This dissertation has been 64—7022 microfilmed exactly as received HENRY, Oscar Mervine, 1928- THE DOCTRINE OF AFFECTIONS IN SELECTED SOLO CANTATAS OF ALESSANDRO SCARLATTI. The Ohio State University, Ph.D., 1963 Music University Microfilms, Inc., Ann Arbor, Michigan Copyright by Oscar Mervine Henry 1964 THE' DOOTRINE OP AFFECTIONS IN SELECTED SOLO CANTATAS OF ALESSANDRO SCARLATTI DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University by Oscar Mervine Henry, A.B., A.M. The Ohio State University 1965 Approved by Adviser School of Music Cfttppt iV AOKNOWÏiBDGBMENTS I express sincere thanks and gratitude to certain persons who have helped me in various ways by guiding me in bringing this project to its present sta&e; Professor Herbert Livingston, Head of the Department of Music History and Literature; Dr. Professor Herman Phelps, Chairman of Graduate Studies Program in Music; Professor Everett Kircher, Professor of Educational Philosophy, and Dr. Earl Anderson of the College of Education, all of The Ohio State Univer­ sity. A special thanks is expressed to Dr. Charles H. Wesley, President of Central State College at Wilberforce, Ohio and to the trustees of that college who permitted me to undertake a program of study at the Ohio State Universi­ ty in addition to carrying a full teaching load at Central State College. I want to express my thanks to my wife Jeanne and to my infant daughter Emily, to my father, William R. Henry, and to my latermother Emily Henry for the encouragement given me and the sacrifices that they made for me as I worked. Finally, I express my thanks to members of the Division of Fine Arts and of the faculty of Central State College for the assistance that they have given me in bringing this project to a close. Among these are Dr. Anna M. Terry, Miss Mollie Dunlap, Mrs. Essie K. Payne, Dr. Carleton L. Lee, and Dr. Lewis A. Jackson, Vice-President of Academic Affairs. iii TABLE OP COETEUTS Page ACKNOWLEDGBMEKTS.................... ill LIST OF FIGURES , . .......................... v Chapter I. lUTRODUOTION.............. 1 II. ALESSAUDEO SCARLATTI ; THE MAN AMD HIS MUSIC 11 III. HISTORY OP THE BAROQUE CANTATA DA CAMERA . 37 Origins of the Chamber Cantata Schools and Composers before Scarlatti . The Neopolitan School IV. INFLUENCES OF RATIONALISM............. 91 Rene Descartes Cartesian Rationalism Rationalism and the Passions The Daoirine of Affections 5 Speculation The Doctrine of Affections: Application V. ANALYSIS OF SELECTED SOLO CANTATAS OF ALESSANDRO SCARLATTI ........... 162 Textual Analysis Musical Characteristics: Forms Scarlatti's Harmonic, Melodic, and Rhythmic Styles Scarlatti's Melodic, Harmonic, and Rhythmic Devices VI. CONCLUSIONS......... 377 APPENDIX ................................ 387 BIBLIOGRAPHY................................... 404 iv LIST OP PIGUEES Pig. Page 1 Prom Andate £ mlel sosplrl ............... 192 2 Prom Amiol s£ vlnto .............. 194 3 Prom nhiusa tra fosche bende . .......... 194 4 Prom Patto d*am'or. .......... 195 5 Prom Anda'iie o mlel sosplrl( 1713)............ 196 6 Prom Lasola dl torment arm! .......... .199 7 Prom nhi'usa tra fosche.................... 205 8 Prom Ohlusa tra fosche . ....... ...205 9 Prom Amlol vlnto . ......... 228 10 Prom Amlci se . .................. 229 11 Prom Amiol ae vlnto....................... 229 12 Prom Amiol se vlnto....................... 230 13 Prom Amlcl 36 vlnto . 231 14 Prom Amiol £?.. vlnto..................... 231 15 Prom _______Amlcl sevlnto............... 232 16 Prom Amo ma I'ldol m l o .................... 233 17 Prom Da Che Tlrsl.........................235 18 Prom Fllle altera e spletata............. 237 19 Prom pare selve gradlte. .................. 238 20 Prom pare selve gradite............... 238 21 Prom Andata 0 mlel sosplrl ............... 241 22 Prom Andate ô mlel sosplrl (1712)........... 241 23 Prom Andate £ miel sosplrl (1712)........... 243 24 Prom Andate £ mlel sosplrl.......... 245 25 Prom Andate £ mlel sosplrl............. 246 26 Prom La dove"a mergelllne. .............. 247 27 Eeso.: bTons of Various Augmented and Dll ilshed Phords........... 253 28 Prom Lasola dl tormentarml . ........... 266 29 Prom Lasola dl tormentarml ............... 267 30 Prom Amlcl se vinto. ................ 279 31 Prom Am£ ma I'ldol ......... 281 32 Prom Da Che Tlrsl .................... 283 33 Prom l^llT""adoraia ah ben ......... 286 34 Prom La belta............................ 288 35 Prom lA belta.......... 288 36 Prom Luml Che In fronts.................... 289 37 Prom "SI Che v ^ d o r o " .................... 293 38 Prom "Se non v'aoooglle".................. 294 39 Prom "In fin che un d l " .................. 294 40 Prom "SI ben mlo si anoor"................ 