THE VIRGINIAN-PILOT
Copyright (c) 1996, Landmark Communications, Inc.
DATE: Thursday, April 4, 1996 TAG: 9604040036
SECTION: DAILY BREAK PAGE: E1 EDITION: FINAL
SOURCE: BY CRAIG SHAPIRO, STAFF WRITER
LENGTH: Medium: 70 lines
MUSICOLOGISTS, art historians and cinephiles love to play detective.
As one century or millenium wanes, they look for clues: What does a particular composition, painting or film imply about man's follies? And is there some way to ensure that the coming years will be better?
History doesn't document if such weighty issues were on the mind of Franz Joseph Haydn when he wrote ``The Creation'' in 1798.
Christopher Wilkins, who leads the Virginia Symphony and Chorus through the monumental oratorio this weekend at Chrysler Hall, is certain they were.
``It's such a complete world view, a touching description of our relationship to the world we live in and the whole cosmos,'' he said from his home in San Antonio. ``It's a statement of extraordinary faith - religious faith and faith in mankind.''
The revered composer was 66 at the time. In looking back at his long and distinguished career, he could see that faith would always be vital to man's development. ``The Creation'' incorporates that theme.
``He's saying (that) if we're committed to faith and sensitive to the celestial voices, we will find harmony,'' Wilkins said. ``We will make a beautiful contribution. It's overwhelming. He touches on themes of faith and spirituality in a way that seem very contemporary.''
``Papa'' made his last public appearance at an 1808 performance of the oratorio. Overcome by emotion, he had to be carried from the hall.
As Haydn left, Beethoven rose to kiss his onetime teacher on the hands and forehead. Haydn died the next year.
Wilkins is in his fifth season as music director of the San Antonio Symphony. Until recently, he simultaneously held that position with the Colorado Springs Symphony. Before that, he was associate conductor of the Utah Symphony and assistant conductor of the Cleveland Orchestra.
In South Texas, he has collaborated with the Guadalupe Cultural Arts Center to create new music and dance based on the region's Tejano traditions.
``The Creation'' presents a new set of challenges; for one, the Norfolk performances will be the first time Wilkins has conducted it.
``Technically, it's quite difficult,'' he said. ``It's the same as with Mozart. The writing is so transparent, there's no room for error.
``Also, the question of style is overwhelming, because there are so many different approaches - to sonority, the use of vibrato and intonation, when to attack and release a note. There are all these variables.
``When you add text, it simplifies it, in one sense. But then you add vocalists. It's a complex web that you have to sort through.''
Wilkins and the symphony will figure that out. First, he has to adjust his style to the orchestra's customary treatment of the 18th century repertoire. The chorus is under the direction of Donald J. McCullough. Andrea Matthews (soprano), Carl Halvorson (tenor) and Mark Doss (bass) are the soloists.
The hurdles, though, are not all technical. Besides Handel's ``Messiah,'' ``The Creation'' is probably the most recognized oratorio in the canon.
Indeed, it was Handel who ignited the creative spark of Haydn's twilight career.
``When he encountered the works of Handel, it was something of a crisis,'' Wilkins said. ``It was like he took a long, deep breath and reassessed how he composed. He really set out to write that way, taking on that polyphonic, declamatory style.
``There's something symbolic that its first performance was in the final years of the 18th century. It encompasses almost a summary of the great style of choral writing.'' ILLUSTRATION: Color photo
Franz Joseph Haydn
by CNB