SKU: GI.G-10445
Using several versions of the original work as inspiration, Zack Stachowski has arranged The Seven Last Words of Christ for solo instrument and piano, making Haydn’s music accessible to music ministers who may not have access to larger instrumental ensembles. These prayerful meditations can be used as preludes, as music for reflection, or in ritual when singing is not permitted. Though the pieces are inspired by the Seven Last Words from the Cross and find their most obvious fit in the season of Lent and Holy Week, the diversity of color and character makes them suitable on other occasions throughout the entire year. (Since these arrangements were envisioned as liturgy preludes or as instrumental pieces during ritual, Haydn’s original prelude and earthquake movements have been excluded due to their overtly dramatic and performative nature.) .
SKU: HL.232913
UPC: 888680679620. 8.5x11.0x0.333 inches.
In a few short years Richard Burchard has become one of the most sought-after and commissioned composers for choral music.His choral writing is romantic and rich harmonically with dense contrapuntal lines. Now he has brought that excellence into an extended multi-movement work on the “Seven Last Words of Christ” accompanied by divisi strings. This 45-minute work is a breathtaking piece of music. An alternate accompaniment for organ and string quartet is also available. String orchestra score/parts are available for rental only through rentals@hinshawmusic.com. This is a sacred piece that will also perform well in concert venues. Church, community and college choirs will find this a worthy piece to program. Medium in difficulty.
SKU: HL.51485823
ISBN 9790201858234. UPC: 888680891718. 6.75x9.5 inches.
Written entirely in German.When Haydn stopped in Passau on his second journey to England, he heard a vocal version of his own orchestral work “The Seven Last Words.” It had been made by the Kapellmeister at Passau cathedral Joseph Friebert and Haydn was quite impressed – except: “I believe I could have done the voice parts better.” He acquired a copy and set about making his own vocal version, taking over most of the text. Haydn particularly liked his own vocal work and it was also enthusiastically received by his contemporaries. The study edition is based on the volume (HN 5822) published as part of the Complete Edition by the Joseph Haydn Institute in Cologne.