Generally a short vocal composition accompanied usually by an orchestra (and continuo in the Baroque period), which tells a story through the use of recitative, aria and chorus. In the 17th and 18th centuries there were two types: ‘cantata da chiesa’, religious text for church use, and ‘cantata da camera’, secular text for concert performance. Bach wrote many cantatas and here is a brief excerpt from one.
Listen for a bass voice, organ, orchestra and oboe obbligato.
An extended composition which usually had text based on Bible stories, and contained recitative, aria, duets and choruses. Listen to an example from the 'Messiah' starting with two recitatives, the first, secco, accompanied by just the organ and the second, accompagnato, accompanied by the orchestra, which tells what is happening in the story. This is followed by a chorus which is homophonic at the start and then polyphonic in style. It begins with the reaction of 'the heavenly host', 'Glory to God'. This is followed by the start of an aria, the thoughts of one person, 'Rejoice greatly'. Notice the melismatic word painting in the aria.

An oratorio which is based on the ‘Passion’, the Crucifixion of Christ. In this excerpt the Evangelist, who tells the story, introduces the chorus, who complain to Pilate that if he lets Jesus free he would no represent Caesar. Pilate remonstrates with the crowd but the chorus reply 'Away, away with him, crucify him!
(J S Bach in early life).

A German Lutheran church hymn much favoured by J S Bach in many of his religious compositions. Many of his cantatas are built around these compositions. Listen to this example of a chorale from the ‘St John Passion’.
Music which is sung by the congregation at a church service. In this excerpt the choir sings the first verse in harmony, while verse two is sung in unison by male voices with a descant sung by treble voices, young children's voices from an English cathedral choir.
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