Johann Schein: an Analysis of Rhetoric and Word Painting in the Diletti Pastorali Collection

Johann Schein: An Analysis of Rhetoric and Word Painting in the Diletti Pastorali Collection

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Authors Dunsavage, Angelica Marie

Publisher The University of Arizona.

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JOHANN SCHEIN: AN ANALYSIS OF RHETORIC AND WORD PAINTING IN THE DILETTI PASTORALI COLLECTION

Angelica Dunsavage

A Document Submitted to the Faculty of the

FRED FOX SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

2020

THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE

As members of the Dissertation Committee, we certify that we have read the dissertation prepared by: Angelica Dunsavage titled: Johann Schein: An Analysis of Rhetoric and Word Painting in the Diletti pastorali Collection and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy.

______Date: ______Aug 9, 2020 Elizabeth R. Schauer

______Date: ______Aug 10, 2020 Miguel Ángel Felipe

______Date: ______Aug 9, 2020 John T. Brobeck

Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College.

I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement.

______Date: ______Aug 9, 2020 Elizabeth R. Schauer Dissertation Committee Chair

Choral Conducting (Fred Fox School of Music)

DEDICATION

This document is dedicated to my mother, Joestelle DeLuca-Dunsavage, for inspiring in me a love of music that has encouraged me to pursue this degree, and to the late Professor James C. Dearing, for showing me the magic of madrigals.

TABLE OF CONTENTS

LIST OF TABLES..………………………………………………………….……………6

LIST OF MUSICAL EXAMPLES.……………………………………………………….7

ABSTRACT.……………………………………………………………………….…….12

CHAPTER 1: INTRODUCTION.………………….……………………………………13

Intent and Purpose of Study………...……………………………………………14

Statement of Primary Thesis.…………………………………………………….15

Review of Scholarly Literature……………………………………………….….15

CHAPTER 2: MUSIC AND POETRY IN EARLY BAROQUE GERMANY……...….21

CHAPTER 3: JOHANN HERMANN SCHEIN……………………………………...…24

Biography.…………………………………………………………………….….24

Compositional Output……………………………………………………………25

Salient Style Features of Schein’s Music as Found in the Diletti pastorali Collection.……………………………………………………………….……….27

CHAPTER 4: ANALYSIS OF THE DILETTI PASTORALI COLLECTION…………30

Amaryllis Madrigals.…………………………………………………………….30

O Amarilli, schönste Zier………………………………………………...32

All wilden Tier im grünen Wald………………………………………….36

O Amarilli zart…………………………………………...………………40

Phyllis and Corydon Madrigals………………………………………………….46

O Venus und Cupido blind……………………………………………….48

In Filli schönen Äugelein.……………………………….……….………56 5

Phyllis and Corydon Madrigals — Continued

Wenn Filli ihre Liebesstrahl.………………………………………….…61

Die Vöglein singen……………………………………………………….67

Cupido blind, das Venuskind…………………………………….………73

Wie kömmt’s, o zarte Filli mein……………………………………….…79

Aurora schön mit ihrem Haar……………………………………………84

Cupid Madrigals……………………………………………………………….…91

Mein Schifflein lief im wilden Meer.…………………………….……….92

Als Filli schön und fromm.……………………………………………….97

Amor, das liebe Räuberlein..…………………………………………...101

Unlängst dem blinden Göttelein.……………………………………….106

Other Pastoral Madrigals……………………………………………………….111

Mirtillo hat ein Schäfelein.…………………………………….……….112

CHAPTER 5: CONCLUSION………………………………………………………....118

APPENDIX: GLOSSARY OF RHETORICAL TERMS AND DEFINITIONS..….….119

REFERENCES.………….………………………………………………………….….120

LIST OF TABLES

Table 4.1. Analysis of O Amarilli, schönste Zier……………………………………….32

Table 4.2. Analysis of All wilden Tier im grünen Wald………………………………...36

Table 4.3. Analysis of O Amarilli zart…………………………………….……………40

Table 4.4. Text and translation of Caccini’s Amarilli mia bella……….…….…………41

Table 4.5. Analysis of O Venus und Cupido blind……………………...………………48

Table 4.6. Analysis of In Filli schönen Äugelein……………………………………….56

Table 4.7. Analysis of Wenn Filli ihre Liebesstrahl…………………………………….61

Table 4.8. Analysis of Die Vöglein singen………………………………………...……67

Table 4.9. Analysis of Cupido blind, das Venuskind……………………………………73

Table 4.10. Analysis of Wie kömmt’s, o zarte Filli mein……………………………….79

Table 4.11. Analysis of Aurora schön mit ihrem Haar..………….…………………….84

Table 4.12. Analysis of Mein Schifflein lief im wilden Meer.….……………….………88

Table 4.13. Analysis of Als Filli schön und fromm.…………………………………….97

Table 4.14. Analysis of Amor, das Liebe Räuberlein....……………………………….101

Table 4.15. Analysis of Unlängst dem blinden Göttelein………...……………………106

Table 4.16. Analysis of Mirtillo hat ein Schäfelein…………………………...……….112 7

LIST OF MUSICAL EXAMPLES

Musical Example 4.1. Schein, O Amarilli schönste Zier, mm. 1-4..…...………….…………….33

Musical Example 4.2. Schütz, Quella damma son io, mm. 1-7…………….…………………....33

Musical Example 4.3. Schein, O Amarilli schönste Zier, mm. 12-14…………………………...35

Musical Example 4.4. Schein, O Amarilli schönste Zier, mm. 20-21………...…………………35

Musical Example 4.5. Schein, All wilden Tier, mm. 2-4………………………………………...37

Musical Example 4.6. Schein, All wilden Tier, mm. 14-17…………...…………………………38

Musical Example 4.7. Schein, All wilden Tier, mm. 18-26……...………………………………38

Musical Example 4.8. Schein, All wilden Tier, mm. 26-28……...………………………………39

Musical Example 4.9. Caccini, Amarilli mia bella, mm. 1-3……………………………………41

Musical Example 4.10. Schein, O Amarilli zart, m. 1...…………………………………………42

Musical Example 4.11. Schein, O Amarilli zart, mm. 6-7……………………………………….42

Musical Example 4.12. Schein, O Amarilli zart, mm. 14-19………………………………….…43

Musical Example 4.13. Schein, O Amarilli zart, mm. 19-20…………………………………….44

Musical Example 4.14. Schein, O Amarilli zart, mm. 22-23…………………………………….44

Musical Example 4.15. Schein, O Amarilli zart, mm. 34-35………………………………….…45

Musical Example 4.16. Schein, O Venus und Cupido blind, mm. 1-15………………………....49

Musical Example 4.17. Schein, O Venus und Cupido blind, mm. 16-19.……………………….47

Musical Example 4.18. Schein, O Venus und Cupido blind, mm. 20-24.……………………….48

Musical Example 4.19. Schein, O Venus und Cupido blind, mm. 34-36.….……………………53

Musical Example 4.20. Schein, O Venus und Cupido blind, m. 34.....……….……...………….53

Musical Example 4.21. Schein, O Venus und Cupido blind, mm. 39-42.……………………….53 8

Musical Example 4.22. Schein, O Venus und Cupido blind, mm. 42-58.……………………….54

Musical Example 4.23. Schein, In Filli schönen Äugelein, mm. 1-4……………………………57

Musical Example 4.24. Schein, In Filli schönen Äugelein, mm. 10-11…………………………57

Musical Example 4.25. Schein, In Filli schönen Äugelein, mm. 11-12…………………………57

Musical Example 4.26. Schein, In Filli schönen Äugelein, mm. 14-18…………………………58

Musical Example 4.27. Schein, In Filli schönen Äugelein, mm. 18-21………………………....59

Musical Example 4.28. Schein, In Filli schönen Äugelein, mm. 23-24…………………………60

Musical Example 4.29. Schein, In Filli schönen Äugelein, mm. 28-29…………………………60

Musical Example 4.30. Schein, Wenn Filli ihre Liebesstrahl, mm. 1-3………………………....62

Musical Example 4.31. Schein, Wenn Filli ihre Liebesstrahl, mm. 5-8…………………………62

Musical Example 4.32. Schein, Wenn Filli ihre Liebesstrahl, mm. 8-11.……………………….64

Musical Example 4.33. Schein, Wenn Filli ihre Liebesstrahl, mm. 11-12………………………64

Musical Example 4.34. Schein, Wenn Filli ihre Liebesstrahl, mm. 17-24………………………65

Musical Example 4.35. Schein, Wenn Filli ihre Liebesstrahl, mm. 24-25………………………65

Musical Example 4.36. Schein, Wenn Filli ihre Liebesstrahl, mm. 30-32………………………66

Musical Example 4.37. Schein, Die Vöglein singen, mm. 1-8.…………………………….……68

Musical Example 4.38. Schein, Die Vöglein singen, mm. 9-12…………………………………69

Musical Example 4.39. Schein, Die Vöglein singen, mm. 16-18.…….…………………………69

Musical Example 4.40. Schein, Die Vöglein singen, mm. 18-22…….………………………….70

Musical Example 4.41. Schein, Die Vöglein singen, mm. 22-25…………………………….….71

Musical Example 4.42. Schein, Die Vöglein singen, mm. 25-26.....…………………………….71

Musical Example 4.43. Schein, Die Vöglein singen, mm. 28-29.....…………………………….72

Musical Example 4.44. Schein, Die Vöglein singen, mm. 42-49.……………………………….72 9

Musical Example 4.45. Schein, Cupido blind, das Venuskind, mm. 1-2………………………...79

Musical Example 4.46. Schein, Cupido blind, das Venuskind, mm. 2-4.……….……………….74

Musical Example 4.47. Schein, Cupido blind, das Venuskind, mm. 11-12…...…………………75

Musical Example 4.48. Schein, Cupido blind, das Venuskind, mm. 12-15…...…………………75

Musical Example 4.49. Schein, Cupido blind, das Venuskind, mm. 15-17……...………………76

Musical Example 4.50. Schein, Cupido blind, das Venuskind, mm. 19-34……...………………76

Musical Example 4.51. Schein, Cupido blind, das Venuskind, mm. 36-38……………………..77

Musical Example 4.52. Schein, Cupido blind, das Venuskind, mm. 42-43…………...…………78

Musical Example 4.53. Schein, Cupido blind, das Venuskind, mm. 45-46……………………...78

Musical Example 4.54. Schein, Cupido blind, das Venuskind, mm. 47-49……………………...78

Musical Example 4.55. Schein, Wie kömmt’s, o zarte Filli mein, mm. 5-6……...………………75

Musical Example 4.56. Schein, Wie kömmt’s, o zarte Filli mein, mm. 9-12…………………….80

Musical Example 4.57. Schein, Wie kömmt’s, o zarte Filli mein, mm. 20-35…………………...81

Musical Example 4.58. Schein, Wie kömmt’s, o zarte Filli mein, mm. 54-55.…………………..82

Musical Example 4.59. Schein, Wie kömmt’s, o zarte Filli mein, mm. 53-64.…………………..82

Musical Example 4.60. Schein, Aurora schön mit ihrem Haar, mm. 1-8……………………….85

Musical Example 4.61. Schein, Aurora schön mit ihrem Haar, mm. 10-14…………………….85

Musical Example 4.62. Schein, Aurora schön mit ihrem Haar, mm. 17-19…………………….86

Musical Example 4.63. Schein, Aurora schön mit ihrem Haar, mm. 23-31…………………….87

Musical Example 4.64. Schein, Aurora schön mit ihrem Haar, mm. 23-31…………………….88

Musical Example 4.65. Schein, Aurora schön mit ihrem Haar, mm. 58-60.………….………...89

Musical Example 4.66 Schein, Aurora schön mit ihrem Haar, mm. 52-61..……………………89

Musical Example 4.67 Schein, Aurora schön mit ihrem Haar, mm. 72-80..……………………90 10

Musical Example 4.68. Schein, Mein Schifflein lief in wilden Meer, mm. 1-3………………….93

Musical Example 4.69. Schein, Mein Schifflein lief in wilden Meer, m. 8..…………………….93

Musical Example 4.70. Schein, Mein Schifflein lief in wilden Meer, mm. 12-14……………….93

Musical Example 4.71. Schein, Mein Schifflein lief in wilden Meer, mm. 15-16……………….94

Musical Example 4.72. Schein, Mein Schifflein lief in wilden Meer, mm. 16-18……………….94

Musical Example 4.73. Schein, Mein Schifflein lief in wilden Meer, mm. 18-19……………….94

Musical Example 4.74. Schein, Mein Schifflein lief in wilden Meer, mm. 24-27……………….95

Musical Example 4.75. Schein, Mein Schifflein lief in wilden Meer, mm. 34-37……………….96

Musical Example 4.76. Schein, Mein Schifflein lief in wilden Meer, mm. 42-44…….…………96

Musical Example 4.77. Schein, Als Filli schön und fromm, m. 1...…...…………………………98

Musical Example 4.78. Schein, Als Filli schön und fromm, m. 2...……………………………...98

Musical Example 4.79. Schein, Als Filli schön und fromm, mm. 8-9………...…………………98

Musical Example 4.80. Schein, Als Filli schön und fromm, mm. 10-12………………………...99

Musical Example 4.81. Schein, Als Filli schön und fromm, m. 20...…………………………….99

Musical Example 4.82. Schein, Als Filli schön und fromm, mm. 21-22………………………...99

Musical Example 4.83. Schein, Als Filli schön und fromm, mm. 22-25..…………...…………100

Musical Example 4.84. Schein, Amor, das liebe Räuberlein, m. 1....…….…………...……….102

Musical Example 4.85. Schein, Amor, das liebe Räuberlein, mm. 2-4…...……………………102

Musical Example 4.86. Schein, Amor, das liebe Räuberlein, m. 7....………………………….102

Musical Example 4.87. Schein, Amor, das liebe Räuberlein, mm. 6-8.…….………………….102

Musical Example 4.88. Schein, Amor, das liebe Räuberlein, m. 12…...………………....……103

Musical Example 4.89. Schein, Amor, das liebe Räuberlein, m. 13.………………....………..103

Musical Example 4.90. Schein, Amor, das liebe Räuberlein, mm. 18-20.….………………….104 11

Musical Example 4.91. Schein, Amor, das liebe Räuberlein, mm. 21-24…………...…………104

Musical Example 4.92. Schein, Amor, das liebe Räuberlein, m. 28...…………………………105

Musical Example 4.93. Schein, Amor, das liebe Räuberlein, mm. 32-34.…………….……….105

Musical Example 4.94. Schein, Amor, das liebe Räuberlein, m. 35...…...…………………….105

Musical Example 4.95. Schein, Unlängst dem blinden Göttelein, mm. 1-7……………………107

Musical Example 4.96. Schein, Unlängst dem blinden Göttelein, mm. 14-16……...………….108

Musical Example 4.97. Schein, Unlängst dem blinden Göttelein, mm. 39-40…………………109

Musical Example 4.98. Schein, Unlängst dem blinden Göttelein, mm. 41-42…………………109

Musical Example 4.99. Schein, Unlängst dem blinden Göttelein, mm. 42-43………………....109

Musical Example 4.100. Schein, Unlängst dem blinden Göttelein, mm. 44-55.……………….109

Musical Example 4.101. Schein, Unlängst dem blinden Göttelein, mm. 49-52.……………….110

Musical Example 4.102. Schein, Mirtillo hat ein Schäfelein, mm. 1-2…...……………………113

Musical Example 4.103. Schein, Mirtillo hat ein Schäfelein, mm. 4-5.………………….…….113

Musical Example 4.104. Schein, Mirtillo hat ein Schäfelein, mm. 7-8.………….…………….114

Musical Example 4.105. Schein, Mirtillo hat ein Schäfelein, mm. 8-10……………………….114

Musical Example 4.106. Schein, Mirtillo hat ein Schäfelein, mm. 13-14……………………...115

Musical Example 4.107. Schein, Mirtillo hat ein Schäfelein, mm. 19-23……………………...115

Musical Example 4.108. Schein, Mirtillo hat ein Schäfelein, mm. 24-38…………...…………116

Musical Example 4.109. Schein, Mirtillo hat ein Schäfelein, mm. 39-42.…….……………….117

ABSTRACT

The focus of this document is the use of rhetoric and word painting in the German madrigals of Johann Hermann Schein (1586-1630), particularly those in his Diletti pastorali

Hirtenlust collection of 1624. As both the poet and composer of this collection, Schein displays a synthesis of Italianate and Germanic styles. Schein’s texts feature pastoral and mythological characters common in the works of Torquato Tasso (1544-1595), Giovanni Battista Guarini

(1538-1612), and Francesco Petrarch (1304-1374). Like Claudio Monteverdi (1567-1643) and

Heinrich Schütz (1585-1672), Schein combines mannerist word painting and rhetoric in these works. These Italianate features are especially interesting considering Schein’s lifelong residence in Germany.

As a Leipzig church musician and predecessor to J.S. Bach, Schein is often recognized for his sacred compositions. His secular works, however, remain under-researched and under- performed in comparison. Schein’s madrigals provide a glimpse of popular musical trends in

1620s Leipzig and demonstrate the Italian madrigal’s popularity in Germany during Schein’s lifetime.

CHAPTER 1: INTRODUCTION

Johann Hermann Schein, born in 1586 in Grünhain, Germany, is considered “an important predecessor of Bach” and “one of the first composers to graft the style of the Italian madrigal, monody and concerto on to the traditional elements of Lutheran church music,”1

Schein’s life and works, however, have remained in relative obscurity compared to his contemporary and personal friend Heinrich Schütz (1585-1672). The two composers had similar musical upbringings, beginning study as choir boys, and later alternately studying music and law at university.2 While Schütz was afforded patronage for international travel and study, a court position in Dresden, and a long life, Schein’s poor health, less prestigious position in Leipzig’s

Thomasschule, and comparatively short compositional life contribute to his lack of renown today. Nevertheless, “as late as 1691, [Wolfgang] Printz still identified Schütz, Schein and

Scheidt as the leading German composers of their time.”3 Schein’s compositional influence on his students and the Thomaskirche repertoire as a whole far outlived his relatively short compositional life.

Schein’s compositions show his knowledge of and facility with international styles despite his lack of travel. As a university student and teacher in Leipzig, a small but thriving city for music publishing and humanist education, Johann Schein would have come across the works of Italian poets, as well as villanella and madrigal collections. His close friendship with Heinrich

Schütz inspired his study of Italian music and poetry. The German rhetorical devices described

1 Kerala Snyder and Gregory Johnston, "Schein, Johann Hermann," Grove Music Online (2001), retrieved 28 Oct. 2019.

2 Snyder and Johnston, “Schein, Johann Hermann.”

3 Ibid.

14 in Burmeister’s Musica poetica were common in Latin and law instruction even before their use in composition.4

As a Latin and music teacher in Leipzig’s Thomasschule, and a former student of law,

Schein would have been fully conscious of rhetoric and its application to composition in both sacred and secular genres. Combining native and foreign influences, Schein’s compositions reflect the cosmopolitan nature of Leipzig, and serve as a stylistic bridge from the Renaissance to the early Baroque era.

Intent and Purpose of Study

In this study I examine the fifteen German madrigals found in Johann Hermann Schein’s

(1585-1630) Diletti pastorali Hirtenlust collection and analyze their musical and poetic style.

The pieces in the collection are set for five voices and continuo, with texts and music composed by Schein. Schein’s madrigals demonstrate the assimilation and popularity of the madrigal genre in seventeenth-century Leipzig. Despite having never personally studied with Italian madrigalists such as Claudio Monteverdi (1567-1643) and Andrea Gabrieli (1533-1585), Schein possessed a knowledge of Italian word painting uncommon in German-educated composers of his time. As a poet, Schein was influenced by writers of the Italian Renaissance such as Torquato Tasso (1544-

1595) and Giovanni Battista Guarini (1538-1612), but gave traditional pastoral figures a new humanist voice. The madrigals of this collection and his other secular works are unique in their combination of German and Italian compositional techniques and deserve performance and study alongside their Italian and English madrigal counterparts.

4 Wilhelm Schulte, “Music and Language in Johann Hermann Schein’s Sacred Works” (PhD diss., University of Cincinnati, Cincinnati, 1998), 6.

Statement of Primary Thesis

The German continuo madrigals of Johann Schein’s Diletti pastorali exhibit a synthesis of Italianate word-painting techniques and German Baroque musical-rhetorical devices. Through the study and performance of these neglected works, scholars can gain a greater understanding of

Germany’s role in the evolution of the madrigal.

Review of Scholarly Literature

Though little research addresses Schein’s Diletti pastorali collection, scholars have determined several factors that led to the creation of this collection, including the evolution of the madrigal and Italian poetry, performance practice in the seventeenth century, and German composition before and after sixteenth-century Italian influence. Research also has been completed on the poetic influences of Johann Schein and his various musical collections, most notably on the publishing of his occasional music and his Israelbrünnlein collection.5

Two authors highlight social and musical reforms in the sixteenth and seventeenth centuries that led to the madrigal’s creation and evolution. Kathleen Grant’s treatise “A Survey of the Italian Concerted Madrigal c. 1600 to 1650” outlines the sociological events in Europe that led to the creation of the madrigal, and later to the creation of continuo and spiritual madrigals.6

Roche’s book The Madrigal explains the madrigal’s beginning, its distinction from other secular genres, the eventual addition of basso continuo, and its development in Germany. While Grant’s

5 Rose, “Schein’s Occasional Music and the Social Order in 1620s Leipzig,” 282; Schulte, “Music and Language in Johann Hermann Schein’s Sacred Works,” i.

6 Kathleen Grant, “A Survey of the Italian Concerted Madrigal c.1600 to c.1650” (DMA treatise, University of Southern California, 1990), 37-38. 16 work provides background on the continuo madrigal, her study is confined to Italian composers.

In Roche, a whole chapter is dedicated to the madrigal in Germany, but very little is mentioned of composers other than Orlande de Lassus (1532-1594), Hans Leo Hassler (1574-1612), and

Heinrich Schütz, all of whom studied in Italy.7

Gerbino’s Music and the Myth of Arcadia in Renaissance Italy, and Stevens’ “Choral

Dialogues of the Renaissance” describe Italian poetry and song, which led to the rise of the

German madrigal. 8 Gerbino cites the use of pastoral and mythological themes in the poetry of

Tasso and Guarini, both of whom have texts set by Schein. Stevens highlights the popularity of

Italian polychoral works at the end of the sixteenth century, which made their way into Germany in the early seventeenth century. Though the article does not specifically mention Schein’s compositions, Schein uses high/low voice pairings in a style similar to that discussed by Stevens.

Stephen Rose’s article “Schein’s Occasional Music” demonstrates the popularity of

Italian secular genres for weddings and other Leipzig social occasions, and provides context for some of Schein’s Diletti pastorali pieces. Rose identifies three pieces from the collection that exist in other published occasional music, and argues that Italian-inspired works were widely popular in Leipzig during Schein’s lifetime.9 Rose’s research, though providing social context for Schein’s compositions, does not include an in-depth analysis of Schein’s Italian-inspired pieces.

7 Jerome Roche, The Madrigal (New York: Charles Scribner’s Sons, 1972), 105.

8 Giuseppe Gerbino, Music and the Myth of Arcadia in Renaissance Italy (New York: Cambridge University Press, 2009); Denis Stevens, “Choral Dialogues of the Renaissance,” The Musical Times 122 (1981), 667-70.

9 Rose, “Schein’s Occasional Music,” 282.

Arthur Prüfer’s 1895 book Johann Hermann Schein provides biographical information on

Johann Schein.10 This remains the most detailed biography on Schein, and is the basis for

Snyder’s and Johnston’s article in Grove Dictionary of Music and Musicians.11 Though less extensive than Prüfer’s biography, works by other scholars have used details of Prüfer’s biography to determine Italianate influence in Schein’s other compositions. In his book Poetry and Song in the German Baroque, R. Hinton Thomas suggests that Schein’s connections to

Heinrich Schütz as well as his position in the Thomasschule are the primary influences on his

Italian-style compositions.12 Karl Vossler’s Das Deutsche Madrigal cites Tasso’s poem Ecco mormorar l’onde as a primary influence on the text of Schein’s madrigal “Die Vöglein singen.”13

Vossler also draws parallels between Schein and Tasso in the use of mythology and imagery featuring the “flames of love.”14 Smallman’s essay “Johann Hermann Schein as Poet and

Composer” likewise traces Schein’s poetic and musical influence, and analyzes Italianate influence in the Musica boscareccia collection.15 Neither Thomas’s, Vossler’s, nor Smallman’s analyses include poetic analysis of the entire Diletti pastorali collection; however, they are useful in describing poetic style features present in the madrigals.

10 Arthur Prüfer, Johann Hermann Schein (Kassel: Bärenreiter, 1989).

11 Kerala Snyder and Gregory Johnston, "Schein, Johann Hermann," Grove Music Online (2001), retrieved 28 Oct. 2019.

12 R. Hinton Thomas, Poetry and Song in the German Baroque: A Study of the Continuo Lied (London: Oxford University Press, 1963), 21-22.

13 Karl Vossler, Das deutsche Madrigal: Geschichte seiner Entwickelung bis in die Mitte des XVIII. Jahrhunderts (Weimar: Emil Felber, 1898), 23-24.

14 Vossler, Das deutsche Madrigal, 25.

15 Basil Smallman, “Johann Hermann Schein as Poet and Composer,” in Slavonic and Western Music: Essays for Gerald Abraham, ed. Malcolm Hamrick Brown (Oxford: Oxford University Press, 1985), 33-48. 18

Several authors have contributed research on performance practice and compositional techniques of the late Renaissance and Baroque eras that has been useful in this study’s methodology. Nicola Vicentino’s Ancient Music Adapted to Modern Practice includes information on voice leading, enharmonics, and mode, providing context for the methodology portion of this study.16 Bartel’s Musica poetica describes figures of Baroque rhetoric as compositional devices, and contains information on Joachim Burmeister’s 1609 treatise of the same title.17 Burmeister’s treatise was used by Schein as well as his pupils at the Thomasschule.

