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The Organ Ricercars of Hans Leo Hassler and Christian Erbach

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The Organ Ricercars of Hans Leo Hassler and Christian Erbach INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material subm itted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame 3. When a map, dravdng or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. University Microfilms international BRATT^'i 'iv Df.Vil- Li ' \ THE nRE'.r ^iC;:>C'w [ H U E II ", M ; . E C H . THE I'HI. ST 7': . :l ,, Î 1 ft I V , L ft V' 1 j L i j V Unives% Microfilms International 3 oon ^tEBHOAu, annarboh , m © Copyright by- David Leon Brattain 1979 THE ORGAN RICERCARS OF HANS LEO HASSLER AND CHRISTIAN ERBAGH Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By David Leon Brattain, B.M., M.Hus. The Ohio State University 1979 Reading Committee: Approved By Prof, Herbert Livingston Prof, Keith Mixter Prof, Richard Hoppin, Adviser Adviser School of Music PREFACE AND ACKNOWLEDGEMENTS In the late sixteenth and early seventeenth centuries, a number of north European composers began emulating Italian keyboard forms and styles. Among these men, none contributed more decisively to the later development of the organ ricercar than two south Germans, Hans Leo Hassler and Christian Erbach. Until Clare Rayner’s recent edition of Erbach*6 thirty-two ricercars in the series Corpus of Early Key- tions to the genre has been limited to a few pieces which appeared early in this century in Denkmiler der Tonkunst in Bayern (DTB),^ Of Hassler'8 twenty-six ricercars, eight may be found in this edition. Before undertaking a comparative study of the two composers, therefore, it was necessary to transcribe into modern notation his remaining eighteen ricercars, all of which appear as unica in the Turin col­ lection of organ tablatures.^ Because of space limitations, only nine of these transcriptions are included at the end of this study. These few representative examples, which illustrate various aspects of Clare Rayner, CEKM 3 6 , vols, 1 and 2. Turin. Biblioteca Nazionale Universitaria. MSS Raccolta Giordano, See the discussion on pp. 26-29, Hassler*G ricercar style, were also chosen with regard for their overall musical interest. Discussions of-Erbach's ricercars are based entirely on Rayner®s edition. The purpose of this study, therefore, is to supplement our presently incomplete knowledge of the south German organ ricercar through detailed ainalyses of Hassler's and Erbach*s compositions in the genre. In several ways, their pieces provide an ideal starting point for studying the evolution of this form in south Germany, Both composers were among the most prolific of their contemporaries and, moreover, belonged to the first generation of south German composers to adopt and, indeed, to reinterpret Italian keyboard forms. Yet, despite their chronological and geographical proximity, it is cletr, even from a cursory investigation, that the two men followed widely divergent tendencies in their approach to these forms. Nowhere are these tendencies more evident than in their ricercars. The keyboard works of Hassler and Erbach clearly deserve to be ranked along with other important collections of the period. It is hoped that as more of these are made available in modern editions that they will become the subject of further intensive examination. Grateful acknowledgement is extended to the American Institute of Musicology/^&nssler-Verlag, Neuhausen-Stuttgart, for kindly granting me permission to copy numerous excerpts from their series Corpus of Early Keyboard Music 20 and 36. I would also like to express my gratitude to the B^enreiter-Verlag, Kassel, for allowing me to in­ corporate examples from their edition of Andrea Gabrieli's Ricercari iii fur Orgel, Volumes 1 and 2. Thanks are due the Biblioteca Nazionale in Turin for sending a microfilm of the Turin organ tablatures. To Miss Olga Buth, former head of the Ohio State University Music Library, I owe special thanks for her promptness in ordering and procuring the microfilms needed for this study. I also extend special thanks to Dr. Herbert Livingston and Dr. Keith Mixter of the School of Music for their careful reading of the text and for many helpful suggestions. To my adviser, Dr. Richard Hoppin, I owe a great debt of gratitude. His patience, wise council, criticism, and unfailing encouragement were invaluable in bringing this project to completion. It has been a rare privilege, indeed, to work under the guidance of such an eminent scholar. Finally, I owe my deepest gratitude to Susan, ray wife, who retyped portions of the rough draft and prepared all the musical examples sis well as the transcriptions for the final copy. Words will not describe my appreciation for her many sacrifices and contributions over the past several years, \7hile successfully maintaining an almost impossible schedule as full-time teacher, church musician, wife, and mother, she never failed to offer her husband the support, encouragement, and good humor that made completion of this project possible. It is with appreciation and affection that I dedicate this work to her. June 5» 1942 , . , . , Born - Russellville, Indiana 1 9 6 4 ............... B.M. DePauw University, Greencastle Indiana 1964-6 5 . ........... German Government Grant for organ study in Hamburg, Germany 1965-6 6 ............. Yale University 1966-67; . ......... M.Mus., The University of Colorado, Boulder, Colorado 1967-7 1 ............. Teacher, Ohio State School for the Blind, Columbus, Ohio 1971-76 ............. Teaching Associate, The Ohio State University, Columbus, Ohio Fall 1978 ......... Guest Lecturqr in Munie History, Capital University, Columbus, Ohio FIELDS OF STUDY Major Field: Music History Studies in Music History, Professors Richard H. Hoppin, Herbert Livingston, Keith E. Mixter, and Alexander Main Studies in Music Theory and Composition, Professor Norman F, Phelps TABLE OF CONTENTS PREFACE Aim ACKNOWLEDGMENTS........................... ii VITA ..................................... V LIST OF TABLES . , . ix LIST OF ABBREVIATIONS..................................... X Chapter I. INTRODUCTION ................................... 1 South Germa.n Or can Music and Organ Design to 1 6 0 0 ................................ 1 The Musical Careers of Hassler and Erbach, . 12 Manuscript Sources ........................... 21 II. THE ORGAN RICERCARS OF ANDREA GABRIELI.......... 30 III. EXPOSITION PROCEDURES IN HASSLER»S RICERCARS . 43 Number and Classifications of Subjects ........ 46 Expositions Based on a Single Principal Subject............................ 57 Expositions Based on a Principal Subject and Counter subject......... 63 Expositions Based on a Divided Principal Subject.............................. 71 Expositions Based on Two Principal Subjects and a Countersubject. ........... 78 Tonal Organization ...... ............... 85 IV. SECTIONALIZATION IN HASSLER »S RICERCARS.......... 101 Ricercars l^sed on Exposition Themes .......... 109 Ricercars with Subsidiary Themes . ......... 127 Subsidiary Themes Combined with Exposition Themes................... 128 Subsidiary Themes Presented Alone or in Pairs . 142 Subsidiary Themes Presented Alone and in Combination with Exposition Themes. ..... 159 V. EXPOSITION PROCEDURES IZf ERBACH'S RICERCARS .... 1?6 Number and Classifications of Subjects...... I83 Expositions Based on a Single Principal Subject . 185 Expositions Based on a Principal Subject and Countersubject.................. I89 Expositions Based on a Divided Subject .... 202 Expositions Based on a Divided Subject and Countersubject ........................... 207 Expositions Based on Multiple Subjects.... 211 Tonal Organization........... 2l8 VI. ORGANIZATIONAL ASPECTS OF ERBACH*5 RICERCARS. 239 Sectional Ricercars........................... 242 The Bipartite Ricercar ........ ............ 246 Ricercars having shorter opening sections.......................... 246 Ricercars having sections
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