- Director de orquesta: Vladimir Jurowski
- Compositor: Haydn
- CD de audio (9 de junio de 2014)
- Número de discos: 1
- Formato: Audiolibro, CD
- Sello: Lpo
- ASIN: B004GX91OI
- Clasificación en los más vendidos de Amazon:
Haydn: 7 palabras de Cristo en la Cruz Audiolibro, CD
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Lisa Milne, soprano - Ruxandra Donose, mezzo-soprano - Andrew Kennedy, ténor - Christopher Maltman, baryton - London Philharmonic Orchestra and Chorus - Vladimir Jurowski, direction
a performance of real integrity, Vladimir Jurowski pacing perfectly this predominantly slow, often gravely beautiful music, the use of non-vibrato strings adding a terse, authentic edge. Classical Source on The Seven Last Words at Londons Royal Festival Hall, 2009 --Classical Source on The Seven Last Words at Londons Royal Festival Hall, 2009
Haydn's Seven Last Words is heard most frequently in the string quartet version of 1787.The Choral version of 1796 turned it into an oratorio-grave,uplifting but inevitably focused on words rather than the free-ranging expression of pure music.Jurowski with the LPO and its fabulous choir,offers the best of both worlds,juxtaposing the original instrumental movements with the later choral versions.the result is unexpectedly satisfying:we are never made to feel that the music is doubling up as Jurowski explains:the words are no longer the central focus,but a variation.Recorded live in 2009,this is a full-bodied performance which nevertheless behaves itself with admirable restraint;it could be an enlarged period performance but without period mannerisms.The choral movements are sustained with poise and discipline,and the solo line-up is equally impressive. **** --Financial Times,05/02/11
the Orchestra adopts period manners in this presentation with conviction,and the four soloists and chorus are fine. Performance **** Recording *** --BBC Music Magazine,Mar'11
An extraordinary and special antidote to the toxins of the routine and so-so.Haydn's musical rhetoric,his infinitely subtle phrasing and expressive purity are realised with rare sensitivity. ***** EDITORS CHOICE --Classic fm Magazine,Apr'11
Fervent singing from the excellent LPO choir. --Gramophone.Apr'11
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Performers and conductors have done a lot with the various scores over the years but this is the first time I can recall someone tried to incorporate parts of the oratorio with the orchestral version, which is the case here. Some years back, Sony released a version with string quartet and a quartet of soloists that either sung or recited lines between the string quartet parts. That was an oddball production and the one at hand has the same characteristic of being neither fish nor fowl.
The 7 Last Words are not the easiest pieces of music to pull off because Haydn wrote an adagio introduction followed by six slow movements marked adagio (slow and stately), largo (large), lento (slowly) and grave (slow and solemn). In this construct, a director is handcuffed by a lot of slow music and having to maintain interest without speed or otherwise jazzing up.
Under Vladimir Jurowski, there are multiple problems. First is his individual take on the music where the choir sings part of the time and, the rest of the time, the orchestra takes the lead. I'm not sure Papa Haydn ever sanctioned a version like this -- a full orchestra version with an intermittent choir telling us part of Mary's problem. I can tell you this is a first for me and I am not enamored with it.
The larger problems are slack playing, poor tempo choices, and generally nonchalant approach by Jurowski, the orchestra and singers. While he is aided by some fine soloists, I found a noticeable lack of spirituality right from the opening adagio, played here more like andante -- at a walking pace. The choir's elocution is not always very good, also.
The one place where Jurowksi and forces seem one in kind is the finale, the Il terremoto presto in C minor meant to re-enact the 3 p.m. earthquake God sent the world on Good Friday to express his wrath knowing his son was dead. Here is passion and grit that closes the piece monumentally, living up to the promise of Haydn's score. Unfortunately, the thing is over once the earthquake takes place and we are left with a bland performance with a good ending.
I'm no fan of the purely orchestral or string quartet versions of the 7 Last Words and have heard most of the oratorio versions. For me, the best bet is one of those directed by Frieder Bernius or Nicol Matt. Either will give more satisfaction than this betwixt and between version and both are performed with greater spirituality and attention to minute detail than the Jurowski, which seems to miss the point altogether.