Three other great recordings
Andreas Spering (conductor)
In writing The Creation, Haydn referred mainly to the German version of the words, so it’s arguable that every collection needs a recording in that language. This one, from 2003, fits the bill impressively. Performed on period instruments with an excellent choir and fresh-toned soloists, Spering’s interpretation is zesty and rhythmic, with plenty of intelligent detailing. The sound is vivid too, especially in highresolution download format. No libretto is included, but at budget price that’s forgivable, and you can easily find one on the internet. (Naxos 8.557380-81)
Harry Christophers (conductor)
The Handel and Haydn Society of Boston gave the North American premiere of The Creation 200 years ago, and this live performance from 2015 shows the society to be still in prime fettle. In using period instruments and the English text it is an obvious rival to Mccreesh’s version, but with a more typical complement of performers (about 90). That actually helps to clarify Haydn’s intricately interwoven choral writing further, and little is lost in terms of communicative
impact. The soloists are finely matched, and Harry Christophers directs stylishly. (Coro COR16135)
Karl Forster (conductor)
This Berlin recording (of the German text) was made nearly 60 years ago, long before the period instrument movement caught up with Haydn.
And yet it has a glowing authenticity all its own, not least because of its wonderfully ripe-toned, expressive soloists. Forster is no slouch either, though some of the big choruses are on the slow side. The orchestral playing is gracefully pointed, and the stereo sound is satisfyingly full-bodied. An excellent choice if you favour modern instruments and truly timeless solo singing. (Warner Classics 723 5442)
And one to avoid…
The first of Herbert von Karajan’s two commercial recordings of The Creation is famous for its stellar soloists, particularly the superlative tenor Fritz Wunderlich. But Karajan’s approach to the score often has a juggernaut-like quality which seems pompous and grandiose compared to rival versions. ‘Rollend in schäumenden Wellen’, for instance, lumbers in a proto-wagnerian fashion, while the concluding ‘Singt dem Herren’ courts virtual stasis. There’s some splendid singing, but overall a sense of joy is missing.