The oratorio masterfully interweaves the biblical narrative of Genesis, drawing inspiration not only from the sacred text but also from the Psalms and John Milton's Paradise Lost. Haydn's inspiration to compose this monumental work was sparked by the impact of Handel's oratorio "Israel in Egypt," which he heard during his travels to England between 1791 and 1794.
For Haydn, the composing of "The Creation" was an act of deep spiritual devotion. The compositional process unfolded in Mariahilf, a suburb of Vienna, where the Haydnhaus now stands. The dedication to perfection and the expectation that the work would endure led to an unprecedented investment of time and energy. Haydn's exhaustive efforts took a toll on his health, and he fell ill shortly after the premiere.
Living in an era that preceded Darwin's discoveries but followed Newton's, Haydn embraced the prevailing physicotheological perspective. In his eyes, the universe reflected divine order and wisdom, a sentiment reflected in the grandeur of the oratorio. Haydn's curiosity extended to astronomy, as evidenced by his visits to William Herschel's observatory at Slough during his sojourns in England.
The oratorio's libretto is based on Genesis, the Psalms, and Milton's Epic, translated into German by Baron van Swieten. Despite its German title, bilingual editions appeared as early as 1800, and performances were given in both English and German.
Haydn, attuned to the evolving musical landscape, aimed for a resounding sonic experience. Between the private premiere and the first public performance, additional instrumental parts were added, resulting in a groundbreaking ensemble of 120 instrumentalists and 60 singers.
The three archangels - Gabriel (soprano), Uriel (tenor) and Raphael (bass) - serve as narrators, detailing the first six days of creation. In Part III, the roles of Adam and Eve are intertwined with those of Raphael and Gabriel, a structural choice embraced by some conductors, although others prefer to use five soloists. The choristers sing a series of monumental choral works, each celebrating the completion of a day of creation.
"The Creation unfolds in three main sections, with monumental choral works celebrating each day of creation. The orchestra takes center stage at times, especially in atmospheric passages such as the appearance of the sun, the creation of various species of animals, and especially in the Overture, which depicts the chaos that precedes creation.
Part I begins with a well-known overture in C minor, symbolizing the chaos that precedes creation. Subsequent movements traverse the creation of light, the firmament, and the emergence of flora, each punctuated by dynamic recitatives and jubilant choral sections.
Part II explores the creation of sea and land animals, culminating in the emergence of man. A variety of arias and recitatives vividly paint the diverse tapestry of creation, from the soaring eagle to the majestic whale.
The final part, Part III, transports the narrative to the Garden of Eden and tells the story of Adam and Eve. The oratorio concludes with a glorious chorus in B-flat major, exalting the Lord's enduring praise.
Listen to: Nederlands Kamerkoor, Concerto D’Amsterdam & Klaas Stock