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The Creation structure

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The Creation
Oratorio by Joseph Haydn
Adam and Eve, topic of the oratorio's Part III, in The Garden of Earthly Delights by Hieronymus Bosch
Native nameDie Schöpfung
TextGottfried van Swieten
LanguageGerman
Based on
Composed1796 (1796)–1798
Movements34 (in three parts)
ScoringSoprano, tenor and bass soloists, chorus and orchestra

The Creation, the oratorio by Joseph Haydn, is structured in three parts. He composed it in 1796–1798 on German text as Die Schöpfung. The work is set for soloists, chorus and orchestra. Its movements are listed in tables for their form, voice, key, tempo marking, time signature and source.

Libretto

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The origin of the libretto is not known. Haydn received the booklet in English in London on his second extended stay in 1795 from his impresario Johann Peter Salomon. According to Haydn, it was passed by a certain Lidley, or perhaps Thomas Linley, and was attributed to him, but may be written by an unknown author. Back in Vienna, Haydn passed it to his friend and sponsor Baron Gottfried van Swieten, who translated and organized it.[1]

The sources for the libretto are the two Creation narratives from the Book of Genesis, some Psalms, and John Milton's Paradise Lost, an epic poem in ten volumes, first published in 1667. The libretto is structured in three parts, the first dealing with the Creation of the universe and the plants, the second with the Creation of the animals, and of man and woman, and the third with Adam and Eve in Paradise, showing an idealized love in harmony with the "new world".[1][2]

Music

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Haydn had composed symphonies, operas, string quartets and more chamber music for the court at Eszterháza. For the oratorio he used the vocal means of contemporary opera, recitative, aria, ensemble and chorus. The orchestra plays a decisive role in structure and tone painting.[1]

The oratorio has five solo roles, in Part I and II the three archangels Gabriel (soprano), Uriel (tenor) and Raphael (bass), in Part III Adam (bass) and Eve (soprano). The final movement needs an additional alto soloist. The chorus is in four parts, SATB.[1] Haydn used three soloists, some conductors prefer different soloists for Adam and Eve.

Joseph Haydn, portrait by Thomas Hardy, 1791

Haydn set most of the narration from the Genesis in secco recitative. The rendering of the words is simple, different for example from Bach's approach in the parts of the Evangelist in his Passions. Haydn exceptions are the two recitatives opening Part I and II, which are accompanied by the orchestra. For each day, the recitative is followed by a contemplation of it, typically in accompanied recitative and aria, and affirmed by a choral movement.

As Bach in his Christmas Oratorio and Handel in Messiah, Haydn saves the soprano voice for a late appearance. Whereas Bach and Handel reserve the high voice for the Annunciation to the shepherds, Haydn has Gabriel be the first to proclaim the wonder of the Wunderwerk (miraculous work).

Differently from Handel, who keeps solo and choral singing mostly separate in his operas and oratorios, Haydn strives for an interaction of solo and chorus, as in his late Masses and contemporary opera. In the conclusion of Part I, Die Himmel erzählen die Ehre Gottes (The heavens are telling the glory of God), which covers the first two verses of Psalm 19, the second verse, "To day that is coming speaks it the day ...", is given to the soloists, who sing to each other. This trio section is repeated, leading to a choral repetition of verse 1, the second time a bit faster (Più allegro) and concluded by an elaborate fugue, crafted on its second part, "and the firmament sheweth his handywork". In Vollendet ist das große Werk, the chorus frames a slow trio section by two different fast movements. In Von deiner Güt, o Herr und Gott (By thy goodness, O bounteous Lord), the soloists sing a duet, accompanied by triplets, while the choir with the timpani sings simultaneously, as a soft foundation in even rhythm speaking of eternity, Gesegnet sei des Herren Macht (Forever blessed be his pow'r).[2]

The orchestra plays a distinct role in word painting. For example, flute and clarinet imitate the singing of the birds, trombones and contrabassoon articulate the roaring of the lion. When God speaks in person, "Seid fruchtbar" (be fruitful), the bass voice is accompanied by the low strings only. The solemn sound is reminiscent of the string quartet accompanying the Vox Christi (voice of Christ) in Bach's St Matthew Passion. The cellos have the melody speaking of human love, three flutes illustrate Paradise.

Richard Wigmore summarizes: "In our own sceptical and precarious age we can still delight, perhaps with a touch of nostalgia, in Haydn’s unsullied optimism, expressed in some of the most lovable and life-affirming music ever composed."[1]

General notes

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The following tables are organized by a number and first line of the movements. Different numbering of the movement exists. The voices are sometimes abbreviated S for soprano, T for tenor, B for bass. The modulating keys of many recitatives are written in accidentals. Recitatives typically come without a tempo marking. If no source is given, the text is derived from Paradise Lost. The book of Genesis is abbreviated "Gen", the Book of Psalms "Ps". The English translations are taken from the edition of the Oxford University Press, 1991.

