Every evening and morning prayer contained words of gratitude. One afternoon we visited the Volcanoes National Park and traversed a desolate landscape, almost lunar in its sterility. It occurred to me then that a Being as all-powerful as God could have created just such a place for the testing and mortal experiences of His children-a world without the color and beauty and diversity of life that had so delighted us-and sent us there to work out our salvation.
Instead He sent us here, to a home away from home, but one overflowing with loveliness and variety. Are grasshoppers with blue wings necessary to preserve the earth in its orbit and the biosphere in its many functions?
And even if grasshoppers are necessary, would not the red and orange and black-winged ones suffice? I do not know, of course. I am not an entomologist. But I am a child of God with eyes and a heart. I know that grasshoppers with blue wings are surprisingly beautiful, and I know that God made them, and I know that He loves me.
My testimony of the relationship of that love and that beauty is enough. I have wondered if our Father in Heaven and His Son did not call us together to participate in some pre-mortal field trip following the creation so that we could examine our future home. Mortality is a test and will often be difficult, but while you are so far away, we want you to know that we love you.
Open your eyes and your heart and you will know. I once prepared a multimedia presentation on the creation in an attempt to teach that message.
In the process I spent hundreds of hours with my camera, finding and framing images that would communicate to others my feelings about the love of the Father and the Son.
I spent a significant amount of time taking pictures of frogs. I confess that I do not find frogs beautiful. Sunsets and roses speak more clearly to my heart. He also made suggestions to Haydn regarding the setting of individual numbers. The work was published bilingually and is still performed in both languages today. According to Temperley, "the German text corresponds to no known German Bible translation. Instead, it is so constructed that the word order, syllabification, and stress patterns are as close as possible to the English.
Haydn and Swieten must have realized that English audiences would not easily accept changes in the hallowed text of their Bible; and there were the formidable precedents of Messiah and Israel in Egypt to bear in mind.
In the final form of the oratorio, the text is structured as recitative passages of the text of Genesis, often set to minimal accompaniment, interspersed with choral and solo passages setting Swieten's original poetry to music.
Swieten incorporated excerpts from Psalms for choral movements. Van Swieten was evidently not a fully fluent speaker of English, and the metrically-matched English version of the libretto suffers from awkward phrasing that fails to fit idiomatic English text onto Haydn's music.
Since publication, numerous attempts at improvement have been made, but many performances in English-speaking countries avoid the problem by performing in the original German. The discussion below quotes the German text as representing van Swieten's best efforts, with fairly literal renderings of the German into English; for the full versions of both texts see the links at the end of this article.
The first performances in were mounted by the Gesellschaft der Associierten , a group of music-loving noblemen organized by van Swieten to sponsor concerts of serious music; the Gesellschaft paid the composer handsomely for the right to stage the premiere Salomon briefly threatened to sue, on grounds that the English libretto had been translated illegally. The performance was delayed until late April—the parts were not finished until Good Friday—but the completed work was rehearsed before a full audience on April The first performance the next day was a private affair, but hundreds of people crowded into the street around the old Schwarzenberg Palace at the New Market to hear this eagerly anticipated work.
Admission was by invitation only. Many of those lucky enough to be inside wrote glowing accounts of the piece. In a letter to the Neue teutsche Merkur , one audience member wrote, "Already three days have passed since that happy evening, and it still sounds in my ears and heart, and my breast is constricted by many emotions even thinking of it.
The last performance Haydn attended was on March 27, , just a year before he died: the aged and ill Haydn was carried in with great honour on an armchair. According to one account, the audience broke into spontaneous applause at the coming of "light" and Haydn, in a typical gesture, weakly pointed upwards and said: "Not from me—everything comes from up there!
Despite the eclipse in Haydn's reputation as a composer in the 19th and early 20th centuries, the work never left the repertoire during this time,  and today it is frequently performed by both professional and amateur ensembles. There are many recordings see below. The oratorio is scored for three vocal soloists soprano, tenor, and bass; there is also an incidental solo for alto in the finale , four-part chorus soprano, alto, tenor, bass , and a large Classical orchestra consisting of the following:.
