By Howard E. Smither
Written by means of an eminent pupil in a mode that represents American musicological writing at its communicative top, A heritage of the Oratorio bargains a synthesis and demanding appraisal so exhaustive and trustworthy that the intense scholar of the oratorio might be forced to seem to those volumes as an essential resource. No paintings at the heritage of the oratorio has but seemed within the English language that's similar in scope and remedy with Howard Smither's accomplished four-volume work.
The first a part of quantity 2 examines intensive the antecedents and origins of the oratorio in Protestant Germany within the 17th century. It contains discussions of the Lutheran Historia, sacred dramatic dialogues, and the Lubeck Abendmusiken of Buxtehude. the second one half treats the oratorio in Protestant Germany within the early eighteenth century and examines Handel, Reinhard Keiser, and J.S. Bach. The 3rd half considers essentially the English oratorios of Handel. In so much sections of A historical past of the Oratorio, the writer has chosen for targeted consciousness a couple of oratorios which are consultant of every geographical quarter and interval. An exception to this strategy is within the part on Handel during this quantity, the place the entire composer's English oratorios are taken care of totally with specific connection with fresh really good Handel studies.
Volume 1, The Oratorio within the Baroque period: Italy, Vienna, Paris, and quantity three, The Oratorio within the classical Era, extend and proceed the examine of oratorio heritage. even though this sequence used to be initially introduced as a three-volume research, Smither will finish with a fourth volume.
Originally released in 1977.
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Extra resources for A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England
The text quotes the Christmas story as given in Luke 2:1—20 and inserts stanzas of the chorale "Von Himmel Hoch" at appropriate places,47 as follows (chorale stanzas are in brackets): Luke 2:17 [19—11], 8—n [1—4], 12 , 13—15 , 16—18 [7—8], 19 , 20 [14—15]. Such a text is like those of the historiae of the late sixteenth and early seventeenth centuries except for the chorale interpolations, but it is far more literally biblical than that of an oratorio. The Evangelist's part (T) is set throughout in recitative or arioso style, sometimes accompanied by the strings.
And the composer is content to let intelligent musicians judge to what extent he has been successful or unsuccessful in the melodic and rhythmic setting, in theSfy/o Recitativo, which is new and has hitherto, so far as he knows, not appeared in print in Germany. , chanting] style of plainsong (in which the Evangelist's accounts of the Passion and other sacred stories have hitherto been sung in our churches, without organ), he hopes the present setting will not fall far short of the mark if it be sung from the beginning to end in the manner begun in the following example: [see Example I—4b].
The earliest-known Lutheran historiae of the mixed type are those by Antonio Scandello (1517—80), a musician at the Dresden court beginning in 1549 and one of Schiitz's predecessors there as Kapellmeister (1568—80). A similar plan is adopted in both of Scandello's historiae, the St. John Passion (1561 or earlier) and the Easter historia, the latter entitled Osterliche freude der siegreichen und triumphierenden Auferstehung unsers Herrén und Heilandes Jesu Christi ("Easter Joy of the Victorious and Triumphant Resurrection of Our Lord and Savior Jesus Christ," 1561?
A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England by Howard E. Smither