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Home , Sergiu Celibidache, Vladimir Jurowski

HAYDN THE SEVEN LAST WORDS OF OUR SAVIOUR ON THE CROSS

VLADIMIR JUROWSKI conductor LISA MILNE soprano RUXANDRA DONOSE mezzo soprano ANDREW KENNEDY tenor CHRISTOPHER MALTMAN baritone LONDON PHILHARMONIC ORCHESTRA and CHOIR HAYDN THE SEVEN LAST WORDS OF OUR SAVIOUR ON THE CROSS

It is often forgotten that Haydn was an opera, On his way to London in January 1794 Haydn mass and oratorio . He wrote so made a stop in Passau, a small town near Linz, many symphonies and chamber compositions where his Seven Last Words was performed in a that his vocal music output has somehow choral version, with the arrangement (and added been overshadowed by them. But his vocal choral parts) made by a local composer and compositions form almost half his total music director Joseph Friebert, who also provided output. His vocal style often reflected the the text based on the final utterances of Christ discoveries he made in his instrumental on the Cross drawn from the four Gospels. After works, just as in the music of JS Bach. Haydn’s hearing this performance Haydn told his pupil major and most popular oratorios, The Neukomm that ‘I think, I myself could have Creation and The Seasons, were written in written the vocal parts better’. Immediately the last years of his life, when he returned on his arrival in Vienna in the autumn of to Vienna as a hero after his triumphant 1795, Haydn started reworking Friebert’s successes in London. arrangement. Haydn revised the orchestration and made numerous changes to the choral The music of The Seven Last Words of our parts. Baron von Swieten, an influential figure Saviour on the Cross (Hob.XX:2), the shortest in Vienna, the imperial librarian and censor, of the four oratorios Haydn composed, was amended the text and helped to arrange the written much earlier, as an instrumental première at Schwarzenberg in March 1796. composition. In 1785, while still in Esterházy, Haydn received a rather unusual commission: In this new choral version Haydn added seven he was asked to write orchestral interludes short unaccompanied chorale-like episodes (or Easter meditations) for a Good Friday (corresponding to the text of the seven last church service at Cádiz Cathedral in Spain. words of Jesus) between the movements. In this first original version Haydn called the These episodes, written in a rather old work 7 sonate, con un’ introduzione, ed al fashioned style, with no metre, remind one fine un terremoto (Seven Sonatas, with an of an old church chant preceding the liturgy. Introduction, and at the end an Earthquake). Perhaps this was a reflection of the original In 1787, Haydn arranged the work for string project for Cádiz Cathedral where Haydn’s quartet (the version most often played now). music was used as part of a church service. Haydn also wrote a new introduction to the A note on the performance second half of the piece (preceding No. 5 of from the oratorio). This is one of Haydn’s most This performance, recorded live at the Royal amazing and revolutionary compositions. Festival Hall in November 2009, juxtaposes Written for woodwind and brass instruments Haydn’s original instrumental movements only, and including the extremely low and with the later choral versions. As the London ‘hollow’ tone of the contra bassoon (the Philharmonic Orchestra’s Principal Conductor instrument is used only in this introduction), Vladimir Jurowski explains, ‘the text is in this slow and ‘alien’ music sounds almost like such opposition to the universality and a genuine introduction to the next world. breadth of expression of the music that I believe the oratorio version, which is quite The oratorio finishes with its only fast popular, became an obstacle for people to movement, Il terremoto, which abruptly breaks understand the true greatness of the music. into the rather mystical ending of the previous movement, with a very low bass solo on the ‘Performing it in this way, in my opinion, words meinen Geist (my soul). Here Haydn gives the work back some of its former changes the music and the orchestration glory because when we listen to the music dramatically, adding kettledrums and two without words we are free to associate with trumpets (for the first time in the oratorio) whatever we like. The words are no longer and asking for extremes in the tempo and in the central focus, but a variation, another the articulation: Presto e con tutta la forza. layer of pre-existing material. I felt it was important to hear the music first in its original Somewhat symbolically, Haydn’s last public shape, and then what it has become.’ appearance as a conductor was at the Vienna performance of his oratorio Seven Last Words on 26 December 1803. After this he retired almost completely from social life and concert engagements.

