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LEADER: 10522cam 2200793 i 4500
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100 1 $aSmither, Howard E.
245 12 $aA history of the oratorio /$cby Howard E. Smither.
260 $aChapel Hill :$bUniversity of North Carolina Press,$c©1977-©2000.
300 $a4 volumes :$billustrations ;$c25 cm
336 $atext$btxt$2rdacontent
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504 $aIncludes bibliographical references and indexes.
505 0 $av. 1. The oratorio in the baroque era : Italy, Vienna, Paris. I. Introduction -- Part I: The antecedents and origins of the oratorio. II. The Middle Ages, Renaissance, and Roman Catholic Reform. Some antecedents of the oratorio ; The oratorians and their social context ; Antecedents of the oratorio in Neri's oratory ; A reappraisal of some oratorio antecedents -- III. The early Baroque : antecedents and incunabula of the oratorio ; Antecedents ; Anerio's Teatro and some incunabula of the oratorio -- Part II: The oratorio in Italy, circa 1640-1720 -- IV. Mid-century Rome I : the oratorio Volgare. Social, artistic, and literary background ; Musical background ; The oratories and their music ; Examples of the oratorio Volgare ; The chief characteristics of the oratorio Volgare -- V. Mid-century Rome II : Carissimi and the oratorio Latino. Rome's Latin oratory and its music ; Giacomo Carissimi ; Some contemporaries of Carissimi ; The chief characteristics of the oratorio Latino -- VI. The later Baroque I : social contexts, patrons, composers, poets. Rome ; Other centers -- VII. The later Baroque II : the libretto and music. The libretto ; The music of the oratorio from the 1660s to the 1680s ; The music of the oratorio from the 1680s to about 1720 ; Conclusion -- Part III: The Italian oratorio outside Italy. VIII. Vienna. The oratorio and sepolcro in Vienna -- IX. Paris. Social and musical background ; Marc-Antoine Charpentier and the Latin oratorio ; Parisian oratorios after Charpentier.
505 8 $av. 2. The oratorio in the baroque era : Protestant Germany and England. Part I : Protestant Germany : the seventeenth-century antecedents and origins. I. The Lutheran Historia and Passion. The Lutheran Historia before Schütz ; The Historiae of Schütz ; The Actus Musicus and the later Historia ; The Oratorio Passion -- II. The sacred dramatic dialogue and other genres. The early dialogue ; The concertato dialogue ; Examples of dramatic dialogues ; Other sacred dramatic genres -- III. Buxtehude and the Lübeck Abendmusiken. The origin and social context of the Abendmusiken ; Some works for the Abendmusiken -- Part II: Protestant Germany : the early eighteenth-century oratorio. IV. Terminology, social contexts, composers, poets. Terminology ; Social contexts, composers, poets -- V. The libretto and the music. The libretto ; The music ; Some examples -- Part III: Handel and the English oratorio. VI. Antecedents and origins. Antecedents in seventeenth-century England ; Handel the opera composer in England ; Antecedents in Handel's English music ; The beginning of the English oratorio : 1718, 1732-33 ; An interlude : 1733-38 -- VII. The first mature period of Handel's English oratorio : 1738-1745. The oratorios of 1738 ; An interlude : 1739-1741 ; The oratorios of 1741-1744 -- VIII. Handel's later oratorios. Four "occasional" oratorios : 1746-1748 ; The last four oratorios : 1748-1752 ; The chief characteristics of Handel's oratorios ; Some contemporaries of Handel.
