By Howard E. Smither
Written by way of an eminent student in a mode 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 pupil of the oratorio can be forced to seem to those volumes as an critical 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 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 basically the English oratorios of Handel. In so much sections of A background of the Oratorio, the writer has chosen for particular cognizance a couple of oratorios which are consultant of every geographical quarter 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 totally with specific connection with contemporary really good 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 examine of oratorio background. even if this sequence was once initially introduced as a three-volume research, Smither will finish with a fourth volume.
Originally released in 1977.
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Additional resources for A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England
He prefers that the viole parts be used rather than the continuo, however, and recommends that one of the viole improvise ornamental passages. The viole are used only for the Evangelist's part; the basso continuo accompanies the remainder of the work, the earliest-known historia to require a basso continuo. 21 The performing group for the personages consists of Jesus (AT); the Youth, or Angel, in the grave (AA); the Two Men, or Angels, in the grave (TT); Mary Magdalene (SS); the Three Women, or Three Marys (SSS); Cleophas and his Companion (TT); and the High Priests (TTB).
Printed in Ameln, Kirchenmusik, vol. i, pt. 4, pp. 153—84. 12. Printed in PubAPTM, 11:49-80. 13. Printed in MAM, vol. 4. For a discussion of this work, see Moser, Ôsterreich, pp. 66-70. 14. Printed in Chiv, vol. 17. 15. The Passion printed in Kade, Passionskomposition, pp. 306-44; the Easter historia printed in Ameln, Kirchenmusik, vol. i, pt. 3, pp. 133—40, and pt. 4, pp. 110—30. 8 The Oratorio in the Baroque Era: Protestant Germany and England again by Rosthius in 1598 (his responsorial historia mentioned above) and by Schiitz in 16x3.
These choral sections are in falsobordone, an extremely simple note-againstnote style with no polyphonic elaboration. This Passion by Walter was a model for numerous other sixteenth- and seventeenth-century works, including an anonymous St. Matthew Passion (attributed to Walter) in a manuscript of 1573 and the St. ), and 5 Melchior Vulpius (1613). These works tend to retain Walter's procedures for the soloists but provide more elaborate choral numbers. Of the responsorial historiae on subjects other than the Passion, the earliest is an anonymous setting of the Resurrection story 6 from about τ 5 50.