Theories Oj Accidental Inflections in Vocal Polyphony from Marchetto Da Padova to Gioseffo Zarlino

Edited by ANTHONY BARONE ARTICLES SUSAN YOUENS 5 The Song Sketches of Hugo Wolf OLGA TERMINI 38 From a God to a Servant: The Bass Voice in Seventeenth-Century Venetian Opera REPORT - NICHOLAS COOK AND 61 Music Processing on the IBM: A MALCOLM BUTLER Review of Available Systems REVIEW PETER N. SCHUBERT 99 Karol Berger. Musica Ficta: Theories oj Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino. 106 PUBLICATIONS RECEIVED UNITED STATES AND CANADA JAMES A. DAVIS Boston University MICHAEL MARISSEN Brandeis University MALCOLM LITCHFIELD Brigham Young University LYNN DION Brown University WILLIAM JOHN SUMMERS Dartmouth College LAURA BUCH Eastman School of Music MARIAN WILSON Florida State University ROBIN THOMAS Graduate Center, City University of New York MARGARET S. MERTZ Harvard University ELLIOT HURWITT Hunter College BETH MILLER New York University MICHAEL MORRIS North Texas State University CHRIS ALFORD Northwestern University LINDA TYLER-SCHMIDT Princeton University SUSAN POTTER Rutgers University RICHARD K. FALKENSTEIN State University of New York, Buffalo ELIZABETH LAMBERTON University of British Columbia, Vancouver MARIETTA HERWIG STEPHENS University of California, Berkeley CRAIG CUSTER University of California, Los Angeles KARY KRAMER University of California, Santa Barbara MARIE LABONVILLE University of California, Santa Barbara DANIEL JONES University of Colorado, Boulder DEBORAH DANIEL-WAYMAN University of Illinois, Urbana SUSAN SCEA University of Iowa WILLIAM A. EVERETT University of Kansas IAN PEARSON University of Kentucky ALLEN MULLINAR U niversi ty of Louisville GARY A. GREENE University of Maryland, College Park ROBERT D. HEATH U niversi ty of Miami TIMOTHY D. TAYLOR University of Michigan STEVEN KRANTZ University of Minnesota PAUL CAUTHEN University of North Carolina, Chapel Hill SALLY NORMAN University of North Carolina, Chapel Hill THOMAS SIPE University of Pennsylvania STEVEN SAUNDERS University of Pittsburgh BRUCE E. CLAUSEN University of Southern California GLENN CARRUTHERS University of Southern California DENISE VON GLAHN COONEY University of Washington J. MICHAEL ALLSEN University of Wisconsin, Madison DONNA M. DI GRAZIA Washington University, St. Louis MATTHEW ALLEN Wesleyan University FOREIGN MARGARET J. KARTOMI Monash University, Clayton, Australia ANDREW D. MCCREDIE The University of Adelaide, Australia MARY CHAN The University of New South Wales, Kensington, Australia GRAHAM HARDIE The University of Sydney, Australia GERALD R. SEAMAN The University of Auckland, New Zealand EVA BADURA-SKODA Editor-at-Large, Vienna, Austria JAMES L. ZYCHOWICZ Internationale Gustav Mahler Gesellschaft, Vienna, Austria and the Bibliotheque Musicale Gustav Mahler, Paris, France ANNE-MARIE RIESSAUW State University of Ghent, Belgium PHILIPPE VENDRIX Universite de Liege, Belgium HENRIK W. LARSEN Editor-at-Large, Copenhagen, Denmark STEPHEN D. BANFIELD U niversi ty of Keele, England GEORGE C. BIDDLECOMBE, JR. Royal Academy of Music, London, England JUDITH H. BLEZZARD The University of Liverpool, England ALAN M. BROWN The University of Sheffield, England TIM CARTER University of Lancaster, England JOHN CALDWELL University of Oxford, England DAVID CHARLTON U niversi ty of East Anglia, Norwich, England GEOFFREY A. CHEW Royal Holloway and Bedford New College, Egham, England JONATHAN M. DUNSBY Editor-at-Large, Reading, England MARK EVERIST King's College London, England ANTHONY FORD The University of Hull, England FREDERICK HUDSON University of Newcastle upon Tyne, England ANDREW JONES Cambridge University, England CHRISTOPHER KENT University of Reading, England and The British Institute of Organ Studies THOMAS MESSENGER University of Surrey, Guildford, England SUSAN K. RANKIN Cambridge University, England BENEDICT SARNAKER Goldsmiths' College, London, England T.J. SAMSON U niversi ty of Exeter, Knightly, England OLIVER DELAIGUE National Conservatory, Paris, France SERGE GUT Universite de Paris-Sorbonne, Paris, France N ASREEN HUSSEIN Universite de Paris-Sorbonne, Paris, France HUBERT UNVERRICHT Katolische Universitat, Eichstatt, Germany JEFFERY BOSSIN Technical University, Berlin, Germany ALBRECHT SCHNEIDER University of Hamburg, Germany NICHOLAS COOK University of Hong Kong DON HARRAN The Hebrew University ofJerusalem , Israel FABRIZIO DELLA SETA Conservatorio "A. Casella", L'Aquila, Rome, Italy GABRIEL M. STEINSCHULTE Pontificio Istituto de Musica Sacra, Rome Italy PIERS HELLAWELL The Queen's University of Belfast, Northern Ireland T ADEUSZ MACIEJEWSKI Warsaw, Poland MANUAL CARLOS DE BRITO Carcavelos, Portugal NICHOLAS SANDON University College, Cork, Republic ofIreland HARRY WHITE University College, Dublin, Republic ofIreland BARRY A. R. COOPER University of