By Howard E. Smither
Written by means of an eminent student in a method that represents American musicological writing at its communicative top, A historical past of the Oratorio deals a synthesis and significant appraisal so exhaustive and trustworthy that the intense scholar of the oratorio could be pressured to appear to those volumes as an essential resource. No paintings at the historical past of the oratorio has but seemed within the English language that's related in scope and therapy with Howard Smither's finished 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 historical past of the Oratorio, the writer has chosen for distinct realization a couple of oratorios which are consultant of every geographical zone 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 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 historical past. 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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Extra resources for A History of the Oratorio: Vol. 2: The Oratorio in the Baroque Era - Protestant Germany and England
The "O" of "O Tod"—but Fromm never ventures to write affective, unprepared dissonances at such places, as many of his contemporaries might have done. With the exception of a few brief chromatic passages, his settings are harmonically and melodically simple and conservative. Example I—9 illustrates the style of numbers 3 (from which it is taken), 5, and 14, for in all three of these numbers the vocal line sung by Lazarus is a clear statement of a chorale tune while the viola da gamba plays a more quickly EXAMPLE 1-9.
40. For Fromm's biography see H. Engel, "Fromm," in MGG, 4: cols. 1007-8. The Lutheran Historia and Passion 29 FIGURE 1-4. Title page of Andreas Fromm's Actus musicus de Divite et Lázaro (Stettin, 1649). ) 30 The Oratorio in the Baroque Era: Protestant Germany and England cities as a pastor and a teacher, and eventually went to Prague, where he became a Roman Catholic convert and deacon. His Actus is one of his two known musical compositions. He seems to have been clearly aware of the novelty of the designation actus musicus and of the relationship of the term to actus oratorius.
8. Angel (S; 2 violette; b. ],28 bassoon; b. ) The intermedia are, of course, linked together by the Evangelist's narration, since the text follows exactly the Gospel passages cited above. With its ten concerted pieces and large complement of voices and instruments, this is the most elaborate historia considered thus far. The Evangelist's part is set in recitative throughout. The recitative style is at times reminiscent of a plainsong recitation tone, as it is in Example I—4a, the Evangelist's opening passage.