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haydn
the creation LPO-0004
KLAUS TENNSTEDT conductor LUCIA POPP soprano ANTHONY ROLFE JOHNSON tenor BENJAMIN LUXON baritone LONDON PHILHARMONIC ORCHESTRA and CHOIR
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A BBC recording LPO – 0008
Joseph Haydn 1732 – 1809
Die Schöpfung (The Creation) Hob.XXI/2 (1796-8)
Text by Gottfried van Swieten after John Milton’s Paradise Lost
CD1
PART 1
01 9:31 02 3:55 03 1:53 04 1:47 05 0:51 06 4:08 07 0:33 08 5:18 09 0:16 10 2:03 11 0:47 12 3:28 13 4:28
Die Vorstellung des Chaos – Recitative (Raphael, Uriel) and Chorus: Im Anfange schuf Gott Himmel und Erde Aria (Uriel) and Chorus: Nun schwanden vor dem heiligen Strahle Recitative (Raphael): Und Gott machte das Firmament Solo (Gabriel) and Chorus: Mit Staunen sieht das Wunderwerk Recitative (Raphael): Und Gott sprach: Es sammle sich das Wasser Aria (Raphael): Rollend in schäumenden Wellen Recitative (Gabriel): Und Gott sprach: Es bringe die Erde Gras hervor Aria (Gabriel): Nun beut die Flur das frische Grün Recitative (Uriel): Und die himmlischen Heerscharen verkündigten Chorus: Stimmt an die Saiten, ergreift die Leier Recitative (Uriel): Und Gott sprach: Es sei’n Lichter an der Feste Recitative (Uriel): In vollem Glanze steiget jetzt Chorus and Trio (Gabriel, Uriel, Raphael): Die Himmel erzählen die Ehre Gottes – Dem kommenden Tage sagt es der Tag
CD2
PART 2
01 02 03 04
Recitative (Gabriel): Und Gott sprach: Es bringe das Wasser Aria (Gabriel): Auf starkem Fittiche Recitative (Raphael): Und Gott schuf große Walfische Recitative (Raphael): Und die Engel rührten
0:29 7:04 2:21 0:23
05 06 07 08 09 10 11 12 13 14
4:27 2:20 0:33 3:22 3:38 0:52 3:55 0:27 1:18 6:50
Trio (Gabriel, Uriel, Raphael): In holder Anmut stehn Trio (Gabriel, Uriel, Raphael) and Chorus: Der Herr ist groß in seiner Macht Recitative (Raphael): Und Gott sprach: Es bringe die Erde hervor Recitative (Raphael): Gleich öffnet sich der Erde Schoß Aria (Raphael): Nun scheint in vollem Glanze der Himmel Recitative (Uriel): Und Gott schuf den Menschen Aria (Uriel): Mit Würd’ und Hoheit angetan Recitative (Raphael): Und Gott sah jedes Ding Chorus: Vollendet ist das große Werk Trio (Gabriel, Uriel, Raphael): Zu dir, o Herr, blickt alles auf
PART 3
15 16 17 18 19 20
Recitative (Uriel): Aus Rosenwolken bricht Duet (Eva, Adam) and Chorus: Von deiner Güt’, o Herr und Gott Recitative (Adam, Eva): Nun ist die erste Pflicht erfüllt Duet (Adam, Eva): Holde Gattin! Recitative (Uriel): O glücklich Paar Chorus: Singt dem Herren alle Stimmen!
4:07 10:53 3:08 8:01 0:28 3:52
LUCIA POPP soprano (Eva, Gabriel) ANTHONY ROLFE JOHNSON tenor (Uriel) BENJAMIN LUXON baritone (Adam, Raphael)
KLAUS TENNSTEDT conductor LONDON PHILHARMONIC CHOIR RICHARD COOKE chorus master LONDON PHILHARMONIC ORCHESTRA David Nolan leader
HAYDN’S CREATION: THE BACKGROUND By 1790, when Prince Nicholas Esterházy died, Haydn had spent nearly thirty years at Eisenstadt. He had reached his ninety-second symphony and the Op. 64 quartets (Nos. 64-69), and would doubtless have composed more than his eventual thirty-one piano trios had it not been for the Prince’s insatiable appetite for trios for the baryton1. In all there are no fewer than 126. Now aged fifty-eight, he was given a pension and, while maintaining an albeit strained relationship with Prince Nicholas II, for whom he composed a series of Masses, spent more time in Vienna and was free to respond to offers from abroad. In 1791 he made his first visit to London and was given an honorary doctorate at Oxford University. It was during his second visit in 1794-95 that Salomon gave him the libretto of The Creation by Thomas Lidley (or Linley). The text derives from Milton’s Paradise Lost as well as the Bible and was said to have been originally intended for Handel. On his return to Vienna, Haydn lost no time in handing it to his friend and patron Gottfried van Swieten. Baron van Swieten was a man of culture, a diplomat, and Court Librarian of Vienna. Former 1
Ambassador to the Court of Frederick the Great, he was described by one of his contemporaries as “not so much a friend of Haydn and Mozart but very much a patron - and with a very high opinion of himself”. Though The Creation has been acclaimed by posterity, the musical world of the mid-1790s knew and admired Haydn for his symphonies and string quartets. As another contemporary put it: “Who does not know him, the great master, famous in the whole of Europe for twenty years? And enormous as the number of his symphonies is, one thirsts with parched throat every day for new ones. … [yet] the treatment of the voice, on the otherhand, seems not to be his strong point except for some single arias” (Jahrbuch der Tonkunst für Wien und Prag, 1796, a musical Yearbook, covering music in Austria-Hungary). His first oratorio, Il ritorno di Tobia (1775) had not been successful and most music lovers in Vienna would not have encountered many of his operas composed in the 1770s for Esterháza or even the Masses which were composed in the 1790s for Prince Nicholas II. Indeed for all Maria Theresa of Austria’s praise (“If I want to hear a good opera I go to Esterháza”), Haydn’s operas did not emerge from the obscurity of the Hungarian plains until the 1950s.
