In the name of all that’s holy, it’s Haydn’s birthday!

Franz Joseph Haydn, father of the modern symphony, progenitor of the modern string quartet. It’s only just that the possessor of such fecund creativity would be dubbed “Papa.”

On top of all the secular symphonies, concertos, string quartets, operas, and instrumental works, Papa Haydn composed an impressive body of sacred music.

An obvious choice for Holy Week would be “The Seven Last Words of Christ on the Cross,” an hour-long meditation, culminating in a certainly-taking-its-time-getting-here earthquake. I admit to finding the piece a bit of a slog. Composed in 1786 for a Good Friday service at Cádiz Cathedral in Spain, the work exists in several forms, but is most frequently heard in a version for string quartet. The quartet version was adapted by Haydn in 1787. He also turned it into an oratorio in 1796. Occasionally, you will even encounter it in an authorized piano version. But for me, I need the colors of an orchestra to make it through the piece, which is like being trapped in the world’s longest church service as a kid.

Here’s the full work, with chorus and orchestra.

Also appropriately somber, but thankfully a little more varied, is his “Stabat Mater” from 1767.

More easily digestible are the symphonies, of which Haydn composed 104 (that were numbered). Three are associated with Holy Week.

Symphony No. 26 “Lamentation” (1768-9)

Symphony No. 49 “La Passione” (1790)

Symphony No. 30 “Alleluia” (1765). This one employs in its first movement a Gregorian plainchant melody. Technically, I suppose, you shouldn’t be listening to the “Alleluia” until Easter, but your secret is safe with me.

I don’t care what day it is, I think I’m going to be listening to as many of the symphonies as I can today.

Happy birthday, Haydn!