By Howard E. Smither
The Oratorio within the classical Era is the 3rd quantity of Howard Smither's huge History of the Oratorio, carrying on with his synthesis and demanding appraisal of the oratorio. His accomplished research surpasses in scope and remedy all prior works at the topic. A fourth and ultimate quantity, at the oratorio within the 19th and 20th centuries, is forthcoming.
In this quantity Smither discusses the Italian oratorio from the 1720s to the early 19th century and oratorios from different elements of Europe from the 1750s to the 19th century. Drawing on works that symbolize a number of varieties, languages, and geographical components, Smither treats the overall features of oratorio libretto and song and analyzes twenty-two oratorios from Italy, England, Germany, France, and Russia. He synthesizes the result of really expert reviews and contributes new fabric in accordance with firsthand learn of eighteenth-century tune manuscripts and published librettos.
Emphasizing the massive variety of social contexts in which oratorios have been heard, Smither mentioned examples in Italy reminiscent of the Congregation of the Oratory, lay contrafraternities, and academic associations. He examines oratorio performances in German courts, London theaters and English provincial fairs, and the Parisian live performance spirituel. although the amount concentrates totally on eighteenth-century oratorio from the early to the overdue Classical types, Smither contains such transitional works because the oratorios of Jean-Francios le Seur in Paris and Stepan Anikievich Degtiarev in Moscow.
A background of the Oratorio is the 1st full-length heritage of the style for the reason that Arnold Schering's 1911 learn. as well as synthesizing present thought of the oratorio, this quantity contributes new details on relationships among oratorio librettos and modern literary and non secular proposal, and at the musical transformations between oratorios from diverse geographical-cultural regions.
Originally released in 1987.
A UNC Press Enduring version -- UNC Press Enduring versions use the most recent in electronic know-how to make to be had back books from our unique backlist that have been formerly out of print. those variants are released unaltered from the unique, and are awarded in cheap paperback codecs, bringing readers either historic and cultural value.
Read or Download A History of the Oratorio, Volume 3: The Oratorio in the Classical Era PDF
Best forms & genres books
The vocal repertoire of the 20th century--including works by way of Schoenberg, Boulez, Berio, Larsen, and Vercoe--presents interesting possibilities for singers to stretch their skills and display their vocal flexibility. modern composers should be very challenging of vocalists, requiring them to recite, trill, and whisper, or to learn non-traditional ratings.
Definitive unique variation of the 20th-century vintage: Stravinsky's ranking for the Ballets Russes masterpiece Petrushka, the unusual story of 3 dancing puppets dropped at existence. First produced in Paris in 1911. most interesting low-cost variation.
Illuminates the aesthetics of a huge American composer.
Over the past decade, the theatre and opera of the French Revolution were the topic of extreme scholarly reassessment, either by way of the connection among theatrical works and politics or ideology during this interval and at the query of longer-scale buildings of continuity or rupture in aesthetics.
Additional resources for A History of the Oratorio, Volume 3: The Oratorio in the Classical Era
Outside the traditional season, Oratorians occasionally sponsored performances on special days, such as the feasts of SS. Nereus and Achilleus (12. May), St. " The performances, which took place within a religious service (described in the next section), were free to the public and financially supported by the Oratorians or private patrons. The number of performances and musicians hired fluctuated according to the available financial support. i3 Beyond that period, however, little is known of such private patronage at the Chiesa Nuova.
Italian Oratorio: Social Contexts 17 works sponsored, they clearly exceeded them in the sumptuousness of performances. The performances, normally given between Christmas and Easter, were free and open to the public and usually financed on an ad hoc basis by the brothers of a confraternity. Such performances also included larger and more varied orchestras than those of the Oratorians as well as better personnel, often including singers from the opera rather than the church musicians who performed in the Oratory.
Johnson, "Oratorio," p. 48: "Oratorios were only occasionally presented earlier in the eighteenth century. " On pp. 45—52, Johnson sees the performance activities of the Oratorians increasing steadily throughout the eighteenth century. The focus of her work is on the oratorio at the Chiesa Nuova from 1770 to 1800; it remains to be seen whether further research on the earlier decades of the century would reveal more performance activity there than is currently known. 27. According to Hill, "Florence II," p.
A History of the Oratorio, Volume 3: The Oratorio in the Classical Era by Howard E. Smither