ovements are all of the same general tone and character,
though varied with all that skill and mastery of instrumental effect for
which Haydn was so conspicuous, it is needless to describe each
separately. By many of the musicians of his day it was considered one of
his most sublime productions; and Bombet declares that Haydn on more than
one occasion, when he was asked to which of his works he gave the
preference, replied, "The Seven Words."

It opens with an adagio for full orchestra, of a very sorrowful but
impressive character. Then follow each of the Seven Words, given out in
simple chorale form, followed by its chorus, namely:--

I.
PATIENCE.

"Father, forgive them; for they know not what they do."

_Chorus_: "Lamb of God! Surely Thou hast borne our sorrows."

II.
THE PENITENT FORGIVEN.

"Verily I say unto thee, this day shalt thou be with me in Paradise."

_Chorus_: "Lord, have mercy on me after Thy great goodness."

III.
THE MOURNERS.

"Woman, behold thy Son. Son, behold Thy mother."

_Chorus_: "Daughters of Jerusalem, weep not for Me."

IV.
DESOLATION.

"Eli, Eli, lama sabacthani?"

_Chorus_: "O my God, look upon Me."

V.
THE BITTER CUP.

"I thirst."

_Chorus_: "He treadeth the winepress of the fierceness and wrath."

VI.
COMPLETE OBEDIENCE.

"It is finished."

_Chorus_: "He came down from Heaven."

VII.
THE GREAT OBLATION.

"Father, into Thy hands I commend my spirit."

_Chorus_: "Into Thy hands, O Lord."

Following immediately after the last number the whole spirit of the music
changes with the chorus, "The Veil of the Temple was rent in twain," a
presto movement, sung fortissimo, describing the darkness, the quaking of
the earth, the rending of the rocks, the opening of the graves, and the
arising of the bodies of the saints who slept, with all that vividness in
imitation and sublimity of effect which characterize so many of the
composer's passages in "The Creation" and "The Seasons." Haydn was by
nature a deeply religious man, and that he fe