By Howard E. Smither
With this quantity, Howard Smither completes his enormous History of the Oratorio. Volumes 1 and a couple of, released by way of the college 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. the following, Smither surveys the background of 19th- and twentieth-century oratorio, stressing the most geographic parts of oratorio composition and function: Germany, Britain, the United States, and France.
Continuing the technique of the former volumes, Smither treats the oratorio in every one language and geographical sector through first exploring the cultural and social contexts of oratorio. He then addresses aesthetic concept and feedback, treats libretto and track typically, and provides specific analyses of the librettos and song of particular oratorios (thirty-one in all) which are of targeted significance to the background 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 vital reference for choral conductors, soloists, choral singers, and others attracted to the background of the oratorio.
Originally released 2000.
A UNC Press Enduring version -- UNC Press Enduring versions use the newest in electronic expertise to make to be had back books from our uncommon backlist that have been formerly out of print. those variations are released unaltered from the unique, and are awarded in reasonable paperback codecs, bringing readers either ancient and cultural value.
Read or Download A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries PDF
Best forms & genres books
Choral Repertoire is the definitive and complete one-volume presentation of the canon of the Western choral culture. Designed for training conductors and administrators, scholars and lecturers of choral track, beginner singers, students, and vocal lovers, it really is an account of the entire choral output of the main major composers of this style all through heritage.
The vocal repertoire of the 20 th century--including works by way of Schoenberg, Boulez, Berio, Larsen, and Vercoe--presents fascinating possibilities for singers to stretch their skills and show their vocal flexibility. modern composers will be very hard of vocalists, requiring them to recite, trill, and whisper, or to learn non-traditional ratings.
Winner of the 2007 Otto Kinkeldey Award from the yank Musicological Society and the 2007 Deems Taylor Award from the yankee Society of Composers, Authors, and Publishers. Divas and students is a blinding and beguiling account of the way opera involves the degree, full of Philip Gossett’s own studies of triumphant—and even failed—performances and suffused along with his towering and tonic ardour for track.
A range of renowned extant Cantonese kid's songs, learning either their linguistic and non-linguistic points. The chinese language texts of the songs are revealed including their English translations.
- Bruckner's Symphonies: Analysis, Reception and Cultural Politics
- Story behind the Protest Song: A Reference Guide to the 50 Songs That Changed the 20th Century
- The Characteristic Symphony in the Age of Haydn and Beethoven (New Perspectives in Music History and Criticism)
- Lyric Tragedy
Extra info for A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries
News of the overwhelming effect of the work traveled fast, and subsequent performances were sung by choral societies in Frankfurt am 63. Schünemann, Zelter, p. 20. 64. Geck, Matthäuspassion, p. 15. 65. , p. 17. Geck cites Eduard Devrient, Meine Erinnerungen an Felix Mendelssohn Bartholdy und seine Briefe an mich, 2d ed. (Leipzig, 1872), pp. 19f. 66. In the version performed, many recitatives, arias, and chorales were cut and numerous modiﬁcations introduced. For details, see Geck, Matthäuspassion, pp.
68. Original in Berliner allgemeine musikalische Zeitung 7 (1830): 79. 83. Geck, Matthäuspassion, pp. 68 – 69. Marx’s comments originally in Berliner allgemeine musikalische Zeitung 7 (1830): 99. 84. Mendelssohn to Franz Hauser, 16 April 1830. Cited in Geck, Matthäuspassion, p. 42; and Kurzhals-Reuter, Mendelssohn, p. 54, n. 28. ) 85. Kurzhals-Reuter, Mendelssohn, p. 54. 86. As translated in Merrick, Revolution and Religion, pp. 19 –20. For the German, see Liszt’s “Über zukünftige Kirchenmusik: Ein Fragment” in Liszt, Schriften, 2:56.
To our astonished generation it has been granted to view the fatherland in the moments of its highest brilliance. No one can believe that the triumph of German power, which we now celebrate with uplifted feelings [is] a consequence of accidental circumstances. It rests on long and serious preparations through the work of the German spirit, which German power has toughened and directed. Also art has its part in this work and its effects. One of its most noble blossoms is oratorio. ” 44 Considering the political developments in nineteenth-century Germany and the strong current of nationalism, it is no accident that heroic Germans of the distant past, including those mentioned by Arndt in 1806, were gloriﬁed in oratorios.
A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries by Howard E. Smither