Bangor University DOCTOR of PHILOSOPHY Orlando Di Lasso's
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Bangor University DOCTOR OF PHILOSOPHY Orlando di Lasso's psalm settings an examination of genre in late sixteenth-century psalm motets and German Leider Temme, Diane Award date: 2019 Awarding institution: Bangor University Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 07. Oct. 2021 ORLANDO DI LASSO’S PSALM SETTINGS AN EXAMINATION OF GENRE IN LATE SIXTEENTH-CENTURY PSALM MOTETS AND GERMAN LIEDER Diane S. Temme Dissertation Submitted in partial fulfillment of the requirement for the degree of Doctor of Philosophy in Music Bangor University 20 December 2017 Abstract Diane S. Temme, Orlando di Lasso’s Psalm Settings: An Examination of Genre in Psalm Motets and German Lieder, Ph.D. Dissertation: Bangor University, December 2017. Supervisor: Christian Leitmeir. Lasso was considered the greatest composer of his generation with undisputable mastery of all sixteenth-century genres. The dynamism of the late sixteenth century saw the most sophisticated compositions in the continuation of the psalm motet tradition. However, more flexible applications for the psalms in the form of meditations, vernacular translations, and paraphrases opened the door for new and diverse interpretations. This dissertation is a study of Lasso’s engagement with established musical traditions and new trends in psalmody. This study unfolds in two parts. First in the discussion of the Latin psalm motet genre and then ensuing with investigation of the German Lied. In each of the genres (1) there is a focus on the definition and classification of terms and older traditions, (2) the examination of the text and the discussion of ways in which the music engages with the prose and poetic forms, and (3) the evaluation of Lasso’s interpretation of psalm texts. From negligible German Lieder to expansive motet cycles, the psalms afforded endless polyphonic inspiration and the diversity of which categorically points to the shifts and development of cultural and aesthetic traditions. The use of psalms to reflect devotion and confession amplifies the Catholic Reform implemented at the Bavarian court during Lasso’s lifetime. This context along with Lasso’s compositional innovation provides an interesting study for the stylistic development of psalm settings in the late sixteenth century. I hereby declare that this thesis is the results of my own investigations, except where otherwise stated. All other sources are acknowledged by bibliographic references. This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree unless, as agreed by the University, for approved dual awards. Yr wyf drwy hyn yn datgan mai canlyniad fy ymchwil fy hun yw’r thesis hwn, ac eithrio lle nodir yn wahanol. Caiff ffynonellau eraill eu cydnabod gan droednodiadau yn rhoi cyfeiriadau eglur. Nid yw sylwedd y gwaith hwn wedi cael ei dderbyn o’r blaen ar gyfer unrhyw radd, ac nid yw’n cael ei gyflwyno ar yr un pryd mewn ymgeisiaeth am unrhyw radd oni bai ei fod, fel y cytunwyd gan y Brifysgol, am gymwysterau deuol cymeradwy. Acknowledgements I would like to thank above all my patient and magnanimous doctoral supervisor, Christian Leitmeir, from whom I have learned the humble art of scholarship. Thank you for the years of training, advice, encouragement, and support - even in the darkest and most desperate of times. I would also like to thank my doctoral committee, John Cunningham, and Gwawr Ifan for their advice during this process. My humble thanks also goes to Bernhold Schmid and Franz Körndle who offered assistance and hospitality during my research in Augsburg and Munich. Many thanks also to Barbara Eichner and Ute Evers for stimulating and fruitful exchanges. I also am indebted to Moritz Kelber, Megan Eagen, Twila Bakker and so many other peers who have added to the enjoyment of working on this PhD. This study would not have been made possible without the financial support of Bangor University and DAAD. I would like to thank Wyn Thomas for the personal support from the very first day I dared to set foot into the university music building. I could not have even begun to imagine the journey that lay before me. I would like to thank David Burn, Sally Harper, and Chris Collins for the constructive suggestions in the final stages. Finally, I would like to acknowledge the support of the Lasso scholarship community, many of which have already been mentioned above, but including also Henri Vanhulst, Philip Weller, Richard Freedman, and David Crook. The degree of excellence