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Popular History of the Art of Music

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<h2>CHAPTER XX.</h2> <h3>THE PROGRESS OF ORATORIO.</h3> <hr style="width: 15%;" /> <h3>I.</h3> <ANTIMG src="images/capa.png" width-obs="118" height-obs="100" alt="A" title="A" class="floatl" />S already noticed in the previous chapter, the oratorio had its origin at the same time as opera, both being phases of the stilo rappresentativo, or the effort to afford musical utterance to dramatic poetry—at first merely a solemn and impressive utterance, later, as the possibilities of the new phase of art unfolded themselves, a descriptive utterance, in which the music colored and emphasized the moods of the text and the situation. The idea of oratorio was not new. All through the Middle Ages they seem to have had miracle plays in the Church, as accessories of the less solemn services, and as means of instruction in biblical history. The mediæval plays had very plain music, which followed entirely the cadences of the plain song, and made no attempt at representing the dramatic situation or the feelings growing out of it. All that the music sought to do was to afford a decorous utterance, having in it, from association with the cadence of the music of the Church, something impressive, yet not in any manner growing out of the drama to which it was set. The Florentine music drama was something entirely different from this, or soon became so, and in oratorio this was just as apparent as in opera, although the opportunities of vocal display were not made so much of.[Pg 245] The modern oratorio exists in two types: The dramatic cantata, of which the form and general idea were established by Carissimi; and the church cantata, which differed from the Italian type chiefly in being of a more exclusively religious character, and of having occasional opportunities for the congregation to join in a chorale. The former of these types was established by Giacomo Carissimi (1604-1674), who was born near Rome, and held his first musical position as director at Assisi, but presently obtained the directorship at the Church of St. Apollinaris in Rome, where he served all the remainder of his long and active life. Without having been a genius of the first order, it was Carissimi's good fortune to exercise an important influence upon the course of musical progress, particularly in the direction of oratorio, in which all the more attractive elements came from his innovations. Carissimi was a prolific composer, having constant occasion for new and pleasing attractions for the musical service of the rich and important Jesuit church, where he held his appointment. These compositions are of every sort, but cantatas form the larger portion, consisting of passages of Scripture set in consecutive form, with due alternation of solo and chorus, in a style at once pleasing and dramatically appropriate. The majority of his compositions have been lost, many of them going to the waste paper baskets when the Jesuits were suppressed. Enough remain, however, to indicate the interest and importance of his work. Moreover, there, is another curious commentary upon the value of his music, in the fact that Händel took twelve measures well nigh bodily out of one of the choruses in Carissimi's "Jephthah," and incorporated them in "Hear Jacob's God" in his own "Samson." Mr. Hullah gives an[Pg 246] excellent aria from this work, but it is too long for insertion here. The more important of Carissimi's innovations were in the direction of pleasing qualities in the accompaniments, and agreeable rhythms. He was teacher of several of the most important Italian musicians of the following generation, among them being Bassani, Cesti, Buononcini and Alessandro Scarlatti.   <ANTIMG src="images/fig47.png" width-obs="305" height-obs="400" alt="Fig. 47" title="Fig. 47" /> Fig. 47. HEINRICH SCHÜTZ.   <h3>II.</h3> The other type of oratorio received important assistance toward full realization in Germany, at the hands of Mattheson, as already noticed, and from those of Heinrich Schütz (1585-1672), who, after preliminary studies in[Pg 247] Italy, where he acquired the Italian representative style from Gabrieli in Venice, in 1609, three years later returned to Germany, and in 1615 was appointed chapel master to the elector of Saxony, a position which he held with slight interruptions until his death, at the advanced age already indicated. Notice has already been taken in a former chapter of his appearance in the field of opera composition, in setting new music to Rinuccini's "Dafne," on account of the German words being incapable of adaptation to the music of Peri. But before this he had demonstrated his versatility and talent in the production of certain settings of the psalms of David, in the form of motettes for eight and more voices. In his second work, an oratorio upon the "Resurrection," he shows the same striving after a freer dramatic expression. His great work "Symphoniæ Sacræ," consists of cantatas for voices, with instrumental accompaniments, in which the instrumental part shows serious effort after dramatic coloration. The first of his works in this style was the "Last Seven Words" (1645), which contained the distinguishing marks of all the later Passion music. It consisted of a narrative, reflections, chorales, and the words of the Lord Himself. Many years later he produced his great Passions (1665-1666), and in these he accomplishes as much of the dramatic expression as possible by means of choruses, which are highly dramatic in style and very spirited. The voluminous works of this master have now been reprinted, and some of them possess a degree of interest warranting their occasional presentation. Schütz occupies an intermediate position between the masters of the old school, with whom the traditions of ecclesiastical modes governed everything, and those who have passed entirely beyond them and[Pg 248] polyphony, into modern monody. The music of Schütz is always polyphonic, but there is much of dramatic feeling in it, nevertheless. He was one of those clear-headed, practical masters, who, without being geniuses in the intuitive sense, nevertheless contrive to impress themselves upon the subsequent activity in their province, chiefly through their sagacity in seizing new forms and bringing them into practicable perfection. Into the forms of the Passion, as Schütz created it, Bach poured the wealth of his devotion and his inspiration; so later Beethoven put into the symphony form, created to his hand by the somewhat mechanical Haydn, the amplitude of his musical imagination, which, but for this preparatory work of the lesser master, would have been driven to the creation of entirely new forms for his thoughts, not only hampering the composer, but—which would have been equally unfavorable to his success—depriving him of an audience prepared to appreciate the greatness of the new genius through their previous training in the same general style.   <ANTIMG src="images/deco4.png" width-obs="200" height-obs="37" alt="decoration" title="decoration" />   [Pg 249] <div style="break-after:column;"></div>

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