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.

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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.

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