Oratorio

1724 WordsNov 19, 20067 Pages
Introduction Within the baroque era, concerning the genre of vocal music, religious music cannot be overlooked as well as the opera. In this age, not only liturgical music which is from the Middle Ages such as the Mass music and Magnificat, but peculiar music of baroques such oratorio and the church cantata were also invented, while there was antagonism between Catholic and Protestant. Even in the music for liturgical of the church, it tended to opera or a dramatic style. It was the feature of the Catholic Church music of the baroque period in Italy. During the Baroque period, people saw the invention of a new music form: the oratorio in the 17th century in Europe. The oratorio has a long and profound history since Italian…show more content…
It was a new form and it begins in Handel¡¯s usual way, with a symphony or overture. Messiah is divided into three parts as with all oratorios; The Birth, The Passion, The Aftermath. In Messiah, the three parts represent Christ's birth, death, and resurrection. With a Biblical passage as their basis, each part breaking down into a sequence of arias and choruses. The first section draws from the book of Isaiah; that which prophesies the coming of the Messiah. At the end of the first and the beginning of the second sections, there are few quotations from the Gospels. The rest of the second section is composed of prophesies from Isaiah and quotations from the evangelists. The third section includes one quotation from Job, the rest primarily from First Corinthians. Its first performance was in Dublin in Ireland in 1742. For the Dublin premiere the following scoring was used: five solo voices, four-part mixed chorus, two oboes, two trumpets, timpani, strings, continuo with cello, contrabass, bassoon, harpsichord, and organ. The performance made a great coup. After this journey, he put opera behind him and for most of the remainder of his life gave oratorio performances. The first London performance of Messiah was one year later from the first performance in Dublin. At the time, Handel subtitled the Messiah ¡®new sacred oratorio¡¯ and some scholars argue that it has appearances of Handel's guilty feeling to perform the oratorio in the
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