© Alexander Ivashkin 2009 HAYDN THE SEVEN LAST WORDS OF OUR SAVIOUR ON THE CROSS

PART 1 01 Introduzione

02 No.1: Vater, vergib ihnen, Father, forgive them, Denn sie wissen nicht, was sie tun. for they know not what they do. Luke 23:34

Vater im Himmel, o sieh hernieder Father in Heaven, look down Vom ewigen Thron! from thy eternal throne! Vater der Liebe, dein Eingeborner, Loving Father, thy only begotten Son Er fleht für Sünder, für deine Kinder, prays for sinners, for thy children, Erhöre den Sohn! grant the prayer of thy Son! Ach, wir sind tief gefallen, Alas, we have fallen from grace, Wir sündigten schwer; we have grievously sinned; Doch allen zum Heil, uns allen, but for us all and for our salvation Floss deines Sohnes Blut. thy Son has shed his blood. Das Blut des Lamms schreit nicht um Rach’; The blood of the Lamb does not cry out for Es tilgt die Sünden. vengeance; Vater der Liebe, lass uns Gnade finden, it redeems our sins. Erhöre den Sohn! Loving Father, let us find grace, Grant the prayer of thy Son.

03 No.2: Fürwahr, ich sag’ es dir: Verily, I say unto thee: Heute wirst du bei mir im Paradiese sein. today shalt thou be with me in Paradise. Luke 23:43

Ganz Erbarmen, Gnad’ und Liebe, Full of mercy, grace and love, Bist du Mittler, Gotteslamm. thou art the mediator, the Lamb of God. Kaum ruft jener reuig auf zu dir: If he but calls to thee, full of remorse: Wenn du kommest when thou enterest In dein Reich, ach, so denke mein! into thy kingdom, alas, think of me! So versprichst du ihm voll Milde: To him thou didst promise, full of pity: Heut’ wirst du bei mir im Paradiese sein. today shalt thou be with me in Paradise. Herr und Gott! Blick auf uns! Lord God! Look upon us! Sieh an deines Kreuzes Fusse See at the foot of thy Cross Unsre wahre Reu’ und Busse! our true remorse and repentance! Sieh, o Vater, unsere Reue! O Father, see our remorse! Gib uns auch zur letzten Stunde Grant us in our final hour Jenen Trost aus deinem Munde: that consolation from thy lips: Heut’ wirst du bei mir im Paradiese sein. today shalt thou be with me in Paradise.

04 No.3: Frau, hier siehe deinen Sohn, Woman, behold thy son, Und du, siehe deine Mutter! and thou, behold thy mother! John 19:26–27

Mutter Jesu, die du trostlos weinend, Mother of Jesus, weeping in despair, Seufzend bei dem Kreuze standst, standing sighing by the Cross, Und die Qualen seines Leidens and in the hour of bitter parting, In der Stund’ des bittern Schneidens the torments of his suffering Siebenfach in dir empfandst. thou didst feel in sevenfold measure. Kaum mehr fähig, dich zu fassen, Barely conscious in thy anguish, Und doch standhaft und gelassen, yet ever steadfast and composed, Nimmst als Sohn den freuen Jünger thou didst take as thy son the faithful disciple Und mit ihm auch uns als Kinder an. and didst take all of us as thy children. Mutter Jesu, o du Zuflucht aller Sünder, Mother of Jesus, refuge of all sinners, Hör das Flehen deiner Kinder. hear the entreaty of thy children. O du Zuflucht aller Sünder, Refuge of all sinners, Steh uns bei im letzten Streit, be with us in our final throes, Mutter voll der Zärtlichkeit, Mother full of tenderness O steh uns allen bei! be our succour! Wenn wir mit dem Tode ringen When with death we struggle Und aus dem beklemmten Herzen and the sighs of our fearful hearts Unsre Seufzer zu dir dringen, rise aloft to thee, Lass uns, Mutter, lass uns da nicht unterliegen! let us not, Mother, let us not succumb! Hilf uns dann den Feind besiegen. Help us to overcome the enemy. Und steh uns bei im letzten Streit! Be with us in our final throes! Wenn wir mit dem Tode ringen, When at last with death we struggle O da zeige dich als Mutter show us that thou art our Mother Und empfehl’ uns deinem Sohn, o Mutter! and, O Mother, intercede for us with thy Son.

