The Fourth Annual Chancellor's Festival of Music The Creation by Joseph Haydn University Choral Union University Philharmonic Margaret Hillis, conductor Susan Brummell, soprano Kirk Stuart, tenor Kurt Link, bass Jesse Auditorium SUNDAY, MARCH 9, 1980 3:00 p.m. University of Missouri-Columbia THE CREATION The CREATION of Haydn was written in 1797-1798, at the culminating point of his great decade of composition. These years had been spent largely in Eng­ land: he had composed the magnificent L ONDON S Y MPHON IES, and had listened, deeply moved, to performances of Handel's choral works. On his return to Vienna, he asked his friend Baron van Swieten to translate into German an Eng­ lish libretto which had been given him by one Linley, who had prepared it from Milton's PARADISE wsT and from GENESIS. Haydn composed the music to this German text, and the first performance in 1798, with Haydn himself conducting, was sung in German. This same Baron van Swieten then retranslated the text into English with rather considerable changes in the duration and accentuation of Haydn's phrases, and, according to Tovey, "not without refreshing details in the style of 'English as She is Spoke'." The present translation is an attempt not only to repair the "disjecta membra of the Linley-van-Swieten­ English-as-She-is-Spoke confection," but to unite Haydn's minutely picturesque musical language with the colorful and understandable English text which it deserves. Sir Donald Francis Tovey, in his essay on the CREATION, gives a clear picture of the scope and purpose of the work. "The words of the Bible are divided between three archangels, Raphael, Uriel, and Gabriel, and a chorus which, throughout the whole work, may be considered as that of the heavenly hosts. The list and description of created things is not distributed haphazardly among the three archangels: Uriel is distinctly the angel of the sun and of daylight; his is the tenor voice, and his is the description of Man. Raphael sings of the earth and the sea, of the beginning of all things ... the description of the beasts, the great whales, and 'every living creature that moveth'; and it is he who reports God's blessing, 'Be fruitful and multiply' in a measured passage which is one of the sublimest incidents in Haydn's recit­ atives. Gabriel, the soprano, leads the heavenly hosts and describes the vege­ table kingdom and the world of bird life. Lastly, Adam and Eve appear and fulfill the purpose announced by Raphael while as yet 'the work was not complete ; theere wanted yet that wondrous being, who God's design might thankfull see, and grant His goodness joyful praise.' Or, as the first answer in the Shorter Catechism has it, Q. What is the chief end of Man? A. To glorify God and to enjoy Him for ever. --Robert Shaw and Alice Parker SOLO VOICES: Sopran o : Gabriel, Eve Tenor : Uriel Bass: Raphael, Adam PROGRAM 1. Introduction (Representation of Chaos) 2. Bass Recitative (In the beginning) 2. Tenor Aria with Chorus (Now vanished) 3. Bass Recitative (And God made the firmament) 4. Soprano Solo and Chorus (What wonder) 5. Bass Recitative (Let the waters) 6. Bass Aria (Rolling in foaming billows) 7. Soprano Recitative (Let all the earth) 8. Soprano Aria (Now cooling green) 9. Tenor Recitative (And the heavenly host) 10. Chorus (Awake the harp) 11. Tenor Recitative (Let there be lights) 12. Tenor Recitative (In shining splendor) 13. Chorus and Soli (The heavens are telling) INTERMISSION 14. Soprano Recitative (Let the waters bring forth) 15. Soprano Aria (On mighty wings) 16. Bass Recitative (And God created great whales) 17. Bass Recitative (And the angels) 18. Trio (In fairest raiment now) 19. Trio and Chorus (The Lord is great) 20. Bass Recitative (Let the earth bring forth) 21. Bass Recitative (Straight opening her fertile womb) 22. Bass Aria (Now shines the brightest glory) 23. Tenor Recitative (And God created man) 24. Tenor Aria (In native worth) 25. Bass Recitative (And God saw everything) 26. Chorus (Fulfilled at last the glorious work) 27. Trio (From thee, 0 Lord, doth all proceed) 28. Chorus (Fulfilled at last the glorious work) 29. Tenor Recitative (In rosy mantle) 30. Duet and Chorus (By Thee with grace) 31. Duet Recitative (Now is our duty) 32. Duet (Sweet Companion) 33. Tenor Recitative (O happy pair) 34. Final Chorus and Soli (Sing to God) GUEST ART! STS MARGARET HILLIS, conductor, was invited in 1957 by music director Fritz Reiner to join the Chicago Symphony to help form the Chicago Symphony Chorus, which she has directed since that time. Miss Hillis was graduated from Indiana University and studied with Robert Shaw and Julius Herford at the Juilliard School of Music, on whose faculty she later served. She also was assistant conductor of Mr. Shaw's Collegiate Chorale. From 1951 to 1961 Miss Hillis conducted her own chamber orchestra and chorus in New York City, and since 1952 has been choral conductor for the American Opera Society. Miss Hillis is founder and music director of the American Choral Foundation, and she organized and conducted the