LESSON XVIII.
The Oratorio. Development of the Opera.
The First Oratorio.—The novelty of the new style, which was called the stilo rappresentativo (representative style), the vigor and freedom it gave to an impressive delivery of the text, aroused universal attention. Among the composers who essayed it was Emilio del Cavaliere (1550-1599). By applying it to a sacred subject, he originated the Oratorio. Roman by birth, he had passed part of his life in Florence, and though not a member of the Camerata, was familiar with its aims and practice.
The germ both of the Opera and Oratorio is to be found in the Miracle Plays or so-called Mysteries of the Middle Ages. These were dramatic representations of Bible scenes or religious allegories by means of which a populace unable to read was taught the great truths of sacred history. Cavaliere’s oratorio, La Rappresentazione di Anima e di Corpo (The Representation of Soul and Body), was given in 1600 in Rome, at the Oratory of the Church of Santa Maria in Vallicella—hence its name.
Passage from Cavaliere’s Oratorio.
Its Characteristics.—Save for the nature of the subject, there was no apparent difference between it and an opera. The allegorical characters taking part appeared in costume and in action. The score even gives directions by which it may be concluded with a dance if so desired. By this, however, dignified and stately movements are understood, in nowise resembling the rapid dance of modern times. The composer in his instructions for performance, which are unusually full and complete, lays great stress upon an expressive delivery of the text, and the swelling and diminishing of the tones by the singers. In vigor and characterization it far surpasses Peri’s and Caccini’s operas. Cavaliere’s death, which occurred ten months before the production of his work, and the great popularity of the Opera, put a stop to the immediate development of the Oratorio; that was reserved for Carissimi a generation later.
Monteverde.—The task of taking the opera from the experimental stage and of placing it on the artistic foundation which it now occupies was accomplished by Claudio Monteverde (1568-1643), a man of extraordinary genius and originality. A harmonist of surpassing force and boldness, he had always rebelled against the restraints of the contrapuntal school, though, unlike Peri and Caccini, he was skilled in its intricacies. He was viol player in the band of the Duke of Mantua, and had composed masses and madrigals, many of which were severely criticised by the pedants of the day. He joined definite issue with them in his freedom of treating dissonances, the distinguishing feature of modern harmony. Heretofore, sevenths, ninths, augmented fourths and the like had never been heard without preparation. Monteverde, however, introduced them without regard to this restriction, little heeding the anathemas heaped upon his head by those who considered his infractions of established rules unpardonable. His ardent, restless temperament, seeking novel modes of expression, often led to wild and extravagant combinations which even today appear harsh and forced. At that time they must have seemed wilful attempts at outraging the ear and the sense of harmonic propriety. These innovations, however, are the cornerstone of modern harmony; of this as well as of the opera, Monteverde is the real founder. What are defects in his church music are excellences in his operas. The discords which disturb the serenity of a religious atmosphere are admirably fitted to produce dramatic effects and powerful climaxes. Monteverde belonged to the stage as his great contemporary, Palestrina, belonged to the church.
Position of Music in the 17th Century.—The interest which the success of the Florentine composers would have for a man thus gifted can be readily imagined. Yet he was obliged to wait a number of years for an opportunity to emulate their achievements. Music then was the especial pastime of the great; it was part of the state with which they surrounded themselves. Almost all titled and wealthy families had their own bands of musicians and choirs of singers. These assisted in their private chapels and lent additional eclat to seasons of festivity. Concerts and operas were given only at court or in the palaces of noblemen; public halls for any kind of musical occasion were unknown. A musician or composer could make his way only by attaching himself to a noble house or by securing a patron in court circles. Dafne and Euridice were made possible through the interest and protection of Count Bardi and Count Corsi. The opera was also attended with great expense. The taste of the times demanded an enormous outlay for mounting—costumes, scenery, decorations; only the extremely wealthy could afford it, and they reserved it for occasions of especial importance.
