Histories of Heinrich Schu¨ Tz

Cambridge University Press 978-0-521-19765-6 - Histories of Heinrich Schütz Bettina Varwig Frontmatter More information

HISTORIES OF HEINRICH SCHU¨ TZ

Bettina Varwig places the music of the celebrated Dresden composer Heinrich Schu¨tz in a richly detailed tapestry of cultural, political, religious and intellectual contexts. Four key events in Schu¨tz’s career – the 1617 Reformation centenary, the performance of his Dafne in 1627, the 1636 funeral composition Musicalische Exequien, and the publication of his motet collection Geistliche Chor-Music (1648) – are used to explore his music’s resonances with broader historical themes, including the effects of the Thirty Years War, contemporary meanings of classical mythology, Lutheran attitudes to death and the afterlife, as well as shifting conceptions of time and history in light of early modern scientific advances. These original seventeenth-century circumstances are treated in counter- point with Schu¨tz’s fascinating later reinvention in nineteenth- and twentieth-century German musical culture, providing a new kind of musicological writing that interweaves layers of historical inquiry from the seventeenth century to the present day.

bettina varwig is a music historian with wide-ranging interests in early modern European culture. She has held fellowships at Magdalen College, Oxford, and the University of Cambridge, and is now a lecturer at King’s College London. She has published widely on the music of Heinrich Schu¨tz and J. S. Bach. This is her first book.

MUSICAL PERFORMANCE AND RECEPTION

General editors john butt and laurence dreyfus

This series continues the aim of Cambridge Musical Texts and Monographs to publish books centred on the history of musical instruments and the history of performance, but broadens the focus to include musical reception in relation to performance and as a reflection of period expectations and practices.

Published titles Playing with History: The Historical Approach to Musical Performance john butt

Palestrina and the German Romantic Imagination: Interpreting Historicism in Nineteenth-Century Music james garratt

Eight Centuries of Troubadours and Trouve`res: The Changing Identity of Medieval Music john haines

The Keyboard in Baroque Europe christopher hogwood (ed.)

The Modern Invention of Medieval Music: Scholarship, Ideology, Performance daniel leech-wilkinson

Performing Brahms: Early Evidence of Performance Style michael musgrave and bernard sherman (eds)

Stradivari stewart pollens

Beethoven the Pianist tilman skowroneck

The French Organ in the Reign of Louis XIV david ponsford

Bach’s Feet: The Organ Pedals in European Culture david yearsley

Histories of Heinrich Schu¨tz bettina varwig

HISTORIES OF HEINRICH SCHU¨ TZ

BETTINA VARWIG

cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sa˜o Paulo, Delhi, Tokyo, Mexico City Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK

Published in the United States of America by Cambridge University Press, New York

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First published 2011

Printed in the United Kingdom at the University Press, Cambridge

A catalogue record for this publication is available from the British Library

Library of Congress Cataloging-in-Publication Data Varwig, Bettina, 1978– Histories of Heinrich Schu¨tz / Bettina Varwig. p. cm. – (Musical performance and reception) Includes bibliographical references and index. ISBN 978-0-521-19765-6 (Hardback) 1. Schu¨tz, Heinrich, 1585–1672–Criticism and interpretation. 2. Performance practice (Music)–History–17th century. I. Title. II. Series.

ML410.S35V47 2011 782.202092–dc22 2011015543

ISBN 978-0-521-19765-6 Hardback

Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.

