Rhetoric, Poetics, and Choice in the Cantiones Sacrae of Heinrich Schütz

Jonathon Barranco, M.M., B.M.

A Dissertation

Choral Conducting

Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of

DOCTOR OF MUSICAL ARTS

Approved

Dr. John Hollins Co-chair of Committee

Dr. Alan Zabriskie Co-chair of Committee

Dr. Angela Mariani

Mark Sheridan Dean of the Graduate School

May, 2020

ACKNOWLEDGMENTS

This work would not have been possible without the support of so many. I want to thank Dr. John Hollins for his endless knowledge and enthusiasm in guiding me through my own discovery of this topic. Our many hours spent together working through this music has increased my musicianship in more ways than I can express. Thanks also to Dr. Alan Zabriskie for sharing your knowledge and working to instill in me the artistry needed to present this music and my ideas about it with clarity and confidence. And thank you to Dr. Angela Mariani for helping encourage and inspire the genesis of this project, and for showing me that early music practice is a vibrant, creative, and thoroughly modern pursuit.

Thank you to my many colleagues and friends who supported me through conversations about this topic and in the performance of these incredible works. Your intelligence and musicality inspired me to find and express more of the beauty in this music. A special thanks to my mom and dad whose love and continual support has given me confidence at each step. So much of who you are is a part of myself, and I will always carry that with me. And finally, thank you to my wife, Nikki, and my boys, Eric and Jonah. Your sacrifices and love have been my constant inspiration in the pursuit of this calling; and though it is never exactly how we may have dreamed it, our shared journey is the most significant and most beautiful part of my life.

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TABLE OF CONTENTS

ACKNOWLEDGEMENTS ...... ii

ABSTRACT ...... iv

LIST OF FIGURES ...... v

I. INTRODUCTION OF TOPIC ...... 1

II. HEINRICH SCHÜTZ ...... 6

III. THE CANTIONES SACRAE ...... 12

IV. RHETORIC AND POETICS ...... 17

Rhetoric ...... 19

Musica Poetica ...... 20

V. ANALYSIS AND CHOICE ...... 23

VI. CONCLUDING REMARKS ...... 44

BIBLIOGRAPHY ...... 48

APPENDICES ...... 51

A. Rhetorical Figures Analyzed in This Document ...... 51

B. Movements of the Cantiones Sacrae ...... 52

iii Texas Tech University, Jonathon Barranco, May 2020

ABSTRACT

Existing at the intersection of the prima prattica and seconda prattica,

Heinrich Schütz’s 1625 Cantiones Sacrae inhabits a transitional place in the composer’s catalogue. These “sacred songs” exemplify Schütz’s facility in the employment of compositional rhetoric, and, when reconciled with the texts they illuminate, reveal him to be a master of theological and poetic expression. As such, performances of the Cantiones Sacrae are benefitted when the music is examined through the prism of 17th and 18th century German efforts to correlate rhetoric in language and music known as musica poetica. By examining the life of Heinrich

Schütz, the nature of classical rhetoric and musica poetica, and Schütz’s employment of rhetorical figures in selected movements of the Cantiones Sacrae, this body of research presents possibilities for amplifying Schütz’s compositional rhetoric through performer choice. As a result, this document shows how rhetorical analysis assists in the expression of the composer’s written and implied musical intent.

iv Texas Tech University, Jonathon Barranco, May 2020

LIST OF FIGURES

1. Metabasis/Transgressio ...... 27

2. Interrogatio ...... 29

3. Interrogatio motive changed ...... 31

4. Tirata Mezza ...... 32

5. Auxesis ...... 34

6. Noema ...... 37

7. Figures of Motion ...... 40

8. Climax/Gradatio ...... 42

v Texas Tech University, Jonathon Barranco, May 2020

CHAPTER ONE

INTRODUCTION OF TOPIC

Heinrich Schütz’s 1625 Cantiones Sacrae inhabits a transitional and illuminating place in the composer’s catalogue. Its music exemplifies Schütz’s facility with the complex polyphony of the late Renaissance and his burgeoning awareness of and interest in the seconda prattica and its employment of syllabic recitativo statements, new treatments of dissonance, and basso continuo. The music is intimate and expressive, drawing out beauty and highlighting theological belief through the employment of myriad expressive musical figures. These figures, when reconciled with the texts they illuminate, demonstrate Schütz’s masterful employment of compositional procedures in the service of textual expression. The Cantiones Sacrae show him working in the areas of inventio and imitatio, transforming texts and their associated meanings into music.

In the writings of 17th and early 18th century German music theorists, the synthesis of musical figures and rhetoric became known as musica poetica. By reconciling music’s existence at the intersection of the quadrivium and the trivium with its developing connection to the Doctrine of the Affections, musica poetica theorists sought to correlate figures in music with the existing figures and devices of classical rhetoric. The treatises that they produced give us powerful insights into compositional processes associated specifically with Baroque music in Germany.

1 Texas Tech University, Jonathon Barranco, May 2020

This document briefly examines the early life and character of Heinrich

Schütz, highlights important considerations in regard to the nature of rhetoric and musica poetica, examines rhetorical figures in selected movements of the Cantiones

Sacrae, and simultaneously presents possibilities for how performers may musically affect those figures to enliven Schütz’s compositional choices. This effort is undertaken with the belief that by combining rhetorical analysis with traditional modes of musical analysis, one can create performances that express more of the composer’s written and implied musical intent. And perhaps it here where this research finds it greatest value; that it moves a step beyond analysis to present possibilities for shaping rhetoric in performance.

A body of research has emerged connecting the music of Heinrich Schütz to the principles of compositional rhetoric explored in the collective musical poetics of

Baroque Germany. Perhaps the most significant recent contributions regarding rhetorical analysis and Schütz are those of Bettina Varwig, fellow and lecturer at

Emmanuel College in Cambridge, England. Her 2006 dissertation, “Expressive Forms:

Rethinking Rhetoric in the Music of Heinrich Schütz,” viewed the rhetorical figures of

Musica Poetica as something beyond mere text illuminations; seeing them as pivotal in understanding both form and compositional process in the music of Schütz and his

German contemporaries.1 She further addressed this thesis in an article from 2009,

1. Giesela Varwig, "Expressive Forms: Rethinking Rhetoric in the Music of Heinrich Schütz." Order No. 3217913, Harvard University, 2006.

2 Texas Tech University, Jonathon Barranco, May 2020 drawing connections between Schütz’s rhetoric and principles of variation and elaboration espoused by Erasmus.2

Two recent dissertations have been created connecting principles of rhetoric and musica poetica to specific large-scale works by Schütz. In 2015 Joshua Lee Maize completed a dissertation observing rhetoric within Schütz’s Matthaeus-Passion.3

Another such document was completed in 2018 by Travis John Sietta which analyzed rhetoric in Schütz’s Weihnachtshistoire.4 Both of these resources address the nature of rhetoric within the works, the circumstances surrounding the composition of each, and highlight specific musical poetic figures within the music. Sietta’s research, in particular, addressed the questions brought up in Varwig’s writing and reinforced a logical multi-modal approach of music analysis; that of seeing musica poetica as one resource functioning among many.

In regard to resources on musica poetica, Dietrich Bartel’s 1997 monograph

Musica Poetica is a comprehensive resource covering the development of the concept of musical poetics and the treatises that explored it.5 Bartel gives biographical information on the significant authors of musica poetica treatises and presents an expansive exploration of musical rhetorical figures and how they relate to figures of

2. Gisela Varwig, "‘Mutato Semper Habitu’: Heinrich Schütz and the Culture of Rhetoric." Music and Letters 90, no. 2 (2009): 215-39.

3. Joshua Lee Maize, 2015. "Musical rhetoric: An agency of expression in Heinrich Schuetz's "Matthaeus-Passion"." Order No. 1595450, University of Kansas,

4. Travis John Sietta, "Characterization, Setting, and Drama: Rhetorical Practice in Schütz's “Weihnachtshistorie, SWV 435." Order No. 10932848, The University of Arizona, 2018.

5. Dietrich Bartel, Musica Poetica: Musical-rhetorical Figures in German Baroque Music. Lincoln: University of Nebraska Press, 1997.

3 Texas Tech University, Jonathon Barranco, May 2020 classical rhetoric. Alongside Bartel’s work, there exist translations of many of the treatises of musica poetica, including those by Joachim Burmeister, Christoph

Bernhard, and Johann Mattheson.6 These primary sources, when combined with how they are organized and synthesized in the work of Bartel, provide a significant body of writing on the framing of rhetoric within German Baroque music.

It is important to note that this research does not intend to present a comprehensive view of performance practice in regard to the Cantiones Sacrae.

Neither is it intended as an overview of every rhetorical moment that exists within them. And, while this project deals extensively with rhetorical figures and acknowledges the ubiquitous and prolific presence of rhetoric in early 17th century thought, it in no way intends to suggest that Schütz was composing with specific rhetorical terminology in mind. The movements of the Cantiones Sacrae are more than a musical jigsaw, connecting figure to figure to create a paint-by-numbers musical oration. Rather, they are vibrantly creative and mindful of conveying texts with brilliantly ordered, expressive, and varied counterpoint. In this way the music represents the work of a composer expressing rhetoric in the truest sense; devising musical syntax that carries theological constructs to express doxological and

6. Joachim Burmeister, Musical Poetics. Translated by Benito V. Rivera. New Haven: Yale University Press, 1993; Bernhard, Christoph; Hilse, Walter (trans.) The Treatises of Christoph Bernhard. Translated and preface by Walter Hilse. Music Forum 3, N.Y. Columbia Univ. Press, 1973, 1-196; Johann Mattheson, Der Vollkommene Capellmeister: A Revised Translation with Critical Commentary. in Studies in Musicology ; [no. 21]. Translated by Ernest Charles : UMI Research Press, 1981.

4 Texas Tech University, Jonathon Barranco, May 2020 persuasive intent. That they exist in a place between two worlds, synthesizing the old and the new in the elevation of both musical and linguistic rhetoric is perhaps their greatest defining quality and a hallmark of their gifted creator. As such, efforts in this research to analyze the Cantiones Sacrae utilizing the figures of musica poetica are not intended to present a reductionist view of Schütz’s compositional complexity; rather they are intended as an aid to help performers make rhetorical choices in performances of this complex rhetorical music.

In support of its purposes, this research first examines the early life of Heinrich

Schütz, from his birth leading to the publication of the Cantiones Sacrae. This brief biography is enriched by an examination of later circumstances in the composer’s life, viewed through his own words. As it relates to the Cantiones Sacrae, the biographical examination illuminates Schütz’s pastoral spirit and his views on compositional practice. An overview of the Cantiones Sacrae follows, including discussion of its textual sources, compositional style, and the circumstances and potential purposes behind its publication. As a benefit to the reader, a list of the movements of the

Cantiones Sacrae is included at the end of this document as Appendix B.

Discussion of classical rhetoric and how it relates to music leads to an examination of the development and nature of musica poetica in Baroque Germany.

All of this culminates at the heart of this document: an analysis of musical passages from selected movements of the Cantiones Sacrae, with emphasis on identification of rhetorical devices and perspectives on how they can inform specific performance choices. A glossary of the rhetorical figures discussed in this document is included as

Appendix A.

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CHAPTER TWO

HEINRICH SCHÜTZ

Heinrich Schütz was most likely born on October 8, 1585, in the town of

Köstritz near Gera in Reuss, Saxony. His parents were innkeepers, who in 1590 moved the family to Weisenfels to manage an inn named Zum Güldenen Ring, left to them by a friend. It was in Weisenfels at the inn managed by his parents where

Schütz’ musical acumen was noticed by the Landgrave Moritz of Hessen-Kassel. The

Landgrave, a noted patron of the arts and composer himself, expressed his desire for

Heinrich to take residence in Kassel, where he would have the opportunity to sing in the chapel choir and study at the courts’ prestigious school, the Collegium

Mauritianum. In 1599, with begrudging assent from his parents, Schütz made the move to Kassel. At the college Schütz would have received a thorough education; one that was designed to train princes and diplomats.7 In his examination of the Collegium

Mauritianum, Holger Thomas Gräf noted that “Besides intensive instruction in Latin and Greek, there were lessons in Ramist dialectics, rhetoric, natural sciences, mathematics, and modern languages.”8 Along with these extensive studies, Schütz received training in music under the tutelage of Georg Otto.In September of 1608,

Schütz enrolled at the University of Marburg to undertake training in law. This course

7. Holger Thomas Gräf, "The Collegium Mauritianum in Hesse-Kassel and the Making of Calvinist Diplomacy." The Sixteenth Century Journal 28, no. 4 (1997): 1167-180.

