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This is how Haydn himself, writing in 1801, described the genesis of the score, in
somewhat theatrical fashion: ‘About fifteen years ago I was requested by a canon
of Cádiz to compose instrumental music on the Seven LastWords of Our Saviour on
the Cross. It was customary at the principal church of Cádiz to present an oratorio
every year during Lent, and the following circumstances must have contributed in
no small measure to the effectiveness of the performance.Thewalls, windows, and
pillars of the church were hung with black cloth, and only one large lamp hanging
in the centre illuminated the sacred darkness. At midday all the doors were closed;
then the music began. After a suitable introduction, the bishop ascended the
pulpit, pronounced the first of the seven Words, and delivered a homily thereon.
When this was over, he left the pulpit and prostrated himself before the altar. This
interval was filled bymusic. The bishop then in likemanner pronounced the second
Word, then the third, and so on, the orchestra following on the conclusion of each
discourse. My composition was to fit these conditions . . .’
In the winter of 1786-87, while continuing to work for his employer Prince
Esterházy, Haydn took up the challenge. He embarked on the composition of the
seven adagios for orchestra, preceded by an introduction, which were intended to
prolong the commentaries of the bishop while he came down from the pulpit and
fell in worship before the cross. The finale was intended to depict the earthquake
said to have taken place at the death of Christ. The plan of thework as submitted to
himwas particularly precise, like a sort of protocol, a synopsis even.
The composer spoke of his difficulties to a number of friends and colleagues: ‘. . .
it was no easy task to compose seven adagios lasting ten minutes each, and to
have them succeed one another without fatiguing the listener. I soon realised that
it was quite impossible to confine myself to the appointed limits.’ He nevertheless
delivered the finished work in time for its first performances, which took place not
only in Cádiz, but also at the Schlosskirche in Vienna during Lent in 1787.
HAYDN