the latin dramatic dialogue and the nascent oratorio · the oratorio; some of the dialogues use...

The Latin Dramatic Dialogue and the Nascent Oratorio'

BY HOWARD E. SMITHER

THE IMPORTANCE OF THE MUSICAL DIALOGUE as a vehicle of stylistic

change in the period of transition from the Renaissance to the Baroque has long been recognized. In fact, Theodor Kroyer considered the dialogue second only to the madrigal in significance as an arena of experimentation in this period.2 Kroyer distinguished two basic types, which he termed "reprise dialogue" and "r61le dialogue." The former uses simple repetition, as in a double-chorus echo composition, or modified repetition; the r6le dialogue uses a text in which two or more persons converse and which is set to music for alternating groups, soloists, or a combination of these. The use of sacred and secular dialogues of both types is a facet in this transitional period's development of concertato style, and the interest in the r6le dialogue reflects the period's fondness for dramatic elements in music.

Most of the writers whose works are treated below agree that the early 17th-century spiritual r61le dialogue in Italian is a forerunner of the oratorio; some of the dialogues use lauda texts, were intended to be performed in oratories, and have narrative and dramatic features in common with the musical species to be called oratorio later in the century. But there is considerable confusion regarding the relation of the r61e dialogue in Latin to the emergence of the oratorio; the frequently unconvincing and contradictory statements are no doubt due in part to the dearth of modern editions and analytical studies of such dialogues. The present study in its effort toward clarification will briefly examine the principal writings on the subject before turning to musical analysis.

I Arnold Schering began his review of Domenico Alaleona's Studi su

la storia dell' oratorio musicale in Italia (Turin, I9o8)3 with the follow- 1This article is an expansion of a paper presented at the annual meeting of the

American Musicological Society, Washington, D. C., December 27, 1964. The research on which it is based is part of that for a larger study in progress on the oratorio and sacred dramatic dialogue in i7th-century Italy. The author gratefully acknowledges the assistance of the Tulane University Council on Research and a Fulbright research grant which have made the study possible. 2 "Dialog und Echo in der alten Chormusik," Jahrbuch der Musikbibliothek Peters XVI (1909), 13-32. For lists of sacred and secular dialogues of the 16th and x7th centuries see pp. 30-32 of this article, and Elisabeth Noack, "Dialog," MGG III, cols. 39I-403.

S Alaleona's Studi was reprinted as Storia dell' oratorio musicale in Italia (Milan,

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404 JOURNAL OF THE AMERICAN MtTSICOLOGICAL SOCIETY

ing statement: "Until recently a terra incognita, the history of the origin and first development of the oratorio has been clarified so much through extensive studies in the past three years that one can regard the chief problems as solved."4 One may assume that the studies Schering had in mind in addition to that by Alaleona are the two of which he had already published reviews: Guido Pasquetti's L'oratorio musicale in Italia: storia critico-letteraria . . . (Florence, 1906) and Jose Rafael Car- reras y Bulbena's El oratorio musical desde su origin hasta nuestros dias (Barcelona, I9o6).5 Schering no doubt also intended reference to his own Habilitationsschrift, Die Anfdnge des Oratoriums (Leipzig, 1907), which he later used as the first four chapters of his Geschichte des Oratoriums (Leipzig, 1911). If it is an overstatement to assert that these publications solve the chief problems of the early history of the oratorio, it is nevertheless evident that they represent an important step in that direction. Probably more progress was made in the years 1906- 1908 toward the understanding of the earliest phase of oratorio history than has been made since. While there are evident weaknesses in all these works, they tend to complement one another to provide a useful framework for the study of the early oratorio.

Carreras y Bulbena provides virtually no discussion of the antecedents of the oratorio latino. Pasquetti and Alaleona, however, make serious efforts to deal with its origin, and they are much alike in their treatment.6 Both assume that it developed from a type of motet that gradually increased in length, became largely monodic, and adopted dialogue tech- nique together with narrative and dramatic elements. They agree that a secondary influence on the development of the oratorio latino was the type of Italian dialogue performed in Rome at the Oratorio di S. Maria in Vallicella and the Oratorio di San Girolamo della Caritai (both founded by S. Filippo Neri), illustrated by those in G. F. Anerio's Teatro armonico spirituale (Rome, 1619). They assume this development to have taken place within the first four decades of the century, primarily in the oratories of Rome; their research was confined almost exclusively

1945). The format and pagination of the reprint differ considerably from the original. All page references in this article will be to the more generally available reprint.

4Zeitschrift der internationalen Musikgesellschaft X (19o8), p. 178: "Bis vor kurzem noch eine terra incognita, ist die Geschichte des Ursprungs und der ersten Entwicklung des Oratoriums seit etwa drei Jahren durch umfangreiche Studien derart klargelegt worden, dass man die Hauptprobleme fiir gel6st ansehen kann."

5 See ZIMG IX (1907), pp. 44-46, and VIII (90o6), p. 200, for Schering's reviews of Pasquetti's L'oratorio and Carreras y Bulbena's El oratorio, respectively. These reviews and that of Alaleona's Studi cited above are especially useful for the formulation of the central questions regarding the origin of the oratorio latino.

6For their discussions of this subject see Alaleona, op. cit., pp. 165-i73, and Pasquetti, op. cit., pp. 233-237.

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THE LATIN DRAMATIC DIALOGUE AND THE NASCENT ORATORIO 405

to that city where they locate the principal center of activity at the Oratorio del Crocifisso in which Carissimi was later active. Neither author's account of the development from the motet to the oratorio latino is entirely convincing, as neither provides sufficient references to musical works that reveal the development.

Alaleona treats music more extensively than does Pasquetti. The former recognizes that narrative and dramatic texts had been used for polyphonic motets of the late Renaissance and that dialogue texts were often set for solo voices in the early I7th century; but he restricts his search for musical examples to composers known to have been active at Crocifisso, no doubt on the assumption that only music used there could be said to form a part of the history of the oratorio latino. Alaleona's obviously diligent search there for music bore little fruit. He was unable to find in the archive of Crocifisso music that reveals the development from the motet to the oratorio, and the few texts that he quotes from compositions by composers active there do not illustrate a significant step beyond the characteristic few-voiced sacred concerti of the time.

Arnold Schering's treatment of the origin of the oratorio latino differs from those discussed above in that he did not restrict the search for its antecedents to music assumed to have been performed in oratories.7 He regards the Latin dramatic dialogues of the early I7th century, which he terms Oratoriendialoge, as immediate forerunners of the oratorio latino; nevertheless, he recognizes that most of them were printed in Venice and concludes that they were not favored in Rome in the early decades of the century.8 Schering considers the Latin dialogue to be a modified revival of the liturgical drama. In support of his position he points to the similarities between the texts of certain dramatic dialogues and medieval liturgical dramas and explains the use of the narrator's part as a necessity brought about by "the omission of the scene and, with it, of the operatic elements."9 He claims that a narrator's part is virtually

7For Schering's treatment of the subject see his Gesch. d. Orat., pp. 9-18. 8 Op. cit., p. 17. Schering states here that the only Oratoriendialog that he has

seen in Roman motet literature is Romano Micheli's Dialogus annuntiationis B. M. Virginis (Rome, 1625). This work, however, is a curious canon for twenty voices with thirty obligi; as it is a choral dialogue, it does not fit his description of the Oratoriendialog. Elisabeth Noack, "Dialog," MGG III, col. 393, follows Schering in grouping this choral work with dialogues in which the r6les are sung by soloists, and she carries the misunderstanding further by implying, possibly because of a misinterpretation of Schering, that it was performed in the "Betsaal von S. Marcello" (which is the Oratorio del Crocifisso); the present author has found no evidence of such performance. As the composition is not of the type treated in the present article, it is not included in the Appendix. A discussion and transcription of this dialogue by the author will be published in Analecta musicologica: Verdffentlichungen des deutschen historischen Instztuts in Rom VI (1968).

9 Gesch. d. Orat., pp. 11x-6; the quoted passage is on p. I2. Pasquetti, op. cit., pp. 19-35, treats the liturgical drama as a distant forerunner of the oratorio; Alaleona does not mention it.

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406 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

always used,1' that it was adopted from the Passion, and that Renaissance treatments of the Passion text might reveal a thread of historical con- tinuity between the medieval liturgical drama and the early Baroque dialogue. Schering says that the dialogue's relation to the liturgy was comparable to that of the liturgical drama in that the Benedictus, the Magnificat, a responsory, or an antiphon often formed the conclusion of a dialogue and led into the official liturgy. He rejects the possibility of influence of the emerging oratorio volgare on the oratorio latino," claim- ing that the former derives from non-liturgical sources, specifically from the lauda, and the latter from liturgy. Thus while emphasizing the liturgical drama and Passion as forerunners of the oratorio latino, Schering totally ignores the polyphonic late-Renaissance motets with narrative and dramatic texts mentioned by Alaleona.

Ten years after the publication of Schering's Geschichte des Ora- toriums many aspects of his and Alaleona's treatments of the origin of the oratorio were attacked by Kathi Meyer in "Das Offizium und seine Beziehung zum Oratorium."12 She considers those authors to have over- looked an important root of the oratorio, the medieval Office for saints' feasts, and to have placed undue stress upon others. Meyer points out that frequently the Office presents the life of a saint in antiphons and responsories, distributed throughout the day, that include both elements of narrative and direct discourse. Such services, she says, were freely adapted in the vernacular to form spoken plays. She sees two simul- taneous lines of development from the medieval Office to the oratorio: on the one hand the Office, sung throughout in Latin, developed into the oratorio with texts either in Latin or Italian; on the other hand plays based on the Office, in spoken vernacular with musical intermedii, developed into the oratorio around I6oo00 with the birth of monody and the composition of Cavalieri's Rappresentazione di anima e di corpo. Meyer asserts that Schering was mistaken in seeing the oratorio latino and volgare as derived from different roots, and she believes he erred in considering the Latin dialogue a rebirth of the liturgical drama, since the latter did not die in the Renaissance but lived on in the sacra rappresentazione. She considers the early I7th-century dialogue in Italian and Latin a variety of the sacra rappresentazione.

