ppropriate music for Good Friday. It was
at first composed as an instrumental work, consisting of seven adagio
movements, and in this form was produced in London by the composer
himself as a "Passione instrumentale." He afterwards introduced solos and
choruses, and divided it into two parts, separating them by a largo
movement for wind instruments. It was then given at Eisenstadt in 1797,
and four years later was published in the new form, with the following
preface by the composer himself:--

About fifteen years ago I was applied to by a clergyman in Cadiz, and
requested to write instrumental music to the seven words of Jesus on
the cross. It was then customary every year, during Lent, to perform an
Oratorio in the Cathedral at Cadiz, the effect of which the following
arrangements contributed to heighten. The walls, windows, and columns
of the church were hung with black cloth, and only one large lamp,
hanging in the centre, lighted the solemn and religious gloom. At noon
all the doors were closed, and the music began. After a prelude, suited
to the occasion, the bishop ascended the pulpit, pronounced one of the
seven words, which was succeeded by reflections upon it. As soon as
these were ended he descended from the pulpit and knelt before the
altar. The pause was filled by music. The bishop ascended and descended
again a second, a third time, and so on; and each time the orchestra
filled up the intervals in the discourse.

My composition must be judged on a consideration of these
circumstances. The task of writing seven adagios, each of which was to
last about ten minutes, to preserve a connection between them, without
wearying the hearers, was none of the lightest, and I soon found that I
could not confine myself within the limits of the time prescribed.

The music was originally without text, and was printed in that form. It
was only at a later period that I was induced to add the text. The
Oratorio entitled "The Seven Words of our Redeemer on the Cross," as a
complete and, as regards the vocal parts, an entirely new work, was
first published by Messrs. Breitkopf and Haertel, of Leipsic. The
partiality with which this work has been received by scientific
musicians leads me to hope that it will not be without effect on the
public at large.

Joseph Haydn.

Vienna, March 1, 1880.

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