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The Heartz: a Galant Schema from Corelli to Mozart John A. Rice

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The Heartz: a Galant Schema from Corelli to Mozart John A. Rice The Heartz: A Galant Schema from Corelli to Mozart John A. Rice This is a pre-publication version of a paper published in Music Theory Spectrum 37 (2014): http://mts.oxfordjournals.org/content/early/2014/09/24/mts.mtu016 Abstract: Daniel Heartz has called attention to passages in eighteenth-century music with subdominant harmony over a tonic pedal, which convey a sweetness and tenderness characteristic of a certain strain of the galant style. These passages can be described as elaborations of a voice-leading schema in which a melody moves from the fifth scale degree to the sixth and then returns to the fifth, over a bass that sustains the first scale degree. I call this schema the Heartz and demonstrate how composers from Corelli to Mozart used it as an opening gambit and a riposte in vocal and instrumental music. Daniel Heartz (with whom I had the privilege of studying at the University of California, Berkeley from 1980 to 1987) has repeatedly called attention to passages in eighteenth- century music with subdominant harmony over a tonic pedal. These passages convey, for him, a sweetness and tenderness characteristic of a certain strain of the galant style. Of Leonardo Leo’s aria “Non so; con dolce moto” (Ciro riconosciuto, Turin, 1737; Example 1), he writes: “the ‘dolce moto’ he sets to the sweet sounds of the subdominant in 6/4 position.”1 Leo’s Salve Regina (Example 2) has a “typically Neapolitan sweetness, with emphasis on the tonal relaxation provided by the subdominant chord.”2 In a flute sonata by Pietro Antonio Locatelli (published in 1732; Example 3) Heartz calls attention to “the suavity lent to it by the long subdominant harmony over a tonic pedal.”3 In “Colla bocca e non col core,” Rosina’s first aria in Mozart’s La finta semplice (Vienna, 1768; Example 4), “the violins in thirds... intone a rising melody with chromatically raised fifth degree, ... the arrival of the sixth degree bringing with it subdominant harmony in 6/4 position. The sensuous and capricious Rosina is thus captured in a musical portrait even before she begins to sing.”4 Another Rosina’s aria, “Giusto ciel, che conoscete” (Example 5) in Giovanni Paisiello’s Il barbiere di Siviglia (St. Petersburg, 1782), is characterized by “the very tender progression of subdominant six-four chord to tonic.”5 1 Heartz (2003, 138). 2 Heartz (2003, 138). 3 Heartz (2003, 214). 4 Heartz (1995, 519). 5 Heartz (1990, 141). 2 EXAMPLE 1. Leonardo Leo, Ciro riconosciuto, act 2, “Non so; con dolce moto,” mm. 7–11, from a keyboard-vocal score (on two staves) published in Johann Friedrich Reichardt’s Musikalisches Kunstmagazin (1782), reproduced in facsimile in Heartz (2003, 136–37). Translation: “I do not know. With a gentle motion my heart trembles in my breast.” Largo e con gusto Astiage j ‰ œ ‰ œ œ œ œ œ 3 œ œ œ œ bœ œ œ œ œ œ œ œœœ œ œ œ & b 4 œ ˙ œœœ œ œ œ œ œ œ œ œ œ œœ œ œœœ J œ œ œ œ œ œ œ NonJ so; Œ con dol - ce mo - to ‰. Ril corJ mi treJ -maJ!in pet - to ? 3 œ œ œ œ œ œ œ œ œ b 4 ‰ œ œ œ œ œ EXAMPLE 2. Leo, Salve Regina in F, mm. 1–5, from Heartz (2003, 139) Largo œ œ œ œ 3 œœœœœœ œ œ œœœ œœœ œœœœœœ œ.œœ œœœœ œ œœ & b 4 œœ! œ œœœœœœ œ œ ! œœ#œœ œ nœ œ ! œ œœœœœœ œ œ œ œœ œ.œ œ Strings œ œ f p f p f p f œ œ ? b 43 œ œ œ œ œ œ œ œ œ œ œ 6 5 4 3 EXAMPLE 3. Pietro Antonio Locatelli, Flute Sonata in A, Op. 2, No. 7, II, mm. 1–7, from Heartz (2003, 215) Largo œ Ÿ 12 œ œ œ. œ œ œ œ Ÿ j & b 8 œ. œ œ Œ œ œ œ œ. œ œ œ Œ ‰ Flute, Basso J J J ? 