Artist: Rafael Ruibérriz De Torres
Album: Haydn: The Seven Last Words of Christ on the Cross, 1840 Version for Flute & String Quartet by Francisco Asenjo Barbieri
Genre: Classical
Release Date: 2022
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:16:20
Total Tracks: 9
Total Size: 1,29 GB

Tracklist:

1-1. Rafael Ruibérriz De Torres – The Seven Last Words of Christ on the Cross, Hob.XX:1: I. Introduzione in D Minor (05:45)
1-2. Rafael Ruibérriz De Torres – The Seven Last Words of Christ on the Cross, Hob.XX:1: II. Sonata No. 1 in B-Flat Major. Largo pater, dimitte illis, quia nesciunt, quid faciunt )Father Forgive them, for They Know not What They Do) (07:12)
1-3. Rafael Ruibérriz De Torres – The Seven Last Words of Christ on the Cross, Hob.XX:1: III. Sonata No. 2 in C Minor. Grave e cantabile, hodie mecum eris in paradiso (Today You Will be with me in Paradise) (09:18)
1-4. Rafael Ruibérriz De Torres – The Seven Last Words of Christ on the Cross, Hob.XX:1: IV. Sonata No. 3 in E Major. Grave, mulier ecce filius tuus (Woman, Behold Your Son) (11:52)
1-5. Rafael Ruibérriz De Torres – The Seven Last Words of Christ on the Cross, Hob.XX:1: V. Sonata No. 4 in F Minor. Largo, deus meus, deus meus, utquid dereliquisti me? (My God, My God, Why Have You Forsaken Me?) (02:22)
1-6. Rafael Ruibérriz De Torres – The Seven Last Words of Christ on the Cross, Hob.XX:1: VI. Sonata No. 5 in A Major. Adagio, Sitio (I Thirst) (09:34)
1-7. Rafael Ruibérriz De Torres – The Seven Last Words of Christ on the Cross, Hob.XX:1: VII. Sonata No. 6 in G Minor/Major. Lento, consummatum est (It is Finished) (10:02)
1-8. Rafael Ruibérriz De Torres – The Seven Last Words of Christ on the Cross, Hob.XX:1: VIII. Sonata No. 7 in E-Flat Major. Largo, in manus tuas domine, commendo spiritum meum (Into Your Hands, Lord, I Commend my Spirit) (10:05)
1-9. Rafael Ruibérriz De Torres – The Seven Last Words of Christ on the Cross, Hob.XX:1: IX. Il terremoto in C Minor. Presto e con tutta la Forza (10:07)

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The world premiere recording of a hitherto unknown 1840 arrangement of Haydn’s sublime devotional cycle.

After Haydn composed The Seven Last Words for chamber orchestra as a devotional accompaniment to the Good Friday liturgy at Cadiz Cathedral in 1786, several other arrangements were made during his lifetime, by himself and others, all of them familiar to us now: as an oratorio with soloists and chorus, and in string quartet and solo keyboard transcriptions.The cycle continued to attract arrangers after Haydn’s death. In the course of researching them, the flautist Rafael Ruibérriz de Torres turned up a manuscript by Francisco Asenjo Barbieri, who transcribed it for flute and string quartet in 1840 – perhaps as a compositional exercise at the behest of his teacher, Ramon Carnicer, who had recently produced a flute quintet of his own.

In any case, Barbieri’s arrangement presents a Romantic-era conception of Haydn’s work in which the flute part acquires the same importance as the other instruments, lending colour and brilliance to the quartet parts. At points the flute line plays in unison with one or other of the strings (almost throughout Sonata II, for example), but elsewhere his melodic and contrapuntal contributions are woven into the fabric of Haydn’s score with masterly technique and no small measure of creative inspiration.