Описание CD

вернуться        закрыть окно  

 


  Исполнитель(и) :
◄◄◄        ►►►

  Наименование CD :
   Stabat Mater



Год издания : 

Компания звукозаписи : Артель 'Восточный ветер', (ru)

Время звучания : 1:09:02

Код CD : SI-1324

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Sacred Music (Master Works)      

On authentic instruments - Leader: Simon Standage

Choir Of The Ingush Concert

The English Concert

FJ Haydn - Stabat Mater

========= from the cover ==========

Мать скорбящая стоит, лицо ее залито слезами, ибо Сын распят на кресте

Печаль истерзала её, муки и тоска её истомили, меч пронзил ей душу

О как велика была скорбь Благой Богоматери по своему единородному дитяти!

Как она плакала и как горевала, видя ту великую муку, что претерпевал ее Сын

Кто бы из людей не заплакал, видя, как она сокрушается?

Кто бы не возгоревал вместе с Матерью Христа, увидев, как она страдает вместе с Сыном?

Она видела Иисуса, претерпевающего пытки и бичевание, дабы смыть нечистоты со своего народа

Она видела свое милое дитя, умирающего и покинутого всеми, покуда Он не испустил дух

Благая Мать, Святой источник любви, сделай так чтобы лезвие боли пронзило и мою душу,

Сделай так, чтобы в душе моей вспыхнул огонь Святой любви ко Христу, чтобы стать достойным Его

Молю тебя, Богородица-Дева, запечатлей в моем сердце свое великое страдание и раны распятого

Да разделю я мучения Твоего израненного Сына, который терпел ради меня

Молю тебя, позволь мне, пока я в этом мире, плакать вместе с Тобой, и с Тем, кто страждет на кресте

Стоять с тобой у креста, сопереживать Твоему горю: - к этому нудит меня любовь

О, славнейшая изо всех непорочных дев, не оставь меня своим благоволением, раздели со мной свою боль

Да пронесу я в душе образ умирающего Христа, да не забуду о муках Твоего Сына

Пусть Его раны станут моими ранами, я буду нести его крест, и истекать кровью, как он

Дабы не попасть мне в адское пламя, позволь мне, Дева, прибегнуть к твоей защите в день Суда

Позволь мне бодрствовать у креста Спасителя, защитив себя от смерти Именем Христовым,

Пусть тело мое умрет, но на душу мою снизойдет благодать Рая.

Аминь

HAYDN'S "STABAT MATER"

When Haydn entered the service of the Esterhazy family in 1761 as deputy to the ageing Kapellmeister Gregor Werner, their musical duties were divided, with Werner looking after church music and Haydn instrumental music. Five years later Werner died and, as had been promised, Haydn succeeded him as full Kapellmeister. By doing so he implicitly inherited responsibility for church music, although by then he had a new master in Prince Nikolaus Esterhazy, whose voracious appetite for music did not extend to sacred genres. This aspect of the court's musical life was allowed to decline, which was perhaps something of a disappointment for Haydn. As a musician who had received much of his training and early experience in the church and who was a devout and unquestioning Catholic, he may well have looked forward to composing church music. Nevertheless, between 1766 and 1772 he did find time to compose several sacred works which explored a wide range of texts and musical idioms: the large-scale "Cecilia Mass", the Stabat mater, the Applausus cantata, the a cappella Missa "Sunt bona mixta mails", the "Great Organ Solo Mass", the Salve regina and the "Nicolai Mass". While some of these were first performed at the Esterhazy court, Haydn was not required to compose them to order in the same way as he was symphonies, operas and ban/ton trios. Of the sacred works composed in this seven-year period, Haydn was especially proud of his Stabat mater. Liturgical settings of the Stabat mater are comparatively rare. Haydn may have known the famous setting by Pergolesi and also that by Domenico Scarlatti but there were no immediate Austrian models such as existed in abundance for the mass and Salve regina texts. Neither Georg Reutter, Haydn's teacher at St. Stephen's in Vienna, nor Werner, his predecessor at the Esterhazy court, had set it. The main reason was that opportunities for liturgical performance were few, restricted to Good Friday and the Feast of the Seven Sorrows (15 September). To any prospective composer, too, the text of the Stabat mater presented a formidable challenge both in its length and uniformly sombre character, its lack of ready drama and varied imagery. In Haydn's case this musical challenge elicited a work whose depth of expression represented a notable landmark in his development as a composer.

The Stabat mater was written in 1767 and performed in Eisenstadt, then the Esterhazy family's principal place of residence. In March of the following year Haydn requested leave of absence from the court in order to direct a performance in Vienna. "You will recall", he wrote to an Esterhazy secretary, that last year I set to music with all my power the highly esteemed hymn called Stabat Mater and that I sent it to the great and world-celebrated Hasse with/no other intention than that in case, here and there, I had not expressed adequately words of such great importance, this lack could be rectified by a master so successful in all forms of music. But contrary to my merits, this unique artist honoured the work by inexpressible praise, and wished nothing more than to hear it performed with the good players it requires.

