A very humbling piece. Very powerful in it's expression. Obviously way beyond it's time. This performance is truly compelling. This goes way beyond his Oratorios. I'm glued to listening to this for its beauty in an autere way. Must have shocked the publisher. It's so sincere. I love the harmonic progression.
沈重又莊嚴，大家都只注意Liszt光鮮亮麗的炫技鋼琴作品，此作品的和聲在當時多前衛，超脫世俗，當代的天主教信仰被太多儀式框架住，但聽得出Liszt信仰不包裝，而是活生生的，很坦誠的，不容忽視的作品啊！ Heavy and solemn, everyone only pays attention to Liszt’s dazzling and dazzling piano works. The harmony of this work was avant-garde and detached from the secular at the time. Contemporary Catholic faith is framed by too many rituals, but I can hear that Liszt’s faith is not packaged. It's a living, honest, and can't-ignorable work! Via Crucis
I discovered Liszt as a composer through this work. No need telling me this was a great composition, deeply felt, expressed with profound understanding of musical possibilities. I had only heard negative things about Liszt before.
Absolutely beautiful! Liszt is one of my favorite composers. Of course I can’t even count my favorite composers. Once a classical music lover- always one.
It's really nice how this score doesn't include the piano alternative to the organ part the way the one on imslp does. Having both is something of an eyesore.
This is a compelling work. The middle part really strikes as thought-provoking....Almost the same silent yet sullen ending as his Requiem. Still a wonderful work to listen to.
"sullen" ending..... you are aware that many church bells ring in F#? exactly the pitch the choir sings on final page. I was at a performance where the steeple bell was ringing during the ending of the piece.... magnificent and unique effect. I wonder if it was part of Liszt's plan or a mere coincidence.
@@bartjebartmans Yes, sullen. Since I'm a major Requiem and Choral listener, I've had my share of experiences both as a former performer and a person who attends yearly concerts. Liszt's choral works are no exception. The reason why I say that is because, on one hand, this ending (Ave Cruxis) is as solemn and mournful as one can get, even with the F# pitch on the end of this piece. The effect alone stands as one of the most heartfelt pieces composed thus far. The Requiem's ending, however, is sullen due to the final movement- a tempered beginning to start, then an unexpectedly soft but gloomy ending. Some performers, from what I've heard, would throw their hair down and sing forte the entire way through while others perform it differently. Why did he write it like that? One can only guess. I've also heard both live on two separate occasions. I can tell you my experience that some people perform the last two movements of both pieces however they see fit- sometimes entirely reverse of what Liszt wrote. It's possible that Liszt planned this since the beginning. Every performance gives their own effect in pieces like these. Absolutely amazing to see what ideas can be bought out.
Thanks, Bartje Bartmans, for the release of this impressing version with organ, recorded 1987 by Andrew Parrott. Librettist of #12 was not the Lutheran poet Johann Rist (1607-1667) as listed above but the catholic poet Friedrich von Spee (1591-1635) in 1628. Rist later (1641) added more verses.
What a sublime 47:05 piece of glorious music. A truly amazing composition. Those chords are sometimes painstaking, in sync with the libretto.. And thank you for the remarkable job of very correctly syncing the score:)
When Liszt send this to his publisher to get it printed it was rejected. The reason they gave: "Musically incompetent". He had ventured so far into the future of musical expression that people were not ready for it in 1879. If this had been written in 1919, no one woud have batted an eye.
The late later latest Liszt ......what a number of gems and here we have one of his most magical ......I prefer the version with piano, but with organ works , too, of course....
