0304 haydn creation

FEBRUARY 2004 27

Bornalmost certainly March 31, 1732 — hewas baptized on April 1 — in Rohrau,Lower Austria

DiedMay 31, 1809, in Vienna

Work composedbetween autumn 1796 and autumn 1797,with alterations continuing through thefollowing March. Libretto by Gottfried vanSwieten, based on an earlier, anonymousEnglish text derived from the Bible (thebooks of Genesis and Psalms) andMilton’s Paradise Lost.

World premiereApril 29 (open rehearsal) and April 30(official premiere), 1798, at the PalaisSchwarzenberg in Vienna, Haydn, conductor; Antonio Salieri playing the keyboard continuo; and soprano Christine Gerardi, tenor Mathias Rath-mayer, and bass Ignaz Saal, soloists

New York Philharmonic premiereApril 3, 1953, Robert Shaw, conductor;Adele Addison, Louise Natale, JohnMcCollum, Mack Harrell, and Paul Ukena,soloists; and the Robert Shaw Chorale

Most recent New York Philharmonic performanceApril 11, 1989, Joseph Flummerfelt, con-ductor (in his Philharmonic conductingdebut); Edith Wiens, Sylvia McNair, JonHumphrey, Benjamin Luxon, and JamesMichael McGuire, soloists; and the NewYork Choral Artists

Notes on the ProgramBY JAMES M. KELLER, PROGRAM ANNOTATOR

Die Schöpfung (The Creation), Hob.XXI: 2

JOSEPH HAYDN

Having loosened his connection tothe Austro-Hungarian Court of theEsterházy Princes in 1790, following

three decades of devoted service, JosephHaydn expanded his horizons by taking twoextended trips to England, where he was“managed” by the impresario Johann PeterSalomon, a German expatriate in London.At the end of the second visit, in 1794–95,Salomon gave Haydn a copy of the anony-mous libretto The Creation of the World, saidto have been written at least half a centuryearlier for Handel, though that composernever set it to music. The text’s principalsources were the story of the creation asrelated in Genesis, chapters 1 and 2 (in theKing James translation), the same story asrelated in Milton’s Paradise Lost (specifically,the 1674 revised edition), and the Book ofPsalms (particularly Psalms 19 and 145).

Upon arriving home in Vienna, Haydnshowed the libretto to Baron Gottfried vanSwieten, the imperial librarian, the formerpresident of the court Commission onEducation and Censorship, a sometime com-poser, and an authority on literary matters.He was also the head of the Gesellschaft derAssociirten, a group which was involved withpatronizing large-scale compositions; it wasfor this organization that van Swieten hadarranged for Mozart to create new perform-ing versions of Handel’s Messiah, Alexander’s

Feast, Acis and Galatea, and Ode for St. Cecilia’s

Day between 1788 and 1790. He was also theone who convinced Haydn, in 1796, to createa choral cantata out of The Seven Last Words

of Christ on the Cross, which Haydn had com-posed a decade earlier as an odd sort ofstring quartet to be played at religious cere-monies in Cádiz, Spain.

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Van Swieten enthusiastically endorsedthe idea of Haydn’s pursuing the project. “Irecognized at once that such an exaltedsubject would give Haydn the opportunityI had long desired, to show the whole com-pass of his profound accomplishments andto express the full power of his inex-haustible genius,” he wrote. Through hisgraces, the Associirten proffered Haydn acommission of 500 ducats for the newwork and pledged to cover expenses forcopying the parts and mounting the even-tual production. Haydn envisioned it fromthe outset as a bilingual compositionwhose text setting would serve equally wellin German and English. Van Swieten him-self set to work creating a German versionof the text and then adapted the originalEnglish libretto to match the contours ofhis German. As he wrote,

[I] resolved to clothe the English poemin German garb. … It is true that I fol-lowed the plan of the original faithfullyas a whole, but I diverged from it indetails as often as musical progress andexpression, of which I already had anideal conception in my mind, seemed todemand. Guided by these sentiments, Ioften judged it necessary that muchshould be shortened or even omitted,on the one hand, and on the other handthat much should be made more promi-nent or brought into greater relief, andmuch placed more in the shade.

