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134:, the effect of the performance being not a little enhanced by the following circumstances. The walls, windows, and pillars of the church were hung with black cloth, and only one large lamp hanging from the center of the roof broke the solemn darkness. At midday, the doors were closed and the ceremony began. After a short service the bishop ascended the pulpit, pronounced the first of the seven words (or sentences) and delivered a discourse thereon. This ended, he left the pulpit and fell to his knees before the altar. The interval was filled by music. The bishop then in like manner pronounced the second word, then the third, and so on, the orchestra following on the conclusion of each discourse. My composition was subject to these conditions, and it was no easy task to compose seven adagios lasting ten minutes each, and to succeed one another without fatiguing the listeners; indeed, I found it quite impossible to confine myself to the appointed limits.
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331:: Haydn's Opus 51. This is the form in which the music is most often heard today: a group of seven works (Hoboken-Verzeichnis III/50–56), with the Introduction abutting Sonata I and Sonata VII joined by the Earthquake. The first violin part includes the Latin text directly under the notes, which "speak" the words musically.
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This version has come under suspicion of authenticity due to an occasionally careless manner of transcription, with crucial wind passages left out and only the accompanimental figures in the strings retained. As a result, some quartets make their own adaptation, working from the orchestral original.
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This tale is reported in
Geiringer (1982:84), who does not mention its source. See also: Carlos Prieto (2006) "The adventures of a cello": "The munificence of our Veracruz-born priest, Don JosĂ© Sáenz de Santa MarĂa, was not solely restricted to reconditioning the Santa Cueva and commissioning
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According to
Gotwals (1961:242), Haydn errs here: the request came from another church in Cádiz, the new Oratorio de la Santa Cueva, still existing. Townsend's translation renders German "Hauptkirche" as "Cathedral", a not entirely certain translation endorsed by
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Haydn uses an extremely wide range of tonalities for a composition of the time. Musicologist Mark
Spitzer observes of this: "In its tonal freedom anticipates late Masses, particularly the
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898:
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of Cádiz to compose instrumental music on the Seven Last Words of Our Savior On the Cross. It was customary at the
Cathedral of Cádiz to produce an oratorio every year during
88:. The seven sections are labelled "sonatas" and are all slow. They are framed by a slow Introduction and a fast "Earthquake" conclusion, for a total of nine movements.
420:, who revised the lyrics used by Friebert. This was the first work in a serial collaboration with van Swieten as librettist that continued with the later oratorios
114:"The walls, windows, and pillars of the church were hung with black cloth, and only one large lamp hanging from the centre of the roof broke the solemn darkness."
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poetry, written in German. Haydn was impressed with the new work and decided to improve on it, preparing his own choral version. He had the assistance of Baron
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Quartets have occasionally created performances that evoked the format of the premiere, with verse readings replacing the original words and sermons. The
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27:51ff. Much of the work is consolatory, but the "Earthquake" brings a contrasting element of supernatural intervention—the orchestra is asked to play
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311:... The only other Classical 'multi-piece' which spreads itself across the entire tonal gamut with this architectural breadth is Beethoven's
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432:. The choral version was privately premiered in Vienna on 26 March 1796 before an audience of the nobility, under the sponsorship of the
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to supply a series of readings to replace the "words"; the result was "Poem After the Seven Last Words" (included in the volume
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Sources differ in whether this occurred on the outbound or return journey; Larsen and Feder (1997, 67).
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The seven meditations on the Last Words are excerpted from all four gospels. The "Earthquake"
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This article is about the composition by Joseph Haydn. For other settings of the topic, see
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The priest who commissioned the work, Don JosĂ© Sáenz de Santa MarĂa, had reconditioned the
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Haydn himself explained the origin and difficulty of writing the work when the publisher
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music from Haydn. At his own expense, he ordered the construction of an oratory.
397:: engraving thought to be by Johann Georg Mansfeld, based on a drawing by Lakner
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571:. His Master's Voice – ASD 3451. Recorded May 1977 in London, England.
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in 1976, poetic readings were substituted for the "words", read by
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Argo (Decca), Haydn String
Quartets Volume Eleven, HDNV 82–84.
