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 background of the Oratorio deals a synthesis and significant appraisal so exhaustive and trustworthy that the intense scholar of the oratorio may be forced to appear to those volumes as an necessary resource. No paintings at the background of the oratorio has but seemed within the English language that's similar in scope and therapy with Howard Smither's complete 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 essentially the English oratorios of Handel. In such a lot sections of A background of the Oratorio, the writer has chosen for unique recognition a couple of oratorios which are consultant of every geographical sector and interval. An exception to this approach is within the part on Handel during this quantity, the place the entire composer's English oratorios are taken care of absolutely with specific connection with fresh 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 heritage. even if this sequence was once initially introduced as a three-volume examine, Smither will finish with a fourth volume.
Originally released in 1977.
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Additional info for A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England
The chorus finally joins the soloist in a victorious closing section. The Lutheran Historia and Passion 17 The Seven Words of Christ23 Perhaps the best known of Schiitz's works treated here is Die sieben Wortte unsers lieben Erlosers und Seeligmachers Jesu Christi so er am Stamm des Heiligen Creutzes gesprochen ("The Seven Words of Our Dear Redeemer and Savior Jesus Christ Which He Spoke on the Holy Cross"), which dates from about 1645. Although it does not include the term historia in its title, it relates closely to the historia tradition.
Historia der. . Geburth Gottes (Schiitz, Neue Ausgabe, 1:50-51). 29. Translated in Schiitz, Christmas, pp. v—vi. 4 The Oratorio in the Baroque Era: Protestant Germany and England (EXAMPLE 1-5, continued) . . then was fulfilled what was spoken through Jeremiah the prophet, who then said: cries were heard in the mountains, much lamentation, weeping, and crying. Rachel weeping for her children. Somewhat like the numbers of an opera or oratorio of the time, the intermedia are pieces distinctly separated from what precedes and follows them.
In the first and last pair oí intermedia, he combines the Angels with high strings (the soloist with two violette, or discant viole da gamba, and the chorus of Angels with two violins). In the four central intermedia (nos. 6 The Oratorio in the Baroque Era: Protestant Germany and England trumpets in their clarino register (the cornettini would seem to be barely adequate substitutes), and the trio of Shepherds (AAA) with the folklike sounds of recorders and bassoon. The High Priests and Scribes are portrayed as figures of utmost gravity and seriousness by the extremely unusual ensemble of a quartet of bass voices combined with two trombones.