Part three deserves this entire section of the piece all to itself. The story of Adam and Eve is spread throughout Christianity from its basic tales to lore to the explanation of why man is sinful from birth. The story of the Creation could not be told without this part for it also shows the creation of our faith and the start of our society as a whole. Adam and Eve even try to answer the question that man has been asking why we were put on the Earth. “God took the man, and put him into the garden of Eden to dress it and to keep it” (The Holy Bible, Genesis 2:15).

It’s almost as if Mozart had written the melodies in the third part of Haydn’s “The Creation.” The melodies are absolutely gorgeous, lush and full of life. The orchestra is full, supportive and even takes on a few soloistic qualities that it had rarely done prior. This part also introduces two new soloist in the form of Eve as a Saprano and Adam as a Baritone. Although a little bottom heavy the soloists now have a full range to themselves as well as the chorus and the orchestra. Haydn balances it out rather well using the interaction between superbly and by having Uriel only narrating at the beginning and the end of part three.

Numbers twenty-nine and thirty are by far the most climatic part of the entire piece. Adam and Eve proclaim their bliss for the Lord with a magnificent orchestration of the chorus behind them and solidify their praise and worship. These two numbers build from one note to the next. The intensity makes you want a resolution but at the same time for it never to end. It finally does wind down with the orchestra finishing it off on the tonic of C Major.