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Terpsichore at 400: Michael Praetorius As a Collector of Dance Music – PETER HOLMAN 34

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Terpsichore at 400: Michael Praetorius As a Collector of Dance Music – PETER HOLMAN 34 The Viola da Gamba Society Journal Volume Six (2012) The Viola da Gamba Society of Great Britain 2012-13 PRESIDENT Alison Crum CHAIRMAN Michael Fleming COMMITTEE Elected Members: Michael Fleming, Henry Drummond, Alison Kinder Ex Officio Members: Susanne Heinrich, Stephen Pegler, Mary Iden Co-opted Members: Alison Crum, Linda Hill, Esha Neogy ADMINISTRATOR [email protected] THE VIOLA DA GAMBA SOCIETY JOURNAL General Editor: Andrew Ashbee Editor of Volume 7 (2013) Wendy Hancock, 47 Church Street, Bramcote Village, Nottingham NG9 3HD [email protected] Full details of the Society’s officers and activities, and information about membership, can be obtained from the Administrator. Contributions for The Viola da Gamba Society Journal, which may be about any topic related to early bowed string instruments and their music, are always welcome, though potential authors are asked to contact the editor at an early stage in the preparation of their articles. Finished material should preferably be submitted by e-mail as well as in hard copy. A style guide is available on the vdgs web-site. CONTENTS Editorial iv ARTICLES Thomas Mace and a sense of ‘humour’: the case for expression in 17th-century English instrumental music - WENDY HANCOCK 1 Terpsichore at 400: Michael Praetorius as a Collector of Dance Music – PETER HOLMAN 34 An investigation into the anonymous setting of William Byrd’s Ne irascaris, Domine for two lyra viols. Part two: ‘Harsh progressions and monstrous combinations’ – RICHARD CARTER 52 BOOK AND MUSIC REVIEWS Aurelio Bianco, ‘Nach englischer und frantzösischer Art’: Vie et oeuvre de Carlo Farina – PETER HOLMAN 67 Friedemann & Barbara Hellwig, Joachim Tielke Kunstvolle Musikinstrumente des Barock - RICHARD CARTER 71 Mary Cyr, Style and Performance for Bowed String Instruments in French Baroque Music – RICHARD SUTCLIFFE 80 Purcell Society Edition, Companion Series, volume 4: Restoration Trio Sonatas, edited by Peter Holman and John Cunningham – ANDREW ASHBEE 82 NOTES ON CONTRIBUTORS 85 Abbreviations: GMO Grove Music Online, ed. D. Root <http://0-www.oxfordmusiconline.com>. IMCM The Viola da Gamba Society Index of Manuscripts Containing Consort Music, ed. A. Ashbee, R. Thompson and J. Wainwright, I (Aldershot, 2001); II (Aldershot, 2008) MGG2 Die Musik in Geschichte ud Gegenwart, ed. L. Finscher <http://www.mgg-online.com> ODNB Oxford Dictionary of National Biography, ed. L. Goldman <www.oxforddnb.com>. RISM Repertoire internationale des sources musicales. iii Editorial Two of the articles derive from talks given by the authors. Wendy Hancock’s investigation into the ‘humouring’ of seventeenth century music was given at a joint meeting of the Lute and Viola da Gamba Societies, while Peter Holman’s look at an important collection made by Praetorius originally commemorated the 400th anniversary of Terpsichore. It has been substantially revised since its original publication in Germany - difficult for members to access. The second and concluding part of Richard Carter’s article dealing with lyra-viol arrangements of music by William Byrd considers their context in the light of the many editions and manuscript sources of the music from the sixteenth century to modern times. An interesting footnote is his discussion of a hitherto unexplained ornament which may have derived from Robert Taylor. The reviews embrace some important European figures from France, Germany, Italy and England. ANDREW ASHBEE January 2013 iv Thomas Mace and a sense of ‘humour’: the case for th expression in 17 -century English instrumental music Wendy Hancock The question of expression and expressivity in English music of the 17th century is an elusive one, and not on the whole well-documented, especially as there are rarely explicit markings present as part of the original musical texts. Formerly, performers and scholars have assumed that instrumental music, certainly of the early 17th century, was designed to be played in a pure and uninflected way. However, of all theoretical writers, Thomas Mace stands out, both in addressing this thorny issue, and in giving examples from within his own output. Above all, he makes it abundantly clear that, certainly by his own time, expression in performance was expected. Mace was an English lutenist, singer, composer and writer, whose most famous treatise, Musick’s Monument, written between 1671 and 1675 (and published in 1676) was a retrospective defence of the English tradition, and an attempt to recover its aesthetic values. He describes his own work in just these terms as a ‘Remembrancer of the Very Best Performances in Musick….Practiz’d by the Best Masters of these last 50 years…’.1 Indeed it is a most important source of information on music in England during the second and third quarters of the 17th century. Musick’s Monument is divided into three parts. The first ‘Divine’ part is concerned