Democratic Sentinel, Volume 8, Number 7, Rensselaer, Jasper County, 14 March 1884 — Haydn's “Creation.” [ARTICLE]

Haydn's “Creation.”

'While on a visit to London in the year 1795," says an interesting writer, “Haydn heard Handel's ‘Messiah’ splendidly rendered by an orchestra of ovgr a thousand performers at Westminster Abbey; and the effect of this sent him back to Germany with his mind stirred with the impulse to compose an oratorio. “The result was that grflht and glorious conception —‘The Creation.’ No sooner was he settled in the quiet domicile at Gunpendorff than he fell to' work upon this masterpiece. This was late in 1796, and in the beginning of the year 1798 the oratorio was completed. Two years the old man took to rear this colossal musical structure; for, he said, ’I spent much time over it because I intend it to last a long time.’ “Haydn always led a very religious life. All his scores were inscribed at the commencement with the words, ‘ln nomine Domini,’or ‘Soli Deo gloria;’ while at the conclusion of them is written his ‘Laus Deo,;’ but ‘I was,’ he says, ‘never so pious as whqn engaged upon the "Creation.” I fell on my knees daily, and prayed earnestly to God that He would grant me strength to carry out the work, and to praise Him worthily.’ It is said, too, that in composing, whenever he felt the ardor of his imagination decline, or was stopped by some insurmountable difficulty, he rose from his work and resorted to prayer—an expedient which, he said, never failed to revive him.

“A few weeks after its completion, the ‘Creation’ was first performed in the rooms of the Schwartzenburg Palace. ‘Who can describe the applause ?’ wrote an eye-witness. ‘The flower of the literary and musical society of Vienna were assembled in the room, which was well adapted to the purpose, and Haydn himself directed the orchestra. The most profourfti silence, the most scrupulous attention —a sentiment, I might almost say, of religious respect —were the dispositions when the first stroke of the bow was given. “ ‘The general expectation was not disappointed. A long train of beauties, till that moment unknown, unfolded themselves before us; our minds, overcome with pleasure and admiration, experienced during two successive hours what they had rarely felt—a happy existence, produced by desires, ever likely, ever renewed, and never disappointed.’ The work very soon found its way round Germany, and Europe, too. •Taris strove to surpass all other cities in doing homage to Haydn’s masterpiece, and in the year 1800 a performance of it took place there. On this occasion the applause was deafening ; and the virtuosi engaged in it, in their enthusiasm, and to show their veneration for Haydn, resolved to present him with a large gold medal, which was adorned on one side with a likeness of Haydn, and on the other side with an upright lyre, over which was a burning flame in the midst of a circle of stars. On the medal was this inscription; “ ‘Hommage a Haydn, par les Musiciens qui ont execute I’Oratorio de la “Creation du Monde,” au Theatre des Arts, I’an IX, de la Republique Francaise. MDCCC.’ “In England the ‘Creation’ is, and probably ever will be, the most popular of all Haydn’s works. For depth of feeling, solemnity, and suitability of character; for its powerful and complete grasp of the subject—in fact, for its whole hearing as an oratorio —the ‘Creation’ holds a place among the finest examples which have ever been written in this form of composition.*'