Septem verba a Christo in cruce moriente prolata
Urtext
[solos, orch] solos: SATB – 0.0.0.0.- 2.1.0.0.- hp – org – str: 1.1.2(obl.).1.1.
Description
Hermann Scherchen, who was the first to take up the cause of the one-hour-plus long, colorfully scored work, came to the conclusion: One of the most heartfelt works of art, full of gentleness and profound sensitivity. Since 1936, when two manuscripts of monastic provenance were discovered, musical scholars have been asking themselves whether the Septem verba is authentic or solely attributable to Sig. Pergolese. It is only thanks to the scholarly comparison of all manuscripts and to the discovery of two new sources which impressively confirm the existence of an active reception of this work in the mid 18th century, that the authorship and transmission can be newly evaluated.
PB 5533
score
EAN: 9790004212622
80 pages / 25 x 32 cm / 354 g / broché
EB 8847
piano vocal score
EAN: 9790004184370
88 pages / 19 x 27 cm / 249 g / broché
OB 5533-11
organ
EAN: 9790004341162
44 pages / 32 x 25 cm / 197 g / agrafé
OB 5533-15
violin 1
EAN: 9790004341179
24 pages / 25 x 32 cm / 115 g / agrafé
OB 5533-16
violin 2
EAN: 9790004341186
16 pages / 25 x 32 cm / 83 g / agrafé
OB 5533-19
viola 1
EAN: 9790004341193
28 pages / 25 x 32 cm / 129 g / agrafé
OB 5533-20
viola 2
EAN: 9790004341209
24 pages / 25 x 32 cm / 113 g / agrafé
OB 5533-23
violoncello
EAN: 9790004341216
32 pages / 25 x 32 cm / 147 g / agrafé
OB 5533-27
double bass
EAN: 9790004341223
28 pages / 25 x 32 cm / 130 g / agrafé
OB 5533-30
wind parts
EAN: 9790004341230
14 pages / 25 x 32 cm / 85 g / dossier
Description
Hermann Scherchen, who was the first to take up the cause of the one-hour-plus long, colorfully scored work, came to the conclusion: One of the most heartfelt works of art, full of gentleness and profound sensitivity. Since 1936, when two manuscripts of monastic provenance were discovered, musical scholars have been asking themselves whether the Septem verba is authentic or solely attributable to Sig. Pergolese. It is only thanks to the scholarly comparison of all manuscripts and to the discovery of two new sources which impressively confirm the existence of an active reception of this work in the mid 18th century, that the authorship and transmission can be newly evaluated.
Table des matières
| 1. | Recitativo: Christus (Verbum I) |
| 2. | Aria: Anima (Verbum I) |
| 3. | Recitativo: Christus (Verbum II) |
| 4. | Aria: Anima (Verbum II) |
| 5. | Recitativo: Christus (Verbum III) |
| 6. | Recitativo: Anima (Verbum III) |
| 7. | Aria: Christus (Verbum IV) |
| 8. | Aria: Anima (Verbum IV) |
| 9. | Aria: Christus (Verbum V) |
| 10. | Aria: Anima (Verbum V) |
| 11. | Aria: Christus (Verbum VI) |
| 12. | Aria: Anima (Verbum VI) |
| 13. | Recitativo: Christus (Verbum VII) |
| 14. | Aria: Anima (Verbum VII) |
Critiques et recommandations
“The present setting of the Seven Last Words of Jesus Christ grippingly depicts the story of Christ’s Crucifixion in fourteen “Musical Dialogues. ” Listen to the world premiere: recording of this major work of the Neapolitan Baroque, performed by the Akademie für Alte Musik Berlin under the direction of René Jacobs (HMC 902155). ”