By Howard E. Smither
Howard Smither has written the 1st definitive paintings at the heritage of the oratorio due to the fact Arnold Schering released his Geschichte des Oratoriums in 1911. This quantity is the 1st of a four-volume finished learn that provides a brand new synthesis of what's recognized to this point concerning the oratorio.
Volume 1, divided into 3 elements, 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 designated awareness to the earliest works for which the time period oratorio turns out applicable. the second one half recounts the improvement of the oratorio in Italy, circa 1640-1720. It studies the social contexts, buyers, composers, poets, librettos, and track of the oratorio in Italy, specifically in Vienna and Paris.
The process tailored in the course of the paintings is to regard first the social context, quite the conditions of functionality of the oratorio in a given zone and interval, then to regard the libretto, and at last the tune. for every geographic zone and interval, the writer has chosen for detailed awareness a number of oratorios that seem to be relatively vital or consultant. He has demonstrated the knowledge provided within the really expert literature each time attainable by way of connection with the song or records. In a couple of parts, specific seventeenth-century Italy, within which rather few prior experiences were undertaken or secondary assets have confirmed to be insufficient, the writer has tested the first assets in manuscript and published shape -- song, librettos, and files of early oratorio background. remarkable examine and clever integration of disparate parts make this complex, 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 historical past. even if this sequence used to be initially introduced as a three-volume research, Smither will finish with a fourth volume.
This new work--the first English-language examine of the heritage of the oratorio becomes the normal paintings on its topic and a permanent contribution to track and scholarship.
Originally released in 1977.
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Additional resources for A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris
Nevertheless, there are compositions from earlier in the century that were unstaged dramatic dialogues of the type described above as examples of group i, that were performed in oratories, and that would seem to be accurately described as oratorios in the sense of a distinct dramatic or narrative-dramatic genre. Of special importance among these works are some of the compositions in Giovanni Francesco Anerio's Teatro armonico spirituale di madrigali ("Harmonic Spiritual Theater of Madrigals," Rome, 1619), composed specifically for use in oratories.
P. " There he seems to imply that the Latin dramatic dialogue of the early seventeenth century was a continuation of the liturgical drama; on pp. 11 and 18, however, he speaks of it as a rebirth of the liturgical drama. He does not mention its relationship to the sixteenth-century motet with narrative and dramatic text. 17. For histories of the origin and development of the sacra rappresentazione, see: D'Ancona, Origim, and Bartholomaeis, Origini. For modern editions of selected sacre rappresentazioni, see Bartholomaeis, Laude; Belcari, Rappresentazioni; and Coppola, Rappresentazioni.
6-24. For the Catholic reform in Italy, see the works listed above as well as Daniel-Rops, Catholic; Dickens, Counter Reformation; Janelle, Catholic Reformation; Kidd, Counter-Reformation; Symonds, Reaction; and Willaert, Concile. 9 with one another and with the invading powers. The papacy constantly sought alliances that appeared to be the most profitable for the Papal States and the reigning pope's family. For instance, the alliance of Pope Alexander VI (Rodrigo Borgia, 1492-1503) with the French king, Louis XII, gave the pope's favorite son, the brutal and notorious Cesare Borgia (an archbishop and cardinal), the support he needed to conquer Romagna and terrorize the rest of Italy between 1499 and the pope's death in 1503.
A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris by Howard E. Smither