Oratorio
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An oratorio is a large musical composition including an orchestra, a choir, and soloists. The oratorio was somewhat modeled after the opera. Their similarities include the use of a choir, soloists, an ensemble, various distinguishable characters, and arias. However, opera is musical theatre, while oratorio is strictly a concert piece, though they are sometimes staged as operas. There is little or no interaction between the characters, no props or elaborate costumes. The most important difference is their subject matter. Opera tends to deal with history and mythology, including age-old devices of romance, deception, and murder. There are many exceptions, including Saint Saens' opera, Samson et Dalila, Schoenberg's Moses and Aaron and others. Additionally, there are operas that deal with religious movements such as Meyerbeers Les Huguenots. The plot of an oratorio is often minimal and deals strictly with sacred subjects, making this form of entertainment acceptable and appropriate for performance in the church. Protestant composers took their stories from the Bible, while Catholic composers looked to the lives of saints. Oratorios became extremely popular in early 17th century Italy partly because of the success of the opera and the Church's prohibition of spectacles during Lent. Oratorios became the main option of musica during that period for opera buffs.
During the second half of the 17th century, there were trends toward the secularization of the religious oratorio. Evidence of this lies in its regular performance outside church halls in courts and public theaters. Whether religious or secular, the theme of an oratorio is meant to be weighty. It could include such topics as a creation myth, the life of Jesus, or the career of a classical hero or biblical prophet. Other changes eventually took place as well, possibly because most composers of oratorios were also popular composers of operas. They began to publish the librettos of their oratorios as they did for their operas. Strong emphasis was soon placed on arias while the use of the choir diminished. Female singers become regularly employed, and replaced the male narrator with the use of recitatives. Eventually, Monteverdi composed Il Combattimento di Tancredi e Clorinda which is considered to be the first secular oratorio.
George Frideric Handel, most famous today for his Messiah, also wrote secular oratorios based on themes from Greek and Roman mythology. He is also credited with writing the first English language oratorio.
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[edit] Origins in Italy
The origins of the oratorio can be found in sacred dialogues in Italy. These were settings of Biblical, latin texts and musically were quite similar to motets. There was a strong narrative, dramatic emphasis and there were conversational exchanges between characters in the work. G.Fanerio’s “teatro harmonico spirituale” is a set of 14 dialogues, the longest of which is 20 minutes long and covers the conversion of St. Paul and is for four soloists : Historicus(narator), tenor; St. Paul, tenor; Voice from Heaven, bass; and ananias, tenor. There is also a four part chorus to represent any crowds in the drama. The music is often contrapuntal and [[madrigal|madrigal-like]. Philip Neri’s Congegatione della Oratorio featured the singing of spiritual laude. These became more and more popular and were eventually performed in specially built oratories (prayer halls) by professional musicians. Again, these were cheifly based on dramatic and narrative elements. Sacred opera provided another impetus for dialogues, and they greatly expanded in length (although never really beyond 60 minutes long). Cavilieri’s Rapprasentione di anima et di corpo is an example of one of these works, but technically it is not an oratorio because it features acting and dancing. It does, however contain music in the monodic style. The first oratorio to be called by that name is Pietro della Valle’s “Oratorio della Purificatione” , but due to its brevity (only 12mins long) and the fact that its other name was “dialogue”, we can see that there was much ambiguity in these names.
By the mid-17th century, two types had developed:
- oratorio volgare (in Italian) - representative examples include:
- Giacomo Carissimi's Daniele
- Marco Marazzoli's S Tomaso
- similar works written by Francesco Foggia and Luigi Rossi
Lasting about 30-60 minutes, oratorio volgares were performed in two sections, separated by a sermon; their music resembles that of contemporary operas and chamber cantatas.
- oratorio latino (in Latin) - first developed at the Oratorio del SS. Crocifisso, related to the church of San Marcello al Corso in Rome;
The most significant composer of oratorio latino is Giacomo Carissimi, whose Jephte is regarded as the first masterpiece of the genre. Like most other Latin oratorios of the period, it is in one section only.
[edit] Structure
Oratorios usually contain:
- An overture, for instruments alone
- Various arias, sung by the vocal soloists
- Recitative, usually employed to advance the plot
- Choruses, often monumental and meant to convey a sense of glory. Frequently the instruments for oratorio choruses include timpani and trumpets.
[edit] List of notable oratorios
(ordered chronologically by year of premiere)
- Antonio Vivaldi, Juditha triumphans RV 644 (1716)
- Johann Sebastian Bach, the Christmas Oratorio (1734)
- Johann Adolph Hasse Serpentes ignei in deserto - (1735, 1736 or 1739)
- George Frideric Handel, Esther (1732)
- George Frideric Handel, Deborah (1733)
- George Frideric Handel, Saul (1739)
- George Frideric Handel, Israel in Egypt (1739)
- George Frideric Handel, Messiah (1741).
- George Frideric Handel, Samson (1743)
- George Frideric Handel, Judas Maccabaeus (1747)
- George Frideric Handel, Joshua (1748)
- George Frideric Handel, Jephtha (1752)
- Joseph Haydn, The Creation (1798)
- Joseph Haydn, The Seasons (1801)
- Felix Mendelssohn, St. Paul (1836)
- Felix Mendelssohn, Elijah (1846)
- Hector Berlioz, L'enfance du Christ (1854)
- Franz Liszt, Christus (1862-1866)
- Théodore Dubois, Les sept paroles du Christ (1867)
- Igor Stravinsky's "opera-oratorio" Oedipus Rex (1927)
- Artur Kapp, Hiiob (Job) (1929)
- William Walton, Belshazzar's Feast (1931)
- Alexandre Tansman, Isaïe le prophète (1950)
- Hans Werner Henze, Das Floß der Medusa (1968, rev. 1990)
- Bertold Hummel, The Shrine of the Martyrs (1988/89) [1]
- Paul McCartney, Liverpool Oratorio (1991)
- Wynton Marsalis "Blood on the Fields" (1997)
- Vangelis Papathanasiou, Mythodea (2001)
- Piotr Rubik - "Tu Es Petrus" (2005)
- Hristo Tsanoff - "Stabat Mater dolorosa" (2007)[2]
[edit] See also
[edit] References
- Bukofzer, Manfred F. Music in the Baroque Era. New York, NY: W.W. Norton and Co., Inc, 1947.
- Smither, Howard. The History of the Oratorio. vol. 1-4, Chapel Hill, NC: Univ. of N.C. Press, 1977-2000.
- Deedy, John. The Catholic Fact Book. Chicago, IL: Thomas Moore Press, 1986.
- Grove Music Online, ed. L. Macy, grovemusic.com (subscription access).
- Hardon, John A. Modern Catholic Dictionary. Garden City, NY: Double Day and Co. Inc., 1980.
- New Catholic Encyclopedia. New York: McGraw-Hill, 1967.
- Randel, Don. "Oratorio". The Harvard Dictionary of Music. Cambridge, MA: The Belknap Press, 1986.
[edit] External links
- Musical Forms - Oratorio. The Grove Concise Dictionary of Music. The Classical Music Pages.
