A | B | C | D | E | F | G | H | CH | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z | 0 | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9
| Die Schöpfung The Creation | |
|---|---|
| Oratorio by Joseph Haydn | |
_British_Museum.jpg) from Europe a Prophecy, by William Blake | |
| Catalogue | Hob. XXI:2 |
| Text | Gottfried van Swieten |
| Language | German |
| Based on | |
| Composed | 1796–1798 |
| Scoring | |
The Creation (German: Die Schöpfung) is an oratorio written in 1797 and 1798 by Joseph Haydn (Hob. XXI:2), and considered by many to be one of his masterpieces. The oratorio depicts and celebrates the creation of the world as narrated in the Book of Genesis.
The libretto was written by Gottfried van Swieten. The work is structured in three parts and scored for soprano, tenor and bass soloists, chorus and a symphonic orchestra. In parts I and II, depicting the creation, the soloists represent the archangels Raphael (bass), Uriel (tenor) and Gabriel (soprano). In part III, the bass and soprano represent Adam and Eve.
The first public performance was held in Vienna at the old Burgtheater on 19 March 1799. The oratorio was published with the text in German and English in 1800.
Inspiration
Haydn was inspired to write a large oratorio during his visits to England in 1791–1792 and 1794–1795 when, alongside his close friend English music historian Charles Burney, he heard oratorios of George Frideric Handel performed by large forces.[1] It is likely that Haydn wanted to try to achieve results of comparable weight, using the musical language of the mature classical style. Among the Handel works Haydn heard was Israel in Egypt, which includes various episodes of tone painting, perhaps an inspiration to Haydn's own pervasive use of this device in The Creation.[2]
Libretto
The text of The Creation has a long history. The three sources are Genesis, the Biblical book of Psalms, and John Milton's Paradise Lost. In 1795, when Haydn was leaving England, the impresario Johann Peter Salomon (1745–1815) who had arranged his concerts there handed him a new poem entitled The Creation of the World. This original had been offered to Handel, but the old master had not worked on it, as its wordiness meant that it would have been four hours in length when set to music. The libretto was probably passed on to Salomon by Thomas Linley Sr. (1733–1795), a Drury Lane oratorio concert director. Linley (sometimes called Lidley or Liddel) himself could have written this original English libretto, but scholarship by Edward Olleson, A. Peter Brown (who prepared a particularly fine "authentic" score) and H. C. Robbins Landon, tells us that the original writer remains anonymous.
When Haydn returned to Vienna, he turned this libretto over to Baron Gottfried van Swieten,[1] who led a multifaceted career as diplomat, director of the Imperial Library, amateur musician, and patron of musicians including Mozart and Carl Phillip Emanuel Bach. He had already collaborated with Haydn as librettist, editing the text for the oratorio version of The Seven Last Words of Christ, premiered in Vienna in 1786. Swieten recast the English libretto of The Creation in a German translation (Die Schöpfung) that Haydn could use to compose. He also made suggestions to Haydn regarding the setting of individual numbers. The work was published bilingually (1800) and is still performed in both languages today.
For the quotations from the Bible, Swieten chose to adhere very closely to the English King James Version. According to Nicholas Temperley, "the German text corresponds to no known German Bible translation. Instead, it is so constructed that the word order, syllabification, and stress patterns are as close as possible to the English. Haydn and Swieten must have realized that English audiences would not easily accept changes in the hallowed text of their Bible; and there were the formidable precedents of Messiah and Israel in Egypt to bear in mind."[3]
In the final form of the oratorio, the text is structured as recitative passages of the text of Genesis, often set to minimal accompaniment, interspersed with choral and solo passages setting Swieten's original poetry to music. Swieten incorporated excerpts from Psalms for choral movements.[1]
Van Swieten was evidently not a fully fluent speaker of English, and the metrically matched English version of the libretto suffers from awkward phrasing that fails to fit idiomatic English text onto Haydn's music. For example, one passage describing the freshly minted Adam's forehead ended up, "The large and arched front sublime/of wisdom deep declares the seat". Since publication, numerous attempts at improvement have been made, but many performances in English-speaking countries avoid the problem by performing in the original German. The discussion below quotes the German text as representing van Swieten's best efforts, with fairly literal renderings of the German into English; for the full versions of both texts see the links at the end of this article.
