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Nr.4 And God made the firmament  |  Nr.5 The marv`lous work beholds amaz`d
sujet Tag 2
2nd Image / 2nd Day No. 4 RAPHAEL (BASS): RECITATIVE And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament. And it was so. WITH ACCOMPANIMENT: Outrageous storms now dreadful arose; as chaff by the winds are impelled the clouds. By heaven`s fire the sky is enflamed and awful rolled the thunders on high. Now from the floods in steam ascend reviving showers of rain, the dreary wasteful hail, the light and flaky snow.
2nd Image / 2nd Day No. 4 RAPHAEL (BASS): RECITATIVE And God made the firmament Instrumentation: B; 2 Fl, 2 Ob, 2 Cl, 2 Bn, (CBn, Trb 3), Timp, Str, allegro assai
The second scene or the second image represents the second day of creation: God creates solid, transparent heavenly dome, the firmament. It divides the waters into those above and those below it. According to Gen. 1:8, a verse which was not used, God calls the firmament “heaven.´´ As the events on the second day are not enough for a musical depiction, the librettist draws on images and other places in the Bible and describes individual natural phenomena which are related to the upper waters – the heavenly blue ocean as the reservoir of all precipitation: storms, clouds, lightning, thunder, rain, hail and snow, whereby he also uses images from Milton`s description of chaos and the worsening of the weather after the fall of man. At the end of the scene the angels, “the glorious hierarchy of Heav`n,´´ marvel at what was created on the second day and praise God (No. 5). With the expression “Himmelsbürger´´ (literally “citizens of heaven´´) observers hoped to pick up on a Jacobin appeal to the revolutionary “citoyen,´´ but it is a translation of the old Christian expression “coeli cives.´´ The contrast of powerful and delicate notes is finely balanced. Despite the brevity, every image is differentiated; for example, three f` notes are heard in the foreground on the violins and the horns for the thunder, in the background a roll of the timpani crescendoing from p to ff until in the fourth bar all instruments unite in ff. With the triadic rhythm of the rain the staccatoed triad arpeggios originally continued in the second violins, also in bars 28 and 30 where the first violins play a descending scale; in the definitive version they depart from their arpeggios, end the scale in thirds, thereby underscoring the differentiation. The modulations lead to the dominant G major with a fermata directly followed by the tonic C major of No. 5. With this Haydn musically combines Nos. 4 and 5 into one image. Source: FEDER, Georg: Joseph Haydn. Die Schöpfung (Kassel 1999), Verlag Bärenreiter.
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