By Howard E. Smither
With this quantity, Howard Smither completes his huge History of the Oratorio. Volumes 1 and a couple of, released by way 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 historical past of 19th- and twentieth-century oratorio, stressing the most geographic components of oratorio composition and function: Germany, Britain, the USA, and France.
Continuing the process of the former volumes, Smither treats the oratorio in every one language and geographical zone through first exploring the cultural and social contexts of oratorio. He then addresses aesthetic idea and feedback, treats libretto and tune more often than not, and gives specified analyses of the librettos and track of particular oratorios (thirty-one in all) which are of unique value to the heritage of the genre.
As a synthesis of specialised literature in addition to an research of fundamental assets, this paintings will function either a springboard for extra learn and an important reference for choral conductors, soloists, choral singers, and others drawn to the background of the oratorio.
Originally released 2000.
A UNC Press Enduring version -- UNC Press Enduring variants use the most recent in electronic expertise to make on hand back books from our exclusive backlist that have been formerly out of print. those versions are released unaltered from the unique, and are offered in cheap paperback codecs, bringing readers either ancient and cultural value.
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Additional info for A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries
83 In the year following the performance, Mendelssohn noted in a letter that “after a few rehearsals . . [the chorus] sang with devotion [mit einer Andacht], as if they were in church . . 85 Franz Liszt’s “On Future Church Music” (1834) continues the notion of art religion by emphasizing music’s role outside the church as an ennobling, comforting, and purifying element in a secular age: In the present day, when the altar trembles and totters, when pulpit and religious ceremonies serve as subjects for the mocker and the doubter, art must leave the sanctuary of the temple, and, coming abroad into the outer world, seek a stage for its magniﬁcent manifestations.
32. Fichte, Addresses, p. 15; Fichte, Reden, p. 23. 33. Fichte, Addresses, pp. 94 –107; Fichte, Reden, pp. 94 –105. 34. ” 35. Arndt, Geist der Zeit. For a characterization of Arndt’s thought, see Hertz, German Public Mind, pp. 29 –35. 36. Quoted in Hughes, Nationalism, p. 27. 37. For the complete text of the song, see Arndt, Werke, vol. 7/2, pp. 18 –21. In Düding, “Nationalist Movement,” p. 30, the song is discussed within the context of German nationalism as a movement of societies in which such songs were sung.
But how do I speak to you, German nation? 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.