05 No.4: Mein Gott! Warum hast du mich verlassen? My God, why hast thou forsaken me? Matthew 27:46 (or Mark 15:34)

Warum hast du mich verlassen? Why hast thou forsaken me? Wer sieht hier der Gottheit Spur? Who can see God’s work in this? Wer kann fassen dies Geheimnis? Who can grasp this mystery? O Gott der Kraft und Macht, O God of strength and might, O Gott der Macht und Stärke O God of might and power, Wir sind deiner Hände Werke, we are the works of thy hand, Und deine Lieb, o Herr, hat uns erlöst. and thy love, O Lord, has redeemed us. O Herr, wir danken dir von Herzen. O Lord, we thank thee from our hearts. Unserwegen Iittst du Schmerzen, For our sakes thou didst suffer pain, Spott, Verlassung, Angst und Pein. mockery, abandonment, fear and torment. Herr, wer sollte dich nicht lieben, Who could fail to love thee, Lord, Dich mit Sünden noch betrüben? who could sadden thee with sin? Wer kann deine Huld verkennen? Who could deny thy grace? Nein, nichts soll uns von dir trennen, No, nothing shall part us from thee, Allhier und dort in Ewigkeit. here and in eternity. PART 2 06 Introduzione

07 No.5: Jesus rufet: Ach, mich dürstet! Jesus saith: alas, I thirst! John 19:28

Hemmt nun die Rache, stillt eure Wut! Curb your vengeance, calm your anger! Menschen, lasset Mitleid euch erweichen, Men, let pity soften you, Ruft Erbarmung in das Herz! summon mercy to your hearts. Ihm reicht man Wein, den They give him wine to drink mingled with gall, man mit Galle mischet. that is how they refresh him. So labt man ihn. Can cruelty be harsher? Kann Grausamkeit noch weiter gehn? He who was goodness itself Nun kann er nicht mehr fassen can no longer endure the pain. Den Schmerz, der Wohltun war. Alas, he thirsts before his end Ach, im Durst vor seinem Ende and they offer him gall! Reichet man ihm Galle dar!

08 No.6: Es ist vollbracht. It is finished. John 19:30

An das Opferholz geheftet, Nailed to the tree of sacrifice, Hanget Jesus in der Nacht; Jesus hangs throughout the night; Und dann ruft er laut: then he loudly cries: Es ist vollbracht. it is finished. Was uns jenes Holz geschadet, The harm done to us by that tree Wird durch dieses gut gemacht. is redeemed by this. Weh euch Bösen, Woe to you evil ones, Weh euch Blinden, weh euch allen, woe to you who are blind, woe to you all, Die ihr Sünden immer häuft auf Sünden! who pile sins upon one another! Menschen, denket nach! World, consider! Werdet ihr Erbarmung finden, Will you find mercy, Wenn er kommt in seiner when he comes in his majesty and power? Herrlichkeit und seiner Macht? Rett’ uns, Mittler, vom Verderben! Save us, our mediator, from damnation! Höre, Gottmensch, unser Schrein! Hear our cries, God-made-man! Lass dein Leiden und dein Sterben Let not thy suffering and death Nicht an uns verloren sein. be for nought because of us. Lass uns einst den Himmel erben Let us some day inherit Heaven Und mit dir uns ewig freun. and eternally rejoice with thee.

