By Howard E. Smither
The Oratorio within the classical Era is the 3rd quantity of Howard Smither's huge History of the Oratorio, carrying on with his synthesis and significant appraisal of the oratorio. His complete research surpasses in scope and therapy all prior 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 components of Europe from the 1750s to the 19th century. Drawing on works that characterize numerous forms, languages, and geographical components, 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 reviews and contributes new fabric according to firsthand examine of eighteenth-century song manuscripts and revealed librettos.
Emphasizing the massive variety of social contexts during which oratorios have been heard, Smither mentioned examples in Italy comparable to 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 comprises 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 heritage of the style on the grounds that Arnold Schering's 1911 learn. as well as synthesizing present thought of 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 diversified geographical-cultural regions.
Originally released in 1987.
A UNC Press Enduring variation -- UNC Press Enduring variations use the newest in electronic expertise to make to be had back books from our unique backlist that have been formerly out of print. those versions are released unaltered from the unique, and are offered in reasonable paperback codecs, bringing readers either ancient and cultural value.
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Additional info for A History of the Oratorio, Volume 3: The Oratorio in the Classical Era
23. , p. 65; Johnson, "Oratorio," p. 50. Z4. For eighteenth-century documents referring to payments for performances at the Chiesa Nuova in Rome, see Johnson, "Oratorio," pp. 47—66, passim, and her Appendix A. For details of financing oratorio performances by the Florentine Oratorians in the seventeenth and eighteenth centuries, see Hill, "Florence II," PP- z^-SS25. " 26. Cf. Johnson, "Oratorio," p. 48: "Oratorios were only occasionally presented earlier in the eighteenth century. " On pp. 45—52, Johnson sees the performance activities of the Oratorians increasing steadily throughout the eighteenth century.
35; original Italian, p. 721. A Florentine Oratorian document testifying to the separation of men and women at the performance of 1775, mentioned above, is I-Fsf: Ricordi B, p. 108 (3 December 1775), quoted in Hill, "Florence II," p. 249, n. 12. 14 The Oratorio in the Classical Era candle] they follow the text. After the first part of the oratorio begins the second sermon; the candles are extinguished and the audience either listens or (what happens more often) leaves the church until the second [part] begins, when the wax candles are lighted anew.
2—3. 7. For Spagna's and Crescimbeni's statements, see Schering, "Beiträge," pp. 52 and 68, respectively; both statements are quoted in Smither, "Sacred Opera," p. 89. For Quadrio's statement, see Quadrio, Delia storia, 3/2:497. 8. For descriptions of the Italian oratorio of the early eighteenth century, see Smither, Oratorio, vol. i, chaps. 7 and 8. 4 The Oratorio in the Classical Era choruses and ensembles and fewer simple recitatives. The music of an oratorio was much like that of an opera seria.
A History of the Oratorio, Volume 3: The Oratorio in the Classical Era by Howard E. Smither