The Standard Oratorios: Their Stories, Their Music, And Their Composers

The Story

This book offers a comprehensive exploration of the oratorio, a large-scale sacred musical work that combines narrative, music, and drama without staging or costumes. It begins by tracing the origins and development of the oratorio, highlighting its evolution through three principal stages. The author situates the oratorio within the broader context of sacred music, distinguishing it from related forms such as the Requiem, Te Deum, Stabat Mater, and Magnificat, which, while not strictly oratorios, share the grand scale and sacred themes often performed by oratorio societies.

The narrative then moves into detailed sketches of the most significant oratorios considered “standard” in the repertoire. Each oratorio is presented with an outline of its sacred story, a description of its principal musical numbers, and a brief biography of its composer, along with historical context. This methodical approach allows readers to understand both the narrative content and the musical artistry that define these works.

The book covers a wide range of composers and their masterpieces, from early figures like Carissimi and Handel to later masters such as Mendelssohn, Berlioz, Dvořák, and Schumann. For example, Handel’s oratorios, including “Messiah” and “Judas Maccabaeus,” are explored in depth, with attention to their dramatic structure, musical highlights, and historical significance. The “Messiah” is described as a majestic monument, unmatched in its expression of noble human sentiments and spiritual aspiration, with detailed attention given to its famous choruses and arias.

Mendelssohn’s contributions receive special focus, including his oratorios “Elijah,” “St. Paul,” and the unfinished “Christus.” The book discusses Mendelssohn’s careful selection and adaptation of texts, his musical style, and the emotional and spiritual impact of his works. For instance, “Elijah” is praised for its dramatic contrasts and devotional reverence, while “St. Paul” is noted for its glorification of Christianity through the figures of Stephen, Paul, and Barnabas.

The narrative also addresses the works of other composers such as Berlioz, whose oratorio “Eli” is characterized as learned, tasteful, and dignified, though not a work of genius, and Dvořák, whose sacred compositions are marked by their rich orchestration and emotional depth. Schumann’s “Paradise and the Peri” is mentioned as a romantic oratorio blending poetic text with expressive music.

In addition to the major oratorios, the book touches on related sacred compositions like Bach’s “Passion Music” and “Magnificat,” Berlioz’s and Verdi’s Requiems, and Rubinstein’s “Tower of Babel,” expanding the reader’s understanding of the sacred music tradition beyond the oratorio proper.

Throughout, the book balances historical detail with musical description, avoiding technical jargon to remain accessible to the general reader. It offers insights into the cultural and religious contexts that shaped these works, such as the use of the Requiem Mass in commemorating the dead and the role of oratorios in celebrating religious festivals and historical events.

The book concludes with an appendix and an index, providing additional reference material on composers, works, and musical terms. It stands as a valuable guide for those interested in the sacred music tradition, offering a rich panorama of the oratorio’s stories, music, and creators.

The People

• George P. Upton (Compiler and Author): A meticulous chronicler and editor, Upton aims to present oratorios to the general public with clarity and accuracy. His goal is to describe rather than critique, providing historical context and musical sketches that illuminate the works without overwhelming readers with technicalities.

• George Frideric Handel: Celebrated for his monumental oratorios like “Messiah” and “Judas Maccabaeus,” Handel is portrayed as a master of sacred drama. His music combines grandeur, devotional reverence, and dramatic intensity. Despite the passage of time, his works remain central to the oratorio repertoire, embodying noble human and spiritual ideals.

• Felix Mendelssohn: A composer of refined taste and deep religious sentiment, Mendelssohn’s oratorios such as “Elijah” and “St. Paul” reflect his intellectual rigor and spiritual devotion. His unfinished “Christus” reveals his ongoing engagement with sacred themes. Mendelssohn’s works are marked by their balance of dramatic narrative and musical beauty.

• Hector Berlioz: Known for his innovative orchestration and dramatic flair, Berlioz’s oratorio “Eli” is described as cultured and dignified, though lacking the “faculty divine” of genius. His career was marked by struggle and eventual recognition, and his sacred music reflects his mastery of modern orchestral resources.

