By Howard E. Smither
Written via an eminent pupil in a mode that represents American musicological writing at its communicative top, A historical past of the Oratorio deals a synthesis and important appraisal so exhaustive and trustworthy that the intense scholar of the oratorio may be forced to appear to those volumes as an necessary resource. No paintings at the historical past 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 extensive 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 background of the Oratorio, the writer has chosen for distinctive consciousness a couple of oratorios which are consultant of every geographical quarter 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 handled absolutely with specific connection with fresh 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 examine of oratorio background. even though this sequence used to be initially introduced as a three-volume learn, 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
A lost work by Nicolaus Adam Strungk, performed at Dresden in 1686 and тб^о, may have been a historia, but it is called "ein Oratorium, die Auferstehung Jesu," in a Dresden MS chronicle of the time; this is a remarkably early use of the term Oratorium for a Protestant German work. (Steude, "Markuspassion," pp. ) 35. Printed in Schelle, Himmel. 36. Printed inDMP, vol. 5. For a description of a printed libretto (1664) of a work by Thomas Strutius on the same subject and of another by him on the Christmas story, see Rauschning, Danzig, pp.
This libretto is a remarkably imaginative combination of Gospel quotations with borrowed and free elements; in its preponderance of text extraneous to the Gospel, it resembles the libretto of an Italian oratorio. 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.
The Lutheran Historia and Passion j Antoine de Longueval (or Longaval). 9 This work, still widely performed in Lutheran Germany in 1568,10 is based chiefly on the Passion according to St. Matthew; it also draws on the other Gospels in order to include the seven last words of Christ. Particularly noteworthy among the through-composed historiae of the sixteenth and early seventeenth centuries is Leonhard Lechner's Historia der Passion und Leidens unsers einigen Erlosers und Seligmachers Jesu Christi ("Story of the Passion and Suffering of Our One Redeemer and Savior Jesus Christ," I594).
A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England by Howard E. Smither