8. Gräf, 1171

6 Texas Tech University, Jonathon Barranco, May 2020 was dramatically altered, however, when Moritz proposed that Schütz travel to Venice to study with the renowned master, Giovanni Gabrieli. After a brief period of consideration, the composer began that journey in 1609 with the complete financial backing of Moritz. To say that Schütz was successful in Venice would be an understatement. He thrived under the tutelage of Gabrieli, and found himself absorbed in the music of Palestrina, Lassus, Marenzio, and that of his fellow countryman, Hans

Leo Hassler.

The initial result of this study was the publication of his first and only book of madrigals in 1611, a volume that contains one of the first instances of Schütz referring to himself by a given nickname, Sagitario. No doubt warmed by the experience of having embraced such a gifted pupil at a later stage of his life, Giovanni Gabrieli was fond of Schütz. Here it is worth noting that on his deathbed, Gabrieli bequeathed to

Schütz a ring, a gift of such significance to the young composer that it is cited in a famous autobiographical letter written much later in Schütz’s life. 9 Devotion to his master was evidenced not only by the events of his time in Venice, but by his lifelong belief that, in the wake of the changes of the seconda prattica whose tenets Schütz celebrated and adopted within his own works, the foundation of a strong education in composition still resided in the study of counterpoint and the music of the old masters.

9. Heinrich Schütz and Gregory S. Johnston. A Heinrich Schütz Reader: Letters and Documents in Translation.Oxford: Oxford University Press, 2013, 181-186. In this letter written to Johann Georg I in 1651, Schütz included a significant biographical examination of his early life that included reference to his study with Giovanni Gabrieli as well as important insight into his role at the Hofkapelle in Dresden.

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After Giovanni Gabrieli’s death in 1612, Schütz returned to the court at Kassel and to his musical service to the Landgrave Moritz. He briefly considered resuming studies in law before fate intervened in 1614, calling him to Dresden and the court of the recently ascended elector, Johann Georg I, for the christening of the Elector’s son.

It is a testament to the character and skill of Schütz that over the next few years the

Landgrave and the Elector, both powerful rulers in Saxony, would engage in a back- and-forth struggle over the composer’s court appointment. The Elector, being superior in authority, was at last able to secure a permanent place for Schütz as Kapellmeister at his Dresden court in January of 1617. In this role, which Schütz would hold until his retirement in 1657, he was primarily responsible for composing and organizing music for feast days and special occasions. He was also responsible, at least in part, for securing and keeping musicians at the electoral chapel. Because of this, Schütz’ position in Dresden allowed him to travel, earning for him prestige among rulers in

Saxony and beyond.

With its benefits, the position of Kapellmeister at the Electoral Chapel also came with stark difficulties. The Thirty-Years War dramatically affected music in

Dresden, reducing the number of available musicians and opportunities to publish significant works. This, coupled with the increasing preference for Italian music and musicians in the court at Dresden, placed Schütz into difficult circumstances. In a letter written in 1653 to Elector Johann Georg II, Schütz recounted how, in light of the

Elector’s appointment and preferred treatment of Italians in the Hofkapelle, many of

8 Texas Tech University, Jonathon Barranco, May 2020 the Germans within court felt significantly slighted.10 Moreover, they erroneously blamed Schütz as the cause of this situation based on a previous correspondence where he suggested that the presence of one or two Italian musicians at the school to teach the new style would be beneficial. While Schütz had benefitted from the inheritance of his study with Gabrieli and that of his second stint in Venice through his intersection with Monteverdi, he never strayed from his Lutheran faith and his German compatriots. It is unfortunate that he found himself caught between the rising Italian influence and the diminishing role of German musicians in the courts of Saxony.

Heinrich Schütz’s long life and career afforded him the rare opportunity to live through significant cultural changes and see dramatic shifts in views towards music.

That his music grew in his lifetime time to take a place alongside that of the Venetian masters and his German contemporaries is certainly reason enough to count him among the most significant composers of his time. That it lived to become an influence on the work of the next generations of German composers, including Bach and Brahms, is reason to count Schütz among the most significant of all times.

In light of the rising application of new compositional practices associated with the seconda prattica, Schütz expressed on multiple occasions his opinion that the core of a strong foundation in composition actually lied in the principles and practices of the prima prattica. In the forward to his 1648 Geistliche Chor-Music, a collection of

29 largely stile antico motets in German, Schütz wrote the following, “... no one can

10. Heinrich Schütz and Gregory S. Johnston. A Heinrich Schütz Reader: Letters and Documents in Translation. Oxford University Press, 2013, 204-206.

9 Texas Tech University, Jonathon Barranco, May 2020 rightly set out on other types of composition and properly deal with or manage them unless he has already been sufficiently schooled in the style [of composition] without basso continuo and, at the same time, has acquired the necessary requisites of a regulated composition.”11 From there Schütz proceeded to cite a list of compositional practices that included the study of imitation, counterpoint, arrangement of modes, and other areas that formed the backbone of prima prattica theory and composition treatises from the Renaissance. He ended this line of thought with the proposition that unless a composition displays the order that is created from this skillful study, it has an air of emptiness, regardless of how beautiful it may seem to uneducated listeners.12

Schütz at a later stage in life says something that should not be missed: without the order and design created by study of the prima prattica, the expressive elements of the seconda prattica ring somewhat hollow.

When Schütz arrived at the Hofkapelle in Dresden, there were 27 musicians divided among singers and instrumentalist. This number peaked at 39 in 1632 before the ravages of the Thirty Years War plummeted that number to ten in 1639. Moreover, those musicians that remained would often go long stretches without receiving payment. This situation was a source of grief for Schütz, who expressed concern for himself and his musicians in multiple letters to the Electorate. In a 1651 letter written to Herr Christian Reichbrodt, privy secretary to the Elector and ruler in Marienberg,

Schütz stated, “I would rather with all my heart be a cantor or organist in a small town

11. Heinrich Schütz and Gregory S. Johnston. A Heinrich Schütz Reader: Letters and Documents in Translation. Oxford University Press, 2013, 162-164

12.Schütz-Johnson, 164. In the forward to the Geistliche Chor-Musick, Schütz compares this unregulated type of composition to a “hollow nut.” 10 Texas Tech University, Jonathon Barranco, May 2020 than to remain longer in these conditions, where my dear profession disgusts me, my possessions and courage are stripped from me. But it must be borne with patience in order not to vex others with my impatience or to set them a bad example.” 13 While

Schütz lamented his circumstances, he expressed a desire to maintain his dignity for the benefit of others. Schütz continued in the letter to explain that over time he had given away most of his wealth and possessions to help sustain his musicians, and he called for their salaries to be reinstated.

He specifically referred to the plight of his bass singer, noting that his condition had deteriorated to that of almost an animal. Schütz’ concern for his musicians and frustration over the situation came to its apex in the statement, “I find it neither laudable nor Christian that in such a praiseworthy, great land, in which previously it was possible to support the bleating of so many monks and priests, one cannot or does not want to sustain even twenty musicians.”14 These are powerful words, especially when considering that they were written in a time when criticism of authority was often a risky undertaking. Schütz interceded not only for his own sake, but on behalf of his musicians, showing genuine concern for those placed under his care. This image of the composer advocating strongly for his musicians, reveals

Schütz to have been a conscientious composer with a pastoral spirit.

13. Heinrich Schütz and Gregory S. Johnston. A Heinrich Schütz Reader: Letters and Documents in Translation. Oxford: Oxford University Press, 2013, 191.

14. Schütz-Johnson, 191 11 Texas Tech University, Jonathon Barranco, May 2020

CHAPTER THREE

CANTIONES SACRAE

It was in Dresden, in 1625, that Heinrich Schütz would compile and publish a set of “Sacred Songs.” Dedicated to Hans Ulrich von Eggenberg, a Catholic Prince and close friend and ally to Archduke/Emperor Ferdinand II, these Cantiones Sacrae are polyphonic settings of sacred Christian texts taken from Andreas Musculus’ 1573 prayer-book titled Precationes. Musculus, born Andreas Meusel, was a notable

Lutheran theologian of the 16th Century and professor at the University of Frankfurt an der Oder. Associated with what is now called Gnesio-Lutheranism, Musculus’ work following the death of Martin Luther led to his becoming a contributor to the Formula of Conchord. Precationes, short for Precationes ex veteribus orthodoxis, contained texts from multiple sources. In it are extant hymns, canticles, devotional poems, psalms, and other biblical texts.

All but one of the forty individual movements of the Cantiones Sacrae are in four parts, with the majority of the music invoking the skillful deployment of counterpoint associated with the prima prattica of the Italian Renaissance. But within that, there are elements of the music that correlate with the seconda prattica associated with Claudio Monteverdi, a composer that Schütz would encounter in his second trip to Venice of 1628. Schütz does not avoid dissonance, but instead turns to it often to express specific text phrases and general poetic or theological concepts. There are

12 Texas Tech University, Jonathon Barranco, May 2020 moments that preface the monody of Schütz’s later collections.15 And the inclusion of figured bass, though wrested away from the composer somewhat begrudgingly, impresses upon these scores an image strongly associated with Baroque music.16

Because of the Cantiones Sacrae’s connection to the Venetian compositional school, significant employment of figures, and their inclusion of pietistic, mystical poetry, one might be tempted to call these sacred madrigals.17 However, that designation which is charged with secular expressive connection was not used by

Schütz in regard to these works. And it misses a pivotal consideration; the Cantiones

Sacrae were written to be doxological and edifying; praising God and illuminating spiritual belief. Schütz’s employment of rhetorical figures was intended to represent theology as much or more than to express mere emotion. This is evidenced not only by the music, but also by Schütz’ own words from the dedicatory paragraph to the publication. In it he states the following:

...after I applied my mind to the study of music, that excellent branch of knowledge agreeable and pleasant to God and mortals, I directed the greatest care and all my industry toward the following goal; namely that in this matter, my study and all my labors might yield first indeed to the glory of the divine Spirit, secondly that they might be pleasing to men…18

15. See the extended tenor solo in mm. 26-33 of movement 32, Ecce advocatus meus, for an example of Schütz’s invocation of monody in the Cantiones Sacrae.

16. Heinrich Schütz and Gregory S. Johnston. A Heinrich Schütz Reader: Letters and Documents in Translation. Oxford: Oxford University Press, 2013, 39. In the foreward to the Cantiones Sacrae Schütz states “The publisher thinking that this slight work would be more agreeable, wrested this bass continuo from me.”

17. The use of the terms “piety” and “pietistm” in this document are intended to invoke work of a highly personal and devotional nature, and not to refer to any specific religious movement.

18. Heinrich Schütz and Gregory S. Johnston. A Heinrich Schütz Reader: Letters and Documents in Translation. Oxford: Oxford University Press, 2013, 38.

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This quote points to the likelihood that Schütz’s focus did not rest primarily on the perceived aesthetic artistry of this work, but rather on how well it worked with the texts to glorify God and represent the appropriate affections for the listener. As the music of the Cantiones Sacrae unfolds, it reveals itself not just as a conveyer of emotion or circumstances, but as a form of musical homiletics And in this way, it exemplifies Martin Luther’s heralding of music as the viva voce evangelii.19

That Schütz would devote an entire publication to pervasively four-part, devotional Latin motets might seem curious on the surface, considering his position in the Lutheran Electoral Chapel of Dresden and the rising proliferation of monody and concerted music in Germany.20 However, a deeper look reveals several factors that can account for the publication. In answer to the issue of Latin, it is documented that

Martin Luther as early as 100 years prior to the publication of the Cantiones Sacrae supported the continued use of Latin alongside German, especially for use in the schools.21 As a result the use of Latin continued as part of many Lutheran services, often in the form of chant and motets by Italian composers. That being said

19. “Living voice of the Gospel.” For more on Luther’s theological views on music this author recommends chapter 2 of Robin A. Leaver’s “Luther’s Liturgical Music.” Leaver takes the headings from a proposed musical treatise by Luther and expounds upon them, using the reformer’s own words to reveal his beliefs on the purposes of music in religious life.

