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A History of the Oratorio: The oratorio in the nineteenth and twentieth centuries
With this volume, Howard Smither completes his monumental History of the Oratorio. Volumes 1 and 2, published by the University of North Carolina Press in 1977, treated the oratorio in the Baroque era, while Volume 3, published in 1987, explored th
A History of the Oratorio: The oratoria in the baroque era: Protestant Germany and England
History of the Oratorio: Vol. 2: the Oratorio in the Baroque Era: Protestant Germany and England
The Standard Oratorios: Their Stories, Their Music, And Their Composers
In 'The Standard Oratorios: Their Stories, Their Music, And Their Composers,' George P. Upton presents a meticulous exploration of the world of oratorios, weaving together vivid narratives, musical analysis, and biographical sketches of quintessential composers. This scholarly text not only dissects the thematic and structural components of celebrated works, but it also situates these masterpieces within their historical contexts, revealing the social and religious influences that shaped their creation. Upton's engaging prose transcends mere academic examination, making complex musical concepts accessible to a broad readership while retaining the rigor expected of serious musicological study...
A History of the Oratorio
With this volume, Howard Smither completes his monumental History of the Oratorio. Volumes 1 and 2, published by the University of North Carolina Press in 1977, treated the oratorio in the Baroque era, while Volume 3, published in 1987, explored the genre in the Classical era. Here, Smither surveys the history of nineteenth- and twentieth-century oratorio, stressing the main geographic areas of oratorio composition and performance: Germany, Britain, America, and France. Continuing the approach of the previous volumes, Smither treats the oratorio in each language and geographical area by first exploring the cultural and social contexts of oratorio. He then addresses aesthetic theory and criti...
The World of the Oratorio
The author considers as oratorios musical works that combine various vocal elements (solo and chorus) , with instrumental accompaniment (primarily orchestra and/or organ), impart their message without scenery, require none of the trappings of theater, may be either sacred or secular, and have a certain level of intellectual and musical development.
Handel's Oratorios and Eighteenth-Century Thought
In this wide-r anging and challenging book, Ruth Smith claims that the words to Handel's oratorios reflect the events and ideas of their time and have far greater meaning than has hitherto been realised. She explores eighteenth-century literature, music, aesthetics, politics and religion to reveal Handel's texts as conduits for the thought and sensibility of their time. The book thus enriches our understanding of Handel, his times, and the close relationship between music and its intellectual contexts.