The baryton belonged to the bass viol family and had sympathetic strings which could be plucked.
As a result, Haydn was never more aware of the artistic challenge of a large-scale oratorio. He summed up his approach in these oft-quoted words: “I was never so pious as during the time I was working on The Creation. Daily I fell on my knees and asked God that He grant me the strength to bring this work to a successful conclusion”. In our shallow, media-driven times, such depth of feeling is a rare phenomenon. The collaboration between composer and librettist was close and van Swieten made many suggestions as to the musical setting. In No. 28 Swieten commented, “To ‘alles Lobe’ [‘Glory to His Name’] (CD2/Track 14) a fugue if one wants to”. Haydn wrote a fugue. But if he followed some of van Swieten’s ideas, he by no means followed all. In ambition and scale The Creation was without precedent in Haydn’s output as indeed was its emotional eloquence. ‘The Representation of Chaos’ (CD1/Track 1) was by far the most modern piece of its time. In fact in terms of the expressive use of dissonance it even outstrips the opening of Mozart’s String Quartet in C major, K.465, the so-called ‘Dissonance’, one of the six quartets Mozart dedicated to Haydn. Indeed, even two hundred years on,
it has lost none of its power to astonish. Not only is The Creation bold in conception, it is forward-looking tonally. The tonal plan offers us an early example of ‘progressive tonality’: the work begins in C minor-major and then proceeds through a variety of key centres - D minor, A major and D flat etc. - eventually finishing in B flat. This is unusual for works composed in the eighteenth century which normally end in the key in which they began. Its instances of tone-painting and depiction of nature were as novel as the forces involved were large. A Swedish observer at the 1799 performance lists four hundred performers in all, including treble wind and brass. At its first performance The Creation brought in “the biggest box-office returns in the history of Vienna” and at the turn of the century “conquered at one fell swoop, a Europe divided by war; it reunited all classes - Catholic Austria, Anglican England, Evangelical Berlin and even a laicised Paris - in admiration” (Professor Martin Stern). Like Messiah in England, it has been performed every year in Vienna since 1798. And save for some years of disfavour during the nineteenth century, it has exercised an equal hold on audiences in Britain. Robert Layton
Joseph Haydn Die Schöpfung
The Creation
Text nach John Miltons Paradise Lost frei ins Deutsche übertragen von Gottfried van Swieten
Text by Gottfried van Swieten after John Milton’s Paradise Lost
CD1
CD 1
ERSTER TEIL
PART I
01 Einleitung Die Vorstellung des Chaos
01 Introduction The Representation of Chaos
Rezitativ und Chor
Recitative and Chorus
Raphael Im Anfange schuf Gott Himmel und Erde; und die Erde war ohne Form und leer; und Finsternis war auf der Fläche der Tiefe.
Raphael In the beginning God created the Heaven and the Earth; and the Earth was without form and void; and darkness was upon the face of the deep.
Chor Und der Geist Gottes schwebte auf der Fläche der Wasser. Und Gott sprach: Es werde Licht! Und es ward Licht.
Chorus And the Spirit of God moved upon the face of the waters. And God said: Let there be Light, and there was Light.
Uriel Und Gott sah das Licht, daß es gut war; und Gott schied das Licht von der Finsternis.
Uriel And God saw the Light, that it was good; and God divided the Light from the darkness.
(Genesis 1, 1-4)
02 Aria and Chorus
Uriel Nun schwanden vor dem heiligen Strahle des schwarzen Dunkels gräuliche Schatten;
Uriel Now vanish before the holy beams the gloomy dismal shades of dark;
the first of days appears. Disorder yields to order the fair place. Affrighted fled hell’s spirits black in throngs; down they sink in the deep abyss, to endless night.
Chor Verzweiflung, Wut und Schrecken begleiten ihren Sturz. Und eine neue Welt entspringt auf Gottes Wort.
Chorus Despairing cursing rage attends their rapid fall. A new-created world springs up at God’s command.
03 Rezitativ
03 Recitative
Raphael Und Gott machte das Firmament, und teilte die Wasser, die unter dem Firmament waren, von den Gewässern, die ober dem Firmament waren; und es ward so.
Raphael And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament. And it was so. (Genesis 1, 7)
(Genesis 1, 1-4)
02 Arie und Chor
der erste Tag entstand. Verwirrung weicht, und Ordnung keimt empor. Erstarrt entflieht der Höllengeister Schar, in des Abgrunds Tiefen hinab zur ewigen Nacht.
(Genesis 1, 7)
Da tobten brausend heftige Stürme. Wie Spreu vor dem Winde, so flogen die Wolken; die Luft durchschnitten feurige Blitze; und schrecklich rollten die Donner umher. Der Flut entstieg auf sein Geheiß der allerquickende Regen, der allverheerende Schauer, der leichte, flockige Schnee.
