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LPH 018 90 60 Pages Booklet 134 X 122 14/08/15 13:36 Page1 LPH_018_90_60 pages booklet 134 x 122 14/08/15 13:36 Page1 Joseph Haydn • Die Schöpfung Christina Landshamer – Maximilian Schmitt – Rudolf Rosen Collegium Vocale Gent – Orchestre des Champs-Élysées Philippe Herreweghe LPH_018_90_60 pages booklet 134 x 122 14/08/15 13:36 Page2 LPH_018_90_60 pages booklet 134 x 122 14/08/15 13:36 Page3 Joseph Haydn (1732-1809) Die Schöpfung, Hob. XXI:2 Christina Landshamer (soprano) – Gabriel / Eva Maximilian Schmitt (tenor) – Uriel Rudolf Rosen (bass) – Raphael / Adam Collegium Vocale Gent Orchestre des Champs-Élysées Philippe Herreweghe Recording: March 24-26, 2014, Studio IV, Flagey, Brussels — Sound Engineer: Markus Heiland (Tritonus) — Recording Producer, Editing, Mastering: Andreas Neubronner (Tritonus) — Liner Notes: Charles Johnston — French translation of the libretto: All rights reserved (with thanks to Warner Music) – Cover picture: Michel Dubois (Courtesy Dubois Friedland) — Photographs Philippe Herreweghe: Michiel Hendryckx — Design: Casier/Fieuws — Executive Producer: Aliénor Mahy LPH_018_90_60 pages booklet 134 x 122 14/08/15 13:36 Page4 CD 1 ERSTER TEIL [1] Einleitung Die Vorstellung des Chaos ......................................................................................4’53 [2] 1. Rezitativ mit Chor (Raphael, Chor, Uriel) Im Anfange schuf Gott Himmel und Erde ...................2’26 [3] 2. Arie mit Chor (Uriel, Chor) Nun schwanden vor dem heiligen Strahle .......................................3’34 [4] 3. Rezitativ (Raphael) Und Gott machte das Firmament ...............................................................1’56 [5] 4. Chor mit Sopransolo (Gabriel) Mit Staunen sieht das Wunderwerk...........................................2’01 [6] 5. Rezitativ (Raphael) Und Gott sprach: Es sammle sich das Wasser ...............................................0’41 [7] 6. Arie (Raphael) Rollend in schäumenden Wellen.......................................................................3’56 [8] 7. Rezitativ (Gabriel) Und Gott sprach: Es bringe die Erde Gras hervor.............................................0’31 [9] 8. Arie (Gabriel) Nun beut die Flur das frische Grün.....................................................................4’51 [10] 9. Rezitativ (Uriel) Und die himmlischen Heerscharen..................................................................0’12 [11] 10. Chor Stimmt an die Saiten ....................................................................................................2’09 [12] 11. Rezitativ (Uriel) Und Gott sprach: Es sei’n Lichter an der Feste des Himmels ................................0’33 [13] 12. Rezitativ (Uriel) In vollem Glanze steiget jetzt...........................................................................2’51 [14] 13. Chor mit Soli (Chor, Gabriel, Uriel, Raphael) Die Himmel erzählen die Ehre Gottes ...................4’07 ZWEITER TEIL [15] 14. Rezitativ (Gabriel) Und Gott sprach: Es bringe das Wasser.........................................................0’30 [16] 15. Arie (Gabriel) Auf starkem Fittiche schwinget sich der Adler stolz ...............................................6’55 [17] 16. Rezitativ (Raphael) Und Gott schuf große Walfische ..................................................................1’53 [18] 17. Rezitativ (Raphael) Und die Engel rührten ihr’ unsterblichen Harfen ..........................................0’25 [19] 18. Terzett (Gabriel, Uriel, Raphael) In holder Anmut stehn [20] 19. Chor mit Soli (Gabriel, Uriel, Raphael, Chor) Der Herr ist groß in seiner Macht.........................6’33 Total Time CD1 .....................................................................................................................51’10 LPH_018_90_60 pages booklet 134 x 122 14/08/15 13:36 Page5 CD 2 [ZWEITER TEIL] [1] 20. Rezitativ (Raphael) Und Gott sprach: Es bringe die Erde hervor lebende Geschöpfe.........................0’27 [2] 21. Rezitativ (Raphael) Gleich öffnet sich der Erde Schoß................................................................2’53 [3] 22. Arie (Raphael) Nun scheint in vollem Glanze der Himmel ..........................................................3’11 [4] 23. Rezitativ (Uriel) Und Gott schuf den Menschen ........................................................................0’35 [5] 24. Arie (Uriel) Mit Würd’ und Hoheit angetan .............................................................................3’20 [6] 25. Rezitativ (Raphael) Und Gott sah jedes Ding............................................................................0’22 [7] 26. Chor Vollendet ist das große Werk [7] 27. Terzett (Gabriel, Uriel, Raphael) Zu dir, o Herr, blickt Alles auf [7] 28. Chor Vollendet ist das große