In London Haydn’s attention was drawn by his friend and manager, the conductor Solomon, to a book which fascinated him for a number of reasons: the story of the Creation, based on the book of Genesis and told in dialogue form by Lindley. A particular attraction of this book was the fact that it had been written, some 50 years earlier, for Handel. He, however, did not wish to or was unable to set it to music, because its extremely long libretto and wealth of description were sharply at variance with the pattern of his oratorios. It must have been a tremendous challenge for Haydn, who admired and venerated Handel, to continue and complete, as it were, the latter’s work. - He gave the book to Baron Gottfried Van Swieten, who had already written the “Seven Last Words” for him, to get a translation and modernisation of the text. Van Swieten thereupon tried to influence Haydn’s style. He wrote him long letters full of instructions, such as “In writing for the Chorus immediately following ‘Now vanish before the holy beams’ the darkness might disappear gradually; yet sufficient darkness should remain for the sudden transition to light to make a really powerfull impact. The words "And there waslight’ must only be uttered once!..." and later "The movement of the fish must be swift". Apparently Haydn willingly accepted this tutelage over his creativity. Van Swieten - the son of Maria Theresa’s famous personal physician, a diplomat, writer, Director of the Court l.ibrary and famous for his devotion to Bach and Handel, - organized in the Court Library concerts of historic music conducted by Mozart. Even though the Viennese felt that they were being cajoled into accepting foreign music and being treated by him as children in matters of taste, van Swieten wielded great authority. It is therefore quite understandable that Haydn, who was comparatively uneducated, should have accepted his suggestions and, indeed, his instructions.
A decisive impetus towards the composition of the “Creation” was also provided by Haydn’s meeting with the oboist and astronomer William Herschel, who allowed him to view the heavens through his great telescope. Haydn’s reaction has been reported as half an hour of stunned silence, followed by a stammered “So high... so far...”.
The composition is known of the orchestra of the Tonkünstler-Societät which, after the original performances on 22nd and 23rd December 1799, frequently performed the “Creation” right until the famous concert of 27th March 1808. It consisted of 13 first violins, 12 second violins, 7violas, 6 cellos and 4 double basses (which is exactly the same scoring as on this recording) plus the necessary wind section. At least for performances after 1800 the continuo is known to have been provided by a piano, and we have adopted this practice as well. Although the first printed edition refers to a “cembalo” (harpsichord), Haydn may well have used this general term for the keyboard instrument usually employed, rather than designating a particular instrument. (A similar situation arises with regard to Mozart’s piano concertos.) - The first performance ever in the Palais Schwarzenberg on 19th April 1798 was designed to be on a small scale and before a small audience, and does not provide any evidence of Haydn’s definitive requirements in respect of the forces to be employed. The first public performance was given on 19th March 1799 inthe Burgtheater.
Since the autograph had already been lost during the composer’s lifetime, our most important sources are the first edition of 1800 which was supervised by Haydn, and is virtually free from mistakes, and the engraver’s score. Haydn announced this edition in the following terms:
“Notice The general approval which my oratorio ‘The Creation’ has had the good fortune to receive and the wish expressed that its publication should not, as has hitherto so often been the case, be left to foreigners, have persuaded me to arrange this myself. Accordingly the work will be properly engraved and printed on good paper and accompanied by both the German and English texts. It will appear in three or at most four months’ time and will be in full score so that, on the one hand, my work may be presented to the public in its entirety and the cognoscenti be in a position to pass an informed judgement on it and, on the other hand, in case anyone is minded to perform it, the copying of the individual parts may be facilitated. The price of the Oratorio, which will run to some 300 pages, is fixed at 3 Ducats or 13 Florins and 30 Kreuzer in Viennese currency. Although payment is not required before delivery I would like those who are minded to purchase it to give me provisional notice to that effect and to send me their names in writing, so that they may be printed in the work. The actual publication of the Oratorio, each copy of which will bear my signature, will be announced in due course by special notice. Vienna, 15th ]une 1799. Joseph Haydn, Doctor of Music...”
The first published edition forms the basis for the performance recorded here. The apparent inconstistencies in dynamics and articulation are to be found in the engraver’s copy already referred to and also appear from a musical point of view to have been intended by the composer. Similarly the playing of thc Double Basses below contra F or contra E right down to contra C was clearly in accordance with Haydn’s wishes.
Observations on some details:
No, 1: The words of Raphael “In the beginning God... And the Spirit of God...” are not continued by the choir alone, but harmonized, with the soloist continuing to sing.
No. 2: Here, as in many other places, the articulation differs between instruments which are playing the same notes; only when they actually play together is the right effect achieved.
Haydn frequently calls for a bow vibrato, which subsequently went out of use (for example in Bar 25). The first edition also distinguishes between several different types of note separation, such as short and broad staccato.
In the recitatives and accompagnati rules which are clearly indicated in the available sources have been applied with regard to the length of the bass notes (which are generally played too long), with regard to the entry of the orchestra after a singer or the entry of a singer after the orchestra (generally they must wait, without taking any account of the beat), and also with regard to appogiaturas (taking account of the text and the melody).
In recitativc No. 16 “And God created great whales...” the instrumental bass line is played by the double basses alone, and only in the lower octave; playing in octaves, which is presentday practice, is plainly at variance with the wishes of the composer, as are the slurs which are normally played.