Copyright by Gary Dean Beckman 2007
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Copyright by Gary Dean Beckman 2007 The Dissertation Committee for Gary Dean Beckman Certifies that this is the approved version of the following dissertation: The Sacred Lute: Intabulated Chorales from Luther’s Age to the beginnings of Pietism Committee: ____________________________________ Andrew Dell’ Antonio, Supervisor ____________________________________ Susan Jackson ____________________________________ Rebecca Baltzer ____________________________________ Elliot Antokoletz ____________________________________ Susan R. Boettcher The Sacred Lute: Intabulated Chorales from Luther’s Age to the beginnings of Pietism by Gary Dean Beckman, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2007 Acknowledgments I would like to acknowledge Dr. Douglas Dempster, interim Dean, College of Fine Arts, Dr. David Hunter, Fine Arts Music Librarian and Dr. Richard Cherwitz, Professor, Department of Communication Studies Coordinator from The University of Texas at Austin for their help in completing this work. Emeritus Professor, Dr. Keith Polk from the University of New Hampshire, who mentored me during my master’s studies, deserves a special acknowledgement for his belief in my capabilities. Olav Chris Henriksen receives my deepest gratitude for his kindness and generosity during my Boston lute studies; his quite enthusiasm for the lute and its repertoire ignited my interest in German lute music. My sincere and deepest thanks are extended to the members of my dissertation committee. Drs. Rebecca Baltzer, Susan Boettcher and Elliot Antokoletz offered critical assistance with this effort. All three have shaped the way I view music. Dr. Susan Jackson and Dr. Andrew Dell’Antonio have been a significant force in the development of this work. Their counsel has been crucial and it is my hope the guidance they will provide to their future students is treasured beyond the completion of a degree. These are two exemplary individuals. ˙ iv The Sacred Lute: Intabulated Chorales from Luther’s Age to the beginnings of Pietism Publication No. __________ Gary Dean Beckman, Ph. D. The University of Texas at Austin, 2007 Supervisor: Andrew Dell’Antonio Chorale and psalm intabulations were an integral part of the German repertory for lute, both in print and in manuscript, from the beginnings of the Reformation through the seventeenth century. While these works are regularly present, if in modest proportion, in extant sources through the period, the study of these intabulations remains a lacuna in the scholarly literature. The repertory, however, is an important topic for study as it reflects key aspects of Early Modern life for devout Lutheran households: debates over orthodox and Pietist theology, private devotion and the use of domestic space, conservatism versus progressive musical approaches, and the intersection between instrumental practices and traditions of Protestant sacred song. In an effort to address this lacuna, this study catalogs chorale and psalm intabulations for lute in both print and manuscript from the early sixteenth century to the emergence of Pietism. Most importantly, it attempts to provide a context for the performance of this repertory, arguing for an assessment of lute chorales and psalms as a crucial part of domestic devotional practice. v Table of Contents Introduction ………………………………………………………………………...…... 1 I. Parameters & Definitions………………………………………………...……. 2 II. Defining a Lute Chorale…………………………………………….………… 4 III. Representative Lute Chorales – Analysis……….…………...……………..... 6 IV. Broader Trends in the Lute’s Development……………………..…..….…... 17 Chapter 1: Transmission of the Lute Chorale Repertoire ……….………………… 20 I. Introduction………………………………………………………………………. 20 II. Problematizing the Repertoire’s Catalog………….………………………….…. 22 IIa. Intabulation Identification: Incipit vs. Melody………………….….. 22 IIb. Contrafacta……………………………………………………..…... 24 IIc. Multiple Arrangements………………………………………….….. 26 IId. Psalms and Chorales…………………………………...………….... 27 IIe. Psalms with Multiple Identifiers………………………………….... 31 IIf. Psalms with Multiple Text Identifiers……………………….……… 31 III. Chorale Transmission Analysis………………………………………………… 33 IIIa. Popular Hymns………………………………………………….…. 35 III.b Chorales and Psalms in Print……………………………………… 39 IIIc. Chorales and Psalms in Manuscript…………………………….…. 42 IIId. Printed Psalms & Collections of 100………………………….…... 47 IV. Case Study: Luther’s Hymns…………………………………………...………. 48 V. Chapter Conclusions………………………………………………………….…. 52 Chapter 2: Early Seventeenth-Century Psalm Prints ……………………..……….. 54 I. Introduction……………………………………………………………..….. 54 II. The Four Seventeenth-Century Psalm Prints and the Lobwasser Psalter...