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1. Die Schöpfung (The Creation), Oratorio, H. 21/2 (106:00)
Catalog No. H 21
Composer Franz Joseph Haydn (1732 - 1809)
Conductor Helmuth Rilling
Performer Christine Schäfer (Soprano)
Michael Schade (Tenor)
Andreas Schmidt (Baritone)
Ingeborg Danz (Alto)
Juliane Banse (Soprano)
Ensemble Gächinger Kantorei Stuttgart
Orchestra Bach-Collegium Stuttgart
Genre Classical Period / Oratorio
Date Written 1796-1798; Vienna, Austria
Period Classical
Venue Stadthalle Sindelfingen, Großer Saal (09/27/1993-09/30/1993)
Notes Composition written: 1798. Composition revised: England.
Part Ⅰ
1. Einleitung - Die Vorstellung des Chaos (The Representation of Chaos)
Rezitativ Mit Chor (Raphael, Uriel): Im Anfange Schuf Gott Himmel Und Erde 9:58
2. Arie Mit Chor (Uriel): Nun Schwanden Vor Dem Heiligen Strahle (Now vanish before the holy beams) 3:47
3. Rezitativ (Raphael): Und Gott Machte Das Firmament (And God made the firmament) 2:08
4. Solo Und Chor (Gabriel): Mit Staunen Sieht Das Wunderwerk (The marv'lous work beholds amaz'd) 1:59
5. Rezitativ (Raphael): Und Gott Sprach: Es Sammle Sich Das Wasser (And God said: Let the waters under the heaven) 0:47
6. Arie (Raphael): Rollend In Schäumenden Wellen (Rolling in foaming billows) 4:01
7. Rezitativ (Gabriel): Und Gott Sprach: Es Bringe Die Erde Gras Hervor (And God said: Let all the earth bring forth grass) 0:34
8. Arie (Gabriel): Nun Beut Die Flur Das Frische Grün (With verdure clad the fields appear) 5:35
9. Rezitativ (Uriel): Und Die Himmlischen Heerscharen (And the Heav'nly host proclaimed the third day) 0:15
10. Chor: Stimmt An Die Saiten (Awake the harp) 2:08
11. Rezitativ (Uriel): Und Gott Sprach: Es Sei'n Lichter an der Feste des Himmels (And God said: Let there be lights in the firmament of heaven) 0:43
12. Rezitativ (Uriel): In Vollem Glanze steiget jetzt die Sonne (In splendour bright is rising now the sun) 3:11
13. Chor Mit Soli: Die Himmel Erzählen Die Ehre Gottes (The heavens are telling the glory of God) 3:55
Part Ⅱ
14. Rezitativ (Gabriel): Und Gott Sprach Es Bringe Das Wasser In Der Fülle Hervor (And God said: Let the waters bring forth abundantly) 0:25
15. Arie (Gabriel): Auf Starkem Fittige schwinget sich der Adler stolz (On mighty pens uplifted soars the eagle aloft) 7:17
16. Rezitativ (Raphael): Und Gott Schuf Große Walfische (And God created great whales) 1:59
17. Rezitativ (Raphael): Und Die Engel Rührten Ihr' Unsterblichen Harfen (And the angels struck their immortal harps) 0:26
18. Terzett: In Holder Anmut stehn (Most beautiful appear) / Der Herr ist gross (The Lord is great) 4:25
19. Terzett Und Chor: Der Herr Ist Groß In Seiner Macht (The Lord is great) 2:16
20. Rezitativ (Raphael): Und Gott Sprach: Es bringe die Erde hervor lebende Geschöpfe (And God said: Let the earth bring forth the living creature) 0:28
21. Rezitativ (Raphael): Gleich Offnet Sich Der Erde Schoß (Straight opening her fertile womb) 3:26
22. Arie (Raphael): Nun Scheint Im Vollem Glanze Der Himmel (Now heav'n in fullest glory shone) 3:36
23. Rezitativ (Uriel): Und Gott Schuf Den Menschen nach seinem Ebenbilde (And God created man in his own image) 0:50
24. Arie (Uriel): Mit Wurd' Und Hoheit Angetan (In native worth and honour clad) 3:42
25. Rezitativ (Raphael): Und Gott Sah Jedes Ding, was er gemacht hatte (And God saw ev'rything that he had made) 0:28
26. Chor: Vollendet Ist Das Große Werk (Achieved is the glorious work) 1:19
27. Terzett: Zu Dir, O Herr, Blickt Alles Auf (All look up to thee, O Lord) 5:04
28. Chor: Vollendet Ist Das Große Werk (Achieved is the glorious work) 2:38
Part Ⅲ
29. Orchestereinleitung Und Rezitativ (Uriel): Aus Rosenwolken (In rosy mantle appears) 4:36
30. Duett Und Chor (Eve, Adam): Von Deiner Güt', O Herr Und Gott (By thee with bliss, O bounteous Lord) 9:17
31. Rezitativ (Adam, Eve): Nun Ist Die Erste Pflicht Erfüllt (Our duty we performed now) 2:38
32. Duett (Adam, Eve): Holde Gattin! Dir Zur Seite (Graceful consort!) 8:05
33. Rezitativ (Uriel): O Glücklich Paar (O happy pair) 0:28
34. Schlusschor Und Soli: Singt Dem Herren Alle Stimmen (Sing the Lord, ye voices all!) 3:35
A Short History of "The Creation"
Origin
The idea was first suggested to Haydn in London by the impresario Johann Peter Salomon during Haydn's second visit to England in 1794/95. After Haydn's return to Vienna, Gottfried van Swieten became a glowing supporter of the project. Haydn sketched the work in 1796, worked on it intensively in 1797 and completed it in April 1798 (cf. letter to Prince Schwarzenberg).