in this field of scholarship is simply astounding and truly, always inspiring. Pygmaei gigantum humeris impositi plusquam ipsi gigantes vident. Dedication This dissertation is dedicated to my parents; in memory of the days when my mom kept a midnight vigil while I did my school work and made sure I always had a hot cup of tea. Abbreviations BSB Bayerische Staatsbibliothek CM Orlando di Lasso, The Complete Motets edited by Peter Bergquist with David Crook and James Erb (Madison: A-R Editions, 1995–) DKL Konrad Ameln et al., Das Deutsche Kirchenlied, DKL: kritische Gesamtausgabe der Melodien 1, (Kassel, 1975) EDK Joachim Stalmann, Edition des deutschen Kirchenliedes (Kassel, 1993) JAMS Journal of the American Musicological Society JRMA Journal of the Royal Musical Association LV Lasso Verzeichnis NJE New Josquin Edition, Edited by Willem Elders, 20 vols. (Utrecht: Koninklijke Vereniging voor Nederlandse Muziekgescheidenis, 1987-). StadtAA Stadtarchiv Augsburg StAN Staatsarchiv Nuremberg RISM Répertoire international des sources musicales. Einzeldrucke vor 1800. Series A/I. (Kassel, 1971–); Series B/VIII SW Lasso, Sämtliche Werke. Edited by Franz Xaver Haberl and Adolf Sandberger, 21 vols. (Leipzig: Breitkopf und Härtel, 1894-1927.) Reprint, 1973. SWNR Lasso, Sämtliche Werke, neue Reihe. Edited by Siegfried Hermelink et al., (Kassel: Bärenreiter, 1956-96). List of Tables Table 1. Sixteenth-century musical settings of 28 Savonarola’s psalms Table 2. Luther psalm paraphrases in the 31 Achtliederbuch Table 3. Psalm motets positively attributed to Josquin 47 Table 4. Psalm motets attributed to Senfl 50 Table 5. Psalm motets attributed to Ludwig Daser 62 Table 6. Lasso’s motets on complete psalm texts 79 Table 7. Lasso’s motets first appearances in print 81 and Munich court chapel manuscripts chronologically Table 8. Lasso psalm motets included in Bicinia 93 Sacra, ex variis avtoribvs in vsvm ivventvtis scholasticae […] (Nuremberg: Catharina Gerlach, 1591). [RISM 159127] Table 9. Publications containing Lasso’s 124 three-voice psalm motets Table 10 Orlando di Lasso’s homophonic psalm 148 Motets Table 11. Orlando di Lasso, O decus celsi text 151 and structure Table 12. Orlando di Lasso, Domine, dominus 153 noster text and structure Table 13. Giovanni Gabrieli, Domine, dominus 167 noster text and structure Table 14. Lasso’s polyphonic settings of German psalm 186 paraphrase Table 15. Settings of Ulenberg psalms in the 1590 188 publication of secular song Table 16. Orlando and Rodolfo di Lasso, Teutsche 204 Psalmen (1588) Table 17. Cadential structure of Orlando di Lasso, 231 Gott ist auff den wir immer hoffen (Ps. 45) Table 18. Cadential structure of Orlando di Lasso, 235 Herr Gott mein hort mein stercke gut (Ps. 27) Table 19. Cadential structure of Orlando di Lasso, 240 Herr, der du meine stercke bist (Ps. 17) Table 20. Melodic and cadential structure of Orlando di 252 Lasso, Hilf, lieber Herr die heilig Frommen (Ps. 11) Table 21. Thomas Stoltzer’s settings of Luther’s German 267 psalms Table 22. Thomas Stoltzer, structure of Erzürne dich 268 nicht (1526) Table 23. Thomas Stoltzer, structure of Erzürne dich 269 nicht (1526), Dritte Teil, Der Gottloser dräuet dem Gerechten (Discantus, Altus, Vagrans) Table 24. Orlando di Lasso, Deutsche Lieder aus Newe 273 Teutsche und etliche frantzösische Geäng mit sechs Stimmen (Munich: Adam Berg, 1590), Ulenberg Psalms, 6vv Table 25. Orlando di Lasso, Newe Teutsche und etliche 280 frantzösische Gesäng mit sechs Stimmen (Munich: Adam Berg, 1590), 6vv Table 26. Cadential structure of Orlando di Lasso, Ich 294 ruff zu dir mein Herr und Gott List of Figures Figure 1. Simplified harmonic outline of the Gloria 95 Patri, Psalmi poenitentiales (Ps. 6) Figure 2. Underlying harmonic pattern of the Gloria 96 Patri verses Figure 3. Editions and prints of Lasso’s German 182 Lieder compositions Figure 4. Orlando di Lasso, Der König wirdt seyn 298 wolgemut, Erster Teil, mm. 1-5, harmonic progression Figure 5. Orlando di Lasso, Der König wirdt seyn, 298 wolgemut Erster Teil, mm. 5-7, harmonic progression List of Examples Example 1. Ludwig Senfl, Ecce quam bonum, prima 53 pars, mm. 1-62 Example 2. Orlando di Lasso, Ecce quam bonum, prima 58 pars, mm. 17-19, Choir II Example 3. Orlando di Lasso, Ecce quam bonum, prima 58 pars, mm. 23-28, Choir I Example 4. Orlando di Lasso, Ecce quam bonum, prima 59 pars, mm. 30-36 Example 5. Orlando di Lasso, Ecce quam bonum, prima 60 pars, mm. 1-13 Example 6. Ludwig Daser, Ecce nunc benedicite, mm. 1-24 64 Example 7. Ludwig Daser, Ecce nunc benedicite, mm.