3.2 The oratorio: development and key works

Oratorios emerged in the late 16th century, blending religious themes with musical drama. They grew from simple devotional pieces to grand works featuring recitatives, arias, and choruses. By the Baroque era, oratorios had become a major genre, with composers like Handel and Bach pushing their boundaries.

Oratorios share similarities with operas, using similar musical elements to tell stories. However, they focus on religious subjects and are performed without staging. Oratorios also place greater emphasis on choral writing, setting them apart from both operas and smaller-scale cantatas.

The Oratorio in the Baroque Era

Development of oratorio over time

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• Origins in the late 16th century
  • Developed from the lauda, a type of devotional music performed in oratories or prayer halls
  • Early examples composed by Emilio de' Cavalieri and Filippo Neri showcase the genre's roots in religious settings
• Growth and evolution in the 17th century
  • Increased dramatization through the use of recitative (speech-like singing), aria (expressive solo pieces), and chorus
  • Key composers such as Giacomo Carissimi, Alessandro Stradella, and Marc-Antoine Charpentier expanded the oratorio's musical and dramatic possibilities
• Pinnacle in the early to mid-18th century (Baroque period)
  • Larger-scale works featuring more complex musical forms (da capo aria) and orchestration
  • Prominence of composers George Frideric Handel and Johann Sebastian Bach solidified the oratorio's status as a major genre

Key oratorio composers and works

• Giacomo Carissimi (1605-1674)
  • "Jephte" (c. 1648): One of the earliest examples of the Latin oratorio, showcasing Carissimi's mastery of dramatic pacing and characterization
  • "Jonas" (c. 1650): Demonstrates Carissimi's use of expressive recitative and small ensembles to convey the biblical story of Jonah
• George Frideric Handel (1685-1759)
  • "Messiah" (1741): Handel's most famous oratorio, combining biblical texts with Baroque musical forms such as the fugue and da capo aria
  • "Israel in Egypt" (1739): Features extensive use of choruses and tone painting to depict the plagues and the Israelites' exodus from Egypt
  • "Saul" (1739): Showcases Handel's dramatic writing and characterization, particularly in the portrayal of King Saul's jealousy and madness

Elements of Baroque oratorios

• Recitative: Advances the narrative and dialogue, often accompanied by basso continuo (harpsichord and cello/bassoon)
• Aria: Expresses the emotions and reflections of characters, featuring more melodic and expressive music with orchestral accompaniment
• Chorus: Provides commentary, represents groups of people (Israelites, disciples), and adds grandeur to the work through complex polyphonic writing
• Orchestration: Supports the vocal lines, creates tone painting (musical depiction of text), and enhances the dramatic impact
• Dramatic structure: Oratorios often divided into parts or scenes, with a clear narrative arc based on biblical stories or religious themes

Oratorio vs other Baroque vocals

• Similarities to opera
  • Use of recitative, aria, and chorus to convey a narrative
  • Emphasis on dramatic expression and characterization
  • Incorporation of Baroque musical forms and styles (da capo aria, fugue)
• Differences from opera
  • Oratorios typically performed without staging, costumes, or acting in concert settings or churches
  • Often based on religious or biblical subjects (Messiah, Jephte), while operas focus on secular stories (mythology, history)
  • Greater emphasis on the chorus in oratorios, with more complex choral writing and the chorus as a central storytelling element
• Comparison to cantatas
  • Cantatas are smaller-scale works, usually for solo voice(s) and instrumental accompaniment (Bach's solo cantatas)
  • Oratorios are longer and more complex, involving multiple soloists, chorus, and orchestra to tell a complete story