Haydn Creation

1. Notes on the Program
BY JAMES M. KELLER, PROGRAM ANNOTATOR
Die Schöpfung (The Creation), Hob.XXI: 2
JOSEPH HAYDN
aving loosened his connection to
Born
almost certainly March 31, 1732 — he
was baptized on April 1 — in Rohrau,
H the Austro-Hungarian Court of the
Esterházy Princes in 1790, following
three decades of devoted service, Joseph
Lower Austria Haydn expanded his horizons by taking two
Died extended trips to England, where he was
May 31, 1809, in Vienna “managed” by the impresario Johann Peter
Salomon, a German expatriate in London.
Work composed At the end of the second visit, in 1794–95,
between autumn 1796 and autumn 1797, Salomon gave Haydn a copy of the anony-
with alterations continuing through the mous libretto The Creation of the World, said
following March. Libretto by Gottfried van to have been written at least half a century
Swieten, based on an earlier, anonymous earlier for Handel, though that composer
English text derived from the Bible (the never set it to music. The text’s principal
books of Genesis and Psalms) and sources were the story of the creation as
Milton’s Paradise Lost. related in Genesis, chapters 1 and 2 (in the
World premiere King James translation), the same story as
April 29 (open rehearsal) and April 30 related in Milton’s Paradise Lost (specifically,
(official premiere), 1798, at the Palais the 1674 revised edition), and the Book of
Schwarzenberg in Vienna, Haydn, Psalms (particularly Psalms 19 and 145).
conductor; Antonio Salieri playing the Upon arriving home in Vienna, Haydn
keyboard continuo; and soprano showed the libretto to Baron Gottfried van
Christine Gerardi, tenor Mathias Rath- Swieten, the imperial librarian, the former
mayer, and bass Ignaz Saal, soloists president of the court Commission on
Education and Censorship, a sometime com-
New York Philharmonic premiere poser, and an authority on literary matters.
April 3, 1953, Robert Shaw, conductor; He was also the head of the Gesellschaft der
Adele Addison, Louise Natale, John Associirten, a group which was involved with
McCollum, Mack Harrell, and Paul Ukena, patronizing large-scale compositions; it was
soloists; and the Robert Shaw Chorale for this organization that van Swieten had
arranged for Mozart to create new perform-
Most recent New York
Philharmonic performance ing versions of Handel’s Messiah, Alexander’s
April 11, 1989, Joseph Flummerfelt, con- Feast, Acis and Galatea, and Ode for St. Cecilia’s
ductor (in his Philharmonic conducting Day between 1788 and 1790. He was also the
debut); Edith Wiens, Sylvia McNair, Jon one who convinced Haydn, in 1796, to create
Humphrey, Benjamin Luxon, and James a choral cantata out of The Seven Last Words
Michael McGuire, soloists; and the New of Christ on the Cross, which Haydn had com-
York Choral Artists posed a decade earlier as an odd sort of
string quartet to be played at religious cere-
monies in Cádiz, Spain.
FEBRUARY 2004 27

2. Van Swieten enthusiastically endorsed
the idea of Haydn’s pursuing the project. “I
The Work at a Glance recognized at once that such an exalted
subject would give Haydn the opportunity
I had long desired, to show the whole com-
Die Schöpfung falls into three sections: pass of his profound accomplishments and
the first two are of approximately equal to express the full power of his inex-
length, of 40-odd minutes each, while the haustible genius,” he wrote. Through his
third is shorter, lasting about ten minutes graces, the Associirten proffered Haydn a
less. Each section ends with a grand commission of 500 ducats for the new
chorus that, at least in spirit, is redolent work and pledged to cover expenses for
of the choral finales of Handel’s oratorios. copying the parts and mounting the even-
The first section (Nos. 1–14) relates
tual production. Haydn envisioned it from
the first four days of the creation of the
universe, as related in the book of
the outset as a bilingual composition
Genesis: on the first day, the creation of whose text setting would serve equally well
heaven, earth, and light; on the second, in German and English. Van Swieten him-
the division of the waters; on the third, self set to work creating a German version
the establishment of land, sea, and plant of the text and then adapted the original
life; and on the fourth, the positioning of English libretto to match the contours of
the sun, moon, and stars. In Part Two his German. As he wrote,
(Nos. 15–26) we hear the unfolding of
the fifth day — the creation of birds and [I] resolved to clothe the English poem
fish — and the sixth day — the arrival of in German garb. … It is true that I fol-
beasts of the land and the first two lowed the plan of the original faithfully
human beings. Adam and Eve, those as a whole, but I diverged from it in
primordial persons, take center stage in details as often as musical progress and
the third section (Nos. 27–32), at first expression, of which I already had an
gaining consciousness and then ideal conception in my mind, seemed to
expressing their mutual love. demand. Guided by these sentiments, I
The pleasure of experiencing Haydn often judged it necessary that much
and van Swieten’s Die Schöpfung lies should be shortened or even omitted,
less in the inevitable trajectory of the plot on the one hand, and on the other hand
— we all know the story, and it contains that much should be made more promi-
no real sense of conflict — than in the nent or brought into greater relief, and
wide-eyed wonder with which the much placed more in the shade.