It therefore seems clear that, notwith-standing the English origins of the text andthe composer’s intent of bilingual equality,the German version of Die Schöpfung wasthe primary one, at least in practical termsof composition. It is a delightful libretto,and it was admired from the outset. TheEnglish version is also a laudable piece ofwork, but neither van Swieten nor Haydnspoke the language fluently, and a fewhowlers — or at least awkward curiosities —did manage to make their way into theretro-translation. Those could be more orless easily rectified, but more problematicwas the English libretto’s general tone,

28 NEW YORK PHILHARMONIC

The Work at a Glance

Die Schöpfung falls into three sections:the first two are of approximately equallength, of 40-odd minutes each, while thethird is shorter, lasting about ten minutesless. Each section ends with a grandchorus that, at least in spirit, is redolentof the choral finales of Handel’s oratorios.

The first section (Nos. 1–14) relatesthe first four days of the creation of theuniverse, as related in the book ofGenesis: on the first day, the creation ofheaven, earth, and light; on the second,the division of the waters; on the third,the establishment of land, sea, and plantlife; and on the fourth, the positioning ofthe sun, moon, and stars. In Part Two(Nos. 15–26) we hear the unfolding of the fifth day — the creation of birds andfish — and the sixth day — the arrival ofbeasts of the land and the first twohuman beings. Adam and Eve, thoseprimordial persons, take center stage inthe third section (Nos. 27–32), at firstgaining consciousness and thenexpressing their mutual love.

The pleasure of experiencing Haydnand van Swieten’s Die Schöpfung liesless in the inevitable trajectory of the plot— we all know the story, and it containsno real sense of conflict — than in thewide-eyed wonder with which thecomposer visits its familiar contours. A childlike quality pervades the work, as ifHaydn were relating the narrative toyoung listeners who had never heard itbefore. There is reverence in his account,to be sure, but no stultifying piety.Instead, Haydn seems to be having thetime of his life, truly celebrating themystery of creation, translating it into themost human of terms, infusing it withgrace, delight, wit, and humor. Even thethree angels who deliver most of thenarration are anything but awe-inspiring:in some earthly life, they might have beencast by Mozart in Die Zauberflöte.

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FEBRUARY 2004 29

which, derived as it was from older texts,already sounded quaint to English audi-ences at the end of the 18th century. Bothversions carry the imprimatur of the com-poser and the librettist, and there is adefensible argument to be made for per-forming The Creation in English when it isoffered to English-speaking audiences.But, considered more abstractly, in termsof the ideal blending of text with music,the German version — Die Schöpfung — isthe clear winner.

Instrumentation: The score calls forthree vocal soloists — a soprano (as bothGabriel and Eve), a tenor (as Uriel), and abass (as Raphael and Adam) — in addition

to a four-part chorus and an orchestra com-prising three flutes, two oboes, two clar-inets, two bassoons and contrabassoon, twohorns, two trumpets, three trombones, tim-pani, and strings, in addition to keyboardcontinuo. This is the expanded orchestra-tion Haydn prepared for the first trulypublic (i.e., not “by invitation only”) per-formance of Die Schöpfung, at Vienna’sBurgtheater on March 19, 1799, on whichoccasion the performing forces includedabout 120 musicians in the orchestra and60 in the choir.

This note is derived from an essay that originally

appeared in the program books of the San Fran-

cisco Symphony. © San Francisco Symphony

Haydn’s Faith

Haydn

“Haydn was very religiously inclined, and was loyallydevoted to the faith in which he was raised. He was verystrongly convinced in his heart that all human destiny isunder God’s guiding hand, that God rewards the good andthe evil, that all talents come from above. All his largerscores begin with the words In nomine Domini [“In thename of the Lord”] and end with Laus Deo or Soli Deogloria [“Praise to God”; “Glory to God alone”]. ‘If mycomposing is not proceeding so well,’ I heard him say, ‘Iwalk up and down the room with my rosary in my hand,say several Aves, and then ideas come to me again.’ …

“Haydn left every man to his own conviction andrecognized all as brothers. In general, his devotion was notof the gloomy, always suffering sort, but rather cheerfuland reconciled, and in this character, moreover, he wroteall his church music. His patriarchal, devout spirit isparticularly expressed in Die Schöpfung, and hence he wasbound to be more successful in this composition than ahundred other masters. … A natural consequence ofHaydn’s religiosity was his modesty, for his talent was nothis own doing, rather a gracious gift from Heaven, to whomhe believed he must show himself thankful.”

