By Howard E. Smither
With this quantity, Howard Smither completes his huge History of the Oratorio. Volumes 1 and a couple of, released through 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 historical past 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 strategy of the former volumes, Smither treats the oratorio in each one language and geographical region by means of first exploring the cultural and social contexts of oratorio. He then addresses aesthetic concept and feedback, treats libretto and song as a rule, and gives exact analyses of the librettos and tune of particular oratorios (thirty-one in all) which are of distinct significance to the heritage of the genre.
As a synthesis of specialised literature in addition to an research of basic assets, this paintings will function either a springboard for extra study and a vital reference for choral conductors, soloists, choral singers, and others drawn to the heritage of the oratorio.
Originally released 2000.
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Extra info for A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries
A. Hoffmann (1776 –1822). ” In a similar sense, too, Schiller in a letter to Goethe (28 June 1796) speaks of Wilhelm Meisters Lehrjahren as romantic, and this in view of its strange happenings and of characters like Mignon and the Harper. To the prevailing undertone of the word, in the sense of the unusual, were presently added the alluring secondary tones: the chivalrous, the antique or archaic, the basically naïve and folklike, the remote and fabulous, the strange and surprising, soon, too, the nocturnal, the ghostly, the frightful and terrifying—all these being of emotional and imaginative content that readily becomes associated with the concept of Romanticism, without necessarily always having to be wholly or predominantly included therein.
30. That the lectures were permitted during the French occupation is perhaps due to the authorities’ perception that their main topic, philosophy of education, was harmless. Cf. the Introduction by R. F. Jones and G. H. Turnbull to Fichte, Addresses, p. xix. 31. Fichte, Addresses, p. 55; Fichte, Reden, p. 61. 32. Fichte, Addresses, p. 15; Fichte, Reden, p. 23. 33. Fichte, Addresses, pp. 94 –107; Fichte, Reden, pp. 94 –105. 34. ” 35. Arndt, Geist der Zeit. For a characterization of Arndt’s thought, see Hertz, German Public Mind, pp.
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. ) 24 The Nineteenth Century: Germany cred music. As late as 1872 suggestions of art religion are found in Carl Hermann Bitter’s Beiträge zur Geschichte des Oratoriums. Bitter sees the purpose of an oratorio on a spiritual subject as not “to provide sensual entertainment, enjoyment, delight—all those taken in the usual sense of the word.
A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries by Howard E. Smither