The oratorio opens with an overture representing chaos. Its effect is at first dull and indefinite, its utterances inarticulate, and its notes destitute of perceptible melody. It is Nature in her chaotic state, struggling into definite form. Gradually instrument after instrument makes an effort to extricate itself, and as the clarinets and flutes struggle out of the confusion, the feeling of order begins to make itself apparent. The resolutions indicate harmony. At last the wonderful discordances settle, leaving a misty effect that vividly illustrates "the Spirit of God moving upon the face of the waters." Then, at the fiat of the Creator, "Let there be Light," the whole orchestra and chorus burst forth in the sonorous response, "And there was Light." A brief passage by Uriel (tenor) describes the division of light from darkness, and the end of chaos, introducing a fugued chorus, in which the rage of Satan and his hellish spirits, as they are precipitated into the abyss, is described with tremendous discords and strange modulations; but before it closes, the music relates the beauties of the newly created earth springing up "at God's command." Raphael describes the making of the firmament, the raging of the storms, the flashing lightning and rolling thunders, the showers of rain and hail, and the gently falling snow, to an accompaniment which is closely imitative in character. The work of the second day forms the theme of "The Marvellous Work," for soprano obligato with chorus,--a number characterized by great joyousness and spirit. This leads to the number, "Rolling in foaming Billows," in which the music is employed to represent the effect of water, from the roaring billows of the "boisterous seas," and the rivers flowing in "serpent error," to "the limpid brook," whose murmuring ripple is set to one of the sweetest and most delicious of melodies. This leads the way to the well-known aria, "With Verdure clad," of which Haydn himself was very fond, and which he recast three times before he was satisfied with it. It is followed by a fugued chorus ("Awake the Harp"), in which the Angels praise the Creator. We next pass to the creation of the planets. The instrumental prelude is a wonderful bit of constantly developing color, which increases "in splendor bright," until the sun appears. It is followed by the rising of the moon, to an accompaniment as tender as its own radiance; and as the stars appear, "the Sons of God" announce the fourth day, and the first part closes with the great chorus, "The Heavens are telling," in which the entire force of band and singers is employed in full, broad harmony and sonorous chords, leading to a cadence of magnificent power.