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32-677: Born in Berlin, Werner studied at the Berliner Akademie für Kirchen- und Schulmusik, the University in Berlin and at the Preußische Akademie der Künste . His teachers were Wolfgang Reimann, Arthur Egidi, Fritz Heitmann , Richard Münnich , Carl Stumpf and Georg Schumann (composition, organ), Kurt Schubert (piano), Max Seiffert and Johannes Wolf (history of music), Richard Hagel (conducting). In 1935 he became organist at

64-692: A revitalisation of church music in Germany in the 20th century, as also Rudolf Mauersberger , Günther Ramin and Johann Nepomuk David . Prussian Academy of Arts Too Many Requests If you report this error to the Wikimedia System Administrators, please include the details below. Request from 172.68.168.150 via cp1114 cp1114, Varnish XID 966143443 Upstream caches: cp1114 int Error: 429, Too Many Requests at Thu, 28 Nov 2024 11:01:59 GMT Oratorio An oratorio ( Italian pronunciation: [oraˈtɔːrjo] )

96-498: Is a musical composition with dramatic or narrative text for choir , soloists and orchestra or other ensemble . Like most operas , an oratorio includes the use of a choir, soloists, an instrumental ensemble, various distinguishable characters (e.g. soloists), and arias . However, opera is musical theatre , and typically involves significant theatrical spectacle , including sets , props , and costuming , as well as staged interactions between characters. In oratorio, there

128-601: Is also a four-part chorus to represent any crowds in the drama. The music is often contrapuntal and madrigal-like . Philip Neri 's Congregazione dell'Oratorio featured the singing of spiritual laude . These became more and more popular and were eventually performed in specially built oratories (prayer halls) by professional musicians. Again, these were chiefly based on dramatic and narrative elements. Sacred opera provided another impetus for dialogues, and they greatly expanded in length (although never really beyond 60 minutes long). Cavalieri's Rappresentatione di Anima, et di Corpo

160-557: Is also credited with writing the first English language oratorio, Esther . Handel's imitators included the Italian Lidarti who was employed by the Amsterdam Jewish community to compose a Hebrew version of Esther . Joseph Haydn 's The Creation (1798) and The Seasons (1801) have remained the most widely known oratorios from the period of classicism. While the first of these Händel inspired works draws from

192-433: Is an example of one of these works, but technically it is not an oratorio because it features acting and dancing. It does, however contain music in the monodic style. The first oratorio to be called by that name is Pietro della Valle 's Oratorio della Purificazione , but due to its brevity (only 12 minutes long) and the fact that its other name was "dialogue", we can see that there was much ambiguity in these names. During

224-484: Is compelling. The drama moves inexorably forward and the entire story is most movingly related." In 1998 the choir celebrated his 100th birthday with a performance of his motets Die Botschaft on Bible words for mixed choir a cappella with soprano, baritone and oboe soloists in the Nikolaikirche Heilbronn, conducted by Michael Böttcher. His compositions of more than 50 opus-numbers have included

256-509: Is generally minimal staging , with the chorus often assuming a more central dramatic role, and the work is typically presented as a concert piece – though oratorios are sometimes staged as operas, and operas are not infrequently presented in concert form . A particularly important difference between opera and oratorio is in the typical subject matter of the text. An opera libretto may deal with any conceivable dramatic subject (e.g. history , mythology , Richard Nixon , Anna Nicole Smith and

288-562: Is generally qualified as ' secular oratorio': a piece of terminology that would, in some historical contexts, have been regarded as oxymoronic , or at least paradoxical, and viewed with a degree of scare-quoted skepticism. Despite this enduring and implicit context, oratorio on secular subjects has been written from the genre's origins . The word oratorio comes from the Latin verb ōrō (present infinitive ōrāre ), meaning to orate or speak publicly , to pray, or to beg or plead, related to

320-575: Is regarded as the first masterpiece of the genre (like most other Latin oratorios of the period, it is in one section only), and in France Carissimi's pupil Marc-Antoine Charpentier (34 works H.391 - H.425). Lasting about 30–60 minutes, oratori volgari were performed in two sections, separated by a sermon ; their music resembles that of contemporary operas and chamber cantatas . In the late baroque period oratorios increasingly became "sacred opera". In Rome and Naples Alessandro Scarlatti

352-688: The Attic Greek noun ἀρά ( ará , “prayer”). (Hence the disambiguation entry for 'oratory' , including oratory (worship) .) The musical composition was "named from the kind of musical services held in the church of the Oratory of St. Philip Neri in Rome ( Congregazione dell'Oratorio ) in the latter half of the 16th cent." The word is only attested in English from 1727, with the equivalent 'oratory' in prior use, from 1640. Although medieval plays such as

