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Giovanni Battista Pergolesi

Septem verba a Christo

»Die Akamus ist schlicht brillant: In allen harten Parametern ohnehin mehr als sattelfest, überzeugt sie mit reicher Nuancierungskunst. Die Instrumentalisten folgen Jacobs‘ Intentionen kongenial, liefern tolle solistische Beiträge – etwa die herrlichen Farben der Hörner mit ihren weit über die reduzierte Funktionalität in der klassischen Epoche hinausgehenden Impulsen. Das Bassregister ist als veritable Basis reich und strukturklar besetzt.«

Dr. Matthias Lange on klassik.com (15.03.2013)

Borrowed Feathers?
An Unknown Work by Giovanni Battista Pergolesi.

Doubts about the authenticity of the Passion music might well arise when one considers the list of false attributions, which is longer than the catalogue of Pergolesi’s securely established œuvre. More than one enterprising 18th‑century publisher took advantage of the popularity of the master who died so young in order to profitably market other composers’ works under his name. Yet the case of the oratorio Septem verba a Christo in cruce moriente prolata (The Seven Words Spoken by Christ Dying on the Cross) is different.

A Source Detective Story
As early as 1862, a fragment of the score was catalogued in the Bavarian State Library in Munich, its title page bearing Pergolesi’s name. Later, complete copies surfaced at the Bavarian Abbey of Metten and in the Zurich Central Library. When further copies were discovered more recently in the abbeys of Kremsmünster and Aldersbach, the musicologist Reinhard Fehling embarked on intensive source-critical and stylistic investigations. He is now convinced that Septem verba is indeed an early work by Pergolesi.

An Astonishing Composition
Quite apart from the question of authenticity, we are dealing here with a truly remarkable composition, written for a richly scored orchestra (trumpet, two horns, harp, strings, and basso continuo) and four vocal soloists. As Hermann Scherchen described it:

“One of the most intimate works of art, full of gentleness, the deepest feeling, and an all-radiant sense of beauty.”

A World Première Recording
It was above all the exceptional musical qualities and the immense value of the composition that led René Jacobs to take on this oratorio. On 27 July 2012, a widely acclaimed performance under his direction took place at the Festival of Early Music in Beaune, France. Shortly thereafter, the work was recorded in the same cast for harmonia mundi at the Teldex Studio in Berlin.

(harmonia mundi magazin II/2013)

Artists
Julien Behr, Tenor
Christoph Dumaux, Altus
Sophie Karthäuser, Soprano
Konstantin Wolff, Bass

Akademie für Alte Musik Berlin
René Jacobs, Conductor

Released on
harmonia mundi, 2013