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Spitzer, Michael (November 2001). "Haydn's Seven Last Words".
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In the course of his second journey to London (1794–1795), in
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436:. The public premiere was on 1 April 1798, sponsored by the
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seven expressions attributed to Jesus during his crucifixion
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Hob. XX/1B – quartet version (1787) = Hob. III/50–56 in
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issued (in 1801) a new edition and requested a preface:
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in the same year, and finally adapted it in 1796 as an
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Die sieben letzten Worte unseres Erlösers am Kreuze
175:Pater, dimitte illis, quia nesciunt, quid faciunt
21:Musical settings of sayings of Jesus on the cross
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679:The Seven Last Words of Our Saviour on the Cross
661:The Seven Last Words of Our Saviour on the Cross
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84:The seven main meditative sections are based on
42:The Seven Last Words of Our Saviour on the Cross
610:Grammy Award for Best Chamber Music Performance
830:Source for this paragraph: Temperley (1991, 7)
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266:In manus tuas, Domine, commendo spiritum meum
483:Hob. XX/2 – choral version (oratorio, 1796).
412:. The words were not the original Latin but
276:Il terremoto (Earthquake) in C minor –
224:Deus meus, Deus meus, utquid dereliquisti me
126:Some fifteen years ago I was requested by a
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878:. S. Low, Marston, Searle & Rivington (
856:. Milwaukee: University of Wisconsin Press.
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81:(with both solo and choral vocal forces).
910:International Music Score Library Project
852:Gotwals, Vernon, translator and editor.
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253:") in G minor, ending in G major –
194:") in C minor, ending in C major –
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1570:Music based on the Crucifixion of Jesus
818:Grove Dictionary of Music and Musicians
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350:). In another recorded example, by the
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726:Text cited from Townsend (1884, 73–74)
466:Hob. XX/1A – orchestral version (1786)
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915:Contemporary keyboard transcription
845:and Irene Geiringer, Irene (1982).
565:Academy of St. Martin-in-the-Fields
552:Orchestra of the Eighteenth Century
313:String Quartet in C♯ minor, op. 131
13:
821:, article "Gottfried van Swieten".
685:, Ruth Sandhoff, Robert Getchell,
493:Original orchestral version (1786)
342:, for instance, commissioned poet
146:Original orchestral version (1786)
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854:Haydn: Two Contemporary Portraits
645:VII-LW: Die Sieben letzten Worte
476:Hob. XX/1C – piano version (1787)
459:Hob. XX/1 – instrumental versions
323:At the request of his publisher,
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900:Die Worte des Erlösers am Kreuze
1381:Beethoven–Haydn–Mozart Memorial
1345:Joseph Haydn Kammerphilharmonie
847:Haydn: A Creative Life in Music
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269:") in E-flat major – Largo
158:Introduzione in D minor –
57:, commissioned in 1786 for the
16:Orchestral work by Joseph Haydn
1138:The Seven Last Words of Christ
925:The Seven Last Words of Christ
863:. Cambridge University Press.
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524:The Seven Last Words of Christ
499:The Seven Last Words of Christ
449:The Seven Last Words of Christ
73:, approved a version for solo
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1145:Gott erhalte Franz den Kaiser
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576:String quartet version (1787)
533:. Recorded in concert in the
512:with readings by theologian
473:of the catalogue, also Op. 51
444:Hoboken-Verzeichnis numbering
434:Gesellschaft der Associierten
319:String quartet version (1787)
304:(triple forte) in the piece.