Outrageous storms now dreadful arose; as chaff by the winds are impelled the clouds. By heaven’s fire the sky is enflamed and awful rolled the thunders on high. Now from the floods in steam ascend reviving showers of rain, the dreary wasteful hail, the light flakes of snow.
04 Solo und Chor
04 Solo and Chorus
Gabriel Mit Staunen sieht das Wunderwerk der Himmelsbürger frohe Schar,
Gabriel The marv’lous work beholds amaz’d the glorious hierarchy of Heav’n;
und laut ertönt aus ihren Kehlen des Schöpfers Lob, das Lob des zweiten Tags.
and to th’ ethereal vaults resound the praise of God, and of the second day.
Chor Und laut ertönt aus ihren Kehlen des Schöpfers Lob, das Lob des zweiten Tags.
Chorus And to th’ ethereal vaults resound the praise of God, and of the second day.
05 Rezitativ
05 Recitative
Raphael Und Gott sprach: Es sammle sich das Wasser unter dem Himmel zusammen an einem Platz, und es erscheine das trockne Land; und es ward so. Und Gott nannte das trockne Land: Erde, und die Sammlung der Wasser nannte er Meer, und Gott sah, daß es gut war.
Raphael And God said: Let the waters under the heaven be gathered together unto one place, and let the dry land appear; and it was so. And God called the dry land: earth, and the gathering of waters called he seas; and God saw that it was good.
(Genesis 1, 9 -10)
07 Rezitativ
07 Recitative
Gabriel Und Gott sprach: Es bringe die Erde Gras hervor, Kräuter, die Samen geben, und Obstbäume, die Früchte bringen ihrer Art gemäß, die ihren Samen in sich selbst haben auf der Erde; und es ward so.
Gabriel And God said: Let the earth bring forth grass, the herb-yielding seed, and the tree yielding fruit after his kind, whose seed is in itself upon the earth; and it was so.
(Genesis 1, 11)
(Genesis 1, 9-10)
06 Arie
06 Aria
Raphael Rollend in schäumenden Wellen bewegt sich ungestüm das Meer. Hügel und Felsen erscheinen, der Berge Gipfel steigt empor. Die Fläche, weit gedehnt, durchläuft der breite Strom in mancher Krümme. Leise rauschend gleitet fort im stillen Tal der helle Bach.
Raphael Rolling in foaming billows uplifted roars the boist’rous sea. Mountains and rocks now emerge; their tops into the clouds ascend. Thro’ th’ open plains outstretching wide in serpent error rivers flow. Softly purling glides on thro’ silent vales the limpid brook.
(Genesis 1, 11)
08 Arie
08 Aria
Gabriel Nun beut die Flur das frische Grün dem Auge zur Ergötzung dar, den anmutsvollen Blick erhöht der Blumen sanfter Schmuck. Hier duften Kräuter Balsam aus; hier sproßt den Wunden Heil. Die Zweige krümmt der goldnen Früchte Last; hier wölbt der Hain zum kühlen Schirme sich; den steilen Berg bekrönt ein dichter Wald.
Gabriel With verdure clad the fields appear delightful to the ravish’d sense; by flowers sweet and gay enhanced is the charming sight. Here vent their fumes the fragrant herbs; here shoots the healing plant. By loads of fruit th’ expanded boughs are press’d; to shady vaults are bent the tufty groves; the mountain’s brow is crown’d with closed wood.
09 Rezitativ
09 Recitative
Uriel Und die himmlischen Heerscharen verkündigten den dritten Tag, Gott preisend und sprechend:
Uriel And the heav’nly host proclaimed the third day, praising God and saying:
10 Chor
10 Chorus
Stimmt an die Saiten, ergreift die Leier, lasst euren Lobgesang erschallen! Frohlocket dem Herrn, dem mächtigen Gott!
Awake the harp, the lyre awake! In shout and joy your voices raise! In triumph sing the mighty Lord!
Denn er hat Himmel und Erde bekleidet in herrlicher Pracht.
For He the heavens and earth has clothed in stately dress.
11 Rezitativ
11 Recitative
Uriel Und Gott sprach: Es sei’n Lichter an der Feste des Himmels, um den Tag von der Nacht zu scheiden, 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 die Sterne gleichfalls.
Uriel And God said: Let there be lights in the firmament of heaven to divide the day from the night, and to give light upon the earth; and let them be for signs and for seasons, and for days, and for years. He made the stars also.
(Genesis 1, 14 und 16)
(Genesis 1, 14 and 16)
12 Rezitativ
12 Recitative
Uriel In vollem Glanze steiget jetzt die Sonne strahlend auf; ein wonnevoller Bräutigam, ein Riese, stolz und froh, zu rennen seine Bahn. Mit leisem Gang und sanftem Schimmer schleicht der Mond die stille Nacht hindurch. Den ausgedehnten Himmelsraum ziert ohne Zahl der hellen Sterne Gold, und die Söhne Gottes verkündigten den vierten Tag mit himmlischem Gesang, seine Macht ausrufend also:
Uriel In splendour bright is rising now the sun and darts his rays; an am’rous joyful happy spouse, a giant proud and glad, to run his measur’d course. With softer beams and milder light steps on the silver moon through silent night. The space immense of th’ azure sky innum’rous host of radiant orbs adorns. And the sons of God announced the fourth day in song divine, proclaiming thus his power:
13 Chor und Terzett
13 Chorus and Trio
Chor Die Himmel erzählen die Ehre Gottes. Und seiner Hände Werk zeigt an das Firmament.
