HAYDN: ANNIVERSARY CONCERT - THE CREATION ( $1.99 for 99 hours rental )

 

Haydn's Creation

The Vienna Chamber Choir and

Austro-Hungarian Haydn Orchestra

Conducted by Adam Fischer

 

SOPRANO ...............Annette Dasch (Angel Gabriel / Eve)

TENOR ...................Christoph Strehl (Angel Uriel)

BASS-BARITONE.......Thomas Quasthoff (Angel Raphael / Adam)

 

This performance in the historic concert hall of the Esterházy Palace in Eisenstadt, Austria, where Haydn worked as Kappelmeister for more than 30 years, is a tribute to one of the world's greatest musical geniuses, on the occasion of the 200th anniversary of death in 1809. The Austro-Hungarian Haydn Orchestra, founded in 1987 by the internationally renowned conductor Adam Fischer, and world famous soloists Annette Dasch and Thomas Quasthoff, honour the composer by presenting his masterpiece oratorio "The Creation".

 

Part I

Celebrating the creation of light, the Earth, the heavenly bodies, water, weather, and plant life.

Prelude. Die Vorstellung des Chaos (The Representation of Chaos)

One of the best-known pieces in the work: an overture written in sonata form, in C minor in slow tempo.

 

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, beginning with a recitative for bass solo in C minor. It is followed by choral presentation of the creation of light, depicted first pizzicato by the strings, followed by fortissimo on the word Licht (Light!). 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.

End of the first day.

No. 3. Und Gott machte das Firmament (And God made the firmament)

Long recitative for bass in C major. The bass part first gives the words of Genesis 1:6-7, then orchestral tone painting depicts 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 schaumenden Wellen (Rolling in foaming billows)

Aria in D minor for bass, narrating the creation of the seas, mountains, rivers, and (a coda in D major) streams.

 

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, celebrating the creation of plants.

 

No. 9. Und die himmlischen Heerscharen erkündigten (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 a 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, based on parts 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 orchestral score depicts a brilliant sunrise, then a gentle moonrise. The tune of the sunrise is ten notes of the D major scale, variously harmonized; the moon rises in the key of G. The end of the recitative refers to the newly-created stars, then introduces:

 

No. 13. Die Himmel erzählen die Ehre Gottes (The heavens are telling the glory of God)

The mightiest of the choruses of The Creation and a popular favorite. There is a change of key from C minor to C major, illustrating the triumph of light over dark. The chorus begins with alternating celebratory choral passages and meditative sequences from the three vocal soloists, followed by a choral fugue on the text "Und seiner hände Werk zeigt an das Firmament" ("The wonder of his works displays the firmament"), then a final homophonic section.

End of the fourth day.

Part II

Celebrating the creation of sea creatures, birds, animals, and last of all, Man.

No. 14. Und Gott sprach: Es bringe das Wasser in der Fülle hervor (And God said : Let the waters bring forth in plenty)

Recitative for soprano (Genesis 1:20), leading into:

 

No. 15. Auf starkem Fittige schwinget sich der Adler stolz (On mighty wings the eagle proudly soars aloft)

An important aria for soprano in F major, celebrating the creation of birds., specifically mentioning the eagle, the lark, the dove and the nightingale (the lyrics suggest that at the time of the Creation, the nightingale's song was not melancholy).

 

No. 16. Und Gott schuf große Walfische (And God created great whales.)

For bass solo, in D minor. A recitative (from Genesis 1:21-22) followed by a brief aria based on the biblical words (Gen. 1:22) "Be fruitful and multiply."

 

No. 17. Und die Engel rührten ihr' unsterblichen Harfen (And the angels struck their immortal harps.)

Brief recitative for bass, with harp imitations in the accompaniment, leading into:

 

No. 18. In holder Anmut stehn (In fairest raiment)

A trio in A major for the vocalists, contemplating the beauty and immensity of the newly created world. This leads straight into:

 

No. 19. Der Herr ist groß in seiner Macht (The Lord is great in his might)

Chorus with all three soloists, in A major, celebrating the fifth day.

