The Standard Oratorios Their Stories, Their Music, And Their Composers   By: George P. Upton (1834-1919)

The Standard Oratorios: Their Stories, Their Music, and Their Composers by George P. Upton delves into the captivating world of oratorios, shedding light on their stories, musical compositions, and the geniuses behind them. Upton's extensive knowledge and passion for this genre shine through in his comprehensive exploration of some of the most beloved oratorios.

In this book, Upton takes the readers on a delightful journey as he analyzes the major oratorios, providing detailed insights into their origins, plots, and the contextual settings in which they were written. With an academic yet accessible style, Upton enhances the reader's appreciation for these masterpieces, not only through his meticulous examination of their subject matter but also by sharing anecdotes and historical tidbits that bring the compositions to life.

One of the remarkable aspects of this book is how well Upton intertwines the stories with the musical elements of each oratorio. He carefully dissects the compositions, discussing the choice of melodies, harmonies, and arrangements. By doing so, Upton enables readers to connect emotionally with the music, enabling a deeper understanding of its significance within the narrative.

Upton's love for music and his respect for the composers shine through in the way he writes about these remarkable individuals. Each chapter dedicated to a specific oratorio provides a thorough background on the composer, delving into their inspirations, challenges faced during the composition, and the impact their work had on the music world. Upton's admiration for these genius composers is infectious, leaving readers with a newfound appreciation for their talent and artistry.

The book's structure is cohesive and logical, ensuring a smooth reading experience. Upton strikes a commendable balance between providing historical context, musical analysis, and the underlying narratives of each oratorio. This allows readers to engage with the book at different levels, catering to both those seeking scholarly insight and those embarking on a more casual exploration of the genre.

Moreover, the addition of musical examples and excerpts further enhances the reading experience. Upton incorporates sheet music, providing an opportunity for readers to follow along and gain a deeper understanding of the musical elements being discussed. This inclusion proves invaluable, offering an immersive experience that brings both the text and music together.

While the book focuses primarily on the most prominent oratorios, it does so with such expertise that readers will undoubtedly develop a solid foundation and understanding of this genre. Upton's passion and attention to detail make The Standard Oratorios an essential resource for both music enthusiasts and aspiring musicians seeking a broader understanding of the most iconic works in choral music.

In conclusion, George P. Upton's The Standard Oratorios: Their Stories, Their Music, and Their Composers is a compelling and enlightening journey into the world of oratorios. Upton's expertise, combined with his engaging writing style, makes this book an invaluable resource for anyone interested in delving deeper into the intricate realm of choral music. One will come away from this book with a renewed passion for oratorios and a deeper appreciation for the incredible compositions and composers behind them.

First Page:

The "Standard Oratorios" is intended as a companion to the "Standard Operas;" and with this purpose in view the compiler has followed as closely as possible the same method in the arrangement and presentation of his scheme. The main object has been to present to the reader a comprehensive sketch of the oratorios which may be called "standard," outlining the sacred stories which they tell, and briefly indicating and sketching their principal numbers, accompanied in each case with a short biography of the composer and such historical matter connected with the various works as is of special interest. The compiler has also included in his scheme a sketch of the origin and development of the Oratorio as illustrated in its three principal evolutionary stages, together with descriptions of several works which are not oratorios in the strict sense, but at the same time are sacred compositions written upon a large scale and usually performed by oratorio societies, such as Bach's "Passion Music" and "Magnificat," Berlioz's, Mozart's, and Verdi's Requiems, Mendelssohn's "Hymn of Praise," Handel's "Dettingen Te Deum," Schumann's "Paradise and the Peri," and Rubinstein's "Tower of Babel... Continue reading book >>