BUKOFZER Manfred - Music-in-the-Baroque Era From Monteverdi to Bach 1947.pdf

MUSIC in

~he

BAROQUE ERA

MUSIC in the BAROQUE ERA FROM

Monteverdi

Bach

By MANFRED F. BUKOFZER PllOPESSOll OP MUSIC, THE UNIVERSITY OP CALIFOllNIA

New York.

w . W . NOR TON

COMPANY· INC-

I947,

COMPANY:p INC.

NEW YORX.:p N. Y.

PlUNTED IN THE UNITED STATES OF AMElUCA POR THE PUBLISHERS BY THE VAIL-BALLOU PRESS

::M:El!v.lORY OF

ANDRE PIRRO (z869- z943) A Pioneer of Baroque Music

CONTENTS

PREFACE Chapt~ On~

Dll RENAISSANCE

tI~SUS

BAROQUE :MUSIC

Disintegration of Stylistic Unity Stylistic Comparison between Renaissance and Baroque Music The Phases of Baroque Music Chap~

Two EARLY BAROQUE IN ITALY

The Beginnings of the Conc~ato Style: Gabrieli The Monody: Peri and Caccini Transformation of the Madrigal: Monteverdi The Influence of the Dance on Vocal Music Emancipation of Instrumental Music: Frescobaldi The Rise of the Opera: Monteverdi Tradition and Progress in Sacred Music Chap~

Three EARLY AND MIDDLE BAROQUE IN THE NORTHERN COUNTRIES

The Netherlands School and Its English Background English Antecedents: the Abstract Instrumental Style The Netherlands: Sweelinck Germany and Austria in the 17th Century Chorale and Devotional Song Chorale Motet and Chorale Concertato: Schein The Dramatic Conc~ato: Schutz Continuo Lied, Opera, and Oratorio Instrumental Music: Scheidt, Froberger. and Biber Chapt~

Four ITALIAN MUSIC OF THE MIDDLE BAROQUE

The Bd-Canto Style The Chamber Cantata: Luigi Rossi and Carissimi vii

I I

9 16 20 20

25 33 38 43 55 64

71 71 72 74 78 79 83 88 97 104

lIS lIS 120

Vlll

Contents The Oratorio: Carissimi and Stradella The Venetian Opera School Instrumental Music: the Bologna School

Chapter Five FRENCH MUSIC UNDER THE ABSOLUTISM The Ballet de Caur

123 128 136 I41 141 147 151 161

French Reactions to Italian Opera ComMie-Ballet and TragMie Lyrique: Lully Cantata, Oratorio, and Church Music Lute Miniatures and Keyboard Music: Gaultier and Chambon164 nieres Music in the Iberian Peninsula, New Spain, and Colonial 174 America

Chapter Six ENGLISH MUSIC DURING THE COMMONWEALTH AND RESTORATION The Masque and the English Opera: Lawes and Blow Consort Music: Jenkins and Simpson Anglican Church Music: Porter, Humfrey, and Blow Henry Purcel~ the Restoration Genius

180 180 190 198 203

Chapter Seven LATE BAROQUE: LUXURIANT COUNTERPOINT AND CONCERTO STYLE 219 The Culmination of Late Baroque Music in Italy 219 The Rise of Tonality 219 Concerto Grosso and Solo Concerto Ensemble Sonata and Solo Sonata Opera Sma and Opera BuDa-Cantata and Sacred Music Late Baroque and Rococo Style in France Ensemble and Clavecin Music Opera and Cantata in France

222

2,32

239 247 247 253

Chapter Eight FUSION OF NATIONAL STYLES: BACH 260 The State of Instrumental Music in Germany before Bach 260 The State of Protestant Church Music before Bach 268 Bach: The Early Period 270 Bach the Organist: Weimar Bach the Mentor: COthen

27S 282

Contents Contents

]X ix

Bach the the Cantor: Cantor: Leipzig Leipzig Bach

291 :191

Bach, the the Past Past Master Master Bach,

00 300

COORDINATION OF OF NATIONAL NATIONAL COORDINATION

Chapter Nine Nine Chapter

STYLES: HANDEL HANDEL STYLES: The State State of of Secular Secular Vocal Vocal Music Music in in The Handel: German German Apprentice Apprentice Period Period Handel:

306

Germany before before Handel Handel 306 306 Germany

Italian Journeyman Journeyman Period Period English Master Period: Operas-Oratorios-Instrumcntal Oratorios Instrumental Period: Master Operas English Music Music Bach and and Handel, Handel, aa Comparison Comparison Bach

Italian

Chapter Ten Ten Chapter

IN BAROQUE BAROQUE MUSIC FORM IN

Formal Principles Principles and and Formal Formal Schemes Schemes Formal Style and Form and Form Style Audible Form Form and Order and Inaudible Inaudible Order Audible

Chapter Eleven MUSICAL THOUGHT OF THE Chapter Eleven BAROQUE BAROQUE ERA and Performer Performer Code Performance: Composer Code of of Performance: Composer and Theory and Practice of Composition Practice of and Composition Theory Musical Musical Speculation Speculation

Chapter Twelve SOCIOLOGY OF BAROQUE BAROQUE MUSIC Chapter Twelve

314 314 318

318

24 324 3

345 345 35 350 350 36'1. 362

0 35

365 365 370 37 371 371 382 382

390 39

394 394

Private Church: Private and Church: Courtly State and of State Institutions of Musical Institutions Courtly Musical Patronage 394 394 Patronage Civic Musical Institutions: Collective Patronage 401 Collective Civic Musical Institutions: 401 Patronage Musicians and Music of Social of Music and Musicians 404 and Economic Economic Aspects Social and 404 Aspects

APPENDICES APPENDICES List Abbreviations List of of Abbreviations Checklist Music Books on on Music of Baroque Checklist of Baroque Books Bibliography Bibliography List Editions of Editions List of List Musical Examples List of of Musical Examples

INDEX INDEX

15 44*5 4 41X77 433 433

~1 4^i

471 47 1 475 475

ILLUSTRATIONS

Przein6 iJ4Il! Facing page

PLATE PLATE

I. i.

Claudio Claudio Monteverdi Monteverdi

80 80

PLATE PLATE

2. 2.

Schiitz Schutz among his Choristers Choristers among his

PLATE Carissimi's PLATE 3· Carissimi's "The Deluge" 3. Deluge'* PLATE Palace of PLATE 4· o Paris Paris from from 4. The Palace

II2 112

len Pomo d'Oro" Porno d'Oro" "II

II3 113

The Concert PLATE PLATE 5· Concert 5.

208 208

Entrance American Music o American 6. Entrance of Music PLATE PLATE 6. Aeolian Aeolian Mode

209 209

PLATE PLATE 7· Division Violist Violist 7. The Division "Lucretia" "Lucretia"

0 240 24

The Psalms Psalms in in an flower pictures PLATE 8. 8. an edition edition with PLATE with flower pictures

241 24I

Purcell PLATE 9· PLATE Henry 9. Henry Purcell Fran~is Couperin Frangois Couperin

304 304

PLAn PLATE

305 305

10. 10.

Johann Bach Sebastian Bach Johann Sebastian George Frederick Handel Handel George Frederick

PLAn PLATE II. u. Majer's "Atalanta fugiens" Majer's "Atalanta fugiens"

6 336 33

PLATE PLAn

337 337

12. 12.

Stage by Galli set by Galli Bibiena Bibiena Stage set

PREFACE "PREFACE

1HE in the E FIRST book book in the English on the the history of baroque English language language on history of baroque music does does not need either music not need or justification. Histories of either apology or of Histories justification. apology have music music have been written usually as quick surveys of the entire been written as of the entire JL usually quick surveys field and and if field if they at all all they concentrate as as a a rule rule on on a a single comthey specialize specialize at they concentrate single comIt is a a poser. It is strange though incontestable fact that by far the great majority incontestable fact that far the strange though by poser. great majority books deal deal with of music with composers of their music. music books rather than than their This attitude music. This attitude composers rather a survival is a survival of of the the hero-worship is that characterizes the nineteenth-century that characterizes the hero-worship nineteenth-century as well approach musical music as as the the other to music well as other arts. arts. In In a a history of a a single approach to history of single musical an approach the shortcomings such an period the of such become particularly obvious. shortcomings of period approach become particularly obvious. its inner A musical from the musical style and can musical era era receives receives its inner unity from the musical can be be and unity style in understood of historically understood only in terms of stylistic development. It is for this terms It is for this only stylistic development. historically in the the present reason present history baroque music music the that in the stylistic reason that of baroque history of stylistic approach approach has been adopted. Biographical information, easily accessible been has consistently accessible consistently adopted. Biographical information, easily been reduced in has been musical dictionaries, reduced to to a a minimum in in order order to to leave leave in musical dictionaries, has of space for the discussion of stylistic trends and characteristics of style, usually the discussion trends and for characteristics of stylistic style, usually space ignored in the the dictionaries. dictionaries. ignored in II have with the the this book book for for the the music music student music lover lover with written this student and and music have written a aim him with a great period of musical history and helping with of musical and of acquainting aim of history great period acquainting helping of music without which which baroque a historical historical understanding him understanding of music without baroque to gain him to gain a and enjoyed. If the the history of music is to music be appreciated music is cannot fully to music cannot fully be enjoyed. If appreciated and history of have interest and significance, it must be seen and an antiquarian interest it must be more than than an seen have more significance, antiquarian the history as and the of styles in turn of musical musical styles, turn as as a a history a history as a history of styles in styles, and history of history ideas that that underlie underlie musical musical styles can only be shown in in a a of ideas. The ideas of ideas. only be styles can a that takes music as factual analysis that takes music apart as a mechanic does a motor mechanic does a motor factual stylistic stylistic analysis apart elements are musical elements are combined, and achieve their that shows shows how musical their and that combined, how they they achieve the difference specific effect, and what constitutes the difference between externally what constitutes and between effect, externally specific similar once historical historical and "technological" This analysis is at at once and similar factors. factors. This analysis is "technological" ana Y

I I

xiii

XlV XIV

Preface Preface

of music takes the description Those writers takes beauty for granted. writers to to whom the description of beauty for granted. Those chosen adjecis no more judiciously chosen is no in judiciously a matter of elegant variation in more than matter of than a adjecelegant variation in not occur does tives be shocked to learn that the word "beautiful" does not occur in the "beautiful" tives may to learn that word be shocked may exbut the obvious this aim has been not the expatiation on the obvious but the exthe on this book. book. My aim has been not the expatiation My This explanation planation of of the the specific musical results results of of baroque explanation style. This baroque style. planation specific musical that understood that be clearly must it must must of of necessity on words, but it must be words, but clearly understood necessity rely rely on let alone rewords alone rewords cannot of music music itself, cannot render render the the aesthetic aesthetic experience itself, let experience of in this is assumed assumed place it. the rudiments of music is in this book it. Familiarity with of music the rudiments with place Familiarity for that been written, though nor has has it that it been it is is not for specialists not designed written, for though it designed for specialists nor by a specialist of the period. But even the specialized musicologist matter, a But even the matter, by specialized musicologist specialist of the period. of hitherto hitherto will will find find a a few few new facts, and a a number of facts, new interpretations, interpretations, and examples. In the organization of material I have departed unpublished I have In of material the departed unpublished examples. organization practice by by not book aa strictly from the usual practice the usual not making the book strictly chronological chronological making the report. The main principle of organization is style in its its various various manifestamanifestaof in main is report. style organization principle II-IX comprise of baroque tions. history of tions. Chapters the actual actual history baroque style. style. The Chapters II-IX comprise the first and the first the three last chapters the three last cut across the field field and and complement across the chapters cut complement the first gives a general comparison between renaissance and subject: the the first a renaissance between and subject: gives general comparison baroque style, the three three last deal with with aspects last deal of form, and sociology, form, theory, style, the baroque theory, and sociology, aspects of if rarely, if ever, discussed in histories of music. Several chapters in discussed histories of music. Several were first first ever, rarely, chapters were in a presented a lecture lecture series series at at the the University of Chicago in 1945, presented publicly publicly in University of Chicago in 1945, for the the Northern Northern California California Chapter of and for of the American Musicological the American Chapter Musicological in I946. Society Society in 1946. reasons of of space For reasons the bibliographical been restricted have been footnotes have restricted space the bibliographical footnotes essentially to references to musical reprints. Through the courtesy to to references musical Dr. of Dr. essentially reprints. Through the courtesy of Willi Ape! able to to incorporate Willi yet references to to the the second second volume, as yet volume, as Apel II was able incorporate references of the unpublished, Historical Anthology Anthology of Music which the Historical which contains contains many unpublished, of of Music many valuable examples of baroque valuable baroque music. the music. It It goes without saying that the examples of goes without saying that material presented in this material in this book is based largely on the special studies listed is based on the studies listed presented largely special in the the bibliography. Unfortunately for music student in for the the music student the the majority of bibliography. Unfortunately majority of these books articles is is written books and articles written in in languages these Such other than than English. Such languages other English. excellent stylistic as those studies as those by excellent A. Westrup and Ernst Ernst J. A. stylistic studies by J. Westrup (Purcell) (Purcell) and Meyer (English Chamber Music) are all too rare exceptions. The bibliogare all too rare Meyer (English Music} exceptions. bibliogstresses style-criticism raphy includes only those biographies that raphy stresses style-criticism and includes only those biographies that consider the the musical musical style of the the composer. consider bibliogit is is the the largest style of composer. Although Although it largest bibliogof baroque ever printed raphy it is is far far from from being The raphy of baroque music ever printed it being complete. complete. The inclusion of of local local and arclUves archives studies inclusion have doubled studies would would have doubled its its size. size. The The checklist of of baroque books on music music represents checklist a new bibliographical baroque books represents a bibliographical the aim of of which has has not not been been completeness, venture the but comprehensive completeness, but comprehensive of the the various various aspects of musical coverage the musical literature literature in a given in a coverage of aspects of given period, period, the

Preface Preface

xv xv

detailed writers like like of which raises fascinating detailed study which raises Prolific writers study of fascinating problems. problems. Prolific others appear Mattheson in the list only with their most important Mattheson and others in most their the list with appear important only Items that that appear in a titles. a footnote are more fully titles. Items footnote in form are in incomplete fully appear in incomplete form in the cited be noted that throughout the book book cited in the bibliography. It should should be noted that bibliography. It throughout the are differentiated major by means means of and capital differentiated by of small small and keys are major and minor keys capital c and for example, respectively. letters; and C stand stand for for Cminor and Cmajor, C-minor and letters; for example, c C-major, respectively. It is is my It to acknowledge advice II received received from from the help and advice my pleasant duty to pleasant duty acknowledge the help and friends I many friends and colleagues. I am especially grateful to Dr. Alfred Einstein and colleagues. many especially grateful to Dr. Alfred Einstein of permitted Smith College took a a fatherly of Smith in my book and and permitted interest in College who took fatherly interest my book me to from his rich treasure of early baroque music, use some examples from his rich of to use treasure early baroque music, examples and University of and to Professor Edward Lawton to Professor Lawton of the University of the of California California who put put his photostats at of Gesualdo scores of of the the works at my works of and several several photostats his scores Gesualdo and my disposal. disposal. II gratefully the Music Music recall the the assistance assistance of of the the following institutions: the gratefully recall following institutions: Division of Congress, York Public Library, Newberry the Library of New Public Division of of the York Library Congress, Library, Newberry Library, British Museum, of Art, Union Theological Museum, Metropolitan Art, Union Library, British Theological Metropolitan Museum of Seminary, of the of California. but not and the the library the University California. Last Last but not Seminary, and library of University of least wife. Without encouragement and to my her unflagging and thanks go Without her least my my wife. my thanks go to unflagging encouragement have been help book would not not have been possible. this book possible. help this Manfred F. Bukofzer Manfred F. Bukofzer California Berkeley, Berkeley, California

CHAPTER ONE

Renaissance Baroque Music Music Renaissance Versus Versus Baroque DISINTEGRATION OF STYLISTIC UNITY

W WHEN

asHEN Monteverdi book of of madrigals Monteverdi in in his his fifth fifth book madrigals (1605) (1605) asserted that that he the old serted he did of the old school, the precepts of did not not follow follow the school, precepts but prattica. he he but was was guided seconda prattica, called the the seconda what he he called guided by by what with the spoke with the self-assertion of an artist fully conscious of a fundamental self-assertion of artist conscious of a fundamental an spoke fully in the change his statethe conception in his stateof music. was retorting Monteverdi was music, Monteverdi change in conception of retorting in an abusive to an ment to abusive attack critic and and attack of of Artusi, in which which this this conservative conservative critic Artusi, in theorist theorist found found fault with Monteverdi's of dissonance. dissonance. By fault with treatment of Monteverdi's treatment By opopthe second posing practice to that the the standards second practice the first, and by standards to the first, and posing the implying that by implying the old of of the old school school could not be to the could not be applied the new, Monteverdi challenged new, Monteverdi challenged applied to the Thus the eternal controversy between the whole whole basis basis of of the the argument. the eternal Thus controversy between argument. the violent artist violent artist and and critic critic about flamed up in the about the the standards standards of of art art criticism criticism flamed up in is indicative manner that that is of transition. manner of transition. indicative of of all all periods periods It be the the transition transition from It was the first first time, to be the last, that the from was not not the was it it to nor was last, that time, nor one by claims of the progressive the era to claims of one musical musical era to another another was was accompanied by progressive accompanied title Nuotle and Musiche. the conservative Nuove Musiche, and counterclaims counterclaims of of the conservative camp. camp. The title its parallels in which period, has has its the of the became the the battle battle cry the baroque which became cry of baroque period, parallels in the de in the ars nova late by Philippe de Vitry), in the ars notla late Gothic ars notla nova (proclaimed Gothic ars Vitry), (proclaimed by Philippe in the the goat of the the early of galant of the renaissance renaissance (described of the go At galant early by Tinctoris), Tinctoris), in (described by music or music" of of our our own day. or classic classic period, in the the "modern "modern music" and in day. Old music period, and the stile at the time of Monteverdi, with renaissance at with time of renaissance stile antico antico was was identified, Monteverdi, identified, music, baroque music. music. music or stile moderno modcrno with with baroque or stile music, new music x a derogatory The term that clearly had originally reterm haroco baroco 1 had derogatory meaning meaning that clearly reoriginally a seen flects in which former generations have seen the seventeenth have the in seventeenth the light which former flects the light generations to be century. was taken be aa degenerate taken to form of the renaisof the renaisdegenerate form century. The baroque baroque was sance, between the limpid cinquecento and the classicism and the between the "dark age" another "dark classicism sance, another limpid cinquecento age" issue on baroque 11 Por see the the special of the the term see the lotl1Tllll For a of the a history Journal of style of special issue baroque style of history of 2. AellAdWl and Imtl Art Art Crilicism no. 2. Criticism V (1946), (1946), DO.

Aesthetics

Music in the Music in the Baroque Baroque Era

in his his of still defined defined in of the the eighteenth Even Jacob Burckhardt still Jacob Burckhardt eighteenth century. century. Even our Cic~one renaissance. Today the renaissance. the baroque as "a "a corrupt of the Cicerone the dialect" of Today our baroque as corrupt dialect" a period as a concepts is recognized have radically period recognized as radically changed. baroque is concepts have changed. The baroque its own aesthetic aesthetic in with its own intrinsic development and its in its its own right, with its intrinsic right, development the standards. standards. The period seventeenth century the seventeenth covers roughly century and the period covers roughly the first half rust the eighteenth century. Signs of the stylistic change became half of of the eighteenth century. Signs of the stylistic change renaisnoticeable as as early for some time renaisnoticeable as the the late late sixteenth sixteenth century, early as century, and for sance traits ran side by side. Likewise, the new forces at sance and baroque at the the forces the traits ran side. side Likewise, baroque by of the end of era that led ultimately to the classic period appeared the baroque classic the that to era led baroque ultimately period appeared in the the eighteenth early with the the most monumental early in simultaneously with eighteenth century century simultaneously and lasting music. manifestations of of baroque lasting manifestations baroque music. The terms terms "renaissance" have been music have been borrowed "renaissance" and and "baroque" "baroque" music as from art as convenient labels for periods which apply art history for convenient labels well history periods apply equally equally well to music history to and other fields of civilization. The transposition to music other fields of civilization. to history transposition of terms terms developed history art history has its its dangers if in art too history of developed in history has dangers if performed performed too Since the WolfHin's Principles Principles of Art History History attempts have literally. the days of Wolfflin's literally. Since days of of Art attempts have to apply been made to his terminology to music music in in wholesale wholesale fashion. fashion. The apply his terminology to of concepts of WoifBin, the linear, closed form, etc., are abstractions distilled the closed are abstractions distilled Wolfflin, linear, form, etc., concepts from the the live live development development of indeed very useful abstractions, but so of art, indeed useful so art, abstractions, but very in nature general in nature that that they they can be applied to all all periods periods indiscriminately, can be general applied to indiscriminately, although they they were were originally originally found found in in the the comparison comparison of renaissance and and of renaissance although If used baroque. If used as as eternal eternal principles, principles, however, however, they they defeat their own purpurdefeat their baroque. pose, namely, namely, the the historical historical understanding understanding of of one one particular particular period period which which pose, never never repeats repeats itself itself in in art art or or music music history. history. Only Only aa historical historical terminology terminology able able to to recognize recognize the the uniqueness uniqueness of of each each stylistic stylistic era era can can further further such such ununderstanding. The application application of of the the term term "baroque" "baroque" to to music music has has been been derstanding. criticized criticized because because baroque baroque qualities qualities cannot cannot be be found found in in the the musical musical notes. notes. whoever to discover to discover baroque qualities in music as though Indeed, hopes in music as though Indeed, hopes baroque qualities they were were aa mysterious mysterious chemical chemical substance substance misunderstands misunderstands the the meaning meaning of of they the the term term which which essentially essentially denotes denotes the the inner inner stylistic stylistic unity unity of of the the period. period. That That the the development development of of baroque baroque music music runs runs parallel parallel with with that that of of baroque baroque art, and and that that music music does does not, not, as as legend legend has has it, it, lag lag behind behind the the other other arts arts can can art, be be shown shown only only by by aa technical technical analysis analysis that that penetrates penetrates the the last last detail, detail, not not the other other hand, hand, the the theory theory that that by general general comparative comparative abstractions. abstractions. On the by the the baroque baroque manifests manifests itself itself so so uniformly uniformly in in all all fields fields that that every every work work o of art art of of the the time time is is "typically "typically baroque" baroque" must must be be examined examined on on the the merits merits of of the the individual individual case. case. There There are are undercurrents undercurrents of of opposed opposed forces forces that that do do not conform the to of the not conform to the "spirit "spirit of the time," time," which which isis itself itsdf another another abstraction. abstraction. The The concrete concrete life life of of aa period period knows knows internal internal contradictions, contradictions, conflicts conflicts of of

Renaissance Versus Renaissance Music Versus Baroque Baroque Music

prevalent and suppressed and anticipasurvivals from the preceding from the ideas, survivals prevalent suppressed ideas, anticipapreceding and tions of the tions of the following prevalent In spite the prevalent of these these complexities, following periods. periods. In spite of complexities, the ideas of of an era era stand ideas main attention. stand out out and and must dominant must receive receive the attention. The dominant the main in baroque trends in music correspond to those in baroque art and literaturetrends music literature and to art those in baroque correspond baroque this is is an inevitable this period. inevitable by-product of any of the the period. by-product of any investigation investigation of The change from renaissance to baroque music differs all other other renaissance to baroque music differs from from all change in music stylistic rule, the the music history a rule, in one one important stylistic changes changes in history in important aspect. aspect. As a musical style of the the old musical took over old school over school fell fell into took into oblivion. oblivion. The new style style of style transformed the the last and transformed musical techniques, that last vestiges so that of previous vestiges of techniques, so previous musical the unity of in the of style in each period was assured. However, at the beginning each at the was assured. unity style However, period beginning the baroque of the era the the old of preold style but deliberately was not cast aside, not cast aside, but baroque era deliberately prestyle was served as a second as a second language, served stile antwo music. church music. as the the stile antico of of church language, known as hitherto unchallenged The hitherto and composers of style unchallenged unity composers unity of style disintegrated, disintegrated, and to were obliged to become bilingual. The stile antico was fashioned after become after stile was fashioned antico obliged bilingual. the of the style the the idol idol of followed the became the of those those who followed Palestrina, who became style of Palestrina, strict a-cappella of strict baroque music. more the of baroque the actual actual knowledge music. The more style of a-cappella style knowledge of Palcstrina's music Palestrina's the more powerful became the legend of the music faded faded away, of the the the became more legend away, powerful alleged savior of of church church music. music. alleged savior of the the stile Mastery stile antico in the the antico became the indispensable became the Mastery of indispensable equipment equipment in composer's to choose in which style he education. He was choose in was now at at liberty composer's education. style he liberty to to write, vehicle of of his his spontaneous wanted to whether in in the the moderno, the vehicle moderno, the write, whether spontaneous in the the strict expression, training. or in academic training. strict antico antico which he acquired which he expression, or by academic acquired by This choice histhe This was the first significant step toward the musical hischoice of of styles the musical toward first styles significant step toricism that perplexes modern music education. Our much discussed and toricism that perplexes modern music education. discussed often often cursed cursed division of musical and "free" "free" writing division of musical instruction into "strict" "strict" and instruction into writing goes back ultimately to the distinction between stile antico and moderna. back the and moderno. to distinction stile antico between goes ultimately rules of stile antico The rules of the the stile such theorists as theorists as antico were were diligendy codified by by such diligently codified the contrast Bontempi and Fux whose works furnish a drastic example of the contrast whose a drastic of works furnish Bontempi example between the the old recent investigations between have old and modern manner. manner. However, However, recent investigations have shown that the ''Palestrina its that the of the differs from its "Palestrina style" the baroque actually differs style" of baroque actually which model; the theorists a fictitious fictitious strict which theorists eternalized in their rules a strict style eternalized in their rules model; the style inbears the the semblance bears but which, renaissance music, in fact, is subdy semblance of of renaissance which, in music, but fact, is subtly infected with modern licenses. Although this unintentional transformation fected with modern licenses. Although this unintentional transformation took behind the it were, continued took place, as it the backs of the the composers, backs of were, behind they continued place, as composers, they the stile antico, between antico to of the stile alla Palestrina. The tension between the stile to speak of alia tension the stile Palestrina. speak it may be, has left its however and the stile maderna has left its mark on the stile moderno however fictitious fictitious it and may be, has been dealt music all conflict baroque music and all subsequent periods. The conflict has been dealt baroque subsequent periods. the with with in in various but has has never never been been completely removed. Thus the various ways ways but completely removed. rcnaissance reuon for this this reason and for renaissance stands stands out out as as the last era era of of stylistic the last unity, and stylistic unity, t

Music Music in in the Era the Baroque Baroque Era

exitit has This stylistic has been been glorified as the lost of of music. the paradise music. This unity exstylistic unity paradise lost glorified as toward itself also presses the self-reliant of renaissance also in in the self-reliant attitude attitude of renaissance compos«;rS presses itself composers toward a musical style. became whereas it a problem musical it became took style for granted, whereas style. They problem They took style for granted, for baroque for The baroque era of of style-consciousness. era is is the the era baroque composers. style-consciousness. composers. The baroque era

renaissance and Many of renaissance have been contrast of been made the contrast to bring made to Many attempts attempts have bring the music music down to a short formula. Early baroque theorists, baroque down to a short formula. Early baroque theorists, especially, baroque especially, been guilty have been of aggressive that served served their their tendentendenguilty of aggressive oversimplifications oversimplifications that tious purpose at the taken have unfortunately been taken seriously tious at the time, but that been but that have time, purpose unfortunately seriously by historians. With the hear for the of the the baroque for the the beginning by modern historians. beginning of baroque we hear first time time of of elaborate to styles, an indicafirst elaborate classifications to an classifications of of music music according indicastyles, according tion that that the the unity tion of style has been been lost. lost. The fundamental fundamental pair of styles unity of style has styles pair of underlies the which underlies the new style-consciousness has already been discussed: discussed: style-consciousness has already been the stile stile antico the antico and moderno, as stylus also known respectively and modcrno, also stylus gravis gravis and respectively as or prima lururians, and seconda prattica. Another distinction, emerging and seconda Another luxuriant, or distinction, emerging prima frattica. later in in the the century, later divides the the field field into into church, and theatre theatre chamber, and church, chamber, century, divides music (musica These terms terms classify ecclcsiastica, cuhicularis, cubicularis, theatralis). (musica ecclesiastica, theatralis). These classify to its music according its sociological function and and do do not not necessarily according to sociological function necessarily imply imply differences in in musical musical technique. differences It is the main is significant that It that the main stylistic technique. significant stylistic not mutually terms were not exclusive. Church music, for example, could not not music, for mutually exclusive. example, could be be categorically classified because in the old or or in because it it was was composed either in the old in categorically classified composed either the the modern style. numerous stylistic distinctions of of the the time time have have been been style. The numerous stylistic distinctions the of much confusion; the cause cause of confusion; the the apparent apparent inconsistencies inconsistencies can can only only be be removed if the the word "style" "style" is is understood understood in in aa wider wider sense sense than than the the modern, modern, removed if merely technical, technical, interpretation interpretation admits. admits. merely How profoundly consciousness of of style style had had sharpened sharpened the the senses senses for for profoundly the the consciousness the renaissance and and baroque baroque can can be be seen seen in in Berardi's Berardi's MiscelMiscelthe contrast contrast of of renaissance lanea lanea Musicale Musicale (1689), (1689), where where he he says: says: "the "the old old masters masters [of [of the the renaissance] renaissance] had had only only one one style style and and one one practice, practice, the the moderns moderns have have three three styles, styles, church, church, and theatre and style, and two two practices, practices, the the first first and and the the second." second." chamber, and theatre style, chamber, According to to Berardi Berardi and and his his teacher teacher Scacchi, Scacchi, the the essential essential difference difference bebeAccording tween tween first first and and second second practice practice lay lay in in the the changed changed relations rela~ons between between music music and In renaissance renaissance music, music, "harmony "harmony isis the the master master of of the the word"; word"; in in and word. word. In music "the word is the music "the word is the master of harmony:' This neat antithesis, baroque master of baroque harmony." This neat antithesis, which merely paraphrases paraphrases Monteverdi's Monteverdi's distinction distinction of of first first and and second second which merely touches, indeed, indeed, upon upon one one fundamental fundamental aspect aspect of of baroque baroque music, music, practice, touches, practice, the the musical musical expression expression of of the the text text or or what what was was called, called, at at the the time, time, expressio erpressio vcrborum. tlerborum. This This term term does does not not have have the the modern, modern, emotional emotional connotation connotation of of music" and can more "expressive music" and can more accurately be rendered as "musical repre"expressive accurately be rendered as "musical repre-

Renaissance Renaissance Versus Music Versus Baroque Baroque Music

55 sentation in baroque of the the word." The means of in scntation of of verbal verbal representation baroque representation that is, music were not psychological, and not direct, but indirect, and emotional, direct, psychological, indirect, that is, emotional, but intellectual pictorial. The modern psychology intellectual and pictorial. of dynamic dynamic emotions psychology of in the the baroque did not yet baroque era. exist in era. Feelings were classified classified and stereotyped yet exist stereotyped Feelings were set of in a set of so-called in each representing a mental was so-called affections, each a mental state state which was affections, representing in itself itself static. in the business the composer to make the affection of static. It It was the affection business of the of the composer to the music correspond to that that of rationalof the lucid rationalthe words. to the the lucid words. According correspond to According to of the the time, at his a set of musical figures ism of the composer a of musical set his disposal time, the figures composer had at disposal which were pigeonholed like the affections themselves and were designed like themselves the affections designed pigeonholed to represent to these affections affections in in music. music. represent these However, the principle of the the doctrine of affections affections and figures doctrine of However, the principle of figures was already renaissance, and aa writer to the refers in in the renaissance, that period writer of of that already known to period refers to the particular example the Penitential Penitential Psalms as an outstanding Psalms of of Lasso Lasso as particular to outstanding example of powerful of uses, in the of the in this this connection, the words. words. He uses, connection, the powerful representation representation of derives its controversial controversial term musica derives its name from musica resertlata rcscrvata which probably probably the faithful the belongs priprifaithful observance rescrvata belongs observance of of the the words. musica resertlata words. The musica a marily to the the Netherlands also developed Netherlands orbit. orbit. But Italian Italian composers marily to developed a composers also Since refined of pictorial representation in the Italian madrigal. Since refined technique in the of Italian madrigal. technique pictorial representation in both renaissance the representation of words in renaissance and baroque music know the baroque music representation of unthat it it was music, the implication was unBerardi oversimplified matters with with the music, Berardi implication that oversimplified matters the periods actually known in in the the renaissance. renaissance. The two periods actually operated operated under the its apin the of same principle, but they differed fundamentally in the method of its differed apfundamentally they principle, restraint and noble noble plication. the affections affections of of restraint renaissance favored favored the plication. The renaissance violent pain simplicity, ranging from violent the baroque the extreme extreme affections, affections, ranging pain simplicity, the baroque the affections to joy. It to exuberant of extreme affections It is is obvious that the exuberant joy. obvious that the representation representation of been required required before. called before. called for a richer for a richer vocabulary than had been vocabulary than Berardi's distinction merely echoes opinions echoes Berardi's sweeping distinction expressed, opinions already already expressed, merely sweeping of the under the of literati a around 1590, by a noisy group of literatJ that, the leadership the that, leadership of noisy group 1590, by the name of Counts Bardi and Corsi, established itself in Florence under the of Florence Counts Bardi Corsi, established itself in the handling Camerata. renaissance music on the attack on renaissance This group based its its attack Camcrata. This handling group based the was of claimed that in contrapuntal music the poetry that in of the the words. claimed words. They poetry They contrapuntal the individual to pieces" (lacerammto della poesia), because the individual literally "torn because dclla "torn to pocsia)> literally pieces" (laccramento like "heaven" and voices words simultaneously. different words voices sang simultaneously. Words like sang different lines. The "wave" were notes and wavy were frequendy wavy lines. by high high notes frequently depicted depicted by that the sense insisted that Camerata objected to the sense this "pedantry" to this Camcrata scornfully scornfully objected "pedantry" and insisted imitated a of rather than that of a single word should be imitated should of than that of an an entire rather entire passage single passage the recitative recitative was in theoretical discussions, a result such theoretical result of of such in music. music. As a discussions, the created, in which contrapuntal writing was altogether abandoned. In the created, in altogether contrapuntal writing speech-song recitative, the was completely music was the music of the the recitative, completely subordinated to speech-song of

Music in in the the Baroque Baroque Era Era Music the words, words, so so that that the the words words governed governed the the musical musical rhythm rhythm. and even the the place of of the the cadences. cadences. The recitative recitative was sung sung from its its very very beginning beginning place with aa hitherto hitherto unknown realistic realistic pathos pathos and with with an affective affective violence violence with in which which the the singer singer resorted resorted to to grimaces, grimaces, acting, acting, and the the imitation imitation of of the the in inflections of of natural natural speech, speech, like like crying crying and gasping. gasping. In the the eyes eyes of of the the inflections the recitative of Camerata it was precisely the extremely affective quality of the recitative affective Camcrata it was precisely the extremely quality that gave gave it it its its measure measure of of distinction distinction and and made it it superior superior to to the th~ "pedantic" "pedantic" that methods of of renaissance renaissance music. music. But, But, in in the the eyes eyes of of the the renaissance renaissance commethods poser, the recitative was hardly more than a ridiculous experiment which poser, the recitative was hardly more than a ridiculous experiment showed that that its its author author was was "not "not aa good good musician," musician," to to use use the the words by by showed which Schumann characterized characterized Wagner. Wagner. From the the point point of of view of of renaisrenaiswhich Sance composers, composers, nothing nothing was was easier easier than than the the composition composition of of aa recitative recitative sance since it it required required only only aa most most superficial superficial familiarity familiarity with with musical music:al technique. technique. since It is symptomatic that that the the leading leading spirits spirits of of the the Camcrata, Camerata, Bardi Bardi and Corsi, Corsi, It is symptomatic hands at who their were, indeed, aristocratic amateurs tried their at composition. tried were, indeed, aristocratic amateurs composition. Amateurs are are less less likely likely to to be be hidebound hidebound by by tradition, tradition, and less less likely likely to to Amateurs be hampered hampered by by facts facts in in the the pursuit pursuit of of new ideas. ideas. The influence infitience of of diletdiletbe tanti was was as a factor factor in the formation formation of of baroque baroque music music as as in in that that tanti as decisive decisive a in the of the the classic style in in the the days days of of the the Bach Bach sons. sons. classic style of Camerata that that renaissance renaissance Amateurish, then, then, was the the assertion of the the Camcrata assertion of Amateurish, music was unable unable to to imitate the words; renaissance imitate the the affection of the affection of words; and renaissance theorists to theorists were quick to deny this claim. reason why the advocates of this claim. The reason the advocates of quick deny why old and new schools the old issue and were unable to the schools could could not not settle settle their their issue were unable to understand each other other can be understand each be easily seen. the baroque composer seen. When the easily baroque composer spoke affections, he referred referred to to the the extreme extreme and violent violent ones, conspoke about affections, ones, conrenaissance composer; sidered improper by the the renaissance so the whole argument so the was improper by composer; argument was carried out out on two levels that did carried levels that did not not even even touch touch each each other. other. of the recitative recitative was intimately The invention of the birth birth connected with with the intimately connected o in which the Camcrata tried to to resuscitate of opera, the Camerata tried the ancient resuscitate the ancient Greek Greek opera, in tragedy. enthusiasm for for ancient ancient music, tragedy. Since opera opera was prompted prompted by by an enthusiasm music, since the revival the classics and since revival of the classics passes a "typical as a renaissance" feature, passes as "typical renaissance" feature, historians of past generations have regarded the opera the as the the last last flowering past generations regarded opera as flowering of renaissance music. To follow follow the the logic of this this specious logic of specious argument, argument, opera opera would come at least or two three generations would at least or three "too late" late" to to fit fit into into the the generations "too It is is this this allegedly picture. "belated" arrival arrival of of the the opera that has has produced picture. It allegedly "belated" opera that produced that music lags the unfortunate theory behind the the other other arts. arts. However, the theory that lags behind However, the preoccupation with ancient Greek music is not an exclusive characteristic is not exclusive preoccupation characteristic of the the renaissance. Medieval treatises treatises literally of with lengthy literally abound with lengthy quotaquotations from from ancient ancient authors authors and religiously tions about the reports religiously perpetuate perpetuate the reports about

6 6

Renaissance Versus Renaissance Music Versus Baroque Baroque Music

7 7 the powers of Greek music; and likewise do the innumerable the magical of the innumerable and likewise music; magical powers music. Enthusiasm baroque books on music. as insufEnthusiasm for is in in itself insufitself as for ancient ancient music music is baroque ficient an indication indication of represent ficient of a a renaissance renaissance attitude to represent desire to as the attitude as the desire in music. affections in music. These ideas renaissance, affections ideas can can be be observed observed in in medieval, medieval, renaissance, and baroque music alike and only the various methods by alike the various methods baroque they only by which they realized give were realized us the key to the specific character of each us the to the specific character of each individual individual give key period. period. The opera the in fact, as one one of of the of the the most most striking serves, in fact, as opera serves, striking examples examples of of extreme affections realization of realization and thus must be regarded in music, affections in thus as be music, regarded as the foremost of the foremost innovations one of baroque era. innovations of of the the baroque era. We know of of perperformances of of Greek tragedies in translation the renaissance translation during renaissance in in tragedies in during the which music was, polyphonic choruses. restricted to to polyphonic choruses. None was, characteristically, characteristically, restricted of these these revivals revivals envisaged of the idea, inconceivable at at the the time, of setting time, of idea, inconceivable envisaged the setting the entire entire tragedy the to music, or, in a manner of speaking, under music. to in a of under music. music, or, tragedy speaking, the introduction The Camerata justified justified the of the continuous recitative introduction of the continuous recitative on the the that music theory his manner music should should imitate imitate the an orator the delivery of an and his orator and theory that delivery of the affections of of moving affections of of the the audience. audience. In In spite of Galilei's Galilei's discovery of moving the spite of discovery of the hymn of the of Mesomedes, the first original of Greek music known at the the of music the first at Mesomedes, hymn original the nature nature of of Greek music time, music was a the Camerata. a sealed sealed book to to the since rime, the Camerata, since its be deciphered. recitative the its notation notation could not be could not In the the invention the recitative the invention of of the deciphered. In a catalytic chimera chimera of of ancient ancient music served only music served the primary function; the only a catalytic function; primary the baroque to represent affections of impulse violence. desire to of violence. impulse came from the baroque desire represent affections the The composers of the Camerata repeatedly insisted on the oratorical of insisted the oratorical composers repeatedly nature of the the recitative-for recitative for example, nature of called it it "speaking in Caccini, who called "speaking in example, Caccini, a speaking music," admitted that that he tried tried "to "to imitate imitate a music," and Peri, Peri, who admitted person speaking person Also Galilei in that the Galilei and Bardi Bardi maintained maintained that the musician musician should in song." should song." Also the orator the affections. affections. The recitative learn learn from the orator how to to move the recitative actually actually the stylized of natural natural speech those of of music. music. fused accents of fused together stylized accents together the speech and those The tendency of poetry finds to merge the disparate elements of music finds tendency to merge the disparate dements poetry and music its mutual assimilation in the the mutual assimilation of architecture and painting, its exact exact paralld of architecture parallel in painting, of architecture provides so many of which baroque many amusing amusing examples. baroque architecture provides so examples. For it to imitate the because absurd imitate the orator renaissance composers it was absurd to orator because the renaissance For the composers that aa speech-song depended on an extra-musical law, that of speech. For them extra-musical of them law, speech. speech-song depended a song-speech rather than than a a speech-song. the the recitative was a the recitative Zarlino, the speech-song. Zarllno, song-speech rather the old old school, to the of the authoritative the fusion fusion authoritative spokesman school, objected objected precisdy precisely to spokesman of in his his Sopplimenti that the the composer of maintained in music and and poetry. of music Sopplimcnti that poetry. He maintained composer insisted of the the fundamust but insisted on the excite the the affections affections of the words, fundaindeed excite must indeed words, of orator the method of the that of of the mental the orator and that the difference between the mental difference fact that that poetry musician. the fact distinct modes modes musician. He emphasized poetry and music had distinct emphasized the

Music in in the the Baroque Baroque Era

of musician who that the the musician be confused, and that not be o imitation should not imitation which which should confused, and is amusing to It is or clown. clown. It emulated a histrion histrion or the orator orator would become a emulated the amusing to renaisthe renais. note before Zarlino, had summarized the before note that that Marsilio Marsilio Ficino, Ficino, long Zarlino, long the orator that sance in which he asserted that the orator and asserted sance attitude attitude in in one in which one of of his his letters, letters, exact reverse of the poet took the musician as their model-as we see, the exact reverse of the the the as took musician as their model see, poet baroque baroque position. position. at this this point, Renaissance of music stand, Renaissance and early stand, at point, concepts of early baroque baroque concepts a clearly opposed. The renaissance artist saw in music a self-contained autonoself-contained autonoin renaissance artist clearly opposed. artist saw in mous art, in music a a to its its own laws. laws. The baroque art, subject baroque artist subject only only to as to words and serving only as musical heteronomous art, subordinated musical art, subordinated to serving only means to a dramatic It should should not that transcended transcended music. music. It not confuse confuse us us to a dramatic end end that that both that concepts were founded on the ancient both renaissance the renaissance and baroque ancient baroque concepts theory: art imitates imitates nature, of both both schools that the the advocates advocates of schools fortifortinature, and that theory: art fied themselves of fied of identical passages from Plato and themselves with with quotations identical Plato quotations passages Aristotle. The imitation of the the "nature "nature of of the the words" formed Aristotle. imitation of formed only the only the springboard both periods method by took off. It is, off. It the method is, again, springboard from which both periods took again, the by the theory which the put into beinto effect effect which constitutes constitutes the the difference difference betheory was put tween renaissance renaissance and baroque. baroque.

The violent attacks against violent attacks against counterpoint by the the Camerata, especially by by Camerata, especially counterpoint by furnish another of the manner in Galilei, furnish another example of the in which baroque authors which authors Galilei, example baroque tried tried to to establish establish their their opposition opposition against against the the renaissance renaissance period. period. The first first composers of of recitatives, recitatives, Galilei, Galilei, Peri, Peri, and and Caccini, Caccin~ all all attest attest to to the the stimustimucomposers lation lation they they received received in in regard regard to to the the recitative recitative from from the the musical musical amateur amateur Bardi, Bardi. Caccini Caccini tells tells us us himself himself that that he he learned, learned, in in the the short short years years with with more about "than in music Bardi, about music "than in thirty years of contrapuntal study." It of Bardi, thirty years contrapuntal study." It is true at Caccini is true that, that, at first, first, Caccini did did not not write write in in the the new recitative recitative style, style, but but his his works clearly clearly disprove disprove his his exaggerated exaggerated claim claim of of prolonged prolonged contrapuntal contrapuntal study. The extant extant compositions compositions of of Galilei, Galilei, on on the the other other hand, hand, disclose disclose aa study. skilful skilful madrigalmadrigal- and motet-composer motet-composer who did did not not forego forego the the pleasures pleasures of of contrapuntal contrapuntal fireworks fireworks of of which which the the madrigalists madrigalists were were so so fond, fond, and and which the which the Camerata Camerata despised. despised. On the the evidence evidence of of his his own compositions, compositions, Galilei's Galilei's utter utter contempt contempt for for counterpoint counterpoint reveals reveals itself itself as as an an academic academic pose pose assumed assumed under under the the influence influence of of Bardi. Bardi. Bardi Bardi was was also also responsible responsible for for the the statement the that renaissance sweeping statement that the renaissance was the age of counterpoint, the was the of sweeping age counterpoint, the the the of art of In baroque the age of the art of singing. In modified form this distinction has modified this distinction has age baroque singing. survived survived to to the the present present day day in in the the opposition opposition of of counterpoint counterpoint and and harharlllQny, or or polyphony polyphony and and homophony. homophony. mony,

Renaissance Versus Versus Baroque Baroque Music Music Renaissance Bardi's definition definition of of the the renaissance renaissance as as the the age age of of counterpoint counterpoint pure pure Bardi's simple ignored ignored an an essential essential part part oof simple

9 9

and and

its musical musical literature. literature. The contrast contrast between contrapuntal contrapuntal and and note-against-notc note-against-note writing writing existed existed in in the the renaisrenaisbetween sance just just as as strongly strongly as as in in the the baroque. baroque. This This contrast, contrast, moreover, moreover, was sance recognized by by renaissance renaissance theorists, theorists, and and one one glance glance at at the the masses masses of of Josquin Josquin recognized shows how consciously consciously it it was employed. employed. Actually Actually both both eras eras had had in in comcomshows the conflict conffict of of contrapuntal contrapuntal and and chordal chordal textures; textures; they they differed, differed, howhowmon the ever, in in its its solution. solution. The renaissance renaissance solved solved the the problem problem by by part-writing part-writingever, that is, is, by by aa set set of of balanced balanced voices voices of of almost almost equal equal importance, importance, regardless regardless that of the the texture. texture. Thus the the chordal chordal and and contrapuntal contrapuntal sections sections of of aa renaissance renaissance of by the the underlying underlying principle principle of of part-writing. part-writing. composition were were united united by composition Similarly, the the baroque baroque cannot cannot be be called called the the age age of of harmony harmony pure pure and and Similarly, simple. baroque found the solution of the conflict in a interThe found the solution of the conflict in a new interbaroque simple. penetration of of contrapuntal contrapuntal and and harmonic harmonic strands strands which which led led finally finally to to the the penetration fusion of of functional functional harmony harmony and and linear linear counterpoint counterpoint in in Bach's Bach's works, works, fusion the crowning of baroque baroque music. music. the crowning monuments of its

STYLISTIC COMPARISON BETWEEN RENAISSANCE

AND BAROQUE MUSIC The foregoing critique of renaissance and baroque baroque theorists their theorists and their of renaissance foregoing critique a in nutshell makes attempts to formulate the contrast of the periods in a nutshell plain the to the contrast of formulate plain periods attempts us a true picture. why the the generalizations the time not give give us picture. The a true of the time do not why generalizations of advocates of grind and bothered bothered little little about about axes to to grind their axes of both both schools schools had their advocates inconvenient however, that that their their generalizaIt must be admitted, must be inconvenient facts. facts. It admitted, however, generalizaas sources tions of truth, and can serve as excellent sources for excellent for can serve a grain of contain a tions contain truth, grain the understanding the trend of prevalent ideas that prompted the change from that ideas the of trend change prompted prevalent understanding little sources would be of of little of these one these sources the other. other. Yet the the study to the one period study of period to of the value if it were not complemented by a rigorous stylistic analysis of the value if it were not complemented by a rigorous stylistic analysis theoretical and practical compositions of both theoretical themselves. The findings practical findings of compositions themselves. a at arrive in to studies each other in order to arrive at a genuine other order each be checked must be checked against studies must genuine against the the understanding of the inherent traits of either period. In the following, In either of traits the inherent of following, the period. understanding will outstanding structural features of renaissance and baroque music will be renaissance of features structural baroque outstanding briefly a comparative to a submitted to analysis. briefly submitted comparative analysis. The most between renaissance renaissance and baroque difference between most striking baroque music striking difference also Berardi drew comes in the treatment of dissonance, to which also Berardi to of in the treatment to light comes to dissonance, light the touchstone is indeed indeed the treatment is attention dissonance treatment his books. books. The dissonance in his attention in counterin harmony of contrast, and it is here that changes it is here that of the the stylistic harmony and counterchanges in stylistic contrast, disall disIn renaissance renaissance music all point themselves most conspicuously. manifest themselves conspicuously. In point manifest

io 10

Music Music in in the the Baroque Era Baroque Era

sonances sonanccs came came either on the either in in passing the weak weak beat as suspensions or else else as on the beator the passingon suspensions on voices was beat. The harmonic result of the combination of voices was constrong constrong beat. The harmonic result of the combination of a conjunction of intervals rather than than as as the the unfolding ceived ceived as as a intervals rather of one one conjunction of unfolding of of the renaissance was diametrically chord. This intervallic the renaissance was chord. This intervallic harmony of harmony diametrically opopposed to the chordal harmony of the baroque. If harmony the the If to chordal of was chordally harmony harmony was posed baroque. chordally it became a dissonant dissonant note conceived, became possible to introduce introduce a note against the conceived, it possible to against the such was clearly chord at at any that the chord as as such chord the chord outlined. time, provided any time, provided that clearly outlined. The bass, which in in baroque the chords, music supplied thus enabled enabled the the chords, thus bass, which baroque music supplied the voices to form voices to form dissonances more freely than before. The resolution upper dissonances than before. resolution freely upper the dissonance of of the dissonance could could be be effected effected by the dissonant dissonant voice voice to to the the by leading leading the next chord next either downward or upward motion. This alternative chord tone tone by cither or by upward motion. This alternative illustrates the the new melodic melodic freedom freedom of of baroque illustrates which was was no no music, which baroque music, to the the renaissance renaissance rule rule to to resolve all dissonances longer descendresolve all dissonances by descendlonger bound to by ing ing motion. is obvious It is that the obvious that the treatment treatment of of dissonance It dissonance in in the the renaissance renaissance put put severe restrictions restrictions on the the harmonic harmonic rhythm, severe that is, the change of harmony is, the rhythm, that change of harmony unit of of time. time. In In a a fast fast harmonic per harmonic rhythm the renaissance renaissance composer could per unit rhythm the composer could use any and for hardly time for this this reason reason all all fast fast sections sections in in triple dissonances, and hardly use any dissonances, triple time out for stood out for the the sparseness of stood of dissonances. The dissonance treatment of dissonances. dissonance treatment of sparseness not music not only permitted a fast harmonic rhythm, but supplied baroque a fast harmonic rhythm, but supplied baroque only permitted the for the the main technical technical means for the affective of the affective style the recitative. recitative. The The old old style of dissonance in baroque dissonance treatment treatment was conserved conserved in baroque music music only in the domain in the domain only of stile antico* antico. Since Since the the stile stile antico antico was was bound bound up up with with church church music, music, of the stile the the absence absence of of modern dissonance dissonance treatment treatment was was interpreted interpreted by by baroque baroque musicians musicians as as typical typical of of the the sacred sacred style. style. Berardi Berardi criticized criticized renaissance renaissance music music from from the the viewpoint viewpoint of of this this new standard standard and and declared declared renaissance renaissance music music to to be be inferior inferior to to baroque baroque music music because because there there was, was, as as he he says, says, "little "little or no difference difference in in style style between between aa motet motet and and aa madrigal." madrigal." Here Here lies lies the the or no root opposition between between the the sacred sacred and and the the secular secular in in music. music. The The root of of the the opposition misleading idea idea that that aa certain certain style style is is in in itself itself more more proper proper for for the the church church misleading than than any any other other came came forth forth in in the the style-conscious style"

among the the many many forward-looking forward-looking details, details, aa hint hint of of the the stole stile concitato concitato on among "fury" 5d 159 may may be be mentioned. mentioned. word "fury" particular interest interest is is the the distribution distribution of of recitative recitative and closed closed musical musical Of particular

the the

forms. All All highly highly dramatic dramatic events, events, such such as as the the rescue rescue and the the subsequent subsequent forms. affective loss of of Euridicc Euridice are are composed composed as as recitatives recitatives in in heated heated affective harmonies harmonies loss over over

static basses, and, and, whenever whenever dramatically dramatically necessary, necessary, Monteverdi Monteverdi did did

static basses,

69 CE XI, 125. "0220,125.

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Music in in the the Baroque Baroque Era

not hesitate violent and abrupt characters against one another to set set the the characters another by not hesitate to by violent abrupt against one key changes for which the messenger scene furnishes memorable examples. the scene furnishes for which key changes examples. messenger affected by The main vocal by the the forms are the strophic vocal forms are the often strongly song, often strongly affected strophic song, with canzonetta one may and the the strophic canzonetta style, Either one variation. Either may appear style, and appear with strophic variation. de r6sistance resistance Possente ritornelli between piece de between the the stanzas. Possentc ritornelli stanzas. Only in Orfeo'8 Orfeo's fiice Only in spino,fJO aa masterpiece variation, do do instruments of fivefold instruments fivefold strophic spirto* masterpiece of strophic variation, actually support the singer-in the first four variations in a vivacious conin a the vivacious in the first four variations conactually support singer cerlato and in the final one in simple chords. The score preserves score ccrtato dialogue, and in in chords. the final one dialogue, simple preserves this aria aria in in two the other this one without two versions, the one without embellishments, other with with embellishments, the versions, the all the the coloratura the art art of all gorgia illustrating coloratura ornaments the gorgia of singing ornaments of of the of illustrating the singing of the the time time better are no no da-capo better than than any theoretical discussion. discussion. There There are arias any theoretical da-capo arias in in the the only the entire entire opera, at a a return in a a short hint at return occurring short canzonetta, canzonetta, only hint opera, the occurring in the phrase structure of which can hardly be called a da capo proper. a the ternary which can be called da structure of ternary phrase hardly capo proper. More than instrumental interludes are skil£ully than a a dozen dozen independent interludes instrumental are independent skilfully the drama, integrated moments, of which which recur recur at at strategic into the four of drama, four integrated into strategic moments, even in in changed sometimes sometimes even orchestration. The linking-together of scenes scenes changed orchestration. Unking-together of the same music has has been by been compared, not too with the the same music too happily, by the compared, though though not happily, with psychological nature Wagnerian the psychological leitmotiv technique, nature of of which which is is worlds worlds Wagnerian leitmotiv technique, the apart Monteverdi. The numerous numerous ritornelli ritornelli of of the the arias arias and and dance dance apart from Monteverdi. for songs, which give ample room for ballets, move in steady rhythms and at in and at ballets, songs, give ample steady rhythms in typical times in hemiola times hemiola patterns, not recognized by the modern editors of not the editors of typical patterns, recognized by the Orleo score. The harmonies harmonies of of the the instrumental the instrumental sections sections are are free free from from Orfco score. the chromatic chromatic ventures ventures of of the the vocal vocal style, the but display clashes between between style, but sharp clashes display sharp stern harmonic harmonic progressions stern the passing tones or or appoggiature of the the progressions and the passing tones appoggiature of stark simplicity of Monteverdi's melody. can best Monteverdi's instrumental instrumental style can best melody. The stark simplicity of style described as be as elemental. elemental. It be described It involves involves nothing more than than a a change of nothing more change of orchestration or or the the sudden entry orchestration of a new continuo instrument, used with of a continue entry instrument, used with effect in in the messenger scene. the messenger profound scene. profound effect the narrow ideals of of the the Florentine Transcending narrow ideals Florentine purists Monteverdi in in Transcending the purists Monteverdi his Orleo set the the future future course course of of the the opera. his next work, Arianna (1608), Orfco set work, Arianna opera. His next (1608), lost except is lost for the the celebrated celebrated lamento lamento which is provoked many which provoked except for many imitations; imitations; himself arranged it not not only Monteverdi himself as a a madrigal, but also also as as a a sacred sacred arranged it only as madrigal, but Peri was chosen chosen to to compose contrafaaum. the recitatives for Ariannr.;-a the recitatives for contrafactum. Peri AriannctVi compose choice in in view of of the the stylistic significant between the the two two composers. significant choice stylistic affinity affinity between composers. success of of the the Or/eo, The resounding which made its its composer famous resounding success Orfeo, which composer famous one stroke, with one is reB.ected reflected in in its its influence with influence on on subsequent stroke, is subsequent operas, operas, especially especially 61 Gagliano's Dfljne (160]) Dolente.fJ2 Using Belli's Or/eo a revised Gagliano's Dafne revised (1607) 61 and Belli's Orfeo Dolente Using a 10 CE XI, XI, 84-100. 84-100. 61 Eitner see also also Einstein, SAort 81 Eitner PAM 10, History. Example Short History. 10, see Example 2424. 62 IS Ricmann HMG 2:2, 288. 2:2, 288. 60

PAM Riemann HMG

Einstein.

Early Baroque Baroque in in Italy Italy Early

61 61

version version of of Rinuccini's Rinuccini's

Dafne Gagliano Gagliano composed composed the the fight fight with with the the dragon dragon Dafnc ensemble ensemble with with synchronized synchronized action, action, minutely minutely prescribed prescribed in in the the to the opera. Gagliano was very fond of dishighly illuminating preface disto the of fond was highly illuminating preface opera. Gagliano very sonant (Ex. 15) IS) which sonant cadential cadential formulas formulas and and simultaneous simultaneous cross-relations cross-relations (Ex. as as aa choral choral

15. Marco da Gagliano: Gagliano: Duet Duet from from Dafnc. Dafne•

Ex. Ex.

15.

• fI

: OJ

nOD vil vII non

prp pre

• gioancor gl'!jlDcor

sf .

