Author: Andrew Davies

Biblical Interpretation 15 (2007) 464-484 Biblical Interpretation orn © Koninklijke Brill NV, Leiden, 2007 DOI: 10.1163/156851507X216508 Oratorio as Exegesis: e Use of the Book of Isaiah in Handel’s Messiah Andrew Davies Mattersey Hall Graduate School Abstract Handel’s Messiah

In: Biblical Interpretation

An oratorio is a multisectional, accompanied choral work (Choir) presenting a dramatic situation, usually religious, without staging or costumes. It includes a narrator (who reads the testo, “text”), soloists representing characters or virtues, and choruses reflecting on the drama. Accompaniments

In: The Encyclopedia of Christianity Online

[German Version] The oratorio (Ital., from Lat. oratorium) is a musical genre, generally an undramatized musical setting of a particular text, usually extensive and religious but not as a rule liturgical, distributed among several soloists or groups. The Latin word denotes both the musical form and

In: Religion Past and Present Online

[English version] The term 'oratorio' denotes very diverse musical works, whose commonality can be expressed as follows:  major vocal compositions with instrumental accompaniment, depicting a plot of usually sacred subject matter, intended for unstaged and extra-liturgical performance. In the

In: Brill's New Pauly Online

fascination with the exoticism of the Japanese mission would later converge at a juncture in the development of the Italian oratorio. In this way, the cultural distance between the Jesuits’ Japanese past and their artistic ventures throughout the seventeenth and eighteenth centuries was mediated through the

In: Journal of Jesuit Studies
Author: Raji Singh Soni

Christmas Oratorio” (1944) with reference to the subject of embodiment in its myriad vectors are apt to encounter an intriguing, if not irresistible, conundrum: the Christ-Child—the oratorio’s “main event,” eschatologically speaking—is neither represented nor described by Auden “in the flesh.” With the

In: Religion and the Arts
Author: Andreas Loewe
This Theological Commentary is the first full-length work in English to consider Johann Sebastian Bach’s St John Passion in its entirety, both the words and the music. Bach’s oratorio is a globally popular musical work, and a significant expression of Lutheran theology.

The commentary explains the Biblical and poetic text, and its musical setting, line by line. Bach’s Passion is shown to be the work of a master craftsman and trained theologian, in the collaborative and cultural milieu of eighteenth-century, Lutheran Leipzig.

For the first time, this work makes much German scholarship available in English, including archival sources, and includes a new scholarly translation of the libretto. The musical and theological terms are explained, to enable an interdisciplinary understanding of the Passion’s meaning and continued significance.
The essays collected here raise a simple but rarely asked question: just what, exactly, is voice? From this founding question, many others proliferate: Is voice an animal category, as Aristotle thought? Or is it distinctively human? Is it essentially related to language? To music? To song and singing? Is it a mark of presence or of absence? Is it a kind of object? How is our sense of voice affected by the development of recording technology? The authors in this volume approach such questions primarily by turning away from a general idea of voice and instead investigating what can be learned by attending to the qualities and acts of particular voices. The range is wide: from Poe’s “Leigeia” to Woolf’s The Waves, from Jussi Björling to Waltraud Meier, from song to oratorio to opera and beyond. Throughout, consistent with the volume’s origin in papers delivered at the eighth biennial meeting of the International Association for Word and Music Studies, the role of voice in joining or separating words and music is paramount. These studies address key topics in musicology, literary criticism, philosophy, aesthetics, and performance studies, and will also appeal to practicing musicians.
In: Art, Intellect and Politics
In: On Voice