Thehymnbook of Valentin Triller OA.Indd
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Antonio Chemotti of Valentin Triller (Wrocław 1555) in Early Modern Silesia Instytut Sztuki Polskiej Akademii Nauk wersja podstawowa wersja piono licuje z lewą str wersja dwujęzyczna pionowa napis w wersji angielskiej szary (60%) wersja piono WarszawaWarszawa 20202020 wersja pionowa lewa strona litery „I” w sygnecie licuje z lewą stroną liter „I” i „P” w napisach wersja dwujęzyczna pozioma Reviewers Tomasz Je Christian Thomas Leitmeir Editing (pp. 1-186) Margaret Hiley Proofreading Bart omiej Gembicki Layout of the scores and typesetting ukasz Szulim Cover design El bieta Wysocka-Zbiegie Images on the cover and in Plates 1-2, 4-5 are from PL-Wu SDM 93 (Valentin Triller, Ein Christlich Singebuch, Wroc aw: Scharffenberg 1559). Courtesy of University of Warsaw Library. Images in Plate 3 are from CZ-HKm II A 7 and CZ-CHRm 12580. Courtesy of Muzeum východních ech (Hradec Králové) and Regionální muzeum (Chrudim). The publication of this volume has received funding through the HERA project ‘Sound Memories: The Musical Past in Late-Medieval and Early-Modern Europe’. This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement no. 649307. ISBN 978-83-66519-05-3 © Copyright 2020 by Instytut Sztuki Polskiej Akademii Nauk © Copyright 2020 by Antonio Chemotti Instytut Sztuki Polskiej Akademii Nauk ul. D uga 26/28 00-950 Warszawa [email protected] Printed in Poland CONTENTS Terminology viii Texts and translations viii Abbreviations ix Primary sources and sigla xi Musical examples xxi Tables xxii Figures xxii Plates xxii Acknowledgements xxiii Introduction 1 Chapter 1: Printer and editor 9 1.1 Crispin Scharffenberg and music printing in sixteenth-century Wroc aw 9 1.2 Valentin Triller 18 Chapter 2: The hymnbook through its paratexts 24 2.1 ‘A Silesian hymnbook’ 29 Silesian regionalism 31 2.2 Music and religious identity in Valentin Triller’s dedication letter 34 Music as sacrifice of praise 34 A manifesto of faith 36 Duke Georg II of Brieg and the hymnbook 42 Valentin Triller’s reputation 47 2.3 ‘Set to many old familiar melodies’: musical past 49 2.4 Paratexts, content, and intended readership 60 Chapter 3: Content arrangement and liturgical assignments 64 3.1 The ordering of the hymns 64 Nos. 2-56: hymns de tempore 66 Nos. 57-66: hymns on the Christian Church and sanctorale 70 Nos. 67-76: hymns for the whole year 71 Nos. 77-83: metrical psalms 71 Nos. 86-100: hymns for times of distress and for thanksgiving 73 Nos. 101-109: hymns for mass 75 Nos. 110-124: hymns for the liturgy of the hours 77 Nos. 125-128: hymns for burial and marriage 79 Nos. 129-145: hymns on secular hymn tunes 80 3.2 Hymns, hymn tunes, and performance contexts 84 Pre- and post-Reformation performance traditions 96 Chapter 4: Repertory 99 4.1 Notation and number of parts 99 4.2 The hymn tunes from their editor’s perspective 102 Title rubrics and antiquity 109 4.3 The hymn tunes from a philological perspective 110 Ein Schlesich singebüchlein and earlier hymnbooks 110 The circulation of the polyphonic hymn tunes 113 U n i c a 116 Sacred models 121 Veni sancte spiritus - Da gaudiorum 127 Martir felix insignita 135 Regional repertories? 141 Secular models 143 Triller’s contrafacta and printed Lieder: Ein Maidlein (Magd, die) sagt mir freundlich zu 146 Conclusions 154 Chapter 5: Reception 156 5.1 Silesian reception of Triller’s hymnbook 156 5.2 Triller’s hymns beyond the hymnbook 170 Conclusions: Musical pasts 179 Appendix A: Title pages, dedication letter, and preface of Valentin Triller’s hymnbook 187 Appendix A/1: The 1555 title page 187 Appendix A/2: The 1559 title page 187 Appendix A/3: The dedication letter to Duke Georg II of Brieg 188 Appendix A/4: The preface to the Christian reader 190 Appendix A/5: The paratexts in English translation 192 Appendix B: Catalogue of the hymns in Valentin Triller’s hymnbook 195 Appendix C: Concordances of Valentin Triller’s polyphonic hymns 232 Index of text incipits quoted in Appendix B and Appendix C 260 Appendix D/1: Veni sancte spiritus - Da gaudiorum in Utraquist sources 268 Appendix D/2: Martir Christi insignitus/insignita in Utraquist sources 271 Appendix D/3: Efficax pax fax 273 Bibliography 275 TERMINOLOGY Hymn and hymn tune: I use the collective term ‘hymn’ to refer to the text and music of the vernacular religious settings discussed in this book. Since these are mostly contrafacta, I use the term ‘hymn tune’ to refer to their music models, irrespective of their genre and text. For instance, Michael Weisse’s Als der gütiger Gott vollenden wollt sein Wort is based on the sequence Mittit ad virginem. I refer to the first as ‘hymn’ and to the second as its ‘hymn tune’. For the sake of clarity, I use the term ‘office hymn’ for hymns in