Haydn: The Creation | Netherlands Radio Choir, Netherlands Radio Chamber Philharmonic & John Nelson
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- Опубліковано 1 лип 2024
- A famous oratorio at a famous location: The Netherlands Radio Choir and the Netherlands Radio Chamber Philharmonic under the direction of John Nelson are performing Joseph Haydn’s The Creation on 25 June 2010 at the Grote Kerk in Naarden. The Grote Kerk or Great Church is one of the oldest and most famous churches in The Netherlands.
Lisa Milne | SOPRANO
Lucy Crowe | SOPRANO (Eve)
Werner Güra |TENOR
Matthew Rose | BASS
Jonathan Beyer | BARITONE (Adam)
The Netherlands Radio Choir
The Netherlands Radio Chamber Philharmonic
John Nelson | CONDUCTOR
00:00 Part I
01:44 The Representation of Chaos
07:22 In the beginning, God created heaven and earth
10:03 Now vanish before the holy beams
13:48 And God made the firmament
15:50 The marv’lous work beholds amaz’d
17:50 And God said: Let the waters
18:26 Rolling in foaming billows
22:10 And God said: Let the earth bring forth grass
22:42 With verdure clad the fields appear
27:28 And the heavenly host proclaimed the third day
27:40 Awake the harp
29:46 And God said: Let there be lights
30:22 In splendor bright
33:10 The heavens are telling the glory of God
37:07 Part II
37:18 And God said: Let the waters bring
37:44 On mighty pens
44:49 And God created great whales
46:37 And the angels struck
46:55 Most beautiful appear
51:07 The Lord is great
53:11 And God said: Let the earth bring forth
53:35 Strait opening her fertile womb
56:51 Now heav’n in fullest glory shone
1:00:14 And God created man
1:01:03 In native worth and honour
1:04:36 And God saw ev’ry thing
1:05:02 Achieved is the glorious work
1:06:20 On thee each living soul awaits
1:10:31 Achieved is the glorious work
1:13:14 Part III
1:13:23 In rosy mantle appears
1:17:21 By thee with bliss
1:26:55 Our duty we performed now
1:29:20 Graceful consort
1:37:08 O happy pair
1:37:34 Sing the Lord ye voices all
The key impulse for the composition of The Creation was experienced by Joseph Haydn (1732 - 1809) on his travels through England: It was here that Haydn heard the great oratorios of Georg Friedrich Handel (1685 - 1759) and where he was given a libretto by a certain ‘Lidley’ (little else is known about the writer), which he blended with the Biblical story of paradise and the creation (Genesis 1 & 2) and John Milton’s (1608 - 1674) epic poem Paradise Lost into the text for an oratorio. Gottfried van Swieten translated this text into German for Haydn. Haydn wrote The Creation between 1796 and 1798, and is even said to have afterwards described the compositional work as a religious experience.
Although private previews of The Creation in April 1798 had already been received with enthusiasm, Haydn made some corrections to the oratorio. The public premiere then took place in March 1799 at the old Burgtheater in Vienna and was a great success. To this day, Haydn’s The Creation is a beloved classic that frequently appears on concert programs.
The three-part oratorio offers plenty of special features: Haydn had van Swieten’s German text retranslated into English and published the score of The Creation in two languages. It is considered the first bilingual composition ever. Haydn has the three archangels Gabriel (soprano), Uriel (tenor) and Raphael (baritones) narrate and at the same time comment on the material of the divine creation of the world in six days, which is significant in religious and cultural history. The six-day work is not completed by God’s seventh day of rest, as in the biblical template; rather, on the seventh day Haydn celebrates the happy coexistence of Adam and Eve in paradise before the Fall.
One of the musical highlights of The Creation is the prelude, in which the idea of a primordial chaos is set to music. Haydn, whose compositions can actually be considered prime examples of “orderly” form, has ingeniously set a cosmic chaos to music in this introduction - and thus in turn put it into musical form. The most outstanding and famous passage in the entire oratorio, however, is that of the creation of light (09:05). At the words “und es ward Licht” (and there was light), a radiant C major bursts forth, like an elemental sound event, which has captivated every listener of The Creation to this day. If you listen to the abruptly sounding C major chord, it seems as if Haydn, while composing, had glimpsed the first spark of the big bang in the depths of space.
