Baroque Genres: Oratorio and Handel

Baroque Genres

• Oratorio
• Lutheran Cantata
• Dance Suite

The English Oratorio

• Sacred vocal form known as an oratorio
• Large-scale dramatic genre featuring solo voices, chorus, and orchestra
• Performed in a concert setting, lacking scenery or costumes
• Shows similarities to opera, incorporating recitatives, arias, duets, trios, and choruses
• Sacred text based on a biblical story, with a libretto by religious leaders
• Early oratorios were sponsored by the Catholic Church
• Delivered messages of faith to a wide audience in public meeting places
• Offered a moral alternative to opera

George Frideric Handel (1685–1759)

• German composer, director, and producer
• Worked in Italy, Germany, and England
• Wrote, directed, and produced Italian-style opera
• Founder of the Royal Academy of Music in 1720
• Revered by the English, he is buried at Westminster Abbey
• Style is marked by rhythmic drive, rich melodies, and dramatic expression
• Output includes over 40 Italian operas, English oratorios, orchestral suites, concertos, keyboard and chamber music

Handel and the English Oratorio

• Credited with inventing a new genre
• Integrated elements of Italian opera, the Catholic oratorio, and the English grand choral style
• Used librettos by poets rather than religious leaders
• Operated as an entrepreneurial venture, not sponsored by the church

Messiah

• Composed in 24 days, premiered in Dublin
• Performed continuously since its premiere
• Libretto consists of biblical verses from the Old and New Testaments
• The Christmas section focuses on the prophecy of Christ's coming
• The Easter section portrays suffering, death, resurrection, and the spread of Christian doctrine
• The Redemption section covers the world's redemption through faith

Handel: Messiah, Nos. 18 and 44 (1742)

• Part I, No. 18, "Rejoice greatly, O daughter of Zion" is a da capo soprano aria (A-B-A')
• Features melismatic passages on the word "rejoice"
• Includes instrumental ritornellos and exchanges with the voice
• The A section is varied considerably
• Part II, No. 44, “Hallelujah Chorus” closes the Easter section
• This piece is for four-part chorus and orchestra
• Features shifting textures, including homorhythmic and imitative polyphony
• Employs varied dynamics for dramatic effect

Lutheran Chorale and Cantata

• Martin Luther made lasting contributions to Western culture
• Luther believed in congregational singing
• Professional singers and instrumentalists create polyphony in church services

Chorales: German Hymn Tunes

• Composed or recycled melodies with German poetry or Biblical passages
• Specific chorale was integrated into each weekly service
• Sung in unison by the congregation
• A professional choir provides a four-part harmony

Lutheran Cantata

• Multimovement work for soloists, chorus, and orchestra, including solo arias, recitatives, and choruses
• Regarded as a "musical sermon”, elaborating on the weekly hymn
• Based on the Gospel reading of the day and is an integral part of the church service

Johann Sebastian Bach (1685–1750)

• Culminating figure of the Baroque style
• German composer and organ virtuoso who was also a devout Lutheran
• Renowned as a performer during his lifetime
• Held court positions in Weimar and Anhalt-Cöthen
• From 1723–1750, he was at St. Thomas Church, collegium musicum in Leipzig
• Bach had two marriages and nineteen children, including four sons who became leading composers
• Style raised existing forms to the highest level, displays unequaled mastery of contrapuntal composition
• Output is prolific in secular and sacred works, suites, concertos, sonatas, keyboard music, and cantatas
• Notable works: St. John and St. Matthew Passions, The Well-Tempered Clavier, The Art of Fugue, and Brandenburg Concertos

Bach and the Lutheran Cantata

• 200 Bach cantatas survive
• Bach composed four or five yearly cycles
• Each cantata has five to eight movements
• The first, middle, and last movements are based on a chorale tune and feature a full ensemble
• Settings range from hymn-like to intricate fugues
• Solos or duet arias and recitatives are interspersed

Wachet Auf (Sleepers, Awake)

• Cantata in seven movements
• Text comes from the Gospel of Matthew, parable of the Wise and Foolish Virgins
• Lutherans use text to prepare spiritually for the second coming of Christ