By Howard E. Smither
Written by means of an eminent pupil in a mode that represents American musicological writing at its communicative most sensible, A heritage of the Oratorio deals a synthesis and demanding appraisal so exhaustive and trustworthy that the intense scholar of the oratorio could be forced to seem 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 similar in scope and therapy with Howard Smither's finished four-volume work.
The first a part of quantity 2 examines intensive 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 essentially the English oratorios of Handel. In such a lot sections of A historical past of the Oratorio, the writer has chosen for unique realization a couple of oratorios which are consultant of every geographical sector and interval. An exception to this method 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 expert 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 learn of oratorio heritage. even supposing this sequence used to be initially introduced as a three-volume examine, Smither will finish with a fourth volume.
Originally released in 1977.
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Extra resources for A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England
Only two Christmas works are known to be extant. One is an anonymous Historia von der Geburt Christi (performed at Grimma in 1686 but probably of earlier origin), and the other is Johann Schelle's Actus musicus auf WeihNachten (1683). 3S Two works on the subject of Pentecost are Philipp Heinrich Erlebach's Actus pentecostalis (1690) and F. W. Zachow's Actus pentecostalis (ca. 1690—1701). Based on other subjects are Andreas Fromm's Actus musicus de Divite et Lázaro (Stettin, IÓ49), 36 Georg Calmbach's Actus musicus de filio perdito (1675), 37 Johann Kuhnau's Actus Stephanicus (ca.
For discussions of Schutz's historiae, see Moser, Schütz, pp. , pp. 365-76, 491-97, 649-84), and Mattháus, "Evangelienhistorie," pp. 111-49, 170-91. The Lutheran Historia and Passion 9 FIGURE 1-2.. Heinrich Schütz (1585-1671), at 85 years of age. An oil miniature by an anonymous painter, 1670. ) ίο The Oratorio in the Baroque Era: Protestant Germany and England neither a historia nor an oratorio by the composer but occasionally termed an oratorio today, is also treated below. The Easter Historia19 Schütz's Historia der frohlichen und siegreichen Aufferstehung unsers einigen Erlosers und Seligmachers Jesu Christi ("Story of the Joyful and Victorious Resurrection of Our One Redeemer and Savior Jesus Christ," Dresden, 16x3) is his earliest work in this genre.
Printed in DMP, 5:5. The Lutheran Historia and Passion 31 The text of this work is based on the parable of the rich man and Lazarus in Luke 16:19—31. As may be seen in the above structural outline, however, the only Gospel quotations that Fromm uses are Luke 16:19—21 (in number 2) and 24—25 (in number 12). After its brief opening symphonia the text commences with the prologue (which Fromm labels Prologus vel Evangelista], which is the following narration from the Gospel: "There was a rich man who used to clothe himself in purple and fine linen, and who lived every day magnificently and in pleasure.
A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England by Howard E. Smither