By Howard E. Smither
With this quantity, Howard Smither completes his huge History of the Oratorio. Volumes 1 and a pair of, released through the college of North Carolina Press in 1977, taken care of the oratorio within the Baroque period, whereas quantity three, released in 1987, explored the style within the Classical period. the following, Smither surveys the background of 19th- and twentieth-century oratorio, stressing the most geographic parts of oratorio composition and function: Germany, Britain, the USA, and France.
Continuing the technique of the former volumes, Smither treats the oratorio in each one language and geographical quarter via first exploring the cultural and social contexts of oratorio. He then addresses aesthetic concept and feedback, treats libretto and tune as a rule, and provides distinctive analyses of the librettos and song of particular oratorios (thirty-one in all) which are of targeted value to the background of the genre.
As a synthesis of specialised literature in addition to an research of fundamental resources, this paintings will function either a springboard for additional study and a vital reference for choral conductors, soloists, choral singers, and others attracted to the historical past of the oratorio.
Originally released 2000.
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Additional resources for A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries
50 The roots of nineteenth-century historicism in Germany, however, reach back to the second half of the eighteenth century. The writings from 1755 – 67 by Johann Joachim Winckelmann (1717– 68) on classical archaeology and the arts of antiquity played an important role in shaping the neoclassical movement in architecture and the visual arts. 52 By their reﬂections on art of the past, Winckelmann, Goethe, and their contemporaries were unconsciously laying the groundwork for nineteenth-century historicism in the visual arts and architecture.
In Dahlhaus, Absolute Music, chapters 5 – 6 treat these ideas, as does Wiora, “Romantik,” pp. 38 –39. The ideas were developed by Wackenroder and Tieck— and subsequently by E. T. A. Hoffmann—with reference to absolute music, but by Schleiermacher with reference to music in general. 81. In Geck, Matthäuspassion, the section “Die christliche Gefühlsreligion,” pp. 67–71, explores this facet of writings about the concert in which this work was revived. , a vehicle of religious revelation), then what is the role of so-called religious music?
The German oratorio of the eighteenth century was most at home in church (in striking contrast to the English oratorio). Of course oratorios had also been performed in public concerts, increasingly so late in the eighteenth century. ” 77 Unlike the period of J. S. Bach, in which high art to praise God sounded in the Protestant church, in the later eighteenth century music for church became an increasingly functional and perfunctory vehicle to assist devotion. Attempts were made in the nineteenth century to improve the artistic and religious qualities of church music, but the concert hall became the principal venue for art music, including oratorio.
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