A History of the Oratorio: Vol. 2: the Oratorio in the by Howard E. Smither
By Howard E. Smither
Written by means of an eminent pupil 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 scholar of the oratorio can be pressured to appear to those volumes as an imperative resource. No paintings at the historical past of the oratorio has but seemed within the English language that's related in scope and remedy with Howard Smither's finished four-volume work.
The first a part of quantity 2 examines intensive the antecedents and origins of the oratorio in Protestant Germany within the 17th century. It comprises 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 basically the English oratorios of Handel. In such a lot sections of A historical past of the Oratorio, the writer has chosen for particular cognizance a couple of oratorios which are consultant of every geographical quarter and interval. An exception to this approach is within the part on Handel during this quantity, the place all the composer's English oratorios are taken care of absolutely 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 learn of oratorio heritage. even supposing this sequence used to be initially introduced as a three-volume research, Smither will finish with a fourth volume.
Originally released in 1977.
A UNC Press Enduring variation -- UNC Press Enduring variations use the most recent in electronic expertise to make on hand back books from our unique 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 old and cultural value.
Read or Download A History of the Oratorio: Vol. 2: the Oratorio in the Baroque Era: Protestant Germany and England PDF
Similar forms & genres books
Surroundings opera inside quite a few contexts - social, aesthetic, historic - Lindenberger illuminates a kind that has persevered in recognizable form for over 4 centuries. The learn examines the social entanglements of opera, for instance the relation of Mozart's Abduction from the Seraglio and Verdi's Il trovatore to its preliminary and later audiences.
A useful advisor for either informal opera lovers and aficionados, a hundred nice Operas may be the main accomplished and relaxing quantity of opera tales ever written. From los angeles Traviata to Aïda, from Carmen to Don Giovanni, listed here are the plots of the world’s best-loved operas, instructed in an interesting, picturesque, and readable demeanour.
The Thomas Fisher Library on the collage of Toronto homes a tremendous number of opera and oratorio librettos linked to performances throughout Europe. as well as containing the textual content of musical dramas, those books include facets of old element and literary background, in addition to biographical information of performers.
Beethoven forged a looming shadow over the 19th century. For composers he used to be a version either to emulate and to beat. "You don't know the way it feels," Brahms confided, "when one constantly hears any such monstrous marching at the back of one. " Exploring the reaction of 5 composers--Berlioz, Mendelssohn, Schumann, Brahms, and Mahler--to what each one truly observed because the problem of Beethoven's symphonies, Evan Bonds richly complements our realizing of the evolution of the symphony and Beethoven's legacy.
Additional info for A History of the Oratorio: Vol. 2: the Oratorio in the Baroque Era: Protestant Germany and England
In the anonymous work the Evangelist's part resembles that of Schütz's Easter historia in that the plainsong recitation tone is abandoned at cadential passages in favor of mensural style. Exceptional for historiae in the first half of the century is the inclusion in the anonymous work of some nonbiblical words: a quodlibet is formed from the Christmas song "Joseph lieber Joseph mein" and the music of the shepherds in the fields. This section, introduced by a symphonia, bears the indication "Rocking by the chorus, piano " referring to a "rocking" motive in triple meter that foreshadows Schütz's use of a similar motive in his Christmas historia.
Therefore the term oratorio, used analogically, would seem appropriate for it; in fact, Rudolf Schwartz appears to be justified in calling it "the first German oratorio," since no earlier work of this type with a German text is known. 43 From the standpoint of the work's music, too, the term oratorio would seem to be appropriate, since the music includes arioso style, aria style, chorale tunes (which become important in the later, fully developed German oratorio), choruses, and instrumental symphoniae.
And 5 Melchior Vulpius (1613). These works tend to retain Walter's procedures for the soloists but provide more elaborate choral numbers. Of the responsorial historiae on subjects other than the Passion, the earliest is an anonymous setting of the Resurrection story 6 from about τ 5 50. This work is much like Walter's Passion in that the individual personages are sung by soloists to recitation tones (the Evangelist, T; Jesus, B; Mary Magdalene, S; and the Angel and Cleophas, T) and the parts of two or more personages are sung by the chorus in falsobordone.