In 1785 the cathedral at
Composed in 1786, The Seven Last Words of
Christ was first presented on Good Friday in 1787. Heavy black draperies
insured that the cathedral's vast interior was completely dark, but for the
glow from the wick of a single lamp, hung from above. The ceremony began with
the bishop reciting from the pulpit the first of the Seven Last Words. This
served as the basis for a short sermon. He then proceeded to the alter and
kneeled before the cross, whereupon the first of Haydn's sonatas was played.
The remainder of the work followed the same pattern: the bishop would introduce
each word (or phrase) and the appropriate music would follow.
This masterpiece was conceived in a spirit of
profound religious conviction. Despite its length and emotional urgency, it is
a model of simplicity and sophistication. Above all, Haydn wanted it to be
accessible to everybody, regardless of one's musical or religious background.
He wrote:
"Each sonata, or movement, is
expressed by purely instrumental music in such a way that even the most
uninitiated listener will be moved to the very depths of his soul."
The work was originally scored for full
orchestra. While these past were being printed in 1787, Haydn crafted an
alternate version for sting quartet. Later that year, under Haydn's
supervision, the publisher made a piano reduction of the orchestra score. In
addition, various arrangements for choir were subsequently made, including one
by the composer.
In the hands of a mere four string players,
this music cannot achieve the volume and tonal diversity of a symphony
orchestra or choir. Nevertheless in the four-voice setting, with only one
instrument on a part, it is imbued with a heightened intimacy which larger
ensembles cannot possibly match. This music's emotional and psychological
impact is best conveyed through the most subtle variations of timbre, voicing,
rhythm, and tempo -- techniques ideally suited to a string quartet. Therefore
this simplest of all versions may indeed be the most affecting. No less
compelling than its more grandiose cousins, it is inherently more personal.
Haydn considered this to be one of his
greatest works. But to hear the music by itself -- however powerfully it stands
alone -- is to experience it in only part of its glory. Reunited with the words
that served as its inspiration, it takes on a spiritual dimension rarely found
in even the most profound compositions. Though its message is decidedly
Christian, it transcends the focus of any particular faith. This is music which
cuts across religious and social lines, and speaks sincerely, eloquently, and
passionately to everyone, via the common denominator that exists in the soul of
all humanity. At the same time -- through the varied backgrounds of the
participants, through the different religious perspectives and preaching
traditions, through the use of various translations of the bible, through this
eclectic mixture of voices and accents -- this recording reflects our cultural
and spiritual diversity.
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