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

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Rhetoric, Poetics, and Choice in the Cantiones Sacrae of Heinrich Schütz Rhetoric, Poetics, and Choice in the Cantiones Sacrae of Heinrich Schütz by Jonathon Barranco, M.M., B.M. A Dissertation In 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 Copyright 2020, Jonathon Barranco Texas Tech University, Jonathon Barranco, 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. ii Texas Tech University, Jonathon Barranco, May 2020 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
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