Haydn: Die Schöpfung (The Creation)

Franz Joseph Haydn (Composer), Nickolaus Harnoncourt (Conductor), Concentus Musicus Wien (Orchestra), Dorothea Röschmann (Performer), Michael Schade (Performer)

Product Details

• Performer: Dorothea Röschmann, Michael Schade
• Orchestra: Concentus Musicus Wien
• Conductor: Nickolaus Harnoncourt
• Composer: Franz Joseph Haydn
• Audio CD (March 9, 2004)
• SPARS Code: DDD
• Number of Discs: 2
• Label: RCA
• ASIN: B00011MJVG
• In-Print Editions: MP3 Download
• Average Customer Review: 4.0 out of 5 stars  See all reviews (3 customer reviews)
• Amazon.com Sales Rank: #160,155 in Music (See Bestsellers in Music)

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Track Listings

Disc: 1

1. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. Die Vorstellung des Chaos (Largo)

2. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. Rezitativ. Im Anfange schuf Gott Himmel und Erde

3. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. Arie mit Chor (Andante/Allegro moderato). Nun schwanden vor dem heiligen Str

4. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. Rezitativ (Allegro assai). Und Gott machte das Firmament

5. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. Chor mit Soprano solo (Allegro). Mit Staunen sieht das Wunderwerk

6. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. Rezitativ. Und Gott sprach: Es sammle sich das Wasser

7. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. Arie (Allegro assai). Rollend in schäumenden Wellen

8. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. Rezitativ. Und Gott sprach: Es bringe die Erde Gras hervor

9. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. Arie (Andante). Nun beut die Flur das frische Grün

10. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 1. Rezitativ. Und die himmlischen Heerscharen verkündigten den dritten Tag

See all 14 tracks on this disc

Disc: 2

1. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. Rezitativ (Allegro). Und Gott sprach: Es bringe das Wasser in der Fülle herv

2. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. Arie (Moderato). Auf starkem Fittige schwinget sich

3. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. Rezitativ (poco Adagio). Und Gott schuf große Wallfische

4. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. Rezitativ. Und die Engel rührten ihr' unsterblichen Harpfen

5. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. Terzett. In holder Anmut stehn, mit jungem Grün geschmückt

6. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. Rezitativ. Und Gott sprach: Es bringe die Erde hervor

7. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. Rezitativ (Presto/Andante/Adagio). Gleich öffnet sich er Erde Schoß

8. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. Arie (Maestoso). Nun scheint in vollem Glanze der Himmel

9. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. Rezitativ. Und Gott schuf den Menschen nach seinem Ebenbilde

10. Die Schöpfung (The Creation), oratorio, H. 21/2: Part 2. Arie (Andante). Mit Würd' und Hoheit angethan

See all 17 tracks on this disc

Customer Reviews

Most Helpful Customer Reviews

12 of 12 people found the following review helpful:

4.0 out of 5 stars Harnoncourt's Back in a Big Way, March 25, 2004

By	Charles Richards (Los Angeles, CA) - See all my reviews (REAL NAME)

This has been the first release with Harnoncourt and the Concentus Musicus Wien in quite some time, and the first for Harnoncourt's new label (BMG). Because of the long hiatus, just about anything would have done, but, luckily, we don't have to settle for just anything: this new release is a real winner in every way.
By far the more popular of Haydn's two major oratorios, The Creation has been recorded by several period instrument orchestras in the past decade or so, but it's refreshing and almost revelatory to hear it done by one of the founding fathers of the early music movement. This is Harnoncourt's second recording of this work (his first was for Teldec in the 1980's - now long out of print)but his first on period instruments, and is definitely the better of the two.
As one would expect, Harnoncourt's choice of tempi are idiosynchratic and unique. Considering this is a period performance, Harnoncourt is almost uniformly slow, but this is not necessarily a bad thing. Whatever Harnoncourt does, even when it's unexpected and bizarre, he usually does well and with a great deal of thought and panache, and this recording is no exception. As usual with a Harnoncourt recording, this new reading of Haydn's masterpiece encourages the listener to hear the work in a new way, and even those who might have thought they knew The Creation backwards and forwards will be happily surprised to find that new discoveries await them here.
As far as the soloists go, Harnoncourt could not have been better blessed. Dorothea Roschmann has been one of my favorite new voices for several years now, and she shines, definitely topping Gruberova, who sang for Harnoncourt in his earlier version. Among the delights is the gorgeous first duet for Adam and Eva, in which Roschmann poignantly brings forth Eva's wonder and joy in the newly created world.
Michael Schade, a top rate baritone who just signed with BMG recently, is another inspired choice, his rich, resonant voice blending with Roschmann's and Gerhaher (the tenor)melodiously.
While, perhaps, not as robust as the Bruno Weil recording on Sony Vivarte, or as elegant as Gardiner's on Archiv, Harnoncourt's new version is well worth hearing.

0 of 2 people found the following review helpful:

3.0 out of 5 stars Wonderful chorus and soloists, but Harnoncourt is erratic, December 25, 2008

By	Santa Fe listener - See all my reviews (TOP 100 REVIEWER)

Just when I thought the "bad" Harnoncourt was a thing of the past, this most unruly of conductors released a 'Marriage of Figaro' on DG that was jaw-dropping in its perverseness. This Haydn "Creation" doesn't rank that high on the eccentricity scale, but it's peculiar enough. Harnoncourt's reading if a period performance, with the usual inert, vibratoless strings, but the Concentus Musicus Wien, by now an elder statesman in the HIP genre, can't be faulted for skill. The chorus sings beautifully, and although it is on the small side, one would have to search hard for more stylish, enthusiastic singing. The recorded sound is also beautiful. To round out the pluses, the vocal soloists are also extremely good -- and hardly daunted by Harnoncourt's stops and starts, eccentric rubato, and peculiar tempo choices, the worst being on the sluggish side, as in the soprano's first aria with chorus. It's amazing that Roschmann could even breathe.

Sometimes a reading can catch you off guard in a good way, but Harnoncourt's suurprises made me wince. I expected him to explode on the "And there was light" chord, but the atomic blast he sets off is vulgar and harsh, not joyous. A good deal of Haydn's geniality has been erased, yet this is a "Creation" you can't typify with one or two blanket adjectives, since there are lovely parts as well as off-putting ones.

In the end, there were too many perverse touhes for me, yet the "bad" Harnoncourt gets just as many critical raves as his better self -- you'll have to be the judge.

1 of 4 people found the following review helpful:

5.0 out of 5 stars The Revelation, April 9, 2005

By	Kelly Martino (Austin, TX) - See all my reviews (REAL NAME)

It might seem strange to review a recording I have not heard. Instead I heard it live in the Musikverein, the room with perfect acoustics. I also heard, two years earlier, a Philharmoniker performance under Muti in the same room. Both were glorious, but then the music is that! They, however, are oil and water. Some call Harnoncourt's tempi slow. I call them a revelation, and the intensity never wains.

Out of the soft, subtle chaos of the opening, the "creation chord" was thunder of the gods. Wagner would have been proud. The extraodinary virtuosity of the upper string writing was total clarity and as close to perfection as human beings can achieve. Harnoncourt draws music out of his ensemble. While all of the solosits were stunning, Dorothea Röschmann must have channeled the music from he throne of God. And the Schönberg Chor was indeed the heavenly chorus. One of the few most memorable musical encounters of my life. If the recording captures any of that, it is worth the price. And easily would be the finest recording of the work on disc. How do you beat perfection.