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oratorio

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Journal Articles
19th-Century Music. 1987; 112121–149 doi: https://doi.org/10.2307/746727
Published: 01 October 1987
... Briefwechsel zwischen Felix Mendelssohn Bartholdy und Julius Schubring: zugleich ein Beitrag zur Geschichte und Theorie des Oratoriums 1892 2 The Oratorio in Prussia and Protestant Germany, 1814-1848 (Ph.D. diss., Columbia University), ch. 3. 3 Gustav Fink in his discussion of the oratorio in the...
Journal Articles
19th-Century Music. 2008; 32126–51 doi: https://doi.org/10.1525/ncm.2008.32.1.026
Published: 01 July 2008
...Jeffrey S. Sposato This article examines German and English reactions to Felix Mendelssohn's 1836 oratorio, Paulus . German Protestant audiences recognized Paulus 's devotional, or spiritual, quality, which derived from its incorporation of well-known Lutheran chorales. In using chorales and...
Journal Articles
19th-Century Music. 2019; 43161 doi: https://doi.org/10.1525/ncm.2019.43.1.61
Published: 01 July 2019
... . 2019 61 Contributors Robert Crowe is a male soprano, the first in history to be a national winner of the Metropolitan Opera Competition, and has sung over eighty operatic and dramatic oratorio roles in Europe, North America, and India. He fin- ished his PhD in historical musicology at Boston...
Journal Articles
19th-Century Music. 2009; 332110–150 doi: https://doi.org/10.1525/ncm.2009.33.2.110
Published: 01 November 2009
... background of the popularity and ubiquity of the ““Handelian sublime”” in early-nineteenth-century Viennese public life——that is, the aesthetics and social practice of grand choral singing, associated primarily with some of Handel's oratorios, but also with the late choral works of Haydn. Presenting new...
Journal Articles
19th-Century Music. 2019; 4313–16 doi: https://doi.org/10.1525/ncm.2019.43.1.3
Published: 01 July 2019
... and for insight into Bach and Picander s puzzling parody. The Interpretive History of Aus Liebe Not every early writer on the St. Matthew Passion discussed Aus Liebe will mein Heiland sterben, possibly because some nine- teenth-century performances of the oratorio omitted it. Those who did laid a...
Includes: Multimedia, Supplementary data
Journal Articles
19th-Century Music. 2018; 42296–122 doi: https://doi.org/10.1525/ncm.2018.42.2.96
Published: 04 December 2018
... universitaires de Saint-Étienne, 2015), 29 43. 10On this score, see Peter Lamothe, Questions of Genre: Massenet s Les Érinnyes at the Théâtre-national-Lyrique, in Music, Theatre, and Cultural Transfer: Paris, 1830 1914, ed. 97 JEAN- CHRISTOPHE BRANGER Massenet s Esclarmonde with his oratorio Marie-Magdeleine...
Journal Articles
19th-Century Music. 2018; 422123–154 doi: https://doi.org/10.1525/ncm.2018.42.2.123
Published: 04 December 2018
Journal Articles
19th-Century Music. 2018; 413206–224 doi: https://doi.org/10.1525/ncm.2018.41.3.206
Published: 01 March 2018
... of a controlled alternation of artists and genres, in long programs that might include single or paired movements of longer works, improvisations, bravura works, and isolated arias from operas or oratorios. The move away from such concerts to the programming of a small number of complete works was...
Journal Articles
19th-Century Music. 2017; 41295–120 doi: https://doi.org/10.1525/ncm.2017.41.2.95
Published: 01 November 2017
... Schelling s definition of the uncanny. Sec- ond, if this were a natural property of music, then in order to accomplish this disclosure, musical works would not have to be immense or intricate in the manner of the musical sub- lime, which uses the sonic power of the sym- phony or oratorio, or the...
Journal Articles
19th-Century Music. 2017; 403301–305 doi: https://doi.org/10.1525/ncm.2017.40.3.301
Published: 01 March 2017
... special importance of the latter for the former an im- portance still too rarely recognized. Song plays an especially vital role in this process, particularly as the free-standing solo song, outside of opera and oratorio, establishes itself as an independent genre, first as art song, and shortly afterward...
Journal Articles
19th-Century Music. 2015; 39299–124 doi: https://doi.org/10.1525/ncm.2015.39.2.99
Published: 01 November 2015
Journal Articles
19th-Century Music. 2015; 383193–218 doi: https://doi.org/10.1525/ncm.2015.38.3.193
Published: 01 March 2015
... also adopted in Liszt s contemporary symphonic poem Die Ideale and in certain orchestral sections of his later oratorio Christus. 37Liszt was insistent that the two be published and per- formed together, although this wish was ignored. He noted that there was no thematic connection between the two...
Journal Articles
19th-Century Music. 2014; 373211–241 doi: https://doi.org/10.1525/ncm.2014.37.3.211
Published: 01 March 2014
... collaboration with his libret- tist Louis Gallet. Their artistic relationship stretched back to the early 1870s, when Gallet had written the text for the composer s one-act opéra comique, La Princesse jaune. Further col- laborations ensued both in opera (Etienne Marcel, Proserpine, Ascanio) and oratorio (Le...
Journal Articles
19th-Century Music. 2011; 35172–89 doi: https://doi.org/10.1525/ncm.2011.35.1.72
Published: 01 July 2011
Journal Articles
19th-Century Music. 2010; 3413–38 doi: https://doi.org/10.1525/ncm.2010.34.1.003
Published: 01 July 2010
... with the very beginning of the oratorio the repre- sentations of Chaos and light. After the 1801 Parisian performance of the Creation in the Théâtre des arts, the dazzled French musicians sent Haydn a medal as a token of appreciation. When in this work, the letter accompanying their gift reported...
Journal Articles
19th-Century Music. 2010; 34187–105 doi: https://doi.org/10.1525/ncm.2010.34.1.087
Published: 01 July 2010
... not George Bernard Shaw, who wrote a stinging attack on the movement in a review of Stan- ford s oratorio Eden, in 1891. Who am I that I should be believed to the disparage- ment of eminent musicians? If you doubt that Eden is a masterpiece, ask Dr. Parry and Dr. Mackenzie, and they will applaud it to...
Journal Articles
19th-Century Music. 2009; 332151–172 doi: https://doi.org/10.1525/ncm.2009.33.2.151
Published: 01 November 2009
... written as a sacred opera . . . it is, in certain parts, suitable for concert performance as an oratorio. . . . The loss of stage accessories was not without some small gain, for the presentation of the episode of Mary Magdalen at the feet of the Savior, even though disguised under the veil of an action...
Journal Articles
19th-Century Music. 2009; 323235–283 doi: https://doi.org/10.1525/ncm.2009.32.3.235
Published: 01 March 2009
... than that con- tained in the MENDELSSOHN COLLEC- TION, by the same Authors, and it is believed that the PSALMISTA will be even more popu- lar than that highly popular book. 31 By 1889 music historian W. B. S. Mathews looked back on the hymn adaptation of leading choruses from the great oratorios as...
Journal Articles
19th-Century Music. 2008; 322131–159 doi: https://doi.org/10.1525/ncm.2008.32.2.131
Published: 01 November 2008
Journal Articles
19th-Century Music. 2008; 3213–25 doi: https://doi.org/10.1525/ncm.2008.32.1.003
Published: 01 July 2008
... specifically allows that the San Carlino, Fenice and Partenope theaters may perform opere serie in musica, as well as oratorios, as long as works of this type be permitted in said theaters. 25 (Felice s re- 20The change of management was precipitated by the res- ignation of the fabled impresario Domenico...