composer visits its familiar contours. It therefore seems clear that, notwith-
A childlike quality pervades the work, as if standing the English origins of the text and
Haydn were relating the narrative to
the composer’s intent of bilingual equality,
young listeners who had never heard it
before. There is reverence in his account,
the German version of Die Schöpfung was
to be sure, but no stultifying piety. the primary one, at least in practical terms
Instead, Haydn seems to be having the of composition. It is a delightful libretto,
time of his life, truly celebrating the and it was admired from the outset. The
mystery of creation, translating it into the English version is also a laudable piece of
most human of terms, infusing it with work, but neither van Swieten nor Haydn
grace, delight, wit, and humor. Even the spoke the language fluently, and a few
three angels who deliver most of the howlers — or at least awkward curiosities —
narration are anything but awe-inspiring: did manage to make their way into the
in some earthly life, they might have been
retro-translation. Those could be more or
cast by Mozart in Die Zauberflöte.
less easily rectified, but more problematic
was the English libretto’s general tone,
28 N E W YO R K P H I L H A R M O N I C

3. Haydn’s Faith
In the last ten years of his life Haydn befriended a gentleman named Georg August Griesinger, who
first approached him in 1799 as a representative of the music-publishing firm of Breitkopf & Härtel.
Griesinger recorded all of his conversations with Haydn, publishing them as a book just after Haydn
died. Here’s what Griesinger says Haydn told him about his Catholic faith:
“Haydn was very religiously inclined, and was loyally
devoted to the faith in which he was raised. He was very
strongly convinced in his heart that all human destiny is
under God’s guiding hand, that God rewards the good and
the evil, that all talents come from above. All his larger
scores begin with the words In nomine Domini [“In the
name of the Lord”] and end with Laus Deo or Soli Deo
gloria [“Praise to God”; “Glory to God alone”]. ‘If my
composing is not proceeding so well,’ I heard him say, ‘I
walk up and down the room with my rosary in my hand,
say several Aves, and then ideas come to me again.’ …
“Haydn left every man to his own conviction and
recognized all as brothers. In general, his devotion was not
of the gloomy, always suffering sort, but rather cheerful
and reconciled, and in this character, moreover, he wrote
all his church music. His patriarchal, devout spirit is
Haydn particularly expressed in Die Schöpfung, and hence he was
bound to be more successful in this composition than a
hundred other masters. … A natural consequence of
Haydn’s religiosity was his modesty, for his talent was not
his own doing, rather a gracious gift from Heaven, to whom
he believed he must show himself thankful.”
which, derived as it was from older texts, to a four-part chorus and an orchestra com-
already sounded quaint to English audi- prising three flutes, two oboes, two clar-
ences at the end of the 18th century. Both inets, two bassoons and contrabassoon, two
versions carry the imprimatur of the com- horns, two trumpets, three trombones, tim-
poser and the librettist, and there is a pani, and strings, in addition to keyboard
defensible argument to be made for per- continuo. This is the expanded orchestra-
forming The Creation in English when it is tion Haydn prepared for the first truly
offered to English-speaking audiences. public (i.e., not “by invitation only”) per-
But, considered more abstractly, in terms formance of Die Schöpfung, at Vienna’s
of the ideal blending of text with music, Burgtheater on March 19, 1799, on which
the German version — Die Schöpfung — is occasion the performing forces included
the clear winner. about 120 musicians in the orchestra and
60 in the choir.
Instrumentation: The score calls for
three vocal soloists — a soprano (as both This note is derived from an essay that originally
Gabriel and Eve), a tenor (as Uriel), and a appeared in the program books of the San Fran-
bass (as Raphael and Adam) — in addition cisco Symphony. © San Francisco Symphony
FEBRUARY 2004 29

4. Listen For…
Following the orchestra’s opening depiction of chaos, the angel Raphael launches the story,
and the choir joins in to depict the first act of creation, the generation of light. The sudden
forte of chorus — joined by the orchestra playing fortissimo — on the word “Licht” (“light”),
perhaps the most famous C-major cadence in the history of music, has made a powerful
effect on every audience since the premiere, as Haydn knew it would. The composer’s friend
Frederik Samuel Silverstolpe reported of the premiere:
“No one, not even Baron van Swieten, had seen the page of the score wherein the birth of
light is described. That was the only passage of the work which Haydn had kept hidden.
