Oratorio is given usually in the Albert Hall, the vast area of which is especially suited for a large chorus and orchestra, and at the Crystal Palace (q.v.).
She was the principal singer at his oratorio concerts, and acquired such a reputation as a vocalist that she was offered an engagement for the Birmingham festival, which, however, she declined.
To this period belong five Masses, a dozen operas, over thirty clavier-sonatas, over forty quartets, over a hundred orchestral symphonies and overtures, a Stabat Mater, a set of interludes for the service of the Seven Words, an Oratorio Tobias written for the Tonkiinstler-Societe t of Vienna, and a vast number of concertos, divertimenti and smaller pieces, among which were no less than 175 for Prince Nicholas' favourite instrument, the baryton.
His symphony Le Midi (written in 1761) already shows a remarkable freedom and independence in the handling of orchestral forces, and further stages of advance were reached in the oratorio of Tobias, in the Paris and Salomon symphonies, and above all in the Creation, which turns to good account some of the debt which he owed to his younger contemporary.
St John Passion (in 1888), followed after short intervals by the St Matthew Passion, the Christmas Oratorio, the Mass in B Minor, and finally by an annual Bach festival continuing for three days, which was discontinued after Wolle's removal to the university of California in 1905.
A fine setting of the hymn "Veni, Creator Spiritus" was given at Birmingham in 1891, and the oratorio Bethlehem in 1894.
Marciano, Memorie istoriche della Congregazione dell' Oratorio (5 vols., Naples, 1693-1702);; Perraud, L'Oratoire de France (2nd ed., Paris, 1866); Jourdain de la Passardiere, L'Oratoire de St Ph.
Modern composers have often produced their most characteristic orchestral effects with fewer contrasting elements than Bach uses in his Trauer-Ode, in the pastoral symphony in his Christmas Oratorio, in the first chorus of the cantata Liebster Gott, wann werd' ich sterben, and in many other cases; but the modern instrumental effects are as far outside Bach's scope as a long passage of preparation on the dominant leading to the return of a first subject is beyond the scope of a gigue in a suite.