Tag: oratorio

  • Opera and Oratorio

    Opera and Oratorio

    An oratorio is a large musical composition for orchestra, choir, and soloists. (all quotes are taken from Wikipedia)

    Our oratorio, The Cool Web, uses a chamber orchestra of sixteen, a choir of twenty-four, one main soloist (the voice of Robert Graves) and a children’s choir of  forty.

    Like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, and arias. However, opera is musical theatre, while oratorio is strictly a concert piece—though oratorios are sometimes staged as operas, and operas are sometimes presented in concert form.

    In an oratorio there is generally little or no interaction between the characters,

    no props

     

    or elaborate costumes.

    which, of course, makes them much cheaper to stage..

    A particularly important difference is in the typical subject matter of the text. Opera tends to deal with history and mythology, including age-old devices of romance, deception, and murder,

    Our first opera, Vice,based on The Revenger’s Tragedy,

    vicepromo

    followed this tradition closely; there was very little else to the plot except romance – well, sex, really – deception and murder. And, of course, revenge. And damnation. And, as you would expect with this kind of mix, quite a lot of comedy.

    whereas the plot of an oratorio often deals with sacred topics, making it appropriate for performance in the church. Protestant composers took their stories from the Bible, while Catholic composers looked to the lives of saints, as well as to Biblical topics. 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 period for opera audiences.
    The word oratorio, from the Italian for pulpit, 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.”[2]
    Although medieval plays such as 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.

    I saw Rappresentatione in Salzburg, when my ex-husband and I were lecturing there. It was an experience that will live with me for ever. It was performed in the Basilica of St Peter, a magnificent Baroque church. The choir were dressed like angels; all in white and gold with tightly curled golden wigs. They  sang down to us from the galleries. It was as if the church itself  had found its voice.

    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 was a strong narrative, dramatic emphasis and there were conversational exchanges between characters in the work.  These became more and more popular and were eventually performed in specially built oratories (prayer halls) by professional musicians. Cavalieri’s Rappresentatione di Anima, et di Corpo 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,
    During the second half of the 17th century, there were trends toward the secularization of the religious oratorio. Evidence of this lies in its regular performance outside church halls in courts and public theaters. Whether religious or secular, 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. 

    Our choice of subject, the commemoration of the Great War, with a libretto composed of the poems of Robert Graves, who was himself one of the soldiers straight from school who walked at 19 into the Somme, is completely in the tradition of secular oratorios; few subjects could bear more human, historical, and artistic weight. It also tells its story, as Graves himself did, through references to Biblical heroes and Greek  Mythology.  When his beloved friend David was killed, the poem he wrote describes his death as that of the biblical David, not slaying, as in the Biblical tradition, but slain, in the cold light of the trenches, by the overwhelming might of  Goliath.

    And, when his death is mourned, it is grieved over by a faun.

    The Georgian era in England saw a German-born monarch and German-born composer define the English oratorio. George Friederic Handel, most famous today for his Messiah, also wrote other oratorios based on themes from Greek and Roman mythology and Biblical topics. He is also credited with writing the first English language oratorio, Esther.

    The story has it that Handel’s main reason for developing the oratorio further was the fact that the popularity of his operas was starting to wane, and it was becoming increasingly difficult to find producers willing to put up the money. An oratorio was a great deal easier to finance…

  • The hot scent of the summer rose

    The hot scent of the summer rose

     

     

    The Red Rose

     

    Children are dumb to say how hot the day is..

    How hot the scent is of the summer rose..

    How dreadful the black wastes of evening sky

    How dreadful the tall soldiers drumming by

    The hot scent of the summer rose; sensual delight seen by Robert Graves in this first verse of The Cool Web as a sensation as overwhelming in its intensity as heat or terror.

    The black sky, the drums, the soldiers, the dread, recur so often in the imagery of Graves’ youthful poetry that they have woven themselves into the narrative of the oratorio, and it is easy to see how they relate to the terror of the war, but the rose is different.

    In classical and popular culture, the rose is the symbol of romantic love, both the longing for, and the object of it.

    But it also appears in many religions – particularly in Sufi mysticism – as a symbol of the longing  for divine love, and also of the beauty of a human soul grown to perfection.

