{"id":1069,"date":"2017-02-26T15:28:31","date_gmt":"2017-02-26T15:28:31","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/?post_type=chapter&p=1069"},"modified":"2020-04-11T21:51:25","modified_gmt":"2020-04-11T21:51:25","slug":"oratorio","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/oratorio\/","title":{"raw":"Oratorio","rendered":"Oratorio"},"content":{"raw":"https:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=252&action=edit<\/span>\r\n\r\nAn oratorio\u00a0<\/b>is a large musical composition for orchestra, choir, and soloists. The word oratorio<\/i>, from the Italian for \"pulpit\" or \"oratory,\" was \"named from the kind of musical services held in the church of the Oratory of St Philip Neri in Rome (Congregazione dell'Oratorio<\/i>) in the latter half of the sixteenth\u00a0century.\"\r\n
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\"Museos<\/a><\/h2>\r\nOratorios became extremely popular in early seventeenth-century Italy partly because of the success of opera and the Catholic Church's prohibition of spectacles during Lent. Oratorios became the main choice of music during that period for opera audiences.<\/span>\r\n\r\nOratorio Compared to Opera<\/strong>\r\n\r\nIt is constructive to compare the Oratorio to Opera to fully understand the distinctions of each genre:<\/strong>\r\n<\/em>\r\n1. Like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, and arias.\r\n2. While opera is staged , the oratorio is \u00a0not staged. There is also \u00a0little or no interaction between the characters.\r\n3 There are no costumes \u00a0props or special lighting for the oratorio.\r\n4.\u00a0The oratorio \u00a0deals with sacred topics \u00a0making it appropriate for performance in the church.<\/em> Protestant composers took their stories from the Bible, while Catholic composers looked to the lives of saints, as well as to Biblical topics. The typical subject matter of Opera tends to deal with history and mythology, including age-old devices of romance, deception, and murder.<\/em>\r\n

1600 -\u00a0 origins of the oratorio<\/span><\/h3>\r\nThe 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.\r\n1. There was a strong narrative, dramatic emphasis and there were conversational exchanges between characters in the work. Giovanni Francesco Anerio's Teatro harmonico spirituale<\/i> (1619) 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 (narrator), tenor; St. Paul, tenor; Voice from Heaven, bass; and ananias, tenor.\r\n\r\n2. There is also a four-part chorus to represent any crowds in the drama. The music is often contrapuntal and madrigal-like. Philip Neri's Congregazione dell' 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.\r\n\r\n3. Oratorios \u00a0were chiefly 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). Cavalieri's Rappresentatione di Anima, et di Corpo<\/i> 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 Purificazione<\/i>, but due to its brevity (only 12 minutes long) and the fact that its other name was \"dialogue,\" we can see that there was much ambiguity in these names.\r\n

