By Howard E. Smither
With this quantity, Howard Smither completes his huge History of the Oratorio. Volumes 1 and a couple of, released through the collage of North Carolina Press in 1977, handled the oratorio within the Baroque period, whereas quantity three, released in 1987, explored the style within the Classical period. right here, Smither surveys the heritage of 19th- and twentieth-century oratorio, stressing the most geographic components of oratorio composition and function: Germany, Britain, the USA, and France.
Continuing the strategy of the former volumes, Smither treats the oratorio in every one language and geographical region by way of first exploring the cultural and social contexts of oratorio. He then addresses aesthetic concept and feedback, treats libretto and track usually, and gives specific analyses of the librettos and track of particular oratorios (thirty-one in all) which are of designated significance to the heritage of the genre.
As a synthesis of specialised literature in addition to an research of basic resources, this paintings will function either a springboard for extra study and a necessary reference for choral conductors, soloists, choral singers, and others attracted to the heritage of the oratorio.
Originally released 2000.
A UNC Press Enduring variation -- UNC Press Enduring variations use the most recent in electronic expertise to make on hand back books from our uncommon backlist that have been formerly out of print. those versions are released unaltered from the unique, and are provided in cheap paperback codecs, bringing readers either historic and cultural value.
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Extra resources for A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries
T. A. Hoffmann—with reference to absolute music, but by Schleiermacher with reference to music in general. 81. In Geck, Matthäuspassion, the section “Die christliche Gefühlsreligion,” pp. 67–71, explores this facet of writings about the concert in which this work was revived. , a vehicle of religious revelation), then what is the role of so-called religious music? 83 In the year following the performance, Mendelssohn noted in a letter that “after a few rehearsals . . [the chorus] sang with devotion [mit einer Andacht], as if they were in church .
Paraphrased from Hughes, Nationalism, p. 25. On the aspects of German culture treated in this section, see Ergang, Herder; and Stanley, “Oratorio in Prussia,” chap. ” 30. That the lectures were permitted during the French occupation is perhaps due to the authorities’ perception that their main topic, philosophy of education, was harmless. Cf. the Introduction by R. F. Jones and G. H. Turnbull to Fichte, Addresses, p. xix. 31. Fichte, Addresses, p. 55; Fichte, Reden, p. 61. 32. Fichte, Addresses, p.
24. Quoted in Geck, Matthäuspassion, pp. 58 –59. Original in Berliner Conversations-Blatt für Poesie, Literatur und Kritik, 1829, pp. , and reprinted in Berliner Allgemeine musikalische Zeitung 6 (1829): 205ff. 25. “Händels Oratorien,” p. 690. 26. Schilling, Encyclopädie, 5:264. 27. , p. 265. 28. Herder, Sämmtliche Werke, vols. 5, 13–14. For a summary of Herder’s nationalism, see Hughes, Nationalism, p. 25. An extensive study of the subject is Ergang, Herder. 29 Herder was widely read in the nineteenth century.
A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries by Howard E. Smither