By Howard E. Smither
With this quantity, Howard Smither completes his enormous History of the Oratorio. Volumes 1 and a couple of, released through the college 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. the following, Smither surveys the heritage of 19th- and twentieth-century oratorio, stressing the most geographic parts of oratorio composition and function: Germany, Britain, the USA, and France.
Continuing the process of the former volumes, Smither treats the oratorio in each one language and geographical sector by way of first exploring the cultural and social contexts of oratorio. He then addresses aesthetic conception and feedback, treats libretto and tune in most cases, and gives distinctive analyses of the librettos and song of particular oratorios (thirty-one in all) which are of unique value to the historical past 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 learn and a necessary reference for choral conductors, soloists, choral singers, and others drawn to the heritage of the oratorio.
Originally released 2000.
A UNC Press Enduring version -- UNC Press Enduring variations use the newest in electronic know-how to make to be had back books from our unusual backlist that have been formerly out of print. those variations are released unaltered from the unique, and are awarded in cheap paperback codecs, bringing readers either historic and cultural value.
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Additional resources for A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries
95 Reichardt compared modern church music unfavorably with the a cappella art of the Italian master. Having been introduced to Palestrina’s music as a student under Fasch 91.
T. A. Hoffmann (1776 –1822). ” In a similar sense, too, Schiller in a letter to Goethe (28 June 1796) speaks of Wilhelm Meisters Lehrjahren as romantic, and this in view of its strange happenings and of characters like Mignon and the Harper. To the prevailing undertone of the word, in the sense of the unusual, were presently added the alluring secondary tones: the chivalrous, the antique or archaic, the basically naïve and folklike, the remote and fabulous, the strange and surprising, soon, too, the nocturnal, the ghostly, the frightful and terrifying—all these being of emotional and imaginative content that readily becomes associated with the concept of Romanticism, without necessarily always having to be wholly or predominantly included therein.
A. Hoffmann—with reference to absolute music, but by Schleiermacher with reference to music in general. 81. In Geck, Matthäuspassion, the section “Die christliche Gefühlsreligion,” pp. 67–71, explores this facet of writings about the concert in which this work was revived. , a vehicle of religious revelation), then what is the role of so-called religious music? 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 .