There seems little doubt that Haydn wanted a big sound by the standard of his day for his work. Between the private premieres for nobles and the public premiere in , Haydn added extra instrumental parts to the work.
The forces for the public premiere numbered about instrumentalists and 60 singers. In Parts I and II of the work, the three soloists represent angels who narrate and comment on the successive six days of creation: Gabriel soprano , Uriel tenor , and Raphael bass.
Adam, a bass role, is usually sung by the same soloist that sings Raphael, and the soprano role of Eve is usually sung by the same soloist who sings Gabriel. This was the practice Haydn followed, but some conductors prefer to cast each of the five roles with a different soloist. The choral singers are employed in a series of monumental choruses, several of them celebrating the end of one particular day of creation.
The orchestra often plays alone, notably in the episodes of tone painting : the appearance of the sun, the creation of various beasts, and above all in the overture, the famous depiction of the Chaos before the creation. The oratorio is structured in three parts. The first deals with the creation of light, of heaven and earth, of the sun and moon, of the land and water, and of plants. The second treats the creation of the animals, and of man and woman.
The final part describes Adam and Eve during their happy time in the Garden of Eden, portraying an idealized love in harmony with the "new world". The oratorio is described below, for each part by both a table of the movements and description of individual movements. Choral movements are highlighted in a different background colour. You can unsubscribe at any time. Thank you for subscribing We have more newsletters Show me See our privacy notice.
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It is not specified if Gaia and Eros were born from Chaos or whether they were pre-existing; however, Hesiod mentions that Gaia came into existence in order to become the home of the gods.
This is similar to other ancient myths, such as the Sumerian creation myth, which describes how Earth was initially created as a dwelling for the gods. Chaos also gave birth to Erebus, who was the darkness of the underworld, and Nyx night. Gaia gave birth to Ouranos aka Uranus heavens and Okeanos ocean. From there, the Greek myth describes how the gods mated with each other to complete the whole of creation.
Nyx and Erebus mated, and Hemere day and Aether air were born. Uranus and Gaia became the first gods to rule. Uranus mated with Gaia and produced three Cyclopes and 12 Titans a race of giants. One of the Titans was Cronus Saturn. And from here the pantheon of the famous gods of Greek mythology begins. Roman mosaic of Aion-Uranus with Gaia and the four seasons. Public Domain. Uranus was jealous of his children and condemned them to stay inside Gaia.
He blocked her wombs caves and this both pained and angered Gaia. Thus Gaia asked her children to help to fight back against their father. One of the Titans, Cronus, stepped forward and he punished Uranus by castrating him with an adamant scythe that Gaia gave him. Uranus and Gaia were now living more peacefully with each other and Cronus took over as the ruler of the universe.
Cronus then sent his siblings, the Cyclopes and the Hundred-Handers, into Tartarus the dark world under Earth because they were causing problems for him.
Meanwhile, Gaea gave birth to Uranus , the Starry Sky. Uranus became Gaea 's husband, surrounding her from all sides. Together, they produced three sets of children: the three one-eyed Cyclopes , the three Hundred-Handed Hecatoncheires , and the twelve Titans. However, Uranus was a cruel husband and an even crueler father. So, he imprisoned them into the hidden places of the earth, Gaea 's womb. This angered Gaea , and she plotted with her sons against Uranus.
She made a harpe , a great adamant sickle, and tried to incite her children to attack Uranus. All were too afraid, except the youngest Titan, Cronus.
The lovebug, which is actually a fly whose scientific name is Plecia nearctica , migrated naturally along the Gulf of Mexico, Fasulo said. It was first identified in southeastern Texas in and has since spread through the Gulf Coast states of Louisiana, Mississippi, Alabama and Florida, as well as Georgia and South Carolina.
Fasulo said there are two generations of lovebugs each year, and large adult populations are present during May and September.even as he chose us in him before the foundation of the world, that we would be holy and without blemish before him in love; Aramaic Bible in Plain English Just as he chose us beforehand in him from before the foundation of the universe, that we shall be holy and without spot before him, and he ordained us beforehand in love for himself.