by ecclesiastical authority. But the principle upon which they were founded still remained untouched, and the general opinion seemed to be rather in favour of their reformation than their absolute discontinuance. S. Philip Neri, the Founder of the Congregation of Oratorians, thought very highly of them as a means of instruction, and warmly encouraged the cultivation of Sacred Music of all kinds. On certain evenings in the week his Sermons were preceded and followed either by a selection of popular Hymns (see Laudi Spirituali), or by the dramatic rendering of a Scene from Scripture History, adnpted to the comprehension of an audience consisting chiefly of Roman youths of the humbler classes, the Discourses being delivered between the Acts of the Drama. As these observances were first introduced in the Oratory of S. Philip's newly-built Church of S. Maria in Vallicella, the performances themselves were commonly spoken of as Oratorios, and no long time elapsed before this term was accepted, not in Rome only, but throughout the whole of Europe, as the distinguishing title of the 'Dramma sacra per musica.'
S. Philip died in 1595, but the performances were not discontinued. The words of some of them are still extant, though unfortunately without the Music, which seems to have aimed at a style resembling that of the Madrigale Spirituale—just as in the 'Amfiparnasso' of Orazio Vecchi we find a close resemblance to that of the sæcular Madrigal. Nothing could have been more ill adapted than this for the expression of dramatic sentiment; and it seems not improbable that the promoters of the movement may themselves have been aware of this fact, for soon after the invention of the Monodic Style we meet with a notable change which at once introduces us to the First Period in the History of the true Oratorio. [See Monodia.]
While Peri and Caccini were cautiously feeling their way towards a new style of Dramatic Music in Florence, Emilio del Cavaliere, a Composer of no mean reputation, was endeavouring with equal earnestness to attain the same end in Rome. With this purpose in view he set to Music a Sacred Drama, written for him by Laura Guidiccioni, and entitled 'La Rappresentazione dell' Anima e del Corpo.' The piece was an allegorical one, complicated in structure, and of considerable pretensions; and the Music was written throughout in the then newly-invented stilo rappresentativo of which Emilio del Cavaliere claimed to be the originator. [See Opera, p. 499; Recitative.] The question of priority of invention is surrounded, in this case, with so many difficulties, that we cannot interrupt the course of our narrative for the purpose of discussing it. Suffice it to say that, by a singular coincidence, the year 1600 witnessed the first performance, in Rome, of Emilio's 'Rappresentazione' and, in Florence, of Peri's 'Euridice'—the earliest examples of the true Oratorio and the true Opera ever presented to the public. The Oratorio was produced at the Oratory of 5. Maria in Vallicella in the month of February, ten months before the appearance of 'Euridice' at Florence. Emilio del Cavaliere was then no longer living, but he had left such full directions, in his preface, as to the manner in which the work was to be performed, that no difficulty whatever lay in the way of bringing it out in exact accordance with his original intention, which included Scenes, Decorations, Action, and even Dancing on a regular Stage (in Palco). The principal characters were Il Tempo (Time), La Vita (Life), Il Mondo (the World), Il Piacere (Pleasure), L'Intelletto (the Intellect), L'Anima (the Soul), Il Corpo (the Body), two Youths, who recited the Prologue, and the Chorus. The Orchestra consisted of 1 Lira doppia, 1 Clavicembalo, 1 Chitarone, and 2 Flauti, 'o vero due tibie all' antica.' No Part is written for a Violin; but a note states that a good effect may be produced by playing one in unison with the Soprano Voices, throughout. The Orchestra was entirely hidden from view, but it was recommended that the various characters should carry musical instruments in their hands, and pretend to accompany their Voices, and to play the Ritornelli interposed between the Melodies allotted to them. A Madrigal, with full Instrumental Accompaniment, was to take the place of the Overture. The Curtain then rose, and the two Youths delivered the Prologue; after which a long Solo was sung by Time. The Body, when singing the words 'Se che hormai alma mia,' was to throw away his golden collar and the feathers from his hat. The World and Life were to be very richly dressed, but when divested of their ornaments, to appear very poor and wretched, and ultimately dead bodies. A great number of Instruments were to join in the Ritornelli. And, finally, it was directed that the Performance might be finished either with or without a Dance. 'If without,' says the stage-direction, 'the Vocal and Instrumental Parts of the last Chorus must be doubled. But should a Dance be preferred, the Verse beginning Chiostri altissimi e stellati must be sung, accompanied by stately and reverent steps. To these will succeed other grave steps and figures of a solemn character. During the ritornelli the four principal Dancers will perform a Ballet, embellished with capers (saltato con capriole) without singing. And thus, after each Verse, the steps of the Dance will always be varied, the four chief Dancers sometimes using the Gagliarde, sometimes the Canario, and sometimes the Corrente, which will do well in the Ritornelli.'
The general character of the Music—in which no distinction is made between Recitative and Air—will be readily understood from the following examples of portions of a Solo and Chorus.
