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The Oxford History of Music

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The Oxford History of Music I -^v </ - , THE AGE OF BACH AND HANDEL HENRY FEOWDE, M.A. PUBLISHER TO THE UNIVERSITY OF OXFORD LONDON, EDINBURGH NEW YORK THE OXFORD HISTORY OF MUSIC VOL. IV THE AGE OF BACH & HANDEL J. A. FULLER -MAITLAND OXFORD AT THE CLARENDON PRESS 1902 OXFORD PRINTED AT THE CLARENDON PRESS BY HORACE HART, M.A. PRINTER TO THE UNIVERSITY OF - SAW-'A DAI PREFACE Two of the great giants of music dominate the period that roughly coincides with the first half of the eighteenth century. Though the movements and tendencies of the age of Bach and Handel are to be traced with a fair amount of certainty in their works, the consideration of which necessarily occupies a large proportion of the fol- lowing pages, yet from the music of their contemporaries in various countries it is possible to illustrate, even more definitely than from their own, the changes that were passing over the art of music, whether in the actual music itself, or in the attitude of musicians and the public towards the art. In the short space of fifty years almost every- thing connected with music underwent a striking change in all the transitions are the countries of Europe ; and but various tributaries to the main stream of musical development. The central change in the structure of music, and one which gives the key to all the rest, may be defined as one from counterpoint to harmony. At the beginning of the eighteenth century, while the laws of strict counterpoint were held as still binding, in all music of serious pretensions the treatment of harmonic progressions, independently of counterpoint, was tenta- tive and uncertain, and it is clear that the greater number of composers had not acquired the power of conceiving their ideas upon a harmonic basis. At the end of the period here described, the attitude of com- altered the of solid posers had completely ; movement vi PREFACE masses of harmony had succeeded to the movement of interweaving parts, and the way had been prepared for the advent of modern music, with its wealth of emotional expression. Melodic invention had become of greater importance than before, and as a consequence more stress was laid upon the dynamics of music, upon the means of varying the volume of tone produced. The structure of instruments and the balance of different sections of orchestra were the wealth the gradually improved ; and of tone-colour put at the disposal of the musician enabled him to present his ideas with a very remarkable degree of variety. In the course of the transition from a contra- puntal to a harmonic way of regarding music, certain curious weaknesses of style are to be traced in many of the masters of the second order, who preferred melodic platitudes to the rich sonorities of a former age, and found easy and lucrative employment in copying from one another certain formulae, mere tricks of the pen as meaning- less as the flourishes of a writing-master. In no depart- ment of music are these conventionalities, which are often to be found side by side with passages of real beauty and solid worth, more strikingly displayed than hi operatic music. With the exception of Reinhard Reiser's work at Hamburg early in the eighteenth century, opera seemed for the time to have lost all connexion with dramatic truth. The music of the stage was in all countries the most artificial, cold and formal that has ever existed : beautiful as some individual operatic songs might be, very few if any of them were capable of conveying real dramatic expression, and in theatrical music the period before the reforms of Gluck must count as the darkest hour before the dawn. J. A. FULLER MAITLAND. CONTENTS PAGE INTRODUCTION i CHAPTER I. THE CHORALE n CHAPTER II. THE CANTATA 19 CHAPTER III. THE PASSION Music . 39 CHAPTER IV. LATIN CHURCH Music 47 CHAPTER V. THE ORATORIO . 77 CHAPTER VI. THE KEYED INSTRUMENTS I. THE ORGAN ioa II. THE HARPSICHORD AND CLAVICHORD . no MAITLAND c> viii CONTENTS PAGE CHAPTER VII. THE ORCHESTRA iao CHAPTER VIII. THE GROWTH OF FORM 139 CHAPTER IX. THE RISE OF VIRTUOSITY ...... 166 CHAPTER X. THE PROGRESS OF OPERATIC CONVENTION . 190 CHAPTER XI. THE STATE OF Music IN GERMANY . 348 CHAPTER XII. THE STATE OF Music IN ITALY . .271 CHAPTER XIII. THE STATE OF Music IN FRANCE .... 286 CHAPTER XIV. THE STATE OF Music IN ENGLAND .... 315 INDEX . 