Haydn’s Seven Last Words
Extract from a first edition of the orchestral version of the work
The Seven Last Words of Christ on the Cross (Die Sieben Letzten Worte Unseres Erlösers am Kreuze)
The Seven Last Words of Our Saviour on the Cross is an unusual orchestral work that was commissioned in 1786 for the Oratorio de la Santa Cueva (Holy Cave Oratory) in Cadiz for the Good Friday Service that year. The following year it was published in a number of other versions including a choral arrangement as well as for string quartet.
The complete work is made up of seven ‘sonata’ slow movements or meditations, each representing a different ‘word’ or state of Christ on the cross. These are framed by the dramatic opening ‘introduction’ and ‘earthquake’ movements.
Haydn himself explained that he found it incredibly difficult to write the work saying:
“Some fifteen years ago I was requested by a canon 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 Lent, 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.”
Aside from explaining that Haydn found it ‘no easy task’, the above description conjures a powerful vision of the setting for the performance and makes the music itself even more powerful. The video recording included here, directed by Jordi Savall, was specially filmed in the cathedral itself. It is an amazing rendition of an incredible and unique work.
Things to listen for:
Introduction - (opening) - note how Haydn creates a sense of tension and drama by beginning with two very strong unison ‘statements’ from the whole orchestra in the minor key. In the third ‘statement’ [0:16] he switches to something much more intimate before returning to the stong statements at [0:40].
40:23 Sitio (I am thirsty)- Note how, after the initial opening chord, Haydn creates a feeling of tenderness by having the strings pluck a gentle rocking quaver accompaniment. He then switches entirely to something much more intense at [41:15] where the violins suddenly play forte repeated quavers.
1:04:49 -Il terremoto (Presto e con tutta la forza) (The Earthquake). This is a completely bizarre movement to end the piece where Haydn is aiming to create the biblical moment when the curtain is torn and an earthquake occurs. Note how Haydn, again, uses unison writing in the strings along with trumpets and timpani to create a feeling of intense drama.
LISTEN HERE:
Recording: Le Concert des Nations Jordi Savall - conductor. Live-recording from the Oratorio de la Santa Cueva in Cadiz, Andalucia in Celebration of the 200th anniversary of Haydn’s death in 2009