Alessandrini’s article “Performance Practice in the Seconda Prattica Madrigal” addresses changes in transposition, ornamentation, use of vibrato, and other factors that became prominent in the continuo madrigal.18 Braun’s Thöne und Melodeyen, Arien und Canzonetten likewise provides insight into performance practice of German Baroque works.19 Though Braun analyzes other secular works of Schein, his focus does not include detailed analysis of the Diletti pastorali collection.

William Schulte’s dissertation, “Music and Language in Johann Hermann Schein’s

Sacred Works,” and Thomas Lancaster’s analysis of Schein’s Israelbrünnlein create the foundation of analysis for this study. Lancaster states that Schein’s and Schütz’s sacred collections exhibit madrigalian devices to various degrees and serve as bridges between the

Renaissance and Baroque eras. Schulte uses rhetorical and musical analysis to evaluate the

16 Nicola Vincentino, Ancient Music Adapted to Modern Practice, ed. Claude V. Palisca (New Haven: Yale University Press, 1996).

17 Dietrich Bartel, Musica Poetica (Lincoln: University of Nebraska Press, 1997), 93.

18 Rinado Alessadrini, “Performance Practice in the Seconda prattica Madrigal,” Early Music 27 (1999): 632-639, doi: 10.1093/em/27.4.632.

19 Werner Braun, Thöne und Melodeyen, Arien und Canzonetten: Zur Musik des deutschen Barockliedes (Tübigen: Max Miemeyer Verlag, 2004).

19 roles of music and language in the Israelbrünnlein collection.20 Schulte’s analysis of

Israelbrünnlein, as the sacred counterpart to Diletti pastorali, provides a starting point of analysis. Though Schulte argues in a footnote that Schein’s secular madrigals cannot be compared to works of Monteverdi and Schütz due to differences between the Italian aristocracy and German merchant classes, he later contradicts this statement, saying that Schein’s sacred madrigals are above this class distinction.21 Diletti pastorali reflects Schein’s innovative approach to setting German poetry in the madrigalian style that appealed to the German intelligentsia.

The scores used for analysis come from two editions of Johann Schein’s collected works.

The first, published in 1907 by Arthur Prüfer, contains added dynamic markings and accidentals not in Schein’s original editions, and a keyboard reduction rather than a realized continuo line.22

In comparison, the edition by Adam Adrio follows more closely Schein’s original continuo part, manuscript accidentals, and proper duple to triple relationships.23 Neither Adrio’s nor Prufer’s editions contain translations of the texts. For this document, I have created new performance editions of the Diletti pastorali works, containing my own in-score translations and continuo realization, inspired by Adrio’s work.

20 Schulte, “Music and Language in Johann Hermann Schein’s Sacred Works,” i.

21 Schulte, “Music and Language in Johann Hermann Schein’s Sacred Works,” 51-52.

22 Johann Hermann Schein, Diletti pastorali Hirtenlust. Johann Hermann Schein Sämtliche Werke, vol. 3, ed. Arthur Prüfer (Leipzig: Breitkopf and Härtel, 1907); F. Ellsworth Peterson, Review of Neue Ausgabe sämtlicher Werke. Bd. 8: Diletti pastorali, Hirtenlust 1624 by Johann Hermann Schein, Adam Adrio, Notes 27, no. 23 (1971): 547.

23 Peterson, Review of Neue Ausgabe sämtlicher Werke. Bd. 8: Diletti pastorali, Hirtenlust 1624 by Johann Hermann Schein, Adam Adrio, Notes 27, no. 23 (1971): 548.

Scholars have identified a timeline of evolution in the creation of the madrigal, its transition into a German genre, and its place in sacred collections. There are no current sources, however, that provide a detailed analysis of the works in Schein’s Diletti pastorali. Though these pieces are accessible and musically enriching, compositions of the German Renaissance and early Baroque remain in relative obscurity compared to contemporaneous English, French, and

Italian works. This study is a further step in bringing attention to the works of Schein and understanding the role of the German madrigal in the development of secular art music during the first half of the seventeenth century.

CHAPTER 2: MUSIC AND POETRY IN EARLY BAROQUE GERMANY

The Italian musical and poetic genres villanella and madrigal made their way into southern Germany in the 1570s via German and Italian poets and composers traveling across the

Alps. These composers include Hans Leo Hassler, Heinrich Schütz, and Orlande de Lassus.24

Through Lasso’s influence in the court of Munich, as well its dissemination through publishing houses in Nuremburg and Leipzig, Italian poetry and song became popular in metropolitan regions of Germany.25 Petrarchan poetry and the madrigal created similar echoes of imitation and innovation in Germany.

German composers studying in Italy took the madrigal back to Germany, and experimented with texts by Italian and German poets. These composers include Regnart, Hassler, and Schütz, followed by German-educated composers such as Schein who wrote their own texts and music.26 Poetic reform in Germany at the time, which emphasized freer verse structure, aligned with the through-composed structure of the madrigal.27

The madrigal’s popularity led to its use as a vehicle for creative expression, and experimentation with musical rhetoric.28 Burmeister’s Musica poetica refers to musical composition techniques separate from performance practice, and addresses the importance of text

24 Basil Smallman, “Pastoralism, Parody, and Pathos: The Madrigal in Germany, 1570-1630,” Miscellanea Musicologica 15 (1988): 6-7.

25 Roche, The Madrigal, 103.

26 Gerald Gillespie, German Baroque Poetry (New York: Twayne Publishers, 1971), 31.

27 The term “madrigal” from this instance onward in this document refers to the free structure musical genre, rather than the fixed poetic form.

28 Isabella Van Elferen, Mystical Love in the German Baroque: Theology, Poetry, Music (Plymouth, UK: Scarecrow Press, 2009), 53.

22 expression in musical settings but not at the expense of natural speech patterns.29 Through the use of rhetorical figures, or Figurenlehre, German composers like Schein began to employ word- painting, and used madrigals as a way to practice these Italianate devices while remaining true to the rules of counterpoint. The use of Figurenlehre shows a parallel in the musical development of Italy and Germany in the early seventeenth century.

Italian genres like the madrigal and villanella became immensely popular in Leipzig with musical patrons as well as composers. Meant to show wealth and social status, the commissioning of a well-known composer for a wedding or political celebration was a source of pride for cosmopolitan elites. Stephen Rose writes,

At wedding parties, the usual musical gift was a madrigal or villanella. Both of these were popularized by Schein in the 1620s. He wrote a series of nuptial madrigals for five voice-parts and continuo….All these pieces had German words, usually written by the composer and incorporating a conceit on the name or occupation of one of the dedicatees.30

The popularity of madrigals and the income from commissions motivated Schein and others to compose in this genre. Schein’s position as the musical head of the Thomaskirche was instrumental in generating a large number of requests for occasional pieces in Leipzig. In addition, these patrons supported the publishing of his occasional music in pamphlets and collections.31 Though contemporary scholars know Schein for his sacred works, his reputation in his own time was largely because of secular commissioned works.32 In Rose’s words:

29 Schulte, “Music and Language in Johann Hermann Schein’s Sacred Works,” 6.

30 Rose, “Schein’s Occasional Music,” 255-256.

31 Ibid., 282.

32 Ibid., 280-281.

Schein’s productivity as a composer can in large measure be explained by the social necessity of offering poetry and music to Leipzigers; but the pieces that he [deemed] ‘hastily completed’ for such occasions would later form the basis of his considerable reputation as a composer in seventeenth-century Germany.33

33 Ibid., 284.

CHAPTER 3: JOHANN HERMANN SCHEIN

Biography

Johann Hermann Schein was born in Grünhain, Germany on January 20, 1586. Little is known about his early life before the death of his father, a pastor and schoolmaster, in 1593, when Schein and his family moved to Dresden.34 At this time, Schein began his formal musical study with Kapellmeister Rogier Michael. Though Schein left Dresden for musical study in

Schulpforta (1603-1607) and then permanently moved to Schulpforta (1608), his connection to the Dresden court would remain for the rest of his life because of his first marriage to Sidonia

Hösel and his lifelong friendship with Heinrich Schütz.35

Upon leaving Dresden in 1608, Schein began study at University of Leipzig, and published his first collection of secular works, Venus Kräntzlein, one year later.36 The study of rhetoric in law courses and the humanist movement present at the university had a lasting impact on Schein and his poetic and musical style. Leipzig’s position as a university town and center of publishing allowed Schein access to music and poetry from throughout Europe, such as Italian madrigals and pastoral poetry. Though Schein left Leipzig in 1613 for positions in Weissenfels and Weimar, he returned in 1616 to assume the role of Thomaskantor. He taught music and Latin in the Thomasschule, and composed and directed for the Thomaskirche and Nicolaikirche.37 His compositional instruction is shown in the musical and poetic styles of pupils such as Paul

34 Kerala Snyder and Gregory Johnston, "Schein, Johann Hermann."

35 Ibid.

36 Ibid.

37 Ibid.

Fleming (1609-1640) and Heinrich Albert (1604-1651).38 Schein’s position in Leipzig’s leading musical institution gave him additional commissions for weddings, funerals, and prominent political occasions, fueling both sacred and secular compositional output.

Schein’s personal struggles contributed in large part to his relative obscurity today when compared to his friend Heinrich Schütz. The death of Schein’s first wife and eight out of ten children, as well as physical ailments including tuberculosis, created a heavy burden for the composer, leading to the cancellations and postponements of performances and publications.39

His compositional career ended four years before his early death at age forty-four, seemingly due to poor health and personal difficulties.40 The friendship of Schein and Schütz was evident in

Schein’s final request: that Schütz compose a motet for his funeral. Of these two masters of the early German Baroque, Schein was the composer whose zenith was never fully reached.

Compositional Output

Snyder and Johnston state this about Johann Schein’s vocal output:

Schein was first and foremost a composer for the voice, and was equally devoted to sacred and secular music. In the foreword to the Banchetto musicale (1617) he announced his intention to publish music for worship and for social gatherings in regular alternation, and he maintained this practice throughout the productive years that followed. The stylistic categories of his music cut across the boundary between sacred and secular: in each case there is an early choral work without continuo, and several collections of concertos for a few voices and continuo framing a collection of continuo madrigals.41

38 Ibid.

39 Ibid.

40 Ibid.

41 Ibid.

Schein’s position in the Thomasschule as a predecessor of J.S. Bach (1685-1750) has led to significant research and performance of his sacred compositions. Schein’s secular output, though less frequently performed, rivals his sacred output in quality and quantity. Unlike many composers, Schein authored all texts for his six collections of secular pieces. These volumes include over ninety German works for three to five voice parts and basso continuo. Basil

Smallman writes of Schein’s secular pieces: “In his secular works Schein stands out from his contemporaries by the richness and variety of his musical language, and, in particular, by the sensitive interrelationship he succeeds in creating between his texts and their musical settings.”42

Schein’s pieces vary in difficulty and include traditional homophonic part-songs as well as madrigals featuring mannerist imitation, paralleling his well-known sacred madrigal, Die mit

Tränen säen. As noted by Rose, many of these pieces were published separately as occasional music for weddings, and had texts in Italian as well as German. 43

The Diletti pastorali Hirtenlust collection contains fifteen German madrigals for five-part mixed voices and basso seguente. As might be expected, given the composer’s description of these piece as written in the “Italian madrigal manner,” Diletti pastorali’s madrigals show a mixture of word-painting techniques and German rhetorical devices.44 Snyder and Johnston write the following of this collection: “Poet and composer are more completely integrated here than in

42 Smallman, “Johann Hermann Schein as Poet and Composer,” 33.

43 Rose, “Schein’s Occasional Music,” 282.

44 Johann Hermann Schein, Diletti pastorali Hirtenlust. Johann Hermann Schein Neue Ausgabe sämtlicher Werke, vol. 8, ed. Adam Adrio (Kassel: Bärenreiter, 1969).

27 any of his other collections.”45 Less well-known than its sacred counterpart Israelbrünnlein,

Diletti pastorali showcases Schein’s manneristic compositional style with pastoral texts.46

Salient Style Features of Schein’s Music as Found in the Diletti pastorali Collection

The texts of the Diletti pastorali madrigals demonstrate Schein’s familiarity with Italian and German poetic forms. The individual lines of Schein’s poems vary between the Italian madrigal standard of nine to eleven syllables and the four to eight syllables of German genres.

Mixing lines of varying length, between six and nine syllables each, Schein demonstrates a freedom of form brought into Germany by Italian poets such as Guarini. Schein’s secular collections, even those written before Diletti pastorali, exhibit many of the pastoral, metaphoric, and sensual themes of Italian verse.47 Schein uses an exaggerated and occasionally mocking setting for Petrarchan poetry in O Sternen Äugelein.48 Schein’s use of Italian phrases mixed with

German, found in several of his works, demonstrates an obvious connection to Italian verse.

Schein combines elements of German rhetoric with Italian pastoral themes. Inspired by

Guarini’s Il pastor fido (1585) and Tasso’s Aminta (1573), and responding to the growing demand for pastoral devices in madrigal settings, Schein created the texts and music for the collection on popular pastoral images.49 Both Guarini’s text and Schein’s feature the pastoral

45 Kerala Snyder and Gregory Johnston, "Schein, Johann Hermann."

46Israelbrünnlein is known as the companion sacred collection of Diletti pastorali. It was written one year earlier, and also features madrigals in five voice parts and continuo.

47 Gillespie, German Baroque Poetry, 31-32.

48 Van Elferen, Mystical Love in the German Baroque: Theology, Poetry, Music, 36.

49 Grant, “A Survey of the Italian Concerted Madrigal c.1600 to c.1650”, 37-38.

28 characters of Corydon the shepherd and the mythological figure Amaryllis, who sacrifices her heart for her beloved. Other common features include shepherd choruses, bird-song, and Greco-

Roman gods and goddesses of love, nature, and the hunt.50 Schein musically depicts common images, such as wind, a stormy or calmed sea, and flames of love. Schein’s self-authored compositions show clear connection between text and music.

Schein surpassed his German predecessors in his application and assimilation of Italian musical and poetic techniques in composition. His madrigals contain a great deal of word painting and chromaticism associated with late madrigalists such as Lassus, Luca Marenzio

(1553-1599), Monteverdi, and Schütz. Another Italianate technique seen in Schein’s work is antiphonal dialogue, based on the polychoral techniques of Andrea Gabrieli and Giovanni

Gabrieli (1557-1612). In most of the Diletti pastorali madrigals are non-canonic; a motive is stated in one group of voices, echoed or modified in the other group, and combined for a final cadence.

Several of the madrigals in the Diletti pastorali collection feature an epilogue containing a song of praise to the gods of love, featuring dance-like rhythms to mimic pagan ritual. This poetic and musical structure can be traced back to sixteenth-century Italian pastoral drama.51

These dramas, originally in Latin, were intended as morality plays in which pagan shepherds set aside their old lifestyles for Christianity.52 The dramas often included musical tableaux during which shepherds and nymphs praised the pagan gods.53 These scenes later were featured in

50 Smallman, “Johann Hermann Schein as Poet and Composer,” 34.

51 Gerbino, Music and the Myth of Arcadia in Renaissance Italy, 122.

52 Ibid., 122-123.

53 Ibid., 123.

29 smaller pastoral works such as madrigals, and larger operatic pieces such as Monteverdi’s

L’Orfeo (1607). Schein sets the praise-song section apart from the rest of the madrigal with metric shifts, dynamic changes, and the inclusion of Italian text.

Schein employed Petrarchan poetic devices and German musica poetica techniques, integrating Italian style into the German repertoire. Schein’s knowledge of rhetorical figures is demonstrated in the structures of the Diletti pastorali’s madrigals. Many pieces contain a tripartite rhetorical framework: an opening Exordium in which the main character or dilemma is addressed, a Confirmatio which outlines the problem, and a Conclusio which gives a moral or resolution. In most pieces with this structure, the Conclusio is repeated, giving an overall ABB or

ABCC form. The use of Figurenlehre not specific to word painting, such as pauses for questions and varying text speed to heighten emotion, indicates Schein’s attention to German compositional conventions. His Diletti pastorali madrigals combine Italian word painting with

German rhyme schemes and poetic forms.54 In this, Schein is set apart from contemporaries who translated Italian madrigals into German, or created new Italian works without German influence.

54 Sara Dumont, “Valentin Haussman’s Canzonettas: The Italian Connection,” Music and Letters 63 (1982): 17.

CHAPTER 4: ANALYSIS OF THE DILETTI PASTORALI COLLECTION

For my study, I have analyzed Johann Schein’s Diletti pastorali collection of 1624, with particular attention to rhetorical and madrigalian devices. In the original publication, Schein specifies his modeling of his works on Italian madrigal style: “Auff Madrigal-manier componirt.”55 Schein combines Italian pastoral imagery, concertato dialogue, and word painting with German rhetoric. My analysis of Schein’s madrigals includes text exegeses and source influences, explanation of rhetorical devices used according to Bartel’s Musica poetica, instances of madrigalian word painting, and the creation of idiomatic translations for new performance editions. In musical analysis, attention has been given to Schein’s use of choral dialogue, structure, imitation, and word painting both harmonically and melodically. For the purpose of this study, pieces in the collection are grouped by subject matter: madrigals surrounding the characters of Amaryllis, Phyllis and Corydon, Cupid, and others. These categories highlight similar subjects, which feature similar musical structures and expressive devices.

Amaryllis Madrigals

Three of the madrigals in the Diletti pastorali collection, O Amarilli, schönste Zier; All wilden Tier im grünen Wald; and O Amarilli zart feature the Greek pastoral figure Amaryllis.

Amaryllis, whose name is synonymous with the flower she is believed to have created, often suffers as a result of fate. In the original myth, Amaryllis loves the shepherd Alteo, who does not

55 Johann Hermann Schein, Diletti pastorali Hirtenlust. Johann Hermann Schein Neue Ausgabe sämtlicher Werke, vol. 8, ed. Adam Adrio (Kassel: Bärenreiter, 1969).

31 return her love. Following the advice from the Oracle at Delphi, Amaryllis pierces herself with a golden arrow, dying to create the flower which would win Alteo’s affection.

Amaryllis’s name has been used frequently throughout pastoral poetry, particularly in the writings of Virgil (70 BCE-19 BCE), Theocritus (300 BCE-260 BCE), Tasso, and Guarini. In

Virgil’s and Tasso’s tales, Amaryllis is the love interest of the shepherd Tityrus, whose story of love and loss is believed to parallel Virgil’s.56 Tityrus’s song praises Amaryllis, who “bids the woods resound.”57 Theocritus and Guarini describe Amaryllis in a different manner: cautious of love and cruel to her admirers, rejecting the advances of her suitor despite his description of love as blissful and noble.58 The character of Amaryllis appears in the madrigals and solo works of

Thomas Morley (1557-1602), Marenzio, Monteverdi, Giulio Caccini (1550-1618) and others.

Schein portrays the many faces of Amaryllis throughout his collection. O Amarilli, schönste Zier gives voice to a devoted yet frightened Amaryllis in line with the original myth. All wilden Tier matches the depictions by Virgil and Tasso in a love-song echoed in nature. Lastly, in O Amarilli zart, Schein’s depiction of Amaryllis aligns with those of Theocritus and Guarini: she is a lover who doubts her intended’s fidelity, and causes great pain by withholding her affections. Schein’s depth of poetic and musical influence in the Diletti pastorali collection is seen most effectively in these three madrigals.

56 Paloma White, “Latin Pastoral Poetry of the Italian Renaissance (1480-1530)” (MA Thesis, University of Arizona, Tucson, 1935), 72.

57 Christopher Geekie, "'Cangiar La Lira in Tromba': Metaphors for Poetic Form in Torquato Tasso," Italian Studies 72, no. 3 (2017): 257-258.

58 Marco Fantuzzi, "Mythological Paradigms in the Bucolic Poetry of Theocritus," Proceedings of the Cambridge Philological Society, no. 41 (1995): 22, retrieved 11 April, 2020.

O Amarilli, schönste Zier

Formal/ Measures Text Translation59 Rhetorical Structure A: 1-12 O Amarilli, schönste O Amaryllis, beautiful Exordium Zier, mein Herz voll treasure, my heart is Lieb und Treu ganz full of love and ungezwungen frei faithfulness, I freely ich euch zum present [my heart] to Malschatz präsentier. you, my beloved.

B (B): 12-25 Wollt ihr nun, daß ich Do you wish that I Propositio, soll leben? So tut an should live? So that I Confirmatio, dessen Stell und Statt can go from place to Refutatio, (weil nichts ohn Herz place (because nothing Conclusio das Leben hat) mir eur without a heart can treues Herzlein geben. live) give me your faithful heart

Table 4.1. Analysis of O Amarilli, schönste Zier

O Amarilli, schönste Zier tells the tragic myth of Amaryllis in an atypical way, with

Amaryllis as narrator for the majority of the piece. The madrigal’s Exordium includes four measures of introduction and uses pairs of high and low voices (Table 4.1, Musical Example

4.1).60 This pseudo-antiphonal approach is a common feature of Italianate works, such as Quella damma son io in Heinrich Schütz’s Op. 1 collection (Musical Example 4.2). After Amaryllis is introduced, she decides her fate: she is willing to offer her heart to her beloved. In this phrase,

Schein unites the low and high voice pairings, repeats the text for emphasis, and comes to a concluding cadence at m. 12. Thus, the opening section acts as a typical Exordium, outlining the main character and their background.

59 I have created the translations of the text to be idiomatic, while maintaining as close a relationship to word-for-word translation as possible. The score editions of these works will feature a word-for-word translation and a singable translation.

60 Bartel, Musica Poetica, 66-68. 33

61 MusicalWords Example by 4.1. Schein, O Amarilli schönste Zier, mm. 1-4 Music by Arranged by

Soprano 1 4 ˙ ˙ & b 2 ∑ ∑ ‰ œ œ œ ˙ ˙. œ œ Œ Ó ∑ O A-ma-ril - li, schön - ste Zier,

Soprano 2 4 & b 2 ∑ ∑ ‰ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ Œ Ó ∑ O A-ma-ril - li, schö - steœ Zier.

Alto 4 & b 2 ‰ ˙ œ œ ˙ Œ Ó ∑ œ œ œ w ˙ ˙ œ . ˙ O A-ma -ril - li, schön. - ste Zier,œ o A-ma - ril - œli schön - ste˙ Zierœ Tenor 4 V b 2 ‰ œ œ œ ˙. œ œ œ œ œ œ ˙ w ∑ ∑ O A-ma-ril - li schön - steœ Zier,

Bass ? 4 ˙. œ œ ˙. b 2 œ ˙ ∑ ∑ O A-ma-ril - li schön - ste˙ - Zier,w

b 4 ˙ œ œ ˙ œ œ ˙. œ ˙ ˙ ˙ œ œ ˙. œ œ Œ Ó ∑ & 2 ˙ œ œ ˙ œ œ ˙œ. ˙ œ ˙ ˙ ˙ œ œ ˙œ. ˙ œ œ Continuo œ œ œ œ ˙. œ ˙ ? 4 ˙. œ ˙. ˙ œ Œ Ó ∑ b 2 œ ˙ ˙ w

Musical Example 4.2. Schütz, Quella damma son io, mm. 1-762

Soprano œ . & 24 Ó Œ œ ˙. œ œ w ˙ œ#œ w #œ œ #w w Quel-la dam - ma son i - o, cru-de - lis - si-mo Sil - vio,

Alto & 24 Ó œ œ œ ˙ #˙˙ œ œ ˙ ˙#œ #œ ˙ ˙ ˙#˙ w Quel-œla dam˙ - ma son i - o, cru - de-lis - si - mo Sil - vio,

Tenor 1 œ ˙ ˙˙ œ#œ ˙ ˙#œ œ w w V 24 Œ œ ˙. œ œ w Quel-ladam - ma sonn i - o, cru-de-lis - si - mo Sil - vio,

Tenor 2 V 24 ∑ ∑ ∑ ∑ Œœ ˙ Quel-œla dam -

Bass ? 4 2 ∑ ∑ ∑ ∑ Ó Œœ œ © Quel-la 5

S & ∑ ∑ ∑ ∑

A & ∑ ∑ ∑ ∑

61 T 1 All œmusical˙ examples outside #ofœ thew Diletti˙ pastorali#œ w collection have been excerpted from their original sources asV previouslyŒ œ . cited,œ forœ ˙ use ˙in thisœ document. All Dilettiœ pastorali˙ Ó examples∑ have been excerpted from quel - la dam - ma son i - o, cru-de - lis - si - mo Sil - vio, performance editions made by the author.

T 2 62 V Heinrichœ œ œ w Schütz, Die#˙ Neunzehn#œ œ w Italianischen#œ œ #˙ w Madrigale,˙ ˙ Op.Ó 1.∑ Heinrich Schütz: Neue Ausgabe Sämtlicher Werke,- ma son vol.i 22.- ed.o, Hanscru Joachim- de - lis - Mosersi - mo (Kassel:Sil - Bärentier,vio, 1962).