Premiere and reception history
The first performances in 1798 were mounted by the Gesellschaft der Associierten, a group of music-loving noblemen organized by van Swieten to sponsor concerts of serious music; the Gesellschaft paid the composer handsomely for the right to stage the premiere (Salomon briefly threatened to sue, on grounds that the English libretto had been translated illegally). The performance was delayed until late April—the parts were not finished until Good Friday—but the completed work was rehearsed before a full audience on April 29.
The first performance the next day was a private affair, but hundreds of people crowded into the street around the old Schwarzenberg Palace at the New Market to hear this eagerly anticipated work. Admission was by invitation only.[1] Those invited included wealthy patrons of the arts, high government officials, prominent composers and musicians, and a sprinkling of the nobility of several countries; the common folk, who would have to wait for later occasions to hear the new work, so crowded the streets near the palace that some 30 special police were needed to keep order. Many of those lucky enough to be inside wrote glowing accounts of the piece. In a letter to the Neue teutsche Merkur, one audience member wrote, "Already three days have passed since that happy evening, and it still sounds in my ears and heart, and my breast is constricted by many emotions even thinking of it."
The first public performance at Vienna's old Burgtheater at the Michaelerplatz on 19 March 1799 was sold out far in advance,[1] and Die Schöpfung was performed nearly forty more times in the city during Haydn's life. The work became a favourite of the Tonkünstler-Societät, a charitable organization for the support of widows and orphans of musicians, for which Haydn frequently conducted the work, often with very large ensembles, throughout the remainder of his career. The Creation had its London premiere in 1800, using its English text, at Covent Garden.[4] Napoleon an avid admirer of the composer, attended its Paris premiere on 24 December 1800; on the way there, he narrowly escaped a bomb intended to assassinate the then First Consul.[5]
The last performance Haydn attended was on March 27, 1808, just a year before he died: the aged and ill Haydn was carried in with great honour on an armchair. According to one account, the audience broke into spontaneous applause at the coming of "light" and Haydn, in a typical gesture, weakly pointed upwards and said: "Not from me—everything comes from up there!"
The Creation was also performed more than forty times outside Vienna during his life: elsewhere in Austria and Germany, throughout England, and in Switzerland, Italy, Sweden, Spain, Russia and the United States. Despite the eclipse in Haydn's reputation as a composer in the 19th and early 20th centuries, the work never left the repertoire during this time,[6] and today it is frequently performed by both professional and amateur ensembles. There are many recordings.
A typical performance lasts about one hour and 45 minutes.
Music
Musical forces
The oratorio is scored for three vocal soloists (soprano, tenor, and bass; there is also an incidental solo for alto in the finale), four-part chorus (soprano, alto, tenor, bass), and a large Classical orchestra consisting of the following:
- Flute I II (a third flute in no. 29)
- Oboe I II
- Clarinet I II (in C & B-flat)
- Bassoon I II
- Contrabassoon
- Horn I II (in B-flat basso & alto, C, D, E-flat, E, F, A)
- Trumpet I II (in D, C & B-flat)
- Trombone I II III
- Timpani
- Violin I II
- Viola
- Violoncello
- Bass
- Continuo
There seems little doubt that Haydn wanted a big sound (by the standard of his day) for his work. Between the private premieres for nobles and the public premiere in 1799, Haydn added extra instrumental parts to the work. The forces for the public premiere numbered about 120 instrumentalists and 60 singers.
In Parts I and II of the work, the three soloists represent angels who narrate and comment on the successive six days of creation: Gabriel (soprano), Uriel (tenor), and Raphael (bass). Part III introduces as characters the first man and first woman of the Bible, Adam and Eve, during the time they spent in the Garden of Eden before the Fall. Adam, a bass role, is usually sung by the same soloist that sings Raphael, and the soprano role of Eve is usually sung by the same soloist who sings Gabriel. This was the practice Haydn followed, but some conductors prefer to cast each of the five roles with a different soloist.
