Haydn HEASTON SPENCE ROSE

Houston Symphony Chorus

Houston Symphony Andrés OROZCO-ESTRADA The Creation (Die Schöpfung) Sung in German

Music by Joseph (1732-1809) Text by (1733-1803)

CD 1

Part I 1 Introduction: Die Vorstellung des Chaos 7. 58 2 (): Nun schwanden vor dem heiligen Strahle 3. 54 3 Recitativo (): Und Gott machte das Firmament 1. 59 4 Chorus (): Mit Staunen sieht das Wunderwerk 1. 58 5 Recitativo (Raphael): Und Gott sprach: Es sammle sich 0. 32 das Wasser 6 Aria (Raphael): Rollend in schaumenden Wellen 3. 53 7 Recitativo (Gabriel): Und Gott sprach: Es bringe die Erde 0. 32 Gras hervor 8 Aria (Gabriel): Nun beut die Flur das frische Grün 5. 07 9 Recitativo (Uriel): Und die himmlischen Heerscharen 0. 12 10 Chorus: Stimmt an die Saiten 2. 03 11 Recitativo (Uriel): Und Gott sprach: Es sei’n Lichter 0. 38 12 Recitativo (Uriel): In vollem Glanze steiget 2. 53 13 Chorus (Gabriel, Uriel, Raphael): Die Himmel erzählen 4. 12 die Ehre Gottes Part II Part III 14 Recitativo (Gabriel): Und Gott sprach: Es bringe das Wasser 0. 28 8 Recitativo ( Uriel): Aus Rosenwolken bricht 4. 15 15 Aria (Gabriel): Auf starkem Fittige schwinget sich 7. 15 9 Chorus (, Eva): Von deiner Güt’, o Herr und Gott 9. 06 16 Recitativo (Raphael): Und Gott schuf große Wallfische 2. 23 10 Recitativo (Adam und Eva): Nun ist die erste Pflicht erfüllt 2. 11 17 Terzetto (Gabriel, Uriel, Raphael): In holder Anmut steh’n 4. 18 11 Duetto (Adam and Eva): Holde Gattin! Dir zur Seite 7. 55 18 Chorus (Gabriel, Uriel, Raphael): Der Herr ist groß in seiner Macht 2. 15 12 Recitativo ( Uriel): O glücklich Paar 0. 27 13 Chorus: Singt dem Herren alle Stimmen! 3. 23 Total playing time CD 1: 52. 41 Total playing time CD 2: 46. 46 CD 2

1 Recitativo (Raphael): Und Gott sprach: Es bringe die Erde hervor 0. 24 2 Recitativo (Raphael): Gleich öffnet sich der Erde Schoß 3. 06 3 Aria (Raphael): Nun scheint in vollem Glanze der Himmel 3. 07 4 Recitativo (Uriel): Und Gott schuf den Menschen 0. 45 5 Aria (Uriel): Mit Würd’ und Hoheit angetan 3. 33 6 Recitativo (Raphael): Und Gott sah jedes Ding 0. 18 Nicole Heaston, soprano 7 Chorus (Gabriel, Uriel, Raphael): Vollendet ist das große Werk 8. 08 , Peter Rose,

Houston Symphony Chorus Betsy Cook Weber, director

Houston Symphony Conducted by Andrés Orozco-Estrada Right from the beginning I was especially drawn to the idea of presenting ’s music, to which I feel very close because my beloved hometown was also the home of Joseph Haydn. I wanted to bring together the music which I have a strong personal relationship with, and “my” , the Houston Symphony.

It was very exciting to work on Haydn’s music together with the orchestra. I think the orchestra as well as the chorus and all the soloists successfully reached a high level of transparency, playing music in a very “classical” and very clear way. The Houston Symphony Chorus has developed an excellent level of music-making, and it was my explicit wish to collaborate with both the Houston Symphony and Houston Symphony Chorus.

What I love most about this piece is the tone painting and the richly colored way the music describes nature and animals. We tried to give the listener the possibility to imagine the musical illustrations Haydn composed in the “Creation“, which distinguish this outstanding work of art from others.

Andrés Orozco-Estrada

Andrés Orozco-Estrada © Julia Soefer A musical “Big Bang” – universality of the work itself!” The words and experimented with numerous other a new kind of in the German subtly calculated spoken by music historian Julia Liebscher genres, combinations of instruments, and language, with splendid and back in 1995 are almost prophetic. styles. During his artistic diaspora, he unprecedented sound effects. While still Thoughts on Joseph Haydn’s Creation acquired the requisite creative know-how in London in 1795, he received – probably “And thus I was forced to become for the basis of his great – late from Solomon – an English libretto for The year 2017 set a controversial record. It original...” works – with which he once again deeply an oratorio. Following the huge success was the warmest year since the beginning Joseph Haydn (1732-1809) spent almost influenced musical history. Haydn’s of Haydn’s , the of global industrialization without 30 years of his life in Eisenstadt and at reputation as a composer soon travelled enterprising manager was hoping for a the El Niño phenomenon. The earth is the Eszterháza Palace – as a well-paid beyond Austria’s borders, resulting in repeat in the oratorio genre, which was groaning thanks to the manipulative employee in the service of the Esterházy commissions and invitations from extremely popular then in . and destructive interference of mankind family. The geographical and artistic and England. But not until 1790, when the in nature: with dramatic consequences isolation from Vienna would have led Prince died, did his employee become a However, Haydn’s English skills were –environmental disasters, nuclear many composers to come up with their freelance artist – at the honourable age of only rudimentary, and thus he put the incidents, and global climate changes. own standard musical concoction. But not almost 60 years. textbook aside for the time being after And what does this have to do with Haydn. his return to Vienna. Then he received Joseph Haydn’s Creation? “It can turn Handel euphoria an external stimulus to settle down and into a memorial for us: on the one hand, “My prince was satisfied with all my work, The impresario address this new type of oratorio from it forces us to perceive the creation of he applauded me, allowed me to (...) invited Haydn to give two concert tours one of the most important members of the world as an aesthetically sublimated, embellish it, supplement it, partially delete in England in 1790-1791 and 1794-1795. On the “enlightened” Viennese musical scene, unassailable act of the highest grandeur; it, and experiment with it; I was isolated the island he became acquainted with Gottfried van Swieten. The court librarian, on the other, it invokes the divine principle from the world: (...) and thus I was forced what was probably the most progressive former diplomat, and Josephinian of order as guarantor of well-being on to become original.” And that is what concert circuit in Europe. Particularly the education policy-maker played a central earth. Haydn’s Creation is more relevant Haydn did. In more than 100 works, he laid mass performances of Handel’s oratorios role in the origin of The Creation. It was than ever, and the message it conveys the foundation for the modern symphony, for all classes of society appealed to him. he who inspired Haydn to compose the to us is as supranational as the claim to was the first to develop the string quartet, Thus he began to think deeply about work, who translated the text, adding

