By Howard E. Smither
Written via an eminent pupil in a mode that represents American musicological writing at its communicative most sensible, A background of the Oratorio deals a synthesis and demanding appraisal so exhaustive and trustworthy that the intense pupil of the oratorio could be pressured to appear to those volumes as an essential resource. No paintings at the historical past of the oratorio has but seemed within the English language that's similar in scope and remedy with Howard Smither's complete 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 basically the English oratorios of Handel. In so much sections of A heritage of the Oratorio, the writer has chosen for specified consciousness a couple of oratorios which are consultant of every geographical region and interval. An exception to this strategy is within the part on Handel during this quantity, the place the entire composer's English oratorios are taken care of totally with specific connection with contemporary really expert 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 research of oratorio background. even supposing this sequence used to be initially introduced as a three-volume examine, 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
19—30. 33. M. Runke, "Funcke," in MGG, 4:00!. 1146. 8 The Oratorio in the Baroque Era: Protestant Germany and England tionis Domini nostri Jesu Christi secundum quatuour Evangelistas ("Story of the Resurrection of Our Lord Jesus Christ, according to the Four Evangelists," i686), 34 and Abraham Petzold's Actus paschalis (ca. ). Only two Christmas works are known to be extant. One is an anonymous Historia von der Geburt Christi (performed at Grimma in 1686 but probably of earlier origin), and the other is Johann Schelle's Actus musicus auf WeihNachten (1683).
The narrative Gospel quotation at the beginning is like that of a normal historia or actus musicus; but unlike the majority of the works bearing those designations, this one returns to Gospel quotation only once, at about the midpoint. Rather than a quoted Gospel story with interpolations, as are most historiae and actus musici, this text is essentially a free treatment of a Gospel theme. It is true, of course, that Fromm's work was created within the tradition of the Lutheran historia and actus musicus, and not within that of the oratorio, a genre that in the mid-century was just beginning to be recognized in Italy; nevertheless, because of the free and dramatic nature of its text, this work would seem to be to sacred music of Lutheran Germany in its time what the oratorio was to sacred music of Italy in the same period.
11—13; andSmallman, Passion, pp. 136—39. ίο. Cf. the foreword to Joachim a Burck's Die deutsche Passion (Wittenberg, 1568), printed in PubAPTM, 21:51. 11. Printed in Ameln, Kirchenmusik, vol. i, pt. 4, pp. 153—84. 12. Printed in PubAPTM, 11:49-80. 13. Printed in MAM, vol. 4. For a discussion of this work, see Moser, Ôsterreich, pp. 66-70. 14. Printed in Chiv, vol. 17. 15. The Passion printed in Kade, Passionskomposition, pp. 306-44; the Easter historia printed in Ameln, Kirchenmusik, vol. i, pt.
A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England by Howard E. Smither