzione - Maestoso ed adagio / Ré mineur (00:00)
*Sonata I - Largo / Si bémol Majeur (07:49)
Pater, dimitte illis, quia nesciunt quid faciunt
Père, pardonne leur, car ils ne savent pas ce qu’ils font.
*Sonata II - Grave e cantabile / Ut mineur (16:14)
Hodie mecum eris in Paradiso
Je te le dis, aujourd’hui tu seras avec moi dans le paradis
*Sonata III - Grave / Mi Majeur (25:50)
Mulier, ecce filius tuus
Mère, voici ton fils
*Sonata IV - Largo / Fa Majeur (36:14)
Deus meus, Deus Meus, ut quid dereliquisti me ?
Mon Dieu, Mon Dieu, pourquoi m’as-tu abandonné ?
*Sonata V - Adagio / La Majeur (45:04)
Sitio / J’ai soif
*Sonata VI - Lento / Sol mineur (55:24)
Consummtum est / Tout est consommé
*Sonata VII - Largo / Mi bémol Majeur (1:04:49)
In manus tuas, Domine, commendo spirituale meum
Entre tes mains, Seigneur, je remets mon esprit.
*Il terremoto / Le tremblement de terre / Ut mineur (1:11:43)

Orchestre de Chambre de Catalogne
Direction: Antoni Ros-Marbà
Recorded in 1965, at the Church ‘’Notre-Dame de Pédrakbès’’ Barcelona
Disque Charlin

‘’About fifteen years ago I was requested by a prebendary of Cadiz Cathedral to compose instrumental music for the Seven Last Words of Jesus (…). At that time it was customary for an oratorio to be performed every year during Lent in the Cathedral of Cadiz, and its effect must certainly have been considerably enhanced by the setting : the walls, windows and columns of the church were draped with black cloth ans the holy gloom was illuminated by a single great lamp handing in the middle. At the hour of noon all the doors were closed, and now the music began. (…) ‘’ Vienna, March 1801. Joseph Haydn

This cycle proves the sovereign maturity of Haydn's genius. This mastery is at the service of an intensely expressive music. In the fourth Sonata Haydn comments on the Psalm of Divine forsakenness, though only on the first and hopeless part, for this is the only section which does not end in a lighter mood. Its almost unbearable musical tension is reminiscent of Pergolesi’s Stabat Mater ; its intensity is however much greater ans explains why Haydn in the vocal version, followed it by a restful interlude. The fifth Sonata in A Major, contains in its climax that particular A minor colour which mark’s Mozart’s most moving works in this key. The magnificent polyphony in the sixth Sonata, the theme of which is made up of five tones and is used like a ‘cantus firmus’, reminds one rather of late Beethoven. But Haydn’s masterly orchestral writing is perhaps most clearly revealed in the peaceful serenity of the seventh Sonata. The Eathquake which brings the Seven Words to a close and indeed to many another even later work of the Romantic period.

This rare version is the original version. This version is intensely expressive and introspective. It allows to get a very realistic idea of ​​the story of the passion to read in the Gospels. We sorry for the last track that is damaged. Our technician AB did his best to make this part not too difficult to listen to. This remains the most touching version we have heard.

Franz Joseph Haydn PLAYLIST (reference recordings)

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