Oratorio
An oratorio is a large musical composition for orchestra, vocal soloists and chorus. It differs from an opera in that it does not have scenery, costumes, or acting. Oratorio closely mirrors opera in all ages in musical style and form, except that choruses are more prominent in oratorio than in opera. The peak period for composition of oratorios is the 17th and 18th centuries.
Subject
Most oratorios from the common practice period to the present day have biblical themes, but a number of composers, notably George Frideric Handel, wrote secular oratorios based on themes from Greek and Roman mythology. Whether religious or secular, the theme of an oratorio is meant to be weighty, and can include such topics as the creation of the world, the life of Jesus, or the career of a classical hero or biblical prophet.
The plot of an oratorio is often minimal, and some oratorios are not narratives at all. While operas are usually based on a dramatic narrative, in oratorios the aesthetic purpose of the narrative is more often to provide organization and significance to a large musical work.
Early history
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.
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.
List of notable oratorios
(ordered chronologically by year of premiere)
- Johann Sebastian Bach, the Christmas Oratorio (1734)
- Johann Adolf Hasse, "Serpentes ignei in deserto" - (1735, 1736 or 1739)
- George Frideric Handel, Israel in Egypt (1739), notable for being the source of the earliest known recording of classical music, made in June 6, 1888 on a wax cylinder.
- Handel, Messiah (1741). This is by far the most familiar and widely performed of oratorios, at least in English-speaking countries
- Handel, Samson (1743)
- Handel, Judas Maccabaeus (1747)
- Joseph Haydn, The Creation (1798)
- Joseph Haydn, The Seasons (1801)
- Felix Mendelssohn, Elijah (1846)
- Hector Berlioz, L'Enfance du Christ (1854)
- Igor Stravinsky's opera, "Oedipus rex" (1927)
- Artur Kapp, Hiiob (Job) (1929)
See also
- Passion (Christianity)
- Requiem
- mass (liturgy)
- mass (as a musical form)
- Cantata
ReferencesISBN links support NWE through referral fees
- Crowther, Victor, "The oratorio in Modena", Oxford: Clarendon Press; NY: Oxford University Press, 1992. ISBN 0-198-16255-3
- Pahlen, Kurt; Pfister, Weiner; Konig, Rosemarie; Dox, Thurston J., "The world of the oratorio: Oratorio, Mass, Requiem, Te Deum, Stabat Mater, and large cantatas", Portland, OR: Amadeus Press, 1990. OCLC 20220562
- Smither, Howard E., "A history of the oratorio", Chapel Hill: University of North Carolina Press, 1977-2000. ISBN 0-807-81274-9
