The image of a cross on the CD cover – the author is in large letters and this is enough to guess the width. Follows the “solution” in English: the seven last words of Christ. Last but not least, the speaker’s name (in order of English type for consistency) is Zsombor Tóth-Vajna.
Katalin Fettler
Open the “Pamphlet,” a surprisingly concise four-page sheet. On the back is a photo of the performer, and inside is a list of the actions of the work (with the exact time), a transcription – and a photo of the instrument being played, with informational data (copy by Paul McNulty from 2015, based on Anton Walter 1805 instrument. Tuned: 430 Hz follows A1, diluted by Kerenberger III). This is it.
However, Fotexnet cannot be blamed for this (thrifty) version: it can be assured that the student will take on the problem and look for whatever interests him.
Regarding the work, since it has two variants of the title in the original language (Die Worte des Erlösers and Die sieben letzten Worte unserse Erlösers), it is generally known in two versions. It is no coincidence that in Hoboken’s two-volume catalog the exclusive instrumental copy (and its copies) is placed in the first volume, while the rhetorical copy is placed in the second volume (Hob. XX/1 and XX/2). The oven can be heard when recording. Regarding XX/1C, the literature agrees that although it is not from Haydn, it has been published with his preview and approval.
Over an hour of keyboard music, consisting of seven sonnets after the introduction, plus the closing “earthquake” movement. In this way, it offers something to listen to that differs from the original concept (it is known that in the Cathedral of Cadiz, the bishop added a reflection for each of the “words”, and then a piece with an adagio rhythm that was played). On the other hand, keyboard music plays continuously – like a cycle – which can be enjoyed even without knowing the “action titles”. You can say “absolute music”.
“A place where the music beats” – this is how they define the Church of Music, where the Harmónia Hangstúdió in Vámosszabadi operates. Sound engineer Szabolcs Kapui recorded the work done here by Zsombor Tóth-Vajna. Experience meets all needs – we can gain acoustic experiences of the specific sound of this piano predecessor, which we accept as our own world, with an intuitive nature so that not even questions of authenticity and timing arise.
The sound brought by Zsombor Tóth-Vajna is plastic in a way that can be compared to Dezs Karasszon’s organ. It is akin to speech, in so far as it communicates constantly – if you like, mediates … In any case, it can be evaluated “by itself” at the same time as interpretation and “communication”, which presupposes the listener(s). Beautiful precious.
Zsombor Tóth-Vajna’s biography is worth reviewing not only because it is a praise of its versatility, but also because it beautifully represents the potential for success in independent fields, as well as its mutual (transportation) influence. Master of several keyboard instruments (dating and artistic performance), soloist and founder/member of bands, successful doctor and athlete.
Knowledge, talent, intellect, inspiration, muscle memory – all this can be developed and run profitably almost simultaneously, maximizing performance and, of course, the feeling of success. It provides shareable harmony, which is (even) so essential today.
publisher: in Hungaroton
Catalog number: HCD 32867