20. Michael Praetorius, and Jeffery T. Kite-Powell. Syntagma Musicum III. Oxford Early Music Series. Oxford: Oxford University Press, 2004. Michael Praetorius’ Syntagma Musicum, Band III, published in 1620, dealt extensively with concerted polychoral practice.

21. Robin A. Leaver, Luther's Liturgical Music: Principles and Implications. Lutheran Quarterly Books. Grand Rapids: William B. Eerdmans Pub, 2007, 301-302. Latin continued in use in multiple ways within Lutheran services. This could be alongside German chorales or in alternating services. This was especially true in areas that had latin schools (Lateinschülen).

14 Texas Tech University, Jonathon Barranco, May 2020 composition in Latin was not just the realm of imported music in Lutheranism but was undertaken by native Lutheran composers as well. Schütz’s own Cantiones Sacrae were preceded in 1620 by a publication of the same title by Samuel Scheidt.22

Scheidt’s collection of 39 motets is divided, like Schütz’s, into related sets of movements. However, it differs from Schütz’s in that it includes movements in

German and Latin and is written in eight parts, making extensive use of the antiphonal techniques afforded by the double-choir.

Regarding the notion that Schütz would choose to publish a reserved and seemingly “backward-glancing” collection of primarily four-part motets, this can be addressed by two observations. First, these were likely published not so much for personal posterity, but more likely for edification, devotional intent, and their applicability to multiple settings. The effects of the Thirty Years War were already taking a toll on music in the chapels at the time this publication, making the use of highly concerted multi-choir music difficult. The reserved forces of the Cantiones

Sacrae coupled with the previously discussed, wide-ranging texts from the

Precationes made these pieces useful for large scale Catholic and Lutheran services as well as for use as Hausmusick in the context of private devotion or in Hauskirche services. Second, the publication of the Cantiones Sacrae provided an opportunity for

Schütz to honor the principles of composition that he worked diligently to master under Gabrieli, while foreshadowing the continued viability of those principles in the seconda prattica. By publishing this set of sacred songs, Schütz placed himself along a continuum of such publications by old masters like Orlando di Lasso and Hans Leo

22. Samuel Scheidt, Cantiones Sacrae, 8vv (Hamburg, 1620) 15 Texas Tech University, Jonathon Barranco, May 2020

Hassler, while simultaneously peering forward into the changing landscape of composition in Germany

16 Texas Tech University, Jonathon Barranco, May 2020

CHAPTER FOUR

RHETORIC AND MUSICAL POETICS

Rhetoric

By the time of Heinrich Schütz in Germany, music had found a secure home in the disciplines of the Trivium, namely Rhetoric. From its origins in ancient Greece to its revival in the Renaissance and subsequent inclusion in the training of princes and preachers in Lutheran Germany, the study of rhetoric was a multifaceted and complex discipline. It is unfortunate then, that like the word “irony,” rhetoric has taken on a life of simplicity in our modern culture, often being reduced to meaning mere persuasiveness. Often when something is referred to as rhetorical the implication is that it lacks substance. And yet the discipline of rhetoric is one without which the ancient world refused to consider itself as educated.

In The Rhetoric Aristotle outlined three species of rhetorical argument: symbouleutikon (deliberative), dikanikon (judicial), epideiktikon (demonstrative). Each species had specific characteristics and specific ends/purposes. For one to successfully implement rhetoric in writing or oration, he or she had to carefully manage the ongoing dance between ethos and logos, or “character” and “argument.” When coupled with a strong awareness of one’s audience, this created the tripartite structure of rhetorical argument: Ethos-Logos-Pathos. The transmission of a form was central to artful rhetoric. Or, as Eugene Garver said in his examination of The Rhetoric,

“Aristotle places argument at the center of the art of rhetoric because it is the only

17 Texas Tech University, Jonathon Barranco, May 2020 means of achieving persuasion in which a form … is transmitted from speaker to hearer.”23 The implications of this for music are immediately evident: music by its nature is form that is transmitted through aural space to the listener. And the elements of that form, in the way that they are organized and presented, will have variable effects on the listening audience.

Derived and developed from multiple sources, including the Rhetorica Ad

Herrenium, Cicero’s De Inventione, and Quintilian’s Institutio Oratoria, there were five skills or canons associated with a complete mastery of rhetoric. These were inventio, dispositio, elocutio, memoria, and pronunciatio. They represented not only a skill set, but also a process by which an effective rhetorical oration could be achieved.

Inventio was the search for ideas and the gathering of supporting knowledge.

Dispositio, which has an etymological link to the English word disposition, was concerned with the order of things. Elocutio was where ideas took on rhetorical raiment, being turned into affective language. Memoria encompassed not only memorization of the specific oration, but also the complete body of argument that a speaker had at his or her immediate disposal. Finally, pronunciatio was concerned with the actual delivery of the oration.

Applying the canons of rhetoric to the processes of composing and performing music is a complex endeavor, complicated by the fact that the composer and the performer are often different persons. The composer’s work lies naturally in the areas

23.Eugene Garver, Aristotle's Rhetoric: An Art of Character. Chicago: University of Chicago Press, 1994, 32

18 Texas Tech University, Jonathon Barranco, May 2020 of inventio and dispositio. It is in the areas of elocutio and pronunciatio where performers typically have been viewed to have the greatest impact on music. Through their work the invention of the composer is transferred from the written score to the ears of the listener. In presenting music from composers of the Romantic and Modern eras, performers have benefited from scores that contain significant rhetorical marking in the form of dynamics, articulation, tempo, and stylistic prompts. When working with earlier music, which does not contain the same prevalence of musical marking, fealty to the composer’s rhetorical intent can be more of a challenge. In ways it requires the performer to become more involved in other areas of the rhetorical process, namely by contributing to the inventio.

Perhaps a helpful analogy can be seen in the way that an actor creates a role by

“inventing” the character and the way performers take part in the inventio of a composition. This occurs as choices are made based upon multiple contexts that include historical, theoretical, practical, aesthetic, and, in the case of sacred music, theological considerations. As one analyzes the disposition of a composer’s invention looking for clues to how it should be presented, he or she invents and applies musical elements to the score. Time and dynamics are adapted to match the invention to the acoustical, intellectual, and emotional contexts of a performance. In this way performers move beyond recitation into translation and amplification through the application of analysis and technique. To borrow a term from theology, the work becomes exegetical as one seeks to understand and illuminate musical figures without creating disruptive extrapolations. To continue in the realm of Quintilian rhetoric,

19 Texas Tech University, Jonathon Barranco, May 2020 performers become a part of the confirmatio by thoughtfully and expressively elaborating the given notation.24

In this paradigm, inventio of a vocal composition is a collaborative discipline between poet, composer, and performer as each seeks for an artistic thesis and the details that need to be rendered and elaborated to support it. And, as each contributes to the final expressed form of the work, so do they each take part in the inventio. This was a common practice in the improvisation and ornamentation of early singers whose performance choices were expected to impact the rhetoric of the music. And, it is in this spirit and through an understanding of musia poetica that the Cantiones Sacrae may be similarly impacted in our time.

Musical Poetics

Developing through treatises that spanned the 17th and early 18th centuries, musica poetica involved the employment of the German gift for language and order to the understanding and codification of the growing Italianate expressiveness in German composition. The term musica poetica, or “musical poetics,” arose as a synthesis of the theoretical musica speculativa and the humanly crafted musica practica. Dietrich

Bartel described it this way, “Musica poetica remained a unique concept of music, one which sought to balance science and art, ratio and sensus, speculation and craft.”25 It

24. Confirmatio is the fourth step in the arrangement of an invention, concerned with devising arguments to support a thesis.

25. Dietrich Bartel, Musica Poetica: Musical-rhetorical Figures in German Baroque Music. Lincoln: University of Nebraska Press, 1997, 28.

20 Texas Tech University, Jonathon Barranco, May 2020 is not difficult to see how a Lutheran theology that was expressing greater emphasis on vernacular word and personal faith, eventually leading to the swinging pendulum of orthodoxy and pietism, would seek means of marrying divine concepts and human expression. Musica poetica developed as theorists like Joachim Burmeister, Christoph

Bernhard, Johann Mattheson, and others sought to codify musical figures by associating them with specific rhetorical devices. The resulting treatises provided not only theoretical exposition, but also practical application, developing into de facto methodologies for composing German Baroque music.

By correlating musical figures with rhetorical figures of oration, theorists made powerful connections between the expressivity of music and that of language. This, however, is not the same as saying that musica poetica was merely an interchangeable term for mimetic text-painting. Musica poetica sought to see, within music, structures that were created and organized for rhetorical expression. It dealt with inventio and elocutio, recognizing that rhythmic, melodic, and the resultant harmonic events not only expressed textual meaning, but also created the architecture of the individual compositions through repetition, variation, and elaboration. This became Aristotle’s form, transferred from performers to listeners. In this taxonomy, text-painting, or hypotyposis, was just one device among myriad others.

When combined into the collective lexicon called musical poetics, these rhetorical devices became powerful tools for understanding and expressing German

Baroque music. As a composer Schütz embodied the notion that principles of rhetoric could be employed in direct correlation to textual meaning and in service to the design

21 Texas Tech University, Jonathon Barranco, May 2020 and disposition of musical architecture. It is advantageous then to view a work like

Schütz’s Cantiones Sacrae through the prism of musica poetica; not only to define the expressive musical figures the composer employs, but to also see how these can impact choices that are made by performers in presenting this music. Performer choices influence, shape, and in many ways become the expressed rhetoric of the music. The greater the number of resources one has to help make informed artistic decisions, the more rhetorical his or her performances are likely to become.

22 Texas Tech University, Jonathon Barranco, May 2020

CHAPTER V

ANALYSIS AND CHOICE

For orators of music, the decisions made will shape the rhetoric of a work in performance. This is particularly true of early music, which due to its highly rhetorical nature and limited scoring, requires significant contribution on the part of the performers. It is important when approaching such music that choices are informed by knowledge in both musical and poetic/rhetorical disciplines. Performer choice in presenting the rhetoric of a piece of early music is a multifaceted topic often involving issues of ornamentation as well as the manner in which one manipulates dynamics and time.

This document will focus on the latter, omitting significant discussion of ornamentation for two reasons; first, the topic of ornamentation is complex enough to warrant separate research, and second, the care that Schütz took to express the discussed music through the application of dissonance and intricately woven counterpoint presents the strong possibility that these movements are “complete,” warranting no further composition by improvisation or ornamentation. This is further evidenced by Schütz’s words from the forward to the Cantiones Sacrae which, regarding the use of organ, encouraged the organist to play as closely to the written

23 Texas Tech University, Jonathon Barranco, May 2020 parts as possible and avoiding the normal practice of freely realizing a figured bass.26

Care be taken to perform this music in a way which preserves Schütz’s taut counterpoint and secures text declamation. As Vincenzo Giustiniani said of the virtuosic concerti della donne in 1628, “... they moderated or increased their voices loud or soft, heavy or light, according to the demands of the piece they were singing... they made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.”27 If adopted, this model of singing would serve the rhetoric of

Schütz’s music and that of the texts it carries; empowering performers to vary their voices in service to the composer’s invention.

What follows is an examination of how figures of musica poetica can be used to analyze and make choices in performing the Cantiones Sacrae. The focus of this analysis will be based on how time, dynamics, and articulations may be shaped to elaborate the music and text. As was noted by Michael Praetorius in 1620, flexibility in time and dynamic are appropriate to the enlivening of a motet, helping to prevent monotony by moving the affections of the listener.28 The rhetorical figures discussed in the following will relate to voice crossing, questioning, expression of affect, texture, direction of musical line, and the creation of drama or climax. Examples will be

26. Heinrich Schütz and Gregory S. Johnston. A Heinrich Schütz Reader: Letters and Documents in Translation. Oxford: Oxford University Press, 2013, 39.

