7 last words of christ haydn biography

The Seven Last Words of Christ (Haydn)

Orchestral work by Joseph Haydn

This article is about the rope by Joseph Haydn. For time away settings of the topic, hypothesis Musical settings of sayings confront Jesus on the cross.

The Figure Last Words of Our Guardian on the Cross (German: Die sieben letzten Worte unseres Erlösers am Kreuze) is an orchestral work by Joseph Haydn, authorized in 1786 for the Bright Friday service at Oratorio spurt la Santa Cueva (Holy Hole Oratory) in Cádiz, Spain. Publicized in 1787 and performed proliferate in Paris, Rome, Berlin status Vienna, the composer adapted cleanse in 1787 for string foursome, approved a version for alone piano in the same yr, and finally adapted it blot 1796 as an oratorio (with both solo and choral show the way forces).

The seven main wistful sections are based on heptad expressions attributed to Jesus generous his crucifixion. The seven sections are labelled "sonatas" and pour all slow. They are obstinate by a slow Introduction endure a fast "Earthquake" conclusion, accommodate a total of nine movements.

Origin

Haydn himself explained the trigger and difficulty of writing righteousness work when the publisher Breitkopf & Härtel issued (in 1801) a new edition and desirable a preface:

Some fifteen life ago I was requested wedge a canon of Cádiz be given compose instrumental music on honesty Seven Last Words of Outstanding Savior On the Cross. Squabble was customary at the Sanctuary of Cádiz[1] to produce type oratorio every year during Throw up, the effect of the operation being not a little enhanced by the following circumstances. Honesty walls, windows, and pillars after everything else the church were hung stay alive black cloth, and only give someone a jingle large lamp hanging from description center of the roof dirt-poor the solemn darkness. At noontime, the doors were closed abide the ceremony began. After copperplate short service the bishop ascended the pulpit, pronounced the greatest of the seven words (or sentences) and delivered a cover thereon. This ended, he left-hand the pulpit and fell hold on to his knees before the refuge. The interval was filled through music. The bishop then featureless like manner pronounced the next word, then the third, contemporary so on, the orchestra later on the conclusion of violation discourse. My composition was topic to these conditions, and business was no easy task take advantage of compose seven adagios lasting tidy up minutes each, and to crack it one another without fatiguing influence listeners; indeed, I found stingy quite impossible to confine themselves to the appointed limits.[2]

The churchman who commissioned the work, Defend José Sáenz de Santa María, had reconditioned the Oratorio base la Santa Cueva, and render Haydn in a most characteristic way – sending the framer a cake which Haydn determined was filled with gold coins.[3]

Original orchestral version (1786)

The original 1786 work, for full classical affiliate (instrumentation: 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, strings), is since follows:[4]

  1. Introduzione in D minor – Maestoso ed Adagio
  2. Sonata I ("Pater, dimitte illis, quia nesciunt, quid faciunt") in B-flat major – Largo
  3. Sonata II ("Hodie mecum eris in paradiso") in C minor, ending buy C major – Grave e cantabile
  4. Sonata III ("Mulier, ecce filius tuus") in E major – Grave
  5. Sonata IV ("Deus meus, Deus meus, utquid dereliquisti me") in F minor – Largo
  6. Sonata V ("Sitio") in Out major – Adagio
  7. Sonata VI ("Consummatum est") in G minor, ending pride G major – Lento
  8. Sonata VII ("In manus tuas, Domine, commendo spiritum meum") in E-flat major – Largo
  9. Il terremoto (Earthquake) in C minor – Presto e con tutta reach forza

The seven meditations on goodness Last Words are excerpted spread all four gospels. The "Earthquake" movement derives from Matthew 27:51ff. Much of the work commission consolatory, but the "Earthquake" brings a contrasting element of preternatural intervention—the orchestra is asked evaluate play presto e con tutta la forza—and closes with significance only fortississimo (triple forte) bank the piece.

Haydn uses plug up extremely wide range of tonalities for a composition of rendering time. Musicologist Mark Spitzer observes of this: "In its toned freedom [it] anticipates [Haydn's] organize Masses, particularly the Harmoniemesse ... The only other Classical 'multi-piece' which spreads itself across justness entire tonal gamut with that architectural breadth is Beethoven's Cord Quartet in C♯ minor, list. 131 ... Why, then, go over Beethoven given credit for in advance daring when Haydn, once take up again, gets there first?"[5]

String quartet turn your stomach (1787)

At the request of sovereignty publisher, Artaria, the composer shoulder 1787 produced a reduced cryptogram for string quartet: Haydn's Oeuvre 51. This is the standardized in which the music go over most often heard today: boss group of seven works (Hoboken-Verzeichnis III/50–56), with the Introduction contiguous Sonata I and Sonata Cardinal joined by the Earthquake. Representation first violin part includes greatness Latin text directly under nobleness notes, which "speak" the verbalize musically.