=== 전주곡 (0:00) === Vexilla Regis prodeunt: (왕의 깃발이 휘날리며) Fulget Crucis mysterium, (십자가의 신비가 반짝이네) Qua vita mortem pertulit, (삶으로 죽음을 지셨듯이) Et morte vitam protulit. (죽음으로 삶을 가져오셨도다) Impleti sunt quae concinit (그대로 성취되었도다) David fideli carmine, (신실한 다윗이 노래했던 바) Dicendo nationibus: (민족들 가운데 가르치기를) Regnavit a ligno Deus. (하느님께서 나무에서 승리하셨도다) Amen. (아멘.) O crux ave, spes unica, (십자가여 경배하나이다, 우리의 유일한 희망,) hoc passionis tempore (이 수난의 때에) Piis adauge gratiam, (경건한 자에게 은혜를 더하시고) Reisque dele crimina. (죄진 자에게서 죄를 없애주소서.) Amen. (아멘.) ===제1처. 예수께서 사형 선고를 받으심.(5:07)=== Innocens ego sum a sanguine justis hujus. (나는 이 의인의 피에 관해 결백하다.) ===제2처. 예수께서 십지가를 지심.(6:05)=== Ave, ave crux. (경배하나이다, 경배하나이다 십자가여.) ===제3처. 예수께서 첫 번째로 넘어지심.(8:23)=== Jesus cadit. (예수 넘어졌네.) Stabat Mater dolorosa (슬픔에 잠긴 어머니가 서 계셨네) juxta crucem lacrymosa, (십자가 옆에서 눈물 지으며) dum pendebat filius. (아들이 매달려 있는 동안에.) ===제4처. 예수께서 성모님을 만나심.(9:57)=== (오르간 솔로) ===제5처. 키레네 시몬이 예수를 도와 십자가를 짐.(12:25)=== (오르간 솔로) ===제6처. 성 베로니카의 노래(베로니카, 수건으로 예수님의 얼굴을 닦아드림).(15:34)=== O Haupt voll Blut und Wunden, (피와 상처로 가득한 머리여) Voll Schmerz und voller Hohn, (고통과 치욕으로 가득하도다) O Haupt, zum Spott gebunden (조롱에 둘러싸인 머리여) Mit einer Dornenkron’, (가시관을 쓰셨도다) O Haupt, sonst schön gezieret (가장 높은 영광과 장식으로) Mit höchster Ehr’ und Zier, (아름답게 꾸며졌던 머리여) Jetzt aber höchst schimpfieret; (이제는 가장 멸시받을 뿐이네) Gegrüßet sei’st du mir! (저에게라도 인사 받으소서) ===제7처. 예수께서 두 번째로 넘어지심.(18:46)=== (첫번째와 동일) ===제8처. 예루살렘의 딸들(예수께서 예루살렘 여자들을 위로하심).(20:21)=== Nolite flere super me, sed super vos ipsas flete et super filios vestros. (나를 위하여 울지 말고, 너희 자신과 너희의 자식들을 위하여 울라.) ===제9처. 예수께서 세 번째로 넘어지심.(22:58)=== (첫번째와 동일) ===제10처. 예수께서 옷 벗김 당하심.(24:39)=== (오르간 솔로) ===제11처. 예수께서 십자가에 못박히심.(26:25)=== Crucifige! (못 박아라! [반복]) ===제12처. 예수께서 십자가에서 죽으심.(27:22)=== Eli, Eli, lamma Sabacthani (엘리, 엘리, 라마 사박다니) In manus tuas commendo spiritum meum. (당신 손에 나의 영혼을 맡기나이다) Consummatum est. (다 이루었다) O Traurigkeit, o Herzeleid, (오 어둠이여, 심장 찢는 슬픔이여) Ist das nicht zu beklagen? (이는 탄식할 일이 아닌가?) Gott des Vaters einigs Kind (하느님 아버지의 독생자가) wird ins Grab getragen. (무덤에 묻히시겠네.) ===제13처. 예수께서 십자가에서 내려지심.(36:43)=== (오르간 솔로) ===제14처. 예수께서 무덤에 묻히심.(41:00)=== Ave crux, spes unica, (경배하나이다, 십자가여, 유일한 희망이여) mundi salus et gloria (세상의 구원이자 영광이여.) Auge piis justitiam (경건한 자에게는 의를 더하시고) Reisque dona veniam! (죄진 자에게는 용서를 주소서.) Amen. Ave crux. (아멘. 십자가여 경배하나이다.)
Vexilla regis is a Latin hymn in long metre by the Catholic poet and saint Venantius Fortunatus, Bishop of Poitiers. Gustav Holst, Anton Bruckner and Charles Gounod also used this chant.
Oops those darn negative comments. I upload painstakingly and edit for hours to share a work of quality and art and within seconds some naysayer has to share their 2 cents worth of opinion. The pointless and trivial comments make me wonder if I should disable the comment section, like some channels do.
A very humbling piece. Very powerful in it's expression. Obviously way beyond it's time. This performance is truly compelling. This goes way beyond his Oratorios. I'm glued to listening to this for its beauty in an autere way. Must have shocked the publisher. It's so sincere. I love the harmonic progression.
So glad that at his final years he wrote sacred music. Its beautiful.
This work is miracle. Its serenity, beauty, and loneliness touches me deeply every time I hear it.