The choral singers are employed in a series of monumental choruses, several of them celebrating the end of one particular day of creation.
The orchestra often plays alone, notably in the episodes of tone painting: the appearance of the sun, the creation of various beasts, and above all in the overture, the famous depiction of the Chaos before the creation.
Structure
The oratorio is structured in three parts. The first deals with the creation of light, of heaven and earth, of the sun and moon, of the land and water, and of plants. The second treats the creation of the animals, and of man and woman. The final part describes Adam and Eve during their happy time in the Garden of Eden, portraying an idealized love in harmony with the "new world".[1]
The oratorio is described below, for each part by both a table of the movements and description of individual movements.[7] As in other oratorios, the larger musical numbers (arias and choruses) are often prefaced with a brief recitative; here, the recitative gives the actual words of Genesis, while the following number elaborates the bare Biblical narrative in verse. Choral movements are highlighted in a different background colour.
Part I
| No. | Title | Form | Voice | Key | Tempo | Time | Source | Translation |
|---|---|---|---|---|---|---|---|---|
| Die Vorstellung des Chaos | C minor | Largo |  |
The Representation of Chaos | ||||
| Day 1 | ||||||||
| 1 | Im Anfange schuf Gott Himmel und Erde | Recitative | Bass | C minor |  |
Gen 1:1–2 | In the beginning God created Heaven and Earth | |
| Und der Geist Gottes schwebte[n 1] | Chorus | Gen 1:2–3 | And the Spirit of God moved | |||||
| Und Gott sah das Licht | Recitative | Tenor | C major | Gen 1:4 | And God saw the light | |||
| 2 | Nun schwanden vor dem heiligen Strahle | Aria | Tenor | A major | Andante | |
Now vanished by the holy beams | |
| Erstarrt entflieht der Höllengeister Schar | Allegro moderato | Affrighted fled hell's spirits | ||||||
| Verzweiflung, Wut und Schrecken | Chorus, fugue | Desparing, cursing rage | ||||||
| Day 2 | ||||||||
| 3 | Und Gott machte das Firmament | Recitative secco | Bass | |
Gen 1:6–7 | And God made the firmament | ||
| 4 | Mit Staunen sieht das Wunderwerk | Solo with chorus | Soprano | C major | Allegro moderato | |
The marv'lous work beholds amazed | |
| Day 3 | ||||||||
| 5 | Und Gott sprach: Es sammle sich das Wasser | Recitative secco | Bass | |
Gen 1:9–10 | And God said let the waters | ||
| 6 | Rollend in schäumenden Wellen | Aria | Bass | D minor | Allegro assai | |
Rolling in foaming billows | |
| 7 | Und Gott sprach: Es bringe die Erde Gras hervor | Recitative secco | Soprano | |
Gen 1:11 | And God said, Let all the earth bring forth grass | ||
| 8 | Nun beut die Flur das frische Grün | Aria | Soprano | B-flat major | Andante | 6/8 | With verdure clad the fields appear delightful | |
| 9 | Und die himmlischen Heerscharen verkündigten den dritten Tag | Recitative secco | Tenor | |
And the Heavenly host proclaimed the third day | |||
| 10 | Stimmt an die Saiten | Chorus | D major | Vivace | |
Awake the harp | ||
| Day 4 | ||||||||
| 11 | Und Gott sprach: Es sei'n Lichter an der Feste des Himmels | Recitative secco | Tenor | |
Gen 1:14–16 | And God said : Let there be lights in the firmament of heaven | ||
| 12 | In vollem Glanze steiget jetzt die Sonne strahlend auf | Recitative | Tenor | D major | Andante | |
In splendour bright is rising now the sun | |
| Mit leisem Gang und sanftem Schimmer | Più Adagio | With softer beams and milder light | ||||||
| Den ausgedehnten Himmelsraum | Più Adagio | The space immense of th'azure sky | ||||||
| 13 | Die Himmel erzählen die Ehre Gottes | Chorus | C major | Allegro | |
Ps 19:1 | The heavens are telling the glory of God | |
| Dem kommenden Tage sagt es der Tag | Trio | S B T | Ps 19:2 | To day that is coming speaks it the day | ||||
| Die Himmel erzählen ... | Chorus | The heavens are telling ... | ||||||
| Dem kommenden Tage ... | Trio | S B T | To day that is coming ... | |||||
| Die Himmel erzählen ... | Chorus | Più allegro | The heavens are telling ... | |||||
| Und seiner Hände Werk | Chorus, fugue | The wonder of his works | ||||||
Part I celebrates the creation of the primal light, the Earth, the heavenly bodies, bodies of water, weather, and plant life.
