rd for the listener to ascertain a steady pulse. In aiming for such ambiguity, Haydn intentionally fails to express a definite key, chord or melody in the first few bars, and as a result the listener is met with a rather formless initial introduction. Upon the completion of those initial bars of music, the listener is thrown a stray of fragment! ed melodies with no cadence. The normal convention of tonality is cleverly ignored by Haydn. It is quite interesting to note that the piece ends in an unusual way; he lands it on C minor, an avant garde practice created only a short time earlier by Mozart. The use of mutes throughout the entire beginning and of a blank unison C without order seem to be in itself quite a chaotic move, but Haydn doesn't stop there. He adds dissonance and doesn't allow the played keys to fully develop. Although Haydn brings in solo instruments, they aren't allowed to blossom as is usually expected in comparative music, and along with the above techniques, help formulate the sense of chaos that Haydn believed was present prior to 'the creation'. Haydn's expressive genius in conveying great feeling does not end with the overture of his work. The first recitative is sung by Raphael, who is a bass - Haydn, I believe, chose Raphael because of his low voice - after all the listener is still upon the darkness of chaos. The choir enters in sotto voce. To connote a sense of transition, Haydn moves from the ominous key of C minor to the more stable and majestic major of the same key. In providing for the creative theme, Haydn analogizes the birth to light; The choir sings "let there be light, and there was" while the instruments are played pizzicato. After such, the instruments are given a beat of rest where the transition from muteness to open-sounding occurs, and both the choir and the instruments are reintroduced on "light" with a positive-feeling C major chord, played fortissimo. This event is much louder than anything previous and is in stark contrast. the chorus represents and acts the heavenly "host" to the li! stener, elaborating on each creation and accomplishments in ever-increasingly excited tones. Later in the work, (3 Uriel & Chorus), Haydn, unlike most composers, alternated between sharps & flats; He started in C minor but begins this aria in A major. Divided into four parts, the second part plunges back into darkness with the lowest part of the tenor range in c minor. The chorus then enters, still in chaos with stark contrasts to the first part (loud, polyphonic). The

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Approximate Pages = 7 (250 words per page double spaced)