27. Carol MacClintock, "Giustiniani's "Discorso Sopra La Musica"." Musica Disciplina 15 (1961): 213

28. Michael Praetorius and Jeffery T. Kite-Powell. Syntagma Musicum III. Oxford Early Music Series. Oxford: Oxford University Press, 2004, 91-92.

24 Texas Tech University, Jonathon Barranco, May 2020 excerpted from movement 36, Oculi Omnium, and movements four through eight.

Movement 36 is a setting of verses 15 and 16 from Psalm 144. Movements four through eight are settings of Passion poetry, originally attributed to St. Augustine but now most often associated with St. Anselm of Canterbury. These Passion poems were written from the perspective of one who, recognizing justification as coming through vicarious atonement in Christ, commits himself/herself to a life of openly expressive faith and gratitude. The original Latin texts and English translations are listed in the following table: 29

Translations

Mvt. 36 Oculi Omnium (Psalm 144:15-16, Vulgate)

1. Oculi omnium in te sperant Domine: et 1. All eyes wait upon thee, O Lord; and tu das illis escam in tempore opportuno. You give them sustenance in due 2. Aperis tu manum tuam: et imples omne season. animal benedictione. 2. You open Your hand, and satisfy every living thing by Your blessing.

Mvts 4-8 Passion Set

1. Quid commisisti, O dulcissime puer, 1. What was committed to you, O sweet Boy, 2. ut sic judicareris, O amantissime 2. To have incurred this judgement? juvenis, O lovely youth, 3. ut adeo tractareris? 3. To have been so mistreated? 4. Quod scelus tuum, 4. What is your crime, 5. quae noxa tua, 5. What is your offense, 6. quae causa mortis, 6. What is the cause of your death, 7. quae occasio tuae damnationis? 7. What is the reason for your condemnation?

1. Ego sum tui plaga doloris, 1. I am the strike that pains you, 2. tuae culpa occisionis, 2. at fault for your murder.

3. ego tuae mortis meritum, 3. I am the cause of your death,

4. tuae vindictae flagitium, 4. the shame of your punishment. 5. I am the bruises of your suffering,

29. Translations are those of this author.

25 Texas Tech University, Jonathon Barranco, May 2020

5. ego tuae passionis livor, 6. the pains of your labor. 6. cruciatus tui labor.

1. Ego enim inique egi, tu poena 1. For I acted unjustly; mulctaris; you are beaten in punishment. 2. Ego facinus admisi, tu ultione 2. I am responsible for the deed; plecteris; you are struck in retribution. 3. Ego superbivi, tu humiliaris; 3. I was prideful; you are humbled. 4. Ego tumui, tu attenuaris; 4. I expanded; you became less. 5. Ego praesumpsi vetitum, 5. I dared to do the forbidden; 6. tu mortis subiisti aculeum; 6. you submitted to the sting of death. 7. Ego pomi dulcedinem, 7. I tasted the sweetness of fruit; tu fellis gustasti amaritudinem. you the bitterness of gall.

1. Quo, nate Dei, quo tua descendit 1. To where, Son of God, have you humbly humilitas, descended, 2. Quo tua flagravit caritas, 2. Where has your charity led you, 3. Quo tuus attigit amor, 3. Where has your love directed you, 4. Quo pervenit compassio? 4. Where has your compassion taken you? 5. Quid tibi retribuam pro omnibus 5. How can I repay you for all 6. Quae retribuisti mihi? 6. That you have rewarded me? 7. Rex meus et Deus meus. 7. My King and my God.

1. Calicem salutaris accipiam, 1. Accept the chalice of salvation, 2. Et nomen Domini invocabo. 2. And invoke the name of the Lord. 3. Vota mea reddam tibi, Domine, 3. My vows will I offer to you, Lord, 4. Coram omni populo tuo, 4. Before all of your people, 5. Et misericordias tuas in aeternum 5. And of your mercies will eternally sing. cantabo.

Example 1: Oculi omnium, m.9-10.

In classical rhetoric, the terms metabasis and trangressio were associated with taking an argument and rearranging it or transitioning from one thought to another.

While the two terms have some underlying differences, the nature of both was to express a change in position. In the collective musica poetica, these terms highlight instances where one part moves through another creating a passage of crossed voices.

In analysis we often relegate this to a necessity of the voice leading, implying that the

26 Texas Tech University, Jonathon Barranco, May 2020 Oculi omnium Psalm 144:15-16 (Vulgate) Heinrich Schütz (1585-1672) composerSoprano was bound4 by some˙. conventionœ œ to write the music this way. That is & b 2 ˙. œ œ ˙ œ œ œ œ. œ ˙ Œ œ œ œ ˙ O - cuJ - Jli o - mni - um in te spe - rant, Do - miJ - ne, et tu das e - sometimes true, but it is also true that composers chose voice-crossing for its Alto 4 j j j & b 2 ˙. œ œ ˙. œ œ ˙ œ œ œ œ. œ #w Œ nœ œ œ rhetorical effect. AnO -examplecu - li o of- thismni - umoccursin inte mm.spe - rant, 9-Do11- ofmi Oculi- ne, omnium et(Fig.1)tu das. In Tenor 4 ˙. œ œ ˙. œ œ bœ œ œ w œ œ œ V b 2 J J ˙ œ œ Œ measure nine the Otenor- cupart- li o leaps- mni an- octave,um in risingte spe - rant,to aDo fifth- mi - abovene, the altoset’ C.tu Thedas

Bass ? 4 ˙. œ œ ˙. œ œ ˙ œ œ altos immediatelyb 2 beginJ aJ stepwise ascent to œjoin the bteœ.nors,œ whereuponw ∑ arriving order O - cu - li o - mni - um in te spe - rant, Do - miJ - ne, ˙ œ œ is brieflyContinuo restored˙ .as the tenors˙. descend.œ œ However,œ at beat three of measure 10 the ? b 42 œ œ ˙ œ œ b˙ w 6 6 4 tenorsS ascend again, move through. the altos, and briefly sing in unisonœ with. œ theœ & b œ œ ˙ œ œ œ œ ˙ ˙. œ ˙ w J œ scam il - lo - rum in tem - poJ - re op - por - tu - no. A - pe - ris tu sopranos. The transgressions of the tenor part, singing in its upper tessitura in close A . j œ. œ #œ œ & b ˙ œ bœ ˙ ˙ œ œ œ œ œ ˙ œ ˙ J nœ œ proximity toe the- sopranoscam il - lo and- rum alto parts,in tem create- po - re multipleop - por - tumoments- no. A of- dissonantpe -ris tu ma minor- num œ T b˙ œ ˙ œ œ œ. œ ˙ œ ˙ œ. œ œ and majorV b harmonic œseconds. This dissonanceJ contrastsœ dramaticallyw with theJ clarity e - scam il - lo - rum in tem - po-re op - por - tu - no. A - pe - ris tu of theB final perfect harmony. œ. œ œ œ œ bœ ? b „ „ Ó J A - pe - ris tu ma - num . b˙ œ œ ˙ œ Metaœ œbasis/Transgressioœ ˙ œ ˙ ? J œ ˙ B ? b œ. œ ˙ œ bœ 6 6 6 4 3 J 7 S œ œ ˙ w j & b Ó ˙ œ œ œ œ œ. œ ˙ Ó œ œ ˙. œ w W ma-num tu - am et im-ples o-mne a - ni - mal be - ne - di - cti - o - ne.u

A œ w j & b #œnœ ˙ Ó Œ œ œ œ œ œ. œ Ó #œ w ˙ W tu– am etœ ím-ples o-mne a - ni - mal˙ beœ - neœ - diœ - cti - o– ne.u

T œ œ ˙ ˙ ˙ ˙ #œ œ œ œ œ U V b ˙ œ œ œ œ œ. œ ˙ œ œ ˙. œ œ W ma-num tu - am et im-ples o-mne a - niJ-mal be - ne - di - cti - o– ne. U B ? w œ œ œ œ œ. œ ˙ œ œ b˙ W b ˙ ˙ J Ó . œ #w w tu - am et im-ples o-mne a - ni-mal be - ne - di - cti - o– ne. U ? ˙ ˙ œ œ œ œ œ. œ ˙ œ œ b˙ œ W b ˙ ˙ J Ó œ #w w 4 6 5 6 4 3

Figure 1. Transgressio/Metabasis seen in the interchange between the alto and tenor parts in mm. 9-10 of Oculi Omnium.30

30. Music figures were created on Finale software and are based on the 2004 Bärenreiter publication of the Cantiones Sacrae. Edits by this author include the addition of clefs where needed and markings which highlight material from the text. 2

2 27 Texas Tech University, Jonathon Barranco, May 2020

It would not be too much of an extrapolation to view the comingling of the upper voices in transgressio as the musical impression of God’s hand opening. The final harmony, devoid of the third, can be said to depict the hand as open, offering its blessing completely. In moments like these, where rhetorical expression depends heavily on the expression of dissonance or clarity, it is beneficial to ask singers to minimize or eliminate their use of vibrato. This is not to say that vibrato should not be used at all in this music. There is an established precedent for the desirability of a pleasing vibrato or “tremolo” in the voice, a practiced espoused by Michael Praetorius and Ludovico Zacconi in separate treatises.31 And, the complete removal of vibrato from all moments of the music can inhibit rhetorical expression as much as the perpetual employment of vibrato. Therefore, singers should be asked to use vibrato rhetorically, in a way that does not inadvertently warm desired dissonances, or obscure moments of clarity.

31. Lodovico Zacconi, Prattica di Musica, Part 1, Book 1, translated by Sion. M Honea, University of Central Oklahoma: https://www.uco.edu/cfad/files/music/zacconi-prattica.pdf (accessed on 2/2/2020), 12-13; Michael Praetorius and Jeffery T. Kite-Powell. Syntagma Musicum III. Oxford Early Music Series. Oxford: Oxford University Press, 2004, 215. There is some disagreement among scholars over equating tremolo with vibrato, especially regarding its reference in Zacconi’s Prattica di Music, where the author espouses it as an aid to the execution of diminutions. However, Praetorius notes in volume three of his Syntagma Musicum that a pleasing tremolo is a quality to look for in choosing young singers to train for the chapels, implying that it was a natural quality of the voice and not an ornamentation.

28 Texas Tech University, Jonathon Barranco, May 2020

Example 2: Quid commisisti mm 1-13

Movement four begins with a repeated intoning of the question Quid commisisti, “What has been committed to you?” In musica poetica, the musical depiction of a question was called interrogatio. The methods for composing a question typically involved specific treatment of intervals and pausas, or rests. Shown in Figure

2, Schütz’s motive for Quid commisisti begins with a descent by leap, then rises to the stressed syllable of commisisti. This rise mirrors the natural voice inflection associated with questioning. Successive repetition, or anaphora, of the question throughout the ensemble creates the image of one who is intently searching. The question of course should be seen in contrast to the sweet description of Christ in the phrase that follows

“o dulcissime puer” or “oh sweetest boy.”

