Από το ρεπερτόριο του Ζάχου Τερζάκη

Ferenc Liszt

Ferenc Liszt (1811-1886)


Για 4 σολίστες, Χορωδία και Ορχήστρα

Ludwig van Beethoven Easter Fetival in Cracow 1999
1. April 1999
Konzertsaal der Staatsphilharmonie Krakau

Tatiana Zacharczuk (Sopran) - Malgorzata Walewska (Mezzosopran)
Zachos Terzakis (Tenor) - Jyrki Korhonen (Bass)

Chor der Nationalphilharmonie, Warschasu
Chorvorbereitung: Henryk Wojnarowski

Das Nationale Sinfonieorchester des Polnischen Rundfunks, Katowice
Leitung: Antoni Wit.

Ludwig van Beethoven Easter Fetival in Cracow 1999
Ludwig van Beethoven Easter Fetival in Cracow 1999

Download the poster
Download the Poster

Thursday, 1 April, 19:30
• Krakow Philharmonic Hall •

Ferenc Liszt

Christus (1866)

Part III.    Passion und Auferstehung.

No. 12   Stabat Mater

No. 14   Resurrexit

Ferenc Liszt
Ferenc Liszt, 1838

Polish National Radio Symphony Orchestra, Katowice
National Philharmonic Choir

Antoni Wit -conductor

Tatiana Zakharchuk - soprano
Malgorzata Walewska - mezzosoprano,
Zachos Terzakis - tenor,
Jyrki Korhonen - bass

Andrzej Bialko - Organ

Hentyk Wojnarowski - choir master

Ferenc Liszt Christus oratorio for five soloists, choir, organ and orchestra

      Stabat Mater and Resurrexit are fragments (Nos 12. and 14.) of the oratorio Christus written between 1862 and 1866 in a late period of Liszt's oeuvre. The composer stayed mainly in Rome took holy orders and concentrated on religious themes. Pain and death were his chief fascinations then. He was writing - apart from The Legend of St. Elizabeth ,motets for choir, and masses - threnodies, funeral marches, ad memoriam works, Requiem, and finally his last great composition, Via crucis .
      The first performancc of thc entire Christus oratorio for five soloists, choir, organ and orchestra took place under the composer in Weimar on Mai 29, 1873. Hans Richter conducted it in Budapest on November 9 the same Year.
      The oratorio is hased on the composer's own selection of original biblical and liturgical texts, even though his original plan was to use a poetic version of a libretto by P. Cornelius. The oratorio deals with the life, death and resurrection of Christ. It is composcd as a triptych lasting over two and a half hours, each of the three sections consisting of four to fixe parts.
      I. Weinachtsoratorium (Christmas Oratorio) begins with an instrumental introduction with the leading motive of the whole work: a quotation of the melody of a plainsong antiphony Rorate coeli (from the Introit to the fourth Sunday of the Advent) with its characteristic fifth shift. This motive will return at the beginning of Part II and in the finale of Part III. It will also hecome the origin of the work's many musical structures, thus emphasising its unity. Weihnachtsoratorium concludes - after the Angel's announcement of the news (Angelus ad Pastores ait), Mary's thanksgiving (Stabat Mater speciosa) and an instrumental image of the shepherds' joy - with the passage of the Three Magi in an extensive, instrumental march based on Hungarian motives.

      II. Nach Epiphania (After the Epiphany) presents sclected events from the life of Christ: the blessing from the Sermon on the Mount (Beati pauperes spiritu) for baritone and choir with organ, similarly to the succeeding Pater Noster (choir with organ) much in the style of Palestrina; the establishment of the Church (Tu es Petrus); finally, the miracle of the storm at sea in the form of a small symphonic poem. This part of the piece ends with an image of Christ's ceremonial ingress into Jerusalem (with a Hosanna and a Benedictus) using a wide repertoire of vocal means and orchestra colouring.

      III. Passion und Auferstehung (Passion and Resurrection) begins with Crist's prayer in Gethsemany (Tristis est anima mea). It is the most expressiv and personal part of the oratolio, written for solo baritone and orchestra: lament-like, oscillating between a recitative, an arioso and an aria. It is followed by the scene of the Crucifixion and Jesus' deathl as seen by his Mother - (Stabat Mater). A succeeding short section for female choir (with harmonium accompaniment) O filii et filiae introduces the text and the melodies of a plainsong hymn from Easter vespers, evoking the episode of the women at the Tomb. Its simple development and happy mood (triple metre, diatonics, saturation with pure triple chords) lead to the sceneC of the Resurrection, Christus vincit, the conclusion of the triptych.

      Christus oratorio is a highly complex piece, one bringing together different kinds of musical material, different traditions, techniques and styles; yet there is a unity in its lucid structure. The composer employs both the tradition of sacral music of the Renaissance and the Baroque, and the advanced means of a Romantic composer. He constructs the whole on contrast. It includes unison choral parts, parts for choir (with the organ ad lib. as the sole accompaniment in the style of Palestrina), purely instrumental parts that become highly coloured symphonic poems of a kind; finally extensive cantata-oratorio parts for soloists, choir and orchestra. Modal shifts from church registers appear, together with diatonic tonal courses; at the same time, harmonic, highly chromatised runs are present too; the composer even employs folk registers (pentatonic or "Gipsy" ones). He manipulates strong contrasts in yet other registers, in a peculiar synthesis of the old and the new, of the sacred and the secular.

      • Stabat mater dolorosa, Mary's lament is based on the full text of the Medieval sequence (a countcrpart and a contrast to Stabat Mater speciosa from Weihnachtsoratorium. It can thus be treated as a stand-alone cantata for five soloists, choir and orchestra. The complex form brings together features of a sonata, a variation and a rondo. The first theme is base on a plaisong melody (Stabat Mater), the second, introduced in Eja Mater, is an echo of a lyrical phrase from the Gesthemane scene. The conclusion, with its brightened colour and its gradual fading to pianissimi , brings a hope for the "glory of Paradise" (paradisi gloria).

