New Britain herald., 1921-05-14
THE CREATION IS
 GREAT 0RAT0RIO
Haydn'S Masterpiece to Be Sung
 Wednesday Evening

Choral society at their annual con- cert on May 18th at Fox's theater was begun by the composer in 1796 and finished in 179S
 Haydn was then in his sixty-fifth year. but wrote the Oratorio. which was the great work of his life, with all the spirit that usually dwells in the heart of youth.
 It was first performed in private at vienna, April 29th, 179S. before distinguished audience of musicians and Hadyn himself conducted.
 A most profound silence and scrup- ulous attention prevailed as the beauties Of the work were unfolded before this notable gathering and Haydn himself was so affected that he was unable to acknowledge the tribute of his auditors.
 The first public performance was given year later and the success | of the oratorio was immediate rival ling that of The Messiah" It was performed all over Europe, and in London rival performances were | given at Covent Garden and the 1 Kings theater during the year 1900.
 The oratorio opens with an over ture representing chaos. Its effect is at first indefinite and its notes des- titutc of perceptible melody. It is 1 nature in her chaotic state. Gradual 1 Iy the instruments struggle out of the confusion and order begins to make 1 itself apparent. indicating harmony.
 At the close of the overture, soft chorus illustrates the Spirit of | God moving on the face of the wa ters and then at the command of the Creator Let There Be Light the whole orchestra and chorus burst forth in the sonorous response And There Was Light" X brief passage by the tenor de- scribes the division of light from darkness and the end of chaos intro ducing a fugued chorus depicting the rage of Satan, but before it closes, the music discloses the beauties of tho newly created earth.
 The bass then describes the making of the Armament. the storms, show CTS, thunder and lightning to an ac- compartment, closely initiative in character and leads up to the work of the second day, which forms the theme of 'The Marvellous Work for soprano obligato with chorus.
 After the aria for bass Rolling in Roaming Bi1lows," in which the music is employed to represent the effect of water, comes the we'll known aria for soprano With Yer dure Clad" of which Haydn himself was very fond and which he recast three times before he was satisfied with it. This is followed by chorus in form of fugue Awake the Harp" in praise of the Creator.
 Then follows a description of the creation of the planets, the moon and the sun. and as the fourth day is announced, the first part of the ora i torio ends with the magnificent cho- wr-A which the entire orchestra chorus and solofsts are employed in full broad harmony.
 l The second part is given over to the solo voices. First comes a de- scription of the winged creatures, the singing of the birds being initiated as closely as the resources of music will allow. A beautiful trio reveals the sloping hills covered with their verdr~". the leaping fountain and a bass solo takes up the swimming fish and the upheaval of the whole. Then comes the masterpiece of initiative music contained in a single recitative for the bass. This number describes the creation of various animals; and perhaps nothing that art contains can vic with it in varied and vivid de- scription. It begins with the lion, whose deep roar is heard among the wind-instruments. The alertness of the Flexible tiger is shown in rapid flights by the strings. A presto in- geniously represents the quick move ments of the stag. The horse is rep resented by music which prances and neighs. A quiet pastoral move ment. in strong contrast with the pre-
 ceding abrupt transitions, pictures the cattle seeking their food lon fields and meadows green" A futter of sounds describes the swarms of in
 sects in the air. and from this we
 pass to a long. undulatinG thread of
 harmony, representing the sinuous
 trace" of the worm. The second part
 ends with a chorus in fugue o1
 great power, superbly accompanied
 Achieved is the glorious work
 The third part opens with sym
 phonic introduction descriptive of
 the first morning of Creation. In 2
 brief recitative given to the tenor
 the joy of Adam and Eve is pictured followed by beautiful duet, Grace full Consort" for soprano and bass.
 The chorus then enters on the clos
 ing number Sing the Lord Ye Voice:
 All" beginning slowly and majes-
 tically, then developing into a mas
 terly fugue "Jehovah's Praise For
 ever Shall Endure" in which the
 solo voices are set off against the
 chorus and orchestra with powerful
 effect.
 This is rompositfoo bef whose