Interrogatio Quid commisisti Heinrich Schütz (1585-1672)

Soprano œ j j œ & 42 w. ‰ J œ œ w. ˙ ‰ J œ œ ˙ w Quid, quid com-mi - si - - - - sti, quid comJ -miJ - si - sti,

Alto 4 Ó ‰ j j j ∑ & 2 W œ œ œ w ˙ Quid, quid com -mi - si– sti,˙ Tenor 4 j j j V 2 #W ∑ ‰ œ #œ #œ ˙ w Nœ œ ˙ Quid, quid com - mi - si - sti, O dul - cis–

Bass ? 4 œ œ œ w 2 W ‰ J œ œ w ˙ œ œ Quid, quid comJ -miJ - si - - - sti, O dul - cis - si - me Continuo œ ? 42 W œ œ œ w ˙ œ œ ˙ ˙ œ œ # # # # # # 2 4 S j Figure 2: Interrogatio, or “questioning” motive shown in all voices.j j œ œ ˙ & ∑ œ œ ˙ ˙ œ œ w #˙ ‰ œ œ œ w ˙ #˙ O dul-cis– si - me pu - er. quid com-mi - si– sti, O dul-cis–

A ‰ j j j ∑ & w #w œ œ jœ. nœ ˙ #˙ œO dulœ - cisw - #si–˙ ˙ me˙ pu - er, quid com-miœ - si– sti, 29 T œ œ ˙ œ j V ˙ œ œ œ w w Ó ‰ J œ œ ˙ w Ó si - meœ puœ - er,œ O dul - cis - si - me pu - er, quid comJ -mi - si - sti,

B ? œ œ ˙ œ œ ˙ œ œ W w ∑ ∑ Ó pu - er, dul - cis - si - me pu - er, O dul - œ œ œ œ. œ ˙ ˙ ˙ œ œ ? ˙. œ ˙ ˙ ˙ ˙ w w J 4 6 3 4 6 8 S ˙ j j j œ j j & œ œ ˙ ˙ œ œ ˙ ˙ œ œ œ j œ ‰ J bœ œ œ œ si - me pu - er, O dul - cis - œsi - meœ pu - er, quid com - miœ - si - sti,œ quid com - mi - si - sti,

A & ∑ œ œ ˙ ˙ œ. œœ O dul - cis– œsi - meœ pu– ˙ er,W

T œ œ w œ œ #˙ w ˙ ˙ œ j j V ‰ J bœ œ œ œ Ó O dul - cis - si - me pu– er, quid com - mi - si - sti,

B ? œ. œ W œ œ ˙ J œ. œ #˙ œ œ w cis– J si - me pu - - - er, O dul - cis– j w ˙ ˙ ? œ. œ œ. œ #˙ œ œ w ˙ ˙ J 6 6 6 4 3

# Quid commisisti - Schutz Texas Tech University, Jonathon Barranco, May 2020

As the passage develops and the question returns, the emotional nature of the music develops. This change can be seen in measure 11 (Fig. 3). Here, the soprano utterance of the question is altered, opening with a descending 2nd rather than a leap.

It is also preceded by an extended pausa, or rest, disrupting the established pattern of separating successive statements of the motive by just an eighth rest. Here the question

“Quid commisisti,” or “what has been committed to you,” takes on the personalized affect of “What have I done?” What was spoken openly at the beginning is now internalized as grief, and that grief carries into the next measure as the sopranos sing a dissonant C natural against both the tenor G sharp and the alto B natural. This statement of the question carries a sense of pathos that is not present in the others.

Johann Mattheson referred to this affective contraction of intervals when he wrote

“Wheras if one knows that sadness is a contraction of these subtle parts of the body

(the soul), then it is easy to see that the small and smallest intervals are the most suitable for this passion.”32

By reducing the initial interval to a 2nd and setting this statement apart through extended rest, Schütz changes the represented affection. To amplify this rhetorical change, the sopranos may be asked to forgo any established pattern of detached articulations from the previous Quid commisisti statements and sing this figure legato at a softer dynamic. They may also remove vibrato in accordance with the discussion

32. Johann Mattheson, Der Vollkommene Capellmeister: A Revised Translation with Critical Commentary. in Studies in Musicology ; [no. 21]. Translated by Ernest Charles : UMI Research Press, 1981, 105.

30 Texas Tech University, Jonathon Barranco, May 2020 from the previous example on transgressio. Moments like this, though subtle, allow the music to be strengthened through nuance; they become like the small details of a painting that draw one’s attention in closer to the subject.

Interrogatio motive changed

11 S j j j œ œ ˙ œ j & Ó ‰ œ œ œ œ Ó œ œ ˙ ˙ ˙ œ œ œ. œ ˙ quid com-mi - si - sti,œ O dul - cis - si - me pu - er, ut sic ju - diœ. - ca - re– œœ œ ris,˙

A ∑ & w w ˙ j œO dulœ -cis–˙ ˙ œsi - meœ pu - er, ut sicœ juœ - diœ. - caœ - re–œ ˙ œ ris,˙ T œ j œ V œ œ w #œ #œ #˙ w ˙ w ˙ œ . œ œ. œ O dul - cis - si - me pu– er, ut sic ju - diœ - ca - re– œ˙ ris,œ ut

B ? ˙ œ œ w W w ∑ „ si - me pu– er, ? ˙ œ œ ˙ ˙ w ˙ ˙ ˙ ˙ œ œ œ. œœ w . J œ œ ˙ 2 4 3 6 4 3 7 6 15 Figure 3:S Increased pathos ofœ interrogatioœ œ throughj diminution˙ of initialw interval and extendedœ œ œ pausa preceding& theÓ sopranoŒ “Quid commisistiœ. ”œ motiveœ in m.11.œ ˙ ‰ J œ œ ˙ œ ut sic ju - di - ca - re– ris, quid, quid comJ - miJ - si–

A j j j j & Œ œ ˙ œ. œ . ‰ œ œ Example 3 Ego sum tui plagutœ sica mm.ju˙ - 1-di5 - caœ - re–œ œ ris,w quid,w quid comœ - mi -

At the beginningT w of movementœ fiveœ (Fœig.4), Schützœ ˙ employsw a figure termed œ œ ˙ V Œ œ #w ‰ œ J sic, ut sic ju - di - ca - re - ris, quid, quidJ comJ - mi - si– tirata. Specifically, this is a tirata mezza, a short grouping of equal, rapid notes B ? œ j w œ j j th ˙ œ œ œ œ. œœ w ‰ œ œ ˙ spanning a 4th or 5 . Laterut definitionssic ju - di . - ofca -there– term expandedw to ris,include associationquid, quidJ com - mi - si - with certain affections,? in accordance withj the Doctrine of the Affections and Baroque ˙ œ œ œ œ œ œ w w œ œ œ œ œ œ œ6 . 4 3 œ 3 ˙4. œ3 6 7 6 understanding of human18 emotions. In his Der volkommene Capellmeister, Johann S & w ∑ ‰ œ œ œ œ. œ ˙ ‰ #œ œ œ sti, JO Ja - manJ - tis - Jsi - me, JO Ja - manJ -

A 31 j & ˙ #˙ ∑ Ó ‰ j j j œ j j si - sti, œO œa - manœ - tisœ - si - meœ juœ. - veœ -

T ˙ j j j j V #˙ ‰ œ œ œ œ œ œ œ. œ ˙ Ó ‰ œ œ œ sti, JO Ja - manJ - tis - Jsi - meJ ju - ve - nis, O a - man -

B œ œ œ œ œ œ #œ œ œ #œ ˙ œ œ œ œ nœ œ ? ˙ ‰ J J J J J ‰ J J J J J sti, O a - man - tis - si - me ju– ve - nis, O a - man - tis - si - me ? œ œ #œ œ œ #œ ˙ œ œ œ nœ ˙ ˙ 6 2 5 6 4 Texas Tech University, Jonathon Barranco, May 2020

Mattheson suggests that the figure is only accurately labeled as a tirata if it implies darting or spurting rather than a leisurely motion through the pitches.33 He calls it a

“tirade of notes, vigorously bolting up or down,” - useful in the expression of agitation or joy. Schütz employs the tirata as a sixteenth note figure on the second syllable of

“Ego” in the verse “Ego sum tui plaga doloris,” meaning, “I am the strike that pains you.” This tirata can be seen to represent both the literal acceleration of a physical strike and emotional pain in the recognition of having caused harm. Here the poet sees his transgressions as the cause of Christ’s suffering.

Tirata Ego sum tui plaga doloris Heinrich Schütz tirata mezza (1585-1672) Soprano 4 ˙ œœœ œ œ & 2 œœ#˙ œœ ˙ ˙ Œ˙ œœœ #˙ œ œ nw E - go sum tu-i pla-ga do - lo-ris,˙ e - go œ#sum˙ tuœ -œi pla -ga do-lo - ris,W

Alto 4 ∑ ∑ Ó & 2 ˙ œ ˙ œ œ œ œœ #œ œ #˙ nœ˙ ˙ #ris,˙ tu-ae E - go œ œ #sum˙ tuœ -œi pla˙ -ga do - lo– Tenor 4 ˙ œœœ œ œ #˙ ˙ V 2 ∑ œœ #˙ œ œ ˙ ˙ #˙ œ ˙ œ œ W E - go sum tu - i pla-ga do - lo - ris,˙ sum tu -œi pla -ga do-lo– ris,

Bass ? 4 ˙ œ 2 ∑ œœœœ œ œ ˙ œ œ w w w Ó œ œ #w E - go #sum˙ tu - i pla-ga do - lo– ris, tu -ae cul - Continuo ? 4 2 W ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ w œ #w #˙6 œ œ 6 6 6 3 4 6 ˙4 œ 6 6 4 œœ Figure 4:& SchützÓ œ employsœ w the tirata˙ mezzaœ , highlighting the ∑personal∑ pronoun “ÓEgo” and œtheœ œ œ œ œœ ˙ Ó associated poetictu -angst.ae cul - pa oc˙ - ci-œsi-˙o– œ nis,w e-go tu-ae mor-tis me - ri-tum,

œ ∑ ∑ Ó & w ˙ œ #œ #w nœ œ œ œ w œ œ œ œ ˙ œ œ cul - pa, tu - ae cul - pa oc - ci-si-o - nis, e-go tu-aemor– tis meœ œ- œri-tum,˙ 33. Johann Mattheson, Der Vollkommene Capellmeister: A Revised Translation with Critical Commentary. in Studies in Musicology ; [no. 21]. Translatedw by Ernest Charles : UMI Research Press, œœ œ V ∑ ∑ Ó œ œ ˙ œ ∑ Ó œ 1981, 274-276. tu - ae cul - pa oc˙ - ci-œsi-˙o– œnis,w e-go tu-ae

w œ ? ˙ œ œ w ∑ Ó œ #œ #w NœNœœœ w ∑ œœ œ œ ˙ pa, tu - ae cul - pa, tu - ae cul - pa oc - ci-si-o-nis, e-go tu-aemor– 32 œ ˙ œ œ œ œœ ? ˙ œ œ ˙ œ œ w œ œ œ œ #œ #˙ ˙ œ œ œ œ w œœ œ œ ˙ 6 6 6 2 6 6 6 11 œœ & ∑ œœ œ œ œ Œœ œ#œ œ ˙ ˙ Œ ˙ ˙ ˙ Œ œ œ#œ œ ˙ ˙ e-gotu-aemor- tis me– ˙ œri - tum,˙ tu– ae vin-di - ctae flaœ - gi - ti - um, tu– ae vin-di - ctaeœ flaœ -gi–

Ó Ó Œ Œ & œœ#œ œ œ œœ ˙ œ œ ˙ w ˙ œ ˙ #œ œ ˙ œe-go tu-aemor - tis, e-gotuœ-aeœ morœ -tisœ meœ œ- œri-tum,˙ tu - ae vin-di˙-ctae flaœ - gi– ti - um, tu - ae vin-di - ctae˙ œ œ œ œ #˙ ˙ ˙ #œ œ ˙ œ V œ œ œ œ ˙ œ œ œ œ œ œ œœ Œ œ œ Œ œ œ#œ œ ˙ ˙ Œ ˙ mortisme - ri-tum, e-gotu-ae mor-tisme - ri-˙tum, tu– ae vin-di - ctae, tu– aevin-di - ctae,œ tu - aevin - di - ctae fla-gi -

? œ œ#œ œ ˙ œ œ#œ œ ˙ œ œ œ œ œ œ ˙ Ó Ó Œ ˙ Œœ ˙#˙ ˙ Œ w Ó Œ tisme - ri-tum, tu– aevin-di - ctae fla - gi - ti - um, tu– aevin-di - ctae fla- œœ œ œ œ œ ˙ œ œ œ œ œ œ ? œ œ ˙ ˙ œ œ œ œ œ œ ˙#˙ ˙ #œ w œ œ 6 6 6 6 6 6 7 6 4 3 6 5 ˙ œ 4 3

# Ego sum tui plaga doloris - Schutz Texas Tech University, Jonathon Barranco, May 2020

Schütz places the tirata on the unstressed syllable of the word “Ego”.

