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'Passion and Persuasion' the Art of Rhetoric and the Performance of Early Seventeenth-Century Solo Sonatas

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'Passion and Persuasion' the Art of Rhetoric and the Performance of Early Seventeenth-Century Solo Sonatas 'Passion and Persuasion' The art of rhetoric and the performance of early seventeenth-century solo sonatas Volume 1 (of 2) Cathryn Dew D. Phil. The University of York Department of Music March 1999 Abstract Late sixteenth- and early seventeenth-century musical theorists frequently equated music with rhetoric, primarily because the two arts were seen to share the same goal — to move the passions of their listeners. This thesis explores rhetoric's influence upon music in the context of the wider influence which rhetoric exerted upon Renaissance and Baroque society. The concepts and methods discovered are applied to performance of solo sonatas of the early seventeenth century. Chapter one reviews the development of the sonata from the canzoni francese of the late sixteenth century and examines the solo sonata in relation to the more common variety for instrumental ensemble. Chapter two discusses the importance of rhetoric in Renaissance and Baroque culture. Two examples of the uses of rhetoric are investigated: the discussion on writing and speaking contained in Castiglione's Book of the Courtier and the use of rhetoric within the Catholic Reformation, as epitomised by Jesuit order. In chapter three the relationship between rhetoric and music is explored. Chapter four studies the theories of the passions in circulation during the seventeenth century and chapter five shows how the passions were believed to be represented in both musical composition and performance. In chapters six to eight solo sonatas are analysed using musico-rhetorical methods and possible interpretations of the sonatas are suggested. These rhetorical studies shed some light on the possible functions of the solo sonata and chapter nine considers the ways in which the solo sonata is ideally suited to its role. This thesis makes the following original contributions to the scholarship of seventeenth-century music: (1) It examines the role of solo instrumental music as distinct from music for ensembles. (2) It provides an overview of the theories of the passions current in Renaissance and early Baroque thought and examines both the relationships between them and how they influenced 'passionate' music, literature and visual art. (3) It adds to the body of enquiry into the correspondence between rhetoric and music by deriving a systematic method of analysing the rhetorical properties of solo sonatas and suggesting how these may be exploited to shape a convincing performance. 2 Contents Volume 1 List of illustrations, tables and musical examples 4 Preface : Acknowledgements and declaration 6 Chapter 1: From Song to Sounding: The Origins of the Solo Sonata 7 Chapter 2: The Rhetorical Culture of Renaissance and Early Baroque Europe 36 Chapter 3: Rhetoric in Action 67 Chapter 4: Theories of the Passions 114 Chapter 5: Signifiers of the Passions 148 Volume 2 Case Studies: Introduction 214 Chapter 6: Fontana '5 Sonata Seconda 224 Chapter 7: Nolani 's Canzona 245 Chapter 8: Castello 's Sonata Seconda 263 Chapter 9: Conclusion 283 Appendix 1 310 Passions-signifiers identified by sixteenth- and early seventeenth-century theorists Appendix 2 312 Illustrations from Charles Lebrun's A Method to Learn to Design the Passions Appendix 3 316 Original and annotated scores of case study sonatas Fontana's Sonata Seconda Notari's Canzona Castello's Sonata Seconda A Sopran Solo Bibliography 360 3 List of illustrations, tables, and musical examples Illustrations Chapter 1 Figure 1: Illustration from La Fontegara by Sylvestro Ganassi (1535) 7 Figure 2: Opening bars of basso part of 'La Gardana' from Marini, Affetti Musicali (1617) 33 Chapter 2 Figure 1: 'Hie Hercules est Gallicus' from Achille Bocchi, Symbolicarum Quaestionum 36 Libri quinque (Bologna, 1574) book 2, symbol 43 Figure 2: Diego Veldzquez, Las Meninas, 1656 51 Figure 3: 'Persuasione' from konologia, Cesare Ripa, Padua, 1611 53 Figure 4: Engraving of St Igatius preaching, from Vita beata patris Ignati, Rome, 1609 63 Figure 5: 'Amore verso Iddio' from Ripa konologia, Padua, 1611 63 Chapter 4 Figure 1: Woodcut from 'Morgante maggiore' by Luigi Pulci, Florence, 1500 123 Figure 2: The sanguine temperament, as depicted by Cesare Ripa, konologia, Padua, 1611 126 Figure 3: The Use of Passions, frontispiece from English edition, 1649 142 Figure 4 : The triangular relationship between each of the three major ways 146 by which the passions are moved Figure 5 : The position of the pyrrhic foot motive and the concitato genre within the triangle 147 Chapter 5 Figure 1: 'Joy' from Charles Lebrun A Method to Learn to Design the Passions, 1734 200 Figure 2: 'Extream despair' from Charles Lebrun, A Method to Learn to Design 200 the Passions. 