Part I

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No. Title Form Voice Key Tempo Time Source Translation Notes
Die Vorstellung des Chaos C minor Largo common time The Representation of Chaos
Day 1
1 Im Anfange schuf Gott Himmel und Erde Recitative Bass C minor common time Gen 1:1–2 In the beginning God created Heaven and Earth
Und der Geist Gottes schwebte Chorus Gen 1:2–3 And the Spirit of God moved [n 1]
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 common time 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 common time Gen 1:6–7 And God made the firmament
4 Mit Staunen sieht das Wunderwerk Solo with chorus Soprano C major Allegro moderato common time The marv'lous work beholds amazed
Day 3
5 Und Gott sprach: Es sammle sich das Wasser Recitative secco Bass common time Gen 1:9–10 And God said let the waters
6 Rollend in schäumenden Wellen Aria Bass D minor Allegro assai common time Rolling in foaming billows
7 Und Gott sprach: Es bringe die Erde Gras hervor Recitative secco Soprano common time 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 Now robed in cool refreshing green
9 Und die himmlischen Heerscharen verkündigten den dritten Tag Recitative secco Tenor common time And the Heavenly host proclaimed the third day
10 Stimmt an die Saiten Chorus D major Vivace common time Awake the harp
Day 4
11 Und Gott sprach: Es sei'n Lichter an der Feste des Himmels Recitative secco Tenor common time 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 common time In splendour bright is rising now the sun
Mit leisem Gang und sanftem Schimmer Piú Adagio common time With softer beams and milder light
Den ausgedehnten Himmelsraum Piú Adagio common time The space immense of th'azure sky
13 Die Himmel erzählen die Ehre Gottes Chorus C major Allegro common time 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 Ps 19:1 The wonder of his works second part of Ps 19:1

Part II

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No. Title Form Voice Key Tempo Time Source Translation Notes
Day 5
14 Und Gott sprach: Es bringe das Wasser in der Fülle hervor Recitative Soprano Allegro common time 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 common time On mighty wings the eagle proudly soars aloft
16 Und Gott schuf große Walfische Recitative secco Bass common time 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 common time 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 common time The Lord is great in his might
Day 6
20 Es bringe die Erde hervor lebende Geschöpfe Recitative secco Bass common time Gen 1:24 And God said : Let earth bring forth the living creature
20 Gleich öffnet sich der Erde Schoß Recitative Bass Presto common time At once Earth opens her womb [n 2]
Das zackig Haupt Presto 6/8 The nimble stag
Auf grünen Matten Andante 6/8 The cattle in herds
Wie Staub verbreitet sich Andante common time Unnumbered as the sands
In langen Zügen Adagio common time In long dimensions
21 Nun scheint in vollem Glanze der Himmel Aria Bass D major Allegro maestoso 3/4 Now shines heaven in the brightest glory
22 Und Gott schuf den Menschen Recitative secco Tenor common time Gen 1:27, Gen 2:7 And God created Man
23 Mit Würd' und Hoheit angetan Aria Tenor C major Andante common time In native worth and honor clad
24 Und Gott sah jedes Ding Recitative secco Bass common time Gen 1:31 And God saw every thing
26 Vollendet ist das große Werk Chorus B-flat major Vivace common time 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 common time Fulfilled at last the great work
Alles lobe seinen Namen Chorus, fugue Ps 148:13 Glory to his name forever

Part III

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No. Title Form Voice Key Tempo Time Source Translation Notes
29 Aus Rosenwolken bricht Recitative Tenor E major Largo 3/4 In rosy mantle appears
30 Von deiner Güt, o Herr und Gott / Gesegnet sei des Herren Macht Duet with chorus S B C major Adagio common time By thy goodness, O bounteous Lord / Forever blessed be his Pow'r
Der Sterne hellster / Macht kund auf eurer weiten Bahn Duet with chorus S B F major Allegretto 2/4 Of stars the fairest / Proclaim in your extended course
Heil dir, o Gott! chorus Hail, bounteous Lord!
31 Nun ist die erste Pflicht erfüllt Recitative S B Allegro common time Our first duty we have now performed
32 Holde Gattin, dir zur Seite Duet S B E-flat major Adagio 3/4 Sweet companion, at thy side
Der tauende Morgen Allegro 2/4 The dew dropping morn
33 O glücklich Paar, und glücklich immerfort Recitative secco Tenor common time O happy pair, and ever happy henceforth
34 Singt dem Herren alle Stimmen! Chorus B-flat major Andante common time Sing the Lord, ye voices all
Des Herren Ruhm, er bleibt in Ewigkeit Chorus (fugue) with soli S A T B Allegro common time The praise of the Lord will endure forever

Notes

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  1. ^ suddenly forte in C major on "light"
  2. ^ various keys and tempo markings to illustrate different animals

Sources

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References

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  1. ^ a b c d e Richard Wigmore (10 January 2009). "Franz Joseph Haydn (1732–1809) / The Creation (Die Schöpfung), HobXXI/2 (1796–8)" (PDF). Barbican Centre. p. 3. Archived from the original (PDF) on 21 January 2012. Retrieved 29 September 2011.
  2. ^ a b Dorothee Rex (2007). "Joseph Haydn Die Schöpfung" (PDF) (in German). luzerner-kantorei.ch. pp. 2, 4. Retrieved 1 October 2011.
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