In this account of one of the masterpieces of the classical period, the author places The Creation within the oratorio tradition and contrasts the theological and literary character of the English libretto with the Viennese milieu of the first performances.
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In this account of one of the masterpieces of the classical period, the author places The Creation within the oratorio tradition and contrasts the theological and literary character of the English libretto with the Viennese milieu of the first performances.
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