{"id":3180,"date":"2009-03-21T10:12:02","date_gmt":"2009-03-21T10:12:02","guid":{"rendered":"https:\/\/neos-music.com\/?post_type=product&p=3180"},"modified":"2022-11-20T10:13:28","modified_gmt":"2022-11-20T10:13:28","slug":"franz-liszt-younghi-pagh-paan-via-crucis","status":"publish","type":"product","link":"https:\/\/neos-music.com\/en_us\/product\/franz-liszt-younghi-pagh-paan-via-crucis\/","title":{"rendered":"Franz Liszt, Younghi Pagh-Paan: Via Crucis"},"content":{"rendered":"

Infotext:<\/p>\n

Zwei unerh\u00f6rt intensive Werke zum Karfreitagsgeschehen:<\/p>\n

Liszt wu\u0308nschte sich die Erneuerung der katholischen Kirchenmusik, fu\u0308r die nicht zuletzt auch das protestantische Verm\u00e4chtnis Johann Sebastian Bachs Pate stand. Franz Liszt versetzt Bachs Erbe jedoch in eine musikalische Landschaft, die die Grenzen der Tonalit\u00e4t beru\u0308hrt. Obwohl die Musik ihren volkstu\u0308mlichen Charakter in den Vordergrund stellt, ist Via Crucis keine leicht aufzufu\u0308hrende Gebrauchsmusik. Franz Liszt inszeniert eine bescheidene aber u\u0308beraus raffiniert gestaltete Kreuzwegsandacht. Die Besonderheit der vorliegenden Einspielung ist die von Liszt selbst autorisierte Fassung f\u00fcr Chor, Soli und Klavier zu vier H\u00e4nden.<\/p>\n

Unter gro\u00dfen Gefahren betreute der Priester Yang-Eop Choe im 19. Jahrhundert die u\u0308ber ganz Korea verstreute, verbotene katholische Gemeinde. Seine in lateinischer Sprache verfassten Briefe zeugen von einer unbedingten Hingabe an Gott und von seiner Bereitschaft, fu\u0308r den Glauben zu sterben. In ihrem neuen Werk fu\u0308r Chor a cappella konfrontiert die Koreanerin\u00a0Younghi Pagh-Paan<\/a>\u00a0die Briefe mit Auszu\u0308gen aus dem Karfreitagsresponsorium.<\/p>\n

(Bei einem Kreuzweg gedenken die Christen der einzelnen Stationen, die Jesus auf seinem Weg von der Verurteilung durch Pontius Pilatus bis zur Kreuzigung ging. So bereiten sie sich auf Ostern vor, das Fest der Auferstehung Jesu von den Toten.)<\/p>\n

Programm:<\/p>\n\n\n\n
\n
\n

Franz Liszt<\/b>\u00a0(1811\u20131886)<\/p>\n

Via Crucis<\/b>\u00a0(1878) Les 14 stations de la croix\u00a0 48:57
\nfor choir, solo voices and piano four hands<\/p>\n

[01] Vexilla regis prodeunt\u00a0 04:36
\n<\/span><\/p>\n

[02] Station I –\u00a0Jesus wird zum Tode verdammt\u00a0 01:37
\n[03] Station II –\u00a0Jesus tr\u00e4gt sein Kreuz\u00a0 02:29
\n[04] Station III –\u00a0Jesus f\u00e4llt zum ersten Mal\u00a0 01:40
\n[05] Station IV –\u00a0Jesus begegnet seiner heiligen Mutter 03:01
\n[06] Station V –\u00a0Simon von Kyrene hilft Jesus das Kreuz tragen 03:26
\n[07] Station VI –\u00a0Sancta Veronica\u00a0\u00a004:01
\n<\/span><\/p>\n

[08] Station VII –\u00a0Jesus f\u00e4llt zum zweiten Mal\u00a0 01:36
\n[09] Station VIII –\u00a0Die Frauen von Jerusalem\u00a0 02:52
\n[10] Station IX –\u00a0Jesus f\u00e4llt zum dritten Mal\u00a0 01:40
\n[11] Station X –\u00a0Jesus wird entkleidet\u00a0 02:47
\n[12] Station XI –\u00a0Jesus wird ans Kreuz geschlagen\u00a0 01:01
\n[13] Station XII –\u00a0Jesus stirbt am Kreuze\u00a0 08:08
\n<\/span><\/p>\n