~te~

ster-mi

liar

r I~-~e

r' Xcoswr· eru·

remained exemplary exemplary for for middle middle baroque baroque composers composers as as late late as as PurcelL Purcell. remained surpassed Monteverdi Monteverdi in in harmonic harmonic boldboldCertain sections sections in in Belli's Belli's Orfeo Certain Orfeo surpassed 63 the daughter ness, but but neither neither Belli Belli and and Gagliano, Gagliano, nor nor Francesca Francesca Caccini, Caccini,6s the daughter of the the singer, singer, and and the the Bolognese Bolognese Giacobi Giacobi were were able able to to sustain sustain in in their their operas operas of the dramatic function of the music as firmly as had Monteverdi. dramatic of the music as as had Monteverdi. function the firmly

ness,

Mter the the flowering of the the opera opera in in Northern Northern Italy Italy the the leadership leadership passed passed After flowering of to Rome, Rome, and and nearly nearly twenty twenty years years later later to to Venice. Venice. It It is is customary customary after to divide the early early operas operas into into three three groups, groups, the the Florentine Florentine recitative recitative opera, opera, to divide the terms kst two The solo opera. last terms the Roman chorus and the Venetian the Venetian solo chorus opera, the opera. opera, in less if conspicuous, traits important less in stylistic than describe only external, traits if describe only external, stylistic than important conspicuous, an also formed chorus in respect. The chorus also integral part part of of in sociological integral sociological respect. to suffices to define absence hardly or absence hardly suffices define Monteverdi's its presence Monteverdi's Or/eo Orfeo and its presence or In the the sumptuous opera the the the the types. between the difference between the difference sumptuous Roman opera types. In of emphasis shift of was by a shift dramatic of the recitative weakened recitative the of dramatic importance emphasis by importance accident did the not by from musical spectacle, the grand drama to to the the drama from the by accident spectacle, and not grand musical in the as be seen in in as can be the display of vocal virtuosity become an end in itself, vocal itself, of virtuosity display 64 Vittori. Galatea 64 by the castrato-composer Loreto Vittorio spectacular opera La the Galatea castrate-composer by spectacular opera to arias, its structural structural function to The arias, elaborate recitative gradually The recitative yielded its gradually yielded of a-cappella but dance songs. static choruses, but static a-cappella ballets, and dance appearance of choruses, ballets, songs. The appearance of the Roman conservatism. in the opera is telling sign of madrigals is a a the in telling sign opera madrigals his opera to his the preface Domenico in the admitted in Mazzocchi frankly Domenico Mazzocchi opera Catena preface to frankly admitted w tcdiousness of the the tediousness "to break break d' Adone (1626) 65 that he inserted arias the arias "to he inserted that d'Adonc (1626) the affective affective at times the reached only recitative"; the recitative recitative reached a result result the as a only at recitative"; as sceeo heights of the Florentine opera and adumbrated occasionally even the secco Florentine occasionally opera heights of the bel-canto recitative of the middle baroque bel-canto style. recitative of the middle baroque style. after 1620 to

68 See in di Ruggi~o 88 Ubcrazionc di ballet La Lib~azione her ballet See her Ruggiero in e* Excerpts in 84 Goldschmidt Studien, Studien, I, I, 273. 273. Excerpts in Goldschmidt 8&

ib. 155.

VIL SCMA VII.

Music Era in the Music in the Baroque Baroque Era

6e in the Landi's the Sant' Alessio was pedormed Alessio (1632) Landi's important performed in (1632) 88 was important opera opera Sant' It belonged, Bernini. It new of the the Palazzo Palazzo Barberini Barberini with sets by with sets new theater theater of by Bernini. belonged, on sacred with sacred numerous operas to the the numerous with Erminia Erminia 67 by Rossi, to operas on Michelangelo Rossi, by Michelangelo served as subjects, very characteristic of Rome, where the aristocratic clergy served as aristocratic of the characteristic where Rome, clergy subjects, very was the Marchese the of music. Significantly, Landi's librettist was the Marchese librettist main patron of music. Landi's the main Significantly, patron IX. the future future Pope Clemens IX. Rospigliosi, Pope Clemens Rospigliosi, the the sonorous The 88-actually for the sonorous canzonas for Sant' Alessio The sinfonie sinfonie in in Sant' Alcssio** actually canzonas combination reinforced continuo-mark combination of of three three violins reinforced continue mark an violins and an and aa heavily heavily important step in the evolution of an independent opera overture. Landi in an overture. the of evolution Landi important step independent opera the action which displayed framed the action by choruses which by big eight-voice choruses displayed pompous big eight-voice pompous in a a remarkable polyphony. His recitatives, remarkable pathetic written partly recitatives, written polyphony. His partly in pathetic Florentine Florentine style, secco style, were frequently in a a tentative tentative secco style, partly style, were frequently interrupted partly in interrupted the ensembles by and novel novel ensemble ensemble recitatives. recitatives. Among ensembles the the duets, trios, trios, and by duets, Among the notice for its mournful mournful trio on the death of of St. St. Alexis Alexis deserves deserves special trio on the death notice for its special combination of poignant harmonies with great flexibility of line. As combination of poignant harmonies with great flexibility of line. As in in most most Roman operas, with dance comic scenes scenes with dance songs and ariettas ariettas in in can· canoperas, comic songs and zonetta zonctta style scattered throughout were scattered the acts, in keeping with the the idea idea acts, in style were throughout the keeping with of entertainment. of the stereotyped comic servants of the entertainment. In In these the these episodes comic servants of the episodes stereotyped arte were With their parlando commedia dell' dell'artc were first first introduced introduced into into the the opera. their parlando opera. sections and their sections their flippant with amazing flippant dialogue dialogue they they anticipate anticipate with amazing clarity clarity the tone tone of of the future op the future era buDa the opera 16). buffa (Ex. (Ex. 16). 6 instrumental and vocal duced vocal between instrumental contrast between dimensions. The contrast smaller dimensions. to smaller duced to

not yet idioms, between solo ensemble and chorus, solo ensemble that between also that and also chorus, not clearly yet clearly idioms, and exMonteverdi. observed with Monteverdi. He awith in Gabrieli, observed in Gabrieli, became more pronounced pronounced tried conccrtato perimented with all elements of the grand concertato and even tried of the elements with all the the grand perimented In his his vespers, cantus (irmus. of cantus to the traditional vespers, traditional use use of with the them with combine them to combine firmus. In reare set the tones designated as sopra cant, ferm" the psalm tones are set with amazing recantt as amazing jermi, psalm sopra designated a six-part adiuvandum sourcefulness. Domintls ad adiutlandum a chorus Dominus ad the psalm In the sourcefulness. In six-part psalm six instruinstrufashion while six sustains in simple chord in a D-major sustains a declamatory fashion simple declamatory D-major chord of short-winded a dazzling ments chord with with a static chord the static dress up ments dress dazzling network of up the in the coloristic imitations coloristic purpose. Also in the serve a a purely to serve are made to that are imitations that purpose. Also purely the use ten-voice Nisi Dominus for two choruses he made imaginative use of the he choruses two for Dominus ten-voice Nisi imaginative note in the open by the plainchant structure by the structure work and and supported long note plainchant in long supported the open work its sumptufor its values. Sancta Maria, "sonata" Sanda Maria, noteworthy The formidable formidable "sonata" values. The sumptunoteworthy for varied in cantus ous presents a psalmodic cantus (irmus. repeated in varied a ous orchestration, firmus, repeated orchestration, presents psalmodic chorus. rhythmic shapes by a unison chorus. unison rhythmic shapes by a conccrtato the grand in the The firmus treatment all but but disappeared treatment all cantus firmus The cantus grand concertllltJ disappeared in

in the Music in the Baroque Baroque Era

after Venetian followers, His Venetian Monteverdi. His after Monteverdi. Grandi, Merula, followers, Pellegrini, Merula, Pellegrini, Grandi, Rovetta, even such as Neri such late Neri and Monlate composers Donati, and even Rovetta, Usper, composers as Usper, Donati, ferrato, with textual to be too much concerned concerned with textual representation be rewere too referrato, were representation to a cantus firm us. Only intonations and short stricted the shackles of a shackles o cantus intonations the stricted by short firmus. Only by in contrapuntal quotations the chant chant were sometimes sometimes presented of the fashion. presented in contrapuntal fashion. quotations of In other constructive methods intruded into other the absence of cantus cantus firmus constructive In the absence of intruded into firmus church the strophic church music, the ostinato, variation. This This practice ostinato, and the music, notably notably the strophic variation. practice is chaconne Mass, Donati's set illustrated by Merula's chaconne set of of fifteen is illustrated fifteen Mass, and by by Merula's by Donati's Masses motets The Masses could no longer be designated the same bass could motets on the bass (1629). be longer (1629). designated by the plainchant or the the model from which they been derived, derived, they had formerly by the formerly been plainchant or the special but their titles tides from the occasion for for which they but received received their were comcomspecial occasion they were posed. the word manifested of the the music on the manifested itself itself in in the the dependence of posed. The dependence the declamatory the fact that that the of fact rhythm of the word usually generated the rhythm the usually generated declamatory rhythm rhythm contrast motives. of the motives. the contrast of

the center While Venice was the the center of of progress in sacred sacred music, was the music, Rome was progress in traditionalism. The followers followers of traditionalism. of the the Roman school school such such as as Paolo Paolo Agostini, Abbatini, Benevoli, Domenico and Virgilio Mazzocchi, Agostini, Abbatini, Benevoli, Virgilio Mazzocchi, Crivelli took Massaini, and Crivelli took over polychoral style the Venetian the polychoral over the of the Venetian school, Massaini, school, style of but but expanded expanded it it to to unprecedented unprecedented dimensions dimensions in in compositions compositions for for four, four, six, sometimes even even twelve twelve and more choruses choruses that that have have justly justly been been six, and sometimes called called the the "colossal "colossal baroque" baroque" in in analogy analogy with with the the architecture architecture of of the the time. time. The colossal colossal baroque baroque attempted attempted to to graft graft the the polychoral polychoral techniques techniques of of the the grand concertato concertato on the the stile stile antico. antico. The resulting resulting hybrid hybrid style style was was typical typical grand of of the the Roman conservatism. conservatism. The profusion profusion of of vocal vocal and and instrumental instrumental means, means, the the innumerable innumerable echos, echos, solos, solos, and tuttis, tuttis, reflected reflected the the pomp pomp of of the the church church ritual ritual in in the the counter-reformation, counter-reformation, but but the the affective affective spirit spirit of of the the Venetian Venetian concertato concertato was conspicuously conspicuously lacking. lacking. The inner inner fervor fervor of of Gabrieli Gabrieli was was exexternalized ternalized to to technical technical virtuosity. virtuosity. It It is is symbolic symbolic for for the the subordination subordination of of the the liturgy liturgy to to the the display display of of glamour glamour that that the the chorus chorus no no longer longer had had its its traditional traditional place place near near the the altar, altar, but but was was distributed distributed in in the the lofts lofts and and balbalconies conies that that baroque baroque church church architecture architecture supplied supplied in in abundance. abundance. Rarely Rarely again have have music music and architecture architecture been been as as closely closely associated associated as as in in the the again baroque period period where where space space as as such such became became an an essential essential component component of of baroque musical musical structure. structure. Benevoli's Benevoli's polychoral polychoral Mass Mass for for fifty-three fifty-three parts, parts,78 '18 commissioned commissioned for for the the of the inauguration of the Salzburg cathedral, bears testimony to the stupendous inauguration Salzburg cathedral, bears testimony to the stupendous

bulwark of of

TI DTOeX(voL2o). DTOe X (voL 20).

Early Baroque Baroque inin Italy Italy Early

facility of spatial dispositions and, and, atat the the same same time, time, the the inflation inflation of of two for essentially modest music to mammoth dimensions. It is written for two essentially modest music to mammoth dimensions. It is written eight-voice choruses, each with a continuo, and six instrumental ensembles, eight-voice choruses, each with a continue, and six instrumental ensembles, two for for strings, strings, one one for for wood wood winds, winds, and and three three for for brass brass instruments. instruments. two Floridensembles ensembles for for the thesoloists, soloists, carefully carefully marked marked asas "solo" "solo" are areset setagainst against Florid ripieno sections, usually, though not always, distinguished by choral not choral ripieno sections, usually, though always, distinguished by which The Mass Mass isis held held together together by by aa master master continue continuo which chordal texture. texture. The chordal readily discloses how simple the underlying chord progressions actually chord the how discloses actually underlying progressions simple readily are. As As aa matter matter of of course course the the colossal colossal baroque baroque made made even even more more extensive extensive are. use of of octave octave doublings doublings than than the the Venetian Venetian model. model. This This practice practice constituted constituted use was and a definite break with the tradition of renaissance music and was specifically music of renaissance a definite break with the tradition specifically approved by Viadana and other theorists of the time. approved by Viadana and other theorists of the time.

facility of spatial dispositions

The colossal colossal baroque baroque represented represented the the concession concession of of Roman Roman traditiontraditionThe alism to to the the modern modern trend. trend. The staunchest staunchest conservatives conservatives among among the the comcomalism name the under music posers perpetuated a living tradition of renaissance under the name of renaissance a tradition living posers perpetuated of stile stile antico, antico, aa term term that that in in itself itself implied implied the the awakening awakening of of aa historical historical of In the detachment from the current stile concertato. In the struggle between stile concertato. struggle between detachment from the current the more tradition and progress the the old the symbol symbol of of became more and old style and progress tradition style became music to renaissance music churchliness; was originally connotation was this connotation foreign to originally foreign churchliness; this the modern style. to the and arise in conscious reaction to early style. As early could only and could only arise in conscious reaction model infallible of as Agazzari, Palestrina was raised to the dignity of an infallible model. the to was raised as Agazzari, Palestrina dignity Felice and Giovanni Anerio, Anerio, Palestrina's and successors, emulators and direct emulators successors, Felice Palestrina's direct as masters later such also such later masters as Giovanelli, and Allegri, Nanino, and Allegri, and also Soriano, Nanino, Giovanelli, Soriano, model by their model transformed their Pier and Simonelli Simonelli slowly by applying applying Valentini and Pier Valentini slowly transformed the which time the the harmonies and accentuating rhythms of the time which distinguish the of and distinguish the harmonies accentuating rhythms of works The Lasso, stile antico from the real Palestrina style. The works of Palestrina, Lasso, Palestrina, Palestrina stile antico from the real style. form "enriched" form in "enriched" now printed were now and of the old school were printed in other composers and other composers of the old school were Mass Marcellus Mass were subjected the Marcellus like the with subjected famous pieces and famous with continuo, continue, and pieces like double chorus, for double Miserere chorus, to Allegri's celebrated Miserere for celebrated various arrangements. to various arrangements. Allegri's the to long a well-guarded secret of the Sistine chapel, belonged to the declamatory Sistine the declamatory of secret belonged chapel, long a well-guarded Its the renaissance. renaissance. Its chordal of falso-bordone, very popular during the chordal type type of falso-bordone, very popular during such as but the to not was due not to the composition as such but magical effect on the audience due the audience was composition magical effect on carewas carethat was custom that a custom to embellishments, a embellishments, with improvised rendition with its rendition to its improvised of both of Mendelssohn, even of and even Mendelssohn, both of fully preserved to Mozart and of Mozart time of the time to the fully preserved that Emperor whom from memory. Emperor down from story that them down Burney's story wrote them memory. Burney's whom wrote from favor a as Leopold ~Iof Austria, who received the composition as a special favor from the received who special composition Leopold of Austria, the because true be well Rome, with the music, may well be true because the was disappointed Rome, was disappointed with the music, may

Era Music in the the Baroque Music in Baroque Era

"essentials," not written down. The excessive were not written down. the ornaments, excessive ornaments, were "essentials," namely namely the of the wide ornamentation, the sustained chordal effects, the wide range of dynamics, sustained chordal the effects, ornamentation, dynamics, range traits of and harmonic approach to polyphony and the of the essentially typical traits approach to polyphony were typical essentially harmonic of the re-interpretation of renaisthe baroque that demonstrated demonstrated the renaisthe stile stile antico antico that baroque re-interpretation learned cantus cantus firmus sance firmus treatment, with learned as clearly as the the parading sance music music as treatment, clearly as parading with Pier Valentini Valentini proved contrapuntal and colossal canons. Pier colossal canons. stunts, puzzles, proved contrapuntal stunts, puzzles, and for ninety-six voices which Kircher a canon his in a canon for learned showmanship Kircher his learned ninety-six voices showmanship in admiringly Musurgia. in his his Musurgia. admiringly printed printed in The progressives of the seventeenth seventeenth and and eighteenth the of Montecenturies, Monteeighteenth centuries, progressives Alessandro verdi, Turini, Landi, Cifra, Schu.tz, Alessandro Scarlatti, Durante, Scarlatti, Durante, Lotti, verdi, Turini, Landi, Cifra, Schiitz, Lotti, with skill skill and taste. taste. It It was not in stile stile antico antico with and Marcello Marcello also also wrote wrote in not a a sign sign of the the polarity of a natural natural outgrowth but a of creative creative eclecticism, of styles eclecticism, but outgrowth of polarity of styles the baroque which period. Monteverdi Monteverdi showed which prevailed showed his his baroque period. prevailed throughout throughout the in his of the the prima his polyphonic complete prima frattica prattica in polyphonic Mass on motives motives complete mastery mastery of resuscitated the the old old parody of a motet or paraphrase of a motet by by Gombert which resuscitated parody or paraphrase time an extinct form. It Mass, by this time an almost extinct form. It survived in the baroque era era this almost survived in the Mass, by baroque only in such isolated examples as Bernardi's Mass on Arcadelt's famous isolated as in such Bernardi's Mass on Arcadelt's famous only examples dolce dgno. madrigalll bianco ee dolce cignO.T9 // bianco madrigal choral sonorities The discovery of choral essentially vocal stile antico sonorities in in the the essentially vocal stile antico discovery of to the formed the the logical complement to the discovery discovery of in instrumental idioms idioms in of instrumental logical complement the concertato style. style. Not by by coincidence coincidence did did the the a-cappella a-cappella ideal ideal originate originate the concertato of the in in the the realm realm of the stile stile antico. antico. The term term "cappella" which denoted denoted with with "cappella" which Gabrieli merely aa vocal vocal or or instrumental instrumental tutti, tutti, acquired acquired now the the special special Gabrieli merely "not accompanied meaning "not by instruments" instruments" in in pointed pointed opposition opposition to to the the meaning accompanied by concertato concertato style. style. Symptomatically, Symptomatically, this this meaning meaning of of the the term term originated originated only only in in the the first first decades decades of of the the seventeenth seventeenth century. century. A collection collection of of Masses Masses by by Ghizzolo Ghizzolo (Venice, (Venice, 1619), composed parte parte aa cappdla, cappella, parte parte da da concerto, concerto, is is 1619), composed one one of of the the earliest earliest examples examples of of the the deliberate deliberate juxtaposition juxtaposition of of the the two two styles. styles. Curiously enough, enough, the the a-cappella a-cappella performance performance did did not not necessarily necessarily preclude preclude Curiously an organ organ continuo, continuo, which which was, was, however, however, often often only only optional. optional. Monteverdi, Monteverdi, too, contrasted contrasted in in his his Mass Mass (1650) (1650) and and in in the the Selv Selvaa morale morale a-cappella a-cappella with with too, accompanied concertato concertato sections, sections, while while Turini, Turin~ Landi, Landi, and and many many others others accompanied observed observed the the stile stile antico antico in in strict strict a-cappella a-cappella Masses, Masses, thus thus designated designated on on the the tide-page. tide-page. It It is is not not surprising surprising that that the the a-cappella a-cappella ideal, ideal, once once discovered, discovered, should should have have been been attached attached in in retrospect retrospect to to renaissance renaissance music. music. This This interpretation interpretation has has to the but persisted to the present day, but whenever refer to the renaissance as whenever we refer to the renaissance as persisted present day, a the we the "a-cappella period" unwittingly apply apply aa baroque baroque term term with with quesquesa-cappella period" unwittingly tionable tionable implications. implications. "DTOe ftDTOe XXXVI (vol. (vol. 69). 69).

[HAPTER'THREE CHAPTER THREE

in the the Early and Middle Middle Baroque Early and Baroque tn Northern Countries Northern Countries

ENGLISH ITS ENGUSH THE AND ITS SCHOOL AND NETHERLANDS SCHOOL THE NETHERLANDS BACKGROUND BACKGROUND

one pole. N THE of the the baroque formation of THE formation TN only one represented only baroque style Italy represented style Italy

pole.

vocal of vocal in the the development Her was decisive decisive primarily influence was Her influence development of primarily in in decisive was influence Her influence was decisive in was England. The other other pole JL monody. England. Her pole was monody. The from Engwhich spread the abstractinstrumental instrumental style an abstract of an thedevelopment Engspread from style which development of in In land to the Netherlands and from there all over Europe. In England, as all over there and from Netherlands to the land England, as in Europe. almost all other non-Italian countries, the new style emerged almost imperceptibly. all other non-Italian countries, the new style emerged imperceptibly. the and The schools of the madrigalists, lutenists, and virginalists overlap the of schools Thegreat lutenists, overlap the virginalists madrigalists, great The it. The to it. beginnings of the baroque era but do do not not stylistically belong to stylistically belong beginnings of the baroque era but first the belated flowering of the English madrigal explains why only the first belated flowering of the English madrigal explains why only to said can be andMorley) generation of madrigal composers (Byrd and repreMorley) can be said to repregeneration of madrigal composers (Byrd and sent renaissance style, while in the second (Weelkes and Wilbye) second the in while renaissance Wilbye) sent aa pure (Weelkes style, pure Orlando Gibbons) and Orlando and in the third thirdgeneration Gibbons) and especially (Tomkins and generation (Tomkins especially in the of the undercurrents thatparallel thesurface surfacethat came toto the undercurrentscame developmentof rapid development parallel the rapid that characteristicthat the toMonteverdi. Monteverdi.ItItisischaracteristic fromMarenzio Marenzioto Italianmadrigal theItalian madrigalfrom excontinue the to none of the madrigalists took the final step to the continuo madrigal, final the took the madrigal,exof none step madrigalists cept Porter, the pupil of Monteverdi. of Monteverdi. cept Porter, the pupil Dowland with John blossom with The which began lutenists which John Dowland of lutenists school of Theschool begantotoblossom haserroneously (1597) as suddenly as ititwithered withAttey witheredwith erroneously 1622)has Attey(Ayres, (Ayrcs,X622) (i597) as suddenly as of been regarded as an "entirely original" prefiguration of monody EngmonodyiniaEngbeen regarded as an "entirely original" prefiguration name eventhe thename implies, aseven land. "ayre" was in as dependent infact, was dependent TheEnglish land.The fact, implies, "ayre" English ofwhich whichisisproved on thegreat many decour, byaagreat greatmany airde theair onthe provedby cour,the popularityof greatpopularity transin or French English editions, either in the original French (Tessier, 1597) or in transthe in either (Tessier, 1597) original English editions, ditties their with lation French Court-Ayres with their ditties Englished, 1629). Englished,X629). lation (Hilton: (Hilton: French Court-Ayrcs incomcomhad Although the ayres were solo songs they had stylistically nothing in solo were the nothing stylistically they songs ayres Although alternawerethey mon coincidencewere notby andnot withmonody, theypublished publishedininalternamonwith bycoincidence monody,and I

Music in the Music in the Baroque Era Baroque Era

tive part songs. Musical Banquet Banquet solos or In the the Musical tive versions as accompanied or part versions as accompanied solos songs. In in (1610) by Robert Dowland (the son of John) the difference in style son of the bedifference style be. (the John) (1610) by Robert here English tween comes clearly to light; find here and monody tween ayre ayres clearly to English ayres monody comes ayre and light; we find It side side with Spanish and Italian monodies. It is, however, significant and Italian monodies. side by side with however, is, significant by Spanish a written-out viol accom· that here with with a written-out lute lute and viol accomlatter are are supplied that the the latter supplied here * paniment instead of with a continuo 1 which was not yet an established a an was not continue which instead of with established yet paniment a continuo practice removed from from a was far far removed continue style in England. John Dowland was style England. John practice in but by cautious use of of poignant "false" but he he struck cautious use a new and and personal. note by struck a poignant "false" personal note intervals. cares from from A PiZgrimes Solace intervals. One of of his his finest finest songs, nightly cares Pilgrimes Solace songs, Go nightly 2 In (1612.),2 is steeped in deep melancholy like the somber ayre In darkness like the somber let is in ayre darkness let (1612) steeped deep melancholy me dwell other of his songs of death. He justly gave as his motto: his of death. his as dwett and other of motto: and many justly gave songs many frame Dowland achieved a per. Dowland semper a small small frame achieved a dolens. Within Within a persemper doZens. of his could match. £ection that none match. fection of none of his fellow fellow composers of song composers could song writing writing that Among the graceful these the the poet-musician and Rosseter, and Among these poet-musician Campion, Campion, the graceful Rosseter, for his be Danyel, noteworthy for his chromatic ventures, may be especially men· chromatic menventures, may Danyel, noteworthy especially Fain would tioned. tioned. Campion's would II wed (Book which exists no. 24) exists IV, no. ayre Fain Campion's ayre 24) which (Book IV, also in in a also a virginal Richard Farnaby virginal arrangement arrangement by by Richard Farnaby (Fitzwilliam Virginal (Fitzwilliam Virginal. Book) passaItalian influence since it a variant influence since it is is built built on on a variant of of the the fossabetrays Italian Book) betrays mezzo antico ballad tunes. antico which which furnished furnished the the basis basis to to several. several English ballad tunes. English ,

ENGLISH ANTECEDENTS: THE ABSTRACT INSTRUMENTAL STYLE

The mechanical. patterns in music for mechanical patterns in English solo music for keyboard instruments English solo keyboard instruments in ensemble ensemble music and in elements that had music for for consorts consorts were were the the only elements that had a a direct direct only the on the genesis of baroque style. The virginalists excelled in discant bearing of in excelled discant bearing genesis baroque style. virginalists variations of of secular secular tunes tunes and patterned variations variations on on plainsongs, patterned variations plainsongs, ground ground melodies of of the the passamezzo basses, and melodies passamezzo family which all all involved involved a a purely basses, family which purely instrumental cantus ftrmus instrumental firmus technique. popular and popular ballads, dances, dances, and technique. The ballads, to variation songs variation by that bebe.. means of of abstract abstract patterns songs were subjected subjected to by means patterns that came increasingly more complex as the variation progressed. Under the as the variation Under the increasingly complex progressed. flow of of rapid scale passages, How passages, inexorably rhythms, syncopated and rapid scale inexorably repeated repeated rhythms, syncopated and dotted figures, broken octaves, dotted and percussive chord succe:s-succesoctaves, and figures, arpeggios, arpeggios, broken percussive chord sions the the tunes tunes were at at times times completely sions atomized. The typically clavieristic completely atomized. typically clavieristic of this this music manifested manifested itself itself in in the idiom of in which the the the "free-voiced" "free-voiced" style in which style number of of parts not was not consistently maintained. In contrast to the dissolumaintained. In contrast to the dissoluparts consistently * 1 These accompaniments the continuo continue practice of the the accompaniments throw an interesting interesting light light on the practice of time. The collection collection also also contains contains Caccini's Caccini's Amarilli time.. Amari/Ii the the accompaniment of which which accompaniment of us to to correct the the faulty permits realization by in GMB no. no. 173permits us faulty realization by Schering Schering in 173. * Printed in IPrinted in PdJowes, Lutmin Sonlofllrikrs. The En6lish School of Fcllowes, TM English School of Lutcnist Song-writers. ^

Early and and Middle Baroque Baroque in in Northern Northern Countries Countries Early tion tion of of secular secular tunes tunes in in the the variation, variation, plainsongs plainsongs

were were

73 73

left essentially ununThe favorite favorite plainsongs plainsongs included included the the hymn hymn Felix Fdir namque, Miserere, Miserere, and In In nomine, nomine, the the melody melody of of the the Trinity Trinity antiphon antiphon namque, Gloria Gloria tibi tibi which enjoyed enjoyed universal universal favor, favor, from from Taverner Taverner to to Purcell. Purcell.22*& The plainsong melodies melodies served served as as the the scaffolding scaffolding for for great great instrumental instrumental strucstrucplainsong often as dry-as-dust dry-as-dust exercises exercises without without aesthetic aesthetic tures, often wrongly wrongly regarded regarded as tures, importance. Actually, Actually, however, however, they they established established one one of of the the essential essential eleeleimportance. ments of of baroque baroque music, music, namely, namely, patterned patterned figuration figuration that that relied relied on on and the rhythmic consistency the abstract interplay of patterns and lines. These abstract of and lines. These rhythmic consistency interplay patterns specifically instrumental instrumental devices devices mark the the final final emancipation emancipation of of instruinstruspecifically mental music from vocal mental music vocal style. style. The idea idea of of mechanical mechanical severity severity that that underunderlay patterned patterned figuration figuration called called for for aa peculiar peculiar kind kind of of non-expressive, non-expressive, purely purely lay abstract abstract musical musical imagination imagination without without which which the the future future development development of of music would baroque organ music not have been possible. That the imagination not have been That the baroque organ imagination possible. of of Italian Italian and English English composers composers ran ran along along entirely entirely different different lines lines can can be be Peter Philips's Philips's revealing revealing virginal virginal arrangement arrangement of of Caccini's Caccini's madrigal madrigal seen in in Peter seen Amarilli in which he he grafted grafted the the English English abstract abstract figuration figuration on on an an affective affective in which Amarilli 3 monody, certainly not in the spirit of the original,3 in the the not of monody, certainly spirit original. or fancy, fancy, of the virginalists virginalists covered covered aa much wider wider range range The fantasia, of the fantasia, or than the the Italian fantasia; it combined, in in fact, fact, traits traits of of the the Italian Italian ricercar, ricercar, Italian fantasia; it combined, than canzona, paid particular attention to to toccata. The English canzona, and toccata. English composers composers paid particular attention the returns idea, which often actually actually numbered in in the the returns of the main idea, which they the of the they often the exception Byrd, the the virginalists virginalists belonged belonged not not virginal of Byrd, books. With the exception of virginal books. to but to to the Jacobean generation. They comprised late Jacobean the late the Elizabethan Elizabethan but to the generation. They comprised beside Giles Philips three three prominent Bull masters: Bull Giles Farnaby Peter Philips beside Farnaby and Peter prominent masters: (d. the first of the first water, a virtuoso virtuoso of water, Orlando Gibbons (d. 1625), and (d. 1625), 1628), a (d. 1628), the latter latter part Thomas Tomkins (d. part of Bull and Philips, spent the Philips, who spent 1656), Bull (d. 1656). to Sweelinck. the English their style to Sweelinck. transmitted the in the lives in the Netherlands, their lives Netherlands, transmitted style English its Parthenia (16II) The only of virginal collection of (1611) and its virginal music was Parthenia only printed printed collection sequel, Parthenia infliolata, so called because it was supplied with a doubling because it so called Parthenia inviolata, doubling supplied sequel* viol viol part. part. 4 such as as Ferrabosco, The composers for viols,' ensemble music music for of ensemble Ferrabosco, Lupo, viols, such Lupo, composers of Deering, Coperario (or Cooper), Gibbons, Hume, Ward, and East, were Ward, East, Hume, Gibbons, Deering, Coperario (or Cooper), renaisto in to an essentially polyphonic renaisattitude obligated conservative attitude in their their conservative essentially polyphonic obligated for which they sance The chamber consorts for or consorts ensembles or chamber ensembles sance style. they wrote constyle. of sisted of either a "chest" of instruments of one family or a combination of instruments sisted of either a "chest" of family left essentially

touched by by figuration. figuration.

as In the antiphon 2a For the puzzling to the For the the answer answer to antiphon was known as why the question why puzzling question 16. ctu 16. nomine in the Renaissance (in Music in the Renaissance see Reese, nomine see (in preparation) preparation) ch. Reese, Music S* GMB no. Fitzwilliam Virginal no. 174; I, 329329. Virginal Book I, 174; Fitzwilliam 44 For Music. Chamber Music. see Meyer, For examples English Chamber Meyer, English examples see 211

74 74

Music in the Era the Baroque Music in Baroque Era

written withwithdifferent music was written Consort music instruments (''broken different instruments consort"). Consort ("broken consort"). the in the familiar forms of virginal music, notably the fancy, out continuo of out continue in the familiar forms fancy, virginal music, notably the slight and the affected by the by the the dance. dance. Hardly the plainsong elaboration, and Hardly affected slight plainsong elaboration, modernisms madrigal and ayre the first two groups were first and the two were the English of the modernisms of groups ayre English madrigal in viol ensemble with rigidly contrapuntal and retrospective in style. The viol ensemble with its and its retrospective style. rigidly contrapuntal unemotional and particularly suitable suitable for for the the abstract was particularly color was abstract remote color and remote unemotional as Shakespeare a music linear It was "still "still music," of the the fancy. music linear design music," as says, a Shakespeare says, fancy. It design of that played rather be played than listened an audience, that should should be rather than call for that did did not not call for an listened audience, that to from within, not from from without. structure became clear only without. its structure became clear since its to since within, not only from 5 The simple dance music of Brade, IS Thomas Simpson, Harding, Rowe, of dance music Brade, Simpson, Harding, Rowe, simple was Holborne, Edward Johnson, and Dowland, was widely disseminated and Dowland, Holborne, Johnson, widely disseminated of these through since many these composers were active collections since active on on many of composers were through German collections the or single consisted of of varied varied couples, the Continent. Continent. Their Their consorts consorts which consisted or couples, single a considerable dances exerted a influence on on the considerable inHuence the dededances loosely loosely strung strung together, together, exerted velopment of the orchestral suite. Its polyphonic tradition was eagerly purthe orchestral suite. Its tradition of velopment polyphonic eagerly pursued the German masters masters of of the sued by the dance dance suite, Melchior Franck Franck suite, notably by the notably Melchior and Schein. and Schein. ensemble music Mixed ensemble music (for voices and and instruments instruments without without continuo) (for voices continue) enjoyed a great vogue in the first decades of the century. Fua the decades the in first of century. Coperario's enjoyed great vogue Copcrario's Funeral Tears or neral of Mourning, Leighton's Tears or Lamentations, Tears and Songs Lamentations, Songs of Mourning, Leighton's Tears Peerson's Private and Peerson's Musicke (1620) Mottects or Private Musicfe or Gratle Grave Chamber (1620) and Mottects Music (I630) called for for fairly voices and instruments. combinations of of voices instruments. (1630) called fairly large large combinations In Peerson's Private Musicke the obligatory viol accompaniment In Peerson's Private the viol could be be Music^e obligatory accompaniment could a makeshift replaced by a makeshift virginal part, another indication that the continuo another indication the that continuo replaced by virginal part, was not not yet in England. was and its slight texture and yet common in England. With its slight contrapuntal contrapuntal texture of affective occasional hints hints of affective writing, occasional mixed ensemble ensemble music music had had all all the the writing, mixed earmarks of of a a transition earmarks Convivial music was represented by Ravenstransition period. Convivial music was Ravensperiod. represented by croft whose Briefe discourse contained croft Briefe discourse contained songs for "Hunting, songs for "Hunting, Hawking, Hawking, Dauncing, Drinking, and Enamouring." His catch collections, Pammelia, His catch collections, Pammelia, Dauncing, Drinking, Enamouring." Deuteromelia, Melismata, "fitting for the the Court, and Countrey Deuteromclia, and Melismata Court, Citie, Citie, and "fitting for Countrcy of music making Humours," demonstrated the the three three types of music in the the Humours," apdy aptly demonstrated types making in Jacobean Jacobean period. period. t

THE NETHERLANDS: SWEELlNCK SWEELINCK of the the Calvinist The religious north from Calvinist north from the the Catholic Catholic south south religious separation separation of the Netherlands in the Netherlands had profound in repercussions on music. The Calvinists on music. Calvinists profound repercussions 1 see GMB no. no. 156, I For Brade sec: for 156, and Engelke, Musi% am Gottorjer Gottorfcr Hofe Engelke, Musil( Hofe 1927; 1927; for see Paeans ed. by Holborne see Plltlans eeL by Sydney Public Library York Public Beck, New York Sydney Beck, Library 1942. 1942.

and Middle Baroque Early in Northern Northern Countries Countries 75 Early and Baroque in 75 restricted church music ascetically which had music to to the the Huguenot ascctically restricted Huguenot psalter psalter which had the traditional traditional psalms supplanted The main outlet or Souterliedekens. The main supplanted the outlet of of psalms or Souterlicde^ens. musical activity especially the elaboration of instrumental music, the activity was instrumental elaboration of music, especially and secular secular tunes, sacred and sacred found its its greatest master tunes, which found in Jan Pieters Jan Pieters greatest master in Sweelinck He was the first Sweelinck (1562-1621). the first of of the the famous famous quartet of S's S's in in (1562-1621). quartet of early by and Scheidt. early baroque Scheidt. Taught baroque music: Sweelinck, Sweelinck, Schiitz, Schiitz, Schein, Schein, and Taught by in Venice and thoroughly familiar Zarlino in with the the works works of of the the two two thoroughly familiar with Gabriclis and Merulo, Gabridis in his music the modern Venetian in his music the Merulo, he amalgamated modern Venetian amalgamated with the the figurative forms with His intiof the the English figurative techniques techniques of English virginalists. virginalists. His intirelations to mate relations to English music transpire in the the fact fact that that some some of of his his English music transpire in in the the Fitzwilliam pieces Virginal Book; wrote Fitzwilliam Virginal that he he wrote pieces were included in Book; that variations variations on compositions based aa and Philips; that Bull Bull based compositions by by Dowland and Philips; that fantasia on one of his his themes, fantasia and that he in turn quoted one of he that in turn Bull's themes, quoted one of Bull's in canons the theoretical treatise canons in the theoretical treatise he compiled after Zarlino. Zarlino. As organist at compiled after organist at in Amsterdam he was sought the Oude Kirk in by the young as teacher teacher by the young sought as organists of Germany affectionatdy nicknamed nicknamed the the "maker "maker organists Germany where he was affectionately of of organists." organists." The vocal vocal works of of Sweelinck, notably four psalms in the four books books of of psalms in the Sweelinck, notably metrical French translation of Marot metrical translation of Marot and Beza, were still in renaisrenaisstill written written in Beza, were Cantioncs sacrac sance style; the Cantiones sacrae (16I9) called for a continuo. Of far called a for continuo. Of far style; only only the (1619) were his greater importance were his organ and harpsichord works which can be and works which can be greater importance organ harpsichord into three divided sacred and divided into three categories: categories: sacred and secular secular variations, variations, toccatas, toccatas, and and fantasias. Sweelinck's variations fantasias. Swedinck's variations of psalm tunes tunes and and chorales chorales open open the the long long of psalm and brilliant brilliant history history of of the the organ organ chorale. chorale. He made the the essentially essentially secular secular variation variation technique technique of of the the virginalists virginalists subservient subservient to to aa liturgical liturgical purpose. purpose. The severity severity and gravity gravity of of these these "spiritual "spiritual exercises" exercises" was aa direct direct reflection reflection of the the ethical ethical convictions convictions of of the the Reformed Reformed Church. Church. The Calvinists Calvinists firmly firmly of believed believed that that worldly worldly success success was indicative indicative of of predestined predestined salvation salvation in in the complete interpenetration interpenetration of of the the secular secular and and spiritual spiritual the hereafter. hereafter. The complete spheres was musically musically symbolized symbolized in in the the transference transference of of aa secular secular variation variation spheres to sacred melodies. The technique to sacred mdodies. liturgical significance of the psalm and of the technique liturgical significance psalm and the chorale chorale bestowed bestowed on this this technique t~nique aa religious religious dignity dignity that that cannot cannot be be the found in in the the English English models. moods. The sacred sacred tunes tunes were were subjected subjected to to mechanical mechanical found daboration in in abstract abstract rhythmic rhythmic patterns patterns in in the the belief belief that that the the effort effort of of elaboration elaboration was in in itself itself aa token token of of unceasing unceasing devotion. devotion. The patterns patterns conconelaboration standy challenged challenged the the imagination imagination of of the the composer; composer; only only the the great great comcomstantly ran deal them the minor ones posers could deal with successfully, the minor ones ran into the could with them into the successfully, posers ground. Consistent Consistent with with the the idea idea of of mechanical mechanical severity severity which which pervades pervades ground. the entire entire history history of of the the organ organ chorale chorale in in the the Protestant Protestant countries, countries, SwecSweethe

in the Music in the Baroque Era Baroque Era

the lines the chorale linck presented lines of of the linck chorale in in a a network network of o motives, motives, rigidly presented the rigidly out for a certain certain time and for a by others (Ex. worked out and then then replaced others Each replaced by (Ex. 18). 18). Each variation contained contained a great variation variety of upbeat patterns, complementary of great variety upbeat patterns, complementary in double counterpoint. motives in rhythms, In the the course course of of the the variavariarhythms, and motives counterpoint. In tion the cantus its tion the cantus firmus the number of of parts often ftrmus changed changed its position, position, and the parts often 18. Sweelinck: Sweelinck: Chorale Ex. 18. Chorale variations variations Hertzlich Hertzlich litb. licb.

tt:-~ I; t4:«;,: 1:&:;:l

~Q!~l JfflI:"v:wW!I!c Fr: I l~:q:rrr:C&I:: increased in the increased in the English English manner, manner, resulting resulting in in aa climactic, yet controlled, controlled, climactic, yet effect effect of of mounting mounting complexity complexity which which Sweelinck Sweelinck liked liked to to resolve resolve by aa

rhapsodic coda coda in in toccata toccata style. style. Because Because of of their their liturgical liturgical dignity dignity the the rhapsodic tunes themselves aloof from the tunes themselves kept kept aloof the lively lively motivation motivation of of the the surrounding surrounding

voices. voices. They They

were cantus firmi firmi which which were were only only were real real cantus

exceptionally dissolved dissolved exceptionally

by variation. variation. This structural structural dualism dualism could could not not be be realized realized through through the the by blending stops stops of of the the renaissance renaissance organ; organ; it it called called for for aa new type type of of instruinstrublending ment, the the baroque baroque organ, organ, characterized characterized by by sharply sharply differentiated differentiated stops stops that that ment, cantus firmus firmus to to stand stand out. out. Catholic Catholic composers composers like like FrescoFrescopermitted the the cantus permitted baldi baldi and and his his south south German followers followers did did not not adopt adopt the the patterned patterned variation variation in in their their cantus cantus firmus firmus composition composition because because to to them them the the idea idea of of organistic organistic

severity had no religious religious associations associations and and seemed seemed therefore therefore pedantic pedantic rather rather severity than than dignified. dignified. In In his his secular secular variations variations Sweelinck Sweelinck also also leaned leaned heavily heavily on on the the technique technique of of the the virginalists, virginalists, but but his his motives motives were were more more rigidly developed, more more neatly rigidly developed,

neatly

organized, and, and, above above all, all, rhythmically rhythmically organized, with with English English composers. composers.

more square square than than was was the the custom custom more Sweelinck's variations variations on on Dowland's Dowland's famous famous Swedinck's

Lachrimae Lachrimae Pavan Patlan and and on on the the pavan pavan by by

with

Philips are are compared compared with the the EngEngPhilips

Early and and Middle Middle Baroque Baroque in in Northern Northern Countries Countries Early

77 77 lish originals, originals, aa revealing revealing difference difference comes comes to to light. light. Although Although Sweelinck Sweelinck lish also drew drew the the melody melody into into the the variational variational patterns, patterns, itit never never lost lost its its own own also identity in the process. in the process. identity The toccatas toccatas carried carried the the stamp stamp of of the the Venetian Venetian school. school. They They usually usually The began with with sustained sustained harmonies harmonies and and then then rambled rambled on on in in rhapsodic rhapsodic passages, passages, began but their their flow flow was was now now disciplined disciplined by by the the mechanical mechanical rhythms rhythms of of the the but short short English figuration. Sections of contrasted textures sometimes enclosed enclosed Sections of textures sometimes contrasted English figuration. fugal passages in Merulo's manner. fugal passages in Merulo's manner. In musical musical importance importance the the toccatas toccatas could could not not compare compare with with the the fantasias fantasias In of the in which Sweelinck laid the foundation for the evolution of the fugue. the the evolution laid foundation for Sweelinck in which fugue. The fantasias were based on a single idea, a real fugue subject of abstract abstract a single idea, a real fugue subject of fantasias were based as the the hexachord, hexachord, the the chromatic chromatic fourth, fourth, or or similar similar patterns. patterns.'7 design, such such as design, Variation played played aa prominent prominent role, role, but, but, in in contrast contrast with with the the favorite favorite method Variation Frescobald~ Sweelinck Sweelinck varied varied not not the the subject, subject, but but the the countersubjccts. countersubjects. of Frescobaldi, of sometimes gathered gathered the the numerous numerous sections sections of of the the fantasia fantasia into into aa vast vast He sometimes exseveral led In the first part the subject led through several extripartite form. was the In the first form. through subject part tripartite the positions with various countersubjects, the second part brought the augsecond the augpart brought positions with various countersubjects, or rhythmically with new or mentation, the the diminution diminution of the theme theme with rhythmically of the the third third the mentation, of contrapuntal the piling-up varied varied countersubjects. stretti, the contrapuntal piling-up of countersubjects. The perpetual perpetual stretti, to a rhythmic last part devices, part to the last led in in the the increased increased pace and the rhythmic climax devices, and pace led Frescobaldi. The in Frescobaldi. which not found in fantasia a a pervasive the fantasia lent the which lent unity not pervasive unity of clear thorough craftsmanship and clear formal disposition of Sweelinck's fanformal disposition thorough craftsmanship tasiq were second only to Bach's fugues. Sweelinck's conception Sweelinck's Bach's to second were conception of counterfugues. tasias only utilized with his countersubjects point was essentially rhythmic; in his in was countersubjccts he utilized essentially rhythmic; point of rhythmic amazing consistency and resourcefulness the untold possibilities the untold rhythmic possibilities of amazing consistency and resourcefulness subdivision slow and rapid of slow the interplay and the subdivision and patterns. rapid patterns. interplay of an echo" echo" of an the manner of "in the as "in The fantasias that Sweelinck fantasias that Sweelinck designated designated as 8 8 belong different type. an entirely to an they were contrapuntal, they lightly contrapuntal, Only lightly type. Only entirely different belong to of the Venetian double closely allied with the toccata. Here the technique of the toccata. the with allied technique closely the organ, of the chorus, the two manuals of to the organ, was reduced chorus, brilliantly brilliantly adapted adapted to in terraced dyand forth tossed to short upbeat motives which were tossed back and forth in were which motives to short upbeat dyin subsided in the forte and piano; toward the end, the play of the echo subsided namics, the end, play namics, forte and piano; toward rhapsodic toccata passages. passages. rhapsodic toccata The only Sweelinck his country. in his rival in had scarcely Sweelinck had contemporary only contemporary country. The scarcely aa rival the Catholic Catholic at the active at 1626), active of Pieter Cornet (d. Cornet Pieter the organist was the of note note was 1626), (d. organist 9 included successors and and successors included court Sweelinck's contemporaries in BrusseIs. Brussels.9 SWeelinck's court in contemporaries 68

TAM GMB

the

Book. Fitzwilliam Virginal • Sec also the Fitzwilliam II and and III, See TAM II Virginal Book. III, also 26. Book II, l'T GMB no. Fitzwilliam Virginal II, 26. no. 158, Virginal Book III, 17, 17, Fitzwilliam. 158, TAM III, 181. no. 181. no.

TAM

HAM • HAM Cruet* Fratrum Crud,. Liber Prtllnlm and Liber • Sec Oudncderlandsche Meesters, Peetcrs: Oual'letlerZa1lfi«ne See PeeteIs: Uccsters, X,938, 59-80, and 1938, s!}-80, ferorum LeorIieruium (Guilmant, Archives, 10), x83 ft. Leodiensium Archives, 10), 183 (Guilmant, jerorum .

Music in the the Baroque Music in Baroque Era

10 the organists vocal Padbrue (Kruisbet'gh. and the as Padbrue* such as vocal composers, organists 1640) (Kruisbergh, 1640),10 composers, such 12 u 11 and van Noordt. The Tabulatuur Boeck (1659) Kerckhoven Tabulatuur van Noordt. and Kerckhoven by van Boec\ (1659) 12 by The in print. Noordt was print. Dutch to appear the first first Dutch keyboard was the Noordt appear in keyboard work to of psalm for school for its its lute lute arrangements school of of lutenists, psalm tunes for lutenists, noteworthy arrangements of noteworthy for the tabis represented is by the tabhome use of dance music dance of a vast use and and a vast repertory by represented repertory lature Musarum. 1615 Hove, Vallet (Secretum of Vallet lature books books of ff.), van den Hove, 1615 fl.), (Secretum Musarum, 1S last Thysius, and Valerius (Nedet'landtsche Gedenckclanck. 1626).18 The last Thysius, and Valerius (Nederlandtsche GedencJ^clanc^ 1626) the Spanish contains a political Wilhelmus tune, contains the the famous famous Wilhelmus tune, a Spanish against the song against political song not oppressor which has become the Dutch national anthem, distinguished not national the has become which anthem, distinguished oppressor for its only for its antiquity but, unlike many other national anthems, for its national other unlike for its anthems, many antiquity but, only u discloses musical The tablature book of Thysius 14 the strong dethe discloses deof book tablature musical quality. strong Thysius quality. tides appear pendence music. English lutenists on English the Dutch lutenists of the English tides appear English music. pendence of for ''Packington here tou pon" "Pacce tou here in in fantastically 'Tackington e.g. "Pacce pon" for fantastically corrupt corrupt spellings, spellings, e.g. in the arose in Pound," In nomine. the NetherNether. and "Inno "Inno myne" for In nomine. The opera Pound," and myne" for opera arose De triomfirst Dutch opera, lands only in the middle baroque period. The first triom· lands in the middle opera, only baroque period. (1678), was written by Hacquaert for Amsterdam. jeet'ende Min for jcercnde (1678), was written by Hacquaert ,

GERMANY AND AUSTRIA IN THE SEVENTEENTH CENTURY German music baroque was inextricably music of of the the early middle baroque interearly and middle inextricably inter· the paralyzing of woven with paralyzing religious and political struggles of the nation. with the the nation. religious political struggles The Thirty cars' War deepened Years' the rift rift between the denominations between the denominations and Thirty Y deepened the widened the the cultural cultural gap the Protestant the Catholic south and the Protestant between the Catholic south gap between parts of northern and central Germany. The wave of Italian influence that of northern central of Italian influence wave that parts Germany. over Germany rolled in the first half of the century was followed in its in rolled over the half first of the in its followed Germany century a wake by these the assimilation assimilation and transformation transformation of of these one, and the by a French one, stimuli gave its special stimuli music its Catholic com· the Catholic comgave German music special problems. problems. While the the posers the Italian style without essential changes the Protestant Italian without essential the Protestant posers adopted adopted style changes faced with the task composers with the heritage, the the task of of bringing their precious composers were £aced bringing their precious heritage, in chorale, in harmony with the concertato style. The result of this fusion was the conccrtato result of this fusion was chorale, harmony style. the most original the history of contribution to to the the history of baroque music. original German contribution baroque music. In the the seventeenth seventeenth century In passed through Protestantism passed its "scholastic" "scholastic" century Protestantism through its of rigid in which violent period, violent dogmatic were period, a phase phase of rigid orthodoxy orthodoxy in dogmatic quarrels quarrels were 10 VNM lOVNM42. 42.

11 Man"menta Monumenta Musicae U MflSit:ae Belgicae Belgicac IL ^Printed in VNM 190 edition by 12 Printed in see also also the the clavier 19, new edition clavier SeifEert, 1935; by Seiffert, 1935; see EijI EijI (X67I). (1671), VNM 37. 37. 11 11 VNM 2, Utrecht 1931, 2, other reprints: reprints: Utrecht 1931, Amsterdam, Amsterdam, Ig.p. 1942.

VNM

VNM VNM

14 See TiitJselmft 1. See Tijdschrift

VNM 1, and M£M MfM 18. 18, 1, I2g, 129, and

book book of of

Early in Northern Northern Countries Countries 79 Early and Middle Baroque Baroque in 79 first with the Calvinists, with the fought, and later later with with the the Pietists. The orthodox orthodox Pietists. The fought, first Calvinists, and Lutherans upheld the "artificial" "artificial" figural Lutherans music in the church, sung music in not by the upheld the church, figural by sung not the congregation, the but by by aa specially trained choir, the Kantorei. The trained The the Kantord. congregation, but choir, specially Pietists, deunion with Pietists, who sought with God God and and stressed stressed the the private sought a mystic mystic union private deof votion the votion of the layman, were, like like the the Calvinists, to the artistic the artistic layman, were, Calvinists, opposed opposed to of music and insisted insisted on within the reach autarchy on rather rather shallow shallow songs the reach within autarchy of songs of everybody. of and Pietism which began between Orthodoxy and in Pietism which everybody. The struggle struggle between Orthodoxy began in the second half half of of the the century the continued throughout the period and even continued the even and century throughout period the life life of of Bach. Bach. Consistent overshadowed the with the Consistent with idea of of the Lutheran Lutheran idea as the the foundation foundation of of the exegesis had the the liturgy, Protestant church church music music had the exegesis as liturgy, Protestant function of of interpreting function the "word" "word" of of the the Gospel. This goal could be be interpreting the Gospel. This goal could in two ways: the achieved in the word could be either objectively "presented" by could be either ways: objectively "presented" by the quintessence of the a chorale, the dogma, or subjectively chorale, the quintessence of dogma, or subjectively "interpreted" by "interpreted" by a free concertato a free concertato composition. firmus treatfirst course, that of of cantrlS cantus firmtts treatcourse, that composition. The first taken by the organists ment, his and cantors, the second and his Schiitz and second by ment, was taken cantors, the by the organists and by SchUtz Italianate school. school. Both Both trends trends merged ltalianate with Bach and found in his works with Bach and found in his works merged their final consummation their final consummation.. music for for the the Protestant . The music fell into Protestant service service fell into three three fundamental fundamental catecategories: stile antico; chant and and motets motets in in stile the chorale, and antico; (2) chorale, and gories: (I) (i) Gregorian Gregorian chant (2) the in the the Reformed Church-the -in (3) figural music, that is composed Church the psalter; that is music, composed psalter; (3) figural art music. music. In In spite the rift of the rift between art between the a substantial the denominations denominations a substantial part spite of part of Catholic Catholic church the Lutheran of church music music was was retained retained in in the Lutheran service, service, notably notably the plainchant the which were of the the Mass, the magnificat, were and certain certain hymns, Mass, the hymns, which plainchant of magnificat, and in Latin Latin or sung or in in German translation. a wide In addition, translation. In wide common addition, a sung in ground stile antico, in stile motets in in Germany disseminated in antico, disseminated by motets ground was provided provided by Germany by two huge and influential collections: the Promptuarium by and influential collections: the Schadaeus by huge Promptuarium by Schadaeus (16n fl.) and the Florilegium Portense ff.) by the Florilegium Portense (1603 Bodenschatz; they (i6ufl.) by Bodenschatz; (16035.) they contained almost the complete of the contained the old almost the and old Roman, Roman, Venetian, Venetian, and complete repertory repertory of schools known and seventeenth century, German schools and performed and in the the seventeenth century, and performed in the in new editions well into the Bach period. Bach appeared time and again in well into time and editions Bach Bach again appeared period. is Floriiegium for a new copy is known to to have of the have ordered ordered a the Florilegium for Leipzig. Leipzig. The copy of importance the Gregorian chant began to fade fade only of the the stile stile antico antico and and the importance of began to only Gregorian chant in the the late kte baroque in baroque period. period.

CHORALE AND DEVOTIONAL SONG in unison-that unisonthat is is The Protestant a German hymn chorale was a Protestant chorale hymn sung sung in choraliter, acthe congregation, without acthe name-by hence the name by the choraliter, hence originally without congregation, originally companjment. the chorale of the chorale were traditionally Polyphonic arrangements arrangements of companiment. Polyphonic traditionally

8o 80

Music in the the Baroque Music in Baroque Era

the chorale the carried the chorale as the Kantorei. Kantorei. These the prerogative of the These settings as settings carried prerogative of in the cantus firmus either in the tenor or, since Osiander (1586), in the upper cantus firmus either in the tenor or, since Osiander (1586), upper of the the chorale, voice. latter practice led to to the the organ voice. The latter chorale, accompaniment of practice led organ accompaniment already It was in the the Hamburg Melodeien-Gesangsbuch (I604)' (1604). It already present present in Hamburg Melodeien~Gesangsbuch Schein's in definitely established as a formal organ continuo in Schein's Cantional established continue as a formal Cantional definitely organ invention of (1627). of the the chorale chorale was an invention of the the organ accompaniment (1627). The organ accompaniment of early early baroque baroque period. period. chorale melodies In In the melodies were the course course of of the seventeenth century the seventeenth were century numerous chorale added of traditional tunes, notably by Johann Cruger who set the body added to to the traditional of set tunes, notably by Johann Criiger body able to the the only German poet able to rival Luther's the texts texts of the rival of Paul Paul Gerhardt, Luther's Gerhardt, poet only the renaissance, in the the baroque terse baroque terse language of the fervor. As in renaissance, many mystic fervor. many of language and mystic were chorales but they were not folksongs, as a persistent chorales were of of secular secular origin, but not as a they folksongs, origin, persistent rather typically, legend yet rather has it. it. The situation situation was remarkably, remarkably, yet typically, complex legend has complex the case voll Blut in in the case of of the the famous chorale chorale 0 Haupt Blut und W unden. The Wundcn. Haupt voll in Hassler's ist mir verwirret its origin Hassler's love melody love song verwirret melody had its origin in song Mein G'mut ist from the Lustgarten (1601) to the the chorale chorale the Lustgarten soon spiritualized (1601) and was soon spiritualized to Herzlich tut mich verlangen. verlangen. The Catholics the same tune in the the Hcrzlich tut mich Catholics adopted the tune in adopted Latin Latin hymn hymn Salve CTuentatum, which in turn was translated and Salve caput in turn translated and caput crucntatum, paraphrased by Paul Gerhardt and thus became 0 Haupt Haupt voll vall Blut Blut und thus became by Paul paraphrased Wunden. The interactions interactions between models and sacred between secular secular models sacred contra/acta contrafacta on the the one hand, hand, and Protestant Protestant and Catholic Catholic repertory repertory on on the the other other were were the entire very lively throughout the entire period. very lively throughout period. While Cruger's Cruger's chorales chorales still still breathed breathed the the collective, collective, congregational congregational spirit spirit of of the the liturgical later compositions approached in in their their individual individual chorale, later liturgical chorale, compositions approached devotional devotional spirit spirit the the sacred sacred aria aria or or song. song. The gradual gradual qualitative qualitative decline decline of of chorale chorale composition composition in in the the latter latter part part of of the the century century coincided coincided with with aa sharp sharp increase increase in in quantity. quantity. Under the the influence influence of of Pietism Pietism aa veritable veritable flood flood of of devotional devotional songbooks songbooks for for private private singing singing appeared appeared containing containing choralechoralelike like arias arias with with sentimental sentimental and ecstatic ecstatic texts texts of of which which only only very very few few were were as chorales the ultimately accepted as liturgical chorales by the congregation. It is highly It is ultimately accepted liturgical by congregation. highly characteristic characteristic that that Bach, Bach, whose harmonizations harmonizations represented represented the the peak peak of of the the harmonic chorale chorale interpretation, interpretation, did did not not compose compose any any chorales chorales in in the the orthodox orthodox sense, sense, and contributed contributed only only very very few few melodies melodies of of his his own to to Schemelli's Schemelli's devotional devotional songbook. songbook. In In the the following following list list the the major major chorale chorale books books of of the the baroque baroque period period are are compiled compiled in in chronological chronological order: order: 15 Osiander: Osiander: Fiinfzig Fun/zig Geistiiche Geistliche Liedcr, Lieder, 1586 158611

15 11

Hamburger Mclodeien-Gesangbuch, Melodeien~Gesangbuch, 1604 1604 Hamburger Reprinted 1903. 190'i. Reprinted

Frat~lli BDt:CtJ, .. FratelK Milan Bocca, .llils

Claudio Monteverdi Claudio Monteverdi

Early in Northern 81 Northern Countries Countries 81 Early and Middle Baroque Baroque in 18 Praetorius: Musae Sioniae, Praetorius: ff. Sioniae, V-VIII, V-VIII, 1607 1607 ff.1fl 17 Hassler: Kirchcngesdng Hassler: Kirchengesiing ••• simfliciter, simpliciler, 1608 1608 11 Schein: Cantional, Schein: 1627 Cantiond, Leipzig, Leipzig, 1627 CrUger: Praxis Pietatis Pietatis melka, ff. melica, 1~7 Criigcr: Praxis 1647 if. 18 Scheidt: Scheidt: Tabulaturbuch, Tabulaturbuch, 16501. 1650 Briegel, Bricgel, Darmstadt, Darmstadt, 1687 1687 Speer, Speer, 1692 1692 Freylinghausen: Geistreichcs Gesangbuch. ff. Freylinghauscn: Geistreiches Halle, I704 Gesangbuch, Halle, 1704 if. Bacho£en, Bachofen, Ziirich, Zurich, 1727 1727 Schemelli, Schemclli, 1736 1736 KOnig, Frankfurt, 1738 Konig, Frankfurt, 1738 .

