188 Choral Monuments

B (133–╉145)—╉trio –╉ basically homophonic

B (145–╉197) trio and chorus –╉homophonic and imitative

Number 31, Sing the Lord, ye voices all

A (1–╉9) chorus –╉homophonic
B (10–╉67) solo quartet and chorus –╉fugal
B' (68–╉83) solo quartet and chorus –╉homophonic closing

Two of the choruses differ from the above in that they return to an A section at
the end of the movement.

Number 13, The heavens are telling

A (1–╉18) chorus – ╉homophonic
B (18–╉38) trio – ╉homophonic
A (38–╉54) chorus – ╉some imitation
B' (54–╉95) trio – ╉basically homophonic
A (95–╉105) chorus – ╉some imitation
A' (110–╉196) chorus – ╉imitative

Number 25, Achieved is the glorious work

A-╉1 (1–╉13) chorus – ╉mostly homophonic
A-╉2 (14–╉33) chorus – ╉imitative
B (38–╉131) trio – ╉mostly homophonic
A-╉1 (132–╉139) chorus – ╉homophonic
A-╉2 (140–╉207) chorus – ╉imitative

The chorus in number 4, “The marv’lous work beholds amaz’d,” has only
one thematic section, the chorus in number 1 is a homophonic part of the
textual narrative, and the chorus in number 27, “By thee with bliss,” has five
sections (each different) that alternate between homophonic and imitative
textures.

Performance Practice Considerations

Performance practice considerations for The Creation include discussion of pub-
lished editions of the work, performing forces and their dispositions on stage,
meter and tempo, metric accentuation, recitative, and ornamentation.

Editions
Shortly after the premiere of The Creation, Haydn decided to publish the orato-
rio himself and offer it in a special limited edition to subscribers. He announced