Verzweiflung wut und schrecken haydn biography
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Stephan Klarer / Junger Konzertchor Zürich, Basel Sinfonietta
Haydn: Oratorio &#;The Creation&#;, :2
Fraumünster Zurich,
— Original posting
Contents
Introduction
Lay Choirs &#;
The time of the big lay choirs—is it over? Lay choirs—especially big ones—have existed over centuries. Just think of performances of Handel&#;s oratorios: these can&#;t possibly have been professional choirs. Lay choirs peaked in the 19th and the early 20th centuries. This was initiated by the revival of Bach&#;s and Handel&#;s oratorios, by proponents such as Felix Mendelssohn Bartholdy ( &#; ). Zurich was no exception to this. Several major choirs participated in the foundation of the Tonhalle-Gesellschaft, founded in With the completion of the new Tonhalle in , these choirs had an excellent venue and platform for their performances.
Typically, such lay choirs meet once or twice a week for rehearsing a popular work of choir literature. This can be an oratorio, a passion, a mass, a requiem, or cantatas. The highlight of the year for the choir then is the performance of that work in public. The associated success experience, and seeing a performance grow together over a year sounds like the prime purpose of people singing in a choir. However, of course, the experience of meeting ot
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The Creation (Haydn)
Oratorio by Joseph Haydn
The Creation (German: Die Schöpfung) is an oratorio written in and by Joseph Haydn (Hob. XXI:2), and considered by many to be one of his masterpieces. The oratorio depicts and celebrates the creation of the world as narrated in the Book of Genesis.
The libretto was written by Gottfried van Swieten. The work is structured in three parts and scored for soprano, tenor and bass soloists, chorus and a symphonic orchestra. In parts I and II, depicting the creation, the soloists represent the archangelsRaphael (bass), Uriel (tenor) and Gabriel (soprano). In part III, the bass and soprano represent Adam and Eve.
The first public performance was held in Vienna at the old Burgtheater on 19 March The oratorio was published with the text in German and English in
Inspiration
[edit]Haydn was inspired to write a large oratorio during his visits to England in – and – when, alongside his close friend English music historian Charles Burney, he heard oratorios of George Frideric Handel performed by large forces.[1] It is likely that Haydn wanted to try to achieve results of comparable weight, using the musical language of the mature classical style. Among the Handel works Haydn heard was Israel in Egypt, which inclu
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The Creation structure
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Libretto
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Music
[edit]Haydn had