Writings since Meyer's article that deal with the oratorio treat its origin only briefly, and most rely heavily upon Alaleona and Schering. Two exceptions are works by Hans Joachim Moser and Manfred

10 lbid., p. 15: "tOberall ist ein (noch unbezeichneter) Historicus titig, der teils zu Anfang vorbereitend, tells in der Mitte erliuternd oder am Ende abschlies- send die Worte des Evangeliums vervollstindigt."

11 Ibid., p. 17; ZIMG IX (1907), p. 45. 12 Archh fiir Musikwissenschaft III (1921), 371-404. See especially pp. 384-392, 395-396.

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Bukofzer, neither of which is a special study in oratorio history. In Moser's Die mehrstimmige Vertonung des Evangeliums (Leipzig, 1931) he states: "To express it very simply, it may be shown that from the

Gospel motet arose the polyphonic Passion around 1480, the Latin oratorio around 1580, and the Gospel cantata around 168o, and that here we have to do with one of the strongest and most succulent genealogical trees of the entire history of music."'3 If this is a considerable oversimplification, it nevertheless points to the Renaissance Gospel motet as a root of the oratorio, one that Pasquetti and Alaleona recognized but did not thoroughly investigate. The "oratorios" from around 1580 to which Moser refers are actually polyphonic Gospel motets with dramatic or semi-dramatic texts. He claims that the origin of the oratorio must be sought not only in Italy but in Germany as well, and he refers to Daniel Bollius, whose Latin dramatic dialogues were composed in the I620's, as the most interesting early German master of the oratorio next to SchUitz.Y4 Moser thus relates the Latin dialogues of the I7th century directly to the Renaissance Gospel motet rather than to the liturgical drama as did Schering.

Manfred Bukofzer presents a view of the relation between the Latin dialogue and the oratorio that contradicts those of Alaleona, Schering, and Moser.

The stylistic premise of the oratorio was monody .... Certain Latin dialogues for solo and chorus, preserved in motet collections of Venetians like Romano, Tommasi, Capello, and Pace, have been claimed to be forerunners of the Latin oratorio. They are strictly liturgical, if dramatic, music composed in the conservative pseudo-monodic style of Viadana. Neither the polyphonic lauda nor the Latin dialogue belong stylistically to the history of the oratorio.15

Thus Bukofzer denies the Latin dialogues a place in the history of the oratorio on stylistic grounds and because they are "strictly liturgical."

Several questions of importance to the origin of the Latin dramatic dialogue and of the oratorio arise from the writings treated above. Re- garding the dialogue, there are questions of its relation to the medieval liturgical drama, the sacra rappresentazione, the responsories and antiphons of the Office for saints' feasts, the Passion, and the Gospel motet. Regarding the origin of the oratorio, a study of the texts and musical styles of the dialogues will assist in determining whether they might be

13 P. 7: "Um es sehr vereinfacht auszudriicken, so lisst sich nachweisen, dass aus der Evangeliumsmotette um 1480 die Figuralpassion, um r58o das lateinische Oratorium, und um 168o die Evangelienkantate entstanden ist, das wir es hier also mit einem der stdirksten und saftvollsten Stammbiume der ganzen Musikgeschichte zu tun haben."

14 Op. cit., pp. 54-59. 15 Music in the Baroque Era (New York, 1947), p. 124-

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considered among its forerunners and whether the origin of the oratorio

might be sought outside as well as within the oratories.

II

The present study of dialogues is based on a sampling of music

dating from the first three decades of the i7th century, the period just prior to that in which Carissimi became active at the Oratorio del Cro- cifisso.'6 All the works studied are r61le dialogues, and the texts are set

entirely or in part for soloists who sing the r6les of characters with

organ bass accompaniment. The Appendix is a chronological list of the

dialogues included in the study. While the list does not exhaust the fund of Latin r61le dialogues from this period, it is the most extensive one known to this author. To make it exhaustive would require an examination of nearly all the motets (concerti ecclesiastici, sinfonie sacre, sacri fiori, etc.) produced in those thirty years, since such dialogues are often found in motet books that do not reveal their presence on title pages and sometimes not even in tables of contents (many works that carry the label dialogo in the motet books are not r6le dialogues and thus do not fall within the scope of this study). Yet there seems to be sufficient

consistency of general procedure among the dialogues of this list to

support the assumption that further research would sustain the conclu- sions derived from the works studied. Nearly all the r61le dialogues noted in previous writings on the dialogue and oratorio are listed in the Ap- pendix, but about two-thirds of the compositions in the list have not been previously mentioned in those writings. Only a few of the pieces have been previously described, and only three have appeared in modern editions.17

All the texts may be considered dramatic in a general sense, since all contain verbal exchanges comparable to those found in a drama. In a more specific sense, however, the texts have been classified, so marked in the Appendix, as "dramatic," "narrative-dramatic," and "reflective." In this sense the term "dramatic" is applied to a text in which the action

16 See the excerpts from the "Congregazioni e decreti" of the Arciconfraternita del SS. Crocifisso for the years 1636-1650 printed by Alaleona, op. cit., pp. 340- 341. 17 The works available in modern editions are Appendix Nos. I, 6, and i i.

Dialogues that the author has been unable to examine and that have been mentioned but not described in previous writings have been excluded from the list. Among those excluded are four of which the texts are quoted in Carl Winter, "Studien zur Friihgeschichte des lateinischen Oratoriums," Kirchenmusikalisches Jabrbuch XLII (1958), 64-76. Winter prints fifteen Latin dialogue texts of music by composers some of whom are known to have been active at the Oratorio del Crocifisso in the early 17th century; only seven are r6le dialogues. The present author has been unable to examine four of those seven for musical style, but all four use texts that follow the tendencies of the dialogues treated here. The composers of these four texts are O. Catalano, P. Tarditi, Dom. Massentio, and Ab. Antonelli; see pp. 69, 74-76 of Winter's study.

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is revealed only through dialogue between characters without the aid of a narrator, and "narrative-dramatic" texts are those using a narrator in addition to dialogue between characters. A "reflective" text is a dialogue without a narrator, comparable to a reflective moment in a drama; no action or event is set forth, but the characters usually praise each other (as in the texts from the Song of Songs) or praise a saint, Jesus, etc. The reflective type differs from other motets with texts of praise only in that the separation of the r6les, each sung by a different soloist, is strictly maintained.

An examination of the texts reveals that of the 61 dialogues 26 are dramatic, 15 reflective, and 20 narrative-dramatic. Since neither the dramatic nor the reflective texts use a narrator, about two-thirds of the total are without a narrator. Thus these works strongly contradict Schering's assumption that virtually all Latin dialogues in this period use a narrator.

All but six of the dialogues are based on biblical passages; the most frequently used sources are the Song of Songs'1 and the annunciation scene.'9 The remainder of the biblical dialogues are based upon a variety of subjects, some related to the major feast days of the Church, others recounting miracles, Old Testament stories, etc., as may be seen from glancing through the Appendix. The non-biblical dialogues are mostly related to saints or to such conversations as those between the soul and an angel or the soul and God.20

The texts of the biblical dialogues range from a nearly literal quotation of a biblical passage to use of a nearly free text based in a general way on a biblical subject. A comparison of the texts with the Clementine Vulgate, standard at the time, reveals that none of them follows it exactly; about half, however, use literal quotations with occasional deletions, modified word order, and word substitutions. Some texts, especially those from the Song of Songs, reveal a patchwork procedure whereby fragments are set consecutively that are inconsecutive and sometimes widely separated in the Bible.

Neither the dramatic nor narrative-dramatic dialogues include sections of reflection or commentary inserted into the course of the action, but most dialogues of those types conclude with non-dramatic texts. The concluding text is set either as a chorus or an ensemble of the soloists who functioned as characters in the dialogue but who usually abandon their r6les in this final section. The most frequently used types of conclusion are those which reflect on some aspect of the story, those which

18 Ten dialogues: See Appendix Nos. 12-15, 28, 33-34, 44, and 50-51. 19 Eight dialogues: See Appendix Nos. 2-3, 18, 22, 25, 32, 42, and 52. 20 The non-biblical dialogues are Appendix Nos. o10, 20, 36, 38, 40, and 45. Three dialogues not based on specific biblical passages but only on general biblical subjects are Appendix Nos. 4, 35, and 47.

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4IO JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

continue and conclude the narration, and those in which the last line of the last soloist heard is repeated by the ensemble of soloists or by the chorus. Schering's assertion that dialogues often close with a choral

setting of a liturgical text such as an antiphon or a responsory is not

supported by the dialogues of this study. Two of the three which he cites as examples use part of an antiphon as a conclusion,21 and two others conclude with parts of responsories,22 but only these four ex-

amples were found. This point is worthy of special note, as it is im-

portant in Schering's argument for the liturgical orientation of the dialogue and for considering it to be a revival of the liturgical drama.