295 41 Prom Amlcl se vlnto................. 296 42 Prom Amd ma"?'idol ........................296 List of Figures (cout'd.) Pig. Page 43 Prom Î Andate o miei sospiri (1713) 44 Prom Amici se vinto ............ 45 Prom Amici se v i n t o ....... ........299 46 - . Prom Lumi Che in Trente ......... 47 Prom iiumi clie in fronce .......... 48 Prom Lascia di tormentarmi . 49 From Lei prati ................. 50 Prom Lascia"dr tormentarmi....... 51 Prom Lascia di tormentarmi. , . 52 Prom Amici se vinto . ........... 53 Prom Amici se vinto ............. 54 Prom Amici se vinto ............. .... 311 55 Prom Amici se vlnto ............. 56 Prom imici se vinto ............. 57 From Amici se vinto ............. 58 Prom Amici se vlnto ............. 59 Prom Amici se vinto ............. .... 315 60 Prom Amici se vinto......... .... 315 61 Prom Amici se vinto . ......... .... 316 62 Prom Amici se ^ n t o ......... .... 317 63 Prom Amici se vinto . 64 Prom Amici se vinto ............. 65 Prom imici se vinto....... .... 320 66 Prom A1 fin, al fin ........ 67 Prom n n n : n TÏ5 .......... .... 321 68 Prom Amo ma l^doimio ......... 69 Prom pilie adorata e spietata , . 322 70 Prom Mitilde alma mia ............ .... 323 71 Prom Miiilde alma mia . ......... 72 Prom ïïlle adorata eh ben ........ .... 324 73 Prom Pilie adorata ah ben ........ 74 Prom Patto d'amor ............... 75 Prom Go lui che fiso ........... 76 Prom Go lui che fiso ....... .... 325 77 Prom Ghiusa tr fosche ......... .... 325 78 Prom Amo ma l*idol ............. .... 325 79 Prom Quando amor ............... .... 330 80 Prom Quando amor ............... .... 333 81 Prom Quando amor ............... 82 Prom Quando amor ............... .... 335 83 Prom 0 mai daT"cielo ........... 84 Prom Quando amor ............... .... 337 85 Prom Quando amor ............... 86 Prom Quando amor ............... 87 Prom Quando amor ................ 88 Prom Quando amor ......... vl List of Figures (coat'd.) Fig. Page 89 Prom Lmga stagioado ........... 346 90 Prom Lascia di tormentarmi . ......... ' 3^7 91 Prom Ai fin, al iln . " T ............. 351 92 Prom ■Amici se vlnto............... 363 93 Prom ■toiel se vinto..................... 364 94 Prom Àn'dat'p. £ miei sosniri . ......... 365 95 Prom Mitllde""aima mia. .......... 366 96 Prom Lumi che in f r o n t s ............... 367 97 Prom Lumi one In j r o n t e ............... 368 98 Prom Lumi che in f r o n t e ............... 368 99 Prom ■told se vinto..................... 369 100 Prom toi cl se vlnto..................... 370 101 Prom ■told se vlnto..................... 371 102 Prom ■Andate o mi'eY sosplrl............. 372 103 Prom se vinto................. 372 104 PronL. 374 105 Prom Andate o miei sosplrl (1713)........ 375 vli CHAPTER I INTRODUCTION 1 2 Though Manfred Buhofzer and Glen Haydon treat the subject of expression in Baroque music from divergent points of view, they are in agreement on the existence and validity of the Doctrine of Affections, the derivative of Rationalism, which was primarily concerned with human passions and their artistic expression. Both recognized the concern which Baroque musicians, theorists, and performers displayed in devising figures and formulae designed to amplify human passions. Both men point to the fact that Baroque compesers in poesia per musica placed new emphasis on words and rationalized techniques to achieve musical expressio verborum.^ Speculative interest in human passions is at least as old as Aristotle. By passions, Aristotle meant appetite, anger, fear,and varying degrees of pleasure and pain. Still later, the Stoics defined passion as an unnatural, violent, irrational movement of man's soul. Others from ancient ^Manfred Bukofzer, Music in the Baroque Era (New York: Norton, 1947), PP. 389-3901 --- 2 Glen Haydon, "On Problem of Expression in Baroque Music," Journal of the American Musicological Society, (Spring, 1950), pp. 113-119. ^Bukofzer, op.cit.. p. 4; Haydon, op.cit.. p. 113. 1 Greece "wrcte on the subject. Cicero, Seneca, and Plotinus made references to human passions as states of the body which may be attached to definite ideas of the soul. Speculative interest continued until the time of Rene Descartes who attempted to write, for his patron, Queen Christina of Sweden, a definitive work on the passions of the soul, Descartes’ Passion sur I ’ame is not only a commentary on the several passions, but it is also a landmark in the A areas of aesthetics and psychology. Among other things, the book contains a list of seven basic passions: love, joy, hate, sadness, wonder, desire, and despair. Descartes recommended that figures and formulae developed from materials of music were ideal fbr the expression of passions in the same way that figures of speech