B ? #œ w œ #W ˙. œ œ ˙ ˙ œ œ ˙ Ó ∑ dam - ma son i - o, cru - de - lis - si - mo Sil - vio, © Soprano œ . & 24 Ó Œ œ ˙. œ œ w ˙ œ#œ w #œ œ #w w Quel-la dam - ma son i - o, cru-de - lis - si-mo Sil - vio,

Alto & 24 Ó œ œ œ ˙ #˙˙ œ œ ˙ ˙#œ #œ ˙ ˙ ˙#˙ w Quel-œla dam˙ - ma son i - o, cru - de-lis - si - mo Sil - vio,

Tenor 1 œ ˙ ˙˙ œ#œ ˙ ˙#œ œ w w V 24 Œ œ ˙. œ œ w Quel-ladam - ma sonn i - o, cru-de-lis - si - mo Sil - vio,

Tenor 2 4 V 2 ∑ ∑ ∑ ∑ Œœ ˙ Quel-œla dam - 34 Bass ? 4 2 ∑ ∑ ∑ ∑ Ó Œœ œ Quel-la

S & ∑ ∑ ∑ ∑

A & ∑ ∑ ∑ ∑

T 1 œ V Œ œ ˙. œ œ ˙ ˙ œ #œ w ˙ #œ œ w ˙ Ó ∑ quel - la dam - ma son i - o, cru-de - lis - si - mo Sil - vio,

T 2 V œ w #˙ #œ œ w #œ œ #˙ w ˙ ˙ Ó ∑ - maœ sonœ i - o, cru - de - lis - si - mo Sil - vio,

B ? ˙ ˙ œ #œ w œ œ #W ˙. œ œ ˙ Ó ∑ dam - ma son i - o, cru - de - lis - si - mo Sil - vio,

Schein uses five rhetorical devices in the B section to outline Amaryllis’s argument. The

character of Amaryllis asks her beloved, “Wollt ihr nun, das ich soll leben?” or “do you wish that

I should live?” (Musical Example 4.3). This question is an example of a Propositio, outlining the

character’s dilemma.63 Depicting the uncertainty in her question, Schein’s motive contains an

interrogatio, or rising melodic line, followed by an aposiopesis, a pause to wait for an answer.64

Schein follows the Propositio with a Confirmatio, or a supporting argument, and Refutatio, or

rebuttal against a counter-argument.65 The text speed quickens as Amaryllis says “so that I can

go from place to place (because nothing without a heart can live),” depicting her heightened

desperation to live (Musical Example 4.4). It is unclear whether the final line of text, “mir eur

treues Herzlein geben,” is from Amaryllis’s perspective, or her beloved’s, who demands her

heart though it will cost her life.

63 Bartel, Musica Poetica, 66-68.

64 Ibid., 202-206, 312-316.

65 Ibid., 66-68. 35

Musical Example 4.3. Schein, O Amarilli schönste Zier, mm. 12-14 Words by Music by Arranged by

Soprano 1 & b 24 . ∑ ∑ œ. œ œ œ œ œ œ œ Ó ∑ Wollt ihr nun, daß ich soll le - ben,

Soprano 2 4 & b 2 . ∑ ∑ œ. œ œ œ œ œ œ œ Ó ∑ Wollt ihr nun, daß ich soll le - ben,

Alto 4 & b 2 . Ó œ. œ œ œ œ œ Ó ∑ Wolltœ. ihrœ nun,œ daßœ ichœ sollœ œle - ben,œ wollt ihr nun, daß ich soll œle - ben,œ

Tenor V b 24 . œ. œ œ œ œ œ œ œ Ó ∑ ∑ Wollt ihr nun, daß ich soll le - ben,

Bass . ? b 24 . œ œ œ œ œ œ œ œ Ó ∑ ∑ Score Wollt ihr nun, daß ich soll le - ben,

Musical Example 4.4. Schein, O Amarilli schönste Zier, mm. 20-21

4 œ œ œ œ S1 & b 2 ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Ó œ. œ œ œ le - ben, so tut an des-sen Stell und Statt (weil nichts ohn Herz das Le-ben hat) mir eur treu-es

All wilden Tier im grünen Wald

Formal/ Rhetorical Measures Text Translation Structure A: Exordium/Narratio 1-9 All wilden Tier im All wild animals in the grünen Wald, in der green wood, in the air Luft all Vögelein, all all birds, all fish in the Fisch im Meer so sea so varied joke and mannigfalt scherzen make merry. und fröhlich sein. B (B): Propositio, 10-17 Sollt ich den jetzt im Should I not also Confirmatio/Conclusio 18-26 Maien mich auch nicht celebrate joyfully in 26-30 herzlich freuen? May? Because Weil Amarilli virtuous Amaryllis, tugendlich für allen above all shepherds, Hirten liebet mich. loves me.

Table 4.2. Analysis of All wilden Tier im grünen Wald

Though the narrator of the madrigal is unnamed, All wilden Tier im grünen Wald is presumably Schein’s portrayal of Tityrus’s love song. The A section, serving as Exordium and

Narratio, is influenced by Tasso’s Aminta, in which Tityrus proclaims that in the name of

Amaryllis, nature rejoices (Table 4.2).66 Schein sets the scene of Tityrus’s song by painting the woodland animals through differentiation of vocal range. “In der Luft all Vögelein” is written for the upper three voices, while “all Fisch im Meer so mannigfalt” is written for lower voices

(Musical Example 4.5). To portray the animal’s jest, the vocal roles are reversed when the text repeats.

66 Geekie, "'Cangiar La Lira in Tromba': Metaphors for Poetic Form in Torquato Tasso," 257-258; Bartel, Musica Poetica, 66-68. 37

Musical ExampleWords by 4.5. Schein, All wilden Tier, mm. 2-4 Music by Arranged by

Soprano 1 4 œ œ b˙. œ œ œ & b 2 Œ . J ˙ Ó ∑ ∑ In der Luft all Vö - ge - lein

Soprano 2 4 & b 2 Œ nœ œ œ bœ œ œ˙ œ ˙ Ó ∑ ∑ In der Luft all Vö - ge - lein

Alto 4 & b 2 Œ œ œ b˙ ˙ ‰ œ bœ œ j j‰ Œ Ó ∑ in der Luftœ œall Vö - de - lein,˙ all Fisch imœ Meerœ so manœ.-nigœ - faltœ

Tenor V b 24 Ó Ó Ó Ó ‰œ œ œ ˙. œ nœ. œ n˙ Ó ∑ all Fisch im Meer so man-nigJ - falt

Bass œ œ œ . œ. œ ˙ ? b 24 Ó Ó Ó Ó ‰ ˙ œ J Ó ∑ all Fisch im Meer so man-nig - falt

In the B section of the madrigal, Schein relates the animal’s celebration to Tityrus’s joy.

He asks, “should I not also celebrate joyfully in May?” Schein sets the question first in homophony, then fractures the voices into imitation, where rising melodic lines and repetitive text depict Tityrus’s desire to sing Amaryllis’s praises (shown with a bracket in Musical

Example 4.6). In m. 18, Schein changes the texture and meter when Tityrus mentions Amaryllis, highlighting Amaryllis’s place of honor in Tityrus’s song. Homophonic text setting and

(Musical Example 4.7).67 In mm. 26-30, the rising melodic motive contrasts the previous descending gradatio with auxesis to demonstrate Tityrus’s rising affection and status “over all shepherds” in Amaryllis’s eyes (Musical Example 4.8). This final motive expresses Tityrus’s excitement at the answer to his question: Amaryllis’s love is cause for all of nature to celebrate.

67 Bartel, Musica Poetica, 220-225. 38

Musical Example 4.6. Schein, All wilden Tier, mm. 14-17 Words by Music by Arranged by

Soprano 1 4 œ œ œ bœ œ ˙ œ œ ˙. œ ˙ & b 2 Œ œ œ sollt ich denn jeztz im Mai - en mich auch nicht herz - lich freu -

Soprano 2 4 œ œ ˙ œ ˙ & b 2 Œ nœ œ œ œ ˙ œ œ œ #œ sollt ich denn jeztz im Mai - en mich auch nicht herz - lich freu -

Alto 4 & b 2 œ œ œ œ œ ˙ ˙ ‰ œ œ œ œ œ ˙ en,œ sollt ich denn jeztz im Mai - en mich auch nicht herz - lich freu -

Tenor œ V b 24 œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ en, sollt ich dennn jeztz im Mai - en mich auch micht herz - lich freu - en,

Bass œ œ œ ˙ œ ˙ ? b 24 œ œ ˙ ‰ œ œ œ œ en, solltœ ich denn jeztz im Mai - en, mich auch nicht herz - lich freu - 16 S 1 b˙ œ & b w ‰ œ œ œ œ ˙ w en, mich auch nicht herz - lich freu - en?

S 2 ˙ & b ‰ #œ œ œ ˙ ˙ œ ˙ œ w en, mich auch nicht herz - lich freu - en?

A & b #˙ Œ œ ˙ œ œ ˙ w en, mich auch bnicht˙ herz - lich freu - en?

T V b ‰ œ œ œ œ œ ‰ œ œ œ ˙ œ œ ˙ w mich auch micht herz - lich, mich auch micht herz - lich freu - en?

B ˙ ? b ˙ ‰ œ œ #œ ˙ w w en, mich auch nicht herz - lich freu - en?

Musical Example 4.7. Schein, All wilden Tier, mm. 18-26 Words by Music by Arranged by

Soprano 1 ˙ #˙ ˙ ˙ ˙ ˙ ˙ bw. & b 26 ˙ Ó ˙ ˙ Ó ˙ ˙ ˙ Weil A - ma - ril - li, weil A - ma - ril - li, weil A - ma - ril -

Soprano 2 j & b 26 ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ œ. œ œ. œ ˙ Wel A - ma - ril - li, weil A - ma - ril - li, weil A - ma - ril - J

Alto 6 & b 2 ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ ˙ Ó ˙ w. Weil A - ma - ril - li, weil˙ A - ma - ril - li, weil˙ b˙A - ma - ril -

Tenor V b 26 ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ w. Weil A - ma - ril - li, weil A - ma - ril - li, weil A - ma - ril -

Bass ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ? b 26 Ó ˙ ˙ Ó ˙ bw. Weil A - ma - ril - li, weil A - ma - ril - li, weil A - ma - ril - 21 S 1 b˙ . & b ˙ œ w. ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ ˙ ˙ Ó li tug - gend-lich, weil A - ma - ril - li, weil A - ma - ril - li,

S 2 ˙ œ w & b n˙. . ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ Ó li tu - gend-lich, weil A - ma - ril - li, bweil˙ ˙A - ma - ril - li,

A b Ó Ó & ˙. œ w. ˙ ˙ ˙ b˙ ˙ ˙li tu - gend-lich, weil˙ ˙A - ma - ril - li, weil˙ ˙A - ma˙ - ril - li,

T ˙ V b ˙ ˙ w. ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ Ó li tu - gend - lich, weil A - ma - ril - li, weil A - ma -bril˙ - ˙li

B ˙. ? b ˙ œ w. ˙ ˙ ˙ ˙ ˙ Ó b˙ ˙ ˙ ˙ ˙ Ó li tu - gend-lich, weil A - ma - ril - li, weil A - ma - ril - li Words by Music by Arranged by

Soprano 1 6 ˙ ˙ #˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ bw. & b 2 Ó ˙ Ó ˙ ˙ Weil A - ma - ril - li, weil A - ma - ril - li, weil A - ma - ril -

Soprano 2 6 ˙ ˙ j & b 2 ˙ ˙ ˙ Ó ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ œ. œ œ. œ ˙ Wel A - ma - ril - li, weil A - ma - ril - li, weil A - ma - ril - J

Alto 6 & b 2 ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ ˙ Ó ˙ w. Weil A - ma - ril - li, weil˙ A - ma - ril - li, weil˙ b˙A - ma - ril -

Tenor V b 26 ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ w. Weil A - ma - ril - li, weil A - ma - ril - li, weil A - ma - ril - 39 Bass ? 6 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ b 2 Ó Ó bw. Weil A - ma - ril - li, weil A - ma - ril - li, weil A - ma - ril - 21 S 1 b˙ . & b ˙ œ w. ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ ˙ ˙ Ó li tug - gend-lich, weil A - ma - ril - li, weil A - ma - ril - li,

S 2 ˙ œ w & b n˙. . ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ Ó li tu - gend-lich, weil A - ma - ril - li, bweil˙ ˙A - ma - ril - li,

A & b ˙. œ w. ˙ ˙ ˙ Ó b˙ ˙ Ó ˙li tu - gend-lich, weil˙ ˙A - ma - ril - li, weil˙ ˙A - ma˙ - ril - li,

T ˙ V b ˙ ˙ w. ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ Ó li tu - gend - lich, weil A - ma - ril - li, weil A - ma -bril˙ - ˙li

B ? ˙ ˙. ˙ ˙ b œ w. ˙ ˙ ˙ Ó b˙ ˙ ˙ ˙ ˙ Ó li tu - gend-lich, weil A - ma - ril - li, weil A - ma - ril - li 2 24 S 1 3 2 & b ˙ ˙ ˙ w. 2 ˙ ˙. œ 2 ˙ Ó weil A - ma - ril - - - li tug - gend - lich

S 2 j 3 2 & b œ j œ ˙ 2 ˙ œ 2 w weil˙ ˙A - ma˙ - ril . œ- œ. - - li tu˙. - gend - lich

A 3 2 & b 2 ˙ 2 Œ Ó weil˙ ˙A - ma˙ - rilw. - - - li tu˙. - gendœ - lichœ

T 3 2 V b ˙ ˙ 2 ˙ 2 Œ Œ weil A - ma˙ - rilw. - - - ˙li tu - gend˙ - lich˙

B ? 3 2 b ˙ ˙ ˙ w. 2 ˙ ˙. 2 Œ Ó weil A - ma - ril - - - li tu - gendœ - lichœ

MusicalWords Example by 4.8. Schein, All wilden Tier, mm. 26-28 Music by Arranged by

Alto b 2 j j ∑ & 2 j bœ. œ. nœ lichœ fürœ œal .- lenœ Hirœ - ten,œ fürœ al - lenœ Hirœ - ten,œ fürœ al - len Hir˙ - ten˙

Bass ? 2 j j j b 2 œ. œ œ. œ œ œ œ œ. œ œ Ó ∑ lichœ fürœ al - len Hirœ - ten,œ fürœ al - len Hir - ten, für al - len Hir - tenœ

O Amarilli zart

Formal/ Measures Text Translation Rhetorical Structure A/A’: 1-7 (A) O Amarilli zart ganz O tender Amaryllis, Exordium 8-19 (A’) himmelischer Art, altogether heavenly ach willst du denn being, do you not want nicht gläuben, daß du to believe that you bist nur allein mein alone are my Tausendliebelein und thousand-year love, sollst es ewig bleiben? which should last forever? B (B): 19-25 Nimm hin dies Take away this sword, Propositio, 25-30 Schwert, spalt ohne my amorous heart is Confirmatio, 30-48 Sheu mein amoriertes split in two without Conclusio Herz entzwei, so wirst fear, as you can clearly du gwißlich sehen see: Tender Amaryllis darin geschrieben is alone my treasure stehen: Amarilli zart and love. allein ist mein Schatz, mein Liebelein.

Table 4.3. Analysis of O Amarilli zart

O Amarilli zart, based on Guarini’s play Il pastor fido, portrays Amaryllis as skeptical and even perhaps cruel. Schein’s text parallels Guarini’s “Amarilli mia bella” and “Cruda

Amarilli,” both of which describe Amaryllis’s lover begging for her affection without her acknowledgment. O Amarilli zart’s structural and musical elements are similar to those of

Schein’s other Amaryllis madrigals. All three of Schein’s madrigals use distinct high and low voice groups, which combine at approaching cadential points, and have an ABB form, with an opening Exordium followed by a repeating B section containing rhetorical elements (Table 4.3).

A clear link may be observed between O Amarilli zart and Giulio Caccini’s solo madrigal, Amarilli mia bella (1602). Caccini’s musical structure is also in ABB form, with similar text divisions of Guarini’s poetry (see Table 4.4). The opening measure in Schein’s 41 madrigal contains a melodic motive and harmonic underlay that is similar to that found in the first three measures of Caccini’s work (Musical Examples 4.9 and 4.10). In both Caccini’s and

Schein’s madrigals, the use of half-step neighbor tones is an example of pathopoeia, which uses chromaticism to express longing.68

Formal/Rhetorical Text Translation69 Structure A: Exordium Amarilli, mia bella, Amaryllis, my lovely one, Non credi, o del mio cor do you not believe, o my dolce desio, heart’s sweet desire, D’esser tu l’amor mio? that you are my love? B (B): Credilo pur: e se timor Believe it thus: and if fear Confirmatio, t’assale, Dubitar non ti assails you, doubt not its Propositio, vale. Aprimi il petto e truth. Open my breast and Conclusio vedrai scritto in core: see written on my heart: Amarilli, Amarilli, Amarilli Amaryllis, Amaryllis, è il mio amore. Amaryllis is my beloved.

Table 4.4. Text and translation of Caccini’s Amarilli mia bella

Musical Example 4.9. Caccini, Amarilli mia bella, mm. 1-370 Words by Music by Arranged by

Tenor b 4 ˙. V b 4 œ ˙ #œ œ ˙ œ Œ A - ma - ril - li mia bel - la!

Continuo Bass ? b 4 ˙ #˙ ˙ œ œ ˙ œ Œ b 4

68 Bartel, Musica Poetica, 359-362.

69 Katherine McGuire, “Amaryllis, my lovely one,” The LiederNet Archive, retrieved 11 April, 2020, https://www.lieder.net/lieder/get_text.html?TextId=3506.

70 Giulio Caccini, Le Nuove Musiche, ed. H. Wiley Hitchcock (Madison: A-R Editions, 1970).

MusicalWords Example by 4.10. Schein, O Amarilli zart, m. 1 Music by Arranged by

Soprano 1 . & b 24 ˙ œ œ œ. œ ˙ O A - ma - ril - Jli zart,

Soprano 2 4 j & b 2 #˙ œ œ œ. œ ˙ O . A - ma - ril - li zart,

Alto & b 24 œ Œ ˙O . œA - maœ - ril - bœli zart,œ

Tenor V b 24 ∑ Ó Œ Œ

Bass ? b 24 ∑ Ó Œ Œ

4 ˙. œ œ & b 2 #˙. œ œ. œ œ œ Continuo J ˙. œ œ bœ œ ? b 24 œ

Unlike those in Schein’s other madrigals, this A section contains repeated material in an example of repetitio, in which Amaryllis’s lover repeats his question in the hope of a more favorable outcome.71 The opening (mm. 1-7) contains the initial text, melodic material and ground bass, which is then repeated and embellished in mm. 8-18 with added vocal ornamentation. The five-measure phrase extension paints the text “und sollst es ewig bleiben,” with the “ewig” melisma now in each voice part, and repeated a total of fourteen times (Musical

ExampleScore 4.11 and 4.12).

Musical Example 4.11. Schein, O Amarilli zart, mm. 6-7 ©

S1 4 œ ˙. œ & b 2 Ó ‰ œ œ œ œ œ #œ œ œ und sollst es e - - - wig blei œ- ben?w

71 Bartel, Musica Poetica, 184-190. 43

Musical ExampleWords 4by.12. Schein, O Amarilli zart, mm. 14-19 Music by Arranged by

Soprano 1 4 #œ œ œ ˙. œ œ œ œ ˙. œ & b 2 œ ˙ œ œ œ œ œ œ#œ œ ˙ und sollst es e - - - - wig, und sollst es e - - - wig blei -

Soprano 2 4 œ ˙. œ œ ˙. œ & b 2 Œ. ‰ œ œ ˙ œ œ œ œ œ œ#˙ und sollst es e - wig blei - ben, und sollst es e - - - -

Alto 4 . & b 2 Œ Ó ‰ œ ˙. œ undœ sollstœ esœ ˙e - wig,œ undœ sollstœ es e - - œ œ œ - œ wigœ blei˙ -

Tenor 4 ˙. V b 2 œ œ œ œ œ œ œ#˙ ˙ und sollst es e - - - - wig bleiW - - - - -

Bass ? 4 #œ b 2 Œ. ∑ ∑ Ó ‰ œ œ und sollst es

b 4 Œ. ˙. œ ˙œ nœ ˙ w œ œ ˙ & 2 ˙. œ ˙ ˙ w #œ œ #˙ Continuo ˙. ? 4 œ #˙ ˙ b 2 Œ. w w

17 S 1 œ ˙. œ & b ˙ ‰ œ œ œ œ œ #˙ œ œ œ ˙ œ w ben, und sollst es e - - - . - - wig blei - ben?

S 2 ˙. œ œ & b œ œ œ œ œ œ œ ˙ ‰ œ œ œ œ ˙ nw wig,œ und sollst es e - wig blei - ben, und sollst es e - qig blei - ben?

A b ‰ & œ œ œ b˙ ben,˙ undœ sollstœ es e - wig blei - ben,œ undœ sollstœ esœ ˙e . - wigœ blei˙ - ben?w

T œ ˙. V b œ œ œ œ œ Ó ‰ œ œ œ œ œ œ œ#œ œ ˙ w ben, und sollst es e - wig, und sollst es e - - - - wig blei - ben?

B ? ˙. œ b œ œ œn˙ ˙ W e - - - - wig blei - - - - - ben?w

˙ & b ˙. œ ˙ œ œ œ ˙œ nw ˙. œ n˙ b˙ #˙. œ #œ œ ˙ #œ w Cont. ˙. œ

? ˙. œ w w b n˙ ˙ w ©

Throughout the B section, Schein uses the lower voices to depict the voice of Amaryllis’s lover. In mm. 19-25, two rhetorical devices are used to express the text “Take away this sword, my amorous heart is split in two without fear, as you can clearly see.” The musical phrase setting 44 the text “Nimm hin dies Schwert” has a pausa before and after, creating three anacrustic minims, which are common features in madrigals and chansons (Musical Example 4.13). 72 The repeated quarter notes emphasize the text in the form of a command. The rising notes at the end of this command, however, indicate that the speaker is unsure whether their statement will have the intended effect. Continuing with the use of anacrusis, Schein adds auxesis on the phrase “so wirst du gwißlich sehen,” indicating the rising agitation of the speaker with the repetition of text

(Musical Example 4.14). The rhythmic diminution and ascending melodic sequence are echoed antiphonally between the alto/tenor and bass voices, adding to the intensity of the speaker’s demand.

Musical Example 4.13. Schein, O Amarilli zart, mm. 19-20 Words by Music by Arranged by

Alto 4 & b 2 . Œ ‰ j œ Nimmœ hinœ diesœ Schwert,œ spaltœ ohœ œ- neœ œ Scheu meinœ œa - moœ -brier˙

Tenor j V b 24 . Œ œ œ œ œ ‰ œ œ œ œ œ ˙ ‰ œ œ œ Nimm hin dies Schwert, spalt oh - ne Scheu mein a - mo

Bass ? 4 œ œ œ œ œ œ b 2 . Œ ‰ J œ œ bœ œ œ œ Nimm hin dies Schwert, spalt oh - ne Scheuœ mein a - mo - rier - tes

MusicalWords Example by 4.14. Schein, O Amarilli zart, mm. 22-23 Music by Arranged by

Alto b 4 ‰ ‰ Œ & 2 œ œ bœ œ œ œ bœ ˙ soœ wirstœ du gwiß - lichœ seœ - hen,œ so wirst du gwiß - lich œse nœ œ œ- henœ

Tenor 4 œ œ bœ V b 2 ‰ œ œ œ œ œ œ ‰ œ œ œ nœ œ œ œ ˙ œ Œ so wirst du gwiß - lich se - hen, so wirst du gwiß - lich se - hen

Bass ? 4 œ œ œ bœ œ œ œ œ b 2 ˙ œ œ œ œ œ ‰ ˙ œ Œ zwei, so wirst du gwiß-lich se - hen, so wirst du gwiß - lich se - hen

72 Bartel, Musica Poetica, 362-367.

The melodic motive of the beginning returns after the narrator’s plea for Amaryllis’s sympathy. In mm. 25-27, 30-31, 34-35, and 40-42 a repeated call to Amaryllis mirrors Caccini’s melody and continues the use of pathopoeia (Musical Example 4.15). The call motive begins in the lower voices, then extends to all voices, expanding and embellishing to include the phrase

“Amarilli ist mein Schatz, mein Liebelein.” The embellishment creates a series of “endless” repeats, creating structural similarity to the A section’s “ewig bleiben” as well as painting the narrator’sScore lifelong devotion to Amaryllis.

Musical Example 4.15. Schein, O Amarilli zart, mm. 34-35

S1 4 ˙ ˙ & b 2 Œ œ ˙ ˙ Œ #œ ˙ ˙ A - ma - ril - li, A - ma - ril - li

Phyllis and Corydon Madrigals

O Venus und Cupido blind; In Filli schönen Äugelein; Wenn Filli ihre Liebestrahl; Die

Vöglein singen; Cupido blind, das Venuskind; Wie kömmt’s, o zarte Filli mein; and Aurora schön mit ihrem Haar all feature the pastoral characters of Phyllis and Corydon. Though the texts of these madrigals are original, the characters they contain have a long history in poetic and musical settings. The name Phyllis occurs frequently throughout pastoral poetry, with multiple mythological backgrounds. In Paloma White’s “Latin Pastoral Poetry of the Italian Renaissance

(1480-1530),” Phyllis is known as a wood nymph connected to the goddess Daphne, the star- crossed wife of Lycidas, and a goddess of the sea.73 In all cases, Phyllis is portrayed as a character beloved by all, whose praises are sung by shepherds, and whose death is commemorated in song.

Schein’s madrigals pair Phyllis, or Filli, most frequently with the pastoral figure

Corydon. Corydon appears in pastoral literature as early as the writings of Virgil, and was believed by early readers to represent Virgil himself.74 Despite his humble station as a shepherd,

Corydon is revered for his gift of music, and sometimes sought out for prophesy or guidance by those in power.75 Schein also pairs Phyllis with Tirsi, another character in Wie kömmt’s, o zarte

Filli mein.

