The Oratorio - History and Composers of Oratorios
Characteristics of the Oratorio An oratorio is an extended composition for vocal soloists, chorus and orchestra; the narrative text is usually based on scripture or biblical stories but is non-liturgical. Although the oratorio is often about sacred subjects, it may also deal with semi-sacred subjects. This large-scale work is often compared to an opera, but unlike the opera, the oratorio often doesn't have acting, costumes and scenery. History of the Oratorio During the mid-1500s, an Italian priest by the name of San Filippo Neri founded the Congregation of the Oratory. Notable Composers of Oratorios Early examples of oratorios include the "Representation of Soul and Body" (La rappresentazione di anima e di corpo) by the Italian composer Emilio del Cavaliere and the 16 oratorios based on the Old Testament written by the Italian composer Giacomo Carissimi. The oratorios written by the French composer Marc-Antoine Charpentier, especially "The Denial of St. Reference: oratorio (2009).
Opera
Opera (English plural: operas; Italian plural: opere) is an art form in which singers and musicians perform a dramatic work combining text (called a libretto) and musical score, usually in a theatrical setting.[1] Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is part of the Western classical music tradition.[2] It started in Italy at the end of the 16th century (with Jacopo Peri's lost Dafne, produced in Florence in 1598) and soon spread through the rest of Europe: Schütz in Germany, Lully in France, and Purcell in England all helped to establish their national traditions in the 17th century. In the 18th century, Italian opera continued to dominate most of Europe, except France, attracting foreign composers such as Handel. Operatic terminology[edit] History[edit] Origins[edit]
The Baroque Suite
If you have been to many guitar recitals or heard many guitar recordings the chances are you have been exposed to the baroque suite. You may even have had the chance to wonder what it is, why there are some pieces that seem to be called the same in each one, and why there are other groups of pieces that sound pretty similar but are not called "suites". What's going on? This article looks at the Baroque Suite from the historical point of view, defines it, analyses its components and discusses its relevance to the classical guitar. Firstly the historical question. One important part of music making in the Baroque period (as before and since) was music for dancing, and the standard pieces used both for actual dancing and also for much abstract 'listening' music became consolidated in what is now recognised as the Baroque suite This is based on a group of four core dances, the Allemande, the Courante, the Saraband and the Gigue. To start with an analysis of the core ingredients.
Famous classical composers and their works
Ludwig van Beethoven (1770 - 1827) was, and remains today, an olympian figure in the history of classical music. He was a crucial figure in the transitional period between the Classical and Romantic eras in Western classical music, and remains one of the most acclaimed and influential composers of all time. Born in Bonn, present-day Germany, he moved to Vienna in his early twenties and settled there, studying with Joseph Haydn and quickly gaining a reputation as a virtuoso pianist.At an early age, Beethoven took an interest in music, and his father taught him day and night, on returning to the house from music practice or the tavern. Without doubt, the child was gifted, and his father Johann envisaged creating a new Mozart, a child prodigy. Some time after 1779, Beethoven began his studies with his most important teacher in Bonn, Christian Gottlob Neefe. In 1801, Beethoven composed his Sonata quasi una Fantasia Op. 27, No. 2, known as "Moonlight Sonata".
Oratorio
History[edit] 1600, origins of the oratorio[edit] Although medieval plays such as the Ludus Danielis, and Renaissance dialogue motets such as those of the Oltremontani had characteristics of an oratorio, the first oratorio is usually seen as Emilio de Cavalieri's Rappresentatione di Anima, et di Corpo. Monteverdi composed Il Combattimento di Tancredi e Clorinda which can be considered as the first secular oratorio. 1650–1700[edit] By the mid-17th century, two types had developed: Lasting about 30–60 minutes, oratorio volgares were performed in two sections, separated by a sermon; their music resembles that of contemporary operas and chamber cantatas. oratorio latino (in Latin) – first developed at the Oratorio del Santissimo Crocifisso, related to the church of San Marcello al Corso in Rome. The late baroque oratorio[edit] In the late baroque oratorios increasingly became "sacred opera". The oratorio in Georgian Britain[edit] The Victorian oratorio[edit] 20th-century oratorios[edit]