I think I see his face even now, as this part sounded in the orchestra. Haydn had the
expression of someone who is thinking of biting his lips, either to hide his embarrassment
or to conceal a
secret. And in that
moment when light
broke out for the
first time, one would
have said that rays
darted from the
composer’s burning
eyes. The enchant-
ment of the electri-
fied Viennese was
so general that the
orchestra could
not proceed for
some minutes.”
Homage to Haydn
Haydn himself led perform-
ances of Die Schöpfung in
Vienna from its premiere
through the end of 1802, and
he reemerged from retirement
on March 27, 1808, to attend
a performance (conducted by
Antonio Salieri) organized by
the University of Vienna to
mark his impending 76th
birthday. His onetime student
Ludwig van Beethoven, by then
a firmly established master,
was in attendance, and
honored the feeble, aging
Haydn by falling to his knees and covering his former teacher with kisses. The concert was
depicted in this miniature-box-cover painting (now stolen) by the artist Balthasar Wegand, in
which Haydn is seated in the middle of the foreground.
30 N E W YO R K P H I L H A R M O N I C

5. Haydn’s Die Schöpfung (The Creation)
Libretto by Gottfried van Swieten
First Part
1. The Representation of Chaos
2. Recitative and Chorus
RAPHAEL
Im Anfange schuf Gott Himmel und Erde; und In the beginning God created the heaven
die Erde war ohne Form und leer; und and the earth. And the earth was without
Finsternis war auf der Fläche der Tiefe. form, and void; and darkness was upon
the face of the deep.
CHORUS
Und der Geist Gottes schwebte auf der Fläche And the spirit of God moved upon the
der Wasser; und Gott sprach: Es werde Licht, face of the waters. And God said, Let
und es ward Licht. there be light, and there was light.
Recitative
URIEL
Und Gott sah das Licht, daß es gut war; und And God saw the light, that it was good; and
Gott schied das Licht von der Finsternis. God divided the light from the darkness.
3. Aria and Chorus
URIEL
Nun schwanden vor dem heiligen Strahle des Now before the divine rays the gloomy
schwarzen Dunkels gräuliche Schatten; der shades of black darkness vanish. The first
erste Tag entstand. Verwirrung weicht und day begins. Chaos yields, and order is
Ordnung keimt empor. Erstarrt entflieht der established. The ghastly hosts of hell flee
Höllengeister Schar in des Abgrunds Tiefen in terror down into the deep abyss to end-
hinab, zur ewigen Nacht. less night.
CHORUS
Verzweiflung, Wut und Schrecken begleiten Despair, rage, and terror attend their fall.
ihren Sturz. Und eine neue Welt entspringt auf And a new world springs up at God’s
Gottes Wort. behest.
4. Recitative
RAPHAEL
Und Gott machte das Firmament und teilte die And God made the firmament, and divid-
Wasser, die unter dem Firmament waren, von ed the waters which were under the firma-
den Gewässern, die ober dem Firmament ment from the waters which were above
waren, und es ward so. the firmament, and it was so.
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FEBRUARY 2004 31

6. Da tobten brausend heftige Stürme. Wie Spreu Now violent storms rage in tumult; the
vor dem Winde, so zogen die Wolken. Die Luft clouds scud like chaff before the wind;
durchschnitten feurige Blitze, und schrecklich fiery lightnings rend the air, and fearful
rollten die Donner umher. Der Flut entstieg auf thunder rolls around. At his command,
sein Geheiß der allerquickende Regen, der floods ascend in clouds to make reviving
allverheerende Schauer, der leichte flockige rain, ravaging hail, and light snowflakes.
Schnee.
5. Solo with Chorus
GABRIEL
Mit Staunen sieht das Wunderwerk der In amazement the joyous multitude of the
Himmelsbürger frohe Schar, und laut ertönt heavenly host behold the wondrous work,
aus ihren Kehlen des Schöpfers Lob, das Lob and loud from their throats resounds praise
des zweiten Tags. of the Creator, and of the second day.
