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U·M·I University Microfilms International a Bell & Howell Information Company 300 North Zeeb Road Johann Mattheson's "Das Lied des Lammes": Progressive tendencies in the evangelist recitatives. Item Type text; Dissertation-Reproduction (electronic) Authors Peter, Timothy Layne. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 06:41:15 Link to Item http://hdl.handle.net/10150/186414 INFORl'dATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely. event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. M148106-1346 USA 313/761-4700 800!521-0600 Order Number 9408489 Johann Mattheson's "Das Lied des Lammes": Progressive tendencies in the evangelist recitatives Peter, Timothy Layne, A.Mus.D. The University of Arizona, 1993 V·M·I 300 N. Zeeb Rd. Ann Arbor, MI 48106 1 JOHANN MATTHESON'S DAS LIED DES LAMMES: PROGRESSIVE TENDENCIES IN THE EVANGELIST RECITATIVES by Timothy Layne Peter A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS WITH A MAJOR IN CONDUCTING In the Graduate College THE UNIVERSITY OF ARIZONA 1993 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have Timothy Layne Peter read the document prepared by ------------------------------------------ Johann Mattheson's Das Lied des Lammes: entitled----------------------------------------------------------------- Progressive Tendencies in the Evangelist Recitatives and recommend that it be accepted as fulfilling the requirements for the Degree of Doctor of Musical Arts Dat4 I ,)j2. / /9 '?J Date Date I Date Date Final approval and acceptance of this document is contingent upon the candidate's submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. 6[D/P.3 i Date 3 STATEMENT BY AUTHOR This document has been submitted in p~rtial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgement the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED ~ larf1.t tmj 4 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES ............................ 5 ABSTRACT ........................................... 6 INTRODUCTION. .. 7 BACKGROUND. .. 9 THE DOMKIRCHE ..................................... 11 PASSION SETTINGS IN GERMANY DURING THE SECOND­ HALF OF THE 17TH CENTURY AND FIRST-HALF OF THE 18TH CENTURY ....................................... 13 STILE RAPPRESENTATIVO ............................. 15 CRITICA MUSICA ..................................... 21 DAS LIED DES LAMMES ............................... 26 CONCLUSION. .. 38 ENDNOTES. .. 39 WORKS CITED ........................................ 42 WORKS CONSULTED. 43 5 LIST OF MUSICAL EXAMPLES EXAMPLE #1, St. John Passion, Handel (1704) ................. 29 EXAMPLE #2, Das Lied des Lammes, Movement 3 . .. 29 EXAMPLE #3, Das Lied des Lammes, Movement 4 . .. 30 EXAMPLE #4, St. John Passion, J.S. Bach ..................... 32 EXAMPLE #5, Das Lied des Lammes, Movement 24 ............. 32 EXAMPLE #6, Das Lied des Lammes, Movement 22 . .. 34 EXAMPLE #7, Das Lied des Lammes, Movement 31C ............ 34 EXAMPLE #8, Das Lied des Lammes, Movement 9. ............. 35 6 ABSTRACT This document examines the compositional style of Johann Mattheson's passion, Das Lied des Lammes. Specifically, this document will examine the stile recitativo of Italian opera seria in Hamburg during Mattheson's years at the Domkirche. Mattheson's ideas regarding the role of the recitative in his passions are verified in Mattheson's article entitled "Des fragenden Componist" (1724), which appeared in the fifth volume of his journal Critica Musica, thus giving clear evidence supporting a non­ emotional approach with the Evangelist's recitatives. These new approaches found in Critica Musica, derived from Italian opera in connection with Mattheson's writings, are in comparison to the musical devices in recitatives used by Mattheson's predecessors, Schlitz, Bernhard, Theile, and Keiser. Results of these comparisons show a natural progression of stylistic changes in recitatives in passion settings up to Mattheson's years at the Domkirche in Hamburg. 7 INTRODUCTION The musical contributions of Johann Mattheson (1681-1764) have been most commonly attributed to his theoretical writings. For many reasons, he is better known today as the leading musical journalist, critic, and theorist of Germany in the first half of the eighteenth-century, than as a composer.! As was the case for most German baroque composers, very little, if any of their works were ever published within their lifetime. In order to examine the compositional craft and performance practices, we primarily have relyed on modern published editions from original manuscripts that have been preserved through history. Due to the tragic bombing of World War II in Hamburg, Germany, most of Mattheson's music, which was housed in the Hamburg Stadtbibliothek, was lost. The common practice of the time was to quickly relocate important documents and collections to ensure their safety from the devastation caused by the war. Some recent scholars have speculated that all of Mattheson's collections (128 volumes) could have survived had they been relocated in a castle outside Hamburg prior to that city's bombing and eventual occupation by the Soviet Army. which eventually became a Soviet occupied region. In 1946, the chests that contained Mattheson's scores were apparently confiscated by the Soviet Army. Except for a few keyboard collections and some small chamber works, only one opera and two oratorios are extant today. With renewed interest in musical literature lost during the war, it is hoped that new discoveries will generate performances and research of Mattheson manuscripts if they are found in the newly independent Eastern European countries. 8 There is not a large body of published research and writing on Mattheson. However, four scholars have studied his significant historical and analytical contributions: Beekman Cannon from Yale, Georg Buelow from Indiana University, Hans Marx from Hamburg, and most recently, Mark Radice from Ithaca College in New York. Now that I have become more acquainted with Mattheson and his life as a writer and composer, I am convinced that further study about this man is warranted. 9 BACKGROUND Mattheson, the son of a Hamburg tax collector and had a very broad educational background. 2 He was a student at the prestigious Johanneum in Hamburg where he received a portion of his musical training from Joachim Gerstenbtittel, cantor of the five city-governed Lutheran churches in Hamburg. He also studied keyboard and composition with J.N. Hanff, who later was organist at the Schleswig Cathedra1.3 Mattheson was considered to be a child prodigy and by age nine, was playing organ and singing in Hamburg churches. Under the encouragement of Gerhard Schott, manager of the Hamburg Opera, he sang many female roles in operas until his voice changed. At that point, Mattheson sang tenor in several operas until 1705. With such comprehensive education and musical training, Mattheson's parents wanted to ensure their son's social standing in Hamburg, a cosmopolitan and culturally rich city. Mattheson was also interested in persuing public offices. At the age of 23, he became a tutor to Cyrill Winch, son of the English
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