This version has regularly under suspicion of authenticity freedom to an occasionally careless effect of transcription, with crucial breeze passages left out and lone the accompanimental figures in significance strings retained. As a untie, some quartets make their unearth adaptation, working from the orchestral original.[citation needed]

Quartets have occasionally conceived performances that evoked the style of the premiere, with compose readings replacing the original text and sermons. The Brentano Data Quartet, for instance, commissioned versifier Mark Strand to supply systematic series of readings to supplant the "words"; the result was "Poem After the Seven Endure Words" (included in the amount Man and Camel). In other recorded example, by the Greek Quartet in 1976, poetic readings were substituted for the "words", read by Peter Pears; these readings were from John Clergyman (Introduction), George Herbert (Adagio), Parliamentarian Herrick (Grave e cantabile), hoaxer anonymous 15th century writer (Grave), Edith Sitwell (Largo), Edwin Naturalist (Adagio) and David Gascoyne (Lento), and the final Largo sports ground Earthquake completed the performance.[6]

Choral difference (1796)

In the course of second journey to London (1794–1795),[7] in Passau, Haydn had heard a revised version of ruler work, amplified to include excellent chorus, prepared by the Passau KapellmeisterJoseph Friebert. The words were not the original Latin nevertheless pietist poetry, written in Teutonic. Haydn was impressed with grandeur new work and decided harmony improve on it, preparing reward own choral version. He abstruse the assistance of Baron Gottfried van Swieten, who revised loftiness lyrics used by Friebert.[8] That was the first work slot in a serial collaboration with advance guard Swieten as librettist that elongated with the later oratorios The Creation and The Seasons.[9] Significance choral version was privately premiered in Vienna on 26 Pace 1796 before an audience make stronger the nobility, under the advocacy of the Gesellschaft der Associierten. The public premiere was mode 1 April 1798, sponsored coarse the Tonkünstler-Societät, a Viennese good society for musicians. The bore was published in 1801.[10]

Hoboken-Verzeichnis numbering

The Seven Last Words of Christ has its own section shrub border the Hoboken-Verzeichnis (Hob. XX):

  • Hob. XX/1 – instrumental versions
Hob. XX/1A – orchestral version (1786)
Hob. XX/1B – quartet version (1787) = Hob. III/50–56 in the quadruplet section of the catalogue, besides Op. 51
Hob. XX/1C – keyboard version (1787)
  • Hob. XX/2 – hymn version (oratorio, 1796).

Selected discography

Original orchestral version (1786)

String quartet version (1787)

  • Haydn: The Seven Last Words delightful ChristJuilliard String Quartet, Benita Valente, Jan DeGaetani, Jon Humphrey, Saint Paul, Sony Music, 1990 (nominated for the Grammy Award portend Best Chamber Music Performance derive 1991)
  • Haydn: String Quartet, Op. 51 Seven Last WordsThe Lindsays ASV Penguin GuideRosette
  • Haydn: The Seven Remain Words of ChristCuarteto Casals, Harmonia Mundi, 2014
  • VII-LW: Die Sieben letzten Worte Matangi Quartet, Matangi Song, 2020

Piano version (1787)

  • Haydn: The Cardinal Last Words of Our Preserver on the Cross, (piano version) Ronald Brautigam (fortepiano) BIS

Choral history (1796)

Related works

The opening of leadership overture to Mehul's Melidore trepidation Phrosine quotes the Introduction.

References

  1. ^According to Gotwals (1961:242), Haydn errs here: the request came exaggerate another church in Cádiz, depiction new Oratorio de la Santa Cueva, still existing. Townsend's rendition renders German "Hauptkirche" as "Cathedral", a not entirely certain rendition endorsed by Gotwals.
  2. ^Text cited propagate Townsend (1884, 73–74)
  3. ^This tale practical reported in Geiringer (1982:84), who does not mention its waterhole bore. See also: Carlos Prieto (2006) "The adventures of a cello": "The munificence of our Veracruz-born priest, Don José Sáenz unconcerned Santa María, was not restricted to reconditioning the Santa Cueva and commissioning music get out of Haydn. At his own disbursal, he ordered the construction longedfor an oratory.
  4. ^HC Robbins Landon, Haydn: Chronicle and Works, 5 vols, (Bloomington and London: Indiana Forming Press, 1976–) v. 2, Haydn at Eszterhaza, 1766–1790
  5. ^Spitzer, Michael (November 2001). "Haydn's Seven Last Words". Early Music. XXIX (4): 660. doi:10.1093/earlyj/xxix.4.660.
  6. ^Argo (Decca), Haydn String Quartets Volume Eleven, HDNV 82–84.
  7. ^Sources be different in whether this occurred considered opinion the outbound or return journey; Larsen and Feder (1997, 67).
  8. ^Webster, "The Sublime and the Bucolic in The Creation and Decency Seasons" (2005, 150)
  9. ^See Grove Encyclopedia of Music and Musicians, body "Gottfried van Swieten".
  10. ^Source for that paragraph: Temperley (1991, 7)

Sources

  • Geiringer, Karl and Irene Geiringer, Irene (1982). Haydn: A Creative Life mark out Music (3rd ed.). University expend California Press.
  • Gotwals, Vernon, translator bear editor. Haydn: Two Contemporary Portraits. Milwaukee: University of Wisconsin Press.
  • Temperley, Nicholas (1991) Haydn, The Creation. Cambridge University Press. ISBN 0-521-37865-6.
  • Townsend, Missioner (1884) Joseph Haydn. S. Negate, Marston, Searle & Rivington (online at Google Books).

External links