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An oratorio (Italian pronunciation: [oraˈtɔːrjo]) is a musical composition with dramatic or narrative text for choir, soloists and orchestra or other ensemble. [1] Like most operas, an oratorio includes the use of a choir, soloists, an instrumental ensemble, various distinguishable characters (e.g. soloists), and arias.
First page of the first part of Bach's Christmas Oratorio (1734) This is a chronological list of oratorios from the 16th century to the present. Unless otherwise indicated, all dates are those when the work was first performed. In some cases only the date of composition is known. In others, the oratorio has only been heard on a recording.
Aria, Chorus: "To God, our strength, sing loud". The second minuet from the Music for the Royal Fireworks was reused from this oratorio. [4] Handel's coronation anthem Zadok the Priest was also reused as the finale to the oratorio, but without the second movement "And all the people rejoic'd".
For the oratorio he used the vocal means of contemporary opera, recitative, aria, ensemble and chorus. The orchestra plays a decisive role in structure and tone painting. [1] The oratorio has five solo roles, in Part I and II the three archangels Gabriel , Uriel and Raphael , in Part III
In instrumental music, a style of playing that imitates the way the human voice might express the music, with a measured tempo and flexible legato. cantilena a vocal melody or instrumental passage in a smooth, lyrical style canto Chorus; choral; chant cantus mensuratus or cantus figuratus (Lat.) Meaning respectively "measured song" or "figured ...
Further the second series of the NBA and/or the 1998 updated edition of the BWV (BWV 2a) group some new additions to the BWV catalogue with the masses, passions and oratorios (e.g. Tilge, Höchster, meine Sünden, BWV 1083, Bach's adaptation of Pergolesi's Stabat Mater), and regroup some compositions that were formerly associated with other ...
The music of Jephtha is notable for its emotional intensity, directness and restraint. [3] Iphis is characterised in her music as the epitome of faith, duty and resignation and her mother as an outraged matron. The numerous accompanied recitatives in the work capture the anguish of the characters. Jephtha's torment is searingly depicted in the ...
Elgar's planning of the libretto included a long immersion in theological writings, as well as Wagner's sketch for "Jesus von Nazareth", and Henry W. Longfellow's poem "The Divine Tragedy". He assembled his libretto from verses of scripture, as had been the pattern for many of the most influential oratorios, including Handel 's Messiah (1741 ...