By Howard E. Smither
Written by means of an eminent pupil in a method that represents American musicological writing at its communicative most sensible, A background of the Oratorio bargains a synthesis and significant appraisal so exhaustive and trustworthy that the intense scholar of the oratorio should be pressured to seem to those volumes as an crucial resource. No paintings at the background of the oratorio has but seemed within the English language that's similar in scope and remedy with Howard Smither's accomplished 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 essentially the English oratorios of Handel. In such a lot sections of A background of the Oratorio, the writer has chosen for specified awareness a number of oratorios which are consultant of every geographical zone and interval. An exception to this approach is within the part on Handel during this quantity, the place all the composer's English oratorios are taken care of totally 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 research 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
Example 1—7 well represents the solo style of numbers 2 (from which it is taken), ii, and ι z. All three of these numbers are in arioso style 43. " Schwartz boldly titles this article "Das erste deutsche Oratorium"; Hans Engel, on the title page and in the foreword of his edition of the work (DMP, vol. 5), also calls it "das erste deutsche Oratorium," but in his article "Fromm," in MGG, 4:col. 1008, he revises his opinion and states that the work was erroneously called the first German oratorio, for it is "an oratorio dialogue," similar to many others.
This contrast is Z3- Printed in Schiitz, Neue Ausgabe, vol. z; Schiitz, Werke, 1:145-58. 18 The Oratorio in the Baroque Era: Protestant Germany and England clearly established in the first solo passages, as may be seen in Example ¡-3. Although the Evangelist's recitative is usually somewhat more elaborate and less like plainsong recitation than it is in this example, it rarely includes text repetition and musicalrhetorical figures. In the recitatives of Jesus, on the other hand, the affective quality is heightened by the instrumental accompaniment and an arioso style in which text repetition and musical-rhetorical figures are prominent.
Schiitz did not reserve the word "victoria" for the end of the chorus, as both Scandello and Rosthius had done, but introduced it in the seventh measure in the solo tenor voice, which repeats it while the chorus sings an antiphonal setting of the text of thanksgiving. The chorus finally joins the soloist in a victorious closing section. The Lutheran Historia and Passion 17 The Seven Words of Christ23 Perhaps the best known of Schiitz's works treated here is Die sieben Wortte unsers lieben Erlosers und Seeligmachers Jesu Christi so er am Stamm des Heiligen Creutzes gesprochen ("The Seven Words of Our Dear Redeemer and Savior Jesus Christ Which He Spoke on the Holy Cross"), which dates from about 1645.