By Howard E. Smither
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.
Read or Download A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries PDF
Best forms & genres books
A complete consultant to Mozart's immortal THE MAGIC FLUTE (Die Zauberflote), that includes insightful remark and research, whole tale Synopsis with 30 song Examples, an entire NEWLY TRANSLATED LIBRETTO with song Examples, Discography, Videography, and a Dictionary of Opera and Musical phrases.
From the writer and illustrator of the twisted ny instances bestselling Christmas vintage, It’s starting to glance much Like Zombies, comes a heart-devouring selection of Zombie love songs, each Zombie Eats anyone someday. Michael P. Spradlin and Jeff Weigel placed their warped minds—and talents—together once more to come back up with a hilarious compendium for the ever-hungry aficionados of global struggle Z, delight and Prejudice and Zombies, and the films Zombieland and Shaun of the lifeless.
Choral rankings is an anthology of song exemplifying designated choral repertoire by means of the main noteworthy composers during the historical past of Western tune. A spouse quantity to Denis Shrock's Choral Repertoire (Oxford 2009), it offers works of salient value to the advance of choral song in Western tradition, representing the track of the composers, eras, and hobbies mentioned so much prominently in that quantity.
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.
- Understanding Mozart's Piano Sonatas
- Claude Debussy
- Opera and sovereignty : transforming myths in eighteenth-century Italy
- Serenade For Strings, Op 20 (Full Score)
Additional resources for A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries
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.
A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries by Howard E. Smither