Seven slow and slower prayerful movements,
followed just by a quick, destructive “Earthquake”.

“Die sieben letzten Worte unseres Erlösers am Kreuze”:
Joseph Haydn wrote his metaphysical monument
for Good Friday 1786 in four different versions.

In a letter to his publisher Artaria, he recommended the keyboard arrangement
“very much to his heart”:
as the most intimate, challenging, radical version.

Even compared to the string quartet version: it’s the sketch of a sketch.

One thinks straight to the long, non-narrative spaces of Morton Feldman, of John Cage;
one thinks to the words of Rodrigo Garcia:

“They told you love each other.
I tell you, divide from each other”.

Bernhard Lang’s rewriting of Haydn’s musical material:
“Monadologie V – Seven Last Words of Hasan”,
acts as breathless negative to the original.

Introspection turns into hyperactivity,
sinking into self-rising,
piety into insurrection.




Bernhard Lang, “Monadologie V – Seven Last Words of Hasan” (2009)
Joseph Haydn, “Die sieben letzten Worte unseres Erlösers am Kreuze” (1786)

With an optional sound installation by Bernhard Lang

“C’est magistral. Stupéfiant. Bouleversant.”
(“It’s masterly. Startling. Mind-blowing.”)

Un Fauteuil pour l’Orchestre, Denis Sanglard