Joseph Haydn The Creation

Arrangement for chamber orchestra (arr. J. Hickman) Hob. XXI:2, 1798/2018

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Smaller forces can now perform Die Schöpfung with this arrangement. Characteristic of Haydn's orchestral writing is the vivid colors of his tone painting, so this arrangement re-creates these same orchestral colors in both the obbligato melody parts and the instrumental colla-parte passages. It also closely follows the musical text of the critical Carus edition of Haydn's original version (Carus 51.990, ed. W. Gersthofer), so that any existing choral scores, piano reductions and string parts can still be used. By reducing the number of wind players, the string section can be smaller and fewer singers are required. This edition makes this beautiful work accessible to smaller groups, and those with more confined performance spaces and lower budgets.

Original versionArrangement for chamber orchestra
Soli STB, Coro SATB, 3 Fl, 2 Ob, 2 Clt, 2 Fg, Cfg, 2 Cor, 3 Trb, Timp, 2 Vl, Va, Vc, Cb, Cemb
Soli STB, Coro SATB, 2 Fl, Ob, Clt, Fg, 2 Cor, Tr, Timp, 2 Vl, Va, Vc, Cb (chromatic brass instruments are required)
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  • First Part

    1. Introduction · The Representation of Chaos Recitativo (Raphael, Chorus, Uriel)

    Raphael
    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.

    Chorus
    And the Spirit of God
    moved upon the face of the waters.
    And God said: Let there be Light,
    and there was Light.

    Uriel
    And God saw the Light, that it was good;
    and God divided the Light from the darkness.

    2. Aria (Uriel, Chorus)

    Uriel
    Now vanish before the holy beams
    the gloomy dismal shades of dark;
    the first of days appears.
    Disorder yields to order the fair place.
    Affrighted fled hell’s spirits black in throngs;

    ...
  • Erster Teil

    1. Einleitung · Die Vorstellung des Chaos Recitativo (Raphael, Chor, Uriel)

    Raphael
    Im Anfange schuf Gott Himmel und Erde,
    und die Erde war ohne Form und leer,
    und Finsternis war auf der Fläche der Tiefe.

    Chor
    Und der Geist Gottes
    schwebte auf der Fläche der Wasser,
    und Gott sprach: Es werde Licht,
    und es ward Licht.

    Uriel
    Und Gott sah das Licht, dass es gut war,
    und Gott schied das Licht von der Finsternis.

    2. Aria (Uriel, Chor)

    Uriel
    Nun schwanden vor dem heiligen Strahle
    des schwarzen Dunkels gräuliche Schatten:
    der erste Tag entstand.
    Verwirrung weicht, und Ordnung keimt empor.

    ...
  • Abridged Foreword of the Edition Carus 51.990/03

    Wolfgang Gersthofer
    Translation: Earl Rosenbaum

    In the first half of the 1790s Joseph Haydn made two concert tours to England which were of decisive importance for the composition of The Creation: Not only did the monumental performances in Westminster Abbey leave a lasting impression, but on his last departure from London in August 1795 he is supposed to have been given an older oratorio libretto on the biblical story of creation, originally intended for Handel, however its existence in this form has never been documented.

    Following his return to Vienna, Haydn actually did set to work on the material at once, whereby Gottfried Bernhard Freiherr van Swieten (1733–1803), who was almost the same age, would become his most important contact. Born in Leyden, in the Netherlands, since 1755 a diplomat in the service of the Habsburgs, during his last assignment abroad at the Prussian Court of Frederick the Great van Swieten became acquainted with the music of Handel and Bach, which henceforth essentially shaped his musical preferences. Even after leaving his political functions he continued to make his mark in the intellectual life of the Imperial (musical) Metropolis as what

    ...
  • Gekürztes Vorwort der Ausgabe Carus 51.990/03

    Wolfgang Gersthofer

    Joseph Haydn unternahm in der ersten Hälfte der 1790er Jahre zwei Konzertreisen nach England, die für das Entstehen der Schöpfung eine ausschlaggebende Bedeutung erlangen sollten: Nicht nur hatten Monumentalaufführungen Händel’scher Oratorien in der Westminster Abbey bei ihm nachhaltigen Eindruck hinterlassen, sondern bei seiner endgültigen Abreise aus London im August 1795 soll ihm zudem ein älteres, ursprünglich für Händel bestimmtes Oratorienlibretto über die biblische Schöpfungsgeschichte zur Vertonung überreicht worden sein.