1560:Oratorios based on the Bible
1197:Carl Ditters von Dittersdorf
681:, Hob.XX/2 (choral version)
663:, Hob.XX/1C (piano version)
191:Hodie mecum eris in paradiso
7:
928:by Le Concert des Nations,
919:Werner Icking Music Archive
859:Temperley, Nicholas (1991)
451:has its own section in the
358:; these readings were from
298:presto e con tutta la forza
240:") in A major – Adagio
53:) is an orchestral work by
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747:Haydn: Chronicle and Works
608:, 1990 (nominated for the
510:Oratorio de la Santa Cueva
300:—and closes with the only
227:") in F minor – Largo
214:") in E major – Grave
178:") in B-flat major –
140:Oratorio de la Santa Cueva
101:Oratorio de la Santa Cueva
63:Oratorio de la Santa Cueva
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1315:Georg August Griesinger
1305:Autobiographical sketch
1243:Paul II Anton Esterházy
1207:Wolfgang Amadeus Mozart
1179:Johann Evangelist Haydn
516:and Nobel Prize winner
340:Brentano String Quartet
65:(Holy Cave Oratory) in
502:Le Concert des Nations
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395:Gottfried van Swieten
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1217:Johann Peter Salomon
990:Haydn and folk music
976:List of compositions
654:Piano version (1787)
541:on 25 August 1982.
535:GroĂźes Festspielhaus
488:Selected discography
438:Tonkünstler-Societät
280:e con tutta la forza
32:The Crucifix on the
1476:Op. 50 ("Prussian")
1320:Anthony van Hoboken
1124:Il ritorno di Tobia
861:Haydn, The Creation
745:HC Robbins Landon,
543:Deutsche Grammophon
471:the quartet section
453:Hoboken-Verzeichnis
1486:Op. 64 ("Tost II")
1471:Op. 33 ("Russian")
1015:Haydn's residences
995:Haydn's birthplace
687:Harry van der Kamp
558:. Glossa CD, 2009.
508:. Recorded in the
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1491:Op. 76 ("Erdődy")
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594:Jan DeGaetani
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531:Riccardo Muti
528:
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378:(Adagio) and
377:
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372:Edith Sitwell
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348:Man and Camel
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1480:
1455:Joseph Haydn
1284:Ignaz Pleyel
1238:Count Morzin
1137:
1136:
1129:
1122:
1117:The Creation
1115:
1111:Stabat Mater
1010:Haydn's name
967:Joseph Haydn
930:Jordi Savall
924:
899:
886:Google Books
879:
876:Joseph Haydn
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632:
620:The Lindsays
616:
598:Jon Humphrey
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548:
523:
520:. CD or DVD.
506:Jordi Savall
498:
492:
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448:
447:
427:
423:The Creation
421:
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347:
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247:Sonata VI ("
221:Sonata IV ("
188:Sonata II ("
149:
137:
125:
117:
83:
55:Joseph Haydn
46:
41:
40:
39:
25:
1355:Haydn Inlet
1298:Scholarship
1131:The Seasons
1104:Other works
1065:Piano trios
932:(conductor)
764:Early Music
602:Thomas Paul
455:(Hob. XX):
429:The Seasons
356:Peter Pears
344:Mark Strand
234:Sonata V ("
172:Sonata I ("
61:service at
59:Good Friday
1529:Categories
1509:Spurious:
1190:and lovers
1080:Solo piano
1043:Symphonies
1027:Papa Haydn
1020:Eszterháza
902:, Hob.XX:1
770:(4): 660.
705:References
606:Sony Music
376:Edwin Muir
366:(Adagio),
360:John Donne
1338:Namesakes
1231:Employers
1085:Concertos
374:(Largo),
200:cantabile
152:orchestra
45:(German:
36:in Prague
1409:Category
1188:Friends
906:Hob.XX:2
717:Gotwals.
691:Accentus
612:in 1991)
539:Salzburg
290:movement
160:Maestoso
79:oratorio
1374:Related
837:Sources
677:Haydn:
659:Haydn:
631:Haydn:
627:Rosette
581:Haydn:
414:pietist
325:Artaria
294:Matthew
1481:Op. 51
1272:Pupils
1162:Family
1155:People
1090:Operas
1075:Masses
983:Topics
881:online
867:
642:, 2014
403:Passau
278:Presto
164:Adagio
92:Origin
1511:Op. 3
255:Lento
237:Sitio
196:Grave
180:Largo
128:canon
105:Cadiz
75:piano
67:Cádiz
1513:(by
865:ISBN
815:See
768:XXIX
622:ASV
426:and
132:Lent
1453:by
917:at
884:at
772:doi
638:,
545:CD.
537:in
162:ed
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