By Howard E. Smither
Howard Smither has written the 1st definitive paintings at the heritage of the oratorio considering the fact that Arnold Schering released his Geschichte des Oratoriums in 1911. This quantity is the 1st of a four-volume entire learn that provides a brand new synthesis of what's recognized thus far concerning 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 unique cognizance to the earliest works for which the time period oratorio turns out acceptable. the second one half recounts the advance of the oratorio in Italy, circa 1640-1720. It experiences the social contexts, consumers, composers, poets, librettos, and track of the oratorio in Italy, in particular in Vienna and Paris.
The technique tailored through the paintings is to regard first the social context, rather the situations of functionality of the oratorio in a given region and interval, then to regard the libretto, and at last the tune. for every geographic sector and interval, the writer has chosen for distinct cognizance a couple of oratorios that seem to be fairly vital or consultant. He has validated the data provided within the really good literature every time attainable by means of connection with the tune or files. In a few parts, specific seventeenth-century Italy, within which really few prior stories were undertaken or secondary resources have confirmed to be insufficient, the writer has tested the first resources in manuscript and published shape -- tune, librettos, and records of early oratorio background. striking learn and clever integration of disparate components make this complex, diffuse topic either readable and obtainable to the scholar 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 examine of oratorio heritage. even supposing this sequence was once initially introduced as a three-volume research, Smither will finish with a fourth volume.
This new work--the first English-language examine of the background of the oratorio becomes the traditional paintings on its topic and a permanent contribution to track 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 exotic backlist that have been formerly out of print. those versions are released unaltered from the unique, and are awarded in cheap paperback codecs, bringing readers either old and cultural value.
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Extra resources for A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris
The librettos of the earliest Latin oratorios are largely in prose, and they derive from the dramatic dialogue motet; on the other hand, the librettos of the earliest Italian oratorios are in poetry, and they derive from the dramatic dialogue-madrigal and from opera. The musical styles of Latin and Italian oratorios are similar and are strongly influenced by opera, as are dialogue motets and madrigals of the time. After the mid-seventeenth century oratorio librettos in both languages tend to be in poetry throughout; both the texts and the music are modeled on those of contemporary opera.
4 The Oratorio in the Baroque Era: Italy, Vienna, Paris lando di Lasso on the Gospel stories of Jesus and two disciples on the road to Emmaus, the finding of Jesus in the temple, the Annunciation to the Virgin Mary, the raising of Lazarus, and the 22 marriage feast at Сапа. In these works by Lasso there is little distinction between the musical settings of the narrative passages and the lines of the various personages in the story. In some sixteenth-century works, however, the dialogue between personages is set antiphonally to provide a more realistic effect.
Even in the dramatic libretto, characteristic of the eighteenth century, at least a modicum of narration and description is usually included in the recitatives of the personages so that the audience may be able to imagine the scenery and physical acts of the drama; in some dramatic works the listeners are given the additional aid of brief descriptions of the scene, which they may read in the 14 The Oratorio in the Baroque Era: Italy, Vienna, Paris printed libretto. It is curious that among the exceptions to the first generalization stated above—the predominance of the dramatic element—are two of the greatest works called oratorios in the late Baroque, Handel's Messiah and J.