ABSTRACT
This study has conducted an analysis of Haydn’s oratorio The Creation. It found that each phase of the six days of Creation that made up Part One and Part Two of the oratorio began similarly with a passage of biblical narrative sung by one of the three archangels, Gabriel, Uriel and Raphael. The passages also contained materials of a lyrical or descriptive nature, amplifying the objective narration. These sections contained some of Haydn’s most colourful music. Most importantly, there was something inside of this magnificent oratorio of Haydn, despite its musical structural standpoint. Something of ‘most dramatic music’, which could be understood when it is studied toward in a more satisfactory level of study, that was to say, through its aesthetics observation, because The Creation has so many symbolisms inside itself by which its meanings could be appreciated only through the study of its structural plans.