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384-714: 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 (1600). Monteverdi composed Il Combattimento di Tancredi e Clorinda (1624) which can be considered as the first secular oratorio. The origins of the oratorio can be found in sacred dialogues in Italy. These were settings of Biblical, Latin texts and musically were quite similar to motets . There

416-708: The Second World War . Postwar oratorios include Dmitri Shostakovich 's Song of the Forests (1949), Sergei Prokofiev 's On Guard for Peace (1950), Vadim Salmanov 's Twelve (1957), Alfred Schnittke 's Nagasaki (1958), Bohuslav Martinů 's The Epic of Gilgamesh (1958), Krzysztof Penderecki 's St. Luke Passion (1966), Hans Werner Henze 's Das Floß der Medusa (1968), René Clemencic 's Kabbala (1992), and Osvaldo Golijov 's La Pasión según San Marcos (2000). Mauricio Kagel composed Sankt-Bach-Passion , an oratorio about Bach's life, for

448-480: The cantata Trauermusik (1935), Apfelkantate (1939), Symphonie in d (1954), Suite Concertante (1969), Psalmen-Triptychon (1972), a collection of motets Die Botschaft (1973), and concertos for trumpet, horn, piano and violin. His cantata Jesus Christus herrscht als König for choir, brass and timpani was published as well as a piano concerto, Konzertante Musik für Flöte, Oboe und Horn , Symphonische Musik für Streichorchester (music for string orchestra), and

480-482: The librettos of their oratorios as they did for their operas. Strong emphasis was soon placed on arias while the use of the choir diminished. Female singers became regularly employed, and replaced the male narrator with the use of recitatives . By the mid-17th century, two types had developed: The most significant composers of oratorio latino were in Italy Giacomo Carissimi , whose Jephte

512-663: The Bethlehem Church in Potsdam-Babelsberg and a school teacher. In 1936 he became organist and cantor at St. Nicholas' Church in Potsdam , promoted to Kirchenmusikdirektor (director of church music) in 1938. In 1939 he became music director at Radio Paris . After World War II he was organist and cantor at St. Kilian's Church in Heilbronn from 1946 until 1964. In 1966 he left his collection of music to

544-548: The Bible); the text of an oratorio often deals with sacred subjects, making it appropriate for performance in the church , which remains an important performance context for the genre. Catholic composers looked to the lives of saints and stories from the Bible . Protestant composers often looked to Biblical topics, but sometimes looked to the lives of notable religious figures, such as Carl Loewe's "Jan Hus" , an oratorio about

576-838: The Other Mary . Other religions represented include Ilaiyaraaja 's Thiruvasakam (based on the texts of Hindu hymns to Shiva ). Secular oratorios composed in the 21st century include Nathan Currier 's Gaian Variations (based on the Gaia hypothesis ), Richard Einhorn 's The Origin (based on the writings of Charles Darwin ), Jonathan Mills ' Sandakan Threnody (based on the Sandakan Death Marches ), Neil Hannon 's To Our Fathers in Distress , and David Lang 's The Little Match Girl Passion (2008). The oratorio Laudato si' , composed in 2016 by Peter Reulein on

608-515: The Passions of J. S. Bach , oratorio-passions such as Der Tod Jesu set by Telemann and Carl Heinrich Graun . After Telemann came the galante oratorio style of C. P. E. Bach . The Georgian era saw a German-born monarch and German-born composer define the English oratorio. George Frideric Handel , most famous today for his Messiah (1741), also wrote other oratorios based on themes from Greek and Roman mythology and Biblical topics. He

640-483: The cantata Von der Eitelkeit der Welt (Of the vanity of the world). In 1964 he wrote as his op. 44 an oratorio for Pentecost Veni, sancte spiritus (Come, Holy Spirit) on the sequence Veni sancte spiritus . The Oratorium nach Worten der Heiligen Schrift (oratorio after Bible words) for mixed choir, two solo voices and orchestra was first performed on 16 May 1971. It was published by the Carus-Verlag under

672-473: The early reformer, Jan Hus . Oratorios became extremely popular in early 17th-century Italy partly because of the success of opera and the Catholic Church's prohibition of spectacles during Lent . Oratorios became the main choice of music during that annual period for opera audiences. Conventionally, oratorio implies the sincere religious treatment of sacred subjects, such that non-sacred oratorio

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704-477: The first in the history of the genre to be based on the life of Buddha . Several late 20th and early 21st-century oratorios have since been based on Buddha's life or have incorporated Buddhist texts. These include Somei Satoh 's 1987 Stabat Mater , Dinesh Subasinghe 's 2010 Karuna Nadee , and Jonathan Harvey 's 2011 Weltethos . The 21st century also saw a continuation of Christianity-based oratorios with John Adams 's El Niño and The Gospel According to

