6772 haydn creation for web

Haydn The Creation

Freiburg Baroque OrchestraRIAS Chamber ChoirRené Jacobs conductor

Julia Kleiter soprano Gabriel, EveMaximilian Schmitt tenor UrielThomas Quasthoff bass-baritone Raphael, Adam

There will be one interval of 20 minutes between Parts 2 and 3.

Barbican Hall

Saturday 10 January 2009 at 7.30pm

Freiburg Baroque OrchestraRené Jacobs conductor

The Barbican is provided by the City of London Corporation.

Find out first Why not download your Great Performers programmebefore the concert? Programmes are now available online five days in advance of eachconcert. To download your programme, find out full details of concerts, watch videos orlisten to soundclips, visit www.barbican.org.uk/greatperformers0809Due to possible last-minute changes, the online content may differ slightly from that of the printed version.

100% Programme text printed on 100% recycled materials.

Thomas QuasthoffDie StimmeCelebrating the remarkable voice of German baritone Thomas Quasthoff

Wed 11 Mar 7.30pmThomas Quasthoff performs Bach Cantatasand arias by Handel accompanied by the Berliner Barocksolisten.

Sun 5 Apr 6pmBach’s St Matthew Passion with the Gewandhaus Orchestra Leipzig conducted by Riccardo Chailly.

Tue 22 Sep 7pmThe London Symphony Orchestra and Chorusperforms Berlioz’s La Damnation de Faust with soloists including Thomas Quasthoff and Bernarda Fink. Conducted by Valery Gergiev.

Thu 29 Oct 7.30pmDorothea Röschmann, Angelika Kirchschlager, Ian Bostridge and Thomas Quasthoff present an evening of music by Schumann.

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For more information and to book tickets visit www.barbican.org.uk/diestimme or call the Box Office on 0845 120 7557

The Barbican Centre is provided by the City of LondonCorporation as part of its contribution to the cultural lifeof London and the nation

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It was Haydn’s first visit to London that set in motion thetrain of events that would lead to his most famous andenduring masterpiece. At the 1791 Handel Festival inWestminster Abbey he was overwhelmed by Messiahand Israel in Egypt, in monster performances involving acast of hundreds. He reportedly wept during the‘Hallelujah’ Chorus, proclaiming that ‘Handel is masterof us all’ (sentiments later echoed by Beethoven).According to one of his early biographers, GiuseppeCarpani, Haydn ‘confessed that … he was struck as if hehad been put back to the beginning of his studies andhad known nothing up to that moment. He meditated onevery note and drew from those most learned scores theessence of true musical grandeur.’

In London Haydn was fired with the idea of composingan oratorio of his own on a similarly exalted biblicaltheme. For the time being, though, his main energieswere channelled into the great series of symphonies forthe impresario Johann Peter Salomon. But during hissecond London visit of 1794–5, Salomon handed him anEnglish libretto on the creation of the universe, based onthe accounts in Genesis and Milton’s Paradise Lost.Perhaps Salomon hoped that the oratorio would be thebait with which to secure Haydn for a third English visit.The (lost) libretto’s origins have prompted muchspeculation. One contemporary commentator claimed itwas intended for Handel, while Haydn later told hisfriend and biographer Georg Griesinger that the authorwas ‘an Englishman by the name of Lidley’. No plausiblecandidate of that name has ever been identified; and itwas long assumed that the author was in fact thecomposer/impresario Thomas Linley the Elder (1733–95).

But while Linley may well have passed the libretto on toSalomon, he was no poet, and would in any case hardlyhave been old enough to have had dealings withHandel.

Haydn immediately saw the libretto’s potential formusical setting. After returning to Vienna in August 1795he showed it to the Imperial Court Librarian and Handelenthusiast Baron Gottfried van Swieten who, in his ownwords, ‘resolved to clothe the English poem in Germangarb’. Although he endeavoured to follow the Englishsyllable for syllable where possible, Swieten ‘oftenjudged it necessary that much should be abridged oreven omitted, on the one hand, and on the other, thatmuch should be given greater emphasis, and muchplaced in the shade’. After completing his German text,he produced a parallel English version that, for all itsintermittent absurdities (the Baron’s English was lessperfect than he liked to think), retains a fair amount ofMilton and the St James Bible. The libretto was readytowards the end of 1796, by which time Haydn hadalready begun to sketch the ‘Representation of Chaos’.Never one to hold back, Swieten annotated themanuscript he prepared for Haydn with suggestions formusical setting, some of which were adopted, othersrejected. He was, though, adamant that the words ‘Letthere be Light / And there was Light’ should be sung onlyonce, thereby claiming a small share in one of music’smost elementally thrilling moments.

With its evocation of a benevolent, rationally ordereduniverse and its essentially optimistic view of humanity,The Creation was perfectly in accord with the temper of

Franz Joseph Haydn (1732–1809)

The Creation (Die Schöpfung), HobXXI/2 (1796–8)

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the Enlightenment (the Fall is referred to only en passantin the tenor recitative before the final chorus and, moreobliquely, in the shrouded bass solo at the centre of thetrio ‘On thee each living soul awaits’). Its theologicalcontent, minimising conflict, guilt and retribution, alsochimed in with Haydn’s own reverent Catholic faith – ‘notof the gloomy, always suffering sort, but rather cheerfuland reconciled’, as Griesinger put it.

Haydn spent most of 1797 working on The Creation,completing the score by the end of the year. The firstperformance, before an invited, predominantlyaristocratic, audience, took place at the SchwarzenbergPalace in Vienna on 30 April 1798. The reception wasecstatic. One guest reported that ‘in the moment whenLight broke forth for the first time, one would have saidthat light-rays darted from the composer’s blazing eyes.The enchantment of the electrified Viennese was soprofound that the performance could not continue forseveral minutes.’

After further, semi-private, performances at the PalaisSchwarzenberg in May 1798, the official publicpremiere, on a grand scale (reports suggest some 120instrumentalists and an all-male choir of around 60), wasgiven in the Imperial Burgtheater on 19 March 1799.Receipts broke all records for Viennese theatres. Oneeyewitness, Johan Berwald (cousin of the Swedishcomposer Franz), reported that ‘the whole performancewent off wonderfully. Between the sections of the work,

tumultuous applause; during each section, however, itwas as still as the grave. When it was over there werecalls, “Father Haydn to the front!”. Finally the old mancame forward and was greeted with a tumultuousapplaudissement and with cries, “Long live FatherHaydn, long live music!”’