Chorus The heavens are telling the glory of God. The wonder of his works displays the firmament.
Gabriel, Uriel, Raphael Dem kommenden Tage sagt es der Tag, die Nacht, die verschwand, der folgenden Nacht.
Gabriel, Uriel, Raphael To day, that is coming, speaks it the day; the night, that is gone, to following night.
Chor Die Himmel erzählen die Ehre Gottes. Und seiner Hände Werk zeigt an das Firmament.
Chorus The heavens are telling the glory of God. The wonder of works displays the firmament.
Gabriel, Uriel, Raphael In alle Welt ergeht das Wort, jedem Ohre klingend, keiner Zunge fremd.
Gabriel, Uriel, Raphael In all the land resounds the word, never unperceived, ever understood.
Chor Die Himmel erzählen die Ehre Gottes. Und seiner Hände Werk zeigt an das Firmament.
Chorus The heavens are telling the glory of God. The wonder of his works displays the firmament.
CD2
CD2
ZWEITER TEIL
PART II
01 Rezitativ
01 Recitative
Gabriel Und Gott sprach: Es bringe das Wasser in der Fülle hervor webende Geschöpfe, die Leben haben, und Vögel, die über der Erde fliegen mögen. In dem offenen Firmamente des Himmels.
Gabriel And God said: Let the waters bring forth abundantly the moving creature that hath life, and fowl, that may fly above the earth in the open firmament of heaven.
(Genesis 1, 20)
Seid fruchtbar alle, mehret euch! Bewohner der Luft, vermehret euch und singt auf jedem Aste! Mehret euch, ihr Flutenbewohner und füllet jede Tiefe! Seid fruchtbar, wachset, mehret euch! Erfreuet euch in eurem Gott!
Be fruitful all, and multiply! Ye winged tribes, be mulitply’d and sing on ev’ry tree! Multiply, ye finny tribes, and fill each wat’ry deep! Be fruitful, grow, and multiply! And in your God and Lord rejoice!
(Genesis 1, 21 und 23)
(Genesis 1, 20)
02 Arie
02 Aria
Gabriel Auf starkem Fittiche schwinget sich der Adler stolz, und teilet die Luft im schnellesten Fluge zur Sonne hin. Den Morgen grüßt der Lerche frohes Lied; und Liebe girrt das zarte Taubenpaar. Aus jedem Busch und Hain erschallt der Nachtigallen süße Kehle. Noch drückte Gram nicht ihre Brust, noch war zur Klage nicht gestimmt ihr reizender Gesang.
Gabriel On mighty pens uplifted soars the eagle aloft, and cleaves the air in swiftest flight to the blazing sun. His welcome bids to morn the merry lark, and cooing, calls the tender dove his mate. From ev’ry bush and grove resound the nightingale’s delightful notes. No grief affected yet her breast, nor to a mournful tale were tun’d her soft enchanting lays.
03 Rezitativ
03 Recitative
Raphael Und Gott schuf große Walfische, und ein jedes lebende Geschöpf, das sich beweget. Und Gott segnete sie, sprechend:
Raphael And God created great whales, and ev’ry living creature that moveth. And God blessed them, saying:
(Genesis 1, 21 and 23)
04 Rezitativ
04 Recitative
Raphael Und die Engel rührten ihr’ unsterblichen Harfen, und sangen die Wunder des fünften Tag’s.
Raphael And the angels struck their immortal harps and the wonders of the fifth day sung.
05 Terzett
05 Trio
Gabriel In holder Anmut stehn, mit jungem Grün geschmückt, die wogigten Hügel da. Aus ihren Adern quillt, in fließendem Kristall, der kühlende Bach hervor.
Gabriel Most beautiful appear, with verdure young adorn’d, the gently sloping hills. Their narrow sinuous veins distill in crystal drops the fountain fresh and bright.
Uriel In frohen Kreisen schwebt, sich wiegend in der Luft, der munteren Vögel Schar. Den bunten Federglanz erhöht im Wechselflug das goldene Sonnenlicht.
Uriel In lofty circles play and hover thro’ the sky the cheerful host of birds. And in the flying whirl, the glitt’ring plumes are died, as rainbows, by the sun.
Raphael Das helle Naß durchblitzt der Fisch und windet sich in stetem Gewühl umher. Vom tiefsten Meeresgrund wälzet sich Leviathan auf schäumender Well’ empor.
Raphael See flashing thro’ the wet in thronged swarms the fry on thousand ways around. Upheaved from the deep, th’ immense Leviathan sports on the foaming wave.
Gabriel, Uriel, Raphael Wie viel sind deiner Werk’, o Gott! Wer fasset ihre Zahl? Wer? o Gott!
Gabriel, Uriel, Raphael How many are thy works, O God? Who may their numbers tell? Who, O God?
06 Terzett und Chor
06 Trio and Chorus
Gabriel, Uriel, Raphael Der Herr ist groß in seiner Macht, und ewig bleibt sein Ruhm.
Gabriel, Uriel, Raphael The Lord is great and great his might. His glory lasts for ever and evermore.
Chor Der Herr ist groß in seiner Macht, und ewig bleibt sein Ruhm.
Chorus The Lord is great and great his might. His glory lasts for ever and evermore.
07 Rezitativ
07 Recitative
Raphael Und Gott sprach: Es bringe die Erde hervor lebende Geschöpfe nach ihrer Art; Vieh und kriechendes Gewürm und Tiere der Erde nach ihren Gattungen.
