In 1795, when Haydn was leaving England, the impresario Johann Peter Salomon (1745–1815) who had arranged his concerts there handed him a new poem entitled The Creation of the World.

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.

For example, one passage describing the freshly minted Adam's forehead ended up, "The large and arched front sublime/of wisdom deep declares the seat".

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.

[1] Those invited included wealthy patrons of the arts, high government officials, prominent composers and musicians, and a sprinkling of the nobility of several countries; the common folk, who would have to wait for later occasions to hear the new work, so crowded the streets near the palace that some 30 special police were needed to keep order.

The Creation was also performed more than forty times outside Vienna during his life: elsewhere in Austria and Germany, throughout England, and in Switzerland, Italy, Sweden, Spain, Russia and the United States.

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,[6] and today it is frequently performed by both professional and amateur ensembles.

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).

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".

Im Anfange schuf Gott Himmel und Erde (In the beginning God created Heaven and Earth) This movement relates the words of Genesis 1:1–4.

Nun schwanden vor dem heiligen Strahle (Now vanished by the holy beams) Aria for tenor with chorus in A major, portraying the defeat of Satan's host, from Paradise Lost.

Mit Staunen sieht das Wunderwerk (The marv'lous work beholds amazed/The glorious hierarchy of heav'n) Soprano solo with chorus, in C major.

Rollend in schäumenden Wellen (Rolling in foaming billows) Aria in D minor for bass, narrating the creation of seas, mountains, rivers, and (a coda in D major) brooks.

Nun beut die Flur das frische Grün (Now robed in cool refreshing green) Solo aria in B-flat major for soprano, in siciliana rhythm, celebrating the creation of plants.

Stimmt an die Saiten (Awake the harp) Chorus celebrating the third day, with four-part fugue on the words "For the heavens and earth/He has clothed in stately dress".

Und Gott sprach: Es sei'n Lichter an der Feste des Himmels (And God said : Let there be lights in the firmament of heaven) Recitative for tenor, with portions of Genesis 1:14–16.

In vollem Glanze steiget jetzt die Sonne (In splendour bright is rising now/the sun) With tenor narration, the orchestra portrays a brilliant sunrise, then a languid moonrise.

Haydn, a naturally curious man, may have had an amateur interest in astronomy, as while in England he took the trouble to visit William Herschel, ex-composer and discoverer of Uranus, in his observatory in Slough.

Auf starkem Fittiche schwinget sich der Adler stolz (On mighty wings the eagle proudly soars aloft) Aria for soprano in F major, celebrating the creation of birds.

In holder Anmut stehn (In fairest raiment) Haydn breaks the regularity of the pattern "Recitative–Elaboration for solo–Celebratory chorus" with a meditative work in A major for the trio of vocalists, contemplating the beauty and immensity of the newly created world.

Der Herr ist groß in seiner Macht (The Lord is great in his might) Chorus with all three soloists, in A major, celebrating the fifth day.

Haydn's gentle sense of humor is indulged here as the newly created creatures appear, each with musical illustration: lion, tiger, stag, horse, cattle, sheep, insects, and worms.

The first part of the movement contains another brief but notable bit of tone painting: a fortissimo bottom B-flat (sounding in octaves) for bassoons and contrabassoon accompanying the last word of the line, "By heavy beasts the ground is trod."

Mit Würd' und Hoheit angetan (In native worth and honor clad) A prized aria for tenor, in C major, celebrating the creation of man, then woman.

This was almost certainly the last music from The Creation that Haydn ever heard: it was sung for him several days before his death in 1809 as a gesture of respect by a French military officer, a member of Napoleon's invading army.

Aus Rosenwolken bricht (In rosy mantle appears) Orchestral prelude in slow tempo depicting dawn in the Garden of Eden, followed by recitative for tenor representing Uriel.

Von deiner Güt', o Herr und Gott (By thy goodness, O bounteous Lord) Adam and Eve offer a prayer of thanks in C major, accompanied by a chorus of angels.

Holde Gattin, dir zur Seite (Sweet companion, at thy side) Love duet for Adam and Eve in E-flat major.

There is a slow introduction, followed by a double fugue on the words "Des Herren Ruhm, er bleibt in Ewigkeit" ("The praise of the Lord will endure forever"), with passages for the vocal soloists and a final homophonic section.

The 2009 recording was nominated for a Grammy Award in 2011 for Best Choral Performance and was the top pick by pianist Iain Burnside on the 2013 broadcast of BBC 3'S CD Review – Building a Library.