By Howard E. Smither
The Oratorio within the classical Era is the 3rd quantity of Howard Smither's enormous History of the Oratorio, carrying on with his synthesis and significant appraisal of the oratorio. His complete research surpasses in scope and therapy all earlier works at the topic. A fourth and ultimate quantity, at the oratorio within the 19th and 20th centuries, is forthcoming.
In this quantity Smither discusses the Italian oratorio from the 1720s to the early 19th century and oratorios from different elements of Europe from the 1750s to the 19th century. Drawing on works that symbolize a number of varieties, languages, and geographical parts, Smither treats the final features of oratorio libretto and track and analyzes twenty-two oratorios from Italy, England, Germany, France, and Russia. He synthesizes the result of really expert stories and contributes new fabric in response to firsthand examine of eighteenth-century tune manuscripts and revealed librettos.
Emphasizing the massive variety of social contexts during which oratorios have been heard, Smither mentioned examples in Italy reminiscent of the Congregation of the Oratory, lay contrafraternities, and academic associations. He examines oratorio performances in German courts, London theaters and English provincial fairs, and the Parisian live performance spirituel. although the quantity concentrates totally on eighteenth-century oratorio from the early to the overdue Classical kinds, Smither contains such transitional works because the oratorios of Jean-Francios le Seur in Paris and Stepan Anikievich Degtiarev in Moscow.
A background of the Oratorio is the 1st full-length historical past of the style on the grounds that Arnold Schering's 1911 examine. as well as synthesizing present considered the oratorio, this quantity contributes new info on relationships among oratorio librettos and modern literary and spiritual idea, and at the musical modifications between oratorios from various geographical-cultural regions.
Originally released in 1987.
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Additional info for A History of the Oratorio, Volume 3: The Oratorio in the Classical Era
71. App. A: L'adorazione delli tre re magi (172,2,), La colpa originale piangente alle culle (1713), Dialogo pastorale a gloria del nato Redentore (1710), Gesù bambino adóralo (i7z6). 7z. Giovanni Battista Sammartini was the maestro di cappella for this confraternity. Most of his works composed for the confraternity's Lenten services were cycles of brief, dramatic cantatas, usually with three personages. For what appears to be a typical Sammartini cycle, see app. A: La passione di Gesù Cristo, e i dolori della Vergine Madre in cinque cantate (1743).
The staging of works called oratorio brought about a semantic change. In Italy of the late eighteenth and early nineteenth centuries, oratorio is used in two senses: the traditional sense, that of a sacred drama in concert performance; and a new one, that of an opera sacra. The new sense found its way into a music dictionary in the early nineteenth century: Pietro Lichtenthal's Dizionario e bibliografía délia música (Milan, 182,6) defines oratorio as either a staged or an unstaged work, and in his article on opera, he includes oratorio as a species of opera.
In the first half of the seventeenth century, when dialogues and oratorios began to be performed in such spiritual exercises, these two locations became the principal Roman centers of oratorio performance—a position that they retained until the early nineteenth century. A close relationship between the activities of the Oratorians at the Chiesa Nuova and the priests at San Girolamo appears to have continued throughout the eighteenth century and beyond, but those at the Chiesa Nuova seem to have been the more active oratorio sponsors.
A History of the Oratorio, Volume 3: The Oratorio in the Classical Era by Howard E. Smither