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A History of the Oratorio: Vol. 4: The Oratorio in the by Howard E. Smither PDF

By Howard E. Smither

ISBN-10: 0807825115

ISBN-13: 9780807825112

With this quantity, Howard Smither completes his enormous History of the Oratorio. Volumes 1 and a pair of, released through the college of North Carolina Press in 1977, taken care of 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.

Continuing the technique of the former volumes, Smither treats the oratorio in every one language and geographical sector via first exploring the cultural and social contexts of oratorio. He then addresses aesthetic conception and feedback, treats libretto and track quite often, and gives special analyses of the librettos and track of particular oratorios (thirty-one in all) which are of precise significance to the background of the genre.

As a synthesis of specialised literature in addition to an research of basic resources, this paintings will function either a springboard for extra study and a necessary reference for choral conductors, soloists, choral singers, and others attracted to the background of the oratorio.

Originally released 2000.

A UNC Press Enduring version -- UNC Press Enduring variants use the most recent in electronic expertise to make on hand back books from our exclusive backlist that have been formerly out of print. those variants are released unaltered from the unique, and are provided in reasonable paperback codecs, bringing readers either old and cultural value.

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A History of the Oratorio: Vol. 4: The Oratorio in the by Howard E. Smither PDF

With this quantity, Howard Smither completes his enormous historical past of the Oratorio. Volumes 1 and a pair of, released through the collage 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 parts of oratorio composition and function: Germany, Britain, the USA, and France.

Additional resources for A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries

Sample text

70 –71, the Neo-Pietist movement—a “movement of awakening” (Erweckungsbewegung)—that arose during the period of the Restoration, seems to have had virtualy no effect on oratorio and in fact was antithetical to both opera and oratorio. Yet it may be that the continuation of the empfindsam libretto in the first half of the nineteenth century is related to this movement, as noted below, in chapter 2. 90. On the new Agende, see Leupold, Liturgische Gesänge, pp. 118 – 44; see also Christhard Mahrenholz, “Agende,” MGG, 1:cols.

12. Fink, “Oratorium” (2), in Schilling, Encyclopädie, 5:264. 13. Testifying to an appropriate oratorio style, Louis Spohr remembered that, as a young man working on his first oratorio, Das jüngste Gericht (1812), “I soon felt that for the Oratorio-style I was yet too deficient in Counter-point and Fugeing; I therefore suspended my work. . From one of my pupils I borrowed 6 The Nineteenth Century: Germany Furthermore, several of the oratorios in Table I-1 include choral church music: chorales appear in the works by Bach, Graun, Mendelssohn, and Schneider, and Gregorian chant in Liszt’s Elisabeth and Christus.

14. On popular elements in Haydn’s oratorios, see Smither, Oratorio, 3:507, 513. On Liszt, see below, in chapter 3. 15. Important exceptions to this practice were in England, where an unbroken Handelian tradition has continued from his time to ours and where the Academy of Vocal Music and the Academy of Ancient Music (both established in the early eighteenth century) fostered the performance of early music (see below, chapter 4, the section “Historicism”), and in France, where performances of some of Lully’s tragédies lyriques continued into the 1770s (cf.

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