Haydn – ​ The Creat i o n 191

markings, many of which show ornamentation used in performances conducted

by Haydn. Brown carefully annotates all the markings, giving modern-​day per-
formers options. Whatever editions are used today, however, the conductor must
be vigilant in making sure that the full score, orchestral parts, and choral scores
all match.

Performing Forces and Stage Set-​up

For the early performances of The Creation, especially those conducted by Haydn,
there were three soloists (STB), a mixed choir (SATB, with boys singing the
soprano and alto parts), and an orchestra representing the scoring for three flutes
(the third flute scored only in number 26, the recitative that begins part three of
the oratorio), two oboes, two clarinets, two bassoons, one contrabassoon, two
horns, two trumpets, two trombones, timpani, strings, and keyboard (the key-
board instrument being a pianoforte with no specific notated part, but played, or
realized, from the string bass part).
Regarding the soloists, Haydn had the same soprano sing the roles of Gabriel
and Eve, and the same baritone sing Raphael and Adam. All three soloists, plus an
alto from the chorus, sang the solo parts in the final movement of the oratorio.
The soloists likely sang with the chorus as well since their scores contained both
solo and choral parts; it was also a tradition until the mid-​nineteenth century
for soloists to sing with the chorus. Participation of soloists with chorus today
is unheard of, although it clearly makes sense that the soloists in The Creation
should sing all of the oratorio’s final movement, not just the sections marked solo.
The dramatic impact of the closing chorus calls for participation of all perform-
ers. For similar dramatic impact, the soloists could join the chorus in number 10
(“Awake the harp”), at the end of number 13 (“The heavens are telling”), and also
at the end of number 25 (“Achieved is the glorious work”). The participation of the
soloists in these choruses would balance the impact of their notated participation
at the end of number 18 (“The Lord is great”).
During the latter part of the eighteenth century and the beginning of the
1800s, the chorus for performances of oratorios was made up of boys and men—​
boys singing soprano, a mixture of boys and men singing alto, and men singing
tenor and bass. Except for special circumstances, female singers were not mem-
bers of choruses until the establishment of the Gesellschaft der Musikfreunde in
1812. There was, of course, a female sound with the boys when the soloists sang
along with them. However, it must be kept in mind that the adult female vocal
production at the time was not as it is today, with lowered larynx, notable vibrato,
and rich overtones. The female sound was more akin to the head tones of boys.
The orchestral instruments, almost all of which were different in some form
of construction from the instruments of today, were also purer in timbre and
softer in volume. In addition, there was a preference for a wind band timbre,
called Harmonie at the time. With small numbers of strings and choristers, the