The character of Tirsi is significant, as it links Schein’s poetic inspiration to Torquato

Tasso’s pastoral play Aminta (1573).76 In the play, Tirsi is portrayed as an elder shepherd, who is

73 White, “Latin Pastoral Poetry,” 61, 113, 114.

74 Ibid., 36.

75 Ibid., 72, 75.

76 Geekie, "'Cangiar La Lira in Tromba,'" 265.

47 also believed to be Tasso’s projection of himself.77 Schein’s use of the character, who is blinded by love, parallels that of Tasso’s: in Aminta, love has the power to shift a character’s narrative trajectory.78 Like Virgil, Schein refers to himself as Corydon on title pages, relating the woods outside of Leipzig to “a type of Arcadia, an imaginary paradise where he could manipulate his shepherd swains and nymphs, and the concepts they symbolized.”79 Schein’s choice to set the characters of Corydon and Tirsi show a dedication to classic pastoral literature, and a personal connection with authors who write themselves into their stories.

77 Ibid., 265.

78 Ibid., 265.

79 Smallman, “Johann Hermann Schein as Poet and Composer,” 35. 48

O Venus und Cupido blind

Formal/ Measures Text Translation Rhetorical Structure A: 1-15 O Venus und Cupido “O Venus and blind Exordium blind Cupid

B: 16-31 wie wunderlich seid How wonderful you are, Propositio, ihr, als Leid macht ihr for sadness you turn Narratio bald Freud swiftly to joy,” geschwindt, solchs I remark to myself merk ich heut an mir. today.

C (Repeat): 31-63 Filli mich jezt-und Phyllis now loves me, Confirmatio liebet, so mich zuvor who has grieved me Conclusio betrübet, Drum sing before. Therefore, I sing ich mit der with the shepherd Hirtenchore: O vive chorus: Long live Vener’et Amore! Venus and Cupid! Table 4.5. Analysis of O Venus und Cupido blind

Comparing the musical approaches of Schein to other madrigalists, one observes a clear link in the use of dialogue between voices, metrical shifts, and word painting. The fifteen-bar introduction of O Venus und Cupido blind features pairs of high and low voices in dialogue, repeating the text “O Venus und Cupido blind” (Table 4.5). Schein, like Italian madrigal and motet composers, chooses to set the deities Venus and Cupid apart rhythmically from the rest of the text through the use of triple meter. Different from that of Schütz’s Quella damma son io, which is harmonically static, O Venus’s introduction features a harmonic succession that travels through D major, C major, F major, G major, and D major chords (Musical Example 4.16). This repetitive text, melodic theme, and harmonic motion differs from the structure of the rest of the madrigal, setting it apart as introductory material.

Musical Example 4.16. Schein, O Venus und Cupido blind, mm. 1-15

Throughout the work, Schein uses Figurenlehre to heighten the emotion of the text. In the B section, the rising repetition by scale on the text “wie wunderlich” is an example of auxesis

(shown in brackets in Musical Example 4.17).80 Corydon’s increasing wonder is expressed in the alto, tenor, and bass voices, with the motive repeated six times, rising a step each time.

Musical Example 4.17. Schein, O Venus und Cupido blind, mm. 16-19

Alto & b 24 Œ j j j j œ. œ. œ bœ. œ wieœ wunœ. - derœ -lich,œ wieœ wun - derœ - lich,œ wieœ wun - der-lich,œ wieœ wun - der -

Tenor 4 j j j œ V b 2 Œ œ. œ œ. œ œ œ œ. œ œ œ . œ wieœ wun - der-lich,œ wieœ wun - der - lich, wie wun - der-lich, wie wun - derJ -

Bass ? 4 j . j bœ. b 2 ˙ Œ œ œ. œ œ œ œ œ œ œ œ œ œ blind, wie wun - der-lich, wie wun - der-lich, wie wun - derJ -lich, wie

18 A b j Ó & œ. œ œ œ ˙ œ œ bœ ˙ lich,œ wieœ wun - der-lich, wie wun - der - lich seid ihr.˙ 80 Bartel, Musica Poetica, 209-212. T œ. b˙ œ œ V b œ œ œ œ œ œ n˙ w lich, wie wun - derJ -lich, wie wun - der - lich seid ihr.

B ? œ. œ œ. œ bœ bœ œ œ b œ œ J œ . J ˙ Ó wun - derJ -lich, wie wun - der-lich, wie wun - der - lich seidœ ihr.

© Alto b 4 Œ j j & 2 j œ. j œ. œ bœ. œ wieœ wunœ. - derœ -lich,œ wieœ wun - derœ - lich,œ wieœ wun - der-lich,œ wieœ wun - der - Tenor 4 j j j V b 2 Œ œ. œ œ. œ œ œ œ. œ œ œ œ. œ wieœ wun - der-lich,œ wieœ wun - der - lich, wie wun - der-lich, wie wun - derJ -

51 Bass ? 4 j j b 2 Œ œ. œ œ œ œ. œ œ œ bœ. œ œ œ blind,˙ wieœ wun - der-lich, wie wun - der-lich, wie wun - derJ -lich, wie

18 A j & b œ. ˙ œ œ Ó lich,œ wieœ wun - derœ -lich,œ wieœ wun - der -blichœ seid˙ ihr.˙

T . b˙ œ V b œ œ œ œ œ œ œ œ n˙ w lich, wie wun - derJ -lich, wie wun - der - lich seid ihr.

B ? œ. œ œ. œ bœ bœ. œ œ b J œ œ J œ J œ ˙ Ó wun - der-lich, wie wun - der-lich, wie wun - der - lich seid ihr.

The association of pain with love is common in Italian madrigals and also is found in O

Venus. Schein paints suffering turning swiftly to joy (Musical Example 4.18). Rapidly moving melismas are paired with chain suspensions on the text “aus Leid.” Following this, homophonic syllabic setting and consonant harmonies show a sudden shift to joy. Both of these motives are examples of Italianate word painting and German rhetorical hypotyposis.81

Soprano 1 . œ & b 24 œ ˙ œ œ œ ˙. œ œœœ ˙. œœœœw aus Leid

Soprano 2 4 œ & b 2 Œ Œ ˙. œœœ˙ œ œœœœ˙. œœ#œ ˙ Ausœ Leid œ

Alto b 4 œ & 2 œ œœœ ˙. œœœw ˙. œ œ œ œ œ œ œ œ aus Leid ˙ œ 22 S 1 œ œ œ œ œ & b ‰ œ œ ‰ œ œ œ œ œ macht ihr bald Freud ge - schwind, macht ihr bald Freud ge - schwind,

S 2 œ œ & b ‰ œ œ œ œ ‰ œ œ œ macht ihr bald Freud ge - schwind machtœ œihr baldœ Freud ge - schwind,

A & b ‰ œ œ ‰ macht ihr baldœ Freudœ geœ - schwind, machtœ ihrœ bald Freud ge - schwind, œ œ œ œ œ 23

S 181 Bartel,& b Musica‰ œ œPoetica,œ œ 307œ-311.œ Œ œ œ œ ˙ ˙ w macht ihr bald Freud ge - schwind, solchs merk ich heut an mir,

S 2 & b ‰ œ œ œ œ Œ œ œ œ ˙ #˙ w machtœ ihrœ bald Freud ge - schwind, solchs merk ich heut an mir,

A b Ó & w b˙ ˙ solchs˙ merk ich heut˙ an mir;˙ © Words by Music by Arranged by

Soprano 1 4 ˙. œ œ œ & b 2 œ œ œ ˙. œœœ ˙. œœœœw aus Leid

Soprano 2 4 œ & b 2 Œ Œ ˙. œœœ˙ œ œœœœ˙. œœ#œ ˙ Ausœ Leid œ

Alto 4 52 & b 2 œ œ ˙. œœœ ˙. œ œ œ œ œœ œw aus Leid œ œ ˙ œ œ œ 22 S 1 œ œ œ & b ‰ œ œ œ ‰ œ œ œ œ œ œ macht ihr bald Freud ge - schwind, macht ihr bald Freud ge - schwind,

S 2 œ œ & b ‰ œ œ œ œ ‰ œ œ œ macht ihr bald Freud ge - schwind machtœ œihr baldœ Freud ge - schwind,

A & b ‰ œ œ ‰ macht ihr baldœ Freudœ geœ - schwind, machtœ ihrœ bald Freud ge - schwind, œ œ œ œ œ 23 S 1 œ œ & b ‰ œ œ œ œ œ Œ œ œ ˙ ˙ w macht ihr bald Freud ge - schwind, solchs merk ich heut an mir,

S 2 & b ‰ œ œ œ œ Œ œ œ œ ˙ #˙ w machtœ ihrœ bald Freud ge - schwind, solchs merk ich heut an mir,

A & b w Ó ˙ b˙ ˙ ˙ solchs merk ich heut an mir;˙ © The Conclusio portion of the madrigal features the praise-song of the shepherd chorus to

Venus and Cupid. Schein sets the phrase “drum sing ich mit der Hirtenchore” using two melodic motives in imitation to depict the many voices of the chorus. The first motive contains a descending scale in long notes (Musical Example 4.19) in the manner of a ground bass, while the other, set in pairs of voices and imitation, features a florid descending line (Musical Example

4.20) in diminutio of the descending scale.82 In m. 39, the passage repeats and the motives are inverted; the bass joins the florid line while the S1 line contains the long-tone scale (Musical

Example 4.21). This mimicry shows Schein’s facility with counterpoint, and the mixing of long- tone motives with diminutions.

82 Bartel, Musica Poetica, 235-238. 53

Musical Example 4.19. Schein, O Venus und Cupido blind, mm. 34-36

? 4 ˙ ˙ ˙ ˙ b 2 Ó b˙ ˙ ˙ ˙ ˙ ∑ Drum sing ich mit der Hir - ten Cho - re,

Musical Example 4.20. Schein, O Venus und Cupido blind, m. 34

4 œ œ œ & b 2 œ œ œ œ œ œ Œ Drum sing ich mit der Hir - ten Cho - re,

Musical Example 4.21. Schein, O Venus und Cupido blind, mm. 39-42

Soprano 1 4 ˙ ˙ b˙ ˙ & b 2 n˙ Ó Ó ˙ re, drum sing ich mit der

Soprano 2 4 j j & b 2 ˙ Œ œ œ œ œ œ œ œ Œ ‰ œ œ. œ œ. #œ re, drum sing ich mit der Hir - btenœ Cho - œre, drum sing ichJ mit der

Alto b 4 j ‰ j j & 2 œ œ œ œ bœ œ. œ nœ re,œ drum singœ ichœ mitœ derœ Hirœ. - tenœ Choœ œ - re,œ drumœ sing ich mit der Hir - ten Cho - re,œ

Tenor 4 œ œ œ œ œ œ œ œ V b 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ re, drum sing ich mit der Hir - ten Cho - re, drum sing ich mit der Hir - ten, drum sing ich mit der Hir - ten

Bass ? 4 œ œ œ œ bœ œ b 2 Œ œ ˙ œ œ œ œ œ œ œ re,˙ drum sing ich mit der Hir - ten Cho - re, drum sing ich mit derœ Hir - ten

bœ j b 4 n˙ bœ œ ˙œ œ œ œ œ˙ œ œ œ œ. œ œ œ & 2 ˙ œ œ ˙ bœ œ ˙ œ œ œ. œ œ #œ Continuo œ J œ œ ? 4 œ œ œ œ œ bœ œ ˙ b 2 ˙ œ œ œ œ œ œ œ œ

S 1 & b ˙ ˙. ˙ #œ ˙ Ó ∑ Hir - ten Cho - - - re:

S 2 œ & b œ œ œ œ œ œ œ œ. ˙ n˙ Ó ∑ Hir - ten, drum sing ich mit der Hir - tenJ Cho - re:

A j & b ‰ œ. œ Ó ∑ drumœ singœ ichœ mit der bHirœ - tenœ Cho˙ - re:˙

T œ œ œ V b œ œ œ . J œ œ œ ˙ ˙ Ó ∑ Cho - re, drum sing ich mit der Hir - ten Cho - re:

B ? œ œ œ b œ œ bœ œ ˙ Ó ∑ Choœ - re,œ drum sing ich mit der Hir - ten Cho - re:˙ j j œ & b œ. œ œ. œ œ œ ˙œ n˙ Ó ∑ œ. œ œ. œ œ œ ˙ #œ ˙ Cont. J . J

? œ œ œ œ œ bœ œ ˙ Ó ∑ b œ. J ˙ 54

In the praise-song, in which the gods of love are thanked for their intervention in mortal love affairs, Schein chooses to set the deities Venus and Cupid apart rhythmically from the rest of the text with triple meter. The names of the deities are set in a dance-like rhythm. This technique highlights not only appropriate text stress of the names in German as well as Italian, but also provides a contrasting lilting texture in the final thirteen bars (Musical Example 4.22).

The rhythmic vibrancy and text repetition of “O viva” in the contrasting duple section is reminiscent of the Italian frottola style.

Musical Example 4.22. Schein, O Venus und Cupido blind, mm. 42-58

Soprano 1 2 œ œ œ œ œ œ œ 3 bw ˙ bw ˙ 2 œ œ œ œ œ œ œ 3 & b 2 2 ˙ ˙ Ó 2 2 w ˙ O vi-va vi-va vi -va Ve - ne - re‿et A - mo - re O vi-va vi-va vi-va Ve - ne -

Soprano 2 2 œ œ œ œ œ œ œ 3 2 3 & b 2 2 w ˙ w n˙ ˙ ˙ Ó 2 œ œ œ œ œ œ œ 2 w ˙ O vi-va vi-va vi -va Ve - ne - re‿et A - mo - re O vi-va vi-va vi-va Ve - ne -

Alto 2 3 2 3 & b 2 œ œ œ œ œ œ œ 2 w ˙ w ˙ Ó 2 œ œ œ œ œ œ œ 2 w ˙ O vi-va vi-va vi -va Ve - ne - re‿et A - mo˙ - ˙re O vi-va vi-va vi-va Ve - ne -

Tenor 2 3 w ˙ 2 œ œ œ œ œ œ 3 w ˙ V b 2 œ œ œ œ œ œ œ 2 w ˙ ˙ ˙ Ó 2 œ 2 O vi-va vi-va vi -va Ve - ne - re‿et A - mo - re O vi-va vi-va vi-va Ve - ne -

Bass œ œ œ œ œ œ œ ? b 2 œ œ œ œ œ œ œ 23 w ˙ w ˙ ˙ Ó 2 23 w ˙ O vi-va vi-va vi -va Ve - ne - re‿et ˙A - mo - re O vi-va vi-va vi-va Ve - ne -

j j bw j j b 2 œ. œ œ. œ 3 ˙ w n˙ ˙ ˙ Ó 2 œ. œ œ. œ 3 w ˙ & 2 œ. œ œ. œ 2 bw ˙ w ˙ ˙ ˙ 2 œ. œ œ. œ 2 w ˙ Continuo w j j œ. œ œ. œ ? b 2 œ. œ œ. œ 23 w ˙ w ˙ ˙ Ó 2 J J 23 w ˙ ˙

S 1 & b w ˙ ˙ ˙ Ó 2 Ó œ. œ 24 œ œ ˙ nw ∑ ˙. œ ˙ ˙ w nw re‿et A - mo - re Ve - neJ - re‿et A - mo - re, Ve - ne - re‿et A - mo - re!

S 2 2 j 4 & b w ˙ #˙ ˙ Ó 2 œ. œ œ œ 2 #œ ˙ œ w ˙. œ ˙ ˙ #˙ w ˙ w re‿et A - mo - re Ve - ne - re‿et A - mo - re, Ve - ne-re‿et A - mo - re!

A 2 4 & b w Ó 2 j 2 re‿et ˙A - mo˙ - ˙re Veœ.- neœ - reœ‿et œA - mow - re,w Ve˙. - neœ -re˙‿et ˙A - moW - re!w

T w 2 j 4 œ œ œ œ œ V b ˙ ˙ ˙ Ó 2 œ. œ œ œ 2 œ œ œ w ˙. œ ˙ ˙ ˙ œ œ ˙ w re‿et A - mo - re Ve - ne - re‿et A - mo - re, Ve - ne-re‿et A - mo - re!

B ? w ˙ 2 œ. œ œ bœ 4 ˙. œ ˙ b˙ b ˙ ˙ Ó 2 J 2 w W re‿et A - mo - re Ve - ne - re‿et A - mo - re,w Ve - ne-re‿et A - mo - re!w

j b w ˙ ˙ ˙ Ó 2 œ. œ œ œ 4 œ œ ˙ nw ˙. œ ˙ ˙ ˙ ˙ w nw & w ˙ #˙ ˙ 2 œ. œ œ œ 2 #œ œ ˙œ œ w ˙. œ ˙ ˙ #˙ ˙ w˙ ˙ w Cont. œ œ œ ˙ œ ˙

? w ˙ ˙ ˙ Ó 2 œ. œ œ bœ 4 w ˙. œ ˙ b˙ W b 2 J 2 w w Soprano 1 2 œ œ œ œ œ œ œ 3 bw ˙ bw ˙ 2 œ œ œ œ œ œ œ 3 & b 2 2 ˙ ˙ Ó 2 2 w ˙ O vi-va vi-va vi -va Ve - ne - re‿et A - mo - re O vi-va vi-va vi-va Ve - ne -

Soprano 2 & b 2 œ œ œ œ œ œ œ 23 w ˙ w n˙ ˙ ˙ Ó 2 œ œ œ œ œ œ œ 23 w ˙ O vi-va vi-va vi -va Ve - ne - re‿et A - mo - re O vi-va vi-va vi-va Ve - ne -

Alto 2 3 2 3 & b 2 œ œ œ œ œ œ œ 2 w ˙ w ˙ Ó 2 œ œ œ œ œ œ œ 2 w ˙ O vi-va vi-va vi -va Ve - ne - re‿et A - mo˙ - ˙re O vi-va vi-va vi-va Ve - ne -

Tenor 2 3 2 œ œ œ œ œ œ 3 V b 2 œ œ œ œ œ œ œ 2 w ˙ w ˙ ˙ ˙ Ó 2 œ 2 w ˙ O vi-va vi-va vi -va Ve - ne - re‿et A - mo - re O vi-va vi-va vi-va Ve - ne -

Bass œ œ œ œ œ œ œ ? b 2 œ œ œ œ œ œ œ 23 w ˙ w ˙ ˙ Ó 2 23 w ˙ O vi-va vi-va vi -va Ve - ne - re‿et ˙A - mo - re O vi-va vi-va vi-va Ve - ne -

j j bw j j b 2 œ. œ œ. œ 3 ˙ w n˙ ˙ ˙ Ó 2 œ. œ œ. œ 3 w ˙ & 2 œ. œ œ. œ 2 bw ˙ w ˙ ˙ ˙ 2 œ. œ œ. œ 2 w ˙ Continuo w 55 œ. œ œ. œ ? 2 j j 3 Ó 2 J J 3 w ˙ b 2 œ. œ œ. œ 2 w ˙ w ˙ ˙ ˙ 2 2

S 1 & b w ˙ ˙ ˙ Ó 2 Ó œ. œ 24 œ œ ˙ nw ∑ ˙. œ ˙ ˙ w nw re‿et A - mo - re Ve - neJ - re‿et A - mo - re, Ve - ne - re‿et A - mo - re!

S 2 2 j 4 & b w ˙ #˙ ˙ Ó 2 œ. œ œ œ 2 #œ ˙ œ w ˙. œ ˙ ˙ #˙ w ˙ w re‿et A - mo - re Ve - ne - re‿et A - mo - re, Ve - ne-re‿et A - mo - re!

A 2 4 & b w Ó 2 j 2 re‿et ˙A - mo˙ - ˙re Veœ.- neœ - reœ‿et œA - mow - re,w Ve˙. - neœ -re˙‿et ˙A - moW - re!w

T w 2 j 4 œ œ œ œ œ V b ˙ ˙ ˙ Ó 2 œ. œ œ œ 2 œ œ œ w ˙. œ ˙ ˙ ˙ œ œ ˙ w re‿et A - mo - re Ve - ne - re‿et A - mo - re, Ve - ne-re‿et A - mo - re!

B ? w ˙ 2 œ. œ œ 4 ˙. œ ˙ b ˙ ˙ Ó 2 J bœ 2 w b˙ W re‿et A - mo - re Ve - ne - re‿et A - mo - re,w Ve - ne-re‿et A - mo - re!w

j b w ˙ ˙ ˙ Ó 2 œ œ œ œ 4 œ œ ˙ nw ˙ œ ˙ ˙ ˙ ˙ w nw & w ˙ #˙ ˙ 2 œ. œ œ œ 2 #œ œ ˙œ œ w ˙. œ ˙ ˙ #˙ ˙ w˙ ˙ w Cont. œ œ œ ˙ œ ˙

? w ˙ ˙ ˙ Ó 2 œ. œ œ bœ 4 w ˙. œ ˙ b˙ W b 2 J 2 w w

In Filli schönen Äugelein

Formal/ Measures Text Translation Rhetorical Structure A 1-18 In Filli schönen Äugelein In my beloved Phyllis’s Exordium mein brennend Herz man eyes, I see my burning

sicht, als in zwei hellen heart, as flames shining Spiegelein die Flamm in two bright mirrors. herwieder bricht. B (B) 18-25 Wenn ich den Glanz denn If I look at the shine, Confirmatio 25-34 sehe an, Wird zuckersüß then, my pain becomes Conclusio mein Schmerz und wünsch, sugar-sweet and I wish daß brenn ohn Unterlan the burn of her love will in ihrer Lieb mein Herz. never cease in my heart.

Table 4.6. Analysis of In Filli schönen Äugelein

In Filli schönen Äugelein is unique among the Diletti pastorali madrigals in its use of canon. While many of the works employ imitation (mimesis), this madrigal exceeds that with ten measures of true fuga, or exact canonic imitation.83 The subject is introduced first in the soprano

1 voice (Musical Example 4.23), then enters in the alto, tenor, bass, and soprano 2 voices respectively. The long melodic line features two contrasting motives: a lyric motive for the reference to Phyllis’s eyes, and a quick, repetitive motive to describe the burning of her beloved’s heart (Table 4.6). Unlike other imitative passages in Schein’s works, the opening motive of In Filli schönen Äugelein maintains equal spacing between the canon entrances, with the canon ending only when the final voice reaches the end of the subject. The exactness of the imitation foreshadows the analogy in the next phrase, which compares Phyllis’s eyes to a mirror.

83 Bartel, Musica Poetica, 277-290.

Score 57

Musical Example 4.23. Schein, In Filli schönen Äugelein, mm. 1-4

S1 4 j & 2 ˙ œ œ ˙. œ ˙. œ œ#˙ ‰ œ œ œ ˙ ‰ œ œ œ œ œ œ œ œ œ j‰Œ Ó ∑ In Fil-li schö -nen Äu - ge - lein mein bren-nend Herz,meinbren-nendHerz,meinbren-nendHerz. man sicht,œ

The second half of the Exordium returns to Schein’s typical style of text setting: short, non-canonic motives. This section contains word painting for the text “als in zwei hellen

Spiegelein die Flamm herwieder bricht.” In mm. 10-11, Schein sets the image of “two bright mirrors” in a duet for both soprano voices (Musical Example 4.24). A clear example of hypotyposis follows the treble duet, depicting the image of flames with rising melismas that start in the tenor and bass and move throughout all the voices (Musical Example 4.25).84 This text is repeated three times, with each repetition rising in pitch. Unique to this phrase is the use of dynamics, original to Schein’s manuscript, to create an echo (Musical Example 4.26). Score

Musical Example 4.24. Schein, In Filli schönen Äugelein, mm. 10-11

Soprano 1 4 œ œ œ œ. œ & 2 #˙ ‰ œ œ J ˙ Ó ∑ sicht, als in zwei hel - len Spie - ge - lein

Soprano 2 & 42 ‰ #œ œ œ œ œ œ œ œ ˙ Ó ∑ Score sicht,˙ als in zwei hel - len JSpie - geJ - lein

Musical Example 4.25. Schein, In Filli schönen Äugelein, mm. 11-12

? 4 œ œ œ œ œ œ œ œ œ ˙ œ œ 2 ∑ Ó Œ œ œ œ œ œ œ œ œ œ œ ˙ Ó dieœ Flamm , dieœ Flamm her-wie-der bricht,

84 Bartel, Musica Poetica, 307-311.

Musical Example 4.26. Schein, In Filli schönen Äugelein, mm. 14-18 WordsWords by by MusicMusic by by

p p ff Soprano 1 œ œ Soprano 1 œ4. . œ œ œ œ. œ œ œ œ 4& 2 J œJ œ œ. œ Jœ œ œ ŒŒ ÓÓ ÓÓ ŒŒ œ & 2 her-wie - der bricht, J her-wie - der bricht, dieœ her-wie - der bricht, her-wie - der bricht, die p f Soprano 2 œ p f Soprano 2 4 . œ œ œ œ. œ œ œ œ Œ Ó Ó Œ 4&œ2. œ œJ œ. œ Jœ œ œ & 2 her-wieœ- der bricht, her-wie œ- der bricht,Œ Ó Ó Œ die herJ -wie - der bricht, herJ -wie - der bricht, dieœ p Alto 4 p j Œ Ó ∑ Alto & 2 œ œ œ œ œ œ œ œ. jœ œ œ œ 4 Flammœ œher-wie - der bricht, herœ-wie - der bricht,Œ Ó ∑ & 2 œ œ œ œ œ œ œ œ. œ œ œ Flamm her-wie - der bricht, her-pwie - der bricht, f Tenor 4 œ. œ œ œ œ. p œ œ œ œ Œ Œ f œ œ œ œ œ œ œ ˙ Tenor V 2 J J œ œ 4 . œ her-wieœ- derœ bricht,. œ her-wie œ- der œbricht, die Flamm œ œ œ ˙ V 2 œ J œ J œ Œ Œ œ œ œ œ œ œ her-wie - der bricht, her-wiep - der bricht, dief Flamm Bass œ ˙ ? 4 œ. œ œ œ œ œ œ œ œ œ œ œ œ œ 2 J œ. p J œ Œ Œ fœ Bass her-wieœ- der bricht, her-wie œ- der bricht, die Flamm œ œ œ œ œ ˙ ? 416 œ. œ œ œ œ Œ Œ œ œ œ 2 J œ. J œ p œ S 1 her-wie - der bricht, her-wie - der bricht, die Flamm 16 œœ j œ j œ j & œœœœœœœ ‰ œ œ œœ œœ. œ ˙ Œ pœ œ œœ œœ. œ w S 1 Flamm œ j her - wie - jder bricht, her - wie - derj bricht. & œœœœœœœœ ‰ œ œ œœœœœ. œ ˙ Œ œ œ œœœœœ. œ w Flamm her - wie - der bricht, herp- wie - der bricht. S 2 œ œ œ & œ œœœœœœ ‰ #œ ˙ œ ˙ Œ #œ ˙ œ w Flammœ herJ -wie - der bricht, pher-wie - der bricht. S 2 œ œ œ & œ œœœœœœ ‰ #œ ˙ œ ˙ Œ #œ ˙ œ w Flammœ f herJ -wie - der bricht, herp-wie - der bricht. A Œ Œ & œ œ ˙. œ ˙. dieœ Flamm her - wie - derœ #bricht,˙ her-wie - derœ #bricht.w A f p & Œ œ Œ p T œ ˙. œ œ ˙. œ Ó dieœ Flamm Œher - wie - œder #bricht,˙ Œ her-wie - œ der #bricht.w V œ œ #œ œ œ œ ˙ œ œ#œ œ œ œ w die Flamm her - wie-der bricht, pdie Flamm her - wie-der bricht. T Ó Œ œ Œ p œ VB #œ œ œ #œ œ œ ? dieœ Flammœ ˙ her - wie-derœ bricht,˙ dieœ Flammœ˙ her - wie-derœ bricht.w Ó Œ œ ˙ Œ œ w her - wie - der˙ bricht, her-wie - der˙ bricht. p B ? Ó Œ œ ˙ ˙ Œ œ ˙ w her - wie - der˙ bricht, her-wie - der˙ bricht.