12 œ œ œ œ œ œ œ œ j j œ œ œ b 8 œ œ œ œ J J 6 J 6 5J J 7 5 œ9 5J 4 4 3 4 3 EXAMPLE 4. Wolfgang Amadeus Mozart, La finta semplice, act 1, “Colla bocca e non col core,” mm. 1–4 Andante # . œ œ œ œ ## 2 œ. œ œ œ œ #œ œ œ œ œ œ œ œ œ œ. œ. œ œ œ œ œ & 4 œ. œ 3 œ œ œ œ œ œ œ Í p . ? # # 2 œ œ œ œ œ œ œ œ œ # 4 ! ‰ œ œ œ Strings, Flutes œ 3 EXAMPLE 5. Giovanni Paisiello, Il barbiere di Siviglia, act 2, “Giusto ciel che conoscete,” mm. 15–24. Translation: “Just heaven, you know how sincere my heart is.” Larghetto Rosina r œ r œ r b 2 œ. œ œ œ j j r r œ œ œ r & b b 4 œ œ J R œ œ œ œ ‰ œ œ J œ. œ GiuR - stoR ciel che co - no - sce - te quan-to!il cor Jo - neJ - sto bb 2 ‰ œ œ œ œ ! & b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Strings œ œ œ œ œ œ œ œ. œ. œ. œ. p . ? b 2 œ œ œ œ œ œ œ œ b b 4 ‰ œ œ œ œ 18 r b œ j j œ. œ & b b œ œ Œ œ œ ‰ œ si - a, quan - - - to!il cor Jo - Bassoons Clarinets Bassoons r r œ œ r œ b j ? œ œ œ œ œ. œ œ œ œ œ . œ j ? œ œ œ œ œ. œ œ œ b b œ œ œ œ œ œ œ J & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & & Hornsœ œ œ ˙ ˙ ˙ ? b ˙œ œ œ œ ˙œ œ œ œ ˙œ œ œ œ b b 21 b œ r r b b ˙ ˙ œ œ œ œ œ j Œ & ne - - - - - - - - - - sto siœ œ-œ œa Clarinets j œ œ œ œ ‰ Œ b œ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ & b b œ œ œ œ j ‰ ! œ œ œ œ ‰ ! œ œ œ œ ‰ œ œ œ œ œ œ. œ œ Strings J J œ. œ œ ? bb œ œ œ œ œ œ œ œ œ œ œ œ œ j ‰ b œ œ It is no accident that all three of the opera arias cited by Heartz contain the word core (also spelled cor). Eighteenth-century opera composers associated the sonic sweetness of the subdominant chord over a tonic pedal with the tender emotions of the human heart. The 6/4 chords in all these passages are neighboring 6/4 chords (also called pedal or auxiliary 6/4 chords). Dmitri Tymoczko has argued that “the vast majority of ‘neighboring 6/4 chords’ fall into just a couple idioms or schemas––chiefly I – IV6/4 – I and V – I6/4 – V.” He has urged the abandonment of the term “neighboring 6/4 chord” in favor of an “idiomatic or ‘schema-based’” explanation of the passages in which it occurs, which “correctly gives the expectation that there are just a couple of relevant 4 progressions, occurring on specific scale degrees, and expressing specific harmonic functions.”6 Looked at from the point of view of the voice-leading schemata named and explored by Robert O. Gjerdingen, and theorized in depth by Vasili Byros,7 the passages quoted above can be described as elaborations of a schema—recently referred to by Byros as the “Sol-La-Sol”—in which a melody moves from the fifth scale degree to the sixth and then returns to the fifth, over a bass that sustains the first scale degree.8 Gjerdingen quotes such a passage at the beginning of an aria in Leo’s Olimpiade (Naples, 1737). In “Non so donde viene,” King Clistene tells of the unfamiliar feelings that come over him as he sentences a young man to death, unaware that the youth is his own son. Again the heart is the source of emotion, but the librettist Pietro Metastasio used “petto” instead of “core” to satisfy the requirements of rhyme: Non so donde viene I know not the source of Quel tenero affetto: that tender affection, Quel moto ignoto that motion that surges Mi nasce nel petto: unknown in my bosom: Quel gel che le vene that chill which now seizes Scorrendo mi va. my soul through and through.9 The melody’s –– motion over a tonic pedal, beautifully decorated with leaps from up to and down again to , conveys the “tender affection” of Clistene’s heart (Example 6; in this and all subsequent musical examples, and in the text, I follow Gjerdingen in using black disks to refer to scale degrees in the melody, and white disks to refer to scale degrees in the bass). Gjerdingen describes measures 17–18 as an opening gambit and measures 19–20 as the beginning of a Prinner in which a Meyer is embedded.10 I would argue that measures 17–20 together constitute a schema that is both common and distinctive enough to deserve its own name and a place among the galant schemata. I call it the Heartz, in acknowledgment of Daniel Heartz’s recognition of it as a characteristic and expressively potent element of the galant style, and also as a reminder of the frequency with which composers used it to communicate the meaning of texts that include the Italian word for “heart.” 6 Remarks by Dmitri Tymoczko, 20 October 2011, on http://lists.societymusictheory.org/pipermail/smt- talk-societymusictheory.org/2011-October/001202.html, consulted on 25 June 2013.
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