Sir Colin Davis, London Symphony Orchestra and Chorus - Haydn: Die Schopfung / The Creation (2009) [SACD]

This recording of one of Haydn’s greatest masterpieces is not to be missed. Those who are familiar with Colin Davis’s recordings of the Haydn London Symphonies, made over 30 years ago with the Concertgebouw Orchestra, will know that he has a special affection for this composer’s music and unfailingly communicates his love of it to both performers and listeners alike. Surprisingly this would appear to be the first time that he has recorded Haydn’s Creation, but it has been worth the wait.
Haydn was inspired to write The Creation (or as here Die Schöpfung) during visits to London in the 1790s, when he encountered the oratorios of Handel. The origins of the anonymous English text, compiled from biblical sources and Milton’s “Paradise Lost”, is obscure, but Haydn’s friend and Vienna court librarian Baron Gottfried van Swieten adapted it into German for the composer. It was first performed in Vienna in 1798 and has been one of the composer’s most popular works ever since.
Davis has always shown an ambivalent attitude toward so-called ‘period performances’, preferring to use, as here, a modest modern-instrument orchestra and a chorus of some 80 voices. He does, however, divide the violins antiphonally, use timpani played with hard sticks and a clear, but discreet, harpsichord. To quote Sir Colin’s own words: “I see no sign of audiences tiring of older music being played using the modern instruments of the symphony orchestra – it is still possible to show proper respect for ‘period’ style without using ancient instruments”. This a view with which many would agree and it is triumphantly justified on this recording.
Haydn’s harmonically astonishing ‘Representation of Chaos’ emerges in Davis’s hands with an overwhelming sense of mystery and power, yet he also ensures that the grandeur and nobility of the music is not short-changed; witness the blazing outburst of chorus and orchestra at the words ‘und es war licht’. The playing of the LSO throughout is wonderfully responsive to Davis’s interpretation, clarinets and flutes deserving special mention.
Without a top class team of soloists any performance of ‘The Creation’ would be seriously compromised, but here Sir Colin is fortunate to have three outstanding singers at his disposal who not only display their vocal individuality, but also gel as a team, as, for example, in No19 Trio [Disc 2 track 5].
For some listeners the distinctive voice of Ian Bostridge is an acquired taste, but no one could deny his superb musicianship, clear diction and illumination of the German text. His strong, forthright declamations as the angel Uriel in Part 1 contrast well with his ravishing singing of the aria ‘Mit Würd und Hoheit angetan’ in Part 2.
The vibrant and creamy soprano of Sally Matthews is well suited to her assumption of both Gabriel and Eve. Her confident rendition of the long aria ‘Auf starken Fittiche schwinget sich’ in Part 2 is particularly fine, the dizzying coloratura presenting no difficulties for her. Finally the firmly projected voice of baritone of Dietrich Henschel presents a restrained and somewhat subdued Raphael and Adam, but his is still a distinguished performance.
As so often on LSO Live, the London Symphony Chorus are on fine form providing buoyant singing throughout. Occasionally words are lost but in general their precision accuracy and attack are excellent. Their performance of the Final Chorus as well as other excerpts from this recording can be viewed at