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A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries, by Howard E. Smither
Ebook Download A History of the Oratorio: Vol. 4: The Oratorio in the Nineteenth and Twentieth Centuries, by Howard E. Smither
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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 criticism, treats libretto and music in general, and offers detailed analyses of the librettos and music of specific oratorios (thirty-one in all) that are of special importance to the history of the genre.
As a synthesis of specialized literature as well as an investigation of primary sources, this work will serve as both a springboard for further research and an essential reference for choral conductors, soloists, choral singers, and others interested in the history of the oratorio.
Originally published 2000.
A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
- Sales Rank: #694306 in eBooks
- Published on: 2012-09-01
- Released on: 2012-09-01
- Format: Kindle eBook
Review
This book completes one of the most important historical surveys that has been offered to musical scholarship in this generation.Nicholas Temperley, University of Illinois
Review
With this massive volume Howard Smither brings to a triumphant conclusion his masterly history of a notoriously problematic genre. . . . [He] must be congratulated on this major contribution to historical scholarship.--Music and Letters
Smither is to be congratulated that this huge project--a quarter-century in the undertaking--has led to a final volume which, like its predecessors, combines wide-ranging scholarly research with a style that is both accessible and enjoyable. No one with a passion for oratorio should miss it: no one with even a vague interest in the subject can fail to have that interest stimulated further. . . . A splendid final volume to a series which I am sure will remain a valuable source of information and reference for decades to come.--The Musical Times
Smither brings to a triumphant conclusion his survey of the oratorio. . . . Smither's treatment of this large and sprawling topic is exemplary. . . . All in all, this volume is an outstanding achievement, both in its own right and as the final installment of The History of the Oratorio. The four volumes together stand as an invaluable survey of the oratorio genre over five centuries, to be read with profit and pleasure by musicologists, music students, social historians, and the general musical public. Smither and his publisher, the University of North Carolina Press, are to be congratulated on the successful completion of one of the most important musicological projects of recent times.--Music Library Association Notes
This book completes one of the most important historical surveys that has been offered to musical scholarship in this generation. Smither has maintained the high levels of research and writing established in the other volumes. His selection of works for detailed treatment amounts to a historical judgment of value which he alone is qualified to make.--Nicholas Temperley, University of Illinois
Howard Smither has written what will no doubt become the standard reference work on the history of the oratorio. His painstaking research sheds new light on the social contexts, aesthetic theory, and stylistic development of the genre. The rise and fall of the oratorio is meticulously examined through probing discussions of the familiar masterworks and extended treatments of the various national traditions. All in all, a splendid achievement.--R. Larry Todd, Duke University
From the Inside Flap
The final volume of an essential musical reference. Howard 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.
Most helpful customer reviews
2 of 2 people found the following review helpful.
Too self limiting
By Thomas J. Busse
Although Howard Smither confronts the problems of historiography in the introduction to his Volume 4 history of the oratorio, he does not meet them head on. As such, this well-researched volume fails to achieve the much-elusive need for a comprehensive history of the 19th century choral phenomenon.
The choral festival became a unique phenomenon in the 19th century, and this was especially the case in Germany, yet the extent and scale of these large social events is only hinted at in Smither's history. Instead, he focuses on works that are identified as "oratorios." This may define the genre in continuity with his first three (excellent) volumes. Unfortunately, in the nineteenth century, the oratorio took an abrupt turn, and Smither, by adopting a rigid definition, fails to . In this work, he needed to draw on some of the insights of sociology and "new musicology." His analysis is in many ways conservative, but it fails to convey what exactly the oratorio *was.*
This is to say, as much as I appreciate Smither's discussion of Liszt's "Legend of St. Elizabeth," works like Mahler's Symphony of a Thousand get scant treatment, and other works such as the Berlioz Requiem, Dvorak's Stabat Mater and Requiem or Bruckner's great E-flat Mass disappear from the discussion completely. Yet these clearly are part of the genre...and more importantly, part of the genre known to audiences today. They were performed alongside "oratorios" at the very festivals Smither describes. With his (graduate student's) research in the frequency of performance of "oratorios" the reader is therefore left to imagine how frequently those works were performed in comparison to the blown-up genres of huge Requiems and other large choral/orchestral works. The increasing turn to these hybrid genres and away from traditional oratorio librettos is very much part of the history---a part Smither both ignores and misrepresents.
An additional omission is the cultural esteem of composers and music, as well as that of composition. How did writing for the choral festivals affect a composer's reputation and reception in other genres?
Smither also seems unwilling to observe literary and cultural trends, such as the deplorable state of poetry after the Revolutions of 1848 and the domestication of poets between that time period and that of the Grundungzeit of the 1870s. The librettist Otto Roquette (of St. Elizabeth) is completely forgotten today, yet he was immensely popular among composers of now-forgotten lieder. Did Carl Lowe's sixty-page long settings of Roquette's Ballads have something to do with Liszt's approach to his librettist? The decline in oratorio output after 1848 coincides with other musical trends such as the crisis in German symphonic output between Schumann and Brahms. Smither does not even consider this decline and the tremendous social upheavals it reflected. One place I would start would be Arthur Schnitzler's hilarious portrayal of an Austrian choral concert in his short story "Lieutenant Gustl."
I much appreciated his attention on the history of the oratorio in America, but if I was to compare Smither's history with, say, Joseph Horowitz's "Wagner Nights," which covers similar territory, I would have a very very different perception of music history in this not-German yet not British country, yet an equal appreciation of how the music actually goes. Smither's musical analysis often has a feel of "now I'm going to analyze because a music book without analysis will not be taken seriously, so here it is, even though it doesn't help me make a point."
Smither's treatment of the 20th century is perfunctory and incomplete. Stopping at the first world war and devoting space to the numerous omissions of the 19th century would have made for a far better book.
0 of 0 people found the following review helpful.
I finally have them ALL
By Alexis
Great, with this book I now have them ALL!! They're all in BRAND NEW condition and without mentioning company names I bought the whole collection from different bookstores & websites. This should make for a very technically jarring read, I'll see if I can get through it. Everything was PERFECT about the sale & with the Seller, thanks to amazon & the others that will go unnamed.
0 of 0 people found the following review helpful.
This is so good to me
By Seung-Hwan Roh
This is so good to me.
Because, About Oratorio is so very hard to me. and so difficult to understand oratorio history.
In 19 Century, the history is kind of war history. Most of things sleep out to old fashion.
There are many accident in this Century. Anyway Thank you for existence this book and Howard E. Smither.
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