In the last ten years of his life Haydn befriended a gentleman named Georg August Griesinger, whofirst approached him in 1799 as a representative of the music-publishing firm of Breitkopf & Härtel.Griesinger recorded all of his conversations with Haydn, publishing them as a book just after Haydndied. Here’s what Griesinger says Haydn told him about his Catholic faith:

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Listen For…

Following the orchestra’s opening depiction of chaos, the angel Raphael launches the story,and the choir joins in to depict the first act of creation, the generation of light. The suddenforte of chorus — joined by the orchestra playing fortissimo — on the word “Licht” (“light”),perhaps the most famous C-major cadence in the history of music, has made a powerfuleffect on every audience since the premiere, as Haydn knew it would. The composer’s friendFrederik Samuel Silverstolpe reported of the premiere:

“No one, not even Baron van Swieten, had seen the page of the score wherein the birth oflight is described. That was the only passage of the work which Haydn had kept hidden. I think I see his face even now, as this part sounded in the orchestra. Haydn had theexpression of someone who is thinking of biting his lips, either to hide his embarrassment

or to conceal asecret. And in thatmoment when lightbroke out for thefirst time, one wouldhave said that raysdarted from thecomposer’s burningeyes. The enchant-ment of the electri-fied Viennese wasso general that theorchestra could not proceed forsome minutes.”

Homage to Haydn

Haydn himself led perform-ances of Die Schöpfung inVienna from its premierethrough the end of 1802, andhe reemerged from retirementon March 27, 1808, to attend a performance (conducted byAntonio Salieri) organized bythe University of Vienna tomark his impending 76thbirthday. His onetime studentLudwig van Beethoven, by thena firmly established master,was in attendance, andhonored the feeble, agingHaydn by falling to his knees and covering his former teacher with kisses. The concert wasdepicted in this miniature-box-cover painting (now stolen) by the artist Balthasar Wegand, inwhich Haydn is seated in the middle of the foreground.

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RAPHAELIm Anfange schuf Gott Himmel und Erde; unddie Erde war ohne Form und leer; undFinsternis war auf der Fläche der Tiefe.

CHORUSUnd der Geist Gottes schwebte auf der Flächeder Wasser; und Gott sprach: Es werde Licht,und es ward Licht.

Recitative

URIELUnd Gott sah das Licht, daß es gut war; undGott schied das Licht von der Finsternis.

3. Aria and Chorus

URIELNun schwanden vor dem heiligen Strahle desschwarzen Dunkels gräuliche Schatten; dererste Tag entstand. Verwirrung weicht undOrdnung keimt empor. Erstarrt entflieht derHöllengeister Schar in des Abgrunds Tiefenhinab, zur ewigen Nacht.

CHORUSVerzweiflung, Wut und Schrecken begleitenihren Sturz. Und eine neue Welt entspringt aufGottes Wort.

4. Recitative

RAPHAELUnd Gott machte das Firmament und teilte dieWasser, die unter dem Firmament waren, vonden Gewässern, die ober dem Firmamentwaren, und es ward so.

In the beginning God created the heavenand the earth. And the earth was withoutform, and void; and darkness was uponthe face of the deep.

And the spirit of God moved upon theface of the waters. And God said, Letthere be light, and there was light.

And God saw the light, that it was good; andGod divided the light from the darkness.

Now before the divine rays the gloomyshades of black darkness vanish. The firstday begins. Chaos yields, and order isestablished. The ghastly hosts of hell fleein terror down into the deep abyss to end-less night.

Despair, rage, and terror attend their fall.And a new world springs up at God’sbehest.

And God made the firmament, and divid-ed the waters which were under the firma-ment from the waters which were abovethe firmament, and it was so.

Haydn’s Die Schöpfung (The Creation)Libretto by Gottfried van Swieten

First Part 1. The Representation of Chaos

2. Recitative and Chorus

(Please turn the page quietly.)

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Da tobten brausend heftige Stürme. Wie Spreuvor dem Winde, so zogen die Wolken. Die Luftdurchschnitten feurige Blitze, und schrecklichrollten die Donner umher. Der Flut entstieg aufsein Geheiß der allerquickende Regen, derallverheerende Schauer, der leichte flockigeSchnee.

Now violent storms rage in tumult; theclouds scud like chaff before the wind;fiery lightnings rend the air, and fearfulthunder rolls around. At his command,floods ascend in clouds to make revivingrain, ravaging hail, and light snowflakes.

5. Solo with Chorus

GABRIELMit Staunen sieht das Wunderwerk derHimmelsbürger frohe Schar, und laut ertöntaus ihren Kehlen des Schöpfers Lob, das Lobdes zweiten Tags.