Madrigalian poetry from the time of Petrarch onward typically conveys conflicting

emotions through the use of analogy. Opposing images, such a hot and cold or pain and ecstasy,

are set musically with opposing melodic or harmonic material, an approach known as

antithesis.85 The B section of In Filli schönen Äugelein demonstrates Schein’s familiarity with

antithesis. In it, he creates contrast through text, harmony, melody, and texture. Phyllis’s lover

describes the alleviation of his pain while looking into Phyllis’s eyes. To express this text, the

85 Bartel, Musica Poetica, 197-200.

first phrase has added sharps, a compositional feature seen in the madrigals of Monteverdi and

others to express pain (Musical Example 4.27). In mm. 20-21, all sharps are removed to display

the transition to sweetness. Adding to the sweetness, suspensions are used to depict bliss in a

technique known as syncopatio, one of the earliest rhetorical devices.86 The change in texture

from homophony to imitation also demonstrates the narrator’s conflict.

Musical Example 4.27. Schein, In Filli schönen Äugelein, mm. 18-21 Words by Music by Arranged by Words by Music by f Arranged by Soprano 1 4 . & 2 . ∑ ∑ f œ œ œ œ œ Soprano 1 4 Wenn ich den Glanz denn & 2 . ∑ ∑ œ œ œ œ œ Wenn fich den Glanz denn Soprano 2 4 & 2 . ∑ ∑ #œ œ œ œ f Wenn ich den Glanz dennœ Soprano 2 4 . & 2 . ∑ ∑ #œ œ œ œ œ f Wenn ich den Glanz denn Alto 4 & 2 . œ œ f Wennœ ichœ denœ Glanzœ dennœ seœ œ- he an,˙ wennœ ichœ denœ Glanzœ #dennœ Alto 4 & 2 . œ œ Wennœ fichœ denœ Glanzœ dennœ seœ œ- he an,˙ wennœ ichœ denœ Glanzœ #dennœ Tenor 4 . #œ œ œ œ œ œ #˙ ∑ V 2f . œ Tenor Wenn ich den Glanz denn se - he an, V 24 . #œ œ œ œ œ œ œ #˙ ∑ Wenn fich den Glanz denn se - he an, Bass ? 4 œ œ œ œ #œ œ ˙ 2f . œ ∑ Bass Wenn ich den Glanz denn se - he an, 20 œ œ œ œ œ ˙ ? 24 . #œ œ ∑ S 1 Wenn ich den Glanz denn se -œ. he œ an, 20 & œ œ œ œ ˙ Œ œ J œ œ ˙ œ ˙ Ó S 1 se - he an wirdœ. zuœ - cker - süß mein Schmerz, & œ œ œ œ ˙ Œ œ J œ œ ˙ œ ˙ Ó se - he an wird zu - cker - süß mein Schmerz, S 2 ‰ œ œ. œ Œ Œ & #œ œ #œ J J ˙ ˙ ˙ ˙ S 2 se - he an, œwird zu - cker - süß mein Schmerz, & #œ œ #œ ‰ œ . œ ˙ ˙ ˙ Œ Œ se - he an, wirdJ zu - ckerJ - süß mein Schmerz,˙ A j j & #œ œ. nœ œ œ. Œ Œ seœ - he an,œ wird zu - cker-süß, wirdœ zu - ckerœ - süßœ meinœ Schmerz,˙ A œ j j & œ #œ œ. nœ œ œ. œ Œ Œ seœ - heœ an, wird zu - cker-süß, wirdœ zu - cker - süßœ meinœ Schmerz,˙ T œ Ó œ . œ œ œ. œ œ œ œ œ œ œ œ œ Œ V J J œ ˙ T œwird. zu œ- cker-süß, zu - cker - süß œmein Schmerz, wird V Ó œ J œ œ. œ œ œ œ œ œ œ œ ˙ œ Œ wird zu - cker-süß, zu - ckerJ - süß mein Schmerz, wird B ˙. œ ˙ ? Ó ˙ ˙ ˙ Œ Œ B wird ˙. zu - œ cker - süß ˙ mein Schmerz, ? Ó ˙ ˙ ˙ Œ Œ wird zu - cker - süß mein Schmerz,

86 Bartel, Musica Poetica, 396-405. 60

In the final portion of the B section, Schein features two melodic motives in antithesis.

Schein’s text describes a never-ceasing burn of love, which demonstrates both pain and bliss. In setting these contrasting feelings, Schein uses opposing rhetorical devices: anabasis, or rising melodic line, and catabasis, or descending melodic line.87 Unlike other devices, like auxesis, which use sequencing to heighten tension, anabasis and catabasis are connected specifically to high and low emotions, such as the love and pain expressed in one line of text. In mm. 23-24, the rising melodic line shows an example of anabasis, while the same text is expressed in a descending scale four measures later (Musical Examples 4.28 and 4.29). These opposing motives combine as the voices approach the final cadence.

MusicalWords Example by 4.28. Schein, In Filli schönen Äugelein, mm. 23-24 Music by Arranged by

Alto 4 & 2 œ œ œ #œ Œ Ó ∑ Schmerzœ undœ wünsch,œ daß brennœ ohn Unœ - ter - lan

Tenor 4 j œ œ œ V 2 œ œ œ. œ œ. œ . J Œ Ó ∑ Schmerz und wünsch, daß brenn ohnJ Un - ter - lan

Bass ? 4 œ œ œ œ 2 œ œ œ œ œ Œ Ó ∑ Schmerz und wünsch, daß brenn ohn Un - ter - lan

MusicalWords Example by 4.29. Schein, In Filli schönen Äugelein, mm. 28-29 Music by Arranged by

Soprano 1 4 Ó Œ œ œ œ œ œ œ œ œ œ œ œ œ Ó & 2 œ œ œ œ œ ˙ und wünsch, daß brenn ohn Un - ter - lan in ih - rer Lieb mein Herz,

Soprano 2 4 Ó Œ œ œ œ œ œ œ œ ˙ Ó & 2 œ œ œ œ œ #œ und wünsch, daß brenn ohn Un - ter - lan in ih - rer Lieb mein Herz

87 Bartel, Musica Poetica, 179-180, 214-215.

Wenn Filli ihre Liebesstrahl

Formal/ Measures Text Translation Rhetorical Structure A 1-8 Wenn Filli ihre If Phyllis casts her love- Exordium Liebesstrahl wirft in mein beam in my heart, I feel Herz hinein, empfind ich anxiety and agony, and Angst und Todesqual, fall straight asleep in schlaf stracks in powerlessness. Ohnmacht ein. B (Repeat) 8-16 Sobald mich abr ihr süßer As soon as I but touch Confirmatio Mund und zarte Lipplein her sweet mouth or little rot berühren nur, werd ich red lips, I will get well gesund, steh wieder auf and arise again from vom Tod. death.

C (Repeat) 17-32 Drum singt ihr Hirten all Therefore her shepherds Conclusio zugleich: O viva Filli sing all together: Long tugendreich. live virtuous Phyllis!

Table 4.7. Analysis of Wenn Filli ihre Liebesstrahl

Wenn Filli ihre Liebesstrahl, though one of the shorter madrigals in the collection, features multiple metaphors of love (Table 4.7). As in many of the works in the Diletti pastorali collection, the relationship between love and pain is present, however, this madrigal’s text has comparisons not seen in other pieces, such as love as powerlessness, or a death-like sleep. The relationship between love and sleep/death is a common theme for exploration in mannerist madrigals, such as Carlo Gesualdo’s (1566-1613) Moro, lasso, al mio duolo.

The Exordium of Wenn Filli introduces the topic of powerlessness as Phyllis’s lover is captivated by her gaze. Treble voices in similar yet staggered rhythm create a trance-like effect in the first three measures. The text “wirft in mein Herz” is set using auxesis, with the melody gradually rising in all voices as the object of Phyllis’s attention becomes entranced (Musical

Example 4.30). Word painting is used in mm. 5-8 in the form of falling thirds to depict falling 62 asleep, as Phyllis’s lover is rendered powerless by her gaze (Musical Example 4.31). While the falling imitation indicates a lack of control, consonant intervals and the use of B-flat rather than a series of sharps alludes to the narrator’s opinion that this bewitchment is pleasant rather than painful.

Musical ExampleWords by4. 30. Schein, Wenn Filli ihre Liebesstrahl, mm. 1-3 Music by Arranged by

Soprano 1 4 j & 2 Ó œ œ œœ œ œ.œ ˙ ‰ œ œ ‰ œ œ œ Œ ∑ Wenn Fil-li ih-re Lie-bes-strahl wirft inmeinœ Herz,˙ wirft inmein Herzœ hinœ#-ein,œ

Soprano 2 4 œ j ‰ ‰ Œ ∑ & 2 œ œ œ œ œ.œ ˙ œ œ œ œ œ œ #œ. œ. œ #œ œ œ Wenn Fil-li ih - re Lie-bes-strahl wirftinmeinHerz,˙ wirft inmein Herzœ hin - ein,

Alto 4 & 2 œ j ‰ ‰ Ó ∑ œ œ œ œ œ.œ ˙ œ œ œ ˙ œ œ œ œ œ ˙ Wenn Fil-li ih - re Lie-bes-strahl wirftinmeinHerz, wirft inmeinHerz hinœ - ein,

Musical ExampleWords by 4.31. Schein, Wenn Filli ihre Liebesstrahl, mm. 5-8 Music by Arranged by

Soprano 1 4 & 2 ∑ ∑ Ó ˙ schlaf

Soprano 2 4 & 2 ∑ œ ˙ œ œ œ ˙ w schlaf stracks in Ohn - machtœ ein,

Alto 4 Ó Œ œ Œ œ & 2 ˙. œ œ ˙ schlaf stracks in bOhn˙ - machtœ ein, schlaf

Tenor 4 œ œ V 2 Ó Œ ˙ ˙ Œ ˙ schlaf stracks in Ohnœ - machtb˙ ein,œ schlaf stracks

Bass œ ? 24 Œ ‰ J w ˙ b˙ schlaf stracks in Ohn - macht˙ ein,w 7 S 1 œ ˙ & ˙ Ó bœ œ ˙ #˙ stracks, schlaf stracks in Ohn - machtœ ein.

S 2 œ © & ˙ œ ˙. schlaf stracks, schlaf stracks inœ Ohnœ œ ˙- macht#œ ein.˙

A & w w stracks in bOhn˙ - macht˙ ein.˙

T V ˙ w Ó ˙ in Ohn˙ - - - macht ein.˙

B ? œ ˙ ˙ Œ w b˙ ˙ ˙ schlaf stracks in Ohn - macht˙ ein.˙ Words by Music by Arranged by

Soprano 1 4 & 2 ∑ ∑ Ó ˙ schlaf

Soprano 2 4 & 2 ∑ œ ˙ œ œ œ ˙ w schlaf stracks in Ohn - machtœ ein,

Alto 4 Ó Œ œ Œ œ & 2 ˙. œ œ ˙ schlaf stracks in bOhn˙ - machtœ ein, schlaf

Tenor 4 œ œ V 2 Ó Œ ˙ ˙ Œ ˙ schlaf stracks in Ohnœ - machtb˙ ein,œ schlaf stracks 63 Bass œ ? 24 Œ ‰ J w ˙ b˙ schlaf stracks in Ohn - macht˙ ein,w 7 S 1 œ ˙ & ˙ Ó bœ œ ˙ #˙ stracks, schlaf stracks in Ohn - machtœ ein.

S 2 œ & ˙ œ ˙. schlaf stracks, schlaf stracks inœ Ohnœ œ ˙- macht#œ ein.˙

A & w w stracks in bOhn˙ - macht˙ ein.˙

T V ˙ w Ó ˙ in Ohn˙ - - - macht ein.˙

B ? œ ˙ ˙ Œ w b˙ ˙ ˙ schlaf stracks in Ohn - macht˙ ein.˙

The B section reveals that Phyllis’s kiss is the only cure for the narrator’s death-sleep.

Schein uses pathopoeia on “zarte” and syncopatio on “Lippelein” to highlight the passion of the

narrator’s feelings toward Phyllis (Musical Example 4.32). These expressive devices create

dissonances and dramatic harmonic shifts that depict the equating of pain with pleasure. After

this phrase, a rest occurs in all voices (Musical Example 4.32). While the breath could be an

example of aposiopesis, this example more clearly fits the device suspirato, or a sigh-breath.88

Phyllis’s lover is overwhelmed with desire, literally and figuratively receiving the “breath of

life.” After this breath, the texture animates with rising eighth-note figures (auxesis) portraying

the narrator’s rise from death (Musical Example 4.33).

88 Bartel, Musica Poetica, 392-394. 64

Musical ExampleWords by4. 32. Schein, Wenn Filli ihre Liebesstrahl, mm. 8-11 Music by Arranged by

Soprano 1 4 j j j œ & 2 . Œ œ œ. œ œ œ œ. œ œ œ bœ. œ œ œ œ ‰ œ œ œ Œ Ó ∑ So - bald michJ abr ihr sü - ßer Mund und zar - te Lipp-lein rot be - rüh-ren nur,

Soprano 2 4 . j j j j j & 2 . Œ œ œ. œ œ œ . œ. ‰ œ œ œ Œ Ó ∑ So - bald mich abr ihr süœ - ßerœ Mundœ undœ zar - œte Lippœ. - œlein#rot,œ be - rüh-renœ nur,

Alto & 24 . Œ j j j ‰ j j‰Œ Ó ∑ œ œ. œ œ #œ œ. œ bœ œ œ Soœ - baldœ. michœ abrœ ihr sü - ßer Mund und zar - te Lipp-lein rot,œ beœ - rüh-renœ nur,œ

Musical ExampleWords by4. 33. Schein, Wenn Filli ihre Liebesstrahl, mm. 11-12 Music by

Soprano 1 4 & 2 Ó ‰ œ œ ‰ œ œ œ œ œ œ œ œ ˙ Ó werd ich geœ -sund,˙ werd ich ge - sund,œ steh wie-der auf vom Tod,

Soprano 2 4 j j & 2 Ó ‰ œ œ ˙ ‰ œ œ œ œ #œ #œ œ œ ˙ Ó werdœ ich ge-sund, werd ich ge - sund, stehœ wieœ -der auf vom Tod,

Alto 4 ‰ ‰ ‰ Ó & 2 œ œ ˙ œ œ ˙ œ œ œ œ œ #˙ werdœ ich ge - sund, werdœ ich ge-sund, steh wie-der auf œ vomœ Tod,

Tenor 4 V 2 Ó ‰ œ ˙ ‰ œ œ ˙ Ó werdœ ichœ ge-sund, stehœ wie-der auf vom˙ Tod,˙ ˙ œ œ œ Bass œ œ ˙ œ œ œ œ œ ˙ ? 24 ‰ œ ‰ ‰ œ Ó werd ich ge-sund, werd ich ge-sund, steh wie-der auf vom Tod.

The C section of the madrigal contains© a praise-song to Phyllis. Like most praise-songs in the collection, this setting begins in homophonic texture and triple meter. The rising melodic lines (auxesis and gradatio) in all voices create a build to the climax in m. 24 (Musical Example

4.34). After the height of the praise-song, the texture fractures into lively imitation on the text “o viva viva Filli tugenreich” (Musical Example 4.35). In the eighth measure of this fanfare, the rhythm begins to augment to decrease motion into the final cadence (Musical Example 4.36).

Musical ExampleWords by 4 .34. Schein, Wenn Filli ihre Liebesstrahl, mm. 17-24 Music by Arranged by

Soprano 1 3 & 2 ˙ œ œ œ w ˙ ˙ œ #œ œ œ w ˙ Drum singt œ ihr Hir - ten, drum singt ihr Hir - ten,

Soprano 2 3 & 2 w ˙ #œ w ˙ Drum˙ singtœ œ ihrœ œ Hir - ten, drum˙ singtœ œ ihrœ Hir - ten,

Alto 3 & 2 ˙ ˙ Drum˙ singt bihr˙ Hirw - ten,˙ drum˙ singt ihr˙ Hirw - ten,˙

Tenor 3 V 2 ˙ ˙ w ˙ ˙ ˙. #œ w ˙ Drum singt. ihrœ Hir - ten, drum singt ihr Hir - ten,

Bass b˙ ˙ ˙ ˙ ˙ ˙ w ˙ ? 23 w ˙ Drum singt ihr Hir - ten, drum singt ihr Hir - ten, 21 S 1 œ œ 2 & ˙ œ œ œ œ w ˙ w 2 #˙ Ó drum singt ihr Hir - ten all - zu - gleich:

S 2 2 & #˙ œ œ œ w ˙ w #˙ 2 œ Œ Ó drum singt œ ihr Hir - ten all - zu - gleich:

A 2 & ˙ 2 Ó drum˙ singt ihr˙ Hirw - ten˙ allw - zu˙ - gleich:˙

T V ˙ ˙. œ w ˙ w ˙ 2 œ Œ Ó drum singt ihr Hir - ten all - zu - gleich: ˙ ˙ w ˙ B ? ˙ w ˙ 2 ˙ ˙ 2 Ó Score drum singt ihr Hir - ten all - zu - gleich:

Musical Example 4.35. Schein, Wenn Filli ihre Liebesstrahl, mm. 24-25

S1 2 4 œ & 2 Ó Œ œ 2 œ œ œ œ œ ∑ O vi-va vi-va vi - va,

MusicalWords Example by 4.36. Schein, Wenn Filli ihre Liebesstrahl, mm. 30-32 Music by

Soprano 1 4 œ œ œ. œ œ œ œ œ œ œ w w w & 2 J ‰ J . Fil - li tu - gend - reich, o vi-va Fil-li tu - gend - reich.

Soprano 2 4 & 2 œ œ bœ œ w Œ œ œ œ œ œb˙ ˙ w . li tu-gend - reich, o vi-va Fil-li tu - gend - reich.

Alto & 24 Œ . #Filœ - œli tuœ-gendœ - reich,˙ œo #œvi-vaœ Filœ -œli tuw - gend˙ - reich.w

Tenor 4 V 2 œ œ œ #w Œ œ œ œ œ œ ˙ #w . li tu-gendœ - reich, o vi-va Fil-li tu - gend˙ - reich. œ œ œ œ w Bass œ œ œ ˙ ˙ ˙ ? 24 œ ˙ . Fil - li tu-gend - reich, o vi - va Fil - li tu - gend - reich.

Die Vöglein singen

Formal/ Rhetorical Measures Text Translation Structure A: Exordium 1-18 Die Vöglein singen, die The little birds sing, the Tierlein springen. little animals jump. Die Lüftlein sausen, die The little breezes stir, the Bächlein brausen. little streams gurgle. The Die Bäumlein lachen, little trees laugh, the little die Felsen krachen. rocks crash. The little sheep Die Schäflein weiden graze on the green fields. auf grüner Heiden.

B (Repeat) 19-27 Wenn Filli kömmt When Phyllis comes again, Propositio/Confirmatio gegangen die Wälder the wood’s treasure and Zier und Kron, crown, her lover Corydon Ihrn liebsten Coridon will embrace her dearly. gar fruendlich tut umfangen. C (Repeat) 28-57 Die Hirten rufen all Then the shepherds cry out Conclusio zugleich: O viva Filli all together: O long live tugendreich! virtuous Phyllis!

Table 4.8. Analysis of Die Vöglein singen

Die Vöglein singen shows similarities in theme and structure to Torquato Tasso’s Ecco mormorar l’onde, most famously set to music by Monteverdi, and Schein’s All wilden Tier im grünen Wald.89 In Tasso’s and Schein’s poems, animate and inanimate objects in nature take on human actions. While Tasso’s poem views nature as relief for a damaged heart, Schein’s poems are celebratory. In the A sections of Die Vöglein singen and All wilden Tier, Schein personifies nature in celebration of pastoral love, while in the B sections Schein elaborates on the couple’s relationship (Table 4.8).

89 Vossler, Das Deutsche Madrigal: Geschichte seiner Entwickelung bis in die Mitte des XVIII. Jahrhunderts, 25.

The Exordium of Die Vöglein singen is divided into two eight-bar phrases with a two- measure cadential extension. The presto tempo marking, original to Schein’s score, denotes a lively and dance-like triple meter. Homophonic text-setting creates a clear presentation of the text. The first eight measures are broken into two-bar phrases that rise by auxesis in almost all voices (Musical Example 4.37).90 After the climax in m. 8, the line descends using a different melodic pattern. Turning eighth-notes on “lachen” and “krachen” in the soprano voices create a loop pattern known as circulatio (Musical Example 4.38).91 In this example, the circulatio is used as a form of hypotyposis, depicting the laughter of the trees. At the end of the exordium the transition from presto triple meter to largo duple meter is facilitated by a two-measure hemiola, which also slows the harmonic rhythm (Musical Example 4.39).

Musical Example 4.37. Schein, Die Vöglein singen, mm. 1-8

Presto (in 1)

Soprano 1 3 ˙ œ œ ˙ œ œ œ œœ ˙ œ œ œ œ œœ ˙ œ & b 4 œ œœœœ œ œ œœ œ Die Vög-lein sin - gen, die Tier-lein sprin - gen, die Lüft - lein sau - sen, die Bäch-lein brau - sen,

Soprano 2 3 ˙ œ ˙ œ & b 4 œ œœœœ ˙ œ œ œ œœœ ˙ œ œ œœnœœ œ œ œ œœ Die Vög-lein sin - gen, die Tier-lein sprin - gen, die Lüft - lein sau - sen, die Bäch-lein brau - sen,

Alto 3 & b 4 œ ˙ œ œ œ ˙ œ œ œœ ˙ œ œ œ ˙ Dieœ Vögœ -lein sin - gen, die Tierœ œ- leinœ sprin - gen, die œLüftœ - lein sau - sen, dieœ Bäch-leinœ brau - sen,œ

Tenor 3 œ œ œ ˙ œ œ œ ˙ œ V b 4 œ œ ˙ œ œ œ œ œ œ œœ ˙ œ Die Vög-lein sin - gen, die Tier-lein sprin - gen, die Lüft - loein sau - sen, die Bäch-lein brau - sen,

Bass œ ? 3 œ œ œ ˙ œ œ œ ˙ œ œ b 4 œ œ œ ˙ œ œ œ ˙ œ Die Vög-lein sin - gen, die Tier-lein sprin - gen, die Lüft - lein sau - sen, die Bäch-lein brau - sen,

90 In the bass line, m. 6-8 could be seen as a leap displaced by an octave.

91 Bartel, Musica Poetica, 216-219. 69

Musical Example 4.38. Schein, Die Vöglein singen, mm. 9-12

Soprano 1 3 œ œ œ œ bœ œ œ & b 4 œ œ œ œ œ œ œ œ œ œ œ die Bäum - lein la - chen, die Fel - sen kra - chen,

Soprano 2 3 j œ j & b 4 œ œ. œ œ œ œ œ œ œ. #œ œ #œ œ œ œ die Bäum - lein la - chen, die Fel - sen kra - chen,

Musical Example 4.39. Schein, Die Vöglein singen, mm. 16-18

Soprano 1 3 œ. bœ œ œ œ 2 & b 4 J ˙ 2 ˙ Hei ------den,

Soprano 2 . & b 43 œ œ œ œ œ œ œ œ. œ œ 2 ˙ Hei ------den,

Alto 3 2 & b 4 œ ˙. 2 Heiœ - œ œ - bœ ------den,˙

Tenor 3 2 V b 4 ˙ œ œ œ œ œ œ 2 ˙ Hei. ------den,

Bass ? 3 œ ˙ 2 b 4 œ œ œ œ œ œ œ 2 ˙ Hei ------den,

. j & b 43 œ. œ œ œ œ œ ˙ 2 ˙ œ. bœ œ œ œ ˙ ˙ Continuo J j ? b 43 œ. œ œ œ œ ˙ 2 ˙

(anabasis) is paired with a descending melodic line (catabasis). The stepwise motion of the lines creates minor-seventh dissonances between the outer lines, and tritone cross relations (Musical

Exampe 4.40). Since these clashes occur on weak beats, they are excusable as parrhesia, or dissonances “introduced into the oration in such a fashion as it does not offend the listener.”92

Phyllis is exalted further in mm. 22-25, where a rising melodic line heralds her as “the wood’s treasure and crown” (Musical Example 4.41). Phyllis’s and Corydon’s embrace is depicted ©

92 Bartel, Musica Poetica, 352-356. 70

through imitation and auxesis as each voice leaps and resolves by step to form an enclosed

melody (Musical Example 4.42).