… 55 IIa. Reymann……………………………………………………..…...… 57 IIb. Vallet………………………………………………………….……. 59 IIc. Laelius…………………………………………………………...…. 61 IId. Vallet’s Second Psalm Print…………………………………….…. 63 IIe. Analysis: Reymann, Vallet, Laelius…………………………….…. 65 III. The Calvinist Psalm Tradition for Lute in Print……………………….....… 66 IIIa. The Calvinist Psalm Tradition for Lute in Manuscript……....……. 69 IIIb. Performance Context of Intabulated Psalms……….….……….….. 70 IIIc. Personal Accounts of Psalm Use…………………………………... 71 IIId. The English Psalm Tradition for Lute………...…………………... 72 IIIe. Musical Analysis: Psalm 137 – Reymann and Laelius……………. 73 IV. Chapter Conclusion……………….….…………………………………………. 79 Chapter 3: Context and Function of the Lute Chorale Repertoire ………………... 83 I. Introduction……………………………………………………………..…... 83 Ia. Historical Artifacts of Private Life, Piety and Secular Influence…… 86 Ib. Space Appropriation………………………………………………… 89 vi II. Andachtliteratur………………………………………………………….…. 92 IIa. Practice……………………………………………………..………. 96 IIb. Importance of Family Devotion……………………………………. 97 IIc. Music in Domestic Devotion…………………………………….…. 98 IId. The Role of Instrumental Music in Domestic Devotion………….. 101 III. Lutheran Theological Thought on Music…………………………………. 105 IV. Chapter Conclusion………………………………………………………. .109 Chapter 4: Esaias Reusner and the Lute Chorale ……………...…………………. 111 I. Introduction……………………………………………………………..…. 111 II. Biography………………………………………………………………….. 111 IIa. Brandenburg…………………………………………………….… 114 IIb. Music at the Berlin Court…………………………………………. 115 III. Pietism…………………………………………………………………….. 116 IV. Hundert Geistliche Melodien Evangelischer Lieder……………………… 118 V. Musical Analysis………………………………………………………….. 122 VI. Reusner and the Lobwasser Psalter……………………………………..… 125 VII. Reusner’s Confessional Orientation…………………………………….… 126 VIII. Chapter Conclusion……………………………………………………….. 128 Chapter 5: Conclusions……………………………………………………………… 142 Appendix 1: Catalog of Chorales and Psalms: Alphabetical ……..………...…….. 152 Appendix 2: Catalog of Chorales and Psalms: Chronological ………...….……… 199 Bibliography………………………………………………………………..………… 236 Vita …………………………………………………………………………………… 250 vii List of Tables 1.1 Distribution of Lute Chorales in Manuscript and Print (1523-1678)………………34 1.2 The Most Popular Chorales for Lute (Mss. & Print) ………………………………37 1.3. 16th and 17th Century Lute Prints containing Chorale and Psalm Intabulations …..39 1.4 Lute Manuscripts containing Chorale and Psalm Intabulations ………………..…45 1.5a. Luther Chorales Appearing in Lute Manuscripts and Prints (Total) …………….49 1.5b. Luther Hymns Appearing in Lute Manuscripts and Prints ………………………50 2.1 Unique psalm arrangements versus equivalent psalm arrangements ………………62 2.2 Selected Print History of the Geneva Psalter ……………………………………....80 4.1 Table of Contents: Esaias Reusner - Hundert Geistliche Melodien Evangelischer Lieder (1678) …………………………………………………………………………133 viii Introduction In the sixteenth and early seventeenth centuries, the lute achieved a prominence in German-speaking lands unequaled by any other musical instrument of the time. A significant portion of its repertoire was dominated by arrangements of vocal and dance music that reflected both the style of the model compositions and the idiomatic nature of the instrument. However, as the sixteenth century ended, newly developed vocal styles, genres and musical aesthetics from Italy transformed music into a dynamic medium for the emotions – far removed from the dignified compositional equilibrium so prized earlier in the century. As the Thirty Years War waned, German lutenists assimilated these new Italian trends and a burgeoning new French lute style simultaneously. During this period, however, the lute was all but abandoned by Italian composers. By the end of the seventeenth century, the instrument approached its twilight as keyboard and bowed instruments began to dominate the European musical landscape. One particular subset of the lute repertoire from this period has received little scholarly attention for much of the past century: Lutheran chorales and psalms.1 The scholarly lacuna is significant, as the Protestant repertoire for the instrument has never been studied. Likewise, a contextual discussion for the whole of this repertoire has never been attempted, nor have its practices been put into a confessional or functional context. Thus, the purpose of this study is to bring a significant portion of this repertoire to the 1 There is no literature dealing with this repertoire specifically. Two articles concerning Esaias Reusner (Junior and Senior) and their contributions to the repertoire appeared in the early twentieth century. See K Koletschka, "Esaias Reusner