By Howard E. Smither
With this quantity, Howard Smither completes his huge History of the Oratorio. Volumes 1 and a pair of, released by way of 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 heritage of 19th- and twentieth-century oratorio, stressing the most geographic parts of oratorio composition and function: Germany, Britain, the US, and France.
Continuing the method of the former volumes, Smither treats the oratorio in every one language and geographical region by means of first exploring the cultural and social contexts of oratorio. He then addresses aesthetic thought and feedback, treats libretto and tune usually, and provides particular analyses of the librettos and song of particular oratorios (thirty-one in all) which are of distinct value to the background 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 examine and a necessary reference for choral conductors, soloists, choral singers, and others attracted to the heritage of the oratorio.
Originally released 2000.
A UNC Press Enduring version -- UNC Press Enduring variants use the newest in electronic know-how to make on hand back books from our extraordinary 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 old 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
162 – 63, as translated in Landon, Haydn, 3:84. Concerning Handel’s inﬂuence on these oratorios by Haydn, see Smither, Oratorio, 3:448 –90, 493, and 509 –10. 57. Despite its frequent performance, one prominent critic, Friedrich Rochlitz, disapproved of Mozart’s version and pleaded for an edition following Handel’s original. Cf. Rochlitz, “Händels Messias,” pp. 158 – 60. Terminology, Social Context 17 Hamburger Johann Heinrich Clasing (1778 –1829). In 1856, on the initiative of Georg Gottfried Gervinus (1805 –71), the Deutsche HändelGesellschaft was founded for the publication of a complete, critical edition of the composer’s music—but Friedrich Chrysander’s role was ultimately the more important, for he was the sole editor of the series.
74 For example, David Friedrich Strauss’s Life of Jesus (1835), a widely read and inﬂuential work, is a biography of Jesus, the man, forged from the sources in a purely secular, rationalistic manner; and the Hegelian philosopher and critic of the Bible, Ludwig Feuerbach, in his most inﬂuential work, The Essence of Christianity (1841), asserted that Christianity is a myth made to satisfy man’s need to imagine perfection. To a considerable extent a university education meant a secular education— one that tended to undermine traditional religious faith.
56. Giuseppe Carpani, Le Haydine (Milan: C. Buccinelli, 1812), pp. 162 – 63, as translated in Landon, Haydn, 3:84. Concerning Handel’s inﬂuence on these oratorios by Haydn, see Smither, Oratorio, 3:448 –90, 493, and 509 –10. 57. Despite its frequent performance, one prominent critic, Friedrich Rochlitz, disapproved of Mozart’s version and pleaded for an edition following Handel’s original. Cf. Rochlitz, “Händels Messias,” pp. 158 – 60. Terminology, Social Context 17 Hamburger Johann Heinrich Clasing (1778 –1829).