No. 3 URIEL (TENOR): ARIA WITH CHOIR Now vanish before the holy beams the gloomy dismal shades of dark; the first of days appears. Disorder yields to order the fair place. Affrighted fled hell`s spirits black in throngs; down they sink in the deep of abyss to endless night. CHORUS: Despairing cursing rage attends their rapid fall. A new-created world springs up at God`s command.
No. 3 URIEL (TENOR): ARIA WITH CHORUS Now vanish before the holy beams Instrumentation: T, Chorus; 2 Fl, 2 Ob, 2 Bn, 2 Hn, 3 Trb, CBn, Str - A major. Andante beginning at bar 53: allegro moderato This is the first self-contained musical number in this work: a two-part aria (Aa + Ab) followed by a two-part chorus (Ca + Cb); then a shortened and significantly varied repetition of Ab arrives with a likewise modified repetition of Ca + Cb. The dualist theme of Aa is inspired by the text: for the image of holy beams´´ the flutes play the tenor melody two octaves higher to symbolise the bright colours; they are silent when the talk is of darkness´´ and shadows.´´ Despite this, in the melody the text is servant and the music lord, for the theme only appears complete in the instruments. With the Ab section there is a more formidable contrast: affrighted,´´ the orchestra freezes in a forzando C minor triad tonally far removed from the A major of the beginning, which the tenor strides up and down unaccompanied in the antecedent to the musical period with the words Affrighted fled hell`s spirits black in throngs,´´ only afterward to sing a descending C minor scale through the octave to the words down they sink in the deep of abyss To endless night.´´ Van Swieten`s recommendation: It would be good if the aria`s closing ritornello ushers in the chorus and this then immediately enters to express hell`s spirits fled´´ was implemented by Haydn in a radical way in that he has entirely foregone an instrumental postlude (closing ritornello´´) after sections Aa + Ab and in the most literal sense has the bass in the chorus, supported by the bass trombone and contra bassoon, chime in´´ before the final note of the tenor solo. Furthermore, he interlaces the aria and chorus by introducing a musically varied repetition of Ab between the first and second rendering of Ca+Cb, lending the entirety of it enormous musical effect. Source: FEDER, Georg: Joseph Haydn. Die Schöpfung (Kassel 1999), Verlag Bärenreiter.