By Howard E. Smither
The Oratorio within the classical Era is the 3rd quantity of Howard Smither's huge History of the Oratorio, carrying on with his synthesis and significant appraisal of the oratorio. His finished research surpasses in scope and remedy all past works at the topic. A fourth and ultimate quantity, at the oratorio within the 19th and 20th centuries, is forthcoming.
In this quantity Smither discusses the Italian oratorio from the 1720s to the early 19th century and oratorios from different components of Europe from the 1750s to the 19th century. Drawing on works that signify a variety of varieties, languages, and geographical components, Smither treats the overall features of oratorio libretto and tune and analyzes twenty-two oratorios from Italy, England, Germany, France, and Russia. He synthesizes the result of really expert stories and contributes new fabric in keeping with firsthand learn of eighteenth-century song manuscripts and revealed librettos.
Emphasizing the massive variety of social contexts during which oratorios have been heard, Smither mentioned examples in Italy similar to the Congregation of the Oratory, lay contrafraternities, and academic associations. He examines oratorio performances in German courts, London theaters and English provincial fairs, and the Parisian live performance spirituel. although the amount concentrates totally on eighteenth-century oratorio from the early to the overdue Classical kinds, Smither comprises such transitional works because the oratorios of Jean-Francios le Seur in Paris and Stepan Anikievich Degtiarev in Moscow.
A heritage of the Oratorio is the 1st full-length background of the style due to the fact that Arnold Schering's 1911 examine. as well as synthesizing present considered the oratorio, this quantity contributes new details on relationships among oratorio librettos and modern literary and non secular inspiration, and at the musical variations between oratorios from various geographical-cultural regions.
Originally released in 1987.
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Additional resources for A History of the Oratorio, Volume 3: The Oratorio in the Classical Era
App. A: // martirio di S. Ferma (1733). I am grateful to Dr. Joyce L. " In some years the Collegio Germanico-Ungarico seems to have borrowed repertory from the oratories at the Chiesa Nuova and San Girolamo della Carita: // trionfo di Mardocheo by Giovanni Batista Borghi, was performed in 1774 and 1785 at the Chiesa Nuova and in 1778 at this college; S. Elena al Calvario by Nicola Luciani, was performed in 1779 at San Girolamo and 1780 at the college; and // popólo di G tuda, by Antonio Sacchini, was performed in 1768 and 1777 at the Chiesa Nuova and 1769 at the college.
47—66, passim, and her Appendix A. For details of financing oratorio performances by the Florentine Oratorians in the seventeenth and eighteenth centuries, see Hill, "Florence II," PP- z^-SS25. " 26. Cf. Johnson, "Oratorio," p. 48: "Oratorios were only occasionally presented earlier in the eighteenth century. " On pp. 45—52, Johnson sees the performance activities of the Oratorians increasing steadily throughout the eighteenth century. The focus of her work is on the oratorio at the Chiesa Nuova from 1770 to 1800; it remains to be seen whether further research on the earlier decades of the century would reveal more performance activity there than is currently known.
Wherever the Italian oratorio was cultivated, it retained essentially the same features and was described in approximately the same terms. Although the Italian oratorio's libretto and music are treated mainly in chapters 2 and 3, a few words of introduction to terminology and genre definition are useful here. In the context of the period and areas treated in the present chapter, what meaning or meanings of the word oratorio can be extracted from designations in printed librettos and musical sources and from writings about oratorio?