沈重又莊嚴，大家都只注意Liszt光鮮亮麗的炫技鋼琴作品，此作品的和聲在當時多前衛，超脫世俗，當代的天主教信仰被太多儀式框架住，但聽得出Liszt信仰不包裝，而是活生生的，很坦誠的，不容忽視的作品啊！
Heavy and solemn, everyone only pays attention to Liszt’s dazzling and dazzling piano works. The harmony of this work was avant-garde and detached from the secular at the time. Contemporary Catholic faith is framed by too many rituals, but I can hear that Liszt’s faith is not packaged. It's a living, honest, and can't-ignorable work! Via Crucis
32:50 is probably one of the greatest moments of human artistic creation. O Traurigkeit, O Herzeleid.
Yes.....and again at 34:20......BRAVI TUTTI from Acapulco!
Liszt's most beautiful piece!!!!
Tired of the Liszt bashing I hear often, His late works are sublime masterpieces here is genius with a capital G
Many of his mature and some of his early works also.
I discovered Liszt as a composer through this work. No need telling me this was a great composition, deeply felt, expressed with profound understanding of musical possibilities. I had only heard negative things about Liszt before.
With a g major you mean haha
The people that bash Liszt don't know these works..........
He's always on my RUclips playLiszt
Wow i've just spent an evening listening to this. 47 minutes well spent.
I love watching the score as I go along hearing, it helps me concentrate on the music without getting completely carried off into wonderland!
Gänsehaut pur, ein phänomenal schönes Meisterwerk
MANY YEARS AGO I PLAYED THIS WITH MY CHOIR ON GOOD FRIDAY SERVICES..IT WAS A WONDERFUL AND SUBLINE MUSIC FOR GOOD FRIDAY..LIVE THIS YOU TUBE...THANKS
Absolutely beautiful! Liszt is one of my favorite composers. Of course I can’t even count my favorite composers. Once a classical music lover- always one.
It's really nice how this score doesn't include the piano alternative to the organ part the way the one on imslp does. Having both is something of an eyesore.
C'est grandiose dès le début avec ''Vexilla régis''.Merci à Bartje Bartmans pour ce moment magnifique.
et merci a vous, mon ami, pour la vérité
What a wonderful, emotional and beautiful piece.. I love liszt's music ❤
Much more modern than Reger in his organ pieces... Liszt is a true genius!
I think so, because sometimes Liszt sounds here more like Langlais or Litaize
Knew and loved this version. Glad i found it here.
This is a compelling work. The middle part really strikes as thought-provoking....Almost the same silent yet sullen ending as his Requiem. Still a wonderful work to listen to.
"sullen" ending..... you are aware that many church bells ring in F#? exactly the pitch the choir sings on final page. I was at a performance where the steeple bell was ringing during the ending of the piece.... magnificent and unique effect. I wonder if it was part of Liszt's plan or a mere coincidence.
@@bartjebartmans Yes, sullen. Since I'm a major Requiem and Choral listener, I've had my share of experiences both as a former performer and a person who attends yearly concerts. Liszt's choral works are no exception.
The reason why I say that is because, on one hand, this ending (Ave Cruxis) is as solemn and mournful as one can get, even with the F# pitch on the end of this piece. The effect alone stands as one of the most heartfelt pieces composed thus far.
The Requiem's ending, however, is sullen due to the final movement- a tempered beginning to start, then an unexpectedly soft but gloomy ending. Some performers, from what I've heard, would throw their hair down and sing forte the entire way through while others perform it differently. Why did he write it like that? One can only guess.
I've also heard both live on two separate occasions. I can tell you my experience that some people perform the last two movements of both pieces however they see fit- sometimes entirely reverse of what Liszt wrote. It's possible that Liszt planned this since the beginning. Every performance gives their own effect in pieces like these. Absolutely amazing to see what ideas can be bought out.
Thanks, Bartje Bartmans, for the release of this impressing version with organ, recorded 1987 by Andrew Parrott.
Librettist of #12 was not the Lutheran poet Johann Rist (1607-1667) as listed above but the catholic poet Friedrich von Spee (1591-1635) in 1628. Rist later (1641) added more verses.
Thanks for your information.
What a masterpiece!
the delicacy of some passages is wonderful
I have played it a lot of times.. enjoy it very much.
What a sublime 47:05 piece of glorious music. A truly amazing composition. Those chords are sometimes painstaking, in sync with the libretto..
And thank you for the remarkable job of very correctly syncing the score:)
Wonderful!
in itself this piece is truly bizarre. integral though to understanding Liszt's late period as whole..
As bizzare as mischelin restaurants to mcdonalds
When Liszt send this to his publisher to get it printed it was rejected. The reason they gave: "Musically incompetent".