505 8 $av. 3. The oratorio in the classical era. Part I: The Italian oratorio. I. Social contexts of the Italian oratorio. Introduction: Terminology and genre definition ; Italian and Latin oratorio in Italy ; Italian oratorio abroad -- II. The libretto and music of the Italian oratorio. The libretto ; The music -- III. Selected Italian oratorios. La morte d'Abel / Leonardo Leo ; La conversione di Sant'Agostino / Johann Adolf Hasse ; La passione di Gesù Cristo / Nicolò Jommelli ; David poenitens / Ferdinando Bertoni ; Il ritorno di Tobia / Joseph Haydn ; Debora e Sisara / Pietro Alessandro Guglielme -- Part II: The English oratorio after Handel. IV. Social contexts of the English oratorio. Introduction: Terminology and genre definition ; England ; The New World -- V. The English oratorio : libretto, music, selected oratorios. The libretto ; The music : general characteristics ; The music : selected oratorios ; Paradise lost / John Christopher Smith ; Judith / Thomas Augustine Arne ; Hannah / John Worgan ; The fall of Egypt / John Stanley ; Jonah / Samuel Felsted -- Part III: Ther German oratorio. VI. Social contexts of the German oratorio. Introduction: Terminology and genre definition ; Sponsors and social contexts -- VII. The libretto and music of the German oratorio. The libretto ; The music : general characteristics -- VIII. Selected German oratorios. Der Tag des Gerichts / Georg Philipp Teleman ; Der Tod Jesu / Carl Heinrich Graun ; Auferstehung und himmelfahrt Jesu / Carl Philipp Emanuel Bach ; Lazarus, oder die Feyer der Auferstehung / Johann Heinrich Rolle ; The creation and The seasons / Joseph Haydn ; Christus am Oelberge / Ludwig van Beethoven -- Part IV: The oratorio in French and other languages. IX. The French oratorio. Introduction: Terminology and genre definition ; Social context ; The libretto ; The music : general characteristics ; The music : selected oratorios ; La sortie d'Egypte / Henri-Joseph Rigel ; La nativité / Francois-Joseph Gossec ; The oratorios of Jean-François Le Sueur -- X. The oratorio in other languages. The Spanish oratorio ; The Portuguese oratorio ; The oratorio in Denmark and Sweden ; The Russian oratorio -- Summary and prospect -- Appendix A: Some title pages of Italian and Latin printed librettos mentioned in the text -- Appendix B: Checklist of composers of Italian and Latin oratorios, ca. 1720-1820.
505 8 $av. 4. Part I : The nineteenth century. I. The German oratorio : terminology, social and cultural context. Terminology ; Cultural and social context ; The context of oratorio performance -- II. The German oratorio : aesthetic theory and criticism, libretto and music. Introduction: The oratorio market and the production of new oratorios, 1800-1914 ; Aesthetic theory and criticism ; The libretto ; The music ; Periodization and summary of styles -- III. Selected German oratorios. Friedrich Schneider, Das Weltgericht ; Louis Spohr, Die letzten Dinge ; Felix Mendelssohn ; Robert Schumann, Das Paradies und die Peri ; Franz Liszt -- IV. Oratorio in Britain : terminology, cultural and social context. Terminology, genre, and the Handelian legacy ; Cultural and social context -- V. Oratorio in Britain : aesthetic theory and criticism, libretto and music. Introduction: The oratorio market and the production of new oratorios, 1800-1914 ; Aesthetic theory and criticism ; The libretto ; The music -- VI. Selected English oratorios. William Crotch, Palestine ; George Macfarren, St. John the Baptist ; C. Hubert H. Parry, Job ; Edward Elgar, The dream of Gerontius -- VII. Oratorio in America : cultural context, aesthetic theory and criticism. Oratorio in early America ; Oratorio and the choral society ; Oratorio and the music festival ; Other social contexts ; Aesthetic theory and criticism : Dwight versus Fry -- VIII. Oratorio in America : libretto, music, selected oratorios. Libretto ; Music : general aspects ; Selected oratorios -- IX. Oratorio in France : social context, libretto, music. Terminology and genre ; Cultural and social context ; Libretto ; Music -- X. Selected French oratorios. Hector Berlioz, L'enfance du Christ ; Camille Saint-Saëns, Oratorio de Noël ; César Franck, Les béatitudes ; Charles Gounod, La rédemption ; Jules Massenet, La terre promise -- XI. Some areas of lesser activity. Italy ; Dvorák's Svatá Ludmila and Tinel's Franciscus -- Part II: The twentieth century. I. The Oratorio in the twentieth century. Terminology, social context ; Libretto ; Music -- XIII. Selected twentieth-century oratorios. Igor Stravinsky, Oedipus rex : opera-oratorio ; French oratorio ; German oratorio ; English oratorio -- Epilogue to A history of the oratorio -- Appendix: A checklist of twentieth-century oratorios.
650 0 $aOratorio.
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