Rehearsing and conducting Haydn’s Oratorio, The Creation was an immensely enjoyable experience for me. Although I have directed other works of similar length (more than two hours), I was amazed at how quickly this work moves. Part of the reason is the story, as each day of Creation affords a unique opportunity for the composer to depict a variety of highly descriptive elements and events. I also think that because Mandarin is a heavily “picture laden” language, the text held the interest of the audience particularly well; we sang it in German with Chinese super-titles projected above the stage.

Haydn’s music is loaded with images that translate well into any language: descending arpeggios depict lightning, rolls of the timpani representing thunder, and very deep resonant notes of the basses (cellos, basses, bassoon and contra-bassoon) describing the great vastness and depth of the sea. This type of descriptive musical writing gives Haydn’s music its immediate appeal and, combined with inventive and inspired melodies, its ability to linger with the listener long after the final notes have faded away.