Artist: Capella Augustina
Album: Haydn: Die sieben letzten Worte unseres Erlösers am Kreuz / Sánchez-Verdú: Sheba
Genre: Classical
Release Date: 2022
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:15:27
Total Tracks: 16
Total Size: 1,21 GB

Tracklist:

1-1. Capella Augustina – I. Introduzione (Adagio) (05:04)
1-2. Capella Augustina – II. Sonata I (Largo) (05:58)
1-3. Capella Augustina – I. Sheba I (02:16)
1-4. Capella Augustina – III. Sonata II (Grave e cantabile) (07:40)
1-5. Capella Augustina – II. Sheba II (02:05)
1-6. Capella Augustina – IV. Sonata III (Grave) (07:30)
1-7. Capella Augustina – III. Sheba III (02:44)
1-8. Capella Augustina – V. Sonata IV (Largo) (08:51)
1-9. Capella Augustina – IV. Sheba IV (01:38)
1-10. Capella Augustina – VI. Sonata V (Adagio) (08:41)
1-11. Capella Augustina – V. Sheba V (02:20)
1-12. Capella Augustina – VII. Sonata VI (Lento) (06:34)
1-13. Capella Augustina – VI. Sheba VI (02:10)
1-14. Capella Augustina – VIII. Sonata VII (Largo) (07:49)
1-15. Capella Augustina – VII. Sheba VII (02:31)
1-16. Capella Augustina – IX. Il Terremoto (Presto e con tutta la forza) (01:30)

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“The present recording is the fruit and consequence of a project that the Brühl Castle Concerts and the Capella Augustina have initiated for several years as part of their Haydn Festival. We commission compositions that deal with the works of Joseph Haydn and are explicitly written for an orchestra with period instrumentsin 2018, the commission went to the Spanish composer José Maria Sánchez-Verdú, by whom I had already premiered a highly interesting, fantastically orchestrated work some time before. Sanchez-Verdu, himself a native of Andalusia, chose to compose ‘Die sieben letzten Worte unseres Erlösers am Kreuz’.

Haydn famously wrote the piece for a special Good Friday Passion liturgy in Cadiz. Sánchez-Verdú wrote ‘Sheba’ (the Hebrew word for ‘seven’) as interludes to Haydn’s work. Each of the 7 sonatas is followed by a movement of about 2-3 minutes, which acts as a commentary, exegesis, continuation or even antithesis of Haydn’s pieces. The concluding seventh movement leads directly into the final earthquake

Sometimes it is a single sound, then again a movement impulse or just a gesture in Haydn’s work that is inspiration and starting point for him For him, the historical instrumentation was both an incentive and a mission.”