The Portland daily press., 1869-05-17

fundamental Music Of Haydn's Creation.
A few days ago we gave brief notice of the
history of this celebrated Oratorio and of its
author whose name will never be forgotten in
the musical world unless future generations are
born deaf and an entire change takes place in
the structure of humanity, q revolution not
yet dreamed Of in any man 8 philosophy. We.
now propose to notice. briefly can and
do anything like justice to the subject, the in
strumental parts OF this great composition
which is much less understood than the vocal,
the latter being interpreted by words as well
as sounds, while the former by combination
of musical tones conveys to the soul ideas, i'm
ages and pictures of material as well as spirit
ual things which words alone cannot.
AS the author of the work intended to give
musical representation of the creation of a
new world he, of course, had to begin with
Chaos, and to shadow it forth by instrumental
music, for human language is too poor for
such a representation. We read that "In the
beginning God created the Heavens and the
Earth. And the Earth was without form and
void; and darkness was upon the face of the
deep" Many kinds of instruments and q
marvellous combination of musical sounds are
used to paint thegloomy picture of Chaos, and
the great author succeeded in accomplishing
this object. No painting on canvass, no hui
man language could have done this SO we'll as
music. And if the auditors will listen attea-
lively while the Germania Band are perform
| ing this prelude, or symphony, they will feel
'schaos come again." Let them listen to this
struggling of the instruments and this remark
| able combination Of tones and they will be bet
| ter prepared for what is to follow. They must
remember shat all the parts of this Oratorio
are a great study and cannot be learned in a
/ hurry
| After this representation of Chaos the angel
Raphael (bass) speaks and recites the words
| "In the beginning &C." A chorus of angels
| responds to those declarations of the angel,
| singing" And the spirit of God moved upon
| the face of the waters Let the nearer now
listen to the instruments and he will find a
| true representation of the onward movement
| in this great work Of creating new world.
@And God said, Let there be Light" Mark
this in the chorus, and hear the streaming
| tones of the violins which can better describe
| the darling rays of light upon and through the
| darkness than any words man can utter. Now
comes in recitative by Uriel (tenor) and an air
representing the vanishing of the gloomy
shades of ancient night and the appearance Of
| the first days. Chaos ends and the evil spirits
affrighted flee away in throngs and "down
they sink in deep abyss to endless night"
The instruments represent these scenes, Des-
| pairing rage attends their fall The Sc words
are sung by chorus of angels. (Remember
all the choruses are sung by angels, for there
were then no other beings to sing them This
| chorus conveys to tho nearer the torments
these evil spirits feel when seeing new crea-
ton springing up. The solos too are sung by
angels until IN the progress of the creation
Adam and Eve appear.
The auditors will carefully note how won
derfuly the instruments represent the des-
pairing and cursing of the evil spirits as they
sink away into hell There is here terrible
| power in music.
Following such scenes the armament is
created, the waters divided, furious storms
rage, thunders roll and the lightnings flash.
AL these pictures are painted by the instru-
| ments
Gabriel now calls attention to the marvel
lous work and the GLORIOUS hierarchy of
heaven and the chorus follows in the praise
of God and of the second day. Raphael re-
| cites, And God said let the waters be gather
ed into one place and the dry land appear. One
thing is very striking and even the uncultiva-
ted ear will be made to see and feel the divid-
ing of the waters, and the tides roll up each
| way, opening place SO that one may walk
through The instruments thus divide the
| waters. We mention this fact because it is SC
palpable, if we may use the word, and yet
other instrumental representations are equally
true although not SO readily seen and felt.
"Rolliing in foaming billow
| Upiiftei roars the boisterous sea-" sc.
would not be great without the orchestral &C.
commandment The instruments here do the
principal part in representing such scenes as
the foa1ning of the Ocean pillows, the emery
ing OF the rocks, and mountains, the open
plains, the rivers flowing and limpid brooks
softly purling through the silent wales. Listen
to this wonderfully descriptive language OF the
instruments, and then you will begin to feel
the power OF music unaided by words; for il
has language of its own.
Now the work is SO far advanced that Gahri-
ell proelaims, "And God said, let the earth
bring forth grass, &c. And it was So Now
comes that marvellous song, ''with yerdure
clad the hills appear" This song is most
| beautiful and the orchestral accompaniment,