Tempo interpretation and symbolic motives in opening movement of Haydn’s The Creation

Abstract

This study investigates two interrelated aspects of Franz Joseph Haydn’s seminal oratorio, “The Creation” (Hob. XXI:2): tempo interpretation and symbolic motives. It compares historical and contemporary performance practices by analyzing tempo choices, from the composer’s era to a 2025 performance in Thailand. The research utilizes Temperley’s (1991) comparative tempo data from four distinct conducting traditions—Historic, Austrian, British, and Early Music— alongside an analysis of the contemporary Thai performance. The central focus is a semiotic analysis of the opening movement, “Representation of Chaos,” which identifies seven key symbolic motives that reflect theological concepts. The most significant new finding is a recurrent 7-note motive, internally structured as a double triplet plus a final note (3+3+1), which appears seven times. The number seven symbolizes divine perfection (the seven days of creation), while the triplet motive signifies the Holy Trinity in Christianity. This discovery led to a creative application in the 2025 performance, where the researcher reintroduced this “Trinity” motive in the final measure of the oratorio by adding a specific ornamentation for the timpani as a cadential final. This act of cyclical return not only links the narrative’s conclusion back to its beginning but also reinforces the work’s core message with this divine symbol. This research, therefore, posits that tempo and symbolic motives are not mere aesthetic choices, but are fundamental to the narrative and theological structure of Haydn’s masterpiece.