the strict sense (Latin chants), without implying they were exclusively sung during the liturgy of the hour. Geographical names: because of the history of the territories discussed in this book, many places have multiple names reflecting the different languages of the inhabitants, and these names can be perceived as ideologically connoted. I decided to deal with this complex situation in pragmatic terms, and when possible I use modern names that have currency in English (for instance, ’Wroc aw’ not ‘Breslau’). For other centres, noble titles, duchies etc. I use normalised German names that mirror those appearing in the sources I address (for instance, ’Brieg’ not ‘Brzeg’, ‘Liegnitz’ not ‘Legnica’ etc.). When misunderstandings could arise, I indicate also modern (mostly Polish) counterparts. TEXTS AND TRANSLATIONS Texts quoted from primary sources are transcribed as they appear in the sources, reproducing also the original punctuation. Abbreviations are spelled out without any special notation. In German texts, vowels with the diacritic sign ‘e’ have been transcribed with an Umlaut (ä, ö, ü). The letter ‘w’ is retained throughout, while the letter ‘v’ has been transcribed as ‘v’ or ‘u’ following the conventions of modern German. Grantley McDonald translated title pages, dedication letter, and preface of Valentin Triller’s hymnbook. All other translations are mine, if not stated otherwise. In the translations, text incipits of musical items or generic labels have been normalised to facilitate retrieval. ABBREVIATIONS Positions in the score are indicated by the voice and the bar, followed after a comma by the number of the note (counting from the beginning of the bar, including rests and syncopated values across bars). For instance, ‘bassus bar 17,1’ indicates the first note/ rest in bar 17 of the bassus. Pitches follow the Helmholtz pitch notation. In the critical apparatus of Appendix D, they are given in parenthesis. For instance, ‘bassus bars 59–60 (A)’ indicates that the note in bars 59–60 of the bassus is A. Clefs are indicated with the pitch in a capital letter followed by a number indicating its staff position. For instance, C1 indicates a c’ clef placed on the first line of the staff. Rests are given in square brackets. For instance, ‘T bar 6,1 [Sb]’ indicates that the tenor in bar 6,1 has a semibreve rest. AH Analecta hymnica B bassus Br breve Böker-Heil Norbert Böker-Heil, Harald Heckmann, Ilse Kindermann, Das Tenorlied. Mehrstimmige Lieder in deutschen Quellen 1450–1580 (Kassel: Bären- reiter 1979–1986) Cantus ID Identification number from Cantus Index. Catalogue of Chant Texts and Melodies, <http://cantusindex.org> CAO Corpus antiphonalium officii Ct contratenor D discantus DKL Das deutsche Kirchenlied. Kritische Gesamtausgabe der Melodien (Kas- sel: Bärenreiter 1975–2010) fol./fols. folio(s) L longa LU Liber usualis M minim Melnicki Margaretha Landwehr-Melnicki, Das einstimmige Kyrie des lateinischen Mittelalters (Regensburg: Gustav Bosse Verlag 1955) r recto RISM Répertoire international des sources musicales, <http://www.rism.info> ix Sb semibreve Sehling Emil Sehling, Die evangelischen Kirchenordnungen des XVI. Jahrhun- derts (Leipzig: Reisland 1902–1913) sig. cong. signum congruentiae T tenor Thannabaur Peter Josef Thannabaur, Das einstimmige Sanctus der römischen Messe in der handschriftlichen Überlieferung des 11. bis 16. Jahrhunderts (Mün- chen: Ricke 1962) v verso VD16 Verzeichnis der im deutschen Sprachbereich erschienenen Drucke des 16. Jahrhunderts, <gateway-bayern.de/index_vd16.html> VD17 Verzeichnis der im deutschen Sprachraum erschienenen Drucke des 17. Jahrhunderts, <http://www.vd17.de> vdm Catalogue of early German printed music, <www.vdm16.sbg.ac.at> VL Die Deutsche Literatur des Mittelalters. Verfasserlexicon (Berlin: de Gruyter) W Philipp Wackernagel, Das deutsche Kirchenlied: von der ältesten Zeit bis zu Anfang des 17. Jahrhunderts (Leipzig: Teubner 1864–1877) WA D. Martin Luthers Werke. Kritische Gesamtausgabe (Weimar: Böhlau 1883- 1929) WB Philipp Wackernagel, Bibliographie zur Geschichte des deutschen Kir- chenliedes im XVI. Jahrhundert (Frankfurt am Main: Heyder and Zimmer 1855) Zahn Johannes Zahn, Die Melodien der deutschen evangelischen Kirchenlie- der (Gütersloh: Bertelsmann 1889–1893) PRIMARY SOURCES AND SIGLA PRINTS Antwort auff Schwenckfelts suchung (Worms: Paul and Philipp Köpfel 1557), VD16 A 2999 Aus sonderer künstlicher Art (Augsburg: Erhard Öglin 1512), vdm 11 Breitkopf Gregor, De stricta divi Hieronymi vita carmen Sapphicum (Leipzig: Jakob Thanner 1504) Catholisch Cantual (Mainz: Balthasar Lipp 1605), RISM B/8 1605-08, VD17 547 Catholische Kirchengesänge und geistlich Lieder (Neisse: Johann Schubart 1625), RISM B/8 1625 -13 Catholische Teutsche und Lateinische Gesang (Tegernsee: