By Howard E. Smither
With this quantity, Howard Smither completes his enormous History of the Oratorio. Volumes 1 and a pair of, released by means of the collage of North Carolina Press in 1977, handled the oratorio within the Baroque period, whereas quantity three, released in 1987, explored the style within the Classical period. right here, Smither surveys the background of 19th- and twentieth-century oratorio, stressing the most geographic parts of oratorio composition and function: Germany, Britain, the US, and France.
Continuing the process of the former volumes, Smither treats the oratorio in every one language and geographical sector by way of first exploring the cultural and social contexts of oratorio. He then addresses aesthetic conception and feedback, treats libretto and tune as a rule, and provides particular analyses of the librettos and tune of particular oratorios (thirty-one in all) which are of exact value to the historical past of the genre.
As a synthesis of specialised literature in addition to an research of basic resources, this paintings will function either a springboard for extra study and a necessary reference for choral conductors, soloists, choral singers, and others drawn to the background of the oratorio.
Originally released 2000.
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Extra info for A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries
Evans, German History, p. 144. 74. , p. 142. On pp. , Evans points to other factors, social and economic, which also contributed to the secularization of life in nineteenth-century Germany. ” 75 For many, concert life and the amateur singing society became important elements in that network. Oratorio “long ago made its way out of the church [and] into the concert hall,” wrote Hilgenfeld, recognizing the basic function of the genre in Germany of his time. The German oratorio of the eighteenth century was most at home in church (in striking contrast to the English oratorio).
4. Paulus, Messiah, Elias, and Israel in Egypt. In the text of Elias, however, and to a lesser extent that of Paulus, the biblical words are frequently not literal but freely adapted. The libretto of Paulus, in addition to biblical prose, includes chorale texts. (The single chorale tune in Elias, no. 15, is melodically altered and does not use a chorale text. Cf. ) 5. Schöpfung, Weihnachts-Oratorium, Matthäus-Passion, and Liszt’s Christus. Liszt’s libretto incorporates biblical prose and liturgical prose and poetry.
Equally romantic but for different reasons are the highly original, mystical visions in the libretto of Schneider’s Weltgericht, the oriental mysticism of the libretto of Schumann’s Peri, the Hungarian and German folklore in Liszt’s Elisabeth, the occasional use of folk-music style in both of Liszt’s and Haydn’s oratorios, and the chromatically enriched harmonic vocabulary of Haydn’s “Representation of Chaos” at the beginning of Die Schöpfung —a unique essay in tone painting that shocked listeners in Haydn’s day but remained fresh in Wagner’s.
A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries by Howard E. Smither