Two characters are usually employed in the dialogues, although a few use three or four. The names of the characters are only occasionally marked in the print or manuscript and usually must be inferred from the title, if one is used, or from the text. There are normally two or three alternations of characters in the course of a piece, but in some there are as many as eight or ten. The total performance time ranges from about three to eight minutes, excluding the work by Bollius designated by the term Rapraesentatio.23

The following three examples of texts will serve to illustrate some of the predominant traits of the dialogues. Bonini's Dialogo della Madonna e del Angelo is the most characteristic of the three in its faithfulness to its biblical source. A comparison of the dialogue text with the related passage from the Clementine Vulgate reveals that the author of the text has deleted details in the introductory chorus and in the second and third entrances of the Angel's part.24 There are also smaller deletions and changes of words and word order. The concluding chorus repeats the final words of the last soloist as is frequently the case in concluding sections. (The parts for the Angel and the Virgin Mary are so designated in the print.)

21 See Gesch. d. Orat., pp. 15-16. Of the three dialogues to which Schering refers in this respect, one (see Appendix No. 32) concludes with the incipit only of the antiphon "Verbum caro factum est," and another (see Appendix No. 22) concludes with the first half of the same antiphon; but the third (see Appendix No. 23) does not conclude with the responsory "Collegerunt pontifices" as he states. He evi- dently considered the five-voice setting of the responsory that follows the dialogue in the motet book to be the final chorus. But the dialogue has a final chorus which is not the one to which Schering refers. The five-voice responsory which he considers the conclusion is totally unrelated to the dialogue in text and music, and it is listed as a separate motet in the index of each part book.

22 See Appendix Nos. 16 and 26. 23 See Appendix No. 49. That item might seem out of place in this list because of

its probable great length, large performing force, and designation Rapraesentatio. Despite the use of that term, however, it employs a narrator's part, and there seems to be no clear indication that staging was essential.

24 The portions of the biblical passage used in the dialogue are printed in italics in this and the following two texts. All three texts have been edited to conform to modern practice in spelling and punctuation.

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Severo Bonini, Dialogo della Madonna e del Angelo. (See Appendix No. 2.) Chorus ' 5 [Narrator]. Luke I: 26-38.

Missus est Gabriel angelus In mense autem sexto, missus est ange- ad Mariam virginem desponsatam lus Gabriel a Deo in civitatem Galilaeae, Joseph, et ingressus ad eam, cui nomen Nazareth, ad virginem de- dixit: sponsatam viro cui nomen erat Joseph,

de domo David, et nomen virginis Maria. Et ingressus angelus ad earn, dixit:

Alto: Angelo. Ave gratia plena; Dominus tecum; Ave gratia plena; Dominus tecum; benedicta tu in mulieribus. benedicta tu in mulieribus.

Chorus a 5 [Narrator]. Quae cum audisset, turbata est Quae cum audisset, turbata est in ser- in sermone ejus, et ait angelus: mone ejus, et cogitabat qualis esset ista

salutatio. Et ait angelus ei: Alto: Angelo.

Ne timeas Maria, invenisti enim Ne timeas Maria, invenisti enim gratiam gratiam apud Dominum; ecce apud Deum; ecce concipies in utero, concipies, et paries filium, et et paries filium, et vocabis nomen ejus vocabitur nomen ejus Jesum. Jesum. Hic erit magnus, et Filius Al-

tissimi vocabitur, et dabit illi Dominus Deus sedem David patris ejus; et reg- nabit in domo Jacob in aeternum, et regni ejus non erit finis.

Chorus ' 5 [Narrator]. Dixit autem Maria: Dixit autem Maria ad angelum:

Canto: Maria. Quomodo fiet istud, angeli Dei, Quomodo fiet istud, quoniam virum non

quoniam virum non cognosco? cognosco?

Chorus a 5 [Narrator]. Et respondens angelus dixit ei: Et respondens angelus dixit ei:

Alto: Angelo. Audi Maria, Spiritus Sanctus Spiritus Sanctus superveniet in te, et superveniet in te, et virtus virtus Altissimi obumbrabit tibi. Ideoque Altissimi obumbrabit tibi. Quod et quod nascetur ex te Sanctum, vo- enim ex te nascetur, vocabitur cabitur Filius Dei. Et ecce Elisabeth Filius Dei. cognata tua, et ipsa concepit filium in

senectute sua; et hic mensis sextus est illi, quae vocatur sterilis; quia non erit impossibile apud Deum omne verbum. Dixit autem Maria:

Canto: Maria. Ecce ancilla Domini, fiat mihi Ecce ancilla Domini, flat mihi secundum secundum verbum tuum. verbum tuum. Et discessit ab illa angelus.

Chorus A 5 [Conclusion]. Fiat mihi secundum verbum tmum.

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Cima's dialogue "O quam humilis" is a particularly interesting combination of a patchwork and free text: the poetic style and vocabulary are derived from the Song of Songs, and there are occasional fragments of quotation from its verses, yet the text as a whole is free. The love duet between the allegorical bride and groom of the scriptures has been transformed into a dialogue of mutual devotion between Jesus and the Virgin Mary. The parts do not carry the names of the characters in the original, but they are obvious from the text. A comparison of the text with related verses from the Song of Songs will reveal similarities of vocabulary and general style as well as a few quoted fragments.

Andrea Cima, Dialogo a 2. (See Appendix No. 50.)

Basso [Jesus]. Related verses from Song of Songs O quam humilis et benigna est facies 7:6. Quam pulchra es, et quam decora, tua Maria Mater mea charissima. charissima, in deliciis!

Canto [Virgin Mary]. O quam pius et mansuetus est as- pectus tuus Jesu Fili mi dulcissime.

Basso [Jesus]. Suavis et decora et tota amabilis es Mater electa.

Canto [Virgin Mary]. Candidus et rubicundus et totus de- 5: io. Dilectus meus candidus et rubi- siderabilis es Fili dilecte. cundus; electus ex millibus.

Basso, Canto [Jesus, Virgin Mary]. Lectulus noster floridus et laquearia i: 15. Ecce tu pulcher es, dilecte mi, et nostra cipressina super montes aro- decorus! Lectulus noster floridus. 1: i6. matum. Tigna domorum nostrarum cedrina, la-

quearia nostra cypressina. 8:14. Fuge, dilecte mi, et assimilare capreae hin- nuloque cervorum super montes aro- matum.

Basso [Jesus]. Favus distillans sunt labia tua O Mater 4: i. Favus distillans labia tua, sponsa; sanctissima.

Canto [Virgin Mary]. Dulcedo mellis est lingua tua (4:11, cont.) mel et lac sub lingua tua; O Fili gloriose. et odor vestimentorum tuorum sicut

odor thuris. Basso, Canto [Jesus, Virgin Mary].

Descendamus in hortum nostrum et 5: i. Veniat dilectus meus in hortum comedamus fructum pomorum nos- suum, et comedat fructum pomorum trorum. suorum.

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Basso [Jesus]. Veni Mater piissima. (Various verses beginning with "Veni,"

related in style to these, are 4: 8. Veni Canto [Virgin Mary]. de Libano, sponsa mea, veni de Libano,

Veni Fili mitissime. veni, coronaberis . . . 5: I. . . . Veni in hortum meum, soror mea . .. 7: I.

e su . Veni, dilecte mi, egrediamur in ag- Veni paradisi laetitia. rum...)

Canto [Virgin Mary]. Veni gloria et dulcedo mea.

Basso [Jesus]. Veni, veni immaculata mea quia in uno 4: 9. Vulnerasti cor meum, soror mea, oculorum tuorum vulnerasti cor meum. sponsa; vulnerasti cor meum in uno

oculorum tuorum, et in uno crine colli tui.

Canto [Virgin Mary]. Veni, veni purissime mi quia casto amore tuo transfixa languet anima mea.

Basso, Canto [Jesus, Virgin Mary]. Vulnerata et transfixa languet anima nostra.

Bazzino's dialogue on the finding of Jesus in the temple is another text with little biblical quotation; most of it is either completely free or a paraphrase of the scriptural passage. The only quoted fragments are from Mary's question of Jesus (a question asked by both Mary and Joseph in the dialogue) and Jesus' reply, but even these lines are slightly modified. The r6les are not designated in the print. The dialogue opens with a character who functions as a narrator in the beginning but who soon plays a r6le in the drama; Mary and Joseph address him as "dear friend," and he is able to tell them where they might find Jesus. The dialogue concludes with a joyful chorus of sympathetic observers.

Natale Bazzino, Dialogo d 5. (See Appendix No. 54.) Tenor [Friend]. Luke 2: 46-49.

Video pulcherriman mulierem et virum venientes adversum me; sed quantum in vultu tristes et maesti sunt. Dicite mihi rogo vos qui nam dolor est ille qui tantum affligit animas vestras.

Alto, Quinto = Tenor [Mary, Joseph]. O care amice si scires angustias nos- tras forsitan pietate lagrimares. Roga- mus te ut dicas nobis si vidisti dilec- tum nostrum filium Jesum.

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Tenor [Friend]. Certe scio eum esse in templo in medio Et factum est, post triduum invenerunt doctorum disputantem qui obmutes- illum in templo sedentem in medio doc- cunt propter responsiones illius. Ite et torum, audientem illos, et interrogantem ibi eum invenietis. eos. Stupebant autem omnes qui eum

audiebant, super prudentia et responsis Alto, Quinto [Mary, Joseph]. ejus.

Maximas agimus tibi gratias. Eamus igitur et inquiramus eum.

Alto [Mary to Jesus]. Et videntes admirati sunt. Et dixit mater O vita mea ecce mater tua. ejus ad illum:

Quinto [Joseph to Jesus]. O consolatio mea ecce pater tuus.

