Taking A Look At The Representation Of Chaos

The first and second chapters of Genesis provide two separate accounts of the Creation, with each account possessing its respective theological and interpretive importance. If the Creation were to unfold in musical terms, it would be set to classical music. The absence of words in a plethora of classical pieces broadens the availability of interpretation. Words have the power to present ideas in a more coherent and germane manner, but they can, additionally, cripple one’s intimate understanding of the subject matter. This rationale serves as the basis for the Creation account being set to classical music. The divine nature of the Creation account does not need words, rather the marvel of the acts, themselves. Between 1796 and 1798, Franz Joseph Haydn composed a three-part oratorio combining both Creation accounts and detailing the lives of Adam and Eve before the fall. While this melodious classic includes words, their removal does not truly affect the meaning of the piece. The opening of The Creation is entitled the “Representation of Chaos” (Haydn, 1796-1798). This title reflects the immense amounts of calamity in the world before God establishes order. Haydn does

The compatibility with the text and the music stems from the range in tempo that Haydn provides. As God begins creation, the tempo increases to reflect the addition of various aspects such as the stars, plants, etc. It is important to note the extent of the piece’s musical and biblical descriptions. If Haydn would have extended the range of thought to life after the fall, the piece, as a whole, would potentially include much harsher sounds. This action was an intentional move by Haydn to insure the romantic and sensational view of the awe of the