Score MusicalScore Example 4.40. Schein, Die Vöglein singen, mm. 18-22

Largo Bb - F Largo Bb - F Soprano 1 b 2 . Œ œ 4 œ bœ œ œ œ œ Ó ∑ Ó Œ œ Soprano 1 & 2 . 2 2 œ wenn4 œ bœFil -œ li kömmtœ ge - gan - gen, œ wenn & b 2 . Œ 2 œ œ Ó ∑ Ó Œ wenn Fil - li kömmt ge - gan - gen, wenn Soprano 2 b 2 . Œ œ 4 œ œ œ œ Ó ∑ Ó Œ œ Soprano 2 & 2 . 2 œ œ 2 œ wenn4 œ Fil - li kömmt ge - gan - gen, wenn & b 2 . Œ 2 œ œ œ œ œ Ó ∑ Ó Œ œ wenn Fil - li kömmt ge - gan - gen, wenn Alto & b 2 . Œ 42 Œ Œ Alto œ œ œ œ œ œ bœ œ œ 2 wenn4œ Filœ - œli kömmt ge - gan - gen, wenn Fil - li kömmt ge - ganœ - gen,œ wenn & b 2 . Œ 2 Œ Œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ Tenor 2 wenn Fil 4- li kömmt ge - gan - gen, wenn œFil - liœ kömmt ge - gan - gen, wennœ V b 2 . ∑ 2 ∑ Ó Œ œ œ œ œ œ Ó Tenor 2 4 œ wennœ Fil - li kömmt ge - gan - gen, V b 2 . ∑ 2 ∑ Ó Œ œ œ œ œ œ Ó wenn Fil - li kömmt ge - gan - gen, Bass ? 2 4 œ œ b 2 . ∑ 2 ∑ Ó Œ œ œ œ œ œ Ó Bass ? 2 . 4 wenn Fil - li kömmtœ œge - ganœ - gen, b 2 . ∑ 2G ∑- D Ó Œ œ œ œ œ Ó 21 wenn Fil - li kömmt ge - gan - gen,

21S 1 G - D & b œ œ œ œ œ œ Ó ∑ S 1 œ Fil - li kömmt ge - gan - gen & b œ œ œ œ œ Ó ∑ Fil - li kömmt ge - gan - gen S 2 & b œ œ œ œ #œ œ Ó ∑ S 2 Fil - li kömmt ge - gan - gen & b œ œ œ œ #œ œ Ó ∑ A Fil - li kömmt ge - gan - gen & b Œ Ó A œ œ œ œ œ œ Filœ - œli kömmtœ ge - gan - gen, wenn Fil - li kömmtœ geœ - ganœ - gen,œ & b Œ Ó œ œ œ œ œ œ T Filœ - œli kömmtœ ge - gan - gen, wenn Fil - li kömmtœ geœ - ganœ - gen,œ V b ∑ Ó Œ œ œ œ œ œ #œ œ Ó T wenn Fil - li kömmt ge - gan - gen, V b ∑ Ó Œ œ œ œ œ œ #œ œ Ó B ? wenn Fil - li kömmt ge - gan - gen, b ∑ Ó Œ œ œ œ œ œ Ó wennœ Filœ - li kömmt ge - gan - gan, B ? ∑ Ó Œ œ œ Ó b œ œ œ œ œ wenn Fil - li kömmt ge - gan - gan,

Musical ExampleWords by 4 .41. Schein, Die Vöglein singen, mm. 22-2 Music by Arranged by

Soprano 1 4 w œ b˙ œbœ œ. œ & b 2 œ œ. œ œ. œ ∑ Œ ‰ J J ˙ Ó der Wäl - derJ Zier undJ Kron, ihrn lieb - stenCo - ri-don

Soprano 2 4 & b 2 œ œ œ ˙ œ w ∑ Ó Œ œ œ œ œnœ ˙ Ó der Wäl-der Zier undKron, ihrn lieb-sten Co-ri - don

Alto 4 j j j & b 2 bœ œ Œ j j ‰ œ bœ. œ œ œ œ. œ œ Œ Ó derœ Wäl - derœ Zierœ und Kron˙ derœ Wälœ. - derœ Zierœ. undœ Kron,œ ihrn lieb - stenCo - ri-don

Tenor 4 œ œ V b 2 Œ ∑ Ó Œ œ œ œ ˙ œ œ ‰ J œ ˙. œ œ Œ Ó der Wäl-der Zier und Kron,ihrn lieb-sten Co - ri - don

Bass j œ ? b 24 Œ ∑ Ó Œ œ bœ œ œ œ œ ‰ œ œ. œ bœ œ œ Œ Ó der Wäl - der Zier und Kronihrn lieb J - stenCo - œri - don

Musical ExampleWords by 4 .42. Schein, Die Vöglein singen, mm. 25-26 Music by

Soprano 1 4 ˙ b˙ œ & b 2 ∑ Ó Œ œ œ œ Ó gar freund - lich, gar fruend - lich

Soprano 2 4 & b 2 ∑ Ó Œ œ ˙ œ œ ˙ œ Ó gar fruend - lich, gar freund - lich

Alto 4 j & b 2 ∑ Œ ‰ ˙ ˙ Œ œ œ Ó bgarœ freund - lich, bgarœ freund - lich

Tenor 4 j œ V b 2 ∑ Ó ‰ œ œ œ œ Ó ˙ œ gar freund - lich, gar freund - lich

Bass j j œ œ ? b 24 ∑ Œ ‰ œ b˙ œ ‰ œ œ œ œ Ó gar freund - lich, gar freund - lich, gar freund - lich

Unlike All wilden Tier, Die Vöglein contains a C section featuring a praise-song to

Phyllis, similar in motivic material to that in Wenn Filli ihre Liebesstrahl. The shepherd chorus sings a fanfare melody imitated throughout the voices to mimic a call echoing through the forest, similar to the “O viva” motive in Wenn Filli (Musical Example 4.43). The triple-meter praise- song also features echo dynamics, depicting voices from near and far singing Phyllis’s praises 72

(Musical Example 4.44). Phyllis’s name is augmented in the final phrase, and the harmonic rhythmScore slows for the ending cadence.

Musical Example 4.43. Schein, Die Vöglein singen, mm. 28-29

S1 & b 42 Œ œ œ œ œ œ ˙. œ ˙ Ó ∑ Die Hir - ten ru - fen all zu - gleich,

Musical Example 4.44. Schein, Die Vöglein singen, mm. 42-49 Words by Music by

f p f Soprano 1 3 œ œ œ 4 & b 4 œ œ œ œ Œ œ œ œ œ Œ œ œ 2 O vi - va Fil - li, o vi - va Fil - li, o vi - va f p f Soprano 2 3 4 & b 4 œ œ œ #œ œ Œ œ œ œ #œ œ Œ œ œ œ 2 O vi - va Fil - li, o vi - va Fil - li, o - vi - va f p f Alto 3 4 & b 4 œ Œ œ Œ œ 2 O œvi - vaœ Filœ - œli, o œvi - vaœ Filœ - œli. o œvi - vaœ f p f Tenor 3 œ œ 4 V b 4 œ œ œ œ Œ œ œ œ Œ œ œ 2 O vi - va Fil - li, œo vi - va Fil - li, œo vi - va f p f Bass ? 3 4 b 4 œ œ œ Œ œ œ œ Œ œ 2 O #œvi - vaœ Fil - li. o #œvi - vaœ Fil - li, o #œvi - vaœ 48 S 1 4 & b 2 œ. œ œ. œ w ˙ ˙. œ nw Fil - - - li tu - gend - reich!

S 2 4 & b 2 #œ œ ˙. œ ˙ ˙ #˙ w Fil - li tu - - - - gend - reich!

A & b 24 Fil˙ - b˙li tuw - - ˙ - gend˙ - reich!w

T 4 œ V b 2 Œ œ #œ œ œ ˙. œ w Fil - œli, o vi - vaœ Fil - li tu - gend - reich!

B ? 4 b 2 ˙ ˙ w ˙ ˙ Fil - li tu - - - gend - reich!w ©

Cupido blind, das Venuskind

Formal/ Measures Text Translation Rhetorical Structure A 1-12 Cupido blind, das Cupid blind, child of Exordium 12-18 Venuskind, mein Herz hat Venus, has set my heart Propositio angezündt: O schöne Zier, aflame: O beautiful ach, eil zu mir dein treasure, hurry to me and kühlend Wasser führ! lead me to thy cooling waters! B (Repeat) 19-34 Denn du, o Filli, zart allein Because you, o treasured Confirmatio 34-50 durch deine rote Lippelein Phyllis alone, through Conclusio mit einem feuchten your red lips with a fiery Küsselein kannst löschen kiss can quench my meine Flamm und Pein. flame and anguish.

Table 4.9. Analysis of Cupido blind, das Venuskind

Cupido blind, das Venuskind is similar to O Venus und Cupido blind in its use of introductory material and poetic metaphor (Table 4.9). In the Exordium of both madrigals, the gods are called forth and described as a positive or negative influence on the narrator. In both texts, an analogy between love and pain is drawn, with Phyllis’s love as the healing force. Unlike

O Venus, Cupido blind does not contain an ending praise-song to the gods of love, but instead highlights the physical passion between Phyllis and Corydon.

The Exordium of the madrigal begins with a two-phrase invocation to Cupid, stated three times by high, low, and combined voices respectively. The first phrase uses chromatic motion in the upper two voices as a means of pathopoeia, which will continue throughout the piece

(Musical Example 4.45). The second phrase depicts Corydon’s passion with a sigh-like descending line staggered throughout the voices (Musical Example 4.46). When the voices combine, the second phrase is augmented for a cadence, an example of schematoides (Musical 74

Example 4.47).93 The final portion of the A section is a plea for Phyllis’s love to quench the fires of Corydon’s heart. The syllabic line of eighth notes in “o schöne Zier, ach eil zu mir” is an example of a tirata mezzo (a miniature span of rapid notes), which paints the text “hurry to me”

(Musical Example 4.48).94 Following the tirata, fluid melismas on “kühlend Wasser” close the

A section with classic word painting (Musical Example 4.49).

MusicalWords Example by 4.45. Schein, Cupido blind, das Venuskind, mm. 1-2 Music by

Soprano 1 & 24 œ ˙ œ bw œ ˙ #œ ˙ Ó Cu - pi - do blind, das Ve - nus - kind,

Soprano 2 4 & 2 #œ ˙ œ w #œ ˙ œ Œ Ó Cu - pi - do blind, das Ve - nusœ - kind,

Alto 4 Ó & 2 œ ˙ œ w œ ˙ Cu - pi - do blind, das Ve˙ - nusœ - kind,

Musical ExampleWords by 4 .46. Schein, Cupido blind, das Venuskind, mm. 2-4 Music by Arranged by

Soprano 1 4 œ & 2 Œ œ œ ˙ Œ œ œ ˙ Œ œ kind, mein Herz, mein Herz hatœ an˙. - œge#œ -œœ zündt,w

Soprano 2 4 & 2 #œ œ ˙ Œ œ œ ˙ Œ œ œ œ œ ˙ ˙ w mein Herz, mein Herz, mein Herz hat an - ge - zündt,

Alto & 24 Œ Œ j ‰ Œ Ó œ œ œ ˙. œ œ b˙ ˙ kind, meinœ œ Herz,˙ mein Herz, hat an - ge - zündt,œ

93 Bartel, Musica Poetica, 382-384.

94 Ibid., 409-412.

MusicalWords Example by 4.47. Schein, Cupido blind, das Venuskind, mm. 11-12Music by Arranged by

Soprano 1 & 24 Œ œ œbœ œ w ˙ ˙ w mein Herz hat an - ge - zündt:

Soprano 2 4 & 2 b˙ Œ ˙ ˙ ˙ Ó Herz, hatœ ˙an - ge˙ - zündt:

Alto 4 Œ & 2 œ œ œ ˙. œ w mein Herz bhatœ an˙ - œ nœ - - ge - zündt: Tenor 4 j V 2 ‰ œ œ œbw ˙ ˙. œ œ ‰ Œ Ó mein Herz hat an - ge - zündt:

Bass ? 4 ˙ Ó 2 b˙ ˙ w ˙ ˙ ˙ hat an - ge - zündt:

Musical ExampleWords by 4.48. Schein, Cupido blind, das Venuskind, mm. 12-15Music by Words by Music by

Soprano 1 4 œ Soprano 1 4 & 2 ∑ œ‰ œ œ ˙ ‰ œ œ œ & 2 ∑ ‰ Oœ schöœ -˙ne Zier, ‰ œ ach,œ eil zu mir,˙ O schö-ne Zier, ach, eil zuœ mir,˙ Soprano 2 4 Soprano 2 & 2 ∑ Ó ‰ œ œ œ ‰ ‰ œ œ œ 4 ∑ Ó ‰ O schö-ne Zier,˙ ‰ ach,œ eilœ zuœ mir, ‰ œ o schö-ne & 2 œ œ œ ˙ œ ˙ œ œ O schö-ne Zier, ach, eilœ zuœ mir,˙ o schö-ne Alto 4 ∑ ∑ Alto 4 & 2 & 2 ∑ ∑ Tenor 4 œ œ œ ˙ œ œ œ V 2 ∑ ‰ ‰ œ œ œ ‰ ˙ Tenor œ O schö-ne Zier, ach, eil zu ˙mir, o schö-ne Zier, 4 œ œ ˙ © œ œ œ V 2 ∑ ‰ ‰ œ œ œ ‰ ˙ O schö-ne Zier, ach, eil zu ˙mir, o schö-ne Zier, Bass ? 4 ∑ Ó ‰ œ œ œ ‰ ‰ œ œ œ 2 ˙ œ œ œ ˙ Bass O schö-ne Zier, ach, eil zu mir, œ o schö-ne ? 414 œ œ œ œ 2 ∑ Ó ‰ œ ˙ ‰ œ œ œ ˙ ‰ S 1 O schö-ne Zier, ach, eil zu mir, o schö-ne 14 œ œ œ œ œ ˙ & ‰ œ ˙ ‰ œ œ œ ˙ ‰ ∑ S 1 œ o schö- ne Zier, ach, eil zu mir, ach, eilœ zu˙ mir, & ‰ œ œ ˙ ‰ œ œ œ ‰ œ œ ∑ o schö- ne Zier, ach, eil zu mir,˙ ach, eil zu mir, S 2 œ œ & #˙ ‰ nœ ‰ œ œ #œ œ œ ˙ ∑ Zier, ach, eilœ œzu #mir,˙ ach, eil zu mir, ach, eil zu mir, S 2 œ œ & #˙ ‰ nœ ‰ œ œ #œ œ œ ˙ ∑ Zier, ach, eilœ œzu mir, ach, eil zu mir, ach, eil zu mir, A #˙ & ∑ ‰ œ ∑ O schöœ -neœ Zier,œ ach,œ eilœ zuœ mir,w A ∑ ‰ ∑ & œ œ w T O schö -neœ Zier,œ ach,œ eilœ zuœ mir, V ‰ œ œ œ ˙ ∑ ∑ ach, eil zu mir, T V ‰ œ œ œ ˙ ∑ ∑ B ?ach, eil zu mir, œ œ œ œ œ œ ˙ ‰ œ œ œ ˙ ‰ œ ˙ ∑ Zier, ach, eil zu mir, ach, eil zu mir, ach, eil zu mir, B ? œ œ œ œ œ œ ˙ ‰ œ œ œ ˙ ‰ œ ˙ ∑ Zier, ach, eil zu mir, ach, eil zu mir, ach, eil zu mir, Score 76

Musical Example 4.49. Schein, Cupido blind, das Venuskind, mm. 15-17

T 4 œ œ œ œ V 2 Ó ˙ œ œ œ#œ#œ œ œ œ w w ∑ dein küh - lend Was - ser führ

In the B section of Cupido blind, Schein expands the use of pathopoeia found in the opening. The first sixteen measures contain four examples of half- and whole-step dissonances approached by half step (Musical Example 4.50). The A to B-flat motion from the first measure of the piece occurs again in m. 32. These dissonances, combined with the frequency of sharps, demonstrate Schein’s equation of pain with desire.

Musical ExampleWords by4.50 . Schein, Cupido blind, das Venuskind, mm. 19-34 Music by

Soprano 1 3 & 2 . ˙ ˙ ˙ w ˙ w ˙ #w Ó ∑ ∑ ∑ ∑ Denn du, o Fil - li zart al - lein

Soprano 2 3 & 2 . ˙ ˙ ˙ Ó w Ó Denn du, o Filw - ˙li zartw ˙al - leinw durch˙ dei˙ -ne˙ ro - ˙te Lipw - pe˙ - leinw

Alto 3 . Ó Ó & 2 ˙ ˙ ˙ w ˙ #˙ ˙ ˙ w ˙ #w Denn du, o Fil -#˙li zartw al - leinw durch dei -ne ro - te Lipw - pe˙ - lein Tenor 3 V 2 . w w ˙ Ó ˙ ˙ ˙ w ˙ w #˙ w Ó Denn˙ du,˙ ˙o Fil - ˙li zart al - leinw durch dei -ne ro - te Lip - pe - lein

Bass ? 3 w ˙ 2 . ∑ ∑ ∑ ∑ ˙ ˙ ˙ w ˙ w Ó durch dei -ne ro - te Lip - pe˙ - lein 27 S 1 ˙ ˙ ˙ w ˙ w ˙ 2 & #w Ó ∑ ∑ ∑ 2 ∑ mit ei - nem feuch - ten Küs - se - lein

S 2 ˙ 2 & #˙ ˙ ˙ w w ˙ w Ó ˙ ˙ ˙ bw ˙ w ˙ 2 w mit ei - nem feuch - ten Küs - se - lein kannst lö-schen mei - ne Flamm und Pein,

A 2 & ˙ ˙ ˙ w ˙ Ó #˙ ˙ ˙ w ˙ 2 #w mit ei - nem feuch -#ten˙ Küsw - se - leinw kannst lö-schen mei - ne Flammw und˙ Pein,

T V ˙ ˙ ˙ w ˙ bw ˙ w Ó ˙ ˙ ˙ w ˙ w #˙ 2 œ Œ Ó mit ei - nem feuch - ten Küs - se - lein kannst lö-schen mei - ne Flamm und Pein,

B ? w w 2 ∑ ∑ ∑ ∑ ˙ ˙ ˙ ˙ ˙ 2 ˙ Ó kannst lö-schen mei - ne Flamm und Pein, Words by Music by

Soprano 1 3 & 2 . ˙ ˙ ˙ w ˙ w ˙ #w Ó ∑ ∑ ∑ ∑ Denn du, o Fil - li zart al - lein

Soprano 2 3 & 2 . ˙ ˙ ˙ Ó w Ó Denn du, o Filw - ˙li zartw ˙al - leinw durch˙ dei˙ -ne˙ ro - ˙te Lipw - pe˙ - leinw

Alto 3 & 2 . Ó Ó ˙ ˙ ˙ w ˙ #˙ ˙ ˙ w ˙ #w Denn du, o Fil -#˙li zartw al - leinw durch dei -ne ro - te Lipw - pe˙ - lein Tenor 3 V 2 . w w ˙ Ó ˙ ˙ ˙ w ˙ w #˙ w Ó Denn˙ du,˙ ˙o Fil - ˙li zart al - leinw durch dei -ne ro - te Lip - pe - lein 77 Bass ? 3 w ˙ 2 . ∑ ∑ ∑ ∑ ˙ ˙ ˙ w ˙ w Ó durch dei -ne ro - te Lip - pe˙ - lein 27 S 1 ˙ ˙ ˙ w ˙ w ˙ 2 & #w Ó ∑ ∑ ∑ 2 ∑ mit ei - nem feuch - ten Küs - se - lein

S 2 ˙ 2 & #˙ ˙ ˙ w w ˙ w Ó ˙ ˙ ˙ bw ˙ w ˙ 2 w mit ei - nem feuch - ten Küs - se - lein kannst lö-schen mei - ne Flamm und Pein,

A 2 & ˙ ˙ ˙ w ˙ Ó #˙ ˙ ˙ w ˙ 2 #w mit ei - nem feuch -#ten˙ Küsw - se - leinw kannst lö-schen mei - ne Flammw und˙ Pein,

T w ˙ ˙ ˙ w ˙ w 2 œ V ˙ ˙ ˙ ˙ bw ˙ w Ó #˙ 2 Œ Ó mit ei - nem feuch - ten Küs - se - lein kannst lö-schen mei - ne Flamm und Pein,

B ? w w 2 ∑ ∑ ∑ ∑ ˙ ˙ ˙ ˙ ˙ 2 ˙ Ó kannst lö-schen mei - ne Flamm und Pein,

The remainder of the B section features the same text set in an imitative, rather than

homophonic, texture. The excessive repetition of text and faster melodic and harmonic rhythms

in a hocket-like style demonstrate the rising passion between Phyllis and Corydon. Staggered

entrances of “denn du” repeated over six measures emphasize Corydon’s dedication to Phyllis

(Musical Example 4.51). The ascending melodic line accompanying “durch deine rote

Lippelein” is repeated in auxesis in imitation (Musical Example 4.52). Lastly, melismas on both

“Küsselein” and “Flamm” set in points of imitation solidify the association of pain and pleasure

in Schein’s text setting (Musical Examples 4.53 and 4.54).

MusicalWords Example by 4.51. Schein, Cupido blind, das Venuskind, mm. 36-38Music by Arranged by

Soprano 1 4 & 2 Œ Œ #œ ˙ Œ #œ ˙. nœ Ó denn du, denn du, o zart˙ ˙al - lein,˙

Soprano 2 4 ˙ ˙ & 2 œ Œ #œ Œ œ nœ œ #œ ˙ œ ˙ Ó denn du, denn du, o Fil - li zart al - lein,

Alto 4 & 2 œ #˙ Œ œ #˙ Œ œ Ó denn du, denn du, œo Fil - œli zart˙ ˙al - #lein,˙

Tenor j V 24 Œ Œ ˙ Œ œ ‰ œ ˙ Ó dennœ du dennœ du, o Filœ - œli zart˙ ˙al - lein,

Musical Example 4.52. Schein, Cupido blind, das Venuskind, mm. 42-43

S1 4 ‰ œ œ ˙ œ œ œ œ ˙ œ œ œ. œ w Score & 2 œ J durch dei - ne ro - te, durch dei - ne ro - te Lip - pe-lein,

Musical Example 4.53. Schein, Cupido blind, das Venuskind, mm. 45-46

? 4 œ œ œ œ œ œ ˙. œ œ 2 ‰ œ œ œ #˙ Ó ∑ Score mit ei - nem feuch - ten Küs - se - lein

Musical Example 4.54. Schein, Cupido blind, das Venuskind, mm. 47-49

S1 œ œ œœ & 42 ∑ ‰ #œ œ œ œ œ. œ œ. œ#œ. œ œ. œ œ ˙ œ œ œ œ œœœ ∑ kannst lö-schen mei-ne Flamm und Pein, mei-ne Flamm,

Wie kömmt’s, o zarte Filli mein

Formal/ Measures Text Translation Rhetorical Structure A 1-10 Wie kömmt’s, o zarte Filli How come, o my tender Tirsi’s mein, daß ich so ungeheur Phyllis, I am so upset, and Lament stets fühl ein neues Feur so feel an always-burning oft mir gibst ein Blicklein? fire as often as you gaze at me? B 10-20 Ach Tirsi mein, das kömmt O my Tirsi, Love has Phyllis’s daher, daß in meine lodged itself in my eyes, Response Äugelein, sich Amor logieret and that is why I burn so ein, davon ich selber brinn brightly. so sehr. C (Repeat) 20-64 O allersüßte Feuerflamm, O all-sweet flames, Duet welche mit einem Fünkelein which with a small flicker entzünden kann zwei can ignite two hearts in Herzelein in gleicher Lieb love together. zusamm.

Table 4.10. Analysis of Wie kömmt’s, o zarte Filli mein

In Wie kömmt’s, o zarte Filli mein, Schein uses narrative dialogue between the lovers

Tirsi and Phyllis to create the madrigal’s formal structure (Table 4.10). The A Section describes

Tirsi’s suffering as a result of his love for Phyllis. Schein uses auxesis on the text “daß ich so ungeheur stets fühl ein neues Feur”; the rising melodic sequence of the alto and tenor voices depicts the increasing flames of Tirsi’s desire (Musical Example 4.55).