Alto, Quinto [Mary, Joseph to Jesus]. Quid fecisti nobis sic? Nos dolentes Fili, quid fecisti nobis sic? ecce pater quaerebamus te. tuus et ego dolentes quaerebamus te. Et

ait ad illos:

Canto [Jesus]. Quid est quod me quaerebatis? Quid est quod me quaerebatis? nescie- nesciebatis in his quae Patris mei sunt batis quia in his quae Patris mei sunt oportet me esse? oportet me esse?

Chorus ' 5 [Conclusion]. Guadeamus cum Maria Virgine quia invenit quem quaerebat.

It is noteworthy that many of the biblical passages on which dialogue texts are based are the same as those used for Gospel motets in the i6th century. Orlando di Lasso, for example, wrote motets on the finding of Jesus in the temple, the raising of Lazarus, the marriage feast at Cana, the annunciation, and the story of Jesus on the road to Emmaus.25 The dialogues of this study are found in books containing motets, masses, and other liturgical items; it seems probable that they were intended to be used as motets, and they are sometimes so designated. The four dialogues by Ratti are exceptional, and of special interest, since they are the only ones that bear labels indicating their function as substitutes for liturgical items. They are intended to substitute for the offertory on specified Sundays; their texts, however, are the complete Gospels of those Sundays and are unrelated to the offertory texts.26 Although

25 See F. X. Haberl and Adolf Sandberger, eds., Sdmtliche Werke (Leipzig, 1894- 1927), VII, 14-15; XV, 23-29, 30-40; VII, 16-24, 9-13.

26 See Appendix Nos. 55-58. Such clear evidence of dialogues substituting for liturgical texts supports the claim of Archangelo Spagna in his Oratorii overo melodrammi sacri . . . (Roma, 1706) that prior to the development of the Latin oratorio, oratorio-type motets often substituted for antiphons, graduals, and of- fertories. (See the quoted passage from Spagna in Alaleona, op. cit., p. 322.)

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THE LATIN DRAMATIC DIALOGUE AND THE NASCENT ORATORIO 4'5

Bukofzer referred to the Latin dialogues as "strictly liturgical" (see above), they cannot be called liturgical in the strictest sense of the term. Most either use texts not found in the liturgical books or treat the official texts freely; if used as motets, however, they would function within a liturgical service.27 Thus they would be better classified as

"quasi-" or even "pseudo-liturgical." None of the title pages, dedications, or prefaces of the books in

which the dialogues are found indicate that they were intended for use in oratories, nor have I discovered any other evidence to that effect. It must be noted, furthermore, that subjects from the Old Testament and from the lives of saints, which became prominent in oratorios in the second half of the i7th century, are of minor importance in the dia-

logues; nevertheless, the subjects of some of the dialogues were used for oratorios.28

The dialogues of this study were written by eighteen composers; as one might expect, various musical styles are represented, although the

variety is more evident in solo passages than in choruses. The latter

virtually all use imitative and chordal styles in a conservative way; they show scarcely any of the chromaticism and unprepared dissonance common in madrigals and used in some sacred music of the late I6th and

early i7th centuries. Nearly half of the dialogues use choruses,29 and

they invariably use them at the conclusion (at times only there-see 27 It is a weak argument that dramatic or narrative-dramatic compositions with

partially or entirely free texts would not have been used in liturgical services because of impropriety, and thus were intended for non-liturgical functions such as those of the oratories (cf. Winter, art. cit., p. 71). The freedom and variety of texts and music performed in churches during the first half of the i7th century is evident from the remarks of Spagna cited above, and from various writings opposing such freedom. For instance, Romano Micheli, in a "Memoriale" that was written to Pope Innocent X in 1644, objects that "molti musici hanno lasciati li studij, e fanno le musiche nelle Chiese ad uso di Canzonette, et balletti con molto scandalo del Popolo . . ." (quoted by R. Casimiri, "Romano Micheli [1575-1659] e la Cappella Sistina del suo tempo," Note d'archivio III [1926], pp. 237-238). Pope Alexander VII's decree of April 23, 1657, forbidding under strict penalties the use of non- liturgical texts in liturgical services and the use of music that suggests dance or profane melody, seems to indicate a firmly entrenched tradition of musical and textual freedom in such services. In fact, the tradition was so strong that after Innocent XI had confirmed Alexander VII's decree, Innocent XII amplified it by a decree of August 20, 1692, that states: "The previous decree has been neglected; its meaning controverted. His Holiness absolutely forbids, in any church or basilica, the singing of any motet or composition whatever save the Introit, Gradual, and Offertory at Mass, and at Vespers the Antiphons before and after the Psalms; without alteration of words . . ." (The above-mentioned decrees are quoted in Richard R. Terry, The Music of the Roman Rite [London, 19311, pp. 192-193.) For other evidences of freedom in music used for liturgical services, see Lowell P. Beveridge, "Giacomo Carissimi (1605-1674): A Study of his Life and his Music with Latin Texts..." (unpubl. Ph.D. diss., Harvard University, 1944), PP. 58-6I.

28Schering, Gescb. d. Orat., pp. 67-I30, cites the names and composers of a number of oratorios based on the stories of Abraham and Isaac, Adam and Eve, Cain and Abel, the annunciation, Mary Magdalene, and Saul's conversion.

29 See Appendix Nos. 2, 6-8, 16, 19, 22-32, 48-49, 52-58, 6o.

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Bazzino's "Video pulcherrimam" quoted above). A chorus is sometimes used in narrative-dramatic works to set the text of the narrator, as in Bonini's Dialogo della Madonna e del Angelo (see above). The r6le of a

group is also set as a chorus or an ensemble; in Agazzari's "In illo

tempore" (No. 8), for example, a six-voice setting is used for the narrator's part, and the words of the crowd to whom Jesus is speaking are set for three voices.

Instruments other than the organ are designated in only five of the

dialogues.30 Their function is to perform sinfonie and ritornelli, to double the voices, and occasionally to join their independent lines with those of the voices.

The solo parts of the dialogues, as mentioned above, exhibit the

greatest variety of styles. Because of the number of composers and the

variety of treatment, an attempt to classify the styles by the formulation of clear distinctions runs the risk of oversimplification. In considering the following discussion one must bear in mind that the styles shade

subtly from one to another, that the music exhibits a greater variety than can be presented here, and that some of the compositions use a mixture of the styles discussed. The chief question here is that of the relation of the solo parts to late-Renaissance counterpoint on the one hand and to early-Baroque monody on the other.31

The first example, Viadana's dialogue on the story of the finding of Jesus in the temple, illustrates the style closest to that of late-Renaissance counterpoint; this style is occasionally found but does not prevail in the dialogues. The harmonic intervals between the two lines are contra- puntally regular, the bass and voice lines are of approximately equal importance, imitation is used, and the bass part is singable and un-

figured.32 The initial descending leaps of a fifth in the organ bass are imitated by those of a fourth in the vocal part; there are regular suspen- sions in measures 6 and 9; and the bass line in measures I0-I3 claims even more rhythmic and melodic interest than the vocal line. The text is treated in a sectional manner with repetitions and unrealistic, non- affective declamation.

Examples 2-5 characterize the styles found, with various modifica- tions and mixtures, in the majority of the dialogues. They differ from the style of the first example primarily in the rhythmic and melodic relation between the lines: the bass is always subordinate to the vocal line, the latter being the more interesting in its rhythm and melodic

30 See Appendix Nos. I1, 33, 49, and 59-60. 31 The following discussion of style is based on the extremely useful article by

Hans Heinrich Eggebrecht, "Arten des Generalbasses im friihen und mittleren 17. Jahrhundert," Archiv fiir Musikwissenschaft XIV (1957), 6i-82. 32 Eggebrecht examines (pp. 69-73) this style as it is found in Viadana's Cento concerti ecclesiastici . . . and terms the type of bass employed "der motettisch- solistische Generalbass."

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Ex. 1*

Viadana ( 602; see App. No. x) Altus [Virgin Mary] 5

---- - li quid fe - ci-sti no - - - - -

10

bis quid fe - ci - sti no - - bis sic?

* In all examples the note values of the originals are halved. Accidentals in brackets are those of the editor. Regular barring has been used throughout; whenever bar lines are found in the 17th-century prints (usually in the organ part only), their locations are indicated by a vertical mark above the vocal staff. Texts have been modernized by changes of spelling, and some punctuation has been added.

curve; there is virtually no imitation between the two parts; and the bass line is nearly always provided with figures or sharps and flats to indicate chords. Nevertheless, they resemble the style of the first example in that the harmonic intervals between the parts usually remain those admissible in conservative counterpoint of the late Renaissance, and the bass lines are usually singable. Thus Examples 2-4 illustrate a style that lies between the most conservative one, that of Viadana, and the new music of the I7th century that makes use of affective unprepared dissonances and recitative over a static or slowly moving bass, identified with the Florentine monodists and Monteverdi.33 These ex-

S3 Eggebrecht emphasizes the notion of a stylistic dualism in 17th-century Italy, a dualism of old and new music, strict and free, motet and monodic styles. He indi- cates that in Germany, on the other hand, there was no such dualism but only a

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amples reveal a variety of melodic styles in the vocal line, including that of the late-Renaissance motet, that with ornamental passage work, and that which approximates recitative. The text setting is usually syllabic except for ornamental passages.