For Haydn, Johann Adolph Hasse (1699-1783), who lived in Vienna for much of the 1760s, was the leading composer of the time, equally celebrated for his operas (over 60) and church music (some 300 works, though no setting of Stabat mater), and his generous testimony was kept by Haydn for many years. Unfortunately, like the autograph score of the work, the testimony has not survived. Hasse would doubtless have been impressed by Haydn's extensive and evocative use of the minor mode. No fewer than six complete movements and a portion of a seventh {the opening section of the final chorus) are in the minor. Pergolesi's setting has many minor-key movements too, but the slower rate of harmonic change that distinguishes the maturing Classical style, coupled with the characteristic intervals of the minor mode, projects a totally different sound-world. Over the next few years Haydn was to exploit further this sonority in symphonies, string quartets and "sonata's,' often with quite different expressive results; but he never surpassed the gentle poignancy of the minor-key movements in the Stabat mater. The great preponderance of slow tempos chosen by Haydn (eight movements have a tempo marking between Andante and Largo assai) challenged him to fashion a series of slow movements that complement each other, A richness of word-painting abounds. I Hasse and his contemporaries would have recognized as individual cliches the messa di voce entry of the I tenor in the opening movement, the ensuing shift onto darker "Neapolitan" harmony at the word f "dolorosa", the motif associated with the word "lacrimosa" and the gentle syncopation for "pendebat" - but | the way they are integrated into the whole shows real expressive control. The bass aria "Fiammis orci ne I succendar" provides a rare moment of drama, to which Haydn responds with a movement that could have been taken directly from Italian opera, a blustering Presto complete with tremolo strings.

The orchestral forces include two oboes, bassoon, strings and organ continue. In the two movement in E flat major, "O quam tristis" (no. 2) and "Virgo virginum" (no. 10), the oboes are replaced by the mor doleful sound of cors anglais (english horns), a tone-colour occasionally favoured by Haydn in the 1760 and 1770s, and also found in Gluck's Viennese operas. Whereas Haydn's symphonies of the time often feature extensive solo passages for wind instruments there are no such solos in the Stabat mater, perhaps because he thought they would encourage ostentation rather than contemplation. The four vocaif soloists and chorus are likewise carefully disposed. The work is built round five choruses separated by seven arias and one duet. In the opening movement the chorus reaffirm the response of the solo tenor in the third movement it assumes the role of the onlookers as they comment on tie image of the weeping Virgin, at first rhetorically and then more comfortingly. The chorus next appears in the seventh movement, "Eia mater", a crucial moment in the text as it turns from depicting the sorrow of Calvary to the hope Calvary offers mankind. In "Virgo virginum" (no. 10) the solo quartet unfolds a leisurely fugue, later supported by the chorus. In the final movement it is it is left to the chorus, now in a bright G major, to establish the vision of "Paradisi gloria", a fugue that becomes more florid until it encourages a burst off grateful coloratura from the soprano soloist. The religious impulses that produced the Stabat mater are distinctively Catholic, and the first performances directed by Haydn took place in surroundings that provided the appropriate visual stimulation of painting, sculpture and architecture. Within Haydn's own lifetime it became his most widely-known sacred work, often transcending national boundaries and religious persuasions. Manuscript copies exist not only in Catholic countries such as Austria, Southem Germany, France, Italy and Spain but also in Protestant North Germany and Holland. It was published in the 1780s in London and Paris and was frequently performed in public concerts in both cities. To a certa extent this reflected the popularity of the composer's instrumental music; even so audiences, whether in a iff church or a concert hall, must have found Haydn's powers of evocation in this work particularly compelling. 30 years after the composition of the Stabat mater, when Haydn completed his masterpiece The Creation, he knew he was the greatest living composer. The Stabat mater had been written by all comparatively unknown Kapellmeister in Eisenstadt, yet the universality of The Creation is already in evidence.


  Соисполнители :

Anthony Rolfe Johnson (Tenor Voice)
Catherine Bobbin (Mezzosoprano Voice)
Cornelius Hauptmann (Bass Voice)
Patricia Rozario (Soprano Voice)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 Stabat Mater         0:09:14 Tenor & Chorus - Largo
   2 O Quam Tristis         0:06:33 Mezzosoprano - Larghetto
   3 Quis Est Homo         0:02:38 Chorus - Lento
   4 Quis Non Posset         0:06:23 Soprano - Moderate
   5 Pro Peccatis         0:02:39 Bass - Allegro Ma Non Troppo
   6 Vidit Suum         0:06:56 Tenor - Lento, e Maestoso
   7 Eia Mater         0:02:57 Chorus - Allegretto
   8 Sancta Mater         0:07:57 Soprano, Tenor - Larghetto
   9 Fac Me Vere Tecum         0:06:30 Mezzosoprano - Lachrymose
   10 Virgo Virginum         0:07:03 Quartet & Chorus - Andante
   11 Flammis Orci         0:02:02 Bass - Presto
   12 Fac Me Cruce Custodiri         0:02:58 Tenor - Moderate
   13 .Quando Corpus Morietur         0:02:10 Soprano, Mezzosoprano & Chorus - Largo Assai
   14 Paradisi Gloria / Amen         0:03:04 Soprano & Chorus - Alia Breve

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

вернуться        закрыть окно

Последние изменения в документе сделаны 20/10/2016 22:04:03

Главная страница коллекции

Collection main page