4.1 The evolution of the oratorio

The oratorio emerged in late 16th-century Italy, evolving from devotional music into a distinct genre. It incorporated operatic elements like recitatives and arias, becoming more dramatized with a narrator. By the Baroque era, oratorios were performed in various settings, reaching wider audiences.

Key composers like Carissimi, Scarlatti, and Handel refined the oratorio, expanding its scope and complexity. Baroque oratorios featured recitatives, arias, choruses, and orchestral accompaniment. They served religious, social, and economic purposes, providing musical entertainment and education to diverse audiences.

Origins and Development of the Oratorio

Origins to Baroque oratorio development

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• Late 16th century: Oratorio emerges in Italy as a new musical genre
  • Developed from the lauda, a type of devotional music sung in the vernacular
  • Early oratorios performed in oratories (prayer halls) of the Catholic Church for religious edification
• Early 17th century: Oratorio begins to take on a more distinct form and structure
  • Incorporates elements of opera, such as recitatives for dialogue and arias for emotional expression
  • Becomes more dramatized with a narrator (testo) to advance the story and provide commentary
• Mid-17th century: Oratorio further evolves under the influence of innovative composers like Giacomo Carissimi
  • Carissimi introduces the Latin oratorio, which becomes the standard form with its use of Latin text
  • Oratorios begin to be performed outside of religious settings, such as in courts and public theaters, reaching a wider audience
• Late 17th to early 18th century: Oratorio reaches its full-fledged form in the Baroque era, showcasing its musical and dramatic potential
  • Composers like Alessandro Scarlatti and George Frideric Handel further refine the genre, expanding its scope and complexity
  • Oratorios become more elaborate, with a greater emphasis on choruses for dramatic impact and orchestral accompaniment for musical richness

Key oratorio composers

• Giacomo Carissimi (1605-1674), an Italian composer credited with establishing the Latin oratorio as a distinct genre
  • Notable works include "Jephte," a moving portrayal of the biblical story, and "Jonas," showcasing Carissimi's skill in musical storytelling
• Alessandro Scarlatti (1660-1725), an Italian composer who further developed the oratorio style with his innovative compositions
  • Composed over 35 oratorios, including "San Filippo Neri," demonstrating his mastery of the genre, and "Il martirio di Santa Cecilia," a powerful depiction of the saint's life
• George Frideric Handel (1685-1759), a German-born composer who spent most of his career in England and elevated the oratorio to new heights
  • Composed over 25 oratorios, including the iconic "Messiah," the dramatic "Samson," and the grand "Israel in Egypt"
  • Handel's oratorios are considered the pinnacle of the genre in the Baroque era, showcasing his exceptional skill in musical composition and dramatic expression

Characteristics of Baroque oratorios

• Recitatives, sung dialogue that advances the narrative and provides context for the story
  • Usually accompanied by basso continuo (harpsichord and cello/bassoon) for a sparse, speech-like quality
• Arias, solo songs that express the emotions and reflections of the characters, allowing for deeper characterization
  • Often feature virtuosic singing and elaborate orchestral accompaniment to showcase the performer's skill and heighten emotional impact
• Choruses, ensemble pieces that comment on the action or express collective emotions, adding grandeur and drama
  • Often feature polyphonic texture (multiple independent melodic lines) and incorporate fugal techniques (imitative entrances of voices) for a rich, layered sound
• Orchestral accompaniment, an integral part of Baroque oratorios that provides support for the singers and adds dramatic effect
  • Typically includes strings (violins, violas, cellos), woodwinds (oboes, flutes), brass (trumpets, horns), and basso continuo (harpsichord, cello/bassoon) for a full, balanced sound

Context of oratorio composition

• Religious context: Oratorios primarily composed on religious subjects, often drawing from biblical stories (Old Testament figures like Jephthah, Samson) or the lives of saints (St. Philip Neri, St. Cecilia)
  • Served as a means of religious education and devotion, particularly during Lent when opera performances were prohibited by the Church
• Social context: Oratorios performed in various settings, including churches, courts, and public theaters, catering to diverse audiences
  • Attracted both aristocrats and middle-class citizens, providing an engaging musical experience accessible to a wider public
  • Provided an alternative to opera for those who sought musical entertainment without the secular themes and elaborate staging of the opera house
• Political and economic factors: Oratorios often commissioned by religious institutions, aristocratic patrons, or civic organizations, reflecting their interests and values
  • Composers like Handel used oratorios as a means to maintain their popularity and financial stability, particularly when the opera market was in decline and public taste shifted