Prelude. Die Vorstellung des Chaos (The Representation of Chaos)
One of the most famous numbers in the work, an overture in C minor in slow tempo, written in sonata form. Haydn depicts Chaos by withholding musical cadences from the ends of phrases.[8]
No. 1. Im Anfange schuf Gott Himmel und Erde (In the beginning God created Heaven and Earth)
This movement relates the words of Genesis 1:1–4. It begins with a recitative for bass solo in C minor, followed by choral presentation of the creation of light. The latter is depicted first with a soft pizzicato note from the strings, followed by a sudden surprise fortissimo C major chord on the word Licht (Light).
This moment created a sensation when the work was first played in public. According to a friend of the composer/:
At that moment when light broke out for the first time, one would have said that rays darted from the composer's burning eyes. The enchantment of the electrified Viennese was so general that the orchestra could not proceed for some minutes.[9]
Following the appearance of light is a brief tenor recitative on the words "and God saw the light, that it was good", leading into:
No. 2. Nun schwanden vor dem heiligen Strahle (Now vanished by the holy beams)
Aria for tenor with chorus in A major, portraying the defeat of Satan's host, from Paradise Lost.
End of the first day.
No. 3. Und Gott machte das Firmament
Long recitative for bass in C major. The bass part first gives the words of Genesis 1:6–7, then follows orchestral tone painting, describing the division of the waters from the land and the first storms.
No. 4. Mit Staunen sieht das Wunderwerk (The marv'lous work beholds amazed/The glorious hierarchy of heav'n)
Soprano solo with chorus, in C major. The heavenly hosts praise God and the work of the second day.
End of the second day.
No. 5. Und Gott sprach: Es sammle sich das Wasser (And God said let the waters)
Brief recitative for bass (Genesis 1:9–10), leading into:
No. 6. Rollend in schäumenden Wellen (Rolling in foaming billows)
Aria in D minor for bass, narrating the creation of seas, mountains, rivers, and (a coda in D major) brooks. As John Mangum points out, "it owes much to the rage arias common to the operas of the day".[10]
No. 7. Und Gott sprach: Es bringe die Erde Gras hervor (And God said, Let all the earth bring forth grass)
Brief recitative for soprano (Genesis 1:11), leading into: No. 8. Nun beut die Flur das frische Grün (Now robed in cool refreshing green)
Solo aria in B-flat major for soprano, in siciliana rhythm, celebrating the creation of plants.
No. 9. Und die himmlischen Heerscharen verkündigten (And the Heavenly host proclaimed the third day)
Brief recitative for tenor, leading into:
No. 10. Stimmt an die Saiten (Awake the harp)
Chorus celebrating the third day, with four-part fugue on the words "For the heavens and earth/He has clothed in stately dress".
End of the third day.
No. 11. Und Gott sprach: Es sei'n Lichter an der Feste des Himmels (And God said : Let there be lights in the firmament of heaven)
Recitative for tenor, with portions of Genesis 1:14–16.
No. 12. In vollem Glanze steiget jetzt die Sonne (In splendour bright is rising now/the sun)
With tenor narration, the orchestra portrays a brilliant sunrise, then a languid moonrise. The tune of the sunrise is simply ten notes of the D major scale, variously harmonized; the moon rises in the subdominant key of G, also with a rising scale passage. The end of recitative briefly alludes to the new-created stars, then introduces:
No. 13. Die Himmel erzählen die Ehre Gottes (The heavens are telling the glory of God)
The text is based on Psalm 19:1–3, which had been set by Bach as the opening chorus of his cantata Die Himmel erzählen die Ehre Gottes, BWV 76.
