By Howard E. Smither
Howard Smither has written the 1st definitive paintings at the heritage of the oratorio when you consider that Arnold Schering released his Geschichte des Oratoriums in 1911. This quantity is the 1st of a four-volume accomplished research that gives a brand new synthesis of what's recognized thus 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 specific recognition to the earliest works for which the time period oratorio turns out applicable. the second one half recounts the improvement of the oratorio in Italy, circa 1640-1720. It experiences the social contexts, consumers, composers, poets, librettos, and song of the oratorio in Italy, specifically in Vienna and Paris.
The technique tailored in the course of the paintings is to regard first the social context, rather the conditions of functionality of the oratorio in a given region and interval, then to regard the libretto, and eventually the song. for every geographic quarter and interval, the writer has chosen for designated consciousness a number of oratorios that seem to be quite vital or consultant. He has tested the data provided within the really expert literature at any time when attainable by means of connection with the tune or files. In a few components, specific seventeenth-century Italy, within which fairly few earlier stories were undertaken or secondary resources have confirmed to be insufficient, the writer has tested the first assets in manuscript and revealed shape -- song, librettos, and records of early oratorio background. awesome examine and clever integration of disparate components make this complex, diffuse topic either readable and available 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 learn of oratorio background. even though this sequence was once initially introduced as a three-volume learn, Smither will finish with a fourth volume.
This new work--the first English-language examine of the background of the oratorio becomes the traditional paintings on its topic and an everlasting contribution to track and scholarship.
Originally released in 1977.
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Extra info for A History of the Oratorio: Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris
Among the most important immediate antecedents of the oratorio in early Baroque Italy are the earliest operas and the dramatic dialogues, with texts in either Latin or Italian, that appeared in books of motets or spiritual madrigals. The brief secular cantata for one or more solo voices, which was beginning to emerge at about the same time as the oratorio, forms a part of the oratorio's musical context. Musically similar to the secular cantatas but more closely related to the oratorio are the relatively few cantatas with spiritual texts, works that would seem appropriate to be sung in oratories; in fact, some of these would qualify as oratorios in the sense of a distinct musical genre.
Irtenkauf, "Reimoffizium," in MGG, ri:cols. 171—73. in Analecta hymnica, vols. 8, 413, and 45. 9. Music and text printed in Brambach, Historia. ίο. Text printed in Wagner, Einführung, 1:308—11. ii. Music and text of both printed in Felder, Reimofficien. The Middle Ages, Renaissance, and Roman Catholic Reform гι Unlike the Passion, the historia of the Divine Office did not maintain a tradition up to the time of the oratorio's origin; thus it did not exert a direct formative influence on the oratorio.
Although most lauda texts were written by anonymous and relatively unskilled poets, those by Jacopone da Todi are significant literary works. Characteristic of his narrative and/or dramatic laude are a dialogue between the Body and Soul ("Audite una 'ntenzione ch'e 'nfra 1'anema e Ί corpo"), a narrative and dialogue on the life and achievements of St. Francis of Assisi ("O Francesco, da Deo amato"), and—his most famous—a dialogue based on the Passion story that emphasizes the lament of the Virgin ("Donna de para15 diso").