By Howard E. Smither
Written through an eminent student in a method that represents American musicological writing at its communicative most sensible, A heritage of the Oratorio deals a synthesis and significant appraisal so exhaustive and trustworthy that the intense pupil of the oratorio could be forced to seem to those volumes as an crucial resource. No paintings at the heritage of the oratorio has but seemed within the English language that's similar in scope and therapy with Howard Smither's accomplished four-volume work.
The first a part of quantity 2 examines extensive the antecedents and origins of the oratorio in Protestant Germany within the 17th century. It contains discussions of the Lutheran Historia, sacred dramatic dialogues, and the Lubeck Abendmusiken of Buxtehude. the second one half treats the oratorio in Protestant Germany within the early eighteenth century and examines Handel, Reinhard Keiser, and J.S. Bach. The 3rd half considers essentially the English oratorios of Handel. In so much sections of A historical past of the Oratorio, the writer has chosen for distinct cognizance a couple of oratorios which are consultant of every geographical quarter and interval. An exception to this technique is within the part on Handel during this quantity, the place the entire composer's English oratorios are handled totally with specific connection with contemporary really expert Handel studies.
Volume 1, The Oratorio within the Baroque period: Italy, Vienna, Paris, and quantity three, The Oratorio within the classical Era, extend and proceed the examine of oratorio background. even though this sequence was once initially introduced as a three-volume research, Smither will finish with a fourth volume.
Originally released in 1977.
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Extra info for A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England
Angel: "Die Seelen der Gerechten" (S solo; b. ) 9. Secular chorus: drinking song of the Rich Man and his Brothers, "Wohl her, lasset uns wohl leben" (ATTTB, b. ) ίο. Symphonia (z cornetts, b. ) ii. The Rich Man and God: dialogue, "O Tod, wie bitter bist du mir" (ТВ soli, b. ) iz. , b. ) 13. , b. ) 14. S solo: "Ach, es hat kein Auge gesehen" (b. ) Lazarus: "Zwingt die Saiten in Kithara" (text and melody from "Wie schón leuchtet der Morgenstern"; Т solo, viola da gamba obbligato, b. ) 15. , 4 tbns.
11. Printed in Ameln, Kirchenmusik, vol. i, pt. 4, pp. 153—84. 12. Printed in PubAPTM, 11:49-80. 13. Printed in MAM, vol. 4. For a discussion of this work, see Moser, Ôsterreich, pp. 66-70. 14. Printed in Chiv, vol. 17. 15. The Passion printed in Kade, Passionskomposition, pp. 306-44; the Easter historia printed in Ameln, Kirchenmusik, vol. i, pt. 3, pp. 133—40, and pt. 4, pp. 110—30. 8 The Oratorio in the Baroque Era: Protestant Germany and England again by Rosthius in 1598 (his responsorial historia mentioned above) and by Schiitz in 16x3.
6. For descriptions of the sources of Schütz's Christmas historia, together with bibliographies of writings about them and information on performance practice, see the remarks by Arthur Mendel in his edition of the work (Schiitz, Christmas, pp. iii-xvii) and Friedrich Schóneich in his edition (Schiitz, Neue Ausgabe, 1:79—81). These editions supersede that in Schiitz, Werke, 1:161-72. The Lutheran Historia and Passion гτ sonages and performing forces of the work's ten concerted pieces are as follows: Introduction Intermedium Intermedium Intermedium Intermedium Intermedium Intermedium Intermedium Intermedium Beschluss (Only the b.
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