    The Rose of the soul

    For these reasons, the cultivation of geometrical rose gardens has a long history in Iran and surrounding lands. In the lyric ghazal, it is the beauty of the rose that provokes the longing song of the nightingale.

    The Persian Rose Garden

     

    Hazrat Inayat, in Volume 10 of The Sufi message, expresses it thus:

    Just as the rose consists of many petals held together, so the person who attains to the unfoldment of the soul begins to show many different qualities.

    The qualities emit fragrance in the form of a spiritual personality.

    The rose has a beautiful structure, and the personality which proves the unfoldment of the soul has also a fine structure, in manner, in dealing with others, in speech, in action.

    The atmosphere of a spiritual being pervades the air like the perfume of a rose.”

    The Mandala

    Mandalas, which express the human aspiration towards wholeness and coherence – i.e. a spiritually complete soul, have existed in Eastern religion and philosophy for centuries, and are echoed in Christianity by  the medieval rose window.

    The Rose Window

    In much the same way the centre of Eastern mandalas depict the “godhead” or divine aspect of the world, so do rose windows; typically Christ or the Virgin and Christ are found in the central rosette.

    In eastern philosophy, there are many paths to reach the divine, and these are represented by “gates” at the cardinal points of the mandala. By the same token, saints depicted in the petals of a rose window can be seen as intermediaries (or paths) to Christ.

    The basis of many churches is geometry and proportion. Numbers had a metaphysical significance, and were thought to have occult power.

    In a rose window every space is defined by another smaller geometric figure – a trefoil, a quatrefoil, rosette, or spherical triangle. Even the glasswork itself adds to this hidden geometry which defines the exact placement of every major feature of the rose window – relating to the radial elements, concentric divisions, and all to the centre.

    Circles, squares, triangles, stars, and, of course, the 12 major divisions typically found in rose windows all point to the finite and infinite, earth and heaven, or matter and spirit.

    In Christian iconography the rose has a common association with the Virgin Mary,

    The Virgin Mary of the Rose

     

    and is also associated with sacrifice and death; it is a direct symbol of the five wounds of Christ; the red rose was eventually adopted as a symbol of the blood of the Christian martyrs.

    St Valentine

    Here the rose is associated with St Valentine – later ironically to be responsible for the giving of countless thousands of red roses – as a martyr.

    Graves picks up on this association in The Dying Knight and the Fauns as the blood of the fallen hero soaks into the woodland ground, turning the innocent daisies into roses.

    The idea of a rose as a symbol of the completed soul is an abstract one for most ordinary mortals to hang on to; much more poignant for most of us is the rose as redolent of the power and fragility of earthly beauty, earthly love, and the heat and glory of life itself, to be longed for and feared in equal measure.

    Feared especially for a soldier; for the stronger your passion for a lover, or for the beauty of the world, the more agonising it is to die.

    The roses in Graves’ Garden in The Morning before the Battle are withered by the chill wind of death; they contain all these meanings.

    I knew it walking yesterday at noon
    Down a deserted garden full of flowers.
    …Carelessly sang, pinned roses on my breast,
    Reached for a cherry-bunch—and then, then, Death
    Blew through the garden from the North and East
    And blighted every beauty with chill breath.

    So perhaps the rose of The Cool Web, with its cruel scent, contains them all too.

    Roses of Picardy

     

    “Roses of Picardy” was one of the most famous songs of the First World War and is still frequently recorded today. Picardy was a historical province of France; the area which contained the Somme battlefields.

     Hayden Wood related that as he was going home one night on the top of a London bus the melody came to him. He jumped off and wrote down the refrain on an old envelope while standing under a street lamp.

    British soldiers sang his song as they enlisted for the Front in France and Flanders. During the war itself, the song sold at a rate of 50,000 copies of the sheet music per month; after the war, the singing of it helped soldiers who were suffering from shell-shock to regain their powers of speech.

    If it is true that we unconsciously retain a collective knowledge of the past and its symbolism, no wonder Roses of Picardy held such meaning for the young men on the Western Front, and their anxious sweethearts at home.

     

The Cool Web : A Robert Graves Oratorio
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