By Howard E. Smither
Howard Smither has written the 1st definitive paintings at the heritage of the oratorio seeing that Arnold Schering released his Geschichte des Oratoriums in 1911. This quantity is the 1st of a four-volume entire examine that gives a brand new synthesis of what's recognized to this point in regards to 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 distinctive recognition 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 stories the social contexts, consumers, composers, poets, librettos, and tune of the oratorio in Italy, particularly in Vienna and Paris.
The approach tailored through the paintings is to regard first the social context, quite the situations of functionality of the oratorio in a given region and interval, then to regard the libretto, and eventually the track. for every geographic zone and interval, the writer has chosen for particular consciousness a couple of oratorios that seem to be rather vital or consultant. He has validated the data provided within the really good literature every time attainable through connection with the song or files. In a couple of parts, specific seventeenth-century Italy, within which rather few past experiences were undertaken or secondary resources have confirmed to be insufficient, the writer has tested the first resources in manuscript and published shape -- track, librettos, and records of early oratorio background. notable examine and clever integration of disparate parts make this advanced, 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 heritage. even supposing this sequence used to be initially introduced as a three-volume examine, Smither will finish with a fourth volume.
This new work--the first English-language research of the background of the oratorio becomes the traditional paintings on its topic and a permanent contribution to track and scholarship.
Originally released in 1977.
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Additional info for A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris
Most of the musical numbers in the sixteenth-century sacre rappresentazioni are found in the intermedi, musical-dramatic interludes used between the scenes of a play to add variety and enlarge upon the events of the drama. Among the most important Florentine authors of sacre rappresentazioni are Belcari, Castellani, and Lorenzo de' Medici —all mentioned above in connection with the Florentine lauda. The subjects treated include Abraham and Isaac, the Annunciation, the Passion, the prodigal son, and numerous saints' lives.
Trans. Wisd. Ephesians Exodus Genesis Haggai Isaiah, Isaias Jeremiah, Jeremias Jonah,Jonas Judges Malachi Matthew measure(s) manuscript(s) mezzo soprano Psalm (Psalms) soprano Samuel tenor Tobit, Tobias translated, translation, translator Wisdom Note: With reference to the above designations of voices that are marked by asterisks, when two or more voices sing together, as in an ensemble, this is indicated by an absence of spacing or punctuation. ) Abbreviations xxvii This page intentionally left blank A History of the Oratorio This page intentionally left blank CHAPTER I Introduction 3^This chapter introduces in broad and general terms some basic concepts about the oratorio and its history in various subperiods of the Baroque era and in various geographical areas.
The oratorio is normally in two large structural parts, although some oratorios are in one part and others, in three. The musical style of an oratorio in Italy of this period is essentially the same as that of an opera in the same time and place, and the duration of an oratorio ranges from about one to two hours. The oratorio functioned as an edifying entertainment performed in an oratory (or prayer hall, the Italian term for which is oratorio] or in a private palace but rarely in a church. Although the word oratorio was indeed a firmly established term for the genre just described, it was by no means the only one used for it.
A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris by Howard E. Smither