Raphael And God said: Let the earth bring forth the living creature after his kind; cattle and creeping thing, and beasts of the earth after their kind.
(Genesis 1, 24)
(Genesis 1, 24)
08 Rezitativ
08 Recitative
Raphael Gleich öffnet sich der Erde Schoß, und sie gebiert auf Gottes Wort
Raphael Straight opening her fertile womb, the earth obey’d the word,
Geschöpfe jeder Art, in vollem Wuchs und ohne Zahl. Vor Freude brüllend steht der Löwe da. Hier schießt der gelenkige Tiger empor. Das zack’ge Haupt erhebt der schnelle Hirsch. Mit fliegender Mähne springt und wieh’rt voll Mut und Kraft das edle Roß. Auf grünen Matten weidet schon das Rind, in Herden abgeteilt. Die Triften deckt, als wie gesät, das wollenreiche, sanfte Schaf. Wie Staub verbreitet sich in Schwarm und Wirbel das Heer der Insekten. In langen Zügen kriecht am Boden das Gewürm.
and teem’d creatures numberless, in perfect forms and fully grown. Cheerful, roaring, stands the tawny lion. In sudden leaps the flexible tiger appears. The nimble stag bears up his branching head. With flying mane and fiery look, impatient neighs the sprightly steed. The cattle in herds already seeks his food on fields and meadows green. And oe’r the ground, as plants are spread the fleecy, meek and bleating flock. Unnumber’d as the sands in whirls arose the host of insects In long dimension creeps with sinuous trace the worm.
09 Arie
09 Aria
Raphael Nun scheint in vollem Glanze der Himmel, nun prangt in ihrem Schmucke die Erde. Die Luft erfüllt das leichte Gefieder, die Wasser schwellt der Fische Gewimmel. Den Boden drückt der Tiere Last. Doch war noch alles nicht vollbracht: Dem Ganzen fehlte das Geschöpf, das Gottes Werke dankbar seh’n, des Herren Güte preisen soll.
Raphael Now heav’n in fullest glory shone; earth smiles in all her rich attire. The room of air with fowl is fill’d; the water swell’d by shoals of fish; by heavy beasts the ground is trod. But all the work was not complete. There wanted yet that wond’rous being, that grateful should God’s pow’r admire, with heart and voice his goodness praise.
10 Rezitativ
10 Recitative
Uriel Und Gott schuf den Menschen nach seinem Ebenbilde.
Uriel And God created man in his own image.
Nach dem Ebenbilde Gottes schuf er ihn. Mann und Weib erschuf er sie. Den Atem des Lebens hauchte er in sein Angesicht, und der Mensch wurde zur lebendigen Seele.
In the image of God created he him. Male and female created he them. He breathed into his nostrils the breath of life, and man became a living soul.
(Genesis 1, 27 und 2,7)
(Genesis 1, 27 and 2, 7)
11 Arie
11 Aria
Uriel Mit Würd’ und Hoheit angetan, mit Schönheit Stärk’ und Mut begabt, gen Himmel aufgerichtet, steht der Mensch, ein Mann und König der Natur. Die breit gewölbt’ erhabne Stirn, verkünd’t der Weisheit tiefen Sinn, und aus dem hellen Blicke strahlt der Geist, des Schöpfers Hauch und Ebenbild. An seinen Busen schmieget sich, für ihn, aus ihm geformt, die Gattin, hold und anmutsvoll. In froher Unschuld lächelt sie, des Frühlings reizend Bild, ihm Liebe, Glück und Wonne zu.
Uriel In native worth and honour clad, with beauty, courage, strength adorn’d, to heav’n erect and tall, he stands a man, the Lord and King of nature all. The large and arched front sublime of wisdom deep declares the seat. And in his eyes with brightness shines the soul, the breath and image of his God. With fondness leans upon his breast a partner for him form’d, a woman fair and graceful spouse. Her softly smiling virgin looks, of flow’ry spring the mirror, bespeak him love, and joy, and bliss.
12 Rezitativ
12 Recitative
Raphael Und Gott sah jedes Ding, was er gemacht hatte; und es war sehr gut.
Raphael And God saw ev’ry thing that he had made; and behold, it was very good. (Genesis 1, 31)
(Genesis 1, 31)
Und der himmlische Chor feierte das Ende des sechsten Tages mit lautem Gesang.
And the heavenly choir in song divine thus closed the sixth day.
13 Chor
13 Chorus
Vollendet ist das große Werk der Schöpfer sieht’s und freuet sich. Auch unsre Freud’ erschalle laut! Des Herren Lob sei unser Lied!
Achieved is the glorious work; the Lord beholds it and is pleas’d. In lofty strains let us rejoice! Our song let be the praise of God.
14 Terzett
14 Trio
Gabriel, Uriel Zu dir, o Herr, blickt alles auf, um Speise fleht dich alles an. Du öffnest deine Hand, gesättigt werden sie.
Gabriel, Uriel On thee each living soul awaits; from thee, O Lord, they beg their meat. Thou openest thy hand, and sated all they are.
Raphael Du wendest ab dein Angesicht: da bebet alles und erstarrt. Du nimmst den Odem weg: in Staub zerfallen sie.
Raphael But as to them thy face is hid, with sudden terror they are struck. Thou tak’st their breath away; they vanish into dust.
Gabriel, Uriel, Raphael Den Odem hauchst du wieder aus und neues Leben sproßt hervor. Verjüngt ist die Gestalt der Erd’ an Reiz und Kraft.
