Oratorio
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Main Period: Baroque
Kind: Vocal with orchestral accompaniment

Composers


Handel


Haydn


Rossini


Mendelssohn


Stravinsky
A fresco of musician (detail) by Simone Martini, Galleria degli Uffizi, Firenze
Oratorio
A musical piece based on a religious story and deploying orchestra, choir and soloist singing. The oratorio resembles the opera in its development and musical characteristics, only it is not performed in the theatre with stage design and costumes, but in the concert hall.
Unlike the opera, which presents human figures that are not religious, the oratorio is based on religious stories, biblical stories - from the Old and New Testament.
The development of opera and oratorio started approximately at the same time, in the 16th century, when the church decided to attract people's attention to religion through composition and the staging of liturgical stories. Italian Carissimi, a 17th century composer, cancelled decor, costumes and theatrical production as a whole, in his oratorios ("Jephte" is the best-known among them) and replaced it with a narrator, telling the plot in "dry" recitative (recitativo seco).
Indeed, Haydn also wrote oratorios ("The Creation", and "The Seasons"), as did Rossini ("Moses in Egypt"), yet the greatest of oratorio composers was Handel, who brought this genre to its peak, in a series of biblically-inspired epics. In oratorios such as "Judas Maccabaeus", "Joseph", "Samson", and especially "Messiah"'And He shall purify the sons of Levi' from 'Messiah' - Handel'Hallelujah! For the Lord God omnipotent reigneth' from 'Messiah' - Handel, these constituted the height of oratorio, Handel uses all the baroque composition techniques and forms, and places the choir in the center of the piece.
After Handel, the oratorio gradually withdrew. Although great composers like Mendelssohn ("Elijah") and Stravinsky ("Oedipus Rex") wrote wonderful oratorios, no prominent composer set the oratorio at the core of his work, as Handel did.
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