By Howard E. Smither
Howard Smither has written the 1st definitive paintings at the historical past of the oratorio on account that Arnold Schering released his Geschichte des Oratoriums in 1911. This quantity is the 1st of a four-volume accomplished learn that provides a brand new synthesis of what's recognized thus far in regards to 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 particular consciousness 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, buyers, composers, poets, librettos, and track of the oratorio in Italy, specially in Vienna and Paris.
The technique tailored in the course of the paintings is to regard first the social context, rather the situations of functionality of the oratorio in a given quarter and interval, then to regard the libretto, and at last the tune. for every geographic zone and interval, the writer has chosen for unique awareness a couple of oratorios that seem to be relatively vital or consultant. He has established the data provided within the really expert literature each time attainable via connection with the track or files. In a few components, specific seventeenth-century Italy, during which quite few past experiences were undertaken or secondary assets have confirmed to be insufficient, the writer has tested the first resources in manuscript and revealed shape -- track, librettos, and files of early oratorio background. extraordinary examine and clever integration of disparate parts make this complex, diffuse topic either readable and obtainable 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 examine of oratorio heritage. even if this sequence was once initially introduced as a three-volume examine, Smither will finish with a fourth volume.
This new work--the first English-language research of the heritage of the oratorio turns into the traditional paintings on its topic and an everlasting contribution to track and scholarship.
Originally released in 1977.
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 distinctive backlist that have been formerly out of print. those variations are released unaltered from the unique, and are provided in reasonable paperback codecs, bringing readers either historic and cultural value.
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Extra resources for A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris
174). This work, with a narrativedramatic text, was intended for the Roman oratory of the Chiesa Nuova (the church of Santa Maria in Vallicella); it is labeled dialogo in its manuscript source, and its duration is about twelve minutes. A survey of all known musical compositions that are designated oratorio in sources of Italian provenance from the mid1 century shows that all could be termed dialogues in a broad musical sense, since they feature varying successions of solo passages, ensembles, and choruses.
Of the present study. Nevertheless, these works differ from the oratorio in certain prominent features—most notably in the strict quotation of a biblical story, ±. Cf. Steude, "Markuspassion," pp. —3. Introduction 7 which constitutes the text of each work. No compositions known to have been called oratorios in Schiitz's time have texts drawn entirely from the Bible, as these two works have; but compositions called historiae, composed in Protestant Germany from the time of Luther until well into the eighteenth century, do indeed have such texts.
For more details about Passion settings, see the consideration of the Lutheran historia m vol. 2.. 3. Printed in Lasso, Werke-N, 2:17-43. 4. Described in Kade, Passionskomposition, pp. 150—52.. 5. 0 The Oratorio in the Baroque Era: Italy, Vienna, Paris 6 practices. During the fourth- and fifth-century rise of monasticism in the Western church, the previously flexible practice of private prayer at certain hours of the day became increasingly organized into a liturgical structure for group prayer.
A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris by Howard E. Smither