By Howard E. Smither
With this quantity, Howard Smither completes his enormous History of the Oratorio. Volumes 1 and a couple of, released via the collage of North Carolina Press in 1977, handled 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 US, and France.
Continuing the strategy of the former volumes, Smither treats the oratorio in each one language and geographical sector through first exploring the cultural and social contexts of oratorio. He then addresses aesthetic conception and feedback, treats libretto and song typically, and gives distinct analyses of the librettos and song of particular oratorios (thirty-one in all) which are of particular value to the heritage of the genre.
As a synthesis of specialised literature in addition to an research of fundamental resources, this paintings will function either a springboard for extra study and an important reference for choral conductors, soloists, choral singers, and others attracted to the historical past of the oratorio.
Originally released 2000.
A UNC Press Enduring version -- UNC Press Enduring variants use the most recent in electronic know-how to make to be had back books from our uncommon backlist that have been formerly out of print. those variants are released unaltered from the unique, and are provided in reasonable 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
Blume, Classic and Romantic, p. 96. For the original, see Blume, “Romantik,” MGG, 11:cols. 785 – 86. , Sachteil, 8:cols. 463–507. 14 The Nineteenth Century: Germany tion between exoticism, historicism, and folklorism—all features as characteristic of nineteenth-century music as they are of the literature and painting of the time. . Whether the bourgeois educated classes—the “carrier strata” of musical romanticism— chose to overstep social bounds to folk music, historical bounds to early music, or geographical and ethnic bounds to oriental music, the motivation was always the same: an urge to “disinhibit,” to remove the barriers posed by classical rules of style.
Cf. Little, “Mendelssohn,” p. 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.
Fichte, Addresses, p. 55; Fichte, Reden, p. 61. 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.