348 LIST OF AUTHORITIES GENERAL HISTORIES BURNEY, Dr. Charles. History of Music, 4 vols., 1776-1789. The Present State of Music in France and Italy, 1771. The Present State of Music in Germany, the Nether- lands, &c., 2 vols., 1773. HAWKINS, Sir John. History of Music, ed. 1853. NAUMANN, Emil. The History of Music, translated by F. Praeger (the additional chapters by the editor, Sir F. A. Gore Ouseley, on Music in England, are of especial value). DICTIONARIES- BAKER, Theo. Biographical Dictionary of Musicians, 1900. BIOGRAPHIE UNIVERSELLE. DICTIONARY OF NATIONAL BIOGRAPHY. FE^TIS. Biographic Universelle des Musiciens, 1837, with supplement by Pougin, to 1880. GROVE, Sir George. Dictionary of Music and Musicians, 1878-1889. MENDEL, H. Musikalisches Conversations-Lexicon, 1870- 1883. RIEMANN, Hugo. Musik-Lexicon, 1882 (Eng. transl., 1896). WALTHER, J. G. Musikalisches Lexicon, 1732. x THE AGE OF BACH AND HANDEL MUSIC, PRINTED AND MS. In the British Museum, the Royal College of Music, the Fitzwilliam Museum, Cam- bridge, and other collections. SPECIAL BACH FORKEL, J. N. Ueber J. S. Bach's Leben, Kunst, und Kunstwerke (1803). MOSEWIUS, J. Theodor. J. S. Bach in seinen Kirchen- Cantaten, 1845. PIRRO, A. L'Orgue de J. S. Bach, 1895. PREFACES in the edition of the Bach-Gesellschaft. SPITTA, Philipp. Life of Bach (Eng. transl., 3 vols., 1884). HANDEL BURNEY, Dr. C. Commemoration of Handel. CHRYSANDER, F. G. F. Handel (biography still incomplete), 1858-1867. Supplemente, enthaltend Quellen zu Handel's Werken. MAINWARING, J. Memoirs of the Life of G. F. Handel, 1760. MONTHLY MUSICAL RECORD. Articles by Prof. Prout, in November and December, 1871, and April, 1894. PREFACES to edition of the Handel-Gesellschaft. ROCKSTRO, W. S. Life of Handel, 1883. THEORY OF MUSIC, FORM, ORNAMENT, &c. ADLUNG, Jacob. Anleitung zur musikalischen Gelahrt- heit, 1758. AVISON, Charles. Essay on Musical Expression, 1752. BACH, C. P. E. Versuch iiber die wahre Art das Clavier zu spielen, 1753-1762. DANNREUTHER, Edward. Musical Ornamentation, n. d.lr Fux, Johann Joseph. Gradus ad Parnassum, 1725. LIST OF AUTHORITIES xi GALLIARD, J. E. Translation of Tosi^s treatise (see below), as Observations on the Florid Song, 1742. HEINICHEN, Job. David. Der Generalbass in der Com- position, 1728. KIRNBERGER, F. Wahre Grundsatze zum Gebrauch der Harmonic, 1773. MALCOLM, Alexander. Treatise of Music, 1721, &c. MARPURG, F. W. Abhandlung von der Fuge, 1753-1754. Der kritische Musikus an der Spree, 1749-1750. Historisch-kritische Beytrage zur Aufnahme der Musik, 1754, &c. Kritische Briefe iiber die Tonkunst, 1759-1763. MATTHESON, Johann. Critica Musica, 1722, &c. Das beschiitzte Orchester, &c., 1717. Das forschende Orchester, &c., 1721. Das neu-eroffnete Orchester, &c., 1713. Der musikalische Patriot, 1728. Der neue gottingische Ephorus, 1727. Der vollkommene Capellmeister, 1739. Grosse Generalbassschule, 1735. Grundlage einer Ehrenpforte, 1740. Kern melodischer Wissenschaft, 1737. Kleine Generalbassschule, 1735. MIZLER, Lorenz Christoph. German Translation of Fux's Gradus, 1742. Neu-eroffnete musikalische Bibliothek, 1736-1754. MONTECLAIR, Michel Pignolet de. Methode pour ap- prendre la Musique, 1700. PROUT, Prof. Ebenezer. Applied Forms, 1895. Fugue, 1891. QUANTZ, Johann Joachim. Versuch einer Anweisung, die Flote traversiere zu spielen, 1752. xii THE AGE OF BACH AND HANDEL THEORY OF MUSIC, FORM, ORNAMENT (cont.) RAMEAU, J. P. Nouveau systeme de Musique theorique, 1726. SCHEIBE, Johann Adolf. Der critische Musikus, 1737- 1740. SHEDLOCK, J. S. The Pianoforte Sonata, 1895. SMITH, Rev. Robert. Harmonics, 1758. Tosi, Pier Francesco. Opinioni de' Cantori antichi, &c., 1733. WINTEBFELD, C. G. A. von. Der evangelische Kirchen- gesang, 1843-1847. THE OPERA ALGAROTTI, Francesco. Saggio sopra POpera in Musica, 1763. ARTEAGA. Le Rivoluzioni del Teatro Musicale Italiano, 1785. BITTER, C. H. Die Reform der Oper durch Gluck und Wagner, 1884. BROWN, John. Letters on the poetry and music of the Italian Opera, 1789. BURNEY, Dr. C. Memoirs of Metastasio, 1796. CHASTELLUX, Chevalier F. J. de. Essai sur PUnion de la Poesie et de la Musique, 1765. CROCE, Benedetto. I Teatri in Napoli, a series of articles in Archivio Storico per le Province Napoletane, anno XIV, XV. FLORIMO, Francesco. Cenno Storico sulla scuola musicale di Napoli, 1869-1871. LINDNER, E. Otto T. Die erste stehende deutsche Oper, 1855- MARCELLO, Benedetto. Teatro alia Moda, 1720. MARX, A. B. Gluck und die Oper, 1863. MATTHESON, Joh. Der musikalische Patriot (see p. xi). LIST OF AUTHORITIES xiii MILLAN, Don Luis Carmena y. Cronica de la Opera Italian a en Madrid, 1878. MUSICAL TIMES, 1899, p. 241-3. NEWMAN, Ernest. Gluck and the Opera, 1895. PLANELLI, Ant. Dell' Opera in Musica, 1772. PREFACES to the volumes of Chefs-d'oeuvre de POpera RAGUENET, PAbbe. Parallele des Italiens et des Franjais en ce qui regarde la musique et les operas, 1702. ENGLISH TRANSLATION of the above (anon.), as A Com- parison between the French and Italian Music, 1709. RIVISTA MUSICALE ITALIANA, 1900, art. by G. Roberti on f La musica in Italia nel Secolo XVIII, secondo le impressioni di viaggiatori stranieri/ THE SPECTATOR, Nos. 18, 231, 235, 258, 278, 405. THE TATLER, Nos. 4, 115. THE WORLD, Nos. 98, 171. WIEL, Cav. Taddeo. ( l Teatri musicali Veneziani del ' f ' Settecento first appeared in the Archivio Veneto 1891-1897, and in book-form in the latter year. GERMANY BURNEY, C. Tour, referred to on p. ix. KADE, Otto. Die altere Passionskomposition, bis zum Jahre 1631.
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