Giacomo Carissimi & the Oratorio

Baptized in Marino, Italy, on 18 April 1605, Giacomo Carissimi had a barrel maker for a father. Alexander Carpenter at AllMusic has him emerging from an obscure youth at age eighteen in the choir at the Tivoli Cathedral, becoming an organist at age nineteen. The New World Encyclopedia has him in Assisi at age twenty where he became a chapel master. One could think he was composing by at least that time. He later assumed the same position at the Church of Sant'Apollinare in Rome in 1628 and remained there the rest of his life. He became a priest in 1637.

Among Carissimi's contributions to the Baroque period was the development of the oratorio, 'Jephte' of 1648 regarded his finest. Bruce Bishop [refs below] traces the first performance of an oratorio in an oratory (hall built for oratorios) to Emilio de’ Cavalieri's 'Rappresentatione di anima et di corpo' at the Chiesa Nuova in Rome in 1600. The oratorio is an opera without theatrical drama for the ear rather than eye. The oratorio was further distinguished from opera in having a sacred theme, whereas opera concerned itself with historical or mythological themes due its origins in association with humanist intelligentsia. The oratorio was probably assisted in common terminology due to early performances at the Oratory of Santissimo Crocifisso in Rome. Like opera, oratorios were intended to be grand with soloists backed by powerful choirs and numerous instruments grouped in orchestras (Latin "orchestra" from Greek). By the time of 'Jephte' baroque had had half a century to develop into multiple parts beyond its purest initial form that was Greek monody consisting of one voice with instrumental basso continuo. Continuo (figured bass) played by whatever instrument became standard in baroque, and scoring for instrumental parts swiftly exploded alongside baroque's new approach to voice having originated with the first operas of Jacopo Peri and Giulio Caccini. Monteverdi affirmed the baroque way of doing things and by 'Jephte's time it was the way of the world. The shift from the musical Renaissance to baroque had much been a transition from old-fashioned vocal polyphony toward multiple instruments now surrounding voice.

'The Story of Jephte' concerns the problem of Israeii Judge Jephtha in chapters 11 and 12 of the Biblical 'Book of Judges' who vows to God to sacrifice the first person who greets him if he returns home victorious after battle with the Ammonites. Enter the tragic when the first person to welcome him home is his own daughter. 'Jephte' was scored for six voices (SSSATB) and continuo with text in Latin appropriate to sacred music. Its final chorus (only) saw print in 1650.

'The Story of Jephte'   Oratorio by Giacomo Carissimi

   Scored SSSATB w continuo   Composed & performed 1648

Early Music Ensemble directed by Jeffery Kite-Powel / Florida State University / 2001

'Jonas' is an oratorio probably authored about the same time as 'Jephte'. Jonas is that same who was eaten by a whale in the Biblical 'Book of Jonah'.

'Sinfonia'   No.1 of 21 of the oratorio 'Jonas' by Giacomo Carissimi

   Prob composed near the time of 'Jephte' (1648)

Ensemble directed by Diego Fasolis

Among Carissimi's cantatas is 'Sciolto havean dall'alte sponde' also known as 'I Navaganti'. This work found its way into MS Och Mus. 377 as No.19 no later than 1653 when it was given to Oliver Cromwell’s ambassador to Sweden, Bulstrode Whitelocke, after a concert. It was also copied as No.2 into MS Och Mus. 996 of 1672. Both 377 and 966 were transcribed by guitarist, Angelo Michele Bartolotti. 'Sciolto havean dall'alte sponde' translates into something near 'Loose heaven from the high banks' or 'Loose heaven from the high shores'. 'Sciolto havean' is about a couple of lovers on a storm-tossed sea too drunk with passion to leave each other alone, thus drown. A good bedtime story for the kids, especially in Latin. Titles from 'Sciolto havean' also appear in MS Mus. 14 in the hand of John Blow circa 1675.

'Udite, Amanti'   From the cantata 'Sciolto havean dall'alte sponde' by Giacomo Carissimi

   'Hear, Lovers'

MSS: Och Mus. 377 1653 at latest   Och Mus. 996 1672   Mus.14 c 1675

Le Istituzioni Harmoniche directed by Marco Longhini

'Amanti, che dite'   Last piece from the cantata 'Sciolto havean dall'alte sponde' by Giacomo Carissimi

   'Lovers, what say you'

MSS: Och Mus. 377 1653 at latest   Och Mus. 996 1672   Mus.14 c 1675

Le Istituzioni Harmoniche directed by Marco Longhini

'Damnatorum lamentatio' is an oratorio dated to 1666 written for ATB with basso continuo. Carissimi also wrote versions for 2 violins with lute and 2 violins with viola da gamba. It's inclusion as 'Turbabantur impii' in MS Mus. e.34 sometime in the 17th century was scored à 6 between ATB with 2 violins and bassoon accompanied by basso continuo.

'Damnatorum lamentatio'   Oratorio by Giacomo Carissimi   1666

Le Parlement de Musique directed by Martin Gesteri

The oratorio, 'Judicium Salomonis', was composed sometime prior to 1669 and addresses the impending Judgment Day of Christ.

'Judicium Salomonis'   Part 1  Oratorio by Giacomo Carissimi   Comp before 1669

Ensemble San Felice directed by Federico Bardazz

'Judicium Salomonis'   Part 2  Oratorio by Giacomo Carissimi   Comp before 1669

Ensemble San Felice directed by Federico Bardazz

'Judicium Salomonis'   Part 3  Oratorio by Giacomo Carissimi   Comp before 1669

Ensemble San Felice directed by Federico Bardazz

In addition to cantatas and oratorios Carissimi wrote the parody mass, 'Sciolto Havean Dall'Alte Sponde'. A parody mass can be a secular caricature of a mass, but it more fundamentally refers to a piece of nonliturgical sacred music made to imitate the liturgical mass. The parody mass had been common a long time. Palestrina had composed about fifty of them in the 16th century. "Parody" translates to "imitative" of another work, like "version" might be. 'Missa Sciolto havean dall'alte sponde' was a parody of Carissimi's earlier cantata, 'Sciolto havean dall'alte sponde' of no later than 1653. The missa found its way into MS 1177 in 1672 scored à 5. Of the several missae possibly by Carissimi, 'Sciolto havean' is the only accepted as certain.

'Sciolto havean dall'alte sponde'   Missa by Giacomo Carissimi

'Loose heaven from the high banks' or 'Loose heaven from the high shores'

MS 1177 scored a 5   1672

Le Istituzioni Harmoniche directed by Marco Longhini

Carissimi died in Rome on 12 January 1674, a major figure amidst the first century of baroque.