Extra-liturgical gatherings became commonplace in Rome following the Council of Trent, and here we see born the oratorio (ora=pray in Latin). The societies were frequented by both clergy and faithful, and some of them even sported their own orchestras and choral groups. These meetings presented biblical works using gospel and other stories in a semi-dramatic form not unlike the Florentine opera that was developing at about the same time.
One of the most famous such societies was the Oratorio de Crocefisso, in possession of its own organ and choir, that presented pieces on Friday afternoons in Lent, and was a magnet for the most noted composers of the day, among them Giacomo Carissimi (1605-74). During his lifetime the styles at these concerts changed from merely monophonic motets to prose-like declamations of the Latin texts that borrowed both from the declamatory style of Gregorian lessons and Monteverdi’s stile recitativo. This enabled the music to be more expressive of the words, and to actually grant a degree of drama into many of the biblical texts, especially the very popular incidents of the Old Testament. Carissimi, ordained a priest after a Jesuit education, was ultimately appointed to the Oratorio de Crocefisso to provide music for their religious exercises, and this served as a workshop for the development of the form.
The two “oratorios” on this disc are highly declamatory is style, and one almost needs to be in the time period itself to understand what a dramatic change this music must have been in the ears of the first hearers. For those of us who live in a post-Handelian age, the fascination is somewhat more muted, though one can certainly admire the craft and skill that goes into the presentation. More exciting to me, and more amply showing us the composer’s abilities, are the recordings of the Dixit Dominus and Magnificat. Here we are able to ascertain what a fine composer Carissimi is, to admire his renaissance/early baroque style and the lovely and sensitive lines with which he envelops the text. In any case, I suspect this album will be somewhat of a “maybe” for many collectors. Others, new to the genre, are better suited to the tried and true, Monteverdi and Gabrieli especially. After this initial break-in, one may graduate to the subtle nuances of Carissimi. Once you get there, this lovely album, nicely captured in fine SACD sound that is caressing and comforting, will serve you well.
— Steven Ritter
