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Il Santo Sepolcro

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Il Santo Sepolcro Ferdinando PAE¨ R Il Santo Sepolcro (Oratorio) Cornelia Horak, Soprano • Vanessa Barkowski, Alto Thomas Michael Allen, Tenor • Jens Hamann, Bass Simon Mayr Chorus and Ensemble Franz Hauk Simon MAYR: Invito MAYR 1 Già trafitto (Soli, Coro) 6:30 (1763–1845) PAËR: Il Santo Sepolcro ossia La Passione di Gesù Cristo 2 Introduzione – Terzetto: Sacri marmi (Giovanni, Maddalena, Giuseppe d'Arimatea) 4:11 Invito 3 Terzetto con Coro di Angeli: Pallido! Esangue! (Giovanni, Maddalena, Giuseppe d'Arimatea) 2:03 (Invitation) 4 Recitativo accompagnato: Oh duolo! (Maddalena, Giovanni, Giuseppe d'Arimatea) 0:45 Miriam Clark, Soprano • Valer Barna-Sabadus, Alto 5 Terzetto/Quartetto con coro: Se il cor non si spezza (Coro di Seguaci di Gesù, Maddalena, Giuseppe dʼArimatea, Giovanni, Nicodemo) 3:14 Klaus Steppberger, Tenor • Thomas Stimmel, Bass 6 Recitativo accompagnato: Maddalena! Giovanni! Amico! (Nicodemo, Maddalena, Giovanni, Giuseppe d'Arimatea) 1:40 Ferdinando 7 Aria con coro: Sacra tomba! (Coro, Giovanni) 5:55 8 Recitativo accompagnato: Oh esempio! Oh rimembranza! (Maddalena) 2:13 PAËR 9 Aria: Oh Dio! Mi manca il cor! (Maddalena) 5:02 (1771–1839) 0 Recitativo secco: Sì, dei falli del mondo (Giovanni, Giuseppe d'Arimatea) Il Santo Sepolcro e Recitativo accompagnato: Desolati, vaganti (Nicodemo) 1:58 ! Quartetto con Coro di Angeli: Profugo, incerto (Coro di Angeli, Maddalena, Giovanni, ossia La Passione di Gesù Cristo Nicodemo, Giuseppe d'Arimatea) (The Holy Sepulchre, or The Passion of Jesus Christ) e Recitativo accompagnato: E Maria! Chi la consola? (Maddalena, Nicodemo) 3:48 Oratorio @ Aria con instrumenti obbligati: Tutte, la donna forte (Nicodemo) 6:33 # Recitativo accompagnato: Gran donna dei dolori (Giovanni, Maddalena) 0:53 Text by Abate Pietro Bagnoli $ Duetto: Tra lʼinumane squadre (Giovanni, Maddalena) 3:41 Maddalena (Mary Magdalene) . Cornelia Horak, Soprano % Recitativo secco: Oh di popol da Dio beneficato (Giuseppe d'Arimatea, Nicodemo, Giovanni), Giovanni (St John) . Vanessa Barkowski, Alto Quartetto: Piomberà lʼira divina (Giovanni, Maddalena, Nicodemo, Giuseppe) Nicodemo (Nicodemus) . Thomas Michael Allen, Tenor e Recitativo accompagnato: No, non crede ai presagi (Giuseppe) 7:16 ^ Aria con coro: Più non sarà (Giuseppe d'Arimatea, Coro) 6:10 Giuseppe dʼArimathea (Joseph of Arimathaea) . Jens Hamann, Bass & Recitativo accompagnato: Ne s'arresta il trionfo (Giovanni) 2:11 * Finale: Quando al suon dellʼangeliche trombe (Coro, Maddalena, Giovanni, Nicodemo, Simon Mayr Chorus and Ensemble Giuseppe d'Arimatea) 6:04 Directed by Franz Hauk Johann Simon Mayr (1763–1845): Invito positions for Die sieben letzten Worte unseres Erlösers am Creation), but Haydnʼs Seven Last Words in his adopted Kreuze (The Seven Last Words of Our Saviour on the Cross). home town of Bergamo. The relevant materials from Mayrʼs Johann Simon Mayr was born in 1763 in Mendorf, part of tradition of the Passion was promoted by the Peruvian Jesuit The Seven Last Words were conceived and composed as a papers have been preserved in Bergamo, but since Haydnʼs the Bavarian town of Markt Altmannstein, and baptized on Father Alonso Messia Bedoya, who published a collection of commission for the grotto church of Santa Cueva in Cadiz for work lacked a vocal Invito, Mayr had to write this addition to 14th June 1763 in the church of St Leodegar. He became texts, prayers, meditations and chants for the Three Hours. Holy Week 1787. It has been suggested, however, that the score for performance in the Italian tradition. In the known all over Europe and even further afield as one of the In 1767 the Jesuits were banished from Peru, but with their Haydn might have already completed the original com- present recording Mayrʼs Invitation introduces Ferdinando most famous opera composers of his time, the father of Italian influential work in Europe, these special prayers and medi- positions in 1785. Paërʼs Passion oratorio, Il Santo Sepolcro, which ends with opera. tations on the last words of Christ were also disseminated Simon Mayr not only performed Haydnʼs Schöpfung (The the rejoicing of the resurrection. Simon Mayr had his first music lessons with his father there. These devotions on the Passion, the tres horas, were Joseph, an organist and school-teacher in Mendorf. For very popular in Spain, and especially in Italy in the late Ferdinando Paër (1771–1839): Il Santo Sepolcro further schooling he attended the Benedictine monastery at eighteenth century. The tre ore traditionally begin on Good Weltenburg. In Ingolstadt he was given a scholarship at the Friday at about noon and end at three oʼclock in the afternoon Ferdinando Paër was born in Parma in 1771. He received his composer of vocal and instrumental scores. In 1792 the Duke Jesuit theological college, and in 1777 enrolled at the first in