CHORUS
Und laut ertönt aus ihren Kehlen des Schöpfers And loud from their throats resounds
Lob, das Lob des zweiten Tags. praise of the Creator, and of the second day.
6. Recitative
RAPHAEL
Und Gott sprach: Es sammle sich das Wasser And God said, Let the waters under the
unter dem Himmel zusammen an einem Platz, heaven be gathered together unto one
und es erscheine das trockne Land! und es place, and let the dry land appear! and it
ward so. Und Gott nannte das trockne Land was so. And God called the dry land Earth;
Erde, und die Sammlung der Wasser nannte er and the gathering together of waters called
Meer; und Gott sah, daß es gut war. he Seas: and God saw that it was good.
7. Aria
Rollend in schäumenden Wellen bewegt sich Rolling in foaming waves, the sea is
ungestüm das Meer. Hügel und Felsen thrown into wild agitation. Hills and rocks
erscheinen; der Berge Gipfel steigt empor. Die emerge, mountaintops arise. Through the
Fläche, weit gedehnt, durchläuft der breite plains, stretching wide, broad rivers wend
Strom in mancher Krümme. Leise rauschend their devious course. Softly murmuring,
gleitet fort im stillen Tal der helle Bach. the limpid brook glides on through the
quiet valley.
8. Recitative
GABRIEL
Und Gott sprach: Es bringe die Erde Gras her- And God said, Let the earth bring forth
vor, Kräuter, die Samen geben, und Obstbäume, grass, the herb yielding seed, and the
die Früchte bringen ihrer Art gemäß, die ihren fruit tree yielding fruit after his kind,
Samen in sich selbst haben auf der Erde! und es whose seed is in itself, upon the earth!
ward so. and it was so.
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7. 9. Aria
Nun beut die Flur das frische Grün dem Auge Now fresh green in the fields offers delight
zur Ergötzung dar; den anmutsvollen Blick to the eye; the sweet adornment of flowers
erhöht der Blumen sanfter Schmuck. Hier enhances the charming sight. Here herbs
duften Kräuter Balsam aus, hier sproßt den spread their fragrant odors, here healing
Wunden Heil. Die Zweige krümmt der goldnen plants spring up. The bough bends with the
Früchte Last; hier wölbt der Hain zum kühlen weight of the golden fruits; here the bushes
Schirme sich, den steilen Berg bekrönt ein arch into a cool shade, a dense forest
dichter Wald. crowns the steep mountain.
No. 10 Recitative
URIEL
Und die himmlischen Heerscharen And the heavenly host proclaimed the
verkündigten den dritten Tag, Gott preisend third day, praising God, and saying:
und sprechend:
11. Chorus
CHORUS
Stimmt an die Saiten, ergreift die Leier! Laßt Sound the harp, strike the lyre! Let your
euren Lobgesang erschallen! Frohlocket dem song of praise resound! Rejoice in the Lord,
Herrn, dem mächtigen Gott! Denn er hat the mighty God! For he hath clothed heav-
Himmel und Erde bekleidet in herrlicher Pracht. en and earth in magnificence and splendor.
12. Recitative
URIEL
Und Gott sprach: Es sei’n Lichter an der Feste And God said, Let there be lights in the fir-
des Himmels, um den Tag von der Nacht zu mament of the heaven to divide the day
scheiden, und Licht auf der Erde zu geben; from the night; and to give light upon the
und es sei’n diese für Zeichen und für Zeiten, earth; and let them be for signs, and for sea-
und für Tage, und für Jahre. Er machte die sons, and for days, and for years. He made
sterne gleichfalls. the stars also.
13. Recitative
In vollem Glanze steiget jetzt die Sonne In full splendor the sun now rises in radi-
strahlend auf; ein wonnevoller Bräutigam, ein ance; a joyful bridegroom, a proud and
Riese stolz und froh zu rennen seine Bahn. Mit glad giant, to run his course. With soft
leisem Gang und sanftem Schimmer schleicht motion and mild light the moon steals
der Mond die stille Nacht hindurch. Den aus- through the silent night. The gold of
gedehnten Himmelsraum ziert ohne Zahl der countless bright stars adorns the immense
hellen Sterne Gold, und die Söhne Gottes vault of heaven, and the sons of God
verkündigten den vierten Tag mit himmli- announced the fourth day in divine song,
schem Gesang, seine Macht ausrufend, also: thus proclaiming his might:
(Please turn the page quietly.)
FEBRUARY 2004 32A

8. 14. Trio and Chorus
CHORUS
Die Himmel erzählen die Ehre Gottes; und The heavens declare the glory of God; and
seiner Hände Werk zeigt an das Firmament. the firmament shows his handiwork.
