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The biblical account of creation found in the Book of Genesis is known to billions around the world through its proclamation by multiple religions and numerous denominations. As such it is embedded in many cultures, especially that of the Western civilization and art. This article contains all but two of the movements, three and six, of Max Keller’s analysis of his multi-movement symphonic work The Genesis. The work sought to be a musical expression of the creation narrative found in the Book of Genesis, with direct correlations to the original Hebrew text. As such, the analysis takes an in-depth look into the relationship between the composition itself and the text, with specific attention given to the translations of the original Hebrew into English to better understand the reasoning behind the interpretative choices made by the composer and how they are applied musically.
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