By Howard E. Smither
Written through an eminent student in a mode that represents American musicological writing at its communicative most sensible, A background of the Oratorio bargains a synthesis and demanding appraisal so exhaustive and trustworthy that the intense pupil of the oratorio could be forced to appear to those volumes as an vital resource. No paintings at the historical past of the oratorio has but seemed within the English language that's related in scope and therapy with Howard Smither's finished 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 comprises 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 essentially the English oratorios of Handel. In so much sections of A historical past of the Oratorio, the writer has chosen for targeted awareness a number of oratorios which are consultant of every geographical quarter and interval. An exception to this approach is within the part on Handel during this quantity, the place all the composer's English oratorios are taken care of totally with specific connection with contemporary 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 background. even though 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 resources for A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England
15. The Passion printed in Kade, Passionskomposition, pp. 306-44; the Easter historia printed in Ameln, Kirchenmusik, vol. i, pt. 3, pp. 133—40, and pt. 4, pp. 110—30. 8 The Oratorio in the Baroque Era: Protestant Germany and England again by Rosthius in 1598 (his responsorial historia mentioned above) and by Schiitz in 16x3. Other noteworthy historiae of the mixed type are two closely related works by Rogier Michael (ca. 16 Schiitz would certainly have known Michael's works, for the latter was a musician at the Dresden court beginning in 1574 and was Schiitz's immediate predecessor there as Kapellmeister (1587—1617).
6. Herod (B; 2 trumpets [clarini] or cornettini; b. ) j. Angel (S; 2 violette; b. ) 8. Angel (S; 2 violette; b. ],28 bassoon; b. ) The intermedia are, of course, linked together by the Evangelist's narration, since the text follows exactly the Gospel passages cited above. With its ten concerted pieces and large complement of voices and instruments, this is the most elaborate historia considered thus far. The Evangelist's part is set in recitative throughout. The recitative style is at times reminiscent of a plainsong recitation tone, as it is in Example I—4a, the Evangelist's opening passage.
Symphonia (z cornetts, b. ) ii. The Rich Man and God: dialogue, "O Tod, wie bitter bist du mir" (ТВ soli, b. ) iz. , b. ) 13. , b. ) 14. S solo: "Ach, es hat kein Auge gesehen" (b. ) Lazarus: "Zwingt die Saiten in Kithara" (text and melody from "Wie schón leuchtet der Morgenstern"; Т solo, viola da gamba obbligato, b. ) 15. , 4 tbns. doubling lower voices, b. ) 41. Printed in DMP, 5:5. The Lutheran Historia and Passion 31 The text of this work is based on the parable of the rich man and Lazarus in Luke 16:19—31.
A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England by Howard E. Smither