By Howard E. Smither
Howard Smither has written the 1st definitive paintings at the historical past of the oratorio due to the fact Arnold Schering released his Geschichte des Oratoriums in 1911. This quantity is the 1st of a four-volume accomplished examine that provides a brand new synthesis of what's recognized up to now 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 unique realization 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 experiences the social contexts, buyers, composers, poets, librettos, and track of the oratorio in Italy, specially in Vienna and Paris.
The approach tailored in the course of the paintings is to regard first the social context, rather the situations of functionality of the oratorio in a given quarter and interval, then to regard the libretto, and at last the tune. for every geographic zone and interval, the writer has chosen for targeted awareness a couple of oratorios that seem to be relatively vital or consultant. He has proven the data provided within the really expert literature at any time when attainable by way of connection with the song or files. In a couple of components, specific seventeenth-century Italy, within which quite few earlier stories were undertaken or secondary resources have confirmed to be insufficient, the writer has tested the first assets in manuscript and published shape -- song, librettos, and records of early oratorio background. extraordinary study and clever integration of disparate parts make this advanced, 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 supposing 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 learn of the background of the oratorio becomes the traditional paintings on its topic and an everlasting contribution to tune and scholarship.
Originally released in 1977.
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Extra resources 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.
17. A possible exception—according to Bartholomaeis, Origini, p. " The Middle Ages, Renaissance, and Roman Catholic Reform гз dramas, or sacre rappresentazioni—essentially extended laude on some of the same subjects—were staged by the Umbrian confraternities beginning in the late thirteenth century. The tradition of the singing of laude continued throughout the Renaissance and much beyond; and although the tradition grew steadily weaker after the Renaissance, some vestiges of it 18 survived until the late nineteenth century.
From the sack of Rome until the end of the century, and to a lesser extent on into the seventeenth century, Spain dominated Italian political life. With a Spanish viceroy in Milan and another in Naples, and with troops stationed in both cities, the Spanish hegemony in sixteenth-century Italy was undisputed. The papacy, controlling the most powerful of the Italian states, was not always subservient to Spain and at times even forcefully opposed her; on the whole, however, Spanish-papal relations tended to be amicable.
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