English poetic amendments, who organized the did he translate the original English, “Intoxicated with joy and admiration” experienced: a blissful state of being, first lucrative performances. In short, this he also rearranged entire sections, At the invitation of the aristocratic generated by ever greater desires, which “patriarch of music” – in this day and age, thus carrying out a re-evaluation of Society of Associated Cavaliers, the world were constantly renewed and satisfied.” one would consider him a cultural “Jack of the individual parts. The result was an première of The Creation took place all trades” – was the perfect complement artistically ambitious adaptation “in on April 30, 1798 in Schwarzenberg’s The first public performances in the old to Haydn, the musical innovator. German guise” (van Swieten). palace in Vienna, under the direction of Viennese in 1799 confirmed the composer. These noble music-lovers the success of The Creation beyond any “...in German guise” When he began work on the composition had previously provided Haydn with a doubt, and the oratorio took Europe Various works are considered to have in the autumn of 1796, Haydn set the handsome fee: he received 2,250 florins, by storm. , London, and served as source for the original English bar extremely high: “I would like to write which exceeded his annual salary of bowed down to this “creation”. Here, libretto, whose author to this day has something that will perpetuate my 1,700 florins in Eszterháza. The colourful no listener was excluded by Haydn. The not been properly identified. These name.” He did not seem to have been report from Haydn biographer Giuseppe devout Christian, the freethinker or the include parts of the biblical account of convinced of its future success right at Carpani gives an impression of this enlightener, could each identify with this the creation and a number of the psalm the beginning: “Not until I was halfway extraordinary event, which was a huge work and recognize his own personal verses from the Vulgate Bible, and in through my composition, did I realize success for Haydn and van Swieten: message. Here, the issue is not pious particular ’s religious epic that it would turn out well. I was never so “The best possible orchestra; the most humility or penance, but the portrayal of dating from 1764, which pious as when working on The Creation: complete silence and the most rapt a wonderful world as the starting point tells the story of the descent to hell of every day I fell to my knees and begged attention; (...the) highest degree of for a positive zest for life. Not a thought the fallen angel, ’s tempting of God for the requisite strength to conclude precision among the performers; almost is wasted on the or original Adam and , , and the this work successfully.” After 15 months of a sense of devotion and respect among sin, as van Swieten the enlightener had subsequent expulsion of the couple from intensive work, in constant dialogue with the entire assembly; (...) ecstatic, deleted any such reference: rather, as the the . van Swieten, Haydn completed the score amazed, entranced, intoxicated with joy “pride of creation”, the human being is on April 6, 1798, as he informed Prince and admiration, the audience enjoyed clothed in “dignity and sovereignty.” Van Swieten dedicated himself to these Schwarzenberg. an experience lasting two hours that texts with the greatest of zeal. Not only was unlike anything they had previously Structure and music is added at times, deployed by no less than a musical “Big Bang” – albeit exclusively connected to the present. Its The three-part work consists of 34 Haydn above all for special sound effects. a well-calculated one, of course. Haydn strict indebtedness to the Enlightenment numbers, with the first two parts achieves the impression of “chaos” –thus disregarding religious dogmatism portraying the story of the creation, The music “ranges from a subtle by means of a skilful exploitation of – does not permit any reference to and the (final) third part – which does depiction to the highlighting of emotions harmonic diversity, without gutting any the fall of man and the corresponding not contain any biblical text – praising and to hymnic acclamation” (Scholz). tonality structures. Ambiguous chords, . The epic style of the oratorio, God and introducing the first human In his composition Haydn used the most freely arising dissonances, deceptive which is employed in the first two parts, couple. The numbers are divided into varying levels of style, combining them in and suchlike evoke deserted has now been abandoned in favour 17 , distinguishing between order to achieve an effect that appealed soundscapes, until Haydn suddenly of contemporary dialogue. A dialogue secco (with continuo accompaniment) to connoisseurs and amateur music- introduces a radiant to describe setting a basically optimistic tone that we and accompagnato (with orchestral lovers alike. The most differentiated the emergence, the genesis, the dawn need to rediscover with reference to our accompaniment). Haydn distributed takes place alongside simple of day (“and there was light”). This is “wonderful world” (Wieland) to prevent it the recitatives between three vocal tone-painting; sublime choral settings an example of a typical characteristic from sinking back into chaos. soloists who provide the narrative as stand shoulder to shoulder with folk of the music of the Viennese Classical the Gabriel (soprano), Uriel songs. Epic, dramatic and lyrical-operatic era, the “self-awareness of the time” (tenor) and Raphael (bass). Furthermore, elements alternate with apparent ease. (Georgiades). The double time dimension there are seven (two of which of the oratorio runs like a central theme with chorus), two duets, two trios, and The instrumental introduction of the work through the first two parts: in the eight choruses (three of which with gave Haydn the greatest headache: he narratives of the three archangels the the participation of the soloists). The needed to represent the “chaos” previous listener experiences the past; in the orchestra is formed along the classical to the creation with the help of musical individually structured arias and choruses, Viennese lines: strings, two or (at times) means that would guarantee a clearly the present. In its ideal representation three flutes, two oboes, two clarinets, articulated, almost consistently periodic of the proud and self-confident human two , two horns, two trumpets, form. A task with which he struggled race, communicating patterns of three trombones, and timpani. A double intensely, and the solution to which was identification, the third part remains Since her debut at the Metropolitan as the title role in L’incoronazione di Opera as Zerlina in Mozart’s Don Poppea at the Semperoper Dresden Giovanni, Ms. Heaston has appeared and Alice Ford in Falstaff with Opera de regularly with the theater and been heard Lausanne. Ms. Heaston recently sang as Ilia in Mozart’s , Pamina in Adina in L’elisir d’amore at the Houston Die Zauberflöte (conducted by James Grand Opera, La contessa Almaviva at Levine), and Echo in Ariadne auf Naxos. the Boston Lyric Opera, and Donna Elvira In recent seasons, Ms. Heaston made her in Don Giovanni with the Kalamazoo Italian debut in Adriano in Siria at the Symphony Orchestra. Fondazione Pergolesi, Jesi. She also made her debut with the Los Angeles Opera as Toby Spence Musetta in La Bohème, joined the New Tenor Orleans Opera in Rigoletto, and returned to Carnegie Hall for the Marilyn Horne An honours graduate and choral scholar Foundation “The Song Continues” annual from New College, Oxford, Toby Spence Nicole Heaston © Fadil Berisha recital. Engagements in recent seasons studied at the Opera School of the Toby Spence © Mitch Jenkins Nicole Heaston also include La contessa Almaviva in Le Guildhall School of Music and Drama. He Soprano Nozze di Figaro and the title role in Alcina was the winner of the Royal Philharmonic the Accademia Nazionale di Santa at Den Norske Opera in Oslo, Donna Elvira Society 2011 Singer of the Year award Cecilia under Pappano, the Rotterdam Soprano Nicole Heaston has appeared in Don Giovanni and Arminda in La Finta Philharmonic under Gergiev, the London with opera companies throughout the Giardiniera at the Glyndebourne Festival, In concert, Toby has sung with the Symphony Orchestra under Davis, world including the Metropolitan Opera, Pamina with the Houston Grand Opera, Cleveland Orchestra under von Dohnanyi, the London Philharmonic Orchestra Houston Grand Opera, San Francisco Alcina and Alice Ford at the Royal Danish the and the Vienna under Nézet-Séguin, the Los Angeles Opera, Dallas Opera, Deutsche Oper am Opera, and La contessa Almaviva at the Philharmonic under Rattle, the San Philharmonic under Dudamel, the Rhein and Glyndebourne Festival. Utah Opera. Ms. Heaston also appeared Francisco Symphony under Tilson Thomas, Bayerischer Runfunk under Gardiner, and

