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Written by an eminent scholar in a style that represents American musicological writing at its communicative best, A History of the Oratorio offers a synthesis and critical appraisal so exhaustive and reliable that the serious student of the oratorio will be compelled to look to these volumes as an indispensable source. No work on the history of the oratorio has yet appeared in the English language that is comparable in scope and treatment with Howard Smither's comprehensive four-volume work. The first part of volume 2 examines in depth the antecedents and origins of the oratorio in Protestant Germany in the seventeenth century. It includes discussions of the Lutheran Historia, sacred dramatic dialogues, and the Lubeck Abendmusiken of Buxtehude. The second part treats the oratorio in Protestant Germany in the early eighteenth century and examines Handel, Reinhard Keiser, and J.S. Bach. The third part considers primarily the English oratorios of Handel. In most sections of A History of the Oratorio, the author has selected for special attention a few oratorios that are representative of each geographical area and period. An exception to this procedure is in the section on Handel in this volume, where all of the composer's English oratorios are treated fully with particular reference to recent specialized Handel studies. Volume 1, The Oratorio in the Baroque Era: Italy, Vienna, Paris, and Volume 3, The Oratorio in the classical Era, expand and continue the study of oratorio history. Although this series was originally announced as a three-volume study, Smither will conclude with a fourth volume. Originally published in 1977. 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.

Hallische Händel-Ausgabe: Oratorien und grossen Kantaten. Bd. 1. Das Alexander-Fest ; Bd. 2. Passion nach dem Evangelisten Johannes ; Bd. 3. La resurrezione ; Bd. 4[pt].1. La bellezza ravveduta nel trionfo del Tempo e del Disinganno ; Bd. 4[pt].2. Il trionfo del Tempo e della Verità ; Bd. 5. Aci, Galatea e Polifemo ; Bd. 6 Ode for the birthday of Queen Anne ; Bd. 7. Passion nach Barthold Heinrich Brockes ; Bd. 9. pt. 1. Acis and Galatea (1. Fassung) HWV 49a ; Bd. 9. pt. 2. Acis and Galatea (2. Fassung) HWV 49b ; Bd. 12. Athalia HWV 52, Teilbd. 1, Fassung der Uraufführung 1733, Teilbd. 2, Anhang I-III und Kritischer Bericht ; Bd. 13. Saul ; Bd. 14. Israel in Egypt ; Bd. 15. Song for St Cecilia's Day HWV 76 ; Bd. 16. L'allegro, il penseroso ed il moderato ; Bd. 17. The Messiah ; Bd. 18. Samson HWV 57, Teilbd. 1, Partitur von 1743, Teilbd. 2, Anhänge und Kritischer Bericht ; Bd. 19. Semele HWV 58, Teilbd. 1, Fassung der Uraufführung Februar 1744. Teilbd. 2, Anhang I-II und Kritischer Bericht ; Bd. 23. Occasional oratorio ; Bd. 27. Solomon ; Bd. 28. Susanna ; Bd. 29. Theodora ; Bd. 30. Jephtha ; Bd. 31. The choice of Hercules

George Frideric Handel

Published: 1979

Total Pages: 110


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Baroque composer George Frideric Handel easily ranks among the world's greatest composers. The first edition of this research guide on Handel appeared in 1988; since that time a great deal of scholarly work has been published on Handel and related areas, including the discovery of a hitherto unknown work. New general resources such as the New Grove Dictionary of Opera (1992), electronic resources such as the RISM libretto catalogue online, and the study of Handel's continuing popularity as evidenced by the new Handel House Museum in London and Handel practice around the world (e.g., Messiah and millennium celebrations in Tonga, singalong Messiahs etc.) are incorporated into this revised edition of the Handel guide.
What should we consider when thinking about the relationship between an onstage performance and the story the performance tells? A Poetics of Handel's Operas explores this question by analyzing the narratives of Handel's operas in relation to the rich representational fabric of performance used to convey them. Nathan Link notes that in most storytelling genres, the audience can naturally discern between a story and the way that story is represented: with film, for example, the viewer would recognize that a character hears neither her own voiceover nor the ambient music that accompanies it, whereas in discussions of opera, some audiences may be distracted by the seemingly artificial nature of such conventions as characters singing their dialogue. Link proposes that when engaging with opera, distinguishing between the performance we see and hear on the stage and the story represented offers a meaningful approach to engaging with and interpreting the work. Handel's operas are today the most-performed works in the Baroque opera seria tradition. This genre, with its intricate dramaturgy and esoteric conventions, stands to gain much from an investigation into the relationships between the onstage performance and the story to which that performance directs us. In his analysis, Link offers theoretical studies on opera and narratological theories of literature, drama, and film, providing rich engagement with Handel's work and what it conveys about the relationship between text, story, and performance.
Sacred music is a universal phenomenon of humanity. Where there is faith, there is music to express it. Every major religious tradition and most minor ones have music and have it in abundance and variety. There is music to accompany ritual and music purely for devotion, music for large congregations and music for trained soloists, music that sets holy words and music without words at all. In some traditions—Islamic and many Native American, to name just two--the relation between music and religious ritual is so intimate that it is inaccurate to speak of the music accompanying the ritual. Rather, to perform the ritual is to sing, and to sing the ritual is to perform it. This second edition of Historical Dictionary of Sacred Music contains a chronology, an introduction, appendixes, and an extensive bibliography. The dictionary section has over 800 cross-referenced entries on major types of music, composers, key religious figures, specialized positions, genres of composition, technical terms, instruments, fundamental documents and sources, significant places, and important musical compositions. This book is an excellent access point for students, researchers, and anyone wanting to know more about sacred music.