1650\u20131700:\u00a0 Trends\u00a0<\/span><\/h3>\r\nDuring the second half of the seventeenth\u00a0century, there were trends toward the secularization of the religious oratorio.\r\n1. Evidence of this lies in its regular performance outside church halls in courts and public theaters.\r\n2. Whether religious or secular, the theme of an oratorio \u00a0include \u00a0such topics as Creation, the life of Jesus, or the career of a classical hero or Biblical prophet.\r\n3. Other changes eventually took place as well, possibly because most composers of oratorios, such as Handel, \u00a0were also popular composers of operas. They began to publish the librettos of their oratorios as they did for their operas.\r\n4. Strong emphasis was soon placed on arias while the use of the choir diminished. Female singers became regularly employed, and replaced the male narrator with the use of recitatives.The most significant composer of oratorio latino<\/i> was Giacomo Carissimi, whose Jephte<\/i> is regarded as the first masterpiece of the genre. Like most other Latin oratorios of the period, it is in one section only.\r\n\r\nThis selection is part of the Christmas Oratorio By Heinrich Schutz. Check this link for some background information o this composer. \u00a0https:\/\/en.wikipedia.org\/wiki\/Heinrich_Sch%C3%BCtz<\/a>\r\n\r\n<\/div>\r\nhttps:\/\/youtu.be\/qOLGETKfmG8\r\n
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The Late Baroque Oratorio<\/span><\/h3>\r\nIn the late baroque oratorios increasingly became \"sacred opera.\"\r\n1. Italy:\u00a0<\/strong>\u00a0In Rome and Naples Alessandro Scarlatti<\/em> was the most noted composer. In Vienna the court poet Metastasio produced annually a series of oratorios for the court which were set by Caldara, Hasse and others. Metastasio's best known oratorio libretto La passione di Ges\u00f9 Cristo<\/i> was set by at least 35 composers from 1730\u201390.\r\n2. Germany:<\/strong> In Germany the middle baroque oratorios moved from the early-baroque Historia<\/i> style Christmas and Resurrection settings of Heinrich Sch\u00fctz, to the Passions of J. S. Bach, oratorio-passions such as Der Tod Jesu<\/i> set by Telemann and Carl Heinrich Graun. After Telemann came the galante oratorio style of C. P. E. Bach.\r\n\r\n<\/div>\r\nListen:\r\n<\/span><\/strong>Bach - \u00a0Christmas Oratorio:\u00a0<\/span><\/strong>Note this performance of the sections of \u00a0Christmas Oratorio by Bach. This \u00a0is a \u00a0six minute \u00a0abridge presentation of some of the parts \u00a0of this work. This shortened version gives you a perspective on the styles and \u00a0music of the work. \u00a0here are the \u00a0sections presenbted<\/span>\r\n<\/span><\/strong>\r\n\r\n0:00 \u00a0- Overture\r\n0:55 - \u00a0Chorus Herrscher des Himmels\r\n1:20 - \u00a0Chorale and Recitative (Bass singer)\r\n2:08 - \u00a0Aria Countertenor - Schliese, mein Herze \u00a0(This is suing by a male countertenor in the females vocal range yet with a distinctive quality and purity sound.\r\n2:55 - \u00a0Trio ensemble - soprano Countertenor, and tenor \u00a0Ach. wenn. wird. Note the \u00a0continuo accompaniment\r\n3:49 - \u00a0Quartet soprano, countertenor, tenor, and bass. Was Will der Hollen\r\n4:35 \u00a0- Chorale with trumpet and chorus - Nun Seid. This chorale is a familiar one. You may recognize it. It is presented here as a gapped chorale. \u00a0An instrumental section with \u00a0trumpet obligato joins the singing of the phrases.\r\n\r\nhttps:\/\/youtu.be\/uSfvc09WnUs\r\n
\r\n\r\n \r\n\r\n3. Great Britain: \u00a0<\/strong><\/span>The Georgian era saw a German-born monarch and German-born composer define the English oratorio. George Frideric Handel, most famous today for his Messiah<\/i>, also wrote other oratorios based on themes from Greek and Roman mythology and Biblical topics. He is also credited with writing the first English language oratorio, Esther<\/i>. Handel's imitators included the Italian Lidarti who was employed by the Amsterdam Jewish community to compose a Hebrew version of Esther<\/i>.\r\n\r\n<\/div>\r\nHandel and the Oratorio<\/strong>:\u00a0<\/span>Handel composed for years in England, though he was German by birth. It is interesting to note that he studied opera in Italy, as did many Germans (most\u00a0notably Mozart)\u00a0in the Classical period.\u00a0Handel's life as a court composer in England is discussed in the text.\u00a0The Oratorio differs from the Opera in that it was not staged, but performed in a Church or concert hall. It did not have costumes, lighting, or staging as the Opera did. It often served to replace Opera during Lent because\u00a0it had a sacred subject matter and less worldly production;\u00a0therefore, it was an acceptable replacement for Opera performances during the religious season of Lent. Note what gave rise to the Oratorio in Handel's\u00a0life - an economic consideration. Operas targeted at the rising middle class were gaining in popularity over the aristocratic opera seria. We are heading towards the Classical period operas of Mozart depicting everyday situations.\r\n\r\n\"Messiah\"<\/strong>: You may be familiar with \"Messiah,\" Handel's most famous Oratorio. Actually, it is not as conventional as his other oratorios because the main speaking part is a narrator. The others have the characters speaking the parts.\r\n\r\nTexture in Part II: \"Easter Chorus\"<\/strong>: This work is an example of the colossal polyphonic texture of the late Baroque; the textures may also be described as \"thick\" or \"full.\"\u00a0Handel and Bach were marvelous contrapuntal composers, and they developed this style to large proportions during\u00a0this period. There are also short examples of monophonic texture: \u00a0For example, notice\u00a0the monophonic texture among all chorus parts and the orchestra found in track 0:24: \u201cFor the Lord God omnipotent reigneth.\"\u00a0After this brief monophonic section, a brief homophonic section Immediately follows\u00a0(copy and paste the link below into your browser). This alternation of monophonic and homophonic textures repeats. Play the\u00a0: Part II\u00a0 iLG #12\u00a0. Read the descriptions as you listen to this selection.\r\n\r\nBelow is the Hallelujah Chorus from the Easter party of Handel's Messiah\r\n\r\nFollow the \u00a0time line below:\r\n\r\n0:0 - \u00a0 \u00a0Orchestra and Chorus. \"Hallelulis\" \u00a0Texture is homohpinc \u00a0in chorus - \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 polyphonic in orchestra\r\n0:25 - \u00a0Short Monophonic sections in both \u00a0orchestra and chorus alternate\r\nwith homophonic sections\r\n0:49 \u00a0- \u00a0Complex polyphony in orchestra and chorus.\r\n1:14 - \u00a0 Homophoinc and hymne like\r\n1:33 - \u00a0imitation in voice entrances.\r\n1:56 - \u00a0\"King of Kings\" \u00a0Unison \u00a0in the chorus aa;lternationg with homophoinc \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 sections \u00a0each at higher pitch levels (sequence)\r\n3:32 - \u00a0Homophonic ending. \u00a0Note also toward the end of this work the\r\nimportance and prominence of the timpani. We often do not\r\nappreciate the importance of this very impressive percussion\r\ninstrument in the orchestra.\r\n\r\nhttps:\/\/youtu.be\/UZFjdMsWobg\r\n\r\n \r\n
<\/div>","rendered":"

https:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/wp-admin\/post.php?post=252&action=edit<\/span><\/p>\n

An oratorio\u00a0<\/b>is a large musical composition for orchestra, choir, and soloists. The word oratorio<\/i>, from the Italian for “pulpit” or “oratory,” was “named from the kind of musical services held in the church of the Oratory of St Philip Neri in Rome (Congregazione dell’Oratorio<\/i>) in the latter half of the sixteenth\u00a0century.”<\/p>\n

\n

\"Museos<\/a><\/h2>\n

Oratorios became extremely popular in early seventeenth-century Italy partly because of the success of opera and the Catholic Church’s prohibition of spectacles during Lent. Oratorios became the main choice of music during that period for opera audiences.<\/span><\/p>\n

Oratorio Compared to Opera<\/strong><\/p>\n

It is constructive to compare the Oratorio to Opera to fully understand the distinctions of each genre:<\/strong>
\n<\/em>
\n1. Like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, and arias.
\n2. While opera is staged , the oratorio is \u00a0not staged. There is also \u00a0little or no interaction between the characters.
\n3 There are no costumes \u00a0props or special lighting for the oratorio.
\n4.\u00a0The oratorio \u00a0deals with sacred topics \u00a0making it appropriate for performance in the church.<\/em> Protestant composers took their stories from the Bible, while Catholic composers looked to the lives of saints, as well as to Biblical topics. The typical subject matter of Opera tends to deal with history and mythology, including age-old devices of romance, deception, and murder.<\/em><\/p>\n

1600 –\u00a0 origins of the oratorio<\/span><\/h3>\n

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.
\n1. There was a strong narrative, dramatic emphasis and there were conversational exchanges between characters in the work. Giovanni Francesco Anerio’s Teatro harmonico spirituale<\/i> (1619) 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 (narrator), tenor; St. Paul, tenor; Voice from Heaven, bass; and ananias, tenor.<\/p>\n

2. There is also a four-part chorus to represent any crowds in the drama. The music is often contrapuntal and madrigal-like. Philip Neri’s Congregazione dell’ 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.<\/p>\n

3. Oratorios \u00a0were chiefly 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). Cavalieri’s Rappresentatione di Anima, et di Corpo<\/i> 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 Purificazione<\/i>, but due to its brevity (only 12 minutes long) and the fact that its other name was “dialogue,” we can see that there was much ambiguity in these names.<\/p>\n

1650\u20131700:\u00a0 Trends\u00a0<\/span><\/h3>\n

During the second half of the seventeenth\u00a0century, there were trends toward the secularization of the religious oratorio.
\n1. Evidence of this lies in its regular performance outside church halls in courts and public theaters.
\n2. Whether religious or secular, the theme of an oratorio \u00a0include \u00a0such topics as Creation, the life of Jesus, or the career of a classical hero or Biblical prophet.
\n3. Other changes eventually took place as well, possibly because most composers of oratorios, such as Handel, \u00a0were also popular composers of operas. They began to publish the librettos of their oratorios as they did for their operas.
\n4. Strong emphasis was soon placed on arias while the use of the choir diminished. Female singers became regularly employed, and replaced the male narrator with the use of recitatives.The most significant composer of oratorio latino<\/i> was Giacomo Carissimi, whose Jephte<\/i> is regarded as the first masterpiece of the genre. Like most other Latin oratorios of the period, it is in one section only.<\/p>\n

This selection is part of the Christmas Oratorio By Heinrich Schutz. Check this link for some background information o this composer. \u00a0https:\/\/en.wikipedia.org\/wiki\/Heinrich_Sch%C3%BCtz<\/a><\/p>\n<\/div>\n