Oratorio, for baritone (Jesus), male or female narrator (Evangelist), tenor (Pilate), 2 basses (Peter, Caiaphas), soprano woman accusing Peter), chorus (SATB), organ, string orchestra, and tape. Texts from Matthew, John, and Psalms. Duration: 33:00. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 47).

Texte remanié de: Dissertation--Münster--Westfälische Wilhelms-Universität, 1995. / Bibliogr. p. [317]-328.

This thesis explores the relationship between Handel's borrowing practice and his creation of a new genre---the English Biblical oratorio. It focuses on the types of borrowing, the genres Handel borrowed from, and the use of self-borrowing vs. borrowing from other composers. A comprehensive list of borrowings discovered in Handel's Biblical oratorios (Appendix A) allows the patterns in Handel's borrowing practice and the evolution of the genre to be revealed and discussed. / Chapter One provides a review of the literature on Handel's borrowing in general and the historical roots of Handel's Biblical oratorios. Chapter Two looks at the scholarly treatment of Handel's borrowing, and goes on to discuss specific musical examples of three borrowing types: Type I (reuse), Type II (rework), and Type III (new work). The final chapter identifies borrowing patterns that emerge in Handel's early, middle, and late Biblical oratorios. The borrowing type shifts from Type I to Type III, whereas the genres borrowed from change from sacred choral works to secular operas. Self-borrowings dominate in his early oratorios, drastically decrease in the middle period, and increase again in the late period.

The sacred oratorio Jephtha, Handel's last major work, contains intense drama, impressive character development and a brilliant use of music. In studying the work one discovers not only a masterpiece of art, but also learns a great deal about the composer who, through his music, discloses much of his soul. From a formal point of view key schemes are important.There are different editions of this score; some are more reliable than others. When studying the score one should be aware of the significant number of borrowings present in this work; these include borrowings from Handel's own works as well as from works of others.It is important for every musician to be familiar with the Baroque style as its study will be necessary in performance of music of that period. There are many things to consider when determining a Baroque interpretation of this work. These include style of wind and string playing, phrasing, pitch, ornamentation, instrumentation, and tone quality. It has become common practice, in performance of a Baroque work, to strive towards achieving a recreation of the original performance of the seventeenth or eighteenth century. / School of Music

No description available.

George Frederick Handel is one of the most important composers of oratorio in musical history. Between the year 1704, when he composed his Passion According to Saint John, and 1757, the year of his last oratorio, The Triumph of Time and Truth, Handel composed twenty nine works which have at one time or another been classified as oratorios. Only those works that are considered by all authorities as oratorios and are based on the Old Testament or Jewish history are included in this study. Handel writes solo roles for the tenor voice in all of the sixteen oratorios included in the study with the exception of the revision of Esther and in Deborah. The musical and dramatic function of the tenor solo roles varies with each oratorio. The significance of the tenor roles fluctuates with the dramatic impact of the story related by the oratorio and is completely dictated by it. Handel used all solo voices with concern for the best over all theatrical effect foremost in mind. To place in proper perspective his use of the tenor voice in relation to the other solo voices, such factors as the musical and dramatic importance of the tenor roles, character types portrayed, and the style and ranges of arias, should be considered.

Diss.--Philosophie--Frankfurt, 1996/97--Johann Wolfgang von Goethe-Univ. / Bibliogr. p. 491-501.

No description available.

Oratorio festivals were an important cultural feature of nineteenth-century English society. These massive musical events lasted for three or four days and some involved up to 4,000 musicians and 83,000 in the audience. This dissertation advances the hypothesis that the oratorio festivals, and the grand new buildings in which they were staged, coalesced to create a musical monumentalism in a society steeped in the (mainly Protestant) Christian sentiments of the day. In particular, the dissertation contends that a central premise of nineteenth-century musical thought was that the musical value of a performance was directly in proportion to the size of the performing forces and the audience. A framework devised mainly from Stephen Little's definition of monumental art (2004) is used as a critical tool to examine from a new perspective aspects of nineteenth-century oratorios such as 'physical scale', 'breadth of subject matter', and 'ambition to be of lasting significance'. Furthermore, this dissertation argues that a complex ideology of an English musical monumentalism underpinned the concatenation of circumstances that allowed oratorio festivals to flourish at this time. The spectacle of the Crystal Palace in London and the Great Handel Triennial Festivals it housed are contrasted with the provincial festivals, such as those of Bristol, Manchester, Liverpool, Birmingham, and Leeds. The analyses of the latter rely on substantial original material uncovered from rich primary source documents about the provincial oratorio festivals and the buildings in which they were held. Musical scores themselves, including some of Sir Michael Costa's orchestral manuscripts, are also examined as monuments. A comprehensive study of these festivals is well overdue and this study will aim to understand why these events grew to such a mammoth size at this time.

A collection of Italian oratorios and cantatas exists in the Archives of the Krakow Cathedral Chapter.