and it was London, in effect, that set him to work in what was for him
practically a new direction, leading to the production of an oratorio
which at once took its place by the side of Handel's master-pieces, and
rose to a popularity second only to that of "The Messiah" itself.

"The Creation" suggested

The connection thus established between the names of Handel and Haydn
is interesting, for there can be little question that Haydn was led to
think of writing a large choral work chiefly as the result of frequently
hearing Handel's oratorios during his visits to the metropolis. The
credit of suggesting "The Creation" to Haydn is indeed assigned to
Salomon, but it is more than probable that the matter had already been
occupying his thoughts. It has been explicitly stated [See note by C.H.
Purday in Leisure Hour for 1880, p. 528.] that, being greatly impressed
with the effect produced by "The Messiah," Haydn intimated to his friend
Barthelemon his desire to compose a work of the same kind. He asked
Barthelemon what subject he would advise for such a purpose, and
Barthelemon, pointing to a copy of the Bible, replied: "There! take
that, and begin at the beginning." This story is told on apparently good
authority. But it hardly fits in with the statements of biographers.
According to the biographers, Salomon handed the composer a libretto
originally selected for Handel from Genesis and Paradise Lost by Mr
Lidley or Liddell. That this was the libretto used by Haydn is certain,
and we may therefore accept it as a fact that Haydn's most notable
achievement in choral music was due in great measure to the man who
had brought him to London, and had drawn from him the finest of his
instrumental works.

"The Creation" Libretto

Before proceeding further we may deal finally with the libretto of "The
Creation." The "unintelligible jargon" which disfigures Haydn's immortal
work has often formed the subject of comment; and assuredly nothing that
can be said of it can well be too severe. "The Creation" libretto stands
to the present day as an example of all that is jejune and incongruous
in words for music. The theme has in itself so many elements of
inspiration that it is a matter for wonder how, for more than a century,
English-speaking audiences have listened to the arrant nonsense with
which Haydn's music is associated. As has been well observed, "the
suburban love-making of our first parents, and the lengthy references
to the ha