Die sieben Worte des Erlosers am Kreuze, Op. 51, Introduzione, Hob. III:50 Szymanowski Quartet

Cover Die sieben Worte des Erlosers am Kreuze, Op. 51, Introduzione, Hob. III:50

Album info

Album-Release:
2016

HRA-Release:
29.06.2016

Label: Bmn-medien

Genre: Classical

Subgenre: Chamber Music

Album including Album cover Booklet (PDF)

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  • Joseph Haydn (1732-1809): Die sieben Worte des Erlosers am Kreuze, Op. 51:
  • 1Introduzione, Hob. III:5005:19
  • Zeitgenossische Betrachtungen I
  • 2Zeitgenossische Betrachtungen I03:39
  • Die sieben Worte des Erlosers am Kreuze, Op. 51
  • 3Sonata No. 1, Hob. III:5006:14
  • Zeitgenossische Betrachtungen II
  • 4Zeitgenossische Betrachtungen II03:19
  • Die sieben Worte des Erlosers am Kreuze, Op. 51
  • 5Sonata No. 2, Hob. III:5105:31
  • Zeitgenossische Betrachtungen III
  • 6Zeitgenossische Betrachtungen III02:35
  • Die sieben Worte des Erlosers am Kreuze, Op. 51
  • 7Sonata No. 3, Hob. III:5205:58
  • Zeitgenossische Betrachtungen IV
  • 8Zeitgenossische Betrachtungen IV02:28
  • Die sieben Worte des Erlosers am Kreuze, Op. 51
  • 9Sonata No. 4, Hob. III:5305:00
  • Zeitgenossische Betrachtungen V
  • 10Zeitgenossische Betrachtungen V03:45
  • Die sieben Worte des Erlosers am Kreuze, Op. 51
  • 11Sonata No. 5, Hob. III:5405:57
  • Zeitgenossische Betrachtungen VI
  • 12Zeitgenossische Betrachtungen VI03:24
  • Die sieben Worte des Erlosers am Kreuze, Op. 51
  • 13Sonata No. 6, Hob. III:5505:03
  • Zeitgenossische Betrachtungen VII
  • 14Zeitgenossische Betrachtungen VII03:46
  • Die sieben Worte des Erlosers am Kreuze, Op. 51
  • 15Sonata No. 7, Hob. III:5607:58
  • Total Runtime01:09:56

Info for Die sieben Worte des Erlosers am Kreuze, Op. 51, Introduzione, Hob. III:50

Haydn in Southern Spain: It might be surprising that Haydn’s reputation as a major composer did not only spread in Central Europe and reached London but that he also reached a seemingly secluded town in the outermost southwest corner of Spain, «beyond the pillars of Heracles». However, Spain was a musical nation with a large own music production and also known in the instrumental eld and developments in Northern Europe and in particular in Italy. Spanish music was influenced by immigrant Italian composers and instrumentalists. Boccherini, who came to Madrid in 1769, where he played at the Court and temporarily stood in the service of the King, was the most famous. Of course, Madrid had a different importance than the provincial city of Cádiz, despite its cosmopolitan atmosphere. Apparently the development of European music was in the picture there. That is the case with Padre Santamaría (José Sáenz de Santa María, Marqués de Valde Iñigo 1738-1804), a priest in Cádiz, born in Mexico and from a rich house. He was the one who ordered Haydn a meditative orchestral music for the good Friday liturgy in the Oratorio de la Santa Cueva sponsored by him (not as often wrongly read for the Cathedral). It was supposed to represent the last words of Christ in seven sonatas, moreover, to stimulate to meditation. The priest read the corresponding and word and a contemplation in the black- cloaked church before each set. Haydn performed the composition maybe in 1785 or 1786. The performance supposedly took place on April 6, 1787, which is not unsure like any other not proven data, because the correspondence between Cádiz and Haydn was not obtained. The «seven last words» are listed each year until today during Easter week in Cádiz.

Szymanowski Quartet
Claudia Jahn, Sprecherin

No biography found.

Booklet for Die sieben Worte des Erlosers am Kreuze, Op. 51, Introduzione, Hob. III:50

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