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Table of contents

Thine Adversaries Roar Hubbard, F. Vaughan Williams Hussey, D.


Cantatas & Oratorios - Sing It! - LibGuides at Youngstown State University

Mozart hrdbk Hymn Society in the U. Acoustics for Liturgy pamphlet I Idelsohn, A. Wagner Writes from Paris: Natalicia Musicological pprbk Jeppsen, K. The Mystery of Faith: A Biography hrdbk Kendall, A. The Life of Elgar Kennedy, R. American Churches folio hrdbk Kettring, D. Norsk Orgelregister pprbk Kostka, S.

Tonal Harmony, 3rd Edition Krapf, G. A practical approach to chorale elaborations for the service Kraus, E. Orgeln und Orgelmusik hrdbk Krebs, S. Moravian Music Foundation Publications No. Music of the New American Nation: Sacred Music from to , Vols 1, 5, 10 Kupferberg, H.

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  • Paul's Impact on Music: Felix Mendelssohn.

Essays on the Viennese Classical Style: Music of the Past hrdbk Lang, P. George Frideric Handel hrdbk Lang, P. William Lawes hrdbk Lester, J. Guillaume de Machaut hrdbk Liemohn, E. Leonhard Kleber und sein Orgeltabulaturburch pamphlet Loftis, D. A Dissertation Bibliography catalog pamphlet Long, K. The Youth Choir pamphlet Lowens, I. A Celebration hrdbk Lunn, J. A practical means of Christian living hrdbk Marrocco, W. The Oxford Anthology of Music: Medieval Music folio pprbk Martin, G. Beethoven and His Forerunners hrdbk Mason, D.

From Grieg to Brahms hrdbk Mason, D. The Romantic Composers hrdbk Mason, D. Musical Interpretation hrdbk Matthews, D.

Classical Composers Charades

Keyboard Music hrdbk Mayer, F. A Comprehensive Resource hrdbk Mead, R. Doctoral Dissertations in American Music: A Classified Bibliography pprbk Mees, A. Choirs and Choral Music hrdbk copy 1 Mees, A. Choirs and Choral Music hrdbk copy 2 Mellers, W. Music in Medieval and Renaissance Life: Better Music in the Church pprbk Morehen, J.

Recent Music and Musicians hrdbk Moser, H. His Life and Work hrdbk Moshansky, M. The Cincinnati Organ pprbk copy 1 Nichols, G. The Cincinnati Organ pprbk copy 2 Nicholson, S. Church Music hrdbk Nicholson, S. Brahms hrdbk Niland, A. Introduction to the Organ hrdbk copy 1 Niland, A. Introduction to the Organ hrdbk copy 2 Niland, A. The Organ at St. Orgler og Organister Dutch, pprbk Ortiz, D.

Tratado de glosas sobre clausulas y otros generos de puntos en la musica de violones, Roma pprbk, landscape Ottman, R. Music for Sight Singing, 3rd edition pprbk, spiral Owen, Wm. A Life in Music: Five Centuries of Choral Music: The Britten Companion pprbk Pape, U. Melodious Accord pprbk Parrish, C. Masterpieces of Music Before Bach hrdbk Parrish, C. The Oxford History of Music, Vol. A Directory pamphlet Pauly, R. Music in the Classic Period pprbk Peabody, M. Hymnody Past and Present hrdbk Pirro, A.

Making Music Polin, C. Keeping the Church Year pprbk Pratt, W.

Main Content

The History of Music: Nouvelle Historie de la Musique, Vol. The Choral Revival in the Anglican Church: Music in Holland hrdbk Reeves, J. The Hymn as Literature hrdbk Rehm, G. Orgeln in Spanien hrdbk Reynolds, G. The Choirmaster in Action pamphlet Reynolds, W. Introduction and Instructions for Study pprbk Ristad, E. A Soprano on Her Head: Right-side-up reflections on life and other performances pprbk Roach, D. The Interpretation of Plainchant hrdbk Robertson, A.

Music of Mourning and Consolation hrdbk copy 1 Robertson, A. Music of Mourning and Consolation hrdbk copy 2 Robinson, R. Literature, materials, and methods hrdbk copy 1 Robinson, R.