remembrance of the hour of Christʼs death. The medi- first music tuition from his father Giulio Paër (Per), who served of Parma bestowed on him the title of Maestro di Capella Bavarian State University at Ingolstadt. He worked as an tations were preceded by the so-called Invito, an introduction as a trumpeter with the Guardie del Corpo, the ducal onorario, but a fixed annual salary was only given him in organist and a collection of his first compositions, Lieder beim and request: an invitation to hear the last words of Jesus and bodyguard, from 1769 to 1771 and was engaged as horn 1797 as Maestro di Cappella sostituto alle incombenze tutte Klavier zu singen (Songs to be sung at the Piano) was to meditate on them. player in the orchestra of the court theatre from 1778 until his del Reale servigio. In the same year, 1797, Paër went to published in 1786 in Regensburg. Joseph Haydnʼs Seven Last Words are in the same death on 20th March 1790. Giulio Paër played at weddings Vienna with his wife, the singer Francesca Riccardi (1778- In Baron Thomas von Bassus, who with Adam Weishaupt devotional tradition: of the nobility in Colorno, and Giacomo Puccini, the Maestro 1845). It seems, however, that he only acquired a permanent was one of the founders of the Order of the Illuminati, Simon ʻAbout fifteen years ago I was asked by a canon at Cadiz della Cappella Palatina in Lucca, great-great grandfather of position at the Imperial court in 1801/02. In 1802 he moved Mayr found an important patron. Through him Mayr was able to write an instrumental piece on the seven words of Jesus the well-known opera composer, described him in 1774 as to Dresden with his wife, and in 1804 the Dresden court to visit Poschiavo around 1787, and then Bergamo and on the cross. an excellent musician ʻin the palace as well as in the churchʼ. offered him employment for life, but Paër changed sides to Venice. In the latter city he studied with Ferdinando Bertoni, ʻIt was usual at the time to perform an oratorio every year In the Catalogo Alfabetico / Deʼ Sig:ri e Sig:re che concorrono Napoleon, or rather Napoleon took the composer into his the musical director of San Marco. As Maestro di coro, Mayr during Lent in the main church at Cadiz, the effect of which alle / spese della Festa della B. V. Maria / Madre del Buon service in 1807. Agatha Kobuch reports that Dresden Court taught at the Ospedale dei Mendicanti, one of the famous would have been greatly enhanced by the following pre- Consiglio posta nella / Preposturale Chiesa della / SS.ma Chamberlain, Joseph Friedrich Freiherr von Racknitz, and conservatories for women in Venice, and for them he wrote parations. The walls, windows and pillars of the church were Trinità / di Parma / 1770 there is a mention of ʻPer Sig.r Giulio the ambassador in Vienna, Johann Hilmar Adolph Graf von his first oratorios and motets. This was followed by a fruitful covered in black cloth, and only one large lamp hanging in the = tromba – per la festa della B. V. Mariaʼ. According to this, Schönberg, had recruited the Paërs to Dresden. Paërʼs early period as an opera composer. middle illuminated the holy darkness. At noon all doors were Giulio Paër was engaged for the Marian celebration in the departure is only to be explained in the context of the political In 1802 Mayr was appointed music director of the Basilica closed: then the music began. After an appropriate prelude the church of SS. Trinità in Parma. Giulio Paër celebrated the circumstances of the time. After the twin battles of Jena and of Santa Maria Maggiore in Bergamo, a position he held to bishop mounted the pulpit, prononced one of the seven words birth of his son Ferdinando, named after the duke, on the Auerstedt in October 1806 Napoleon opened negotiations the end of his life, despite receiving tempting offers and delivered a meditation on it. When this was finished, he 1st July 1771 with a joyous and brilliant fanfare. Castil-Blaze with Saxony. Count Wilhelm von Bose was sent to Napoleon elsewhere. With his tireless activity he re-established the climbed down from the pulpit and fell to his knees before the is of the opinion that the child was given his name by in Berlin, in an attempt to sign peace and friendship treaties musical life of Bergamo, not only composing, but conducting altar. This pause was filled by music. The bishop entered and Duchess Maria Amalia. Ferdinando Paër studied with Gian with him. Paër was caught in the diplomatic interchange, performances of works by Handel, Haydn, Mozart and left the pulpit a second, third time, etc., and each time the Francesco Fortunati (1746-1821), the maestro di cembalo e being handed over by the Elector of Saxony to the French Beethoven. In 1806 he founded a music school, later to be orchestra would strike up after the end of his meditation. di canto of the Principessa, director of the singing school and Emperor, as it were.
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