Book contents
- Front Matter
- Contents
- Acknowledgements
- Abbreviations
- Introduction
- PART 1 ENGLISH ORIGINS OF ENGLISH ORATORIO
- Chapter 1 Artistic norms
- Chapter 2 The purpose of art
- Chapter 3 Music, morals and religion
- Chapter 4 The biblical sublime
- Chapter 5 The survival of epic
- Chapter 6 The defence of Christianity
- Chapter 7 Towards oratorio
- PART II THE PATRIOT LIBRETTO FROM THE EXCISE BILL TO THE JEW BILL: ISRAELITE ORATORIOS AND ENGLISH POLITICS
- Appendix I Libretto authors and sources
- Appendix 2 The oratorios and Methodism
- Notes
- Bibliography of sources cited
- Index
Chapter 7 - Towards oratorio
Published online by Cambridge University Press: 22 September 2009
- Front Matter
- Contents
- Acknowledgements
- Abbreviations
- Introduction
- PART 1 ENGLISH ORIGINS OF ENGLISH ORATORIO
- Chapter 1 Artistic norms
- Chapter 2 The purpose of art
- Chapter 3 Music, morals and religion
- Chapter 4 The biblical sublime
- Chapter 5 The survival of epic
- Chapter 6 The defence of Christianity
- Chapter 7 Towards oratorio
- PART II THE PATRIOT LIBRETTO FROM THE EXCISE BILL TO THE JEW BILL: ISRAELITE ORATORIOS AND ENGLISH POLITICS
- Appendix I Libretto authors and sources
- Appendix 2 The oratorios and Methodism
- Notes
- Bibliography of sources cited
- Index
Summary
‘Diversion here, is to Devotion join'd’
The Post Angel, March 1701/2In the first half of the eighteenth century the assumption that the best art teaches religion is as firmly entrenched in musical as in literary circles, perhaps even more so. As we saw in chapter 3, music was felt to have irresistible power over the emotions and mind, such that it could do dreadful damage; but in alliance with a moral or religious message it was a wonderful force for good. John Blow's preface to his Amphion Anglicus is indicative. This introduction to a (very) secular song collection stresses music's religious pedigree and its ability to civilise, to reform ‘and, above all, to inflame the Pious and Devout’. Still bound by the Protestant tradition that views lay singing of anything but psalm settings with suspicion, Blow makes the case for merely social music almost apologetically, and he ends his preface with an assurance that the present volume will shortly be followed by one ‘incomparably better: I mean my Church-Services, and Divine Compositions’. The opinion of Humphrey Wanley, librarian to Robert and Edward Harley, Earls of Oxford, is evidence of the assumption among disinterested connoisseurs that sacred music is superior to secular because it is more improving:
A young man may make a better Minuet or figg; but the elder a more sound Service or Anthem. The music of the former (with other accomplishments) may go a great way towards enticing a foolish girl to love; but that of the latter excites the Devotion, moves the Affections, and raises the Passions of those truly religious Souls, who take pleasure in singing Praises to the Honour and Glory of His Name, who lives for ever.
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- Handel's Oratorios and Eighteenth-Century Thought , pp. 157 - 170Publisher: Cambridge University PressPrint publication year: 1995