Haydn’s Oratorio “The Creation” Revival

Triyono Bramantyo, - (2018) Haydn’s Oratorio “The Creation” Revival. Arts and Social Sciences Journal, 9 (5). pp. 1-6. ISSN 2151-6200

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Abstract

This paper has considered on analytical study surrounding Haydn’s The Creation. It has discussed about the original of the libretto. It was started with Haydn’s first summer in London, at the end of May 1791, when he witnessed the last of a series of festivals inaugurated in 1784 to commemorate the 25th anniversary of Handel’s death, during which ‘Israel in Egypt’ and ‘Messiah’, among other works, were performed in Westminster Abbey by huge forces. The term revival, disparate as it was, always served some kind of distinct purpose, whether socioeconomic, educational, compositional, self-promotional, aesthetic, or political. Haydn’s The Creation Revival means to show that Haydn’s music might serve enough different purposes to evolve into a general critical revival. In this study, it was found that each phase of the six days of creation that made up Part One and Part Two of the oratorio began similarly with a passage of biblical narrative sung by one of the three archangels, Gabriel, Uriel, and Raphael. The passages also contained of some materials of a lyrical or descriptive nature, amplifying the objective narration. These sections contained some of Haydn’s most colorful music. Most importantly, there was something inside of this magnificent oratorio of Haydn, despite of its structurally stand point. Something of countless of “most dramatic places” which could be understood toward a more satisfactory level of study, that was to say, through the aesthetics observation, because The Creation has so many symbolisms inside itself by which its meanings could not be appreciated only through the study of its formally plans.

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