MusicalWords Example by 4.55. Schein, Wie kömmt’s, o zarte Filli mein, mm. 5-6 Music by Arranged by

Alto 4 & 2 ‰ ‰ œ œ œ ‰ œ œ ‰ œ œ œ daßœ ichœ soœ unœ -geœ -heur,œ daß ich so unœ -geœ -heurœ stets fühl einœ neuœ -esœ œFeur, stets fühl ein neuœ -esœ Feur,œ

Tenor 4 œ œ œ œ œ œ œ œ V 2 ‰ œ œ œ œ œ œ ‰ #œ œ œ ‰ œ œ œ œ ‰ #œ œ œ daß ich so un-ge-heur, daś ich so un-ge-heur, stets fühl ein neu-es Feur, stets fühl ein neu-es Feur,

Tasso’s Aminta, which features the character Tirsi and which influenced Schein’s pastoral writing, changes poetic style partway through as a result of Love’s interference.95 Schein changes the texture from lower to higher voices to show Phyllis’s response to Tirsi (Musical

Example 4.56). The unexpected change of mode and frequent use of G-sharps venture further away from the natural mode of Tirsi’s lament, depicting the extent of Phyllis’s suffering.

MusicalWords Example by 4.56. Schein, Wie kömmt’s, o zarte Filli mein, mm. 9-12 Music by Arranged by

Soprano 1 ˙ & 24 ∑ ∑ Ó ˙. œ ˙ Œ œ œ œ ˙ Ó Ó Ach Tir - si mein, das kömmt da - her,

Soprano 2 4 & 2 ∑ ∑ Ó ˙ #˙. œ ˙ Œ œ œ œ #˙ Ó Ó Ach Tir - si mein, das kömmt da - her,

Alto 4 ‰ Ó Œ Ó Ó & 2 œ œ œ œ œ œ ˙. œ ˙ œ œ ˙ so oft mir gibst ein Bli˙.- ckeœ - lein?w Ach˙ Tir - si mein, das kömmt daœ - her,

Tenor 4 œ œ V 2 œ œ œœœ˙ œ w ∑ ∑ ∑ gibst,œ so oft mir gibst ein Bli - cke - lein?

Bass ? 4 ˙. 2 ˙ ˙ œ w ∑ ∑ ∑ gibst ein Bli - cke - lein?

In the final section of this madrigal, the characters Phyllis and Tirsi unite and combine in one narrative voice. Schein uses repetitive devices such as mimesis and imitation to add heightened harmonic tension and show the effects of love.96 The text describes the “altogether sweet flames” of desire experienced by Phyllis and Tirsi. Like the exchanges in the A and B sections, this section features an increased number of sharps on each text repetition to hexachordally depict the pain of love (Musical Example 4.57). These phrases move from G major to A major to D major, and finally to E major. ©

95 Geekie, "'Cangiar La Lira in Tromba'," 265.

96 Bartel, Musica Poetica, 224-331. 81

Musical Example 4.57. Schein, Wie kömmt’s, o zarte Filli mein, mm. 20-35

In contrast to the flames of love, the ecstasy of two hearts becoming one is depicted in mm. 53-64. The meter changes from triple to duple, and the passage features a descending melodic line imitated in all voices (Musical Example 4.58). This motive, when set in imitation, creates a series of syncopatio suspensions (see marked suspensions in Musical Example 4.59). 82

Unlike in the previous section, this motive is devoid of almost all sharps, returning to the natural

mode of the beginning. The melodic lines increase in diminution and overlap before approaching

the final cadence, with the voices entwining to depict Phyllis’s and Tirsi’s devotion to each

Scoreother.

Musical Example 4.58. Schein, Wie kömmt’s, o zarte Filli mein, mm. 54-55

V 42 Ó ˙ ˙. œ ˙ ˙ œ Œ Ó in glei - cher Lieb zu - samm, Words by Musical Example 4.59. Schein, Wie kömmt’s, o zarte Filli mein, mm. 53-64 Music by Arranged by

Soprano 1 2 ˙ œ 4 ˙ œ ˙ & 2 Œ 2 . œ œ œ ˙ ˙ #˙ w ∑ ‰ œ œ œ ˙ Ó Ó lein, in glei - cher Lieb zu - samm, inœ glei-cher Lieb zu - samm. in

Soprano 2 2 4 j œ ˙. œ & 2 w 2 Œ œ œ. œ . j Œ œ œ œ w #˙ ˙ Œ ˙. œ lein, in glei - cher Lieb,œ inœ gleiœ - cherœ Lieb,˙ in glei - cher Lieb zu - samm, in glei - cher

Alto 2 4 & 2 Œ 2 . . Œ œ lein,˙ inœ glei˙ - cherœ wLieb ˙ zu˙ - samm,˙ in˙ glei˙ - cherœ Lieb˙ zu˙ - samm,˙ in glei˙ - cher˙

Tenor 2 4 j V 2 w 2 Ó ˙ ˙. œ ˙ ˙ œ œ œ. œ ˙ ˙ œ j ˙ ˙ lein, in glei - cher Lieb zu - samm, in glei - ˙ cher˙ Lieb zu - samm.œ in gleiœ. - cherœ Lieb zu -

Bass ? 2 4 2 w 2 ∑ ∑ Ó ˙. œ ˙ ˙ Ó ∑ lein, in˙ glei - cher Lieb zu - samm,˙

˙ & 2 w 24 ˙ œ œ œ œ ˙ ˙ w œ œ ˙ ˙ ˙ œ œ ˙ ˙ w ˙ œ œ ˙ œ. œ ˙ #˙ w˙ ˙ œ œ ˙ #˙ ˙ œ œ ˙ Continuo J . œ ˙ ˙ ˙ ˙. œ ˙ ˙ ˙ ? 2 w 4 ˙. œ. œ ˙ ˙ 2 2 ˙ œ ˙ ˙ ˙ J

6 S 1 ˙. œ œ & œ ˙ ˙ ˙ ˙ ˙ ˙. œ ˙ ˙ w Œ œ œ. œ glei - cher Lieb zu - samm. in glei - cher Lieb zu - samm. in glei - cherJ

S 2 ˙ ˙ ˙. œ œ œ w ˙ œ & ˙ ˙. œ ˙ ˙ Œ . œ œ œ Lieb, in glei - cher Lieb, in glei - cher Lieb zu - samm, inœ glei - cherJ Lieb, in

A ∑ ‰ ∑ & ˙. œ œ œ w Lieb,˙ in˙ glei - cher Lieb˙ zu˙ - samm,w inœ gleiœ -cher Lieb zuœ - samm,

T V ∑ ∑ Œ œ. œ ˙ ‰ œ œ œ ˙ ˙ œ œ œ. œ ˙ Œ œ samm.w inœ glei - cherJ Lieb, in glei-cher Lieb zu - samm. in glei - cherJ Lieb, in

B ? ∑ ∑ Ó ˙ ˙. œ ˙ ˙ ˙ ˙ in glei - cher Lieb zu - samm, in gleiw -

. ˙ ˙ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w & ˙ ˙ ˙. œ ˙ ˙ ˙. ˙ œ œ˙. œ ˙ ˙ ˙ ˙ w Cont. œ ˙ ˙ ˙ ˙. œ ˙ ˙ ˙ ? ˙. œ ˙ ˙ ˙ ˙ ˙ ˙ w © Words by Music by Arranged by

Soprano 1 2 ˙ œ 4 ˙ œ ˙ & 2 Œ 2 . œ œ œ ˙ ˙ #˙ w ∑ ‰ œ œ œ ˙ Ó Ó lein, in glei - cher Lieb zu - samm, inœ glei-cher Lieb zu - samm. in

Soprano 2 2 4 j œ ˙. œ & 2 w 2 Œ œ œ. œ . j Œ œ œ œ w #˙ ˙ Œ ˙. œ lein, in glei - cher Lieb,œ inœ gleiœ - cherœ Lieb,˙ in glei - cher Lieb zu - samm, in glei - cher

Alto 2 4 & 2 Œ 2 . . Œ œ lein,˙ inœ glei˙ - cherœ wLieb ˙ zu˙ - samm,˙ in˙ glei˙ - cherœ Lieb˙ zu˙ - samm,˙ in glei˙ - cher˙

Tenor 2 4 ˙ j j V 2 w 2 Ó ˙ . œ ˙ ˙ œ œ œ. œ ˙ ˙ œ ˙ ˙ lein, in glei - cher Lieb zu - samm, in glei - ˙ cher˙ Lieb zu - samm.œ in gleiœ. - cherœ Lieb zu -

Bass ? 2 4 2 w 2 ∑ ∑ Ó ˙. œ ˙ ˙ Ó ∑ lein, in˙ glei - cher Lieb zu - samm,˙

˙ & 2 w 24 ˙ œ œ œ œ ˙ ˙ w œ œ ˙ ˙ ˙ œ œ ˙ ˙ w ˙ œ œ ˙ œ. œ ˙ #˙ w˙ ˙ œ œ ˙ #˙ ˙ œ œ ˙ Continuo J . œ ˙ 83 ˙ ˙. œ ? 2 4 ˙ ˙ ˙ ˙ . œ ˙ ˙ 2 w 2 ˙ ˙. œ ˙ ˙ ˙ œ J

58 S 1 ˙. œ œ œ ˙ ˙ ˙ œ & ˙ ˙ ˙. œ ˙ ˙ w Œ œ . œ glei - cher Lieb zu - samm. in glei - cher Lieb zu - samm. in glei - cherJ

S 2 ˙ ˙ ˙. œ œ œ w ˙ œ & ˙ ˙. œ ˙ ˙ Œ . œ œ œ Lieb, in glei - cher Lieb, in glei - cher Lieb zu - samm, inœ glei - cherJ Lieb, in

A ∑ ‰ ∑ & ˙. œ œ œ w Lieb,˙ in˙ glei - cher Lieb˙ zu˙ - samm,w inœ gleiœ -cher Lieb zuœ - samm,

T V ∑ ∑ Œ œ. œ ˙ ‰ œ œ œ ˙ ˙ œ œ œ. œ ˙ Œ œ samm.w inœ glei - cherJ Lieb, in glei-cher Lieb zu - samm. in glei - cherJ Lieb, in

B ? ∑ ∑ Ó ˙ ˙. œ ˙ ˙ ˙ ˙ in glei - cher Lieb zu - samm, in gleiw -

˙. ˙ ˙ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w & ˙ ˙ ˙. œ ˙ ˙ ˙. ˙ œ œ˙. œ ˙ ˙ ˙ ˙ w Cont. œ ˙ ˙ ˙ ˙. œ ˙ ˙ ˙ ? ˙. œ ˙ ˙ ˙ ˙ ˙ ˙ w © 2

62 1. 2. S 1 . & œ œ œ œ ˙ ˙ 2 ˙ ˙ w . w Lieb, in glei - cherJ Lieb zu - samm. samm.

S 2 2 & œ. œ œ œ œ œ ˙ 2 ˙ ˙ w . w glei - cherJ Lieb zu - samm, inœ gleiœ - cher Lieb zu - samm. samm.

A 2 . & Œ w ˙ 2 w . w inœ glei - - - cher Lieb˙ zu˙ - samm. samm.

T ˙. œ ˙ 2 ˙ V ‰ œ œ œ 2 ˙ w . w glei - cher Lieb, in glei - cher Lieb zu - samm. samm.

B ? 2 w . w - ˙ - cher˙ L:iebw zuw - samm. samm.

˙ ˙ ˙ ˙ 2 ˙ ˙ w . w & ˙ ˙ ˙˙ ˙ 2 ˙ ˙ w . w Cont.

? 2 w . w ˙ ˙ w w

Aurora schön mit ihrem Haar

Formal/ Measures Text Translation Rhetorical Structure A 1-14 Aurora schön mit ihrem Beautiful Aurora, with her Light Haar den Morgen gleich hair equal to the morning vergüldet gar, drauf Febo gild, on it Phebus [Apollo] mit seim hellen Glanz with his bright shine den Tag illuminieret ganz. illuminates all the day.

B (Repeat) 14-36 Gott Eolo gesperrt hat ein The god Aeolus has stirred Wind and zu Abend spat die Winde the winds to the late Water sein. Netuno tut zufrieden evening. stelln Im Meer die starken Neptune does stir the sea Wasserwelln. with strong waves. C (Repeat) 36-44 Nun halt Diana gute wacht Now Diana keeps watch Diana’s Watch 45-80 mit ihrer Schar die ganze with her company all Wedding Night Nacht. Weil Coridon der night. Because Corydon, edle Hirt sein Filli zart zu the noble shepherd, leads Bette führt. his dear Phyllis to bed.

Table 4.11. Analysis of Aurora schön mit ihrem Haar

Aurora schön mit ihrem Haar contains the greatest variety of mythological figures of the

Diletti pastorali madrigals, and uses their actions as structural points (Table 4.11). In the A section, Schein references the Greco-Roman gods of light: Aurora and Apollo/Phoebus. Schein’s madrigal parallels Guarini’s Il pastor fido in its awakening of Aurora as the beginning of the drama.97 Aurora, whose rays of golden hair bring the dawn, announces the beginning of the madrigal and the later arrival of Apollo. For this, Schein employs clear homophonic text setting

(Musical Example 4.60). Apollo’s illumination of the morning demonstrates his mythological role as a bringer of light and patron of shepherds and music. While Aurora’s section is

97 Giovanni Battista Guarini, The Faithful Shepherd a Dramatic Pastoral, Translated into English from the Pastor Fido of the Cav. Guarini. Attempted in the Manner of the Original (London: G. Robinson, G. Mitchell, and M. Davis, 1782), 2, 7, retrieved from Gale, 11 April 2020. 85 declamatory, Apollo’s portion features weaving melismas with chromatic alterations in a clear example of hypotyposis (Musical Example 4.61). The complexity of counterpoint highlights

Apollo’s facility with music, and depicts morning light permeating the texture.

Musical ExampleWords by 4 .60. Schein, Aurora schön mit ihrem Haar, mm. 1-8 Music by Arranged by

Soprano 1 3 ˙. œ œ bœ ˙ œ & b 4 œ œ œ ˙ œ ˙ œ œ ˙ ˙. Au - ro - ra schön mit ih - rem Haar den Mor-gen gleich ver - gül - det gar,

Soprano 2 3 & b 4 #œ œ œ ˙ œ ˙ œ #˙ œ œ œ ˙ œ ˙ nœ ˙. Au - ror - ra schön mit ih - rem Haar. den Mor-gen gleich ver - gül - det gar,

Alto 3 & b 4 ˙ œ œ œ ˙ œ ˙ œ ˙. Auœ - roœ - raœ schön˙ mitœ ih - remœ Haar˙. den Mor-gen gleich ver - gül - det gar,

Tenor . V b 43 œ œ œ ˙ œ ˙ œ ˙ œ œ œ ˙ œ ˙ œ ˙. Au - ro - ra schön mit ih - rem Haar den Mor-gen gleich ver - gül - det gar,

Bass ˙ œ ˙ ? b 43 œ œ œ ˙ bœ ˙. œ œ œ ˙ œ ˙. Au - ro - ra schön mit ih - rem Haar den Mor-gen gleich ver - gül - detœ gar,

Musical ExampleWords by 4 .61. Schein, Aurora schön mit ihrem Haar, mm. 10-14 Music by Arranged by

Soprano 1 4 œ œ œ ˙. œ œ œ œ œ œ œ œ œ. œ & b 2 ˙ ‰ #œ œ nœ œ œ J Glanz den Tag il - lu - mi - nie - - - ret

Soprano 2 4 ˙ & b 2 œ œ œ œ œ œ œ œ œ œ œ œ ˙. nœ #œ œ Glanz den Tag il - lu œ -œ - - mi - nie - - - ret

Alto 4 & b 2 ‰ œ œ œ œ œ œ œ ˙. œ Glanzw den Tag il - lu - miœ - nieœ#œ œ- œ œ - - ret

Bass ? 4 œ œ b 2 œ w ˙ w ˙ Glanzœ den Tag il - lu - mi - nie . - - - ret 3 S 1 ˙ œ œ œ œ ˙. œœ & b Ó ‰ œ œ œ#œœœœ œ œ nw ganz, den Tag il - lu-mi - nie - - - ret ganz.

S 2 ˙ œ j & b ‰ œ œ œ ˙. œ #œ œœnœ œ œ œœ œœ. œ w ganz, den Tag il-lu - mi - nie œœ- - - ret ganz.

A b & #œ œ œbœ ˙ œ œ œ#œ ˙ œ w ganz, den Tagœ œil-luœ œ œ œ œ -œ œ miœ - nie - œ - - ret ganz. T j œ j œ œ w V b œ ‰ Œ Œ œ œ œ.œ œ ‰ œ œ œ œ œ ganz, den Tag il - lu - mi - nie - œret, den Tag il - lu - mi - nie-ret ganz.

Soprano 1 œ 4 œ œ œ ˙. œ #œ œ œ œ œ œ œ œ œ œ. œ & b 2 ˙ ‰ œ nœ J Glanz den Tag il - lu - mi - nie - - - ret

Soprano 2 4 ˙ & b 2 œ œ œ œ œ œ œ œ œ œ œ œ ˙. nœ #œ œ Glanz den Tag il - lu œ -œ - - mi - nie - - - ret

Alto 4 & b 2 ‰ œ œ œ œ œ œ œ ˙. œ Glanzw den Tag il - lu - miœ - nieœ#œ œ- œ œ - - ret

Tenor 4 œ j V b 2 ˙ Œ œ œ. j œ. œ ˙. œ œ Glanz den Tag œil - lu - miœ - nie - - œ œ- ret 86 Bass ? 4 œ œ b 2 œ w ˙ w ˙ Glanzœ den Tag il - lu - mi - nie . - - - ret 3 S 1 ˙ œ œ œ œ ˙. œœ & b Ó ‰ œ œ œ#œœœœ œ œ nw ganz, den Tag il - lu-mi - nie - - - ret ganz.

S 2 ˙ œ j & b ‰ œ œ œ ˙. œ #œ œœnœ œ œ œœ œœ. œ w ganz, den Tag il-lu - mi - nie œœ- - - ret ganz.

The B section of the madrigal references the gods of the wind and the sea, Aeolus and

Neptune. Though not present in Il pastor fido, these characters in Aurora schön describe the

scene in detail, building suspense to the arrival of Phyllis and Corydon. The section features a

great deal of word painting as the gods calm the elements for Phyllis and Corydon’s wedding

night. Schein paints Aeolus calming the winds with rapid melismatic passages ending on a

unison pitch (Musical Example 4.62). In an extended example of hypotyposis, Schein writes a

rising melodic line from m. 23 to m. 31, creating the image of a wave which “crashes” in m. 29

from the high voices into the lower voices, which have a flowing melodic line (Musical Example

4.63).

Musical Example 4.62. Schein, Aurora schön mit ihrem Haar, mm. 17-19 Music by

Alto b 4 ‰ ∑ & 2 œ œ œbœ œ œ œ œ j œbœœœ œ œnœœœœœœ œ w Winœ œ œ œ- œ œ œ œ- œ œ œ œ - œ œ œ œ- œ - œ de sein,œ dieœ Winœ œ œ - œ -œ - de sein,

Tenor b 4 œ œ œ ˙ nœ œ ‰ j œ œœœ œ œ œ˙ #œ w ∑ V 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Win - - - - - de sein, die Win - - - de sein.

Musical ExampleWords by 4.63. Schein, Aurora schön mit ihrem Haar, mm. 23-31 Music by Arranged by

Soprano 1 4 & b 2 ∑ ∑ ∑ ∑ œ ˙ œ Net - tu-no

Soprano 2 4 & b 2 ∑ ∑ Netœ - tu˙-noœ tut˙ zu˙ - frie˙ -den˙ stelln,œ Netœ -tu˙-noœ

Alto 4 & b 2 ∑ œ nœ ˙ ˙ n˙ œ œ ˙ œ sein,Netœ -tu˙-noœ tut˙ zu˙ - frie˙. - denœ stelln,œ Netœ -tu˙-noœ tutœ zu-frie - den stelln, Net-tu-no Tenor 4 V b 2 ∑ w œ œ ˙ œ ˙ ˙ ˙ Netœ - tu˙-noœ tutœ zuœ -frie - den˙ stelln, Ne-tu-no tut zu˙ - frie-den stelln,w

Bass ? 4 b 2 ∑ œ ˙ œ ˙ ˙ ˙ ˙ ∑ ∑ Net - tu-no tut zu - frie - den stelln,w 27 S 1 œ ˙ œ ˙ ˙ ˙. œ #˙ & b ˙ ˙ ˙. œ nœ Ó tut zu - frie - den stelln, Net- tu - no tut zu - frie - den stelln

S 2 œ ˙ ˙ #˙ w & b #œ w ˙ œ nœ ˙ œ œ tutœ zu - frie - den stelln, Net- tu - no tut zu - frie - den stelln

A & b œ ˙ œ ˙ ˙ ˙ Œ ˙ ˙ ˙ ˙ ˙ œ tut nzu˙ - frie - den stelln,œ Net- tu - no tut zu - frie - den stelln im T œ ˙ œ ˙ ˙ V b ∑ ˙ ˙ ˙ Œ œ Net - tu - no tut zu - frie - den stelln im

S 1 & b ∑ ∑

S 2 & b ∑ ∑

A b Œ Ó & bœ œ j Meer die starœ - kenœ Wasœ œ œ -œ œ œ œ -œ œ œ -œ œ serœ. - œ welln,œ

T V b œ œ œ #œ œ œ œ œ œ #œ ˙ œ œ Œ Ó Meer die bstarœ - ken Wasnœ - - œ - - ser - welln,

B ? b ˙ ˙ w ˙ ˙ Œ Ó star - ken Was - - - ser - welln,œ

Diana, the last and most important deity mentioned, takes on a significant role as the protector of Phyllis and Corydon on their wedding night. Diana, known as the goddess of virginity, is seen as a guardian of propriety in pastoral dramas, even as characters are swayed by the intervention of Cupid.98 Her blessing of the couple rather than protest against it is seen as a sign of good fortune, allowing Phyllis and Corydon to make their appearance. The texture and meter changes to announce their arrival, matching the style of the madrigal’s beginning (Musical

Example 4.64).

Musical ExampleWords by 4.64. Schein, Aurora schön mit ihrem Haar, mm. 23-31Music by Arranged by

Soprano 1 & b 43 ∑ ∑ ∑ ∑ œ œ œ ˙ œ ˙ œ 2 ˙ Ó Weil Co- ri - don, der ed - le Hirt,

Soprano 2 3 2 & b 4 ∑ ∑ ∑ ∑ œ œ œ ˙ œ ˙ œ 2 #œ œœ˙ Weil Co- ri - don, der ed - le Hirt,œ

Alto 3 2 & b 4 œ œ œ ˙ b˙ 2 Ó Weilœ Coœ -œri - don,˙ derœ ed˙ - œle Hirt,˙. weil Co- ri - don derœ ed - œle Hirt,˙

Tenor 3 2 V b 4 œ œ œ ˙ œ ˙ œ #˙ ∑ ∑ ∑ 2 ∑ Weil Co- ri - don, der ed - le Hirt,.

Bass œ œ œ ? b 43 ˙ œ b˙ œ ˙. ∑ ∑ ∑ 2 ∑ Weil Co- ri - don, der ed - le Hirt,

In Aurora schön mit ihrem Haar, Schein uses an ascending chromatic scale in long notes to depict the rising passion between Phyllis and Corydon (Musical Example 4.65). This scale set against imitative polyphony results in a jarring harmonic succession, with third-relations and dominant movement reminiscent of Monteverdi, Gesualdo, and other mannerist madrigal composers (Musical Example 4.66). 99 The last nine measures combine the declamatory text setting with the chromatic scale in diminution (Musical Example 4.67) ©

98 Gerbino, Music and the Myth of Arcadia in Renaissance Italy, 132-133.

99 Schulte, “Music and Language,” 51-52. Score 89

Musical Example 4.65. Schein, Aurora schön, mm. 58-60

V b 42 Ó ˙ ˙ n˙ ˙ #˙ w ˙ Ó ∑ sein Fil - li zart zu Bet - te,

Musical Example 4.66. Schein, Aurora schön, mm. 52-61

Soprano 1 2 4 ˙ #˙ & b 2 ˙ Œ 2 œ œ ˙. œ ˙ ∑ Ó ˙ ˙ n˙ Hirt, seinœ Fil-œli zartœ zu Bet - te führt, sein Fil - li zart zu

Soprano 2 2 4 & b 2 #œ œ œ˙ 2 Ó ˙ #˙ ˙. œ œ w ˙ Hirt,œ sein˙ bFil˙ - n˙li zart zu Bet - te führt, seinœ Fil - li,

Alto b 2 Œ 4 Œ Œ & 2 ˙ 2 œ bœ œ ˙ œ b˙ n˙ Hirt, seinœ Fil˙ - n˙li zart˙ #zu˙ Bet-œte führt,˙ zuœ Bet - te führt, sein Fil - li Tenor 2 œ 4 ˙. œ œ œ V b 2 Œ œ œ œ œ 2 œ ˙ Ó Œ œ œ œ œ œ œ œ œ œ ˙ Œ œ œ œ œ œ œ sein Fil-li zart zu Bet - te führt, sein Fil-li zart, sein Fil-li zart zu Bet - te führt, sein Fil-li zart zu Bet - te

Bass ? 2 œ œ 4 œ œbœ b 2 Œ œ œ œ 2 œ œ œ œ œ œ œ œ ˙. œ œ œ œ ∑ sein Fil-li zart zu Bet - te führt,œ seinœ Fil-li zart zu Bet-te führt, sein Fil-li zart zu Bet - te führt,w

b 2 œ œ ˙ 4 ˙ œ œ ˙ ˙ ˙ nœ œ ˙ #˙ & 2 # œ œ nœ˙ 2 œœ œœ œ ˙ b˙ n˙ œ œ #œ˙ œ ˙ b œ œ ˙ œ œ b˙ n ˙ Continuo œ œ œ œ n˙ ˙ # ˙ œ œ ˙ œ ˙ ˙ ? 2 œ œ œ œ 4 ˙. œ ˙ œ œ b 2 œ 2 œ œ ˙ ˙ ˙ œ ˙.

