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Oratorio

About: Oratorio is a research topic. Over the lifetime, 394 publications have been published within this topic receiving 1822 citations. The topic is also known as: passion oratorio.


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Book
01 May 2012

69 citations

Book
01 Jan 1995
TL;DR: Handel's Israelite oratorios and English politics are discussed in this article, where Handel discusses the purpose of art, music, morals and religion, and the survival of the epic.
Abstract: Introduction Part I. English Origins of English Oratario: 1. Artistic norms 2. The purpose of art 3. Music, morals and religion 4. The biblical sublime 5. The survival of the epic 6. The defence of Christianity 7. Towards oratorio Part II. The Patriot Libretto from the Excise Bill to the Jew Bill: Israelite Oratarios and English Politics: 8. Political events and political thought 9. Allegorical politics 10. Moral politics 11. Esther to Athalia 12. In time of war 13. Images of government 14. The conflict of public and private interests 15. Coda: the end of Handel's Israelite oratorios Appendices Notes Index.

60 citations

Book
22 Sep 2005
TL;DR: Interpreting the Musical Past as discussed by the authors is a study of the early music revival in nineteenth-century France, focusing on amateur and professional music making; working-class, aristocratic and bourgeois cultural life; national pride; religious politics; and ritual, both liturgical and secular.
Abstract: In an era of heightened patriotic fervor following France's defeat in the Franco-Prussian War, Parisians packed concert halls to hear performances of Handel's oratorios and Bach's organ works. At the same time, both royalists and republicans called for the re-evaluation of the once detested musique francaise of the ancien regime. Musicologist Katharine Ellis examines these unlikely aspects of cultural life in the new Republic as part of a broader study of the early music revival in nineteenth-century France. This revival gives us a vivid sense of how music's cultural meanings were contested, distilled into dominant visions, and then often revised. Peppering the century are famous fakes, pastiches and other creative negotiations between past and present. Descriptions of these phenomena by contemporary witnesses reveal how dissent could run along social, religious and political lines, and why certain genres became idealized while others were disparaged. After providing an overview of trends and contexts throughout the century, Ellis examines specific repertoires that evoked unusually spirited advocacy and debate. She explores the attempts to revive French Baroque stage music in the 1870s; arguments on the appropriateness of Palestrina's liturgical music; the reception of Bach and Handel, and their relation to French choral activity; and, finally, musical "Frenchness." Four case-study chapters focus on key debates and repertories stretching from Adam de la Halle to Rameau, via Josquin, Janequin, Palestrina, Bach and Handel. Interpreting the Musical Past discusses what is at stake in the construction of a musical heritage, and how ideology informs musical value judgements. In its focus on the nature of musical experience and the meaning of music in society, the book explores amateur and professional music-making; working-class, aristocratic and bourgeois cultural life; national pride; religious politics; and ritual, both liturgical and secular. Based on extensive primary research in Paris and the French regions, Interpreting the Musical Past is at once a history of culture, of reception, and of historiography. Covering five centuries of music (from the mid-thirteenth to the mid-eighteenth centuries) and a century of French history, it explains long-term changes of cultural meaning while celebrating the richness of local detail. This study of musical revivalism offers a penetrating analysis of what lies at the heart of the construction, championing, and development of a musical cultural memory.

57 citations

Book
01 Jan 1959
TL;DR: The oratorio before Handel, the early works and Italian operas, the Handelian synthesis Handel's style in the oratorios, the background to performance the authographs and printed librettos, the orators in performance, the English taste and English taste.
Abstract: Part 1: The oratorio before Handel the early works and Italian operas the Handelian synthesis Handel's style in the oratorios the background to performance the authographs and printed librettos the oratorios in performance the oratorio and English taste. Part 2: Acis and Galatea Esther Deborah Athalia interlude 1733-1738 Saul interlude 1738-1742 Samson Semele Joseph and his brethren Hercules Belshazzar Judas Macabaeus Alexander Balus Joshua Solomon Susanna Theodora the choice of Hercules Jephtha. Appendices: structural analysis instrumentation performances during Handel's life places of performance during Handel's life borrowings pieces sung in Italian variants in the text of "Esther" cuts in librettos of "Samson" Handel's oratorio singers stage revivals first lines of airs and duets.

57 citations

BookDOI
31 Jan 2010
TL;DR: The essays brought together in the book "Franz Liszt and His World" as mentioned in this paper advance our understanding of the composer with fresh perspectives and an emphasis on historical contexts, focusing on how the composer was viewed by his contemporaries and how he wished to be viewed by posterity.
Abstract: No nineteenth-century composer had more diverse ties to his contemporary world than Franz Liszt (1811-1886). At various points in his life he made his home in Vienna, Paris, Weimar, Rome, and Budapest. In his roles as keyboard virtuoso, conductor, master teacher, and abbe, he reinvented the concert experience, advanced a progressive agenda for symphonic and dramatic music, rethought the possibilities of church music and the oratorio, and transmitted the foundations of modern pianism. The essays brought together in Franz Liszt and His World advance our understanding of the composer with fresh perspectives and an emphasis on historical contexts. Rainer Kleinertz examines Wagner's enthusiasm for Liszt's symphonic poem Orpheus; Christopher Gibbs discusses Liszt's pathbreaking Viennese concerts of 1838; Dana Gooley assesses Liszt against the backdrop of antivirtuosity polemics; Ryan Minor investigates two cantatas written in honor of Beethoven; Anna Celenza offers new insights about Liszt's experience of Italy; Susan Youens shows how Liszt's songs engage with the modernity of Heinrich Heine's poems; James Deaville looks at how publishers sustained Liszt's popularity; and Leon Botstein explores Liszt's role in the transformation of nineteenth-century preoccupations regarding religion, the nation, and art. Franz Liszt and His World also includes key biographical and critical documents from Liszt's lifetime, which open new windows on how Liszt was viewed by his contemporaries and how he wished to be viewed by posterity. Introductions to and commentaries on these documents are provided by Peter Bloom, Jose Bowen, James Deaville, Allan Keiler, Rainer Kleinertz, Ralph Locke, Rena Charnin Mueller, and Benjamin Walton.

46 citations


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Metrics
No. of papers in the topic in previous years
YearPapers
202317
202236
20213
20208
201910
201810