09 No.7: Vater, in deine Hände Father, into thy hands I commend my spirit. empfehle ich meinen Geist. Luke 23:46

In deine Händ’, o Herr, empfehle Into thy hands, O Lord, I commend my spirit. ich meinen Geist. Now his sufferings can increase no more, Nun steigt sein Leiden höher nicht, now he triumphs loudly and says: Nun triumphiert er laut und spricht: Father, take my soul, Nimm, Vater, meine Seele, to thee I commend my spirit. Dir empfehl’ ich meinen Geist. And then he bows his head and dies. Und dann neigt er sein Haupt und stirbt. From everlasting damnation Vom ewigen Verderben his blood has redeemed us; Hat uns sein Blut errettet; for his love for all mankind, for his love Aus Liebe für uns Menschen, aus Liebe he died a sinner’s death. Starb er den Tod der Sünder. Thou gavest us new life; Du gabst uns neues Leben; what can we give to thee? Was können wir dir geben? At thy feet, O Jesus, Zu deinen Füssen liegen wir, deeply moved we lie; O Jesu, tief gerührt; accept our hearts in sacrifice! Nimm unser Herz als Opfer an! 10 Il terremoto: Er ist nicht mehr. The earthquake: He has departed.

Er ist nicht mehr. He has departed. Der Erde Tiefen schallen wieder: The depths of the earth resound: Er ist nicht mehr. he has departed. Erzittre, Golgotha, erzittre! Tremble, Golgotha, tremble! Er starb auf deinen Höhen. He died upon your summit. O Sonne, fleuch O, sun, begone Und leuchte diesem Tage nicht! and light this day no more! Zerreisse, Land, worauf die Mörder stehen. Be rent, land, on which the murderers stand. Ihr Gräber, tut euch auf, Graves, open up, Ihr Väter, steigt ans Licht! fathers, rise up into the light! Das Erdreich, das euch deckt, The earth which covers you Ist ganz mit Blut befleckt. is all stained with blood.

Translation © Gery Bramall VLADIMIR JUROWSKI conductor

Vladimir Jurowski was born in Moscow, but in 1990 moved with his family to , where he completed his musical studies at the High Schools of Music in Dresden and in Berlin. In 1995 he made a highly successful début at the Wexford Festival Rimsky-Korsakov’s , which launched his international career. Since then he has worked with the world’s leading orchestras and opera houses such as the , Royal Concertgebouw, Dresden Staatskapelle and orchestras as well as the , Opéra Bastille de , La Scala Milan and Metropolitan Opera New York.

In January 2001 Vladimir Jurowski took up the position of Music Director of Glyndebourne Festival Opera. In 2005 he was appointed Principal Guest Conductor of the Russian National Orchestra and granted the title of “Special Artist” of the Orchestra of the Age of Enlightenment. In September 2007 he became the London Philharmonic Orchestra’s twelfth Principal Conductor. © Southbank Centre / Karen Robinson / Karen © Southbank Centre LISA MILNE soprano RUXANDRA DONOSE mezzo soprano

Scottish soprano Lisa Romanian-born mezzo Milne studied at the Royal soprano Ruxandra Donose

© Clive Barda © Clive Scottish Academy of Music has captured critical and and Drama. popular acclaim in leading opera houses and concert On the opera stage she has halls around the world. Her sung Pamina and Susanna voice has been described as at the Metropolitan Opera New York; Pamina, an “incredibly exciting, flowing mezzo soprano, Rodelinda, Theodora, Marzelline and Micäela which has no breaks and a flawless timbre.” Her at Glyndebourne Festival Opera; Countess expressive vocalism, thoughtful musicianship, Almaviva, Alcina and Anne Trulove at English and elegant stage presence allow her to pursue National Opera and Semele, Ilia and Zerlina an extensive operatic and orchestral repertoire. for Scottish Opera. She has also sung Gretel Her engagements have led her all over the for Stuttgart Opera; Ilia and Micäela for Royal world, from the Royal Opera House Covent Danish Opera and Sian in the world première Garden to the Metropolitan Opera New York, of James MacMillan’s opera The Sacrifice and from San Francisco Opera to the Opera National Leonore for . de Paris as well as Berlin, Madrid and Tokyo.