CHORUSUnd laut ertönt aus ihren Kehlen des SchöpfersLob, das Lob des zweiten Tags.

6. Recitative

RAPHAELUnd Gott sprach: Es sammle sich das Wasserunter dem Himmel zusammen an einem Platz,und es erscheine das trockne Land! und esward so. Und Gott nannte das trockne LandErde, und die Sammlung der Wasser nannte erMeer; und Gott sah, daß es gut war.

7. Aria

Rollend in schäumenden Wellen bewegt sichungestüm das Meer. Hügel und Felsenerscheinen; der Berge Gipfel steigt empor. DieFläche, weit gedehnt, durchläuft der breiteStrom in mancher Krümme. Leise rauschendgleitet fort im stillen Tal der helle Bach.

8. Recitative

GABRIELUnd Gott sprach: Es bringe die Erde Gras her-vor, Kräuter, die Samen geben, und Obstbäume,die Früchte bringen ihrer Art gemäß, die ihrenSamen in sich selbst haben auf der Erde! und esward so.

In amazement the joyous multitude of theheavenly host behold the wondrous work,and loud from their throats resounds praiseof the Creator, and of the second day.

And loud from their throats resoundspraise of the Creator, and of the second day.

And God said, Let the waters under theheaven be gathered together unto oneplace, and let the dry land appear! and itwas so. And God called the dry land Earth;and the gathering together of waters calledhe Seas: and God saw that it was good.

Rolling in foaming waves, the sea isthrown into wild agitation. Hills and rocksemerge, mountaintops arise. Through theplains, stretching wide, broad rivers wendtheir devious course. Softly murmuring,the limpid brook glides on through thequiet valley.

And God said, Let the earth bring forthgrass, the herb yielding seed, and thefruit tree yielding fruit after his kind,whose seed is in itself, upon the earth!and it was so.

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FEBRUARY 2004 32A

9. Aria

Nun beut die Flur das frische Grün dem Augezur Ergötzung dar; den anmutsvollen Blickerhöht der Blumen sanfter Schmuck. Hierduften Kräuter Balsam aus, hier sproßt denWunden Heil. Die Zweige krümmt der goldnenFrüchte Last; hier wölbt der Hain zum kühlenSchirme sich, den steilen Berg bekrönt eindichter Wald.

No. 10 Recitative

URIELUnd die himmlischen Heerscharenverkündigten den dritten Tag, Gott preisendund sprechend:

11. Chorus

CHORUSStimmt an die Saiten, ergreift die Leier! Laßteuren Lobgesang erschallen! Frohlocket demHerrn, dem mächtigen Gott! Denn er hatHimmel und Erde bekleidet in herrlicher Pracht.

12. Recitative

URIELUnd Gott sprach: Es sei’n Lichter an der Festedes Himmels, um den Tag von der Nacht zuscheiden, und Licht auf der Erde zu geben;und es sei’n diese für Zeichen und für Zeiten,und für Tage, und für Jahre. Er machte diesterne gleichfalls.

13. Recitative

In vollem Glanze steiget jetzt die Sonnestrahlend auf; ein wonnevoller Bräutigam, einRiese stolz und froh zu rennen seine Bahn. Mitleisem Gang und sanftem Schimmer schleichtder Mond die stille Nacht hindurch. Den aus-gedehnten Himmelsraum ziert ohne Zahl derhellen Sterne Gold, und die Söhne Gottesverkündigten den vierten Tag mit himmli-schem Gesang, seine Macht ausrufend, also:

Now fresh green in the fields offers delightto the eye; the sweet adornment of flowersenhances the charming sight. Here herbsspread their fragrant odors, here healingplants spring up. The bough bends with theweight of the golden fruits; here the bushesarch into a cool shade, a dense forestcrowns the steep mountain.

And the heavenly host proclaimed thethird day, praising God, and saying:

Sound the harp, strike the lyre! Let yoursong of praise resound! Rejoice in the Lord,the mighty God! For he hath clothed heav-en and earth in magnificence and splendor.

And God said, Let there be lights in the fir-mament of the heaven to divide the dayfrom the night; and to give light upon theearth; and let them be for signs, and for sea-sons, and for days, and for years. He madethe stars also.

In full splendor the sun now rises in radi-ance; a joyful bridegroom, a proud andglad giant, to run his course. With softmotion and mild light the moon stealsthrough the silent night. The gold ofcountless bright stars adorns the immensevault of heaven, and the sons of Godannounced the fourth day in divine song,thus proclaiming his might:


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32B NEW YORK PHILHARMONIC

14. Trio and Chorus

CHORUSDie Himmel erzählen die Ehre Gottes; undseiner Hände Werk zeigt an das Firmament.

