By Howard E. Smither
With this quantity, Howard Smither completes his enormous History of the Oratorio. Volumes 1 and a pair of, released by way of the college of North Carolina Press in 1977, taken care of the oratorio within the Baroque period, whereas quantity three, released in 1987, explored the style within the Classical period. right here, Smither surveys the heritage of 19th- and twentieth-century oratorio, stressing the most geographic parts of oratorio composition and function: Germany, Britain, the USA, and France.
Continuing the procedure of the former volumes, Smither treats the oratorio in each one language and geographical zone by way of first exploring the cultural and social contexts of oratorio. He then addresses aesthetic conception and feedback, treats libretto and track commonly, and gives distinctive analyses of the librettos and track of particular oratorios (thirty-one in all) which are of distinctive significance to the historical past 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 attracted to the historical past of the oratorio.
Originally released 2000.
A UNC Press Enduring variation -- UNC Press Enduring variations use the most recent in electronic know-how to make to be had back books from our amazing backlist that have been formerly out of print. those variants are released unaltered from the unique, and are offered in cheap paperback codecs, bringing readers either historic and cultural value.
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Additional info for A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries
68 All performances were enthusiastically received. News of the overwhelming effect of the work traveled fast, and subsequent performances were sung by choral societies in Frankfurt am 63. Schünemann, Zelter, p. 20. 64. Geck, Matthäuspassion, p. 15. 65. , p. 17. Geck cites Eduard Devrient, Meine Erinnerungen an Felix Mendelssohn Bartholdy und seine Briefe an mich, 2d ed. (Leipzig, 1872), pp. 19f. 66. In the version performed, many recitatives, arias, and chorales were cut and numerous modiﬁcations introduced.
86. 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.
139 – 40, where the review is reprinted from Die Spenerische Zeitung, 13 March 1829. ” 24 The Handel revival also answered the need for a restoration of German dignity— despite the composer’s having abandoned Germany and become an English subject. 25 Equally characteristic is Gottfried Wilhelm Fink’s article “Oratorium,” printed in 1837 in Gustav Schilling’s Encyclopädie der gesammten musikalischen Wissenschaften. ” 27 Given the powerful impact of Bach and Handel on the German oratorio in the nineteenth century, the prevailing view of their music as a great national patrimony, and a growing perception of oratorio as a German genre, a brief consideration of the background of German nationalism is in order.
A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries by Howard E. Smither