Charity performances of The Creation quickly became aregular feature of the Viennese musical scene. Writing ofa performance in aid of wounded soldiers, Griesingerremarked that ‘this music seems to have been made tohelp collect money for good works.’ The Londonpremiere took place at Covent Garden on 28 March1800. Haydn himself sanctioned translations into Frenchand Italian. And within a few years his joyous celebrationof the universe, an idyllic vision that contrastedpoignantly with the horrors of the Napoleonic wars, wasbeing acclaimed throughout Europe.

A key factor in the libretto’s appeal for Haydn was surelythe simplicity and strength of its structure. In the first twoparts the six days of creation are announced in secco(‘dry’) recitative by one of the three archangels, Raphael(baritone/bass), Uriel (tenor) and Gabriel (soprano); after each act of creation the archangels expatiate on its wonders in accompanied recitative and aria; andeach day after the first (which ends with the delightful,faux-naïf chorus heralding the ‘new created world’)culminates in a hymn of praise by the heavenly hosts.

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Part 3, depicting the first morning in Eden, Adam andEve’s praise of all creation and their mutual love, falls into two sections, each likewise reaching a climax in ajubilant chorus.

The arias and accompanied recitatives gave Haydnglorious opportunities to indulge in his love ofinstrumental tone-painting, using techniques honed in hisoperas, and fired by the example of Handel’s Israel inEgypt. In the superb D minor bass aria, ‘Rolling infoaming billows’, tone-painting permeates the wholetexture, beginning with the powerful evocation of theturbulent ocean. The jagged ‘second subject’ (as usual inThe Creation, the aria adapts elements of sonata form tothe requirements of the text) portrays the rocks andmountains; and a modulating ‘development’, withbeautiful contrapuntal writing for oboes and bassoonagainst pictorial violin flourishes, introduces the ‘serpenterror’ of the rivers. The final section functions as arecapitulation. Here Haydn tenderly depicts the ‘limpidbrook’ with a turn to D major and a new lyrical melodythat turns out to be a variation of the D minor opening.Another inspired bass moment is Raphael’s descriptionof the ‘great whales’ in Part 2 (‘And God created greatwhales’). Haydn originally set this as dry recitative, beforerecasting God’s words as an arioso with a mysterious,shadowy accompaniment for divided violas and cellos.

In the new Romantic aesthetic that abhorred naïveimitation, the more obvious pictorialisms in The Creation

came under fire even during Haydn’s lifetime. To us theyare among the oratorio’s most endearing features. InGabriel’s delectable avian aria in Part 2 (‘On mightypens uplifted’), soprano and woodwind (including theclarinet, that beautiful latecomer to Haydn’s orchestralpalette) evoke each of the birds in turn: eagle, lark, dove(with trilling coloratura) and, finally, the nightingale’s‘sweet notes’. Even more graphic is the famous zoologicalextravaganza in Part 2 (‘Straight opening her fertilewomb’), where Haydn has a field day illustrating the lion(with a gleeful, dissonant roar for trombones andcontrabassoon), the ‘flexible tiger’, the noble steed, then,with a poetic shift from D flat to a remote A major, thecattle and sheep. After the buzzing insects he describesthe worm’s ‘sinuous trace’ in a comically solemn Adagio.Grandeur and Haydn’s trademark humour also rubshoulders in the following bass aria, ‘Now heav’n infullest glory shone’, where the ‘heavy beasts’ arrivecourtesy of rude belches on the contrabassoon.

Wholly serious in tone is Uriel’s C major aria ‘In nativeworth’, well described by the musicologist Donald Toveyas ‘not only the quintessence of Haydn but the perfectionof bel canto’. The majestic, ‘masculine’ opening section,portraying the first man, reaches a climax with anemphatic cadence in the dominant, G major; then, just asHaydn appears to be repeating the same procedure, hedeflects magically to the distant key of A flat major – oneof the most poetic tonal surprises in all Haydn.Corresponding to biblical (and 18th-century) notions of

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femininity, the second section fashions softer contoursfrom Adam’s proud theme, with limpid woodwind writingand a gorgeous lyrical obbligato for solo cello.

The most celebrated single number in The Creation is theintroductory ‘Representation of Chaos’, a harmonicallyaudacious – and miraculously scored – evocation of theprimal void. Here vague thematic fragments grope andtwist through tonal nebulae, constantly evading theresolutions the ear expects. Towards the end Haydn evenanticipates Wagner’s famously shocking ‘Tristan’ chord.The whole movement is the epitome of what the 18th-century Irish political philosopher and aestheticianEdmund Burke termed ‘the sublime’ in music, calculatedto evoke, wonder, awe, even terror. Hardly less sublimeare the first sunrise (‘In splendour bright is rising now’), aselementally moving as the choral explosion on ‘Light’,and the wonderfully veiled, mysterious moonrise.

In the celebratory choruses – above all ‘Awake the harp’and the monumental closing chorus of Part 2, ‘Achievedis the glorious work’ – Haydn deploys his contrapuntalmastery with a freedom and brilliance of effect thatreflect Handel’s example. In several numbers, though, heintegrates soloists and chorus, a technique rarelyencountered in Handel: in, say, the famous chorus thatends Part 1, ‘The heavens are telling’, with its sensationalchromatic climax, all the more overwhelming because ofthe preceding emphasis on C major; in the trio andchorus No. 19 (‘The Lord is great’), where soprano andtenor spin coloratura cascades around the choral lines;or in the magnificent Hymn in Part 3 (‘By thee with bliss’),

a summary of the whole oratorio where, in a kind ofcelestial Cook’s Tour, Adam and Eve enjoin each elementof creation in turn to praise God.

Until quite recently critics tended to frown on Adam andEve’s love duet, ‘Graceful consort!’, as too demotic forsuch exalted surroundings. But as the great Haydnscholar-populariser H. C. Robbins Landon has argued, itscontredanse rhythms, tootling woodwind and VienneseSingspiel associations – shades here of a slightly moremusically sophisticated Papageno and Papagena –accord perfectly with the subject matter: whereas in theHymn Adam and Eve aligned themselves with the angels,here they appear as everyman and everywoman, in alltheir joyous, innocent sensuality.