A frequent guest at the major festivals, her Ruxandra Donose has worked with some of many concert engagements have included the world’s finest conductors including Claudio appearances with the Boston Symphony Abbado, , Seiji Ozawa, Zubin Orchestra with Levine; Berlin Philharmonic Mehta, , Christoph von Dohnányi, Orchestra with Rattle; Rotterdam Philharmonic , Donald Runnicles and Vladimir Orchestra with Gergiev, Dresden Staatskapelle Jurowski. Her recordings include Schubert’s with Ticciati; Budapest Festival Orchestra Ständchen (Philips), Dvořák’s Stabat Mater with with Fischer and the New York and Vienna Giuseppe Sinopoli (), Philharmonic Orchestras with Harding. Mahler’s with Michael Halasz (Naxos), Bach’s Mass in B minor with Lisa Milne is a prolific recording artist. She Sergiu Celibidache, Beethoven’s Ninth Symphony was awarded an MBE in the Queen’s Birthday with Béla Drahos (Naxos), and Cherubino (Le Honours in 2005. Nozze di Figaro) with Bertrand de Billy (Arte Nova). ANDREW KENNEDY tenor CHRISTOPHER MALTMAN baritone

Andrew Kennedy studied at Christopher Maltman King’s College, Cambridge studied at the Royal

and the Royal College of Biss © Levon Academy of Music. Operatic

Benjamin Ealovega Music in London. He was appearances include Don © a member of the Young Giovanni at the Salzburg Artists Programme at Festival, in , Beijing the Royal Opera House and in Cologne; Forester, Covent Garden where he performed many Papageno and Marcello at the Royal Opera solo principal roles. In 2005 he won the House, Covent Garden; Papageno and Silvio BBC Cardiff Singer of the World Rosenblatt at the Metropolitan Opera, New York and Billy Recital Prize. He is a Borletti-Buitoni Trust Budd at Welsh National Opera and in Turin, Award winner and won the prestigious Royal Munich, Frankfurt and Seattle. Philharmonic Society Young Artists Award in 2006. He was also a member of BBC On the concert platform his appearances Radio 3 New Generation Artists scheme. include the London Symphony Orchestra with Rattle; Boston Symphony with Colin A busy international artist, Andrew has Davis; Cleveland Orchestra with Welser-Möst; worked with conductors that include Sir Philharmonia Orchestra with von Dohnányi; Mark Elder, Sir , Gianandrea Orchestra of the Age of Enlightenment with Noseda, Sir , Vladimir Norrington; Dresden Staatskapelle with Jurowski and Edward Gardner. Andrew gives Gardiner, with numerous recitals in Europe and the UK and Salonen and the New York Philharmonic appears regularly with the pianists Julius Orchestra with Masur. Drake, Roger Vignoles, Iain Burnside and Malcolm Martineau. He made his La Scala A renowned recitalist, he has appeared at début as Tom Rakewell (The Rake’s Progress). the Aldeburgh, Edinburgh, Salzburg and Other operatic roles include Belmonte (Die Schwarzenberg Schubertiade Festivals; in Entführung aus dem Serail), Tamino (Die Vienna, London, Amsterdam, Cologne, Milan Zauberflöte) and Tito (La Clemenza di Tito). and New York. LONDON PHILHARMONIC CHOIR

