By Howard E. Smither

Written through an eminent student in a mode that represents American musicological writing at its communicative top, A historical past of the Oratorio bargains a synthesis and important appraisal so exhaustive and trustworthy that the intense pupil of the oratorio could 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 similar in scope and remedy with Howard Smither's entire 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 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 such a lot sections of A heritage of the Oratorio, the writer has chosen for certain consciousness a couple of oratorios which are consultant of every geographical sector and interval. An exception to this strategy is within the part on Handel during this quantity, the place all the composer's English oratorios are taken care of 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 research of oratorio background. even supposing 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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Additional info for A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England

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Behold, I bring you great joy. Among the most attractive features of the Christmas historia are the variety and appropriateness of the vocal and instrumental combinations in the intermedia. As may be seen in the above outline of the work, Schiitz treats the instruments as elements of dramatic characterization. In the first and last pair oí intermedia, he combines the Angels with high strings (the soloist with two violette, or discant viole da gamba, and the chorus of Angels with two violins). In the four central intermedia (nos.

Title page of Andreas Fromm's Actus musicus de Divite et Lázaro (Stettin, 1649). ) 30 The Oratorio in the Baroque Era: Protestant Germany and England cities as a pastor and a teacher, and eventually went to Prague, where he became a Roman Catholic convert and deacon. His Actus is one of his two known musical compositions. He seems to have been clearly aware of the novelty of the designation actus musicus and of the relationship of the term to actus oratorius. As if to support his use of the new term, he discusses in the foreword to the Actus41 the close relationship between the oratorical art (ars oratoria) and that of the musician.

The Beschluss is a brief thanksgiving, emphasizing the victory over death: "Thanks be to God, who has given us the victory through Jesus Christ our Lord! " The similarity between the Easter historiae by Scandello and Schiitz does not end with the text. The Evangelist's plainsong recitation tone in Schütz's work is much like that in Scandello's 19. Printed in Schiitz, Neue Ausgabe, vol. 3; Schiitz, Werke, 1:1-46. The Lutheran Historia and Passion 11 FIGURE i- з. Title page of the Evangelist's partbook of Heinrich Schiitz's Easter Historia (Dresden, хбгз).

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