• Antonín Dvořák: A composer who brought rich orchestration and emotional depth to sacred music, Dvořák’s oratorios and Requiems are noted for their powerful expression and connection to Czech musical traditions. His works contribute to the evolution of the oratorio in the late 19th century.

• Robert Schumann: A romantic composer whose “Paradise and the Peri” blends poetic text with expressive music. Schumann’s life was marked by early genius, critical writing, and personal struggles. His oratorio work reflects his lyrical style and deep engagement with spiritual themes.

In Its Own Voice

The book offers vivid descriptions and direct quotations that bring the music and its meaning to life:

“The deep, deep grief of a tormented conscience finds here an utterance which fulfils the purport and far transcends the expression of the words. One might suppose the power of the artist to have been concentrated upon this one incident, so infinite is its beauty...”

— Describing Bach’s profound musical expression of penitence.

“The oratorio abounds in contrasts, and here occurs another, the evening prayer of Samuel (‘This Night I lift my Heart to Thee’),—a pure, quiet melody, gradually dying away as he drops asleep, and followed by an angel chorus for female voices with harp accompaniment (‘No Evil shall befall thee’), the effect of which is very beautiful...”

— Illustrating the delicate interplay of melody and mood in Berlioz’s “Eli.”

“The ‘Messiah’ stands alone, a majestic monument to the memory of the composer, an imperishable record of the noblest sentiments of human nature and the highest aspirations of man.”

— Summarizing the unparalleled stature of Handel’s masterpiece.

What It's Really About

At its core, this book is an exploration of how music and sacred narrative intertwine to express humanity’s deepest spiritual longings and religious beliefs. It reveals the oratorio as a unique form that transcends mere storytelling to become a vehicle for devotional reflection, moral instruction, and communal worship.

The book emphasizes the oratorio’s role in dramatizing biblical and sacred stories, often focusing on moments of crisis, redemption, and divine intervention. Through detailed descriptions of musical numbers—arias, choruses, recitatives—it shows how composers use melody, harmony, and orchestration to evoke emotions ranging from penitence and sorrow to joy and triumph.

Another key theme is the historical and cultural context that shaped these works. The oratorio is presented not only as an artistic creation but also as a reflection of the religious, social, and political climates of its time. For example, Handel’s “Judas Maccabaeus” was composed to celebrate a military victory, linking sacred music to national pride and historical memory.

The book also explores the evolution of musical style and technique within the oratorio tradition. It highlights how composers like Mendelssohn and Berlioz expanded the expressive possibilities of the form, incorporating modern orchestral resources and dramatic contrasts while maintaining reverence for the sacred texts.

Underlying the narrative is a meditation on faith, human frailty, and the quest for redemption. The oratorios often dramatize the tension between sin and mercy, doubt and belief, death and resurrection. This spiritual dimension is central to understanding the enduring power and appeal of these works.

Finally, the book touches on the oratorio’s place within the broader sacred music tradition, including its relationship to other forms like the Requiem and Te Deum. This situates the oratorio as part of a living tradition of musical worship that continues to evolve.

Why Read It Today

This book offers a richly detailed and accessible introduction to the oratorio, ideal for readers interested in sacred music, musical history, or the intersection of faith and art. Its warm, precise prose invites readers to appreciate the stories and music that have inspired audiences for centuries.

Readers who enjoy learning about the lives and creative processes of composers will find valuable biographical sketches that illuminate the personal and historical circumstances behind these great works. The book’s avoidance of technical jargon makes it approachable for general readers, while its thoroughness satisfies those seeking depth.

The vivid descriptions of musical numbers help readers imagine the sound and emotional impact of the oratorios, making the book a useful companion for concertgoers or listeners exploring recordings. It also provides historical context that enriches understanding and appreciation.

However, readers should be prepared for the book’s 19th-century style and occasional period attitudes, which reflect its time of publication. Its length and detail may require patience, but the reward is a comprehensive panorama of a significant musical tradition.

Ultimately, the book stays with the reader by revealing how oratorios combine narrative, music, and spirituality to express universal human experiences—grief, hope, faith, and redemption—in ways that continue to resonate today. It invites reflection on the power of music to move the soul and connect us to stories larger than ourselves.