THE TWELFTH STATION OF THE CROSS - JESUS DIES ON THE CROSS Piano Solo - Digital Sheet Music

SKU: A0.1549328

The Twelfth Station of The Cross - Jesus Dies on The Cross for solo piano, is the twelfth movement of a prayerful devotion on The Stations of the Cross, referring to the Passion and Death of Jesus Christ on Good Friday. The music is characterized by recurring themes that appear in other movements of the entire piano cycle of 15 pieces or movements entitled The Stations of the Cross for Solo Piano by John Cartée.

Three descending minor chords open this movement. The following section in the upper register is marked leggiero e staccato requiring the hands to play alternating positions, the aim of which is to achieve a sense of foreboding. This sequence moves up steadily in intervals of 3 until a new idea is introduced. This idea never settles rhythmically nor harmonically.

Christ is nearing death, and his cry on The Cross to his Father is marked lacrimoso (tearfully). Eli, Eli, lema sabachtani (Matthew 27:46 - My God, my God, why have you abandoned me? ). This is a ten-note sequence representing the ten syllables of that cry to his Father in heaven revealing a deeply intimate moment between Father and Son. Juxtaposed on top of this cry comes Mary’s Theme. (Movements 4 & 7). Mary is not only a witness to this sacrifice, but she also offered her Son to the love and justice of God knowing that Simeon's prophecy decades earlier would be fulfilled (Luke 2: 33-35).

This sets up the next section where we hear the return of the “lullaby” Hodie Christus Natus Est (movement 6). Mary wants to calm her adult child on The Cross and sings the "lullaby” to soothe him just as she did when he was a baby. What follows is a serene, falling arpeggio sequence, highlighting Jesus’ falling into death coupled with The Theme of The Cross (Movements 2, 3, 4, 7, 9, 11 & 14).

This links to a section which now reflects the actual realisation that Jesus has died. For the second time in the cycle we hear the rhythmical theme of The Love of The Trinity as heard in movement two. Ascending fortissimo octaves in the bass with a chromatic and percussive rhythmical idea in the higher register are now played. Short motifs of the “lullaby” are presented but without the tenderness heard earlier. The movement ends with the reintroduction of the opening foreboding sequence.

There is on this earth a marvellous tree. Its root, O mystery! Is in heaven. In its shade never could anything cause pain. One can rest there without fearing the storm. Love is the name of that ineffable tree, and its delectable fruit is called abandonment. To you I abandon myself, O my divine spouse, and I only yearn for your sweet gaze.
From the poem “Abandonment is the sweet fruit of love”, St Thérese of Lisieux.