Performance
The work was first performed at the palace of Prince Schwarzenberg on 29/30 April 1798, with Haydn conducting and Salieri at the piano. Owing to its great success, the work was repeated there on 7 and 10 May. After the first public performance at Vienna's Burgtheater on 19 March 1799, the work was presented at the Tonkünstler-Societät on 22 and 23 December 1799 and in the great hall of the University on 27 March 1808. The latter performance, in Haydn's presence, is particularly important since it is a major source of information on the oratorio practice of the time. The work was subsequently often performed in many German cities, in England, and later in Paris as well.
Libretto
The text was written by Baron Gottfried van Swieten after an English libretto which in its turn was based on John Milton's religious epic poem "Paradise Lost" (1674). Van Swieten identified the author of the English libretto – which was possibly created for Handel – as "Lidley", but no librettist by this name is known. Further sources for van Swieten's libretto are the Genesis for the narrative passages of the angels, and various psalm texts (especially Nos. 19, 104 and 119) for the anthems and choruses.
Notes on the recording
Baron van Swieten may have been a cultivated and knowledgeable librettist, but one can hardly qualify him as a responsible trustee for some of the priceless musical manuscripts entrusted to his care. For example, there is no longer any trace whatsoever of the primary source of Haydn's oratorio The Creation, though the Baron is the last known person to have possessed the autograph. Extant is solely a fragment of the scoring of movement 19 with the first and second trombone parts, and the choral part "Der Herr ist groß" (bar 178 to the end), as well as the complete contrabassoon part in Haydn‘s hand. Fortunately, thanks to the extraordinary success of The Creation, the reliable copyist Johann Elssler and his assistants were kept very busy producing copies of the score and parts. These were, in part at least, examined and used by the composer. And, to a certain extent, even the first printed version can be considered as authorized.
However, it should come as no surprise that no source is identical to another. It is tempting but illusory to want to find one sole, authentic version containing both Haydn's original intentions and his final will. We do know this much about Haydn's music: depending on the given circumstances of a performance of one of his masses, for example, he would revise a score that was fully completed. The reasons were manifold. Perhaps there happened to be two clarinetists on hand on that particular Sunday and at the place of performance. Or perhaps he had to replace the winds with an obligato organ because some royal patron decided to save money. Haydn also made some alterations in The Creation for his own concerts. With a little insight (one of the scholars to have evidenced such insight is A. Peter Brown in his 1986 publication Performing Haydn's The Creation), it is possible to reconstruct these changes from the specific circumstances on the one hand, and from obvious historical facts on the other. Following are a few examples that are pertinent to our recording.
Most copies of the score and parts contain passages in which the bass line is doubled by the bass trombone and/or the contrabassoon. This has not been respected in the various editions (movements 3, 4, 7, 13, 19, 22, 26 and 28). The long, informative letter which Haydn sent with his Applausus cantata in 1768 – this is one of the most important sources for matters of performance practice around 1760–1770 – supports the legitimacy of a pronounced but well-balanced doubling of the bass line at the contra-octave as found in the authentic sources: "... when the bass is playing obligato, I prefer the bass line played by three instruments, namely the violoncello, the bassoon and the double bass, rather than by six double basses and three cellos, since certain passages can be contrasted more impressively."