In Example 2 the organ part moves in melodic intervals characteristic of the bass line in late-Renaissance polyphony, but its rhythmic motion and melodic curves relegate it to a position of secondary importance. This dialogue is based on Jesus' discourse on the Eucharist, from John 6:32-59, and in the example Jesus speaks of himself as the bread of life that has descended from Heaven. The style of the vocal line, with the

Ex. 2*

Agazzari ( 1613; see App. No. 8) Tenor [Jesus] 20

E - go sum pa - nis vi - tae qui de

Organum

cae - lo de-scen di qui ve -nit ad me non e- # , ,

modernized, "monodized" style based on the principles of the old music. "Hier [im Deutschland Schiitzens] gab es nicht eine Alte und eine Neue, sondern nur eine auf der alten Grundlage erneuerte Musik. Die Alte Musik wurde modernisiert, aber sie blieb das Fundament; sie wurde 'monodisiert,' aber im Rahmen der M6glich- keiten des Fundaments: eben vor allem in Form des rhetorisch-sprechenden und zahlhaft-strukturellen Figurenwesens, das seine Heimat im motettischen Satz des 16. Jahrhunderts hat." (art. cit., p. 63; see also pp. 81-82.) The solo parts of the dialogues of this study are mostly of the modernized, "monodized" motet style. Thus, one might well question the notion of a clear stylistic dualism in 17th-century Italy; further research on Italian sacred solo music might reveal that the modernized motet style, which Eggebrecht associates with Germany, is more important in Italy in the early I7th century than hitherto assumed.

Rhetorical figures, mentioned by Eggebrecht as an important aspect of the modernized motet style, will not be treated in this article, since the presentation of the basis for such analysis would take us too far afield. It seems, however, that most of the dialogues could be profitably analyzed in terms of rhetorical figures. For example, the repetition figures dealt with by Giinther Massenkeil, "Die Wieder- holungsfiguren in den Oratorien Giacomo Carissimis," Archiv fiir Musikwissenschaft XIII (1956), 42-60, are nearly all to be found in the dialogues of this study.

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su - ri-et qui cre-dit in me non si - ti et un - quam.

= i r '# #

,r

J

* The sharps, flats, and figures indicating organ chords are placed above the staff of the organ part in Examples 2-6. In the I7th-century prints the sharps and flats are found either above the staff or in it; in Ex. 7 they have been placed in the staff for reasons given in a note following that example.

word painting at "de caelo descendi," is close to that found in I6th- century motets.

Donati's dialogue on the raising of Lazarus, from which Example 3 is taken, also uses a bass that is clearly of secondary importance. But here the declamation of the vocal part is more realistic; the rhythmic contrast between the voice and the bass causes the latter to function more clearly as a harmonic support, and less as a contrapuntal part, than does the bass of Example 2. The only chromaticism in the bass part of the entire dialogue is found in this example and is used for text expression. Beginning at measure 48 Martha says to Jesus, who has just asked that the tomb of Lazarus be opened, "Lord, by this time he is already decayed, for he is dead four days." That widely used translation of the Vulgate is euphemistic, however, as foetere means literally "to have a bad smell." When the word "foetet" is reached, in measure 5o, the bass begins its expressive chromatic progression upward while the vocal line moves in a chromatically colored sequence. The passage closes, in measures 52-53, with a brief excursion through part of the circle of fifths that is characteristic of Donati's dialogues but not of the dialogues in general.

Twelve of the compositions of this study are from Banchieri's Dialoghi, concerti, sinfonie e canzoni . . . (1625). Example 4, based on the subject of Mary Magdalene at the tomb of Jesus, reveals many of the characteristics of the dialogues in that book. The organ bass often doubles the bass voice exactly or approximately as it does in part during measures 3-5. When another voice sings alone, however, the bass usually plays a subordinate r61le as in measures 5-9, although it occasionally employs melodic and rhythmic figures of some interest. The vocal lines of Banchieri's dialogues make frequent use of contrast motives as in measures 2, 7, and 9, where short groups of quick notes are surrounded by those of considerably longer duration. (Contrast motives are used, but less frequently, in the majority of the dialogues of this study.) Banchieri occasionally uses passage work for text expression; at the be-

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Ex. 3

Donati (i 6 8; see App. No. 2 3)

Alto. Marta ad Iesum

!L

Do - mi-ne Do - mi-ne si fu - is - ses

Organo

hic si fu-is-ses hic fra-ter me-us non fu-is - set mor-tu-us

48 so

Do - mi-ne Do - mi-ne jam foe - tet jam

l0w -U

k;k.k ..

foe - tet jam foe - tet qua-tri- du - a - nus e - nim est

qua-tri-du - a - nus qua - tri-du- a - nus e - nim est. L , I , 76 I• ,is ,j ; II

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ginning of the dialogue Jesus asks Mary Magdalene why she is weeping before the tomb, and in measures 4-5 the composer constructs an impos- ing "monument," to paint the text, in which the bass soloist traverses the interval of a twelfth with a challenging rise and fall.

Bonini's dialogue on the annunciation story, of which Example 5 is the Virgin Mary's last solo, illustrates certain aspects of Florentine

monody. (See above for the complete text of the dialogue.) Particularly

Ex. 4

Banchieri (1625; see App. No. 43)

Basso [Jesus]

mu - - li - er cur plo - ras

4 3# I

Organo

hic mu -li-er cur plo-ras hic an - te mo - nu - men

Canto o Tenore [Mary Magdalene]

tumrn? Tu - le - runt Do - mi-num me - um et ne - -

sci etnesci - u - bi po-sue runt e - um.

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important in this respect is the instrumental conception of the bass line, with its wide skips in measures 64-66, which show it to be a non-contrapuntal part functioning only as a foundation for the chords that support the vocal line. While all the basses of Examples 2-5 are subordinate to the vocal lines, only this one originates from a purely non- contrapuntal and strictly monodic conception. This type of bass is seldom employed in the dialogues as a whole, but the arioso melodic style, with the contrast motive in measure 64 and the ornamental passage in measure 67, is more typical.

Ex. 5 Bonini (1609; see App. No. z)

Cantus II. Maria 65

Ec ce an - cil - la Do - mi - ni fi-at mi -

Organo

hi se-cun - dum ver - - - - - bum tu - um.

Orig." It was said above that Example I represents the most conservative

style among the dialogues and is not typical of the collection as a whole; likewise, the two final examples represent in certain respects the most nearly monodic styles and are equally atypical. They reveal the influence of the kind of monody that is characterized by a static or slowly moving bass supporting declamation intended to be realistic in its rhythmic aspect and to reveal the affective element of the text, i.e., to communicate the psychological relation of the soloist to his text.84 Yet these examples, while showing the influence of that type of monody, are not prime illustrations of it.

Example 6, the beginning of Bazzino's dialogue on the finding of

4 See Eggebrecht, art. cit., pp. 73-74, for a clear and concise comparison of text treatments in motet and monodic styles.

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Jesus in the temple (see above for the complete text), uses a slowly moving bass in measures 1-2 and 4-8. The style of declamation, while a bit stilted, occasionally approximates an expressive spoken style as in measures 4-5. In measures 6-Io the "Friend" asks Mary and Joseph the reason for their sadness, at which point the word "dolor" is affectively expressed by the harmonic interval of a major seventh.

Ex. 6

Bazzino (162z8; see App. No. 54) Tenore [Friend]

O

.

Vi - de -o.pul-cher-ri-mammu ii - e-rem et vi -rum

Organo

ve - ni - en - tes ad-ver - sum me, sed quan - turn in vul - tu

6 7

tri - stes et mae - sti sunt. Di - ci - te mi-hi ro-go vos qui nam do-

I I I F I !-

- lor est il - le qui tan-tum af- fli - git a - ni-mas ves - tras.

6 7 3 3 4 43

IPI

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Example 7 is the beginning of Capello's dialogue in which the Virgin Mary is questioned about her feelings upon witnessing the crucifixion of Jesus. The bass part changes tones at a somewhat slower rate than is characteristic of the dialogues, and the vocal line employs an arioso style the rhythm of which frequently tends to approximate that of an expressive spoken rendition of the text (see "sacratissima Virgo," "ac spinis coronatum," and "Heu mi, nimis acerba quaeris"). This example is especially interesting for its blending of the expressive techniques of the new monody with traditional word painting. The text, a translation of which follows, lends itself beautifully to both approaches:

Tenor : Tell me, most holy Virgin, by what grief were you tortured when you saw your Son flogged and crowned with thorns?

Canto [Virgin] : Alas, what you ask is too bitter; then silently I stood trembling; and with exceeding pain, [His] pain I almost felt.

There are numerous points in the example where dissonances are treated in a manner that would have been inadmissible according to the rules of late-Renaissance counterpoint (marked with "x" above the vocal line). The following places are of particular interest from the standpoint of affective text expression by dissonance: measure 3, a dissonance at the highest point of the line on the first syllable of "dolore"; measure 6, the first note, to express the "thorn" of "ac spinis" (note also the diminished chord of the organ for the same expressive purpose); measure 8, on the exclamation "Heu," an odd suspension dissonance (assuming the or- ganist plays a major chord at the beginning of the measure) with upward chromatic resolution (see also measure 13); and measure 14, the repeated dissonance on "dolorem." Chromaticism is used for the expression of the text in measure 5 where a chord change involving chromaticism introduces the word "flagellatum," and in measures 8 and 13 which are similar at the beginning but continue differently to express the Vir- gin's anguish. Traditional word painting is used in measures I0-I2 where a trembling motive is placed on "tremula" which is followed by a cessation of rhythmic and melodic motion on "stabam." This dialogue contains more instances of text expression, both of the affective and traditional types, than any other included in the study.

