By Howard E. Smither
With this quantity, Howard Smither completes his huge History of the Oratorio. Volumes 1 and a pair of, released by means of the collage of North Carolina Press in 1977, taken care of the oratorio within the Baroque period, whereas quantity three, released in 1987, explored the style within the Classical period. right here, Smither surveys the heritage of 19th- and twentieth-century oratorio, stressing the most geographic components of oratorio composition and function: Germany, Britain, the USA, and France.
Continuing the method of the former volumes, Smither treats the oratorio in every one language and geographical sector by means of first exploring the cultural and social contexts of oratorio. He then addresses aesthetic thought and feedback, treats libretto and tune usually, and gives specified analyses of the librettos and track of particular oratorios (thirty-one in all) which are of certain value to the background of the genre.
As a synthesis of specialised literature in addition to an research of basic assets, this paintings will function either a springboard for additional learn and a necessary reference for choral conductors, soloists, choral singers, and others drawn to the heritage of the oratorio.
Originally released 2000.
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Additional info for A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries
67. 69 The importance of the Matthäus-Passion’s rediscovery for the Bach revival and for the history of oratorio cannot be overestimated. Bach was now viewed as a composer of monumental choral works comparable to those already known by Handel; he was now acclaimed, in this period of liturgical reform, as a champion of German Protestantism; and his usefulness to German nationalists as a symbol of cultural superiority was greatly enhanced. Mendelssohn relied heavily upon Bach’s procedures in the Matthäus-Passion for his Paulus, and countless other oratorio composers followed suit, whether inspired directly by Bach’s music or by Mendelssohn’s Paulus, itself an enormously inﬂuential model.
20. 64. Geck, Matthäuspassion, p. 15. 65. , p. 17. Geck cites Eduard Devrient, Meine Erinnerungen an Felix Mendelssohn Bartholdy und seine Briefe an mich, 2d ed. (Leipzig, 1872), pp. 19f. 66. In the version performed, many recitatives, arias, and chorales were cut and numerous modiﬁcations introduced. For details, see Geck, Matthäuspassion, pp. 35 – 41. 67. , p. 34. 68. Mendelssohn was to have conducted all three performances, but his plans to leave for England, which could not be changed, prevented his conducting the third.
What are you and where are you? I seek and ﬁnd you not. . Are you the nation of Hermann, of Luther, and of Gustavus Adolphus, who was also your man and your hero? 39 The Kulturkampf ofﬁcially linked cultural and political nationalism with Protestantism to form a Kultur-Protestantismus that recalls ideas expressed early in the century by both Fichte and Arndt. ” As an oratorio composer, Küster is an apologist for the genre. , the Franco-Prussian War and the proclamation of the Second Reich] that sooner or later must inspire genuine artistic souls to true national works.
A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries by Howard E. Smither