God Exalted through Musical Composition
One of the many types of musical compositions in the 18th century were oratorios. These were pieces that was large scale, involving the use of soloists, a choir, and an orchestra. The word “oratorio” was derived from the small chapels of the Roman Catholic Church, separate from the church itself. Though these oratorios are not always intended for liturgical use as oratorios may be performed in both concert halls and churches, the text, or libretto, of the oratorio is based off Biblical or religious scripture. To advance from a scene to another scene, the piece is supplied by recitatives sung as openings for instrumental or vocal verses intermissions and/or choruses. An oratorio also uses a dramatic effect in the way that it is performed, and it may involve theatrical action ("Oratorio").
One of the most famous oratorios composed was Joseph Haydn’s The Creation, or Die Schöpfung, which is considered by many to be the composer’s masterpiece. Written between 1798 and 1979, and first played in 1799 at Vienna’s old Burgtheater; the libretto is written by Baron Gottfried van Swieten, Haydn’s patron, and is based off the composition’s eponymous Book of Genesis Creation story. The libretto is not entirely accurate, as the temptation of Eve and the expulsion of Adam and Eve from the Garden are only indirectly hinted.
The first of the oratorio’s three parts begins with the orchestral prelude titled “Representation of Chaos,” which is composed of shifting harmonies and distinct chord progressions that is used to portray the sense of “formlessness” and “devoid-of-life” feel that is present prior to the creation of the universe according to the Book of Genesis. The remaining first part and the rest of the second part are occupied by the six days of creation. Each day is sung through a recitative by the archangels Raphael, Uriel, and Gabriel, who are the respective bass, tenor, and soprano soloists of the piece. Note that the alto soloist is never given an angelic name throughout the entire piece. The third part is composed of the story of Adam and Eve, the first humans. Adam and Eve are represented in the piece as the bass and soprano soloists. Focusing on the happy union between Adam and Eve, the third part of the oratorio concludes in a duet by both of the soloists that represent Adam and Eve (Schwarm).
Haydn’s work is comparable to one of Philippine’s National Artists, Lucrecia Kasilag. The Filipina composer has her own musical composition, entitled "In The Beginning." This is similar to Joseph Haydn’s The Creation in that it also makes use of the Creation story in the Book of Genesis. Earlier conceived as an oratorio, this piece, however is a cantata -- which is defined as a medium-length piece of music intended to be sung and accompanied with instruments. Like an oratorio, it typically contains soloists, a choir, and an orchestra ("Cantata"). Even though The Creation is hundreds of years older than "In the Beginning," both musical compositions share lyrically and thematically similar movements, and this will be discussed below.
I will describe the similarities between Lucrecia Kasilag’s "In the Beginning" movements 17, 18, and 19 to Joseph Haydn’s The Creation. To start, "In the Beginning’s" Movement No. 17, titled “O Man of Little Faith,” which is a baritone solo, is similar to The Creation’s Movement No. 24, titled - “And God Created Man,” which is a tenor recitative. Both sing about God creating man in His own image, through the lines of the verse, “You have been called by His name, He has created you in His image and for His Glory” of "In the Beginning" and “And God created Man in His own Image; In the image of God created He him. Male and female created He, them” of The Creation (Handel and Haydn Society). This is both in reference to Genesis 1:27 (NIV), where it says “Then the Lord God formed a man from the dust of the ground and breathed into his nostrils the breath of life, and the man became a living being.” Moreover, both works talk about God forming man. This can be seen through the lines, “He has formed you, yea, he made you from the young earth” of "In the Beginning," and “He breathed into his nostrils the breath of life, and Man became a living soul” of The Creation. While the text of the latter does not directly talk about creating man from dust, it is in direct reference to God creating Man himself, which is the entire notion of both lines. This is in direct reference to Genesis 2:7, where it is written: “So God created man in His own image; in the image of God He created him; male and female He created them" (NIV).
