Haydn: The Creation

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Haydn: The Creation


Gramophone Magazine

Editor's Choice - June 2005



Catalogue No:




Release date:

28th March 2005




1 hour 43 minutes


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Haydn: The Creation

(sung in German)

Sun Hae Im (soprano), Jan Kobow (tenor), Hanno Müller-Brachmann (bass)

VokalEnsemble Köln, Capella Augustina, Andreas Spering

CD - 2 discs


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Franz Joseph Haydn: Die Schopfung (The Creation), Hob.XXI:2

Part I, No.1: Die Vorstellung des Chaos (The Representation of Chaos)

Part I: Im Anfange schuf Gott Himmel und Erde (In the beginning God created Heaven and Earth) (Raphael, Uriel, Chorus)

Part I, No.2: Nun schwanden vor dem heiligen Strahle (Now vanish before the holy beams) (Uriel, Chorus)

Part I, No.3: Und Gott machte das Firmament (And God made the firmament) (Raphael)

Part I, No.4: Mit Staunen sieht das Wunderwerk (The marv'lous work beholds amaz'd (Gabriel)

Part I, No.5: Und Gott sprach: Es sammle sich das Wasser (And God said: Let the waters under the heaven) (Raphael)

Part I, No.6: Rollend in schaumenden Wellen (Rolling in foaming billows) (Raphael)

Part I, No.7: Und Gott sprach: Es bringe die Erde Gras hervor (And God said: Let all the earth bring forth grass) (Gabriel)

Part I, No.8: Nun beut dir Flur das frische Grun (With verdure clad the fields appear) (Gabriel)

Part I, No.9: Und die himmlischen Heerscharen (And the Heav'nly host proclaimed the third day) (Uriel)

Part I, No.10: Stimmt an die Saiten (Awake the harp) (Chorus)

Part I, No.11: Und Gott sprach: Es seien Lichter an der Feste des Himmels (And God said: Let there be lights in the firmament of heaven)

Part I, No.12: In vollem Glanze steiget jetzt die Sonne (In splendour bright is rising now the sun) (Uriel)

Part I, No.13: Die Himmel erzahlen die Ehre Gottes (The heavens are telling the glory of God) (Gabriel, Uriel, Raphael, Chorus)

Part II, No.14: Und Gott sprach: Es bringe das Wasser in der Fulle hervor (And God said: Let the waters bring forth abundantly) (Gabriel)

Part II, No.15: Auf starkem Fittiche schwinget sich der Adler stolz (On mighty pens uplifted soars the eagle aloft) (Gabriel)

Part II, No.16: Und Gott schuf grosse Walfische (And God created great whales) (Raphael)

Part II, No.17: Und die Engel ruhrten ihre unsterblichen Harfen (And the angels struck their immortal harps) (Raphael)

Part II, Nos.18-19: In holder Anmut stehn (Most beautiful appear) (Trio) / Der Herr ist gross (The Lord is great) (Trio and Chorus)

Part II, No.20: Und Gott sprach: Es bringe die Erde hervor lebende Geschopfe (And God said: Let the earth bring forth the living creature)

Part II, No.21: Gleich offnet sich der Erde Schoss (Straight opening her fertile womb) (Raphael)

Part II, No.22: Nun scheint in vollem Glanze der Himmel (Now heav'n in fullest glory shone) (Raphael)

Part II, No.23: Und Gott schuf den Menschen nach seinem Ebenbilde (And God created man in his own image) (Uriel)

Part II, No.24: Mit Wurd' und Hoheit angetan (In native worth and honour clad) (Uriel)

Part II, No.25: Und Gott sah jedes Ding, was er gemacht hatte (And God saw ev'rything that he had made) (Raphael)

Part II, Nos.26-28: Vollendet ist das grosse Werk (Chorus) / Zu dir, o Herr, blickt alles auf (Trio) / Vollendet ist das grosse Werk

Part III, No. 29: Aus Rosenwolken (In rosy mantle appears) (Uriel)

Part III, No.30: Von deiner Gut', o Herr und Gott (By thee with bliss, O bounteous Lord) (Eve and Adam, Chorus)

Part III, No.31: Nun ist die erste Pflicht erfullt (Our duty we performed now) (Adam and Eve)

Part III, No.32: Holde Gattin! (Graceful consort!) (Adam and Eve)

Part III, No.33: O glucklich Paar (O happy pair) (Uriel)

Part III, No.34: Singt dem Herren alle Stimmen (Sing the Lord, ye voices all!)

Gramophone Classical Music Guide


“Recorded in Cologne in July 2003 by German Radio, this issue offers a first-rate period performance of Haydn's masterpiece, lively and well sung. Since other issues of Die Schöpfung in the super-budget category use modern instruments it fills an important gap, particularly as the digital sound is so clear and transparent.
Andreas Spering successfully brings out the composer's eternal freshness.
The prelude representing Chaos is taken slowly, markedly more so than by Gardiner or Brüggen, but that brings out all the more the abrasiveness of Haydn's daring dissonances.
After the extreme hush of that opening the choral cry of 'Licht' is shattering in its impact; in the following tenor aria Spering shows his true colours in a crisp, faster-than-usual Andante that's exhilaratingly carefree, not least at the felicitous passage, marked sotto voce, when the chorus sings of 'eine neue Welt'. His speeds are generally on the fast side, but when, as in the prelude, the marking is Largo as opposed to Andante or Adagio, he takes a measured view.
The Cologne Vocal Ensemble is a relatively compact body, incisive in its attack, and set in a helpful but not over-large acoustic. The three soloists are all excellent and youthful-sounding.
An outstanding bargain.”

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