On April 29, 1798, in Vienna’s Schwarzenberg Palace, a musical event unfolded that would echo through history: the premiere of Joseph Haydn’s oratorio The Creation. It marked the pinnacle of Haydn’s illustrious career, a moment when the aging composer—then 66 years old—presented a work that blended sublime artistry with a celebration of the world’s origins. The Viennese premiere was a triumph, a night filled with awe, emotion, and reverence for a man who had shaped the Classical era.
The Creation
The Creation (German: Die Schöpfung) is a grand oratorio widely regarded as one of his masterpieces. Inspired by Handel’s oratorios, the work sets a libretto by Gottfried van Swieten, based on biblical texts from Genesis, the Psalms, and John Milton’s Paradise Lost.
The oratorio depicts the creation of the world in three parts: the emergence of light, the earth, and its creatures; the creation of humanity; and a celebration of Adam and Eve in paradise. It features a large orchestra, chorus, and soloists (soprano, tenor, and bass), with vivid musical depictions like the famous “Chaos” introduction and the radiant C-major outburst of “Let there be light.” The Creation reflects Haydn’s deep faith, his mastery of musical form, and his ability to blend drama, humor, and sublime beauty.
A Composer at the Edge
By 1798, Joseph Haydn was no longer the vigorous man who had once churned out symphonies and operas for the Esterházy court. His health had begun to falter after years of relentless creativity and two exhausting trips to England in the early 1790s. Those journeys, while triumphant, had taken a toll. He returned to Vienna in 1795 inspired by Handel’s grand oratorios, determined to create something monumental. The Creation was the result, but its composition—spanning 1796 to 1798—pushed him to his physical limits. Haydn himself admitted the strain, writing in a letter years later that he often feared a stroke during its performances due to the overwhelming emotions it stirred in him.
At the time of the premiere, Haydn was frail but resolute. His energy was waning, and he suffered from what we might now recognize as exhaustion or perhaps early signs of the illness that would later confine him to his home. Yet, on that April evening, he insisted on conducting the open rehearsal himself, a testament to his dedication. Witnesses described him as visibly moved, his small, wiry frame trembling with both pride and fatigue as the music swelled.
A Gathering of Giants
The premiere wasn’t open to the public—it was a semi-private event for Vienna’s aristocracy, held at the Schwarzenberg Palace before the official public debut the following year. The guest list was a who’s who of Viennese society and musical luminaries. Prince Schwarzenberg, who financed the work, hosted the evening, ensuring an audience of nobles and patrons who had supported Haydn’s career. Among the musicians present were some of the era’s brightest stars, including Antonio Salieri, a respected composer and rival to Mozart, and Johann Nepomuk Hummel, a virtuoso pianist and former pupil of Mozart.
But the most intriguing figure in the room was Ludwig van Beethoven, Haydn’s former student. Their relationship had been rocky. Beethoven had studied with Haydn in the early 1790s but grew frustrated with what he saw as lax teaching. Haydn, in turn, called him “that great Mogul,” a nod to Beethoven’s stubborn independence. Despite this, Beethoven attended the premiere, drawn by the magnitude of the occasion and perhaps a lingering respect for his old master.
The orchestra and chorus were substantial, reflecting the work’s grandeur. Haydn had assembled a force of over 180 performers, including tripled winds, doubled brass, and a robust string section—unusually large for the time. This was a spectacle designed to impress, and it did.
The Reception
The oratorio’s three parts, depicting the biblical creation story with vivid tone-painting—chirping birds, roaring lions, and a radiant sunrise—captivated listeners. Haydn’s biographer Georg Griesinger reported that the composer was overwhelmed, confessing that his body alternated between “ice-cold” chills and “burning heat” as the music unfolded perfectly. By the end, shouts of “Father Haydn!” filled the hall, a title reflecting both his age and his paternal role in Viennese music. For a city accustomed to Mozart’s brilliance and Beethoven’s emerging genius, this was a moment of admiration.
A Complicated Bond
Beethoven’s presence at the premiere adds a layer of intrigue. Before the event, he was mostly skeptical and critical. He had once declared, “I never learned anything from Haydn,” a jab at his tutelage. Yet, as The Creation unfolded, something shifted. Accounts differ, but a persistent anecdote claims that Beethoven approached Haydn after the performance, knelt, and kissed his hand. This gesture, if true, was extraordinary for the proud, rebellious Beethoven. It suggests a moment of reconciliation, an acknowledgment of Haydn’s mastery even amidst their personal tensions.
Afterward, he reportedly spoke little of it publicly, but his attendance and alleged gesture imply respect. Years later, a mature Beethoven softened, placing Haydn alongside Mozart and Bach as equals. The premiere may have been a turning point.
From Creation to Seasons
Haydn followed The Creation with another oratorio, The Seasons, premiered in 1801. Inspired by James Thomson’s poem, it traces the cycle of spring, summer, autumn, and winter through rustic scenes—a hunt, a thunderstorm, a harvest dance. While The Creation gazes at the divine, The Seasons celebrates the earthly. Its choruses, like the rollicking “Hunting Song” with horn calls or the vivid storm in “Summer,” foreshadow Beethoven’s Pastoral Symphony, showing Haydn’s influence on the next generation.
After 1801, he wrote only minor pieces, his energy sapped. His last public appearance came in 1808, at a performance of The Creation honoring his 76th birthday, where he was carried in on an armchair amid cheers. Haydn died in 1809, leaving a few minor pieces but no more grand statements.
You can watch and listen to The Creation here!