1734 Figure 3: Examples of accenti, tremuli, gruppi and tiratae from Syntagma musicum, 205 1619, Vol, 3, Part 3, Chapter 9 Chapter 6 Figure 1: Otho Vaenius, Invia amanti nulla est via' (Amoris Divini Emblamata, 236 Antwerp, 1616) Figure 2: Otho Vaenius, 'Via nulla est invia Amori' (Amoris Emblemata, Antwerp. 1608) 237 Figure 3: Amoris divini et humani effectus (anthology, Antwerp, 1626); emblem originally 237 found in Vaenius Divini Emblemata Figure 4: Crispin de Passe the Elder (Thronus Cupidinis sive Emblemata Amatoria, 238 Utrecht, 1617) Figure 5: 'Love' from Lebrun. A Method to Learn to Design the Passions, 1734. 242 Chapter 7 Figure 6: Cavarozzi The Lament ofAminta 252 Chapter 9 284 Figure 1: Prima parte of opening of Canzon Terza 297 Figure 2: Guercino, St Gregory the Great with Saints Ignatius and Francis Xavier Figure 3: Sixteenth-century crucifix from the Chiesa del Gesil in Rome 305 Tables Chapter 4 Table 1: Definitions of the passions from Aristotle's Rhetoric 128 Table 2: The concupiscible and irascible passions according to Thomas Aquinas 133 4 Chapter 5 Table 1: The passions associated with the modes 155 Table 2: The passions represented by the modes according to Zarlino 156 Table 3: Pietro Pontio's analysis of the modal cadences 160 Chapter 6 Table 1: The structure of Fontana's Sonata Seconda 225 Table 2: The parts of rhetoric as applied to Fontana's Sonata Seconda 233 Chapter 7 Table 1: The structure of Notari's Canzona 260 Chapter 8 Table 1: The structure of Castello's Sonata Seconda 269 Musical Examples Chapter 5 Example 1: Caccies examples of rhythmical alteration from Le nuove musiche, 1602 193 Example 2: Rognoni's examples of lireggi are con affetti 203 Chapter 6 Example 1: Fontana Sonata Seconda, bar 68 227 Example 2: Fontana Sonata Seconda, bars 69-73 227 Example 3: Fontana Sonata Seconda, bars 893-911 228 Example 4: Fontana Sonata Seconda. bars 178-181 229 Example 5: Zarlino's example of mode 11, opening 234 Example 6: Tulchra es' bars 1-3 235 Chapter 7 Example 1: Notari's Canzona, bars 70-75 248 Example 2: Notari's Canzona, bars 114-116 250 Example 3a: Notari's Canzona, bars 118-20 250 Example 3b: Monteverdi, Lamento d 'Arianna, bars 40-41 250 Example 4: Notari's Canzona, bars 126-1291 251 Example 5: Notari's Canzona, bars 27-34 258 Chapter 8 Example 1: Castello's Sonata Seconda, bars 39-41 270 Example 2: Castello's Sonata Seconda A Sopran Solo, bars 95-96 278 Example 3: Castello's Sonata Seconda A Sopran Solo, bars 107-108 279 Chapter 9 Example 1: Biagio Marini, 'Sonata Quarta per sonar con due corde', Opus 8, bars 70-82 284 Example 2a: Bartolomeo de Selma, Canzon Terza, opening 285 Example 2b: Selma, Canzon Terza, suggested ornamentation (soprano part only) 285 Example 3a: Castello's Sonata Prima a Sopran Solo, bars 9 - 162 288 288 Example 3b: Castello's Sonata Prima a Sopran Solo, bars 16 — 35 Banchieri's Sonata for the Elevation, bars 48-55 301 Example 4a: Frescobakii's Toccata cromaticha per le levatione, bars 16-24 302 Example 4b: Example 5: Frescobaldi's toccata from Missa della Madonna, bars 18-24 302 Example 6a: FrescOaldi's toccata from Missa della Madonna, bars 1-2 303 Example 6b: Frescobaldi's toccata from Missa della Madonna, bars 6-7 303 5 Preface Acknowledgements I should like to extend my thanks to Dr Peter Seymour and Dr Jonathan Wainwright for their help and guidance in the completion of this project. I should also like to thank Professor Tim Carter and Professor Jeffi-ey Kurtzman for their comments concerning some of the ideas mentioned in this thesis. I am grateful to Robert Howarth and Rebekah Durston for recording performances for the case studies CD. Thanks also to Eileen, Bryan and Sally Dew, and to David Hall, for their constant practical help and support. Declaration The material presented in this thesis is solely the work of the author and has not appeared in any publication, nor has it been submitted for examination for any other qualification. The substance of chapters one and six were presented as papers at the Conference of the Society for Seventeenth-Century Music, Urbana, April 1998 and at the Eighth Biennial Conference on Baroque Music, Exeter, July 1998. A note on quotations and translations Seeing that reliable translations exist for the vast majority of texts pertinent to this study, it was deemed unnecessary to 're-invent the wheel' and repeat this valuable work. All unacknowledged translations, however, are the work of the author. Where poetry has been quoted, or where the original words used are considered to be of consequence, the original language has been included together with the translation. In all other instances only the English translation is cited. 6 Chapter 1 From Song to Sounding The Foundations of the Solo Sonata Instrumental music in Renaissance Italy was undoubtedly considered to be the poor relation of its vocal equivalent. Music for voices dominated the discussion of theorists and the output of printers alike. 1 Although keyboard players and lutenists were equipped with a reasonably substantial repertoire of imitative ricercars, printed records may lead us to believe that the Italian instrumental ensemble led a rather meagre existence during the first three quarters of the sixteenth century.
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