Meanwhile, for "In the Beginning's" Movement No. 18, titled “Rejoice,” a chorus, a similar movement can be compared with The Creation’s Movement No. 14, titled “the Heavens are telling the Glory of God,” which is a Chorus with trio movement. The latter is arguably the most famous movement in the entire piece. Both movements sing about rejoicing and/or praising, for God has shown His Glory and His works to us all through His creations. This is evident in the verse of "In the Beginning’s" Movement No. 18, where the following lines are sung: “Rejoice, for the Lord has shown His marvelous work about ye lower parts of the earth. Break forth into singing.” These lines are directly similar to The Creation’s Movement No. 14, where a part of the verse is written with the text as “The heavens are telling the glory of God. The wonder of His works displays the firmament” (Handel and Haydn Society). Another theme that both movements share similarities with is theme about the lands rejoicing because of the Word of God -- It is shared and spread across the land; it “resonates,” according to both verses. This is seen through the lines, “Ye mountains, ye forest, and every trees therein. Sing O Ye heavens! Sing O ye earth!” of "In The Beginning," which is comparable to the lines, “Today that is coming speaks it the day; The night that is gone, to following night. In all the lands resounds the word, never unperceived, ever understood” of The Creation (Handel and Haydn Society). Both movements refer to Psalm 19: 1-2, with The Creation’s Movement No. 14 directly quoting it: “The heavens declare the glory of God; the skies proclaim the work of his hands. Day after day they pour forth speech; night after night they reveal knowledge” (NIV).
Finally, "In the Beginning’s" Movement No. 19, titled “Be Exalted O God,” which is a chorus, can be compared to a similar movement that can be read and heard with The Creation’s Movement No. 26, titled “and God saw everything,” which is a bass recitative; and also, interestingly enough, with the final movement of the piece, Movement No. 35 which is titled as “Sing the Lord ye voices all,” which is a Chorus and Quartet. (Take note that the quartet singers in Movement No. 35 are not specified, meaning that it is only noted as Soprano, Alto, Tenor, and Bass. Tenor may be Uriel, while Soprano and Bass is not specified whether it is Eve and Adam, or Gabriel and Raphael). Both movements share a similarity in that both movements talk about God being happy, satisfied and/or exalted about what He made, as He has seen the creations that He had done. This is evident in the lines of In the Beginning’s Movement No. 19 verse, where the following text is written: “Be exalted O God. Above the heavens, above the earth, the earth is the Lord’s and the fullness thereof; the world and all who dwell therein.” This verse is similar to the verse of The Creation’s Movement No. 26. The text is written as “And God saw ev’ry thing that He had made; and behold, it was very good; and the heavenly choir in song divine thus closed the sixth day.” This part of the movement is in reference to Genesis 1:31, where it is written: “God saw all that he had made, and it was very good. And there was evening, and there was morning—the sixth day” (Handel and Haydn Society). Another theme can be compared with both movements. At the end of Movement No. 19 of "In the Beginning," a certain verse contains the following text: “Blessed be the Lord God; Who does only marvelous things. And blessed be His glorious Name, Forever and Ever.” This can be compared to the last movement of The Creation, Movement No. 35, where the following verse is written as: “Sing the Lord, ye voices all. Magnify His name through all creation. Celebrate His power and glory. Let His name resound on high. The Lord is great. His praise shall last for aye. Amen” (Handel and Haydn Society). It is evident that both movements talk about us praising the Lord, or essentially praise for the Lord, as He did all of these marvelous things -- the creation of the universe and of the Earth, which is quintessentially the main theme of both musical compositions. Note that the last comparison does not reference any Biblical verse, as they are both choruses.
With these comparisons, the clear and obvious similarities of the movements of both pieces can be seen. It is crystal clear that Lucrecia Kasilag’s "In the Beginning"-- while being cantata that is many more movements shorter than an oratorio -- shares many similarities, not only thematically, but lyrically with Joseph Haydn’s The Creation, his masterpiece and a composition written hundreds of years earlier. Although they do not share these similarities, especially lyrically, word-for-word, it can be deduced that they all have the same theme owing to the comparisons made above, and given the references of both movements to the given Bible verses.
Bibliography
“Cantata.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 23 May 2017, www.britannica.com/art/cantata-music.
Handel and Haydn Society. HAYDN: The Creation, 22 Sept. 2015. New International Version. Biblica, 2011. BibleGateway.com,
www.biblegateway.com/versions/New-International-Version-NIV-Bible/.
“Oratorio.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 28 Aug. 2009, www.britannica.com/art/oratorio.
Rogers, John. "'Begin at the Beginning': Milton, Handel, Haydn, and the Origins of The Creation.”
http://www.rit.edu/affiliate/haydn/sites/rit.edu.affiliate.haydn/files/article_pdfs/rogersmilt on.pdf.
Schwarm, Betsy. “The Creation.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 10 Sept. 2014, www.britannica.com/topic/The-Creation-by-Haydn.
“The Story of Haydn's Creation.” Classical-Music.com, www.classical-music.com/article/story- haydns-creation. This article was first published in the print edition of BBC Music Magazine.