Replying to a letter expressing admiration for TheCreation, Haydn wrote that ‘Often, when I was strugglingwith all kinds of obstacles … a secret voice whispered tome: “There are so few happy and contented people inthis world; sorrow and grief follow them everywhere;perhaps your labour will become a source from whichthe careworn … will for a while derive peace andrefreshment”.’ These words are typical of a devout,humble yet by no means naïve man, one acutelyconscious of his own worth. Haydn’s hopes were richly fulfilled in his lifetime. In our own sceptical andprecarious age we can still delight, perhaps with a touch of nostalgia, in Haydn’s unsullied optimism,expressed in some of the most lovable and life-affirmingmusic ever composed.

Programme note © Richard Wigmore

Text and translation

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Die SchöpfungPart 1Overture: The representation of Chaos

THE FIRST DAYRecitative RaphaelIm Anfange schuf Gott Himmel und Erde;und die Erde war ohne Form und leer.Und Finsternis war auf der Flüche der Tiefe.

ChorusUnd der Geist Gottes schwebte auf der Fläche derWasser.Und Gott sprach:‘Es werde Licht!’Und es ward Licht.

Recitative UrielUnd Gott sah das Licht, dass es gut war;und Gott schied das Licht von der Finsternis.

Aria UrielNun schwanden vor dem heiligen Strahledes schwarzen Dunkels gräuliche Schatten;der erste Tag entstand.Verwirrung weicht und Ordnung keimt empor.Erstarrt entfliehtder Höllengeister Scharin des Abgrunds Tiefen hinab,zur ewigen Nacht.

ChorusVerzweiflung, Wut und Schreckenbegleiten ihren Sturz.Und eine neue Weltentspringt auf Gottes Wort.

The Creation

In the beginning God created the heaven and the earth; and the earth was without form and void. And darkness was upon the face of the deep.

And the Spirit of God moved upon the face of the waters.

And God said: Let there be Light, and there was Light.

And God saw the Light, that it was good; and God divided the Light from the darkness.(Genesis I: 1–4)

Now vanish before the holy beams the gloomy dismal shades of dark; the first of days appears. Disorder yields to order fair the place. Affrighted fled hells spirits, black in throngs; down they sink in the deep of abyss, to endless night.

Despairing cursing rage attends their rapid fall. A new created world springs up at God’s command.

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THE SECOND DAYRecitative RaphaelUnd Gott machte das Firmamentund teilte die Wasser,die unter dem Firmament waren,von den Wassern,die über dem Firmament waren,und es ward so.

Da tobten brausendheftige Stürme.Wie Spreu vor dem Winde,so flogen die Wolken.Die Luft durchschnitten feurige Blitze,und schrecklich rollten die Donner umher.Der Flut entstieg auf sein Geheissder allerquickende Regen,der allverheerende Schauer,der leichte, flockige Schnee.

Solo GabrielMit Staunen sieht das Wunderwerkder Himmelsbürger frohe Schar,und laut ertönt aus ihren Kehlender Schöpfers Lob,das Lob des zweiten Tags.

ChorusUnd laut ertönt aus ihren Kehlen, etc.

THE THIRD DAYRecitative RaphaelUnd Gott sprach:‘Es sammle sich das Wasser unter dem Himmelzusammen an einem Platz,und es erscheine das trockne Land.’Und es ward so.Und Gott nannte das trockne Land Erde,und die Sammlung der Wasser nannte er Meer; und Gott sah, dass es gut war.

And God made the firmament, and divided the waters, which were under the firmament, from the waters, which were above the firmament, and it was so.

Outrageous storms now dreadful arose; as chaff by the winds are impelled the clouds. By heaven’s fire the sky is enflamed and awful rolled the thunders on high. Now from the floods in steams ascend reviving showers of rain, the dreary wasteful hail, the light and flaky snow.

The marv’llous work beholds amaz’d the glorious hierarchy of heav’n and to th’ ethereal vaults resound the praise of God, and of the second day.

And to th’ ethereal vaults resound, etc.(Genesis I: 7)

And God said: Let the waters under the heaven be gathered together unto one place, and let the dry land appear; and it was so. And God called the dry land earth, and the gathering of waters called he seas; and God saw that it was good.(Genesis I: 9–10)


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Aria RaphaelRollend in schäumenden Wellenbewegt sich ungestüm das Meer.Hügel und Felsen erscheinen;der Berge Gipfel steigt empor.Die Fläche, weit gedehnt, durchläuftder breite Strom in mancher Krümme.Leise rauschend gleitet fortim stillen Tal der helle Bach.

Recitative GabrielUnd Gott sprach:‘Es bringe die Erde Gras hervor, Kräuter, die Samen geben,und Obstbäume, die Früchte bringen ihrer Art gemäss,die ihren Samen in sich selbst haben auf der Erde!’Und es ward so.

Aria GabrielNun beut die Flurdas frische Fründem Auge zur Ergötzung dar;den anmutsvollen Blickdrhöht der Blumen sanfter Schmuck.Hier duften Kräuter Balsam aus,hier sprosst den Wunden Heil.Die Zweige krümmt der goldnen Früchte Last;hier wölbt der Hain zum kühlen Schirme sich;den steilen Berg bekrönt ein dichter Wald.

Recitative UrielUnd die himmlischen Heerscharen verkündigten den dritten Tag,Gott preisend und sprechend:

ChorusStimmt an die Saiten, ergreift die Leier!Lasst euren Lobgesang erschallen!Frohlocket dem Herrn, dem mächtigen Gott!Denn er hat Himmel und Erdebekleidet in herrlicher Pracht.

Rolling in foaming billows uplifted roars the boist’rous sea. Mountains and rocks now emerge their tops into the clouds ascend. Through th’ open plains outstretching wide in serpent error rivers flow. Softly purling glides on through silent vales the limpid brook

And God said: Let the earth bring forth grass, the herb yielding seed

and the fruit tree yielding fruit after his kind, whose seed is in itself upon the earth; and it was so.(Genesis I: 11)

With verdure clad the fields appear delightful to the ravish’d sense; by flowers sweet and gay enhanced is the charming sight. Here vent their fumes the fragrant herbs; here shoots the healing plant. By load of fruits th’ expanded boughs are press’d; to shady vaults are bent the tufty groves; the mountain’s brow is crown’d with closed wood.

And the heavenly host proclaimed the third day, praising God and saying:

Awake the harp, the lyre awake! In shout and joy your voices raise! In triumph sing the mighty Lord! For he the heavens and earth has clothed in stately dress.



