Franz Joseph Haydn.—The next name of importance is that of Haydn (1732-1809), who wrote “The Creation” and “The Seasons” toward the end of a long life, after his work as a composer had given him a command of musical resources excelled only by Beethoven, who did not equal him in skill in writing effectively and suitably for voices. It was in 1798 that “The Creation” was first given in Vienna. The score abounds in effective writing for the solo voices, in the florid style and in the conventional aria form, and in brilliant choruses which, however, cannot compare in dignity and breadth with those of Handel. The orchestral accompaniments are much more elaborate than those used by Handel, as can naturally be expected from a composer who had given his greatest efforts to the development of instrumental music. “The Seasons” was first performed in Vienna in 1801. It proved as successful as “The Creation.” Haydn’s simple, genial nature is apparent in this beautiful work, really too light to bear the name of oratorio, which has such close association with works of a deep, religious character.
Mozart and Beethoven.—As the orchestra developed under the masters of tone and dramatic effects, Mozart, Gluck and Beethoven, so the works in oratorio form took on a different texture. In the earlier periods, the accompaniments were subordinate, the interest was centred in the voices. But as composers realized the possibilities of the constantly-improving orchestra and the opportunities for effective combinations of voices and instruments, the tendency became more and more marked to elaborate the instrumental parts and to create an ensemble more complicated and gorgeous, based upon the orchestra and its tone-color scheme rather than on pure vocal effects. Mozart’s “Requiem” (1791), written just before the composer’s death, brings into use the most powerful dramatic resources of orchestra and voices to portray the spirit of the “mass for the dead. ” In oratorio, as in opera, Beethoven wrote but one work, “The Mount of Olives” (1803). The style is florid and operatic, somewhat in the style of the Italian composers; the resources of the orchestra are drawn upon more extensively than marked the methods of Haydn. The chorus is freely used, the “Hallelujah” being the strongest movement. The choral movements in the Ninth Symphony suggest what Beethoven might have done had he set himself to writing an oratorio in greater submission to the capacity of the human voice.
Spohr.—From now on, oratorio composition is associated with the masters of instrumental music, the orchestra is drawn upon for its richest and most powerful resources to work out the emotional and dramatic qualities of the texts; it is now no longer a mere accompanying instrument; it is in the highest degree essential to the effects designed by the composer. Ludwig Spohr (1784-1859), a great violinist, wrote his first oratorio, “Das Jüngste Gericht” (The Last Judgment), when he was but twenty-eight years old. A later work produced in 1826, goes by the English name “The Last Judgment,” although that is not the literal translation of the German title Die Letzten Dinge. In this work we find the romantic idea clearly in evidence. The composer’s style had been developed and individualized by his long experience as player and conductor; he was a master of the resources of instrumentation, conversant both as composer and conductor with the limitations of voices—he wrote a number of operas—so that he was prepared for the creation of a work which has a character of its own. A striking feature of this oratorio is the frequent use of chromatic progressions, which is indeed a characteristic of Spohr’s writing.
Mendelssohn.—The next great composer in Oratorio was a German; like him also his works had their greatest reception in England, Felix Mendelssohn Bartholdy (1809-1847). His first work, “St. Paul,” was given at Düsseldorf in 1836. His greatest oratorio, one that ranks with Handel’s “Messiah” in public favor, is “Elijah,” which was written for the Birmingham, England, Festival. It was first produced in 1846. As a diligent and enthusiastic student of Bach, it seems natural that Mendelssohn should have adopted the great master’s methods. In style “St. Paul” and “Elijah” show leanings toward Bach and the German oratorio rather than toward Handel. Mendelssohn, who produced Bach’s “Passion according to St. Matthew” in Berlin, in 1827, was thoroughly familiar with the plan of the German oratorio, a mingling of narrative, dramatic and meditative or reflective elements, and especially the Chorale to represent the Church, the chorus being, properly speaking, a part of the dramatis personæ, representing masses of people who share in the action, while the congregation represents the reflective element. He uses a fugal style quite freely in his choruses, but a strict fugue, in the style of Handel, is rare, as the composer’s feeling for emotional effects demands a freer style; the accompaniments are elaborate, partaking of the dramatic element and drawing upon the fullest resources of the orchestra. Mendelssohn had started the composition of another oratorio, “Christus,” on the lines of the “Passion” music of Bach, but died before the work was completed. His “Hymn of Praise” (1840), a large choral work that is occasionally sung, well represents Mendelssohn’s skill in combining vocal and orchestral effect. Riemann calls it a symphony-cantata, Parry says it “combines the qualities of a symphony and of an oratorio.”
- References.
- Grove.—Dictionary of Music and Musicians,
- articles on Oratorio and on composers named in this lesson.
- Parry.—Evolution of the Art of Music, Chapters VII and XIII.
Questions and Suggestions.
Give the names of the Italian composers who followed Carissimi in the Oratorio.
What contributed to make Germany a congenial field for Oratorio?
Who are the early composers of the “Passion” music?