Artists at the Salzburg and Edinburgh Festivals Chicago, and the Metropolitan Opera. Peter Rose under Norrington and Mackerras. Toby Recently, Spence has appeared as Bass sang an acclaimed Madwoman in Eisenstein (Die Fledermaus), Antonio Britten’s Curlew River for the Edinburgh () for the Metropolitan A regular guest at the world’s most Festival, where he has also appeared in Opera, Don Ottavio and Tito for the important opera houses, Peter Rose’s recital and most recently in HMS Pinafore Wiener Staatsoper, Don Ottavio at the enormous repertoire includes Ramphis, in 2015. Other recitals include the LSO St Liceu Barcelona, Essex () and Fasolt, Somnus, Daland, King Mark, the Luke’s, Opera de Lille and the Wigmore Tamino for the , Commendatore, Basilio, Kecal, Ochs, Hall. He has made numerous recordings. Tito, Tamino and Henry Morosus (“Die Banquo, Philip, Prince Gremin, Leporello, Schweigsame Frau”) for the Bayerische Osmin, Gurnemanz, Zaccaria, Claggart For the Royal Opera House, Covent Staatsoper, Captain Vere (Billy Budd) at and Falstaff. He has won particular acclaim Garden, Toby has sung Ferdinand (The the Teatro Real Madrid and David (“Die for his performances of Bottom which he Tempest), David (Die Meistersinger von Meistersinger von Nürnberg”) at Paris has performed in Aix-en-Provence, Paris, Nürnberg), Count Almaviva (Il Barbiere Opera. He gave concert performances London, Rome, on the occasion of his debut di Siviglia), Ramiro and Tom Rakewell. For wit the London Symphony Orchestra at New York’s Metropolitan Opera, and for his roles include under Tilson Thomas and Gergiev, Glyndebourne Festival Opera. Peter Rose © Mark Kirby Tamino, Candide, Paris (La Belle Hélène), Scottish Chamber Orchestra with Ticciati, Lensky and Faust. His many roles at the Melbourne Symphony Orchestra with A prolific concert artist, he has sung under, Paris Opera include Tom Rakewell and Adès, and at the Tonhalle, Zurich with among others, Giulini, Rattle, Kleiber, David. He has sung with the Glyndebourne Dutoit. Maazel, Barenboim, Boulez, Mehta, Solti Festival, the Bayerische Staatsoper, and Masur with that include the the Hamburgische Staatsoper and La Cleveland Orchestra, the London Symphony Monnaie, . In America he has Orchestra, Chicago Symphony Orchestra appeared with the San Francisco Opera, and the New York, Vienna and Berlin the Santa Fe Festival, the Lyric Opera of Philharmonic orchestras. Publishing, and, in 2013, she became the 13th person and first woman to receive the Texas Choral Director Association’s coveted Texas Choirmaster Award.

Choirs under Dr. Weber’s direction have been featured at multiple state and national conventions. Internationally, she has led choirs in performances and prize- winning competitions in Wales, France, Germany and the Czech Republic. Locally, Dr. Weber has prepared singers for Josh Houston Symphony Chorus © Thomas Shea Groban and Andrea Bocelli, for early Betsy Cook Weber © Thomas Shea music orchestras Ars Lyrica and Mercury Houston Symphony Steven Reineke, Michael Krajewski, Betsy Cook Weber Houston and for touring shows, including Chorus Hans Graf, Robert Shaw, Christoph Director, Houston Symphony NBC’s Clash of the Choirs, Josh Groban, Eschenbach, Peter Schreier, Helmut Rilling Chorus Telemundo’s Latin Grammy’s, Star Wars in The Houston Symphony Chorus, the and Nicholas McGegan, among many Concert and Andrea Bocelli. official choral unit of the Houston others. In June 2017, the Chorus sang Dr. Betsy Cook Weber is Professor of Symphony, consists of highly skilled and the closing subscription concerts with Music and Director of Choral Studies at Before joining the University of Houston, talented volunteer singers. Over the years, the Symphony Orchestra in the the University of Houston’s Moores School Dr. Weber taught vocal music, K-12, singers in this historic ensemble have Czech Republic. The Houston Symphony of Music and is also internationally active in public schools. She holds degrees learned and performed the world’s great Chorus holds auditions by appointment as a conductor, clinician, adjudicator and from the University of North Texas, choral-orchestral masterworks under and welcomes inquiries from interested lecturer. She is editor of the Betsy Cook Westminster College (Princeton, the batons of Andrés Orozco-Estrada, singers. Weber choral series with Alliance Music NJ) and the University of Houston. Houston Symphony For more information, please visit of the legendary Hans Swarowsky), and For more information, please visit www.houstonsymphony.org completed his degree with distinction www.orozcoestrada.com During the 2017-18 season, the Houston the Vienna Radio Symphony Symphony celebrates its fourth season Andrés Orozco-Estrada Orchestra at the Musikverein. Andrés with Music Director Andrés Orozco- Music Director burst on the international scene with two Estrada and continues its second substitutions with the century as one of America’s leading Houston Symphony Music Director Orchestra: the first, his debut in 2010, orchestras with a full complement of Andrés Orozco-Estrada began his tenure standing in for Esa-Pekka Salonen, and concert, community, education, touring in the 2014–15 season. He immediately then in 2012, substituting for Riccardo Muti and recording activities. The Houston established a dynamic presence on at the Musikverein. Orozco-Estrada now Symphony, one of the oldest performing the podium and a deep bond with the regularly appears with many of the world’s arts organizations in Texas, held its musicians of the orchestra. Andrés leading orchestras, including the Vienna inaugural performance at The Majestic carefully curates his programs to feature Philharmonic, Munich Philharmonic, Theater in downtown Houston June 21, engaging combinations of classical and Leipzig Gewandhaus orchestras, 1913. Today, with an annual operating masterworks paired with the music of the Mahler Chamber Orchestra, the budget of $33.9 million, the full-time today, significant artistic collaborations Santa Cecilia Orchestra in Rome, the ensemble of 88 professional musicians with composers and guest artists, and Orchestre National de France, the Chicago presents nearly 170 concerts annually, innovative use of multimedia and visual Symphony Orchestra, making it the largest performing arts effects. Orchestra and the Cleveland Orchestra. organization in Houston. Additionally, In addition to his post in Houston, Andrés musicians of the orchestra and the Born in Medellín, Colombia, Andrés is chief conductor of the Frankfurt Radio Symphony’s four Community-Embedded began his musical studies on the violin Symphony Orchestra and principal guest Musicians offer over 900 community- and started conducting at age 15. At 19, conductor of the London Philharmonic based performances each year, reaching he entered the Vienna Music Academy, Orchestra. thousands of people in Greater Houston. where he studied with Uroš Lajovic (pupil Houston Symphony Houston Symphony Chorus