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THE FOURTH DAYRecitative UrielUnd Gott sprach:‘Es sei’n Lichter an der Feste des Himmels,um den Tag von der Nacht zu scheiden,und Licht auf der Erde zu geben;und es sei’n diese für Zeichen und für Zeitenund für Tage und für Jahre!’Er machte die Sterne gleichfalls.

Recitative UrielIn vollem Glanze steigen jetztdie Sonne strahlend auf;ein wonnevoller Bräutigam,ein Riese stolz und froh,zu rennen seine Bahn.Mit leisem Gang und sanftem Schimmerschleicht der Monddie stille Nacht hindurch.Den ausgedehnten Himmelsraumziert ohne Zahlder hellen Sterne Gold,und die Söhnes Gottesverkündigten den vierten Tagmit himmlischem Gesang,seine Macht ausrufend also:

Chorus and TrioChorusDie Himmel erzählendie Ehre Gottes;und seiner Hände Werkzeigt an das Firmament.

Gabriel, Uriel, RaphaelDem kommenden Tagesagt es der Tag;die Nacht, die verschwand,der folgenden Nacht.

And God said: Let there be lights in the firmament of heaven to divide the day from the night, and to give light upon the earth; and let them be for signs and for seasons, and for days, and for years. He made the stars also.(Genesis I: 14–16)

In splendour bright is rising now the sun and darts his rays; an arn’rous, joyful, happy spouse, a giant proud and glad to run his measur’d course.With softer beams and milder light steps on the silver moon thro’ silent night.The space immense of th’ azure sky innum’rous host of radiant orbs adorns, and the sons of God announced the fourth day in song divine, proclaiming thus his power:

The heavens are telling the glory of God; the wonder of his works displays the firmament.

To day that is coming speaks it the day; the night that is gone to following night.


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ChorusDie Himmel erzählen, etc.

Gabriel, Uriel, RaphaelIn alle Weltergeht das Wort,jedem Ohre kilngend,keiner Zunge fremd.

ChorusDie Himmel erzählen, etc.

Part 2

THE FIFTH DAYRecitative GabrielUnd Gott sprach:‘Es bringe das Wasserin der Fülle hervor webende Geschöpfe,die Leben haben, und Vögel,die über der Erde fligen mögenin dem offenen Firmamente des Himmels.

Aria GabrielAuf straken Fittichenschwinget sich der Adler stolzund teilet die Luft im schnellesten Flugezur Sonne hin.Den Morgen früsstder Lerche frohes Lied,und Liebe girrtdas zarte Taubenpaar.Aus jedem Busch und Hain erschalltder Nachtigallen s̈sse Kehle.Noch drückte Gram nicht ihre Brust,noch war zur Klage nicht gestimmtihr reizender Gesang.

Recitative RaphaelUnd Gott schuf grosse Walfischeund ein jedes lebende Geschöpf, das sich beweget,und Gott segnete sie, sprechend:

The heavens are telling, etc.

In all the lands resounds the word, never unperceived, ever understood.

The heavens are telling, etc.

And God said: Let the waters bring forth abundantly the moving creature that hath life, and fowl, that may fly above the earth in the open firmament of heaven.(Genesis 1:20)

On mighty pens uplifted soars the eagle aloft, and cleaves the sky in swiftest flight to the blazing sun. His welcome bids to morn the merry lark, and cooing calls the tender dove his mate. From ev’ry bush and grove resound the nightingale’s delightful notes. No grief affected yet her breast, nor to a mournful tale were tun’d her soft, enchanting lays.

And God created great whales, and ev’ry living creature that moveth, and God blessed them, saying:(Genesis I 21–2)



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‘Seid fruchtbar alle, mehret euch!Bewohner der Luft, vermehret euchund singt auf jedem Aste!Mehret euch, ihr Flutenbewohner,und füllet jede Tiefe!Seid fruchtbar, wachset, mehret euch!Erfreut euch in eurem Gott!

Recitative RaphaelUnd die Engel rührtenihr’ unsterblichen Harfenund sangen die Wunder des fünften Tags.

TrioGabrielIn holder Anmut stehn,mit jungem Grün geschmückt,die wogichten Hügel da.Aus ihren Adern quilltin fliessendem Kristallder kühlende Bach hervor.

UrielIn frohen Kreisen schwebt,sich wigend in der Luft,der munteren Vögel Schar.Den bunten Federglanzerhöht im Wechselflugdas goldene Sonnenlicht.

RaphaelDas helle Nass durchblitzt Der Fisch und windet sichin stetem Gewühl umher.Vom tiefsten Meeresgrundwälzt sich Leviathanauf schäumender Well’ empor.

Gabriel, Uriel, RaphaelWie viel sind deine Werk’, o Gott!Wer fasset ihre Zahl?

Trio and ChorusDer Herr ist gros in seiner Macht,und ewig bleibt sein Ruhm.

Be fruitful all, and multiply! Ye winged tribes, be multiplied, and sing on ev’ry tree! Multiply, ye finny tribes, and fill each wat’ry deep!Be fruitful, grow and multiply! And in your God and Lord rejoice!

And the angels struck their immortal harps, and the wonders of the fifth day sang.

Most beautiful appear, with verdure young adorn’d, the gently sloping hills. Their narrow, sinuous veins distil in crystal drops the fountain fresh and bright.

In lofty circles plays and hovers through the sky the cheerful host of birds. And in the flying whirl, the glitt’ring plumes are dyed, as rainbows, by the sun.

See flashing through the wet in thronged swarms the fry on thousand ways around. Upheaved from the deep, th’ immense Leviathan sports on the foaming wave.

How many are thy works, O God! Who may their numbers tell?

The Lord is great, and great his might; His glory lasts for ever and for evermore.


And God said: Let the earth bring forth the living creature after his kind; cattle and creeping thing, and beasts of the earth after their kind.(Genesis 1:24)

Straight opening her fertile womb, the earth obey’d the word, and teem’d creatures numberless, in perfect forms and fully grown. Cheerful roaring stands the tawny lion. In sudden leaps the flexible tiger appears. The nimble stag bears up his branching head. With flying mane and fiery look, impatient neighs the sprightly steed. The cattle in herds already seek their food on fields and meadows green. And o’er the ground, as plants, are spread the fleecy, meek and bleating flock. Unnumber’d as the sands in whirls arose the host of insects. In long dimensions creeps with sinuous trace the worm.