Gabriel, Uriel, Raphael Thou lett’st thy breath go forth again, and life with vigor fresh returns. Revived earth unfolds new force and new delights.
Chor Vollendet ist das große Werk, des Herren Lob sei unser Lied! Alles lobe seinen Namen, denn er allein ist hoch erhaben, alleluja.
Chorus Achieved is the glorious work. Our song let be the praise of God. Glory to his name forever; he sole on high exalted reigns, alleluia.
DRITTER TEIL
PART III
15 Rezitativ
15 Recitative
Uriel Aus Rosenwolken bricht, geweckt durch süßen Klang, der Morgen jung und schön. Vom himmlischen Gewölbe strömt reine Harmonie zur Erde hinab. Seht das beglückte Paar wie Hand in Hand es geht! Aus ihren Blicken strahlt des heißen Danks Gefühl. Bald singt in lautem Ton ihr Mund des Schöpfers Lob. Lasst unsre Stimme dann sich mengen in ihr Lied !
Uriel In rosy mantle appears, by tunes sweet awak’d, the morning young and fair. From the celestial vaults pure harmony descends on ravished earth. Behold the blissful pair, where hand in hand they go! Their flaming looks express what feels the grateful heart. A louder praise of God their lips shall utter soon. Then let our voices ring, united with their song!
16 Duett und Chor
16 Duet and Chorus
Eva, Adam Von deiner Güt’, o Herr und Gott, ist Erd’ und Himmel voll. Die Welt, so groß, so wunderbar, ist deiner Hände Werk.
Eve and Adam By thee with bliss, O bounteous Lord, the heav’n and earth are stor’d. This world, so great, so wonderful, thy mighty hand has fram’d.
Chor Gesegnet sei des Herren Macht. Sein Lob erschall’ in Ewigkeit!
Chorus For ever blessed be his pow’r! His name be ever magnified!
Adam Der Sterne hellster, o wie schön verkündest du den Tag! Wie schmückst du ihn, o Sonne du, des Weltalls Seel’ und Aug’!
Adam Of stars the fairest, O how sweet thy smile at dawning morn! How brighten’st thou, O Sun, the day, thou eye and soul of all!
Chor Macht kund auf eurer weiten Bahn, des Herren Macht und seinen Ruhm!
Chorus Proclaim in your extended course th’ almighty pow’r and praise of God!
Eva Und du, der Nächte Zierd’ und Trost und all das strahlend Heer, verbreitet überall sein Lob in eurem Chorgesang!
Eve And thou, that rul’st the silent night, and all ye starry host, spread wide and ev’rywhere his praise in choral songs about.
Adam Ihr Elemente, deren Kraft stets neue Formen zeugt, ihr, ihr Dünst’ und Nebel, die der Wind versammelt und vertreibt…
Adam Ye strong and comb’rous elements, who ceaseless changes make, ye dusky mists and dewy streams that rise and fall thro’ th’ air…
Eva, Adam ...Lobsinget alle Gott, dem Herrn!
Eve, Adam ...Resound the praise of God our Lord!
Chor Lobsinget alle Gott, dem Herrn!
Chorus Resound the praise of God our Lord!
Alle Lobsinget alle Gott, dem Herrn! Groß wie sein Nam’ ist seine Macht.
All Resound the praise of God our Lord! Great is his name, and great his might.
Eva Sanft rauschend lobt, o Quellen, ihn! Den Wipfel neigt, ihr Bäum’! Ihr Pflanzen, duftet, Blumen, haucht ihm euren Wohlgeruch !
Eve Ye purling fountains, tune his praise, and wave your tops, ye pines! Ye plants, exhale, ye flowers breathe at him your balmy scent!
Adam Ihr, deren Pfad die Höh’n erklimmt, und ihr, die niedrig kriecht, ihr, deren Flug die Luft durchschneid’t, und ihr, im tiefen Naß,…
Adam Ye, that on mountains stately tread, and ye, that lowly creep; ye birds that sing at heaven’s gate, and ye, that swim the stream…
Eva, Adam …ihr Tiere, preiset alle Gott!
Eve, Adam ...Ye living souls, extol the Lord!
Chor Ihr, ihr Tiere, preiset alle Gott!
Chorus Ye living souls, extol the Lord!
Alle Ihn lobe, was nur Odem hat.
All Him celebrate, him magnify!
Adam, Eva Ihr dunklen Hain’, ihr Berg’ und Tal’, ihr Zeugen unsers Danks, ertönen sollt ihr früh und spät von unserm Lobgesang.
Adam, Eve Ye vallies, hills, and shady woods, our raptur’d notes ye heard; from morn till ev’n you shall repeat our grateful hymns of praise!
Chor Heil dir, o Gott, o Schöpfer, Heil! Aus deinem Wort entstand die Welt; dich beten Erd’ und Himmel an. Wir preisen dich in Ewigkeit.
Chorus Hail, bounteous Lord! Almighty, hail! Thy word call’d forth this wond’rous frame. Thy pow’r adore the heav’n and earth; we praise thee now and evermore.
17 Rezitativ
17 Recitative
Adam Nun ist die erste Pflicht erfüllt, dem Schöpfer haben wir gedankt. Nun folge mir, Gefährtin meines Lebens! Ich leite dich, und jeder Schritt weckt neue Freud’ in unsrer Brust, zeigt Wunder überall. Erkennen sollst du dann, welch unaussprechlich Glück der Herr uns zugedacht, ihn preisen immerdar, ihm weihen Herz und Sinn. Komm, komm, folge mir, folge mir, ich leite dich!