GABRIEL, URIEL, and RAPHAELDem kommenden Tage sagt es der Tag; dieNacht, die verschwand, der folgenden Nacht.


GABRIEL, URIEL, and RAPHAELIn alle Welt ergeht das Wort, jedem Ohre klin-gend, keiner Zunge fremd.


The heavens declare the glory of God; andthe firmament shows his handiwork.

The day declares it to the following day; thenight that is passing to the coming night.


The word goes out through all the lands,sounding to every ear, stranger to no tongue.


Second Part No. 15 Recitative

GABRIELUnd Gott sprach: Es bringe das Wasser in derFülle hervor webende Geschöpfe, die Lebenhaben, und Vögel, die über der Erde fliegenmögen in dem offenen Firmamente des Himmels.

No. 16 Aria

Auf starkem Fittiche schwinget sich der Adlerstolz, und teilet die Luft im schnellesten Flugezur Sonne hin. Den Morgen grüßt der Lerchefrohes Lied, und Liebe girrt das zarteTaubenpaar.

Aus jedem Busch und Hain erschallt derNachtigallen süße Kehle. Noch drückte Gramnicht ihre Brust, noch war zur Klage nicht ge-stimmt ihr reizender Gesang.

No. 17 Recitative

RAPHAELUnd Gott schuf große Walfische und ein jedeslebende Geschöpf, das sich beweget, und Gottsegnete sie, sprechend: Seid fruchtbar alle,mehret euch!

And God said, Let the waters bring forthabundantly the moving creature that hathlife, and fowl that may fly above the earthin the open firmament of heaven.

On powerful pinions the proud eaglesoars and cleaves the air in swiftest flightto the sun. The lark’s joyous song greetsthe morning, and tender pairs of dovescoo their love.

From every bush and grove the nightin-gale’s sweet notes resound; no grief hasyet afflicted her breast; her enchanting layis not yet turned to lament.

And God created great whales, and everyliving creature that moveth. And Godblessed them, saying, Be fruitful all,and multiply.

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FEBRUARY 2004 32C

Bewohner der Luft, vermehret euch, und singt aufjedem Aste! Mehret euch, ihr Flutenbewohner,und füllet jede Tiefe! Seid fruchtbar, wachset,mehret euch! Erfreuet euch in eurem Gott!

No. 18 Recitative

Und die Engel rührten ihr’ unsterblichen Harfen,und sangen die Wunder des fünften Tags.

No. 19 Trio and Chorus

GABRIELIn holder Anmut stehn, mit jungem Grüngeschmückt, de wogigten Hügel da, aus ihrenAdern quillt in fließendem Kristall der küh-lende Bach hervor.

URIEL In frohen Kreisen schwebt, sich wiegend in derLuft, der munteren Vögel Schar; den buntenFederglanz erhöht im Wechselflug das goldeneSonnenlicht.

RAPHAELDas helle Naß durchblitzt der Fisch und windetsich in stetem Gewühl umher. Vom tiefstenMeeresgrund wälzt sich Leviathan auf schäu-mender Well’ empor.

GABRIEL, URIEL, and RAPHAEL Wie viel sind deiner Werk’, o Gott! Wer fassetihre Zahl?

TRIO and CHORUS Der Herr ist groß in seiner Macht, und ewigbleibt sein Ruhm.

No. 20 Recitative

RAPHAELUnd Gott sprach: Es bringe die Erde hervorlebende Geschöpfe nach ihrer Art, Vieh undkriechendes Gewürm, und Tiere der Erde nachihren Gattungen.

Inhabitants of the air, be multiplied, andsing on every bough! Multiply, denizens ofthe waters, and fill all the depths! Be fruit-ful, grow and multiply! Rejoice in your God!

And the angels struck their immortal harps,and sang the wonders of the fifth day.

In lovely grace the rising hills now stand,decked in fresh verdure; from their veinscooling brooks spring forth in flowingcrystal.

The merry swarms of birds wheel in joy-ous circles and hover in the air; the goldensunlight heightens the joyous glitter oftheir feathers in their shimmering flight.

Fish flash through the clear waters andwriggle in endless shoals. From the depthsof the seabed Leviathan heaves himself upinto the foaming waves.

