Download A History of the Oratorio: Vol. 2: The Oratorio in the by Howard E. Smither PDF

By Howard E. Smither

Written by means of an eminent pupil in a mode that represents American musicological writing at its communicative most sensible, A historical past of the Oratorio deals a synthesis and demanding appraisal so exhaustive and trustworthy that the intense pupil of the oratorio might be forced to appear to those volumes as an fundamental resource. No paintings at the heritage of the oratorio has but seemed within the English language that's related in scope and remedy with Howard Smither's accomplished 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 contains 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 historical past of the Oratorio, the writer has chosen for precise cognizance a number of oratorios which are consultant of every geographical region and interval. An exception to this technique is within the part on Handel during this quantity, the place the entire composer's English oratorios are taken care of absolutely with specific connection with contemporary really good 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 learn of oratorio background. even if this sequence was once initially introduced as a three-volume examine, Smither will finish with a fourth volume.

Originally released in 1977.

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Extra info for A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England

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Historia der Auferstehung (Schiitz, Neue Ausgabe, 3:17). гг. For studies of text treatment including rhetorical figures and musical symbolism in Schiitz's works, see Eggebrecht, Schiitz, and Huber, Motwsymbolik. , continued) They have taken the Lord from the tomb, and we do not know where they have laid him. when she believes someone has taken Jesus' body away. The first six measures express her anxiety by chromatic progressions (pathopoeia in musical-rhetorical terminology) and by sequential repetition at the upper second (climax).

1568? ). 1S In both works the lines of Jesus are always set a 4, the other individual personages a 2 or a 3, and the turbae a 5. The text of Scandello's Easter historia, "harmonized" from the four Gospels and including an exordium and a conclusio, was set 9. Two versions, a 4 and a 6, printed in Obrecht, Werken, [vol. 9], fase. 18; the a 4 version also printed in Kade, Passionskomposition, pp. 146—73. For discussions of the work, see Reese, Renaissance, pp. 173—74; Moser, Evangelium, pp. 11—13; andSmallman, Passion, pp.

3, pp. 133—40, and pt. 4, pp. 110—30. 8 The Oratorio in the Baroque Era: Protestant Germany and England again by Rosthius in 1598 (his responsorial historia mentioned above) and by Schiitz in 16x3. Other noteworthy historiae of the mixed type are two closely related works by Rogier Michael (ca. 16 Schiitz would certainly have known Michael's works, for the latter was a musician at the Dresden court beginning in 1574 and was Schiitz's immediate predecessor there as Kapellmeister (1587—1617). A work unusual for its subject matter is Elias Gerlach's historia of the mixed type on the life of John the Baptist, Historia von dem christlichen Lauf und seligen Ende Johannes des Taufers ("Story of the Christian Vocation and Blessed End of John the Baptist," i6iz).

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