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ZT 0118
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ZT 0118
HAYDN, J.: 7 Letzten Worte unseres Erlösers am Kreuze (Die) (The 7 Last Words) (arr. for tangent piano) (Lubimov)

HAYDN, J.: 7 Letzten Worte unseres Erlösers am Kreuze (Die) (The 7 Last Words) (arr. for tangent piano) (Lubimov)

The Classical Shop
release date: June 2014

Recorded in 24 Bit / 88.2Khz
album available as a Studio Master
Originally recorded in 2014

Artists:

Alexei Lubimov

Soloist

Venue:

Doopsgezinde Gemeente Church, Haarlem, Netherlands

Venue

Record Label
Zig-Zag Territories

Genre:

Instrumental


Classical

Total Time - 64:26
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HAYDN, J.: 7 Letzten Worte unseres Erlösers am Kreuze (Die) (The 7 Last Words) (arr. for tangent piano) (Lubimov)

     
Select Complete Single Disc for
 

FRANZ JOSEPH HAYDN

     
 

Die 7 letzten Worte unseres Erlosers am Kreuze (The 7 Last Words), Op. 51, Hob.III:50-56 (arr. for tangent piano)

 
1 L'Introduzione: Maestoso ed adagio 05:32
2 Sonata I: Pater, dimitte illis, non enim sciunt, quid faciunt: Largo 05:38
3 Sonata II: Amen dico tibi: Hodie mecum eris in paradiso: Grave e cantabile 07:21
4 Sonata III: Mulier, ecce filius tuus, et tu, ecce mater tua!: Grave 09:19
5 Sonata IV: Eli, Eli, lama asabthani?: Largo 07:43
6 Sonata V: Sitio: Adagio 09:02
7 Sonata VI: Consummatum est!: Lento 08:14
8 Sonata VII: Pater! In manus tuas commendo spiritum meum: Largo 09:05
9 Il terremoto: Presto e con tutta la forza 02:32
     
 Alexei Lubimov Soloist


Alexei Lubimov chooses the repertoires he plays and records with the freedom of the inspired musician that he is. This time, the intention came from his encountering the sonority of a particular piano, a Tangentenflügel, i.e., a tangent piano (the strings being struck by a metal piece called a ‘tangent’) that, in France, was sometimes called a ‘harmonious, heavenly harpsichord’. And it is the singular sonority of this instrument that made him want to record this keyboard transcription of Haydn’s Seven Last Words of Christ on the Cross.

Beyond this encounter, the album attests to Alexei Lubimov’s incredible force of evocation and amazing sound imagination; he also demonstrates – as if that were necessary – how much the relation between a certain kind of writing and a particular instrument can contribute to the comprehension of a work. 

                      Performance ****         Recording *****

Misha Donat - BBC Music magazine - August 2014




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