![]() ![]() 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. 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." Instead, it is so constructed that the word order, syllabification, and stress patterns are as close as possible to the English. According to Nicholas Temperley, "the German text corresponds to no known German Bible translation. The work was published bilingually (1800) and is still performed in both languages today.įor the quotations from the Bible, Swieten chose to adhere very closely to the English King James Version. He also made suggestions to Haydn regarding the setting of individual numbers. Swieten recast the English libretto of The Creation in a German translation ( Die Schöpfung) that Haydn could use to compose. 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 1796. When Haydn returned to Vienna, he turned this libretto over to Baron Gottfried van Swieten, who led a multifaceted career as diplomat, director of the Imperial Library, amateur musician, and patron of music. Portrait of the librettist Gottfried van Swieten, Austrian politician and librarian ![]() Robbins Landon, tells us that the original writer remains anonymous. Peter Brown (who prepared a particularly fine "authentic" score) and H. Linley (sometimes called Lidley or Liddel) himself could have written this original English libretto, but scholarship by Edward Olleson, A. (1733–1795), a Drury Lane oratorio concert director. The libretto was probably passed on to Salomon by Thomas Linley Sr. 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. 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. The three sources are Genesis, the Biblical book of Psalms, and John Milton's Paradise Lost. The text of The Creation has a long history. 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. It is likely that Haydn wanted to try to achieve results of comparable weight, using the musical language of the mature classical style. Haydn was inspired to write a large oratorio during his visits to England in 1791–17–1795 when, alongside his close friend English music historian Charles Burney, he heard oratorios of George Frideric Handel performed by large forces. Inspiration Portrait of Joseph Haydn by Johann Carl Rößler (1799) The oratorio was published with the text in German and English in 1800. The first public performance was held in Vienna at the old Burgtheater on 19 March 1799. ![]() In part III, the bass and soprano represent Adam and Eve. In parts I and II, depicting the creation, the soloists represent the archangels Raphael (bass), Uriel ( tenor) and Gabriel ( soprano). The work is structured in three parts and scored for soprano, tenor and bass soloists, chorus and a symphonic orchestra. The libretto was written by Gottfried van Swieten. The oratorio depicts and celebrates the creation of the world as narrated in the Book of Genesis. XXI:2), and considered by many to be one of his masterpieces. The Creation ( German: Die Schöpfung) is an oratorio written in 17 by Joseph Haydn ( Hob.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |