Haydn - Die sieben letzten Worte unseres Erlösers am Kreuze - Ghislain Potvlieghe, Tangentenflügel

JOSEPH HAYDN (1732–1809) Die Sieben letzten Worte unseres Erlösers am Kreuze Hob. XX: 50–56 (opus 51, no 1–7) Keyboard version: Pleyel, Paris, n.d. 0:00 Introduzione. Adagio 6:06 Vater vergieb Ihnen. Largo 13:32 Fürwahr ich sage dir. Grave e cantabile 21:07 Frau hier siehe deinen Sohn. Grave 28:51 Mein Gott, mein Gott, warum hast du micht verlassen. Largo 35:07 Jesus rutet. Adagio 42:44 Es ist vollbracht. Lento 49:05 Vater in deine Hände empfehle. Largo 57:54 Il Terremoto. Presto e con tutta la forza Tangent Piano: Ghislain Potvlieghe Built after Tangent Piano by: Baltasare Pastore Milano (Italia), 1801 Place of recording: H. Kruiskapel (Woestijnkapel) (1600 + 1758) – Gooik (Belgium) Date: 3 august 1994 The Tangent Piano One of the curiosities about the tangent piano is that through the centuries, it was invented at least five times. A first time at the beginning of the 15th century (this is reported by Arnout of Zwolle). In the early 18th century, Bartolomeo Cristofori, a Paduan working in Firenze for the Medici, Jean Marius, a Parisian harpsichord builder and Johann Schröter in Dresden, all tried independently to develop the harpsichord into an instrument with strings that are struck, making a dynamic playing possible. Not until the famous organ and pianoforte (tangent piano) builders Späth & Schmahl from Regensburg, whom W.A. Mozart highly praised, was the instrument definitively baptized the “tangent piano”. Up to then it had been given names such as “a newly invented harpsichord”. Thanks to the possibility of realizing dynamic nuances and multiple registrations (una corda, moderator, harp, lifting of the dampers), the instrument fully breathes the spirit of the Empfindsamkeit-period (= the period of sensitivity). The composer and historian of music C.F.D. Schubart suggests in his “Ideen zur einer Ästhetik der Tonkunst” (1784) that the tangent piano was closely related to the “Pantaleon”, on account of its mechanism with “tangents… or jacks”. An anonymous writer mentions in his Charakterstil des Klaviers (1791) that Späth & Schmahl “for several years have been distributing to all corners of the world a kind of piano which was invented by them and which is called ‘tangent piano’”. He enthusiastically concludes his comment by stating that this instrument “imparts a strength and a majesty which almost approaches that of the organ”. Ghislain Potvlieghe studied at the Royal Music Conservatorium in Gent (Belgium), in the Netherlands and in Danmark. Builder of Organs and Tangentenflügels since 1973. Lives in Ninove, Belgium. Was leader of seminars in organology at all Flemish Royal Music Conservatoria and at the Lemmensinstitut of Leuven. Publisher of musicological articles in Belgium and abroad. Art director of PHI (C.D.-label). Realised Mozart CD’s for the Lions Club of St. Genesius Rhode, Mozarteum Belgium and PHI Potvlieghe Historic Instruments. Digital Recording & Art Supervisor and executive producer: Ghislain Potvlieghe Editor: Secremat bvba, Mattelaer Hilde Caspar David Friedrich: Morgen im Riesengebirge (1811). Schloss Charlottenburg, Berlin.