Haydn Die Schopfung The Creation Hob. XXI:2 - 6 of 8

Freiburger Barockorchester
RIAS Kammerchoir
René Jacobs, director
Inger Dam-Jensen, soprano
Jeremy Ovenden, tenor
Johannes Mannov, bajo

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 outside the context of The Creation. Although the aria relates a Biblical story, the virtues attributed to Adam (and not Eve) clearly reflect the values of the Enlightenment.

This was almost certainly the last music from The Creation that Haydn ever heard: it was sung for him several days before his death in 1809 as a gesture of respect by a French military officer, a member of Napoleon's invading army.

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 (compare No. 18), in E flat major, on God's omnipotence and mercy, quoting Psalm 145:15--16. The bass solo line "Du wendest ab dein Angesicht" requires the singer to terrify the audience with barely-audible pianissimo. The end of the trio is followed without pause by...

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"). As appropriate to the finale of Part II, this repeat chorus is longer and ends more intensely than the first.

The pattern of the last three numbers of Part II, with two celebratory movements on the same theme flanking a slower meditative movement, echoes countless settings of the Latin Mass, where similar or identical choruses on Hosanna in excelsis flank a meditative section on Benedictus.

End of Part II

Category:

Music

Tags:

• The Creation (Haydn)
• Joseph Haydn
• Die Schopfung (Haydn)
• Jacobs