[14] Station XIII –\u00a0Jesus wird vom Kreuz genommen\u00a0 04:57
\n[15] Station XIV –\u00a0Jesus wird ins Grab gelegt\u00a0 05:06<\/p>\n

GrauSchumacher Piano Duo<\/a><\/p>\n

Harald Martini, baritone (Jesus)
\nFranz Gerihsen, bass (Pilatus)
\nAndrea Weigt, soprano
\nMarietta Schwittay-Niedzwicki, mezzo-soprano
\nBeata Borchert, alto
\nBoris Pohlmann, tenor
\nHee-Kwang Lee, bass<\/p>\n

WDR Rundfunkchor K\u00f6ln<\/a>
\nRupert Huber<\/a>, conductor<\/p>\n

 <\/p>\n

Younghi Pagh-Paan<\/a><\/b>\u00a0(*1945)<\/p>\n

[16] Vide Domine, vide afflictionem nostram (2007)\u00a0 14:00
\nfor mixed choir a cappella
\non texts from the letters of the Korean priest Yang-Eop Choe (1821\u20131861)
\nand from the Responsory for Good Friday
\n<\/span><\/p>\n

Work commissioned by WDR
\nWorld Premiere Recording<\/p>\n

Benita Borbonus, soprano
\nAndrea Weigt, soprano
\nMarkus Francke, tenor
\nHee-Kwang Lee, bass<\/p>\n

WDR Rundfunkchor K\u00f6ln<\/a>
\nRupert Huber<\/a>, conductor<\/p>\n

total time 63:12<\/p>\n<\/div>\n<\/td>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Pressestimmen:<\/p>\n\n\n\n
\n
\n


\n11\/12.2009<\/p>\n

Although it waited 50 years for its first performance, Liszt\u2019s visionary Via crucis has become his most oft-recorded choral work. Or should that be works? For despite the singularity of its idiom (not so much forward-looking as leaping beyond temporal boundaries entirely), it offers a multiplicity of performance options\u2014so many, in fact, that it\u2019s a challenge to find two recordings that make precisely the same editorial choices. To further muddy the ontological waters, as I\u2019ve suggested in the past (31:3), it\u2019s not clear whether it\u2019s better described as a choral work or as a keyboard work with vocal obbligato. There are vast stretches where the singers are absent (four of the 15 movements have no voices at all, and in several others, the vocal contributions are minimal); and while it can be performed without the singers, it can\u2019t do without the keyboard. For the record, what we have here is the version with four-hand piano accompaniment, with solo voices for the women\u2019s trio sections and instrumental support for the solo quartet in the opening movement and for the two big chorales.<\/p>\n

Do the editorial choices matter? In this case, not very much. Much as I admire the hefty full-chorus sound, and much as I appreciate many of the details along the way (say, the radiance of the three Stabat maters and the attention to harmonic color in the Fourth Station), this is largely a dutiful trudge through the score. Tempos are slow (the \u201cO Traurigkeit\u201d chorale, which ought to take about two minutes, lasts more than three here). More important, the pianists prefer a thick sound and a heavy rhythmic tread; as a result, when the singers are silent, the music seems airless and aimless. Among those recordings currently listed by arkivmusic.com, I\u2019d opt for the Best, although Dobra\u2019s competing performance of the four-hand edition (16:1)\u2014vastly more agile and considerably quicker in pace\u2014and De Zeeuw\u2019s high romantic reading are also worth trying to track down.<\/p>\n

Best generously pairs the Via crucis with a committed reading of the Missa Choralis. Instead of more Liszt, Rubert Huber, a Karajan prot\u00e9g\u00e9 with strong contemporary-music credentials, has chosen a new work by Younghi Pagh-Paan (b. 1945). Pagh-Paan was trained both in Seoul and in Europe, where she studied with Klaus Huber and Brian Ferneyhough, among others. Her setting of texts by Yang-Eop Choe (a Korean priest), interleaved with excerpts from the Good Friday Responsory, shows her allegiances to the modernism of the more high-minded wing of post-World War II avant-garde, rather than to the gentler practices of Lauridson, Taverner, or P\u00e4rt. It\u2019s a densely dissonant piece, with jagged lines and irregular rhythms, the singers often sounding more like competitors than partners; in the end, color and texture dominate over rhythm or harmonic motion. If you think of early Penderecki, you\u2019ll be in the right league, although not necessarily in the same ballpark. It\u2019s moderately compelling as you\u2019re listening, but it leaves a rather generic afterglow.<\/p>\n

Excellent sound\u2014and the Pagh-Paan makes good use of the surround-sound potential. On the whole, though, you can probably skip this.<\/p>\n

Peter J. Rabinowitz<\/p>\n


\n07\/2009<\/p>\n

<\/p>\n

 <\/p>\n


\n08.05.2009<\/p>\n

Franz Liszt \/ Younghi Pagh-Paan
\n<\/b>Via Crucis. Vide Domine, vide afflictionem nostram<\/p>\n

GrauSchumacher Piano Duo. WDR Rundfunkchor K\u00f6ln. Rupert Huber (direction)<\/p>\n

<\/p>\n

On ne le r\u00e9p\u00e8tera jamais assez, le grand \u0153uvre sacr\u00e9 de Franz Liszt est \u00e0 red\u00e9couvrir et \u00e0 m\u00e9diter pour ses richesses musicales certes, mais \u00e9galement pour sa pens\u00e9e profonde pla\u00e7ant l\u2019humain au centre d\u2019un univers en proie au doute dans une dualit\u00e9 ombre\/lumi\u00e8re que chacun porte en soi. \u00ab Via Crucis \u00bb participe de cette r\u00e9flexion. Compos\u00e9e pour soprano, alto, t\u00e9nor et basse solos, ch\u0153ur mixte et piano, l\u2019\u0153uvre est issue d\u2019une inspiration picturale, celle provoqu\u00e9e par les dessins de Johann Friedrich Overbeck (1789-1869). Ce n\u2019est qu\u2019en 1929, en Hongrie, que la partition sera cr\u00e9\u00e9e. Cette derni\u00e8re retrace le chemin de croix du Christ dans ses quatorze stations. Associ\u00e9e \u00e0 ce chef-d\u2019\u0153uvre, l\u2019\u0153uvre de la compositrice Younghi Pagh-Paan n\u00e9e en 1945 en Cor\u00e9e du sud \u00ab Domine, vide afflictionem nostram \u00bb pour ch\u0153ur mixte a capella datant de 2007, s\u2019int\u00e8gre parfaitement \u00e0 la dimension spirituelle \u00e9voqu\u00e9e. Voici donc un enregistrement exemplaire dans lequel l\u2019ensemble des artistes en pr\u00e9sence est \u00e0 saluer, pour son engagement, mais aussi et surtout pour la ferveur qu\u2019il d\u00e9gage dans une profondeur musicale chaleureuse et inspir\u00e9e. A d\u00e9couvrir sans tarder pour un inoubliable voyage en terre de r\u00e9flexion\u2026<\/p>\n

Jean-Jacques Millo<\/i><\/p>\n

It is worth repeating: Franz Liszt\u2019s great sacred works deserve rediscovering and meditating certainly for their musical wealth, but also for their deep contemplation that places the human being at the heart of a universe beset by doubt in a shadow\/light duality that each of us carries. \u201cVia Crucis\u201d is one of those contemplations. Composed for soprano, alto, tenor and bass solos, mixed choir and piano, the work was inspired by the drawings of Johann Friedrich Overbeck (1789-1869). It was not until 1929 that the score was premiered in Hungary. It relates Christ\u2019s fourteen Stations of the Cross. Like this masterpiece, the work by the composer Younghi Pagh-Paan (she was born in 1945 in South Korea) \u201cDomine, vide afflictionem nostrum\u201d for mixed chorus a capella, dating from 2007, goes together well with the spiritual dimension cited above. Here then is an exemplary recording in which all the participating artists must be praised for their commitment, but above all for the zeal they exhibit in musical profundity that is warm and inspired. Here is a recording to be discovered without further ado, one that will take you on unforgettable travels to a land of reflection\u2026<\/p>\n