Although his lines typically follow the word stress of the texts they carry, this moment demonstrates that Schütz is not afraid to disrupt that convention when it serves the rhetoric. To give further emphasis to this figure, performers may add accent and decay to the first pitch of “Ego.” This could then be immediately followed by driving articulations and acceleration of the sixteenth notes leading to an accent on the word

“sum.” The acceleration of the voice creates the sense of darting referred to by

Mattheson, increasing the representation of angst associated with the guilt expressed by the poetic text.

Example 4: Ego sum tui plaga mm.32-39

The poet continually uses the word “ego” in this Passion set to reinforce the confessional and increasingly contrite role of the speaker. Schütz takes this idea even further in mm. 16-18 of Ego sum tui plaga (Fig.5). The imagery associated with the repetition of the personal pronoun “ego” is intensified through beat-by-beat expression. Schütz creates an active, quasi-antiphonal texture by placing a new entrance of the word on each beat, distributed between the four parts. This is a madrigalism and a modification of the polychoral techniques Schütz learned under

Gabrieli. The effect is that of one beating against his or her chest and saying, “Ego tuae passionis livor,” or, “I am the bruises of your suffering.”

To heighten this passage, Schütz utilizes auxesis. Auxesis, sometimes called incrementum, was a figure of musical poetics involving the repetition of a musical

33 Texas Tech University, Jonathon Barranco, May 2020 passage at a step above. Citing Orlando di Lasso’s Veni in hortum, Joachim

Burmeister connected auxesis with ascending homophonic repetitions of a passage of text.34 A later definition proposed by Johann Walter in his Lexicon kept Burmeister’s stepwise repetition but eliminated the necessary connection between auxesis and homophony.35 By stepping up from F Major in mm. 17 to G Major at m. 18, the repeated passage shown in fig.4 functions as an auxesis. Schütz’s chosen texture for the passage heightens the auxesis; functioning similarly to how homophony was used to rhetorically interrupt surrounding polyphony.

Auxesis

16 ˙ ˙ ˙ ˙ #œ#œ œ & ˙ #˙ w ˙ ˙ ˙ ˙ œ œ #œ#œ œ œ ˙ ˙ Ó Ó ˙ ti - um, e - go, e - go, e - go, e - go, e - go tu - ae pa-ssi-o-nis li - vor, cru -

Œ Œ Ó & œ œ w ˙ ˙ œ œ ˙ œ œ œ œ #œ œ #œ ˙ œ W fla - giœ -œ ti-um, e - go,œ œ e - go, e - go, e - go tuae paœ -ssiœ -œo -#nisœ li– vor, ˙ ˙ ˙ ˙ #œ #œ œ V w ˙ ˙ ˙ ˙ ˙ œ œ œ#œ œ œ w ˙ œ œ #œ #œ ti - um, e - go, e - go, e - go, e - go, e - go tuae pa-ssi-o - nis li - vor,˙ cru– ci - a - tus ˙ œ œ ? œ œ ˙ œ œ œ ˙ ˙ œ œ ˙ ˙ ˙ Œ Ó ∑ Ó gi - ti - um, e– go, e– go, e - go,˙ e - go,˙ cru– ci - a - tus œ #œ œ ˙ œ œ ˙ œ œ ? ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ #œ#œ œ ˙ #œ #œ w 6 6 6 4 3 21 #œ œ & Figureœ œ#œ 5#:œ Auxesisœ ˙ is ˙created#˙ wby the stepwiseœ œ assentœ in #m.œ 17œ-18œ of the repeated˙ œ œ # passage.œ #œ #œ ˙ w - ci - a - tus tu-œi la– bor, e - go tu - ae pa-ssiœ -o-nis ˙li - vor,˙ cru– ci - a - tus tu - œi la - bor,

& Ó œ ˙ œ œ w ˙ œ œ œ œ œ œ ˙ #˙ œ œ œ œ œ#œ ˙ œ ˙ œ œ œ#œ œ œ 34. Joachimcru– Burmeisterci - a-tus tu -, iMusicalla - bor, e Poetic- go s. Translatedtu- ae paœ-ssiœ -œo -bynis li– Benito V. Rivera.vor, cru– Newci - aHaven:- tus tuYale- i la– University Press, 1993, 173. ˙ Ó œ œ œ #œ œ w Ó ˙ œ œ#œ œ œ œ ˙ V #œ œ w w #œ œ œ œ w 35tu. Dietrich- i la - bor,Bartel, Musica Poetica:e - Musicalgo ru - ae-rhetoricalpa-ssi-o-nis liFigures- in Germanvor, Baroquecru– Musicci .- a-tus tu-i la– Lincoln: Universityœ w of Nebraskaœ œ w Press,w 1997, 209-210. ˙ œ œ ? #œ ∑ ∑ Ó #œ#œ tu - i la– bor, cru– ci - a - tus ˙ ˙ œ œ œ #œ œ ˙ œ œ ˙ œ œ ˙ œ œ ? #œ œ ˙ ˙ ˙ ˙ 34 #œ œ œ œ w ˙ #œ#œ 6 5 4 3 6 6 4 3 6 6 6 6 26

& ∑ ∑ Ó b˙ œ œ œ œ œ#œ bw œœ w w cru– ci-a-tus tu - i la– bor,

Ó & w w œ œœ#œ œ œ œ ˙ ˙ œ œ#œ œ œ œ ˙ ˙ #˙˙ œ bor, e - go tu - ae paœ-ssiœ-œo-nis ˙li - vor,œ œ œ cru– ci - a-tus tu - i la– bor, œe -œ go ˙ ˙ ˙˙ V #˙ #œ œ œ œbœ #œ ˙ œ w Ó b˙ œ œ œ œ œ#œb˙ œ œNœœ œ œ œ bor, e - go tu-ae paœ-ssiœ -œo-nisœ li– vor, cru– ci - a-tus tu - i la– bor, e - go

? #œ œ ˙ œ #œ œ ˙ œ œ œ œ ˙ œ œ œ œ œ œ w ˙ ˙ w w tu - i la - bor, e - go tu-ae pa-ssi-o-nis li - vor,˙ cru– ci-a-tus tu - i la– bor,w ? #œ ˙ #œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ 6 6 œ 6 6 4 3 ˙ 6 6 3 4 4 3 ˙ Texas Tech University, Jonathon Barranco, May 2020

In his Institutio, Quintilian associated auxesis with the amplification of argument, even to a point beyond its superlative.36 It therefore makes sense that performers invoke that association to realize moments of auxesis in music. In this passage, the rhetorical compositional choice may be enhanced by incorporating a crescendo that begins with the rise in harmony in m. 34 and leads to “passionis” at the completion of the associated text phrase “ego tuae passionis livor” in mm. 36-37.

Throughout the crescendo, each subsequent “ego” could receive increased accent by shifting the vocal onset of the [e] vowel from being balanced to incorporating slightly more subglottal pressure with each repetition. This intensification of dynamic and articulation would then resonate with the intensification of the idea expressed in the text. One might also choose to incorporate a slight accelerando in mm. 31-35, as long as the time that is borrowed by the increase of tempo is returned at the cadence that ends this point of imitation in mm. 37-38. This acceleration is not essential however, and those who wish to maintain tempo should find that the manipulation of dynamic and articulation are enough to create auxesis.

Example 5: Ego enim inique egi, mm. 16-25

Movement six, Ego enim inique egi, is structured, like much of the music in this set, as a series of points of imitation containing two contrasting motives. That

36. Quintilian. Institutio Oratoria of Quintilian. Volume III. Translated by Harold Edgeworth Butler. The Loeb Classical Library. London : New York: W. Heinemann; G. P. Putnam's Sons, 1921, 265.

35 Texas Tech University, Jonathon Barranco, May 2020 technique is especially useful in this movement as the poetry here is in couplets, alternating between the perspectives of the poet and that of Christ. This is accomplished through a series of “ego-tu” expressions, and Schütz deploys his musical rhetoric to great effect in distinguishing between the nature of the two characters and the words associated with them. An exemplary moment of this occurs in mm. 21-26 on the verse “Ego superbivi, tu humiliaris” (Fig. 6). Here Schütz utilizes a figure that was called a noema.

In his Musica Poetica, Joachim Burmeister defines the noema as a passage of music where the voices come together in equal note values. He also states that the figure can only be seen in reference to the texture that surrounds it, as a noema is a homophonic passage of music that occurs in a largely polyphonic structure.37 Schütz employs this in mm. 22 and 24 to bring the ensemble into alignment on “ego superbivi,” which translated in this context means “I expanded,” or, “I was proud.”

Each of these statements is immediately followed by a return to polyphony for “tu humiliaris” or “you are humbled.” Performers have the opportunity to highlight the contrasting phrases, by differentiating dynamic and articulation. In this moment “ego superbivi” can be expressed at a louder dynamic with more weight applied to stressed syllables. Then, by presenting “tu humiliaris” with a softer dynamic and more textual subtlety, the contrast between pride and humility is depicted.

37. Joachim Burmeister, Musical Poetics. Translated by Benito V. Rivera. New Haven: Yale University Press, 1993, 165.

36 Texas Tech University, Jonathon Barranco, May 2020

Noema

!$ ! ∞ J Ê K Ê Ê J A .Â Â Â Â Â Â Â Â Â „ Â Â !"#$ %&"'!("Â )*"+*, -& .&"/*"0* " 1"(*%,„ !"#$

" JKÊ Ê Ê JKÊ Ê Â A Â ÂS . Â Â Â Â Â ÂS Â Â Â ‰ ‰ Â Â Â Â Â Â -&Â .&"Â /*"Â 0*"1"‰ (*%,‰ !"#$ %&"'!(")*"+*, -& .&"/*"0*"1"(*%, !"#$ -&" Ê Ê Ê Ê # Ê Â ‰ A K ÂS Â Â ÂS Â ‰ Â ‰ Â. Â Â Â Â JKÂ Â Â Â ‰ Â ˛ -& .&"/*" 0* " 1" (*%, !"#$Â %&"'!(")*"+*, -& .&"/*"0*"1"(*%,„ !"#$ -&"

$ E Ê K Â Â Â Â „ ‰ .Â Â ÂS Â Â Â ∞ J„ ‰ -&Í .&"Í /*" 0* " 1"(*%, !"#$ %&"'!(")*"+*, !"#$ Ê . E Â Â .‰ Â Â ‰ Â ‰ ‰ K Â ‰ .Â Â ÂS Â Â Â K ‰ „ SSSSSSS""""""# " % S SS S %

Figure 6: Noema is created in m. 24, as the voices come together in homophony to contrast Ê Ê with! the surrounding polyphonyÊ Ê. A ‰ ‰ ‰ Â Â Â Â Â ÂS ‰ Â Â ‰R ‰ ‰S „ -& " /& " *, -& 1-"-!" 2&" 1"(*%, !"#$ -& " /& " *,

