By Howard E. Smither
The Oratorio within the classical Era is the 3rd quantity of Howard Smither's enormous History of the Oratorio, carrying on with his synthesis and important appraisal of the oratorio. His accomplished examine surpasses in scope and therapy all past works at the topic. A fourth and ultimate quantity, at the oratorio within the 19th and 20th centuries, is forthcoming.
In this quantity Smither discusses the Italian oratorio from the 1720s to the early 19th century and oratorios from different components of Europe from the 1750s to the 19th century. Drawing on works that signify a number of kinds, languages, and geographical components, Smither treats the overall features of oratorio libretto and track and analyzes twenty-two oratorios from Italy, England, Germany, France, and Russia. He synthesizes the result of really expert experiences and contributes new fabric in keeping with firsthand examine of eighteenth-century track manuscripts and revealed librettos.
Emphasizing the massive variety of social contexts during which oratorios have been heard, Smither mentioned examples in Italy similar to the Congregation of the Oratory, lay contrafraternities, and academic associations. He examines oratorio performances in German courts, London theaters and English provincial fairs, and the Parisian live performance spirituel. even though the quantity concentrates totally on eighteenth-century oratorio from the early to the past due Classical types, Smither contains such transitional works because the oratorios of Jean-Francios le Seur in Paris and Stepan Anikievich Degtiarev in Moscow.
A historical past of the Oratorio is the 1st full-length historical past of the style seeing that Arnold Schering's 1911 examine. as well as synthesizing present considered the oratorio, this quantity contributes new info on relationships among oratorio librettos and modern literary and spiritual proposal, and at the musical transformations between oratorios from various geographical-cultural regions.
Originally released in 1987.
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Additional resources for A History of the Oratorio, Volume 3: The Oratorio in the Classical Era
For more information, see the forthcoming work, Arnold, Oratorio in Venice. 93. 9 librettos; Ospedaletto, 17; Pieta, 16; Incurabili, only 4; total extant from the 17805, 66 librettos. 94. Mendicanti, 104 librettos; Pietà, 50; Incurabili, 45; Ospedaletto, 44. Further research is needed to determine whether these numbers reflect the relative number of oratorio performances in the conservatories. 95. App. A: Jonathas. Actio sacra (1771, Mendicanti), Pharisaei conversio ad sepulchrum (1781, Ospedaletto), and Vexillum fidei (1761, Incurabili).
31. , pp. 59-60. 32. , pp. 58-5933. Burney, France and Italy, p. 378. 37 The extent to which the Oratorians in Florence and other cities continued to sponsor oratorio performances in the early nineteenth century is not known, but one might reasonably assume that their sponsorship also diminished. The Spiritual Exercise. The context for oratorio performances at the Chiesa Nuova, and possibly at San Girolamo,38 continued to be the spiritual exercise that had originated with Philip Neri in the late sixteenth century.
Z4. For eighteenth-century documents referring to payments for performances at the Chiesa Nuova in Rome, see Johnson, "Oratorio," pp. 47—66, passim, and her Appendix A. For details of financing oratorio performances by the Florentine Oratorians in the seventeenth and eighteenth centuries, see Hill, "Florence II," PP- z^-SS25. " 26. Cf. Johnson, "Oratorio," p. 48: "Oratorios were only occasionally presented earlier in the eighteenth century. " On pp. 45—52, Johnson sees the performance activities of the Oratorians increasing steadily throughout the eighteenth century.