GABRIEL, URIEL, and RAPHAEL
Dem kommenden Tage sagt es der Tag; die The day declares it to the following day; the
Nacht, die verschwand, der folgenden Nacht. night that is passing to the coming night.
CHORUS
Die Himmel erzählen die Ehre Gottes; und The heavens declare the glory of God; and
seiner Hände Werk zeigt an das Firmament. the firmament shows his handiwork.
GABRIEL, URIEL, and RAPHAEL
In alle Welt ergeht das Wort, jedem Ohre klin- The word goes out through all the lands,
gend, keiner Zunge fremd. sounding to every ear, stranger to no tongue.
CHORUS
Die Himmel erzählen die Ehre Gottes; und The heavens declare the glory of God; and
seiner Hände Werk zeigt an das Firmament. the firmament shows his handiwork.
Second Part
No. 15 Recitative
GABRIEL
Und Gott sprach: Es bringe das Wasser in der And God said, Let the waters bring forth
Fülle hervor webende Geschöpfe, die Leben abundantly the moving creature that hath
haben, und Vögel, die über der Erde fliegen life, and fowl that may fly above the earth
mögen in dem offenen Firmamente des Himmels. in the open firmament of heaven.
No. 16 Aria
Auf starkem Fittiche schwinget sich der Adler On powerful pinions the proud eagle
stolz, und teilet die Luft im schnellesten Fluge soars and cleaves the air in swiftest flight
zur Sonne hin. Den Morgen grüßt der Lerche to the sun. The lark’s joyous song greets
frohes Lied, und Liebe girrt das zarte the morning, and tender pairs of doves
Taubenpaar. coo their love.
Aus jedem Busch und Hain erschallt der From every bush and grove the nightin-
Nachtigallen süße Kehle. Noch drückte Gram gale’s sweet notes resound; no grief has
nicht ihre Brust, noch war zur Klage nicht ge- yet afflicted her breast; her enchanting lay
stimmt ihr reizender Gesang. is not yet turned to lament.
No. 17 Recitative
RAPHAEL
Und Gott schuf große Walfische und ein jedes And God created great whales, and every
lebende Geschöpf, das sich beweget, und Gott living creature that moveth. And God
segnete sie, sprechend: Seid fruchtbar alle, blessed them, saying, Be fruitful all,
mehret euch! and multiply.
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9. Bewohner der Luft, vermehret euch, und singt auf Inhabitants of the air, be multiplied, and
jedem Aste! Mehret euch, ihr Flutenbewohner, sing on every bough! Multiply, denizens of
und füllet jede Tiefe! Seid fruchtbar, wachset, the waters, and fill all the depths! Be fruit-
mehret euch! Erfreuet euch in eurem Gott! ful, grow and multiply! Rejoice in your God!
No. 18 Recitative
Und die Engel rührten ihr’ unsterblichen Harfen, And the angels struck their immortal harps,
und sangen die Wunder des fünften Tags. and sang the wonders of the fifth day.
No. 19 Trio and Chorus
GABRIEL
In holder Anmut stehn, mit jungem Grün In lovely grace the rising hills now stand,
geschmückt, de wogigten Hügel da, aus ihren decked in fresh verdure; from their veins
Adern quillt in fließendem Kristall der küh- cooling brooks spring forth in flowing
lende Bach hervor. crystal.
URIEL
In frohen Kreisen schwebt, sich wiegend in der The merry swarms of birds wheel in joy-
Luft, der munteren Vögel Schar; den bunten ous circles and hover in the air; the golden
Federglanz erhöht im Wechselflug das goldene sunlight heightens the joyous glitter of
Sonnenlicht. their feathers in their shimmering flight.
RAPHAEL
Das helle Naß durchblitzt der Fisch und windet Fish flash through the clear waters and
sich in stetem Gewühl umher. Vom tiefsten wriggle in endless shoals. From the depths
Meeresgrund wälzt sich Leviathan auf schäu- of the seabed Leviathan heaves himself up
mender Well’ empor. into the foaming waves.
GABRIEL, URIEL, and RAPHAEL
Wie viel sind deiner Werk’, o Gott! Wer fasset How many are thy works, O God! Who
ihre Zahl? may their number tell?
TRIO and CHORUS
Der Herr ist groß in seiner Macht, und ewig The Lord is great in his might, and his
bleibt sein Ruhm. glory remains for ever.
