By Howard E. Smither
Howard Smither has written the 1st definitive paintings at the heritage of the oratorio when you consider that Arnold Schering released his Geschichte des Oratoriums in 1911. This quantity is the 1st of a four-volume finished examine that provides a brand new synthesis of what's identified thus far in regards to the oratorio.
Volume 1, divided into 3 elements, 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 specified consciousness to the earliest works for which the time period oratorio turns out applicable. the second one half recounts the improvement of the oratorio in Italy, circa 1640-1720. It reports the social contexts, buyers, composers, poets, librettos, and track of the oratorio in Italy, in particular in Vienna and Paris.
The approach tailored during the paintings is to regard first the social context, fairly the situations of functionality of the oratorio in a given zone and interval, then to regard the libretto, and eventually the track. for every geographic quarter and interval, the writer has chosen for distinctive realization a couple of oratorios that seem to be rather very important or consultant. He has established the knowledge provided within the really expert literature at any time when attainable by means of connection with the tune or files. In a couple of components, specific seventeenth-century Italy, during which particularly few past experiences were undertaken or secondary resources have confirmed to be insufficient, the writer has tested the first resources in manuscript and revealed shape -- song, librettos, and records of early oratorio historical past. amazing learn and clever integration of disparate parts make this complex, diffuse topic either readable and available to the coed 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 historical past. even though this sequence used to be initially introduced as a three-volume examine, Smither will finish with a fourth volume.
This new work--the first English-language research of the heritage of the oratorio becomes the traditional paintings on its topic and a permanent contribution to song and scholarship.
Originally released in 1977.
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Extra info for A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris
M(m) MS(S) Ms Ps. ) S* Sam. T* Tob. trans. Wisd. Ephesians Exodus Genesis Haggai Isaiah, Isaias Jeremiah, Jeremias Jonah,Jonas Judges Malachi Matthew measure(s) manuscript(s) mezzo soprano Psalm (Psalms) soprano Samuel tenor Tobit, Tobias translated, translation, translator Wisdom Note: With reference to the above designations of voices that are marked by asterisks, when two or more voices sing together, as in an ensemble, this is indicated by an absence of spacing or punctuation. ) Abbreviations xxvii This page intentionally left blank A History of the Oratorio This page intentionally left blank CHAPTER I Introduction 3^This chapter introduces in broad and general terms some basic concepts about the oratorio and its history in various subperiods of the Baroque era and in various geographical areas.
Established in 1678, the Hamburg opera performed works in German, many of which used biblical subjects. Thus the opera prepared a social climate that would accept oratorio and created a demand for the genre. Despite that demand, Hamburg's church and city officials reacted negatively to the earliest oratorio performances in the city, only to give way in a few years to the pressures of the opera-loving public and to permit the oratorio, not only in concerts, but also in the Hamburg cathedral. The oratorio was the principal composition on the most important days of the church year, and even female opera singers were allowed to participate in its performance.
By the i66os in Italy, the word oratorio had become firmly established as a term for a musical genre. From then to about the i68os, the word was applied with considerable consistency to a musical setting of a sacred, narrative-dramatic text based on a biblical story, a saint's life, or some other spiritual subject; the text is usually in Italian but may be in Latin; written in poetry throughout, the text is stylistically similar to that of an opera. The oratorio is normally in two large structural parts, although some oratorios are in one part and others, in three.
A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris by Howard E. Smither