By Howard E. Smither
Howard Smither has written the 1st definitive paintings at the background of the oratorio considering Arnold Schering released his Geschichte des Oratoriums in 1911. This quantity is the 1st of a four-volume complete examine that provides a brand new synthesis of what's recognized so far concerning the oratorio.
Volume 1, divided into 3 elements, opens with the exam of the medieval, Renaissance, and early Baroque antecedents and origins of the oratorio, with emphasis on Rome and Philip Neri's Congregation of the Oratory and with distinct cognizance to the earliest works for which the time period oratorio turns out acceptable. the second one half recounts the improvement of the oratorio in Italy, circa 1640-1720. It studies the social contexts, consumers, composers, poets, librettos, and track of the oratorio in Italy, specifically in Vienna and Paris.
The approach tailored in the course of the paintings is to regard first the social context, really the conditions of functionality of the oratorio in a given zone and interval, then to regard the libretto, and at last the tune. for every geographic region and interval, the writer has chosen for targeted cognizance a couple of oratorios that seem to be relatively vital or consultant. He has tested the data provided within the really expert literature every time attainable by means of connection with the tune or files. In a couple of components, specific seventeenth-century Italy, during which really few earlier reviews were undertaken or secondary resources have confirmed to be insufficient, the writer has tested the first assets in manuscript and published shape -- tune, librettos, and records of early oratorio heritage. notable learn and clever integration of disparate parts make this complex, diffuse topic either readable and obtainable to the scholar of music.
Volume 2, The Oratorio within the Baroque period: Protestant Germany and England, and quantity three, The Oratorio within the Classical Era, proceed and extend the research of oratorio historical past. even if this sequence used to be initially introduced as a three-volume research, Smither will finish with a fourth volume.
This new work--the first English-language examine of the historical past of the oratorio turns into the traditional paintings on its topic and an everlasting contribution to track and scholarship.
Originally released in 1977.
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 variations are released unaltered from the unique, and are provided in reasonable paperback codecs, bringing readers either historic and cultural value.
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Extra resources for A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris
Yet these dialogues may be classified by their texts into two groups: ( i ) those with dramatic or narrative-dramatic texts and thus with dialogue among personages and (z) those with essentially reflective texts without personages. The works in group ι are much like oratorios dating from the 16605 on, but they tend to be much shorter: those in one structural part range from about eight to twenty-six minutes, and those in two parts range from about seventeen to sixty-four minutes. Since the term oratorio was inconsistently used in the mid-century period, one cannot be certain whether the works in group ι were designated oratorio because they were recognized as a genre or only because they were intended to be performed in an oratory.
For a history of medieval confraternities, see Monti, Confraternite. 14. 85; Bartholomaeis, Origini, pp. 2 The Oratorio in the Baroque Era: Italy, Vienna, Paris the ballata; most of the texts are in a lyrical, reflective style, of which St. Francis of Assisi's lauda called Canticle of the Sun is an early example. Yet a significant number of the poems, particularly those of the Umbrian confraternities of flagellants, include narrative and dramatic elements. These are the kinds of poems that foreshadow the oratorio text of the seventeenth century.
All of these and other subjects used for liturgical dramas later provided the basis of oratorios. Liturgical dramas sometimes include quotations from, or paraphrases of, biblical passages, as do Latin sacred dialogues and oratorios in the first half of the seventeenth century. 25 Nevertheless, the latest significant period of the liturgical drama is separated from the beginning of the oratorio by more than three 14. The commonly accepted theory that the "Quern quaeritis" dialogue was originally a trope of the antiphon for the introit of the Easter mass and was later detached from that position is set forth in Young, Drama, i: chaps.