These publications demonstrate the the internal internal history the chorale, of the clearly demonstrate chorale, publications clearly history of the namely the development from modal to tonal harmonization and the to tonal harmonization and from from the development namely free rhythm to an accentual accentual isometric original rhythm. In isometric rhythm. In their their original rhythm to original free original chorales showed the the flexible flexible mensural the chorales form the rhythm and the mensural rhythm the durational durational to which they accent of renaissance renaissance song, were indebted indebted by accent of numerous conconsong, to they were by numerous the turn the to sacred tra/ada. With the turn to the sacred aria, to an accentual rhythm, and to to accentual to aria, trafacta. rhythm, tonal harmony toward the end of the century a rhythmic decline made the of the tonal harmony century a rhythmic decline itself to the the even the course course of of which the the rhythm in the out to felt in even itself felt rhythm was smoothed out as pace of one syllable to one beat, as we know it in Bach's harmonizations. in to it Bach's harmonizations. of one beat, syllable pace The process well advanced in in Briegel's of rhythmic rhythmic equalization equalization was well BriegcFs process of in chorale collection and was completed in Freylinghausen's Gesangbuch. collection chorale Freylinghausen's Gesangbuch, completed the eighteenth in which of the the which relarelacollection of influential collection most influential the most century, in eighteenth century, of pietistic buried under tively under aa mass of pietistic songs. chorales were buried few liturgical songs. liturgical chorales tively few late chorale arias in in the the late chorale books of operatic books The innumerable innumerable contra/ada contrafacta of operatic arias marked of chorale the end of chorale composition. marked the composition. functional music or or Gebrauchsmusik Chorale harmonizations were functional Chorale harmonizations Gebrauchsmu$i\ this very fact. derived their their strength Without ambition and derived without higher very fact. strength from this higher ambition in Ex. in seen in Ex. 19 the small small frame can be seen within the The wide musical range wide musical 19 in range within of Dcus nostcr Luther's Ein which five of Ein leste Burg, Luther's paraphrase of Deus noster of five settings which jeste Burg, paraphrase settings refugium, masters Schutz, the leading Scheidt, KOnig, Schein, Scheidt, Schiitz, Schein, Konig, and leading masters by the rcfugium, by 19 The first 111 free in their distribution Bach are juxtaposed. three preserve in their free distribution three first Bach are juxtaposed. preserve last two belong of rhythm, of rhythm, while the last belong the old old flexibility accents the durational accents of durational flexibility of been to restore the have restore the to Recendy attempts have been made to old isometric type. to the the isometric attempts Recently type. the in chorales "polymetric" rhythm of the chorales in the congregational singing of our the of congregational singing "polymetric" rhythm l'SceCE. "SceCE. 17' Reprinted Birenreiter no. 53. edition no. I 53. Reprinted Barenreiter edition 18 See ed. by Dietrich. Barenreiter eeL II also reprinted See CE, by Dietrich. 1940, Bircnreitcr CE, also reprinted 1940. 19 Blumc Ernmgelische chorale sec see Blume U For same chorale of the the same earlier settings nine earlier For nine Evangclische T&rchcnsettings of

Kirchetl-

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Music in in the the Baroque Baroque Era Era Music

day. ItIt day.

must be be realized, realized, however, however, that that the the original original mensural mensural rhythm rhythm can can must which be revived only at the expense of the tonal harmony which characterizes characterizes be revived only at the expense o the tonal harmony usage. While While the the modal modal settings settings readily readily allow allow of of polymetric polymetric our modern modern usage. our directed their drive flexibility, Bach's harmonies would lose much of their directed drive ifif of would much Bach's harmonies lose flexibility, forced on on the the original original rhythm. rhythm. forced Ex. Ex. dI.

SchUtz Schiitz

190 Chorale Chorale harmonizations hannonizations Ein Hin feste teste Burg. Burg.

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The music music of of the the Reformed Reformed Church The Church was was restricted restricted to to the the Huguenot Huguenot in the Psalter in the German German translation Psalter translation of of Lobwasser. Lobwasscr. Goudimel's Goudimd's settings of settings of the traditional traditional melodies, most commonly the used, were expanded by Moritz, were melodies, most used, commonly expanded by Moritz, of Hessen Hessen (1612). Landgrave The simple of the the Bas1e Basle organist Landgrave of (1612). The simple settings settings of organist Mareschall (1606) the carried Mareschall carried the melody in the highest voice. in the Schiitz also also (1606) melody highest voice. Schutz book of of metrical metrical psalms composed. after the the translation translation of of Cornelius Cornelius composed aa book psalms after with new new melodies melodies of Becker, of his his own. own. The Becker, mostly The psalms were sometimes sometimes mostly with psalms were

Early in Northern Northern Countries Countries 83 Early and Middle Baroque Baroque in 83 in amusing editions for presented in pictures and for edification, and with Bower flower pictures presented amusing editions edification, with emblems for example in the the Lust emblem&-for Artzeney-Garten (I675) (see Lust und Artzcney-Gartcn example in (1675) (sec

plate 8). plate 8). of spiritual The great prompted continue songs in the the vernacular vernacular prompted great fashion of spiritual continuo songs in also a number of of important also Catholic collections espoused especially by the the important Catholic collections espoused especially by included publications Jesuits. publications by the Austrian Corner (GrossAustrian Prior Prior Corner Jesuits. They They included by the (Grosscatholisch Gesangbuch. catholisch Laurentius von von Schniiffis Schniiffis Gesangbuch, I625), Kuen, Gletde, 1625), Kuen, Gletde, Laurentius (Mirantisches and, above all, the Trutznachtigall above Flotlein, I682) the (Mirantischcs Flotlein, 1682) and, all, Trutznachtigall (I62g, (1629, in published posthumously in I~9) by the Jesuit Friedrich von the Friedrich von Spee. The published posthumously Jesuit 1649) by Spec. The the generally latter overcame the latter mawkish tone of the words in a few ingenerally mawkish tone of the words in a few inspired, Nacht has remained of which which In In stiller stiller Nacht has actually yet simple, simple, songs spired, yet songs of actually remained alive to to the the present a famous in a alive by Brahms he passed passed famous setting Brahms which which he present day day in setting by a "German folksong." off as as a off Occasionally German songs were even used were even used folksong." Occasionally songs for the as substitutes substitutes for the Mass music as music in in the the Catholic Catholic service service (Singmesse), if (Singmesse), if other music no other available. music was was available. CHORALE MOTET AND CHORALE Concertato: ConCCTtatOl SCHEIN of exegesis, The two methods of the objective and the the subjecexegesis, the objective presentation subjecpresentation and tive interpretation tive of the "word" divided the figural music of the of the divided the figural music of the Protestant Protestant interpretation church into church into two equally the concmato in fields. They concertato style had the style in equally important important fields. They had the first but the common, a chorale cantus firmus, the second first was bound by a cantus chorale the second common, but firmus, by only the subjective Most German comof the the composer. by the only by subjective imagination imagination of composer. Most posers were active in both fields; only in the orbit of Schutz was were active in the interest in the orbit Schiitz was the interest of both fields; only posers in chorale subordinated to free composition. The greatest German in the the chorale subordinated to free composition. greatest masters Michael Hassler (I565-I612), masters of of the the early Leo Hassler (1565-1612), Michael early baroque, baroque, Hans Leo Praetorius (I57I-I62I). Praetorius Heinrich Schutz, (1585-1672), Johann Hermann Heinrich Schiitz, Johann (1585-1672), (1571-1621), Scheidt (X587-16504), Schein Schein (1586-163°), (1587-1654), were surrounded (1586-1630), and Samuel Scheidt well known thanks whose music is by a host of lesser lights whose music is comparatively comparatively well by a host of lesser lights the first first great Hassler was to Denkmiler editions. was the editions. Hassler the various various Denfynaler to the great German a as a be composer to undertake an "Italian Journey" which must be regarded an "Italian which undertake to regarded as Journey" composer his friend symptom of the Italian domination over German music. Like his friend music. Like over domination the of Italian symptom the time o Giovanni time of he studied studied with with Andrea Gabrieli, Gabrieli he Giovanni Gabrieli Gabrieli, and from the Hassler to that of Handel and Mozart German composers traditionally and Mozart Hassler to that of Handel composers traditionally in education in Italy. sought their final education their final Italy. sought the chorale chorale The most firmus compositions cantus firmus the cantus of the conservative of most conservative compositions was the renaissance. of the motet chorale settings of the renaissance. chorale the polyphonic continued the motet which which continued settings polyphonic texts they in their their texts Although were not biblical in they were were not stricdy chorales were the chorales stricdy biblical Although the functhe thus paralleled regarded pillars of the liturgy and thus of the as the the pillars liturgical funeparalleled the liturgical liturgy and regarded as

in the Music in the Baroque 84 Baroque Era tion the Catholic with aa chorale chant in in the tion of the Gregorian Catholic church. church. Music with of the chorale Gregorian chant a retrospective task of cantus us showed of adapting cantus firm showed generally firmus generally a retrospective style. style. The task adapting the of the the chorale Italian innovations, the affective affective interpretation chorale to to the the Italian the innovations, the interpretation of word, could not be solved at one be the concertato concertato style not solved at the continuo, could one word, the continuo, and the style stroke. stroke. Hints the penetration Hints at the future future can can be be observed observed first first in in the at the of penetration of counterpoint by an advanced harmonic vocabulary and in the migrant in the an advanced vocabulary counterpoint by migrant cantus us, that a chorale cantus firm that is is a chorale that that shifted shifted in in the the course of the the composition course of firmus, composition to the voices to anyone of the voices in in alternation. alternation. The famous chorale chorale motets motets (1597), any one of (1597), the Preussische and the Eccard (d. 16n), posthumously Prcussischc Festlieder Festlieder by Eccard by (d. 1611), posthumously pubpublished and expanded his pupil Stobaus (1642), lished established the the type for expanded by by his pupil Stobaus (1642), established type for the the baroque Praetorius presented Michael Praetorius in his his Musae Sioniae Sioniae period. Michael baroque period. presented in a veritable veritable encyclopedia (I-IX, of chorale chorale arrangements. col(I-IX, 1601 ff.) ff.) a encyclopedia of arrangements. The collection comprised than lection more than 1200 compositions ranging from simple comprised compositions ranging simple chorale harmonizations to overwhelming harmonizations to chorale in the the VeneVeneoverwhelming polychoral polychoral settings settings in tian manner. In Part IX of of the the work Praetorius tian In Part Praetorius discriminated discriminated between between three of chorale chorale arrangement, three manners of and "motet-wise," "madrigal-wise," arrangement, "motet-wise," "madrigal-wise," and In the "cantus-firmus-wise." the contrathe first first manner the the chorale chorale pervaded the contra"cantus-firmus-wise" In pervaded of all all the puntal interplay the voices; in the the second, was broken broken the chorale chorale was voices; in second, the puntal interplay of into small up into small fragments and motives set in a concertato dialogue; in the the motives set in a concertato dialogue; in up fragments cantus firmus firmus was was left led against motives third, the cantus left intact intact and and led ostinato motives third, against ostinato also also derived derived from the the chorale chorale-aa procedure procedure obviously obviously borrowed borrowed from from the the of the chorale. technique of the organ chorale. Only the first and last manners belonged the and first last manners technique organ Only belonged to to the the chorale chorale motet, motet, the the second second showed showed Praetorius Praetorius on on the the way way to to the the chorale chorale concertato, concertato, but but all all three three were were to to become become important important for for the the elaborate elaborate chorale chorale treatment treatment in in the the future. future. Occasionally Occasionally also also instruments instruments participated participated in in the the chorale chorale motet, motet, as as can can be be seen seen in in the the works works of of Praetorius Praetorius and and Johann Johann 20 Staden. Staden.20 The Psalmen und christliche christliche Gesang Gesling (1607) (1607) by by Hassler Hassler were, were, according according to to the the author author "composed "composed fugue-wise," fugue-wise," that that is, is, they they corresponded corresponded to to the the motet motet manner of of Praetorius. Praetorius. Equally Equally important important in in musical musical and and liturgical liturgical respect, this this collection collection belongs belongs to to the the small small group group of of compositions compositions that that respect, were revived revived as as early early as as the the eighteenth eighteenth century. century. It It has has been been re-edited re-edited by by 21 21 Kirnberger, the the pupil pupil of of Bach. Bach. Hassler Hassler gave gave in in his his Psalmen Psalm en classic classic exexKirnberger, amples of of the the chorale chorale motet motet in in which all all voices voices participated participated in in the the melodic melodic amples contours contours of of the the chorale. chorale. The organ organ master master Scheidt Scheidt also also made, made, in in his his CanCantionessacrae tiones sacrae (1620), (16:ro), aa significant significant contribution contribution to to the the chorale chorale motet. motet. In In imitaimitation tion of of his his organ organ variations variations he he cast cast each each verse verse of of the the chorale chorale into into aa different different 10 See DTB 7:1, and and 8:r. 8:1. *SceDTB7:i, J1 Reprinted Reprinted by by Saalfdd, Saalfeld, Barenreiter Barenreiter edition. edition.

Early Northern Countries in Northern Countries 85 Early and Middle Baroque Baroque in 85 and thus thus arrived arrived at at a a chain chain of setting of contrapuntal which forms forms variations which setting and contrapuntal variations of the the roots roots of of the the chorale one of one chorale cantata. cantata.

the conservative conservative motet motet the Unlike the the chorale chorale concmato in a a concertato was was written written in progressive th~ ~~ntinuo. Whereas manifested in in the the u~ ~ijhc continue. Whereas style, clearly clearly manifested progressive style, usej>f tfie continue {oimed formed only me part of them~t~~-it;"~~i~spensable an optional of the only an motet, it was indispensable optional part in the the concertato. concertato. The continuo in continue found found a a staunch staunch supporter in Praetorius Praetorius supporter in whose S'y'ntaK!!}~ musicum (I-III, x615 ff.) is an invaluable source is an ininvaluable of insource _of Syntagma (I-III, 1615 ff.) formation music. Praetorius translated the rules for eari:y---barOque formation for of early baroque music. Praetorius translated the rules of adhered to Viadana and naturally conservative conception to Viadana's Viadana's conservative of naturally adhered conception of continue practice. with the continuo in the continuo Praetorius's first first experiments with the the continue in practice. Praetorius's experiments Musae Sioniae Sioniac were feeble feeble and Polyhymnia and insignificant. in his his Polyhymnia However, in insignificant. However, caduceatrix (1619) he caduceatrix he applied it to the resplendent Venetian it the to This (1619) applied style. This resplendent Venetian style. collection contains contains many-voiced collection brilliant concertato compositions with brilliant many-voiced concertato compositions with instrumental and vocal vocal choruses instrumental gorgia passages choruses and and lively the soloists for the soloists lively gorgia passages for a which clearly bespeak a modern spirit. It should be noted that Praetorius modern be that should It noted Praetorius clearly bespeak spirit. cautious enough was was cautious to print the ornamented ornamented version version above above the the unemunemenough to print the bellished in case case the bellished parts with the the the German singers able to were not not able to cope parts in singers were cope with gorgia. Even though not compete Praetorius could could not with the the harmonic harmonic gorgia. though Praetorius compete with ventures and the the magic handled the the polychoral he handled polychoral ventures sonorities of of Gabrieli, Gabrieli, he magic sonorities style most skilfully and brought to it the elements of the chorale, which most the elements of the it to chorale, which style skilfully brought Gabrieli at the same time the chorale restrained him from Gabrieli did did not not know; at the same time the chorale restrained know; going the words. far into into the the affective affective representation words. of the going far representation of few-voiced The affective remained, as the domain the few-voiced domain of of the affective spirit as in in Italy, Italy, the spirit remained, nova or or concmato. in Schein's Opella clear expression in Schein's It found its first concertato. It found its first clear fella nova expression as Geistliche 1618; II, x626) which must be considered as aa be considered must which Geistliche Konzerte Konzertc (I, (I, 1618; II, 1626) tide Geistliche milestone in the development of the chorale concertato. The tide Geistliche chorale concertato. milestone in the development of the music. Schein, in German music. time in Konzerte appeared the the first first time Konzerte for the here for Schein, the appeared here like successor and, like Kuhnau, one Thomas' in in Leipzig successor of Calvisius at at St. St. Thomas' of Calvisius Kuhnau, and, Leipzig of a restless restless and and excitable excitable the outstanding combined a of the of Bach, Bach, combined outstanding predecessors predecessors of All harmonic pronounced talent All pieces talent for affective melody. a pronounced for affective harmonic sense sense with with a melody. pieces the chorale texts for of I of the Opella nova. except one, are based on chorale texts for the of Part I are based on Part of the fella nova, except one, content is retained. retained. Not content liturgical the melody and nearly also, the melody is always, also, liturgical year, year, and nearly always, a at the time for a with of the chorale Schein strove at the same time for Schein the chorale strove with the of the presentation presentation the affection of desire to subjective interpretation. In his desire to interpret the affection of highly In his interpret highly subjective interpretation. into fragments, the broke them up he distorted the words distorted the the chorale chorale tunes, words he tunes, broke fragments, up into chromaticism or extraneous chromaticism or vivified with extraneous infused them them with the rhythm, and infused vivified the rhythm, and arc of the the chorale chorale are the single exuberant gorgia (Ex. a rule, exuberant gorgia rule, the single phrases phrases of (Ex. 20). 20). As a

Contmuo

86 86

Music in in the the Baroque Baroque Era

22 and the concerting voices stated firmus fashion in cantus stated at cantus firmus fashion 22 and the concerting voices at intervals intervals in of emphasize the verbal interpretation by an almost repetition of manneristic repetition emphasize the verbal interpretation by an almost manneristic absorbed into into single is completely words. Sometimes, the chorale chorale is Sometimes, however, however, the single words. completely absorbed in the intricate the dialogue of the voices and appears only in motivic, intricate rhythmic of voices the motivic, rhythmic dialogue appears only

Ex. Ex.

20. 20. Schein: Schein: Chorale Chorale ConcertrJto, Aus Concertato, Aut

c:; •

"):1:

tiefl!1' from Opella Opetta tiefer Not from

~ n:ffll7r if9!~j•

nOrla. nova.

•

Italian to Italian not was heavily indebted to in integral Schein was not in form. The style of Schein heavily indebted style of integral form. models, especially to Monteverdi's duet style with concerting instruments. with models, especially to Monteverdi's duet style concerting the instrumental While the of the the contrast motives and the the lofty contrast motives lofty interplay interplay of of the fast fast pace and vocal were obviously due to Italian influence, the to Italian vocal parts were influence, pace of obviously parts the harmony and the affective cantus firmus treatment were Gerthe changing the affective cantus firmus changing harmony man characteristics. characteristics. laid Schein the chorale chorale monody Schein proceeded even more radically in the monody which laid proceeded even radically in the for the future solo cantata. In the few monodic compositions the ground for the cantata. In the future solo compositions ground its chorale and its of to give the chorale of the the Opella Qfella nova the solo forced to both the nova the solo voice voice was forced give both the interpretation simultaneously. While the vocal part retained the remarkthe retained vocal interpretation simultaneously. part able vague bass bass the vague able rhythmic of the the monodic style, melodic flexibility style, the rhythmic and melodic flexibility of line was disciplined the rigidly rigidly the Italian line that that was customary in the Italian monody by the customary in monody was disciplined by achieved here here progressive Schein achieved beat of of the the instrumental instrumental accompaniment. progressive beat accompaniment. Schein the a unique unique fusion mechanical instrumental of the north with the fusion of the north with of the the mechanical instrumental style of style Italian Italian monody. monody. With the toward subjective te.nded the rising trend toward rising trend composers tended subjective interpretation interpretation composers to the dogmatic significance of the chorale mdody and to set to ignore the of the to set the the chorale ignore dogmatic significance melody chorale texts texts as as a a free chorale without reference melody. free chorale chorale concertato concertato without reference to to the the melody. the Opella Schein took this this last Schein took last 'step nova the also. In In Part Part II II of of the the rdations relations step also. fella nova chorale text text and melody severed. The between chorale between are sometimes sometimes completdy melody are completely severed. Christe of of Part memorable monody Jesu Christe may be Part II may be mentioned, as an mentioned, too, too, as monody 0 Jesu of the free of the free chorale concertato. Its musical intensity testifies to the example chorale concertato. Its musical testifies the to example intensity powerful personality of its composer. of its powerful personality composer. Schein's works stand stand at at the the beginning Schein's the long of the devious developbeginning of long and devious developthe chorale chorale concertato concertato to to the the chorale ment from the organists chorale cantata. cantata. Many Many organists the course cantors pursued course of of Schein, and cantors Scheidt in in his his Geistliche Geistliche Schein, notably pursued the notably Scheidt Conzerten (1631 smaller Conzerten if.). The smaller masters of the chorale concertato in masters of the chorale concertato in the the (1631 ff.). be grouped early baroque period into three three regional schools, early and middle baroque period can be grouped into regional schools. \ 22 GMB III no. 188. GMBna 188.

Early and and Middle Middle Baroque Baroque in in Northern Northern Countries Countries 87 87 Early Thenorth northGerman Germanschool schoolincluded includedThomas ThomasSelle Selle(d. (d. 1663) 1663) ininHamburg; Hamburg; The Matthias Weckmann Weckmann (d. (d. 1674), 1674), aa Ppupil u pil Matthias

of Schutz; the the important important Franz Franz f Schiitz;

Tunder (1614-1667) ( 161 4-1667) of of Liibeck, Lubeck, predecessor predecessor and and father-in-law father-in-law of of BuxteBuxteTunder us aa valuable valuable hude; and and finally finally Christoph Christoph Bernhard Bernhard who who transmitted transmitted toto us hude; treatise on on composition, composition, based based on on the the precepts precepts of of his his teacher teacher Schiitz. Schutz. The The treatise southGerman Germanschool schoolwhich whichhad hadits itscenter centerin inNuremberg Nurembergcomprised comprisedJohann Johann south

1634), and and Erasmus Erasmus Kindermann Kindermann (d. (d. 1655), 1655), aa pupil pupil of of Staden Staden Staden (d. (d. 1634), Staden and Cavalli. Cavalli. The The central central German German school school of of Saxony Saxony and and Thuringia Thuringia cencenand and (1639-1675), aa most most prolific prolific and tered round round Andreas Andreas Hammerschmidt Hammerschmidt (1639-1675), tered popular composer composer who who watered watered down down the the achievements achievements of of Schiitz Schutz for the popular multitude. It It included included also also the the three three Thomas Thomas cantors cantors between between Schein Schein and and multitude. for the

Kuhnau: Michael, Michael, Kniipfer, Kniipfer, and and Scheile. Schelle. Kuhnau: concertato All these these masters masters contributed contributed to to the the expansion expansion of of the the chorale chorale concertato All the chorale the concertato, into the chorale cantata. The various media of the chorale concertato, the of media into the chorale cantata. The various many-voiced, the the few-voiced, few-voiced, and and the the monodic, monodic, were were no no longer longer kept kept apart apart many-voiced, but were were combined combined in in large large multipartite multipartite compositions compositions in in which which solo, solo, choral, choral. but and instrumental instrumental sections sections alternated. alternated. Here Here lie lie the the beginnings beginnings of of the the chorale chorale and cantata. The The organ organ chorale chorale variation variation which which Scheldt Scheidt had already already transtranscantata. so concertato chorale the to to the chorale motet was also applied to the chorale concertato so ferred also was motet ferred to the chorale applied The his at that the composer had a great variety of styles at his disposal. single of single that the composer had a great variety disposal. styles and verses as duets, choruses, and monodies, choruses, be composed duets, monodies, could now be verses could alternately as composed alternately the of ensembles instrumental accompaniment. without instrumental or without with or ensembles with accompaniment. One of the Heiden der Heiden earliest in this direction was Scheidt's Nun komm \omrn der earliest attempts attempts in this direction was Scheldt's were verses were from the Geistliche Conzerten, in which the eight verses Heiland in Gcistliche Conzcrten, the from eight Heiland chorale cantus firmus and a simple chorale set in strictly organistic manner with cantus with manner simple firmtts set in strictly organistic active was active Selle was cantata. Selle harmonization the later later cantata. in the as customary the end, at the harmonization at end, as customary in 23 the in in the primarily Weckmann 23 in the many-voiced many-voiced few-voiced medium, the few-voiced medium, Weckmann primarily in extensive the extensive for the remarkable for arc remarkable concertato. variations are chorale variations Tunder's chorale concertato. Tunder's form. the form. of the inner expansion the inner and the use make of the concmato style and expansion of use they they make of the concertato style the of the other composer than any He approached the cantata than composer of any other more nearly He more nearly approached the cantata chorale the cultivated time. Tunder and Hammerschmidt both cultivated the chorale monody, monody, both time. Tunder and Hammerschmidt concertato chorale concertatc The chorale texts. The the of chorale texts. free composition the free also the latter also the latter composition of chorale can each for actually per omnes versus, that stanza, can actually varied setting with aa varied is with that is setting for each stanza, per omnes versus, disthe disas yet be we find as only very sporadically the find we very only sporadically cantata although yet called aa cantata be called although inserted tinguishing feature of freely inserted late baroque the late cantata, namely namely aa freely of the baroque cantata, tinguishing feature reflections. text poetic passage that interrupts the liturgical text by moralizing reflections. the moralizing by that interrupts liturgical poetic passage Christ Bach's like variations of Christ However, the strict chorale cantata in form of variations like Bach's form in cantata However, the strict chorale Tunder. Franz of cantatas the of lag in Todesbanden grew directly out outof the cantatas of Franz Tunder• lag in Todesbanden grew directly .. EL II, 41-

88 88

Music in in the Music the Baroque Era Baroque Era

DRAMATIC Concertato: THE THE DRAMATIC ConCCTtatOl SCHUTZ SCHUTZ bound by chorale represented Compositions in spite of their their liturgical Compositions bound by aa chorale represented in spite of liturgical the smaller prominence only the smaller portion of Protestant church music. of Protestant church music. The The prominence only portion consisted of larger portion consisted of freely composed "church concerts" which in"church concerts" which inlarger portion freely composed the word with all terpreted all the the dramatic dramatic resources resources of of the the terpreted the word subjectively subjectively with conccrtato style. In keeping with the the orthodox concertato orthodox attitude of the attitude of the time time the the style. In keeping with used as the composers used as the main textual source the psalms and the gospel textual source the and the in composers psalms gospel in either Latin Latin or or German. German. either dramatic concertato conccrtato was was cultivated The dramatic cultivated by all composers referred by nearly nearly all composers referred to above above in in connection connection with with the to the chorale chorale motet motet and and the the chorale chorale concertato. concertato. while it it was only a However, side issue issue with with them, it held held a a central central position However, while them, it only a side position in the the works of of composers were dazzled in who were dazzled by the Italian style the Italian in general composers by style in general the Venetian Venetian polychoral in particular. and by shared with with the the by the polychoral style style in particular. They They shared Italian composers the belief belief that that cantus cantus firmus Italian firmus composition was aa thing of composers the composition was thing of the past. earlier generation of German composers the do still managed to to do past. The earlier generation of composers still managed the continuo continue and betrayed without the its conservatism conservatism also also in in adhering to betrayed its adhering to text. It It included included masters masters like like Demantius Latin text. 1&J3), Dulichius (d. Demantius (d. (d. 1643), Dulichius (d. 24 Hassler, Michael Praetorius, Melchior Franck, 1623), Staden, Melchior Franck, Friderici,24 1623), Staden, Friderici, Hassler, Michael Praetorius, Praetorius (d. and Hieronymus who was was latter Praetorius, Hieronymus Praetorius Praetorius, who (d. 1629). 1629). The latter as organist active active as in Hamburg, Hamburg, wrote wrote for four five-voice five-voice for a a combination combination of of four organist in choruses choruses with with considerable considerable ease. ease. Schein Schein paid paid his his tribute tribute to to Venice Venice in in the the Sionium Scheldt Cymbal14m Sionium (I615), and Scheidt in the Concertus sacri (1622) in the Conccrtus sacri (1622) Cymbalum (1615), which which contained contained colorful colorful settings settings for for solo solo ensembles, ensembles, echo echo choruses, choruses, and and ininstrumental strumental sinfonie. sinfonie. The harmonic harmonic language language of of these these compositions compositions was was conservative conservative and and did did not not venture venture much beyond beyond the the cadential cadential frictions frictions that that can can be be found found in in the the music music of of Gabrieli. Gabrieli. More More influential influential than than the the grand grand conccrtato concertato works works were were the the few-voiced few-voiced or or monodic monodic compositions. compositions. They They were were usually usually set set to to German German texts texts and and always called called for for an an obligatory obligatory continue, continuo, as as for for example example the the Gcistlichc Geistliche always Conccrtlein Concertlein by by Selle, Selle, several several works works of of Johann Johann Staden, Staden, and and the the little-known, little-known, but but charming, charming, Licblichc Li.ebliche Krafftblumlein Krafftblumlein (1635) (1635) by by Scheldt. Scheidt. The The free free comcomin positions in Schein's Schein's Ofclla Opella nova nOtla represented represented the the most most serious serious attempt attempt at at positions assimilating the the monodic monodic principle principle into into German German music. music. Tobias Tobias Michael Michael assimilating gave in in his his Scclenlust, Seelenlust, like like Praetorius, Praetorius, an an optional optional gorgia gorgia interpretation interpretation of of gave 211 his his solo solo parts. parts.28 The The rich rich instrumental instrumental accompaniment accompaniment that that Schein Schein and and others others added added

II, 2. 2. EL D, :tilExample Example in in Adler Adler HMG, HMG.458. 458.

** 14EL 25

Early and and Middle Middle Baroque Baroque in in Northern Northern Countries Countries Early

89 89

totheir theirmonodies monodiesreveals revealsaacertain certainhesitancy hesitancyon onthe thepart partof ofthe theGerman Germancomcomto posers in inappropriating appropriatingthe themonody monody inin its itspure pureform. form. Praetorius Praetorius succinctly succinctly posers in or attitude that one expressed this attitude in his Syntagma by the remark that one or more more this his the remark Syntagma by expressed

concertato voices voices by by themselves themselves were were "too "toonaked." naked." He Headvised advisedsupplementsupplementconccrtato ing them them by by what what he he called called aa capella capella fidicinia, fidicinia. aa string string ensemble, ensemble, the the ing favorite medium medium of of dance dance music. music. Scheidt Scheidt composed composed seventy seventy Symphonicn Symphonim favorite

Conzerten-Manier (1644) (1644) expressly expressly for for this this purpose. purpose. auf Conzertcn-Manicr auf German music music soared soared to to unprecedented unprecedented heights heights in in the the works works of of the the German Schiitz Heinrich undisputed master of the dramatic concertato: Heinrich Schiitz (1585conccrtato: of the dramatic master (1585undisputed 16'J2), the greatest of the quartet of S's. Schiitz belonged to to the the few few German German 1672), the greatest of the quartet of S's. Schiitz belonged baroque composers composers who who combined combined aa wide wide European European perspective perspective with with the the baroque aristocratic attitude attitude of of an an highly highly individual individual artist. artist. Reared Reared in in aa Calvinist Calvinist aristocratic milieu, but but an an orthodox orthodox Lutheran Lutheran himself, himself, he he showed showed remarkable remarkable tolerance tolerance milieu, his music. in a in religious matters. He approached, at times, a Catholic spirit in his music. Catholic at in religious matters. times, spirit approached, the of Schiitz and and Handel Handel were were the the only only great great Protestant Protestant composers composers of the time time Schiitz who took took little little interest interest in in the the chorale chorale as as such. such. Although Although his his official official duties duties who brought him in constant contact with the chorale, Schiitz Schiitz made it it subsubbrought him in constant contact with the chorale, Moritz servient to his personal artistic expression. The composer-prince Moritz artistic servient to his personal composer-prince expression. the promising of the young Schiitz among choir-boys discovered the Hessen discovered promising choir-boys of Hessen among the young Schiitz an It was completed education. and for his musical education. It by musical his for by an to provide completed decided to and decided provide him aa in him apprentice period in with Gabrid~ Venice with in Venice Gabricli, who recognized recognized in apprentice period as music worthy successor. Schiitz served for fifty-five years (161;7-12) as music for served Schiitz fifty-five years (1617-72) worthy successor. several take to was permitted to take several long director to the elector of Saxony, but but long director to the elector of Saxony, permitted in court the at leaves the Thirty Years' War which he spent at the court in CopenWar Years' Copenthe leaves during spent Thirty during

hagen. hagen.

Italian madrigals of Italian book of Schiitz's piece, his Op.I, was was aa book (1611) madrigals (16u) Schiitz's apprentice apprentice piece, his op.i, to its its the of in which he carried the affective pictorialism of the madrigal style madrigal style to in which he carried the affective pictorialism adventurthe contrast of contrast motives, use of motives, the adventurlast extreme. consistent use The consistent extreme. The last possible possible of intellectual representation and intellectual ous realistic and the realistic representation of dissonance treatment, treatment, the ous dissonance Gesualdo of Gesualdo mature madrigals the mature words, rival the madrigals of could successfully which could successfully rival words, which the remained time. They first time. the and Monteverdi, appeared here for the first remained the for here They and Monteverdi, appeared ever drew fertile Schutz's fundamental elements of his style. Schiitz's fertile imagination drew ever imagination fundamental elements of his style. devices. these devices. from these new ideas and inspiration from and ideas new plastic inspiration plastic Psdmcn thepolychoral church music, In work of German music, the Germanchurch polychoral Psalmen firstgreat his first Inhis great work of comin comGabridi in of Gabrieli manner of Davids Schiitz adopted the the grand grand manner Davids (1619), (1619), Schiitz adopted Like instruments. Gabridi, with choruses positions for two, three, and four choruses with instruments. Like Gabrieli, four for two, three, and positions notalways hedid ad not sincehe he thearranger specify alwaysspecify forthe widemargin arranger since allowedaawide heallowed marginfor

Early and and Middle Middle Baroque Baroque inin Northern Northern Countries Countries 91 91 Early ofthe thecollection, collection, like like1st 1stnicht nichtEphraim Ephraim for for two two solo solo voices voices with withcornetti comati of and trombones, trombones, or or the the monumental monumental polychoral polychoral Zion Zion spricht spricht demonstrate demonstrate and howconsciously consciouslyand andoften oftenintellectually intellectuallySchutz Schutzarrived arrivedatathis hisinspired inspiredpicpichow torial motives. motives. Significantly Significantly enough, enough, Christoph Christoph Bernhard, Bernhard, the the author author of of torial one of of the the best best treatises treatises on on the the doctrine doctrine of offigures, figures, was was aa pupil pupil of of Schutz. Schutz. one Theformal formal structure structureof ofthe theexpansive expansiveconcertato conc~rtato compositions compositions was wasmade made The Alleluia refrains refrains in in Gabrieli's Gabrieli's manner, manner, or or by by other other recurrent recurrent secsecclear by by Alleluia clear tions which which served served to to heighten heighten the the rondo rondo character character of of the the form. form. Rhythmic Rhythmic tions transformations of of sections sections from from duple duple to to triple triple meter, meter, and and the the use use of of transformations identical musical material for psalm verses and the concluding doxology the musical material for verses and identical concluding doxology psalm flexible form. form. further unified unified the the highly highly flexible further The Cantiones Cantioncs sacrae sacra~ (1625) (1625) were were based based on on mystic mystic Latin Latin texts, texts, more more The their In service. In their appropriate for the Catholic than the orthodox Lutheran service. Lutheran orthodox the the Catholic than for appropriate comSchutz book. extremism they form a sacred pendant to the madrigal book. Schutz comthe to a sacred form extremism they madrigal pendant four voices voices and and continuo continuo posed them in a radical conc~tato motet style for four posed them in a radical concertato motet style for which he he added added only only reluctantly reluctantly at at the the entreaties entreaties of of his his publisher. publisher. The which subjective attitude of the texts very closely corresponds to to that that of of the the music music subjective attitude of the texts very closely corresponds The treatment. which goes to the very limits of pictorial dissonance treatment. severely dissonance of limits the to severely which goes pictorial very with simultaneous simultaneous cross-relations, cross-relations, contrapuntal texture is shot through with contrapuntal texture is shot through set to the melodic dissonances, and augmented triads, characteristically and melodic dissonances, augmented triads, characteristically set to the dulcis (Ex. 21). word worddtdcis (Ex. 21). Ex. sacrae. Condones SllCt'ae. from Cantiones bone from Schutz: 0 hone 21. Schiitz: Ex. 2I.

,,, 1&1

bo bo

ne, 0 dul

!I... .r1

. De -

ne,I

. .. .

.J. .J I)

dul dul

cis, J bo

•

Ilbe nl.peJt-

.J)..b J

ne,

,..0. 0

o be. DI·gne be-ni-gw

cfe ds

dul

(Ifr-

IIU,

Kl,

- .

he remarkable austerity of remarkable Although Schiitz continued to write music music of austerity he Although Schutz continued to write other few never this overemphatic to this Very few other works to later works his later style. Very in his returned in overemphatic style. never returned the was the similar of German composers could equal it. work of similar intensity was work it. A A intensity could German composers equal author theauthor whichthe in which Schein in Fontana Brunnlein (1623) Israel'sBriinnl~in orlsrad's by Schein d'Israelor (1623) by Fontana d'lsrael "in he as he it, "in German the exhausted the pictorial possibilities of the German words, as put of words, put it, exhausted the pictorial possibilities the Also the profound the Kemsprucke Italian madrigal." the Italian profound K.ernspriiche of the manner of madrigal." Also the manner this category. to (1~8 ft.) by Rosenmiiller belong to this Rosenmuller category. belong (1648 ff.) by and165 threeparts 0), 1650), In sacrae, published ininthree 1647,and (1629,I~7, parts(1009> Inthe theSymphoniae Symphoniae sacrae, published imas imhold to Schiitz reaped the fruits of his second journey to Italy. They hold as second They his of Italy. journey Schutz reaped the fruits do tide same the of works the as portant aaposition in his creative career as the works of the same title do career his creative position in portant a second went full hisfull maturity inhis ininthat maturitywent a second thatSchUtz factthat Schutzin Thefact GabriduThe ofGabrie1i. thatof

Music in in the the Baroque Baroque Era 92 the "sagacious" time as he called from the called him, learn from to Italy time to to learn Monteverdi, as him, "sagacious" Monteverdi, Italy to bespeaks not only his personal humility but also his great respect but also his for the the his personal humility great respect for bespeaks not only Italian of the the Symphoniae the concertato sacrae the concertato style In Part Italian style. Part II of style appears Symphoniae sacrae appears style. In the three vocal parts the exactly fully stabilized and the three vocal with the form, with exactly specified fully stabilized parts form, specified instrumental coloristic yet unified whole. a highly instrumental ensembles, whole. ensembles, a thoroughly unified highly coloristic yet thoroughly Several were only German adaptations of Italian comof Several of of Schutz's Schutz's pieces Italian only pieces adaptations 28 26 Grandi. the positions by Monteverdi and Grandi. In the medium of the small concerIn the of small concerpositions by Monteverdi tato like the the somber of David tato Schiitz Schiitz created scenes of of great somber plaint created scenes vision, like great vision, plaint of for for Absalom, four trombones, be singled for bass voice and four bass voice out trombones, which must be Absalom, for singled out as masterpiece. At the beginning the trombone quartet as an incomparable the the inbeginning incomparable masterpiece. quartet intones the motive of the voice, and then the bass tones a a sinfonia the of the the sinfonia that that anticipates motive then bass voice, anticipates in with with a a bold comes in bold idea of successive successive major a typically idea of Schiitzian thirds, a typically Schiitzian major thirds, of a a sophisticated theme of sophisticated simplicity simplicity (Ex. (Ex. 2.2). 22). Ex. 22. Schutz: Schutz: Fili Fill mi, Absalon from Symphoniae Ex. sacrae II.• mi, Ahsalon Symphoniae sacrae

~'i-Ii

mi,fi-ll mi, Ii-Ii mi, fi-Ii mi Ab -sa-Ion

• • ••

n-Ii mi,fi-Ii

mi, n-li mi Ab -sa ~

IClII.

'''t'.

In Parts In Parts II II and III III of of the the Symphoniae Symphoniae sacrae sacrae Schutz Schiitz acknowledged acknowledged his his debt in his debt to to Monteverdi Monteverdi not not only only in his interesting interesting revisions revisions of of Monteverdi's Monteverdi's compositions, but but especially especially in in the the adoption adoption of of the the stile stile concitato. concitato_ While While compositions,

he adhered adhered in in Part Part

II II to to the the few-voiced few-voiced concertato concertato he he resuscitated resuscitated in in Part Part III the splendor of his earlier polychoral compositions. The vast vast combinacombinations tions reflect reflect the the reassembling reassembling of of the the Saxonian Saxonian court court chapel chapel after after its its disdispersal during during the the Thirty Thirty Years' Years' War. Part Part III III contains contains works works on on the the largest largest persal scale scale which approach approach the the dramatic dramatic church church cantata. cantata. One of of these, these, the the Pauline conversion deeply stirring Pauline conversion (Acts 9, 4fI.) Saul, Saul, verfolgst was Saul, Saul, deeply stirring (Acts 9, 4*!.) vcrjolgst Du mich?, mid?, is is perhaps perhaps the the most most impressive impressive of of all all of of Schutz's Schutz's compositions. compositions. This dramatic dramatic concertato concertato was rediscovered rediscovered by by Winterfeld Winterfeld 2T 27 more than than aa century ago. ago. It It is is scored scored for for an an ensemble ensemble of of six six favoriti favonti (solo (solo sextet), sextet), two two century four-voice four-voice choruses choruses or or "complements," "complements," two violins, violins, and and organ organ continuo. continuo. At At

III the splendor of his earlier polychoral compositions.

26 2tI Monteverdi's Monteverdi's Chiome Chiome d'oro a'oro (seventh (seventh book book of of madrigals) madrigals) appears appears in in the the works works of of Schutz Schiitz as as the the canzonetta canzonetta Gitldcnc Giilame Haare Haare (CE (CE XV, XV, 91). 91). Monteverdi's Monteverdi's Armato Armato ilif cor cor and and Zcffiro ZefJiro torna torna (CE (CE IX) IX) have have been been used used in in Es Es steh sUn Goto Gott auf auf (Symphoniae (Sympnoniae sacrae sacrae II, 16), 16), and and Grandi's Grandi's Lilia Lilia convallium cont/allium reappears reappears as as 0 Jesu /esu suss sUss (Symphoniae (Symphoniae sacrae sacrae II,

III,9)· 9). 27 27 Winterfeld, Winterfeld, Gabrieli Gabrieli und una sein sein Zeitalter, Zeitaiter, II, II, 197. 197. In In spite spite of of its its early early date date this this book book still is one one of of the the finest finest pieces pieces of of musical musical research. research. The The lucid lucid style style of of presentation presentation stands stands still is in in marked marked contrast contrast with with the the studied studied profundity profundity of of many many later later books books on on musicology. musicology. III,

Early in Northern Northern Countries Countries 93 Early and Middle Baroque Baroque in 93 voices give the beginning out the the insistent insistent calls calls "Saul, Saul" in in an an beginning the solo voices give out "Saul, Saul" impetuously accelerated rhythm and come to an uncompromising cadence to an cadence impetuously rhythm uncompromising of which Schutz with stern parallel was as Schiitz was as fond fond as as Monteverdi Monteverdi seconds, of parallel seconds, calls arc (Ex. 23). The calls are answered by the complementary choruses and lead lead (Ex. 23). by the complementary choruses and Ex. 23. Schutz: SfIIIi. Ex. Saul from from Symphon;ae 23. Schiitz: Saul, Saul Symphoniac

lat:rtte sacrae 111. 11L

t: fI:' ;1~~ I: Saul, Sau!,Sml,Sau!

was

ver-folgtf

inich?

to a fortissimo to fortissimo climax which tapers off in a staggered in a echo effect, effect, expressly tapers off staggered echo expressly the prescribed by the composer. In the course of the composition uses In the course of the Schutz uses prescribed by composer. composition Schutz calls in in contrapuntal combination with the graphic idea the motives of the calls combination with the contrapuntal graphic idea of against the pricks" and achieves a dramatic grandeur of "kicking the achieves una dramatic "kicking against pricks" grandeur unof matched by any of his contemporaries. his matched by any contemporaries. The Kleine geistliche geistliche Konzerte Konzerte (1636-39) very for very (1636-39) were composed composed for as strict modest combinations as strict monodies monodies or or small small solo solo ensembles. ensembles. They call They call a continuo continue but only but no other because, as for a other instruments as Schutz instruments because, Schutz remarks remarks only for the ruinous in ruinous effect effect of the war had completely in the the preface, of the preface, the paralyzed completely paralyzed life. In this collection his version of he musical musical life. In this collection Schiitz Schutz gave his version of monody as he or, as gave monody or, the it in flexible stylo oratorio; it was more flexible in style and more highly called the called it, oratorio; it, style stylo highly integrated of the bass imitations imitations than than the the early Italian parallels. the by bass early Italian integrated by parallels. Some of It It is sacred based on the is are based the words of chorales chorales or or Latin Latin hymns. words of concerts are sacred concerts hymns. highly characteristic of Schutz's undogmatic and highly personal approach highly personal approach highly characteristic of Schiitz's undogmatic that tunes only to traditional tunes the traditional retained the that he he retained occasionally. He preferred only occasionally. preferred to chorale setsetignore a free free concertato conccrtato interpretation. in favor favor of of a interpretation. Two chorale ignore them in strict of chorale chorale variation variation to the idea idea of 24 and II, to a strict tings even coupled II, 22) coupled the 22) even tings (I, (1, 24 of sacred this curious type. In this curious combination of sacred ostinato In Italian ruggi~ of the the Italian ostinato of ruggiero type. that dominated the the ostinato ostinato that and the cantus it was the secular techniques and secular techniques it in strict chorale firmus. The "aria" leh hab mein Sach quotes the chorale in strict form the Sack "aria" Ich hob quotes firmus. while the only in the first and last variation, while the other statements last (eighteenth) first in the (eighteenth) variation, only Exea ground are bass. The Musifylische Musikolische 'Ezevariations on a free variations or less less free more or are more ground bass. German also of Brahms's quien Requiem, forerunner of Brahms's Requiem, also important forerunner (1636), an important quien (1636), the in the polychoral this time made time however in polychoral chorale melodies, use of of chorale free use made free melodies, this medium. or Muncalia Musicdia ad Chorum Sacrum (1648), The Geistliche Chormusik The Geistliche (1648), Chormusi^ or the dedicated of Leipzig and the Thomas choir, brought the conof the city choir, to the dedicated to brought Leipzig city the fore. serv~tive side to the fore. In the preface the aging Schutz to the Schiitz's genius of Schiitz's side of servative aging preface genius

Music in in the the Baroque Baroque Era Era Music expressed his concern about the steadily progressing decline decline in in technical technical expressed his concern about the steadily progressing in the younger generation, brought proficiency that he thought to observe observe in the to younger generation, brought proficiency that he thought up only only on on the the continue, continuo, and and advocated advocated the the return return to to the the thorough thorough training training up admonished the the budding budding GerGer· that he he had had himself himself received received in in Italy. Italy. He admonished that in the the style style without without concon· composers to to perfect perfect themselves themselves properly properly in man composers the tinuo before they proceeded to the cancer-tato style, to learn the requisites concertato to learn the to tinuo before they proceeded style, requisites of aa "regulated "regulated composition," composition," 28 28 and to to "crack "crack the the hard hard nut nut in in which which one one of to seek seek the the kernel kernel and and the the proper proper foundation foundation of of aa good good counterpoint." counterpoint." has to has in the the Chormusi^ Chormusik for for aa mixed mixed vocal vocal and and instrumental instrumental perper· Schutz called called in Schiitz formance and and discriminated discriminated between between two possibilities: possibilities: one one in in which which the the formance another in solo or choral ensemble could be doubled by instruments, another in which be doubled which could solo or choral ensemble by instruments, vocal and and instrumental instrumental parts parts were were deliberately deliberately kept kept apart. apart. For neither neither one one vocal was the the continuo continuo obligatory; obligatory; both both stood stood halfway halfway between between a-cappella a-cappella and and was conccrtato styles. styles. The Chormusi\ Chormusik is is written written in in aa remarkably remarkably archaic archaic concon· concertato of the music is subdued affective is subdued by the trapuntal style. affective intensity of the music The by the intensity trapuntal style. graphic terseness of the melody and the austere asceticism of the counter· the austere asceticism of the countergraphic terseness of the melody old seems to hark back to the old motet. motet. Only Only the the restive restive contrast contrast point that the back to to hark that seems point dissonant harmonic motives and the relentlessly relentlessly dissonant harmonic vocabulary vocabulary betray betray aa and the motives In the the Geistliche Geistliche Chormusik succeeded in in doing doing the the modern spirit. spirit. In Schiitz succeeded modern Chormusif( Schutz stile antico and stile into a higher unity. impossible: he fused moderno into a stile antico stile he fused It higher unity. It impossible: is symbolic symbolic of whole collection that Schutz slipped into collection that Schiitz inadvertently of the the whole into is inadvertently slipped Gabrieli that he had provided the a motet by Andrea Gabrieli that he provided with with aa motet by collection a the collection probably during his student years in Italy. his student in German text, text, probably during Italy. years The oratorical compositions of which accompany his entire of Schutz Schiitz which oratorical compositions entire accompany his by themselves. They consist of the Aufcrstehungs career form a group themselves. a consist of the career form They group by Auferstehungs Sieben Worte am Kreuz, Historie the Historia the Sieben Historia von der der Ge· GcHistoric (162.3), Krcuz, the (1623), the three Passions St. burth and three Passions according to St. Luke, St. John, to Gottes (1664), St. burth Gottes Luke, John, according (1664), Passion according to St. St. Mark is and St. St. Matthew (1666). is probably according to (1666). The Passion probably of to these have us in us only in strongly revised spurious. Some of these have come down to only strongly revised spurious. first of the so-called so-called "histories," versions. of the the Easter Easter Oratorio, versions. The first is a a "histories," the Oratorio, is of an freely variant of earlier work by an earlier modernized variant Scandello (d. by Scandello freely modernized (d. 1580). 1580). Schutz here an old-fashioned used here old-fashioned type of recitative recitative that Schiitz used that combined combined the the type of tonus tonus lectionis and the operatic recitation. The elements of the the Gregorian Icctionis the dements of recitation. Gregorian operatic also in in the the fact fact that that text text passages archaic archaic style of single style appears appears also passages of single persons persons for more than one voic~ set for are are set indication of of how far far removed removed the the voice, an indication the opera. still was from the "history" Seven Words at at the the Cross Cross and and the the "history still opera. The Seven Oratorio are are much more complex Christmas works written in the modern Christmas Oratorio works written in the modern complex dramatic style dramatic instrumental and and vocal vocal en. cnstyle and involving involving a great great many many instrumental 28 28 Compare the use of the the same term with use of with Bach, Compare the Bach, p. 272. p. 2']2.

94 94

and Middle Baroque Early Northern Countries in Northern Early and Countries 95 Baroque in 95 in the sembles in the presentation of the sembles presentation of are framed by the story. Both compositions story. Both compositions are framed by instrumental powerful between which choral movements movements between powerful instrumental and choral which the the story story in form of unfolds of recitatives recitatives and ensembles. unfolds in ensembles. The choral choral introduction introduction and and of the conclusion of the Seven Words are conclusion but, arc based based on on the the text text of a chorale, of a chorale, but, its melody is words of significandy, used. The words of Christ Christ are are often significantly, its often accommelody is not used. accomas in in Bach's Bach's Matthew Passion, panied, the halo halo of of a a string ensemble. The panied, as The Passion, by by the string ensemble. orchestrated Christmas colorfully scenes or Christmas Oratorio Oratorio consists consists of of single colorfully orchestrated single scenes or intermedii. the same key. intcrmcdii, bound together In the the preface Schutz draws draws together by by the key. In preface Schutz to the novel recitative attention to recitative of is far advanced attention which of the the Evangelist which is far advanced Evangelist Easter Oratorio. the affective over that of the Easter Oratorio. It It lacks lacks the affective tone tone we find find in in Schiitz's monodies and points Schiitz's points in toward the seeeo in its its neutral neutral parlando toward the sccco parlando of the: the bel-canto recitative bel-canto opera. recitative of opera. 29 In the the Passions,:at In which belong which to the the latest latest works works of of the the composer, Passions, belong to composer, Schutz dispensed Schiitz even the continuo. instruments altogether, even the continue. dispensed with instruments altogether, including including in a a strict strict a-cappella Written in style they employ with extreme economy with extreme a-cappella style they employ economy only only solo 448. *DTOem:2(voL6)

in the Music in the Baroque Baroque Era

2 13 132

Dori,

of sixty-seven the labyrinthic accumulation of scenes. The suffers from from the Dori, suffers sixty-seven scenes. labyrinthic accumulation in of the written the brittle chordal rich choral ensembles of the prologue, written in the britde chordal style rich choral ensembles prologue, style

the work, of indicate the the courtly of the the sumptuous of Carissimi, Carissimi, indicate work, the courtly background background of sumptuous

next to to Giacomo scenery Burnacini who was, of which was designed was, next designed by by Burnacini scenery of Cesti adhered in the day. in his his Torelli, theatre architect of the architect of famous theatre most famous the most Torelli, the day. Cesti as the trio ensembles as exemplified by the trio (Ex. 34) from to alternate alternate singing, ensembles to from (Ex. 34) singing, exemplified by

Ex. Cesti: Terzetto Terzetto from Semiramitle. Semiramidc. Ex. .3434. Cesti: cCreonte: reont r: ....

...

'k ... ~.

~.D.

cUor Del

pet - to ,.. I...

l1al.1II& !111m IIlI·r·sa Incend'l 'k .. b""

...c-... k. laD

Arsactt

,./2.

ro·so iJ' I8JIgue. II .L

laid '6 r~_

• gue;'"

gli

~Oll.

gla

son dl spir.to

prf -

I/IJ

"fL1

J) ....

'" Semiramitle (x667). Freely built on a chromatic chaconne bass it illustrates Scmiramide (1667). Freely

built

on a chromatic chaconne

bass

illustrates

the mdodies. Characteristically, in Cesti's dissonant progressions Cesti's melodies. the typical Characteristically, progressions in typical dissonant as Cesti the skip from a-flat to I-sharp as Cavalli would fill in 0-flat to Cavalli would not fill in the did not Cesti did skip /-sharp have done, but relished the poignant effect of the diminished third. the but relished the effect of diminished third. have done, poignant secco passages In juxtaposed short passages with ariosos In his his recitatives recitatives Cesti Cesti juxtaposed short secco ariosos and accompagnato the latter sections. Like Like Cavalli, he reserved latter for reserved the for solemn solemn or or Cavalli, he accompagnato sections. affective in which the as the the so-called the spirit such as so-called ombra ombra scenes, affective occasions, scenes, in occasions, such spirit of invoked. These solemn scenes became later solemn scenes later the the inof one departed indeparted was invoked. dispensable equipment of the opera sma and their influence can be traced the scria their influence of can be traced opera dispensable equipment far as as Gluck and Mozart. Mozart. as as far arias of in a of Cesti Cesti begin a peculiar a fragmentary Many begin in with a Many arias peculiar manner with fragmentary a brief after a brief rest, is once once more resumed and continued statement statement that, continued that, after rest, is without The initial presentation of a plastic motive that initial of without interruption. motive a that interruption. presentation plastic sums up the basic affection of the aria, like a musical motto, can occasionthe basic affection the like a musical of aria, motto, can occasionup ally in the the cantatas cantatas of of Rossi Rossi and in in Cavalli, but not not before before Cesti Cesti Cavalli, but ally be found in the way to becoming was it becoming aa mannerism.·' beginning had it on the mannerism. 84 The motto was motto beginning had way to the function of not only a not the formal function of setting a rhythmic and melodic pattern melodic only setting rhythmic pattern it had also also a a dramatic in motion, dramatic significance in because the the first first words words motion, but it significance because the whole aria aria text. emphatically text. A comic comic aria ark from from Le Lc emphatically summarized the illustrates the the typical Disgrazie the same motto beginning at the same (1667) illustrates Disgrazie (166']) typical motto beginning and at N

GMB no. 3. no. 20 203.

