Have mercy on me, God (Sarti, St. Petersburg Baroque Ensemble)
An oratorio commissioned by Grigory Potemkin in 1785 by the Italian composer Giuseppe Sarti, who worked in Russia.
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Main article: Music in Russia in the XVIII century
Gregory Potemkin was known for his religiosity and interest in theology. Even while studying at Moscow University, he especially managed in theology, there is even information about Potemkin's desire to get a haircut as a monk. Obviously, the text of Psalm 50 was especially close to the prince. This is evidenced by the Canon to the Savior, composed by Potemkin shortly before his death. Through the entire text of the Canon leitmotif pass the initial words of the psalm of David: Have mercy on me, God!
Compositions
Below is a list of compositions with comments by Andrei Penyugin.
The 50th psalm "Have Mercy on My God" (in Latin - Miserere) is the most popular text from the Psalter in the history of Western European music, from Josquin Depre to Mozart. In the XVIII century, the 50th psalm in musical practice began to be used especially often.
The oratorio of Giuseppe Sarti consists of 14 verse-parts. The choice of a certain composition for each verse is the composer's interpretation of the text of the psalm. In some cases, the text of the psalm is slightly changed (Sarti's version is given in parentheses).
Overture
In a copy of the Russian National Museum of Music, the psalm is preceded by an instrumental Overture, which is not in any other manuscript. The quirkiness of the Overture is that it is not written in the basic key of the oratorio, F minor, but in the dominant C minor.
I. Choir
Have mercy on me, O God, according to Your great grace, and according to Your many generosity, cleanse my lawlessness.
The choir is used in those poems where the composer wants to symbolically depict the appeal to the God of all mankind.
II. Terzet
Naipache omite me from the lawlessness of mine, and from my sin purify me. I know my lawlessness and I will eat my sin before me.
Terzet, written in the size of a 3⁄4, is contrasted with the rigor of the first part. The smoothness of rhythm and intonations creates a visible image of ablution.
III. Aria Tenor/Choir
To thee the One who have warmed, and the wicked one before thee have made, let them be justified in thy words, and conquer, always judge Thee. (Sin to you one, to you one who have warmed...)
A soloist tenor and cello in a high register help create a musical image of a person who, like a small child, is justified in front of the Father.
IV. Choir
Hsieh bo in the lawless will be conceived by him, and in the greedy give birth to my mother.
The chorale sound creates an image of humanity weighed down by sin.
V. Aria basa
Hsieh loved the truth of him, the unknown and secret wisdom of Your revealed me.
Sarti traditionally trusts words about truth and wisdom to solo bass.
V. Soprano recitative
Okropishi mia issopom, and clean, wash mya, and more snow whiten.
To create an image of purity after washing, the composer uses a form of recitative, which gives the most transparent sound, and a high solo soprano.
VII. Aria soprano
And my hearing is happy and cheerful, the bones of humility will rejoice.
In the first aria, the soprano Sarti adds a timbre of traverso flute to the upper register, which fills this part with Heavenly Light.
VIII. Choir
Turn away your face from my sin, and cleanse all my lawlessness.
The purity and joy of the previous two parts is interrupted by dissonance. The choir again acts as a symbol of the sinfulness of all mankind.
IX. Aria alta
Build up your heart in me, God, and renew your spirit of rights in my womb. (Build a new heart in me, build up, God, the heart is clean in me, and renew the spirit of rights in my womb.)
The thoracic timbre of solo viola (mezzo-soprano) is a symbol of the heart.
X. Choir
Do not turn away less from your face, and the Spirit of Your Holy One is not from me.
Once again, the choir personifies humanity.
XI. Aria soprano
Sanctify you with the joy of your salvation, and with the Spirit of the Masters approve me. I will teach you in a lawless way, and wicked ones will turn to you. (Exalt me, O God, thy salvation. Wait for the joy of your salvation...)
The soprano's second aria is the most virtuoso in the oratorio. The first viola from the instrumental ensemble competes with the voice. Sarti uses the concept of virtuosity in its literal meaning - virtue (from vr - virtue).
XII. Choir
Deliver my blood, O God, O God of my salvation, my tongue will rejoice in your truth. Lord, my mouth is open, and my mouth will announce your praise. Even so, he would praise the sacrifice of the sacrifice, give the slaughter, the burnt offering is not favorable. (... As for the sacrifice, he praised Yesi, gave the bull of ubo, the burnt offering was not favorable).
The part is built on the contrast of the descending lines of viola and tenor from the choir and the ascending intonations of the jubilant choral fugato.
XIII. Aria soprano
The sacrifice of God's spirit is crushed, his heart is crushed and humbly God does not humiliate.
Answer to number III. Soloist cello again in upper register, but tenor replaced with high and light soprano.
XIV. Choir
Ublazhi, Lord, by the favor of Your Zion, and let the walls of Jerusalem be created: then favor the sacrifice of righteousness, the offering and the burnt offering: then they will lay taurus on your brother.
Sarti completes the oratorio with a fugue for the full cast.
Booklet
Performers
St. Petersburg Baroque Ensemble
St. Petersburg Baroque Ensemble:
- Artistic Director -
Andrey Penyugin - viola (solo 12)
- Vera Chekanova - soprano (solo 7, 8, 12, 14)
- Marina Kupperman - Viola
- Julia Gaikolova - viola
- Varvara Kastorskaya - cello (solo 4, 14)
- Irina Schneerova - harpsichord
- Aglaya Potapova - traverso flute (solo 8)
- Grigory Voskoboinik - double bass
Choral College of St. Petersburg
Choral College of St. Petersburg:
- Artistic Director - Nikolay Romanov
- Soprano: Alexandra Repina (solo 3), Ekaterina Berezhnaya, Irina Mikhailova
- Violas: Nadezhda Brusnitsyna (solo 3, 10), Ivan Egorov
- Tenors: Danis Imamutdinov (solo 4), Daniil Lashin
- Bass: Nikolai Mazaev (solo 3, 6), Roman Tarkhov
Record
The disc was recorded as part of the initiative "Experiments of Maxim Kazak."
The organizer of the recording is ReachSound.Art.
Sound engineer, installation and mixing - Vladimir Ryabenko
Recording Engineer - Pavel Timofeev
Producer - Anton Yakovlev
Cover
On the cover: Fedor Alekseev. Fragment of the watercolor "City Square in the city of Kherson" (Tretyakov Gallery). At the direction of Catherine ІІGrigory Potemkin was buried in Kherson, in the Catherine's Cathedral, a fragment of the facade of which is depicted in watercolors on the left. The temple was erected from 1781 to 1786 under the supervision of the prince and eventually became his tomb.
Design - Olga Senkevich
Buy MP3
To purchase an MP3 disc, send a request to the disc publisher at omkcenter@yandex.ru
The cost is 680 rubles (all tracks are sent separately).
To listen
- Listen to the album in Yandex.Music
- Listen to VK Music
- Listen to Zvuk
- Listen online OK
- Listen to MTS Music
Media about the disc
- Culture.ru: Musicians of St. Petersburg restored the oratorio of the Italian composer Giuseppe Sarti
Notes
The score of the oratorio is collected from a handwritten copy from the Russian National Library. The overture was added from a handwritten copy from the Russian National Museum of Music.
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