      • Resurrexit - Christus vincit - for soloists, choir and orchestra is a stately finale of the last part of the triptych, an apotheosis of the resurrected Christ and, at the same time, a recapitulation of selected fragments of the work. The leading motive of the plainsong melody Rorate coeli returns, and so does that of Hosanna from the finale of the triptych's middle part - the ingress into Jerusalem. The syllabic declamatory choir parts contrast with the extensive fugal parts (the Christus vincit fugue theme with its characteristic accented fifth shifts), to end the whole in a joyful Alleluia, reinforced with the concluding Amen.

(Regina Chlopicka)

Stabat Mater

(Mezzosopran solo)

Stabat Mater dolorosa

At the Cross her station keeping,

Iuxta crucem lacrimosa,

Stood the mournful Mother, weeping,

Dum pendebat Filius.

Close to Jesus at the last.

(S.A.T.B. soli)

Cuius animam gementem,

Through her soul, of joy bereaved,

Contristatam et dolentem

Bowed with anguish, deeply grieved,

Pertransivit gladius.

Now at length the sword hath passed.

(S. A .T. B. soli Choir)

O quam tristis et afflicta

O, that blessed one, grief-laden,

Fuit illa benedicta

Blessed Mother, blessed Maiden,

Mater Unigeniti.

Mother of the all-holy One.


Quae moerebat et dolebat

O that silent, ceaseless mourning,

Pia Mater cum videbat

O those dim eyes, never turning

Nati poenas inclyti.

From that wondrous, suffering Son.

(Bass solo)

Quis est homo qui non fleret,

Who on Christ's dear Mother gazing,

Christi Matrem cum videret

In her trouble so amazing,

In tanto supplicio ?

Born of woman, would not weep?

(Tenor solo, Alto solo)

Quis non posset contristari,

Who on Christ's dear Mother thinking,

Matrem Christi contemplari

Such a cup of sorrow drinking,

Dolentem cum Filio ?

Would not share her sorrow deep?

(S. A. T. B. soli, Choir)

Pro peccatis suae gentis

For his people's sins, in anguish,

Vidit Iesum in tormentis

There she saw the Victim languish,

Et flagellis subditum

Bleed in torments, bleed and die.


Vidit suum dulcem Natum

Saw the Lord's Anointed taken,

Morientem desolatum,

Saw her Child in death forsaken,

dum emisit spiritum.

Heard His last expiring cry.


Eia Mater, fons amoris,

In the Passion of my Maker

Me sentire vim doloris

Be my sinful soul partaker,

Fac, ut tecum lugeam.

May I bear with her my part.

(S. A. T. B. soli)

Fac, ut ardeat cor meum

Of his Passion bear the token,

In amando Christum Deum

In a spirit bowed and broken,

Ut sibi conplaceam.

Bear His death within my heart.

(S. A. T. B. soli, Choir)

Sancta Mater, istud agas

Thou, who on the Cross art bearing

Crucifixi fige plagas

All the paints I would be sharing

Cordi meo valide.

Glows my heart with love for Thee.

(S. A. T. B. soli,)

Tui Nati vulnerati

By Thy glorious Death and Passion

Tam dignati pro me pati

Saving me in wondrous fashion,

Poenas mecum divide.

Saviour, rutn my heart to Thee.

(S. A. T. B. soli, Choir)

Fac, ut tecum pie flere

At Thy feet in adoration,

Crucifixo condolere

Wrapt in earnest contemplation

Donec ego vixero.

See, beneath Thy Cross I lie.

(Mezzosopran solo, choir)

Iuxta Cruvem tecum stare

There, where all our sins Thou bearest

Et me tibi sociare

In compassion fullest, rarest,

In planctu desidero.

Hanging on the bitter Tree.

(S. A. T. B. soli, Choir)

Virgo virginum praeclara

Thou who art for ever blessed,

Mihi iam non sis amara,

Thou who art by all confessed,

Fac me tecum plangere.

Now I lift my soul to Thee.


Fac, ut portem Christi mortem,

Make me of Thy death the bearer,

Passionis fac consortem

In Thy Passion be a sharer,

Et plagas recolero.

Taking to myself Thy pain.


Fac me plagis vulnerari,

Let me with Thy stripes be stricken!

Fac me cruce inebriari

Let Thy Cross with hope me quicken,

Et cruore Filii.

That I thus Thy love may gain.

(Soprano, Tenor soli, choir)

Infammatus ct accensus

All my heart, inflamed and burning,

Per te, Virgo, sim difensus

Saviour, now to Thee is turning,

In die iudicii.

Shield me in the Judgemcnt Day.

(S. A. T. B. soli, Choir)

Fac me cruce custodiri,

By Thy Cross may I be guarded,

Morte C,hristi praemuniri,

Meritless - yet be rewarded

Confoveri gratia.

Though Thy grace, O living Way.


Quando corpus morietur,

While my hody here is lying

Fac, ut animae donetur

Let my soul be swiftly flying

Paradisi gloria.

to Thy glorious Paradise.

Amen .




Resurrexit tertia die

The third day he rose from the dead.

Resurrexit, resurrexit !

Christ Triumphs !

(S.A.T.B. soli)

Christus vincit, Christus regnat,

Christ governs! Christ reigns!

Christus imperat in sempiterna saecula.

For ever and ever.


Hosanna in excelsis !

Hosanna in high heaven! !


Halleluia !

Alleluja !




Seitenanfang Seitenanfang zachos@terzakis.de