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Haydn's Creation

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Haydn's Creation HAYDN’S CREATION NASHVILLE SYMPHONY AND CHORUS CLASSICAL SERIES FRIDAY & SATURDAY, NOVEMBER 3 & 4, AT 8 PM NASHVILLE SYMPHONY NASHVILLE SYMPHONY CHORUS THANK YOU TO NICHOLAS MCGEGAN, conductor OUR PARTNER TUCKER BIDDLECOMBE, chorus director ASHLEY VALENTINE, soprano ISAIAH BELL, tenor ANTHONY REED, bass FRANZ JOSEPH HAYDN The Creation, H. XXI:2 SERIES PRESENTING PARTNER Part I Part II Part III Intermission will take place at the conclusion of Part I. INCONCERT 15 TONIGHT’S CONCERT AT A GLANCE JOSEPH HAYDN The Creation • The enormously prolific composer of more than 100 symphonies, Haydn took at least a year-and-a-half to compose The Creation, which is considered by many to be his masterpiece. “Only when I had reached the half-way mark in my composition did I perceive that it was succeeding,” he said after its completion. • The oratorio depicts and celebrates the creation of the world as described in the book of Genesis. Part One captures the emergence of light and life from darkness and chaos, while Part Two depicts the creation of the animals, with musical motifs representing a lion, a tiger, insects and other creatures. Part Three describes Adam and Eve’s first day. • This nearly two-hour oratorio was stylistically inspired by Handel’s Messiah and Israel in Egypt, which the Austrian composer heard during his trips to London. The libretto — which was rumored to have been offered to Handel himself — was initially provided by impresario Johann Peter Salomon in the form of a poem called The Creation of the World. • Haydn took this source poem and handed it to the Baron Gottfried van Swieten, who adapted the libretto into German and then had this new version translated back into English. • In addition to drawing from the book of Genesis, the text takes some of its material from John Milton’s Paradise Lost. Key characters include the archangels Gabriel, Uriel and Raphael, as well as Adam and Eve, all of whom are represented by vocal soloists. • Mirroring the diversity of creation itself, Haydn weaves a whole spectrum of music history into his score: Handelian textures for his choral double fugues; the Classical symphony that he himself spearheaded; heroic arias from opera; and the popular idiom of the Singspiel. • The Creation won Haydn the most resounding praise of his career, and it led to several other choral works by the composer, including a series of Masses and the oratorio The Seasons. • Now in his fifth decade on the podium, Nicholas McGegan is recognized as one of the most accomplished Baroque conductors working today. Well- known to Nashville audiences from previous engagements conducting Handel’s Messiah and Mendelssohn’s Elijah, he is an Officer of the Most Excellent Order of the British Empire (OBE). — Corinne Fombelle & Thomas May 16 NOVEMBER 2017 FRANZ JOSEPH Composed: 1796-98 First performance: April 29, 1798, in a private HAYDN performance in Vienna; the public premiere took place March, 19, 1799, also in Vienna First Nashville Symphony performance: Born on March 31, 1732 in Rohrau, Lower Austria; November 22 & 23, 1976, with music director died on May 31, 1809 in Michael Charry, soprano Barbara Hendricks, tenor Vienna John Aler and bass David Ford CLASSICAL Estimated length: 100 minutes (not including intermission) The Creation espite his status as Europe’s leading composer by Handel’s ability to move a diverse audience. Dof instrumental music at the end of the 18th Johann Peter Salomon, the impresario who century, Joseph Haydn endured a notable degree had organized Haydn’s London concerts, had of self-doubt while at work on The Creation. This provided him with an English libretto recounting score was one with which he wrestled mightily the biblical creation story — a libretto allegedly — a fact easy to overlook for this enormously once offered to Handel himself. Perhaps this added prolific composer — and he let it preoccupy him a competitive thrill to Haydn’s undertaking. The for at least a year and a half, between 1796 and decisive catalyst was provided in Vienna by Baron 1798. “Only when I had reached the half-way Gottfried van Swieten, the music-loving diplomat mark in my composition did I perceive that it was and court librarian. Enamored of the Baroque succeeding,” Haydn declared, “and I was never so heritage, van Swieten had earlier enlisted Mozart devout as during the time when I was working on to “update” several Handel oratorios (including The Creation.” Messiah) for their belated Viennese premieres. Haydn had succeeded in creating his own For Haydn, van Swieten not only arranged identity as a freelance artist during a period of a handsome commission; he also extensively epochal social change in Europe — even while he tailored the original English libretto. Its actual was still officially a servant of His Serene Highness authorship remains a matter