First Violin Soprano Alto Tenor Bass Andrew Wan, Guest Concertmaster Brinton Smith, Principal Micah Doherty Cris Bocanegra Sara Brannon Bob Alban Claude Bitner Eric Halen, Co-Concertmaster Christopher French, Associate Rose Bue Mischa Brinkmeyer Randy Boatright Bruce Boyle Qi Ming, Assistant Concertmaster Principal Horn Nicole Colby Susan Casper Harvey Bongers Troy Burnett Marina Brubaker Anthony Kitai Robert Johnson, Associate Principal Anna Diemer Nicole Catoire Jonathan Bordelon Kyle Damron Tong Yan Jeffrey Butler Brian Thomas Deborah Edwin Elizabeth Chrisman James R. Carazola Kevin Di Filippo MiHee Chung Xiao Wong Brianna Fernandez Caitlin Cready Randy Eckman Cody Dickson Sophia Silivos Trumpet Jessica Gann Andrea Creath Raul Enriquez Keith Dixon Rodica Gonzalez Double Bass Mark Hughes, Principal Taylor Golden Julia FitzGerald Joseph Frybert Steve Dukes Ferenc Illenyi Robin Kesselman, Principal Caroline Schafer Julia Hall Katura Gilmore Robert Gomez Chase Gaines Kurt Johnson Eric Larson Jennifer Harris Natalie Hale Sean Jackson Michael Gilbert Burke Shaw Trombone Jen Hart Susan Hall David Jones Austin Hart Second Violin Allen Barnhill, Principal Megan Henry Jillian Hughes Landon LaMontagne Sean Holshouser Rebecca Reale, Associate Principal Flute Bradley White, Associate Principal Hitai Lee Aralee Dorough, Principal Phillip Freeman Gillian Kruse Sylvia Hysong Jim Moore George Howe Mihaela Frusina Judith Dines Qwi Massingill Julie Kutac Robert Nash Brian K. Lassinger Annie Chen Kathryn Ladner Timpani Melissa Medina Dawn Malone Takashi Nishimura Ben May Jing Zheng Ronald Holdman, Principal Janet Menzie Katie Marcell Greg Railsback Kody Pisney Martha Chapman Oboe Theresa Olin Shelby Murphy Doug Rodenberger Kevin Shultz Lisa Ji Eun Kim Jonathan Fischer, Principal Keyboard Jessica Rangel Charnele Pendarvis Alex Schaaf Brian Smith Tina Zhang Colin Gatwood Scott Holshouser, Principal Meridith Steiniger Carolyn Rogan Tony Sessions Howard Solis Cecilia Sun Melissa Smith Jeff Simmons Mark Standridge Clarinet Elizabeth Taylor Karla Sosa Dewell Springer Tommie Trinh Wayne Brooks, Principal Mark Nuccio, Principal Siobhan Thompson Miriam Stafford Arty Whittenberg Yen-Kuei (Peter) Tu Joan DerHovsepian, Associate Christian Schubert Beth Weidler Alisa Tobin Lance Wilcox Brady Weldon Principal Vanessa Winslow Kat White Lee Williams George Pascal, Assistant Principal Bassoon Wei Jiang Rian Craypo, Principal Sheldon Person Elise Wagner Jarita Ng Phyllis Herdliska Houston Symphony & Houston Symphony Chorus Andrés Orozco-Estrada © Thomas Shea Die Schöpfung Und es ward Licht. and there was Light.

Oratorium in drei Teilen Uriel Uriel Deutscher Text von Gottfried van Swieten Und Gott sah das Licht, dass es gut war, And God saw the Light, that it was good; und Gott schied das Licht von der and God divided the Light from the ERSTER TEIL Finsternis. darkness. CD 1

Nr. 1 Einleitung No. 1 Introduction 1 Nr. 3 Arie mit Chor No. 3 Aria with Chorus 2

