Ruprecht – Karls – Universität Heidelberg Philosophische Fakultät Musikwissenschaftliches Seminar Prof. Dr. Silke Leopold Dissertation on the topic Musical Settings of Psalm 51 in Germany c. 1600-1750 in the Perspectives of Reformational Music Aesthetics Presented by Billy Kristanto Supervisor: Prof. Dr. Silke Leopold Second Examiner: PD Dr. Michael Heymel Third Examiner: Prof. Dr. Dorothea Redepenning 2 Acknowledgments This present study could not have been written without various supports by numerous institutions and individuals, which I owe debt of thanks here. The following libraries and their staff have made the access to their musical and archival collections possible for me: Universitätsbibliothek Heidelberg; Stadt- und Universitätsbibliothek Frankfurt am Main; Bibliothek der Hochschule für Kirchenmusik, Dresden; Württembergische Landesbibliothek, Stuttgart; Bayerische Staatsbibliothek, Munich; Staatsbibliothek Berlin; and Loeb Music Library of Harvard University, Cambridge. I would also like to thank Joachim Steinheuer, Dorothea Redepenning and the Doktorkolloquium of the Musikwissenschaftliches Seminar, Heidelberg, for helpful feedback, discussion, various suggestions as well as constructive criticism. Special gratitude is due to both my supervisors, Silke Leopold and Michael Heymel for their patient, encouraging, and critical trust in the gradual making of this work. Enormous thanks are also due to Stephen Tong and the congregation of the Reformed Evangelical Church of Indonesia for supporting and patiently waiting for my return without being discouraged. Many thanks are owed to Ferdinan Widjaya, Landobasa YMAL Tobing, Stevanus Darmawan, Shirleen Gunawan, Lily Rachmawati, and Lisman Komaladi for proof-reading the manuscript, giving helpful advice on my modest English. Finally, a profound debt of thanks I owe to my wife and daughters for passing with me through the valley of Baca and for making it a place of springs. Billy Kristanto Heidelberg, July 2009 3 CONTENTS Acknowledgments 3 Chapter 1: Introduction 8 1.1. The way to the topic 8 1.2. Topic – object of the study 10 1.2.1. Description of the topic: Musical Settings of Psalm 51 in Germany c. 1600-1750 in the perspectives of reformational music aesthetics 10 1.2.2. Methods and expected result 11 1.2.3. The selected composers 13 1.3. Luther’s music aesthetics 16 1.3.1. Luther’s source on music 16 1.3.2. Luther’s understanding of the word 19 1.3.3. Music and the verbal nature ( Mündlichkeit ) of the word 20 1.3.4. Music as language of the gospel and faith 21 1.3.5. Luther on psalm singing 23 1.3.6. Luther’s aesthetics in the context of history of aesthetics 26 1.4. Calvin’s music aesthetics 29 1.4.1. Calvin’s source on music 29 1.4.2. Music and understanding 31 1.4.3. Calvin and the music aesthetics of his contemporaries 31 1.4.4. Ambivalent view on music 33 1.4.5. Calvin on psalm singing 36 4 1.5. The continuation of reformational music aesthetics in Germany 41 1.5.1. Theological writings and commentaries 41 1.5.2. Sermons 46 1.5.3. Theological polemic writings 51 1.5.4. Music treatises 56 1.5.5. Prefaces to music printings and hymnbooks 59 1.5.6. Literary testimonials 63 Chapter 2: Psalm 51 66 2.1. Methodological questions 66 2.2. The genesis of the text – Psalm 51 in the editions of Luther’s life time 68 2.3. The text versions 80 2.4. The structure of the Psalm texts in contemporary printings in relation with the structure of the musical compositions 83 2.5. Psalm 51 in different commentaries and theological writings 92 2.6. Certain correspondences between the theological- and the musical commentaries of Psalm 51 104 5 Chapter 3: Examinations on the individual composers, their compositions, and its contexts 107 3.1. Michael Praetorius (1571-1621) 107 3.1.1. Praetorius’ understanding of church music and Psalm in his Syntagma Musicum 107 3.1.2. Musae Sioniae V ; music analysis of Gott, sei mir genädig nach deiner Güte 110 3.2. Heinrich Schütz (1585-1672) 122 3.2.1. Schütz’s music aesthetics 122 3.2.2. Becker Psalter and Kleine Geistliche Konzerte . Music analysis of Erbarm dich mein, o Herre Gott and Schaffe in mir, Gott, ein reines Herz 125 3.3. Johann Hermann Schein (1586-1630) 137 3.3.1. Schein’s music aesthetics 137 3.3.2. Cymbalum Sionium (1615), Opella nova (1618), and Cantional (1627). Music analysis of Erbarm dich mein, o Herre Gott 139 3.4. Samuel Scheidt (1587-1653) 149 3.4.1. Scheidt’s music aesthetics 149 3.4.2. Geistlicher Concerten Ander Theil (1634). Music analysis of Miserere mei Deus and Erbarm dich mein, o Herre Gott 150 3.5. Andreas Hammerschmidt (1611/12-1675) 161 3.5.1. Hammerschmidt’s music aesthetics 161 3.5.2. Musicalische Andachten Ander Theill (Freiberg 1641). Music analysis of Schaffe in mir, Gott and Erbarm dich mein, o Herre Gott 164 6 3.6. Christoph