Italian Music Music of of the Italian the Middle Middle Baroque Baroque

I33 133

time the the brisk brisk rhythms of Cesti's time (Ex. 35). Cesti's comic comic and rhythms of and popular popular style style (Ex. 35). The achievements achievements of of Cavalli Cavalli and The and Cesti Cesti were were solidified solidified and and expanded

expanded

later generation of Venetian by besides the Venetian composers, by aa later generation of composers, comprising comprising besides the brothers Ziani, Pier Agostini, brothers Boretti, and Sarto rio, three outstanding Ziani, Pier Agostini, Boretti, and Sartorio, three outstanding masmasters: and Pallavicino ters: Legrenzi, 1688). In their music the Pallavicino (d. Legrenzi, Stradella, Stradella, and (d. 1688). In their music the return of of counterpoint became increasingly return in more apparent, counterpoint became increasingly more apparent, especially especially in

Ex. 35. Cesti: Comic Comic aria aria with with motto motto beginning. Ex. 35. Cesti: beginning. ~trlngs Strings _~

...

texture of the ensembles the carefully of the ensembles and and in in the the anticipatory carefully wrought wrought texture anticipatory statement of the vocal line the continuo, statement of the vocal line by which can can be be regarded a as a continue, which by the regarded as of the the motto beginning. contrapuntal Like the the motto motto beginning contrapuntal extension of beginning. Like beginning its contrapuntal extension itself, established as as a a stereotyped device itself, its contrapuntal extension was established stereotyped device only with Legrenzi, Stradella, and Palla vicino. In their operas the conand In Pallavicino. their the cononly Legrenzi, Stradella, operas tours of melody tours melody and bass bass underwent aa process process of of mutual mutual assimilation assimilation and and in which the differentiation differentiation in the bass bass either assimilated the the betcanto bel-canto style, style, or or either assimilated else else developed developed aa strictly strictly instrumental instrumental idiom idiom the the angular angular pattern pattern of of which which gave more relief relief to to the the bel-canto bel-canto melody melody than than ever ever before. before. The first first alalgave that of can found ternative, that of assimilation, can be found in the brief da-capo aria Ti be in the brief aria Ti ternative, assimilation, da-capo 85 from lascio 811 Legrenzi's Giustino, the libretto of which was later also lascio later also Legrcnzi's Giustino, the libretto of composed by by Handel. Handel. The ground ground bass bass of of the the aria aria appears appears in in several several keys keys composed in keeping keeping with with the the gradual gradual widening widening of of tonality. tonality. The second second alternative, alternative, in that of of differentiation, differentiation, is is illustrated illustrated by by the the aria aria Rcsta R~sta il il core core from from Legrenzi's Legrenzi's that Totila Totila (1677) (1677) in in which which the the constancy constancy of of the the heart, heart, represented represented in in the the motto motto beginning of of the the voice, voice, isis emphatically emphatically contrasted contrasted with with the the running running of of the the beginning feet, depicted depicted by by aa rushing rushing quasi-ostinato quasi-ostinato bass bass (Ex. (Ex. 36). 36). This This bass bass demondemonfeet, strates aa high high degree degree of of instnimentalization instrumentalization and and mechanical mechanical stylization, stylization, strates not found found in in the the earlier earlier opera. opera. The The example example given given comprises comprises the the complete complete not brief da-capo section-an indication how far removed the brief da-capo aria still still an how far removed the indication section da-capo aria da-capo da capo capo of of the the late late baroque baroque period. period. was from from the the grand grand da was In his his recitatives recitatives Legrenzi Legrenzi showed showed himself himself considerably considerably advanced advanced over over In his predecessors. predecessors. He He supplanted supplanted the the sustained sustained cadences cadences of of the the Florentine Florentine his I IThe Thearia ariahas hasbeen beenreprinted reprinted by byWolff, Wollf, Vencxianische Venezianiscne Qper, Opa,App. App. 32, 32, and and also alsoby by Schering GMBno. no. 231. 231.The Thelatter latter version version is, is,however, however,faulty faulty because because the the two two sharps sharps Schering of ofthe thekey keysignature signaturehave have been been erroneously erroneouslyomitted. omitted. **

GMB

Music in the the Baroque Music in Baroque Era

I34 134

secco cadences cadences recitative which by the the typical late as as Cesti, as late which prevailed Cesti, by recitative typical secco prevailed as which snap abruptly off on an unaccompanied fourth, confirmed by the the which snap abruptly off by unaccompanied fourth, 36 30 continuo. the continuo. of the stereotyped V-I cadence cadence of stereotyped V-I Totila. from Totila. Ex. Aria £rom Ex. 36. Legrenzi: Aria 36. Legrenzi:

Stradella's Forza del include among others La Forza Straddla's works, del works, which include many others among many ST and the comic opera 11 Trespo1o Tulore, contain 3T and the comic opera II Trespolo Tutore, contain in which the dimensions many which the arias with with obbligato dimensions of of the the accompaniment in obbligato accompaniment many arias fellow composers form are his fellow Stradella was arc noticeably was expanded. Like his noticeably expanded. composers Stradella partial to in the the conventional martial or or revenge conventional martial to trumpet arias obbligatos in revenge arias trumpet obbligatos partial which occurred His impassioned melodies in Cavalli. Cavalli. His occurred only impassioned melodies only exceptionally exceptionally in in their point, in their pathos and their bold and widely spaced curves, toward their bold widely spaced curves, toward pathos point, instrumental the pompous Handelian style. His thoroughly instrumental ostinati the pompous ostinati give, style. thoroughly give, by their the harmony. their modulations, to the modulations, ample by ample range harmony. range to trend toward expansion seen in The trend be seen can also also be in Pallavicino's Pallavicino's operas, expansion can operas, in his mature especially in his most mature work, Gerusalemme liherata liberata (Dresden work, especially (Dresden 88 1687).88 In real ground In his his operas basses tended tended to to 1687) operas quasi-ostinato quasi-ostinato and real ground basses because of the melodic become indistinguishable melodic consistency of the of the the former former indistinguishable because consistency of the modulatory the latter. and the of the latter. In In the the omhra ombra aria aria Omhre freedom of Ombre care care modulatory freedom 89 the from Le Amanoni the modulatory chaconne bass is ingeniously elaboAmazzoni 89 chaconne is bass elabomodulatory ingeniously rated by running arpeggios. bass gained rated this bass a constantly running by constantly arpeggios. How strongly strongly this gained a the design hold of the hold on the of the melody can be seen in an excerpt from Demetrio can be seen in an excerpt from Demetrio design melody in which joy arc juxtaposed in joy and torment are juxtaposed in keen dramatic in a a keen dramatic characterizacharacterization occasional use use of of the tion (Ex. the instrumental instrumental concerto concerto style, for as, for (Ex. 37). 37). The occasional style, as, 40 in Messalina example, in Messalina (1680) 40 marks the most advanced phase of Palthe most advanced of Palexample, (1680) phase

Amore paterno paterno (1681) Amorc (1681)

86 See Legrenzi's Totila in 18 See in Wolff. Vencziaiuschc Oper, Legrenzi's Totila Wolff, VenezianiscAe Qper, App. App. I919. 87 Vocal score score I93I For another IT Vocal another aria aria see see HAM no. no. 24I. 1931 (Ricorcli). (Ricordi). For 241.

HAM

see also also GMB no. no. 214. DDT 55; Goldschmidt, Seudien, 55; see Studicn, I, 224, and Goldschmidt, I, 403. 403. DDT 55. 55, XIX. 40 See the aria Ltucuz Laicta mi gelosia ~ See the aria Venezianische Oper, For the the disdisgelosia (Wolff, (Wolff, Vmecttmische Oper, App. 69). For App, 69). cussion of the cussion of the concerto see Chapter concerto style VII. style sec Chapter VII. 88

II *> Ie

Italian Music of of the Italian the Middle Middle Baroque Baroque

I35 135

iavicino's development, iavicino's the transition development, clearly transition to to the the late late baroque clearly signalling signalling the baroque While he he adhered in in his his earlier style. to the bipartite aria form, earlier operas style. While to the aria he operas form, he bipartite favored in in Gerusalemme Gcrusdemmc the the brief favored which is here no longer brief da-capo aria, which here is no da-capo aria, longer

Ex. 37. Pallavicino: Excerpt Ex. from D~m~trio. 37. Pallavicino: Demetrio. Excerpt from

~: &

loa bra. ma- it Con-ieu-ti gia-III·lo, gia-bl-to Dei Inr-uwn

c:= ~rr rrt:'~~:-:I~-r~:!r I: [Ill

but has has only strophic stanza. His His strong talent for for the the popular strophic but only a single single stanza. strong talent popular outlet in in very found an outlet popular in tone and diminutive in in tone and diminutive in very numerous songs, songs, popular supplied for city audiences the "song hits" of form. The Venetian opera for audiences the hits" of opera supplied city "song the the day, rhythm, lively melodic in their their chatty and melodic day, which combined in bass, and chatty rhythm, lively bass, of both the appeal elements of both the canzonetta and air de cour_ These modest tunes canzonctta and air cour. These modest tunes appeal so much to correspond so to our commonly that they they idea of of folksong correspond commonly accepted accepted idea folksong that have sometimes been been designated designated as as such. Far from from being being folksongs, folksongs, they they such. Far are are composed composed civil civil songs songs which which were were as as short-lived short-lived as they were were successful. successful. as they A typical typical example example from Gerusalemme begins begins strikingly strikingly like like one one of of the the in in Rousseau's Dwin de Vi/lage (Ex. 38). "synthetic" folksongs Rousseau's Devin "synthetic" folksongs Village (Ex. 38). Ex. Ex. 38. 38. Pallavicino: Pallavicino: Popular Popular song song from from Gerusalemme Gerusalt:mmt:

.... " ! "

...... m

In dl-fe-A del mio be-ne I... ,

liherata.

liberate*

*m !v-w sem-preimpa-gne sea-preJlllpa-goe -roo j'j'

- • The popular song style which held a firm place in the serious opera was j

ea j...

The

'-j^.

aa88

popular song style which held a firm place in the serious opera was more in in the the comic comic opera, opera, in in which the the middle middle class class of of more

cultivated even even cultivated

the time time appeared appeared on on the the stage. stage. The The historically historically important important experiments experiments the with opera opera comedy comedy began began in in Rome with with Chi soffre soBre speri speri (1639) (1639) 41 n by by VirVirwith gilio Mazzocchi Mazzocchi and and Marazzoli, Marazzoli, and and continued continued with with Dal Dal mal tnIJl ilil bene bene *2 (1654) '2 by by Abbatini Abbatini and and Marazzoli Marazzoli (based (based on on aa libretto libretto by by Rospigliosi Rospigliosi (1654) after Calderon), Calderon), Sacrati's Sacrati's Finta Pinta pazza pazza (1641), (I6.tI), Melani's Melani's La La Tancia Tancia (Ffor(Flocafter gilio

41 '1

Examples in in Goldschmidt, Goldschmidt, Studien, S#WJit:n., I,I, 312 312 if. Examples

" ih. 325 325 ff if., also also GMB no. no. 204. 204-

42 ib*

Music in the the Baroque Music in Baroque Era 136 4S and ence, find in Tutorc. We find in these Stradella's Trespolo these operas and Strade1la's the ence, I657),48 Trespolo Tutore. operas the 1657) typical comic parlando passages, lively canzonette, and formal arias. Even arias. comic canzonette, lively passages, parlando typical the future future opera the devices of of the occasional apthe favorite favorite devices buffa make an occasional opera bufJa apof the pearance: La T ancia contains a parody of the serious opera a serious contains Tancia Dal mal opera and Val parody pearance: the most significant i1 of the the ensemble finale, of the il bene bcne early finale, one of early examples examples of significant innovations innovations of of operatic history. operatic history. as Zamponi Italians in in Brussels The Italians in the the northern northern countries countries such as Brussels Zamponi in 44 Bontempi in Dresden (ll Pande, 166:2.),411 45 Scacchi in Po(Ulisse, 1650),44 in Scacchi in PoParide, (Ulisse, 1650) (// 1662) Bontempi in did land, Bertali and his successor Draghi in Vienna, did not rise above the Bertali his successor rise not above the land, Vienna, Draghi level average level of Italian opera production. The prolific Draghi who could of Italian could average prolific Draghi opera production. boast of hundred operas of more than in addition addition to to all all his his other boast than a a hundred other works, works, operas in a great of solo choral ensembles on his lavished works, but lavished a solo and choral his works, but he he great variety variety of prevailing monotony of his music only by virtue of was able able to the prevailing of his to relieve relieve the virtue of monotony only by 46 talent for stiff his pronounced talent for comic scenes.'s The stiff and heavy armor of his his scenes. of his pronounced heavy the German proclivity for thickly orchestration orchestration reflects reflects the five-voice scored, five-voice proclivity for thickly scored, as apparent Pallavicino's operas ritornelli, which are are as in Pallavicino's the continuo continuo as in in the ritornelli, apparent in operas as of songs of Krieger. Krieger. songs ,

INSTRUMENTAL MUSIC: THE BOLOGNA SCHOOL After After the the great great flowering flowering of of keyboard keyboard music music in in the the early early baroque baroque period, period, and music in the middle organ harpsichord in the middle baroque through went a organ harpsichord baroque through a of and somewhat eclectic phase of quiet eclectic development. Michelangelo Rossi, phase quiet development. Michelangelo Rossi, the the most gifted pupil of of Frescobaldi, Frescobaldi, Storace, Storace, Strozzi, Strozzi, and the the Roman ororgifted pupil of Vittori ganist Pasquini Pasquini (the (the pupil pupil of Vittori and Cesti) Cesti) all lived mainly mainly on the the all lived ganist in Rossi Rossi 4T 41 heritage of of Frescobaldi, Frescobaldi, whose harmonic harmonic style style had had its its after-effects after-effects in heritage and whose keyboard keyboard technique technique was given given aa turn turn to to virtuoso virtuoso dexterity dexterity in in the the toccatas toccatas of of Pasquini. Pasquini. Of far far greater greater musical m1,1sical importance importance was the the instrumental instrumental chamber chamber music music 48 48 that that flourished flourished in in three three centers centers of of northern northern Italy: Italy: Modena, Modena, Venice, Venice, and and Bologna. In the the works of of these these schools schools the the difference difference between between dance dance music music Bologna. and the the stylized stylized and representative representative chamber chamber music music of of more or or less less concon-

"Riemann HMG 2:2, 2:2, 242; 242; Goldschmidt, Goldschmidt, now the pathetic show the with chromaticism and and bold bold appoggiature rich chromaticism their rich with their pathetic appoggiature show if the as if the in a somber pathos st~'le its best. best. They are steeped a somber of Purcell Purccll :It at its pathos as They are steeped in style of compoSC'r had. when he wrote them. a premonition of his own premature he his when wrote a of own had, them, premature composer premonition death. death.

The two two dozen for courtly dozen odes odes and and welcome welcome songs, written for occasions, courtly occasions, songs, written alwelcomes, and St. routine and and haste. St. Cecilia's Cecilia's Days, traces of of routine show traces welcomes, and haste, alDays, show though fatuous music. The fatuous some of contain some of Purcell's Purcell's most most t.."Cquisite though they they contain exquisite music. texts contrast texts contrast in in their if fawning. artlcssness with with the the adroit. their artlessness adroit, if fawning, prologues prologues of French of and reveal the spiritual distance betwccn the French operas the French and distance French reveal the between operas spiritual the English odes can be described as cantatas for chorus, and the court. The court. as be cantatas for odes can described chorus, English soloists, and aa string reinforced by resoloists, and orchestra, frequently string orchestra. by trumpets, frequently reinforced trumpets, reand oboes. corders, oboes. The orchestration times the the thick orchestration follows follows at at times thick five.part corders, and five-part of Lully. setting solos are are designated as "verses," a term term that that implies "verses,** a Lully. The solos setting of designated as implies close relations relations with the anthem. close of key is stricdy observed in with the anthem. The unity of is in the observed the unity key strictly first and last movements first while middle sections are set and last of the the odes, movements of while middle sections are set in in odes, related keys. The oftcn the trumpet related often superficial of the and C. C> keys. Thc superficial splendor splendor of trumpet keys keys D and the perfunctory and the sections in in dotted dotted rhythms should not not perfunctory triumphal rhythms should triumphal sections us the of us against the wealth of imagination displayed in the arias and prejudice wealth in the arias and prejudice against imagination displayed solo ensembles, solo in the the very very numerous numerous ground The odes odes basses. The ensembles, especially especially in ground basses. for and St. Cecilia's for Queen Mary and St. Cecilia's Day from Purcell's late period contain Queen Mary Day from Purccll's late period contain passages of of supreme supreme mastery, mastery, such such as as the the lament lament But But ah I1 see see Eusebia Eusehia passages drown 'd in Jt'O",,.'J ill fears It'4t'S from from Arise Arise my my Muse Mug (1690) (Itigo) with with its its highly highly resourceful resourceful baud1ing of of the the Phrygian Phrygian cadence cadence (Ex. (Ex. 60). 6o).LA"e's Goddess (1692) (I6ga) conconLove's Goddess handling

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tains a fupl chorus on 011 aa sturdy sturdy sequential equential theme theme in in simple simple tonal tonal harmony, harmony, cbancteristic of the grand grand oratorio ont«io style style of ci the the late late baroque. baroque. In In choral choral set the fugues of 01. this this type type purceil PurcellICt the direct direct model model for for HandeL Handel. However, However, not not fugues all choruses of the odes and .0 cboruaa oi the odes aod welcome welcome songs 101181 are are on 011 this this fcvcl; Jcvd; they they are are tains a fugal chorus

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Music During During Commonwealth Commonwealth and and Restoration Restoration 209 209 Music usually less less consistently consistently polyphonic polyphonic and and move move in in chordal chordal blocks. blocks. In In the the usually ode Hail bright C~dlil2 (r£i92). the famous famous 'Tis Natllre's voice ,'oice was was sung sung 'Tis Natures ode Hail (1692), the bright Cecilia by Purcell himself with "incredable graces" which, fortunatdy. ha\'e come with himself "incrcdablc Purcell have which, graces" fortunately, by power of music down to to us words of us (Ex. of the the arioso of music arioso deal deal with with the the power 61). The words (Ex. 61). Ex. from 'Tis 'Tis natures Purcell: Excerpt natures uoice. voice. 6x. Purcell: Ex. 61. Excerpt from at

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lesto the passions" of which Purcell gives, as an object as it it were, were, an object lesto "express "express the passions" of which Purcell gives, son. pictorial delineation of the words needs no comment; needs the words of delineation comment; The affective, son. The affective, pictorial and on "we "we hear, the of major and minor modes on hear, and drastic juxtaposition the drastic juxtaposition of major and minor in draalso found straight we grieve" was a favorite device of Purcell's, also found in dradevice of PurcelPs, straight we grieve" was a favorite Festhis Fesmatic of his anthems. A similar in C~l~brat~ Celebrate thit arioso occurs occurs in similar arioso anthems. A of his matic places places Hail bright The ode ode Hail smile. The discords smile. tival to the words La sullen discords Let sullen bright tival (1693) (1693) to the words and the manner Handel Cecilia stands out for a fine fugal chorus in the Handel manner and the the chorus in a fine out for stands Cecilia fugal a mechanical on Wondrous machine which, written on a mechanical splendid da-capo aria written machine which, splendid da-capo aria Wondrous aria In this this aria ground, starts in the Italian with motto beginning. with aa motto the Italian way in starts beginning. In way ground, music. Purcell high tribute to the power of organ music. Purcell pays pays high tribute to the power of organ

Aeneas (I68g?) and Aeneas In Dida a"tI works Dido dramatic works PurcelTs dramatic of purcelrs discussion of (1689?) the discussion In the it because it but comes because of its but primarily because its chronology, of because not only first not comes first primarily chronology, only the oo1y same time, at the the same isis the real opera by the composer and, at time, the only the only only real opera by the composer and, to was called upon Purcell enduring English opera of the period. When Purcell was called When the of upon to period. enduring English opera incidental some of consisted write the opera, his only works for the stage consisted of some incidental the for write the opera, his only works stage

210 210

Music in in the the Baroque Music Era Baroque Era

mlJ,k >md s{Jngs to st3ge had ample he had had had muic Jnt! However, he songs to ample opportunity opportunity stage plays. plays. However, anthems. and anthems. to to f;1!lHliJrize with the his odes familiarize hHn~df odes and himself with the dramJtic: in his dramatic 5t}le style in for amaamaSince Dido ami .1('1I~as Since Dido .zntl Aeneas was was written. like many other masques, written, like masques, for many other teur* in this and teurs-in school for girls-its scope and resources this case case aa boarding resources its school for scope boarding girls was aa were ne.;essarily the result result was were and fortunate1r because the limited, and so, because necessarily limited, fortunately so. chamber of which there arc so few. chamber opera opera of which there are so few. The chorus chorus in in Dido in the the The and participates Dido and and .Am~as on and Aeneas comments comments on participates in action in in the the manner on ~ction This significant emphasis on manner of of aa Greek This Greek tragedy. emphasis significant tragedy. choral dram3, chor~l even in the French chorus opera, French which is is not even the chorus not paralleled in drama, whkh opera, paralleled the imaginations his librettist Tate were proves of Purcell were and his librettist Tate Purcell and proves how strongly strongly the imaginations of conditioned by the conditioned the choral traditions of the masque. The arias and redtachoral the arias recitatraditions of by masque. tives arc are clearly the solos tives differentiated in Most of of the solos and in the the Italian Italian manner. manner. Most clearly differentiated duets arc are continuo continue arias ducts save Dido's without further arias without further accompaniment, fareDido's fareaccompaniment, save Pursue liz}' well, conqu~sIIOll~. The latter parades an orchestral garb love. latter an orchestral well, and PurJu~ thy conquest parades garb in fanfare fanfare style differs from in from the the other other concise its brief arias by concise arias brief da-capo style and differs by its da-capo form. For some important form. such as as that of the the sorceress, that of Purcell recitatives, such sorceress, Puredl important recitatives, resorts to to an an uncanny resorts in which which he he depicts uncanny aecompt.ignalo, accompagnato, in depicts supernatural supernatural in the the horror horror key of f. fright in for for emphasis at the the end end fright in /. The strings key of strings come in emphasis at the three three arias arias on ground of the basses, the last of which, Dido's farewell W h~ the last of farewell Dido*s When basses, which, ground am LUd. II 11m has justly justly become become one Purcell's most most celebrated compositions. laid, has one of of Purccll's celebrated compositions. In its In its deceptive deceptive simplicity simplicity this this lament stands out out as as aa monument monument to to his his lament stands dramatic dramatic genius. genius. The disregard disregard of of the the melody melody for for the the periodic periodic returns returns of of the the chaconne chaconne bass bass (third (third type) type) and and the the shift shift of of phrase phra~ structure structure and and harharmony bespeak bespeak his his supreme supreme mastery. mastery. Neither Neither the the bass bass of of the the lament lament nor nor mony the the asymmetrical asymmetrical structure structure of of the the voice voice part part were were original original with with Purcell, Purcell, who who used used similar simiLtr basses, basses, though though less less successfully, successfully, on on several several other other occasions, occasions, for for example example in in the the Fairy Fairy Queen Qwm and and the the St. St. Cecilia's Cecilia's ode ode of of 1692 lli9:z (compare (compare Ex. Ex. 65), 65). The The fourth fourth ground ground bass bass in in Dido Dido isis the the short shon chacony chacony or or "Triumph"Triumphiog Dance" Dance" whkh which concludes concludes the the first first scene scene in in Lullian Lullian rhythms rhythms and and manner. manner. ing In In each each of cl the the scenes scenes tonal tonal unity unity prevaUs prevails as as strictly strictly as as in in the the odes, odes. At At first first the third scene glance the third sceoe seems ICCIlU to to deviate deviate from from the the rule, rule, but but its its instrumental instrUmental glance introduction introduction must must probably probably be be repeated repeated at at the the end end for for the the dance dance of of the the witches witches that that the the libretto libretto prescribes. prescribes. This This repeat, repeat, suggested suggested also also by by the the dc:signatiClll "ritoracBe" "ritomclle" restores rcstora the the tonal tonal unity. unity. The The features features that that Dido Ditlo designation **d __ Aenems Antdi has bas in in common cumnoo with with Blow's Blow's Venus VmIlS and II1Id Adonis Ado"u have have already already been diicuiacd. It been ditcustcd. It goes ps without without saying ..ying that that Dido DUlo isis aa more more mature mature work, work, and aDd that that the the differences diffac:uces between between the the two two operas operas are are more more decisive decisive than thm their their similarities similarities. The The other other dramatic dramatic works works of of importance importance include iuclude marpiffr maquea, operatic operatic

Music During During Commonwealth Commonwealth and and Restoration Restoration 211 211 Music scenes, and and songs songs inserted inserted in in plays plays by by Dryden, Dryden, Bctterton, Betterton. Congrevc, Clngreve, and and scenes, others, notably notably King King Arthur, Arthur, The Th~ Indian Indian Queen, Queen, and and Dioclesian. D;ocl~sian. To To the the others, same group group belong belong the the oft-abused oft-abused adaptations adaptations of of Shakespeare: Shakespeare: Timon Timon of of same Athens, The The Fairy Fatry Queen Que~n (after (after AA Midsummer Midsummer Right's ?-";ght's Dream) Dream), and and The Th~ Athens, Tempest. In In comparison comparison with with French French and and Italian Italian hack hack writers writers for for the the Tempest. opera, the libretti of Shadwell rank rather high for sheer fantasy, however however of Shadwell rank for sheer rather high fantasy, opera, the libretti base aa distortion distortion of of the the Shakespearean Shakespearean spirit spirit they they may may be. be. Regrettably Regrettably base enough, the arrangements give Purcell hardly a chance to set an original original a set an chance to Purcell the hardly arrangements give enough, line by by Shakespeare, Shakespeare, except except for for such such songs songs as as Come Come unto IInto these these yellow yellow sands sands line and FilII fathom five from Th~ Tempest. from The Full and fathom five Tempest. What isis striking striking in in Purcell's Purcell's most most mature mature music music is, is, above above all, all, the the vast vast scale on on which which itit is is conceived. conceived. Imposing Imposing recitatives recitatives and and long long arias, arias, cither either scale in full full orchestral orchestral setting setting or or with with brilliant brilliant obbligatos, obbligatos, have have now become become in the rule. rule. Purcell Purcell worked worked with with large large units, units, and and combined combined chorus chorus and and solos solos the occurs also forms which in extended rondo structures, one of his favorite forms which occurs also his one of favorite rondo in extended structures, of Dioclesian in the the odes odes and and anthems. anthems. The vocal vocal terzetto terzetto at at the the end end of Diodesian in form. varied presents a chaconne bass (fourth type) in a varied da-capo form. In In the the in a bass a chaconne da-capo (fourth type) presents in the minor the out in tonic middle section the bass bass is is suddenly given out in the tonic in the section the middle suddenly given of a the effect has to manner of a Lullian chaconne, and the return to major has the effect of a return and the of a Lullian manner chaconne, major Italian da capo. The same ground bass was used not only by Italian composers used not bass was da capo. The same ground only by composers in one one of of it MorlaJr./s Ground in (Monteverdi) but also by Blow who called called it also by but Morten's (Monteverdi) his his harpsichord pieces. harpsichord pieces. carried the the musical musical organizaPurcell carried As movements expanded, As the the single organizaexpanded, Purcell single movements the 1011" lover How tion to a higher plane. In the gigantic passacaglia HoUi happy the In tion to a higher plane. happy th.e gigantic passacaglia from King Art/lllr he vied with Lully's most pretentious and ponderous most from King Arthur he vied with Lully's ponderous pretentious the enhanced the instruments enhanced or instruments voices or works; trio episodes for voices for trio its interspersed works; its episodes interspersed elaborated a chaconne twice rondo Purcell elaborated Sometimes Purcell whole. Sometimes the whole. of the effect of rondo effect versions related versions the two related with that the connection between the between the connection that such ingenuity with such ingenuity the air chaconne Chinese the escaped attention, as, for example, in the Chinese ""'«anne and air of the in for example, escaped attention, as, as two indePurcell the Fairy Queen, printed in the edition of the Purcell Society Society as two indeFairy Queen, printed in the edition of Purcell depicted Arthur Purcell of King pendent pieces. In the famous frost Arlhur scene of famous frost scene the In depicted King pendent pieces. that can an idea that can vocal the cold by an instrumental and vocal tremolo. an idea and instrumental an tremolo, cold the shivering by shivering the in effect in same the introduced again claim Lully as its Lully introduced the same effect the as its godfather. claim godfather. Ltdly Lully again The imitattoa the Trembleurs. of frost scene of Isis (1&n) for the chorus of the TremblnlrS. The imitation chorus the for frost scene of Ids (1677) Chromatic progresinterest. Chromatic surpasses the model, however, in harmonic interest. in harmonic progressurpasses the model, however, the whole the sions eerie quality to the whole scene, especially the to scene, eerie sions lend lend aa curiously especially quality curiously the for the music for The music Purcell. The in Purcell. rare in Neapolitan-sixth chord, otherwise quite rare Neapolitan-sixth chord, otherwise quite and tone a assumes airy and £airy realm of the Fairy Queen assumes a sprightly tone and a* the of realm sprightly fairy Queen airy and fairy w drac~ of romantic gossamer clarity that almost appl'OQch the romantic conception of "cbanethe conception clarity that almost approach ,

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Music in the the Baroque Era Music in Baroque Era

212

in baroque tc:rization." baroque could be be represented such qualities tcrizatkm." However, However, only represented in only such qualities could a matter affections. As a music matter the appropriate be characterized characterized by as could music as could be by the appropriate affections. which of or other "exotic characterizations," other "exotic of course, characterizations," which Chinese, Indian, Indian, or course, Chinese. Indian set the modern were to set the Indian Queen were to strive for if they for if would strive musicians would modern musicians Queen they or music, cannot be be found found in in Purcell's Purcell's music. or the the FlJiry Queen, cannot Fairy (}u~~n, a melody In have borrowed borrowed a to have is known to a single case Purcell Purcell is In a melody from single case et Hermione Lully, Hwmione which he probably probably Cadmus et from the the opera Lully, namely namely from opera elldmUI 3T performance in Lully's melody heard i686.37 He adopted in 1686. at its its London London performance heard at Lully's melody adopted of winds" from the Entr;e de l'enllie for his dance of the de for his dance of the Entree fenvie winds" from the the ··dancing o the "dancing subterranean winds in the Temp~II, using however a bass of his own ina bass of his inwinds however in subterranean the Tempest, using stead is illuminating the two two harmonizations harmonizations is of the of Lully's. stead of The comparison Lully's. The comparison of illuminating called Purcell seems to though the melody itself can hardly be called distinctive. Purcell seems be distinctive. can to the itself hardly melody though in he was have because he readily found in Lully what was called found called because have borroww borrowed it only Lully readily only for music suggesting in the a music the dancing the Tempest: for at at this this particular Tempest: a particular place suggesting the dancing place in influence could of be proved proved French influence could be of the winds by the winds by bustling bustling string passages. French string passages. in bit of of evidence. without this this conclusive conclusive bit evidence. The style in Purcell's music without of the Purcell's music the style of chaconncs upbeat patterns in his vocal and in and ovenures. the ever-prescnt his vocal chaconnes and and overtures, the ever-present upbeat patterns with doubled instrumental bass arias his middle the bass arias with doubled continuo of his instrumental music, continuo of middle music, the and the an unmistakable period, and the frost scene speak an unmistakable language. Yet toward frost scene Yet toward speak period, language. the this end of of his Italian inRuence influence came strongly career Italian the end his career to the the fore fore again, strongly to again, this time just being the late late baroque time the in Italy. style just being developed baroque style developed in Italy. itself most manifests itself most clearly in the the last The stylistic the works works of of the last stylistic change change manifests clearly in of The prominent traits of this change are the adoption of the three three years. traits this are the of the years. prominent change adoption the sudden of the daapo aria, the sudden sparseness of the English idiom, and the tentative sparseness English idiom, and the tentative da

second opera opera period period began began with with Rameau's Rameau's appointment appointment to to the the court court of of The second

XV (1745). (1745). In In this this period period he he turned turned to to aa less less demanding demanding and and enterenterseems shallow in comparison with his first taining rococo style that rococo that seems first his shallow in with style taining comparison operas. operas. composed Hippolyte Hippolyte with with infinite infinite care care and and patience. patience. Its Its perperRameau composed of La Poupliniere, Poupliniere, aa gentleman gentleman composer composer influential influential formance in in the the house house of formance for the the development development of of symphonic symphonic music, music, prompted prompted aa typically typically French French for reaction: it it released released the the paper paper war war between between the the Lullistcs Lullistes and and Ramistes Ramistes reaction: which came to to an an end end only only with with the the Buffoon Buffoon War. War. By By that that time time Rameau was which recognized as as the the genius genius of of French French opera opera although although the the Lullistes Lullistes had forforrecognized Rameau as the destructive element in French music. merly denounced him as the music. denounced destructive clement in French merly was convinced that he he followed followed the the precepts precepts of of Lully closely was convinced that Lully much more closely than the Lullistes wanted to admit. the perpetual metrical changes metrical the Lullistes wanted to With than the admit. changes perpetual in his his recitatives, recitatives, dance dance airs, airs, airs with doubled doubled continue, continuo, and choral choral or or ininairs with in strumental he unquestionably upheld the of Lully, Lully, tradition of the tradition chaconnes he strumental chaconnes unquestionably upheld filled the but he was not, put it, servile copyist." copyist." He filled the formal formal shell shell of "a servile as he he put he was but it, "a not, as realized LulIy's operas with his coloristic and harmonic imagination and realized harmonic and with his coloristic imagination Lully's operas innovascenes turning the the harmonic innovaof overwhelming scenes of by turning pathos by overwhelming human pathos dramatic intensity tions effects. The dramatic to startling late baroque tions of of the the late intensity starding stage stage effects. baroque to the of of his harmonies, the frequent use of his to the the wide wide scope is due due to his music music is of his harmonies, frequent scope as Lullistes the of by the Lullistes as Italian), chord (denounced of the the diminished-seventh diminished-seventh chord Italian), (denounced by his modulations of his the the extreme extreme range and the added sixth, chord of of the the added the chord sixth, and range of avoided which five or or more accidentals, with five which encompassed accidentals, generally generally avoided keys with encompassed keys the contemporaries in of his his harmony the march of to grasp Unable to his day. in his contemporaries harmony the day. Unable grasp the aside from called chords," a name that, aside a of baroque "the distiller distiller of called Rameau "the that, chords," baroque His early its implication, still valid today. valid still remains remains its derogatory early operas operas do today. derogatory implication, than other indeed contain more musician's music than any other opera of the period. music musician's indeed contain period. opera any surrococo in a isolated in a rococo surblocks isolated His erratic blocks like erratic stand like His tragedies lyriques stand tragedies lyn'ques rounding. rounding. as also designated In Italian anette, and the the Italian air and In the dance air the dance ariettc, sometimes also designated as a relaat air gracieux (Dardanus, Prologue), the harmonic rhythm moves at a relathe air gracieux (Dardanus, Prologue), rhythm are steeped tively slow pace. The other the recitatives, airs and the other airs however, are recitatives, however, steeped tively slow pace. from Hipmaitre from Puissant maItre to Puissant in in the of tonality. rich idiom idiom of the rich Hipprelude to tonality. The prelude

Louis Louis

Music Music in in the Era the Baroque Baroque Era

256

the well-defined unfolds over over the and steady '/Jolyte well-defined and harmonies of of steady harmonies 78) unfolds (Ex. 78) polyte (Ex. the melodic line line that that produces bass aa restlessly the bass number of of shifting mdodic restlessly shifting great number produces aa great

and aa very harmonies and fast harmonic not shared iridescent shared by harmonic rhythm, iridescent harmonies the very fast rhythm, not by the bass. The underlying bass. The double-barrelled effect of his harmonic style parallels double-barrelled effect harmonic of his underlying style parallels Rameau: Excerpt from Hippolyet!. Ex. Ex. ,so 78. Ramcau: Hippolytc. Excerpt from

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his theoretical theoretical distinction distinction between his between the the fundamental fundamental bass bass and and the the actually actually realized harmony. It reveals It reveals the dependence of the melody on harmony realized the of the on harmony. dependence melody harmony of counterpoint that characterizes and a sparseness was this this characterizes all all his his music. music. It It was sparscness of counterpoint that harmonic richness richness that that Campra 0:in mind when he he admiringly Campra had in admiringly exclaimed that that the music music of of Hippolytc Hippolyte was enough for was enough for ten ten operas. operas. True to to the the French operatic operatic tradition tradition the the airs airs stand very close close to to the the stand very in close fact that arioso, so close in fact that according to an anecdote of the time an Italian to an anecdote of the arioso, time an Italian according sat in vain vain for for the the beginning beginning of of the the first first sat through through an entire entire opera opera waiting waiting in aria. aria. Unforgettable Unforgettable beginnings beginnings like like that that of of Tristcs Tristes apprSts apprlts from from Castor Castor ct et Pollux Pollux (I, (I, 3) 3) show Rameau's Rameau's rational rational economy economy of of means, means, his his sober sober and and harmonically conceived conceived melody, melody, and and his his cautious cautious handling handling of of counterpoint. counterpoint. harmonically Also Also his his choral choral or or solo solo ensembles ensembles emphasize emphasize chordal chordal effects effects at at the the expense expense of This of counterpoint counterpoint. This point point is is best best illustrated illustrated by by the the awe-inspiring awe-inspiring trio trio of of the the Fatal Fatal Sisters Sisters from Hippolytc Hippolyte (II, (n, 5); 5); far far surpassing surpassing aa similar similar trio trio in in Lully's Isis Isis, itit contains contains enharmonic enharmonic modulations modulations that that presented, presented, like like WagWagLully's ner's ner's Tristan, Tristan. unsurmountable unsurmountable difficulties difficulties at at the the time. time. His His ensemble ensemble scenes scenes assume assume at at times times gigantic gigantic proportions. proportions. The The dream dream sequence sequence in in Dardanus Dardanus (IV), for for example, example, is is designed designed on on so so large large aa scale scale for for an an ensemble ensemble of of chorus, chorus, (IV), soloists, and and orchestra orchestra that that the the ensemble ensemble scenes scenes of of Lully Lully seem seem diminutive diminutive in in soloists, comparison. comparison. With With his his superb superb coloristic coloristic sense sense Rameau Rameau managed managed the the orchestration orchestration more more than of his adroidy than any any of his contemporaries. contemporaries. The The important important function function of of the the adroitly instruments instruments comes comes to to light light not not only only in in his his accompanied accompanied recitatives recitatives but but f

Late Late Baroque Baroque

257 257

in the the numerous programmatic particularly in of and overtUres overtures of particularly programmatic symphonies symphonies and the the predecessors, especially the operas. of his his predecessors, that of of Campra, operas. Following Following the path path of Campra, especially that abandoned the Rameau gradually the Lullian Lullian form form and overtures and designed his overtures gradually abandoned designed his or as as grand as representations as of elemental events (sea of elemental events storms, grand landscapes landscapes or representations (sea storms, earthquakes). These overtures lead into the opera without a break. His orovertures lead into the orwithout a His break. earthquakes). opera chestration standing at the chestration at the threshold of the modern coloristic technique threshold of the modern coloristic technique standing for woodwinds, calls for calls even the the modern chords modern clarinets. Sustained chords clarinets. Sustained woodwinds, horns, horns, and even instruments coupled of the the wind instruments of of the strings with sweeping scale passages of the coupled with sweeping scale strings passages tone pictures conjure of unwonted unwonted realism. alike realism. Singers and critics critics alike conjure up up tone pictures of Singers and to the role objected to the overbearing role of the instruments and Rousseau ridiculed of the and ridiculed instruments Rousseau objected overbearing the bon mot that that in in Rameau's it the voice it in in the Rameau's operas "the voice formed formed merely merely ""the operas the of the the accompaniment." accompaniment it is simultaneous But it is precisely the simultaneous accompaniment of accompaniment." But precisely the of extremely use of patterns and use vocal secsecinstrumental patterns and sustained sustained vocal rhythmic instrumental extremely rhythmic tions musico-dramatic effects. accounts for for his his most tions that that accounts most powerful effects. musico-dramatic powerful

before the the establishment the French Even before French establishment of of the in Italy the opera buffa in opera buDa Italy the developed a comic counterpart to the tragUie lyrique in the Vfludetlille vaudeville a comic in the to the developed counterpart tragSdie lyriquc of comedy. time of Its development at the the time with the the Italian comedians at Italian comedians comedy. Its development began began with Italian Lully who performed low Scaramouche comedies with inserted Italian inserted low with Scaramouche comedies Lully performed the Italian Italian and French songs. Because of of their and French their political songs. Because political aggressiveness aggressiveness the continued but their their tradition troupes were expelled in x6w, tradition was continued Paris in from Paris expelled from troupes were 1697, but brunettes by French comedians who supplied civil songs, operatic airs, and brunettes and comedians French who civil airs, by songs, operatic supplied vaudevilles with and satirical words. The music of these vaudevilles appeared these with topical and satirical words. music of appeared topical collections in [talim (x~ff.), the numerous brunettes collections brunettes the Gherardi's TMdtre numerous in Gherardi's Theatre Italien (1694 ff.), des Chansonniers of French Ballard (x703 and La Clef Chansonniers (1717). of Ballard Clef des (1717). The French ff.), and (1703 if.), comedians, political censorship, but they they were severely restricted by too, were comedians, too, censorship, but by political severely restricted outwitted the censor. cleverly outwitted the censor. cleverly Unlike the vautleuille vaudeville comedy Unlike the the opera dialogue and buffa the comedy had spoken spoken dialogue opera buBa borrowed indiscriminately its material borrowed its music music consisted consisted of of traditional traditional material indiscriminately from also known became also vaudeville became respectable the tlaudeuille sources. After After 1715 and lowly lowly sources. 1715 the respectable and since connotation since a parodistic as parodistic connotation that had had originally as opera term that originally a comique-^ term opera comiqu~ 42 for it parodies of serious operas. Lesage's TIMmaque (1715),42 for it applied to serious to of (*7i5)> TiUmaque operas. Lesage's applied parodies extensive Destouchcs. example, parodies the opera of the same name by Destouches. The extensive same of the the by opera example, parodies title the significant repertory was published vaudeville comedy of the the vaudeville significant tide comedy was published under the repertory of Dorncval and L'opba comique by Lesage Le TM4tre ou Vopcra Theatre de de la la Foire Poire ou Lesage and Dorneval comique by to the the ballad the set the (I']22). The vaudeville comedy which set precedent to ballad opera which vaudeville opera precedent comedy (1722). his In Favart. the in entered a new phase with the poet Favart. In his time spe:ciaJly with in England, entered a specially poet England, phase 42 f t

dcr Rofafyzeit. Ed. Rokok,o.l'eil. Zwei O[Hf'nbu"lesk,en Ed by Calmus, ZlIJei Opernburles1(cn der by Calmus,

the Baroque Music in in the Baroque Era 258 composed tunes. However, rise music gradually However, the rise superseded borrowed tunes. gradually superseded composed music the modern sense sense belongs of in the to the the early classic period. the opEra of the early classic period. belongs to comique in ofera comique

It never developed that France never literis characteristic characteristic that It is important song developed an important song literThe ature only the opera. of vocal vocal music that that continued continued ature apart opera. only forms of apart from the the cantata cantata and the motet. to beside the the omnipotent flourish beside motet. to flourish opera were the omnipotent opera The cantata Morin, Campra, Montcklair, Boismortier, cultivated by cantata was cultivated Morin, Monteclair, Boismortier, by Campra, all betray Rameau, a strong and, above all, all, by Rameau, and, They all (d. 1749). by Clerambault (d. 1749). They betray a strong Italian admitted in Monteclair's Cantates franis frankly admitted in Monteclair's Cantates influence which is Italian influence franfrankly cantatas (1710 faises et books of of cantatas reprefive books et italiennes. italiennes. Clerambault's Clerambault's five (1710 ff.) ff.) reprefaises sent the cantata. the most valuable to the cantata. Clerambault sent the valuable French contribution contribution to Clerambault favored to music music in in masterpieces favored mythological set to like subjects which he set mythological subjects masterpieces like OrpMe, HEro et Uandre, and Pigmalion. Like Campra he deliberately ct Hero Lcandrc, Pigmalion. Qrphte, Campra deliberately recitatives in in French style arias in in Italian Italian style. juxtaposed recitatives constyle. This conjuxtaposed style with arias in the Pigmaiion (Ex. 79) in in which which trast to light the excerpt trast comes clearly clearly to light in excerpt from Pigmalion (Ex. 79) Ex. 79. C16rambault: Recitative Ex.. Air from from Pigmalion. Pigmalion. Recitative and and Air 79. ClerambauIt:

AI·mablp_ob •

II~

cht'z

...

dP~

1-= •

"Ou •

...

....

.;,~

jl", dit· ii,

pm, Qw QlI4'

pirs,

... -

tip mps ar·deDs de. sirs, Quandvousm'ar.ra.

De pou-vez pou.vez vous vous ne

'It

..... ....

II"

Ips

IPS

PD en

'PIt .

dre?

the the simphonic simphonie to to the the mr air de de mouvcmcnt moutJement bears bears witness witness to to Clerambault's Clerambault's mastery of of the the concerto concerto style. style. mastery

Late Baroque Baroque Late

259

Hardly any any of of the the French French composers composers mentioned mentioned in in this this chapter chapter neglected neglected Hardly the As As the only exexchurch music, but none of them made it his specialty. but none of them made his it church music, only specialty. ception Lalande (d. 1726) must must be be mentioned, mentioned, whose whose requiem, requiem, motets, motets, ception Lalande (d. 1726) as and lessons lessons with with orchestral orchestral accompaniment accompaniment were were recognized recognized at at the the time time as and conmost the exemplary. Written in luxuriant counterpoint they afford the most conafford Written in luxuriant counterpoint they exemplary. is noteworthy noteworthy that that even even in in sacred sacred music music servative aspect aspect of of the the period. period. It It is servative rococo ornaments. ornaments. Couperin's Couperin's carecarethe vocal vocal lines lines were were overcharged overcharged with with rococo the ufons de T enebres 43 (Lessons for Holy Week) give fully wrought for de Ttnibres** Holy Week) give aa (Lessons fully wrought Lefons yet dignified, dignified, part-writing part-writing in in French good idea idea of of the the extremely extremely florid, florid, yet good church music. music. church " Music Music Press Press edition. c:dition.

CHAPTER eIGHT eiGHT

Fusion Fusion of National Styles: Styles: Bach of National THE STATE OF INSTRUMENTAL MUSIC IN GERMANY BEFORE BACH

T THE

in the the balance HE FATE of hung in of late balance between late baroque between baroque music hung theorists and com· the the French style, style, recognized the Italian Italian and the comby theorists recognized by as the two poles of late baroque music. harmonic posers alike late alike as the of music. The two harmonic poles baroque posers resources of tonality, the the concerto instrumental and vocal music, in instrumental concerto style vocal music, of tonality, resources style in "absolute" music as the the characcharac· the concerto sonata forms of music passed passed as and the concerto and sonata of "absolute" teristics of the Italian and programmatic programmatic trends trends in of the Italian style; the coloristic coloristic and teristics in in· instyle; the orchestral discipline, overture and dance strumental the orchestral suite, and and strumental music, dance suite, music, the discipline, overture the as the the characteristics characteristics the highly highly florid florid ornamentation ornamentation of of the the melody melody passed passed as style, universally universally recognized recognized as as the the third third of the the French French style. style. The German style, of in of was in the the group of national styles, characterized by its proclivity national characterized its marked styles, group by proclivity for solid harmonic as the the mediator mediator bebefor a solid harmonic and contrapuntal contrapuntal texture. texture. Serving Serving as tween tween the the two poles poles it it brought brought the the reconciliation reconciliation of of the the opposed opposed Italian Italian and French music that that finally finally culminated culminated French techniques techniques in in aa higher higher unity. unity. The music in Bach attained attained its its universality universality and and distinction distinction through through the the deliberate deliberate in fusion fusion of of national national styles. styles. Both the on the the the French and the the Italian Italian style style exerted exerted aa decisive decisive influence influence on formation in Germany. Germany. The essential essential factors factors of of the the formation of of late late baroque baroque style style in former former were the the orchestral orchestral innovations innovations of of Lully Lully and and the the keyboard keyboard technique technique of in instrumental instrumental music music and and of Couperin, Couperin. those those of of the the latter latter the the concerto concerto style style in the influence of of Lully Lully comes comes the instrumentalized instrumentalized bel bel canto canto of of the the opera. opera. The influence most strongly in the the orchestral orchestral suites suites of of three three composers composers who were were strongly to to light light in all 1704), all pupils pupils of of the the Florentine: Florentine: Cousser, Cousser, the the Austrian Austrian Georg Georg MuflEat Muffat (d. (d. 1704), and Johann Johann Fischer Fischer (d. (d. 1721). 1721). Cousser Cousser whose collection collection bears bears the the sympsym~ tomatic tomatic tide title Composition Composition dc de Musiquc Musique suivant suit/ant la la mfthodc methode Franfoisc Franfoise (1682 ff.) ff.) *1 enriched enriched the the German suite suite by by the the French French overture overture which which since since (1682

One overture: reprinted in Negcls Nllgels Must^archiv. Musil{architl. 260 260

* :I. One overture reprinted in

of National Fusion of National Styles: Bach Styles: Bach

261

as a a pompous his used as his day introduction to the subsequent to the day was frequendy frequently used pompous introduction subsequent

of dances. dances. Muffat's Muffat's Florilegium chain 16gs; II, 1~8) 22 which chain of an contains an which contains Florilegium (I, (1, 1695; II, 1698) discourse about about the the difference illuminating between the difference between and GerGerthe French French and illuminating discourse 8 violin playing, of violin and Johann man style playing, and are Fischer's Tafelmusik Johann Fischer's style of Tafelmusi^ (1j'02) (1702) 8 are 4 to likewise to Lully. The Journal de Printemps (16gs) 4 by Ferdilikewise obligated de Ferdiobligated Journal Lully. Printemps (1695) by be regarded Fischer must must be as one nand nand Fischer one of of the the finest finest documents documents of of German regarded as Fischer (not to be with Lully's Lullianism. Lullianism. This Fischer be confused confused with notiste Johann (not to Johann Lully's notiste commanded great melodic inventiveness and solid workmanFischer) melodic inventiveness solid workmanand great Fischer) for example the overture ship-see overture and and chaconne of his that chaconne of his suite in g-that suite in example the ship see for 6 6 to put such minor composers as Aufschnaiter, Schmicorer IS and Mayr minor as such Auf and Schmicorer schnaiter, composers Mayr 8 to put 7 shame. orchestra suite suite was was also also cultivated shame. The orchestra cultivated by Erlebach,T Philipp by Erlebach, Philipp of Rosenmiiller Krieger Fasch (a of Kuhnau Rosenmuller and and Pasquini), of Krieger (a (a pupil pupil of Pasquini), Fasch (a pupil pupil and elemann. Philipp Telemann. suites wrote his his delightful and Graupner), delightful suites Graupner), and T Krieger wrote Philipp Krieger 8 Lustige Feldmusik 8 for wind ensembles in the vein of Pezel. Telemann's for vein Pezel. Tclemann's wind the of ensembles in Lustige Feldmusil^ pronouncedly Musique de de Tahle Table 99 displays the graceful French style more pronouncedly style more graceful French displays the Musique than was overtures of the ponderous of Fasch Fasch whose whose contrapuntal do the than do style was contrapuntal style ponderous overtures in the showed highly esteemed by Bach. The Austrian Fux showed in the weighty Bach. Austrian esteemed weighty by highly 10 not fugues music 10 that was not that his his contrapuntal orchestral music his orchestral of his proficiency was contrapuntal proficiency fugues of south the of merely theoretical paper knowledge. Like all composers of the south he Like all theoretical composers paper knowledge. merely French style. kept Italian rather close to to Italian rather than than French style. always close kept always in the solo solo concerto, The Italian Italian concerto, concerto, became known in concerto, especially especially the imitated by Germany through the works of Vivaldi which were imitated by Heinichen, Vivaldi works of which the Hcinichen, Germany through concertos Telemann.l11l These concertos Pisendel, and Telemann. Hurlebusch, and Fasch, Hurlebusch, Pisendel, Graupner, Graupner, Fasch, inthe inin the represent the most progressive music of the Bach period in which the music of period represent the most progressive unmistakable. is at at times cipient disintegration of times unmistakable. of baroque style is baroque style cipient disintegration orchestral music field of of as an exemplar in the field orchestral music was The the in as an of Lully role of The role exemplar Lully the German music. To the paralleled by that of Corelli in the field music. of chamber chamber field of in the Corelli that of paralleled by that precluded alternatives that not alternatives composers national styles precluded one were not the two two national styles were composers the first with studied who Muffat another, studied first with shown by is convincingly as is Georg Muffat by Georg another, as convincingly shown Corelli follow to first German to follow Carelli the first Lully and then with Corelli. Muffat was the Muffat Corelli. with and then Lully

I2 DTOe 1:2 11:2 (voL 1:2 (vol. 4). (voL 4). 2) and II:2 (vol. 2) I8 Ed. Ed.

by Barcnrciter. Engcl, Biirenrciter. by Engel,

6DDT 10. *DDT 10.

Ijbid. ibid. in SIMG SIMG IX. IX, 75•6 See Die Pythagorischen PytTzagorischen ScTzmitls-Fu1Ir:lc.ldll, Schmidsfuncblein, in 75. See Ulrich, Ulrich, Die 7 r Two overtures in Organum. overtures in Organum. also Organum. see also no. 2~ • ER XIV, • . Organum. b; see XIV, GMB no. 236 b; alter Kammermus*%. Perlen altt:T also Schermg, sec also • Chamher (Lo~), 3I8; Kammt:rmflSlt· Suites (Longmans), Schering, Perlen Chamber Suitl!s 318; sec in DTOc 10 DTOc IX:2 musico-instrumentdis in 10DTOe 19); see also the Cona1ltru musir:o-instTumentJis IX:2 (vol. (vol. i sec also the Concentus XXDI:2 XXffl:2 (vol (voL 47). 47). uDDT "DDT 29/30. 29/30. 16

the Baroque Music in in the Baroque Era

262

12 In his his Armonico tributo in sonata. In tribute (1682) the trio trio sonata. of the field of the field in the (1682) 12 he paid paid second teacher, aa "harmonic to his his second imitated not not only tribute" to "harmonic tribute" in teacher, whom he imitated only in but also also in in his his valuable, this if conservative, concerti grossi collection but if concerti sonata collection this sonata valuable, conservative, grossi 13 The Hortus musicus (1687) 14 (1701 ).13 musicus (1687) 14 by the Hamburg Jan by the Hamburg organist organist Jan (i70i). be mentioned here, Reinken also be transcribed two Reinken must also two here, from which Bach transcribed 15 sonatas the keyboard. his two sets In his sets of trio sonatas for the of trio sonatas (1696) sonatas for Buxtehude keyboard. In (1696) 15 Buxtehude concise movements of of the the Corelli Corelli type the concise turned into profound into turned the contratype profound contrapuntal studies, drawing frequently on ground basses which appear at times basses at times studies, ground drawing frequently puntal appear transformation. even transformation. One of his chaconnes on a descending of his even in in rhythmic chaconnes a rhythmic descending is marked con concitato citato (II, fourth fourth is almost symb.olizes the unruly 2) which almost (II, 2) symbolizes the unruly of the imagination of the composer and also indicates the Italian background also indicates the Italian background of of composer imagination his his style. interludes which disclose disclose strong afstyle. The remarkably remarkably rhapsodic rhapsodic interludes strong afhis organ to his toccatas have no equal in the the music finity of his music of his time. time. Pachdbel's PachelbeFs finity to organ toccatas equal in call for the violin trio sonatas sonatas call violin scordatura. trio demann preferred for the scordatura. While T Telemann to preferred to 18 17 his innumerable sonatas write his in a write in Fux, Fasch,1'1 sonatas 18 a facile facile French French style, style, Fux, Fasch, to a adhered and Graupner adhered to a fugal, if not actually canonic, style which if not Graupner fugal, actually canonic, style which Italian counterpoint thoroughly the Italian Corclli. It of Corelli. It is is significant thoroughly Germanized the counterpoint of significant that Bach was especially the works of that Kuhnau of the of Graupner, a pupil of Kuhnau especially fond of Graupner, a pupil of and one of of the the best best German composers of the the Bach Bach period. composers of period.

In In the the

of orchestra field of orchestra and chamber music music the the Germans Germans faithfully faithfully folfolItalian Italian and French French music; music; while while they they were were imitators imitators they were not not eclectics eclectics since since they they Germanized the the forms forms they they took took over over they and assimilated assimilated them into into the the rich rich harmonic harmonic and and contrapuntal contrapuntal idiom idiom of of the the German style. in the style. However, However, in the field field of of keyboard keyboard music, music, especially especially organ organ music, they they held held the the leading leading position. position. In In Germany Germany the the organ organ was was afforded afforded music, the the highest highest rank in in the the hierarchy hierarchy of of instruments. instruments. This This predilection predilection for for instruments was natural a keyed instruments a natural outgrowth of the contrapuntal bent in of the keyed outgrowth contrapuntal bent in German music music which forced forced even even the the violin, violin, an an instrument instrument hardly hardly suited suited for for polyphonic polyphonic playing, playing, into into submission. subInission. The polyphonic polyphonic style style of of violin violin playing remained remained throughout throughout the the period period an essentially essentially German German characcharacplaying field

lowed the the trends trends of of

teristic teristic.

With the the impressive impressive development development of of the the school school of of German German harpsiharpsiand and organists organists from Froberger Froberger to to Bach, Bach, the the distinction distinction between between

chordists chordists

"DTOeXIn 11 DTOe XI::z (vol (voL 23). 23).

11 ibid.

I'VNM 1,3"VNMi* Iii DDT II. "DDT 18 111 Reprints Reprints in in Nagcls Nagels Mustfyrchitr, Mrui!carcnitl. Collegium Collegium Musicum, Musicum. and and Pericn Perlm alter alter KammerKammerm.nk; no. 271. ;17I. usi\; HAM no. 1 1.

u See See Nagels NQg~ls Musi^arckitf Mrui/t.arcAitl and and Collegium Coll~gium Musicum. Musicum.

of National Fusion of National Styles: Bach Styles: Bach

263 the harpsichord idioms crystallized mainly through the media· the mediaharpsichord and organ organ crystallized mainly through the French clavecinists, tion of the final but it it did did not not come to to an an absolutely clavecinists, but absolutely final late as Bach. as late as Bach. Although the harpsichord music separation, even was separation, Although the harpsichord music was oriented toward oriented primarily France the the organistic the Ger· of the Gerprimarily organistic background background of man harpsichordists to give their music a decidedly music a harpsichordists remained strong strong enough enough to give their decidedly flavor. The decisive decisive stimuli of the keyboard German flavor. stimuli for for the the development of the development keyboard suite came, as they sonata and suite from other media. often before, so often came, as from other media. they had done so before, Italian sonata It was now the Italian sonata and the It the French French overture overture that that was was transferred transferred to the keyboard. to Bach's predecessor in LeipJohann Kuhnau (1660-1722), keyboard. Johann (1660-1722), Bach's Leippredecessor in first zig, was the first German composer to transfer the Italian church sonata to transfer the Italian church sonata to to zig, composer as can the harpsichord, be seen can be seen in his Clavieriibung (I~2) the in Part Part II II of of his harpsichord, as Clavicriibung (1689-92) 18 The latter in the the Frischc and even more clearly Frische Clavier/ritchte latter clearly in Clavierjriichtc (1¥).18 (i696). collection consists consists of of church sonatas which collection sonatas in in four four or or five five movements movements in in which free-voiced keyboard free-voiced texture of alternates with with the the contrapuntal of the the keyboard style style alternates contrapuntal texture sonata. Some of of the f ugal movements can trio grown trio sonata. the fugal can be be considered considered as as fully fully grown his Biblischc fugues. Biblische Historian Historien (1700) and exexcontinued and fugues. With his (1700) Kuhnau continued the French tradition of tradition of program music. These amusing sonatas panded the music. These amusing sonatas panded program all the draw on all the instrumental instrumental forms to the the chorale chorale prelude. prelude. forms from the the dance dance to Kuhnau's manner of introducing introducing the at widely intervals the chorale chorale at widely spaced spaced intervals the sonata sounds sometimes surprisingly Bach, for for example example in like Bach, in the sonata "The surprisingly like Agonizing and Recuperated (Hiskia)," in which the chorale chorale Hezekiah in which the Agonizing Recuperated (Hiskia)," the second time in the second time in rhythmic transformation. music appears twice, music transformation. The twice, rhythmic appears various vividly "represents" various biblical incidents and in order to remove any biblical and in incidents order to remove vividly "represents" any about its has added an elaborate and possible doubt about its "meaning" doubt has Kuhnau an added elaborate and "meaning" possible informative preface preface which expounds the baroque baroque conception of program program informative expounds the conception of music. music. newly established established keyboard keyboard sonata sonata influenced influenced the the other other forms, forms, The newly the best notably the prelude. Its development can best be studied in the ClavierIts be studied in the can Claviernotably prelude. development "hung by Kuhnau, Kuhnau, the the suite suite collection collection Musif^alisches Musikalisches Blumenbuschlein Blumenbuschlein w ID ubung by 20 and by Ferdinand Fischer, Johann Krieger'S Anmutige Clavierijbung. Ferdinand Fischer, Johann Krieger's Anmutigc Clavimtbung?* by a collection collection of of ricercars, ricercars, preludes, preludes. and fugues fugues of of which Handel was esesa pecially fond. fond. Kuhnau's preludes preludes elaborate elaborate one one technical technical problem problem at at aa time time pecially preludes and arc are in in this this respect respect related related to to Domenico Scarlatti's Scarlatti's sonatas. sonatas. The preludes and of Fischer Fischer and Krieger, Krieger, too, too, are are not not bound by by the the stereotyped stereotyped forms forms of of the the of but freely freely unfold unfold aa pregnant pregnant harmonic harmonic or or rhythmic rhythmic idea. idea. In In these these dance but dance works the the ground ground was laid laid for for the the preludes prdudes of of the the Bach type. type. works late baroque baroque suite suite was known in in Germany Germany as as panic partie or or partita, panila, a The late 18 18

... For For the the Hezekiah Hezekiah sonata sonata quoted quoted below below see see HAM no. JIA 261. ZL DDT 4. by Wcrra, Werra, 1901; 1901; compare compare HAM no. no. 248. 248. by

19 1e Ed. Ed.

wJ)TB 18.

