By Howard E. Smither
Written by means of an eminent student in a method that represents American musicological writing at its communicative most sensible, A background of the Oratorio bargains a synthesis and demanding 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 heritage of the oratorio has but seemed within the English language that's similar in scope and therapy with Howard Smither's finished four-volume work.
The first a part of quantity 2 examines extensive 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 so much sections of A background of the Oratorio, the writer has chosen for precise cognizance a number of oratorios which are consultant of every geographical sector and interval. An exception to this process is within the part on Handel during this quantity, the place all the composer's English oratorios are handled absolutely with specific connection with contemporary really good 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 research of oratorio background. even supposing this sequence used to be initially introduced as a three-volume examine, Smither will finish with a fourth volume.
Originally released in 1977.
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Extra info for A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England
I, pt. 4, pp. 153—84. 12. Printed in PubAPTM, 11:49-80. 13. Printed in MAM, vol. 4. For a discussion of this work, see Moser, Ôsterreich, pp. 66-70. 14. Printed in Chiv, vol. 17. 15. The Passion printed in Kade, Passionskomposition, pp. 306-44; the Easter historia printed in Ameln, Kirchenmusik, vol. i, pt. 3, pp. 133—40, and pt. 4, pp. 110—30. 8 The Oratorio in the Baroque Era: Protestant Germany and England again by Rosthius in 1598 (his responsorial historia mentioned above) and by Schiitz in 16x3.
The Lutheran Historia and Passion 9 FIGURE 1-2.. Heinrich Schütz (1585-1671), at 85 years of age. An oil miniature by an anonymous painter, 1670. ) ίο The Oratorio in the Baroque Era: Protestant Germany and England neither a historia nor an oratorio by the composer but occasionally termed an oratorio today, is also treated below. The Easter Historia19 Schütz's Historia der frohlichen und siegreichen Aufferstehung unsers einigen Erlosers und Seligmachers Jesu Christi ("Story of the Joyful and Victorious Resurrection of Our One Redeemer and Savior Jesus Christ," Dresden, 16x3) is his earliest work in this genre.
He was absent from the Dresden court in 1628, when he traveled to Monteverdi's Venice to familiarize himself with the most recent developments in Italian music. He was also absent when he served as the director of music at the court in Copenhagen for several years during the disturbed times of the Thirty Years' War. Of Schiitz's five works that he called historiae, two are settings of the Easter and Christmas stories and three are Passions. Schiitz's historiae bear various relationships to the German oratorio, and two of them, those for Easter and Christmas, have often been loosely termed oratorios in musicological literature.
A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England by Howard E. Smither