By Howard E. Smither
Howard Smither has written the 1st definitive paintings at the heritage of the oratorio considering that Arnold Schering released his Geschichte des Oratoriums in 1911. This quantity is the 1st of a four-volume accomplished learn that provides a brand new synthesis of what's recognized up to now in regards to the oratorio.
Volume 1, divided into 3 components, opens with the exam of the medieval, Renaissance, and early Baroque antecedents and origins of the oratorio, with emphasis on Rome and Philip Neri's Congregation of the Oratory and with distinct consciousness to the earliest works for which the time period oratorio turns out acceptable. the second one half recounts the improvement of the oratorio in Italy, circa 1640-1720. It stories the social contexts, consumers, composers, poets, librettos, and song of the oratorio in Italy, specifically in Vienna and Paris.
The technique tailored in the course of the paintings is to regard first the social context, relatively the situations of functionality of the oratorio in a given quarter and interval, then to regard the libretto, and eventually the tune. for every geographic region and interval, the writer has chosen for targeted awareness a number of oratorios that seem to be fairly very important or consultant. He has validated the data provided within the really good literature each time attainable through connection with the song or records. In a couple of components, specific seventeenth-century Italy, within which quite few past experiences were undertaken or secondary resources have confirmed to be insufficient, the writer has tested the first resources in manuscript and revealed shape -- tune, librettos, and files of early oratorio heritage. striking study and clever integration of disparate components make this advanced, diffuse topic either readable and available to the coed of music.
Volume 2, The Oratorio within the Baroque period: Protestant Germany and England, and quantity three, The Oratorio within the Classical Era, proceed and extend the research of oratorio heritage. even supposing this sequence used to be initially introduced as a three-volume research, Smither will finish with a fourth volume.
This new work--the first English-language learn of the background of the oratorio becomes the normal paintings on its topic and an everlasting contribution to song and scholarship.
Originally released in 1977.
A UNC Press Enduring variation -- UNC Press Enduring variants use the most recent in electronic know-how to make to be had back books from our extraordinary backlist that have been formerly out of print. those variants are released unaltered from the unique, and are provided in cheap paperback codecs, bringing readers either ancient and cultural value.
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Additional info for A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris
The principal question of terminology concerning sacred dramatic music of seventeenth-century France is that of the classification of such music composed in Paris by Marc-Antoine Charpentier. He labeled none of his sacred dramatic works with the term oratorio—a term that is not known to have been used at all in seventeenth-century France—but rather he called them historia, motet, canticum, dialogus, and meditation. Nevertheless, some of his works designated by these terms are closely modeled on the Latin oratorios of Carissimi, with whom Charpentier studied in Rome.
S. Bach's Christmas Oratorio, both of which are essentially narrative and reflective rather than dramatic. Introduction 15 This page intentionally left blank PART I The Antecedents and Origins of the Oratorio This page intentionally left blank CHAPTER II The Middle Ages, Renaissance, and Roman Catholic Reform ^ Some Antecedents of the Oratorio The impulse to express religious feelings and concepts by means of narrative, drama, and music—the elements common to most oratorios—is revealed in several forms of Christian worship in the Middle Ages and Renaissance.
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