圣库瓦清唱剧：海顿的杰作在简陋的教堂首次亮相

在沿海城市加的斯（西班牙），矗立着一座不起眼的教堂，但却声名显赫。圣奎瓦清唱剧看似简陋，但由于其神父唐·何塞·萨恩斯·德·圣玛丽亚的远见和决心，这座西班牙小教堂举办了海顿的《基督的最后七句话》的首演

In the coastal city of Cádiz (Spain) stands an unassuming chapel with a remarkable claim to fame. The Oratorio de la Santa Cueva may seem humble, but thanks to the vision and determination of its priest, Don José Sáenz de Santa María, this small Spanish church hosted the premiere of Haydn’s The Seven Last Words of Christ – a moment that linked the unpretentious chapel to the great traditions of European classical music.

在沿海城市加的斯（西班牙），矗立着一座不起眼的教堂，但却声名显赫。圣奎瓦清唱剧看似简陋，但由于其牧师唐·何塞·萨恩斯·圣玛丽亚的远见和决心，这座西班牙小教堂举办了海顿的《基督的最后七句话》的首演——这一时刻将朴实无华的时刻联系在一起欧洲古典音乐伟大传统的教堂。

In the late 18th century, Don José was convinced that sacred music could enhance the faith of his parishioners and help them meditate on the mysteries of Christ. Wanting to bring something special to his Good Friday services, he decided to commission a new piece of music specifically for his congregation. But instead of looking for a local composer, Don José reached across Europe and contacted Haydn himself, already famous for his symphonies and operas. The result of this bold move was one of Haydn’s most profound works.

18 世纪末，唐·何塞坚信神圣音乐可以增强教区居民的信仰，帮助他们冥想基督的奥秘。为了给他的耶稣受难日仪式带来一些特别的东西，他决定专门为他的会众创作一首新音乐。但唐·何塞并没有寻找当地作曲家，而是跨越欧洲联系了已经以交响乐和歌剧闻名的海顿本人。这一大胆举动的结果是海顿最深刻的作品之一。

Haydn composed The Seven Last Words of Christ as a series of orchestral movements, each reflecting Christ’s last words from the cross. The music was intended to be meditative, offering moments of reflection during the Good Friday service. It was a grand composition meant for a small, sacred space, and its premiere in the Oratorio de la Santa Cueva added an air of solemnity and spiritual depth to the already holy occasion.

海顿将《基督最后的七句话》创作为一系列管弦乐章，每一个乐章都反映了基督在十字架上的最后一句话。音乐的目的是冥想，在耶稣受难日礼拜期间提供反思的时刻。这是一首为狭小而神圣的空间创作的宏伟作品，它在圣奎瓦清唱剧中的首演为这个本来就神圣的场合增添了一种庄严和精神深度的气氛。

The most charming detail, however, is the setting. The Oratory is not an immense basilica or cathedral – it is, again, a rather humble chapel. Yet the locals packed the place to hear Haydn’s masterpiece, standing shoulder to shoulder in eager anticipation. The contrast between the simplicity of the setting and the complexity of the music creates a striking image: a world-class composition debuting in a humble chapel in a then modest Spanish city.

然而，最迷人的细节是设置。演讲堂并不是一座巨大的长方形教堂或大教堂——它又是一座相当简陋的小教堂。然而，当地人却挤满了现场，肩并肩地等待着聆听海顿的杰作。简单的环境和复杂的音乐之间的对比创造了一个引人注目的形象：一首世界级的作品在当时西班牙一座简陋城市的一座简陋的教堂里首次亮相。

But Don José’s creativity wasn’t limited to the music. After the piece was performed, he found a unique way to thank Haydn for his work. Instead of a simple payment, Don José sent the composer a cake as a token of his gratitude. When Haydn cut into the cake, he found it filled with gold coins – a surprise that would have been as delightful as it was generous. This quirky story of gratitude became part of the legend surrounding the composition.

但唐·何塞的创造力并不局限于音乐。作品演奏完毕后，他找到了一种独特的方式来感谢海顿的作品。唐·何塞没有简单地付款，而是给作曲家送了一个蛋糕以表谢意。当海顿切开蛋糕时，他发现里面装满了金币——这是一个既令人高兴又慷慨的惊喜。这个离奇的感恩故事成为了围绕这首作品的传奇的一部分。

Today, the Oratorio de la Santa Cueva is a mandatory destination for music and history lovers, a place where art and faith once collided in a uniquely charming way. Visitors come not only to see the chapel, but also to reflect on their role in bringing one of Haydn’s greatest works to life, in a place where a humble priest, a famous composer, and a cake filled with gold coins became part of an unforgettable chapter in musical history.

如今，Oratorio de la Santa Cueva 已成为音乐和历史爱好者的必去之地，这里曾经是艺术与信仰以独特迷人方式碰撞的地方。游客们来这里不仅是为了参观教堂，也是为了反思他们在将海顿最伟大的作品之一变为现实的过程中所扮演的角色，在这里，一位谦逊的牧师、一位著名的作曲家和一块装满金币的蛋糕成为了令人难忘的一部分。音乐史上的一章。