Pergolesi: Septem verba a Christo in cruce moriente prolata

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Pergolesi: Septem verba a Christo in cruce moriente prolata

World-premiere recording

Sophie Karthäuser (soprano), Christophe Dumaux (countertenor), Julien Behr (tenor), Konstantin Wolff (bass)

Akademie für Alte Musik, René Jacobs

Jacobs draws a mood of passionate concentration, throwing into high relief that work's quasi-operatic drama...There's some persuasive playing, too, by the Berlin ensemble: taut strings, magisterial... — BBC Music Magazine, July 2013, 5 out of 5 stars More…

Release Date: 4th Mar 2013
Catalogue No: HMC902155
Label: Harmonia Mundi
Length: 80 minutes

BBC Music Magazine

July 2013

Choral & Song Choice

Pergolesi: Septem verba a Christo in cruce moriente prolata

Work length1:20:25

$19.00

$23.75

$27.55

Verbum I: Pater, dimitte illis: non enim sciunt qui faciunt (Luke 23:34), Christus (bass) Recitativo Huc, o dilecti filii

Track length1:57

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Verbum I: Pater, dimitte illis: non enim sciunt qui faciunt (Luke 23:34), Aria En doceo diligere

Track length4:38

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Verbum I: Pater, dimitte illis: non enim sciunt qui faciunt (Luke 23:34), Anima (alto) Aria Quod iubes, magne Domine

Track length4:02

$1.00

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Verbum II: Amen dico tibi: hodie mecum eris in Paradiso (Luke 25:43), Christus (tenor) Recitativo Venite, currite

Track length0:55

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Verbum II: Amen dico tibi: hodie mecum eris in Paradiso (Luke 25:43), Aria Latronem hunc aspicite

Track length4:23

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Verbum II: Amen dico tibi: hodie mecum eris in Paradiso (Luke 25:43), Anima (soprano) Aria Ah! peccatoris supplicis

Track length5:04

$1.00

$1.25

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Verbum III: Mulier ecce filius tuus (John 19:26), Christus (bass) Recitativo Quo me, amor?

Track length2:01

$1.00

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Verbum III: Mulier ecce filius tuus (John 19:26), Aria Dilecta Genitrix

Track length3:35

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Verbum III: Mulier ecce filius tuus (John 19:26), Anima (soprano) Recitativo Servator optime

Track length1:18

$1.00

$1.25

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Aria Anima "Quod iubes, magne Domine"

Track length6:05

$1.00

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Verbum IV: Deus meus, deus meus, ut quid dereliquisti me? (Mark 15:34), Christus (bass) Aria Huc oculos

Track length5:57

$1.00

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Verbum IV: Deus meus, deus meus, ut quid dereliquisti me? (Mark 15:34), Anima (alto) Aria Afflicte, derelicte

Track length5:40

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Verbum V: Sitio (John 19:28), Christus (bass) Aria O vos omnes, qui transitis

Track length5:19

$1.00

$1.25

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Verbum V: Sitio (John 19:28), Anima (tenor) Aria Non nectar, non vinum, non undas

Track length4:13

$1.00

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Verbum VI: Consummatum est (John 19:29), Christus (bass) Aria Huc advolate mortales

Track length6:09

$1.00

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Verbum VI: Consummatum est (John 19:29), Anima (soprano) Aria Sic consummasti omnia

Track length5:35

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Verbum VII: Pater, in manus tuas commendo spiritum meum (Luke 23:44-46), Christus (bass) Recitativo Quotquot coram cruce statis

Track length1:36

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Verbum VII: Pater, in manus tuas commendo spiritum meum (Luke 23:44-46), Aria In tuum, Pater, gremium

Track length5:33

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Verbum VII: Pater, in manus tuas commendo spiritum meum (Luke 23:44-46), Anima (tenor) Aria Quid ultra peto vivere

Track length6:25

$1.00

$1.25

$1.45

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About

Now attributed to Pergolesi on the basis of recent research, the ‘Seven Words of Christ’ has been regarded as ‘one of the most heartfelt works of art, full of profound tenderness and an all-conquering sense of beauty’ [Hermann Scherchen, on its discovery in 1930]. However, his judgment has remained unheeded and only the discovery of two more manuscripts in the abbeys of Kremsmünster and Aldersbach, by the musicologist Reinhard Fehling, prompted the firm of Breitkopf & Härtel to publish a critical edition.

