MUSIC WEEK ORATORIO

Taranaki Daily News, 1 August 1931, Page 3 (Supplement)

MUSIC WEEK ORATORIO

• ‘ INSPIRATION OF HAYDN ■ . ■ t ' ~ / PRESENTATION OF THE CREATION COMPOSER’S LAST GREAT WORKS. ■ . . Two oratorios, Handel’s "Messiah” and . Haydn’s “Creation,” rank among the greatest works of music produced in the past three hundred years. Last year the first’ New Plymouth Music Week opened with the presentation of the' “Messiah.” It is fitting that the second Music Week,_ which will com- ■ mence to-morrow, with the object of fostering a love of good music, should . be opened by a’ festival performance of 7 the “Creation.” The choir of 80 sing-ers,-the three specially selected-soloists and the orchestra of twenty can be re- ■ , lied on to give a fine rendering of the great work. • The “Creation” stands supreme among the- works of Haydn. It. is said that the homely little composer appeared in public for the last time at a performance of the ‘"Creation” at the University of ' Vienna on .March 27, 1808.. He was carried jin his armchair to a place ainong the first ladies of the land and .received -with -tin. warmest demonstrations of welcome. Salieri conducted. At the words • “and there was light,” . Haydn was overcome, and pointing up.ivards exclaimed:. “It came from thence.” As the performance went on his agitation became extreme, and it Was thought better to take him home ■ after the. first? part.- As he- was carried out- people of the highest rank thronged to take Ihave of : him, and Beethoven fervently kissed his hand and forehead. At the door Papa Haydn paused, and turning round lifted up his hands as if in the act of blessing. “The European public has hitherto accepted Haydn as a representative of the German genius in music,” says a biographer, “but he is far removed from the German type, both in psychology and. in blood. The German. profundity of . thought and feeling are entirely lacking in Haydn, who is thp most daring of pioneers and the most hazardous of experimentalists. His unique humour differs as widely from the wit of Mozart as it does from the grim jesting of Beethoven. It is as audacious as Rabelais, though without his .sharp * satire; and it bubbles up everywhere.” WORKS OF HIS OLD AGE. The culminating point in Haydn’s reputation was attained by the two works of his old age, the “Creation” and the “Seasons.” Shortly before his , ’departure from London in August, 1795, Salomon offered Haydn a poem for music}' which had been compiled by Lidley from Milton’s “Paradise Lost,” before the death of Handel, but not used. Haydn took it to Vienna, and when Freiherr van Swieten suggested ' his composing an oratorio he handed him the poem. Van Swieten translated it with considerable alterations, and a iiim of 500 ducats was guaranteed by twelve of the principal nobility. Haydn set to work with the greatest ardour. "Never w'as I so pious,” he says, “as • when composing the ‘Creation.’ I knelt down every day and prayed. God to strengthen me for my work.” The “Creation” was given first in private at the Schwarzenberg palace, on April 29 and 30, 1798; and in public ,on Haydn’s name-day, March 19, 1799, at the .National Theatre. The nobleman paid the expenses and handed over to Haydn the entire proceeds, amounting ■ to . 4000 florins (£320). / The impression the oratorio produced was extraordinary; the whole audience was deeply moved, and Haydn confessed thatr-'he could not describe his sensations; “One moment,” he said, “I was as cold as ice; the next I seemed on fire. More than once I was afraid I ’ should, have a stroke.” The next performance was given by the Tonkunstler Societat, Haydn conducting. Once he conducted it outside Vienna —-March 9, J 800, at a grand performance in the palace at Oten before the Archduke palatine Joseph of Hungary. WIDESPREAD POPULARITY. No sooner was the score engraved (1800) than the “Creation” was performed everywhere. Choral societies were founded for the express purpose, and its popularity was for long equalled only by that of the “Messiah.” In London, Ashley and Salomon gave rival performances, the former on March 28, 1800, at Covent Garden, the latter on April 21, in the concert room of the King’s Theatre, with Mara and Dussek in the principal parts, and a concerto on the organ by Samuel. Wesley. In the English provinces it was first performed by the three choirs —at Worcester in 1800, Hereford in 1801 and Gloucester in 1802.

As soon as the “Creation” was . finished, Van Swieten persuaded Haydn to begin another oratorio, which he had adapted from Thomson’s “Seasons,” and the work was speedily completed. Opinions are now divided as to the respective value of the two, but at the time the success of the “Seasons” fully . equalled that of the “Creation” and even now the youthful freshness which characterises it is very striking. The strain, however, was too great; ae Haydn often said afterwards, “The •Seasons’ gave me the finishing stroke.” In 1804 Haydn was asked to conduct the “Creation” at Eisenstadt, but declined on the score of weakness; indeed he was failing rapidly. His works com; posed after the “Seasons” are very few ,the chief being some vocal quart- .. eta on which he set a high value. Haydn’s last .years were passed in a continual struggle with the infirmities of age, relieved by occasional gleams of sunshine. To one who loved his country so deeply; it was a sore trial to see Vienna twice occupied by the enemy—in 1805 and 1809 The second time the city was bombarded, and the first shot fell not far from his residence. In his infirm condition this alarmed him greatly, but he called out to ■ his servants: “Children, don’t be frightened; no harm can happen to you .. while Haydn ta by.” The last visit he received on his death-bed (the city be<n<» then in tho occupation of the french) was from a French officer, who •ang-“In native worth,” with a depth of expression doubtless inspired by the occasion. Haydn was much moved, and embraced him warmly at parting. On May 20, 1809, he called, his servants round him for the last time, and having been carried to the piano, solemnly played hifi “Emperor’s Hymn” three times over. Five days afterwards, at one o’clock in the morning, he died.