By Howard E. Smither
The Oratorio within the classical Era is the 3rd quantity of Howard Smither's enormous History of the Oratorio, carrying on with his synthesis and significant appraisal of the oratorio. His complete examine surpasses in scope and remedy all past works at the topic. A fourth and ultimate quantity, at the oratorio within the 19th and 20th centuries, is forthcoming.
In this quantity Smither discusses the Italian oratorio from the 1720s to the early 19th century and oratorios from different components of Europe from the 1750s to the 19th century. Drawing on works that symbolize a number of kinds, languages, and geographical components, Smither treats the final features of oratorio libretto and track and analyzes twenty-two oratorios from Italy, England, Germany, France, and Russia. He synthesizes the result of really expert reviews and contributes new fabric according to firsthand examine of eighteenth-century track manuscripts and published librettos.
Emphasizing the massive variety of social contexts during which oratorios have been heard, Smither mentioned examples in Italy similar to the Congregation of the Oratory, lay contrafraternities, and academic associations. He examines oratorio performances in German courts, London theaters and English provincial gala's, and the Parisian live performance spirituel. notwithstanding the amount concentrates totally on eighteenth-century oratorio from the early to the overdue Classical types, Smither contains such transitional works because the oratorios of Jean-Francios le Seur in Paris and Stepan Anikievich Degtiarev in Moscow.
A heritage of the Oratorio is the 1st full-length heritage of the style considering the fact that Arnold Schering's 1911 examine. as well as synthesizing present considered the oratorio, this quantity contributes new details on relationships among oratorio librettos and modern literary and spiritual notion, and at the musical adjustments between oratorios from varied geographical-cultural regions.
Originally released in 1987.
A UNC Press Enduring variation -- UNC Press Enduring versions use the most recent in electronic expertise to make to be had back books from our unique 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 ancient and cultural value.
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Extra resources for A History of the Oratorio, Volume 3: The Oratorio in the Classical Era
Pp. 314—15, n. 1645. On sermons by adolescent boys in the Florentine confraternities, see Trexler, "Ritual in Florence," p. no. "43 Like the Oratorians in Bologna and Florence, those in other cities would probably have followed the model of Rome in this regard. This type of service continued throughout the period under discussion, as is clear from archival documents and comments by travelers who heard performances sponsored by Oratorians. In the first issue (July 1766) of Johann Adam Miller's weekly music journal published in Leipzig, a report on music in Italy includes the following: In Bologna one meets the best musicians in all Italy.
App. A: L'innocenza vendicata. 89. For details, see Brumana, "Perugia," p. 119, and Brumana's chronological list of librettos, with full title-page citations, on pp. 125-58. 90. 90-91. 91. Latin oratorios were performed in Rome by the Arciconfraternita del SS. 5; in Naples at times for All Souls Day (for examples, see the works by Francesco Feo mentioned in chap. 3; also app. 2. 94 The title pages of about half of the extant librettos printed for the conservatories cite performance occasions. 95 Some librettos are more specific about the context of oratorios in this triduum.
Although most librettos do not mention Vespers, comments of visitors to Venice, some of which are cited below, stress Vespers as a characteristic oratorio occasion. Other than Holy Week, feast days of special importance to a given conservatory afforded occasions for oratorio performance. Numerous ); and occasionally in Palermo (see app. A: Aemulatio inter divinum amorem). 91. For more information, see the forthcoming work, Arnold, Oratorio in Venice. 93. 9 librettos; Ospedaletto, 17; Pieta, 16; Incurabili, only 4; total extant from the 17805, 66 librettos.
A History of the Oratorio, Volume 3: The Oratorio in the Classical Era by Howard E. Smither