By Howard E. Smither
Howard Smither has written the 1st definitive paintings at the background of the oratorio on account that Arnold Schering released his Geschichte des Oratoriums in 1911. This quantity is the 1st of a four-volume finished research 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 detailed awareness to the earliest works for which the time period oratorio turns out applicable. the second one half recounts the advance of the oratorio in Italy, circa 1640-1720. It reports the social contexts, consumers, composers, poets, librettos, and tune of the oratorio in Italy, specifically in Vienna and Paris.
The technique tailored in the course of the paintings is to regard first the social context, rather the conditions of functionality of the oratorio in a given quarter and interval, then to regard the libretto, and at last the track. for every geographic region and interval, the writer has chosen for certain cognizance a number of oratorios that seem to be really vital or consultant. He has tested the knowledge provided within the really expert literature at any time when attainable through connection with the song or records. In a couple of parts, specific seventeenth-century Italy, within which particularly few past stories were undertaken or secondary resources have confirmed to be insufficient, the writer has tested the first assets in manuscript and revealed shape -- tune, librettos, and files of early oratorio background. striking examine 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 background. even though this sequence was once initially introduced as a three-volume learn, Smither will finish with a fourth volume.
This new work--the first English-language research of the historical past of the oratorio becomes the normal paintings on its topic and an everlasting contribution to track and scholarship.
Originally released in 1977.
A UNC Press Enduring variation -- UNC Press Enduring variants use the most recent in electronic expertise to make to be had back books from our extraordinary backlist that have been formerly out of print. those variants are released unaltered from the unique, and are offered in cheap paperback codecs, bringing readers either old and cultural value.
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With this quantity, Howard Smither completes his enormous background of the Oratorio. Volumes 1 and a couple of, released via the college of North Carolina Press in 1977, handled the oratorio within the Baroque period, whereas quantity three, released in 1987, explored the style within the Classical period. the following, Smither surveys the historical past of 19th- and twentieth-century oratorio, stressing the most geographic components of oratorio composition and function: Germany, Britain, the United States, and France.
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Extra info for A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris
The social context of the oratorio in Vienna was not a public place— as were the oratories of Rome, which anyone could attend—but rather the private chapel of the Hapsburg imperial court. Thus the language of the Viennese oratorio was not German, the language of the people, but rather Italian, the dominant language of the highly sophisticated and thoroughly Italianate court. Throughout the Baroque era oratorio flourished most luxuriantly in an operaloVing society, and the Viennese court was among Europe's most munificent patrons of Italian opera.
As opera changes from the flexible combination of recitative and aria of the mid-seventeenth century toward the more highly stylized and rationalistic structures of the eighteenth century, oratorio changes with it—or in some respects a bit behind it; as opera abandons the strophic and other procedures identified with the aria of the midseventeenth century in favor of the da capo aria, oratorio does so as well; as opera minimizes the use of the chorus, so does oratorio; indeed, as Zeno and Metastasio introduce changes in the Italian opera libretto, they do likewise in the Italian oratoro libretto, and thus they change certain aspects of the oratorio's general structure.
17. A possible exception—according to Bartholomaeis, Origini, p. " The Middle Ages, Renaissance, and Roman Catholic Reform гз dramas, or sacre rappresentazioni—essentially extended laude on some of the same subjects—were staged by the Umbrian confraternities beginning in the late thirteenth century. The tradition of the singing of laude continued throughout the Renaissance and much beyond; and although the tradition grew steadily weaker after the Renaissance, some vestiges of it 18 survived until the late nineteenth century.
A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris by Howard E. Smither