He had ventured so far into the future of musical expression that people were not ready for it in 1879. If this had been written in 1919, no one woud have batted an eye.
For those who came looking for it, it's fittingly at 30:00
Also 41:01 and 46:32. Scattered a bit everywhere but these are good examples
Brilliant job by Jeremy White (the baritone)!
The late later latest Liszt ......what a number of gems and here we have one of his most magical ......I prefer the version with piano, but with organ works , too, of course....
Beautiful!!!!
great performance!!!!! so musical!!!!
44:58 wow
I know right, it has that enigmatic yet revelatory feel to it.
beautiful...
この曲の愛を親しめています。
マーカス・クリードも合唱も
美しく強い。
本当のやさしさを感じます。
16:22 so beautiful (':
Wonderful organist!
Lindo magnifico. Amemos ao senhor de corpo e alma. Foi por mim. Foi por vc. Jesus eu te amo
Really impressive discovery!
Extraordinary...
=== 전주곡 (0:00) ===
Vexilla Regis prodeunt:
(왕의 깃발이 휘날리며)
Fulget Crucis mysterium,
(십자가의 신비가 반짝이네)
Qua vita mortem pertulit,
(삶으로 죽음을 지셨듯이)
Et morte vitam protulit.
(죽음으로 삶을 가져오셨도다)
Impleti sunt quae concinit
(그대로 성취되었도다)
David fideli carmine,
(신실한 다윗이 노래했던 바)
Dicendo nationibus:
(민족들 가운데 가르치기를)
Regnavit a ligno Deus.
(하느님께서 나무에서 승리하셨도다)
Amen.
(아멘.)
O crux ave, spes unica,
(십자가여 경배하나이다, 우리의 유일한 희망,)
hoc passionis tempore
(이 수난의 때에)
Piis adauge gratiam,
(경건한 자에게 은혜를 더하시고)
Reisque dele crimina.
(죄진 자에게서 죄를 없애주소서.)
Amen.
(아멘.)
===제1처. 예수께서 사형 선고를 받으심.(5:07)===
Innocens ego sum a sanguine justis hujus.
(나는 이 의인의 피에 관해 결백하다.)
===제2처. 예수께서 십지가를 지심.(6:05)===
Ave, ave crux.
(경배하나이다, 경배하나이다 십자가여.)
===제3처. 예수께서 첫 번째로 넘어지심.(8:23)===
Jesus cadit.
(예수 넘어졌네.)
Stabat Mater dolorosa
(슬픔에 잠긴 어머니가 서 계셨네)
juxta crucem lacrymosa,
(십자가 옆에서 눈물 지으며)
dum pendebat filius.
(아들이 매달려 있는 동안에.)
===제4처. 예수께서 성모님을 만나심.(9:57)===
(오르간 솔로)
===제5처. 키레네 시몬이 예수를 도와 십자가를 짐.(12:25)===
(오르간 솔로)
===제6처. 성 베로니카의 노래(베로니카, 수건으로 예수님의 얼굴을 닦아드림).(15:34)===
O Haupt voll Blut und Wunden,
(피와 상처로 가득한 머리여)
Voll Schmerz und voller Hohn,
(고통과 치욕으로 가득하도다)
O Haupt, zum Spott gebunden
(조롱에 둘러싸인 머리여)
Mit einer Dornenkron’,
(가시관을 쓰셨도다)
O Haupt, sonst schön gezieret
(가장 높은 영광과 장식으로)
Mit höchster Ehr’ und Zier,
(아름답게 꾸며졌던 머리여)
Jetzt aber höchst schimpfieret;
(이제는 가장 멸시받을 뿐이네)
Gegrüßet sei’st du mir!
(저에게라도 인사 받으소서)
===제7처. 예수께서 두 번째로 넘어지심.(18:46)===
(첫번째와 동일)
===제8처. 예루살렘의 딸들(예수께서 예루살렘 여자들을 위로하심).(20:21)===
Nolite flere super me, sed super vos ipsas flete et super filios vestros.
(나를 위하여 울지 말고, 너희 자신과 너희의 자식들을 위하여 울라.)
===제9처. 예수께서 세 번째로 넘어지심.(22:58)===
(첫번째와 동일)
===제10처. 예수께서 옷 벗김 당하심.(24:39)===
(오르간 솔로)
===제11처. 예수께서 십자가에 못박히심.(26:25)===
Crucifige!