Werk...........................................................................................8’03 DRITTER TEIL [8] 29. Rezitativ (Uriel) Aus Rosenwolken bricht ..................................................................................3’57 [9] 30. Duett und Chor (Eva, Adam, Chor) Von deiner Güt’, o Herr und Gott..........................................9’05 [10] 31. Rezitativ (Adam, Eva) Nun ist die erste Pflicht erfüllt ................................................................2’30 [11] 32. Duett (Adam, Eva) Holde Gattin, dir zur Seite ..........................................................................7’34 [12] 33. Rezitativ (Uriel) O glücklich Paar ..........................................................................................0’24 [13] 34. Schlußchor Singt dem Herren alle Stimmen!............................................................................3’37 Total time CD2 ....................................................................................................................46’06 LPH_018_90_60 pages booklet 134 x 122 14/08/15 13:36 Page6 Collegium Vocale Gent Soprano Ulrike Barth, Annelies Brants, Inge Clerix, Sylvie De Pauw, Emilie De Voght, Katja Kunze, Chiyuki Okamura, Elisabeth Rapp, Mette Rooseboom, Kathrin Volkmann Alto Carla Babelegoto, Sofia Gvirts, Gudrun Köllner, Lucia Napoli, Katherine Nicholson, Cécile Pilorger*, Sandra Raoulx, Mieke Wouters Tenor Malcolm Bennett, Dan Martin, Yves Van Handenhove, Josef Pollinger, Florian Schmitt, João Sebastião, René Veen, Clemens Volkmar Bass Elias Benito, Stefan Drexlmeier, Georg Finger, Joachim Höchbauer, Philipp Kaven, Matthias Lutze, Julián Millán, Michael Rapke, Kai-Rouven Seeger, Robert van der Vinne Chorusmaster Benjamin Bayl *choir soloist in No. 34 Singt dem Herren alle Stimmen! LPH_018_90_60 pages booklet 134 x 122 14/08/15 13:36 Page7 Orchestre des Champs-Élysées Violin 1 Alessandro Moccia, Roberto Anedda, Ilaria Cusano, Asim Delibegovic, Solenne Guilbert, Thérèse Kipfer, Andreas Preuss, Enrico Tedde, Sebastiaan van Vucht Violin 2 Bénédicte Trotereau, Adrian Chamorro, Isabelle Claudet, Virginie Descharmes, Jean-Marc Haddad, Corrado Lepore, Corrado Masoni, Giorgio Oppo. Viola Catherine Puig, Marie Beaudon, Agathe Blondel, Laurent Bruni, Brigitte Clément, Delphine Grimbert, Wendy Ruymen Cello Ageet Zweistra, Michel Boulanger, Vincent Malgrange, Hilary Metzger, Andrea Pettinau, Harm Jan Schwitters Double bass Axel Bouchaux, Damien Guffroy, Michel Maldonado, Massimo Tore Flute Alexis Kossenko, Amélie Michel, Giulia Barbini Oboe Marcel Ponseele, Taka Kitazato Clarinet Nicola Boud, Daniele Latini Bassoon Julien Debordes, Jean-Louis Fiat Contrabassoon Robert Percival Horn Jean-Pierre Dassonville, Jean-Emmanuel Prou Trumpet Alain De Rudder, Steven Verhaert Trombone Harry Ries, Guy Hanssen, Wim Becu Timpani Marie-Ange Petit Fortepiano Maude Gratton Continuo Ageet Zweistra (cello), Axel Bouchaux (double bass), Maude Gratton (fortepiano) LPH_018_90_60 pages booklet 134 x 122 14/08/15 13:36 Page8 ENGLISH AND THERE WAS LIGHT In April 1798, Fredrik Samuel Silverstolpe (1769-1851), Swedish chargé d’affaires in Vienna and friend of Haydn, was present at the first rehearsal of Die Schöpfung (The Creation) at the Palais Schwarzenberg: No one, not even Baron van Swieten, had seen the page of the score wherein the birth of light 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 the expression of someone who is thinking of biting his lips, either to hide his embarrassment or to conceal a secret. And in that moment when light broke out for the first time, one would have said that rays were hurled forth from the composer’s burning eyes. The enchantment of the electrified Viennese was so general that the orchestra could not proceed for some minutes. Haydn was ever the master of surprise, and not only in his symphony that bears that nickname. On this occasion he had carefully concealed from his circle (apparently even Swieten, the work’s librettist), and doubtless the musicians themselves, the masterstroke of his new oratorio. The listeners in Prince Schwarzenberg’s town house that day must already have been bemused and impressed by the work’s mysterious prelude, the ‘Representation of Chaos’, in which a forte unison C is followed by shifting, constantly unresolved harmonies, positively Tristanesque towards the end, and thematic scraps tossed from one instrument to another, evoking a universe ‘without form or void’, until the hushed final chords at last settle on a sombre C minor. A solo bass, later joined by the chorus, sotto voce, intones the opening words of Genesis, known to all present; at the key moment of the creation of light, the orchestral players remove the mutes they have been using since the
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