In principle this recording follows the Breitkopf edition. Its editor very kindly gave René Jacobs facsimiles, not only the individual parts from Kremsmünster (his principal source), but also those from Metten and Zurich. Pergolesi’s work, probably composed between 1730 and the year of his early death, 1736, was intended for an extra-liturgical devotion on Good Friday. This major discovery of the Neapolitan Baroque was given its concert premiere at the Beaune Festival in July 2012, a few days before this world premiere recording.

Rene Jacobs has received many distinctions from music critics including Record of the Year from Gramophone for Mozart’s ‘Le nozze di Figaro’ in 2004. Classica magazine voted him ‘Artist of the year 2009’ for his recordings of Telemann’s ‘Brockes-Passion’, Mozart’s ‘Idomeneo’, and Haydn’s ‘Die Schöpfung’.

More recently, his astonishing version of Mozart’s ‘Die Zauberflöte’ has been released to enthusiastic acclaim (CD des Jahres in Opernwelt, Preis der Deutschen Schallplattenkritik, Choc de l’année 2010 in Classica, BBC Music Magazine Award).

Long a professor at the Schola Cantorum Basiliensis, René Jacobs has maintained a privileged relationship with this institution where he has trained many singers who now appear with him in the leading international venues.

Reviews

July 2013

Jacobs draws a mood of passionate concentration, throwing into high relief that work's quasi-operatic drama...There's some persuasive playing, too, by the Berlin ensemble: taut strings, magisterial brass and stylish continuo all bring this haunting work back to life.

11th March 2013

the work is beautiful, and its deeply spiritual loveliness has been realised in a fine period performance. Certainly, it won't be languishing in dusty libraries any more. It is, in its own way, just as sublime as the Stabat Mater, and René Jacobs and his musicians have given it a comprehensive rehabilitation.

May 2013

there is no doubting the enthusiasm of Jacobs...Fascinating stuff, whoever composed it.

3rd May 2013

Jacobs clearly believes in this work completely. He and his musicians give it a performance of such heartfelt intensity that you sense their affection and respect for it from the outset...the overwhelming feeling is of affection and care as he takes upon himself the responsibility for unveiling this work to the modern world...The singers are also excellent...Invest with confidence.

May 2013

well worth exploring…[it] should expand our repertoire of Passiontide music into new directions. Invest with confidence.

3rd March 2013

this hybrid cycle of seven early-18th-century cantatas based on the Seven Last Words is deeply impressive...The mood ranges wide, from fiery, coloratura-laden anger to a touching lyricism.

21st March 2013

the music is both constantly surprising and often profoundly eloquent; Jacobs's soloists, as well as the instrumentalists of the Berlin orchestra, project that sense of devotional wonder without a trace of self-conscious piety.

Early Music Today

Pergolesi cleverly leavens the devotional solemnity with inventive variations of da capo form and a diverse palette that features trumpet, horns, harp and obbligato violas...Bass Konstantin Wolff sings Christ’s arias with a poignant gravitas, while soprano (Sophie Karthäuser), counter-tenor (Christophe Dumaux) and tenor (the affecting Julien Behr) share the soul’s agitated responses, to moving effect.

Classical Music June 2013

Konstantin Wolff sings Christ’s arias with a poignant gravitas, while soprano (Sophie Karthauser), counter-tenor (Christophe Dumaux) and tenor (the affecting Julien Behr) share the soul’s agitated responses, to moving effect

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Pergolesi: Septem verba a Christo in cruce moriente prolata

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