# Haydn - The Seven Last Words of Christ op.51 (SQ review)



## Merl (Jul 28, 2016)

Moving on from the question of authenticity (Haydn wrote it, get over it) it's clear that many quartets have found the original score of the 7LWs didn't work so well. They realised that important details/markings had been missed and with this in mind, many ensembles have created their own working performance with minor or major changes in dynamic markings and the creation of parts to fill the missing woodwind sections.
The 'quartet' (its not really a quartet its a suite of sonatas formed by an intro and finale) is made up of an introduction, seven slow movements (the seven words) and a finale of an earthquake following the crucifixion. Some see it as an intensely dark work (I don't). It's certainly a highly emotive piece and at times it is fairly stark and contemplative. My different take on it may be because I'm not spiritual in any way. I'm an atheist so for me the story of Christ is just that - a story of despair and hope. Anyway back to the structure. The Brentano quartet said of it,
"Mostly homophonic, with melodic lines supported by simple accompanying figures, the piece explores and reveals within this elemental texture the emotional resonances inherent in the story of the crucifixion." 
Each of the 7 sonatas is a short story of human weakness, grief, puzzlement and they are all portrayed in a rather minimalist way. A great performance needs clarity, not to be too pedestrian and have an earthquake that really rocks. I also want to hear those pizzicati (the 5th sonata is a personal favourite due to its extensive use of pizzicato). I'm only focusing on the music here so I'll only mention performances where each each sonata is preceeded by a poem or reading if I feel it really enhances things. Loads of recordings (70+) and I didn't hear a single bad one (le gasp!). There are many very impressive ones so I've not even included those that I'd normally recommend and are very good (Aeolian, Debussy, Dekany, Szymanowski, Alart, Cherubini, Terpsycordes, Scaramouche, Guarneri, etc) and just gone for the very, very best, IMO (you may disagree). Unfortunately I didn't get the chance to listen to the Auryn, Shostakovich or Vermeer Quartet accounts (which I was eager to hear) but if I do so in the future they may make an appearance here. This lot below are special in one way or another and I would be happy to have all of them in my collection (I've got a fair few of them, tbh). Here's my faves from those listened to.





This video is a superb recording of the 7LWs by the Chiara quartet. If you're comparing accounts then this is your (high) benchmark. There's also an excellent account by the Alexander quartet recorded during the covid lockdown that's equally impressive, online.

*Highly recommended

Carmina* - brisk. Recorded balances are sometimes off but it's very lively and enjoyable.
*Amadeus (1971/Live RIAS) *- skip the mushy 50s vibratofest and try these. Both quicker, no-nonsense recordings.
*Buchberger* - played very straight, library recording.
*Matangi* - intensely dark, sparse, broad, atmospheric and vibrato-lite performance. Not an easy listen but impressive.
*LAETITIA* - great recorded sound and purposeful performance from this unknown quartet.
*Emerson* - only let down by dull engineering. Otherwise excellent and highly reworked from the score.
*Delme* - glorious violin tone,. Darkly atmospheric and thoughtful account.
*Tatrai* - rustic, a bit rough in places but in a typically unique style.
*Callino* - impressively consistent across all movements.
*Fitzwilliam* - a bit wiry but very capable playing. HIP.
*Borodin (Teldec/Warner 1994) *- uber romantic but the quality of playing is stunning
*Mosaiques* - would be higher but they can be very, very slow. Great quality sound and gorgeous tone.
*Klenke* - plenty of rubato and warm, rich sound.

*Superb

Lindsays* - they might cross all the 't' s and dot all the 'i' s but this is a highly expressive and gripping reading.
*Ysaye* - thankfully you can program the very repetitive and annoying readings out. The actual quartet performance is incredibly strong and emotive.
*Kodaly* - would be at the top but for a less than earth-shattering earthquake. Elsewhere its perfect in tempo choices and ensemble.
*Casals* - stunning, captivating sound. Articulation is crisp and dynamics are used cleverly.
*Kuijken* - lovely earthy, raw account with nice phrasing and flow.
*Janacek* - this 2012 release from ArcoDiva, featuring the current incarnation of the Janacek quartet, is persuasive, sensual and warmly resonant.
*Panocha* - not an ensemble you'd associate with Haydn but they nail this one. Quality of playing is off the scale.
*Rosamunde* - superb sound. Mixed reviews over the years but I like it's direct qualities and lush string sound.
*Gewandhaus* - a touch off the very, very best but again the quality of interaction between instruments is sensational. Nice firm recorded sound too.


*Top Picks

Leipziger* - brisker, highly cohesive and it flows like a river. When they play like this they're a tough group to beat. The Germans really know how to phrase and articulate and they play with an almost hypnotic hymn-like style, perfect for this quartet and perfect for Haydn, tbh.

*Talich* - that first violin tone is spot-on and leaps out of the speakers in a superb introduction which sets the tone for what's to follow . Pizzicati aren't buried in the Sitio section but ring out clearly and proudly whilst the earthquake has true force. I was originally going to write that the first violin dominates but listening again it doesn't. This is just magnificent ensemble-playing with sharp attacks and fine accenting, emphasising the line of each movement.

*Prazak* - powerful and honest account with no ornamentation, fuss or pretence. The Prazak play what's on the paper (plus) but do so with a style you'll recognise from their other best recordings. At last an earthquake with real power! Lovers of the very romantic approach (eg Borodin) may see this as being 'colder' but im not one of them.

**Outriders

Attaca* - Well there had to be at least one! I've not included this recording in the 'rated' part of my review as....
A) I can't make my mind up where to put it.
B) It needs listening to almost as a separate piece from the others. 

What makes this recording different is that it is a new, heavily enhanced arrangement by Attaca cellist, Andrew Yee, who was highly disatisfied with the quartet arrangement as he thought that it was "rushed" and the oratorio better represented Haydn’s true thoughts. Hence, Yee includes the oratorio’s little chorale harmonizations of Jesus’ words (though without the words themselves), and 'adds countermelodies and other retouchings'. So what do I think if it? Personally, I think it's a terrific performance. It stretches things over the hour mark but it definitely enhances the piece. The Attaca are Haydn specialists (they recently performed all of Haydn's quartets back to back live, to much acclaim) and the interplay between instruments is hugely successful. The changes they've made are highly sympathetic and beautifully done. Make your own mind up but I'd highly recommend it to anyone.

*Henschel* - Spanish composer José Peris Lacasa recast the 7LW by having a singer pick out phrases from Latin texts of the work and sing these sporadically along with the Quartet's instruments. The resulting mess does not work at all and sounds awkward, strange and contrived. Such a shame as the Henschels play with the right mix of sweetness and fire. If I were them I'd get this remixed so the voices are taken from the mix (and erased forever) so we get a pure instrumental version. Until then - Ugh!


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