About the work

The Creation (German: Die Schöpfung) is a monumental oratorio composed towards the end of Haydn’s life and premiered in Vienna on April 29th 1798, to immediate acclaim. In contrast to his earlier works, which were often written quickly, Haydn took two years to finish The Creation; by this time in his career he was writing for posterity. It stands as one of the greatest achievements of the classical era, blending sacred narrative with the composer’s masterful orchestration and melodic invention.

The idea for The Creation was conceived during Haydn’s visit to England, where he was deeply moved by the oratorios of Handel, particularly Messiah and Israel in Egypt. Upon returning to Vienna, Haydn was encouraged by his patron, Baron Gottfried van Swieten, to compose a work that would capture the grandeur of these English oratorios. The libretto, compiled by van Swieten, was drawn from a variety of sources, primarily the Book of Genesis, with additional inspiration from Milton’s Paradise Lost and the Book of Psalms.

Each part of The Creation portrays a different stage of the biblical creation narrative:

Part I: The Representation of Chaos and the Creation of Light

The oratorio opens with an orchestral prelude titled “The Representation of Chaos,” which breaks from traditional tonal expectations, creating an atmosphere of formlessness and disorder. This dissonant and rhythmically free introduction sets the stage for the creation narrative. We then hear the angelic trio of Gabriel (soprano), Uriel (tenor), and Raphael (bass) narrating the first four days of creation, culminating in the explosive “And there was light,” a sudden, brilliant C major chord to depict the creation of light, a moment of startling beauty and power.

Part II: The Creation of Life

The second part describes the creation of animals and the first human beings, Adam and Eve. Picturesque music vividly imitates the sounds of various animals, from the mighty lion to the chirping birds. The chorus and soloists alternate in describing the wonders of the natural world, leading to the Duet between Adam (bass) and Eve (soprano), “Graceful Consort,” a tender and intimate expression of their love and gratitude for the paradise they inhabit.

Part III: The Praise of the Creator

The final part shifts from narration to celebration, as Adam and Eve, along with the chorus, offer hymns of praise to the Creator. The oratorio concludes with the triumphant chorus “Praise the Lord, lift up your voices!” - a powerful expression of joy and reverence. Haydn’s use of counterpoint and orchestration in this final movement demonstrates his mastery of the oratorio form, blending the grandeur of Handel with his own melodic sensibility.