Now heav’n in fullest glory shone; earth smiles in all her rich attire.The room of air with fowl is fill’d; the water swell’d by shoals of fish; by heavy beasts the ground is trod.But all the work was not complete. There wanted yet that wond’rous being that grateful should God’s pow’r admire, with heart and voice his goodness praise.

THE SIXTH DAYRecitative RaphaelUnd Gott sprach:‘Es bringe die Erde hervorlebende Geschöpfe nach ihrer Art,Vieh und kriechendes Gewürm,und Tiere der Erdenach ihren Gattungen!’

Recitative RaphaelGleich öffnet sich der Erde Schoss,und sie gebiert auf Gottes WortGeschöpfe jeder Art,in vollem Wuchs und ohne Zahl.Vor Freude brüllendsteht der Löwe da.Hier schiesst,der gelenkige Tiger empor.Das zackig’ Haupterhebt der schnelle Hirsch.Mit fliegender Mähne springt und wieh’revoll Mut und Kraft das edle Ross.Auf grünen Matten weidetschon das Rind,in Herden abgeteilt.Die Triften deckt, als wie gesät,das wollenreiche,sanfte Schaf.Wie Staub verbreitet sichin Schwarm und Wirbeldas Heer der Insekten.In langen Zügen kriechtam Boden das Gewürm.

Aria RaphaelNun scheint in vollem Glanze der Himmel,nun prangt in ihrem Schmucke die Erde.Die Luft erfüllt das weiche Gefieder,die Wasser schwellt der Fische Gewimmel,den Boden drückt der Tiere Last.Doch war noch alles nicht vollbracht.Dem Ganzen fehlte das Geschöpf,das Gottes Werke dankbar sehn,des Herren Güte preisen soll.

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Recitative UrielUnd Gott schuf den Menschen nach seinem Ebenbilde,nach dem Ebenbilde Gottes schuf er ihn.Mann und Weib erschuf er sie.Den Atem des Lebens hauchte er in sein Angesicht,und der Mensch wurde zur lebendigen Seele.

Aria UrielMit Würd’ und Hoheit angetan,mit Schönheit, Stärk’ und Mut begabt,gen Himmel aufgerichtet, steht der Mensch,ein Mann und König der Natur.Der breitgewölbt erhabne Stirnverkünd’t der Weisheit tiefen Sinn,und aus dem hellen Blicke strahlt der Geist,des Schöpfers Hauch und Ebenbild.An seinen Busen schmieget sich,für ihn, aus ihm geformt,die Gattin hold und anmutsvoll.In froher Unschuld lächelt sie,des Frühlings reizend Bild,ihm Liebe, Glück und Wonne zu.

Recitative RaphaelUnd Gott sah jedes Ding,war er gemacht hatte,und es war sehr gut;und der himmlische Chor feierte das Endedes sechsten Tages mit lautem Gesang.

Chorus and TrioChorusVollendet ist das grosse Werk;der Schöpfer siesht’s und freuet sich.Auch unsre Freud’ erschalle laut.Des Herren Lob sei unser Lied!

Gabriel, UrielZu dir, o Herr, blickt alles auf;um Speise fleht dich alles an.Du öffnest deine Hand;gesättigt werden sie.

And God created man in his own image. In the image of God created he him. Male and female created he them. He breathed into his nostrils the breath of life, and man became a living soul.(Genesis 1:27; 2: 7)

In native worth and honour clad, with beauty, courage, strength adorn’d, to heav’n erect and tall, he stands a man, the Lord and King of nature all.The large and arched front sublime of wisdom deep declares the seat, and in his eyes with brightness shines the soul, the breath and image of his God.With fondness leans upon his breast the partner for him form’d, a woman fair and graceful spouse.Her softly smiling virgin looks, of flow’ry spring the mirror, bespeak him love, and joy, and bliss.

And God saw ev’rything, that he had made; and behold, it was very good; and the heavenly choir in song divine thus closed the sixth day.

Achieved is the glorious work; the Lord beholds it and is pleas’d. In lofty strains let us rejoice! Our song let be the praise of God!

On thee each living soul awaits; from thee, O Lord, they beg their meat. Thou openest thy hand, and sated all are they.


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RaphaelDu wendest ab dei Angesicht;da bebet alles und erstarrt.Du nimmst den Odem weg;in Staub zerfallen sie.

Gabriel, Uriel, RaphaelDen Odem hauchst du wieder aus,und neues Leben sprosst hervor.Verjüngst ist die Gestaltder Erd’ an Reiz und Kraft.

ChorusVollendet ist das grosse Werk.Des Herren Lob sei unser Lied!Alles lobe seinen Namen,denn er allein ist hoch erhaben.Alleluia.

INTERVAL 20 minutes

Part 3ADAM AND EVE IN EDENIntroduction (Morning) and Recitative UrielAus Rosenwolken bricht,geweckt durch süssen Klang,der Morgen jung und schön.Vomm himmlischen Gewölbeströmt reine Harmoniezur Erde hinab.Seht das beglückte Paar,wie Hand in Hand es geht!Aus ihren Blicken strahltdes heissen Danks Gefühl.Bald singt in lautem Tonihr Mund des Schöpfers Lob.Lasst unsre Stimme dannsich mengen in ihr Lied!

But as to them thy face is hid, with sudden terror they are struck. Thou tak’st their breath away; they vanish into dust.

Thou lett’st thy breath go forth again, and life with vigour fresh returns.Revived earth unfolds new force and new delights.

Achieved is the glorious work. Our song let be the praise of God! Glory to his name for ever; he sole on high exalted reigns. Alleluia.

In rosy mantle appears, by tunes sweet awak’d, the morning young and fair. From the celestial vaults pure harmony descends on ravished earth. Behold the blissful pair, where hand in hand they go! Their flaming looks express what feels the grateful heart. A louder praise of God their lips shall utter soon. Then let our voices ring, united with their song!



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Duet Adam, EveVon deiner Güt’, o Herr und Gott,ist Erd’ und Himmel voll.Die Welt, so gross, so wunderbar,ist deiner Hände Werk.

ChorusGesegnet sei des Herren Macht!Sein Lob eerschall’ in Ewigkeit!

AdamDu Sterne hellster, o wie schönverkündest du den Tag!Wie schmückst du ihn, o Sonne, du,des Weltalls Seel’ und Aug’!

ChorusMacht kund auf eurer weiten Bahndes Herren Macht und seinen Ruhm!