736-542: The other thing that listening to all these performances has reinforced for me is how endlessly inventive, how eloquent and how moving is the music of Bach. I suspect that Fritz Werner would regard that as the best possible testament to his work." The same reviewer stated about a recording of the St Matthew Passion with Helmut Krebs as the Evangelist : "Werner's pacing of the whole work and his vision of it

768-739: The recordings have included the Pforzheim Chamber Orchestra , the Württembergisches Kammerorchester Heilbronn and the Südwestfunk Orchester . Werner's Bach recordings were compared to those of his contemporary Karl Richter . A reviewer wrote about his cantata recordings: "... this wise, discerning and humane Bach conductor has much to teach us, even (perhaps especially) in an age when we are so used to performances of Bach in period style and by small or smallish forces. But

800-520: The religious theme of creation, the second is more secular, containing songs about industry, hunting and wine. Britain continued to look to Germany for its composers of oratorio. The Birmingham Festival commissioned various oratorios including Felix Mendelssohn 's Elijah in 1846, later performed in German as Elias . German composer Georg Vierling is noted for modernizing the secular oratorio form. John Stainer 's The Crucifixion (1887) became

832-486: The second half of the 17th century, there were trends toward the performance of the religious oratorio also outside church halls in courts and public theaters . The theme of an oratorio is meant to be weighty. It could include such topics as Creation , the life of Jesus , or the career of a classical hero or Biblical prophet . Other changes eventually took place as well, possibly because most composers of oratorios were also popular composers of operas. They began to publish

864-990: The stereotypical battlehorse of massed amateur choral societies. Edward Elgar tried to revive the genre around the turn of century with the composition of The Light of Life (Lux Christi) , The Dream of Gerontius , The Apostles and The Kingdom . Oratorio returned haltingly to public attention with Igor Stravinsky 's Oedipus Rex in Paris (1927), William Walton 's Belshazzar's Feast in Leeds (1931), Paul Hindemith 's Das Unaufhörliche in Berlin (1931), Arthur Honegger 's Le Roi David and Jeanne d'Arc au bûcher in Basel (1938), and Franz Schmidt 's The Book with Seven Seals ( Das Buch mit sieben Siegeln ) in Vienna (1938). Michael Tippett 's oratorio A Child of Our Time (first performance, 1944) engages with events surrounding

896-447: The tercentenary of his birth in 1985. Oratorios by popular musicians include Léo Ferré 's La Chanson du mal-aimé (1954 and 1972), based on Guillaume Apollinaire 's poem of the same name, Paul McCartney 's Liverpool Oratorio (1991), and Mikis Theodorakis 's Canto General and Axion Esti , based on poems of Pablo Neruda and Odusseas Elytis . When Dudley Buck composed his oratorio The Light of Asia in 1886, it became

928-642: The title Veni Sancte Spiritus . The music for string orchestra was premiered by the Württembergisches Kammerorchester Heilbronn on 31 January 1968. His Suite Concertante for high trumpet, string orchestra and percussion op. 48 was recorded right after its premiere on 23 September 1971 with Maurice André and the same chamber orchestra. His Trumpet and Organ Duo op. 53 was recorded several times, for example with Michael Feldner and Petra Morath-Pusinelli or with Malte Burba and Johannes von Erdmann. Fritz Werner contributed to

960-830: The town of Heilbronn. Fritz Werner founded the Heinrich-Schütz-Chor Heilbronn in 1947 and conducted it until 1973. First they concentrated on the music of Heinrich Schütz and made it known in Heilbronn and the region. Later they recorded numerous works of Johann Sebastian Bach , his passions, oratorios, motets and especially more than 50 of his cantatas . Vocal soloists have included Agnes Giebel , Edith Selig , Claudia Hellmann , Barbara Scherler , Hertha Töpper , Theo Altmeyer , Kurt Huber , Helmut Krebs , Jakob Stämpfli , Barry McDaniel , Bruce Abel and Franz Kelch , instrumental soloists Maurice André (trumpet), Hermann Baumann (horn), Marie-Claire Alain (organ) and György Terebesi (violin). Orchestras for

992-418: Was a strong narrative, dramatic emphasis and there were conversational exchanges between characters in the work. Giovanni Francesco Anerio 's Teatro harmonico spirituale (1619) is a set of 14 dialogues, the longest of which is 20 minutes long and covers the conversion of St. Paul and is for four soloists: Historicus (narrator), tenor ; St. Paul , tenor; Voice from Heaven, bass ; and Ananias , tenor. There

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1024-441: Was the most noted composer. In Vienna the court poet Metastasio produced annually a series of oratorios for the court which were set by Caldara , Hasse and others. Metastasio's best known oratorio libretto La passione di Gesù Cristo was set by at least 35 composers from 1730 to 1790. In Germany the middle baroque oratorios moved from the early-baroque Historia style Christmas and Resurrection settings of Heinrich Schütz , to

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