-five years of age when he undertook the great work of his
life. It was begun in 1796, and finished in 1798. When urged to bring it
to a conclusion more rapidly, he replied, "I spend much time over it,
because I intend it to last a long time." Shortly before his final
departure from London, Salomon, his manager, brought him a poem for music
which had been compiled by Lydley from Milton's "Paradise Lost," for use
by Handel, though the latter had not availed himself of it. Haydn took it
with him to Vienna, and submitted it to the Baron van Swieten, the
Emperor's librarian, who was not only a very learned scholar, but also
something of a musician and composer. The Baron suggested that he should
make an oratorio of it, and to encourage him, not only translated the
text into German, but added a number of arias, duets, and choruses,
particularly those of the descriptive kind. Several of the nobility also
guaranteed the expenses of preparation and performance. His friend
Griesinger writes:--

"Haydn wrote 'The Creation' in his sixty-fifth year with all the spirit
that usually dwells in the breast of youth. I had the good fortune to
be a witness of the deep emotions and joyous enthusiasm which several
performances of it under Haydn's own direction aroused in all
listeners. Haydn also confessed to me that it was not possible for him
to describe the emotions with which he was filled as the performance
met his entire expectation, and his audience listened to every note.
'One moment I was as cold as ice, and the next I seemed on fire, and
more than once I feared I should have a stroke.'"

On another occasion Haydn remarked: "Never was I so pious as when
composing 'The Creation.' I knelt down every day and prayed God to
strengthen me for the work." That he sought this inspiration in his old
age more than once, we may infer from another remark to Griesinger: "When
composition does not get on well, I go to my chamber, and with rosary in
hand say a few _aves_, and then the ideas return." It was first performed
in private at the Schwartzenberg Palace, April 29, 1798; and Bombet, the
celebrated French critic, who was present, says in one of his letters:

"Who can describe the applause, the delight, the enthusiasm of this
society? I was present, and I can assure you I never witnessed such a
scene. The flower of the literary and musical society of Vienna were
assembled in the room, which was well adapted to the p