By Howard E. Smither
Written through an eminent pupil in a method 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 pupil of the oratorio may be pressured to seem to those volumes as an crucial resource. No paintings at the heritage of the oratorio has but seemed within the English language that's similar in scope and therapy with Howard Smither's complete 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 basically the English oratorios of Handel. In so much sections of A background of the Oratorio, the writer has chosen for particular cognizance a number of oratorios which are consultant of every geographical sector and interval. An exception to this method is within the part on Handel during this quantity, the place all the composer's English oratorios are handled absolutely 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 supposing this sequence used to be initially introduced as a three-volume learn, Smither will finish with a fourth volume.
Originally released in 1977.
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Additional info for A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England
The chorus finally joins the soloist in a victorious closing section. The Lutheran Historia and Passion 17 The Seven Words of Christ23 Perhaps the best known of Schiitz's works treated here is Die sieben Wortte unsers lieben Erlosers und Seeligmachers Jesu Christi so er am Stamm des Heiligen Creutzes gesprochen ("The Seven Words of Our Dear Redeemer and Savior Jesus Christ Which He Spoke on the Holy Cross"), which dates from about 1645. Although it does not include the term historia in its title, it relates closely to the historia tradition.
4, pp. 95—99. 7. , pt. 3, pp. izz—32, and pt. 4, pp. 100—109. 8. Four such works printed in MD, vol. i. The Lutheran Historia and Passion 6 The Oratorio in the Baroque Era: Protestant Germany and England FIGURE ι-1. The first four choral sections, in falsobordone style, of Johann Walther's St. Matthew Passion, from the choirbook manuscript at Gotha. The manuscript does not include the plainchant parts for the soloists. (Reproduced by permission of D-ddr/GOl: Chart A 98, fols. ) The Lutheran Historia and Passion j Antoine de Longueval (or Longaval).
18 The Oratorio in the Baroque Era: Protestant Germany and England clearly established in the first solo passages, as may be seen in Example ¡-3. Although the Evangelist's recitative is usually somewhat more elaborate and less like plainsong recitation than it is in this example, it rarely includes text repetition and musicalrhetorical figures. In the recitatives of Jesus, on the other hand, the affective quality is heightened by the instrumental accompaniment and an arioso style in which text repetition and musical-rhetorical figures are prominent.
A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England by Howard E. Smither