In memoriam Gisela de Boor Hildegard Varwig

Contents

List of abbreviations page viii List of music examples ix List of figures xi Acknowledgments xiii

Introduction 1 1. Trumpets and drums (Psalmen Davids, 1617) 8 Paraphrase 1: Lutheran Schu¨tz 44 2. Echoes, mirrors and masks (Dafne, 1627) 58 Paraphrase 2: Operatic Schu¨tz 94 3. Life, death and afterlife (Musicalische Exequien, 1636) 109 Paraphrase 3: Monumental Schu¨tz 144 4. Old and new worlds (Geistliche Chor-Music, 1648) 161 Paraphrase 4: Rhetorical Schu¨tz 194

Conclusion 213 Chronology 216 Bibliography 219 Index 245

vii

Abbreviations

MuK Musik und Kirche NSA Heinrich Schu¨tz: Neue Ausgabe sa¨mtlicher Werke, ed. Werner Bittinger et al. (Kassel: Ba¨renreiter, 1955–) SD Schu¨tz-Dokumente, vol. I: Schriftstu¨cke von Heinrich Schu¨tz, ed. Michael Heinemann (Cologne: Dohr, 2010) SJb Schu¨tz-Jahrbuch ZfM Zeitschrift fu¨r Musik ZfMw Zeitschrift fu¨r Musikwissenschaft

viii

Music examples

1.1. Heinrich Schu¨tz, SWV 45 (Psalmen Davids), Parte per le Trombette, end page 16 1.2. Schu¨tz, SWV 472, trumpets and timpani, bars 237–40 17 1.3. Schu¨tz, SWV 45, bars 254–75 35 1.4. Schu¨tz, SWV 43 (Psalmen Davids), bars 174–99 39 2.1. Claudio Monteverdi, ‘Audi coelum’ (Vespro della Beata Vergine), bars 1–9 62 2.2. Monteverdi, L’Orfeo, Act V/1, excerpt 63 2.3. Carlo Farina, ‘Gagliarda’ (Il terzo libro delle pavane, gagliarde, brandi, mascherata, arie franzese, volte, corrente, sinfonie), bars 1–22 64 2.4. Schu¨tz, SWV 333 (Kleine geistliche Concerte I), bars 8–18 66 2.5. Christopher Demantius, ‘Als Daphne keusch und scho¨n von Art’ (Convivalium concentuum farrago), bars 1–8 76 2.6. Schu¨tz, SWV 441, bars 24–33 80 2.7. Schu¨tz, SWV 265 (Symphoniae sacrae I), bars 112–30 85 P2.1. ‘German Christmas Carol’, in F. M. Po¨ttru¨cher, ‘Heinrich Schu¨tz als Opernkomponist’, ZfM 103 (1936), 156 99 3.1. Monteverdi, ‘Duo Seraphim’ (Vespro della Beata Vergine), bars 20–9 113 3.2. Schu¨tz, SWV 281 (Musicalische Exequien), bars 1–17 115 3.3. Schu¨tz, SWV 281, bars 103–23 126 3.4. Schu¨tz, SWV 281, bars 37–40 129 3.5. Schu¨tz, SWV 281, bars 63–73 130 3.6. Schu¨tz, SWV 501, bars 17–23 136 3.7. Schu¨tz, SWV 279 (Musicalische Exequien), bars 231–5 142 4.1. Schu¨tz, SWV 379 (Geistliche Chor-Music), bars 1–8 185 4.2. Schu¨tz, SWV 371 (Geistliche Chor-Music), bars 1–22 187 4.3. Schu¨tz, SWV 371, bars 31–4 189 4.4. Schu¨tz, SWV 371, bars 94–107 190

x List of music examples

4.5a. Monteverdi, ‘Quel augellin che canta’ (Quarto libro de madrigali), bars 38–44 191 4.5b. Monteverdi, ‘Quel augellin che canta’, bars 67–74 192 P4.1a. Schu¨tz, SWV 287 (Kleine geistliche Concerte I), bars 34–5 204 P4.1b. Schu¨tz, SWV 381 (Geistliche Chor-Music), bars 38–40 204 P4.2. Schu¨tz, SWV 383 (Geistliche Chor-Music), bars 29–43 205 P4.3a. Schu¨tz, SWV 383, bars 1–7 208 P4.3b. Schu¨tz, SWV 383, bars 44–50 209