" Example 6: Quo,A nate Dei mm. 1-8 J ‰ ‰ „ Â Â Â Â /& " *, !"#$Â -&" Â Â ‰ /&‰ " „*, Rising and falling is as natural Êto expression in music as it is in speaking. Not # ‰ Â A ‰ ‰ ‰ K Â Â Â Â Â ‰ J Â Â ‰ ‰ Â Â only do musical˛ lines rise/& " and*, fall to-&Í create1- " -!"Í 2&"auralÍ 1" (*%,interest, but !"often#$ composers-& " /& " use*, -&lineÍ 1-"Í -!3" $ E‰‰ Â Â direction as a means of expressing„ specificJ text meaning.„ Anabasis‰ is the‰ rhetorical‰ ‰ K Í -& " /& " *, !"#$ -& " /& " *, -& 1-3"Í Â Â Â term for a musicalE‰ line ‰that ascends toÂ express Âelevated‰ meaning; in contrast, catabasis Â Â .‰ ‰ ‰ ‰ ‰ . % S% % S ‰ % is a figure used to express humility, or other “lower” affections.38 In the opening " Ê measures !of movement 7, Quo nate Dei, SchützÂ Â utilizes. both figures in succession to A IÂÂ Â Â Â ‰ J ‰ ‰ !"#$Í '(1!"Í %&/"'%* +! " -* " -&/, /$(" /$(„ " -*%‰S present the text “Quo nate dei,Ê quoÊ tua descendit humilitas…”Ê which means, “to " J . J A Â Â Â Â Â Â Â ‰ „ „ „ !"#$ '(1!"%&/"'%* +! " -* " -&/, -& /$( " -*%, 38. Johann Gottfried Walter, Musicalisches Lexicon. Leipzig: Deer, 1732; 34, 148.Ê In his Lexicon, Walther connects# anabasisÂ Â Âwith‰ elevation,I citing the phrase “GottÂ fähretÂ Â auf,”Â meaning,Â Â. Â “God‰ hasI A Í Í „ risen.” He cites this˛ as an2&" example1"(*%, of a text that would appropriately!"#$ Íbenefit'(1!"Í %&/" from'%* an+! "ascending-*"-&/, line. In-& contrast, for catabasis he cites lowliness and humility as connected affects. His examples include the phrases “Er$ ist hinunterE Â gefaÂ Âhren”‰ and “IchJ bin sehrÂ gehemüthiget,”Â Â ÂS Â which „translate respectively‰ „ to J ‰ Í Í “He is descended” and-!" “I2&" am1" greatly(*%, humbled.” !"#$Í '(1!Í " %&/"'%* +! " -* " -&/, -& Â Â E Â Â Â ‰ Â Â Â ‰S „ ‰ „ ‰ ‰ Í Í% % % 37% % # S"

" !"#$%&'($'&')*%$%"'$+$,-.*/0 Texas Tech University, Jonathon Barranco, May 2020 where, Son of God, have you humbly descended?” (Fig. 7). Anabasis is created by the rise in the music through “Quo nate Dei” painting the image of the poet lifting his or her eyes to the heavens. A passage of catabasis follows, descending through “quo tua descendit humilitas” and depicting the image of Christ taking on human raiment.

Another notable example of text-painting, or hypotyposis, occurs in the subsequent phrase in mm.4-8, “Quo tua flagravit charitas.” (Fig. 7). To depict motion, Schütz utilizes an eighth-note melisma on the word “flagravit.” The melisma adds musical rhetoric to a passage that asks the question “where has your charity led you?” This statement occurs three times with variation, redistributing the melodies in the second expression, and developing harmonically according to the circle of 5ths, traveling from E to A to D and culminating in G at m.8. Through melodic and harmonic changes, rhetorical amplification is created by expressing the same music differently. Schütz’s treatment of this phrase correlates with amplification in oration, where a speaker repeats an idea either in different terms or with different emphasis to strengthen it. A connection can also be made here to Erasmus and his views on copiousness, where varying an expression increases its impact.39 In this moment, the rhetorical amplification of the musical statement that carries the phrase “Quo tua flagravit charitas” in turn amplifies the text.

39. Erasmus, Desiderius, and Craig R. Thompson. Literary and Educational Writings. Collected Works of Erasmus ; v. 23-29. Toronto ; Buffalo: University of Toronto Press, 1978, 307-348. Erasmus outlines and gives examples for twenty ways to vary a statement in order to affect its rhetorical impact.

38 Texas Tech University, Jonathon Barranco, May 2020

In the expression of these figures of motion, one can identify points of arrival that function within the textual and musical rhetoric, then shape the surrounding music to lead to and away from those moments. Arrival points become apparent as one speaks through the text rhythmically and reconciles that rhythm with melodic and harmonic considerations. Applying this to the catabasis phrase in mm. 2-3 of Figure 7, one notices a repeated quarter-eighth-eighth pattern leading to a dotted quarter note on the emphasized syllable of “humilitas.” The quarter-eighth-eighth rhythm is a corta; a figure which Bartel notes has a “rhythmic drive.”40 This rhythmic drive coupled with the descending pitch level of the melody can be said to trace the descent from Heaven to Earth. By applying crescendos to the repeated corta, their rhythmic drive is enhanced, and a sense of motion is invoked leading to each “humilitas.” As the phrase repeats throughout mm. 2-3, the crescendos increase the dynamic with each repetition. By doing so, the entire passage culminates on the final “humilitas” at beat four of measure three; now supported by the dynamically affected melody and the dissonant harmonic suspension. Even without a change in tempo, amplification of the repeated passage by change in dynamic creates a sense of acceleration.

40. Dietrich Bartel, Musica Poetica: Musical-rhetorical Figures in German Baroque Music. Lincoln: University of Nebraska Press, 1997, 234. A corta is a “three-note figure in which one note’s duration equals the sum of the other two”

39 Texas Tech University, Jonathon Barranco, May 2020

Figures of Motion

Quo, nate Dei Heinrich Schütz (1585-1672) Soprano 4 œ œ ˙ œ j j & 2 ∑ ˙ œ œ œ œ œ j j Quo, na - te De - i, quo tu - a de - scen - ditœ huœ - Alto 4 j j j & 2 ˙ #œ œ ˙. œ œ œ Nœ œ œ œ j j Quo, na - te De– i, quoœ tu - a de - scen - dit huœ - miœ. - œli -

Tenor 4 œ œ ˙ œ j j j V 2 ˙ œ œ œ œ œ j j œ. œ Quo, na - te De - i, quo tu - a de - scen - ditœ huœ - mi - li - tas,˙

Bass ? 4 2 „ „ œ œ ˙ œ œ Continuo ? 4 ˙ œ œ œ œ ˙ 2 œ ˙ 6 3 S j & œ. œ œ œ œ ∑ Œ œ œ œ œ mi - li - tas, hu - mi– ˙ œli - tas,W quo tu - Ja flaJ -

A j j ∑ Œ j j & œ œ œ j j j œ œ œ œ œ œ tas,œ quoœ tu - a de - scenœ -ditœ huœ - miœ. - œli - tas,w quo tu - a fla -#gra–œ œ œ œ œ œ

T j j œ œ œ j j j j j œ œ œ V Œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ. œ w quo tu - Ja de - scen -dit hu - mi. - li - tas,œ quo tu - a fla - gra– vit cha - ri - tas,

B ? œ œ #œ œ #œ œ œ œ œ œ œ œ #œ œ œ. œ w „ Œ J J J quo tu - a fla-gra– vit cha - ri - tas, œ œ œ ? ˙ œ œ œ œ w ˙ ˙ 6 6 6 7 6 ˙ œ w 6 œ S #œ œ œ œ œ œ œ œ œ W œ œ & œ œ œ . ∑ Ó ‰ œ J gra– vit cha - Jri - tas, quoJ tuJ - us

A j ∑ ‰ j j j j j & œ œ œ œ œ œ œ œ. œ œ #œ œ nœ œ œ œ œ vit cha - ri - tas,W quoœ tu - us at - ti - git

T j j j j j V „ Œ #œ œ œ œ œ œ œ œ bœ œ œ œ œ bœ œ. œ ˙ ‰ œ œ nœ quo tu - a fla - gra– vit cha - ri - tas, quo tu - usJ

B ? w œ œ #œ œ œ œ œ œ œ #œ œ œ. œ ˙ ∑ Œ œ œ œ J Ó quo tu - Ja flaJ -gra– vit cha - ri - tas, ? ˙ ˙ œ œ œ ˙ œ œ w ˙ ˙ ˙ œ œ ˙ 6

# Quo nate Dei - Schutz Figure 7: Anabasis and catabasis in mm.1-4 are followed by hypotyposis and amplification in mm. 4-8.

40 Texas Tech University, Jonathon Barranco, May 2020

Example 7: Calicem salutaris mm. 25-end Climax/Gradatio

In modern thought, the word climax is typically associated with the culminating moment or high point of a work. In classical rhetoric, though, climax was less about a single point and more concerned with a leading series of steps or gradatio.

Like many of the terms associated with musica poetica, climax and gradatio took on different meanings at different times. The theorists Nucius and Thuringus, writing at a time before the publication of the Cantiones Sacrae, stated that the climax or gradatio is a passage where two voices move in parallel 3rds or 6ths, often immediately before the end of a work.41 The purpose of this figure was to engage the listener and intensify the music before the final cadence. That this definition continued to be included in treatises well into the 18th century is evidence of its ubiquity and validity in application to music throughout the Baroque period.

As Ego sum presented the image of profound grief, Calicem salutaris accipiam, the final movement of the Passion set, shows the image of gratitude, ending with the verse “et misericordias tuas in aeternum cantabo” which means, “and of your mercies will I eternally sing.” It is on this text that Schütz utilizes a figure of climax or gradatio. Starting in measure 30 (Fig. 8), the soprano and tenor sing the last statement of the phrase in parallel 6ths, intensifying to and through the melisma on the word “cantabo.” Schütz’s rhetorical melisma outlines an ornamented set of downward steps, each of which drives the music toward the final cadence. That drive can be

41. Dietrich Bartel, Musica Poetica: Musical-rhetorical Figures in German Baroque Music. Lincoln: University of Nebraska Press, 1997, 223.

41 26 S j j œ œ ˙ œ œ j & œ œ œ ˙ œ J J œ ˙ w ter - num can - ta - bo, in ae - ter– numJ can - ta - bo,

A Œ j j j j Ó & œ j j j j j j j œ œ #œ œ œ ˙ ˙ et . miœ - seœ - œri - corœ - diœ - asœ tuœ - asœ in ae - ter - num can - t - bo,

T j j j j j j œ w ˙ V œ œ œ #œ œ œ œ ˙. œ œ œ cor - di - as tu - as in ae - ter - numJ canJ - ta - bo, can - ta - Texas Tech University, Jonathon Barranco, May 2020 B œ. ? œ ˙ ∑ Œ œ œ œ bo,œ can - ta - bo,w et miJ - seJ - Jri - œ œ ˙ further realized by performing the final “œcantaboœ ”œ with forza articulationsœ œ,. placing ? œ ˙ œ œ œ œ 6 ˙ 3 4 6 consistent28 ly strong weight on each pitch of the melisma. This stands in contrast to how S & Œ œ ˙ w Ó œ œ œ œ ˙ œ similar figurescan - elsewhereta - inbo, this music might be stressedcan trochaically- ta– as long-short

A pairs&. TheŒ additiœ. on ofj ritardandoj j œ j wouldj j jenhancej j the jsensej of climaxœ , highlightœ. ingj jthej et miœ - seœ - œri - cor - diœ - asœ tuœ - asœ inœ aeœ - terœ - numœ canœ - ta˙ - bo, et miœ - seœ - œri - final steps leading to the cadence. Here the gradatio is an unrelenting figure that T œ. Œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ V w J J J J J J J expressesbo, fervency of faith andet deep-lyingmi - se -gratitude.ri - cor - di - as tuJ - asJ inJ aeJ - ter - num can - ta - B ? j j j j j j œ ˙ ˙ œ œ œ œ œ œ œ œ œ J œ œ œ cor - di - as tu - as in ae - ter - numJ can - ta - bo, can - ta - bo, canœ - ta˙ - Climax/Gradatio˙ ˙ ? œ œ œ ˙ œ œ œ œ œ œ 6 forzaforza rit. 6 œ4 œ3 30 œ S ˙ œ j j j j j j j j j j œ & Œ . #œ œ œ œ œ #œ #œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ #W bo, et mi - se - ri - cor - di - as tu - as in ae - ter - num canJ - ta– bo.u

A j & œ j j ˙ Ó Œ j j œ œ j j ˙ W cor - diœ - asœ tu - as˙ inœ aeœ - ter - num canœ - ta–œ. œ bo.u

T œ. j j j j j œ œ œ œ U V ˙ Œ œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ W bo, et miJ - seJ - Jri - cor - di - as tu - as in aeJ - ter - numJ can - ta– bo.

