The Creation (Haydn) handywork of God".) The unusual intensity of the ending may be the result of Haydn's piling of coda upon coda, each occurring at a point where the music seems about to end. "End of the fourth day." Part II celebrates the creation of sea creatures, birds, animals, and lastly, man. No. 14. Und Gott sprach: Es bringe das Wasser in der Fülle hervor Recitative for soprano (Genesis 1:20), leading into: No. 15. Auf starkem Fittiche schwinget sich der Adler stolz Aria for soprano in F major, celebrating the creation of birds. The species mentioned are the eagle, the lark, the
Music for the Requiem Mass the actual Roman Catholic liturgy, are often composed as one movement. Musico-thematic relationships among movements within a Requiem can be found as well. Beginning in the 18th century and continuing through the 19th, many composers wrote what are effectively concert works, which by virtue of employing forces too large, or lasting such a considerable duration, prevent them being readily used in an ordinary funeral service; the requiems of Gossec, Berlioz, Verdi, and Dvořák are essentially dramatic concert oratorios. A counter-reaction to this tendency came from the Cecilian movement, which recommended restrained accompaniment for liturgical music, and frowned upon the use