Figures

1.1. Gregor Kleppis, Emblemata varia (n.p., 1623), title page, detail. Sa¨chsische Landes- und Universita¨tsbibliothek Dresden / Sammlungen þ Deutsche Fotothek: Art.plast.1104 page 19 1.2. Christo soteri veritatis (Frankfurt: Schwan, 1617). Staatsbibliothek zu Berlin Preußischer Kulturbesitz / Bildagentur fu¨r Kunst, Kultur und Geschichte: YA 4888 m b 21 1.3. Wunderwerck D. Martin Luthers: Der Pa¨pstliche Stuel will sincken (Freiberg, 1618), detail. Herzog August Bibliothek Wolfenbu¨ttel: 38.25 Aug. 2, fol. 3310 26 1.4. Daniel Ha¨nichen, Vier ChurSa¨chsische JubelPredigten (Halle: Bißmarck, 1618), title page. Herzog August Bibliothek Wolfenbu¨ttel: H: S 276b.4 Helmst. (4) 30 2.1. Illustration from Statius Ackermann, Pastor fido Oder Die allerscho¨nste Tragicomoedia, Der Getrewe Hu¨rte genant (Schleusingen: Birckner, 1636). Herzog August Bibliothek Wolfenbu¨ttel: 145.5 Eth. (1) 68 2.2. Peter Isselburg, Emblematische Glu¨ckwu¨nschung (Coburg, 1627), detail. Herzog August Bibliothek Wolfenbu¨ttel: IQ 14 70 2.3. Illustration from Ovidii Metamorphosis, ed. Sigmund Feyerabend (Frankfurt: Ro¨tel, 1631), 22. Sa¨chsische Landes- und Universita¨tsbibliothek Dresden / Sammlungen þ Deutsche Fotothek: Lit.Rom.A.576 73 2.4. Illustration from Ovidii Metamorphosis, ed. Sigmund Feyerabend (Frankfurt: Ro¨tel, 1631), 27. Sa¨chsische Landes- und Universita¨tsbibliothek Dresden / Sammlungen þ Deutsche Fotothek: Lit.Rom.A.576 74 2.5. Illustration from Abdruck der Cartellen, so bey denen auff dem fu¨rstl. Beylager . . . außgegeben worden (Dresden: Seyffert, 1630). Sa¨chsische Landes- und

xii List of figures

Universita¨tsbibliothek Dresden / Sammlungen þ Deutsche Fotothek: Hist.Sax.C.958.d,misc.1 87 P2.1. Performance of Schu¨tz / Seehafer Dafne, final scene. Torgau, 2008. Used by permission 95 3.1. Heinrich Schu¨tz, Erster Theil kleiner geistlichen Concerten (Leipzig: Grosse, 1636), title page. Herzog August Bibliothek Wolfenbu¨ttel: 13.5 Musica 2 (1) 120 3.2. Illustration from Georg Philipp Harsdo¨rffer, Frauenzimmer Gesprechspiele (Nuremberg: Endtner, 1647), 13–14. Herzog August Bibliothek Wolfenbu¨ttel: A: 166.12.1 Eth 139 P3.1. Bust of Heinrich Schu¨tz by Hans Hassenrichter (1935) 150 P3.2. Proposed Heinrich Schu¨tz memorial in Bad Ko¨stritz (1936). Archiv Heinrich-Schu¨tz-Haus, Bad Ko¨stritz 151 P3.3. Forged portrait of Heinrich Schu¨tz (before 1936) 157 P3.4. Gu¨nter Grass, Das Treffen in Telgte (Munich: Deutscher Taschenbuch Verlag, 1979), front cover. Used by permission 159 4.1. Illustration from Johann Vogel, Meditationes Emblematicae De Restaurata Pace Germaniae (Frankfurt: Zunner, 1649), XV. Staatsbibliothek zu Berlin Preußischer Kulturbesitz, Abteilung Historische Drucke / Bildagentur fu¨r Kunst, Kultur und Geschichte: Ry 11701: R 163 4.2. Lang-verlangte Friedens-Freude (Leipzig: Lankisch, 1650). Herzog August Bibliothek Wolfenbu¨ttel: IH 241 164

