By Howard E. Smither
Howard Smither has written the 1st definitive paintings at the background of the oratorio on the grounds that Arnold Schering released his Geschichte des Oratoriums in 1911. This quantity is the 1st of a four-volume complete examine that gives a brand new synthesis of what's recognized thus far concerning 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 awareness to the earliest works for which the time period oratorio turns out acceptable. the second one half recounts the advance of the oratorio in Italy, circa 1640-1720. It studies the social contexts, buyers, composers, poets, librettos, and tune of the oratorio in Italy, in particular in Vienna and Paris.
The technique tailored in the course of the paintings is to regard first the social context, quite the situations of functionality of the oratorio in a given sector and interval, then to regard the libretto, and eventually the track. for every geographic zone and interval, the writer has chosen for designated consciousness a couple of oratorios that seem to be quite vital or consultant. He has validated the data provided within the really good literature each time attainable through connection with the track or files. In a few components, specific seventeenth-century Italy, within which rather few earlier reports were undertaken or secondary resources have confirmed to be insufficient, the writer has tested the first resources in manuscript and revealed shape -- tune, librettos, and records of early oratorio heritage. striking study and clever integration of disparate parts make this advanced, diffuse topic either readable and available 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 supposing this sequence was once initially introduced as a three-volume learn, Smither will finish with a fourth volume.
This new work--the first English-language research of the background of the oratorio becomes the traditional paintings on its topic and a permanent contribution to track and scholarship.
Originally released in 1977.
A UNC Press Enduring variation -- UNC Press Enduring variations use the newest in electronic know-how to make on hand back books from our distinctive backlist that have been formerly out of print. those variants are released unaltered from the unique, and are offered in reasonable paperback codecs, bringing readers either old 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
5 The historia is treated in greater detail in connection with the German oratorio in volume 2. Staged Sacred Dramatic Genres The Latin drama that grew from accretions to the liturgy, usually referred to as liturgical drama, achieved its essential development between the tenth and thirteenth centuries. Because it is a sacred dramatic genre normally sung in its entirety, the liturgical drama may be regarded among the oratorio's forerunners. The earliest type of liturgical drama was the visitatio sepulchri, based on the visit of the three Marys to the holy sepulchre after Christ's Resurrection.
3, u, iz, 13. The Florentine Filippo Giunti, in the dedication of his print of Serafino Razzi's Libro primo delle laudi spiritual! (Venice, 1563; for a facsimile reprint, see Razzi, Laude), attests to a decline in the singing of laude in the gatherings of confraternities and in private homes, but he indicates that laude were still sung in convents. 10. For a collection of 507 laude printed in Florence between 1480 and 1510, see Laude spirituali; and for a thorough literary study of the fifteenth-century lauda, see Coppola, Poesia.
Pp. vi—vii, and also quoted in Jeppesen, Laude, p. xv, η. ι. For archival documentation of the continuing performance of laude in the first half of the sixteenth century at Florence, see D'Accone, "Chapels," pp. 3, u, iz, 13. The Florentine Filippo Giunti, in the dedication of his print of Serafino Razzi's Libro primo delle laudi spiritual! (Venice, 1563; for a facsimile reprint, see Razzi, Laude), attests to a decline in the singing of laude in the gatherings of confraternities and in private homes, but he indicates that laude were still sung in convents.
A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris by Howard E. Smither