of scholarly debate. Prince Esterházy, for whom he served as court In translating The Creation into Die Schöpfung, music director. This autonomous identity, spread the Baron generally shortened the original lengthy across Europe thanks to the power of publishing text but elaborated or rewrote several numbers, houses in Paris and foreign commissions, then translated the new version back into English. eventually brought Haydn to London in the 1790s Haydn set both the German and English texts for two triumphant, extensive residencies that and — a first for music publishing — had the would have made a glorious final chapter to his two languages printed side by side in a bilingual career. Yet the aging master refused to rest on edition. these laurels. He would reinvent himself one more The Creation won Haydn the most resounding time, turning from his unmatched achievements praise of his career, beginning with a semi- in the symphony to sacred music. private premiere in April 1798, followed by the Already in the 1770s, Haydn had experimented highly acclaimed first public performances in with the oratorio, drawing on the genre’s Italian Vienna’s Burgtheater in 1799. The composer Baroque heritage. But the ambition fueling The further explored his newfound mastery of choral Creation, which he modeled on the English three- music in a final series of Masses and in a “sequel” part oratorio, was entirely different in ambition oratorio, The Seasons (the libretto for which was and scope. unequivocally authored by van Swieten). But it What inspired Haydn to take up this new was above all thanks to The Creation that Haydn challenge after his return to Vienna in 1795? The spent his twilight years admired as a celebrity- London experience had exposed him to stirring sage. During Napoleon’s bombardment and performances of several of Handel’s oratorios (in occupation of Vienna, the emperor (who himself particular, Israel in Egypt and Messiah). Haydn was had survived a bombing attempt on the night of deeply impressed not only by the music, but also the work’s Paris premiere in 1800) gave orders to INCONCERT 17 protect the composer’s house. Haydn transforms the libretto’s various The Creation’s three parts trace the six days numbers into chains of interconnected musical CLASSICAL of the divine Creation of the world, culminating structures. Recitatives — both with mere continuo in a day of paradisal rest. The text draws on the backing and with richly detailed “accompanied” first and second chapters of Genesis (originally settings — introduce full-scale pieces for the from the King James Bible) and includes poetic soloists, while each day of the Creation story meditations on the biblical narrative, rendered as concludes with a choral celebration. paraphrases from Milton’s Paradise Lost (especially Along with chorus and an expanded Classical from Books VII and VIII). orchestra calling for a third flute, contrabassoon Part One depicts the first four days, involving and trombones, Haydn scores for soprano, tenor the creation of light; the separation of heaven, the and bass soloists, who appear, respectively, as earth and the seas; and formation of the heavenly the archangels Gabriel, Uriel and Raphael. (Not bodies. Days five and six make up Part Two, present in the scriptural account, these three roles which depicts the creation of animals and, finally, appear as part of the epic cast in Paradise Lost.) In of humans. In Part Three, where only Milton’s the third part, the soprano and bass take the parts source is used, the subject is Adam and Eve’s first of Eve and Adam. The concluding number adds an day, during which they offer thanksgiving to the alto to complete a solo quartet, whose sonority is Creator and then discover love. contrasted with that of the full chorus. WHAT TO LISTEN FOR he most imposing challenge that Haydn consistency, the score offers musical depictions set for himself occurs, fittingly enough, before the objects that they describe are identified. T right at the beginning — or rather, before the The Creation is a virtuoso score in terms of such beginning, in the orchestral prelude titled “The gestures of musical imitation. These are scattered Representation of Chaos.” Here Haydn brings throughout the accompanied recitatives, as in the his expertise as a symphonist to the fore, but he delightful calling forth of the creatures of the land, invents an original instrumental language by and developed in more detail in the solo arias intentionally distorting the very traits that made (Gabriel’s hymns to flowering vegetation and to him a master symphonist (clarity of form above the variety of birds, for example). The composer’s all) and exaggerating the “tricks” that had been the approach here was later viewed as a liability, foundation of his witty style: deceptive cadences, derided as “naïve” by Romantics and Modernists. surprising dynamic shifts and tonal detours.
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