Haydn's century, following on the discoveries of Newton, had the view that an orderly universe—particularly the mathematically governed motion of the heavenly bodies—attests to divine wisdom. Haydn, a naturally curious man, may have had an amateur interest in astronomy, as while in England he took the trouble to visit William Herschel, ex-composer and discoverer of Uranus, in his observatory in Slough.
"Die Himmel erzählen" is in the tonic major key of Part I; Part I then starts in C minor and ends in C major, showing the triumph of light over dark. It begins with alternation between celebratory choral passages and more meditative sequences from the three vocal soloists, followed by a choral fugue on the words "Und seiner Hände Werk zeigt an das Firmament", then a final homophonic section. ("The wonder of his works displays the firmament" is the English text here, with word-order calqued from the German, but somewhat awkward compared to the Authorized Version's "And the firmament sheweth the handywork of God".) The unusual intensity of the ending may be the result of Haydn's piling of coda upon coda, each occurring at a point where the music seems about to end.
End of the fourth day.
Part II
| No. | Title | Form | Voice | Key | Tempo | Time | Source | Translation |
|---|---|---|---|---|---|---|---|---|
| Day 5 | ||||||||
| 14 | Und Gott sprach: Es bringe das Wasser in der Fülle hervor | Recitative | Soprano | Allegro | |
Gen 1:20 | And God said : Let the waters bring forth in plenty | |
| 15 | Auf starkem Fittiche schwinget sich der Adler stolz | Aria | Soprano | F major | Moderato | |
On mighty wings the eagle proudly soars aloft | |
| 16 | Und Gott schuf große Walfische | Recitative secco | Bass | |
Gen 1:21–22 | And God created great whales | ||
| Seid fruchtbar alle | Recitative | Poco Adagio | Be fruitful all | |||||
| 17 | Und die Engel rührten ihr' unsterblichen Harfen | Recitative secco | Bass | |
And the angels struck their immortal harps | |||
| 18 | In holder Anmut stehn | Trio | S T B | A major | Moderato | 2/4 | In fairest raiment | |
| 19 | Der Herr ist groß in seiner Macht | Trio and chorus | S T B | Vivace | |
The Lord is great in his might | ||
| Day 6 | ||||||||
| 20 | Es bringe die Erde hervor lebende Geschöpfe | Recitative secco | Bass | |
Gen 1:24 | And God said : Let earth bring forth the living creature | ||
| 21 | Gleich öffnet sich der Erde Schoß[n 2] | Recitative | Bass | Presto | |
At once Earth opens her womb | ||
| Das zackig Haupt | 6/8 | The nimble stag | ||||||
| Auf grünen Matten | Andante | The cattle in herds | ||||||
| Wie Staub verbreitet sich | |
Unnumbered as the sands | ||||||
| In langen Zügen | Adagio | In long dimensions | ||||||
| 22 | Nun scheint in vollem Glanze der Himmel | Aria | Bass | D major | Allegro maestoso | 3/4 | Now shines heaven in the brightest glory | |
| 23 | Und Gott schuf den Menschen | Recitative secco | Tenor | |
Gen 1:27, Gen 2:7 | And God created Man | ||
| 24 | Mit Würd' und Hoheit angetan | Aria | Tenor | C major | Andante | |
In native worth and honor clad | |
| 25 | Und Gott sah jedes Ding | Recitative secco | Bass | |
Gen 1:31 | And God saw every thing | ||
| 26 | Vollendet ist das große Werk | Chorus | B-flat major | Vivace | |
Fulfilled at last the great work | ||
| 27 | Zu dir, o Herr, blickt alles auf | Trio | S T B | E-flat major | Poco Adagio | 3/4 | Ps 145:15–16 | All look up to thee, O Lord |
| 28 | Vollendet ist das große Werk | Chorus | B-flat major | Vivace | |
Fulfilled at last the great work | ||
| Alles lobe seinen Namen | Chorus, fugue | Ps 148:13 | Glory to his name forever
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