III

The questions raised by earlier writings about the Latin dialogue and oratorio may now be examined with reference to the works forming the basis of this study. Turning first to questions of the antecedents of the Latin dialogue, it seems most logical to consider it, as Moser does, essentially a continuation, with emphasis upon the dramatic element, of the type of Renaissance motet that used similar subjects: the dialogues are found in books containing motets and masses, are sometimes de-

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Ex. 7*

Capello ( 61 o; see App. No. 4) Tenor

Dic mi - hi sa-cra -tis-si-maVir-go, quo -cru-ci- a- ba-ris do-lo-

Organo

I

rh.. .. re, quan- do fi - li-um tuum fla- gel- la-tumrn ac spi-nis co-ro-na - tum vi -

Cantus [Virgin Mary]

di - stis? Heu mi, nimis a - cer - ba

8 quae - ris tunc si - - li - ens tre -

4I3

SI I

mu - la stao m bar ac nin mi--o doe- o re

do• -rem pe -ne sen-ti e - ba.

* Sharps and flats indicating organ chords have been placed on the staff as they were in the '7th-century print to avoid the use of symbols foreign to the original.

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signated as motets, and are like motets in length and probable function. It is possible, of course, to relate the dialogue in a general way to the medieval liturgical drama, since the texts of the two species sometimes have elements in common. But to regard the Latin dialogue as either a revival or continuation of the liturgical drama, as Schering does, seems a distortion of the relation between the two species. Schering's asser- tions--that most dialogues use a narrator's part, which became necessary when the action of the liturgical drama was abandoned, and that dialogues frequently close with a text that is part of the official liturgy leading into a service--have not been supported by the works studied: most do not use narrators, and only four close with that type of text, in fragments at that. Schering's view that there is a close relation between the Passion and the dialogue is more credible, since the Passion texts, except for their greater lengths, are similar to the dialogue texts classified as narrative-dramatic. Although Passion settings were not dealt with here, an influence from the Passion seems a reasonable assumption. To consider either the sacra rappresentazione or the responsories and antiphons of the Office to be closely related to these dialogues, as Meyer does, seems unconvincing, since the dialogues have so little in common with those species.

As for the relation between the Latin dialogue and the nascent oratorio, a distinction must be made between two approaches to the questions involved. The first, that adopted by both Pasquetti and Alaleona, is to seek the antecedents and origin of the oratorio latino in music known or assumed to have been used in the first oratory that employed Latin, the Oratorio del Crocifisso. Thus they consider both the style species and the function of the music to be essential to the musical oratorio and its antecedents. As pointed out above, however, they were able to find virtually no music by which to document their histories and were forced to proceed by assumptions and inferences; it simply is not known what works were performed at Crocifisso during the period in question. The present study contributes little in this respect. The only composers of these dialogues who are known to have worked at Cro- cifisso are G. F. Anerio, Paolo Quagliati, and Ottavio Catalano.35 The total number of dialogues of this study published at Rome is fourteen;

35 Their names are listed (as well as that of P. Tarditi whose dialogue mentioned above is cited by Winter, art. cit., p. 74) in the "Libro dell'entrata ed uscita" of the Arciconfraternita del SS. Crocifisso as having been paid for musical services during some of the years between 1595 and 162o. G. F. Anerio's name appears in the records only in 1595, while the others appear numerous times. (See Alaleona, op. cit., pp. 335-339.) The present author has searched for additional names of composers in the "Libri dell'entrata ed uscita" and the "Congregazioni e decreti" of the Arciconfraternita del SS. Crocifisso in the Fondo S. Marcello of I Rvata (see "Library Abbreviations" in the Appendix for this and subsequent abbreviations). A few names missed by Alaleona were discovered, but, thus far, none have proved to be composers of Latin dialogues.

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these appeared in eight publications and are by eight composers.36 Of the latter, G. F. Anerio is the most widely recognized figure in oratorio history, and it is of interest that his Ghirlanda (1619), with three role dialogues, appeared in the same year as his Teatro armonico spirituale, a work that is generally considered to be important in the development of the oratorio volgare both for its style and its use in oratories. But there is no indication in his Ghirlanda that the works were intended for oratories, as there is in the Teatro. Whether any of the fourteen compositions published at Rome were performed at Crocifisso, and the extent to which the dialogues published in Venice and elsewhere might have been known to composers active at that oratory, are still open questions.87

The other approach, that adopted by Schering and Moser, is to consider the oratorio strictly a musical species, regardless of function and i7th-century terminology, and to seek its antecedents in music used both within and outside the oratories.38 Using this approach one may term any work an oratorio that is of the same species and approximate duration as those called oratorios in the last quarter of the 17th century, by which time the term had become fairly consistently employed for a certain type of composition regardless of whether or not it was intended for use in an oratory.Y9 Thus, an oratorio in this sense may be char-

36 See Appendix Nos. 7, 14-18, 25-31, and 35. 37The archive of this oratory (Fondo S. Marcello of I Rvata) contains no

dialogues but only prints and MSS of polyphonic music. ("O.XX.3" is the number on five bundles of musical material, four of which are libretti of Latin oratorios from the late i7th and early 18th centuries and one of which is the music in question.)

38 In the terminology of the first half of the 17th century the word "oratorio" when applied to music designates a composition to be performed in an oratory, but not a musical species; such music may or may not be narrative or dramatic, and thus may or may not be related to the species generally known as an oratorio in the late 17th century. For example, Pietro Della Valle's narrative-dramatic piece "Per la festa della santissima purificatione, dialogo in musica a cinque voci . . ." (in I Rn:MS Mus. 123), intended for the Oratorio di S. Maria in Vallicella, was called an "oratorio" in the composer's letter of December 23, 1640 to G. B. Doni. (See quotation from letter in Alaleona, op. cit., pp. 136-137; for further information about the work, see the forthcoming article by Agostino Ziino, "Della Valle e la 'musica erudita': nuovi documenti," Analecta musicologica IV [19671.) Examples of the use of this term with reference to music that is neither narrative nor dramatic, but reflective, are found in two MSS of works attributed to Luigi Rossi: "Oratorio O Cecit'. Cantata a 5 con stromenti se si vuole . . ." and "Oratorio Un Peccato Pentito, 'Mi son fatto nemico.' Cantata a 5 con stromenti . . ." (in I Rvat: Cod. Barb. Lat. 4218 and 4198, respectively). Alberto Ghislanzoni, "Tre oratori e tre cantate morali di Luigi Rossi ritrovati nella Biblioteca Vaticana," Revue Belge de Musicologie IX (1955), pp. io-ii, dates these works ca. 1641-1644.

9 That oratorios were performed in a variety of places in addition to oratories in late I7th-century Italy is clear from the title pages of numerous libretti such as the following: Lo sposalito di Rebecca, oratorio per musica cantato nella sala del Co. Astorre Orsi la sera del d 20o marzo z675. In Bologna per l'Erede del Barbieri. Con licenza ... (in I Rsc);

La Maddalena che va all'Eremo. Oratorio per musica da recitarsi nel pio Ospitale della Pieta di Venetia. Dedicato alla venerabile Congregatione del suddetto. In

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acterized as a sacred dramatic or narrative-dramatic composition which requires soloists to sing the r6les and sometimes join in ensembles, usually includes a narrator's part, sometimes employs a chorus, and is normally performed without scenery, costumes, or action. The treatment of the antecedents of the oratorio from the standpoint of a musical species provides a number of compositions, the dialogues of this study, that approximate those Pasquetti and Alaleona assume to have been used at Crocifisso as antecedents of the oratorio latino.

The Latin dialogues merit a place in the history of the oratorio latino as a species, despite the lack of evidence that they directly influenced it, since they immediately precede it and anticipate it in a number of respects: most of the texts are based on biblical subjects, some of which were later used for oratorios; nearly all the texts are written in prose (as were the earliest oratorios in Latin) and are dramatic in a general sense; about one-third use a narrator's part; and the roles are usually kept distinct since each is normally sung by a different voice. Although the musical style is relatively conservative, with much less recitative than that characteristic of oratorios later in the century, it is not usually as conservative as the style of Viadana; the solo portions are largely of a modernized motet style that lies between that of Viadana and the monody of the early oratorios. The dialogues are, of course, much shorter works than oratorios, but some of them are of approximately the same length as those in G. F. Anerio's Teatro. The Latin dialogues stand in approximately the same stylistic relation to the oratorio latino as do the Italian dialogues of Anerio to the oratorio volgare with the exception that Anerio's works are even more conservative, i.e., more contrapuntal, than are most of the Latin dialogues.40

The above conclusion regarding the relation of the Latin dialogue to the oratorio latino does not exclude the possibility of a mutual influence between the oratorio volgare and latino, both during the period of their origin and that of their maturity, nor does it intend to minimize the importance of the oratories. The oratorio as a musical species emerged from the dramatic and monodic tendencies of the time, and particularly from the sacred dramatic dialogues in Latin and Italian used within and outside the oratories.

Tulane University

Venetia, M.DC. LXXXIII. Appresso Zaccaria Conzatti. Con licenza. .. (in I Rsc); Le lacrime di S. Monaca nella conversione di S. Agostino, oratorio sacro a cinque voci recitato nel palazzo dell'eccellentiss. signora Duchessa di Zagarolo, e posto in musica dal signor Don Pietro Franchi, Maestro di Cappella di S. E. In Roma per Domenico Antonio Ercole, MDCXC. Con licenza... (in I Rli).

40 See transcriptions of three of Anerio's dialogues in Alaleona, op. cit., pp. 251- 288. A modern edition of Anerio's Teatro is lacking, but a transcription of its 96 compositions will form a part of the dissertation in progress on the Teatro by Wayne Hobbs at Tulane University.