EveUnd du, der Nächte Zierd’ und Trost,und all das strahlend Heer,verbreitet überall, verbreitet sein Lobin eurem Chorgesang!

AdamIhr Elemente, deren Kraftstets neue Formen zeugt,ihr Dünst’ und Nebel, die der Windversammelt und vertreibt:

Eve, Adam, ChorusLobsinget alle Gott dem Herrn!Gross wie sein Nam’ ist seine Macht!

EveSanft rauschend lobt, o Quellen, ihr!Den Wipfel neigt, ihr Bäum’!Ihr Pflanzen, düftet, Blumen, hauchtihm euren Wohlgeruch!

AdamIhr, deren Pfad die Höhn erklimmt,und ihr, die niedrig kriecht,ihr deren Flug die Luft durchschneid’t,

By thee with bliss, O bounteous Lord, the heav’n and earth are stor’d.This world, so great, so wonderful, thy mighty hand has fram’d.

For ever blessed be his pow’r! His name be ever magnify’d!

Of stars the fairest, O how sweet thy smile at dawning morn! How brighten’st thou, O sun, the day, thou eye and soul of all!

Proclaim in your extended course th’ almighty pow’r and praise of God!

And thou that rules the silent night, and all ye starry host, spread wide and ev’rywhere his praise in choral songs about!

Ye strong and cumbrous elements, who ceaseless changes make, ye dusky mists and dewy steams, who rise and fall through th’ air:

Resound the praise of God our Lord! Great his name, and great his might.

Ye purling fountains tune his praise, and wave your tops ye pines! Ye plants exhale, ye flowers breathe at him your balmy scent!

Ye that on mountains stately tread, and ye, that lowly creep, ye birds that sing at heaven’s gate,


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und ihr, im tiefen Nass,

Eve, Adam, Chorusihr Tiere, preiset alle Gott!Ihn lobe, was nur Odem hat!

Eve, AdamIhr dunklen Hain’, ihr Berg’ und Tal’,ihr Zeugen unsres Danks,ertönen sollt ihr früh und spätvon unsrem Lobgesang.

ChorusHeil dir, o Gott!O Schöpfer, Heil!Aus deinem Wort entstand die Welt.Dich beten Erd’ und Himmel an;wir preisen dich in Ewigkeit.

Recitative Adam, EveAdamNun ist die erste Pflicht erfüllt;dem Schöpfer haben wir gedankt.Nun folge mir,Gefährtin meines Lebens!Ich leite dich, und jeder Schrittweckt neue Freud’in unsrer Brust,zeigt Wunder überall.Erkennen sollst du dann,welch unaussprechlich Glückder Herr uns zugedacht,ihn preisen immerdar,ihm weihen Herz und Sinn.Komm, folge mir!Ich leite dich!

EveO du, für den ich ward!Mein Schirm, mein Schild, mein All!Dein Will’ ist mir Gesetz.So hat’s der Herr bestimmt,und dir gehorchen bringt mir Freude,Glück und Ruhm.

and ye, that swim the stream,

Ye living souls extol the Lord! Him celebrate, him magnify!

Ye values, hills, and shady woods, our raptur’d notes ye heard; from morn to ev’n you shall repeat our grateful hymns of praise.

Hail, bounteous Lord! Almighty, hail! Thy word call’d forth this wondrous frame. Thy pow’r adore the heav’n and earth: we praise thee now and evermore.

Our duty we performed now, in off’ring up to God our thanks. Now follow me, dear partner of my life! Thy guide I’ll be, and ev’ry step pours new delights into our breast, shows wonders ev’rywhere. Then may’st thou feel and know the high degree of bliss the Lord allotted us, and with devoted heart his bounty celebrate. Come follow me! Thy guide I’ll be!

O thou, for whom I am! My help, my shield, my all! Thy will is law to me. So God, our Lord, ordains, and from obedience grows my pride and happiness.



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Duet Adam, EveAdamHolde Gattin! Dir zur Seitefliessen sanft die Stunden hin.Jeder Augenblick ist Wonne,keine Sorge trübet sie.

EveTeurer Gatte! Dir zur Seiteschwimmt in Freuden mir das Herz.Dir gewidmet ist mein Leben;deine Liebe sei mein Lohn.

AdamDer tauende Morgen, o wie ermuntert er!

EveDie Kühle des Abends,o wie erquicket sie!

AdamWie labend istder runden Früchte Saft!

EveWie reizend istder Blumen süsser Duft!

Adam, EveDoch ohne dich, was wäre mirder Morgentau,der Abendhauch,der Früchte Saft,der Blumen Duft!Mit dir erhöht sich hede Freude,mit dir geniess ich doppelt sie,mit dir ist Seligkeit das Leben,dir sei es ganz geweiht.

Graceful consort! At thy side softly fly the golden hours. Ev’ry moment brings new rapture, ev’ry care is put to rest.

Spouse adored! At thy side purest joys o’erflow the heart. Life and all I am is thine; my reward thy love shall be.

The dew dropping morn, O how she quickens all!

The coolness of ev’n, O how she all restores!

How grateful is of fruit the savour sweet!

How pleasing is of fragrant bloom the smell!

But without thee, what is to methe morning dew,the breath of ev’n,the sav’ry fruit,the fragrant bloom?With thee is ev’ry joy enhanced, with thee delight is ever new; with thee is life incessant bliss; thine it whole shall be.


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Final SceneRecitative UrielO glücklich Paar, und glücklich immerfort,wenn falscher Wahn euch nicht verführt,noch mehr zu wünschen, als ihr habt,und mehr zu wissen, als ihr sollt!

Chorus and SoloistsSingt dem Herren, alle Stimmen!Dank ihm alle seine Werke!Lasst zu Ehren seines NamensLob in Wettgewang erschallen!Des Herren Ruhm,er bleibt in Ewigkeit.Amen.

Baron Gottfried van Swieten (1733–1803)

O happy pair, and always happy yet, if not misled by false conceit, ye strive at more as granted is, and more to know as know ye should!

Sing the Lord, ye voices all! Utter thanks, ye all his works! Celebrate his pow’r and glory! Let his name resound on high! The Lord is great; his praise shall last for aye. Amen.