No. 20 Recitative
RAPHAEL
Und Gott sprach: Es bringe die Erde hervor
lebende Geschöpfe nach ihrer Art, Vieh und And God said, Let the earth bring forth
kriechendes Gewürm, und Tiere der Erde nach the living creature after his kind, cattle,
ihren Gattungen. and creeping thing, and beast of the earth
after his kind.
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FEBRUARY 2004 32C

10. No. 21 Recitative
Gleich öffnet sich der Erde Schoß, und sie At once earth opens her womb and at
gebiert auf Gottes Wort Geschöpfe jeder Art, in God’s command brings forth numberless
vollem Wuchs und ohne Zahl. Vor Freude brül- creatures of all kinds, fully grown. There
lend steht der Löwe da. Hier schießt der stands the lion, roaring for joy. There the
gelenkige Tiger empor. Das zackig’ Haupt supple tiger leaps out. The swift stag raises
erhebt der schnelle Hirsch. Mit fliegender his antlered head. With flying mane, the
Mähne springt und wieh’rt voll Mut und Kraft noble steed, full of spirit and strength,
das edle Roß. rears and neighs.
Auf grünen Matten weidet schon das Rind, in Cattle, gathered into herds, already graze on
Herden abgeteilt. Die Triften deckt, als wie green meadows. The fleecy, gentle sheep
gesät, das wollenreiche, sanfte Schaf. Wie cover the pastureland as though they had
Staub verbreitet sich in Schwarm und Wirbel been planted. Myriads of insects spread,
das Heer der Insekten. In langen Zügen kriecht whirling and swarming, like dust. Creeping
am Boden das Gewürm. things drag their long trail along the ground.
No. 22 Aria
Nun scheint in vollem Glanze der Himmel, Now heaven shines in full glory; earth is
nun prangt in ihrem Schmucke die Erde. Die resplendent in her attire. Light feathered
Luft erfüllt das leichte Gefieder, die Wasser creatures fill the air; shoals of fish swell
schwellt der Fische Gewimmel, den Boden the waters; the weight of beasts presses
drückt der Tiere Last. Doch war noch alles upon the ground. But all was not yet
nicht vollbracht. Dem Ganzen fehlte das achieved. The whole lacked that being
Geschöpf, das Gottes Werke dankbar seh’n, des who should gratefully behold God’s work
Herren Güte preisen soll. and praise the Lord’s goodness.
No. 23 Recitative
URIEL
Und Gott schuf den Menschen nach seinem So God created man in his own image, in
Ebenbilde. Nach dem Ebenbilde Gottes schuf er the image of God created he him; male
ihn. Mann und Weib erschuf er sie. Den Atem and female created he them. He breathed
des Lebens hauchte er in sein Angesicht, und into his nostrils the breath of life; and man
der Mensch wurde zur lebendigen Seele. became a living soul.
No. 24 Aria
Mit Würd’ und Hoheit angetan, mit Schönheit, Clad in dignity and grandeur, endowed with
Stärk’ und Mut begabt, gen Himmel beauty, strength and courage, erect to heav-
aufgerichtet, steht der Mensch, ein Mann und en stands man, man the king of Nature.
König der Natur.
Die breit gewölbt’, erhab’ne Stirn verkünd’t der His broad, arched, lofty brow proclaims
Weisheit tiefen Sinn, und aus dem hellen his deep sense of wisdom, and from clear
Blicke strahlt der Geist, des Schöpfers Hauch eyes shines the soul, the breath and image
und Ebenbild. of his maker.
An seinen Busen schmieget sich, für ihn, aus Upon his breast nestles the fair and grace-
ihm geformt, die Gattin hold und anmutsvoll. ful partner formed for him from his flesh.
In froher Unschuld lächelt sie, des Frühlings She smiles in happy innocence, the charm-
reizend Bild, ihm Liebe, Glück und Wonne zu. ing mirror of Spring, pledging him love,
happiness and bliss.
32D N E W YO R K P H I L H A R M O N I C

11. No. 25 Recitative
RAPHAEL
Und Gott sah jedes Ding, was er gemacht hatte; And God saw everything that He had
und es war sehr gut; und der himmlische Chor made, and behold, it was very good. And
feierte das Ende des sechsten Tages mit lautem the heavenly choir, singing aloud,
Gesang. acclaimed the end of the sixth day.
No. 26 Trio and Chorus
CHORUS
Vollendet ist das große Werk, der Schöpfer Completed is the glorious work, the
sieht’s und freuet sich. Auch unsre Freud’ Creator beholds it and is well pleased. Let
erschalle laut. Des Herren Lob sei unser Lied! our joy too resound. Let our song be the
praise of the Lord!
