 | Haydn, Joseph - "The Heavens Are Telling" for Woodwind Septet H.21/2 Part 1 No. 13 Tout instrument |
VoirPDF : "The Heavens Are Telling" (H.21/2 Part 1 No. 13) for Woodwind Septet (4 pages - 139.2 Ko)1 651x⬇ MP3 (139.2 Ko)370x⬇ 1950x
Vidéo :
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| Compositeur : | Haydn, Joseph (1732 - 1809) | ||||
| Instrumentation : | Tout instrument | ||||
| Genre : | Classique | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Date : | 1798 | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 04 Déc 2012 The Creation (German: Die Schöpfung) is an oratorio written between 1796 and 1798 by Joseph Haydn (H. 21/2), and considered by many to be his masterpiece. The oratorio depicts and celebrates the creation of the world as described in the biblical Book of Genesis and in Paradise Lost. It is scored for soprano, tenor and bass soloists, chorus and a symphonic orchestra, and is structured in three parts. No. 13. Die Himmel erzählen die Ehre Gottes (The heavens are telling the glory of God) The text is based on Psalm 19:1–3, which had been set by Bach as the opening chorus of his cantata Die Himmel erzählen die Ehre Gottes, BWV 76. Haydn's century, following on the discoveries of Newton, had the view that an orderly universe—particularly the mathematically-governed motion of the heavenly bodies—attests to divine wisdom. Haydn, a naturally curious man, may have had an amateur interest in astronomy, as while in England he took the trouble to visit William Herschel, ex-composer and discoverer of Uranus, in his observatory in Slough. "Die Himmel erzählen" is not in the home key of Part I, C minor, but is instead in C major, showing the triumph of light over dark. It begins with alternation between celebratory choral passages and more meditative sequences from the three vocal soloists, followed by a choral fugue on the words "Und seiner Hände Werk zeigt an das Firmament", then a final homophonic section. ("The wonder of his works displays the firmament" is the English text here, with word-order calqued from the German, but somewhat awkward compared to the Authorized Version's "And the firmament sheweth the handywork of God".) The unusual intensity of the ending may be the result of Haydn's piling of coda upon coda, each occurring at a point where the music seems about to end. Although this piece was originally written for Opera, I arranged it for Woodwind Septet (Flute, Oboe, English Horn, Bb Clarinet, French Horn, Bass Clarinet & Bassoon). Partition centrale : | La Création "Die Schöpfung" (15 partitions) | | |||