Anonymous English text compiled from biblical sources andfrom ‘Paradise Lost’ by John Milton (1608–74)

About the performers

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René Jacobs conductor

René Jacobs began his career asa choirboy in his native city ofGhent. He continued his musicaltraining in Brussels and at TheHague. He met the Kuijkenbrothers, Alfred Deller andGustav Leonhardt, whoencouraged him to become acountertenor, which led to recitalsall over the world.

In 1977 he founded Concerto Vocale. His work as aconductor subsequently saw him leading performancesof operas by Monteverdi, Cesti, Cavalli, Gluck andHandel in leading venues in Europe and Japan. Most ofthese have been recorded and won prestigious awards.Since 1997 he has been artistic director of the InnsbruckFestival, while in his capacity as principal guest conductorand artistic adviser for Baroque repertoire at the BerlinStaatsoper he has conducted Telemann’s Orpheus,Graun’s Cleopatra e Cesare, Gassmann’s Opera seria,Handel’s Semele and Rinaldo, Keiser’s Croesus,Alessandro Scarlatti’s Griselda and Haydn’s Il mondodella luna. He has also appeared at La Monnaie inBrussels, conducting operas by Monteverdi, Handel andMozart.

For several years René Jacobs was a professor at theSchola Cantorum Basiliensis – an institution with which hestill maintains a close relationship – training many singerswho today enjoy prominent careers.

René Jacobs’s many awards include best operaticproduction of 1998 for Monteverdi’ L’Orfeo from theSyndicat Professionnel de la Critique Dramatique etMusicale, Diapason’s Musical Personality of the Year forCosì fan tutte and Alessandro Scarlatti’s Il primoomicidio, a Cannes Classical Award for Handel’sRinaldo, Gramophone Record of the Year for TheMarriage of Figaro and Haydn’s Die Jahreszeiten (whichalso won a Diapason d’Or of the year), Opernwelt’saward of Rediscovery of the year for his production ofCavalli’s Eliogabalo, plus a Grammy Award for Figaro.

Julia Kleiter soprano

German soprano Julia Kleitermade her operatic debut in 2004,as Pamina (The Magic Flute) withOpéra-Bastille in Paris. She hassince worked with leadingconductors including ClaudioAbbado, Semyon Bychkov,Nikolaus Harnoncourt, ThomasHengelbrock, Marc Minkowski,Franz Welser-Möst and Riccardo

Muti, in repertoire which includes works by J. C. Bach,Beethoven, Gluck, Handel, Mozart, Mussorgsky andRichard Strauss.

This season’s highlights include a duo recital withChristoph Prégardien at the Schubertiade inSchwarzenberg, a song recital in Salzburg, a newproduction of Fidelio in Paris and Der Freischütz at theBaden-Baden Festival and in Dortmund, a tour ofHaydn’s The Creation, concerts marking Mendelssohn’sanniversary in Amsterdam and Sophie (DerRosenkavalier) and Susanna (The Marriage of Figaro) inDresden. Later this year she will also sing in TheMarriage of Figaro at the Salzburg Festival, conductedby Daniel Harding, and in a new production of Haydn’sIl mondo della luna under Nikolaus Harnoncourt atTheater an der Wien. She makes her debuts with theNew York Philharmonic and at the Metropolitan Opera,New York, in 2010.

In concert she has performed in Stockholm, Munich,Stuttgart, Los Angeles, Ferrara, Berlin, Paris, Toulouse,Naples and at the Salzburg Festival and on tour in Japanand South Korea. She has also given song recitals at theLucerne Festival and the Vienna Musikverein.

Julia Kleiter’s recordings include Richard Strauss’sDaphne, Mozart’s Requiem and The Magic Flute andDVDs of La finta giardiniera, Lucio Silla and Arabella.

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Maximilian Schmitt tenor

The young German tenorMaximilian Schmitt discoveredhis love for music early on, as achoirboy with the RegensburgerDomspatzen. He subsequentlystudied at Berlin University of theArts and in 2005–6 was amember of the Young Ensembleat the Bavarian State Opera,Munich, as well as gaining

experience via masterclasses with Ann Murray andRobert Dean Smith.

While still in the Young Ensemble, he made his debut atthe Salzburg Landestheater as Tamino in The MagicFlute and has also performed roles in Roberto Devereuxand Il turco in Italia in Munich. At the beginning of thisseason he began a two-year contract with MannheimState Theatre, where he will perform in operas by Mozartand Wagner.

In concert he has worked with conductors such as MarcusCreed, Leopold Hager, Daniel Harding, ThomasHengelbrock, Andrew Manze, Trevor Pinnock and UlfSchirmer.

Recent highlights include performances of Bach’s Mass inB minor and St Matthew Passion and the title-role in aconcert performance of Weber’s Oberon with theStuttgart Philharmonic Orchestra.

This year he tours with Helmuth Rilling and theBachakademie and, with the Leipzig GewandhausOrchestra under Riccardo Chailly, performs the StMatthew Passion, which he will also be recording.

Thomas Quasthoff bass-baritone

The German bass-baritoneThomas Quasthoff is acclaimedas one of the most remarkablesingers of his generation. Afrequent guest of both the Berlinand the Vienna Philharmonicorchestras he appears regularlywith the world’s leadingensembles under such renownedconductors as Claudio Abbado,

Daniel Barenboim, Bernard Haitink, Mariss Jansons, KurtMasur, Seiji Ozawa, Sir Simon Rattle, Helmuth Rilling,Christian Thielemann and Franz Welser-Möst.

He made his opera debut in 2003, as Don Fernando(Fidelio) under Sir Simon Rattle at the Salzburg EasterFestival. This was followed by his debut at the ViennaStaatsoper in the role of Amfortas (Parsifal) underDonald Runnicles, a role he reprised under Rattle in2005.

Recent highlights include appearances with the Viennaand Berlin Philharmonic orchestras, the BerlinerBarocksolisten, Boston Symphony Orchestra, a residencyat the Wigmore Hall, recitals in Berlin, Boston and at theSalzburg and Schubertiade (Schwarzenberg) festivals.

His discography ranges from Bach to jazz and includesLieder by Brahms, Liszt, Mahler and Schubert, Germanopera arias and a CD for children. Among his manyaccolades are Grammy and Gramophone awards andECHO prizes.

From 1996, he was a professor in the vocal departmentof the Music Academy in Detmold, before accepting anew position at the Hanns Eisler Music University in Berlinin 2004.

In 2005 Thomas Quasthoff received the Order of Meritfrom the President of the German Republic. Thefollowing year he was awarded the European CulturePrice for Music at the Dresden Frauenkirche.