Music in in the the Baroque Baroque Era 264 rather because it it was used used to to denote denote not not only rather ambiguous but suite, but ambiguous term because only suite, o the the term) to the also the confusion variation (the also variation confusion original meaning meaning of term).. To add to (the original overture was universally the as synonymous the French French term overture with universally adopted synonymous with adopted as in the the preceding suite. chapter that D'Anglebert and Couseen in that suite. We have seen Coupreceding chapter D'Anglebert the overture perin overture to to the the keyboard; transferred the Johann Krieger keyboard; Bohm and Johann perin transferred Krieger the first to follow first to this example were among follow this in Germany. among the Germany. example in list of suite composers of suite The list includes Pachelbel Pachelbel (Hexachordum (Hexachordum Apolcomposers includes Apol* 22 Buxtehude,23 23 Reinken,24 24 Buttstedt,21S 26 linis),21 Johann Krieger, Bohm,22 Bohm, Buxtehude, Reinken, Buttstedt, linis)^ Johann Krieger, 27 Gottlieb Gottlieb Muffat Muffat (Componimenti),26 and others. others. Hurlebusch, Telemann, Telemann, and (Componimenti)?* Hurlebusch,21 These composers their tribute tribute to to profusely embellished a-Ia-mode b-la-mode composers paid paid their profusely embellished the same time dances but at at the time did did not not neglect the traditional dances but traditional patterned varianeglect the patterned variation. of the suite are clearly the French and the the German aspects the tion. Both the of suite are aspects clearly represented by thorough for his his thorough Bohm, aa composer by Bohm, noteworthy equally represented composer noteworthy equally for the French agrements of the command of the resources resources of harmony. of tonal of the tonal harmony. agrements and of Buxtehude's suites and variations, Buxtehude's suites have only been disdisvariations, which have only recently recently been not quite to covered, quite come up to the high level of his organ works. Arthe level of his works. Arcovered, do not up high organ to the main dance ranged strictly according to the four dance types: allemande, courante, four ranged strictly according types: allemande, courante, the rule in the saraband, rule only the late suite, they they late baroque saraband, gigue, only in gigue, which became the baroque suite, a few doubles doubles but the inserted contain a of the inserted dances contain but none of variety dances which gave gave variety influence in in Buxtehude's to the main types. Buxtehude's harpsichord works to the types. The French influence harpsichord works is is confirmed confirmed by by the the variations, variations, one one theme of of which which is is based based on on Lully's Lully's brunette (see famous brunette (see Ex. Ex. 43). 43). On the the other other hand, hand, the the German background background is unmistakable. unmistakable. His -partite partite La Capricciosa Capricciosa seem seem of the the patterned patterned variation variation is of like aa modest modest prefiguration prefiguration of of Bach's Bach's Goldberg do not not like Variations. We do Goldberg Variations. know whether whether or or not not Bach knew this this work, work, but but at at any any rate rate the the key key of of both both sets sets is is the the same, same, there there are are thirty-two thirty-two variations, variations, and and-most importantmost important Buxtehude's Buxtehude's theme reappears reappears as as the the tune tune Kraut und Ruben in in Bach's Bach's final final quodlibet. quodlibet. The latest latest generation generation of of harpsichord harpsichord composers, composers, notably notably Gottlieb Gottlieb and (Theophil) Mufi'at, Telemann, Mattheson, tended to merge forms that tended to forms Muffat, that Telemann, Mattheson, (Theophil) merge earlier (the son son of of Gcorg Georg and and earlier composers composers had kept kept distinct. distinct. Gottlieb Gottlieb Muffat Muftat (the 11 DTB 4:1; 4:1; sec see also also

HAM no. DO. 250. 250.

CE by Wolgast. CEbyWoIgasL ** 18 Ed. Ed. by by Bangert, Bangert, 1944. 19442S 22

**VNM I'VNM

14. 14.

,,. He is is said said to to have been been the the first first (?) (?) to to adopt adopt the the term suite suite in in his his Musifalischc Musilcalisclu: Vorrathslcammer, 1713. I7I3. Vorraths^ammer, IG DTOe 111:3 III:3 (vol. (voL 7), 7), also also Handel Gcsellschaft, Gesellschfl/t, SuppL SuPpl5; DO. 280. 280. The The colcol5; HAM no. lection lection contains contains aa valuable valuable preface preface discussing discussing harpsichord harpsichord playing playing and and the the execution execution 25

oc of ojroainents* ornaments.

I'rVNM 32"VNM32.

of National Fusion of National Styles: Bach Styles: Bach

265

of Fux) introduced the the sonata aa pupil the suite prepared sonata finale finale into into the suite and and thus thus prepared Fux) introduced pupil of for the the fusion of of suite The the ground suite and and sonata sonata in in the the classic classic period. ground for the fusion period. The recitatives of toccata-like recitatives his jantaisics of his toccata-like jantaisies which of which sometimes sometimes take take the the place place of a composer the prelude of the of great individuality. The facile Telemann The facile Telcmann prelude bespeak bespeak a composer great individuality. 28 in which he comhis versatility in the the three showed his jantaisies 28 three dozen dozen fantaisies in which he comversatility in the French galanterie bined the bined style with the Italian concerto Unlike galanteric style with the Italian concerto style. style. Unlike did not Leclair, not succeed the styles succeed in in fusing a higher into a Leclair, Telemann did styles into fusing the higher unity, unity, his attempt also his to arrive arrive at form by means of doveat an an extended and also extended cyclic form means of doveattempt to cyclic by tailed repeats tailed remained an interesting, but isolated experiment. but isolated repeats interesting, experiment.

three leading The three of organ music: the the Swedish-born Swedish-born Dietrich Dietrich leading composers composers of organ music: in Buxtehude (I63']-I70']) in Liibeck, Johann Pachelbel (1653-1706) in NuLiibeck, Johann Pachelbel (1653-1706) in (1637-1707) Bohm (1661-I733) remberg, in Liineburg, were surrounded surrounded by remberg, and Georg Georg BOhm (1661-1733) in Luneburg, were by host of of remarkable remarkable organists aa host the north to the north or or central central German German organists belonging belonging to school, Nikolaus Bruhns Bruhns (a of BuxBuxschool, notably Johann Christoph Bach, Nikolaus notably Johann Christoph Bach, (a pupil pupil of tehude), Buttstedt, Ferdinand Fischer, Johann Krieger, Kuhnau, Vincent Ferdinand Vincent Fischer, Johann Krieger, Kuhnau, tehude), Buttstedt, of Buxtehude), Lubeck Liibeck (a Vetter (a of Pachelbel), Gottfried (a pupil Buxtehude), Vetter pupil of Pachelbel), Gottfried (a pupil pupil of 29 cousin of of Bach), Walther Walther (a and Zachow teacher of Zachow (the of Handel) (a cousin Bach), and (the teacher Handel)..211 The school of Catholic organists: of Catholic Austrian Austrian school Muffat (who had studied studied also also organists: Georg (who had Georg MufIat with Murschhauser (a pupil of Kerll), Gottlieb Muffat, Richter, with Pasquini), Murschhauser of Muff Gottlieb at, Richter, Pasquini), Kerll), (a pupil stood apart Reutter stood the German school. and and Reutter school. The Catholic Catholic liturgy apart from the liturgy toccatas and versets for toccatas such as as can called called only versets such can be be found found in in Georg Mufonly for Georg Muf80 fat's Apparatus musico-organisticus fat's important and the the works works of of musico-organisticus (I~) important Apparatus (1690) 80 and 81 his The multipartite toccatas of Muffat. 81 of Georg Muffat beson Gottlieb Gottlieb Muffat. his son bemultipartite toccatas Georg Moffat the church tray influence of church sonata. sonata. of the the growing tray the growing inBuence 32 Buxtehude who was was to to take take a a decisive decisive inBuence the musical influence on on the musical developBuxtehude 82 developfree forms of both the music ment of Bach endowed both the free forms of organ music (toccata, of Bach organ (toccata, and forms (passacaglia, and organ the with the fugue) and the the ohhligo obbligo forms (passacaglia, and organ chorale) fugue) and chorale) with toccatas in their disclose harmonic fire individuality. His toccatas disclose in their harmonic fire of of his his impassioned individuality. impassioned their phantastically melodic ventures, their sweeping ventures, their solos, and their shaped melodic phantastically shaped sweeping pedal pedal solos, contours aa composer of a restive and profoundly stirring imagination. a and His of restive contours profoundly stirring imagination. His composer the flow of his and are frefugues are still imbedded in the rhapsodic Bow of his toccatas and are fretoccatas in rhapsodic fugues are still imbedded in the transformation in the manner of of thematic transformation quently tied together through thematic together through quently tied 28 Reprint VeroDentlichutJgen, Musikhibliothek Paul also Broude Broudc Bros. 28 Bros. Hirsch, 40 4, also Reprint VeroffentUckungen, Mustkbibliothcl^ ptztd Hirsch, alter McisAlee Mdster Mdsdes Orgelspiels McisUr des sets), Ch.orrJuorspiele (two sets). Chordvorspicle alter Qrgelspiels (two

29 See III See Straube. Straube, Alte

ter, and Dietrich, ter, and 1932. Dietrich, Blf Elf Orgelt:norile, Orgelchorale, 193280 Ed. no. 240aD Liher Organi also Liber de Lange, Ed by (Schott, 1933); 240. 1933); HAM no. Organi V (Schott, 1888, also by de Lange, 1888, 81 DTOc XXIX:2 (vol. 58) • (vol. 58). 82 • 2 Organ DOS. edition by a more more complete works ed. cd. by Sei&ert; HAM nos. by Seiffert; complete edition by Spitta, Spitta, a Organ works and 235. 235.

234 234

266 266

Music in in the the Baroque Baroque Era Era Music the variation variation ricercar. ricercar. The fugue fugue themes themes frequently frequently affect affect tone tone repetirepetithe tions and and sometimes sometimes outline outline tonal tonal harmonies harmonies by by means of of diminished diminished tions sevenths. sevenths. 33 transmitted transmitted the the virtuoso virtuoso style style of of keyboard keyboard playing playing that that Pachelbel ss Pachelbel and thus prevailed in in the the Austrian Austrian school school to to central central Germany, Germany, thus brought brought prevailed about the the rapprochement rapprochement between between the the Catholic Catholic and Protestant Protestant organists. organists. about His toccatas toccatas lack lack elaborate elaborate fugal fugal sections sections and are are built built on monumental His virtuoso of of virtuoso figuration in in the the pedal points which support a dazzling display a which figuration support dazzling display pedal points concerned two manuals. manuals. A less less profound profound musician musician than than Buxtehude, Buxtehude, he was concerned two with playfully playfully ingenious ingenious rhythmic rhythmic patterns patterns rather rather than than with with stirring stirring harharwith than monies. That That his his harmonic harmonic idiom idiom was markedly markedly less less absorbing absorbing than that that of of monies. is shown shown in in his his ninety-four ninety-four (!) (I) magnificats magnificats for for the the organ. organ. They They Buxtehude is Buxtehude are short-winded short-winded fughettas fughettas composed composed as as functional functional music music for for the the service. service. are Like Johann Johann Krieger, Krieger, Pachclbel Pachelbel was still still clearly clearly dependent dependent in in his his fugues fugues Like on the the transformation transformation technique technique of of the the variation variation ricercar. ricercar. on Pachelbel's music music also also heralds heralds the the coming coming of of the the "well-tempered" "well-tempered" tuning tuning PachdbeFs advocates. in Werckmeister Werckmeister one of its most ardent advocates. of his his which had had in One ardent of one of its sets of of suites for seventeen seventeen of the twenty-four twenty-four keys keys theoretically theoretically availavailsets calls for of the suites calls able. Ferdinand Ferdinand Fischer Fischer brought brought the the number up up to to nineteen nineteen in in his his Ariadne Ariadn~ able. Musica (1715)' This collection collection of preludes and fugues fugues represents represents the the most of preludes Musica (1715). This in the evolution of the temperament before Bach. It important document the before in of Bach. It the evolution temperament important served the direct the Well-Tempered Well-Tempered Clavier, not only with served as direct model for for the with as the Clavier, only but sometimes with regard to the the fugue fugue regard to sometimes even to the the order of keys, even with order of regard to keys, but regard 84 84 themes. The title of the the collection indicates that that Fischer Fischer wanted to to give give tide of collection indicates themes. the thread" through through the the labyrinth labyrinth of remote keys, keys, an "Ariadne of remote "Ariadne thread" the organist organist an rarely, if before his if ever. his time. time. ever, adopted rarely, adopted before Of the the organ the "bound" forms forms of of organ chorale was closest music the closest to to organ music organ chorale the hearts Four types can be distinguished, all the hearts of Protestant organists. of the the Protestant all organists. types distinguished, of of which were ultimately transformed by Bach. The first first ultimately perfected by Bach. perfected and transformed the chorale type; the chorale partita or chorale variation. obligated to the secular or chorale was to the secular variation, partita type, obligated variation variation technique the German suite. of the suite. The fact fact that that the chorale took the chorale took technique of the the place held by a secular secular aria aria or or dance dance reveals reveals the the close close interinterplace ordinarily by a ordinarily held actions the secular secular and sacred actions between the sacred spheres in Protestant Protestant music. music. BOhm, Bohm, spheres in Pachdbel (Musikalisch~ Sterhensg~dank~n), and Buxtehude, all wrote Pachelbel all wrote Buxtehude, (Musifydischc Stcrbensgedanl^n)^ chorale partitas, chorale and Buxtehude even went so far as to present the chorale even so far as to the chorale partitas, present in form of of a variation suite in in which the the chorale in variation suite chorale melody sucmelody appeared appeared sucas and gigue, treated each time cessively as ,allemande, courante, saraband, .allemande, courante, saraband, and gigue, treated each time cessively aa DTOe VlU:2 Villa (vol. no. 251. (vol. 17). 2:1, 4:1; 17), DTB 2:1, 4:1; HAM no, 251. no. 265. M GMB no. the theme ^GMB borrowed !he of this this fugue for his in E theme of his fugue E in in the the 265. Bach borroWed fugue for fugue in Well-Tempered also HAM no. no. 247. Clavier; ampare WeB-Tempered Clavier; compare also 247.

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in the the strictly strictly patterned patterned figuration figuration ofof the the German German tradition. tradition. Bohm's BOhm's concon. in was that that he he furnished furnished the the chorale choralewith withaa multitude multitude tribution toto the the partita partita was tribution

agrementswith with which whichhe hewas wasmore morefamiliar familiar than than any any other other GerGerofFrench Frenchagrfments of by manorganist; organist; however howeverhe hedisciplined disciplined them them in in typically typically German Germanfashion fashionby man Bernhard the use use of of rigid rigid ground ground basses. basses. Also Also Johann Johann Kriegcr, Krieger, Johann Johann Bernhard the Bach, Buttstedt, Buttstedt, and and Gottfried Gottfried Walther Walther contributed contributed to to the the chorale chorale partita. partita. Bach, The second second type, type, the the chorale chorale fantasy, fantasy, flourished flourished especially especially in in the the north north The German school school (Buxtehude, (Buxtehude, Liibeck, Lubeck, Bruhns, Bruhns, and and Rcinken), Reinken). After After Scheldt Scheidt German it had had become become aa large large rhapsodic rhapsodic composition composition of of virtuoso virtuoso character. character. BuxtcBuxteit and introduce close to the toccata and introduce only hude's visionary fantasies stand very to the toccata stand fantasies close hude's visionary only very the amidst fragments of the chorale melody that emerge and disappear amidst the and that the chorale disappear melody emerge fragments of his turbulent activity activity of of the the other other parts. parts. Reinken Reinken stressed stressed in in his excessively excessively long long turbulent use of of double double pedal pedal which which fantasies the the virtuoso virtuoso attitude, attitude, notably notably in in the the use fantasies bespeak at at the the same same time time the the German German predilection predilection for for polyphony. polyphony. bespeak The third third type, type, the the chorale chorale fugue, fugue, was was at at home home in in the the central central German German The school and and had had its its main main representatives representatives in in Johann Johann Christoph Christoph Bach, Bach, PachelPachelschool theme the as served chorale as the bel, and Zachow. Here the initial phrase of the chorale served the of initial Here the Zachow. and phrase bel, cantus in introduced either was either introduced in cantus of a fugue, after which the entire melody was which the entire of a fugue, after melody firm us fashion fashion (a (a practice practice most most characteristic characteristic for for Pachelbcl) Pachelbel) or or else else preprefirmus deThis sented phrase by phrase in a chain of fughettas. type, obviously dea chain of in obviously sented type, fughettas. by phrase phrase a thorPachelbel a thorthe hands of Pachelbc:l rived from motet, assumed in the assumed in chorale motet, the chorale from the rived his with his it with oughly instrumental character. Gottfried Walther endowed it oughly instrumental character. Gottfried the of the strong late-baroque harmonies and created the only examples of the type created and harmonies type examples only strong late-baroque Matthcson that Bach. Not unjustly of Bach. those of with those can be be compared unjustly did Matthc:son that can compared with art." in first as "a second Pachelbc:l, if not the first in art." praise Walther not the if "a second Pachelbel, praise Walther as instruthe instruas the the liturgy in the served in The the chorale prelude, served fourth type, liturgy as The fourth type, the chorale prelude, the While mental the congregational for the introduction for singing. While the mental introduction congregational chorale singing. fourth the chorale preludes, as chorale to as first are often loosely referred to three types first three preludes, the fourth types are often loosely referred liturthe liturserved the It served as the chorale prelude proper. It type must be recognized chorale as the be must proper. prelude recognized type in songlike gical function best because itit stated the melody manner, usually usually stated the songlike manner, melody in gical function best because Related remembered. and heard so that it could be easily heard and remembered. Related in the soprano be could it that in the soprano so easily be regarded can be chorale prelude in to the chorale partita the the chorale regarded prelude can its technique in its technique to the chorale partita in either plain The of a single chorale variation. The melody in either as an extension variation. plain melody as an extension of a single chorale in contrapuntal or in or in figurative set in contrapuntal was set form was harmony or ornamented form or ornamented figurative harmony and it with with independent fashion rhythmsand movedagainst theother other parts independent rhythms fashion and and the against it partsmoved often introduced by short, often motives. was usually chorale was the chorale by aa short, line of of the Each line usually introduced motives. Each the and Pachelbe~ Pachelbel, the Buxtehude and anticipatory, imitation of the voices. Buxtehude other voices. the other of imitation anticipatory, for the ground laid the first masters of the chorale prelude proper, laid ground for first important important masters of the chorale prelude proper, arc Buxtehude's Bach. with arc: the future development of the form with Bach. Buxtehude's preludes form the preludes the future development of of of interest because interpretation of becausethey personal interpretation ofparticular highly personal give aa highly they give particular interest

268

in the the Baroque Music Music in Era Baroque Era

the led to trend that that Bach Bach led consummation. Walther evolved to consummation. evolved chorale a trend the chorale-a a consistendy served as as a distinctive that served in his his preludes melodic patterns distinctive melodic preludes that patterns in consistently running counterpoint to the melody. the to melody. counterpoint running THE STATE OF PROTESTANT CHURCH MUSIC BEFORE BACH said to to begin The late period of music may be said late baroque of Protestant Protestant church church music may be baroque period begin with the emergence church cantata, with the a new form, of a the church cantata, which quickly form, the emergence of quickly assumed role in the leading in vocal motet increasingly lost assumed the vocal music. music. The motet increasingly lost leading role in the ground as an independent form and survived only on the periphery in music music as an and on form survived periphery only independent ground cantata two traditions for the cantata etc. In In the traditions for special occasions, weddings, funerals, etc. special occasions, weddings, funerals, the dramatic merged middle baroque: that had had existed existed side side by side in in the the middle dramatic baroque: the merged that by side concertato the the chorale concertato of chorale concertato of the the Schutz tradition and and the concertato of of the Schiitz tradition as Weckmann-Tunder been known as dialogue, been had formerly Wcckmann-Tunder tradition. tradition. What had formerly dialogue, instrumental accommotet (with accomconcertato, or simply sacra, or concertato, symphonia symphonia sacra, (with instrumental simply motet was assimilated a term coined by the Hamburg paniment) the cantata, term coined assimilated into into the cantata, a by the paniment) was Hamburg pastor Neumeister, Pietist hater. hater. In In his his cycles a staunch staunch orthodox and Pietist orthodox and of Neumeister, a cycles of pastor cantata if.) he shifted the emphasis from the biblical words to the texts (1700 the from biblical cantata texts he shifted words to (1700 fi.) emphasis the their sententious, or edifying interpretation. Whereas the concertato their poetic, or concertato poetic, sententious, edifying interpretation. was based based essentially reform cantata cantata consisted on scriptural words the the reform consisted of of essentially on scriptural words the scriptural freely text or that either either replaced or freely composed scriptural text paraphrases that composed paraphrases replaced the as poetic served as These paraphrases have been been improperly served insertions. These called poetic insertions. paraphrases have improperly called "madrigalian." Actually, however, they have nothing to do with madrigal have do to with "madrigalian." Actually, however, they nothing madrigal poetry because were admittedly because they of the the Italian modeled after after the the forms forms of Italian poetry they were admittedly modeled opera the church the secular secular cantata which gave cantata which cantata its its name. church cantata name. opera and the gave the Neumeister cast his Ncumeister cast his devout devout contemplations in form form of of recitative recitative and and aria, aria, contemplations in which was based a single each affection. He described his reform, each of of which based on a affection. his described reform, single with the the words: "In short, significandy, piece from words: "In a cantata cantata looks a piece looks like like a an from an short, a significantly, with of stylo opera, rccitativo and arias." and arias." composed of opera, composed stylo recitatitlo of the the church The creation most secular creation of church cantata after the cantata after the most secular of of all all secular secular models naturally aroused the the opposition the models of the Pietists. The clamor against of Pietists. clamor naturally aroused opposition against church music music did until the the end baroque period. period. "operatic" did not not subside subside until end of of the the baroque "operatic" church the Pietists Pietists the the cantata For the secularization, the cantata meant meant an an abominable abominable secularization, the ultiultidesecration of of sacred sacred music. mate desecration music. For the orthodox orthodox Lutherans For the Lutherans it it meant meant the consecration consecration of of secular conversely not conceive secular music music since since they did not conceive conversely the they did sacred and secular the sacred secular spheres as the as opposed. This attitude explains This attitude spheres opposed. explains why why church music in in the the modern form church in centers of form flourished flourished only in centers of orthodoxy. only orthodoxy. As the the reform movement in in church church music A3 before 1700 music did did not not begin it is is begin before 1700 it that the dear that the composers of the the generation clear not yet yet Bach were before Bach were either either not composers of generation before

Fusion Fusion of of National National

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affected by by it, it, or or came came to to itit only only very very late. late. Johann Johann Christoph Christoph Bach, Bach, the the uncle of Johann Sebastian, entitled his vocal compositions stilllamento or uncle of Johann Sebastian, entitled his vocal compositions still lamento or arioso rather rather than than cantata. cantata. His His dramatic dramatic arioso arioso Ach Ad dass dats ich ich Wasters Wassers genug genug arioso thoroughly steeped steeped in in the the tradition tradition of of Schiitz's Schutz's plastic plastic recitative recitative hatte isis thoroughly hdttc and fully fully justifies justifies the the epithet epithet "the "the great great and and expressive expressive composer" composer" that that the the and chronicle of of the the Bach Bach family family bestowed bestowed upon upon him. him. The The "cantatas" "cantatas" of of BuxteBuxtechronicle hude, the the visionary visionary power power of of which which exerted exerted so so deep deep an an impression impression on on Bach, Bach, hude, 35 as still belong belong to to the the older older conccrtato concertato type. type. They They contain contain no no recitatives recitatives or or dadastill capo arias, but remarkable accompanied ariosi which disclose Buxtehude's but remarkable Buxtehudc's ariosi which disclose arias, accompanied capo subjective fervor. fervor. In In the the monumental monumental cantata cantata Wachet Wachee auj auf he he utilizes utilizes the the subjective chorale text, text, but but almost almost completely completely disregards disregards the the melody; melody; however however in in chorale cantus Gott hilf hill mir mir he he "presents" "presents" the the chorale chorale Durch Durch Adams Fall Fall as as canttls firmtts firmus Gott in instrumental instrumental unisono unisono against against which which the the chorus chorus "interprets" "interprets" the the text text in in in Bachian fashion. fashion. This This differentiation differentiation between between chorale chorale and and figurative figurative acacBachian companiment was was suggested suggested by by the the techniques techniques of of the the organ organ chorale. chorale. In In his his companiment inwhose Carissimi was brilliant choral writing Buxtehude was obligated to Carissimi inBuxtehude to choral brilliant obligated writing he cantatas In other fluence is especially noticeable in the Latin cantatas. In other cantatas he cantatas. fluence is especially noticeable in the Latin made use of strophic variation for chorus, and of of ground basses. or chorus, for solo solo or use of made ground basses. strophic variation consist for the Christmas His Abendmusiken composed for the Christmas season, consist celebrated Abendmusi%en season, His celebrated composed of dialogues of which to us. us. which only of allegorical very few have come down to only very allegorical dialogues of cantatas if not In contrast with the predominantly lyrical, if not subjective, cantatas they the with contrast In they subjective, predominantly lyrical, nature. are an oratorical oratorical nature. of an dramatic compositions are dramatic compositions of PachelOutstanding besides Buxtehude were BOhm, cantata composers Bohm, Pachelcomposers besides Outstanding cantata direct conthe direct bel, and Zachow, and, among Zachow, and, Kuhnau, and among the bel, Philipp Krieger, Kuhnau, Philipp Krieger, cultivated these all of temporaries of Bach, Graupner and Telemann. Nearly all of these cultivated and Telemann. of Nearly Bach, Graupner temporaries chorale the of stanzas various the the cantata per omnes versus in which the various stanzas of the chorale in which versus omnes cantata the per PachelBohm of cantatas appeared as a series of vocal variations. The cantatas of BOhm and Pachdvariations. vocal appeared as a series of 36 That variation. chorale variation. That Philipp as chorale bel or as as concertato conccrtato or either as conceived either are conceived bel 38 are Philipp 37 was one not is not cantata is the reform reform cantata to adopt Krieger 8'1' of the first to the the first composers of one was adopt composers Krieger he that he forms that for the forms surprising because his operas had had prepared prepared him for surprising because his operas is particularly strong. influence is applied to the cantata. In his works Italian Italian influence works In cantata. his the to strong. particularly applied 8e more nearly approach the 38 and Zachow of the the Bach cantata of Kuhnau more nearly approach the cantata and Zachow Be Kuhnau 38 works with career his type than any of their contemporaries. Kuhnau Kuhnau began began his career with works type than any of their contemporaries. reform wrote reform cantor wrote the Thomas Thomas cantor in but in his later years his later in concertato conccrtato style. years the style, but in

affected

DDT CE. also CE. sec also DDT 14. 14, see M DTB 6:1. BlDTB 6:1. 87 DDT 53154 and the solo solo volume the in the the latter latter volume that in be noted noted that IT It should should be 6:1. It DTB 6:1. DDT 53/54 and DTB is Johann The composer to Krieger. cantata ascribed to Johann Wie bin bist Du Du isis CIIoneously composer is cantata Wie Krieger. The erroneously ascribed 85 BI

Christoph Bach. Christoph Bach. 88DDT II /.59DDT 58 58/59. -DDT DDT 21/22. 21/22.

in the Music in the Baroque Baroque Era

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cantatas that sccco and and accompagnato with secco cantatas with ariosi, and arias, arias, that recitatives, ariosi, accompagnato recitatives, text. Kuhnau showed give of the biblical text. the biblical a contemplative contemplative interpretation interpretation of give a Wic schon cantata Wit: his strong schon balanced form in the sense for for balanced form in the impressive his strong sense impressive cantata elaborate leuchtet It opens with a massive and elaborate chorale chorale dcr Morgenstern. It a massive leuchtct da with Morgcnstcrn. opens a highly chorus a simple that a closes with with a and closes chorale setting so that chorus and highly variegated variegated simple chorale setting so that became exstructure is framed by means of the chorale-a device that device exis a structure of the chorale framed by emplary also makes ample Bach. Kuhnau's St. for Bach. St. Matthew Passion Passion (1721) (1721) also ample emplary for use of use of chorales. chorales. Zachow excelled both in in reform reform cantatas. cantatas. In in chorale In excelled both chorale variations variations and in the he sometimes the sometimes abandoned the the solo solo sections of his his chorale sections of chorale variations variations he chorale the musical interpretation of the as to to allow for a a free chorale melody so as allow for free musical interpretation of melody so deserves particular chorale Leben deserves ist aas text. His reform Das isl das ewige chorale text. reform cantata cantata Das ewigc Lcbcn particular attention it represents the the inner inner features features of the formal formal and even even the of the attention because because it represents the Bach paraphrase (recitatives and da-capo arias) and the free paraphrase the Bach cantata. cantata. The free (recitatives da-capo arias) relief the biblical and fugue) are set off in sharp relief and the whole text (concertato are set off in whole biblical text (conccrtato sharp fugue) 40 is is rounded rounded off off by a simple chorale setdng. and, especially, by a setting. Graupner Graupner '0 and, especially, simple chorale 41 Telemann U lean the style became toward the lean in in their their cantatas cantatas toward style galant gdant which became fashionable the years Bach wrote his passions and cantatas in fashionable during wrote the his cantatas in years during passions Leipzig. Leipzig. BACH: THE EARLY PERIOD brilliant development The brilliant of instrumental instrumental and sacred in the sacred music music in the late late development of baroque culminated in the works of Bach, the greatest genius of baroque culminated in the works of of the Bach, baroque greatest genius baroque Sebastian Bach (b. music. Johann March :11,1685 in Eisenach; d. July Johann Sebastian 21, 1685 in Eisenach; d. 28, (b. March July 28, in Leipzig) in a a twofold I'l50 musical twofold tradition, that of the local of the local musical tradition, that 1750 in Leipzig) was steeped steeped in milieu in in Thuringia, milieu natural that of of the the Bach family it natural Thuringia, and that family which made it for him to to uphold the for staunchly the highest standards of musicianship standards of to uphold staunchly highest musicianship and to be receptive be to musical influences from abroad. Broadly speaking, Bach influences musical abroad. Bach receptive Broadly speaking, could count count all all the the leading could music among teachers; of European masters of his teachers; leading masters European music among his studied their their works by he studied traditional mode of of "study" for a a by copying-the copying the traditional "study" for musical apprentice. oldest of of the the Italian Italian masters masters that that served as served him him as apprentice. The oldest Frescobaldi whose Fiori cwnplc Fiori musieali in its its musifaK Bach copied out in example was Frescobaldi copied out It that entirety. It seems significant that he selected of all of Frescobaldi's works selected of all Frescobaldi's of works entirety. significant the one most closely the with the the (Catholic) observance closely bound up up with (Catholic) liturgy. liturgy. The observance of liturgy, or Protestant, of to him him Catholic or mattered more more to Protestant, obviously liturgy, whether Catholic obviously mattered

"* DDT 51/5251/52.

Telemann composed Telcmann year. cantata cycles for the the liturgical composed twelve (I) (!) complete complete cantata cycles for liturgical year,

none 01. of which DDDC: which bas has been been reprinted. reprinted

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than the the difference difference in in denomination. denoIl1ination. The list list of of other other Italian Italian masters masters whom

Bach imitated imitated and copied copied includes includes Legrenzi, Legrenzi, Albinoni, Albinoni, Corelli, Corelli, Lotti, Lotti, CalCaldara, Vivaldi, Vivaldi, Marcello, Marcello, and Bonporti. Bonporti. The French French were were represented represented by by dara,

D'Anglebert, Couperin, Couperin, Dieupart, Dieupart, Grigny, Grigny, Raison, Raison, and and Marchand, Marchand, the the D'Anglebert, German Catholic Catholic masters masters by by Froberger Froberger and and Kerll, Kerll, and and finally finally the the Protestant Protestant masters masters by by Reinken, Reinken, Buxtehude, Buxtehude, Pachelbel, Pachelbel,

BOhm, Strungk, Strungk, Bruhns, Bruhns, Bohm,

Ferdinand Fischer, Fischer, Handel, Handel, Fasch, Fasch, Graupner, Graupner, Telemann, Telemann, and and many many others. others.

to learn learn from others, others, his his unceasing unceasing zeal zeal to to perfect perfect himself himself Bach's desire desire to Bach's even even in in the the years years of of fullest fullest maturity, maturity, is is well well documented. documented. It It was was he he who the determined, determined, though though unsuccessful, unsuccessful, attempt attempt to to meet meet his his greatest greatest made the contemporary, Handel. Handel. contemporary, learned the the fundamentals fundamentals of of music music from from his his father, father, aa town town musician musician Bach learned After the the death death of of his his father father he he received received instruction instruction from from his his in Eisenach. Eisenach. After in learned his his craft craft with with Pachelbel Pachelbel and and lived lived as as ororelder brother brother who had learned elder in It Ohrdruf was here ganist in Ohrdruf. It hercr that initiated into the that Bach was initiated into the German ganist literature for organ. As boy boy soprano at the the school school in in Luneburg Luneburg he he came for organ. literature soprano at in contact contact with with the the organists organists Loewe (a pupil of of SchUtz) BOhm (a (a pupil pupil in Schutz) and Bohm (a pupil Reinken);; from the the latter latter he he learned learned the the style style of of north north German and of Reinken) of French organ organ music. music. After After the the mutation mutation of of his his voice voice Bach Bach journeyed journeyed on foot foot French to Hamburg, Hamburg, the the center center of of the the flourishing flourishing opera, opera, to to visit visit the the organists organists to about this very little little about Reinken and Vincent Lubeck. We know very this "journeyman Reinken "journeyman Bach was interested interested more in in deepening deepening period," but that Bach but it it seems seems likely likely that period," the in his his organistic background than in frittering away his time in the opera in than his opera away frittering organistic background several times house. From Luneburg Luneburg he he also in Celle times where Celle several visited the the court court in house. also visited French style. he became in French orchestral music in with orchestral he became acquainted style. acquainted with be distinguished In five periods of Bach five the creative In the creative development distinguished periods can be development of 42 life.U Throughhis life. to the he held that held during the positions that roughly Throughduring his correspond to positions he roughly correspond in his his main instrument, out absorbed in remained absorbed his artistic career Bach remained artistic career out his instrument, the is symbolic it is organ, his also an accomplished he was also violinist; it symbolic of his accomplished violinist; organ, though though he in his organistic background that he served in his first positions served first two important that important positions organistic background in Miihlhausen (1707). as as organist: first in Arnstadt (1703) in Arnstadt (1707). These (1703) and then in organist: first positions in which the young the first first period off the composer was young composer period in positions mark off that groping for a personal style. It was from Arnstadt that Bach undertook It a for groping personal style. in on foot to Lubeck (1705) in order to study the Liibcck to foot the famous famous pilgrimage study vocal (1705) pilgrimage concer-taro and organ music with its best representative, Buxtehude. Bach's best its with conccrtato and organ music representative, the of contact with the music of the aged creative fire upon creative imagination aged upon contact caught fire imagination caught stirring was the impression that he long overstayed master the master and and so so deeply overstayed long impression deeply stirring his jowney to Buxtehud~ o his his superiors. leave to his leave the chagrin Buxtehudc, which to the superiors. The journey chagrin of .

"**Sce See Gurlitt. 28 If. Bach,2&fL Gurlitt, Bach.

Music Era in the the Baroque Music in Baroque Era 272 can the last journeyman period, period, released released last phase of Bach's Bach's journeyman can be as the be considered considered as phase of the works of in the the the of the themselves in the pent-up that manifest manifest themselves creative energies energies that pent-up creative early early period. period. in Miihlhausen Bach As successor of organist Bach in the the post successor to to Georg Ahle in organist in post of Georg Able was drawn into the quarrels between Orthodoxy and Pietism in Pietism in was between drawn inevitably into the Orthodoxy quarrels inevitably which personal conviction his family sided which he, to his his personal conviction and his true to tradition, sided he, true family tradition, his own church. of his with faction even pastor of church. It the pastor with the the orthodox even against orthodox faction It against the in was the course for him to take since the Pietists, opposed in principle the the only take since course for to Pietists, opposed only principle devotional or or sickly to to figural tolerated only music in in the the service, service, tolerated only simple simple devotional figural music sickly sentimental songs. Paradoxically enough, these songs were more often these sentimental songs. Paradoxically enough, often songs than very same the very than not not derivatives airs and betrayed derivatives of shallow operatic of shallow same betrayed the operatic airs in theory. secular the Pietists vehemently in Bach secular influence influence that so vehemently that the Pietists attacked attacked so theory. Bach for felt there for more than year. felt too there than a in Miihlhausen to stay a year. uncomfortable in Miihlhausen to too uncomfortable stay In his In a highly significant document of his musical his letter of his letter of of resignation, a musical resignation, highly significant blunt fashion fashion that that his and religious his "final he stated stated in in his his typical "final beliefs, he religious beliefs, typical blunt goal" that "a regulated in the the honor of God"-regulated, God" regulated, that music in honor of church music goal" was "a regulated church means: in with the of art music which governed both in accordance art music accordance with the precepts of both precepts governed sacred and secular sacred secular music. a composer conceived music as music. For For a as "the "the composer who conceived reflection reflection and erckmeister) it was no and foretaste foretaste of of heavenly it was no heavenly harmony" harmony" (W (Werckmeister) to use use in in the sacrilege Bach the church church the the C012CertatO or even even opera conccrtato style sacrilege to style or opera style. style. Bach still shared the old shared the old Lutheran still be praised praised in Lutheran conviction that God should should be conviction that in a a ceaseless effort effort by of ceaseless means of the most "artificial" music. the "artificial" music. by of the the early The works of are characterized characterized by excessive length, early period period are by excessive length, of superabundance of ideas, unbridled exuberance, and inconclusiveness with unbridled and inconclusiveness with ideas, exuberance, superabundance regard to harmony • Youthful effervescence manifests itself also Youthful effervescence manifests itself also in in regard harmony. 48 flourishes '8 of extravagant of the the early chorale accompaniments for extravagant flourishes early chorale accompaniments for which Bach was reprimanded the church church superintendent in ArnArnreprimanded by by the superintendent in

stadt. stadt. the only Three early partitas, the that Bach Bach contributed contributed early chorale partitas, only examples examples that

to this this form, treat the the chorale chorale in to in strictly form, treat with indeindestrictly patterned patterned figuration figuration with counter-motives in in the the manner of pendent o Pachelbel, and pendent counter-motives Pachelbel, Buxtehude, Buxtehudc, and

Bohm, They in their their harmonies BOhm. Sei harmonies except for the the partita They are uncouth in except for partita Sci the gegriisstl /esu which suggests by the more advanced harmonic style in advanced harmonic Jesu gegriisset suggests by style in of its its variations variations that it may have been some of that it been revised revised at at a a later later date. date. In In may relation relation between between text text and and music music it it is is

of Bach's view of Bach's observance of of the the view

^Printed in in Spina, "Printed Bad Spitta, Bach English translation. English translation.

m. 400. rather faulty here after the the rather 400. The book is quoted quoted here faulty

ffl,

after

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significant that that the the partitas partitas contain contain as as many many variations variations as as the the chorale chorale had had significant stanzas. stanzas. The The early early church church sonatas sonatas for for harpsichord harpsichord are are either either direct direct adaptations adaptations of sonatas sonatas from from Reinken's Reinken's Hortus Rortus musicus musicus or or independent independent imitations imitations of of the the of form. The The playful playful canzona canzona theme theme of of the the sonata sonata in in D which which combines combines the the form. cackling of of aa hen hen with with aa cuckoo cuckoo call call obviously obviously stems stems from from the the south south GerGercackling man and and Italian Italian schools. schools. The delightful delightful "Capriccio "Capriccio on on the the Departure Departure of of the the man Beloved Brother," Brother," aa secular secular complement complement to to Kuhnau's Kuhnau's programmatic programmatic BibliBibliBeloved cal Histories, Histories, reflects reflects in in its its intimacy intimacy the the family family incident incident on on which which itit is is cal based. It It contains contains several several descriptive descriptive movements movements like like "the "the flattering flattering of of based. the friends," friends," or or aa "general "general lamento" lamento" on on aa chaconne chaconne bass bass (third (third type), type), the elaborated with with less less naivete naivete and and greater greater plasticity plasticity than than was was customary customary with with elaborated Kuhnau. The concluding concluding fugue fugue on on the the horn horn call call of of the the postillion postillion suffers suffers Kuhnau. from lack lack of of conciseness, conciseness, but but already already points points to to the the keen keen humor that that from so many many of of Bach's Bach's secular secular works. works. The The preludes preludes and and fugues, fugues, distinguishes so distinguishes and toccatas, and of the the early period stand close to the visionary and and fantasias fantasias of the stand close to toccatas, visionary early period disof Buxtehude. The preludes and toccatas are hardly erratic style of Buxtehudc. are and toccatas erratic hardly disstyle preludes the tinguishable and display dramatic life and youthful unruliness; the fugues and dramatic life and fugues youthful unruliness; display tinguishable later the later lack and the of the themes and the planned the pregnant concise themes lack the organization of pregnant concise planned organization that turns works the rambling counterpoint takes often surprising turns that often takes the works though surprising though rambling counterpoint no. v. in E-flat and have of their own. A fugue and prelude in E-flat (CE v. 36, of their own. have an an appeal (CE 36, no. fugue prelude appeal counter12) which presents in Froberger's manner a theme with changing countera theme with in which changing Froberger's presents 12) subjects of Bach's Bach's early'period a composition as a for many has passed early "period composition of many years years as subjects has passed for though its is his distinguished forbear Johann Christoph. forbear his its author author is actually Johann Christoph. distinguished actually though in t1 d the The work of the period, the passacaglia work of the another spurious of another author of The author passacaglia in period, spurious in the Witt. (CE v. 42> no. 15), has been identified as Witt. Bach betrays in the early as identified been has no. v. early betrays 15), (CE 42, idiomatic for idiomatic flair for and aa £lair effects and keyboard virtuoso effects for virtuoso sense for sure sense works aa sure keyboard works as the the device as a typically keyboard such a in such organistic device typically organistic writing, especially especially in keyboard writing, in lie easy that notes breaking of the scale into a pattern of alternating notes that lie in the of into a scale the of easy alternating pattern breaking of tired of did not not grow the pedal. hand for the suitable for are particularly and are hand and grow tired pedaL Bach did particularly suitable it, not even in later works (EL 80.) it, not even in later works (Ex. 80.) in C. C. toccata in in g and toccata Ex. from fugue Bach: Idiomatic Idiomatic keyboard Ex. So. 80. Bach: g and fugue -in patterns from keyboard patterns

P JJJJ)IU

!Ji

,WrFt'tCr,iJUJ IJ I

around I'1700. cantata around church cantata the church of the Bach's JOOo state of the state cantatas reflect reflect the Bach's early early cantatas contain and conccrtato They chorale concertato and contain multipartite the chorale of the the traits traits of multipartite They preserve preserve the can as can recitatives as Such recitatives vocal recitatives. Such no recitatives. but no instrumental ensembles, and instrumental vocal and ensembles, but SccU (no. du wirst urirst meine Dcnn au meine Seek be cantata Denn extant cantata the earliest be found found in in the earliest extant 15) (no. IS)

Music in in the the Baroque Baroque Era Era Music 274 274 are the the result result of of later later revision. revision. The grand grand "motetto" "motetto" Gott Gott ist ist mcin mein Konig Konig are in council Miihl(no. 71), composed for the inauguration of a city council in Miihl(no. 71), composed for the inauguration of a new city hausen, is is the the only only cantata cantata ever ever printed printed during during Bach's Bach's lifetime, lifetime, and this this hausen, honor was was due due not not to to Bach's Bach's music, music, but but to to the the political political prestige prestige of of the the city city honor council. The cantata cantata opens opens with with aa ponderous ponderous conccrtato concertato chorus chorus with with full full council. invocations orchestral accompaniment accompaniment and and emphatically emphatically repeated repeated invocations "God, "God, orchestral God, God" God" which which anticipate anticipate the the opening opening chorus chorus of of the the St. St.John Passion. John Passion. God, choral writing writing of of the the early early cantatas cantatas has has aa strong strong instrumental instrumental flavor flavor and and The choral is crowded crowded with with organistic organistic patterns patterns and and ornamentation. ornamentation. In In his his arias arias Bach is employs already already the the modulating modulating quasi-ostinato quasi-ostinato bass bass with with characteristic characteristic employs steps which was to become the outstanding means of of his his consistent consistent musical musical steps which was to become the outstanding means his organization. Even at this early stage Bach proved his unique ability to to Bach Even at this ability unique proved early stage organization. seize upon upon the the fundamental fundamental idea idea of of the the cantata cantata text text and to to realize realize it it seize that idea is of symbolically in music. In Gott ist mein Konig the central idea is that of old the central old mcin In Gott ist in music. Konig symbolically age and and youth youth presented presented in in metaphorical metaphorical terms terms as as the the contrast contrast between between age the Old Old and and the the New Testament. Testament. This This contrast contrast underlies underlies the the duet duet con con the chorale in in canto canto in in which which the the tenor tenor solo "I am now eighty eighty years years old" old" solo "I chorale Gott Du frommcr trammer symbolizes the the Old Testament Testament while while the the chorale chorale Ach Gott symbolizes the New Gott, intoned simultaneously by the soprano, symbolizes the Testathe TestaGott, intoned simultaneously by soprano, symbolizes ment. Both Both aspects are reconciled reconciled in in the the dignified dignified choral choral fugue "Thy old old ment. fugue "Thy aspects are in center age the of the be like thy youth" which stands, significantly, in the center of the which be like stands, significantly, thy youth" age cantata. cantata. A similar religious ideas ideas obtains in the the of musical musical and religious similar interpenetration obtains in interpenetration of Actus tragicus or Gottes Zeit (no. the most most mature mature cantata cantata of the Actus Gottes Zcit of the (no. 106), 106), the tragicus or Written for for a a funeral funeral service early service it it reflects reflects in in its its deeply (1707?). Written early period period (I707?). deeply serious tone the the private serious and personal occasion. A moving "sonatina" for for private occasion. personal tone moving "sonatina" serves as recorders and gambas serves as introduction. Its melody consists of typical introduction. recorders Its consists of melody gambas typical "sigh" consolation. The idea idea of of this this figures representing representing mourning mourning and consolation. "sigh** figures cantata is is based, cantata the conflict conflict of of the the Old and New Covenant. Covenant. The based, too, too, on the is the the old chorus "It "It is old decree" decree" stands stands here fugal here for for the the inexorable law of inexorable law of fugal chorus virtue the virtue of its strict contrapuntal structure which the Old Testament Testament by of its strict structure which by contrapuntal Bach used to to represent ideas of Bach always constraint and of constraint and law. law. Against this always used represent ideas Against this recorders the chorus the recorders play the chorale tune Ich hah chorale tune Ich chorus the hob mein mcin Sad Sack in in tacit tacit alalplay to the the New Testament and a a soprano lusion solo makes this lusion to this allusion allusion soprano solo its message the gospel. This ensemble explicit ensemble is is only one of many by its message from the explicit by gospel. This only one of many of Bach's a examples of Bach's symbolic methods. As a rule, he represented methods. he the conconrule, symbolic examples represented the of extra-musical trast of extra-musical ideas ideas by trast superimposing different musical ideas different musical ideas in in by superimposing counterpoint. of projecting into simultaneity what counterpoint. Music was capable capable of projecting into simultaneity what could produce language in succession; in music music did did the the abstract abstract succession; only produce only language could only in only in

Fusion of of National National Styles: Styles: Bach Bach Fusion

275 275

opposition of of divine divine law law and and divine divine grace grace become become aa concrete concrete reality. reality. opposition In the the course course of of this this cantata cantata Bach Bach introduces introduces two two other other chorales chorales in in simsimIn ilarly symbolic manner. manner. They They naturally naturally complicate complicate the the structure structure of of the the ilarly symbolic ensemble. Solo Solo and and choral choral sections, sections, asas yet yet undivided, undivided, preserve preserve the the oldoldensemble. fashioned continuity continuity of of the the concertato. concer/ato. We We do do not not find find in in the the early early cantatas cantatas fashioned of formal lack the but the clearly designed architecture of his later works, but the lack of formal architecture of later his works, the clearly designed control isis amply amply compensated compensated by by the the abundance abundance of of unbridled unbridled ideas ideas that that control characterize his his youthful youthful works. works. characterize BACH THE THE ORGANIST: ORGANIST: WEIMAR WEIMAR BACH

The second second period period of of Bach's Bach's creative creative career career comprises comprises the the years years he he resided resided The in Weimar Weimar (1708-1717), (1']08-1717), first first as as court court organist organist and and later later as as concert concert master master in It of the the orchestra. orchestra. It of

is the the period period of of his his great great organ organ compositions, compositions, especially especially is this in showed himself Bach the chorale. those not connected with the chorale. Bach showed himself in this phase with those not connected phase instrument. as the the great great organist, organist, as as the the virtuoso virtuoso of of his his chosen chosen instrument. primarily as primarily His fame fame as as organist organist spread spread from from Weimar all all over over Germany Germany and when he he His he Halle in Zachow of the successor successor of in Halle he received the honorable offer to become the to become offer honorable the received his marvellous for could afford to decline it. Praised especially for his marvellous performing it. Praised decline to performing could afford especially art of ability, his stupendous pedal technique, and his his art of registration, registration, he he was was ability, his stupendous pedal technique, as the severe adjudicator sought after as the expert in in organ adjudicator building and as organ building sought after as the expert colIn Gottfried colof instruments. In Gottfried Walther he found a worthy instruments. worthy of newly-built newly-built and relations ties league in Weimar to ties of family relations and he was bound by to whom he in Weimar family by league friendship. friendship. rebuilt by been rebuilt in Weimar had been The Bach composed which Bach by for which The organ composed in organ for north German type the north Compenius. His organs stood midway between the stood type His midway organs Compenius. Gercentral Gerthe central and the of to perfection of baroque Schnitger, and by Schnitger, perfection by brought to organ, brought baroque organ, differentiated The man type, brought to perfection by Silbermann. The sharply differentiated Silbermann. sharply man type, brought to perfection by contrasted markedly stops and rugged mixtures of organ contrasted the Schnitger of the mixtures markedly and organ Schnitger rugged stops the of the mixtures of brilliant mixtures and brilliant with more blending somewhat more the somewhat with the stops and blending stops indeand completely Silbermann had aa powerful but both both types completely indeSilbermann organ, powerful and types had organ, but disclose Bach of works do the pendent pedal. Only on these baroque organs do the works of Bach disclose these on baroque organs pendent pedal. Only their richness. and kaleidoscopic radiance and true radiance their true kaleidoscopic richness. the courtly Muhlhausen the and Miihlhausen After Arnstadt and of Arnstadt courtly close atmosphere the close After the atmosphere of Bach. for Bach. climate for musical of spirit in Weimar was like change of musical climate was like aa complete Weimar in change complete spirit in Germany, courts in The other petty like many Germany, open open court was, The Weimar Weimar court was, like petty courts many other The music. secular in innovations to the stimulating French and Italian innovations in secular music. The Italian and to the stimulating French atWeimar the flow during to flow stream that began period atstream of of compositions during the Weimar period began to compositions that ia musk the Italian Italian music in life: the Bach's life: tests in Bach's encounter in creative encounter second creative to aa second tests to

Music in in the the Baroque Baroque Era Era Music 276 general, and the concerto style in in particular. particular. While While the the first first encounter, encounter, that that general, and the concerto style second the with Buxtehude, had released his creative energies the second guided with Buxtehude, had released his creative energies guided It gave gave his his music the the decisive decisive them into into the the channels channels of of European European music. music. It them and final final stamp stamp that that marks marks the the second second period period as as that that of of his his early early maturity. maturity. and himself found Like many other great artists Bach found himself only by going going Bach artists German other Like many only by great through an an Italian Italian phase. phase. through Bach set set out out again again to to learn, learn, as as usual, usual, by by imitation. imitation. In In aa first first group group of of Bach imitative works works he he seized seized with with enthusiasm enthusiasm on the the violin violin concertos concertos of of ViViimitative valdi and and transferred transferred them them to to the the organ organ and and harpsichord. harpsichord. These arrangearrangevaldi instrumentsfor ments-another proof of the preference for keyed German mentsanother proof of the keyed preference draw not not only only on on Vivaldi Vivaldi but but also also on on German composers, composers, notably notably the the Duke draw of Weimar, Weimar. Tclemann, Telemann, and and some some unidentified unidentified composers composers who wrote wrote in in of Vivaldi's style. style. They They are are highly highly illuminating illuminating documents documents of of skilful skilful adaptaadaptaVivaldi's tion in in which which the the violin violin figuration figuration is is either either literally literally preserved preserved or or transtranstion altered While Bach formed to to mechanical mechanical organ organ patterns. patterns. Bach rarely rarely altered the the formed concertos with with regard regard to to form, form, he he supplied supplied ornaments ornaments (which (which the the Italians Italians concertos did not not care care to to write write down), down), fortified fortified the the counterpoint, counterpoint, and even even added added did middle parts parts so so convincingly convincingly that that they they seem seem to to belong belong to to the the original original new middle composition, as a5 can can be seen in the second concerto in in G after after Vivaldi Vivaldi (op. (op. second concerto in the be seen composition, 7, 2). Walther also also arranged arranged concertos by Torelli, Torelli, Albinoni, Albinoni, Taglietti, T aglietti, and concertos by 7, 2). Walther continue by basso continuo by Corelli Corelli asothers; a basso of variations set of variations on a ashis remarkable remarkable set others; his 44 sumes importance of composition." By of of an independent means the importance of sumes the By independent composition. arrangements Bach made himself thoroughly familiar with the form and familiar the with himself Bach and thoroughly arrangements style the concerto gained aa new stylistic element which which he he thus gained concerto and thus of the stylistic element style of amalgamated with his his German contrapuntal technique. contrapuntal technique. amalgamated with In the melodic studied the imitative works Bach studied second group of imitative melodic and and In a a second group of harmonic that governed the construction of the Italian themes. the construction of the that Italian themes. harmonic principles governed principles the gestic The monumental conciseness pathos that themes of conciseness and the that the the themes of gestic pathos Italian masters masters attained attained through the directive Carelli other Italian directive force force of Corelli and other of through the be found in in Bach's Bach's early themes. Far superior tonality to the Italians cannot be to the Italians early themes. tonality cannot superior in lacked as as yet melodic clarity in contrapuntal balance. workmanship he lacked yet melodic clarity and balance. contrapuntal workmanship Bach borrowing Italian themes and working Bach overcame this this obstacle obstacle by Italian by borrowing working them out results were the the well-known fugues out independently. themes independently. The results fugues on themes 46 virtue of of By of Carelli, Albinoni.u their length of their their Corelli, Legrenzi, Legrenzi, and Albinoni. By virtue length and their treatment these imaginative contrapuntal treatment these imitations rise actually to the imitations rise to the imaginative contrapuntal actually of compositions level of their level in their own right. Bach also wrote in Weimar aa in also wrote in compositions right. "DDT .. DDT 7.6/27. 301.• 26/37, 301 ** For Albinoni see .. Fear Albinoni see Spitta, Spitta, &om from cp. P- 3,4. 3> 4-

0[7. op.

tit. cit. TIl, Ill,

~4; the 364; the

Corelli Corelli theme theme has has been been borrowed borrowed

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variation canzona in dd pursuing pursuing the the old-fashioned old·fashioned style style of of Frescobaldi Frescobaldi or or that that of of his his German German follower follower Froberger, Froberger, but but imbuing imbuing itit with with the the modern modern

variation canzona in

tonal idiom. idiom. tonal effect of of Bach's Bach's creative creative reaction reaction to to Italian Italian music music isis clearly clearly The profound profound effect The new new thematic thematic incisivencss incisiveness and and the the lucidity lucidity of of form form that that distinguish the the instrumental instrumental music music of of the the Weimar Weimar period. period. The The exuberant exuberant distinguish wealth of of ideas ideas isis now now disciplined disciplined by by Italian Italian simplicity. simplicity. The The mechanically mechanically wealth

manifested in in the the manifested

patterned, long-winded, and sequentially spun-out themes of the Buxtehudes and Pachelbels are supplanted by plastic Italianate themes, unified by aa single single affection affection and and the the strong strong centripetal centripetal force force of of tonality tonality-in short, in short, by a type type of of theme theme that that we are are apt apt to to call call "typically "typically Bachian." Bachian." The The comparison comparison a between the the theme theme of of the the multipartite multipartite prelude prelude and and fugue fugue in in C C (or (or E) E) between early period period and and that that of of the the fantasy fantasy and and fugue fugue in in cc emphatically emphatically from the the early from demonstrates the the tremendous tremendous artistic artistic growth growth from from the the first first to to the the second second demonstrates period (Ex. (Ex. 81). 81). The second second theme theme represents represents with with its its characteristic characteristic didiperiod patterned, long-winded, and sequentially spun-out themes of the Buxtehudes and Pachelbels are supplanted by plastic Italianate themes, unified

Ex. 81. 81. Bach: Bach: Ex.

AIl early early and and aa mature mature fugue theme. An fugue theme.