Adam Our duty we performed now, in off’ring up to God our thanks. Now follow me, dear partner of my life! Thy guide I’ll be, and and ev’ry step pours new delight into our breast, shews wonders ev’ry where. Then may’st thou feel and know the high degree of bliss the Lord allotted us, and with devoted heart his bounty celebrate. Come, follow me! Thy guide I’ll be.
Eva O du, für den ich ward! Mein Schirm, mein Schild, mein all! Dein Will’ ist mir Gesetz. So hat’s der Herr bestimmt, und dir gehorchen, bringt mir Freude, Glück und Ruhm.
Eve O thou for whom I am! My help, my shield, my all! Thy will is law to me. So God, our Lord, ordains, and from obedience grows my pride and happiness.
18 Duett
18 Duet
Adam Holde Gattin! Dir zur Seite fließen sanft die Stunden hin. Jeder Augenblick ist Wonne; keine Sorge trübet sie.
Adam Graceful consort! At thy side softly fly the golden hours. Ev’ry moment brings new rapture, ev’ry care is put to rest.
Eva Teurer Gatte! Dir zur Seite schwimmt in Freuden mir das Herz. Dir gewidmet ist mein Leben, deine Liebe sei mein Lohn.
Eve Spouse adored! At thy side purest joys o’erflow the heart. Life and all I am is thine; my reward thy love shall be.
Adam Der tauende Morgen, o wie ermuntert er!
Adam The dew-dropping morn, O how she quickens all!
Eva Die Kühle des Abends, o wie erquicket sie!
Eve The coolness of ev’n, O how she all restores!
Adam Wie labend ist der runden Früchte Saft!
Adam How grateful is of fruits the savour sweet!
Eva Wie reizend ist der Blumen süßer Duft!
Eve How pleasing is of fragrant bloom the smell!
Adam, Eva Doch ohne dich, was wäre mir der Morgentau, der Abendhauch, der Früchte Saft, der Blumenduft. Mit dir erhöht sich jede Freude, mit dir genieß’ ich doppelt sie; mit dir ist Seligkeit das Leben; dir, dir sei es ganz geweiht.
Adam, Eve But, without thee, what is to me the morning dew, the breath of even, the sav’ry fruit, the fragrant bloom? With thee is ev’ry joy enhanced, with thee delight is ever new; with thee is life incessant bliss; thine it whole shall be.
19 Rezitativ
19 Recitative
Uriel O glücklich Paar, und glücklich immerfort, wenn falscher Wahn euch nicht verführt, noch mehr zu wünschen, als ihr habt, und mehr zu wissen, als ihr sollt.
Uriel O happy pair, and always happy yet, if not, misled by false conceit, ye strive at more, as granted is, and more to know, as know ye should!
20 Chor
20 Chorus
Singt dem Herren alle Stimmen! Dankt ihm alle seine Werke! Lasst zu Ehren seines Namens Lob in Wettgesang erschallen. Des Herren Ruhm, er bleibt in Ewigkeit! Amen! Amen!
Sing the Lord, ye voices all! Utter thanks ye all his works! Celebrate his pow’r and glory! Let his name resound on high! The Lord is great, his praise shall last for aye. Amen! Amen!
Lucia Popp soprano
Anthony Rolfe Johnson tenor
One of the most distinguished lyric sopranos of her day, Lucia Popp was born in 1939 in Czechoslovakia. She began her performing career as an actress, before spending four years studying at the Bratislava Academy of Music. She made her stage debut at the Bratislava Opera House as the Queen of the Night in Mozart’s Die Zauberflöte – a role which she was to make very much her own – and in 1963 was engaged by Herbert von Karajan to perform with the Vienna Opera. There followed an illustrious career, with performances at all of the world’s major opera houses under some of the most eminent conductors of the time, including Solti, Klemperer, Giulini, Bernstein, Kleiber and Rostropovich. Her many prestigious recordings won wide acclaim and many prizes, including the Deutsche Schallplattenpreis, the Grand Prix du Disque and three Grammy Awards.
One of Britain’s most distinguished singers, Anthony Rolfe Johnson was born in 1940 and has worked with all the UK’s major orchestras and festivals and in the world’s leading musical centres. He has sung with the Chicago Symphony under Solti, the Boston Symphony under Ozawa, the New York Philharmonic under Rostropovich and Masur, the Cleveland under Rattle and the Berlin Philharmonic under Levine. Other conductors with whom he has worked include Giulini, Rozhdestvensky, Gardiner, Mackerras, Tennstedt, Boulez, Haitink and Abbado. His vast range of recordings reflect his worldwide reputation as an interpreter of Bach, Handel, Haydn, Mozart and Britten. He has been acclaimed for his recordings of the great Handel oratorios, and his many award-winning recordings include Haydn’s Die Jahreszeiten and Die Schöpfung, Mozart’s Die Zauberflöte and Idomeneo, and Britten’s War Requiem.
Lucia Popp was also a renowned recitalist, concert and Lieder singer, in works by Strauss, Mozart, Mahler and Haydn. Her performance in this recording of The Creation was acclaimed by critics for its “irresistible relish and vitality” (Dominic Gill), while the Guardian remarked that “with Miss Popp in radiant voice it was like having Pamina as the Archangel Gabriel singing ‘Nun beut die Flur’ ” (Edward Greenfield). Lucia Popp died in Munich in 1993 at the age of 54.