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Wonderful ! This is one of the most beautiful perfomence ,ever I heard .
What joy to hear and see this. Choir, orchestra,soloist and conductor all as a one. Great.
The most exciting moment is "Let there be light. And there was light." Suddenly atonality becomes tonal and harmonic.
C minor to F minor and .....WHAM - C Major !!!! (Tenors on the 3rd)
LOVE singing that moment!!!!
😎😎😎
Axd in n by
Ein wunderschönes Stück Haydn. Genau das richtige, für den heutigen Tag. Gute Auswahl von Euch.
Das freut uns zu hören! Schön, dass es Ihnen gefallen hat! 😊
The final chorus as grand and moving a piece of music as any ever composed, and memorably performed here. Thank you.
Thank you DW for broadcasting Haydn’s Creation today. It brought back memories of an Oberlon conducting workshop that I attended with the conductor John Nelson as the head coach/clinician/facilitator. He is a very nice person who I was honored to meet. Today’s (Saturday, August 13th, 2022) presentation is one I appreciate like fine wine that I have taken my time to enjoy. Again, thank you for the presentation, and may I say, thank you for all of the presentations that are presented every Saturday.
Thank you so much for your kind words! We're so glad you liked it! 😊
Ich finde kaum Worte angesichts dieser herrlichen Aufführung, die mich immer wieder zu Tränen rührt. Alle ganz hervorragend, aber der Sopran strahlt zudem eine unglaubliche Freude aus an dem, was sie singt.
Jesus ist auf die Welt gekommen und gestorben und auferstanden für UNS. Die Propheten haben davon fast 2000 Jahre vorher gesprochen….. der Glaube an Ihn rettet. Nicht der Pastor oder die Kirche, allein Er.
@@ilseilse3824 Sie werden schon recht haben. Aber was hat Ihre Bemerkung mit der Qualität der Aufführung zu tun?
The church reverb suits this music perfectly. Haydn at his best which is of course as fine as any composer’s best work. Never disappointed when John Nelson is conducting.
When I hear the Overture to "The Creation", I think of the distinguished American actress Jodie Sweetin's heroic struggle to overcome substance addiction (a struggle that she won).
Haydn and Vivaldi my favorite composers 👍
Escuchar y ver esta grandiosa representación bajo la dirección del maestro John Nelson es una maravilla. Todo está bien. La orquesta, los solistas, el coro, la iglesia y la dirección de las cámaras. El ambiente del concierto ofrecee una experiencia deliciosa. Verdaderamente una obra maestra. Gracias DW.
Just wonderful! Hearty greetings from Stockholm ❣️
Lucy Crowe and JOnathan Beyer blend beautifully! They portray Adam and Eve so purely, one can imagine the beauty of Eden just by listening to them!
This is simply amazing. Last week Rossini with "Mose in Egitto", now "Die Schöpfung", cannot get better.
Well, it could if you have a complete video recording of Carlos Kleiber and "Der Freishütz", but somehow I doubt that.
You're right. We do not have the Carlos Kleiber recording of "Der Freischütz" on offer. Sorry!
Una maravella, una presiositat,
Wonderful from the beginning to the end! ...Thank you.
Amazing version. Brilliant tempi and sound.
The lady that sang With Verdure Clad is incredible ! She is the mofern day Isabel Baille. Her purity of yonr, phrasing, and control during her melismatic passages were breath taking !
Bravísimo! Greetings from Mexico!
Thank you DW Classical Music, we can clearly hear The Creation through music in the hands of God. With these, I appreciate you!