Die Vorstellung des Chaos The Representation of Chaos Uriel Uriel Nun schwanden vor dem heiligen Strahle Now vanish before the holy beams Nr. 2 Rezitativ mit Chor No. 2 with Chorus des schwarzen Dunkels gräuliche Schatten: the gloomy dismal shades of dark; Der erste Tag entstand. the first of days appears. Raphael Raphael Verwirrung weicht, und Ordnung keimt Disorder yields to order the fair place. Im Anfange schuf Gott Himmel und Erde, In the beginning God created the empor. Affrighted fled hell’s spirits black in und die Erde war ohne Form und leer, Heaven, and the earth; Erstarrt entflieht der Höllengeister Schar throngs; und Finsternis war auf der Fläche der and the earth was without form and void; in des Abgrunds Tiefen hinab down they sink in the deep of abyss Tiefe. and darkness was upon the face of the zur ewigen Nacht. to endless night. deep. Chor Chorus Chor Chorus Verzweiflung, Wut und Schrecken Despairing cursing rage Und der Geist Gottes And the Spirit of God begleiten ihren Sturz, attends their rapid fall. schwebte auf der Fläche der Wasser, moved upon the face of the waters. und eine neue Welt A new-created world und Gott sprach: Es werde Licht! And God said: , entspringt auf Gottes Wort. springs up at God’s command. Nr. 4 Rezitativ No. 4 Recitative 3 und laut ertönt aus ihren Kehlen des and to th’ ethereal vaults resound the Schöpfers Lob, praise of God, Raphael Raphael das Lob des zweiten Tags. and of the second day. Und Gott machte das Firmament und And God made the firmament, and teilte die Wasser, divided the waters Chor Chorus die unter dem Firmament waren, von den which were under the firmament from Und laut ertönt aus ihren Kehlen And to th’ ethereal vaults resound Gewässern, the waters des Schöpfers Lob, das Lob des zweiten the praise of God, and of the second day. die ober dem Firmament waren, und es which were above the firmament. And it Tags. ward so. was so. Da tobten brausend heftige Stürme; wie Outrageous storms now dreadful arose; Spreu vor as chaff Nr. 6 Rezitativ No. 6 Recitative 4 dem Winde, so flogen die Wolken, by the winds are impelled the clouds. die Luft durchschnitten feurige Blitze By heaven’s fire the sky is enflamed Raphael Raphael und schrecklich rollten die Donner umher. and awful rolled the thunders on high. Und Gott sprach: Es sammle sich das And God said: Let the waters Der Flut entstieg auf sein Geheiß der Now from the floods in steam ascend Wasser under the heaven be gathered together allerquickende Regen, reviving showers of rain, unter dem Himmel zusammen an einem unto one place, der allerverheerende Schauer, der leichte, the dreary wasteful hail, the light and Platz and let the dry land appear; and it was flockige Schnee. flaky snow. und es erscheine das trockne Land; und so. es ward so. And God called the dry land: earth, Und Gott nannte das trockne Land “Erde” and the gathering of waters called he Nr. 5 Solo mit Chor No. 5 Solo with Chorus 4 und die Sammlung der Wasser nannte er seas; “Meer”; and God saw that it was good. Gabriel Gabriel und Gott sah, dass es gut war. Mit Staunen sieht das Wunderwerk The marv’lous work beholds amaz’d der Himmelsbürger frohe Schar, the glorious hierarchy of Heav’n; Nr. 7 Arie No. 7 Aria 6 Nr. 9 Arie No. 9 Aria 8

Raphael Raphael Gabriel Gabriel Rollend in schäumenden Wellen Rolling in foaming billows Nun beut die Flur das frische Grün With verdure clad the fields appear bewegt sich ungestüm das Meer. uplifted roars the boist’rous sea. dem Auge zur Ergötzung dar. delightful Hügel und Felsen erscheinen, Mountains and rocks now emerge; Den anmutsvollen Blick to the ravish’d sense; der Berge Gipfel steigt empor. their tops into the clouds ascend. erhöht der Blumen sanfter Schmuck. by flowers sweet and gay enhanced Die Fläche, weit gedehnt, Thro’ th’ open plains outstretching wide Hier duften Kräuter Balsam aus, is the charming sight. durchläuft der breite Strom in mancher in serpent error rivers flow. hier sprosst den Wunden Heil. Here vent their fumes the fragrant herbs; Krümme. Softly purling glides on Die Zweige krümmt der goldnen Früchte here shoots the healing plant. Leise rauschend gleitet fort thro’ silent vales the limpid brook. Last; By loads of fruit th’ expanded boughs are im stillen Tal der helle Bach. hier wölbt der Hain zum kühlen Schirme press’d; sich, to shady vaults are bent the tufty groves; den steilen Berg bekrönt ein dichter Wald. the mountain’s brow is crown’d with Nr. 8 Rezitativ No. 8 Recitative 7 closed wood.

Gabriel Gabriel Und Gott sprach: Es bringe die Erde Gras And God said: Let the earth bring forth Nr. 10 Rezitativ No. 10 Recitative 9 hervor. grass, Kräuter, die Samen geben, und the herb-yielding seed, and the tree Uriel Uriel Obstbäume, yielding fruit after his kind, Und die himmlischen Heerscharen And the heav’nly host proclaimed the die Früchte bringen ihrer Art gemäß, whose seed is in itself verkündigten third day, die ihren Samen in sich selbst haben upon the earth; and it was so. den dritten Tag, Gott preisend und praising God and saying: auf der Erde; und es ward so. sprechend: Nr. 11 Chor No. 11 Chorus 10 Nr. 13 Rezitativ No. 13 Recitative 12

Chor Chorus Uriel Uriel Stimmt an die Saiten, ergreift die Leier, Awake the harp, the lyre awake! In vollem Glanze steiget jetzt In splendour bright is rising now Lasst euren Lobgesang erschallen! In shout and joy your voices raise! die Sonne strahlend auf, the sun and darts his rays; Frohlocket dem Herrn, dem mächtigen In triumph sing the mighty Lord! ein wonnevoller Bräutigam, an am’rous joyful happy spouse, Gott, For he the heavens and earth ein Riese stolz und froh, a giant proud and glad, denn er hat Himmel und Erde has cloathed in stately dress. zu rennen seine Bahn. to run his measur’d course. bekleidet in herrlicher Pracht! Mit leisem Gang und sanftem Schimmer With softer beams and milder light steps schleicht der Mond die stille Nacht on the silver moon through silent night. hindurch. The space immense of th’ azure sky Nr. 12 Rezitativ No. 12 Recitative 11 Den ausgedehnten Himmelsraum innum’rous host of diant orbs adorns. ziert ohne Zahl der hellen Sterne Gold. And the sons of God Uriel Uriel Und die Söhne Gottes announced the fourth day Und Gott sprach: And God said: verkündigten den vierten Tag in song divine, Es sei’n Lichter an der Feste des Himmels, Let there be lights in the firmament of mit himmlischem Gesang, proclaiming thus his power: um den Tag von der Nacht zu scheiden heaven seine Macht ausrufend also: und Licht auf der Erde zu geben, to divide the day from the night, und es seien diese für Zeichen und für and to give light upon the earth; Zeiten and let them be for signs and for seasons, Nr. 14 Terzett und Chor No. 14 Trio and Chorus 13 und für Tage und für Jahre. and for days, and for years. Er machte die Sterne gleichfalls. He made the stars also. Chor Chorus Die Himmel erzählen die Ehre Gottes, The heavens are telling the glory of God. und seiner Hände Werk zeigt an das The wonder of his works displays the Firmament. firmament. Gabriel, Uriel, Raphael Gabriel, Uriel, Raphael ZWEITER TEIL PART TWO Dem kommenden Tage sagt es der Tag, To day, that is coming, speaks it the day; die Nacht, die verschwand, der folgenden the night, that is gone, to following night. Nacht: Nr. 15 Rezitativ No. 15 Recitative 14