B ? w U ˙ Œ œ ˙ œ œ ˙ œ œ W bo, can - ta - bo, can - ta - bo, can - ta - bo. œ w U ? ˙ œ ˙ œ ˙ W 6 œ 6 œ œ

Figure 8: The tethering of the soprano and tenor at a 6th in m. 30 drives the climax to the final cadence which is intensified through forza articulations and ritardando.

In the preceding paragraphs, connections were made between poetic/theological ideas and musical figures in the Cantiones Sacrae. Also, suggestions were given regarding how to amplify those connections in performance of these works. It should be noted that these suggestions are not intended to represent the only way to interpret these passages; rather, they exist to demonstrate how rhetorical

42 Texas Tech University, Jonathon Barranco, May 2020 figures of musica poetica can be identified and presented in service of the composer’s intent. There can be no doubt that Schütz intended his music to serve theological and rhetorical purposes. The previously cited forward to the publication makes that clear.

In the invention and disposition of his musical figures, Schütz demonstrated a strong awareness of the meanings of the accompanying texts. His music exemplifies the truth that the human voice is capable of expressing rhetoric in music and in language simultaneously. It is therefore important that performers identify and express both types of rhetoric in performance, understanding that the music carries and confirms the meaning of the texts.

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CHAPTER SIX

CONCLUDING REMARKS

In his Foundations of Music, Carl Dalhaus proposed that “Music of the past belongs to us in the present as music, not as documentary evidence.”42 This is a liberating notion, freeing performers to explore and discover means of amplifying the rhetoric of early music. The Cantiones Sacrae were composed by Schütz to glorify the divine and move the ears, minds, and hearts of the people who sang and heard them.

And whether presented as service music or in concert settings, those purposes are respectively just as valid today as they were when the collection was published. To accomplish his rhetorical aims, Schütz set his attention to the invention of music that would amplify text by sounding out theological ideas in musical syntax. This was rhetorical mimesis, or imitatio, invoked in the service of faith. In his Der volkommene

Kapellmeister, Johann Mattheson expressed the following:

Now imitation means three things in music. For first we find opportunity to practice such with all sorts of natural things and affections, wherein the very greatest resource for invention is to be found … Second, there is that effort one makes to imitate this or that master’s and musician’s work which is quite a good thing … Third, imitation is that pleasant competition which various

42. Carl Dahlhaus, “Hermeneutics in History.” in Foundations of Music History, translated by J. B. Robinson, Cambridge: Cambridge University Press, 1983.

44 Texas Tech University, Jonathon Barranco, May 2020

voices practice with all freedom among one another on certain formulas, passages or short phrases43

Schütz invoked the principles of imitatio in the invention of his music, translating texts from literary and theological meaning to music. His work is homiletical, moving the listener’s affections to a devotional state of worship and a better understanding of theology through techniques informed by his Venetian influences. By weaving within his myriad structures figures that amplify the theology they carry, Schütz permeated his Cantiones Sacrae with rhetoric.

Rhetorical analysis as a means of comprehending this music has significant benefit; however, this type of analysis only comes to full fruition when the rhetorical figures are expressed musically. Like much of early music, the Cantiones Sacrae are not as heavily affected by the hand of the composer as are modern scores. However, that lack of score marking does not indicate a paucity of expressive musical intent; rather, it requires a deeper examination to discover and shape the rhetorical elements.

In order to make artistic choices in presenting this music, one must rely on related writings like the treatises of musica poetica along with traditional skills of analysis.

Seeing and labeling rhetorical figures within the music becomes a valuable predecessor to effective expression. And, while attempts to wring out all of the rhetoric could unintentionally lead to extrapolation and a mannered caricature of the music, there exists a responsibility to say something beyond what is written. Performer

43. Johann Mattheson, Der Vollkommene Capellmeister: A Revised Translation with Critical Commentary. in Studies in Musicology; [no. 21]. Translated by Ernest Charles: UMI Research Press, 1981, 637.

45 Texas Tech University, Jonathon Barranco, May 2020 choice has the ability to amplify and confirm a composer’s intent by enlivening the delivery of his or her form to the ears of the listener.

The immediate implication for this research is how it provides practical examples of ways rhetorical figures in the Cantiones Sacrae can be identified and expressed in performance of these works. Moving forward, there are multiple avenues through which this work can be continued. Many of the movements are accessible to high school ensembles and to church choirs as well. Journal articles and presentations that illuminate the value of this music in secular and sacred settings and continue to highlight choices connected to Schütz’s rhetoric would benefit both types of ensemble.

These articles and presentations could be further supported by the development of public domain performance editions of selected movements or sets of movements from the Cantiones Sacrae. The inclusion of modern score markings in these editions, when coupled with definitions of the figures of musica poetica that inspired those markings, would allow performers without early music training to immediately access and express Schütz’s rhetorical work.

As a collection, the Cantiones Sacrae represent close to twenty years of

Schütz’s early compositional practice. They exhibit both the complex polyphonic style of the Venetian Renaissance Masters, as well as the developing tenets of the seconda prattica. The Cantiones Sacrae show Schütz as a master of counterpoint and a deeply expressive and spiritual composer. The music is rich with rhetorical treatment, masterfully illuminating scriptural and poetic texts to highlight their theological meanings. By realizing rhetorical implications through choices that are informed by musical poetics, one becomes a collaborator with Schütz and the poet of these texts.

46 Texas Tech University, Jonathon Barranco, May 2020

This collaboration shapes the music not only in service to the composer and poet, but to the audience as well, whose experience is enhanced by rhetorical choices. Through rhetorical analysis one becomes aware of elements in the music that resonate not only in the sounding sphere, but also within the performers and audience; and as the poetry that is sung becomes music, so too does the music become poetry.

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BIBLIOGRAPHY

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Borgerding, Todd. "Preachers, "Pronunciatio," and Music: Hearing Rhetoric in Renaissance Sacred Polyphony." The Musical Quarterly 82, no. 3/4 (1998): 586- 98.

Burmeister, Joachim, Musical Poetics. Music Theory Translation Series. New Haven: Yale University Press, 1993.

Butt, John. Music Education and the Art of Performance in the German Baroque, in Cambridge Musical Texts and Monographs. Cambridge: Cambridge University Press, 1994.

Cicero, Marcus Tullius., and Harry Caplan. Ad C. Herennium De Ratione Dicendi Rhetorica Ad Herrenium. Cambridge, Harvard University Press, 1954.

Dahlhaus, Carl. “Hermeneutics in History” in Foundations of Music History, translated by J. B. Robinson, 71–85. Cambridge: Cambridge University Press, 1983.

Erasmus, Desiderius, and Craig R. Thompson. Literary and Educational Writings. Collected Works of Erasmus; v. 23-29. Toronto; Buffalo: University of Toronto Press, 1978.

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Leaver, Robin A. Luther's Liturgical Music: Principles and Implications. Lutheran Quarterly Books. Grand Rapids: William B. Eerdmans Pub, 2007.

———. "The Funeral Sermon for Heinrich Schutz." Bach - The Journal of the Riemenschneider Bach Institute 25, no. 2 (1994): 115-29.

MacClintock, Carol. Giustiniani's "Discorso Sopra La Musica.” Musica Disciplina 15 (1961): 209-25.

Maize, Joshua Lee. 2015. "Musical rhetoric: An agency of expression in Heinrich Schuetz's "Matthaeus-Passion"." Order No. 1595450, University of Kansas, https://search-proquest-com.lib- e2.lib.ttu.edu/docview/1709265031?accountid=7098. ProQuest Dissertations & Theses Global.

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Quintilian. Institutio Oratoria of Quintilian. Volume III. Translated by Harold Edgeworth Butler. The Loeb Classical Library. London: New York: W. Heinemann; G. P. Putnam's Sons, 1921.

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Schütz, Heinrich, and Friedrich Schöneich. Neue Ausgabe Sämtlicher Werke. Kässel, [Germany]: Bärenreiter, Volume 8/9, 2004.

Sletta, Travis John. "Characterization, Setting, and Drama: Rhetorical Practice in Schütz's “Weihnachtshistorie, SWV 435." Order No. 10932848, The University of Arizona, 2018. In PROQUESTMS ProQuest Dissertations & Theses Global, https://search-proquest-com.lib- e2.lib.ttu.edu/docview/2128017861?accountid=7098.

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APPENDIX A

Glossary of Rhetorical Figures Analyzed in this Document:

1. Anabasis: This term was used in reference to ascending musical figures that often express higher/elevated affections.

2. Auxesis: Of Greek origin, the term Auxesis, sometimes called incrementum, is a figure of musical poetics involving the repetition of a musical passage at a step above the original.

3. Catabasis: This term was used in reference to descending musical figures that often expressed lower/descending affections.

4. Climax: Climax or gradatio was a passage where two voices move in parallel 3rds or 6ths, often immediately before the end of a work.

5. Corta: The corta is a three note figure where one note is of equal duration to the sum of the other two.

6. Hypotyposis: What is now often called “text-painting,” hypotyposis was used for musical figures that sought to depict specific images or events as music.

7. Interrogatio: In musica poetica, the musical depiction of a question was called interrogatio. The methods for composing a question typically involved specific treatment of intervals and pausas, or rests.

8. Metabasis/Trangressio: This occurs when voices cross. In the rhetoric of speech this implies that one thing has crossed through another, as when the order of words in a statement are changed for rhetorical purposes.

9. Noema: Noema is a moment of concordant homophony that interrupts a pervasively polyphonic work.

10. Tirata Mezza: These are short grouping of equal rapid notes spanning a 4th or 5th. It implies darting or spurting according to Mattheson, rather than a leisurely motion thru the pitches. The tirata was useful in the expression of agitation or joy.

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APPENDIX B

Movements of the Cantiones Sacrae

Mvt. Grouping SWV Title

1 1.a 53 O bone, o dulcis, o benigne Jesu 2 1.b 54 Et ne despicias humiliter te petentem 3 2 55 Deus misereatur nostri, et benedicat nobis 4 3.a 56 Quid commisisti, o dulcissime puer? 5 3.b 57 Ego sum tui plaga doloris 6 3.c 58 Ego enim inique egi 7 3.d 59 Quo nate Dei

8 3.e 60 Calicem salutaris accipiam 9 4.a 61 Verba mea auribus percipe, Domine 10 4.b 62 Quoniam ad te clamabo, Domine 11 5.a 63 Ego dormio, et cor meum vigilat 12 5.b 64 Vulnerasti cor meum, filia charissima 13 6 65 Heu mihi, Domine, quia peccavi nimis 14 7 66 In te, Domine, speravi 15 8 67 Dulcissime et benignissime Christe

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16 9 68 Sicut Moses serpentem in deserto exaltavit 17 10 69 Spes mea, Christe Deus, hominum tu dulcis amator 18 11 70 Turbabor, sed non perturbabor 19 12.a 71 Ad Dominum cum tribularer clamavi 20 12.b 72 Quid detur tibi aut quid apponatur tibi 21 13.a 73 Aspice pater piissimum filium 22 13.b 74 Nonne hic est, mi Domine, innocens ille 23 13.c 75 Reduc, Domine Deus meus, oculos majestatis 24 14.a 76 Supereminet omnem scientiam, o bone Jesu 25 14.b 77 Pro hoc magno mysterio pietatis 26 15.a 78 Domine, non est exaltatum cor meum 27 15.b 79 Si non humiliter sentiebam 28 15.c 80 Speret Israel in Domino 29 16 81 Cantate Domino canticum novum 30 17 82 Inter brachia Salvatoris mei 31 18 83 Veni, rogo in cor meum 32 19 84 Ecce advocatus meus apud te, Deum patrem 33 20.a 85 Domine, ne in furore tuo arguas me 34 20.b 86 Quoniam non est in morte qui memor sit tui 53 Texas Tech University, Jonathon Barranco, May 2020

35 20.c 87 Discedite a me omnes qui operamini 36 21.a 88 Oculi omnium in te sperant, Domine 37 21.b 89 Pater noster, qui es in coelis 38 21.c 90 Domine Deus, pater coelestis, benedic nobis 39 22.a 91 Confitemini Domino, quoniam ipse bonus 40 22.b 92 *Pater Noster. Same as SWV 89 41 22.c 93 Gratias agimus tibi, Domine Deus Pater