The third part of the oratorio (No. 29) begins with a forte E Major string chord followed by a flute trio, a setting which was unusual for the time and whose sound must have been unusually appealing. According to the first sources, the three transverse flutes played without accompaniment. only later was a continuo part underlayed, and this was ultimately followed by a pizzicato string part. It is possible that the flute group was relatively difficult to control from a distance in the Burgtheater (as opposed to the first performance), which is why Haydn might have consigned it to the secure surroundings of the continuo. The flute ensemble was not dependent on such support in our recording …
At the depiction of Chaos, the sources call for muted trumpets and horns (except for the Tonkünstler-Societät score, which has horns, but no trumpets or timpani). Even in the Elssler score, which was used by the printers, we can still see the kerned heading con sordini on the first page of the score, although this heading is deleted and thus no longer appears in the printed editions. It is quite obvious that the timbre of the muted instruments blends quite pleasantly into the musical depiction of a diffuse state of chaos, since the typical open trumpet and horn sounds are not yet recognizable. This becomes particularly clear in the horns' forte sequence of E Flat – G – B Flat triads (bars 11 and 12) against the piano of the strings and woodwinds: it is a vague anticipation of the choral entry "Und der Geist [Gottes schwebte auf der Fläche der Wasser]" on the same tones. Thus in addition to being fundamental to the dynamic balance, the muted version is also a semantic reference to the historical understanding of mutes as expressive elements of the darkness and mysteries of the netherworld.
Finally, the soloists' parts of the Tonkünstler-Societät have been preserved along with a set of parts from Haydn's estate. These parts contain many vocal embellishments, particularly at fermatas and strophic repetitions. Our soloists have also made use of them, though not all of the figurations, suspensions and trills were schematically copied from the sources; they were undoubtedly rendered according to the individual taste of the singers.
Helmuth Rilling
Biographies
Christine Schäfer
Christine Schäfer studied with Ingrid Figur in Berlin and attended the lieder classes of Aribert Reimann and Dietrich Fischer-Dieskau. At an early stage, Christine Schäfer involved herself with the concert and lieder repertoire over and above her opera career. She works closely with conductors like Helmuth Rilling, Nikolaus Harnoncourt, Simon Rattle and Christian Thielemann. Her extensive discography ranges from Bach's St John Passion through oratorios, operas and lieder-singing to contemporary music.
Michael Schade
Michael Schade grew up in Germany and Canada and began his opera career whilst still studying at the Curtis Institute of Music in Philadelphia. In addition to international successes on the opera stage (Vienna State Opera, Salzburg Festival, New York Met), Schade is an internationally successful concert and lieder singer. He has been closely connected with Helmuth Rilling and his ensembles since 1991, and they have made many recordings together.
Andreas Schmidt
After having concentrated on the piano, organ and conducting, Andreas Schmidt studied singing with Ingeborg Reichelt in Düsseldorf and Dietrich Fischer-Dieskau in Berlin. After winning the German Music Competition in 1983, the singer's very successful career led him from Berlin's Deutsche Oper and State Opera to the world's leading opera houses. Andreas Schmidt has also made a name for himself as a concert and lieder singer. Numerous radio and television recordings and an extensive discography document his artistic range. Gächinger Kantorei Stuttgart The Gächinger Kantorei was founded by Helmuth Rilling in 1954 and is named after a small village in the Swabian Jura. The Gächinger Kantorei is a professional choir with a company of permanent vocalists who work together on a project basis and has ranked among the world's outstanding concert choirs for many decades. The Gächinger Kantorei has been under the sponsorship of the International Bachakad-emie Stuttgart since 1981. It regularly performs together with the Bach-Collegium, which was also founded by Helmuth Rilling, and collaborates with other orchestras all over the world, including the Vienna Philharmonic, the New York Philharmonic Orchestra and the Israel Philharmonic Orchestra, with which the "Gächinger" has played a total of more than one hundred concerts on ten tours. It also regularly collaborates with the Basle Symphony Orchestra, and has a particularly close partnership with the Radio Symphony Orchestra of the SWR in Stuttgart.
In Stuttgart, the Bachakademie and the Gächinger Kantorei maintain a major concert series of oratorios from all centuries. The choir plays a major role in shaping the profile of the MUSIKFEST STUTTGART.
The Gächinger Kantorei makes many guest appearances. Helmuth Rilling and the Gächinger Kantorei have appeared at festivals in Salzburg, Lucerne and Prague, as well as in New York, Paris, London, Vienna, Strasbourg, Seoul and other cities. The choir is a regular guest at major music centers and festivals (for instance, the Beethoven Festival in Bonn, the Rheingau Music Festival, the Schleswig-Holstein Music Festival, and the MDR Music Summer). In 2011, it went on a major tour of China together with the Bach-Collegium, and in 2012 traveled through Latin America. Further international concert trips in 2012 will take it to Italy, France and Spain.
Many recordings testify to the great artistic variety of the choir, especially on the hänssler CLASSIC label. Along with the recording of the complete vocal works of Johann Sebastian Bach for the EDITION BACHAKADEMIE, it also specializes in vocal-symphonic rarities from the eighteenth to the twentieth centuries and new music, including many premieres, such as Litany by Arvo Pärt (1994), Requiem der Versöhnung (1995) or Deus Passus by Wolfgang Rihm (2000). The recording of the Vesper by Alessandro Grandi under Matthew Halls and the premiere recording of Felix Mendelssohn’s opera The Uncle from Boston are particular highlights.
