The daily dispatch. [volume] (Richmond [Va.]) 1850-1884, 1869-01-13

THE CREATIoN-HAYDN's MASTERPIECE.
The great musical event Of the season, the
production of " Haydn's Creation" by the
Musical Benevolent Association, iustihes
more than predatory notice from the press.
The performance of this masterpiece with
n full orchestra and fuller chorus, aided
by the best talent the cultivated taste Of
our community affords for its varied and
beautiful solos, is an event welcomed by
every lover of music, by all who appreciate
the glorious revelations Of genius.
Haydn's Creation is aud ever will be
the model oratorio. 1t has been said,
" Great as it is, it is, nevertheless, only
gre at opera, in which the Lord God with
his angels are represented" Certainly
but this is just the nature and character OF
the oratorio. From its first introduction by
Neri, through its grand revival by Handel
and Bach, down to the most deeply spiritual
and religious mind Of all composers, Felix
Mendelsshon, its problem is "to give such
dramatic force and expression to the music
in which the sacred texts are clothed as to
be able to dispense with all scenic and stage
effects" {; and this has been done with such
success that the oratorio is established as
distinct department of composition. II
would be difficult to decide between the
rival claims of the great composers.
No one, perhaps, has ascended to the
greatness Of Bach no one surpassed
Handel in the brilliancy and exhaust
less versatility of his genius; but the
deeper-toned piety Of Felix Mendelssohn,
the loftier strains of the soul in his rapt
contemplation of the Deity, as if he, too,
had had an apocalyptic vision, and listened
to the strains which flow through the courts
Of Heaven from the golden harps of its
blessed inhabitants, make him the first
composer of all truly sacred, Christian mu-
sic. But with all this, Haydn retains his
own unparalleled position, and his Crea-
ton" will always be.the most popular OF
oratorios, and deservedly 80, naturally. No
composer has ever struck the key-notes OF
humanity so fully in the joyous exuberance
of praise, the energetic vitality, the ever
fresh, the ever attractive, beauty OF his
strains, whether in the harmony of his Ju-
bilant choruses or the sweet and varied me-
lodies of his airs, which, like the music OF
Mozart, is so natural, go spontaneous, that
human art is forgotten as we. hear them,
and they seem to be the necessary, the IN
voluntary, and unalterable, rendition IN
music of the thoughts and feelings given In
their texts.
1t is marvellous to think of Haydn, who,
after fifty years of unceasing labor, and an
almost unequalled productiyencss, IN his
sixty-6fth year gave 10 the world his
masterpiece, the crowning work OF his
genius" The Creation "-the matured
product of his lifelong study, yet breath
rng q freshness, youthful Vlgor, and
finished beauty, which challenges its equal.
1t was first produced March 10, 1893. Nine
years afterwards, when infrmities had
begun to bear him down, and his strength,
both mental and physical, faded, SO tnat ne
had Withdrawn from the world and lived IN
the seclusion Of his own home-that house
and garden in Vienna which still is visited
by the traveller as one of the shrlnes OF
departed genius,) in March, 1908, he ap-
peared once more in public. Ii was ct a
performance of "The Creation" in the
great hall of the University-the court, the
learned, and the great artists, alike wed ID
showing their respect, and conducted him
to the seat of honor. At the famous passage,
"And there was light" in the first chorus,
the audience, as usual, burst into tumultu-
GUS applause. The old man burst into tears
and, rising, stretched his hands towards
Heaven and exclaimed, "'Tis not from
me, It comes from there" We never hear
that part without remembering this asorip,
| ton of Haydn.
1t is the most celebrated passage of the
| whole oratorio but not its only, nor per-
haps it's highest, exceliency. 1t is not a
climax at the beginning Of the piece. That,