By Howard E. Smither
Howard Smither has written the 1st definitive paintings at the heritage of the oratorio considering Arnold Schering released his Geschichte des Oratoriums in 1911. This quantity is the 1st of a four-volume accomplished learn that provides a brand new synthesis of what's identified to this point concerning the oratorio.
Volume 1, divided into 3 components, opens with the exam of the medieval, Renaissance, and early Baroque antecedents and origins of the oratorio, with emphasis on Rome and Philip Neri's Congregation of the Oratory and with specified consciousness to the earliest works for which the time period oratorio turns out applicable. the second one half recounts the improvement of the oratorio in Italy, circa 1640-1720. It reports the social contexts, buyers, composers, poets, librettos, and tune of the oratorio in Italy, specially in Vienna and Paris.
The process tailored through the paintings is to regard first the social context, relatively the conditions of functionality of the oratorio in a given sector and interval, then to regard the libretto, and at last the track. for every geographic zone and interval, the writer has chosen for certain recognition a couple of oratorios that seem to be rather very important or consultant. He has demonstrated the data provided within the really expert literature at any time when attainable by means of connection with the tune or files. In a couple of parts, specific seventeenth-century Italy, within which particularly few earlier reports were undertaken or secondary resources have confirmed to be insufficient, the writer has tested the first resources in manuscript and published shape -- song, librettos, and files of early oratorio background. notable study and clever integration of disparate components make this advanced, diffuse topic either readable and obtainable to the scholar of music.
Volume 2, The Oratorio within the Baroque period: Protestant Germany and England, and quantity three, The Oratorio within the Classical Era, proceed and extend the learn of oratorio heritage. even if this sequence was once initially introduced as a three-volume learn, Smither will finish with a fourth volume.
This new work--the first English-language learn of the background of the oratorio becomes the normal paintings on its topic and a permanent contribution to track and scholarship.
Originally released in 1977.
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Additional info for A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris
Ten years later Handel was forced by economic pressure virtually to abandon Italian opera, and remembering the successes of his earliest English oratorios of 1732—33, he turned again to oratorio as both an economically sound and artistically viable genre. The economic success of his oratorios is not fully explained by his consummate skill in musical invention, for such skill is exhibited also in some of his operas that were box-office failures. That the audience could understand the librettos' language is an important factor in the success of the oratorios, but of perhaps equal importance is a factor of social psychology.
In Italy the voice of the austere reformer Girolamo Savonarola (1452—98) was only one of many that were raised against abuses in the church; but this prior of the Dominicans at San Marco in Florence and dictator of the city was condemned to death by a mock trial arranged by Pope Alexander VI and was excommunicated, hanged, and burned. Other reformers of the fifteenth and sixteenth centuries were also treated brutally, but some achieved a certain degree of success, even while they remained within the fold of the Roman Catholic church.
Francis of Assisi ("O Francesco, da Deo amato"), and—his most famous—a dialogue based on the Passion story that emphasizes the lament of the Virgin ("Donna de para15 diso"). The chief musical sources of medieval laude are the manuscripts of Cortona and Florence that have been transcribed 16 by Fernando Liuzzi; the manuscript of Cortona dates from the late thirteenth century and that of Florence, from the early fourteenth. Together these manuscripts contain 135 lauda texts, most of which have musical settings, all monophonic; approximately one-fourth of the texts include narrative and/or dramatic elements.
A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris by Howard E. Smither