Acknowledgments

I would like to express my gratitude to the numerous people and insti- tutions that have contributed to the making of this volume. Parts of the project were completed during a Fellowship by Examination at Magdalen College, Oxford (2005–8) and a British Academy Postdoctoral Fellowship (2008–9); it received generous financial support from the AMS 75 PAYS Endowment of the American Musicological Society, the Music and Letters Trust and the School of Arts and Humanities at King’s College London. I wish to thank the music and rare books librarians at the Staatsbibliothek zu Berlin Preußischer Kulturbesitz, the Sa¨chsische Landes- und Universi- ta¨tsbibliothek Dresden and the Herzog August Bibliothek in Wolfenbu¨ttel; the helpful staff of the British Library, Cambridge University Library and the Bodleian Library at Oxford; and Tanja Henniger at the Heinrich- Schu¨tz-Haus in Bad Ko¨stritz. Reinhard Seehafer contributed a photograph from his own collection; Nick Morgan helped with tracking down old Schu¨tz recordings. Thanks are also due to Vicki Cooper, Elizabeth Davey and Rebecca Taylor at Cambridge University Press for their expert support, and to Jeanne Roberts for preparing the music examples. I am immensely grateful to my editors, John Butt and Laurence Dreyfus, for their product- ive critical engagement with my text. Other colleagues and friends kindly read parts of the manuscript, offered information, advice and encourage- ment, or discussed my ideas with me at different stages of the project: Werner Breig, Marion Colombani, Rebecca Cypess, Martin Deasy, Michael Fend, Miranda Gill, Mina Gorji, Rebecca Herissone, Gregory Johnston, Margaret Murata, Roger Parker, Joshua Rifkin, Stephen Rose, Reinhard Strohm, Geoffrey Webber and Walter Werbeck. My father, Freyr Varwig, provided unfailing assistance with knotty Latin translations and rare German source materials; my mother, Mirjam Varwig, kept on belie- ving that it would all be finished sometime. So did my husband, Benjamin Walton, who read and hugely improved the whole manuscript. For his constant inspiration and companionship I cannot thank him enough.

Some of the materials presented here have previously appeared in print in different forms: Paraphrase 2 draws on my chapter ‘Schu¨tz’s Dafne and the German Operatic Imagination’, in Music, Theatre and Politics in

xiii

xiv Acknowledgments

Germany, 1850–1950, ed. Nikolaus Bacht (Aldershot: Ashgate, 2006), 117–38; Chapter 4 reuses some materials first presented in my essay ‘“New Music” in the Seventeenth Century’, in Gewinn und Verlust in der Musikgeschichte, ed. Andreas Haug and Andreas Dorschel (New York: Universal Edition, 2008), 212–31. Example 1.1 is from Heinrich Schu¨tz, Psalmen Davids (Dresden: Bergen, 1619), Stimmbuch Capella. Universita¨tsbibliothek Kassel, Lan- desbibliothek und Murhardsche Bibliothek der Stadt Kassel: fol. 19. Examples 1.2, 1.3, 1.4, 2.4, 2.5, 2.6, 2.7, 3.6, 4.1, 4.2, 4.3, 4.4, P4.1, P4.2 and P4.3 are based on Heinrich Schu¨tz: Neue Ausgabe Sa¨mtlicher Werke, ed. Werner Bittinger et al. (Kassel: Ba¨renreiter, 1955–). Examples 3.2, 3.3, 3.4, 3.5 and 3.7 are based on Heinrich Schu¨tz, Musikalische Exequien CV 20.279 © 1973 7 1992 Carus-Verlag Stuttgart.