By Howard E. Smither
Howard Smither has written the 1st definitive paintings at the background of the oratorio because Arnold Schering released his Geschichte des Oratoriums in 1911. This quantity is the 1st of a four-volume entire learn that provides a brand new synthesis of what's identified so 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 recognition to the earliest works for which the time period oratorio turns out acceptable. the second one half recounts the improvement of the oratorio in Italy, circa 1640-1720. It experiences the social contexts, buyers, composers, poets, librettos, and tune of the oratorio in Italy, particularly in Vienna and Paris.
The approach tailored in the course of the paintings is to regard first the social context, fairly the conditions of functionality of the oratorio in a given zone and interval, then to regard the libretto, and eventually the track. for every geographic sector and interval, the writer has chosen for specified awareness a number of oratorios that seem to be really very important or consultant. He has confirmed the knowledge provided within the really expert literature every time attainable by means of connection with the song or records. In a couple of components, specific seventeenth-century Italy, within which fairly 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 -- track, librettos, and files of early oratorio historical past. outstanding study and clever integration of disparate components 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 though this sequence was once initially introduced as a three-volume research, Smither will finish with a fourth volume.
This new work--the first English-language research of the historical past of the oratorio becomes the normal paintings on its topic and a permanent contribution to track and scholarship.
Originally released in 1977.
A UNC Press Enduring version -- UNC Press Enduring variations use the most recent in electronic expertise to make to be had back books from our extraordinary backlist that have been formerly out of print. those variations are released unaltered from the unique, and are offered in reasonable paperback codecs, bringing readers either historic and cultural value.
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Extra info for A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris
Later in the century, when the archconfraternity requested permission of the pope to reinstitute them, permission was denied. By the end of the sixteenth century, the sacra rappresentazione was outmoded; yet occasional performances continued to be given in the seventeenth century. This genre has a direct connection with the history of the oratorio, for Emilio de' Cavalieri appears to have intended his opera Rappresentatione di Anima et di Corpo (1600) as a renewal of the sacra rappresentazione.
The Passion was the principal type of historia set to music, but other stories, including those of the Resurrection and the Nativity, were also set to music in a similar manner. As pointed out above in relation to the Passion, the responsorial type of text setting is the one most relevant to the history of the oratorio. The sixteenthand seventeenth-century Lutheran historia appears to have had little influence on the origin and earliest development of the oratorio, since such historiae were geographically and ideologically far removed from Rome, where the oratorio began.
Oratorio style became increasingly operatic, and in the oratories the means became an end. The emphasis on musical performance began to make of the oratory a virtual con- Introduction 9 cert hall—despite the struggles to the contrary of some pious and conscientious clergy—for that emphasis was a response to a demand made by both the public and the wealthy patrons of the oratories. Among the most fascinating aspects of oratorio history in the Italian Baroque is the change of the genre's social context from that of a spiritual exercise in an oratory to that of an essentially secular concert.
A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris by Howard E. Smither