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| The Gabrieli Consort & Players. Paul McCreesh conducts (and retranslates) Haydn's immortal oratorio. "His version is graceful and elegant." - All Music Guide. |
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| 1 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. No. 1. Introduction. The Representation of Chaos |
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| 2 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. No. 2. Recitative and Chorus. In the beginning God created the heaven and th |
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| 3 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. No. 3. Aria and Chorus. Now vanish before the holy beams - Despairing, cursi |
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| 4 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. No. 4. Accompanied Recitative. And God made the firmament |
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| 5 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. No. 5. Solo. The glorious heav'nly hierarchy |
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| 6 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. No. 6. Recitative. And God said: Let the waters under the heaven be gathered |
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| 7 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. No. 7. Aria. Rolling in foaming billows |
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| 8 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. No. 8. Recitative. And God said: Let the earth bring forth grass |
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| 9 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. No. 9. Aria. With verdure clad the fields appear |
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| 10 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. No. 10. Recitative. And the heavenly host the third day proclaimed |
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| 11 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. No. 11. Chorus. Awake the harp, the lyre awake |
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| 12 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. No. 12. Recitative. And God said: Let there be lights in the firmament of he |
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| 13 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. No. 13. Accompanied Recitative. In brightest splendour rises now the sun |
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| 14 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. No. 14. Trio. The heavens are telling the glory of God |
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| 15 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. No. 15. Recitative. And God said: Let the waters bring forth abundantly |
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| 16 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. No. 16. Aria. On mighty pens uplifted soars the eagle |
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| 17 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. No. 17. Accompanied Recitative. And God created great whales |
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| 18 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. No. 18. Recitative. And the angels struck their immortal harps |
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| 19 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. No. 19. Trio. Most beautiful appear, with verdure young adorn'd - The Lord i |
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| 20 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. No. 20. Recitative. And God said: Let the earth bring forth the linving crea |
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| 21 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. No. 21. Accompanied Recitative. Straight opening her fertile womb |
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| 22 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. No. 22. Aria. Now heaven in fullest glory shines |
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| 23 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. No. 23. Recitative. And God created man |
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| 24 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. No. 24. Aria. In native worth and honour clad |
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| 25 Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. No. 25. Recitative. And God saw everything that he had made |
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Album Review
Haydn had both German and English texts of the libretto before him when he wrote The Creation. (The original, anonymous libretto was in English; Gottfried van Swieten translated it into German and then retranslated it back into English.) It was this retranslation (which was in fact full of inaccuracies and grammatical errors) that Handel used in creating alternate text settings when the two languages couldn't be musically reconciled. Consequently, and rightly, the English version has been considered inferior and is rarely used. Haydn was adamant, though, that The Creation should be sung in the language of its listeners, and approved translations into a number of languages. Confronted with an inaccurate, unpoetic text and some awkward text setting, conductor Paul McCreesh set about to create a new English translation that fit the composer's musical syntax. His version is graceful and elegant, and sounds completely natural -- it could easily become the standard English version.
The original productions of The Creation involved an orchestra and chorus that were unusually large for the time, and McCreesh duplicates whose forces in this recording. Haydn was careful about designating solo and tutti passages for the orchestra, so he had a broad palette on which to write -- from the intimate sounds of chamber music to a massed orchestra with triple winds. The Gabrieli Players, using period instruments, sounds marvelous, and create genuinely gigantic effects when required to, as in the creation of light on the first day. The Gabrieli Consort is joined by Chetham's Chamber Choir, creating a choral sound with real heft, but that also can be delicate when necessary. The soloists are of variable quality. Soprano Sandrine Piau is radiant as Gabriel. As Adam and Eve, baritone Peter Harvey and soprano Miah Persson are fresh and youthful sounding, and they blend beautifully. Tenor Mark Padmore and bass Neal Davies have voices more typical of English oratorio soloists: somewhat mannered, with wide vibrato. Overall, though, this is a very strong Creation, especially because of the full and colorful orchestral and choral sound, and the fine new translation. ~ Stephen Eddins, All Music Guide
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• Biography
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Other albums by: Paul McCreesh |
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