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APPENDIX

A CHRONOLOGICAL LIST OF LATIN DRAMATIC DIALOGUES

BETWEEN 1600 AND I630

All items labeled dialogo or dialogus in the print or manuscript are so labeled in the list. An asterisk has been placed after the number of each item which the author has been unable to consult and for which he has been dependent upon secondary sources. In parentheses following the short title of each book of motets, concerti, etc., the library that owns the source consulted is indicated by abbreviation; if the source was not the first printing or edition, the identification of that consulted precedes the library abbreviation. In parentheses following the incipit of each dialogue, information is supplied regarding the number of voices and instruments; the subject, and, if biblical, the chapters and verses on which the text is based; and the classification of the text as dramatic, narrative-dramatic, or reflective, according to the definitions of those terms set forth above. Following the parentheses, information is given regarding modem editions, published descriptions, and other printed or MS versions.

Library Abbreviations

B Br Belgique: Bruxelles, Bibliotheque royale de Belgique. D F Deutschland: Frankfurt/M., Stadt- und Universititsbibliothek. F Pc France: Paris, Bibliotheque du Conservatoire. (Now housed at the

Bibliotheque nationale.) F Pn " " Bibliotheque nationale.

GB Lbm Great Britain: London, British Museum. I Bc Italia: Bologna, Biblioteca del Conservatorio. (Liceo Musicale; now

called Civico Museo, Bibliografico Musicale.) I Ls " Lucca, Biblioteca del seminario. I Rf " Roma, Archivio dei Filippini. (Officially called Archivio della

Congregazione dell 'Oratorio di Roma.) I Rli I" " Biblioteca dell 'Accademia dei Lincei e Corsiniana. I Rn Italia: Roma, Biblioteca nazionale. I Rsc " " Biblioteca S. Cecilia (Conservatorio). I Rvat " " Biblioteca Apostolica Vaticana. I Rvata " " Archivio Segreto Vaticano. S Uu Sweden: Uppsala, Universitetsbiblioteket.

US R United States: Rochester (N. Y.), Sibley Music Library, Eastman School of Music.

US We " " Washington, Library of Congress.

16o2, Viadana, Lodovico Grossi da. Cento concerti ecclesiastici . . . (Opera Venice. omnia sacrorum concertuum .. .Frankfurt, 1626; in S Uu.)

I. Dialogo: "Fili, quid fecisti." (3v., org.; the finding of Jesus in the temple, Luke 2:48-49; dram.) Modern ed. in Friedrich Blume, Das monodische Prinzip in der protestantischen Kirchenmusik (Leipzig, 1925), Notenbeilagen, pp. 25-27.

1609, Bonini, Severo. II primo libro de motetti a tre voci . . (B Br) Venice. 2. Dialogo della Madonna e del Angelo: "Missus est Gabriel Angelus."

(5v., org.; annunciation, Luke I:26-38; nar.-dram.) See above for complete text and the related scriptural passage.

I6zo, Capello, Giovanni Francesco .... Sacrorum concentuum ... (I Be)

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Venice. 3. Dialogus: "Ave Maria." (2v., org.; annunciation, Luke 1:28-38; dram.) 4. Dialogus: "Dic mihi sacratissima Virgo." (2 v., org.; free, on the cruci-

fixion; dram.) 5. Dialogus: "Ubi est Abel." (2v., org.; from story of Cain and Abel,

Genesis 4:9-Io; dram.) I6I I, Tomasi, Biasio. II primo libro de' sacri flori ... (D F) Venice. 6. "Dum deambularet dominus." (6v., org.; banishment from Paradise,

Genesis 3:8-17; nar.-dram.) Modern ed. in Schering, Gesch. d. Orat., Anhang, pp. XVI-XVII.

I612, Massentio, Domenico. Sacrae cantiones .. . Liber primus .. . (I Ls)

Rome. 7. "Quanti mercenarii." (5v., org.; prodigal son, Luke IS: 17ff.; nar.-dram.) Text reprinted in Winter, "Studien," KmJb XLII (1958), p. 74.

1613, Agazzari, Agostino. Dialogici concentus... (I Bc) Venice. 8. "In illo tempore." (6v., org.; discourse on the Eucharist-Jesus and

turba, John 6:32-59; nar.-dram.) i614, Pace, Pietro. II terzo libro de motetti ... (D F) Venice. 9. "Si diligis me." (2v., org.; freely based on Peter's confession of faith,

John 21:17 and Matt. 16: I8-19; dram.) 1614, Riccio, Giovanni Battista . . . . Il secondo libro delle divine lodi ... Venice. (I Bc)

io. "Cur plaudit hodie." (2v., org.; free, in praise of a saint; dram.) 1615, Capello, Giovanni Francesco. Motetti e dialoghi ... (Location unknown. Venice. Formerly at Berlin, Kgl. Bibl.)

ii. "Abraham." (3v., org., 4 undesignated instr.; the sacrifice of Isaac, Genesis 22:1-13; dram.) Modern ed. in Arnold Schering, Geschichte der Musik in Beispielen (Leipzig, 1931), pp. 208-21 1.

1615, Bonini, Severo. Affetti spirituali a dua voci ... (I Bc) Venice. 12. "Tota pulchra es." (2v., org.; patchwork text from Song of Songs;

refl.) 13. "Vox dilecti mei." (2v., org.; patchwork text from Song of Songs;

refl.) For a transcription and analysis of the entire Affetti spirituali see John Joyce, "Severo Bonini's Affetti Spirituali Opus 7 (i615)," (unpublished M.A. thesis, Tulane University, 1966).

I616, Antonelli, Abundio. In: Selectae cantiones... concinendae a Fabio Con- Rome. stantini ... opus tertium . .. (I Rsc)

14. Dialogo: "Adiuro vos." (2v., org.; Song of Songs 5:8-12; refl.) Text reprinted in Alaleona, Storia d. orat., p. 170.

1616, Catalano, Ottavio .... Sacrarum cantionum . . . liber primus ... (F Pc) Rome. 15. Dialogo: "En dilectus meus." (2v., org.; Song of Songs 2: ioff.; refl.)

i6. Dialogo Pastorale per il Natale: "Angelus ad pastores." (8v., org.; nativity, Luke 2:1o-15 and 4th resp. of Matins for the Nativity; nar.- dram.) Text reprinted in Winter, "Studien," KmJb XLII (1958), p. 69.

1617, Pace, Vincenzo. Sacrorum concentuum ... (I Rsc) Rome. 17. Dialogo. Christo, S. Giacomo [sic] e S. Filippo: "Unde ememus panes."

(3v., org.; Jesus feeds five thousand, John 6:5-I4--"S. Giacomo" should read "S. Andrea"; dram.)

16i8, Anon. in: Constantini, Fabio. Scelta di motetti di diversi eccellentissimi Rome. autori ... libro secondo ... (I Rsc)

i8. Dialogo: "Ave gratia plena." (2v., org.; annunciation, Luke i:28-38; dram.)

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1618, Donati, Ignazio. Concerti ecclesiastici . . . (Reprint of 1625 in I Bc) Venice. 19. Dialogo: "Cum jejunasset Jesus." (4v., org.; temptation of Jesus, Matt.

4:2-11; nar.-dram.) 20. Dialogo, S. Lucia e S. Agata. "Quae nam es tu." (2v., org.; based on

the 5 antiphons at Lauds and the antiphon at Benediction for the Feast of St. Lucy; refl.)

21. Dialogo: "Transeamus usque Bethleem." (4v., org.; shepherds' adora- tion, Luke 2:15, io, 11, 14, I5; refl.)

i618, Donati, Ignatio. Motetti concertati ... (I Ls) Venice. 22. Dialogo del Angelo e Madonna: "Angelus Gabriel descendit." (5v.,

org.; annunciation, Luke i:26-38 and John 1:14; nar.-dram.) 23. Dialogo di Marta, Magdalena, e Lazaro: "Domine, Domine, si fuisses

hic." (5v., org.; the raising of Lazarus, John 11:21-45; dram.) 24. Dialogo di Christo e Samaritana: "Mulier, mulier, da mihi bibere." (5v.,

org.; the Samaritan woman at the well, John 4:7-40; dram.) 1619, Anerio, Gio. F. Ghirlanda di sacre rose ... (I Bc) Rome. 25. In Adventu Domini: "Gabriel angelus loqutus est." (5v., org.; freely

based on annunciation, Luke I:26-38; nar.-dram.) 26. In Nativitate Domini: "Dic nobis angele Dei." (5v., org.; freely based

on nativity story and on 8th resp. of Matins for the Nativity; dram.) 27. In Festo Sancti Pauli Apostoli: "Saulus ad hunc spirans." (5v., org.;

conversion of Saul, Acts 9:1-7, and versicle of alleluia for Feast of the Conversion of St. Paul; nar.-dram.)

162o, Quagliati Paolo.... Mottectis et dialogis... (I Bc) Rome. 28. Dialogo: "Veniat dilectus meus." (4v., org.; Song of Songs 5:1, 2:3,

7:11, and paraphrases of others; refl.) 29. Dialogo: "Fili quid fecisti." (4v., org.; the finding of Jesus in the tem-

ple, Luke 2:48-51 and Song of Songs 5:Io; dram.) 30. Dialogo: "Mulier quid ploras?" (4v., org.; Mary Magdalene at Jesus'

tomb, freely based on John 20: x1 ff.; dram.) 31. Dialogo: "Saule Saule." (4v., org.; Saul's conversion, Acts 9:4-6; dram.)

