Oratorio doubtless sprang from the mystery plays of the Middle Ages, and its inception arose in Italy at the beginning of the seventeenth century. The earliest specimens would, naturally, have little resemblance to the great creations of two centuries later, but to the genius of the early Italians we owe its birth. It is seen in embryo as early as the fifteenth century or even before,
but perhaps the first work known to us, that definitely shows affinity to oratorio is Emilio's "Rappresentazione," which was first performed in the church of the Oratorians, S. Maria, in Vallicella, in the year 1600. A great advance on it is shown in the works of Carissimi, and still more in those of his illustrious pupil, Scarlatti. The development was carried on by Pergolesi, Jomelli, and Stradella, whose "S. John the Baptist" was for long probably the most celebrated of the oratorios in primitive form.
The origin of the word "oratorio" is derived from S. Filippo Neri, who founded the Order of the Oratory in 1577. As its name implies, the first duty of the members was prayer, but what probably brought about the institution, was the humane desire to give shelter to the many thousands of pilgrims who flocked to Rome in various stages of destitution. Each shelter he established, became a religious home—called oratorium—in which services were held, with the sanction of the Pope, the one condition being that the celebration of the Eucharist was forbidden.
In these services music had a prominent place, and there is abundant evidence to prove that scenes from the sacred writings were illustrated both by singing and acting.
For instance, at the production of Emilio's "Rappresentazione," in the oratory of Santa Maria, not only were the arts of music and acting requisitioned, but the additional aid of costumes, scenery and dancing. Such a work, with chorus,
solo and recitative alternating, became known as oratorio. There is little doubt that this is the true origin of the word.
As oratorio developed, however, all extraneous aid was dispensed with, and music allied to sacred words were the sole constituents. As we have seen, oratorio in its early stages was essentially the same as opera, except that it was confined to religious subjects. It is interesting to compare their respective developments. The one was religious, the other not; one gradually restricting, the other appropriating the aid of other arts; the one steadfast in its appeal to religious fervour, the other restless in effort, by all means within reach, to augment its power of sensuous attraction.
In the case of oratorio, the process has culminated in the production of Elgar's "Dream of Gerontius," in that of opera, Wagner's "Tristan and Isolde."
It is to the genius of Handel that England is ever indebted for the immense service of once more bringing music into the lives of her people.
On his first visit he had used this tremendous power to amuse a dissolute aristocracy and the cosmopolitan hordes that the Restoration attracted to London, by producing "Italian" opera of his own composing, and introducing the most celebrated Italian singers of the day.