How many are thy works, O God! Whomay their number tell?

The Lord is great in his might, and hisglory remains for ever.

And God said, Let the earth bring forththe living creature after his kind, cattle,and creeping thing, and beast of the earthafter his kind.


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32D NEW YORK PHILHARMONIC

No. 21 Recitative

Gleich öffnet sich der Erde Schoß, und siegebiert auf Gottes Wort Geschöpfe jeder Art, invollem Wuchs und ohne Zahl. Vor Freude brül-lend steht der Löwe da. Hier schießt dergelenkige Tiger empor. Das zackig’ Haupterhebt der schnelle Hirsch. Mit fliegenderMähne springt und wieh’rt voll Mut und Kraftdas edle Roß.

Auf grünen Matten weidet schon das Rind, inHerden abgeteilt. Die Triften deckt, als wiegesät, das wollenreiche, sanfte Schaf. WieStaub verbreitet sich in Schwarm und Wirbeldas Heer der Insekten. In langen Zügen kriechtam Boden das Gewürm.

No. 22 Aria

Nun scheint in vollem Glanze der Himmel,nun prangt in ihrem Schmucke die Erde. DieLuft erfüllt das leichte Gefieder, die Wasserschwellt der Fische Gewimmel, den Bodendrückt der Tiere Last. Doch war noch allesnicht vollbracht. Dem Ganzen fehlte dasGeschöpf, das Gottes Werke dankbar seh’n, desHerren Güte preisen soll.

No. 23 Recitative

URIELUnd Gott schuf den Menschen nach seinemEbenbilde. Nach dem Ebenbilde Gottes schuf erihn. Mann und Weib erschuf er sie. Den Atemdes Lebens hauchte er in sein Angesicht, undder Mensch wurde zur lebendigen Seele.

No. 24 Aria

Mit Würd’ und Hoheit angetan, mit Schönheit,Stärk’ und Mut begabt, gen Himmelaufgerichtet, steht der Mensch, ein Mann undKönig der Natur.

Die breit gewölbt’, erhab’ne Stirn verkünd’t derWeisheit tiefen Sinn, und aus dem hellenBlicke strahlt der Geist, des Schöpfers Hauchund Ebenbild.

An seinen Busen schmieget sich, für ihn, ausihm geformt, die Gattin hold und anmutsvoll.

In froher Unschuld lächelt sie, des Frühlingsreizend Bild, ihm Liebe, Glück und Wonne zu.

At once earth opens her womb and atGod’s command brings forth numberlesscreatures of all kinds, fully grown. Therestands the lion, roaring for joy. There thesupple tiger leaps out. The swift stag raiseshis antlered head. With flying mane, thenoble steed, full of spirit and strength,rears and neighs.

Cattle, gathered into herds, already graze ongreen meadows. The fleecy, gentle sheepcover the pastureland as though they hadbeen planted. Myriads of insects spread,whirling and swarming, like dust. Creepingthings drag their long trail along the ground.

Now heaven shines in full glory; earth isresplendent in her attire. Light featheredcreatures fill the air; shoals of fish swellthe waters; the weight of beasts pressesupon the ground. But all was not yetachieved. The whole lacked that beingwho should gratefully behold God’s workand praise the Lord’s goodness.

So God created man in his own image, inthe image of God created he him; maleand female created he them. He breathedinto his nostrils the breath of life; and manbecame a living soul.

Clad in dignity and grandeur, endowed withbeauty, strength and courage, erect to heav-en stands man, man the king of Nature.

His broad, arched, lofty brow proclaimshis deep sense of wisdom, and from cleareyes shines the soul, the breath and imageof his maker.

Upon his breast nestles the fair and grace-ful partner formed for him from his flesh.

She smiles in happy innocence, the charm-ing mirror of Spring, pledging him love,happiness and bliss.

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No. 25 Recitative

RAPHAELUnd Gott sah jedes Ding, was er gemacht hatte;und es war sehr gut; und der himmlische Chorfeierte das Ende des sechsten Tages mit lautemGesang.

No. 26 Trio and Chorus

CHORUS Vollendet ist das große Werk, der Schöpfersieht’s und freuet sich. Auch unsre Freud’erschalle laut. Des Herren Lob sei unser Lied!

GABRIEL and URIEL Zu dir, o Herr, blickt alles auf; um Speise flehtdich alles an. Du öffnest deine Hand, gesättigtwerden sie.