Aberdeen, Old Aberdeen, Scotland CHRISTOPHER D. S. FIELD The University, St. Andrews, Scotland RAYMOND MONELLE University of Edinburgh, Scotland MAX LUETOLF University of Zurich, Switzerland DAVID WYN JONES University College, Cardiff and the Open University, Cardiff, Wales DAVID R. A. EVANS University College of Wales, Aberystwyth, Wales STANISLAV TUKSAR Yugoslav Academy of Sciences and Arts, Zagreb, Yugoslavia The Song Sketches of Hugo Wolf By Susan Youens Hugo Wolf's name does not usually come to mind when one thinks of studies in compositional process. The Wolf legend, when not preoccupied with the composer's eccentric behavior and eventual tragic insanity, tells of great speed of composition during the "days of Lodi,'" Wolf's own designa- tion for his intermittent periods of creativity. He was indeed-often amazingly facile. From early youth, Wolf carefully dated most of his manuscripts, some- times twice, both at the beginning and end of his labors;2 those dates and Wolf's exuberant, telegraphic letters, announcing new compositions to his friends, are ample evidence of his facility. Jubilant over two Lieder-"gemori- kelt," the composer's delightful neologism for settings of Eduard Morike- composed in a single day in 1888, he wrote to Edmund Lang, promising to trumpet the news should a third song strike him that same day. "Despise me! The hat-trick is completed!" he crowed in.the postscript.3 It is not surprising to find sketches for the larger instrumental works, choruses, and operas,4 but what of sketches for the songs? Only a few are extant, and they afford a fascinating glimpse into Wolf's working methods. Despite his frequent changes of address not as many as Beethoven's), Wolf preserved the manuscripts of early compositions that were never completed, much less published, for a variety ofreasons,5 but he was not similarly scrupulous about retaining his sketches. Earlier biogra- phers such as Newman and Decsey denied that Wolf ever sketched his compositions,6 but later writers acknowledged the composer's habitual method of working from preliminary sketches to the mechanical labor of copying a Reinschrifl. One of Wolf's close youthful friends, a student of Bruckner named Friedrich Eckstein ("Lieber Eck!" as Wolf called him), later wrote in his rem- iniscences of the composer's practice of sketching and performing for his friends from those initial sketches. "For Wolf, it was always a great joy when he could play and sing me a composition from the jirstsketch [italics added] and thereby awake my stormy enthusiasm," Eckstein writes in his memoirs, Alte unnennbare Tage; shortly thereafter, he invokes the same memory in more detail, mentioning pencil sketches for many of the Morike and Eichendorff songs, for Goethe's "Prometheus" and "Grenzen der Menschheit," and for songs from the Italian and Spanish Songbooks of Paul Heyse and Emanuel Geibel. 7 Eckstein, unfortunately, does not describe these performances in 5 6 CURRENT MUSICOLOGY more detail, although he implies that such occasions were a frequent occur- rence. One wishes more information: was the work Wolf performed different from the final version and if so, in what ways? Did Wolf assess or evaluate the work-in-progress, and if so, what did he say about it? Other nineteenth- century composers, Schubert among them, performed compositions for their inner circle of friends before the works were published, but performance from sketches for the delectation of another composer is a somewhat different matter. Eckstein was not the only one to observe Wolf's practice of working from sketches. Wolf himself wrote in a letter of31 March 1896 to Melanie Kochert of having first sketched, then worked out and completed (ausgefuhrt) the song "Lass sie nur gehn" from the Italienisches Liederbuch the preceding day; be- cause the accompaniment required especially precise, scrupulous treatment, he tells her, he had to spend several hours the next morning to make the work "fix und fertig."8 Wolf was not Brahms's equal in the destruction of sketches and works he deemed unsatisfactory, but the sketches mentioned by Eckstein and by Wolf himself for settings of Goethe's Greek odes and for the songs from the Italian and Spanish Song books can no longer be found. There are, however, a few remaining pencil sketches for a number of the Morike, Eich- endorff, and Goethe songs, among others, in the music collections of Vienna libraries. For example, the Stadtbibliothek Wien owns a Konvolut von Skizzen (MS 6773/c), which is a heterogeneous compilation of (1) title pages for individual songs and for projected collections of songs to texts by one or two poets, without any music, and (2) fragmentary sketches, including (as no. 12) the first five bars of Nikolaus Lenau's "Nachtliche Wanderung," dated

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