In 17th- and 18th-century Italy, the oratorio was a significant part of musical life. Especially during Lent, when opera performances were prohibited, audiences flocked to oratorios with biblical or mythological themes, which were not staged. In Rome, this genre enjoyed great popularity, as it was considered religious entertainment and even received papal approval. The origins of the oratorio date back to the early 17th century, when Philip Neri and the Oratorians attracted larger audiences to their performances than ordinary church services. Over time, the oratorio became appreciated in both religious circles and at secular events, such as in the magnificent palaces of the nobility, where works from the oratorio erotico tradition were also performed.
Alessandro Scarlatti composed many of his 38 oratorios for Rome or for the residences of his aristocratic patrons. His musical output was diverse, encompassing oratorios, cantatas, masses, motets, solo concertos, and sonatas. The Latin oratorio "Davidis pugna et victoria," premiered in Rome in 1700, takes the biblical story of David and Goliath as its subject. The composition is distinguished by its use of double choirs and a narrator, demonstrating Scarlatti's compositional skill.
Latin oratorios were aimed at an educated audience and conveyed more than mere religious instruction. In "Davidis pugna et victoria," the story of David and Goliath is explored in detail, extending beyond the biblical text. Scarlatti masterfully characterizes the figures musically and comments on the events, as evidenced by the dramatic staging of the battle scenes and the interplay of duets between the protagonists.
The work does not end with a traditional final chorus but concludes with a reflection on the fickleness of fate. In this way, Scarlatti succeeds in conveying the uncertainty of human life musically while simultaneously entertaining and delighting the audience.