RAPHAELDu wendest ab dein Angesicht; da bebet allesund erstarrt. Du nimmst den Odem weg; inStaub zerfallen sie.

GABRIEL, URIEL, and RAPHAELDen Odem hauchst du wieder aus, und neuesLeben sproßt hervor. Verjüngt ist die Gestalt derErd’ an Reiz und Kraft.

CHORUS Vollendet ist das große Werk. Des Herren Lobsei unser Lied. Alles lobe seinen Namen; Denner allein ist hoch erhaben, alleluja.

And God saw everything that He hadmade, and behold, it was very good. Andthe heavenly choir, singing aloud,acclaimed the end of the sixth day.

Completed is the glorious work, theCreator beholds it and is well pleased. Letour joy too resound. Let our song be thepraise of the Lord!

To thee, O Lord, all lift their eyes; fromthee all implore their food. Thou openestthy hand, and their needs are satisfied.

But if thou dost turn away thy face, thenall tremble in terror. If thou dost withholdthy breath, they crumble into dust.

Thou dost send forth thy breath again,and new life springs up. The face of theearth is restored to charm and strength.

Completed is the glorious work. Let oursong be the praise of the Lord. Let allpraise his name, for he alone is exalted onhigh, hallelujah.

Third Part No. 27 Recitative

URIELAus Rosenwolken bricht, geweckt durch süßenKlang, der Morgen jung und schön. Vom himm-lischen Gewölbe strömt reine Harmonie zurErde hinab. Seht das beglückte Paar, wie Handin Hand es geht! Aus ihren Blicken strahlt desheißen Danks Gefühl. Bald singt in lautem Tonihr Mund des Schöpfers Lob. Laßt unsre Stimmedann Sich mengen in ihr Lied!

Awakened by sweet sounds, the young, fairmorning breaks from its rosy clouds. Fromthe vaults of heaven pure harmony flowsdown to earth. Behold the happy pair, asthey go hand in hand! In their looks shinefeelings of ardent thanks. Soon their lips willsing aloud a hymn in praise of their Creator.Then let our voices join with them in song!


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No. 28 Duet with Chorus

EVE and ADAMVon deiner Güt’, o Herr und Gott, ist Erd’ undHimmel voll. Die Welt, so groß, so wunderbar,ist deiner Hände Werk.

CHORUS Gesegnet sei des Herren Macht! Sein Loberschall’ in Ewigkeit!

ADAMDer Sterne hellster, o wie schön verkündest duden Tag! Wie schmückst du ihn, o Sonne, du,des Weltalls Seel’ und Aug’!

CHORUSMacht kund auf eurer weiten Bahn des HerrenMacht und seinen Ruhm!

EVE Und du, der Nächte Zierd’ und Trost’, Undall’ das strahlend Heer verbreitet überall seinLob, in eurem Chorgesang!

ADAMIhr Elemente, deren Kraft stets neue Formenzeugt, ihr Dünst’ und Nebel, die der Wind ver-sammelt und vertreibt,

CHORUSLobsinget alle Gott dem Herrn! Groß, wie seinNam’, ist seine Macht!

EVE Sanft rauschend lobt, o Quellen, ihn! DenWipfel neigt, ihr Bäum’! Ihr Pflanzen duftet,Blumen haucht ihm euren Wohlgeruch!

ADAMIhr, deren Pfad die Höh’n erklimmt, und ihr, dieniedrig kriecht, ihr, deren Flug die Luft durch-schneid’t, und ihr, im tiefen Naß,

EVE and ADAMIhr Tiere preiset alle Gott!

CHORUSIhr Tiere preiset alle Gott! Ihn lobe was nurOdem hat!

Earth and heaven, O Lord and God, arefull of thy bounty. The world, so great andwonderful, is the work of thy hands.

Blessed be the might of the Lord! May Hispraise resound for ever!

Brightest of stars, O how fair dost thouherald the day! How dost thou adorn it, Osun, thou soul and eye of the universe!

Proclaim in your vast course the might ofthe Lord and His glory!

And thou, the ornament and comfort ofnight, and all ye starry hosts, spread every-where His praise in your choruses!

Ye elements, by whose power new formsceaselessly appear, ye mists and clouds,which the wind assembles and disperses,

Extol ye all God our Lord! Great is Hisname, and great His might!

Praise Him, O gently murmuring springs!Bow your heads, ye trees! Ye plants, waftyour scent, ye flowers, breathe to Him yourfragrance!

