Existential

It's a challenge to an atheist in the 21st century that this music of Haydn, written in the seventeenth century and a recitation of the words of Christ on the cross may be amongst the best music ever written. Certainly I thought that as I was listening to this thing of immense beauty, but I think it often enough for other music, too, so confusion can be just be put down to existential angst. Whatever, this was beautiful. The work is called Seven last words. Haydn composed it for string quartet on commission from Cádiz in 1786 and it was initially performed, unexpectedly for Haydn, in a small, bare chapel. The seven phrases were initially spoken between the sonatas, but eventually got written into an oratorio version. This performance was a rare one by four voices individually singing parts with string quartet on period instruments. The performers were stunning: an instrumental quartet from Australian Haydn Ensemble with a vocal quartet from the Song Company. First class. The movements are Introduction, seven sonatas and an ending Terremoto (earthquake). The words (=phrases) are: Father, forgive them, for they know not what they do; Today you will be with me in Paradise; Woman, behold your son; My God, my God, why have you forsaken me?; I thirst; It is finished; Into your hands, Father, I commend my spirit. The sonatas move through various major and minor keys in various tempos, from Largo and grave to maestoso, adagio and presto con tutta la forza (Terremoto). Just stunning and immensely beautiful in a way that bridges the baroque. The whole lasted about 90 minutes. Projected text located the listener. The text was sung in German. I thrilled at Anna's carrying soprano; enjoyed the high tenor voice and lusty bass and harmonising alto. Skye took most melody lines on first violin, with viola and second violin accompanying and giving presence; Anthony's period cello spelt crochets or counterpoint. There's a perfection in this small ensemble of one voice per part. Apparently it hasn't been recorded in this format and someone suggested that they might. I hope they do. In a studio, with no coughs and the perfection it deserves. Stunning.

The Australian Haydn Ensemble and the Song Company performed Haydn's Seven last words (of Christ). The instrumentalists were Skye McIntosh (first violin), Catherine Shugg (second violin), James Eccles (viola) and Anthony Albrecht (cello). The singers were Anna Fraser (soprano), Hannah Fraser (alto), Richard Black (tenor) and Andrew O'Connor (bass).

Music for my funeral

People have music at their funerals and I've often thought what I might wish to have at mine. We heard Mozart's Requiem tonight at the Albert Hall for the CIMF and it's profoundly melancholy and touching, but who would have the self-regard to think they justified it? Who could deserve it? We've heard a performance before. Everyone knows it. It was played here on period instruments (A430Mhz). It's tragic; it's truthful; it's redemptive and ecstatic. How can you respond to the choir singing ever-rising sequences? With tears or with unhinged laughter? It's just too profound. It's mostly choral, but there are passages of four solo voices: soprano, mezzo-soprano, tenor and bass. They sometimes sing individually, but mostly with entwined voices, perhaps the tenor appearing through, or the soprano soaring, or the two women in harmony. This version was shortened from the commonly performed one. It was a version by Richard Maunder that's missing three passages (Sanctus, Hosanna and Benedictus) that appear to be Süssmayr not Mozart. Süssmayr was the student of Mozart who was supposed to have completed the work when Mozart died. I'll check our CD later to hear the missing passages, but there were more than enough renowned and deeply affecting passages here. This is music that you wish won't end. I heard it as a little rough in the orchestra at times but very nicely performed by both choir and soloists. The string sections were led by seasoned performers, but these were young players and they were apparently playing on gut strings for the first time. I know gut on a double bass and it is a very different experience so I feel for them; a baptism of fire. Mozart's Requiem was performed by Simone Riksman (soprano), Hannah Fraser (mezzo-soprano), Christopher Saunders (tenor), Andrew Fysh (bass), the Wallfisch Band with ACO2, Elisabeth LeGuin (cello), Albert-Jan Roelofs (organ), Song company with the Sprogis Woods Smith Young Artists and Roland Peelman (conductor).

Preceding the Requiem was another work of death and immense sadness, a Stabat Mater. Stabat Mater is a 13th Century Catholic hymn of Maria dolorosa standing under the Cross of Jesus. You can only imagine the depth of sorrow in this image. Stabat Maters have been written by many composers. Pergolesi's is the famous one; this was by Luigi Boccherini of Lucca. This version was a new edition by Elisabeth Le Guin for three voices. Elisabeth ventured from the US to play cello for this performance. I enjoyed this performance but was a little non-plussed by Boccherini's work. The first notes are appropriately mournful, but then the music becomes merely dignified, then perhaps dramatic, sometimes almost light and danceable and not sufficiently pathetic to my ears. None-the-less it's a worthy work, Elisabeth's work is admirable and I loved the three voices, tenor and two sopranos. I particularly enjoyed the tenor, although intertwined sopranos were also luxurious. Boccherini Stabat Mater was performed by Susannah Lawergren and Anna Fraser (sopranos), Christopher Saunders (tenor), the Wallfisch Band with ACO2 and Roland Peelman (conductor).

The painting is Pietro Perugino, Mary at the Cross (1482) National Gallery, Washington DC, USA. Click on pic to view larger