Handel S Israelite Oratorio Libretti

Handel's Israelite oratorios are today little known among non-specialists, but in their own day they were unique, pioneering and extremely popular. Dating from the period 1732-1752, they combine the musical conventions of Italian opera with dramatic plots in English that are adaptations of Old Testament narratives. They constitute a form of biblical interpretation, but to date, there has been no thoroughgoing study of the theological ideas or the attitudes towards the biblical text that might be conveyed in the oratorios' libretti. This book aims to fill that gap from an interdisciplinary perspective. Combining the insights of present-day biblical studies with those of Handelian studies, Deborah W. Rooke examines the libretti of ten oratorios - Esther, Deborah, Athalia, Saul, Samson, Joseph and his Brethren, Judas Macchabaeus, Solomon, Susanna and Jephtha - and evaluates the relationship between each libretto and the biblical story on which it is based. Rooke comments on each biblical text from a modern scholarly perspective, and then compares the modern interpretation with the version of the biblical narrative that appears in the relevant libretto. Where the libretto is based on a prior dramatic or literary adaptation of the biblical narrative, she also discusses the prior adaptation and how it relates to both the biblical text and the corresponding oratorio libretto. In this way the distinctive nuances of the oratorio libretti are highlighted, and each libretto is then analysed and interpreted in the light of eighteenth-century religion, scholarship, culture and politics. The result is a fascinating exploration not only of the oratorio libretti but also of how culture and context determines the nature of biblical interpretation.

Combining the insights of present-day biblical studies with those of Handelian studies, this book examines the libretti of ten of Handel's Israelite oratorios and evaluates the relationship between each libretto and the biblical story on which it is based.

In The Dynamics of Violence and Revenge, Francisco-Javier Ruiz-Ortiz presents an exegetical study of how the violence and revenge which are integral part of the Hebrew book of Esther structure the book and help passing on its message.

Readers of the Hebrew Bible are interested readers, bringing their own perspectives to the text. The essays in this volume, written by friends and colleagues who have drawn inspiration from and shown interest in the scholarship of David Clines, engage with his work through examining interpretations of the Hebrew Bible in areas of common exploration: literary/exegetical readings, ideological-critical readings, language and lexicography, and reception history. The contributors are James K. Aitken, Jacques Berlinerblau, Daniel Bodi, Roland Boer, Athalya Brenner, Mark G. Brett, Marc Zvi Brettler, Craig C. Broyles, Philip P. Chia, Jeremy M. S. Clines, Adrian H. W. Curtis, Katharine J. Dell, Susan E. Gillingham, Susanne Gillmayr-Bucher, Edward L. Greenstein, Mayer I. Gruber, Norman C. Habel, Alan J. Hauser, Jan Joosten, Paul J. Kissling, Barbara M. Leung Lai, Diana Lipton, Christl M. Maier, Heather A. McKay, Frank H. Polak, Jeremy Punt, Hugh S. Pyper, Deborah W. Rooke, Eep Talstra, Laurence A. Turner, Stuart Weeks, Gerald O. West, and Ian Young.

Hymns and the music the church sings in worship are tangible means of expressing worship. And while worship is one of, if not the central functions of the church along with mission, service, education, justice, and compassion, and occupies a prime focus of our churches, a renewed sense of awareness to our theological presuppositions and cultural cues must be maintained to ensure a proper focus in worship. Hymns and Hymnody: Historical and Theological Introductions is a sixty-chapter, three-volume introductory textbook describing the most influential hymnists, liturgists, and musical movements of the church. This academically grounded resource evaluates both the historical and theological perspectives of the major hymnists and composers who have impacted the church over the course of twenty centuries. Volume 1 explores the early church and concludes with the Renaissance era hymnists. Volume 2 begins with the Reformation and extends to the eighteenth-century hymnists and liturgists. Volume 3 engages nineteenth century hymnists to the contemporary movements of the twenty-first century. Each chapter contains these five elements: historical background, theological perspectives communicated in their hymns/compositions, contribution to liturgy and worship, notable hymns, and bibliography. The mission of Hymns and Hymnody is (1) to provide biographical data on influential hymn writers for students and interested laypeople, and (2) to provide a theological analysis of what these composers have communicated in the theology of their hymns. We believe it is vital for those involved in leading the worship of the church to recognize that what they communicate is in fact theology. This latter aspect, we contend, is missing--yet important--in accessible formats for the current literature.

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