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Johann Nauwach's <I>Teütscher Villanellen</I>

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Johann Nauwach's <I>Teütscher Villanellen</I> City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2019 Johann Nauwach's Teütscher Villanellen: A Critical Performance Edition with Performance Practice Commentary Christopher Pfund The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3375 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] JOHANN NAUWACH’S TEÜTSCHER VILLANELLEN A CRITICAL PERFORMANCE EDITION WITH PERFORMANCE PRACTICE COMMENTARY by CHRISTOPHER PFUND A dissertation submitted to the Graduate Faculty in music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York. 2019 © 2019 CHRISTOPHER PFUND All Rights Reserved ii Johann Nauwach’s Teütscher Villanellen A Critical Performance Edition with Performance Practice Commentary by Christopher Pfund This manuscript has been read and accepted for the Graduate Faculty in music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. ______________________ __________________________________________ Date Scott Burnham Chair of the Examining Committee _______________________ __________________________________________ Date Norman Carey Executive Officer Supervisory Committee: Janette Tilley, Advisor Sally Sanford, First Reader Anne Stone Scott Burnham THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Johann Nauwach’s Teütscher Villanellen: A Critical Performance Edition with Performance Practice Commentary by Christopher Pfund Advisor: Janette Tilley Johann Nauwach (1595–1630) was an early seventeenth-century German lutenist who was sent to Florence to study with Medici court lutenist, Lorenzo Allegri (1567–1648). Nauwach returned to Dresden around 1618 and published two volumes of songs. His first, Libro primo di arie passegiate a una voce per cantar (1623), contains monodic settings of popular Italian eclogues into which he composed extensive diminutions similar in style to Caccini. In 1627, Nauwach published Teütscher Villanellen dedicated to the nuptial celebrations of Sophie Eleonore of Saxony and Landgrave Georg II of Hesse-Darmstadt –– the same celebration for which Heinrich Schütz (1585–1672) and Martin Opitz (1597–1639) collaborated on a grand adaptation of Rinuccini’s popular Daphne. Nauwach’s Teütscher Villanellen is generally considered to be the first published volume of German continuo songs. This dissertation provides a critical performance edition of Teütscher Villanellen. It includes settings of all the poetry verses provided in the original edition by Nauwach, translations of the poetry, translations of the dedication and dedicatory poem, and editorial notes. In addition to these, commentary is provided to aid performance practice. This commentary falls iv into two main areas. First is an examination of the background and meaning of the poetry found in the volume of which roughly half are attributable to Martin Opitz. The discussion contextualizes the pastoral poetry, provides background on the Opitz, discusses its various topoi and allusions found in the poetry, and explores word and verse stress showing their relation to Teütscher Villanellen. The second area of commentary focuses on four major performance treatises contemporary to Teütscher Villanellen. These include chapter nine of Michael Praetorius’s Syntagma Musicum III (1614-1619), Johann Andreas Herbst’s Musica Practica (1642), George Falck’s Idea Boni Cantoris (1688) and Christoph Bernhard’s Von der Singe- Kunst oder Manier (1649). The discussion compares and classifies various ornaments from the treatises and suggests historically-informed performance practice for Nauwach’s volume. It concludes by demonstrating ways in which ornamental gestures termed affetti can be logically combined in order to create longer ornamental structures. Also included is a comparison between Nauwach’s first Italian volume with Teütscher Villanellen which analyzes both Nauwach’s compositional tendencies and his idiosyncratic use of ornamentation. v ACKNOWLEDGEMENTS My choice to pursue a doctoral degree mid-career was a difficult choice for me. Balancing the needs of my family and career with the considerable commitment required at the CUNY Graduate Center was daunting. I certainly didn’t know what to expect when I began. Many thanks to Stephanie Jensen-Moulton who strongly encouraged this decision and Jonathan Bellman for offering his support as well. The Graduate Center turned out to be a most excellent choice. In his great wisdom, Norman Carey suggested Robert (Bobby) White to me as my major teacher, and Bobby’s teaching not only helped reinvigorate my singing, but also provided the perfect mentor for me as a teacher. Thank you, Bobby. I would like to offer deepest thanks to my dissertation advisor, Janette Tilley, who improved my writing immensely and taught me more than I could ever imagine about editing and software tools. Sally Sanford served