Jim R

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RIAS Chamber Choir

This season marks the 60th anniversary of the RIASChamber Choir, which became the first professionalchamber choir to devote itself to historically informedperformance practice. As well as being renowned in thefield of early music, it also has a strong profile in music ofthe 19th, 20th and 21st centuries.

It was founded in 1948 as a full-time professional chorusand under its directors Herbert Ristenpart, HerbertFroitzheim and Günther Arndt it achieved internationalacclaim. It was the regular partner of Ferenc Fricsay andHerbert von Karajan. In addition to important Germanfirst performances it has given the world premieres ofworks by Schoenberg, Orff, Blacher, Krenek, Penderecki,Zimmermann, Henze and Reimann.

It was under the directorship of Uwe Gronostay(1972–86) that the choir began to hone its now-characteristic transparency of sound. This work wascontinued by Marcus Creed (1987–2001), and the choirformed lasting partnerships with period instruments suchas Concerto Köln, the Freiburg Baroque Orchestra,Akademie für Alte Musik and Orchestre des Champs-Élysées, working regularly with conductors includingFrans Brüggen, Thomas Hengelbrock and Sir RogerNorrington. The choir’s close collaboration with tonight’sconductor, René Jacobs, began in 1992 and has yieldedaward-winning recordings and acclaimed concerts andtours. Philippe Herreweghe made his debut with thechoir in 1996 and now frequently works with it,principally in music of the Romantic era.

In recent years the choir has toured extensively,transforming it from a radio choir to a self-reliant concert ensemble. Under Daniel Reuss (2003–6) it hasincreasingly focused on modern classics, includingbenchmark recordings of works by Stravinsky, Martin and Poulenc. Hans-Christoph Rademann tookover leadership of the RIAS Chamber Choir at thebeginning of last season, with the aim of exploiting the choir’s diversity, and its unconventionally large rangeof repertoire.

Freiburg Baroque Orchestra

Even after 20 years, Baroque music continues to hold aspecial place for the FBO. While the Freiburgers havemeanwhile earned a reputation as interpreters ofClassical, Romantic and even contemporary music, theBaroque in the orchestra’s name is still more than merelya description of an epoch: it stands for the musicians’practical performance perspective as well as for theirpleasure in musicianship and cultivated, virtuosoensemble playing.

It is through this combination of qualities that theFreiburg Baroque Orchestra has triumphed in theworld’s finest concert halls. From a Baroque perspective,the music of the 18th and 19th centuries may be relativelymodern, but what the orchestra brings to music of alleras is a sense of immediacy, as if the ink on themanuscript paper were not yet dry. As James R.Oestreich wrote in the New York Times in March 2007:‘The Freiburg Baroque Orchestra, familiar from … operarecordings and other notable projects, may be the liveliest ensemble now on the international earlymusic scene.’

The Freiburg Baroque Orchestra enjoys regularcollaborations with such distinguished artists as AndreasStaier, Thomas Quasthoff, Cecilia Bartoli and RenéJacobs. It has also made many award-winningrecordings, and was designated ‘Orchestra of the Year2007’ by the magazine Opernwelt.

The FBO makes around 100 appearances each year in avariety of guises, ranging from chamber ensemble toopera orchestra, working with both guest conductorsand under the artistic direction of its two concertmasters,Gottfried von der Goltz and Petra Müllejans. The FBO isa self-administrated ensemble with its own subscriptionconcerts in Freiburg’s Konzerthaus, Stuttgart’sLiederhalle and Berlin’s Philharmonie, as well as regularworldwide tours.


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Choir and Orchestra lists

SopranoUlrike BarthMadalena de FariaKristin FossKatharina HohlfeldChristina KaiserSusanne MoldenhauerSabine Nürmberger-Gembaczka

Stephanie PetitlaurentJudith SchmidtHannelore StarkeInés Villanueva

AltoAndrea EffmertKarola HausburgWaltraud HeinrichRegina JakobiBärbel KaiserFranziska MarkowitschHildegard WiedemannMarie-Luise Wilke

Tenor Volker ArndtJoachim BuhrmannWolfgang EblingFriedemann HechtFriedemann KörnerChristian MückeBirger RaddeKai Roterberg

Bass Janusz GregorowiczIngolf HorenburgWerner MatuschPaul MayrRudolf PreckwinkelSimon RobinsonJohannes SchendelKlaus Thiem

RIAS Chamber Choir

Freiburg Baroque Orchestra

Violin IPetra MüllejansBrian DeanMartina GraulichPeter BarcziEva BorhiKarin DeanJulita Forck

Violin IIAnnelies van der VegtGerd-Uwe KleinRegine SchröderChristoph HesseLotta SuvantoHongxia Cui

ViolaAnnette SchmidtChristian GoossesHugo BollschweilerClaudia Hofert

CelloStefan MühleisenUte PetersilgeHristo Kouzmanov

Double BassAndy AckermanTom DevaereUli Wolff

FluteSusanne KaiserDaniela LiebAnne Parisot

OboeSusanne RegelSaskia Fikentscher

ClarinetTindaro CapuanoNicola Boud

BassoonJavier ZafraEyal Streett

ContrabassoonEckhard Lenzing

HornTeunis van der ZwartBart Aerbeydt

TrumpetFriedemann ImmerJaroslav Roucek

TromboneKeal CouperFalko MunkwitzWerner Engelhard

TimpaniPeppie Wiersma

PianoSebastian Wienand

General ManagerHans-Georg Kaiser

Tour ManagerStefan Lippert

Intermusica TourManagement

Managing DirectorStephen Lumsden

Manager, Tours &ProjectsBen Larpent

Project Coordinator,Tours & ProjectsJulia Larigo

Programme produced by Harriet Smith; printed by Sharp Print Limited; advertising by Cabbell (tel. 020 8971 8450)

Please make sure that all digital watch alarms and mobile phones are switched off during the performance. In accordance with the requirements of the licensingauthority, sitting or standing in any gangway is not permitted. Smoking is notpermitted anywhere on the Barbican premises. No eating or drinking is allowed in the auditorium. No cameras, tape recorders or any other recording equipmentmay be taken into the hall.

Barbican CentreSilk Street, London EC2Y 8DS

Administration 020 7638 4141 Box Office 020 7638 8891

Great Performers Last-Minute ConcertInformation Hotline 0845 120 7505

www.barbican.org.uk

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