Chor Chorus Gabriel Gabriel Die Himmel erzählen die Ehre Gottes, The heavens are telling the glory of God. Und Gott sprach: Es bringe das Wasser And God said: Let the waters bring forth und seiner Hände Werk zeigt an das The wonder of works displays the in der abundantly the moving creature that Firmament. firmament. Fülle hervor webende Geschöpfe, die hath life, Leben and fowl, that may fly above the earth Gabriel, Uriel, Raphael Gabriel, Uriel, Raphael haben, und Vögel, die über der Erde in the open firmament of heaven. In alle Welt ergeht das Wort, In all the land resounds the word, fliegen jedem Ohre klingend, keiner Zunge fremd: nEver unperceived, Ever understood. mögen in dem offenen Firmamente des Himmels. Chor Chorus Die Himmel erzählen die Ehre Gottes, The heavens are telling the glory of God. und seiner Hände Werk zeigt an das The wonder of his works displays the Nr. 16 Arie No. 16 Aria 15 Firmament. firmament. Gabriel Gabriel Auf starkem Fittiche On mighty pens schwinget sich der Adler stolz uplifted soars the eagle aloft, und teilet die Luft and cleaves the air im schnellesten Fluge zur Sonne hin. in swiftest flight to the blazing sun. Den Morgen grüßt His welcome bids to morn der Lerche frohes Lied, the merry lark, und Liebe girrt and cooing, Nr. 18 Rezitativ No. 18 Recitative das zarte Taubenpaar. calls the tender dove his mate. Aus jedem Busch und Hain erschallt From ev’ry bush and grove resound Raphael Raphael der Nachtigallen süße Kehle. the nightingale’s delightful notes. Und die Engel rührten ihr’ unsterblichen And the angels struck their immortal Noch drückte Gram nicht ihre Brust, No grief affected yet her breast, Harfen harps noch war zur Klage nicht gestimmt nor to a mournful tale were tun’d und sangen die Wunder des fünften Tags. and the wonders of the fifth day sung. ihr reizender Gesang. her soft enchanting lays.

Nr. 19 Terzett und Chor No. 19 Trio and Chorus 17 Nr. 17 Rezitativ No. 17 Recitative 16 Gabriel Gabriel Raphael Raphael In holder Anmut stehn, Most beautiful appear, Und Gott schuf große Walfische und ein And God created great whales, mit jungem Grün geschmückt, with verdure young adorn’d, jedes lebende Geschöpf, das sich and ev’ry living creature that moveth. Die wogigten Hügel da. the gently sloping hills. beweget, And God blessed them, saying: Aus ihren Adern quillt Their narrow sinuous veins und Gott segnete sie, sprechend: Be fruitful all, and multiply! in fließendem Kristall distill in crystal drops Seid fruchtbar alle, mehret euch, Ye winged tribes, be mulitply’d der kühlende Bach hervor. the fountain fresh and bright. Bewohner der Luft, vermehret euch and sing on ev’ry tree! und singt auf jedem Aste! Multiply, ye finny tribes, Uriel Uriel Mehret euch, ihr Flutenbewohner, and fill each wat’ry deep! In frohen Kreisen schwebt, In lofty circles play und füllet jede Tiefe! Be fruitful, grow, and multiply! sich wiegend in der Luft, and hover thro’ the sky Seid fruchtbar, wachset, mehret euch, And in your God and Lord rejoice! der munteren Vögel Schar. the cheerful host of birds. erfreuet euch in eurem Gott! Den bunten Federglanz And in the flying whirl, erhöht im Wechselflug the glitt’ring plumes are died, das goldene Sonnenlicht. as rainbows, by the sun. Raphael Raphael CD 2 Das helle Nass durchblitzt See flashing thro’ the wet der Fisch und windet sich in thronged swarms Nr. 20 Rezitativ No. 20 Recitative 1 m steten Gewühl umher. the fry on thousand ways around. Vom tiefsten Meeresgrund Upheaved from the deep, Raphael Raphael wälzet sich Leviathan th’ immense Leviathan Und Gott sprach: Es bringe die Erde And God said: Let the earth bring forth auf schäumender Well’ empor. sports on the foaming wave. hervor the living creature after his kind; lebende Geschöpfe nach ihrer Art: cattle and creeping thing, Gabriel, Uriel, Raphael Gabriel, Uriel, Raphael Vieh und kriechendes Gewürm and beasts of the earth after their kind. Wie viel sind deiner Werk’, o Gott! How many are thy works, o God? und Tiere der Erde nach ihren Gattungen. Wer fasset ihre Zahl? Who may their numbers tell? Wer, o Gott? Who, o God? Wer fasset ihre Zahl? Who may their numbers tell? Nr. 21 Rezitativ No. 21 Recitative 2

Raphael Raphael Gabriel, Uriel, Raphael, Chor Gabriel, Uriel, Raphael, Chorus 18 Gleich öffnet sich der Erde Schoß Straight opening her fertile womb, Der Herr ist groß in seiner Macht, The Lord is great and great his might. und sie gebiert auf Gottes Wort the earth obey’d the word, und ewig bleibt sein Ruhm. His glory lasts for Ever and Evermore. Geschöpfe jeder Art, and teem’d creatures numberless, in vollem Wuchs und ohne Zahl. in perfect forms and fully grown. Vor Freude brüllend steht der Löwe da. Cheerful, roaring, stands the tawny lion. hier schießt der gelenkige Tiger empor. In sudden leaps the flexible tiger appears. Das zackige Haupt erhebt der schnelle The nimble stag bears up his branching Hirsch. head. Mit fliegender Mähne springt und wieh’rt With flying mane and fiery look, voll Mut und Kraft das edle Roß. impatient neighs the sprightly steed. Auf grünen Matten weidet schon The cattle in herds already seeks his food Nr. 23 Rezitativ No. 23 Recitative 4 das Rind, in Herden abgeteilt. on fields and meadows green. Die Triften deckt, als wie gesät, And oe’r the ground, as plants, Uriel Uriel das wollenreiche, sanfte Schaf. are spread the fleecy, meek and bleating Und Gott schuf den Menschen nach And God created man in his own image. Wie Staub verbreitet sich flock. seinem Ebenbilde, In the image of God created he him. in Schwarm und Wirbel Unnumber’d as the sands in whirls nach dem Ebenbilde Gottes schuf er ihn. Male and female created he them. das Heer der Insekten. arose the host of insects. Mann und Weib erschuf er sie. He breathed into his nostrils the breath In langen Zügen kriecht In long dimension creeps Den Atem des Lebens hauchte er in sein of life, am Boden das Gewürm. with sinuous trace the worm. Angesicht, and man became a living soul. und der Mensch wurde zur lebendigen Seele. Nr. 22 Arie No. 22 Aria 3

