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Simon Rattle conducts Haydn’s “Creation”The premiere of The Creation, conducted by Haydn before an invited audience at the Schwarzenberg Palace in Vienna on 3. April 1. 79. 8, set off a chain of events such as the city had never experienced. The triumphant success of the premiere was followed by two more performances on 7 and 1. May. Almost a year later, on 1. March 1. 79. 9, the first public performance of the work took place in the presence of the emperor at the Burgtheater. Haydn had playbills printed for the occasion on which he announced that none of the pieces would be repeated following applause, “otherwise the exact connection between the several parts, from whose uninterrupted sequence the effect of the whole is intended to spring, must necessarily be destroyed, and, moreover, the pleasure considerable lessened”.

The impact was tremendous. The audience gave their full attention to the music and expressed its enthusiasm with thunderous applause only at the interval and at the end of the concert.

Following publication of the score, the work spread like wildfire throughout Europe and was performed in Budapest, Prague, London, Oxford, Salzburg, Paris, Amsterdam, St. Petersburg and Moscow.

In November 1. 80. Journal des Luxus und der Moden stated: “Never has a musical artwork caused such a sensation or found such a wide audience as Haydn’s Creation”. To open the new season, Sir Simon Rattle and the Berliner Philharmoniker now perform this epic work, which takes chaos as its starting point, represented “by the ordinary, methodical, conventional resources of Art” (Carl Friedrich Zelter). The creation of the world follows in a series of picturesque descriptions of nature, including the famous sunrise in the accompanied recitative “In splendour bright”, in which within ten bars, a single note swells to a radiant D major chord of the full orchestra – a grandiose effect that has lost none of its impact.

The excellent Rundfunkchor Berlin will also doubtlessly present itself “in splendour bright” as well as the trio of soloists: The tenor role is sung by Mark Padmore, who also makes his debut as artist in residence for the 2. He is joined by Elsa Dreisig, a member of the ensemble of the Berlin Staatsoper as of this season, plus the baritone Florian Boesch.

This first concert of the season begins with a symphonic “appetiser” by the Austrian composer Georg Friedrich Haas, as part of the orchestra’s series of commissioned works of no more than six minutes duration. Rituals for Healing and Light. Haasʼs kleines symphonisches Gedicht and Haydn’s Creation. Watch Private Benjamin Download Full on this page.

Dedication: ein kleines symphonisches Gedicht by Georg Friedrich Haas“When my words fail I have to speak in music. I have tried to compose a ritual. A ritual for healing and light.” Georg Friedrich Haas made these remarks about the orchestral piece whose premiere opens the new season of the Berliner Philharmoniker.

That this work should be performed for the first time directly before Joseph Haydn’s Creation inevitably lends it a certain context: “healing and light” are also central themes of Haydn’s oratorio – the universe’s primal chaos is healed in the order brought by light. The wandering sounds of the famous orchestral prelude to the Creation can conceivably be heard as a continuation of the Haas’s sonic textures (Klangflächen). Haas, born in Graz, Austria, calls the orchestral movement ein kleines symphonisches Gedicht (a small symphonic poem) and has attached to it a dedication “to Wolfgang.” From its very beginning the score reveals a kind of ritualistic configuration of instruments. The first chord in the strings is layered from the bottom up: divided basses support triple- divided cellos and quadruple- divided violas beneath the two violin sections, each divided five times.

All play minor seconds in lengthy, sustained sounds that add to the cluster whilst winds and brass ring out in triplets and quintuplets. The sound grows continually higher, louder and more intense until it transforms into ragged fortissimo chords. Underneath high violin and flute trills there develops a new, stratified sonic texture of fortissimo strings. This remains the dominant moment of the movement, at times being rhythmically structured, at times taking the form of long, sustained sounds from the strings. A small number of repeated notes punctuate it with rhythmic contrasts, in particular a “wild” triple- forte shortly before the conclusion.

After six and a half minutes the musicians are instructed to “end as if the piece could go on and on indefinitely” – in a wild, defiant forte- fortissimo. Between Enlightenment and Church Teaching: Joseph Haydn’s Creation. When Haydn’s Creation was heard for the first time on 3. April 1. 79. 8 it was, quite literally, a hair- raising event: at the moment of “Und es ward Licht” (“And there was light”), the audience were so electrified by the sudden C- major fortissimo that they jumped from their seats and cheered. Twenty minutes went by before the performance could be continued. The score was published soon after in 1.

European cities. With his grand narrative of divine light bringing illumination to humanity Haydn unified Europeans on the eve of the Napoleonic wars. English Roots. The roots of the Creation lie in England. When Haydn set foot on English soil on 1 January 1. George Frideric Handel’s oratorios. In Westminster Abbey he heard the Messiah and Israel in Egypt with hundreds of choristers and monumental orchestral forces.

Amidst the atmosphere of the English Handel cult Haydn also soon came into contact with the material of the Creation. Between 1. 74. 4 and 1. Handel had been offered three different oratorio texts based on John Milton’s epic Paradise Lost. The first came from Handel’s friend Mary Delany and dealt exclusively with the Fall of Man, which clearly did not excite Handel. The second libretto was much more attractive, since it combined extracts from the scriptures with passages from Milton’s epic, just as the text of Haydn’s Creation was to. The librettist was Charles Jennens, who had also written the texts of the Messiah and Saul. Unfortunately, however, Handel and Jennens quarrelled in 1.

When Handel’s friend John Upton sent him a further libretto based on Paradise Lost two years later, the composer had lost all interest – a fortunate turn of events, since instead of our having a Handel oratorio named The. Creation, it fell to Haydn to compose Die Schöpfung using a German text. The most recent scholarship supposes that Haydn returned to Vienna with the libretto by Jennens. Gottfried van Swieten, for many years prefect of the Viennese Court Library, translated it into German. According to his own testimony, he “followed the original faithfully on the whole, but often departed from it in the details.”Haydn at the Telescope.

After Haydn had spent his second season in London he visited near Windsor the greatest scientific attraction in England at the time: the gigantic reflecting telescope belonging to the German musician and astronomer Friedrich Wilhelm (later William) Herschel. As Haydn wrote in his notebook, Herschel, owing to his financially advantageous marriage, possessed the means to construct sensational telescopes.

With their help he had discovered the planet Uranus in 1. When Haydn visited him on 1. June 1. 79. 2 Herschel had just developed the theory that stars formed from a kind of gas cloud via the action of gravity. This idea, transposed into music, corresponds to the sound picture that Haydn invented for chaos: dissonant chords and nebulous rhythms that gradually come together into concrete forms. The depiction of chaos at the beginning of the Creation was not Haydn’s own idea, but an express wish of Baron van Swieten, who in this way envisaged the whole oratorio under a single theme: the opposition between chaos and order, darkness and light. Only one year before the premiere of the Creation, in 1.

Encyclopaedia Britannica appeared in Edinburgh in its famous third edition.