American Concert Choir and Orchestra, the only choral group invited to represent the United States at the Brussels World's Fair. In 1962 she directed her first compiete symphonic program in New York's Philharmonic Hall. Miss Hillis also has been conductor and choral director of the Santa Fe Opera and choral director of the NBC-TV Opera and the New York City Opera. Increasingly in demand as a guest conductor of orchestras throughout the United States, Miss Hillis made her Chicago Symphony subscription concert debut in 1976, directing the Orchestra and Chorus in the world premiere of Alan Stout's "Passion." She conducted the National Symphony Orchestra for four sold-out performances of Handel's "Messiah" at the Kennedy Performing Arts Center. She has also conducted the Milwaukee Symphony Orchestra. Miss Hillis served as director of the Cleveland Orchestra Chorus for two seasons. She currently is music director of the Elgin Symphony Orchestra and was associated with Northwestern University as professor of conducting and director of choral organ­ izations for a number of years. In the fall of 1977, Miss Hillis captured nationwide attention when she substituted for Sir Georg Solti on short notice, and conducted the Chicago Symphony Orchestra, Chorus, soloists and other choral forces in a stunning performance of Mahler's Symphony No. 8 in Carnegie Hall. A recipient of numerous honors and awards, she has received honorary Doctor of Music degrees from Temple University and Indiana University. SUSAN BRUMMELL, soprano, has appeared as soloist with the Opera Company of Philadel­ phia, the Chicago Lyric Opera and on the Grant Park Concert Series. Miss Brummell holds the Master of Arts degree in Music from North~1estern University. She was national winner of the WGN Auditions of the Air/Lyric Opera Guild and won praise for her audition for the Metropolitan Opera. KIRK STUART, tenor, received his early musical training in Minneapolis, Minnesota from his mother who was the winner of the Metropolitan Opera Regional Auditions and the National Young Artists Auditions in the Federated Music Clubs Competition. He now resides in Chicago and has appeared in a variety of music productions in the greater metropolitan area, including the nationally televised production of the "Do-It-Yourself-Messiah" conducted by Margaret Hillis as well as his Chicago Symphony Orchestra Hall debut this year in Handel's "Dettingen Te Deum." In addition Mr. Stuart has been a soloist at the Ravinia Festival in performances of Mendelssohn's "Elijah", Bach's "St. Matthew-Passion" and Verdi's "La Forza del Destine" conducted by James Levine. This fall Mr. Stuart will begin work on a Doctor of Music degree in Vocal Performance at Northwestern University where he received the Chramer Award for excellence in opera. KURT LINK, bass, graduated with honors for distinction in performance from Lawrence University Conservatory of Music with a Bachelor of Music degree in vocal performance. Since his acceptance into the Chicago Symphony Chorus, he has sung the understudies for the Bass solos in Chicago Symphony Orchestra performances of Mahler's Eighth Symphony and Beethoven's Ninth Symphony. He will make his solo debut with that orchestra in the performances of Mendelssohn's "Elijah" in February, 1980 under the direction of Margaret Hillis. UNIVERSITY CHORAL UNION John Augenblick, Chorus Master Henry Gower, Assistant Chorus Ma~ter Nora Hulse, Rehearsal Accompanist SOPRANO Grace Louise Baker Anita Adams Francesca L'hoir Margaret Bianchetta Elizabeth Anderson Marla Linthicum Maureen Breese Luanne Arras Leslie Leip Jeri Bretthorst Deana Astle Catharine Longman Robyn Campbell Edith Barker Connie Lummis Marilyn Capron Kay Bartling Sarah Marshall Carolyn Carlson Mathilde Berkley Kathleen Martin Jean Carr Margit Bilgram Paula Martin Linda Chapman Julie Binger Ester R. Mendoza Lisbeth W. Chapman Sue Bottorff Helga Meyer Marilyn Cheetham Kendra Bruns Deena Miller Janet Coats Kathryn Burlison Martha Montgomery Ginger Collins Mary Cahall Nancy Moore Gretchen Collins Donna L. Carroll Debora Morrison Sandy Collins Jeri Caskey Beverly Nick Maura Cornman Pillie Chapman Julie Ostmann Carol Dallman Michelle Collier Christine Perisho Carole Dasta Karen Crawley Kathryn Peterman Carolyn Davis Valerie Cummins Mary Beth Ponte Mary Lou Davis Jacqueline Curtis Shari Pruitt Margaret Denker Sandra Davenport Janine Pundmann Sarah Dixon Heidi DeVore Denise Quinley Margaret Ann Durham Constance Fpple Paula Ralph Mary Edmondson Allegra Erwin Renee Robertson Sue Ellebracht Elwyn Ewer Jean Schildz Dorothy Emslie Mary Ewing Penny Sharp Norma J. Fair Lucinda Fitch Kathryne Shelby Anna Margaret Fields Lisa Friend Laura L. Shelby Pamela Flamm Cindy Gentry Laura Smith Janice Gaston Deborah Ginter Jacqueline Smith Kathryn Glenn Marilyn Cortney Sarah Spurgeon Debra Godsey Margo Gower Donna Stolper Antonia Green Victoria Grober Sharon Thomson Becky Greer Patricia Gross Dorothy Stoerker Peggy Grossmann Janet Harrison Tracey Underhill Donna Haley Laura Hord Julie Wall Mary Harbourt Jean E .