Raphael Raphael Nr. 24 Arie No. 24 Aria 5 Nun scheint in vollem Glanze der Himmel, Now heav’n in fullest glory shone; nun prangt in ihrem Schmucke die Erde. earth smiles in all her rich attire. Uriel Uriel Die Luft erfüllt das leichte Gefieder, The room of air with fowl is fill’d; Mit Würd’ und Hoheit angetan, In native worth and honor clad, das Wasser schwellt der Fische the water swell’d by shoals of fish; mit Schönheit, Stärk’ und Mut begabt, with beauty, courage, strength adorn’d, Gewimmel, by heavy beasts the ground is trod. gen Himmel aufgerichtet steht der to heav’n erect and tall, he stands a man, den Boden drückt der Tiere Last. But all the work was not complete. Mensch, the Lord and King of nature all. Doch war noch alles nicht vollbracht. There wanted yet that wond’rous being, ein Mann und König der Natur. The large and arched front dem ganzen fehlte das Geschöpf, that grateful should God’s pow’r admire, Die breit gewölbt’ erhabne Stirn sublime of wisdom deep das Gottes Werke dankbar sehn, with heart and voice his goodness praise. verkünd’t der Weisheit tiefen Sinn, declares the seat. des Herren Güte preisen soll. und aus dem hellen Blicke strahlt And in his eyes with brightness shines the der Geist, des Schöpfers Hauch und soul, Ebenbild. the breath and image of his God. Auch unsre Freund’ erschalle laut, In lofty strains let us rejoice! An seinen Busen schmieget sich With fondness leans upon his breast des Herren Lob sei unser Lied! Our song let be the praise of God. für ihn, aus ihm geformt, a partner for him form’d, die Gattin, hold und anmutsvoll. a woman fair and graceful spouse. Gabriel, Uriel Gabriel, Uriel In froher Unschuld lächelt sie, Her softly smiling virgin looks, Zu dir, o Herr, blickt alles auf. On thee each living soul awaits; des Frühlings reizend Bild, of flow’ry spring the mirror, um Speise fleht dich alles an. from thee, O Lord, they beg their meat. ihm Liebe, Glück und Wonne zu. bespeak him love, and joy, and bliss. Du öffnest deine Hand, Thou openest thy hand, gesättigt werden sie. and sated all they are.