as my first reader and inspired me with her insight. I could not have tackled the singing treatises without her wisdom and knowledge. I also thank the others on my committee, Anne Stone and Scott Burhnam for carefully working through my document and providing important suggestions. This dissertation is seriously improved because of their time and input. I also owe a debt of gratitude to Raymond Erickson for his input on my translations, and Catherine Liddell for her additional figured bass suggestions. While writing this dissertation, I had the privilege of performing the entire volume on two different occasions. These collaborations deeply improved my concept of the music and my formulation of the performance edition. I extend my warmest thanks to the following musicians: The Idaho performance featured Lucas Harris, Linda Pfund Swanson, Miranda Wilson, Steven Mortier, Rajung Yang, and Lynette Pfund. The New York City Performance included Lucy Bardo, Ben Harms, Rachel Evans, Bradley Brookshire, Jason Priset, Peter Kupfer, Lynette Pfund vi and Tom Woodman. Also, many thanks to Kenneth Cooper for his long-time support of my musical endeavors, his interest in this volume, and introducing me to Lucy and Ben. Hearty thanks to all my colleagues at the Graduate Center and University of Idaho for their support. My parents, Bill and Sue Pfund, raised me in the most nurturing musical family and I certainly would not be the musician and person I’ve become without their example in my life. Warm recognition is due to my children, Calvin, Warren, and Cordelia for their patience and understanding while I finished this project. Finally, my wife Lynette, who meticulously proofread this document, holds me daily in her thoughts and prayers. She has, with much affection and humor, supported me throughout the darkest and brightest hours of my life. Thank you, Lynette. vii Contents Title Page i Copyright ii Approval Page iii Abstract iv Acknowledgements vi Table of Contents viii Table of Examples x Introduction: Johann Nauwach’s Teütscher Villanellen 1 PART I –– MEANING AND PERFORMANCE PRACTICE 1. The Poetry of Teütscher Villanellen 6 2. Summary of Contemporary Treatises and their Application to Performance of Nauwach’s Music 54 Praetorius' Syntagma Musicum III Chapter IX 57 Herbst Musica Practica 63 Falck’s Idea Boni Cantoris 67 Christoph Bernhard’s Von der Singe-Kunst oder Manier 71 Discussion and Application of Affetti and Refinement Type 80 Dynamic Refinements 84 Reiteration Refinements 90 Scaler Refinements 110 Circle Refinements 132 Passaggi 136 3. Vocal passaggi in Johann Nauwach’s Libro primo di arie passegiate a una voce per cantar, e sonar nel chitarone, & altri simili istromenti (1623) and Teütscher Villanellen (1627) 167 PART 2 –– CRITICAL PERFORMANCE EDITION Score 198 Translations 277 viii Editorial Notes 299 Translation of Dedication and Dedicatory Poem 302 Bibliography 304 Appendix 311 ix Table of Examples Example Page 1.1. Opening two systems of “O Du Gott der süssen schmerzen” demonstrating 45 Nauwach’s stress setting 1.2. Opening two systems of “Coridon sprach mit verlangen” demonstrating 47 Nauwach’s setting of trochees in 3 1.3. First verse, third system of “Asterie mag bleiben wer sie wil” demonstrating 48 normal stress setting 1.4. Fifth verse, fourth system of “Asterie mag bleiben wer sie wil” demonstrating 49 backward stress setting 1.5. First verse, first system of “Asterie mag bleiben wer sie wil” 50 1.6. Fifth verse, first two systems of “Asterie mag bleiben wer sie wil” 51 51 2.1. Possible location for fermo use in the opening of Nauwach’s “Coridon der 75 gieng betrübet” 2.2. Bernhard’s second example of forte and piano refinements from Von der 84 Singe-Kunst oder Manier 2.3. Suggested application to the opening of Nauwach’s “Amor mir hat 85 genommen” 2.4. Guilio Caccini, examples of Esclamatio in the preface of Le Nuove Musiche 87 2.5. The opening of Nauwach’s “Wenn Lieber kompt mus Leider weichen” 88 2.6. Bernhard’s accento refinements from Von der Singe-Kunst oder Manier 89 2.7. Last system of Nauwach’s “O Du Gott der süssen schmertzen” with accento 90 [a] indicated 2.8. Praetorius trillo examples first type 91 x 2.9. Bernhard’s first example of the Monteverdi-style trill with dynamics and 92 gruppo resolution 2.10. Second system of Nauwach’s “Wenn Lieber kompt muss Leider weichen 94 2.11. Falck’s examples of the second type of trillo with approach and resolution 96 2.12. Herbst’s examples of the second type of trillo with approach and resolution 97 2.13. Nauwach’s use of the trillo in the second part of his Romanesca, m. 28–31 98 2.14. Praetorius’ tremolo examples 98 2.15. Praetorius’ Tremoletti examples 99 2.16. Nauwach’s “O Du Gott der süssen schmertzen,” m. 8–12 without tremolo 100 2.17. Nauwach’s “O Du Gott der süssen schmertzen,” m. 8–12 with added tremolo 101 2.18. Nauwach’s “Was wriffstu schnöder Neid,” with Bernhard’s Ardire [a] 102 suggested in m.
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