Ye whose path ascends the heights, and yewho creep low, ye whose flight cleaves theair and ye in the waters’ depths,

Ye creatures all, extol the Lord!

Ye creatures all, extol the Lord!

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FEBRUARY 2004 39

EVE and ADAMIhr dunk’len Hain’, ihr Berg’ und Tal’, ihrZeugen unsres Danks, ertönen sollt ihr frühund spät von unserm Lobgesang!

CHORUSHeil dir, o Gott! O Schöpfer, Heil! Aus deinemWort entstand die Welt. Dich beten Erd’ undHimmel an; wir preisen dich in Ewigkeit.

No. 29 Recitative

ADAMNun ist die erste Pflicht erfüllt; dem Schöpferhaben wir gedankt. Nun folge mir, Gefährtinmeines Lebens! Ich leite dich, und jederSchritt weckt neue Freud’ in uns’rer Brust,zeigt Wunder überall. Erkennen sollst dudann, welch’ unaussprechlich Glück der Herruns zugedacht, ihn preisen immerdar, ihmweihen Herz und Sinn. Komm, folge mir! Ichleite dich!

EVEO du, für den ich ward! Mein Schirm, meinSchild, mein All! Dein Will’ ist mir Gesetz. Sohat’s der Herr bestimmt, und dir gehorchen,bringt mir Freude, Glück und Ruhm.

No. 30 Duet

ADAMHolde Gattin! Dir zur Seite Fließen sanft dieStunden hin. Jeder Augenblick ist Wonne;keine Sorge trübet sie.

EVETeurer Gatte! Dir zur Seite Schwimmt inFreuden mir das Herz. Dir gewidmet ist meinLeben; deine Liebe sei mein Lohn.

EVE and ADAMHolde Gattin/Teurer Gatte! Dir zur Seite, etc.Der tauende Morgen, o wie ermuntert er! DieKühle des Abends, o wie erquicket sie! Wielabend ist der runden Früchte Saft! Wiereizend ist der Blumen süßer Duft! Doch ohnedich, was wäre mir der Morgentau, derAbendhauch, der Früchte Saft, der BlumenDuft! Mit dir erhöht sich jede Freude, mit dirgenieß’ ich doppelt sie; mit dir ist Seligkeit dasLeben; dir sei es ganz geweiht!

Ye shady groves, ye hills and valleys, wit-nesses of our thanks, from morn till eveshall you re-echo our hymns of praise.

Hail to thee, O God! Creator, hail! By thyword was the world begun. Earth and heav-en adore thee; we praise thee for evermore.

Now our first duty is fulfilled; we havethanked our maker. Now follow me, my lifecompanion! I will be thy guide, and everystep wakes new joy within our breasts, andreveals wonders everywhere. Then shaltthou perceive what unspeakable bliss theLord has destined for us, to praise Himevermore, to dedicate heart and soul toHim. Come, follow me! I will be thy guide.

O thou for whom I was made! My help, myshield, my all! Thy will is law to me. Thusthe Lord hath ordained; and obeying theeshall bring me joy, happiness, and honor.

Fair wife, at thy side the hours glide pastgently. Every moment is rapture, no caretroubles it.

Dear husband, at thy side my heart over-flows with joy. My life is devoted to thee;let thy love be my reward.

Fair wife/Dear husband, at thy side, etc., O how invigorating is the dewy morn! Ohow refreshing is the cool of the evening!How reviving is the juice of ripe fruits! Howcharming is the fragrant scent of flowers!But without thee what would be to me themorning dew, the evening breeze, the juiceof fruits, the scent of flowers? With theeevery joy is enhanced, with thee all mydelight is doubled, with thee life is bliss; mayit be wholly dedicated to thee!

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No. 31 Recitative

URIELO glücklich Paar, und glücklich immerfort,wenn falscher Wahn euch nicht verführt nochmehr zu wünschen, als ihr habt, und mehr zuwissen, als ihr sollt.

No. 32 Chorus

CHORUSSingt dem Herren alle Stimmen! Dankt ihmalle seine Werke! Laßt zu Ehren seines NamensLob in Wettgesang erschallen! Des HerrenRuhm, er bleibt in Ewigkeit. Amen.

O happy pair, and happy evermore if vainfolly lead you not astray to desire morethan you have and to know more than youshould.

Sing to the Lord, all ye voices! Give Himthanks, all His works! Let praise in honorof His name resound in united song! TheLord’s praise shall endure for ever. Amen.

— Translation © Lionel Salter


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