By Howard E. Smither
Howard Smither has written the 1st definitive paintings at the heritage of the oratorio considering that Arnold Schering released his Geschichte des Oratoriums in 1911. This quantity is the 1st of a four-volume complete learn that provides a brand new synthesis of what's recognized to this point concerning 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 certain recognition 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 stories the social contexts, consumers, composers, poets, librettos, and song of the oratorio in Italy, in particular in Vienna and Paris.
The strategy tailored during the paintings is to regard first the social context, rather the situations of functionality of the oratorio in a given zone and interval, then to regard the libretto, and eventually the tune. for every geographic quarter and interval, the writer has chosen for specific recognition a number of oratorios that seem to be quite very important or consultant. He has tested the knowledge provided within the really good literature each time attainable by means of connection with the tune or records. In a couple of parts, specific seventeenth-century Italy, during which really few earlier experiences were undertaken or secondary resources have confirmed to be insufficient, the writer has tested the first resources in manuscript and revealed shape -- tune, librettos, and records of early oratorio background. awesome learn and clever integration of disparate components make this advanced, diffuse topic either readable and available to the scholar 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 research 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 historical past of the oratorio turns into 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 variations use the newest in electronic know-how to make on hand back books from our amazing backlist that have been formerly out of print. those variants are released unaltered from the unique, and are provided in cheap paperback codecs, bringing readers either ancient and cultural value.
Read Online or Download A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris PDF
Similar forms & genres books
This quantity examines musical tradition either inside and out seventeenth-century Sienese convents. unlike previous reviews of Italian convent tune, this booklet attracts upon archival resources to reconstruct an ecclesiastical tradition that celebrated track internally and shared song freely with the neighborhood outdoors convent partitions.
This ebook analyzes the industrial demanding situations dealing with symphony orchestras and contrasts the adventure of orchestras within the usa (where there's little direct govt help) and in a foreign country (where governments normally offer huge direct subsidies). Robert J. Flanagan explains the stress among creative excellence and fiscal jeopardy that confronts such a lot symphony orchestras.
Emory Sekaquaptewa committed such a lot of his existence to selling Hopi literacy and developing written fabrics to reinforce the language and lifeway of his humans. He understood how in detail cultural rules are embedded in language, and by means of transcribing and translating early recordings of katsina songs he helped increase the continuity of Hopi non secular idea and cultural practices.
The B Minor Mass, a cornerstone of Western tune, is a composition of really enormous dimensions, person who occupied Bach intermittently from the 1720s to the 1740s, and the paintings frequently considered as the finishing touch of the nice composer's lifework within the box of sacred track. First conceived as a Lutheran Mass ― basically a environment of the Kyrie and Gloria played first and foremost of the significant carrier ― the paintings used to be later enlarged with a Credo, Sanctus, and Agnus Dei to comply to the constitution of the Roman Mass traditional.
Additional resources for A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris
The concepts differ from one subperiod of the Baroque to another, and to some extent from one geographical area to another, but they tend to have certain basic elements in common: the oratorio is nearly always a sacred, unstaged work with a text that is either Introduction я dramatic or narrative-dramatic. In the dramatic type of text, the plot unfolds entirely through dialogue among the personages; in the narrative-dramatic type the plot is revealed partially by a narrator (designated variously as the Testo, Historicus, or Evangelist) and partially through dramatic dialogue.
16—59; Wagner, Einführung, 1:113—31; and W. Irtenkauf, "Offizium," in MGG, 9:cols. 1907-10. 7. Regarding this use of the term historia, seeAnalecta hymnica, 5:6; W. Blankenburg, "Historia," in MGG, 6:col. 466; and "Wagner, Einführung, 11301. 8. For surveys of the rhymed office (also called historia rhythmata or rimata), see Wagner, Einfüfrung, 1:300—3 18, 3:315—19, 3:349—51; and W. Irtenkauf, "Reimoffizium," in MGG, ri:cols. 171—73. in Analecta hymnica, vols. 8, 413, and 45. 9. Music and text printed in Brambach, Historia.
The smaller states either aligned themselves with Spain or, if they did not, were too weak to threaten her. The popes who reigned in the first third of the sixteenth century were primarily concerned with politics, military exploits, the advancement of their families, and the patronage and enjoyment of the cultural achievements of the Italian Renaissance. The need for church reform had long been recognized by many clergy, both north of the Alps and in Italy, but the popes, preoccupied with other matters and apparently incapable of understanding the seriousness of the crisis in the church, failed to provide the spiritual and intellectual leadership required for a thorough reform.
A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris by Howard E. Smither