Helmuth Rilling will continue to be the artistic director of the Bach-Collegium until his 80th birthday and then hand over this position to his successor, Hans-Christoph Rademann. However, the choir also collaborates with many guest directors, including Masaaki Suzuki, Krzysztof Penderecki, Sir Roger Norrington, Ton Koopman, Martin Haselböck, Alexander Liebreich, Morten Schuldt-Jensen, Stefan Parkman, Dennis Russell Davies, Olari Elts, Matthew Halls, Peter Dijkstra and Hansjörg Albrecht.
Bach-Collegium Stuttgart
The Bach-Collegium Stuttgart was founded in 1965 by Helmuth Rilling to serve as an instrumental partner to the Gächinger Kantorei and has been under the sponsorship of the International Bachakademie Stuttgart since 1981.
It was the complete recording of all sacred cantatas and oratorios composed by Johann Sebastian Bach and released on the occasion of the composer’s 300th birthday (1985) that enabled the ensemble to become known as a historically informed, high-profile orchestra for Bach’s music. The Bach-Collegium largely made use of modern instruments for this purpose. In this way, it was able to constantly expand its repertoire and is now a versatile orchestra that can expertly perform works from all epochs. This is proven by a great number of recordings – including many premieres – especially on hänssler CLASSIC, the home label of the Bachakademie.
The Bachakademie along with the Bach-Collegium maintains a major concert series with oratorios from all centuries in Stuttgart. The orchestra is also regularly present at the MUSIKFEST STUTTGART.
The Bach-Collegium occasionally appears with its own instrumental programs, as at the annual birthday concert for Johann Sebastian Bach each year on March 21, as well as in guest appearances at home and abroad. In this it has been working closely together with pianist Angela Hewitt, who has accompanied it several times on tour, as well as with Evgeni Koroliov.
The Bach workshops conducted by the Bachakademie and Helmuth Rilling all over the world have been strongly influenced by the course work of teachers connected to the Bach-Collegium.
Helmuth Rilling
"Music must never be comfortable or an object in a museum, it should not placate. It must startle, reach people on a personal level, get them thinking." This is the personal guiding principle of Helmuth Rilling, the conductor, teacher and ambassador of Bach all over the world.
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In 1954, Helmuth Rilling founded the Gächinger Kantorei, in 1965 adding the Bach-Collegium Stuttgart as an instrumental partner. This was when Helmuth Rilling began to take a deep interest in the work of Johann Sebastian Bach. What is more, he has made major contributions to the rediscovery of Romantic choral music and promoted contemporary music by commissioning many compositions. Rilling holds international concerts with his ensembles (in 2010, for instance, they were present in Korea, in 2011 in China, and in 2012 in France, Italy and the whole of South America) and is a sought-after guest conductor with leading orchestras across the globe – including the Vienna Philharmonic, the New York Philharmonic, the NHK Symphony Orchestra in Japan and the Israel Philharmonic Orchestra, which he conducted along with the Gächinger Kantorei in more than one hundred concerts.
In 1970 he founded the Oregon Bach Festival, and in 1981 the International Bachakademie Stuttgart. For Rilling, the main incentive of both activities was to give young people opportunities for first-class advanced education in the form of master courses, workshops and symposia on music.
All over the world, his artistic-educational work has left traces especially on the propagation of the works of Johann Sebastian Bach. He has helmed innumerable work phases at universities and colleges and founded a large number of "Bach Academies" in Krakow, Caracas, Hong Kong and elsewhere. Most recently, he founded the Bachakademie Chile at the Teatro del Lago in Frutillar, which will be held under his direction for the second time in 2013.
Helmuth Rilling's work with young people is also manifested in the youth ensembles he has initiated, the "Festival Ensemble Stuttgart" (2001 to 2009) and the JSB Ensemble, the "Young Stuttgart Bach Ensemble" (2011–2013).
Recordings, radio and television productions document Helmuth Rilling's work, and often won awards. He was the first conductor to record all the cantatas of Johann Sebastian Bach; during the Bach anniversary year of 2000, the EDITION BACHAKADEMIE was released, the recording of Bach’s complete works on 172 CDs under his overall artistic direction.
For his wide-ranging engagement, Helmuth Rilling was awarded the International UNESCO Music Prize and the Theodor Heuss Prize "Deeds of Reconciliation", and in 2003 he was chosen to be an honorary member of the American Academy of Arts and Sciences. In 2011 he was honored with the famed Herbert von Karajan Music Prize of the Festival House of Baden-Baden, and in 2012 with the Luther Medal of the City of Leipzig.
For his eightieth birthday in May 2013, Helmuth Rilling will be retiring from all institutional directorial functions, yet will remain active internationally as a conductor and teacher.
글 출처: 앨범 속지에서
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