,,, JJJJJJll' au; • •,JOGn., a PJJJJlolPlg '~bl'" jlJ J J J IJ_rnJ lijJi J J J IJ Ji jdI be found found that can can be theme that minished and gestic the type of sturdy seventh the minished seventh gestic theme sturdy and type of the Wellof the the fugues in the also in in c and later also and later in c and f. the organ in the fugues of /, and fugues in organ fugues

Tempered Clavier. Tempered Clavier. the old-fashioned old-fashioned themes, Another of the motion of the continuous continuous motion retained the themes, Another type type retained but instead of rambling on unchecked it was now exquisitely shaped it but instead of rambling on unchecked exquisitely shaped and These foundation. These harmonically clear harmonic harmonic foundation. and clear balanced by strong and by aa strong harmonically balanced conof the conthemes the continuo-homophony assimilated the Bach assimilated show how Bach themes show continuo-homophony of continuoof certo to his contrapuntal technique. As an example of continuohis to certo style example contrapuntal technique. style be D may in D and fugue homophony the prelude a polyphonic in a may be fugue in prelude and setting the polyphonic setting homophony in of quoted, a sparkling virtuoso piece with dashing pedal solos, typical of many many quoted, a sparkling virtuoso piece with dashing pedal solos, typical organ compositions of the Weimar period. The fugue theme (Ex. 82), Weimar the of 82), (Ex. fugue period. organ compositions concerto style. D in in concerto Ex. in D theme in Bach: Fugue 82. Bach: Ex. 82. style. Fugue theme

Music in in the the Baroque Baroque Era 278 which could the is harmonized by as a concerto serve as concerto beginning, could easily which by the easily serve beginning, is to the this is the prelude to this typical running bass in concerto style; not by accident is bass in not accident concerto style; prelude by typical running "in conparticular conas concer-tato concertato (= in one one of of the the sources sources as (= "in fugue designated designated in particular fugue to has certo"). in d, which has been catapulted to in toccata and fugue d, catapulted certo"). The famous toccata fugue also fame through a dramatized arrangement for symphony orchestra, also a for dramatized orchestra, symphony through arrangement in fireat the the end in firebelongs to dissolves at to this this group. fact that that the the fugue group. The fact fugue dissolves belongs an still forms works of that it integral it still of rhapsodic is an an indication indication that integral rhapsodic passages passages is part of of the the toccata. toccata. part esThe exact been eshas not yet exact chronology of many yet been compositions has chronology of many organ organ compositions of the works the tablished so that it to separate the of the to tablished with with accuracy it is is difficult difficult so that separate accuracy ones. The grand second prelude and second period those of of the the subsequent grand prelude period from those subsequent ones. period. The fugue the Weimar period. a goes to the in a at least its first first version, in its least in version, to back, at fugue in goes back, sections the into two unequal lengthy the of this this fugue falls into unequal sections lengthy theme of 83) falls fugue (Ex. (Ex. 83) Ex. 83. in Ez. the organ Bach: Theme of of the 83. Bach: organ fugue fugue in

"realized" form. a in IZ in "realized"

in sixteenth sixteenth notes. second notes. In continuous motion in carries on the the continuous In of which which carries second of and spite of its it shows a hitherto unprecedented melodic precision and its length it hitherto of precision unprecedented length spite of melodic the interpenetration balance resulting melodic and harmonic facfacbalance interpenetration of resulting from the it is than an inspired realization of of the the tors. is no more than tors. Harmonically, inspired realization Harmonically, it stereotyped the concerto the first the of the first section section is is based based on the concerto style; formulas of style; the stereotyped formulas three the second on the comset the the key, the that set the chords I-V-I I-V-I that second three hammerstroke hammerstroke chords key, plete diatonic utilized in circle of diatonic circle of fifths, in the the further further course course of of fifths, ingeniously plete ingeniously utilized the the Even the concerto form has left its fugue. The the fugue. concerto has left its mark on the the fugue. fugue. in C correspond to the three movements of of the toccata, the three the toccata, adagio. adagio, and fugue fugue in correspond to is enhanced by the fact concerto, this similarity fact that the adagio is a a that the concerto, and this similarity is by the adagio is the pedal. highly ornamented aria on a rhythmic ostinato in aria a in ostinato the rhythmic highly pedal. In the the organ the subsequent In of the both the Italian concerto concerto the Italian organ works of periods both subsequent periods the style and the German polyphonic style are inextricably interwoven. are as style polyphonic style inextricably interwoven, as in the fantasia and fugue shown in the great in g. in gt composed great fantasia fugue in composed probably probably in the cathen Cothen period Bach's visit visit to the for Bach's to Hamburg. the fantasia brings period for Hamburg. The fantasia brings the of the the north north German toccata to its rhapsodic toccata to its consummation. consummation. The type of rhapsodic type of poignant alternation of solo alternation solo recitatives and powerful tutti chords recitatives and tutti chords represents poignant powerful represents further adaptation of the of the concerto principle to the organ. a further concerto to the adaptation principle organ. The fugue fugue Bach's time, time, was printed printed in theme, in Bach's in an inintheme, universally universally admired even in version by ferior version it probably from memory. With ferior by Mattheson who quoted quoted it probably memory. its plastic its harmonic lucidity, are no longer Italian or or shape and harmonic plastic shape lucidity, which are longer Italian

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German but but thoroughly thoroughly Bachian, Bachian, itit illustrates illustrates the the peak peak of of thematic thematic inveninvenGerman baroque music altogether. A A composition composition of of equal equal importance importance c, fashioned fashioned after after Buxtehude's Buxtehude's chachac, in part part on on aa passacaglia passacaglia theme theme by by in Raison. The The twenty twenty variations variations are are organized organized in in strictly stricdy symmetrical symmetrical Raison. groups, each each of of which which isis unified unified by by corresponding corresponding rhythmic rhythmic patterns. patterns. The The groups, axis of of symmetry symmetry isis formed formed by by the the tenth tenth and and eleventh eleventh variations variations in in which which axis the bass bass theme theme is is carried carried in in double double counterpoint counterpoint to to the the highest highest voice. voice. It It the step by by step step to to the the original original position. position. The The cycle cycle closes closes with with aa then returns returns step then for five five voices voices and and isis crowned crowned by by aa fugue. fugue. Bach Bach imbued imbued the the variation for variation quasi-mathematical permutations of the mechanical patterns which apquasi-mathematical permutations of the mechanical patterns which appealed so so strongly strongly to to baroque baroque speculation speculation with with visionary visionary life life and and elevated elevated pealed what was was at at the the time time aa mere mere vehicle vehicle for for invention invention to to an an eternal eternal work work oof what tion

in baroque music altogether. tion in

and perfection perfection isis the the passacaglia passacaglia in in and connes and and passacaglias, passacaglias, and and based based connes

art.

With regard to cantata also, Bach Bach reached reached his his early maturity cantata composition With early maturity composition also, regard to to the reform in Weimar. was here step to the reform he took took the the significant here that that he It was Weimar. It significant step cantata of the the roots cantata Neumeister. Fully conscious of the secular roots of the cantata of secular conscious of Neumeister. cantata of Fully conchurch conthe church Bach forms of of the the traditional traditional forms to expand not hesitate hesitate to did not Bach did expand the and opera cantata and certato of the the Italian Italian cantata formal innovations innovations of the formal certato by opera which by the before not in the cantatas make in the cantatas composed not before 17I2 their first first appearance make their 1712 and composed appearance other of all other cantatas the not These works stand apart from the cantatas of all stand from works These than 1714. later than not later apart 1714. that tone periods by virtue of their strongly mystical and subjective tone that prevails and their of virtue prevails subjective strongly mystical periods by Bach went for his his personal in music. Struggling and music. words and both words in both style Bach personal style Struggling for itself which manifested manifested itself through in Weimar which of creative creative subjectivity a phase subjectivity in phase of through a turned his outwardly in the virtuoso attitude of his organ music; turned inwardly of attitude the virtuoso in music; inwardly organ outwardly devotion. self-centered devotion. it of introspective the form form of took the it took mysticism and self-centered introspective mysticism influence as of These traits have often been explained as symptoms of pietistic These traits have often been explained pietistic influence symptoms Franck Salomon Bach's poet on Indeed the language of of Bach's Bach's religiosity. on Bach's poet Salomon Franck religiosity. Indeed the language of pietistic use of (a makes use in Weimar) Neumeister in of Neumeister follower of phraseology, pietistic phraseology, Weimar) makes (a follower but as such, the cantata cantata as that the music, be remembered remembered that but it it must must be such, being being figural figural music, rethe that true It is Pietism. was diametrically opposed to the tenets of Pietism. It is trUe that the rethe tenets of to was diametrically opposed devotional the ligious and artistic subjectivity of Bach resembles externally the devotional resembles of Bach externally ligious and artistic subjectivity and in origin different in more different be more fervor could hardly but they fervor of of Pietism, origin and Pietism, but hardly be they could purpose. purpose. serto aa serin analogy cantata in the cantata Neumeister, conceived the had conceived analogy to Neumeister, avowedly, avowedly, had it was in art sermon the mon. Since it paraphrased the topic of the sermon in art poetry it was of the mon. Since it paraphrased poetry topic after and after before and were two two parts, sung before the sermon, or if there were parts, before directly before the sermon, or if there sung directly in

280

Era Music in the the Baroque Music in Baroque Era

often so so prothe cantata cantata were often it. The o the in the the two parts ideas presented The ideas proparts of presented in have been nouncedly divergent that their inner connection would have been incominner connection incomtheir that nouncedly divergent Ich hatte in the the cantata cantata len prehensible without the natte This can can be be seen seen in sermon. This the sermon. prehensible without first part the in its sorrow of its first of viel vicl Bekiimmemis part the sorrow presents in (no. 2I) 21) which presents Beftfimmernis (no. while confidence the and the and in its second part consolation and confidence while the sersecond consolation serits and in the soul, soul, part mon mediates the two Old-fashioned and modern forms forms ideas. Old-fashioned two ideas. between the mediates between work a of transition, coexist of is obviously cantata. It and this cantata. It is side in in this side by coexist side transition, and obviously a by side turned time to the since we know at what time Bach turned to the reat in I7I4 reit can can be be dated dated in since it 1714 form The variegated structure of structure effected the the change. and how he he effected of cantata and form cantata variegated change. the old of the first two choral ensembles are obvious survivals of the old eoneertato. survivals concertato. ensembles are obvious the first two choral forceful reiterations reiterations "I, I had its forceful The first chorus chorus with with its had of the the first The beginning "I, I, I, I beginning of ist mein mcin much grief" vividly recalls the beginning of Gott iSI Konig but, of Goto the recalls Konig but, beginning grief vividly significantly, purely subjective. his Mattheson in in his is now purely the emphasis subjective. Mattheson emphasis is significantly, the of false false emphasis, as an Critiea Musica has has ridiculed this passage an example ridiculed this Critica Musica example of passage as emphasis, the but but personal fervor is the defect but the virtue of not the defect fervor is not virtue of the the the profoundly but the profoundly personal the cantatas maturity. The first chorus anticipates the opposition first chorus of of early cantatas of anticipates opposition of early maturity. ideas and figuratively and gives the cantata cantata and the underlies the that underlies ideas that literally and gives literally figuratively the ·'keynote" of the whole work. Sorrow and consolation are set off in sharp are Sorrow and consolation set off in the whole work. of "keynote" sharp relief melodic material material and different different tempi. means of relief by of contrasting Also contrasting melodic tempi. Also by means thou cast notable its art thou cast down," for its superb the rhythchorus "Why the second second chorus down," notable for "Why art superb rhythcontains violent violent changes and harmonic harmonic poignancy, in mood, mic mood, mic flexibility flexibility and poignancy, contains changes in solo and and tutti tempo, reand equally violent solo tutti contrasts. contrasts. Bach Bach redynamics, and equally violent tempo, dynamics, the solo sections of of the the cantata. cantata. The first served the modern forms forms for for the solo sections served the first aria aria the opera, "Sighing, fashionable siciliano siciliano rhythm the fashionable of the rhythm of "Sighing, Weeping" Weeping'* adopts adopts the opera, the second second aria aria "From my salt tears are and the eyes salt tears are Bowing," memorable for memorable for my eyes flowing," is a a its violin accompaniment, is fully developed da-capo aria with its graphic violin aria with accompaniment, fully developed da-capo graphic as the the masterly motto beginning. motto assimilation of of these these forms forms beginning. Uncanny Uncanny as masterly assimilation with Bach it it cannot cannot compare the assuredness with the was, with which he assuredness with with which he was, compare with handled his his recitatives. recitatives. The very first aceompagnato recitative is replete handled first recitative is very accompagnato replete with keenest and with the the keenest most fervent fervent verbal and most verbal interpretations. Diminished interpretations. Diminished in melody sevenths in sudden outcries, sevenths twisted and weirdly outcries, and melody and harmony, harmony, sudden weirdly twisted melodic fragments lend the melodic lend the recitative a high-strung intensity which seems a recitative which seems fragments high-strung intensity a last like a last reverberation reverberation of of Bach's like exuberance. The concerted Bach's youthful exuberance. concerted youthful between the the soul soul and and the dialogue the savior savior "Come my which can can be be dialogue between Jesus," which my Jesus," as a a vocal described as vocal trio trio sonata sonata on a a running described is fashioned fashioned after the after the bass, is running bass, love duets duets of of the the opera. passionate love sinfonia, a a somber somber duet duct passionate opera. The introductory introductory sinfonia, oboe with violin and oboe with languishing between violin harmonies, also shows in also shows in its its languishing harmonies, bass the influence of of Corelli's _cady bass the influence Corelli's trio trio sonata. sonata. Of Of all all the the movements movements of of steady it.

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Styles:

the cantata only the penultimate chorus makes use of a chorale; it isis aachorale chorale to transferred the prelude transferred to the vocal medium in which the voices move in vocal in move medium in which the voices prelude independent counterpoint against the cantus firmus. The last chorus, a the The last cantus chorus, a firmus. independent counterpoint against monumental fugue fugue with with aa full full orchestra orchestra of of three three trumpets trumpets (and (and timpani), timpani), monumental oboe, and and strings, strings, isis written written in in the the broad broad and and sweeping sweeping oratorio oratorio style style of of oboe, Handel which which rarely rarely reappears reappears in in Bach's Bach's later later works. works. However, However, its its theme theme Handel and its its running running counterpoint counterpoint are are indebted indebted to to the the archaic archaic organistic organistic patpatand terns of of Pachelbel. Pachelbel. terns Yearning for death death and and profound profound mysticism mysticism pervades pervades Komm du au susse sUsse Yearning for T oaesstunae (no. 161), perhaps the most subjective of all cantatas (text by cantatas of all the most Todcsstunde (no. 161), perhaps (text by subjective Franck). It It opens opens very very quietly quietly with with aa tender tender aria aria for for alto, alto, two two obbligato obbligato Franck). Butes, and and organ organ continue. continuo. In In symbolic symbolic reference reference to to the the first first words words of of the the flutes, aria the the organ organ suddenly suddenly intones intones the the melody melody of of the the death death chorale chorale Herzlich Herzlieh aria tut mich mien vcrlangen. tlerlangen. This This chorale chorale was was aa favorite favorite with with Bach, Bach, as as the the numerous numerous tut settings in the St. Matthew Passion witness. famous accompanied settings in the St. Matthew Passion witness. The famous accompanied recitative and arioso of of the the cantata cantata depicts by means of string pizzicato and and means of and arioso recitative string pizzicato depicts by so for is Bute figures the tolling of the death bell which the alto is longing for so the alto the which of death bell the flute figures longing tolling ardently. At the the end the chorale a fully harmonized setting in a end the chorale reappears setting fully harmonized reappears in ardently. At a blessed like the tune that hovers over the tune like a blessed with over that hovers flute obbligato marvellous Bute a marvellous with a obbligato the of the idea of central idea spirit released the central of the from human bondage-a released from bondagea symbol symbol of spirit cantata. cantata. the brilbrilstands the of death death stands In subdued atmosphere to the the subdued contrast to In complete atmosphere of complete contrast the revised in liant 31), known only in the revised Der Himmellacne Himmcl lacht (no. cantata Der Easter cantata liant Easter only (no. 31), resourcefulness Bach's resourcefulness form us. It discloses Bach's to us. It discloses it has has come down to in which which it form in introduccantata. The introducto the the cantata. and the concerto concerto style in adapting and originality style to adapting the originality in tory "sonata" for an exceptionally full orchestra (three trumpets, timpani, full orchestra for an "sonata" timpani, trumpets, (three exceptionally tory a brilliant but a not five strings, and organ) is actually not a sonata, but a brilliant is and five woodwinds, sonata, woodwinds, strings, actually organ) all in all unison concerto movement tripartite the typical with the movement with beginning in typical unison beginning tripartite concerto since they in his his works since rare in voices. are comparatively unison passages Such unison voices. Such they comparatively rare passages are but are but whenever they for polyphony, love for his wonted wonted love with his consistent with not consistent are not they polyphony, Also the concerto. of influence appear they unmistakably point to the influence of the concerto. Also the to the appear they unmistakably point conthe conto the not only adheres not tenor within me" adheres be dead dead within must be "Adam must aria "Adam tenor aria only to concerto. the of certo but even to the ritornello form of the concerto. form ritornello even to the but certo style style it is is hardly Weimar it In in Weimar attitude in Bach's subjective of Bach's view of In view hardly surprising surprising subjective attitude individual to individual expression. suited to best suited that secular forms, free secular he favored the free that he favored the forms, best expression. cantatas in the the cantatas less prominently It chorale figures the chorale that the It is is for reason that for this this reason prominently in figures less alluded often Bach other. of than in those of any other. Bach often merely of those than in of the the second second period merely alluded any period for as he to it completely, from it even abstained abstained from did, for example, to the the chorale, or even example, completely, as he did, chorafe, or

the cantata only the penultimate chorus makes use of a chorale;

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152). He He combined combined itit also also with with other other secular forms; forms; in in Nun Nun J(pmm k,omm der der Heiden Heiden Heiland Heiland (no. (no. 61), 61), for for example, example, secular he even even imposed imposed itit on on the the French French overture. overture. he

in Tritt Tritt auf auf die die Glaubensbahn Glaubensbahn (no. (no. 152). in

BACH THE THE MENTOR: ~NTOR: COTHEN COT.HEN BACH

'The third third period period in in Bach's Bach's life life coincides coincides with with his his employment employment at at the the The court in in Cothen COthen (1717-1723) (1717-1723) as as capellmeister capdlmeister and and director director of of chamber chamber court music. This This position position was was remarkable remarkable in in several several respects. respects. Socially, Socially, itit meant meant music. he could not a fact ever he for Bach the highest social prestige he ever attained, a fact he could not for Bach the highest social prestige attained, forget in the subsequent years Leipzig. Artistically, it created a unique situation for him. The court belonged to the Reformed Church so that his official duties duties involved involved neither neither church church music music nor nor even even the the organ. organ. Far Far rereofficial became now Bach moved from his "final goal," a regulated church music, Bach became church a "final music, moved from his regulated goal," a composer composer of of secular secular chamber chamber and and house house music. music. It It was was in in Cothen COthen that that he he a the bulk bulk of of his his music music for for clavier clavier (clavichord (clavichord and and harpsichord), harpsichord), and and wrote the wrote chamber The composition cantatas stopped abruptly. church cantatas of church ensembles. The chamber ensembles. stopped abruptly. composition of set up He devoted efforts to to instrumental music in in which which he he set up perfect perfect instrumental music his efforts devoted his lovers. music models and "guides" to tyros, advanced students, and music lovers. The advanced models and "guides** to tyros, students, as is is didactic one, it was final but it was now aa didactic of "regulation," still one one of was still final goal one, as "regulation," but goal was for music-books to various clearly apparent from the prefaces to the various music-books for members the the from prefaces clearly apparent the Orgelthe Inventions, of the Well-Tempered his family, Inventions, and the of his Clavier, the Orgelfamily, the Well-Tempered Clavier, as the biichlein. in the COthen period as the great mentor who by Cothen in the buchlein. Bach Bach appears by great period appears technical craftsmanship. of technical personal example dictates objective standards of craftsmanship. personal example dictates objective standards is worldwide, This that is done in in the the "secular," be done This could could only worldwide, sphere. "secular," that sphere. The only be for and that Clavierour:hkin and that for Anna Magdalena Friedemann (1720) for Friedemann Clavicrbuchldn for Magdalena (1720) order and in (first version, 1721) contain in rudimentary form and unsystematic contain unsystematic order rudimentary (first version, 1722) the for the great cycles of keyboard music, notably the Well-Tempered material the material for Well-Tempered great cycles of keyboard music, notably didactic cycles Clavier, of these these didactic and suites. suites. None of the Inventions, Inventions, and Clavier, the cycles appeared appeared dissemwere nevertheless nevertheless widely in Bach's lifetime, but they in print lifetime, but widely dissemthey were during Bach's print during add or omit inated manuscript copies of his pupils who felt free to add or free to omit his felt of inated through through manuscript copies pupils the ornaments. craftsmanship and imagination of Bach the and of The superior ornaments. The imagination superior craftsmanship mentor raised these models far above the level of similar pedagogical pieces level of similar these far the models above mentor raised pedagogical pieces of the time. time. of the is the the OrgelbUchlein which The of the the COthen Cothen period The first first important cycle of Qrgelbuchlein which important cycle period is to include in Weimar. Bach begun in Weimar. Originally planned to include 164 had already Bach had Originally planned already begun 164 chorale it only forty-five compositions, arranged in the it contains in the contains chorale preludes only forty-five compositions, arranged preludes Bach's aim is order of the liturgical year. Bach's aim is succinctly stated by the title: the stated the title: of order liturgical year. succinctly by "Guide to the the beginning work out out aa chorale in sundry "Guide • • • to to work chorale in organist to beginning organist sundry

it created a unique in forget in the subsequent years in Leipzig. Artistically, situation for him. The court belonged to the Reformed Church so that his

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ways, serving serving also also to to perfect perfect him him in in the the pedal-study pedal-study since since the the pedal pedal is is ways, treated treated strictly strictly as as an an obbligato obbligato voice." voice." The The chorale chorale preludes preludes give give on on the the smallest possible possible scale scale the the sacrosanct sacrosanct melody, melody, nearly nearly always always stated stated in in the the smallest soprano, to to the the accompaniment accompaniment oof three three obbligato obbligato voices voices which which weave weave inin. soprano, motives in strictest dependent motives in strictest counterpoint around it and hardly ever inever independent counterpoint around it and hardly the flow the o terrupt the flow of the melody melody by by interludes. interludes. Bach Bach treated treated the the chorale chorale like like terrupt single variation variation of of aa partita, partita, but but with with aa hitherto hitherto unknown severity severity of of conconaa single trapuntal elaboration elaboration which in in itself itself assured assured the the proper proper dignity dignity of of liturgical liturgical trapuntal music. He invented invented the the rhythmic rhythmic or or melodic melodic shape shape of of the the contrapuntal contrapuntal music. figure either either abstractly, abstractly, as as Scheidt Scheidt had had done, done, or or concretely concretely in in strict strict conconfigure formity with with the the affections affections or or the the pictorial pictorial ideas ideas of of the the chorale chorale text. text. We formity pupil of of Bach Bach that that he he admonished admonished his his students students to to play play the the know from aa pupil chorale "according "according to to the the tenor tenor of of the the words." words." Once established, established, the the figures figures chorale governed the the structure structure of of the the entire entire composition composition regardless regardless of of whether whether governed the to they belonged belonged to the treasure treasure of of stereotyped stereotyped figures figures or or whether whether they they were were they intellectually derived derived by by means means of of metaphorical metaphorical or or symbolical symbolical references references intellectually to motion motion or or other other concepts concepts in in the the text. text. The unique unique musical musical intensity intensity of of the the to preludes resulted from the interpenetration of three unifying factors: factors: from of the three resulted unifying interpenetration preludes the unity unity of the rhythmic rhythmic figure, the unity unity of of the the melodic melodic motive, motive, and the the of the the figure, the unity of of affection. affection. Bach Bach gave here in in highly highly condensed condensed form form the the essence essence gave here unity of his his musical philosophy; he reduced to he reduced to simultaneity the "presentation" musical philosophy; of simultaneity the "presentation" of the dogma its "interpretation" of the chorale) and its contrapuntal (the contrapuntal "interpretation" (the dogma (the (the chorale) Fall the fall fall setting). In the much-quoted chorale prelude Adams Fall the Durch chorale the In prelude much-quoted setting). the of Adam from the state of innocence into sin is depicted by the "falling" into sin is from the state of innocence of "falling* depicted by sin was convenseventh sin and since since sin it was a a fall fall into into sin in the the bass: since it seventh in bass; since diatonic sevenths not not diatonic the sevenths tionally chromaticism, Bach made the by chromaticism, tionally represented represented by introduced but references Bach introduced with these these two references satisfied with diminished. Not satisfied but diminished. aa third in the the chromatically third meaning representing part representing chromatically winding winding middle part meaning in refers. text expressly the text the to which the of sin sin to another symbol the "snake," "snake," another expressly refers. symbol of in references occur, The most or pictorial drastic symbolical most drastic occur, significantly, significantly, in pictorial references symbolical or the can the voice: the pedal. Nobody can mistake the forcefully rising mistake the voice: the obbligato forcefully rising pedal. Nobody obbligato the pealing or the Erstandcn ist. fifths resurrection Erstandm chorale of of resurrection in the the chorale ist, or or fourths fourths in fifths or pealing rhythmic ostinati in In dir is: Freude and Heu: triumphieret which seem Freudc Htut triumphierct rhythmic ostinati in In dir ist other of the the other parts. to exultant accompaniment to the the exultant the change to ring parts. accompaniment of change to ring the doctrine of of the the doctrine Without without knowledge words and and without the words reference to to the Without reference knowledge of rather meanings, or rather figures true meaning, the true and affections affections the meanings, of the chorale meaning, or figures and the baroque prelude could not be properly understood. Like the understood. not be properly baroque emblems prelude could music on which and allegorical which imposed pictures* music meanings on pictures, allegorical meanings non-pictorial and imposed non-pictorial too, extra-musical meanings able to to realize realize extra-musical was able that, however intellectually intellectually too, was meanings that,

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contrived, the meaning of the the music. enhanced the music. They actually supplied contrived, enhanced They actUally supplied meaning of out of of which composer with the raw material (intervals and rhythms) the the raw material and which the composer with rhythms) out (intervals he his composition. built his these metaphorical he built procedures may composition. Although Although these metaphorical procedures may an essential formed an seem mechanical and and far-fetched essential far-fetched today, seem utterly they formed utterly mechanical today, they in baroque part all baroque of all arts. They were common common property music, baroque music, baroque arts. They were property in part of to but with Bach because he was able to make them able assumed vital he but assumed vital importance Bach because them with importance intellectual artifices subservient He forged the intellectual artifices into subservient to an artistic artistic purpose. the to an into forged purpose. aa self-contained the preludes self-contained work them the work of of art, but without without them not art, but preludes would not have taken taken the form in the form in which they exist. have they now exist. the other it should the pictorial On the other hand, not be that the should not be forgotten and hand, it pictorial and forgotten that emblematic only one aspect of the music. As Bach said him. the said emblematic references references gave one of music. Bach himaspect gave only self, he set set the the chorales chorales in in "sundry self, he "sundry ways." ways." The pictorial pictorial "interpretation" "interpretation" of the the chorale its complement of chorale was only one extreme extreme which which had had its in another another complement in only one extreme: abstract "elaboration" by extreme: abstract "elaboration" of stereotyped that had had by means of stereotyped figures figures that than their their inherent inherent musical musical meaning. no other The danger of reading meanother than of meanmeaning. danger reading ings music that that Bach into the the music Bach did did not not have in mind has have in has not not always been ings into always been avoided, quite understandably because a significant part of the music does because a of the music does avoided, quite understandably significant part call for metaphorical understanding. It would however be a fatal error for call metaphorical understanding. It would however be a fatal error the metaphorical to to apply to all all of his compositions. of his The apply the metaphorical interpretation interpretation to compositions. The of many perhaps never never be origin motives will will perhaps be origin and meaning meaning of many pictorial pictorial motives as clear clear as as they are in as are in certain cantatas and chorale preludes; but even when certain cantatas and chorale but even when they preludes; the motives motives were were definitely conceived pictorially pictorially the of abstract abstract elaboelabothe the idea idea of definitely conceived ration ration obtained obtained at at the the same same time. time. This This can can be be shown shown in in aa great great number number of example, the the descending descending bass bass line line in in Vom Himmel \am kam of preludes. preludes. For For example, which graphically represents represents the the "descent "descent from from heaven" heaven" appears appears in in the the which graphically course course of of the the composition composition in in inversion inversion in in complete complete repudiation repudiation of of its its origoriginal inal meaning. meaning. The same same isis true true of of the the rising rising intervals intervals in in Erstanden Erstanden ist. ist. This This conflict conflict of of meanings meanings was not not illogical illogical for for Bach Bach because because every every figure figure was as as such such subject subject to to the the doctrine doctrine of of figures, figures, which which regarded regarded inversion inversion as as one one of of its its most most important important devices. devices. A comparison comparison between between Walther's Walther's and and Bach's Bach's preludes preludes discloses discloses how high high Bach Bach towered towered even even above above the the best best of of his his contemporaries. contemporaries. Walther Walther employs employs in in Erschimen Ersclaimen ist isI dcr tier herrlich lam-lick Tag Tag (Ex. (Ex. 84a) 841) aa rhythmic rhythmic and and melodic melodic idea idea

fl4.a.

Ex. Ex. 843. Walther: Walther: Chorale Chorale prelude prelude Erschienen Ersclnenen

isI. fc

Fusion Fusion of of National National

Styles: Bach Bach

285

Styles:

that appears appears in in strikingly strikingly similar similar fashion fashion in in Bach's Bach's setting setting of of the the that uses chorale (Ex. (Ex. 84!)) 84b);; however, however, Bach uses chorale Ex. Ex.

same same

it more more consistently, consistently, elaborates elaborates it it

84.b. Bach: Bach: Chorale Chorale prelude prelude Erschicncn Erschienen ist. in.

84.b.

: III

- ...

" I""IJ ~

.n :!I: ....c.,r I

nJ.~ I..f

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with richer richer harmonies, harmonies, and, and, moreover, moreover, presents presents the the melody melody in in canon, canon, the the with in his symbol of constraint, in reference to the last line of the text "he leads his reference to line the "he leads of the last of text constraint, symbol enemies in in chains." chains." enemies Only rarely rarely did did Bach follow follow in in the the Orgelbuchlcin Orgelhuchlein the the practice practice of of Bohm BOhm Only and state state the the melody melody in in profusely profusely ornamented form. For For Bach Bach ornamentaornamentaornamented form. and tion was was another another method method of of subjective interpretation and and it it is is significant significant tion subjective interpretation

Wenn wir inin it with with especially especially affective affective chorale chorale texts, texts, such such as as Wenn alte Jakr, lahr, and 0 Mensch betuein. hewein. In In the the latter latter prelude prelude Das alte and ornaaffection Bach gave the ultimate that was possible in subjective affection ornathat the ultimate was in Bach gave subjective possible mental treatment. French agrements agrcments are are completely treatment. The French mental spiritualized; completely spiritualized; of the they are but integral parts of the extraneous embellishments embellishments but no longer are no integral parts longer extraneous they in out is mapped out rich harmonization harmonization is strictly in keepmusical structure. structure. The rich musical strictly keepmapped the bass ing with the the words. turn to chromaticism in in the bass occurs occurs to chromaticism words. The abrupt abrupt turn ing with to "crucifixion" to "sacrifice," and the reference to "crucifixion" exactly the text refers the reference text refers to the when "sacrifice," exactly cadence. in poignant adagissimo is rendered rendered in in an an ineffably line is the final final line in the adagissimo cadence. ineffably poignant attitude toward the All bespeak Bach's the Bach's intensely features bespeak these features All these intensely personal personal attitude series of of chorale later series liturgy, an attitude that does not prevail in the later in the not that does an attitude prevail liturgy, are unique; In this respect the prdudes of unique; prdudes. of the the Orgelhuchlein Orgclbuchlcin are preludes. In this respect the preludes the of they are in fact a last reflection of the subjectivism of the Weimar period. reflection of the last feet a are in period. subjectivism they

that he he used used that

h&:hstcn Noten, Noten, hochstcn

that Bach avoided the The Cothen period the COthen of the works of clavier works The clavier period show that influences by French influences and Italian danger the powerful to the of succumbing by powerful Italian succumbing to danger of The of fusion of tradition. assimilating them with his German polyphonic fusion polyphonic tradition. assimilating them with his is the most the unique national in what became became the national styles style is unique Bachian style styles in instrumental remarkable factor in Bach's mature instrumental music. Whatever mature in Bach's factor remarkable single single transor tinsel or might formerly have been brilliant tinsel mere mannerism was transbrilliant been have might formerly toccatas into formed through his superior craftsmanship into pure gold. In the toccatas formed through his superior craftsmanship pure gold. diversuch widely for Bach drew with sovereign freedom on such for harpsichord widely diverharpsichord Bach drew with sovereign

286 286

Music in in the the Baroque Baroque Era Era Music gent techniques techniques as as the the variation variation ricercar ricercar and and the the concerto concerto style. style. The toccata toccata gent in /-sharp, I-sharp, for for example, example, evolves evolves its its fugue fugue theme theme from from the the slow slow movement by by in a process process of of thematic thematic transformation. transformation. In In the the dazzling dazzling and rhapsodic rhapsodic toctoca catas in in cc and and aa it it is is essentially essentially the the influence influence of of the the concerto concerto style style that that catas contributes to to the the inexorable inexorable drive drive of of the the music; music; the the repetitive repetitive triadic triadic theme contributes would actually actually be be more suitable suitable for for aa concerto concerto beginning beginning of the the fugue fugue in in cc would of than aa fugue. fugue. than great cycle cycle of of preludes preludes and and fugues fugues that that Bach Bach combined combined for for didactic didactic The great in purposes in the Well-Tempered Clavier (I, 1122) gives in systematic order Clavier in the systematic order (1, 1722) gives Well-Tempered purposes the Ariadne Ariadne thread thread through through all all the the keys keys of of the the circle circle of of fifths fifths which the the the the first time. "well-tempered" tuning tuning had had made practicable practicable for for the first time. Bach "well-tempered" borrowed the the term term "well-tempered" "well-tempered" directly directly from Werckmeister. Werckmeister. The borrowed distant the newly attained freedom to modulate through the most distant keys keys led led ininmost modulate freedom to attained through newly them evitably to enharmonic modulations. Bach did not need in the Bach did need in the not modulations. to enharmonic evitably Clavier) but but he he used used them in in the the third third fugues of of the the Well-Tempered Well-Tempered Clavier, fugues FanEnglish suite suite (saraband) (saraband) and later also also extensively extensively in in the the Chromatic Fanand later English 46 that the preludes and fugues tasy. The contention, contention, frequently frequently voiced, voiced,46 that the preludes and fugues tasy. are thematically thematically related related is is unfounded; unfounded; in in fact, fact, the the documentary documentary evidence evidence are of the the Clavierbuchlein and other other preliminary preliminary sources sources speaks definitely of Clavierbuchlein and speaks definitely against it. Such accidental accidental similarities similarities between between prelude prelude and fugue fugue as as can can it. Such against be observed in no. no. 23 23 in in B are rare exceptions that confirm the rule. rule. confirm the are rare be observed in exceptions that The immense variety of forms Bach's in the the cycle reflects Bach's textures in forms and textures variety of cycle reflects intention models for the "youth anxious to learn." Each the learn." for anxious to intention of of supplying models Each "youth supplying the prelude is unified by consistent motivic treatment; only the contrasts is unified consistent motivic contrasts treatment; only by prelude between the themselves create the variety variety of the create the the motives of types. of the motives themselves between types. Some of prdudes are are ultimate ultimate stylizations of dances, as the the saraband saraband (no. such as 8 in in dances, such stylizations of (no. 8 preludes e-flat), to the perpetuum mobile the etude etude or or perpetuum others belong mobile type in c, c, belong to r-flat), others type (no. (no. 2 in or to the in aria in Still no. 5 in D), or to the aria type (no. 10 in e). Still others belong to the transothers no. to the transD), 5 type (no. e) belong are patterned fer after distinct distinct forms fer type. forms of of instrumental instrumental music, music, patterned after They are type. They as the trio trio sonata sonata (no. in b), the toccata in E-flat), such as toccata (no. the inveninven), the 24 in (no. 24 (no. 7 E-flat), the 7 in in the tion II in I), and even the fugue (no. 19 in A). In the last tion (no. ii case a a /), (no. fugue (no. 19 in A). In the last case fugue with countersubject as "prelude" serves exceptionally to another another countersubject serves fugue with exceptionally as "prelude" to fugue. fugue. of his his fugues in any did Bach adhere to exactly Not in adhere to the same same pattern. any of fugues did exactly the pattern. the Well-Tempered Clavier the He made the Clavier the inventory of all previous of all Well-Tempered inventory previous types types of fugue the monothematic of monothematic fugue. While Bach Bach emphasis on the fugue with strong strong emphasis fugue. While .

** Most has of the the alleged "Most has been made of relation by Backstudien* He imposes Werker, Bachstudien. alleged relation by Werker, imposes on Bach's music a pseudo-mathematical absurd in as absurd in its as in in its its its method as pseudo-mathematical analysis, analysis, as results. Steglich, to Werker, results. a similarly Back, although forced analy. Steglich, S.d, opposed to although opposed Worker, applies applies a analysimilarly forced are scarcely sis, matters are admixture of of Nazi Nazi ideology. sis, and matters scarcely improved improved by by aa strange strange admixture ideology.

of National Fusion of National Styles: Bach Styles: Bach

287

not invent invent a single did did not he made made of the fugue stands of the what it it stands single new type type he fugue what a contrapuntal for today: form of for of the the highest a which a concentration in in which today: a contrapuntal form highest concentration characteristic subject in continuous single pervades a thoroughly continuous expansion a subject in single characteristic expansion pervades thoroughly whole. Bach heightened unified whole. unified heightened the by dethe unification unification of deof fugue fugue writing writing by the material for the riving the material for the episodes either from the second part of the from either the second the riving episodes part of itself (no. 16 in in g), fugue g), or from the or from the counterpoint subthe subto the subject itself (no. 16 fugue subject counterpoint to in f). ject (no. was fully conscious of of the the historical historical types of /). That Bach was (no. 12 in ject fully conscious types of is clearly evident in fugues is evident in his retrospective fugue no. 4 in c-sharp which his no. which in clearly fugues retrospective fugue 4 r-sharp ricercar to to consummation. the ricercar brings here aa typical consummation. He uses uses here slow ricercar ricercar brings the typical slow introduces theme, introduces new countersubjects in the manner of Sweelinck and in the of Fromanner Sweelinck and Frotheme, countersubjects and finally combines them in in a berger, a climactic the other other hand, climactic finish. finish. On the hand, finally combines berger, and find "modern" "modern" themes themes with with rich rich tonal we find modulations tonal implications or even even modulations implications or in no. in Also the (no. 12 in f. no. 24 in b). Also the technical treatment varies from the technical treatment varies from the /, 24 3). (no. artifices (no. 8 in e-flat) to a rhapsodic fugal style strictest artifices a strictest contrapuntal 8 in to contrapuntal rhapsodic fugal style (no. *-flat) sets Bach's in D). Bach's fugues (no. from those those of other comcomof any D). What sets any other (no. 5 5 in fugues apart apart from poser is is the the superb themes which which give the indelible indelible of his his themes superb configuration configuration of give the poser stamp themes stand though hewn from each work. work. The themes from granite; to each stand firmly as though firmly as stamp to granite; characteristic shapes are the immutable entities of their and of Bach's Bach's and characteristic are the entities immutable their strong strong shapes music. and countersubjects participate in the perin the his counterpoints and music. Even his percounterpoints countersubjects participate sonal many of of Bach's Bach's countersubjects characterization arid, sonal characterization arid, consequently, countersubjects consequently, many have more character the primary of his his predecessors. character than than the have subjects of predecessors. The primary subjects affection a "character elevation embodying aa single the fugue to a "character piece" of the elevation of single affection fugue to piece" embodying must as the culmination of the form. It the ultimate step It was the ultimate the the form. was as culmination of be regarded must be step regarded the in the development that could be taken without breaking through could without be taken in the development that breaking through the framework music altogether. of baroque framework of altogether. baroque music The Inventions. another of two- and three-part another didactic didactic cycle The Inventions, compothree-part compocycle of to the lovers "honest as an sitions, have been designated by Bach as an "honest guide to the lovers Bach have been guide sitions, designated by the like are of the clavier" (1723)' They are arranged like the Well-Tempered Clavier clavier" of the Wctt-Tcmpcrcd arranged (1723). They the omission omission of of those those involving in with the but with order of of keys in the the ascending involving keys but ascending order the tide title from borrowed the more Bach probably While Bach accidentals. While four accidentals. more than than four probably borrowed in Written in his own. Written the form was completely the form of Bonporti inventions of the inventions completely his Bonporti the the fugal style without being fugues the inventions represent the triumph of inventions the without triumph of represent being fugues fugal style the in obbligato part-writing, specifically mentioned in the preface. Bach wanted mentioned preface. obbligato part-writing, specifically how him teach of composition" to foretaste of "a strong the student student "a to give composition" and teach strong foretaste give the technical purpose to purpose becomes manner." The technical "in singing and "in to "play singing manner." neatly" and "pky neady" the musicianship which especially clear in the three-part sinfonie which challenge onie sinf in the clear musicianship challenge the three-part especially fourthan and proficiency of the performer more severely than a fouror five-part more the of and proficiency five-part severely performer does. fugue fugue does. its "absolute** music had its The the fugue of "absolute" the sphere in the of the The solidification solidification of sphere of fugue in

2 88

Music in in the the Baroque Baroque Era Era Music

complement in in the the sphere sphere of of dance dance music music in in the the ultimate ultimate stylization stylization oof the the "French" suites and titles of of the the so-called so- burg, 1704. burg, 1704. - - . Continuatio Continuatio ad ad Manuductionem Memziduaionem organicum, organicum, Salzburg, Salzburg, 1707. 1707. Sangiovanni, G. Primi emmaestramenti della musica, 1714. emmaestramenti G. Primi delta musica, 1714. Sangiovanni, Sanzo G. G.lnstrucci6n de musica mthica sobre sobre la la guitarra, guitarra, Saragossa, SaIagossa, 1674 1674 (1697). (1697). Instruccidn de Sanz, Sartorius, E. E. Institutionum Institutionum Musicarum Musicarum Tractatio, Tractatio, Hamburg, Hamburg, 1635. 1635. Sartorius, - - . Musomachia, MusomtlChia, id id est: est: Bellum Bellum musicde, musicale, Rostock, Rostock, 1642 1642 [ist [ISt ed. cd. 1622]. 1622.]. Sauveur, J. J. Principes Principes d'acousticque d'tICOusticque et et de de musique, musique, Paris, Paris, 1701. 1701. Sauveur, - - . Sy Systeme general des des intervaUes intervalles,f Acs des sons, sons, Paris, Paris, 1701. I'JOI. steme general - - . MSthode Methode generde gmb-ale four pour former former des des systemes systemes temperas, tempb-h, 1707. 1707. Scacchi, M. Cribrum musicum, Venice, Venice, 1643. Cribrum musicum, 1643. Scacchi, M. ed. 1685. Scaletta, musica, 1598 if.; 24th 24th cd. della musica, Scala della O. Scala 1685. 1598 ft; Scaletta, O. 1622. -,- - . Primo Primo scalino scalino della della scala scala di di contrapunto, contrapunto, 1622in Kirnberger: Scarlatti, A. Discorso sopra un caso particolare (printed caso un Kirnberger: Die particolare (printed in Scarlatti, A. Discorso sopra Kunst des reinen SMiles, 1771). Kunst des reinen Satzcs, 1771). the British British Mu- - . Regale per principianti, prineipitmti, MS Add. 14244 31517 of the 14244 and 31517 Regole per seum. seum. Scheibe, critische Musikus, A. Der critische 1737-174Musifys, 1737-174°. J. A. Scheibe, J. - - . Eine 11012 den den Musikalischen Intcrvallen, 1739. von Eine Ahhemdlung 1739. Musi^alischen Inter1/allen. Abhandlung Schmidt, J. M. Musico-theologia, 1754. M. Musico-theologia, 1754. Schmidt, J. musices uni1lersalis, Schonslcder, univcrsalis, 1631. Architectonice musit:es 1631. Decorus) Architectonice Schonsleder, W. (Volupius (Volupius Decorus) Schott, Uni1lersalis, pt. II, Acustica, 1657 if. Acustica, K. Magia Universalis, II, 1657 pt. Schott, K.. Magia 1668. - - . Organum mathematicum, 1668. Organum mathematicum, Schreyer, B. Musica choralis theoro-practica, Munich, 1663. Schreyer, B. Musica chordis thcoro-practica, Munich, 1663. Schwenter, Deliciae physico-mathematicae, D. Deliciae 163^-1653. Schwenter, D. physico-mathematicae, 1636-1653Scorpione, D. Rjpessioni Armoniche, 1701. Scorpione, D. Riflessioni Armoniche, 1701. Secchi, tres, 1634. ccclcsiastica hymnodialibri A. De ecclesiastica 1634. hymnodia libri tres, Secchi, A. I de Serre, J. -A. Essais sur les prineipes de fharmonie, Paris, 'harmonie, les Paris, 1753· sur 1753. principes Serre*, J. -A. Essais ^Simpson, ChI. The Di1lision Violist, 1659 if. Division The Violist, 1659 Simpson, Chr. Practical Musick.. to Practical --. A Introduction to or Introduction 1667 if. Music\, 1667 A Compendium Compendium or Sieffert P. Antit:ribatio musica, 1645. Anticribatio P. musica, Sieflfert [Syfert], 1645. [Syfert], Sirls, P. The Art of Dancing, London, 1706• Siris, P. The Art of Dancing, London, 1706. Sorge, G. A. Vorgemach der musictilischen musicdischen Composition, I745~47Composition, 1745-47· Sorge, G. A. Vorgemach der Venice, 1609. diminuiti per sonare, Venice. 1609. Spadi, G. B. Passaggi ••• con madrigrili diminuiti sonare, con per B. G. madrigali Passaggi Spadi, Vitroder VierKunst oder der musikalischen Speer, D. Grundrichtiger ••• Unterrit:ht Kunst Unterricht der musicdischen D. Grundrichtiger Speer, ftIChes Kleeblatt, 1~7· 1697. musi\disches Kleehlatt, jaches musikalisches .

430 430

Checklist Checklist of of Baroque Baroque Books on Music

Sperling, Principia musicae, P. Principia musicac, 1705. J. P. 1705. Sperling, J. Spiess, M. Tractatus musicus compositorirrpracticus, musicus Tractatus Augsburg, 1746. 1746. Spiess, compositorio-practicus, Augsburg, Zeit nicht alIein allein 1IIU zu vollkomSpiridion. Neue Unterweisung, wie man in k,ur1ller Zeit nicht in wic volltymUnterweisung, tyrzcr Spiridion. auch zu dcr Kunst und Instrumentenschlagm, sondern flUch 1IJU der Kunst der mmem sondern der mencm Orgelund Instrumentenschlagen, OrgelKomposition giin1ll/ich gelangen mag, 1670. Composition gdnzlich gelangen mag, 1670. la Musica, SteHani, suDi principii principii la da suoi habbia da A. Quanta certezza habbia Musica, Amsterdam, Amsterdam, Steffani, A. Quanta certe1ll1lJa 16 95. i695in Musica Stierlein, Musica theorica. praaica et consistent in C. Trifolium musicac consistens et theorica, practica Stierlein, J. J. C. Trifolium musicae poetica, Stuttgart, 1691. poctica, Stuttgart, 1691. Strozz~ praris, Naples, G. Elementorum musicae praxis, Elementorum musicae Strozzi, G. 1683. Naples, 1683' Tans'ur, W. New Musical Grammar, 1746. A Musical Grammar, 1746. Tans'ur, G. Trattato Trattato di di Musica, Tartini, Musica, 1754. Tartini, G. 1754. Taubert, G. Rechtschaffener Tantzmeister Leipzig, G. Taubert, Rcchtschaflencr Tantzmeister, 1717. Leipzig, X7X7. il violino, di a Tessarini, C. Grammatica di musica ••• a suonar il C. Grammatica musica suonar violino, x741. Tessarini, 1741. Tettamanzi, F. Breve metodo per foniamente ••• apprendere fermo. F. il canto Breve canto fermo, metodo Tettamanzi, per fondamente apprendere il Milan, x686. 1686. Milan, Tevo, Musico Testore, Z. // Musico Testore, 1706. Tevo, Z.II 1706. Thalesio, P. Aru de canto P. Arte de canto chao, 1628. chao, Coimbra, Thalesio, Coimbra, x62.8. Tigrini, O. II compendio della musica, Venice, O. // della 1602. musica, Venice, X602. Tigrini, compendio de. Torres, J. de. Reglas generales di acompafiar en organo, di en Torres, J. Reglas generates organo, 1702. 1702. acompanar de' P. R antichi e Tosi, P. F. Opinioni de' cantori antichi e moderni, canton in della della Corte: Corte: moderni, 1723; Tosi> Opinioni 1723; repro repr. in Canto e e bel bel canto, transl. E. Galliard: Canto 1933. Eng!. trans!' by J. E. Galliard: Observations on the Observations on the canto, 1933. Engl. by J. Florid Florid Song, London, 1742 (faa. repro London, x926). . Song, London, 1742 (facs. repr. London, 1926). P. Der accurate accurate Organist Treiber, Trciber, J. J. P. General-Bass, Jena, Jena, x704' Organist im General-Bass, 1704. A. musici theorici Trcw, A. Lycei musici theorici practici, x635' Trew, Lycei practici, 1635. Triimpcr, Epitome oder Kumer Aus1lJug Musik, x668. oder Kurtzer der Musi\, 1668. Triimper, M. Epitome Auszug der A Plain Tufts, AVery Plain and Easy Introduction to the Whole An Psalm and Introduction the to Whole Art of Tufts, J. J. Very Easy of Singing Singing Psalm Tunes,I'J20. Tunes, 1720. Turner, Anatomizd, 1724Turner, W. Sound Anatomiz'd, 1724. Contrasto musico, Ubcrti, musico, Rome, Uberti, G. Contrasto Rome, 1630' 1630. P. dc. de. Musica Ulloa, Musica universal, Ulloa, P. universal, Madrid, Madrid, 1717. 1717. P. de. dc. Arte Urciia, P. Am nueva de musicll, LobCaramuel de de LobUrcna, musica, Rome, Rome, I66g J. Caramucl 1669 (ed. (ed. by by J. kowitz). kowitz). P. della della Discorso della musica Valle, Discorso della musica de/feta dell'eta noma. in Solcrti: Valle, P. Le Solorti: I.e nostra, 1640 1640 (repr. (repr. in del melodramma. origini melodramma, 1903). origini del 1903). F. RespuesttJ a la censura, Valls, Vails, F. censura, Barcelona, Respuesta ••• ala Barcelona, I7x6. 1716. Barradas Muitopio, Flores musicaes, Vaz Barradas J. Flores musicaes, 1735. Muitopao, J. 1735. F. M.II M. 11 Trionfo Vcracini, practica musicale, della practica in Conservatory, Veracini, F. Trionfo della musicale, op. HI; MS in op. m; Conservatory, Florence. Florence. // Verrato Verrato insegna Vcrato, M.II per imparare Ie Chiave, X623. tuttc le Verato, G. M. insegna ••• per Chiave, 1623. imparare per per tutU thesauris mape Vogt, artis musicae. Vogt, M. Conclave tAesauris musicae, I7x9. magnae artis 1719. von der der Musik, Voigt, Voigt, C. Gespriich Gesprach von Erfurt, 1742Musil^ Erfurt, 1742. r

Checklist Checklist of of Baroque Baroque Books Books on on Music Music

43 I 431

Wagenseil, J. C. C. De De Germanicae Germanicae Phonascorum, Phonascorum, Von Von der der Meister-singer Meister-singer Origin*, Ongine, Wagenseil,

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.(IST EDITIONS CIST OF CDITIONS

is aa selective selective list list. For For fuller fuller quotations quotations and and additional additional items items see see the the bibliograbibliogra(MfM 1871); 1871); Hofmeister; Ho&neister; Altmann; Altmann; Loft Lott (Verzeichnis (Verzeichnis der der NeuNeu(MfM drucke 19361936- ); ); McColvin-Reeves McColvin-Rceves (Music (Music Libraries, Libraries, 1937-38); I937""38); Heyer Heyer (Check-List, (Check-List, drucke 1944); Bukofzer Bukofzcr (Proc. (Proc. MTNA 1946); 1946); and, and, especially, especially, Acta Ar:ItI Musicologtca, Musicologica, Novae Novl/e 1944); (This (This

phies of Eitner phies of Eitner

etlitiones. )

iditiones.)

I. 1.

GENERAL ANTHOLOGIES AN'IHOLOGIES

della Cortc: Corte: Scclta Sceltll di ai Musiche, Musiche, 1928 1928 della in - - : .A.ntologia aeUastoria aeUa musica, 2 vis., vis., 2nd ed., ed., 1933/40; 4th ed., eeL, in dclla storia dclla musica, 1933/40; 4th Antologia one 1945 one v., v., 1945 :

Davison-Apel: Davison-Apel: HAM

of Examples), Einstein: Music (Appendix Short Binary [Beispiel1938; [BeispielEinstein: .A. A Snort Examples), 1938; of Music (Appendix of History of

sammlung, sammlung, 1930] 1930] Rieman": in Bmpielen, ed., 1925 Riemann: Musil{gescAicnte 1925 3rd ed., Beispielcn, yd Musil(jgeschichu in Schering: Schering: GMB

Broude und SpielmusilfJ, Wolf: rimes (SingEarlier Times Wolf: Music Music of Spielmusift, Braude (Sing- una of Earlier 2. 2.

HISTORICAL COLLECTIONS

A.ntiqua (Schott) Antiqua (Schott) A.rchives de fargue maitres de des maltres Archives des (Guilmant) Vorgue (Guilmant) Catnearfll Music (Boyce) Cathedral Music (Boyce) Chrysander D Chrysander D COP COF

Collegium Musicum (Riemann) (Riemann) Collegium Musicum Concerts spmtuels, Cantorum (Ch. Schola Cantorum Bordcs) (Ch. Bordes) Concerts spirituals, Schola CW CW DDT DDT Den/tmiiler (Chybinski) Ton\unst (Chybinski) altpolnischer Ton/tutUt Denltmaler altpolniscner DTB DTB DTOe DTOe Eitner PAM Eitner PAM

EL EL

ER ER Htll'mrmitl Rimbault) Sacra (Page, Harmonia Saera by Rimbault) repr. by (Page, repro 61 4461

List of of Editions Editions List 462 Hispaniae Schola Schola Musica MusicQ Sacra SQC1'a (Pedrell) (Pedrell) Hispaniae ICM! ICMI ICMIB ICMIB 1M IM Institut d'Estudis tfEstudis Catalans, CaudQns. Bibl. Bibl. de de Catalunya, Cataiunya, Publicacions Publicacions Institut Lira Sacro-Hispana Sacro-HisPQna (Eslava) (Eslava) Lira Mestres de de L'Escolania L'EscolQnia de de Montserrat Montserrt# (Pujol) (Pujol) Mestres Mum:ae Belgicae Belgicae Monummta Musicae Monumenta Mwikalische Formen Formm in in historischen historischen Reihen Reihm (Martens) (Martens) Musifolische Mwikalische Wer\e Werke schweizerischer schtlleizerischer Komponisten Komponisten (Nef (Ne£)) Musifylische Nagels Musifyrchiv MwikuchitJ Nagels Old English English Edition Edition (Arkwright) (Arkwright) The Old The Organum (Seiffcrt) (Seiffert) Organum Perlen alter alter Kammermusi^ Kammermwik (Schcring) (Schering) Perlen Polyfonia Classica Classica Portuguesa Portuguesa (dos (dos Santos, Santos, 1938) 1938) A Polyfonia PraeclassicQ Praeclassica Publications, Societe Fran~se de Musicologie de Musicx)logie Soci&6 Franchise Publications, SCMA TorchiAM Torchi AM Tresor des Pianistes PiQnistes (Farrenc) (Farrenc) Trtsor des VeroDentlichungm, Hirsch Paul Hirsch Musikbibl. Paul Veroffentlichungen, Musikbibl. VNM 3. SMALLER COLLECTIONS AND PERFORMING EDITIONS 3. MUSIC A. A. VOCAL :MUSIC deutschen etJangelischm Amcln-Mahrenholz..1'homas: der deutschm Handbuch der Ameln-Mahrenholz-Thomas: Handbuch evangclischen Kirchenmusil{. 1932 fl. S. musi\ 1932 Areca: Sablonara de Sablonara Cancionero de Aroca: Cancionero de VegQ, Bal Gay: Trimta cQ1Jciones de de Lope condones Bal y Trienta Vega, 1935 1935 Lope de y Gay: Ricordi del sec. XVII, Benvenuti: Arie di tJaN QUlori del sec. Ricordi autori van di Benvenuti: 35 Arie XVII, 55 Dolmetsch: and Dialogues Dolmetsch: English Dialogues Songs md English Songs Expert: siecles et XVIIe XVIIe siecles XVIe el des XVIe Airs frQ1JfaU fran^ais des Expert: Airs - - : Repertoire de mwique religieuse musique religieuse RSpertoire tie and Fletcher, Fellowcs: the plays Fletcher, 1928 and Lyrics Fellowes: Songs 1928 of Beaumont and from the plays of Lyrics from Songs and Gevaert: 2 vis. vis. de rItalie. Gloires de Les Gloires Gevaert: Les I'ltalic, 2 des Bel Bel Canto. Landshoff: Meister des Landshoff: Alte Alte Meister Canto, 1927 1927 Moser: deutschen Liedes, des deutschm Meister des Moser: Alee Alte Meister Liedes, 1931 1931 Ouseley: Masters Services by Cathedral Se1'tJices English Masters by English Ouseley: Ct#hedral Parisotti: Italian Song Parisotti: Anthology antiche, 3 vis.) 3 vis.} of Italian Song {Arie (Arie antiche, Anthology of - - : Piccolo Album Piccolo Album Ricci: Ricordi Ricci: Anlkhe AnUche gemme italianc, Ricordi gemme italitme, t

List of Editions

463

Riemann: Kantatenfruhling Kanttzten'frUhling Ricmann: Torchi: Eleganti Eleganti canzoni canzoni cd ed one ane italiane italiane Torchi: Vatielli: Antiche Antiche cantate cantate spirituali, spirituali, Capra Capra - - : Antiche Antiche cantate cantate d'amore, d'amore, Bologna Bologna Warlock-Wilson: Warlock-Wilson: English English Ayres, Ayres, Elizabethan Elizabethan and and Jacobean, Jacobean, Oxf. Oxf. Univ. Univ. Press Press Wolff: Wolff: Deutsche Deutsche Baroctyricn Barocl(arim aus aut Of Opem Hamburger Ucister, Meister, 1944 I944 em Hamburger Zanon: Zanon: Raccolta Raccolttz di di 24 24 Arie Arie di di van vari autori autori del del sec. sec. XVII XVII - : Piccola Piccolll Antologia Antologia musicale musicale italiana italiana Vatielli: :

B. B.

INSTB.tnaNTAL ENSEMBLE ENSEMBLE MUSIC MUSIC INSTRUMENTAL

- - : Das Das Musilfadnzlein Musikkranzlein Alard: Les Les Maitres Maltres classiques classiques du du violon violon Alard: Beck.: Nine Nine fantasias fantasias in in jour four farts, parts, N.Y. N.Y. Public Public Library, Library, 1938 I93 8 Beck: Beckmann: in Beckmann: Das Violinspiel in Deutschland, Beispielsammlung, Simrock, 1921 I921 Deutschland, Violinspiel Beispielsammlung, Simrock, Cartier: L' Art de de violon, violon, 1798 I798 Cartier: L'Art David: Hohe Schule Schult: des des Violinspiels, vIs. David: Violinspiels, 2 vis. - - : Vorstudien Hohm Schule, Schule, 2 vis. vIs. Vorstudien :mr zur Hohen Debroux: L'Ecole L'Ecole du du violon violon aur 17e et et 18e necles, Lemoine Lemoine aux ije iBe siecles, Debroux: Ecorcheville: suites d'orchestre d'orchestre du du XVIIe XVIIe tiede, I906 Ecorchevillc: Vingt siccle, 1906 Vingt suites Jensen: Klassische Violinmusik Jensen: Klassische Violinmusi\ Komma: Gruppmkonzerte der Baehzeit, u Eachzeit, ER II Gruppentynzerte der Mangeot: Three Fancies for String Quartet, I936 Fancies Three for Quartet, 1936 String Mangeot: des Baroct Meyer: Fantasien, I935 Englische F.antasim, EarocJ^, Englische 1935 Meyer: Spielmusik Spiclmusfy des Moffat: Simrock der Violoncello Violoncello Literatur, Uteratur Simrock MoSat: Meisterausw.ahl MeisterauswM der - - : Klassische Violinsonaten Klassische Violinsonatm - - : Trio-Meisterschule Trio-Meisterschule - - : Kammersonate12 18. Ttzhrhunderts des 17. Kammersonaten des Jahrhunderts 17, und 18. XVI-XVIll 1ahrhundere, Moser: aus dem XVI-XVIII und Kammermusik Haus- und Moser: HaUlJahrhundert, I930 1930 Kammermusi^ aut Riemann: Music [OCM] Chamber Music Old Chamber Riemann: Old [OCM] Augener Augener Simrock Schering: des Violinspiels, Meister des Alte Meister Violinspiels, Simrock Schering: Alee Vatidli: maestri bolpgnesi Antichi maestri Vatielli: Antichi bolpgnesi des z7.1ahrzum Ende les 16. bis bis filUm des 16. Wasielewski: Ende des Instrumentalsatze vom Enk 17. Wasielewski: Instrummttz1siitze hunlerts, hunderts, I905 1905 Grossi Wier: Concerti Grossi and Concerti Suites and Chamber Suites Wier: Chamber :

MUSIC LUTE Nl7SlC Co AND LtlTB C. KEYBOARD KEYBOARD AND

Durand - . Les clavecinistes frrmrais, Les clavecinistes franfais, Durand Piano Ape!: the Piano Classics for Concord Clastics for the Apel: Concord - - : Musil( Schott aus frUher Zeit, Schott jruher Zeit, MusiJ^ aUl Boghen: italiani maestri italiani Antichi maestri Boghen: Antich; Schirmcr G. Schirmer Bonnet: Recitals, G. Historical Organ Bonnet: Historical Organ Recitals, Simrock Brugcr: aus 33 Tahrhundnun, Alte I..autenltuns# Jahrhunderten, Simrock Lautentynst aut Bruger: Alte .