162o, Riccio, Giovanni Battista. Il terzo libro delle divini lodi ... (D F) Venice. 32. Dialogo, Angelo e Maria: "Verbum caro factum est." (4v., org.; an-

nunciation, John 1:14 and Luke 1:26-38; nar.-dram.) Text reprinted in Schering, Gesch. d. Orat., pp. 14-15. Two r6le dialogues in this terzo libro about which the present author does not have specific information are Dialogo a due voci, Peccator et Maria; and "Heu heu mihi," a 2.

i62 1, Bernardi, Steffano. Concerti sacri ... (I Bc) Venice. 33. "O quam suavis." (2v., cornetto, vln., tiorba, org.; freely based on Song of Songs, including 3:2 and 4:9; refl.) 162x, Grandi, Alessandro. II quarto libro de motetti . (US Wc) Venice. 34. Dialogo, Sponsa et Sponsus: "Surge propera amica mea." (2v., org.;

Song of Songs 2: ioff.; refl.) 1624, Kapsberger, Jo. Hieronymus. Poematia et carmina composita ' Maffaeo Rome. Barberino ... nunc autem Urbano octavo P.O.M .... (I Bc)

35. Iesu mox morituri cum Beatissima M. Matre colloquium: "Instat, sacra parens." (2v., org.; free poem on crucifixion; dram.) See comparison of this with D. Mazzocchi's 1638 dialogue setting of the same poem in Wolfgang Witzenmann, "Domenico Mazzocchi (i592- 1665): Dokumente und Interpretationen" (Diss. phil. Tiibingen, 1965) to be published in Analecta musicologica.

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1625, Banchieri, Adriano. Dialoghi concerti sinfonie e canzoni con due voci Venice. ... (GB Lbm)

36. Primo Dialogo, Peccatore all'Angelo Custode: "O me miserum." (2v., org.; free; dram.)

37. Dialogo Secondo, Abraham a Dio: "Domine exivi de te terra mea." (2v., org.; freely based on Genesis I2: Iff. and i6: 6ff.; refl.)

38. Terzo Dialogo, Cuor contrito al suo Creatore: "O Fili quid cogitas." (2v., org.; free; dram.)

39. Quarto Dialogo, Dio a Cain: "O Cain ubi est frater." (2v., org.; freely based on story of Cain and Abel, Genesis 4:9-15; dram.)

40. Sesto Dialogo, Una delle cinque prudenti e Angelo: "Amo Christum." (2v., org.; based in part on the antiphon "Veni sponsa Christi"; refl.)

4I. Settimo Dialogo, Christo a Pietro: "Petre amas me." (2v., org.; freely based on Peter's confession of faith, John 21: i7ff. and Matt. 16: i8ff.; dram.)

42. Ottavo Dialogo, Gabrielli e Maria: "Ave Maria." (2v., org.; annunciation, Luke I:28-38; dram.)

43. Nono Dialogo, Christo e Maria Madalena: "Mulier cur ploras hic." (2v., org.; Mary Magdalene at Jesus' tomb, John 20:13-16; dram.) This is a r6le-dialogue version of the ensemble dialogue a 4 on the same text in Banchieri's Ecclesiastiche sinfonie . .Venice, 1607.

44. Decimo Dialogo, Sposa e Sposo: "Indica mihi." (2v., org.; Song of Songs x:6-7 and 7:11-12; refl.)

45. Undecimo Dialogo, S. Carlo a Giesu: "O dulcis amor." (2v., org.; free; refl.)

46. Duodecimo Dialogo, In Festis Apostolorum Tempore Paschali Dia- logus: "Ego vado." (2v., org.; based on dialogue between Jesus, Thomas, and Philip in John i4:2-9; dram.)

47. Decimoterzo Dialogo, In Die Assensionis Domini: "Viri Galilei." (2v., org.; freely based on the subject of the ascension; dram.)

ca. 1625 Bernardi, Steffano. (F Pn, manuscript Vm' 1467) 48. Historia nuptiarum in Cana: "Non habemus vinum." (6v., org.; mar-

riage feast at Cana, John 2:3-1i; dram.) See brief description and approximate date of another MS in Elisabeth Noack, "Die Biblio- thek der Michaeliskirche zur Erfurt . . . ," Archiv ffir Musikwis- senschaft VII (1925), 91-92. Another MS is in the Diiben collection of S Uu (Vokalmusik i handskrift, 4:10). A print is in Ambrosio Profio, Vierdter und letzter Theil geistlicher Concerten .. .Leip- zig, 1646. (US R)

1626 Bollius, Daniel. (MS formerly in Breslau Stadtbibliothek) or Cited as Hs. Nr. I29 in Emil Bohn, Die musikalischen Handschriften earlier. . . Breslau, 1890. A letter from Professor Bronislaw Kocowski

and Dr. Jadwiga Pelczyna of the University Library at Wroclaw, Poland has informed the author that Appendix Nos. 49 and 59-61, formerly in the Stadtbibliothek at Breslau, are no longer to be found and were probably destroyed during World War II.

49.* Rapraesentatio harmonica conceptionis et nativitatis S. Joannis Bap- tistae inter natos mulierum maximi iuxta sanctum Jesu Christi Evan- gelium secundum Lucam composta modo pathetico sive recitativo distributa in duos actus, et sex scenas adiunctis quinque symphoniis loco intermedii. (7 soloists, 8-voice double chorus, 6 designated

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string and wind insts., bc.; annunciation and nativity of John the Baptist, Isaias 49:1-7 and Luke i:5ff.; nar.-dram.) See descriptions in Carl G. A. von Winterfeld, Joannes Gabrieli und sein Zeitalter (Berlin, 1834), II, 2o5ff.; Moser, D. mehrst. Vert. d. Evang., pp. 57ff.

1627, Cima, Andrea. II secondo libro delli concerti... (US R) Milan. 50. Dialogo: "O quam humilis." (2v., org.; dialogue between Jesus and the

Virgin, in style of Song of Songs; refl.) See above for complete text and related scriptural passages.

51. "Indica mihi." (2v., org.; Song of Songs 1:6-7, 4:1, 4:9, 7:11; refl.) 1628, Bazzino, Natale. Messe motetti et dialogi ... (D F) Venice. 52. Dialogo: "Angelus Gabriel." (5v., org.; annunciation of John the Bap-

tist, Luke 1: I1-68; nar.-dram.) 53. Dialogo: "Duo discipuli." (5v., org.; two disciples and Jesus on the way

to Emmaus, Luke 24:13-29; nar.-dram.) Reprint of text in Schering, Gesch. d. Orat., pp. 13-14.

54. Dialogo: "Video pulcherrimam mulierem." (5v., org.; freely based on the finding of Jesus in the temple, Luke 2:46-49; dram.) See above for complete text and related scriptural verses.

1628, Ratti, Lorenzo. Sacrae modulationes . .. Pars secunda ... (I Rf) Venice. 55. Dialogus ad Offertorium, Dominica infra Oct. Corpor. Christi: "Homo

quidam." (8v., org.; parable of a great supper, Luke 14:16-24, Gospel of the day; nar.-dram.)

1628, Ratti, Sac. mod., Pars tertia. (I Rf) Venice. 56. Dialogus ad Offertorium, Dominica XX post Pentec.: "Erat quidam

regulus." (8v., org.; the official's son, John 4:46-53, Gospel of the day; nar.-dram.)

57. Dialogus ad Offertorium, Dominica XXI post Pentec.; "Simile est regnum." (8v., org.; parable of the unmerciful servant, Matt. 18:23- 35, Gospel of the day; nar.-dram.)

58. Dialogus ad Offertorium, Dominica XIII post Pentec., et in Dom. III post Pentec., et in Dom. III post Epiph.: "Cum descendisset Iesus." 8v., org.; the healing of a leper and the story of the centurion's servant, Matt. 8:I-13, Gospel of Dom. III post Epiph.; nar.-dram.)

1629, Bollius, Daniel. (MS formerly in Breslau Stadtbibliothek. Cited as Hs. or Nr. I29c in Bohn, D. mus. Hs.) earlier. 59.* Dialogus harmonicus: "Intravit Jesus in quoddam castellum." (3v., 3

designated insts., bc.; Martha and Mary entertain Jesus, Luke io: 38ff.; nar., partly dram.) See description in Moser, D. mehrst. Vert. d. Evang., p. 54.

1629, Bollius, Daniel. (MS formerly in Breslau Stadtbibliothek. Cited as Hs. or Nr. 88, I in Bohn, D. mus. Hs.) earlier. 6o.* Dialogo: "Domine puer meus iacet in domo." (8v., 3 vln., 3 trb., bc.;

the centurion's servant, Matt. 8:6ff.; nar.-dram.) See descriptions in Moser, D. mehrst. Vert. d. Evang., p. 56; Hans-Olaf Hudemann, Die protestantischen Dialogkomposition im 17. Jahrhundert (Kiel, 1940), pp. 64-66.

1629, Anon. (Bollius ?) (MS formerly in Breslau Stadtbibliothek. Cited as Hs. or Nr. 85, I in Bohn, D. mus. Hs.) earlier. 6i.* Dialogus: "Cum factus esset Jesus annorum duodecim." (3v., bc.; the

finding of Jesus in the temple, Luke 2:42ff., nar.-dram.) See descriptions in Moser, D. mehrst. Vert. d. Evang., p. 56; Hudemann, D. prot. Dialog., p. 66.

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the latin dramatic dialogue and the nascent oratorio · the oratorio; some of the dialogues use...

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