Useful LC Call Numbers

Literature, materials, and methods hrdbk copy 2 Roche, J. The Madrigal pprbk Rockstro, W. Choral Music Education hrdbk Rolland, R. Beethoven the Creator hrdbk Rolland, R. Requiem pprbk Rost, M. Handel hrdbk Routley, E. Hymns and the Faith hrdbk Routley, E. Hymns Today and Tomorrow hrdbk Routley, E. Bach and the Heavenly Choir: A modern legend S Sadie, S. Handel pprbk Sadie, S. Geschichte der Musik in Beispielen folio hrdbk Schering, A. Tabellen zur Musikgeschichte folio hrdbk Schirmer Randal Thompson: The Life of Handel hrdbk Schoenberg, H. Print Sources American oratorios and cantatas: A catalog of works written in the United States from colonial time by Thurston J.

Includes the basic title page information, length, description of required performing forces, and location of the source for 3, extended choral works--of which are categorized as oratorios--by over 1, composers. Amassed is a varied collection of significant choral-orchestral works arranged by composer. Green presents important details of each work: Green also provides notes and comments on performance issues, as well as solo roles and the level of difficulty of each piece.

The sections conclude with a selective discography and bibliography. The information is vital for aiding scholars with research, and helping conductors in choosing repertoire appropriate to their needs and the abilities of their ensembles.

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A History of the Oratorio by Howard E. Howard Smither has written the first definitive work on the history of the oratorio since Arnold Schering published hisGeschichte des Oratoriumsin This volume is the first of a four-volume comprehensive study that offers a new synthesis of what is known to date about the oratorio. In May of , his sister and one of his closest friends died. This was a crushing blow to his life as well. He collapsed physically after hearing this news. After her death his motivation and energies left him and he died a few months later in Leipzig on November 4, Despite Mendelssohn's many positions and busy schedule, he was a prolific composer.

The following are some of his works: D minor , op. He was baptized in his youth along with his brother and two sisters into the Lutheran Faith. Mendelssohn embraced Christianity fervently his entire life. His biographer wrote the following about his life, "He was faithful to the Christian religion and took it seriously Werner, Reverence, fear God, the sense of praise, of gratitude, of bitter complaints and of pride in one's faith, all these lie in his personality.

He had great respect for the Biblical Word According to Patrick Kavanaugh in his book The Spiritual Lives of Great Composers , Mendelssohn never hesitated to display his faith openly to those around him. One composer wrote of his admiration for Mendelssohnm: Mendelssohn's wife, Cecile formerly Jeanrenaud was the daughter of a French Protestant clergyman. She was known to be a pious believer and a womenaof prayer Marek, The Bible was an important part of Mendelssohn's life.

It provided much of the inspiration for his work. Whenever he had to set a piece of scripture to music, he was always "painstakingly precise about the wording Ja cob, One of Mendelssohn's close friends said the following about him. Mendelssohn did not like the text to be altered and when it was he said "I Have time after time had to restore the precise text of the Bible. It is the best in the end Alexander, Paul Oratio back to top The St. Paul Oratorio , the first of Mendelssohn's two oratorio's, was begun in Dusseldorf and finished in Leipzig in the winter of The libretto was a joint compilation between Furst and Schubring with consultation with Mendelssohn.

The Oratorio itself consists of three major themes.

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These are the martyrdom of Stephen, the conversion of Paul, and the apostle's subsequent career. The work was written by a commission from the Cecilien Verein of Frankfort in , but was not performed until at the Lower Rhine Festival at Dusseldorf. The first half of this work begins after a long and expressive overture for orchestra and organ.

The first part opens with a strong and exultant chorus "Lord! It is written effectively on a massive scale, and it's middle part runs into a restless, agitated theme "The Heathen furiously rage". It closes, however, in the same energetic and jubilant manner which characterizes its opening, and leads directly to the Choral "To God on High". This section is serenely beautiful in its flowing harmony.

The next section is the martyrdom of Stephen. Here the bass voices accuse him of blasphemy in a vigorous recitative. Stephen sings a brief solo then shouts from the chorus are heard "Take him away". He is soon stoned and a few bars of recitative in the tenor part tell the sad story of this tragic event. Saul soon appears criticizing the apostles. His first aria is a bass which is fiery and full of energy "consume them all".