GABRIEL and URIEL
Zu dir, o Herr, blickt alles auf; um Speise fleht To thee, O Lord, all lift their eyes; from
dich alles an. Du öffnest deine Hand, gesättigt thee all implore their food. Thou openest
werden sie. thy hand, and their needs are satisfied.
RAPHAEL
Du wendest ab dein Angesicht; da bebet alles But if thou dost turn away thy face, then
und erstarrt. Du nimmst den Odem weg; in all tremble in terror. If thou dost withhold
Staub zerfallen sie. thy breath, they crumble into dust.
GABRIEL, URIEL, and RAPHAEL
Den Odem hauchst du wieder aus, und neues Thou dost send forth thy breath again,
Leben sproßt hervor. Verjüngt ist die Gestalt der and new life springs up. The face of the
Erd’ an Reiz und Kraft. earth is restored to charm and strength.
CHORUS
Vollendet ist das große Werk. Des Herren Lob Completed is the glorious work. Let our
sei unser Lied. Alles lobe seinen Namen; Denn song be the praise of the Lord. Let all
er allein ist hoch erhaben, alleluja. praise his name, for he alone is exalted on
high, hallelujah.
Third Part
No. 27 Recitative
URIEL
Aus Rosenwolken bricht, geweckt durch süßen Awakened by sweet sounds, the young, fair
Klang, der Morgen jung und schön. Vom himm- morning breaks from its rosy clouds. From
lischen Gewölbe strömt reine Harmonie zur the vaults of heaven pure harmony flows
Erde hinab. Seht das beglückte Paar, wie Hand down to earth. Behold the happy pair, as
in Hand es geht! Aus ihren Blicken strahlt des they go hand in hand! In their looks shine
heißen Danks Gefühl. Bald singt in lautem Ton feelings of ardent thanks. Soon their lips will
ihr Mund des Schöpfers Lob. Laßt unsre Stimme sing aloud a hymn in praise of their Creator.
dann Sich mengen in ihr Lied! Then let our voices join with them in song!
(Please turn the page quietly.)
FEBRUARY 2004 37

12. No. 28 Duet with Chorus
EVE and ADAM
Von deiner Güt’, o Herr und Gott, ist Erd’ und Earth and heaven, O Lord and God, are
Himmel voll. Die Welt, so groß, so wunderbar, full of thy bounty. The world, so great and
ist deiner Hände Werk. wonderful, is the work of thy hands.
CHORUS
Gesegnet sei des Herren Macht! Sein Lob Blessed be the might of the Lord! May His
erschall’ in Ewigkeit! praise resound for ever!
ADAM
Der Sterne hellster, o wie schön verkündest du Brightest of stars, O how fair dost thou
den Tag! Wie schmückst du ihn, o Sonne, du, herald the day! How dost thou adorn it, O
des Weltalls Seel’ und Aug’! sun, thou soul and eye of the universe!
CHORUS
Macht kund auf eurer weiten Bahn des Herren Proclaim in your vast course the might of
Macht und seinen Ruhm! the Lord and His glory!
EVE
Und du, der Nächte Zierd’ und Trost’, Und And thou, the ornament and comfort of
all’ das strahlend Heer verbreitet überall sein night, and all ye starry hosts, spread every-
Lob, in eurem Chorgesang! where His praise in your choruses!
ADAM
Ihr Elemente, deren Kraft stets neue Formen Ye elements, by whose power new forms
zeugt, ihr Dünst’ und Nebel, die der Wind ver- ceaselessly appear, ye mists and clouds,
sammelt und vertreibt, which the wind assembles and disperses,
CHORUS
Lobsinget alle Gott dem Herrn! Groß, wie sein Extol ye all God our Lord! Great is His
Nam’, ist seine Macht! name, and great His might!
EVE
Sanft rauschend lobt, o Quellen, ihn! Den Praise Him, O gently murmuring springs!
Wipfel neigt, ihr Bäum’! Ihr Pflanzen duftet, Bow your heads, ye trees! Ye plants, waft
Blumen haucht ihm euren Wohlgeruch! your scent, ye flowers, breathe to Him your
fragrance!
ADAM
Ihr, deren Pfad die Höh’n erklimmt, und ihr, die Ye whose path ascends the heights, and ye
niedrig kriecht, ihr, deren Flug die Luft durch- who creep low, ye whose flight cleaves the
schneid’t, und ihr, im tiefen Naß, air and ye in the waters’ depths,
EVE and ADAM
Ihr Tiere preiset alle Gott! Ye creatures all, extol the Lord!