Anthony Rolfe Johnson made his international operatic debut as Fenton at the Glyndebourne Festival, and has since sung an extensive repertoire in the world’s great opera houses. His roles have included Don Ottavio, Tamino, Ferrando, Belmonte, Essex in Gloriana, and the title roles in Monteverdi’s Ulysses and Orfeo. He has sung the title role in Idomeneo at the Salzburg Festival under Ozawa, the Vienna State Opera under Harnoncourt and the Metropolitan Opera under Levine. Anthony Rolfe Johnson was made a CBE in 1992.
Benjamin Luxon baritone
Klaus Tennstedt conductor
london philharmonic choir
The British baritone Benjamin Luxon was born in Cornwall in 1937. He began his 30-year career with Benjamin Britten’s English Opera Group, with whom he sang Sid in Albert Herring and Tarquinius in The Rape of Lucretia. He was chosen by Britten to take the title role in his television opera Owen Wingrave in May 1971. He went on to sing roles including Onegin in Eugene Onegin, Wolfram in Tannhäuser, Marcello in La Bohème, Papageno in Die Zauberflöte and Falke in Die Fledermaus, and in 1972 made his Glyndebourne debut in the title role of Monteverdi’s Il ritorno d’Ulisse in patria.
Born in East Germany, Klaus Tennstedt studied at the Leipzig Conservatory and conducted throughout his native land, but it was not until he moved to the West in 1971 that he started to achieve world recognition. He made his American debut with the Boston Symphony in 1974 and his debut with the London Philharmonic Orchestra in 1977. He had an instant rapport with the London Philharmonic Orchestra which resulted in return invitations and his appointment as the Orchestra’s Principal Conductor and Music Director in 1983. This developed into a unique and remarkable relationship until illness finally brought it to a premature end some ten years later. Klaus Tennstedt died in 1998. Tennstedt was particularly renowned for his performances of the German repertoire, particularly Mahler whose symphonies he conducted regularly at the Royal Festival Hall and on disc for EMI to huge public acclaim. His energy, musicianship and emotional involvement combined with a rare humility endeared him to audiences and musicians alike. As Dominic Gill remarked in his review of the concert in the Financial Times, ‘Klaus Tennstedt has frequently shown himself to be a judicious, sparkling interpreter of Haydn ... this Die Schöpfung was no exception’.
Founded in 1947 to perform with the London Philharmonic Orchestra, the London Philharmonic Choir is today widely regarded as one of the world’s finest choirs, and consistently meets with high critical acclaim.
Benjamin Luxon has performed at most of the world’s major opera houses, including the Royal Opera House, the Metropolitan Opera, La Scala Milan and the Vienna State Opera, and has worked with conductors such as Karajan, Bernstein, Tennstedt and Abbado. He is equally renowned for his concert and recital performances as for his operatic roles, and his many and varied recordings include Mahler’s Symphony No.8 under Ozawa and several discs of British song. In 1986 he was made a CBE for his services to music, but retired from singing in the mid-1990s due to continuing deterioration of his hearing.
Performing regularly with the London Philharmonic Orchestra in London and further afield, it also works with many other world class orchestras in venues throughout the United Kingdom and makes annual appearances at the BBC Proms. It has performed under some of the world’s most eminent conductors – among them Pierre Boulez, Mark Elder, Sir John Eliot Gardiner, Bernard Haitink, Kurt Masur, Sir Roger Norrington, Sir Simon Rattle, Sir Georg Solti and Klaus Tennstedt. The choir has participated in more than seventy recordings, including a Gramophone Award winning performance of Mahler’s Symphony No.8 with the London Philharmonic Orchestra under Tennstedt. Abroad, the London Philharmonic Choir has in recent years appeared at the Canary Islands and Lucerne music festivals and given concerts in Europe, Hong Kong, Malaysia and Australia.
Richard Cooke was chorus master and conductor of the London Philharmonic Choir from 1982 to 1991, during which time he established a strong musical relationship with Klaus Tennstedt. He has been Music Director of the Royal Choral Society since 1995 and Conductor of Canterbury Choral Society since 1984. In 2005, he recorded Elgar’s The Apostles with the Philharmonia Orchestra and Canterbury Choral Society. He has also recorded Orff’s Carmina Burana with the Royal Philharmonic Orchestra and Royal Choral Society.
LONDON PHILHARMONIC ORCHESTRA The London Philharmonic Orchestra has long established a high reputation for its versatility and artistic excellence. These are evident from its performances in the concert hall and opera house, its many award-winning recordings, its trail-blazing international tours and its pioneering education work. Kurt Masur has been the Orchestra’s Principal Conductor since September 2000, extending the line of distinguished conductors who have held positions with the Orchestra since its foundation in 1932 by Sir Thomas Beecham. These have included Sir Adrian Boult, Sir John Pritchard, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Franz Welser-Möst.
Vladimir Jurowski was appointed the Orchestra’s Principal Guest Conductor in March 2003. The London Philharmonic Orchestra has been resident symphony orchestra at the Royal Festival Hall since 1992 and there it presents its main series of concerts between September and May each year. In summer, the Orchestra moves to Sussex where it has been the resident symphony orchestra at Glyndebourne Festival Opera for over 40 years. The Orchestra also performs at venues around the UK and has made numerous tours to America, Europe and Japan, and visited India, Hong Kong, China, South Korea, Australia and South Africa.
The London Philharmonic Orchestra with Klaus Tennstedt
Joseph Haydn by Thomas Hardy, 1791 Royal College of Music, London