Haydn Quartett

On this recording of The Seven Words, the Rosamunde String Quartet offers a compelling rendition of one of Haydn's most complex compositions. The Seven Words was originally composed for a full orchestra as a series of seven adagios, which were meant to be interludes during a congregation's meditations on the last seven words of Christ on the Cross. Haydn struggled with a way to compose seven connected pieces of music that were solemn and yet varied enough to keep the listener from getting bored. The members of the Rosamunde Quartet are technically brilliant as they demonstrate the composer's solutions to this musical puzzle. Even though the tempo is slow, they never let the music become ponderous or oppressive. But to Haydn, The Seven Words was more than just an aural conundrum. He felt the composition was perhaps his most sacred work, and the quartet plays this music with reverence for the composer's spiritual intentions. This is a profound piece of music, and the Rosamunde does it justice on each of its many levels.

Joseph Haydn / José Peris - The seven last words of Christ (Version for string quartet and voice)
Henschel Quartett / Susanne Kelling, Mezzo Soprano
EAC+LOG+CUE | FLAC: 289 MB | Full Artwork: 89 MB | 5% Recovery Info
Label/Cat#: Challenge Records # CC72546 | Country/Year: Europe 2012
Genre: Classical, Sacred | Style: Viennese School, Present 21st Century, Vocal

When Franz Joseph Haydn composed his string quartet version of The Seven Last Words of Christ (one of several versions he either wrote or authorized), he incorporated Jesus' final sentences in the score under their associated melodies, though they were not intended to be sung. In practice, a priest would intone the last words before each of the sonatas, which were played for the congregation as slow meditations. Spanish composer José Peris Lacasa, a student of Carl Orff and Nadia Boulanger, has worked the combination of words and music into a performing version for mezzo-soprano and string quartet, and this release by Susanne Kelling and the Henschel Quartet is the premiere recording…

Michael Haydn predominantly composed these works in three movements; only the F major quartet is comprised of four movements. The four-movement format of the string quartet became most common for the then-emerging “king among genres”, notably in the epochal quartets of his brother Joseph. However, throughout the 18th century, works with three movements (symphonies, chamber music, and concertos) were more prevalent. Michael Haydn consistently incorporates a minuet, which was among the preferred courtly dances, into his compositions. Despite their lighter character, these pieces are creatively crafted, featuring rich melodies, tonal delicacy, and occasional surprising harmonic twists. At times, one can discern contrapuntal finesse, characteristic of Michael Haydn’s style but used more sparingly in these works. Another notable aspect is the individual involvement of all four instruments, although the first violin is given a prominent position, reflecting the taste of the time. This may also suggest that the composer, serving as concertmaster, played this part himself during performances, allowing him to shine a bit.

Michael Haydn predominantly composed these works in three movements; only the F major quartet is comprised of four movements. The four-movement format of the string quartet became most common for the then-emerging “king among genres”, notably in the epochal quartets of his brother Joseph. However, throughout the 18th century, works with three movements (symphonies, chamber music, and concertos) were more prevalent. Michael Haydn consistently incorporates a minuet, which was among the preferred courtly dances, into his compositions. Despite their lighter character, these pieces are creatively crafted, featuring rich melodies, tonal delicacy, and occasional surprising harmonic twists. At times, one can discern contrapuntal finesse, characteristic of Michael Haydn’s style but used more sparingly in these works. Another notable aspect is the individual involvement of all four instruments, although the first violin is given a prominent position, reflecting the taste of the time. This may also suggest that the composer, serving as concertmaster, played this part himself during performances, allowing him to shine a bit.

It may seem an unlikely thing to say about a German chamber ensemble, yet the Melos Quartet of Stuttgart are more suave, more feline, than the Quartetto Italiano in the opening movement of Mozart's E flat Quartet. The former have, too, the advantage of a modern recording with a more exact stereo placing of each instrument, whereas the Philips disc is close on ten years old.