We are glad you liked it! 😊
Simply fantastic! GOD bless TNRC and NRCP in the name of Jesus!😇😍🤩
Beautiful music
In Haydn’s ‘Representation of Chaos’ in c-minor (tho’it does not stay there for long) he quotes the opening 12 bars or so of Mozart’s Dissonance Quarter K. 465 (c. Jan 1785) which is itself a representation of chaotic clashing harmonies tonalities without a true tonal centre (at first) almost as if Haydn is tipping his hat to the friend he had lost 4 years earlier …
Rather than Mozart, it is more likely that the stimulus for the Representation of Chaos grew out of Haydn’s visiting the astronomer William Herschell at his house in Slough near London on 15 June 1792 during his first visit to England.
Herschelle was an exiled German living in England since deserting from the Prussian army during the Seven Years War according to Haydn’s notebook, so he would have enjoyed being able to speak in their common shared language; they clearly got on well (Herschelle was also a musician).
Herschelle had an amazing telescope - he discovered Uranus - and Haydn was shown this enormous instrument and wrote extensively about the experience in his ‘London’ notebooks.
Haydn gazed into the nothingness of eternity, and it was this experience of what he saw that was probably at the back of his mind when writing the wandering, unresolving tonal instabililty of the Representation of Chaos.
In short - Herschelle rather than Mozart (though I get your point about the ‘Dissonance’ quartet which Haydn knew very well).
@@elaineblackhurst1509 - especially since M. dedicated the Dissonance Quartet (along with the other 5 quarters in the series) to Haydn in 1785…and Haydn (upon hearing various amateurs tearing up the score of K. 465 in disgust) is reported to have said ‘If Mozart sets something down in a score of any kind he always has very very solid reasons for doing so…’
@@theophilos0910
Not heard that story (source ?), though the first editions of the ‘Dissonance’ that made it over the Alps to Italy were sent back because they were ‘…full of errors’.
In the case of the Representation of Chaos, the most startling feature is the *un*-resolving tonality which is I think proto-Wagnerian.
I love, love, love! A most perfect masterpiece. 💖🙏
Thank you very much!
😊
That was wonderful, many thanks! Very fast tempi, but I love hearing different interpretations of this great work. My thanks to the soloists, chorus, orchestra and conductor. Glad to see/hear Haydn is still being performed regularly. Best wishes from the United States.
Great work, great oratory
A glorious service to the world you're providing: thank you immensely! At least one culture is preserving and celebrating priceless treasures like these! :)
Magnificent performance!!!!
Definitive rendering, Speaking as one who has sung in the chorus four times!
Wundervoll!
Danke, danke, danke allen, die an dieser Aufführung beteiligt waren!
So inspiring, especially "The Marv'lous Work Beholds Amaz'd" 15:50. The Soloist s just on another level. Good listening to this song it its original tongue... God Bless DW Classic for such a heavenly music
Dear Maxwell Ogalla, thanks for your comment. We're glad you enjoyed the concert 😊
Haydn was very much involved in the standard English translation of the work. So whether English or German, we can safely say that Haydn indeed approved both languages.
einfach grossartig, kann mir diese Aufführung immer wieder anhören...........................
Preciosa pieza
有耳可聽就當聽，天堂也則目
Haydn+Orquestra = 1° Arte!
Wunderschöne Aufführung dieses großartigen und perfekt komponierten Vokalwerks mit gut harmonisierten Stimmen des ausgezeichneten Chors und herrlichen Stimmen aller genialen Solisten sowie gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der intelligente und erfahrene Dirigent leitet das ausgezeichnete Kammerorchester in verschiedenen Tempi und mit künstlerisch kontrollierter Dynamik. Wunderbar vom Anfang bis zum Ende!
Sencillamente grandioso.
Дуже дякую! Молодці!
👏👏👏
👏👏👏👍👍👍
É como galopar um cavalo, quebrando as pequenas ondas que alcançam a areia da praia.
You've got the two low voice singers mixed up. Matthew Rose is a bass, and Jonathan Beyer is a baritone.
Thank you for your comment! We have corrected the description.
1:05:02
Eskerrik asko.
Please. Applause for sacred music is..., well, a scrilege, IMO. In fact, *any* music which leaves one in a sacred place, should not be applauded. It ruins the mood. Let me be at peace.
I think the all the people on stage deserve a sign of appreciation after this huge piece