The London Philharmonic Choir was founded among them , Sir Mark Elder, in 1947 as the chorus for the London Sir , , Philharmonic Orchestra. It is widely regarded Vladimir Jurowski, , Sir Roger as one of Britain’s finest choirs and consistently Norrington, Sir , Sir meets with critical acclaim. The Choir’s Artistic and . The London Philharmonic Director is Neville Creed. Performing regularly Choir has made numerous recordings for CD, with the London Philharmonic Orchestra, the radio and television, including a Gramophone- London Philharmonic Choir also works with Award-winning performance of Mahler’s many other orchestras throughout the United Eighth Symphony under Klaus Tennstedt. Kingdom and makes annual appearances at The Choir often travels overseas and in recent the BBC Proms. It has performed under some years it has given concerts in many European of the world’s most eminent conductors – countries, Hong Kong, Malaysia and Australia. © GreenEgg Ltd © GreenEgg LONDON PHILHARMONIC ORCHESTRA

The London Philharmonic Orchestra is known September and May each year. In summer, the as one of the world’s great orchestras with Orchestra moves to Sussex where it has been a reputation secured by its performances in Resident at Glyndebourne Festival Opera for the concert hall and opera house, its many over 40 years. The Orchestra also performs award-winning recordings, its trail-blazing at venues around the UK and has made international tours and its pioneering education numerous tours to America, Europe and Japan, work. Distinguished conductors who have and visited India, Hong Kong, China, South held positions with the Orchestra since its Korea, Australia, South Africa and Abu Dhabi. foundation in 1932 by Sir include Sir , Sir John Pritchard, The London Philharmonic Orchestra made Bernard Haitink, Sir Georg Solti, Klaus Tennstedt, its first recordings on 10 October 1932, just Franz Welser-Möst and Kurt Masur. Vladimir three days after its first public performance. Jurowski was appointed the Orchestra’s It has recorded and broadcast regularly ever Principal Guest Conductor in March 2003 and since, and in 2005 established its own record became Principal Conductor in September 2007. label. These recordings are taken mainly from The London Philharmonic Orchestra has been live concerts given by conductors including resident symphony orchestra at Southbank LPO Principal Conductors from Beecham and Centre’s Royal Festival Hall since 1992 and there Boult, through Haitink, Solti and Tennstedt, it presents its main series of concerts between to Masur and Jurowski. www.lpo.org.uk © Patrick Harrison © Patrick Highlights from the London Philharmonic Orchestra’s label For more information or to purchase CDs telephone +44 (0)20 7840 4242 or visit www.lpo.org.uk

LPO-0008 LPO-0047 LPO-0048

Haydn The Creation Holst Verdi Requiem

LPO-0049 LPO-0026 LPO-0043

Bruckner Symphony No.6 Beethoven Symphony No.9 Brahms Symphonies Nos.1 & 2 JOSEPH HAYDN (1732–1809)

64:18 The Seven Last Words of our Saviour on the Cross (Die sieben letzten Worte unseres Erlösers am Kreuze)

01 04:42 Introduzione. 02 05:31 No.1: Vater, vergib ihnen, Denn sie wissen nicht, was sie tun. 03 07:16 No.2: Fürwahr, ich sag’ es dir: Heute wirst du bei mir in Paradiese sein. 04 08:58 No.3: Frau, hier siehe deinen Sohn, Und du, siehe deine Mutter! 05 07:49 No.4: Mein Gott! Warum hast du mich verlassen? 06 03:55 Introduzione. 07 09:09 No.5: Jesus rufet: Ach, mich dürstet! 08 07:16 No.6: Es ist vollbracht. 09 07:37 No.7: Vater, in deine Hände empfehle ich meinen Geist. 10 02:05 Il terremoto. Er ist nicht mehr.

VLADIMIR JUROWSKI conductor LISA MILNE soprano RUXANDRA DONOSE mezzo soprano ANDREW KENNEDY tenor CHRISTOPHER MALTMAN baritone LONDON PHILHARMONIC ORCHESTRA and CHOIR Pieter Schoeman leader Neville Creed chorus master

Recorded live at Southbank Centre’s ROYAL FESTIVAL HALL, London

LPO – 0051