CHORUS
Ihr Tiere preiset alle Gott! Ihn lobe was nur Ye creatures all, extol the Lord!
Odem hat!
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13. EVE and ADAM
Ihr dunk’len Hain’, ihr Berg’ und Tal’, ihr Ye shady groves, ye hills and valleys, wit-
Zeugen unsres Danks, ertönen sollt ihr früh nesses of our thanks, from morn till eve
und spät von unserm Lobgesang! shall you re-echo our hymns of praise.
CHORUS
Heil dir, o Gott! O Schöpfer, Heil! Aus deinem Hail to thee, O God! Creator, hail! By thy
Wort entstand die Welt. Dich beten Erd’ und word was the world begun. Earth and heav-
Himmel an; wir preisen dich in Ewigkeit. en adore thee; we praise thee for evermore.
No. 29 Recitative
ADAM
Nun ist die erste Pflicht erfüllt; dem Schöpfer Now our first duty is fulfilled; we have
haben wir gedankt. Nun folge mir, Gefährtin thanked our maker. Now follow me, my life
meines Lebens! Ich leite dich, und jeder companion! I will be thy guide, and every
Schritt weckt neue Freud’ in uns’rer Brust, step wakes new joy within our breasts, and
zeigt Wunder überall. Erkennen sollst du reveals wonders everywhere. Then shalt
dann, welch’ unaussprechlich Glück der Herr thou perceive what unspeakable bliss the
uns zugedacht, ihn preisen immerdar, ihm Lord has destined for us, to praise Him
weihen Herz und Sinn. Komm, folge mir! Ich evermore, to dedicate heart and soul to
leite dich! Him. Come, follow me! I will be thy guide.
EVE
O du, für den ich ward! Mein Schirm, mein O thou for whom I was made! My help, my
Schild, mein All! Dein Will’ ist mir Gesetz. So shield, my all! Thy will is law to me. Thus
hat’s der Herr bestimmt, und dir gehorchen, the Lord hath ordained; and obeying thee
bringt mir Freude, Glück und Ruhm. shall bring me joy, happiness, and honor.
No. 30 Duet
ADAM
Holde Gattin! Dir zur Seite Fließen sanft die Fair wife, at thy side the hours glide past
Stunden hin. Jeder Augenblick ist Wonne; gently. Every moment is rapture, no care
keine Sorge trübet sie. troubles it.
EVE
Teurer Gatte! Dir zur Seite Schwimmt in Dear husband, at thy side my heart over-
Freuden mir das Herz. Dir gewidmet ist mein flows with joy. My life is devoted to thee;
Leben; deine Liebe sei mein Lohn. let thy love be my reward.
EVE and ADAM
Holde Gattin/Teurer Gatte! Dir zur Seite, etc. Fair wife/Dear husband, at thy side, etc.,
Der tauende Morgen, o wie ermuntert er! Die O how invigorating is the dewy morn! O
Kühle des Abends, o wie erquicket sie! Wie how refreshing is the cool of the evening!
labend ist der runden Früchte Saft! Wie How reviving is the juice of ripe fruits! How
reizend ist der Blumen süßer Duft! Doch ohne charming is the fragrant scent of flowers!
dich, was wäre mir der Morgentau, der But without thee what would be to me the
Abendhauch, der Früchte Saft, der Blumen morning dew, the evening breeze, the juice
Duft! Mit dir erhöht sich jede Freude, mit dir of fruits, the scent of flowers? With thee
genieß’ ich doppelt sie; mit dir ist Seligkeit das every joy is enhanced, with thee all my
Leben; dir sei es ganz geweiht! delight is doubled, with thee life is bliss; may
it be wholly dedicated to thee!
FEBRUARY 2004 39

14. No. 31 Recitative
URIEL
O glücklich Paar, und glücklich immerfort, O happy pair, and happy evermore if vain
wenn falscher Wahn euch nicht verführt noch folly lead you not astray to desire more
mehr zu wünschen, als ihr habt, und mehr zu than you have and to know more than you
wissen, als ihr sollt. should.
No. 32 Chorus
CHORUS
Singt dem Herren alle Stimmen! Dankt ihm Sing to the Lord, all ye voices! Give Him
alle seine Werke! Laßt zu Ehren seines Namens thanks, all His works! Let praise in honor
Lob in Wettgesang erschallen! Des Herren of His name resound in united song! The
Ruhm, er bleibt in Ewigkeit. Amen. Lord’s praise shall endure for ever. Amen.
— Translation © Lionel Salter
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