with singing in church, while the second and third parts largely extol the merits of the lute and viol and their music, by comparison with the guitar, violin and other instruments which were superseding them. It is the more surprising, perhaps, that Mace should have identified the idea of ‘humour’ in its sense of ‘expression’ with the lute and viol, given that the violin was then gaining in popularity, and one might have expected it above all other instruments to be associated with such new ideas in England, especially in the realm of articulation and dynamics, as it was in Italy. The violin was particularly associated with a new kind of virtuosic and even flamboyant music at Court from quite early in the century: it was introduced into Charles’s musical establishment, following his creation as Prince of Wales in 1616, where it was used in contrapuntal music in combination with viols and organ. Perhaps Mace ignored its expressive potential since he disliked it for being what he colourfully described as a ‘Squaling-Scoulding-Fiddle[s]’, and complained about the inequality between ‘…One Small Weak-Sounding- Bass-Viol’ even when joined with a ‘Harpsicon, or Organ…. [or] a Theorboe-Lute..’ since …‘The Scoulding Violins will out- Top Them All.’2 1 Thomas Mace, Musick’s Monument (London, 1676). Modern facsimile: Editions du Centre National de la Recherche Scientifique (Paris, 2/1966), Preface Sig.b recto. 2 Op. cit., 233. 1 For Mace, the idea of what we would today call ‘expression’ or ‘affect’ was loosely identified with the term ‘humour’, although in common with other 17th-century English musicians and theorists he used other expressions too, such as ‘temper’, ‘temperament’, ‘conceit’, ‘nature’, ‘passion’, ‘life’ and ‘spirit’ to suggest shades of meaning related to ‘humour’, and sometimes interchangeably with it. All these terms had somewhat different connotations in the 17th century from today, bound up as they were with the persuasive powers of rhetoric and oratory, and with the psycho-physiology associated with them. Such ideas derive from Aristotelian mimetic theory, in which art (including music) was thought to be able to imitate nature, both animate and inanimate, including the inflections of speech and the emotions. The doctrine of the affections thereby related music to the flux of the emotions in both its means and its ends. On the other hand, such concepts looked forward to views expressed by writers such as Mattheson, Quantz and others in 18th-century Germany, whose use of terms such as ‘temperament’ ‘affection’ and ‘passion’ were broadly similar to Mace’s uses of the term ‘humour’.3 The connection between what we might call ‘affective expression’ in music, and rhetoric in language, is made explicit by Henry Peacham, Francis Bacon, and by Mace himself. Peacham demonstrates that while music cannot reproduce the effects of figurative language in terms of direct intellectual persuasion, it can imitate schemata verborum: ‘hath not Musicke her figures, the same which Rhetorique?...what is a Revert but her Antistrophe ? her reports, but sweet Anaphora’s ? her counterchange of points, Antimetabole’s? her passionate Aires but Prosopopoea’s ? with infinite other[s] of the same nature’.4 Bacon expresses much the same idea, and links it directly with the idea of ‘affect’, which he calls the ‘Affections of the mind’ : ‘There be in Musick, certain Figures, or Tropes; almost agreeing with the Figures of Rhetorike; And with the Affections of the Minde, and [the] other Senses.5 Mace himself confirms this connection by explicitly stating ‘… as in Language, various Humours, Conceits, and Passions, (of All sorts) may be Exprest; so likewise in Musick, may any Humour, Conceit or Passion ([be it]never so various) be Exprest; and so significantly, as any Rhetorical Words, or Expressions are able to do …6 While these writers all resort to a metaphysical, or analogical, comparison of musical 3 In late 17th- and early 18th-century treatises these ideas ultimately became theories of the affects associated with keys, the best known of which was Mattheson’s in his Neu-eröffnete Orchestre (1713). Mace may also be compared with Quantz (Versuch.. 1752)* in his detailed and thorough treatment of the subject, and in his specifically relating it to a corpus of works for his own instrument(s)-in this case the lute and viol. (*Translated by Edward R. Reilly as Johann Joachim Quantz, On Playing the Flute, translation with notes and an introduction (Schirmer Books, New York, 2/1985)). 4 Henry Peacham the Younger, The Compleat Gentleman, (London, 1622),103. See R. Headlam Wells, ‘The ladder of love, Verbal and musical rhetoric in the Elizabethan lute-song’ EMc, vol xii (May, 1984), 174. 5 Francis Bacon, Sylva sylvarum:or, A Naturall Historie (London, 1627),38. 6 Mace, Op. cit.,118. 2 rhetoric to linguistic rhetoric, they leave us in absolutely no doubt that emotionally-inflected expression is appropriate to music. Expression in texted music In texted pieces, the music will almost inevitably contain an expressive relationship with the words in this period.
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