Translation Lawrence Schulman<\/i><\/p>\n

<\/i><\/p>\n


\n14.04.09<\/p>\n

Sakrale Rarit\u00e4ten<\/b><\/p>\n

Interpretation:\u00a0
\nKlangqualit\u00e4t:\u00a0
\nRepertoirewert:\u00a0
\nBooklet:\u00a0<\/p>\n

Der tiefreligi\u00f6se Abb\u00e9 Liszt und die Chormusik: das gleicht nahezu einem Buch mit sieben Siegeln. Dass durch die vorbildliche Edition des Labels Neos (auch andere \u2018Kleine\u2019 waren mittlerweile nicht unt\u00e4tig) der Bann gebrochen wird und wenigstens einige aus den sp\u00e4ten Schaffensjahren stammende Andachtsmusiken der Vergessenheit entrissen werden, kommt fast einer Wiedergutmachung gleich. \u2018Via Crucis\u2019, die 14 Stationen des Kreuzweges in der Fassung f\u00fcr Chor, Soli und Klavier zu vier H\u00e4nden, verk\u00fcndet als meditative Sammlung in einer schmucklos-liedhaften Diktion den Leidensweg Jesu, angefangen von der\u00a0 Urteilsverk\u00fcndigung bis hin zur Kreuzabnahme. Die Musik verdichtet das Geschehen auf das Wesentliche. In der Tat wurde die von archaischer Fr\u00f6mmigkeit und Askese getragene Kreuzwegandacht von der katholischen Kirche in keiner Weise gew\u00fcrdigt. Sicher d\u00fcrfte dem Weg in eine breitere \u00d6ffentlichkeit die musikalische Kargheit und Strenge wohl entgegenstehen. Schade, dass die 1984 entstandene Aufnahme mit Reinbert de Leeuw (Klavier) und dem Niederl\u00e4ndischen Kammerchor dem Rotstift zum Opfer fiel.
\nDie Wiedergabe durch das vorz\u00fcgliche Klavierduo GrauSchumacher, einem handverlesenen Solistenteam nebst lupenrein intonierendem WDR Kammerchor (Rupert Huber), zeichnet sich durch gro\u00dfe Ernsthaftigkeit und vokale Eindringlichkeit aus. Hellh\u00f6rig sp\u00fcren Solisten und Choristen den verinnerlichten Spannungen nach. Solistische Einw\u00fcrfe wie eine rhythmisch pr\u00e4gnante vierh\u00e4ndige Klavierbegleitung signalisieren Intensit\u00e4t und Perfektion. Lebendige Deklamation und die rhetorischen Energien mischen sich zu optimaler Balance. Franz Liszt gelingt eine bewegende Verdichtung der Ausdrucksebenen, was den Ausf\u00fchrenden heikel zu bew\u00e4ltigende Aufgaben stellt. Denn bei durchwegs getragenen Tempi gilt es, in die gleichm\u00e4\u00dfige Anlage des Werkes Abwechslung zu bringen. Die kann nur aus der Binnenstruktur der Komposition herauswachsen. Monotonie kommt in dieser Wiedergabe nicht auf, da die Interpreten das Reservoir an artikulatorischen Feinheiten bis zur Neige auskosten und in den klanglichen Konstellationen exzellente Pianokultur vorf\u00fchren. So erweist sich Franz Liszts \u2018Via Crucis\u2019 nicht als sublimierte Meditationsmusik, sondern als ein musikalisches Protokoll des Leidens und Sterbens Jesu, was auch aufnahmetechnisch klangliche Hautn\u00e4he garantiert.
\nReligi\u00f6se Visionen, Texte des koreanischen Priesters Yang-Eop Choe, bilden die Grundlage f\u00fcr eine gesangstechnisch vertrackte Komposition, die von der Koreanerin Younghi Pagh-Paan zum Gedenken an die im 19. Jahrhundert in Korea hingebungsvoll f\u00fcr die katholische Kirche missionierenden Priester verfasst wurde. Die Musik k\u00fcndet von existentiellen N\u00f6ten, von Geborgenheit in Gott, von Trauer, Nacht und Licht, aber auch von all den Bedrohungen und Verfolgungen, denen das Christentum in Korea, vor allem aus China kommende franz\u00f6sische Missionare, ausgesetzt waren. Das eine knappe Viertelstunde dauernde expressive, stellenweise dissonant klingende Werk bietet den Singstimmen (h\u00f6hensicher, ausdrucksstark die Soprane Benita Borbonus und Andrea Weigt, der Tenor Markus Francke und Hee-KlangLee, Bass) viel Raum f\u00fcr virtuose Entfaltung. \u2013 Eine \u00fcberzeugungskr\u00e4ftige, mit viel innovatorischem Reiz gebaute Musik, die durch den Raumklang (5.1) \u00fcberaus plastisch vermittelt, wie jede Steigerung, jeder Effekt sitzt. Das Geschehen, von Paagh-Paan in ihren a cappella-Ges\u00e4ngen anhand von in lateinischer Sprache verfassten Briefen und Ausz\u00fcgen aus dem Karfreitags-Responsorium integriert, wird lebendig und intensiv vorgetragen. Ein schl\u00fcssiger Beweis, dass Neue Musik gerade in der Gattung \u2018Chorgesang\u2019 stets ber\u00fchrt, wenn handwerkliches K\u00f6nnen, Ausdruckskraft und interpretatorisches Gl\u00fcck zusammentreffen.<\/p>\n