Bernhard (1627-1692) 174 3.6.1. Bernhard’s music aesthetics 174 3.6.2. Geistlicher Harmonien (1665). Music analysis of Schaffe in mir, Gott, ein reines Herz 177 3.7. Johann Kuhnau (1660-1722) 183 3.7.1. Kuhnau’s music aesthetics 185 3.7.2. Music analysis of Gott sei mir gnädig (1705) 190 3.8. Georg Philipp Telemann (1681-1767) 196 3.8.1. Telemann’s music aesthetics 197 3.8.2. Music analysis of Gott sei mir gnädig (anonym, Leipzig ca. 1700) and Gott sei mir gnädig TWVW 681 (Frankfurt 1720) 201 3.9. Johann Sebastian Bach (1685-1750) 218 3.9.1. Bach’s understanding of church music 220 3.9.2. Music analysis of Tilge, Höchster, meine Sünden (Leipzig 1747) 223 3.10. Conclusion 236 Select Bibliography 246 Primary Sources 246 Secondary Sources 250 Bible- and Psalter Editions 257 Music Scores 259 Manuscript Sources and Music Editions 259 7 Chapter 1: Introduction 1.1. The way to the topic How does one come to the topic “The musical settings of Psalm 51 in Germany c. 1600-1750 in the perspectives of reformational music aesthetics”? Decisive was my personal quest for a theological justification for the centrality of music in my own religious orientation. Years of practice and experiences in church music, the occupation with- and the musical performance of Psalm settings in vocal and instrumental setting aroused my interest to deal more intensively with them. After my previous study of music majoring in harpsichord and theology, my interest arose in the studies of musicology, more to integrate both disciplines, to study the sources more precisely to get to know pieces unknown to me, to examine these and to understand them within the perspectives of reformational music aesthetics. Both in the German and English-speaking world, some comprehensive studies on the musical settings of Psalm 51 have been published in the last forty years. 1 In addition, some lengthy systematic treatments on the relation between music and theology have been produced within long scholarly and musical tradition. As examples of publications of such studies, we can name some in a chronological order: Oskar Söhngen, Theologie der Musik , Kassel 1967, Winfried Kurzschenkel, Die theologische Bestimmung der Musik , Trier 1971, Charles Garside, The origins of Calvin’s theology of music , Philadelphia 1979 (= Transactions of the American Philosophical Society, Vol. 69,4). Joyce L. Irwin, Neither Voice nor Heart Alone: German Lutheran Theology of Music in the Age of the Baroque , New York, etc: Peter Lang, 1993 (= American University Studies , Series VII, Vol. 132). However, most of the last publications concentrate more on the studies of the relation between theology (in this case Christianity) and music aesthetics 1 See, for example, Peter Kolb Danner, The Miserere mihi and the English Reformation , Diss. Stanford University 1967; Sylvia L. Ross, A Comparison of Six Miserere Settings from the Eighteenth-Century Venetian Conservatories , Diss. University of Illinois at Urbana- Champaign 1972; Patrick Macey, Josquin’s Miserere mei Deus: Context, Structure, and Influence , Diss. University of California at Berkeley 1985; Magda Marx-Weber, Liturgie und Andacht. Studien zur geistlichen Musik , Paderborn, etc: Schöningh, 1999 (= Beiträge zur Geschichte der Kirchenmusik , Vol. 7). 8 without concrete historical studies of church music with its development of musical forms. What we have here is thus a separation of music aesthetical ideas from the musical compositions caused by the specification of interest. Far from trying to offer a comprehensive view on this subject (that will be beyond my capacity), this present study tries to examine concrete musical works (in this case some musical settings of Psalm 51 in Germany) with all their musicological questions and insights and to bring them under the light of reformational theology of music. 9 1.2. Topic – object of the study 1.2.1. Description of the topic: Musical Settings of Psalm 51 in Germany c. 1600-1750 in the perspectives of reformational music aesthetics There are certain difficulties that arise from the choice of the topic in this study. One might ask, “Why should we relate the reformational music aesthetics with musical settings of Psalm 51 and not with other works?” At least two reasons can be offered in answering that legitimate methodological question. First, in the writings of the Reformers, the understanding of music cannot be separated from the understanding of psalm singing. Thus, the understanding of psalm singing has played a very important role in shaping the music aesthetics in the reformational thoughts. Second, the choice of Psalm 51 is encouraged by the thought that this number had had a long tradition in the history of music, both in the context of a larger cycle of the seven penitential psalms and as an independent setting.