List of of Editions Editions List 464 Dietrich: Elf Elf Orgelchorale Orgelchorale des des 17. 17.lahrhunderts, I932 Dietrich: Jahrhunderts, 1932 Expert: Les mattres du clavecin clavecin du medtres Les Expert: Fischer-OberdorfIer: Deutsche Deutsche Klaviermusi\ Klaviermusik des des 17. 17. und und 18. 18. Jahrhunderts lahrhundertS Fischer-Oberdorffer: Frotscher: Orgelchorale Orgelchorale urn um J.,. S. S. Bach, Bach, ER ER 99 Frotscher: Fuller-Maidand: Contemporaries Contemporaries of of Pur Purcell, I92I cell, 1921 Fuller-Maidand: Gargiulo and Rosati: Raccolta di composizioni di clavicembdlisti, clatlicembalisti, 1938 I93 8 di Raccolta Rosati: and composizioni di Gargiulo Hennefidd: Masterpieces Masterpieces of of Organ Organ Music, Music, 1945 1945 Hennefield: Herrmann: Lehrmeister Lehrmeister und und Schuler Schuler J.I. S. S. Backs Bachs Herrmann: Kaller: Liber Liber Organi, Organi, Schott Schott Kaller: l{astner: Cravistas Cratlistas portuguezes portuguezes Kastner: Neemann: Alte Alte Meister Meister der der Laute, Laute, Vieweg; Vieweg; see see also also ER 12 I2 Neemann: Oesterle: Early Early Keyboard Keyboard Music, Music, 22 vis. vIs. Oesterle: Pauer: Alte Alte Meister Meister Pauer: Pedrell: Antologia Antologia de de organistas, organistas, 1908 1908 Pedrell: Peeters: Oudnederlandsche Oudnederlandsche Meesters Meesters vor tlor het het Orgel, Orgel, 1938 I938 Peeters: Redlich: Meister Meister des des Orgelbaroc^ Orgelbarock Redlich: Rehberg: Alte Alte Hausmusi^ Hausmusik fur fur Klavier Klatlier Rehberg: Schweiger: A Brief Brief Compendium Compendium of of Early Early Organ Organ Music, Music, 1943 1943 Schweiger: Stahl: 150 150 Choralvorspiele Choraltlorspieie alter alter Meister Meister Stahl: Straube: Alte Meister Meister des des Orgelspiels, 2 vis. vis. Straube: Alte Orgelspiels, 2 - : Same, Neue Folge, Folge, 22 vis. vIs. 1929 Same, Ncue 1929 - - : Choralvorspie1e alter Meister, Meister, I907 1907 Choralvorspiele alter Zeit [I906] Tappert: alter Zeit aus alter und Klang [1906] Klang aus Sang und Tappert: Sang Villalba: de organistas. Villalba: Antologia 1914 organistas, I9I4 Antologia de Vitali: Ricordi italiani Ricordi Vitali: Clavicembalisti Clavicembalisti italiani, 18. Jahrhunderts, Nagel des 18.lahrhunderts, Werner: Deutsche Klatliermusik aus dem Beginn Werner: Deutsche Klaviermusfy aus Nagel Beginn des West: Old English Organ Music West: Old English Organ Music :

4. COMPLETE OR COLLECTED EDITIONS OF 4. INDIVIDUAL COMPOSERS of baroque of reprints the labyrinth (This reader through the reader to guide baroque is designed reprints of list is labyrinth of through the designed to guide the (This list also single but includes includes also editions but historical editions music. the large on the based primarily is based single It is music. It large historical primarily on has extreme brevity of space reasons of titles For reasons available. For otherwise available. music is is not not otherwise brevity has if the the music tides if space extreme Hartford Dictionary the Harvard index of of the been the analytical titles appear, no titles Where no Dictionary been necessary. analytical index appear, the necessary. Where in parenare given of editors editors are names of of The names be consulted. consulted. The must be parengiven in Editions, must Music, S.tI. Editions, of Music, theses.) theses.) s.tf.

Abaco: and 9:1 DTB 1i and Abaco: DTB 9:1 Ahle, J.R.: DDT 5 AhkJ.R.:DDT5 Albert: DDT I2/I3 Albert: DDT 12/13 Albicastro: in A, cd. Henn, Sonata in Albicastro: Sonata A, ed. Henn, Geneve, Geneve, I93I 1931 see Violin Concerto, Albinoni: Musikarchiv; Schott; in Nagds Sonatas in Albinoni: Sonatas Concerto, Vieweg; Vieweg; see Schott; Violin Musikarchiv; Nagels also G. Walther, DDT 26/27 DDT also J. G. Walther, J. 26/27 Ariosri: Amore, Schott Viola d' for Viola Schott Sonatas for Ariosti: Sonatas d'Amore,

List of List of Editions Editions

465 Chorale Bach, Chorale zum Priiambulieren (Fischer) Biirenreiter; Bach, Johann Johann Christoph: Praambulieren Christoph: 44 44 (Fischer) Barenreiter; Wie bin bist Du DTB 6:1; Ach dass doss ieh Wie ER 1-2 ich WasSe1'S, 6:1; Aen i-a Wasscrs, Breitkop£; Breitkopf; Archive: ER 1/2 Bach Family Family Archive: 1/2 Bach J. S.: CE, Bach Gesellschaft, also Bach J. S.: der Neuen Neuen Bach Bach Gesellschaft, also Veroffendichungen Veroffentlichungen der Gesellschaft Gesellschaft G. B.: B.: ICM! ICMI 2; Torchi AM 7; Bassani, Bassani, G. 2; Torchi Instrumentalsatzc Wasielewski, Instrumentalsiitze 7; Wasielewski, X:i (V. Benevoli: DTOe X:I (V. zo) 20) Bernardi: DTOe XXXVI:z XXXVI:i (V. (V. 6g) 69) see also Bernhard: DDT 6; also Blirenreiter: Barenreiter: CW 16 16 6; see Biber: DTOe V:2, I, XXX: XXX:i1 (V. V:a, XII:2, XII:2, XXV: XXV:i, 11, 25, (V. II, 25, 49, 49, 59) 59) Adonis, Oiseau-Lyre; Blow: Venus and Adonis, trio sonatas sonatas (Whittaker) OiseauOiseau-Lyre; two trio (Whittaker) OiseauSelected Organ Lyre; Hinrichsen Lyre; Selected Organ Music (Butcher) (Butcher) Hinrichsen Bohm: CE (Wolgast); BOhm: (Wolgast); DDT 45 45 Bonporti: Sonatas (Moffat) Bonporti: Sonatas (Moflat) Boutmy: Musicae Belgicae Boutmy: Monumenta Musicae Belgicae V Bruhns: CE (Stein), also EL (Stein), also Buxtehude: CE (Ugrino works (Spitta; (Spitta; aa more complete complete ediedi(Ugrino Gemeinde); Gemeinde); organ organ works tion tion by by Seiffert, works (Bangert); Seiffert, Breitkop£); u, 14 keyboard works Breitkopf); keyboard 14 (Bangert); DDT II, Cabanilles: CE of Cabanilles: of organ organ works works (Angles) (Angles) Caccini: Eitner ICMI 4; Nuotle Musichc, Musiche, ICM! Facs. reprint Caccini: Eitner PAM 10; 10; Nuove reprint Rome 1934 1934 4; Facs. Caldara: DTOe XXXIX Caldara: XIII:I, (V. 26, 75) 75) Xffl:i, (V. 26, Cambert: COF Cambert: livre de Senart Campion, Fr.: Fr.: Pieces Pieces de de son son livre de tablature, tablature, (Bailie) (Bailie) Senart Campion, Lutenist Edition School of Campion, Th.: English Edition I; English School of Lutenist Song-writers Th.: Old i; English Song-writers Campion, English (Fellowes) (Fellowes) Campra: COF Campra: 2; ICMI 14; 14; Concerts Concerts Spirituels, Spirituels, Schola Schola Cantorum; Cantorum; Carissimi: Chrysander Chrysander D 2; Carissimi: Bel des Meister lephtha, Novello; (Landshoff) Alte Meister des Bel Canto; .Torchi Torchi Alte Canto; Jephtha, Novello; (LandshofI) AM5 Cavalieri: ICMI ICM! 10; e Corpo, vocal score score (Tebaldini) (Tebaldini) 1929, 1929, Facs. Facs. reprint reprint Cavalieri: 10; Anima c Corpo, vocal Rome 1912 (Mantica) 1912 (Mantica) Cavalli: Eitner Eitner PAM 12; Goldschmidt, Studien, Studien, I; Ii 20 20 Arie Arie (Schmidl, (Schmidl, 1908); 1908); 23 23 Cavalli: 12; Goldschmidt, Arie Arie (Zanon) (Zanon) Cererols: Mestres Mestres de de rescolania l'escolania di di Montserrat Montserrat (Pujol) (Pujol) I-III I-III Cererols: Cesti: Eitner Eitner PAM 12; 12; DTOe 111:2, 111:2, IV:2 IV:2 (V. (V. 6, 6,9); (Vatielli) Antiche Antiche Cantate Cantate Cesti: 9); (VatieUi) d'amore d'amore (Brunold-Tessier) 1925; 1925; (Quittard) (Quittard) 1911; 19IIi Farrenc: Farrenc: Tre*TreChambonnieres: CE (Brunold-Tessier) Chambonniircs: 2 sor, 2 sor, Concerts spirituels, spirituels, Schok Schola Cantorum, Cantorum, sen sUo Charpentier: Histoires sacrees, Concerts Charpentier: Histoires sacr&cs, anc. anc. III. III. Chaumont: Monumenta Leodiensium Leodiensium Musicorum Musicorum II Chaumont: della Ciaja: Ciaja: Sonatas Sonatas (Buonamici) (Buonamici) Bratti Bratti della

List of List of Editions Editions Cl&ambault: Guilmant, C1&ambault: Archives 3; Pieces de de c1avecin clavecin (Brunold) Guilmant, Archives 3; Pieces (Brunold)

Oiscau-Lyrc; Oiseau-Lyre; Music Press Symphonia, Press Symphonia, (Fendler) (Fendlcr) Music Coelho: Tenlos Tentos (Kastner), Coelho: (Kastner), 1936 1936 Colasse: COF COF Colasse: Obras musicales Comes: Obras musicales (Guzman.) Comes: (Guzman) Corelli: Chrysander D 3;3; ICM! ICMI 99 Corelli: Chrysander D Fr.: CE CE (Cauchie) D 44 Couperin, Couperin, Fr.: Oiseau-Lyre; Chrysander (Cauchie) Oiscau-Lyrc; Chrysander D Louis: CE CE (Brunold) Couperin, Couperin, Louis: Oiseau-Lyre (Brunold) Oiseau-Lyrc Cousser: Erindo, Cousser: Erindo, EL Dandrieu: Guilmant, Archives 7 Dandrieu: Guilmant, Archives 7 Soc. Fran~. D' Anglebcrt: Publications, Soc. 8 Publications, D'Anglebert: Musicologie 8 Frang. de Musicologic Destouches: COF Dieupart: Dieupart: CE (Brunold) (Brunold) Oiscau-Lyrc Oiseau-Lyre XXIII:i (V. Draghi: Draghi: DTOe XXIII:x (V. 46) 46) Durantc: ICMI In Durante: I Erbach: DTB 4:2 Erbach: 4:2 Erlebach: DDT DDT 46/47 Erlebach: 46/47 Falconieri: 17 Arie (Benvenuti) Falconieri: 17 Aric (Benvenuti) III: Works (Adler) Ferdinand III: (Adler) 1895 1895 III Fiocco: Monumenta Musicae Belgicae Belgicae III Fischer, Simrock Fischer, Johann: Johann: Suites, Suites, Barcnreiter; Barenreiter; Sonatas, Sonatas, (Beckmann) (Beckmann) Simrock Ferdinand: Keyboard Fischer. Fischer, J. J. K. Ferdinand: Keyboard works (Werra); (Werra); DDT 10 Tochter Cecrops, Franck, J. J. W.: Drey Drey TOchter Franck, Cecrops, EL DDT 16 Franck, M: z6 Franck, Frescobaldi: Fiori (Guilmant), Frescobaldi: Fiori (Guilmant), Les grands grands maltres mattres (Haberl) (Haberl) 1913, (Germani) 1913, (Germani) 1936j rCM! 12; Toccate (Germani); (Germani); Arie Arie (Boghen) (Boghen) 1933; Canzoni, Antiqua 12; Toccate 1936; ICMI Canzoni, 1933; Antiqua Frobergcr: DTOe IV: IVa, VI:2, X:2 (V. (V. 3, 3,12, 21) i, VI:2, 12, 21) Froberger: Fromm: Oratorio, Oratorio, Denkmaler der dcr Musik in in Pommern, Pommern, 55 Fux: Fm:: DTOe I:i, 1:1, II:i, II:I. IX:2, IX:2, XVII, XVII, XXIII:2 (V. (V. i, I, 3, 3, 19, 19. 34/35, 34/35, 47), 47), also also SCMA2 Gabrieli, G.: G.: IM 1M 2; 2; Antiqua; Antiqua; Winterfeld Winterfeld 33 Gabrieli, Gagliano: Eitner Eitner PAM 10 10 Gagliano: Gaultier: Gaultier: 'Rhttorique, RMtorique, Publications Publications Soc. Soc. Frang. Fran~. de de Musicologie Musicologie 6/7; 6/7; Fleischer Fleischer VfMII VfMII Geminiani: GemioiaDi: Sonatas, Sonatas, SCMA i; I; David, David, Hohe Hohc Schule; Schulc; Concert! Concerti grossi, grossi, .(Hern(Hernried) Eulenburg; Eulenburgj (Beck) (Beck) New York York Public Public Lib.; Lib.; Perlen Peden alter alter Kammermusik Kammermusik ried) Gigault: Guilmant, Guilmant, Archives Archives 44 Gigault: Grandi: CW 40 Grandi:CW40 Gr(i)eco: (Shedlock) (Shedlock) 1895 1895 Gr(i)eco: Grigny: Guilmant, Guilmant, Archives Archives 55 Grigny: Hammerschmidt: Hammerschmidt: DTOe DTOe VIII: VIII:Ii (V. (V. 16); 16); DDT DDT 40 40 Handel: Handel: CE CE Deutsche Deutsche Handelgescllschaft Handelgesellschaft (Chrysander); (Chrysander); Sonata Sonata in in G G for for Vln Vln and and Cembalo Cembalo cone. cone. (SeifJert) (Seiffert) Breitkopf; Breitkopf; Deutsche Dcutsche Arien Arien (Roth) (Roth) Breitkopf; Breitkopf; Harpsichord Pieces Pieces (Squire (Squirc and and Fuller-Maitland) Fuller-Maitland) Schott Schott Harpsichord

List List of of Editions Editions

PAM 15; 15; DTB 4:2, 4:2, 5:2, 5:2, 11:1; II:I; DDT 2, 2, 7, 7, 24/25 24/25 16 Hausmann: DDT 16

467

Hassler: Hassler: Eitner Eitner

Herbst: Herbst:

EL Hidalgo: Celos (Subira*), (Subira), Inst. Inst. d'estudis d'estudis Catalans, catalans, 1033 1933 Hidalgo: Celos Hurlebusch: VNM 32 32 Hurlebusch: D'India: ICMIB 99 D'India: Jenkins: Jenkins: Fantasia, Fantasia, N.Y. N.Y. Public Public Lib. Lib. 1934; 1934; (Grainger) (Grainger) G. G. Schinner, Schirmer, 1944 1944 Eitner DDT 37/38; 37138; Eitner PAM 18; 18; Sonatas, Sonatas, Nagels Nagds Musikarchiv; Musikarchiv; Octotna, Octavia, CE, Suppl. Supp!. 66 Handel CE,

Reiser: Keiser:

DDT

PAM

II II DTOe XXV, XXV, XXX (V. (V. 49, 49, 59); 59); DTB 2:2 2:2

Kerckhovcn: Kerckhoven: Monumenta Musicae Musicae Belgicae Bdgicae Kerll: KerII:

XIII, XXI-XXIV Kindermann: DDT XIII, Knup£er: Kniipfer:

58/59 DDT 58/59 DDT 19 19

Krieger, A.: A.: Krieger,

Krieger, Johann: Johann: Krieger,

6:1, 18 DTB 6:1, 18 J. Philipp: Philipp: DDT 53/54; 53/54; DTB 6:1, 6:1, 18; Arien (Moser) (Moser) 18; Arien Kuhnau: DDT 4, 4, 58/59 58/59 Landi: Torchi AM 5; 5; GoHschmidt, Gotdschmidt, Studien Studien II Lawes, H.: H.: Comus (Visiak-Foss) (Visiak-Foss) 1937 Lawes, 1937 Guilmant, Archives Archives 99 Le Begue: Begue: Guilmant, Leclair: Eitner PAM Leclair: Eitner 27; Sonatas, Sonatas, Antiqua; Antiqua; (Beck) (Beck) Music Music Press; Press; Concertos, Concertos, 27; Peters Peters Legrcnzi: asidewsk~ Instrumentalslitze Instrumentalsatzc Sonatas, W Legrenzi: Sonatas, Wasielewski, Leopold I: (Adler) I: Works Leopold 1895 (Adler) 1895 Locatelli: ICMI 16; Locatdli: Peden alter Kammermusik alter Kammcrmusik 16; Perlen Locke: Uacbeath Macbeath (Loder) 1934; N.Y. Public Public Lib. Lib. 1942; (WarSuites, (Beck) (Loder) 1934; Suites, (Beck) N.Y. 1942; (Warlock-Mangeot) 1932 lock-Mangeot) 1932 Locillet: Monumenta musicae LoeilIet: musicae Bdgicae I; Sonatas, Sonatas, (Bean) Lemoine; (Mann) Belgicae Ii (Bfon) Lemoine; (Mann) Music Press Press DDT 60 Lotti: Lotti:DDT6o Lubeck: Liibeck: CE (Harms) (Harms) 1921 1921 LulIy: Lully: CE (Prunieres) 1930; COF (Prun&res) 1930; Marcdlo:. di rariti Marcdlo:, Arianna, Biblioteca di rarid 4 Arianna, Biblioteca 6, 8; 8; (Vatidli) 4 (Chilesotti); (Vatielli) (Chilesotti); ICMIB 6, Antiche d'amore Antiche Cantate Cantate d'amore Marini: Marini: Sonatas, Sonatas, Torchi AM 7 7 Milanuzzi: Ricordi 22 Arie Arie (Benvenuti) Milanuzzi: 22 (Benvenuti) Ricordi Facs. repro Monteverdi: 1926; Monteverdi: CE (Malipiero) Orfeo, Facs. 1927; ICMIB repr. Augsburg Augsburg 1927; (Malipiero) 1926; Or/co, also score vocal Facs. 10; incorQnazione, Facs. repro Milan 1937; vocal score (Benvenuti) 1937, also 10; Incoronazione, (Benvenuti) 1937, 1937; repr. see also XXIX:i Goldschmidt, Studien II; Ritorno, DTOe XXIX:I (V. 57); see also Paoli, Studien Paoli, II; Ritorno, Goldschmidt, (V. 57); App. App. Mouret: dc Symphonies, Mouret: Suite Suite de Schneider, 1937 1937 (Viollicr) Schneider, Symphonies, (Viollier) Moffat, Georg: Farrenc, Tresor 2; (de Lange) Tr&or V; DTOe 1888; Liber Organi Farrenc, 2; Organi V; Muffat, Georg: (de Lange) 1888; Krieger, Krieger,

1:2,11:2, Xl:2. (V. 2, 40 23) I:2,II:2,XI:2(V.2,4,23)

List List of of Editions Editions

468

Mu1Jat, Gottlieb (Theophil): Handel, Suppl. (V. 7) Muffat, Gottlieb 111:3 (V. 5; DTOe III:3 7) Suppl. 5; (Theophil): CE Handel, Van Noordt: (Seiffert) 1935 Noordt: VNM 19; 19; (Seiffert) 1935 6:1 VIII:2 (V. Pachelbd: works (Matthaci); Pachelbel: Organ 2:1, 4:I, 4:1, 6:I 17); DTB 2:I, (Matthaci); DTOe VIII:2 (V. 17); Organ works DDT Pallavicino: Pallavicino: 55 55 Cantatas (VatiPasquini: Torch! AM 3; 1931; Cantatas (Vati(Shedlock) 1895; 1895; (Danckert) (Danckert) I93I; 3; (Shedlock) Pasquini: Torchi Arie elli) Ant. cantate d'amore; (Boghen) I923; Arie (Boghen) 1930 cantate d'amore; (Boghen) 1923; (Boghcn) 1930 elli) Ant. Pepusch: Beggtzt's Opera 1912 Opera (Calmus) (Calmus) 1912 Pepusch: Beggar's Pergolesi: (Caffarelli) 1939 1939 Pergolesi: CE (Caffare1li) Facs. repro Peri: Peri: Torem Torchi AM 6; 6; Faes. 1934 repr. Rome 1934 Peuerl: Peuerl: DTOe XXXVI:2 (V. (V. 70) 70) Pezel: DDT 63 Pczel: 63 Poglietti: XIII:2, XXVIII:2 (V. (V. 27, 27, 56) Poglictti: DTOe XIII:2, 56) Posch: Posch: DTOeXXXVI:2 DTOe XXXVI:2 (V. (V. 70) 70) Praetorius, H.: DDT 23 Practorius, H.: 23 Praetorius, M.: CE (Blume) works (Gurlitt-Matthaei) Practorius, M.: 1930 1928; organ organ works (Gurlitt-Matthaei) 1930 (Blume) I928; Pujol: Pujol: CE (Angles) 1926 (Angles) 1926 Purcell Society, Purcell: Purcdl: CE, CE, Purcell Society, 1878-1928 1878-1928 Musikarchiv also (Just) - - : Fantasias Nagds Musikarchiv Fantasias (Warlock-Mangeot) 1927, also (Just) Nagds (Warlock-Mangeot) I927, Raison: 2 Raison: Guilmant, Archives 2 Guilmant, Archives Rameau: CE (Saint-Saens) 1895-1924 (Saint-Saens) 1895-1924 Rcinken: VNM 13-14 Reinken: 13-14 Xffl:a (V. Richter: DTOe XIII:2 Richter: (V. 27) 27) sacred vocal vocal music, Rosenmiiller: Rosenmuller: DDT 18; 18; sacred music, Nagel Organum Nagd Organum Rossi, AIte Meister Meister des des Bd Bel Canto; Airs, (Prunieres) Rossi, Luigi: Canto; Luigi: Airs, (Prunteres) 1913; 1913; (Landshoff) (Landshoff) Alte Goldschmidt, I Studien, I Goldschmidt, Studien, Rossi, Torchi AM 3 Rossi, Michdangdo: 26; Torchi Michelangelo: ICMI 26; 3 works (Naumbourg-D'Indy) Rossi, vocal works Salomonc: OCM, OCM, vocal Rossi, Salomone: 1877; (Landshoff) (Naumbourg-D'Indy) 1877; (Landshoff) Alte Meister Meister Alte musiche (Frazzi), seconde musiche Saracini: Le seconde Saracini: Le 1937 (Frazzi), 1937 Eitner PAM 14; ICMI 30; A.: Eitner Scarlatti, Concerti grossi Scarlatti, A.: 12; Concerti 14; rCM! 30; ICMIB 12; grossi (Upmeyer) (Upmeyer) Vieweg; Music Press Press Vicweg; String String quartet quartet (David) (David) Music Four sonatas, Scarlatti, D.: CE (Longo); Oxford Scarlatti, D.: sonatas, (Newton) (Longo); Four (Newton) Oxford Gorlitzer Tabulatur, Scheldt: CE (Harms) Scheidt: Tabulatur, Blirenreiter; (Harms) 1923; 1923; Gorlitzer Barenreiter; DDT Ii Schein: Schein: CE (Prii£er) 1901 (Priifer) 1901 Schenk: VNM 23 Schenk: 23 Schelle: DDT 58/59 Schelle: 58/59 Schmelzer: DTOe XXV:I, XXVHI:2 (V. Schmelzer: XXV:i, XXVIII:2 49, 55) (V. 49, 55) Eitner PAM Schurmann: Schiirmann: Eitner 17; Aricn, (Schmidt) 17; Arien, (Schmidt) 1933 1933 Schiitz: CE (Spitta) Schutz: (Spitta) 1885-1927 1885-1927 Chr.: St. St. Lukas Lukas Passion, Schultze, Veroffend. Musikb. Musikb. Paul Paul Hirsch Hirsch IO 10 Schultze, Chr.: Passion, Veroffend. Sebastiani: Sebastiani: DDT 17 17 Selle: CW:z6 Sdle:CW26 :

List of List of Editions Editions

469

G.: S~elewig, Staden, Staden, G.: Scelewig, MfM 13. 13. Staden, 8:1 Stadcn, J.: J.: DTB 7:1 7:18:1 DTOc 1II:x Stadlmayr: III:i (V. Stadlmayr: DTOe (V. 5) 5) A.: DTB 6:2, Steffani, 12:2 Steffani, A.: 6:2, n:2, 11:2, 12:2 Stradella: La La Forza, vocal score score (Gentili) Forza, vocal Stradella: Concerto Handd CE, CE, Suppl. (Gentili) 1931; 1931; Handel Suppl. 3; 3; Concerto grosso Sonatas, Sch.midl, Trieste; (Riemann) Kantaten£riihling grosso (Gentili); (Gentili); Sonatas, Schmidl, Trieste; (Ricmann) Kantatenfriihling Straus: DTOe XXX (V. Straus: (V. 59) 59) in 2nd Sweelinck: CE (1st Sweelinck: volume in 2nd ed.), (ist ed.), VNM 1894 1894 Telemann: ER 6; DDT 28, 29130, 49/50, so6; 28, 29/30, 49/50, 57, cantatas, Blirenreiter; Barcnreitcr; so61/62; cantatas, 57, 61/62; natas Nagel, E; C. natas Eo C. Schirmer, Collegium Musicum, PerIen alter Kammermusik, Schirmer, Collegium Musicum, Perlen alter Kammermusik, Nagcl, concertos (Upmeyer) Antiqua; fantasies for for keyboard, for Antiqua; concertos Broude, for (Upmeyer) Vieweg; Vieweg; fantasies keyboard, Broude, violin [1735] solo violin solo (Kiister), Kallmeyer [1735] (Kiistcr), Kallmeyer Tessarini: trio trio sonatas, Y. Public Tessarini: N. Y. Public Lib. Lib. 1934 sonatas, N. 1934 Theile: CW 16; Theile: DDT 17 16; 17 Torelli: (Jensen) Klassische Violinmusik; Torelli: N.Y. Public Public Milan 1927; Violinmusik; (Toni) (Jensen) Klasslsche 1927; N.Y. (Toni) Milan Lib. 1942; Perlen alter Lib. Perlen alter Kammermusik; Wasielewski, Instrumentalsitzej Kammermusik; Wasielewski, Instmmentalsatze; 1942; Nagels Musikarchiv Musikarchiv Nagels Torri: DTB 19/20 Torri: 19/20 Trabaci: Torchi Torchi AM 3; IM 5 Trabaci: 3; 1M 5 Tunder: Tunder: DDT 33 Vcracini: 1CMI34 ICMI 34 Veracini: B.: G. B.: Torchi Torchi AM 77 Vitali, Vitali, Vivaldi: Concertos, Concertos, Schott, Schott, Assoc. Assoc. Music Music PubL, Publ., Music Music Press, Press, Oxford Oxford Univ. Univ. Press, Press, Vivaldi: N.Y. N.Y. Public Public Lib,, Lib., Antiqua, Antiqua, Eulenburg, Eulenburg, Ricordi, Ricordi, ICMI ICM! 35; 35; Sinfonie, (Lands-Sinfonic, (Landshoff) Peters; Peters; CE hofi) Gottfried: DDT 26/27 J. Gottfried: 26/27 Walther, J. Walther, ER Walther, J. Jacob: 17; (Beckmann) Simrock Walther, J. Jacob: 17; (Beckmann) Simrock 6, EL Weckmann: DDT 6, Woodcock: Concerto Concerto (Beck), (Beck), N.Y. N.Y. Public Public Lib. Lib. 1942 I~ Woodcock: OxL Univ. Press Young: Sonatas, suites, Oxf. Univ. Press Young: Sonatas, suites, Zachow: Zachow: DDT 21/22 21/22 ICMI Zipoli: ICM! 36 36 Zipoli:

.clST OP OF MUSICAL e7dUSICAL EXAMPLES EXAMPLES .asr

Example Example I.a. Giovanni Giovanni Gabridi: Gabrie1i: Timor Timor ct et tremor tremor (after (after Wintcrfeld). Winter£cld).

i.a.

b. Andrea Andrea Gabrieli: Gabrieli: Timor Timor ct et tremor tremor (after (after Torchi). Torchi). Caccini: Caccini: Monody Monody Deh, Den, dove dove son son (unpublished). (unpublished). 3. Saracini: Saracini: Monody Monody Tu parti parti (after (after Ambros-Leichtentritt). Ambros-Leichtentritt). 3. 4· Alessandro Alessandro Grandi: Grandi: Strophic Strophic variation variation (cantata) (cantata) Apre Apre fhuomo fhuomo (unpub(unpub4. lished). lished), S. Brunetti: Brunetti: Chamber Chamber duet duet Amor s'io lio non non (unpublished). (unpublished). 5. 6. Monteverdi: Monteverdi: Canzonetta Canzonetta Amarilli Amarilli onde onde (after (after CE). CE). 6. 7. Traditional ground-bass melodies (after Gombosi and Einstein). Einstein). Traditional and melodies Gombosi 7. ground-bass (after S. Chaconne bass patterns. patterns. Chaconne bass 8. 9. Marini: Varied couple Polacca and Iselin). Marini: Varied and Corrente Corrente (after 9. couple Polacca (after Iselin). 10. Buonamente: Variations Cavaletto .oppo (unpublished). Buonamente: Variations Cavaletto zoppo (unpublished). 10. II. Frescobaldi: Ricercare croma'tieo cromatico (after Frescobaldi: Ricercare 11. (after Haberl). Haberl). un soggettD, 12. Frescobaldi: sopra un Thematic transformations transformations of of Capriccio Frescobaldi: Thematic 12. soggetto, Capriccio sopra 16 24. 1624. 13. Salomone Trio Sonata, Rossi: Trio Salomone Rossi: Sonata, 1607 1607 (unpublished). (unpublished). 13. 14. Monteverdi: Excerpt from Orfeo (after CE). from Monteverdi: Orfeo (after CE). Excerpt 14. IS. Marco da Gagliano: Duet from Dafne (after from Duet da Marco Dafne Eitncr). (after Eitner). Gagliano: 15. Son? Alessio Alessio (after 16. Landi: from San( duet from Comic duet Landi: Comic 16. (after Goldschmidt). Goldschmidt). aeterni (unpublished). motet Salve Salve aeumi 17. Balestra: concertato motet the concertato From the Balestra: From (unpublished). 17. Hertzlich lieh IS. Swee1inc:k.: lieb (after variations Hertzlich Chorale variations Sweelinck: Chorale 18. (after CE). CE). Schein and KOnig Ein teste 19. Chorale harmonizations Bin Chorale harmonizations CE's; Schein feste Burg Konig Burg (after (after CE's; 19. unpublished) . unpublished). nova (after from Opella Not from 20. Schein: Aus tiefer Chorale concertato, Schein: Chorale 20. concertato, Aus CE). tiefer Not (after CE). OpeUa notltl sacrae 21. Schiitz: 0 hone from Ctmtiones sacrae (after CE). from Cantiones Schiitz: O bone 21. (after CE). sacrae 1 I (after 22. Schiitz: from Symphoniae Absalon from Fill mi, Schiitz: Fili 22. (after CE). CE). mi, Ahsalon Symphoniae sacrae HI sacrae 23. Schiitz: Saul, Saul from Symphomae sacrae 111 (after Schiitz: Saul, Saul from Symphoniae CE). (after CE). 23. Lied (after 24. Adam Continue Lied Adam Krieger: Heuss). (after Heuss). Krieger: Continuo 24. nova (after from Tabtdatura nova 25. Scheidt: Chorale Variation from Tahulatura Variation Chorale Seiffert). Scheldt: (after Seiffert). 25. canzona 26. Froberger: Variation canzona (after Adler). Variation 26. Adler). (after Froberger: suite (after the Mayerin from the -27. Froberger: Courante (Douhle) Adler). (after Adler). Mayerin suite (Double) from Froberger: Courante 27. Musicale (after Banchctto Musicale 2S. Schein: suite from from Banchetto Variation suite CE). Schein: Variation (after CE). 28. violin (after 29. Biber: for unaccompanied Luntz). (after Luntz). Biber: Passacaglia unaccompanied violin Passacaglia for 29. b.

2. 2.

471 471

472 472 30. 30. 31. 31.

32. 32. 33. 33. 34. 34.

35. 35. 36. 36. 37. 37. 38. 38.

39. 39. 40. 40. 41. 41. .po 42.

43. 43. 44. 44. 45. 45. 46. 46. 47. 47. 48. 48. 49. 49.

50. 50. 51. 51. 52. 52.

53. 53. 54. 54. 55. 55. 56. 56. 57. 57. 58. 58. 59. 59. 60. 60. 61. 61. 62. 62. 63. 63.

64. 64.

65' 65. 66. 66.

67. 67. 68. 68. 69. 69.

70. 70. 71. 71.

List Musical Examples List of of Musical Examples Luigi cantata (after Rossi: Chamber cantata Dent). (after Dent). Luigi Rossi: Carissimi: Carissimi: Chamber duet (after Landshoff). (after Landshoff). Carissimi: aria from Lucifer Bel-canto aria Carissimi: Bel~to Lucifer (unpublished). (unpublished). Cavalli: Cavalli: Lamento on a ground Prunieres). Egisto (after (after Pruni~). ground from Egisto Cesti: Scmiramide (unpublished). Terzetto from Semiramide Cesti: Terzetto (unpublished), Cesti: with motto beginning aria with Cesti: Comic aria Eitner). beginning (after (after Eitner). Legrenzi: Aria from Tolila (after Wolff). Ark Totila (after Wolff). Legrenzi: Pallavicino: Demetrio (after Pallavicino: Excerpt Abert). (after Abert). Excerpt from Demetrio libcrata (after Gerusalemme liherata Abert). Pallavicino: song from Gerustdemme Pallavicino: Popular (after Abert). Popular song Cavalli: Schlossberg). Cavalli: Canzona theme (after (after Schlossberg). Legrenzi: Cornara (after Trio sonata sonata La Camara Wasielewski). (after Wasielewski). Legrenzi: Trio sonata (after Giovanni Battista Vitali: Violin Violin sonata Battista Vitali: (after Torchi) Torchi).• Mersenne: Air de embellishments (after dc rour cour with embellishments Mersenne: Air original). (after original). Brunette Lully: Brunette (after Masson). (after Masson). Lully: Prunifcres and Bottger). Lully: 'Fetes de Versailles Versailles (after Plaint from Pltes BSttger). (after Pruni~res Lully: Plaint Rtcit Lully: Accompanied Ridt from Armide (after Eitner). Annide (after Eitner). Lully: Accompanied LullY: from Armide (after Air £rom (after Eitner). Eitner). Lully: Accompanied Accompanied Air a ground Charpentier: ground (unpublished). (unpublished). Charpenticr: Air on a Gaultier: Pavane (after Tcssier and Fleischer). Gaultier: Pavanc Fleischer). (after Tessier Chambonnieres: Chambonnires: Courante (after Brunold-Tcssier). (after Brunold-Tessier). Celos (after Hidalgo: Bass from Celos (after Subicl). Subira*). Hidalgo: Bass Lanier: and Leander (unpublished). Hero Lanier: Monody Monody (unpublished). than most fair Henry fair (unpublished). Henry Lawes: More than (unpublished). Recitative of Blow: Recitative Adonis (after of Venus from Venus and Adonis (after Lewis). Lewis). Blow: Excerpt Adonis (after (after Lewis). Excerpt from Venus and Adonis Lewis). for harpsichord G1'eensleetles harpsichord (unpublished). Greensleeves for (unpublished). Humfrey: solo cantata cantata (unpublished). Sacred solo Humfrey: Sacred (unpublished). Blow: Elegy Queen Mary Elegy on Queen Mary (unpublished). (unpublished). full anthem (all Purcell: Purcell: Excerpt of Purcell's PurcelTs after exs. of after CE). Excerpt from a full (all cxs. CE). Purcell: Excerpt I will will gitle Purcell: give thanks. Excerpt from 1 thanks. Purcell: Excerpt Purcell: Arise my my Muse. Excerpt from Arise 'Purcell: Purcell: Excerpt 'Tis natures natures tloice. voice. Excerpt from 'Tis Purcell: Purcell: Ritorne1lo Ritornello from The Tempest. Tempest. Purcell: Bell Bell chorus from The Tempest. Purcell: Tempest. heart is Purcell: Alleluja is inditing. Purcell: Alleluia from from My My heart inditing. Purcell: Ground basses. basses. Purcell: Corelli: Excerpt violin sonata Ope Corelli: Excerpt from violin op. 5. 5, 7 7 (after (after Chrysander). Chrysander). Corelli: Excerpt Corelli: Excerpt from Concerto grosso grosso XI (after (after Chrysander). Chrysander). Corelli: From Concerto grosso Corelli: grosso XII (after (after Chrysander). Chrysander). Grossi: Trumpet sonata (after Grossi: Trumpet sonata (after Schlossberg). Schlossberg). Vivaldi: Concerto themes. Vivaldi: themes. Corelli: Violin Violin sonata sonata with embellishments Corelli: embellishments (after (after Chrysander). Chrysander).

List of of Musical List Musical Examples Examples

473 473 72• 72. 73· 73. Longo). Provenzale: Aria Aria from from La La Stellidaura 74· Provenzale: 74. Stcllidaura (unpublished). (unpublished). Alessandro Scarlatti: Scarlatti: ~ia Aria from from Griselda 75. Alessandro 75. Griselda (unpublished). (unpublished). Alessandro Scarlatti: Scarlatti: Aria Aria from 76. Alessandro from aa chamber 76. chamber cantata cantata (unpublished). (unpublished). Air from from Les Les ntes Fetes Venitiennes 77. Campra: 77. Venitiennes (after Campra: Air (after COF). COF). Rameau: Excerpt from Hippolyte 78. Rameau: 78. Excerpt from Hippolyte (after (after CE). CE). Clerambault: Recitative Recitative and and Air Air from 79. CIerambault: from Pigmalion 79. Pigmalion (unpublished). (unpublished). 80. Bach: Idiomatic Idiomatic keyboard 80. Bach: from fugue in g and toccata toccata in in C. C. keyboard patterns patterns from fugue in g and Si. Bach: An An early and aa mature mature fugue 81. Bach: theme (all of Bach Bach after after early and fugue theme (all examples examples of CE). CE). 82. Bach: Fugue in D D in in concerto 82. Bach: concerto style. Fugue theme in style. of the 83. Bach: Theme of the organ fugue in a a in in "realized" "realized" form. form. 83. organ fugue in 84.a. Walther: Chorale prelude Erschienen ist. Erschienen ist. 84.3. prelude b. Bach: Chorale prelude b. Erschienen ist. ist. prelude Erschienen the Art of of the the Fugue. 85. Bach: Themes from the 85. Fugue. 86. the Goldberg 86. Bach: Canon from the Variations. Goldberg Variations. the first first three-part Invention 87. Bach: Excerpt or Sinfonia. Sinfonia. 87. Excerpt from the three-part Invention or 88. Bach: Allemande Allemandc from the the second second Partita. 88. Bach: Partita. Reiser: Ritornello Ritornello from Croesus Croesus (after 89. Keiser: 89. (after Schneider). Schneider). 90. Erlebach: Aria from Harmonische Freude (after 90. (after Kinkeldey). Kinkeldey). Saraband Almira exs. 91. Handel: from (all exs. of Handel after of Handel after CE). 91. (all CE), Handel: aria Bel-canto the cantata 92. Bel-canto aria from the cantata Agrippina. 92. Agrippina. 93. Handel: Handel: Ritornello Ritornello from the the opera opera Agnppina. Agnppina. 93. 94. Handel: Handel: Unison aria aria from Agnppina. Agrippina. 94. 95. Handel: Gavotte Gavotte aria aria from Orlando. Orlando. 95. 96. Handel: Hallelujah Hallelujah chorus chorus from Messiah. Messiah. 96. 97. Handel: Handel: Passacaille Passacaille bass. bass. 97. 98. Handel: Ritornello Ritornello from the the Passion Passion Oratorio. Oratorio. 98. Passion 99. Handel: Basses from (a) Passion Oratorio; (b) Chandos Anthem. Anthem. Basses from Handel: Oratorio; (a) (b) 99. loo.a. IOO.a. Bach: Bach: Theme Theme of of the the Goldberg Goldberg Variations. Variations. b. b. The The same same theme theme in in Handel Handel style. style. 1101. 01. Rognone: Diminutions Diminutions of of the the cadence cadence (after (after Kuhn). Kuhn). Rognone: 102. 102. Handel: Handel: Two Two versions versions of of an an air air for for harpsichord. harpsichord. Georg Muffat: Muffat: German German and and French French style style of of bowing bowing (after (after Rietsch). Rietsch). 103. Georg 103. von with 4. Erbach: Ricercar with original fingering (after von Werra). Ricercar Erbach: 10 Werra). original fingering (after 104. "Neapolitan" and and augmented-sixth augmented-sixth chord chord in in typical typical context. context. 1 °5. "Neapolitan" 105. Domenico Scarlatti: Scarlatti: Sonata Domenico Sonata (after (after Gerstenberg). Gerstenberg). Domenico Scarlatti: Scarlatti: Acciaccature Domenico Acciaccature (after (after Longo).

INDEX INDEX

Abaco,dall', dall',231, 231,232, 232,234, 234,363 363 Abbatini, 68, 135 a-cappella style, 13£·, 37, 70, 94 a-cappella style, i3f., 37, 70, 94 academy, 245, 403 403

Abaco,

Arcadelt,70 70 Arcadelt,

Abbatini, 68, 135

arch archform, form, 356 356

27, 398 398 aria, IIg, 328fL 328ff. ariette, anette, 254 254 arioso, arioso, 119, II9, 354 354 Ariosti, Ariosti, 244, 244, 247, 247, 315, 3rS, 325, 325, 326 326 Aristotle, Aristotle, 8,8, 141, 141, 370 370 Arkwright, 182, 182, 189, r8g, 197 197 Arkwright, Arnold, 64, 64, 380 380 Arnold, Aroca, 176 176 Aroca, Arpa, dell dell', 120 120 Arpa, Arresti, 127, 127, 139 139 Arresti, articulation, articulation, 378f. 378t. Artusi, Artusi, i, I, 35, 35, 175 175 Astorga, d', 247 247 Astorga, d', Attey, Attey, 71 71 Aubert, Aubert, 248, 248, 250 250 261 Au£schnaiter, Aufschnaiter, 261 Auger, 143 Auger, 143 1, 145 ayre, 145 71, ayre, 7 102 Ayrer, Ayrer, 102

Archilei, 27, Archilei, aria, 119,

academy, 245,

acciaccatura, 238, 380 Addison, 325, 331

acciaccatura, 238, 380

Addison, 325, 331 Adrio, 66 Adrio, 66

affections, 5, 388ff.

Agazzari, n, II, 27, 36, 36, 58, 58, 66, 66, 69, 69, 380, 380, 381 381 27, Agostini, Paolo, Paolo, 68 68 Agostini, Agostini, Pier, 132 Agostini, Pier, 132 Agricola, 243 Agricola, 243 Aguilera de de Heredia, Heredia, 174 174 Aguilera Ahle, Georg, 272 Ahle, Georg, 272 Ahle, Rudolph, g6, 100, 105, 406 Able, Rudolph, 96, 100, 105, 406 Aichinger, 96, 380 Aichinger, 96, 380 Ainsworth, 178, 19B Ainswortb, 178, 198 air 71, 100, 135. I44f., 164 dc cour, wr de cour, 71, 100, 135, 144*-, 164 Akeroyde, 332 Akeroyde, 332 Albert, Heinrich, 99-101, 145 Albert, Heinrich, 99-101, 145 Alberti,' Giuseppe, 232 Alberti, Giuseppe, 232 Albicastro, 231 Albicastro, 231 Albinoni, 227, 230, 231, 232, 234, 244, 271, Albinoni, 227, 230, 231, 232, 234, 244, 271 276,363 276, 363 Aldrich, 200 Aldrich, 200 Aldrovandini, 232 Aldrovandini, 252 Allegri, 69, 374 AHegri, 69, 374 allemande, 109, II2, 167 allemande, 109, 112, 167

Agazzari,

Altenburg,

II2 Altenburg, 112

Amari, 408 Amati, 408 Ambros, 29, 40 Ambros, 29, 40 ancient music, 6£., 26 ancient music, 6f 26 Anerio, Felice, 69 Anerio, Felice, 69 Anerio, Giovanni, 36, 69, 124 Giovanni, 36, 69, 124 Anerio, Anet, 250 Anet, 250 Angles, 175 Angles, 175 anthem, I98ff., 333L anthem, 198^., 333t Antonii, degli, 127, 139, 232 Antonii, degli, 127, 139, 232 .,

Arbeau, 44 Arbeau, 44 Arbuthnot" Arbuthnot,334 334

Babell,37; Babell, 375 282 Anna Magdalena, 252, 282 Bach, Magdalena, 252, Bach, Anna Emanuel, 237, 300 237, 300 Bach, Bach, Emanuel, 376 282, 298, 298, 376 Friedemann, 282, Bach, Bach, Friedemann, Bernhard,267 267 Bach, Johann Bernhard, Bach,Johann 267, 265, 267, 105, 265, Christoph, 10;, Bach, Johann Christoph, Bach, Johann 269,273 269,273 n 16, 10,19, 19, 10,18, Sebastian,9,9,II, Bach, Bach,Johann JohannSebastian, 9^,lOS, 105, 95>¢, 87,95, 82,8;, 81,82, 85,87, 80,81, 48, 79,80, 77,79, 48,77, 252, 234,252. 228,230, 230, 2340 221,228, 173, 221. 108, 108, 138, 138, 173, 3I9, 3^,319, 317,318, 2 6oE^270-305, 314,317, 312,314. 260fl:., 270-305,312, 361-369* 344-349,361 339,344-349> 337,339, 334,337, 32325, 5, 334, -369, 37371,1 406, 409& 402,406,4¢ 389>402, 384,389, 37^-,384, 37;£·, 375f.,378ff., Bachofen, Bachofen,8181 Bacon, Bacon,392 392 66 Balestra, Balestra,66 216 102,Ig6, ballad, 72,72,102, :1I6 196, ballad,

415 475

476 476

Index Index Besler, g6 Betterton, 2U Beys, de, de, 149 149 Beys, Beza, Beza, 75 75 Bianciardi, Bianciardi, 380 3S0 Biber, 97, 97, 103, 103, H5ff., II5 ff., 406 4Q6 Biber, bipartite aria, aria, 121, 121, 158, 158, 212, 212, 355 355 bipartite Bias, 176 176 Bias, Blavet, 250 250 Blavet, Blow, 184, 184. i87ff. 187ff., 191. 191, 196. r96, 2ooff., 206, Blow, 2n, 215, 215,380 211, 380 Blume, 81 81 Blume, Bodenschatz, 79 79 Bodenschatz, 272, 285, Bohm, 108, 108, 173, 173, 264f., 26¢., 269, 285, 269, 271, 271, 272, Bohm, 302 302 l6 5 Boesset, Antoine, Antoine, 143, 144, 145, 145* 165 143, 144> Boesset, Boesset, Jean-Baptiste, Jcan-Baptiste, 143, 150 143, 150 Boesset, Boismortier,25 0,258 Boismortier, 250, 258 Bolte, 102 102 Bolte, Bonaccorsi, 30 Bonaccorsi, 30 118 Bonini, 30, 30, 66, 66, Ix8 Bonini, Bonnet, 174 Bonnet, 174 66 Bonometti, 66 Bonometti, Bononcini, Giovanni Battista, Battista, 244, 244, 247, 247, Bononcini, 15, 322, 06, 3 2 5, 3 26, 327. 2 332 322, 3 326, 327, 33 3 325, 306, 315, Bononcini, Maria, 137, 244, 223, 2440 Bononcini, Giovanni Maria, 137, 223,

balladopera, opera,244, 2440*57> 257,332, 332,397 3(j7 ballad

Besler, 96

Ballard,145, 145,257, 257,408 40S Ballard, balletdc tiecour, cour,43, 43, 141-147. 141-147, I52&> 152ff., lS lSI ballet U;, 195 Baltzar, Baltzar, 115, 195 Banchieri,21, 21,26, 26,50, 50,51, 51.65, 65,372, 372,380 380 Banchieri, Bangert,264 264 Bangert, Banister, 191, 19 I, 195, 195,403 403 Banister, barform, form, 356 356 bar Barbarino,33 33 Barbarino, Barberi.ni,62, 62, 147, 147.148 148 Barberini, Bardi,5,5,6,6, 7,7, 8,8, 99 Bardi, Barnard, 199 199 Barnard, Baron,376 376 Baron, Baroni, 148, 148.185, 185, 398 398 Baroni, baroque period, period, 2;2; phases phases of, of, 17 17 baroque Barre, de de la, la, 161 161 Barre, Bartok, 378 378 Bartok, Baryphonus, 385 385 Baryphonus, Bassani, Giovanni, Giovanni, 25 25 Bassani, Bassani, Giovanni Battista, 232, 247 247 Giovanni Battista, Bassani, 232, basso continue, continuo, see see thorough-bass tharough-bass basso basso ostinato, ostinato, see see ground ground bass bass basso bf1$sO scguente, seguente, 26, 26, 35, 35, 51, 51, 65 65 basso BatailIe, 143, 143, 165 165 Bataille, Beaumont, 182 182 Beaumont, Beck, 74, 74. 194 194 Beck, Becker, Cornelius, Cornelius, 82 82 Becker, Becker, Diedrich, Diedrich, 114 II4 Becker, Beckmann, 116, u6, 289 289 Beckmann, Beissel, 178 17S Beissel, Bellanda, 29, 29. 33 33 Bellanda, bel-canto style, style, 17, 17,63, n8ff. 354 bel-canto 101, log, 63, 101. 109, u8ff., 354 Belli, 29, 36. 53, 60f. Belli, 29, 36, 53, 6o Bencini, 235! 23sf. Bencini, Benedetti, 29 29 Benedetti, Benevoli, 68, 68, 149 149 Bcnevoli, Benserade, 143, 143, 148 Benserade, 148 Benvenuti, 63 63 Benvenuti, Bbln, 250 Be*on, 250 Berardi, 4. 10, 33, 383. 393 Berardi, 4, 9. 9, 10, 33, 383, 393 Beres, 177 Ber&, 177 bergamasca, 236 bergamasca, 236 Bernabei, Ercole, g6, 102 Bcrnabei, Ercole, 96, 102 Bernabei, Giuseppe, g6, 102 Bernabei, Giuseppe, 96, 102 Bernardi, 53. 55, 'JO, 96 Bcrnardi, 25, 25, 53, 55, 70, 96 Bernhard, Berahard, 87, 87, 372, 383, 388• 388, 390 372, 383. 390 Bernini, 62, 66 Bernini, 62, 66 BercUi,¢, 103, 128, 136 Bertali, 96, 103, 128, 136 Berti, J2, 120 Berti, 32, 120 Besard. Bcsard, 164 164

Betterton, 211

83 3383

BODoncini, Marc-Antonio, 244> 306 244, 306 Bononcini, Marc-Antonio, Bonporti, 271 232, 234, 234, 271 231, 232, Bonporti, 231, Bontempi, 102, 136, 407 391, 407 383, 391, 136, 383, Bontempi, 3, 3, 102, Borchgreving, 112 Borchgreving, Il2 Bordes, 162 Bordes, 162 Boretti, Boretti, 133 133 Bossinensis, Bossincnsis, 25 25 Botstiber, Botstiber, 243 243 Bottazzi, Bottazzi, 380 380 Bourdelot, Bourdelot, 391 391 bourre, bourrt, x53 153 Boutmy, 252 Boutmy, 252 Bouzignac, 182 161, 182 Bouzignac, 161, Boyce, Boyce, 199 199 Boyden, Boyden, 234 234 Brade, 112 Brade, 74. 74, Il2 Brady, 198 Brady, 198 Brahms, Brahms, 93, 93, lOS 105 branao, brando, 44 44 branle, branle, 44 44 Briegel, 81, g6, Briegel, 81, 96, 105 105 Britton, Britton, 403 403 Brizeiio, Brizcno, 174 174

Index Index Brockcs, Brockes, 294, 294. 3i2f., 3I :z.f., 316, 316, 324 324 Brossard, Brossard, 248, 248, 287, 287, 391 391

Brown, 329 Brown, John, John, 329 Bruhns, Bruhns, 265, 265, 267, 267, 271 271

477 477

ensemble c., c., 51, 51, lIS, few-voicedc., 115, 137; ensemble 137; few-voiced c^ 51; quilt quilt c., c., ,)0, 50, 54, 54, II5, 51; 352 115,352 canzonetta, ~3, 33, 38t 38! canzonetta,

Capello, 25, 25, 124 Capello, 124 capriccio, 48, 48, 50, 50, 109 capriccio, 109 126 100, II;, Capricornus, 100, 115, 126 Brunold, Brunold, 170 I'JO Caprioli, 120, 120, 148 Caprioli, 148 Bucken, Biicken, 345 345 Carestini, 330,399 330, 399 Carestini, Bukofzcr, Bukofzer, 389 389 Carcw, 182, 182, 185 185 Carew, Bull, Bull, 73, 73, 75 75 Carey, 332 332 Carey, Buonamente, Buonamente, 46, 46. 526, 52£·. 55 55 Carissimi, 97, 97, 103, 103, III, in, I20ff., i2off., I25ff., Carissimi, 125^., 131, 131, Burckhardt, Burckhardt, 22 J 32, 155, 158, 161, 163, 2, 155. 15 186, 200, 163, 186, 200, 207. 8, 161, 13 207, Burnacini, 132, 398 398 Burnacini, 132, 269, 336, 338, 344, 355, 26 355, 38 385 6, 33 8, 344. 9, 33 5 Burney, 188, Burney, 69, 69, 122, 122, 124, 124, 128, 128, 185, 185. 186, 186, 188, Caroso, 44 Caroso,44 199, 199, 200, 200, 217 217 66 Casati, 66 Casati, Buti, Burl, 148, 148, 153 153 Casini, 235£. 2351". Carini, Butler, Butler, 100 100 Casparini, 408 408 Casparini, Buttstedt, 265, 267, Buttstedt, 264, 264, 265, 267, 390 390 Castello, 53f., 53 f., 174 174 Castello, Buxtehudc, Buxtehude, 87, 87, 108, 108, 262, 262, 264^., 264ff., 269, 269, 271, 271, castrato, castrato, u8, 118, 373f., 373^, 399f. 399! 272, 272, 273, 273, 276, 2']6, 279, 279, 318, 318, 405 405 Catholicism, 78 Byrd, Byrd, 71, 71, 73, 73, 203, 203, 204 204 Cauchie, 171 171 Cauchie, Cavalieri, 26, 26, 57, 57, 59, 59, 640 64, 124, 124, 380 380 Cavalieri, Cabanilles, CabaniIles, 175 175 Cavalli, 63, 87, 87, 103, 118, 1290133, 103, lI8, 129-133, 137. 148, 137, 148, Cavall~ 63, Cabczon, Cabezon, 174 174 149, 1540 154, 157, 157, 15 158, 173, 354, 354, 358, 358, 386, 386, 8, 173, 149, Caccini, Caccini, Franccsca, Francesca, 61, 61, 398 398 397 397 Caccini, 222 Caccini, Giulio, Giulio, 7,7, 8,8, 26ff., 26ff.• 36, 36. 39, 39. 41, 41, 561., 56f., Cazzati, 127, 139, 139, 214, 214, 222 Cazzati, 127, 64, 72, 73. 99. 143, 184, Cenci, 37 64, 72, 73, 99, I43. 184, 351, 35 1, 372, 372> 380 380 Cenci,37 cadenza, Ccrerols, 175 cadenza, 231, 231, 243, 243, 373 373 Cererols, 175 Caldara, 247, 271, 306, 338 Ceronc, 177, 370, 370, 372 372 Caldara,232, 232, 244, 244,247, 271,306,338 Cerone, 177, Caldenbach, Cesti, 100 Caldenbach, 100 128, 130, 103, 123, 123, 128, 130, 131-1340 131-134, Is6, 136, Ccsti, 103, Calderon, 158, 386, 386, 397 Calderon, 135, 135, ij6L 176f. 397 158, Calestani, chaconne, 41!, 46, 46, 63, Calestani, 41 41 64, 68, 63, 64. 68, II6, 116, 130, 130, chaconne, 4If., Calmus, 57 132, 15 158, 162, 17I, 159, 162, 210, 2U, 211, 290, Calmus,57 171, :no, 290, 8, 159, 132, Calvinism, 295, 339, 346, 346, 357 357 Calvinism, 74! 74L 295, 339, Calvisius, Chales, 392 Calvisius, 85, 85, 391 391 Chales,392 Cambefort, chalumeaux, 308, 3II 311 Cambefort, i43f., 143£" 152, 152, 161 161 chalumeaux, 308, chamber 122^ Cambert, duet, 35t, 52, 1m 35!, 52, Cambert, 1501., 150£., 152, 152, 156, 156, 173 173 chamber duet, chamber see sonata sonata da camerrs Camcrata, camera sonata, see chamber sonata, Camerata, $&, sff., 24, 24, 26, 26, 33, 33, 64, 640 142 142 chamber Campion, trio, 35 35 Campion, 72, 72, 182, 182, 183 183 chamber trio, Campra, Chambonnieres, 109, 1'JOf.. 170!, 173 173 Chambonnieres, log, Campra, 147, 147, 253^, 253t, 256, 256, 258 258 Canale, Champmesle\ 156 Canale,51 51 Champmesle, 156 canaric, Chancy, 165 Chancy, 16; canarie, 167 167 vas, 160 cane Charles 180 canevaJ, 160 Charles I,r. 180 Charles II, 151, 187, 195, 199, 204, 401 canon, Charles II, 151. 187, 195, 199, 2040 40I canon, 171, 171, 216, 2%6, 295, 295. 297, 297, 3ooflF., 3coff., 368 368t i6iff. cantata, 126, I6rff. Charpentier. 126, 16x£.,258, 258,355, 355, 365^; 36sf.; chamber chamber c., c., Charpcnticr, cantata, i6if., 32, 203 IggL, 203 Child, I99f., 32, 101, 101, 120-123, 120-123, 245&, 245ff., 292&, 292ff., 296, 2g6, Child, Chilesotti, 3191!.; 45 3Igt; church church c., c., 66, 66, 97, 97, I98f., IgB£., 268 268 Chilesotti, 29, 29, 45 c. cantata, 85, 87, 293; c, cantus firmus, 44, 48, 67, 72f., 76, 83^, chorale, TojE.; 7¢; c. cantata, 85, 87. 293; c. cantus firmus, 44. 48, 67, 72f., ']6, 83£., chorale, c. conccrtato, 85^,, chaconne, 281, 293, 294; c. 294, 105, 295, 300, 334, 338, 356f. chaconne, 293, 294; conct:rl4to, B;ff•• 105, 281, 294, 295, 300, 334, 338, 356£· c fugue, 268; canzona, 107, 267, 267, 293; 293; c. fugue, 268; c. c. fantasy, fantasy, I07. canzona, 48, 48, 5of., 5of•• 62, 62, 73, 73. 104, 1040 io8f., 108£., 352; 352;

brunette, brunette, 153, 153, 257, 257, 264 264 Brunetti, Brunetti, 29, 29, 36 36