Kritik von Prof. Egon Bezold<\/p>\n<\/div>\n<\/td>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Infopaket f\u00fcr Presse und Vertriebe\u00a0\u00bb<\/a>
\n(ZIP-Archiv, 4,3 MB)<\/p>\n","protected":false},"excerpt":{"rendered":"

Infotext: Zwei unerh\u00f6rt intensive Werke zum Karfreitagsgeschehen: Liszt wu\u0308nschte sich die Erneuerung der katholischen Kirchenmusik, fu\u0308r die nicht zuletzt auch das protestantische Verm\u00e4chtnis Johann Sebastian Bachs Pate stand. Franz Liszt versetzt Bachs Erbe jedoch in eine musikalische Landschaft, die die Grenzen der Tonalit\u00e4t beru\u0308hrt. Obwohl die Musik ihren volkstu\u0308mlichen Charakter in den Vordergrund stellt, ist […]<\/p>\n","protected":false},"featured_media":3181,"template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}}},"product_brand":[],"product_cat":[26],"product_tag":[],"class_list":{"0":"post-3180","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-zeitgenossische-musik","7":"pa_artikelnummer-neos-20902","8":"pa_brand-neos-music","9":"pa_ean-723","10":"desktop-align-left","11":"tablet-align-left","12":"mobile-align-left","14":"first","15":"instock","16":"taxable","17":"shipping-taxable","18":"purchasable","19":"product-type-simple"},"yoast_head":"\nFranz Liszt, Younghi Pagh-Paan: Via Crucis - NEOS Music<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/neos-music.com\/en_us\/product\/franz-liszt-younghi-pagh-paan-via-crucis\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Franz Liszt, Younghi Pagh-Paan: Via Crucis - NEOS Music\" \/>\n<meta property=\"og:description\" content=\"Infotext: Zwei unerh\u00f6rt intensive Werke zum Karfreitagsgeschehen: Liszt wu\u0308nschte sich die Erneuerung der katholischen Kirchenmusik, fu\u0308r die nicht zuletzt auch das protestantische Verm\u00e4chtnis Johann Sebastian Bachs Pate stand. Franz Liszt versetzt Bachs Erbe jedoch in eine musikalische Landschaft, die die Grenzen der Tonalit\u00e4t beru\u0308hrt. 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