    Nach Wien zurückgekehrt, machte sich Haydn tatsächlich alsbald an die Arbeit, wobei ihm der fast gleichaltrige Gottfried Bernhard Freiherr van Swieten (1733–1803) zur entscheidenden Bezugsperson werden sollte. Gebürtig aus dem niederländischen Leyden, ab 1755 Diplomat in habsburgischen Diensten, hatte van Swieten auf der letzten seiner Auslandsstationen am preußischen Hofe Friedrichs des Großen Bekanntschaft mit der Musik Händels und Johann Sebastian Bachs geschlossen, was fortan seine musikalischen Vorlieben nicht unwesentlich prägen sollte. Auch nach dem Ausscheiden aus seinen politischen Funktionen (1791)

    ...
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Purchase
full score Carus 51.990/50, ISMN 979-0-007-18848-1 328 pages, paperback
available
96,00 € / copy
set of parts, complete orchestral parts, on loan Carus 51.990/69, ISMN 979-0-007-24148-3 23 x 32 cm, without cover
  • 1 x set of parts, harmony parts, on loan, flute 1, flute 2, oboe, clarinet, bassoon, horn 1, horn 2, trumpet, timpani (51.990/59)
     
    5 x individual part, violin 1, on loan (51.990/61)
     
    4 x individual part, violin 2, on loan (51.990/62)
     
    3 x individual part, viola, on loan (51.990/63)
     
    2 x individual part, violoncello, on loan (51.990/64)
     
    1 x individual part, double bass, on loan (51.990/65)
     
    1 x individual part, harpsichord, on loan (51.990/98)
     
Joseph Haydn: The Creation, choral score, German Carus 51.990/05, ISMN 979-0-007-13543-0 32 pages, DIN A4, without cover Minimum order quantity: 20 copies
available
from 20 copies 9,70 € / copy
from 40 copies 8,73 € / copy
from 60 copies 7,76 € / copy
Joseph Haydn: The Creation, choral score, English Carus 51.990/06, ISMN 979-0-007-13544-7 32 pages, DIN A4, without cover Minimum order quantity: 20 copies
available
from 20 copies 9,20 € / copy
from 40 copies 8,28 € / copy
from 60 copies 7,36 € / copy
text (without music) for download, html file, Introductory text, German Carus 51.990/00-310-000
available
25,00 € / copy
text (without music) for download, html file, Introductory text, English Carus 51.990/00-320-000
available
25,00 € / copy
text (without music) for download, html file, Singing text, english translation Carus 51.990/00-360-000
available
8,00 € / copy
text (without music) for download, html file, Singing text, original Carus 51.990/00-380-000
available
5,00 € / copy
full score digital (download), pdf file Carus 51.990/50-010-000, ISMN 979-0-007-29950-7 328 pages
available
86,40 € / copy
set of parts (digital), zip file, pdf file, complete orchestral parts, on loan Carus 51.990/69-010-000
  • 1 x set of parts (digital), zip file, pdf file, harmony parts, on loan (51.990/59-010-000)
     
    1 x individual part, pdf file, violin 1, on loan (51.990/61-010-000)
     
    1 x individual part, pdf file, violin 2, on loan (51.990/62-010-000)
     
    1 x individual part, pdf file, viola, on loan (51.990/63-010-000)
     
    1 x individual part, pdf file, violoncello, on loan (51.990/64-010-000)
     
    1 x individual part, pdf file, double bass, on loan (51.990/65-010-000)
     
Additional product information
  • As Kapellmeister to Prince Esterházy, Haydn composed numerous instrumental works and various operas, as well as making important contributions to the genre of church music, including fourteen Latin masses, of which only twelve are authentic or complete; these are complemented by motets and offertories, two important Te Deum settings, two Salve Reginas, a Stabat Mater, and the different versions of the Sieben Worte des Erlösers am Kreuze. The masses were composed continually between 1749 and 1802, except for the years 1783–1795, and therefore constitute the genre with which Haydn was occupied over the longest period of time. The six (authentic or complete) masses composed before 1782 are stylistically very different, and as well as short Missae breves there are more extended masses with rich orchestral scoring; by contrast the six so-called late masses, written from 1796 onwards, form a comparatively homogeneous group of more extensive works scored for large forces. With his two great oratorios Die Schöpfung (The Creation) (1798) and Die Jahreszeiten (The Seasons) (1801) Haydn established the tradition of the German oratorio for middle-class music making. Personal details

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Frequent questions about this work

Can I also use the “normal” vocal score /03 and the choral score /05 from the full-scale version to sing the version presented here?

Yes, the vocal parts are absolutely identical, and therefore the vocal scores and choral scores are compatible with both versions.
Modern arrangements for smaller ensembles often require single instruments to take on multiple parts from the original version. This would be possible only to a very limited extent with historical instruments. This chamber music version should therefore be performed with modern wind instruments.
Yes, the string parts in the arrangement have been taken over unchanged from the original version. We also offer the string parts for this version on loan with article number Carus 51.990/69.
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