Nr. 25 Rezitativ No. 25 Recitative 6 Raphael Raphael Du wendest ab dein Angesicht, But as to them thy face is hid, Raphael Raphael da bebet alles und erstarrt. with sudden terror they are struck. Und Gott sah jedes Ding, was er gemacht And God saw ev’ry thing that he had Du nimmst den Odem weg, Thou tak’st their breath away; hatte; made; in Staub zerfallen sie. they vanish into dust. und es war sehr gut. Und der himmlische and behold, it was very good; and the Chor heavenly choir Gabriel, Uriel, Raphael Gabriel, Uriel, Raphael feierte das Ende des sechsten Tages mit in song divine thus closed the sixth day. Den Odem hauchst du wieder aus, Thou lett’st thy breath go forth again, lautem Gesang: und neues Leben sprosst hervor. and life with vigor fresh returns. Verjüngt ist die Gestalt der Erd’ Revived earth unfolds an Reiz und Kraft. new force and new delights. Nr. 26 Chor und Terzett No. 26 Chorus and Trio 7 Chor Chorus Chor Chorus Vollendet ist das große Werk, AchiEved is the glorious work. Vollendet ist das große Werk, AchiEved is the glorious work; des Herren Lob sei unser Lied! Our song let be the praise of God. der Schöpfer sieht’s und freuet sich. the Lord beholds it and is pleas’d. Alles lobe seinen Namen, Glory to his name forEver; he sole on high denn er allein ist hoch erhaben! exalted reigns, Nr. 28 Duett mit Chor No. 28 Duet with Chorus 9 Alleluja! Alleluja! Alleluia! Alleluia! Eva, Adam Eve, Adam Von deiner Güt’, o Herr und Gott, By thee with bliss, O bounteous Lord, DRITTER TEIL PART THREE ist Erd’ und Himmel voll. the heav’n and earth are stor’d. Die Welt, so groß, so wunderbar, This world, so great, so wonderful, ist deiner Hände Werk. thy mighty hand has fram’d. Nr. 27 Orchestereinleitung und Rezitativ No. 27 Orchestral introduction 8 and recitative Chor Chorus Gesegnet sei des Herren Macht, For Ever blessed be his pow’r! Uriel Uriel sein Lob erschall’ in Ewigkeit. His name be Ever magnified! Aus Rosenwolken bricht, In rosy mantle appears, geweckt durch süßen Klang, by tunes sweet awak’d, Adam Adam der Morgen jung und schön. the morning young and fair.´ Der Sterne hellster, o wie schön Of stars the fairest, O how sweet Vom himmlischen Gewölbe From the celestial vaults verkündest du den Tag! thy smile at dawning morn! strömt reine Harmonie pure harmony descends Wie schmückst du ihn, o Sonne du, How brighten’st thou, o Sun, zur Erde hinab. on ravished earth. des Weltalls Seel’ und Aug’! the day, thou eye and soul of all! Seht das beglückte Paar, Behold the blissful pair, wie Hand in Hand es geht! where hand in hand they go! Chor Chorus Aus ihren Blicken strahlt Their flaming looks express Macht kund auf eurer weiten Bahn Proclaim in your extended course des heißen Danks Gefühl. what feels the grateful heart. des Herren Macht und seinen Ruhm! th’ almighty pow’r and praise of God! Bald singt in lautem Ton A louder praise of God ihr Mund des Schöpfers Lob; their lips shall utter soon. Eva Eve lasst unsre Stimme dann Then let our voices ring, Und du, der Nächte Zierd’ und Trost, And thou, that rul’st the silent night, sich mengen in ihr Lied. united with their song! und all das strahlend’ Heer, and all ye starry host, verbreitet überall sein Lob spread wide and ev’ry where his prais Eva, Adam, Chor Eve, Adam, Chorus in euerm Chorgesang. in choral songs about. Ihr Tiere, preiset alle Gott! ...Ye living souls, extol the Lord! ihn lobe, was nur Odem hat! Him celebrate, him magnify! Adam Adam Ihr Elemente, deren Kraft Ye strong and comb’rous elements, Eva, Adam Eve, Adam stets neue Formen zeugt, who ceaseless changes make, Ihr dunklen Hain’, ihr Berg’ und Tal’, Ye vallies, hills, and shady woods, ihr Dünst’ und Nebel, ye dusky mists and dewy streams ihr Zeugen unsres Danks, our raptur’d notes ye heard; die der Wind versammelt und vertreibt: that rise and fall thro’ th’ air … ertönen sollt ihr früh und spät from morn till ev’n you shall repeat von unserm Lobgesang. our grateful hymns of praise! Eva, Adam, Chor Eve, Adam, Chorus Lobsinget alle Gott, dem Herrn, … Resound the praise of God our Lord! Chor Chorus groß wie sein Nam’ ist seine Macht. Great is his name, and great his might. Heil dir, o Gott, o Schöpfer, Heil! Hail, bounteous Lord! Almighty, hail! Aus deinem Wort entstand die Welt, Thy word call’d forth this wond’rous Eva Eve dich beten Erd’ und Himmel an, frame. Sanft rauschend lobt, o Quellen, ihn! Ye purling fountains, tune his priase, wir preisen dich in Ewigkeit! Thy pow’r adore the heav’n and earth; Den Wipfel neigt, ihr Bäum’! and wave your tops, ye pines! we praise thee now and Evermore. ihr Pflanzen duftet, Blumen haucht Ye plants, exhale, ye flowers breathe ihm euern Wohlgeruch! at him your balmy scent! Nr. 29 Rezitativ No. 29 Recitative 10 Adam Adam Ihr, deren Pfad die Höh’n erklimmt, Ye, that on mountains stately tread, Adam Adam und ihr, die niedrig kriecht, and ye, that lowly creep; Nun ist die erste Pflicht erfüllt, Our duty we performed now, ihr, deren Flug die Luft durchschneid’t, ye birds that sing at heaven’s gate, dem Schöpfer haben wir gedankt. in off’ring up to God our thanks. und ihr im tiefen Nass: and ye, that swim the stream … Nun folge mir, Gefährtin meines Lebens! Now follow me, dear partner of my life! ich leite dich, und jeder Schritt Thy guide I’ll be, and and ev’ry step weckt neue Freud’ in unsrer Brust, pours new delight into our breast, Eva Eve zeigt Wunder überall. shews wonders ev’ry where. Teurer Gatte, dir zur Seite, Spouse adored! At thy side Erkennen sollst du dann, Then may’st thou feel and know schwimmt in Freuden mir das Herz. purest joys o’erflow the heart. welch unaussprechlich Glück the high degree of bliss Dir gewidmet ist mein Leben, Life and all I am is thine; der Herr uns zugedacht. the Lord allotted us, deine Liebe sei mein Lohn. my reward thy love shall be. Ihn preisen immerdar, and with devoted heart his bounty ihm weihen Herz und Sinn. celebrate. Adam Adam Komm, folge mir, ich leite dich. Come, follow me! Thy guide I’ll be. Der tauende Morgen, The dew-dropping morn, o wie ermuntert er! O how she quickens all! Eva Eve O du, für den ich ward, O thou for whom I am! Eva Eve mein Schirm, mein Schild, mein All! My help, my shield, my all! Die Kühle des Abends, The coolness of ev’n, Dein Will’ ist mir Gesetz. Thy will is law to me. o wie erquicket sie! O how she all restores! So hat’s der Herr bestimmt, So God, our Lord, ordains, und dir gehorchen bringt and from obedience grows Adam Adam mir Freude, Glück und Ruhm. my pride and happiness. Wie labend ist How grateful is der runden Früchte Saft! of fruits the savour sweet!

Nr. 30 Duett No. 30 Duet 11 Eva Eve Wie reizend ist How pleasing is Adam Adam der Blumen süßer Duft! of fragrant bloom the smell! Holde Gattin, dir zur Seite Graceful consort! At thy side fließen sanft die Stunden hin. softly fly the golden hours. Eva, Adam Eve, Adam Jeder Augenblick ist Wonne, Ev’ry moment brings new rapture, Doch ohne dich, was wäre mir … But, without thee, what is to me … keine Sorge trübet sie. ev’ry care is put to rest. Adam Adam und mehr zu wissen als ihr sollt! and more to know, as know ye should! … der Morgentau … … the morning dew …

Eva Eve Nr. 32 Chor No. 32 Chorus 12 … der Abendhauch … … the breath of Even … Singt dem Herren alle Stimmen! Sing the Lord, ye voices all! Adam Adam Dankt ihm alle seine Werke! Utter thanks ye all his works! … der Früchte Saft … … the sav’ry fruit … Lasst zu Ehren seines Namens Celebrate his pow’r and glory! Lob im Wettgesang erschallen! Let his name resound on high! Eva Eve Des Herren Ruhm, er bleibt in Ewigkeit! The Lord is great, his praise shall last for … der Blumen Duft. the fragrant bloom? Amen! aye. Amen! Eva, Adam Eve, Adam Mit dir erhöht sich jede Freude, With thee is ev’ry joy enhanced, mit dir genieß ich doppelt sie, with thee delight is Ever new; mit dir ist Seligkeit das Leben, with thee is life incessant bliss; dir sei es ganz geweiht! thine it whole shall be.

Nr. 31 Rezitativ No. 31 Recitative 12

Uriel Uriel O glücklich Paar, und glücklich immerfort, O happy pair, and always happy yet, wenn falscher Wahn euch nicht verführt, if not, misled by false conceit, noch mehr zu wünschen als ihr habt, ye strive at more, as granted is, Nicole Heaston, Toby Spence, Peter Rose Houston Symphony & Andrés Orozco-Estrada © Thomas Shea Acknowledgments

PRODUCTION TEAM Executive producer Renaud Loranger | Producer Blanton Alspaugh Balance engineer Mark Donahue What we stand for: Liner notes Jörg Peter Urbach | English translation Fiona J. Stroker-Gale Design Joost de Boo | Product management Kasper van Kooten

This album was recorded at the Jesse H. Jones Hall for the Performing Arts, Houston, The Power of Classical Music Texas from 27 September until 2 October 2016 PENTATONE believes in the power of classical music and is invested in the philosophy behind it: we are convinced that refined music is one of the most important wellsprings of culture and essential to human development.

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