478

Index Index

chorale (continuet!) chorale Coperario, (continued) Coperario, 73f., 73f., 192, 192, 195, 195, 383 383 c. motet, 1 , 23 2ff·, 249, Corelli, 267; 86; c. 267; Coc. monody, monody, 86; motet, 83ff.; 83^.; Corelli, 220, 220, 221, 221, 222fi., 222ff., 23 231, 232!!., 249, c. partita, c. prelude, 261, 276, 280, 318, 321, 266, 272. Co partita, 266, 272; Co prelude, 107, 107, 267, 267, 261, 262, 262, 271, 271, 276, 280, 318, 321, 342342, c. variation, 282!!, 299; :z82ff., 85 80, 3385 299; c. variation, I05ff. 343, io5ff. 343, 348, 348, 363, 363, 375, 375, 377, 377, 3380, cori spezzati, con Chrysander, 125 Cbrysander, 20 125 spczzati, 20 church sonata, see sonata sonata da da chiesa chicsa sonata, see church CorneiIle, Corneille, Pierre, Pierre, 141, 141, 419, 419, 154 154 Corneille, Ciaja, della, della, 235 Ciaja, 162 235 Corneille, Thomas, Thomas, 162 Cifra, 30, Corner, 30, 41, 41, 50, 50, 70 70 Cifra, Corner, 83 83 Cirillo, 240 Cornet, 240 Cirillo, Cornet, 77 77 civil song, 1 100, 135 song, 100, civil cornetto, 135 cornetto, 24, 24, 45, 45, 52, 52, 13 131 clarino trumpet, Correa, trumpet, 291, clarino 291, 40s£. 405^ Correa, 174, 174, 376 376 200 Clark, 200 Clark, corrente, corrente, 44, 44, 167, 288, 297 167, 288,297 clavichord, 378 Corrette, clavichord, 378 Corrette, 250, 250, 376 376 Clayton, 324 Clayton, Cors~ 324 Corsi, 5, 6, 56 5, 6, 56 Clemens IX, see Rospigliosi Clemens IX, see counterpoint, £., 339, Rospigliosi counterpoint, 8, 8, 23, 23, 48, 48, 77, 77, 94, 94, 138 i38, 339, Cldrambault, 252, Clerambault, 348, 221 252, 254. 254, 258 luxuriant c., 258 348, 382ff.j 382ff.; luxuriant c., 221 Couperin, 259, Coelho, 174 174 Couperin, Fran~ois, Francois, I7I, 171, 24Bf., 248^, 251£., 25if., 259, Cofifey, 332 Coffey, 332 260, 260, 264, 264, 271, 271, 375, 375, 376, 376, 378 378 Colasse, 253 253 Couperin, Colasse, Couperin, Louis, Louis, 170£., I7of., 173, 173, 192 192 Colbert, 142, Colbert, 167, 297 142, 149, courante, 149, 150 150 courante, 44, 44, log, 109, Il2, 112, II4, 114, 167, 297 Cousser, Coleman, 183, 183, 193, 193, 194 194 Cousser, 260, 260, 308£. 3o8 collegium collegium musicum, Crivelli, musicum, 100, 68 100, 403, 403, 408 408 Crivelli, 68 Colombi, Colombi, 137 Croft, 137 200 Croft, 191, 191, 200 colossal colossal baroque, baroque, 64 64 Cromwell, Cromwell, 180, 180, 186, 186, 191, 191, 198 198 commedia commedia dell' dell' arte, arte, 62, 62, 244 244 Cruger, Cruger, 80£., 8o, 383, 383, 388 388 comedie-bdlct, comMie-ballet, 154! I54£. Cruz, Agostinho Agostinho da, da, 177. Cruz, 177, 376 376 Comes, Comes, 175 175 Cuzzoni, 325, 32 5, 332, 373, 410 Cuzzoni, 332, 373, 410 Compenius, Compenius, 275, 275, 408 408 Czerny,379 Czerny, 379 concertato concertato style, style, 14, 14, 20, 20, 21, 21, 25, 25, 38, 38, &. 5gt., 64ff., 64ff., 885., 88ff., 94, 94. 351, 35 1, 355/363 355, 363 da-capo aria, aria, 121; 121; brief, brief, 121, 121, 135, 135, 354; 354; da-capo concerto: 226, 227, 227, 230, 230, 359; 359; c.c. concerto: form, form. 226, grand, 240, 240. 243, 243, 312, 312, 361, 361, 364 364 grand, grosso, 21, 21, 51, 51, 127, 127, 159, 159, 222ff., 222fi., 26l, 261, Dach, gTOSSO, Dach,loo 100 29o., 290£·, 32o, 320£., 342!; 3¢; orchestral orchestral c., c., 226, 226, D'Agincourt, D'Agincourt, 252 252 343> 343, 3^3; 363; solo solo c, Co, 51, 51, 227ff., 227ff., 261, 261, 290, 290, Dandrieu, Dandrieu, 252, 252, 254 254 3435 343; c.c. style, style, 13, 13, 17, 17, 134, 134, 212, 212, 222, 222, 226, 226, D'Anglebert, D'Anglebert, i7oflF., 170if., 253, 253.264,271 264, 271 281, 281,363 363 Samuel, 181 181 Daniel, Samuel, Daniel, Conforto, Conforta, 372 372 Danyel, John, John, 72 'J2 Danyel, Congreve, Congreve, 211, 2II, 335 335 Daquin,252 Daquin, 252 conservatory, 407 407 conservatory, Dassouey, 149 149 Dassoucy, consort consort music, music, 53!, 73£., 192^. 192ff. Davenant, 182, 182, 185, 185, i86f. 186£. Davenant^ Conti, Conti, 244, 244, 306 306 David, 301, 301, 367, 367, 402 402 David, continuo-homophony, 22i, 221f'J 277 277 contmuo-homophony, Davies. 214 214 Davies, continue continuo madrigal, madrigal, 35, 35.98, gS, 197; 197; continue continuo Dedekind, Dedekind, 100 100 song, English, English, 197; 197; German, German, 99-101; 99-101; Deering, song, Deering, 73 73 Italian, Italian,39 39 Delair, 381 381 Delair, continuous continuous expansion, expansion, 233, 233, 3591 35g£. Demantius, 88, 88, 96, g6, 112 1I2 Demantius, contrast contrastmotive, motive,23, 23.86 86 Dent, 185, 185. 186, 186, 188, 188, 189, 189,245, 245. 246 246 Dent, Cooke, Cooke, 183, 183, 186, 186,199, 199,204, 204.401 401 Descartes, 392 392 Descartes, Cooper,see #t:Coperario Copexario Cooper, Desmarets, 253 253 Desmarets, Coopersmith, 316, 316,319 319 Coopersmith, Destouches,253, 253.257 257 Destouches, 9

Index Index Diaz, 177 1.77 Diaz, Dietrich, 81, 81, 265 265 Dietrich, Dieupart, 250, 250, 252, 252, 271 271 Dieupart, see ornaments ornaments diminution, see diminution, Diruta, 47, 47, 376 376 Diruta, dissonance treatment, treatment, 9, 9, 351 351 dissonance Dognazzi, 41 41 Dognazzi, Doisi, 174 174 Doisi, 68 Donati, 66, 66, 68 Donati, Doni, 25, 25, 119, 1I9, 120, 120, 388 388 Doni, 28 Dorian, 28 Dorian, Dorneval, 257 257 Dorncval, Dowland, John, John, yiL 71£.,9 746., 74f., 76, 76, 100, 100, 112, 112, Dowland, i6 1655 Dowland, Robert, Robert, 72 72 Dowland, Draghi, 103, 136 128, 136 Draghi, 103, 128, 2U, 336 336 Dryden, i87f., 187f., 211, Dryden, Faut, 168 168 Du Faut, Dulichius, 88 88 Dulichius, Dumanoir, 144 Dumanoir, 144 Dumont, 163, Dumont, 163, 173 173 Durante, Francesco, Francesco, 70, 70, 239, 239, 245, 245, 247 247 Durante, Durante, Ottavio, Ottavio, 66, 66, 124 Durante, 124 Durfey, 197, 216, 332 332 Durfey, 197, 216, Duron, 177 Duron, 177 Duval,248 Duval, 248

479 479

Fago,243 Fago, 243 29, 120 120 Falconieri, 29, Falconieri, fancy, 73, 73, 192^, I9:2£., 213 213 fancy, fantasia, 49, 73, 75, 77, 106, log, 213 213

fantasia, 49, 73, 75, 77, 106, 109,

Fantini, 375, 375, 376 376 Fantini, Farina, Farina,

521., 116 II6

521".,

Farinel, 195 195 Farinel, Farinelli, 325, 373, 399 399 Farnaby, Giles, Giles, 73 73 Farnaby, Farnaby, Richard, Richard, 72 72 Farnaby,

Farinelli, 325, 373,

Farrenc, 235, 235, 252 252 Farrenc, Fasch, Fasch,

261£., 271, 271, 291 291 26i,

Faustina,325, 332,373, 410 Faustina, 325, 332, 373, 410 Favart, 257 257 Favart, 310 Feind, 310 Feind, Fellowes, 72 72 Fellowes, Feo, 243, 243, 245, 245, 247 247 Feo, Ferdinand III, III, 43, 43, 97, 97, 103, 103, in III Ferdinand IV, IV, 109 109

Ferrabosco, 73, 73, 183 Ferrabosco, 183 Ferrari, 29, 29, 43, 43, 62, Ferrari, 62, 120, 120, 127 127 Ficino, 88 Ficino, 252 Fiocco, 252 Fiocco, Fischer, Ferdinand, Ferdinand, 261, 261, 263, 263, 265, 265, 271, 271, Fischer,

85 367,3385 36% Fischer, Johann, Johann, Fischer,

260£. 26o.

Fischer, Kurt, Kurt, 100 100 Fischer, East, 73 East, 73 Ebner, Ebner, II, ir, 315 315 Eccard,84 Eccard, 84 Eccles, Eccles, 332 332 echo, echo, 33, 105 65, 77, 77, 105 33, 65, Ecorcheville, Ecorcheville, 144, 144, 147 147 Eijl, Eijl, 78 78 Einstein, 60, 99, 235 99, 235 Einstein, 36, 40, 54, 54, 60, 36, 40, Eisel, Eisel, 192 192 Eitner, 310, 312, 312, 250, 310, 60, 97, 241, 250, Eitner, 60, 129, 131, 131, 241, 97, 129, 80 3380 EI El Greco, Greco, 174 174 emblem, emblem, 283, 388 283, 388 Emsheimer, Emsheimer, 104 104 Engel,261 Engel, 261 Engelke, 74 Engelke, 74 Erba,344 Erba, 344 Erbach, Erbach, 104, 104, 378 378 Erlebach, 324 Erlcbach, 261, 261, 308, 308, 313f., 3i3f., 324 Eslava, Eslava, 175 175 Euler, Euler, 392 392 Evans, Evans, 185, 192 185, 192 Evelyn, 199 195, 199 Evelyn, 195,

Fischer, Fischer,

Wilhelm, 223 223 Wilhelm, Fleischer, Fleischer, 165 165 182 Fletcher, 182 Fletcher, Fleury, 168 168 Fleury, Flogel,330 Flogel, 330 Flor, Flor, g6 96 Fludd,392 Fludd, 392 Foerster, Foerster, 103, 115, 126 103, II5, Foggia, 128, 236 126, 128, 236 Foggia, 126, folia, 41, 41, 171, 236, 332 234, 236, 332 196, 2340 171, 175, 175, 196, folia, 64 Fontana, Fontana, 52, 364 52, 54> 54, 3 161 Forme, Forme*, 161 Foss, Foss, 185 185 Francisque, 164 Francisque, 164 Franck, 313 309, 313 Johann Wolfgang, Wolfgang, 3og, Franck, Johann 112 Franck, 102, II2 88, 98, Melchior, 74> 98, 102, Franck, Melchior, 74, 88, Franck, Salomon, 279, Franck, Salomon, 279, 281 Franklin, Franklin, 178 178 Frederick Frederick II, II, 300 300 Frescobaldi, 46, 41, 43. 43 ~, 36, 41, 296, 32, 32, 36, 20, 24> Frescobaldi, 20, 24, 2gi., 110, 108, 4']ff., 521., 540 76, 77, 99, 104> loB, IIo, 104, 99, 77> 76, 47ft, 52f., 54, 277> 27, 235* 27 233> 235, 0, 277, Iin, II, 136, *74> 233, i73 174, 136, 173, 2 1 35 ,35 352 35i.

Index Index 480 Gibbons, Freylinghausen, Orlando, 71, 73, x99 199 Gibbons, Orlando, 71, 73. 81, 179 179 Freylinghausen, 81, Gibbons, Friderici, 88 186, 191, Gibbons, Christopher, 191, 193 183, x86, 193 Christopher, 183, Friderici, 88 Gigault, x5I, 173 Frober~, lOS-lXI, 116, x67. Gigault, 151, 173 108-111, xx6, 173, 167, 170, 170, 173. Froberger, gigue, 7 262, 109, 16 167 262, 271, gigue, log, 300, 315, 315, 357, 357, 273, 277, 277, 287, 287, 300, 271, 273, Giles, Giles, 183 8 183 358 35 Giovanelli, Fromm, Giovanelli, 69 69 Fromm, 103 103 Glarcanus,38 s fro"oia. x76 Glareanus, 385 jrottola, 176 Glettle,83 Frovo, Gletde, 83 Frovo, x77 177 Fiillsack, 112 Gluck, 13l, 142, 240. 326 Fullsack, II2 Gobert, 8, ". Gobert, 163 fugue, 266, 106, 23sf., 163 265, 266. 48, 2351"., 263, 77, 106. 263, 265, fugue, 4 6i 286, 301, 36xf. GOrner. 406 Corner, 406 286, 298, 301, 298, 3 Goldschmidt, Fuhrmann, 6ifl., 129, Goldschmidt, 21, 21, 27, 129, 134-136 27, 6Iff., 134-136 Fuhnnann, 96 96 Gombert, 70 ~chheim, II40 II5 Gombert, 70 Furchheim, 114, 115 Gombosi, 06ft•• 338, 83 Fux, Gombosi, 40, 40, x96 196 262, 2640 Fux, 30 261, 262, 264, 3 3o6, 338, 3 383 3, 261, gorgia. 27, 66, 85, 60, 65, 65, 66, 36, 60, 85, 372 372 gorgia, 27, 29, 29, 36, Gostling, 206 Gabrieli, Andrea, 21, 23, Andrea, 20, 20, 21, Gostling, 206 94 23, 47, 47, 75, 75, 83, 83, 94 Gabrielj, 82 Goudimel, Gabrieli, •• 47, 2iff., Goudimel, 82 20, 2xff Giovanni, x5, Gabrieli, Giovanni, 18, 20, 47, 15, x8, Grabu, 4B, •• 75,83. 88, 89, go, Grabu, 187 90, 187 48, S0, 50, 54,65,6']£ 54, 65, 67f., 75, 83, 85. 85, 88,89. grand scena. 327. 1, g6, 63 1, 3530 991, 40 222, 35 361 grand sccna, 332, 361 104, 327, 332, 96, 10 351, 353, 355, 355, 3 363 Grandi, Gabrielli, Grandi, Alessandro, Alessandro, 2gf., 20!., 32£., Gabriclli, 139 32f., 35, 35, 6sf., 139 65!, 6of 395 2 ,99 68,9 Gagliano, 68, 92, 29, 60£., 99 Gagliano, 29, 395 Grandi, Galen. Grandi, Ottavio, Galen, 391 Ottavio, 53 53 391 Graun, Graun, 340, 26 Galilei, 344 340, 344 Galilei, 7, 8, 26 7, 8, GaliIeo,26 Graupner, 26if., 26gf., Galileo, 26 2691"., 271, 271, 291 291 Graupner, 26x£., Graziani, 126 galliarde, 112 Graziani, 66, 66, 126 44, II2 galliardc, 44, Galli Bibicna, 100 Grcffiinger, Galli Bibiena, 3gB GrefBinger, 100 398 Gallot, 168 Greene, Greene, 19x, Gallot, 168 191, 200 Gamble, Gregori, Gamble, no 197 Gregori, 231 231 80, Gregory, Gasparini. Gasparini, 231, 238, 2440 246, 318£., 231, 238, 244, 246, 3i8, 3 380, Gregory, 191, 191, x94 194 Grep, 112 384 384 Grep, II2 Gastoldi, Grieco, Grieco, 235 Gastoldi, 38. 38, 98 98 235 Gastou~, 162 162 Grigny, Gastoue*, Grigny, 271 271 ..-'"" Gaultier, Grillo, Denis, 165-168. Gaultier, Denis, Grille, 51 165-168, 170£., I7of., 289 289 51 Gaultier, groppo,28 168 Ennemond, 168 Gaultier, Enncmond, groppo, 28 228 Gaultier. Grossi, X39. 228 Gaultier, JacqU($, Grossi, 139, Jacques, 165 165 gavotte, ground bass, 40ft., gavotte, 153 4off., 72f., 116, 122, 130, 153 ground bass, 72f., 93, 93, II6,3:22, 130, IL, 3340 190, Gay, Gay, 197, 33i* 202, 20']£., 197, 33 334, 395 395 190, 192, 192, 194, 194, 202, 262, 269, 207f., 262, 269, 327, 327, Gcminiani, Geminiani, 23If., 231!, 2340 234, 376 376 332> 353 33:z. 353 George Grove, I, 324 George I, 324 Grove, 329 329 George Guami,51 II, 334 George II, Guami, 51 334 Gerhardt, 80 Guarini, Gerhardt, 80 Guarini, 149 149 G&old,I55 Guarneri, Ge>old, 155 Guarneri, 408 408 Gcrstcnberg.239 G~on, X430 Gcrstenberg, 239 Gue*dron, 143, X440 144, 165 165 de la, Gcsualdo, Gucrre, Gesualdo, 33f., 48, ag, 331"., 48, Guerre, de 89, 351 351 la, X49 149 Gcvacrt, 121! Guerreri, Gcvaert, 12IL Gucrreri, 137 137 Gherardi, guilds unions, 404f. Ghcrardi, 257 257 guilds and unions, 404! Ghisi, Ghisi, 56 Guilmant,77, 56 Guilmant, 77, x72 172 Ghizzolo, 168 guitar, 47, 168 Ghizzolo, 70 70 guitar, 47, Giacobi, 61 GurIitt, Giacobi, 61 Gurlitt, lOS, 105, 271 271 .,

Index Index

99£.,102, 102,122, 122, 136, 243. 247. 373 Habermann.344 344 Habertnann, Hacquaert,7878 Hacquacrt, Hammerschmidt,87, 87,96, 96.100, roo,113, Il3.115 lIS Hammerschmidt^ Handel,16, 16,18, 18,19, 19.83, 83.89, 89,123, 123.126, I26, i27f., I2j'f., Handel, 187,191, 133,177, 177,187, 191•198, 198,207, 207,2o8., 2OS£., 217, 217. 133, 263,265, 265,271, 236,244, 244,263, 271,294, 294,3o6ff., 306ff.,31431..". 236, 349,361. 361, 363* 363, 3^7, 367, 37i 371, 375. 375, 38o, 3So, 403, 403, 349, 05,4 06.409f. 404,4 406, 404, 409! 405, Hanff,105, lOS, 108 lOS Hanff, Hardelle, 170 170 Hardelle, Harding. 74, 74, 112 II2 Harding, 4, S, 17, 119, II9, 131, 131, 160, 160, 188, IS8. 205, 205, harmony, harmony, 4, 8, 17, 303;pre-tonal pre-tonal h., h., 12, 12,34 303; 34 191 Harris, 191 Harris, Harrison, 105 lOS Harrison, Harsoorffer, 102 102 Harsdorffer, Hassc, 243, 243, 306, 306,325, 325. 373 373 Hassc, Hassler, 21, 21, 80, 80, 831"., 83£., 88, 88,97. 104. 112, II2, 406 4Q6 Hassler, 97, 104, Haussmann, 98, 98, 112, II:2, 114 II4 Haussmann, Haydn, 65, 65, 313 313 Haydn, Hcidcgger, 325 Heidegger, 325 Heuuchen.:J.6I.3So,384 261, 380, 384 Heinichcn, Henri IV, IV, 142, I4:J., 145 145 Henri Herbst, 388 388 Herbst, Hidalgo, 176 Hidalgo, 176 Hilton, 71, 193, 197 Hilton, 71, 193, 197 Hingeston, 191, 193 Hingcston, 191, 193 Holborne, 74 74 Holborne, Holtkamp, 105 Holtkamp, 105 Holtzner, 104 Holtzner, 104 Hotteterre, 250, 376 Hottetcrre, 250, 376 Hove, van den, 78 Hove, van den, 78 Hudson, IS6, 194 Hudson, 186, 194 Hughes, IfJ] Hughes, 197 Home. Hume, 73 73 Humfrey, 184, 200ff., 206, 215 Humfrey, 184, 20off., 206, 215 Hunold-Mcnantcs, Hunold-Mcnantcs, 316 316 Huxlebusch, :J.6I, 264 Hurlebusch, 261, 264 Haas,21, 21,28, 28,5s, 53f..57, 57,63, 63,996, Haas, 136, 243, 247, 373

'72.

In Innomine, nomine,72, 213 213

intermezzo, intermezzo, 55 55

intonazione, 47, 49

intonazionc, 47, 49

intrada, 43.9 112 II2 intrada,q$ Iselin, 52 52 Ives. 183, 194 194

Iselin,

Ives, 183,

Janowka, Janowka, 391 391

Jacchin4 227 227 James James II, 204, 204. 207 207 Jacchini,

Jenkins, 19:J.ff., 214 Jensen, 228 228 Jensen, John IV, IV, 177 177 John Johnson, Johnson, Edward, Edward, 74, 74. 112 II2 Johnson, Robert, Robert, 183 183 Johnson, Jones, 181, lSI, 186 186 Jones, Jonson, Ben, Ben, i8iff. ISIff. Jonson, Josquin,99 Josquin, Justinus, 376 376 Justinus, Jenkins, 192^., 214

Kantorei, 79,

Kantorei, 79, 10 402 107, 402

Kapsberger, 58, Kapsberger, 58, 66 Kastner, 174 324, 344 Keiser, 294, 3o¢·, 3I6ff., 316^, 322, 322, 324. 344 Nicolaus a, Kcmpis, a, 52 52 Kempis, Nicolaus Kepler, 392 Kepler, 392 KerckhovCD, Kerckhoven, 78 78 406 KerlI, in, 265, 102, III, 315, 344. 344, 406 Kerll, 97, 265, 271, 271, 315, 97, 10:2, 100, 104, Kindcrmann, Kindermann, 87. 104, 403 403 87, g6, 96, 100, KinkeIdey, 21, 29 29 Kinkeldey, 21, Kircher,70,387,390ff. Kircher, 70, 387, 390^. Kirchhoff, Kirchhoff, II5, 298 115, :J.98 Kirkpatrick, 376 Kirkpatrick, 376 Kiroberger,84 Kirnberger, 84 100 Kittel, Kittel, 99, 99, 100 Klemme, Klemme, 367 367 Klingcnstein, 97 Klingenstein,97 Kniipfer, 98 87,98 Kniipfcr, 87, Konig,8I£. Konig, 8if. Kretzschmar, Kretzschmar, 63 63 Krieger, 100-101, II4, 114,136 136 Adam, loo-roI, Kriegcr, Adam, Krieger, Johann, 263f., 26sff.. 315 315 265*1, Johann, 263f., Kricger, Krieger, 261,269. 308 269,308 115,261, Philipp, II5, Krieger, Philipp, Kiihnhausen, Kuhnhausen,96 96 Kuen, Kuen, 83 83 Kastner, 174

Keiser, 294, 309^.,

idioms, 13; choral i.. 24, 33Sf.; clavier i., idioms, 13; choral L, 24, 338f.; clavier L, 104, 169, 236, :J.62; transfer 72, ofi., transfer of L, IS; 15; 72, 104, 169, 236, 262; violin vocal i., u8,364 violin i., 139.224,233; 139, 224, 233; vocal i, ir8, 364 polyphony, 289, 304, 347 implied implied polyphony, 289, 304, 347 Kuhn, 66 improv~ation, I95.347f~ 371,384 r Kuhn,66 improvisation, 195, 347f., 37 3^4 Kuhnau, 85. 262f., 265, 265, 26¢., India, 29. 41 261, 26:zf., Kuhnau, 87, 261, 85, 87, India, 29, 41 Indy, d', 3S0 273, 7, 390, • *408 48 390,399, 406 399,406 3fy> 3i6,36 273,316• Indy, d', 380 Kusscc, lngegneri. 30 secCousser Cousser Kusser,see i.,

Ingegncri, 30

Index Index

482 Barre, 250 250 La Barre, Lambert, 144, 144, 154 154 Lambert, Landi, 29, 29, 41, 41, 62, 62, 70, 70, 129, 129, 147, 147, 358 358 Landi, Landshoff, 120, 120, 122 122 LandshofF, Lange, de, de, 265 265 Lange,

Loulie,390 loure, 153 Lubeck, 265, 265, 267, 267, 271 271 Lubeck, Lully, 129, 129, 142, 142, 144, 144, 147, 147, 148, 148, 150, 150, 151151Lully, 161, 163!:., 163£., i68, 168£., i7if., 171£., 188, IS8, 192, 192, 195, 195, 161, 20S, 2ii, 21 If., 216, 216, 248., 248£., 253, 253, 255, 255, 256, 256, 257, 257, 208, 260£., 264, 264, 290, 290, 306, 306, 307, 307, 309, 3°9, 355, 355, 357, 357, 26o., 375, 377, 377, 401, 401, 406, 406, 409*409£. 375 Lupo,73 Lupo, 73 25, 47, 47, in, III, 164 lute, 25, lute, 164 Luther, 79, 79, 80, So, 299 299 Luther, Luzzaschi, 29, 29, 47 47 Luzzaschi, Louli6, 390 loure, 153

Lanier, i82f., 182£., 186 186 Lanier, Poupliniere, 255 255 La Poupliniere, Lasso, 5, 5, 21, 21, 23, 23, 69, 69, 96, 96, 381 381 Lasso, lauda, 57, 57, 124 124 lauda, Laurentius von von Schnufi&s, Schniiffis, 83 83 Laurcntius Law, 396 396 Law, Lawes, Henry, Henry, 1835., I83ff., Lawes, Lawes, William, William, 183, Lawes, 183,

Lotti, 70, 244, 247, 271, 306, 318, 322 322 Louis XIII, XIII, 142, 142, 146, 146, 161 161 Louis Louis Louis XIV, XIV, 129, 129, 142, 142, 148, 148, 150, 150, 152, 152, 168 168 Louis Louis XV, XV, 248, 248, 255 255 Lotti, 70, 244, 247, 271, 306, 318,

Lalande, 259 259 Lalande,

I9B, 199 185, 192, 192, 195, 195, 198, 198, 185,

198, 199

19¢

i99f.

Lazarm, 151 Lazarin, 151 Le Bgue, Begue, 170, 170, 172, 172, 173 173

248, 250£., 265

Maccioni, 102 102 Maccioni,

Leclair, 248, 25o., 265 Leclair,

Legrenzi, 123, 127, 130, Legrenzi, 123, 127, 130,

133£., I33,

131£., 229, i37f., 229,

244, 271, 276 Leibniz, 392 392 Leibniz, Leichtentritt, 29, 29, 40 40 Leichtentritt^ Leighton, 74 74 Leighton, Le Jeune, Claude, 143 Jcune, Claude, 143 Le Jeune, Jeune, Henry, Henry, 143, 143, 147 147 Lenclos, 168 Lendos, de, de, 168 Leo, 243 Leo, 243 Leoni, 25 Leoni, 25 Leopold I, I, 69, Leopold 69, 97, 97, 103 103 Le Roy, Roy, 145 145 Lesage, Lesage, 257 257 Leveridge, 188, 332 Leveridge, 188, 332 Lewis, Lewis, 189 189 Lindner, Lindner, 313 313 Lippius, Lippius, 385 385 Liszt, Liszt, 171 171 Literes, Literes, 177 177 Lobwasser, 82 Lobwasser, 82 Locatelli, LocatelU, 231, 231, 234 234 Locke, Locke, 183, i86ff., 191, 183, 186ff., 191, 193, 193, 199f" igojE,, 215,380 215, 380 LOhner, Lohner, 309 309 Loeillet, Loeillet, 248, 248, 250 250 Loewe, Loewe, 100, 100, II4, 114, 1I5, 115, 271, 271, 403 403 Loewenberg, Loewenberg, 56 56 Longo, Longo, 236, 236, 238 238 Lope de Vega, Lope de Vega, 176 176 Lorente, Lorente, 177 177 Lorenz, Lorenz, 241, 241, 245, 245, 356 356 Lorenzani, Lorcnzani, 149 149 Lorrain, Lorrain, 159 159 244, 271, 276

Mace, Mace,

166, 191, 192, 192, 195, I¢, 376 376 166, 191, 195, 196,

Magalhaes, 175 Magalhaes, 175 Mahler, 400 400 Mahler, Maichelbeck, 376 376 Maichelbeck, Majer, 388 388 Majer, Malipiero, 39, 39, 380 Malipiero, 380 Malvezzi, 21, 21, 27, 27, 55 Malvezzi, 55 Mancini, 373 Mancini, 373 Mancinus, 96 Mancinus, 96 Manelli, 62, 62, 120, 121 Manelli, 120, 121 Manfredini, 231 Manfredini, 231 Mangeot, 193 Mangeot, 193 Marais, 253 Marais, 248, 248, 253 Marazzoli, Marazzoli, 135, 135, 147 147 Marcello, 400 Marcello, 70, 70, 231, 231, 247, 247, 248, 248, 271, 271, 318, 318, 400 march,153 march, 153 Marchand, 252, 271 Marchand, 252, 271 Marcorelli, 126 Marcorelli, 126 Marenzio, Marenzio, 27, 27, 33L, 33f., 71 71 Mareschall, 82 Mareschall, S2 Marin,l77 Marin, 177 8, 44, 2ff·, 364, Marini, Biagio, Marini, Biagio, 3 38, 44, 46, 46, 5 52fE., 364, 374374, 377 377 Marini, Marini, Carlo, Carlo, 232 232 Marot, Marot, 75 75 Marques, Marques, 174 174 Mascitti, Mascitd, 231 231 masque, masque, 176£., I76f., 181-186, 181-186, 333£. 68 Massaini, Massaini, 51, 51, 6$ Masson, Masson, 387 387 Mattei, Mattei, 326 326 Matteis, Matttis, 195. 195, 214 214

Index Index

483

Mattheson, 12,3, 123, 12ft, 128, 26.t. Mattheson, 264, z." 267, 278, 278, 280, 280, 81, 391, 380,3381, 380, 391,396, 396,401, 401,405; 405;madrigals, madrigals, 289, 294. 294, 309> 309, 3u, 311, 3312, 12, 3316, 16, 3317, 17, 319. :a8g, 319, 33ff.; 33ft; opcxas, operas,58-60, 58-60,62.64 62^4 324, 344. 344, 3 380, 384, 38 3 88, 80, 38.4. 402, 405, 324. 8!., 402, 405, 410 410 Moreau,2S3 Moreau, 253 Maugars, I2S Maugars, 125 Morin,258 Morin, 258 Mayone, 47. 47, So 50 Mayone, Moritz, 89 Moritz, Landgrave ofHesscn, Landgraveof Hcssen,82, 82, 89

Mayr, 261 Mayr.26I

i 4 8f 154, Mazarin, I42, 142, 147. 147, I4lif., Mazarin, IS4. 399 399 .,

Morley, Morley, 71, 71, 383 383 Mortaro,5I Mortaro, 51

Mazzaferrata, 123. 123, 139 Mazzaferrata, 139 Hans Joachim, Moser, 3;6, Moser, Hans Joachim, ga, 98, 100, roo, 102, 102, 356, Mazzocchi, Domenico. Domenico, 31. 31, 37, Mazzocchi, 37, 41, 41, 61, 61, 66, 66, 67 3367 68, 124, 129 129 68,1240 Motteux, Motteux, 325 325 Mazzocchi, Virgilio, Virgilio, 68, Mazzocchi, 68, I240 motto beginning. 124, 13S 135 motto beginning, 132 132 128 96, 126. 126, 128 Meder, 96, MouliniS, 143t M~ 143, 145 145 Mcgli, 29, 29, 33 33 Megli, Mouton, 168 Mouton, 168 Melani, I3S. 135, 147 147 Mclani, Mozart, Mozart, 58, 58, 6S. 65, 691 69, 8,3, 83, 132, 132, 240, 240, 365 365 Melgaco, 175 Mcl~, 175 Miillcr, 100 Miiller, GUnther, Gunther, 100 Mcll, 195 Mell,I9S Miillcr-Blattau, Muller-Blattau, 367 367 Mendel, 402 Mendel, 402 Muffat, MunX Georg, Georg, 22,3, 223, 260f., 26of., 26;. 265, 3Tl 377

Mendelssohn, Mendelssohn. 69 6g

Gottlieb* {Thcopbil),26.¢. 344 Muffat. Muffat, Gottlieb (Theophil), 264!, 344 Murschhauscr, Murschhauser, 26S 265

Meneghetti, Mcneghctti, 234 234

Merck, Merck, 376, 376. 377 377

146.

Mersenne, 145, 146, 161. Mcrscnnc, 141, 141• 14S, 161,

372, 376. 3goif· 45f., 5i, 5Iff.• 68 68 Merulo, Mcru1o. 47, 47. 40^., 4¢, 51, SI, 75, 75. 77, 77, 104 104 Mesomcdes, 77 Mesomedes, messa mesm di di vocc, tlDee, 372, 372. 374, 374> 399 399 Metallo, Metallo, 50 50 Metastasio, Metastasio, 239, 239, 326, 326. 395 39S methods, see see tutors tutors methods, Me'tru, Metro. 151, 151, 173 173 Meyer, Ernst, Ernst, 73, 73. 192, 192, 193 193 Meyer, 173,

173, 192* 192, 372, 376, 39o

Merula, Merola,

fit.,

Michael, 87. 88 Mic:hi, see see Arpa, Arpa, dell* dcIl' Michi, Milanuzzi, Milanuzzi, 41 41 Milton,i8i, 18d., 184!, I8.¢,336 336 Milton, minuet, minuet, 153 153 Mithobius, 410! 4xof. Mithobius, Moeller. 112 112 Moeller, Moliere, 141, I4!. 143, 1430 152, 1S2, 154, IS4> 156, 1;6. 162, 162, Moli&re, Michael, 87, 88

188 188

Monfcrrato,68 monicha, monicluz,4545 monody. 2sff·.52, S2,64, 6.t.65, 6S.9999 monody, Montanari,231 231 Montanari, Mont&lair, Mont&:lair.253^, 2Sst.258, 258,376 376 Monferrato, 68

music education, music education, 407f. 407

musica cuhicrdaris, 164. musiCil 164, I66f., i66f., cubicularis, 4> 4, 391 391 musica er:clesitutiCII, musica ecdesiastica, 4> 4, 391 391 musica (Joetica, musica poetica, 370, 370, 3B2f. 382! musica fJ1fIt:Iica, musiCII practica, 370 370 musica resmmtil, musica 16 rcservata, S. 5, 16 musica lAetzlt'tdis, musica theatralis, 4> 4, 391 391 musica musica lAeoriCII, ihcorica, 3'JO, 370, 3goff. 39oflL

Naoino, 69 6g Nanino,

Nasarre,ITl

Nasarre, 177

de, Nauwach, 99. Ncbra, de, de, 177 IT! Nebra,

Navas, de, 177 IT! Navas, 100 Nauwach, 99, 100

Nccmann, in III Neemann,

NeE,

II3 Nef, 113 Negri,43

Negri, 43

Nciclhardt,390 Ncri, 5So 68, 353 Neubauer, 113 II3 Neubauer, Neuhaus, 136 136 Neuhaus, Neidhardt, 390

222, 353 Neri, 55, 68, 222,

Ncumark,IOO 100 Neumark,

16 Neumeister, 268, 279, 291, 316

Neumeister, 268, 2791 291. 3 196, 238 238 196, NlCOlini, 325 325 Nicolini, Nicdt, 380, 380, 384 3B4 Niedt^ Nivcrs, 172, 172, 173 173 Nivers, Montesardo,47 47 Montesardo, Noordt,van, van,78 78 Monteverdi, i,I.4,4> 13, 1,3, 16, 16,18, 18.20, 20, 24, 240 25, 2S. Noordt, Monteverdi, Norlind,II3 2gff••41, 4I.43, 43.47, 47.%> 65.M>66,67, 67.70,70,TI, 71.86, 86. Norlind, 113 298., North, 183, 1830 190, Igo, 192, tg2, 193, 193. 195, Igs, 212, 2I2, 218, 218, 8g,92, 92093, 93.98, 98.103, 10,3,129, 129>131, 131, 142, 142> 175, X7St North, 89, x8.J,197, I~"an, all,240, 2401328, 328.35i, 3SI£.,358, as8,374, 374> 222 184, 25flF.,

Newton, Newton,

Index Index

448844 Nucius, Nucius, 388 388 Nuitter. 152 Nuitter, 152

Oesterle, Ocsterlc, 136, 136, 250 250 opera, 6, 5s£f., opera hufJa, bufia, 3656, 395ff.; 395^.; opera opera, 6, 55JEF., 365£., 62, 136, comiquc, 62, 244f., 397; Optra comique, 136, 244f., 397; opba 25'£.; French, i86E., 20gf.; 209!; French, 257f.; English, English, I86ff., 149-161, German, 102, 102, 308ff., 3o8ff., 149-161, 253if.; 253ff.; German, 3m Italian, 55ff., 324-332; 239*!, 32:2£., 322f., 324-332; 317; Italian, 556%, 23gff·, opera seria, 132, Spanish, opera seria, 132, 239ff., 239^., 307; 307; Spanish,

176 176

102 Opitz, Opitz, 98, 98, 99> 99, 102 oratorio, i62f., oratorio, 38, 38, 57, 941"., 103, 123-128, 16:2£., 103, 123-128, 57, 94., 247, 247> 307, 321, 324, 324. 330, 330, 333-341, 333-341. 307* '31:2£., 3i2f., 321, 33665£. 5 f. orchestration, orchestration, 256£., 38 if. 2$6Ly 381£. Mare, ordre, 251 251 Orefice, Orefice, 245 245 organ, 262, 275, organ, baroque, baroque, 76, 76, 105, 105, 262, 275, 378, 378, con408; chorale, 7sf., 80, I05ff., 265^; con408; chorale, 75f., 80, rosff., 26sL; certo, certo, 343L 343f. ornaments, ornaments, 2'£., i66f., 233, 233, 253, 27f., 70, 70, 145£., 1451., 166£., 253, 259, 259, 285, 285, 372 372 Ortiz, Ortiz, 194 194 Osiander, 80 Osiander, 80 ostinato, see ground bass ostinato, see ground bass overture, 260, 263, overture, 640 64, 147. 147, 1540 154, 159, 243, 260, 263, 159, 243.0 1.35 8 291, 29 358

Pace, Pace, 29, 66, 124 36, 66, 29, 36, 124 Pachelbel, Pachelbel, Carl, Carl, I78£. 1781*. Pachelbel, 108, 262, Johann, 108, Pachelbel, Johann, 262, 26¢., 264^., 269, 269, 271,272, 271, 272, 2g8, 298, 315 315

Padbru~ Padbrud, 78

Palestrina, Palestrina, 3, 3, 69, 69, g6"I240 175, 247, 247, 383 383 9^,124, 175, Pallavicino, Pallavicino, I33ff., 133^., 138• 138, 397 397 Panfili, Panfili, 3Ig£. 3i9f. Paoli, Paoli, 63 63 Parisotti. Parisotti, I22f. i22f., 244 244 Parran, Parran, 145 145 pllrlita, 4sL, partita, 236, 263£· 45f., 50. 263^ 50, 236. Pasquini, 128, 136, 261, 26;, 136, 235. Pasquini, 123. 123, 128, 235, 236. 236, 261, 265, 318 265. 341 passacaglia, 41, 173. passacaglia, 41. 175, 252, 252, 265, 173, 17;, 341 passamezzo, 41, 41, 440 44, 45, 106, II40 passamezzo, 46, 72, 45, 46, 72, 106, 114, 2 1940 196, 33 194. Ig6, 332 l'assepietI, passepied, 153 153 passion, 95, 2941-. 294, 316 316 passion, 940 94, 95, 112 pavane, 440 44, II2 pavane,

pedal-point bass. bass, 29, 29, 56 56 pedal-point Pederzuoli, Pederzuoli, 129 129 Pedrell, Pcdrell, 174 174 Peerson, Pcerson, 74 74 Peeters," Peeters, 77 Pellegrini, 68 Pellegrini, 68 Penna, Pcnna, 380 380 Pepusch, 33i 325, 33I£. Pepusch, 325, Pepys,2oo Pepys, 200 Peranda, Peranda, 103 103 performance, 37Iff. 37iff. performance, Pugolesi, 245, 247 235, 245, 247 Pergolesi, 235, Peri, 16, 26, 26, 29£.. Peri, 7, 8, 16, 36, 39, 60, 18429f., 36, 39, 56£.. 56!, 60. 7, 8, 184, 351,380 351, 380 Pexrln, Perrin, 150, 156, 187 150, 152, 152, 156, 187 Perrine, 168 166, 168 Perrine, 166, Puti, Peru, 244, 244, 344 344 Petrarch, Petrarch, 43 43 Petrucci,25 Petrucci, 25 Peud, II4, II5 Peurl, II3, 115 113, 114, Pezel, 261 Pezel, II4, 114, 261 Pfleger, Pfleger, 96 96 Philidor, Philidor, 144 144 112 Philips, Philips, 73, 73, 7st., 75f., II2 Picander, 293 Picander, 293 Picchi, 45 Picchi, 45 Pietism, 790 268, 268, 272, Pietism, '79, 272, 279 279 168 Pinel, Pinel, 168 Pirro, 22, 389 Pirro, 22, 389 Pisendel, 261 Pisendel, 261 15 Pistocchi, Pistocchi, 244, 244, 3 315 Pitoni, Pitoni, I27 127 Plato, Plato, 8,26 8, 26 Playford, Henry, :zoo, 200, 207 Playford, Henry, 207 Playford, .. 19B, John, 178, Playford, John, 178, 190, 190, 192, 192, I9¢ 194^., 198, 21 5, 408 408 215, Poglietti, in, 250 Poglietti, III, 250 polaeca,44 polacca, 44 Pollaroli, Pollaroli, Antonio, Antonio, 244 244 Pollaroli, Pollaroli, Carlo, Carlo, 244 244 Pope, Pope, 334 334 Porpora, 5. 327 Porpora, 243.0 243, 247, 247, 322, 322, 32 325, 327 Porter, Porter, 71, 71, 194, 194, 195,I9?fl 195, igrff. Portman, Portman, 199 199 Posch, Posch, II3 113 Possenti. Posscnti, 5:zf. 52! Postel, Postel, 316 316 Pougin,I5I Pougin, 151 Praetorius, Praetorius, Hieronymus, 88, 105 Hieronymus, 88, 105 Praetorius, Practorius, Jacob, Jacob, lOS 105

Index Index Praetorius, Praetorius, Michael, Michael, 24, 24, 81, 81, 83ff., 8sE., 88f., 88f., go, 90, I05, 105, 372, 372, 380, 380, 381, 381, 391£. 39i prelude, 266 prelude, 47, 47, II4, 114, 263, 263, 266 prima prima prattica, prattica, 4, 4, 70, 70, 391 391 Printz. Printz, 391 391 Priuli, Priuli, 36 36 Protestantism, 268 Protestantism, 78£., 78!, 268 Provenzale, Provenzale, 240, 240, 245, 245, 385 385 Prunieres, Prunieres, 120, 120, 129, 129, 144, 144, 153 153 Prynne, 186 Prynne, 186 psalter, 82, 95, psalter, 7sf., 75f., 79, 79, 82, 95, 178, 178, 19B 198 Pujol, Pujol, 175 175

punteado, 47 puntcado, 47 Purcell, Purcell, 73, 73, 90, 90, 130, 130, 184, 184, 187, 188, 190, 187, 188, 190, IgI, 192, 197, 200, 203-217, 191, Ig2, 197, 198, 198, 200, 203-217, 290, 290, 0 7, 33 1, 33 2, 333, 330% 33i, 332, 333, 334, 334, 356, 356, 357, 357, 366 3^6 Puritans, Puritans, 178, 178, 198 198 Quagliati, 30, 33, 36., 58, 66, 198 Quagliati, 30, 33, 36f., 58, 65, 65, 66, 198 quasi-ostinato bass, bass, 44, 44, 133, 242, 307 quasi-ostinato 133, 242, 307 Quinault, 154. Quinault, 156 154, 156 Quittard, 162, 164, Quittard, 162, 164, 170 170 Racine, ql, Racine, 141, 156,240,253,327,334 156, 240, 253, 327, 334 Racquet, 173 Racquet, 173 Raguenet, 399 399 Raguenet, Raison, 173, 252, 271, 271, 279 279 Raison, 173, 252, Rameau, 219, 219, 250, 250, 2521"., 252£., 253, 253, 254^., 254££., 258, 258, Rameau, 326, 339, 382, 387, 387, 390, 390, 392 392 339, 382, 326,

rasgueado, 47 47 rasgueado, 120 Rasi, 29, 29, 36, 36, 120 Rasi, Rathgeber, 313 313 Rathgeber, Ravenscroft, 74, 74. 178, 178, 198, Ig8, 383 383 Ravenscroft, Rebel,248 Rebel, 248 175 Rebello, 175 Rebello, recitative, 5, 141, 156£., i83f., 183f., 351; 351; 144, 156!, 141, 144, accompanied, 128, 128, 131; 131; secco, secco, 62, 62, 95, 95, accompanied, 129, 154, II9, 120, 120, 129, 154, 354 354 119, Reese, 73 73 Reese, reform reform cantata, cantata, 268, 268, 279, 279, 293 293 regal, 131 131 regal, r~gle de de I*l'octave, octave, 381 38 I regie Reina, 137 137 Reina, 267, 271, Reinken, 105, 105. 107, ID7. in, III, 262, 262, 264, 264. 267, 271, Reinken, 273 273 recitative, 5,

retirada, 43 in III

retirada, 43

Reusner, Reusner,

Reutter, 265 265 Reutter,

rigaudon, rigaudon, 153 153

Rinuccini, Rinuccini, 43, 43, 55, 55, 58, 61, 102, 58, 61, 102, 142 142 Rist, 100 Rist, 100 ritornello form, ritornello form, 227£., 227f., 361, 361, 363 363 Roberday, Roberday, 151, 151, 173 173 Robinson, Robinson, 123 123 Roger, Roger, 408 408 Rogers, Rogers, 191, 191, 193£., i93, 199 199 Rognone, Rognone, Francesco, Francesco, 372, 372, 374, 374, 376 376 Rolland, Rolland, 240 240 Romana, Romana, 174 174 romanesca, romanesca, 41, 41, 42, 42, 46. 46, 99, 99, 194, 194, 196, 196, 332 332 Romano, Romano, 124 124 Romero, Romero, 17s£. ij$L rondo form, form, 355£. 355! Rore, 34 Rore, de, de, 34 Rosa, Rosa, 123, 123, 396 396 Roseingrave, 191 Roseingrave, 191 Rosenmiiller, 91, II4. u5, 261, 403 403 Rosenmuller, 91, 114, 115, 261, Rospigliosi, 62, 62, 129, Rospigliosi, 129, 135 135 Rosseter, 72 Rosseter, 72 Rossi, Luigi, Luigi, 118, u8, i2oflF., I2off., 128, 148, Rossi, 128, 129, 129, 148, 161 149, 160, 161 149, 155, 155, 160, Rossi, Michelangelo, Michelangelo, 62, 62, 136, 213 Rossi, 136, 213 Ross~ Salomone, 35, 46, 46, 53f., 53£., 406 406 Rossi, Salomone, 35, Rossini,63 Rossini, 63 Roth,324 Roth, 324 Rousseau, Jean, Jean, 192, 192, 376 376 Rousseau, Rousseau, Jean Jean Jacques, Jacques, 135,2540 257 Rousseau, 135, 254, 257 Rovetta, 32, 32, 35, 35, 68 68 Rovetta, Rowe, 74 74 Rowe, Rubsamen, 55 55 Rubsamen, Rubert, 100 100 Rubert, Ruckers, 408 408 Ruckers, ruggiero, 41, 41, 45!, 4s£., 50, 50, 93, 93, 99 99 ruggiero, Rust, 298, 2gB, 301 301 Rust, Saalfeld, 84 84

Saalfeld,

Sabbatini,398 Sabbatini, 398 Sablieres, 156

Sablieres, 156

Sachs,44 Sachs, 44 Sacrati, 135, 148

Sacrati, 135, 148

St.-Evremond, 150 150 St-Evremond, St. Lambert, Lambert, 380 380 St

sa/tarello, 44 44

Riccio, 38, 38, 52, 52, 53 53 RiccLo,

sdLtarello,

ricercar, 48flE., 48ff., 73, 73, io8f., 108f., 287, 287. 300 300

Samber,376 Samber, 371$

ricercar,

485

Richelieu, Richelieu, 142 142 Richter, Richter, 103, 103, 265 265 Riemann, Riemann, II, u, 32, 32, 40, 40, 41, 41, 43, 43, 46, 46, 51, 51, 56, 56, 57, 57, 60, 60, 62, 62, 63, 63, 99, 99, 120£., i2o, 136, 136, 138 138

486

Index Index

128 Sances, Sances, 32, 120, 128 41, 43, 32, 36, 36, 41, 43, 103, 103, 120, Sandy, Sandy, 198 198 saraband, saraband, 44, 44, 167 167 66 Saracini, Saracini, 29ff., 29$., 66 Sarro, Sarro, 243 243 206 Sartorio, Sartorio, 133, 133, 206 Sauveur, Sauveur, 392 392 Savioni, Savioni, 123 123 Scacchi, Scacchi, 4, 4, 136, 136, 391 391 Scandello, Scandello, 94 94 Scarlatti, Alessandro, 18, 18, 70, Scarlatti, Alessandro, 231, 235, 235, 236, 236, 70, 231, 239, 246., 318£., 239, 240-243, 240-243, 245, 245, 246£·, 3i8f., 322, 322, 325. 325, 06 330, 406 33o 355, 355, 4 Scarlatti, Domenico, 236-239, Scarlatti, Domenico, 253, 263, 263, 236-239, 253, 1, 4406 06 40 318, 297, 298, 31 318, 341, 297, 298, 314, 341, 37 371, Schadeus,79 Schadeus, 79 Scheibe, Scheibe, 388, 388, 410 410 Scheidemann, Scheidemann, 105, 105, 107 107 Scheidt, 86, 88, 88, 100, 100, 105Scheldt, 75, 8if., 83, 84, 86, 75, 81£., 83, 84, 105107, 375, 409 409 112, 283, 283, 364, 107, Il2, 364, 375, II3£., Schein, 100, 1131., 8o&, 85-88, Schein, 7¥., 85-88, 91, 74f., 80ff., 91, 98, 98, 100, II5, 357, "5, 357, 403 403 Schelle,87 Schelle, 87 Schemelli,81 Schemelli, 81 Schering, Schering, 72, 72, 103, 103, 1240 124, 127, 226, 247 127, 133, 133, 226, 247 Schildt, 105 Schildt, 105 Schlossberg, Schlossberg, 136, 136, 139 139 Schmelzer, 97, 103, II4, 115! II5i Schmelzcr, 97, 103, 114, Schm.icorer, 261 Schmicorcr, 261 SCharldt, Gusmv, 312 Schmidt, Gustav, 312 Schmitz, 29 29 Schmitz, Schneider, Schneider, Consmntin, Constantin, 103 103 Schneider, Max, Max, 21, 21, 64 64 Schneider, Schnitger, 275, 275, 408 408 Schnitger, Schonsleder, 388 388 Schonsledcr, Schop, 100 100 Schop, Schiirmann, 3o8, 308£., 312 312 Schurmann, Schiitz, 15, 15, 18, 24, 43, 43, 70, 70, 75, 75, 79, 79, 82, 82, 83, 83, -Schutz, 18, 24, 88-95, 97, 97, 98, 98, 99, 990 101, 101, 102, 102, 199, 199, 205, 205, 268, 268, 88-95, 2690 271, 271, 355, 355, 356, 356, 400, 402, 406, 406, 400, 402, 269, 410 410 Schuh,356 Schuh, 356 Schultz, Johannes, Johannes, 112, Ill, 115 II5 Schultz, Schultze, Christoph, Christoph, 96 96 Schultze, Schumann, 66 Schumann, Schweitzer, 289, 289, 301, 301, 389 389 Schweitzer, scordaturlZ, ii^L, II5£. 262 262 scordatura, Sebastiani, 96 96 Sebastiani, seconda st:condlZ prattica, pratticlZ, i,t, 4, 4, 33, 33, 391 391 Seiffert, 78, 78, 265, 265, 315£. Seiffcrt,

100 Selle, SeUe, 87, 88, 96, 98, 100 96, 98, 87, 88, Selma, dc, 174 Selma, de, 174 SenailJe, SenaiHe*, 250 250 Senesino, Scnesino, 325, 325, 398 398 st:polcro, sepolcro, 103 103 Settle, 188 Settle, 188 Severi, 66 Severi, 66 Shadwell, 211 188, 2II Shadwell, 188, Shakespeare, 211 Shakespeare, 63, 63, 73, 73, 2II Shirley, 186 182, 185, Shirley, 182, 185, 186 siciliano, siciliano, 242, 280, 319, 242, 280, 319, 343 343 Siefert, Siefert, 95, 95, 105 105 Silbermann, Silbermann, 275, 408 275, 408 Simonelli, Simonelli, 69 69 Simpson, Simpson, Christopher, Christopher, 192, 192, 19¥·, 1941!., 376 376 Simpson, Thomas, 74, Simpson, Thomas, 112, II4 74, Il2, 114 sinfonia, I, 62, sinfonia, 5 62, II4 51, 114 singspit:l, singspicl, 332, 332, 397 397 Smend,367 Smend, 367 Smith, Smith, Father, Father, 191 191 Smith, John Christopher, Smith, John Jr., 340 Christopher, Jr., 340 Solerti, 9 Solerti, II 119 Somis, 23¥. Somis, 234^ sonam, 48, 5iE, 5Iif., 114, II4, 235, da sonata, 48, 235, 263, 288; da 263, 288i; camt:ra, 45, 137f{., 232, 357; da cnit:Sa, camera, 45, i37fiF., 232, chicsa, 357; da 54, 137if·, 232, 357, 358; solo solo s., s., 52, 52, 1I5, 54, i37ff., 232, 357, 358; 115, 232if·, 248, 248, 25of., 250£., 342, 3420 352; 352; trio s., 52, 52, trio s., 232flE., 53, 1I5, 214, 223, 223, 232f., 232f., 248^., 248ff., 262, 262, 298, 298, 53, 115, 214, 300,342 300, 342 Sorge, 367, 384 384 Sorge, 367, Soriano, 69 69 Soriano, Spagna, 123! I23L Spagna, Spee, von, von, 83 83 Spec, Speer, 81 81 Speer, Spenser, 185 185 Spenser, Sperontes, 314 314 Sperontes, Spiridion, 384 384 Spiridion, Spitm, 265, 265, 272, 272, 276, 276, 296, 296, 298, 298, 367 367 Spitta, sprt:zzatura, 28, 28, 372 372 sprezzatura, Smden, Johann, Johann, 84, 84, 87, 87, 88, 88, 98, 98, 100, 100, 112, 1I2, Staden, 380 380 Smden, Sigmund, Sigmund, 100, 100, 102 102 Staden, Smdlmayr, 97 97 Stadlmayr, Sminer, 408 408 Stainer, Steele, 331 331 Steele, Ste.ffani, Agostino, Agostino, 244, 244, 247, 247, 3o6f., 306£., 30gi, SteflFani, 324, 406 40 6 318, 324, 318, Steffani, Giovanni, Giovanni, 29, 29, 41 41 SteflFani, Steglich, 286, 286, 367 367 Steglich, Steigleder, 104 104 Steigleder, .

Index Index stile antico, stile antico, I, i, 3, 3, 4, 10, 14, 4, 10, 14, 64, 64, 69, 69, 790 79, 94, 94, I75,38 3f. 175, 38# tf*7

BUKOFZER Manfred - Music-in-the-Baroque Era From Monteverdi to Bach 1947.pdf - PDFCOFFEE.COM (2024)

References