As the various forms of music, already named as common to the opera and
oratorio, developed in the former, so in proportion they expanded and
became freer in the latter; those portions which had been mainly founded
upon plain song became more expressive and dramatic, and the melody
assumed a flowing and cantabile character. But whereas you would imagine
that a closer connection between the secular and sacred would be the
result of this change, nevertheless, the composer's conviction that the
music must strive to be of adequate importance to the sacred words and
subjects caused a line to be drawn, ever growing more and more marked,
as time and growth in grace and knowledge went on, between the secular
and sacred musical drama.

In the seventeenth century we find Carissimi greatly advancing oratorio,
and composing really noble music. You may remember a revival of his
"Jephtha," by Mr. Henry Leslie, a few years back. Scarlatti, Stradella,
and others also contributed to this period. But, notwithstanding its
Italian birth and infancy, it remained for Germany to bring oratorio to
a vigorous manhood, and to its lofty position in the world of music. The
compositions of Handel and Bach, early in the eighteenth century, placed
this sacred art form upon a pinnacle of such height and strength, that
few composers have the stamina or knowledge wherewith to reach it.

Having gazed at this, for a time, culminating summit, let us go back to
the early days again for a moment to notice a branch of this tree, a
member of this sacred family, whose growth has been parallel with that
of the subject of our sketch, viz., the Passion oratorio, one dealing
with the sufferings and death of our blessed Redeemer. Foremost amongst
the miracle plays, in which originated the sacred drama, was the
representation, during Holy Week, of the Passion of our Lord. To this
day we have interesting relics of this custom, such as the Oberammergau