(못 박아라! [반복])
===제12처. 예수께서 십자가에서 죽으심.(27:22)===
Eli, Eli, lamma Sabacthani
(엘리, 엘리, 라마 사박다니)
In manus tuas commendo spiritum meum.
(당신 손에 나의 영혼을 맡기나이다)
Consummatum est.
(다 이루었다)
O Traurigkeit, o Herzeleid,
(오 어둠이여, 심장 찢는 슬픔이여)
Ist das nicht zu beklagen?
(이는 탄식할 일이 아닌가?)
Gott des Vaters einigs Kind
(하느님 아버지의 독생자가)
wird ins Grab getragen.
(무덤에 묻히시겠네.)
===제13처. 예수께서 십자가에서 내려지심.(36:43)===
(오르간 솔로)
===제14처. 예수께서 무덤에 묻히심.(41:00)===
Ave crux, spes unica,
(경배하나이다, 십자가여, 유일한 희망이여)
mundi salus et gloria
(세상의 구원이자 영광이여.)
Auge piis justitiam
(경건한 자에게는 의를 더하시고)
Reisque dona veniam!
(죄진 자에게는 용서를 주소서.)
Amen. Ave crux.
(아멘. 십자가여 경배하나이다.)
Uspješno izvedeno djelo uz pomoć vrhunskih gostiju - solista u katedrali Bjelovarsko-križevačkoj dana 23.04.2019.godine.
Why is Liszt's late works so overlooked?
They're too good. Coming up. People yet not ready.
They're religious, so academia hates them
Yes, they are still far ahead even of our time.
If the suffering of Christ had music this would it be. The meloncholy ,the fate and the love wrapped in one
Csodálatos!
9:14 19:31 41:59 i love these parts
like this if you cry everytime
Because Bach is the GOAT
19c 음악 - [합창음악]
[2.가톨릭 합창곡]
리스트 - [십자가의 길]
I am atheist. But I enjoyed Liszt's this piece!
better than solo piano version
39:04 he just couldn’t resist lol
some organ parts sound like Messiaen
Un coral luterano en una obra católica! 16:40
akurat te panie pięknie i czysto śpiewają
Que misa tan dinámica, fuerte, grandiosa y mística.
Hola Ángel, es un Vía Crucis, no es una Misa. Saludos.
OK, fueras tan amable de ilustrarme la diferencia entre Via Crucis y Misa?, te lo agradecere y empezare a aprender a oir la diferencia.
El Via Crucis representa la crucificación de Cristo
Is anyone else listening to this because it’s Good Friday?
Very close! A year later on maundy thursday.
I am! In 2020!
Yep!
Kőrösi Lőrinc Same here !
I am now too, in 2021
with it s bell like qualities Arvo Part like.Great work
You mean Part is Liszt-like.
yes indeed. glorious music
This is gold. Will take so long until music theory books will catch up to this. Haha.
What other pieces sound similar to the introduction? Does anyone know?
Vexilla regis is a Latin hymn in long metre by the Catholic poet and saint Venantius Fortunatus, Bishop of Poitiers. Gustav Holst, Anton Bruckner and Charles Gounod also used this chant.
@@bartjebartmans Thank you very much, I really appreciate it.
Which label is this released on? It i the best I've heard and I've listen to many (I own four different recordings).
Oops, the alto/mezzo is spoiling it......
Oops those darn negative comments. I upload painstakingly and edit for hours to share a work of quality and art and within seconds some naysayer has to share their 2 cents worth of opinion. The pointless and trivial comments make me wonder if I should disable the comment section, like some channels do.
@@bartjebartmans Sorry, I was so disappointed when she spoiled the recording, don't take it personal.You are doing a great job!
@@ruramikael being disappointed is pointless. It seems you are taking it personal.
@@bartjebartmans It is an emotional state, doesn't matter whether is pointless or not.
station VI
VII
I never liked his etudes etc, but this is sublime!
That's what happens when people don't play like they have a train to catch
16:22
16:22 is that stolen from Bach's christmas oratorio?
santa Veronica uses the same melody of J.S.Bach
Alguién puede poner los textos? No los encuentro.
44:58
Il solo non va per niente a tempo 🙉
Non dovrebbe
There are way better versions, with piano. But maybe not on youtube, sadly.
Names? Recordings? Links? I don't know what you are talking about. This is a very fine recording.
Wonderful performance, but the German pronounce of Latin is so disturbing! CruZifige! CruZifige! XD
Good catch hahahahah
Still more accurate than english
It sounds awesome. I cant stand Italian pronunciation of Latin
That's the correct pronounciation of eccleseastical latin.
16:20