End of the fifth day

No. 20. Und Gott sprach: Es bringe die Erde hervor lebende Geschöpfe (And God said : Let earth bring forth the living creature)

Recitative for bass (Genesis 1:24), leading into:

 

No. 21. Gleich öffnet sich der Erde Schoß (At once Earth opens her womb)

Orchestral tone-painting with bass narration after the orchestral portrayal of each new creature (lion, tiger, stag, horse, cattle, sheep, insects, worms).

 

No. 22. Nun scheint in vollem Glanze der Himmel (Now shines heaven in the brightest glory)

Fortissimo tone-painting by bassoon and contrabassoon illustrates the words "By heavy beasts the ground is trod."

The aria for bass in D major prepares for the creation of Man:

Doch war noch alles nicht vollbracht

Dem Ganzen fehlte das Geschöpf

Das Gottes Werke dankbar seh'n

Des Herren Güte preisen soll.

"Yet not all was complete,

The whole lacked a being

Who would behold God's work with thanks

And praise the Lord's goodness."

 

No. 23. Und Gott schuf den Menschen (And God created Man)

Tenor recitative (Genesis 1:27, 2:7), leading to:

 

No. 24. Mit Würd' und Hoheit angetan (In native worth and honor clad)

A prized aria for tenor in C major, celebrating the creation of man, then woman (often sung as a recital piece).

 

No. 25. Und Gott sah jedes Ding (And God saw every thing)

Brief recitative for bass (text amplifying Genesis 1:31), leading to:

 

No. 26. Vollendet ist das große Werk (The great work is complete)

A celebration for chorus alone, in B flat, of the sixth day.

 

No. 27. Zu dir, o Herr, blickt alles auf (All look up to thee, O Lord)

Another meditation for the three angels, in E flat major, on God's omnipotence and mercy, quoting Psalm 145:15-16. Leads directly to:

 

No. 28. Vollendet ist das große Werk (Fulfilled at last the great work)

This chorus begins with the same music and words as No. 26, and is in the same key of B flat. It quickly moves into large double fugue on the words "Alles lobe seinen Namen, denn er allein ist hoch erhaben" ("Let all praise his name, for he alone is sublime").

 

Part III

In the Garden of Eden, narrating the first happy hours of Adam and Eve.

No. 29. Aus Rosenwolken bricht (In rosy mantle appears)

Orchestral prelude in E major in slow tempo depicts dawn in the Garden of Eden, followed by recitative for tenor representing Uriel. Adam and Eve are seen walking hand in hand.

 

No. 30. Von deiner Güt, o Herr und Gott (By thy goodness, O bounteous Lord)

Adam and Eve offer a prayer of thanks in C major, accompanied by a chorus of angels.

This movement, the longest in The Creation, has three parts. In the first adagio, Adam and Eve sing their prayer, with the chorus singing underneath them accompanied by soft timpani rolls. In the second section, the tempo picks up, and Adam, Eve, and the angels praise the newly created world. The final section is for chorus and orchestra alone, a celebration on the words "Wir preisen dich in Ewigkeit" ("We praise thee eternally").

 

No. 31. Nun ist die erste Pflicht erfüllt (Our first duty we have now performed)

Recitative for Adam and Eve, leading to:

 

No. 32. Holde Gattin, dir zur Seite (Sweet companion, at thy side)

Love duet for Adam and Eve in E flat major., with a slow section  followed by an Allegro.

 

No. 33. O glücklich Paar, und glücklich immerfort (O happy pair, and ever happy henceforth)

The Angel Uriel briefly explains to the pair that they will always be happy if they will refrain from wanting to have, or wishing to know, more than they should.

 

No. 34. Singt dem Herren alle Stimmen! (Sing the Lord, ye voices all)

Final chorus in B flat major: a slow introduction, followed by a double fugue on the words "Des Herren Ruhm, er bleibt in Ewigkeit" ("The praise of the Lord will endure forever"), with passages for the vocal soloists and a final homophonic section.