Musical settings of sayings of Jesus on the cross are compositions which set seven short phrases uttered by Jesus on the cross, as gathered from the four Christian Gospels narrating the Crucifixion of Jesus. Several composers have written musical settings of the traditional collection of seven sayings, sometimes called Seven Last Words and ultima septem verba, for various combinations of voice and/or instruments.[1] Eventually these settings became a separate form of Passion music. Perhaps the most outstanding work in this genre in the Lutheran tradition is the work by Heinrich Schütz. Joseph Haydn composed string quartets titled Die sieben letzten Worte unseres Erlösers am Kreuze (The seven last words of our Redeemer on the cross).
Chronological list of settings
Early Latin motet settings of the ultima septem verba can be found from 1500.[2][3]
16th century
John Browne: O mater venerabilis, c. 1500, Latin polyphonic votive antiphon (contains the phrase 'Heloy, Heloy, lama zabathani' - 'My God, my God, why hast thou forsaken me?')
Robert Fayrfax: Maria plena virtute, before 1521, Latin polyphonic votive antiphon (contains six of the sayings)
Ruth Zechlin: Die sieben letzten Worte Jesu am Kreuz for organ (1996)
21st century
The 2001 System of a Down song Chop Suey! references "Father into your hands I commend my spirit" (Luke 23:46) and "Why have you forsaken me?" (Mark 15:34 and Matthew 27:46).[8]
^Literature, Music, Fine Arts – 22–24 1989 pp. 189–190 "Langrock, Klaus. Die sieben Worte Jesu am Kreuz. Ein Beitrag zur Geschichte der Passionsmusik (Ph.D., Musicology, Bochum, 1987)[full citation needed] ...The present book, a dissertation of the University of Bochum, deals with settings of the Seven Words on the Cross, which are ... France and Italy since 1500, published or unpublished, which are based on the text of all the Words on the Cross."
^Raymond Dittrich, Die sieben letzten Worte Jesu in der Musik (2001)