56 S 1 œ bœ œ w & b œ ˙ Œ œ ‰ œ œ œ œ œ œ œ w ∑ Bet - te führt, zu Bet - te führt, sein Fil - li zart zu Bet -te führt,

S 2 œ œ œ œ œ. j & b Œ œ œ œ œ œ œ œ œ œ n˙ Ó ∑ ‰ œ œ œ œ œ œ œ œ œ œ sein Fil- li zart, sein Fil- li zart zu Bet - te führt, sein Fil - li zart, sein Fil - li zart, sein Fil - li zart zu

A b Ó & ˙ #˙ ˙. œ œ œ œ œ bœ zart zu Bet - te führt, sein Fil - li zart zuœ Bet˙ - œ œte führt,˙ sein˙

T V b w Œ œ œ œ œ œ œ œ œ œ œ ˙ Ó ˙ ˙ n˙ führt, zu Bet - te führt, seinœ Fil - li zart zu Bet - te führt, sein Fil - li

B ? œ œ ˙ #˙ ˙ œ b Ó Œ œ bœ œ œ œ Œ œ b˙ n˙ sein Fil- li art zu Bet - te führt,˙ sein Fil - li zart zu Bet - te, seinœ

b œ œ œ œ œ œ ˙ œ œ n˙ bœ œ ˙ ˙ ˙ ˙ nœ œ & ˙ #œ œ ˙ bœ œ ˙ œ œ b˙ ˙ ˙ ˙ ˙ œ œ Cont. ˙ ˙ ˙ ˙. ? œ ˙ œ ˙ b˙ n˙ ˙ #˙ ˙ œ b œ ˙ œ 90

S 1 & b Ó Œ œ œ œ ˙ ‰ œ œ œ ˙. œ œ œ 2 nw zu Bet - te führt, sein Fil - li zart, zu Bet - te führt;

S 2 œ œ 2 & b œ œ ˙ Œ œ œ œ œ œ œ œ #œ ˙ œ 2 w Bet - te führt, sein Fil - li zart, sein Fil - li zart zu Bet - te führt;

A 2 & b ˙ #˙ ˙ 2 bFil˙ - n˙li zart zu Bet - bœte, zuœ Bet˙ - ˙te führt;w

T w ˙ 2 V b ˙ #˙ Œ œ œ œ œ œ œ œ 2 w zart zu Bet - - - te, sein Fil - li zart zu Bet - te führt;

B ? œ œ bœ œ 2 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ 2 Fil - li zart zu Bet - te, sein Fil - li zart zu Bet - te, sein Fil - li zart, sein Fil - li zart zu Bet - te führt;w

b ˙ #˙ œ˙ œ ˙œ nœ œ œ ˙ ˙ œ œ ˙ 2 nw & b˙ n ˙ œ œ #˙ ˙ b˙ #œ œ ˙œ œ 2 w Cont.

? ˙ 2 b ˙ ˙ œ œ œ œ ˙ ˙ w 2 w

Musical Example 4.67. Schein, Aurora schön, mm. 72-80 Music by

Soprano 1 3 ˙ œ 2 & b 4 œ œ nœ ˙ #œ œ n˙. œ œ nœ ˙ #œ 2 sein Fil - li zart zu Bet - te führt, sein Fil - li zart zu

Soprano 2 3 2 & b 4 #œ nœ œ ˙ œ #œ œ œ ˙. #œ nœ œ ˙ œ 2 sein Fil - li zart zu Bet - te führt, sein Fil - li zart zu

Alto 3 2 & b 4 2 seinœ Filœ - œli bzart˙ nzuœ Bet˙ - œte führt,˙. seinœ Filœ - œli bzart˙ nzuœ

Tenor V b 43 œ œ ˙ Œ œ œ œ ˙. œ œ ˙ Œ 2 sein Filœ - li zart zu Bet - te führt, sein Filœ - li zart

Bass ? 3 2 b 4 œ œ ˙ œ ˙ œ œ œ ˙ œ 2 sein Fil - œli zart zu Bet - te führt,˙. sein Fil - œli zart zu 78 S 1 2 ˙. & b 2 œ œ œ œ ˙ ˙ nw Bet - - - - - te führt.

S 2 2 & b 2 #˙ ˙ ˙ #˙ w Bet - - - - - te führt.

A b 2 & 2 œ ˙ ˙ w Bet -œ œ - œ -œ - - te führt.

T V b 2 ˙ ˙ œ œ œ œ œ œ œ w zu Bet - - - - te führt.

B ? 2 w ˙ ˙ b 2 w Bet - - - - - te führt. 91

Cupid Madrigals100

Cupid’s role in early pastoral drama was one of mischief and mayhem, inflicting love upon whomever he chose, regardless of their consent or knowledge. Gerbino writes this of

Cupid’s role in Commedia di Maggio (1540), an early pastoral drama featuring the influence of

Cupid:

Erasure of the old status…and the transformation…are made visible through the classicizing agency of Cupid. Instruction in behavior is also given through Cupid’s supernatural intervention....Resistance to the new role can lead to calamitous events (Cupid can force those who refuse the transition to a sexually active adulthood into unnatural or unwanted loves).101

Schein’s treatment of Cupid in his collection parallels the archetype of early pastoral authors.

Analogies abound in the Diletti pastorali collection that portray Cupid’s or Love’s intervention as all-encompassing, and sometimes painful. In Als Filli schön und fromm, Phyllis is caught unaware by Cupid’s arrow, seemingly without an admirer present. Amor, das liebe Räuberlein refers to Cupid as a “love-robber,” with arrows that seem to assault their intended target, robbing them of their sanity.

100 Though they may contain other characters such as Phyllis and Corydon, these madrigals are grouped together because of their lack of character couple, or their outside perspective of Cupid’s interaction with mortals.

101 Gerbino, Music and the Myth of Arcadia in Renaissance Italy, 133. 92

Mein Schifflein lief im wilden Meer

Formal/ Measures Text Translation Rhetorical Structure A 1-14 Mein Schifflein lief im wilden My little ship is tossed in a Exordium/ Meer geschlagen von wild sea, beaten by storm Narratio Sturmwinden. winds. Das Segel war zurissen sehr The sail is tattered, kein Ruder konnt ich finden. and I can find no rudder. B 15-23 Kein Schiffman da vorhanden No shipman was there, Narratio 24-33 war auf allen Seiten war there was danger on all sides. Propositio Gefahr. Kein Sternlein ließ sich No little stars were to be blicken: Wie bet’, wie gab ich seen: How I prayed to finally gute Wort bis endlich durch arrive at blessed port for love gewünschten Port mich Amor to revive me! tät erquicken. C (Repeat) 34-52 Drum ich dem Göttlein blind zu Therefore, I thank the little Conclusio dank mein Herz vovier mein blind god [Cupid] with my Lebelang. heart, my whole life long.

Table 4.12. Analysis of Mein Schifflein lief im wilden Meer

Mein Schifflein lief im wilden Meer portrays the seemingly benevolent side of Cupid, who saves the narrator from uncertainty and doubt, however, there is no evidence as to whether the tempest in the narrator’s tale is one of Love’s origin as well as its undoing. The Exordium and

Narratio, found in mm. 1-14, contain clear examples of word painting to depict a stormy sea

(Table 4.12). The first point of imitation (mm. 1-3) features a descending leap followed by a melisma to depict a ship tossed by waves (Musical Example 4.68). The second phrase (in mm. 7-

14) has a shorter and faster melodic motive in rapid imitation to portray beating of winds

(Musical Example 4.69). Lastly, the insecurity of “kein Ruder konnt ich finden” is painted through harmonic clashes, particularly between F/F-sharp, C/C-sharp, and E/E-flat (Musical

Example 4.70).

Score 93

Musical Example 4.68. Schein, Mein Schifflein lief in wilden Meer, mm. 1-3

S1 4 œ œ œ œ œ. œœ & b 2 ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Ó ∑ Mein Schiff-lein lief im wil - denœ Meer, Score

Musical Example 4.69. Schein, Mein Schifflein lief in wilden Meer, m. 8

S1 4 & b 2 Ó Œ œ œ œ œ œ œ ge - schla - gen vonœ Sturm - win œ- œ den,œ

Musical ExampleWords by4. 70. Schein, Mein Schifflein lief in wilden Meer, mm. 12-14 Music by Arranged by

Soprano 1 4 œ œœ œ œ œœ œ. œ ˙ œ bœ œ œnœ œ. & b 2 Ó Œ #œ nœ J Œ nœ œ œœ œ w kein Ru - der konnt ich fin - den, kein Ru - der kont ich fin -J den.

Soprano 2 4 & b 2 Œ œ œ œ œ œ œ œ ˙ #œ œ ˙ ˙ œ œ ˙ keinœ Ruœ - der konnt ich fin - den, kein Ru - der konnt ich fin - den.w

Alto 4 & b 2 Ó Œ œ œ œœœ œ Œ bœ œ œ œ kein Ru - der konnt ichœ finœ#œ- den,˙ keinœ Ruœ- der konnt ichœ finœ nœ- den.w

Tenor V b 24 Ó ˙ œ œ œ œ ˙ ˙ Œ œ œ œ œ œ ˙ w kein Ru - der konnt ich fin - den, kein Ru - der konnt ich fin - den.

Bass ? 4 œ œ œ ˙ b 2 Ó Œ œ œ ˙ œ œ ˙ œ œ w kein Ru - der konnt ich fin - den, kein Ru - der konnt ich fin˙ - den.

As the Narratio extends into the B section, the texture thins to depict the narrator’s

loneliness in the storm. The treble voices enter first with the text “kein Schiffmann da vorhanden

war” (Musical Example 4.71). The imitative line in mm. 16-18 features auxesis, with a motive

set in a rising sequence to paint the fear of persistent danger (Musical Example 4.72). Written

sixteenth-note ornaments paint the scene of flickering stars (Musical 4.73). These three motives,

present in the treble voices from mm. 15-19, are echoed exactly in the alto, tenor, and bass to

depict danger on all sides.

MusicalWords Example by 4.71. Schein, Mein Schifflein lief in wilden Meer, mm. 15-16 Music by Arranged by

Soprano 1 4 œ œ & b 2 Ó Œ œ ˙ œ œ œ œ Ó Kein Schiff-mann da vor - han - den war,˙

Soprano 2 4 & b 2 Œ œ œ œ ˙. œ ∑ Kein Schiff-mann da vorœ - han - denœ #war,˙

Alto b 4 Œ ∑ & 2 œ œ œ Kein Schiff-mann da˙. #vorœ - hanœ - denœ war,˙

Musical ExampleWords by4. 72. Schein, Mein Schifflein lief in wilden Meer, mm. 16-18 Music by Arranged by

Soprano 1 4 œ œ œ & b 2 ∑ Ó ‰ œ œ œ œ ‰ œ œ œ œ nœ Œ Ó ∑ aufœ al-len Sei - ten, auf al-len Sei-ten war Ge - fahr,

Soprano 2 4 & b 2 ∑ ‰ ‰ œ œ œ ˙. œ Œ Ó ∑ aufœ œal -lenœ#Seiœ - ten,œ auf al-len Sei - tenœ warœ Ge - fahr,œ

Alto b 4 ∑ ‰ ‰ Œ Ó ∑ Score & 2 œ œ œ œ aufœ œal-lenœ Seiœ - ten,œ auf al-len Sei - tenœ war˙ Ge - fahr,œ ˙

Musical Example 4.73. Schein, Mein Schifflein lief in wilden Meer, mm. 18-19

S1 œ ˙ œ œ œ œ & b 42 Œ ‰ #œ œnœ œ œ #œ œ œ œ œ Œ ∑ keinJ Stern - lein ließ sich bli - cken:

intervention on their behalf at the end of the B section. As in O Amarilli, schönste Zier, Schein

uses aposiopesis in this section to express breathlessness or desperation. Eighth-note rests after

“Wort” and “Port” create two dramatic stops in what would have been a four-measure phrase,

ending with a small melisma to paint “erquicken” (Musical Example 4.74). During this prayer to

Cupid, the high and low voice groups contrast as before, with lower voices following trebles.

Musical ExampleWords 4by.74. Schein, Mein Schifflein lief in wilden Meer, mm. 24-27 Music by Arranged by

Soprano 1 j & 24 œ b œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰ œ wie bet', wie gab ich gu - te Wort, bisJ end - lich durch ge - wünsch-ten Port mich

Soprano 2 4 j j & 2 b œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ wieœ bet', wieœ gab ichœ gu - œte #Wort,œ bis end - lich durch ge - wünsch-tenœ Port mich

Alto 4 ‰ j b ‰ ‰ & 2 œ œ #œ œ œ œ j j wie bet', wie gab ich gu - œte Wort,œ bisœ endœ - lichœ durchœ geœ - wünschœ -tenœ Portœ michœ 26 S 1 ˙. & b œ œ œ œ œ œ œ œ œ œ œ w ∑ A - mor tät er - qui - cken;

S 2 & b ˙ œ œ œ ˙ w ∑ A . - mor tät er - qui - œ cken;

A & b j œ Œ Ó ∑ œ. œ œ w A - mor tät er - qui - - - cken,œ

The Conclusio section begins with a standard homophonic praise-song to the god of love, set in triple meter (Musical Example 4.75), however, the praise-song is interrupted and shifts back to duple meter. The descending motive on the text “mein Herz vovier mein Lebelang” is an example of catabasis, a bow depicting the narrator’s humility and devotion to Cupid (Musical

Example 4.76). The augmentation of rhythm (schematoides) paints the word “Lebelang,” and

MusicalWords Example by 4.75. Schein, Mein Schifflein lief in wilden Meer, mm. 34-37Music by Arranged by

Soprano 1 bw ˙ & b 23 . ˙ ˙ ˙ w ˙ w. Drum ich dem Gött - lein blind zu Dank,

Soprano 2 & b 23 . ˙ ˙ ˙ w ˙ w n˙ w. Drum ich dem Gött - lein blind zu Dank,

Alto 3 & b 2 . ˙ ˙ ˙ w ˙ w ˙ Drum ich dem Gött - lein blind zu Dank,w.

Tenor V b 23 . ˙ ˙ ˙ w ˙ w ˙ w. Drum ich dem Gött - lein blind zu Dank,

Bass ? b 23 . ˙ ˙ ˙ w ˙ w. Score Drum ich dem Gött - lein blindw zu˙ Dank,

Musical Example 4.76. Schein, Mein Schifflein lief in wilden Meer, mm. 42-44

4 œ œ œ œ & b 2 Ó Œ œ ˙. œ w w ∑ mein Herz vo - vier mein Le - be - lang,

Als Filli schön und fromm

Formal/ Measures Text Translation Rhetorical Structure A 1-10 Als Filli schön und fromm As Phyllis, beautiful and Exordium/ einstmals am Elbestrom devoted, once again Narratio bei klar und heißen quenched her sheep’s thirst Sonnenschein tränkt ihre on the Elbe stream in the durstge Schäfelein, clear sunshine, B (Repeat) 11-18 da kam Amor, das Göttlein Love, the blind god, came Propositio 19-22 blind, gesegelt her mit gutem floating on the wind, Confirmatio Wind, Fortun es comitieret. carrying Fortune. Alsbald es Filli ward ansicht, Immediately, he viewed sein gülden Pfeil es auf sie Phyllis, inflaming her richt, ihr Herzlein heart with his golden inflammieret. arrow’s pierce. C (Repeat) 22-32 Der Liebe vor war unbekannt, Love, which was before Conclusio jetzt lichterloh für Liebe unknown, is now ablaze; brannt. for love burns.

Table 4.13. Analysis of Als Filli schön und fromm

Als Filli schön und fromm is comparable to Wenn Filli ihre Liebesstrahl in length, formal structure, and use of rhetorical devices (Table 4.13). While Wenn Filli, however, is told from the perspective of Phyllis’s lover and portrays Phyllis as a consensual partner, Als Filli schön und fromm is told from a third-person viewpoint. In this madrigal, Phyllis is an innocent shepherdess going about her daily tasks when Cupid interferes. This tale validates Gerbino’s analysis of

Cupid as far more dangerous than the winged cherub of paintings: he coerces human emotion, whether or not his target desires it.102

The Exordium of the madrigal begins with the lower voices in homophony. Though the text describes Phyllis as “beautiful and devoted,” the use of sharps, the melodic tritone from F- sharp to C, and the minor sonority on which it ends seem antithetical to Schein’s typical method

102 Gerbino, Music and the Myth of Arcadia in Renaissance Italy, 133. 98

of text expression (Musical Example 4.77). This ominous sounding first measure, however,

foreshadows Phyllis’s fate. The remainder of the A section is relatively harmless in comparison,

depicting the innocence of the scene. Hypotyposis on the text “Elbestrom” paints the flowing

stream where Phyllis sits with her sheep (Musical Example 4.78). Schein depicts the sheep

drinking with a descending melodic line set in paired imitation (Musical Example 4.79). The

themes of Phyllis, the Elbe, and her sheep are echoed in the higher voices, where the paired

imitation of “tränkt ihre durstge Schäfelein” repeats until a cadence in m. 10.

MusicalWords Exampleby 4.77. Schein, Als Filli schön und fromm, m. 1 Music by Arranged by

Alto & 24 Alsœ Fil˙ - #œli schönœ nundœ fromm˙

Tenor 4 V 2 #œ ˙ œ #œ œ ˙ Als Fil - li schön und fromm

Bass ? 4 œ ˙ ˙ 2 œ œ œ Score Als Fil - li schön und fromm

Musical Example 4.78. Schein, Als Filli schön und fromm, m. 2

A 4 Score & 2 ‰ . œ einst - malsœ amœ El˙ - beœ œ - œ strom˙ œ

Musical Example 4.79. Schein, Als Filli schön und fromm, mm. 8-9

S1 4 j & 2 ‰ œ œ œ ˙. œ #œ œ Ó ∑ tränkt ih - re durst - ge Schä. - fe - lein,˙

In the B section of the madrigal, Schein describes Cupid’s arrival on the wind, bringing

Phyllis’s amorous fate. In mm. 10-12, the alto voice alternates with the tenor and bass voices,

which are moving in parallel motion (Musical Example 4.80). Unlike most syncopatio in

Schein’s works, this motive creates no dissonance, depicting Cupid’s arrival as innocent. Cupid’s true nature is revealed in the text “Alsbald es Filli ward ansicht, sein gulden Pfeil es auf sie richt, ihr Herzlein inflamieret.” Cupid’s flying arrows are represented with a rapid descending scale, or tirata perfecta (Musical Example 4.81). After Phyllis is struck by Cupid’s arrow, the soprano 1 and 2 voices have a melisma with a syncopatio suspension on “inflamieret,” portraying the flames of her heart (Musical Example 4.82).

Musical WordsExample by 4.80. Schein, Als Filli schön und fromm, mm. 10-12 Music by Arranged by

Alto 4 . Œ Œ & 2 . ˙ œ œ daœ œkamœ œA œ- mor, das Göttœ.-leinœ blind,˙ œgeœ-seœ-.geltœ ˙her œ mitœ guœ -.temœ Wind,œ

Tenor 4 œ œ V 2 . Œ#œ œ#œ œœ œ. œ ˙ œœ œ. œ ˙ œ œ#œ.#œ ˙. Œ da kam A - mor, das Gött-lein blind, ge-se-gelt her mit gu - tem Wind,

Bass ˙ œœ . ? 24 . Œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ. œ ˙. Œ da kam A - mor, das Gött-lein blind, ge-se-gelt her mit gu - tem Wind,

MusicalWords Example by 4.81. Schein, Als Filli schön und fromm, m. 20 Music by Arranged by

Alto 4 & 2 œ œ œ œ œ œ sicht,œ seinœ gül - den Pfeil œ œ#œ#œ, œ seinœ gülœ - denœ Pfeilœ es Tenor 4 œ œ œ V 2 #˙ ‰ œ œ œ œ œ œ#œ sicht, seinJ gül - den Pfeil œ esœ

MusicalWords Example by 4.82. Schein, Als Filli schön und fromm, mm. 21-22 Music by Arranged by

Soprano 1 ˙ œ & 24 ∑ ‰ œ œ œ œ œ œ œ ˙ #˙ . ihr Herz-lein in - flam - mie - ret.

Soprano 2 ˙. & 24 Ó ‰ œ œ œ œ œ œ œ #œ ˙ œ ˙ . ihr Herz-lein in - flam - mie - ret.

In the C section of Als Filli, Cupid’s intervention in Phyllis’s affairs, though unrequested,

depicts a favorable outcome. Two rhetorical devices are used to portray the joyful “burn” of

love. The text “jetzt lichterloh” or “now full of light” is set with a melodic leap and dotted

rhythm (Musical Example 4.83). This motive gives the effect of bubbling or radiant light. After

“jetzt lichterloh,” a noema, or passage of panconsonant harmony, is used to demonstrate the

pleasant,Words rather by than painful, effects of love’s burn (Musical Example 4.83).Music by While the noema Arranged by Words by Music by passage does not continue throughout the section, the “jetzt lichterloh”Arranged motive by is imitated in its Soprano 1 4 & 2 . Ó ∑ Soprano 1 4 original& form2 . andÓ in augmentation until the final cadence.∑ Soprano 2 4 Musical Example& 2 . 4Ó.83. Schein, Als Filli schön und fromm, mm.∑ 22-25 Soprano 2 4 & 2 . Ó ∑

Alto 4 . ‰ Alto & 2 . #œ œ nœ œ. œ œ. œ 4 Derœ Lieœ - beœ vorœ war un - be - kannt,œ jetztœ lich - ter-loh,œ jetztœ lich - ter - & 2 . ‰ #œ œ nœ œ. œ œ. œ Derœ Lieœ - beœ vorœ war un - be - kannt,œ jetztœ lich - ter-loh,œ jetztœ lich - ter - Tenor 4 . ‰ #œ œ œ #œ œ œ œ œ Œ ‰ nœ œ. œ Tenor V 2 . Der Lie - be vor war un - be - kannt, jetztœlich. - ter - V 24 . ‰ #œ œ œ #œ œ œ œ œ Œ ‰ nœ œ Der Lie - be vor war un - be - kannt, jetzt lich - ter - Bass œ œ œ œ œ j ? 4 . ‰ œ œ œ œ Bass 2 . œ. œ ? 4 . œ Derœ Lie œ- be œ vor war œ un - be - œkannt, œjetzt lich - jter - 24 2 . ‰ œ œ œ. œ Der Lie - be vor war un - be - kannt, jetzt lich - ter - S 1 24 œ. œ œ. œ ∑ ‰ œ œ œ œ œ œ. œ ˙ Ó S 1 & J œjetztœ lich. œ- terœ-loh,œjetztœ lich. œ- ter œ- lohœ für .Lie -œ be brannt, & ∑ ‰ œ J ˙ Ó jetzt lich - ter-loh, jetzt lich - ter - loh für Lie - be brannt, S 2 ∑ ‰ œ œ. œ œ œ œ. œ œ œ œ œ ˙ Ó S 2 & jetztœ lich. œ- ter-loh, jetztœ lich. œ- ter - loh für Lie - be brannt, & ∑ ‰ œ œ œ œ œ œ œ ˙ Ó jetzt lich - ter-loh, jetzt lich - ter - loh für Lie - be brannt, A ‰ Œ Ó A & œ œ œ j lohœ fürœ Lieœ - be brannt,œ jetztœ lichœ - terœ - lohœ fürœ Lie - be brannt,œ & œ œ œ j ‰ Œ Ó lohœ fürœ Lieœ - be brannt,œ jetztœ lichœ - terœ - lohœ fürœ Lie - be brannt,œ T œ œ œ œ w ∑ T V V œ lohœ fürœ Lieœ- be wbrannt, ∑ loh für Lie - be brannt, B œ ? œ œ œ w ∑ B loh für Lieœ- be brannt, ? œ œ œ w ∑ loh für Lie - be brannt,

101

Amor, das liebe Räuberlein

Formal/ Rhetorical Measures Text Translation Structure A 1-11 Amor, das liebe Räuberlein, Cupid, that little love- Exordium in Filli Äugelein, ein gutter robber, a good archer Bogenschütz, mit seiner List with cunning and wit, und Witz hat sich logieret has lodged his arrow in ein. Phyllis’s eyes. B (Repeat) 12-27 Daraus es unverdrossen From him undaunted Narratio viel tausend, tausend Pfeil many thousand arrows verschossen, die manch were shot, causing her Herz ungeheur gebrennt wie great heart to burn like a lauter Feur. roaring fire. C (Repeat) 28-43 Und schöß es mehr der And he shoots more Confirmatio/Conclusio Pfeile noch, so mangelt arrows until everyone is ihme keiner doch, das struck, which is why kömmet daher eben, weil Phyllis’s eyes shoot fire Filli Augenäpfelein mir and arrows with her ihren Liebesblickelein loving gaze. gnug Feur und Pfeile geben.

Table 4.14. Analysis of Amor, das liebe Räuberlein

Amor, das liebe Räuberlein, like Als Filli schön und fromm, describes Cupid’s persistence and the effect of his arrows on his victims. The madrigal leaves the listener to wonder whether attention from the god of love, described as a “love-robber,” is helpful or hurtful

(Table 4.14). The Exordium begins with all voices in consonant homophony (Musical Example

4.84). Amor is unique in this collection with regard to this declamatory beginning, which seems angry and accusatory. This beginning can best be described as a noema, or homophonic section which contrasts its surrounding texture.103 After Cupid’s denouncement, weaving counterpoint in high and low voice-pairs paints Cupid’s cunning and apparent sneakiness (Musical Example

4.85). The contours of the eighth-note lines are like circulatio patterns, though not all lines

103 Bartel, Musica Poetica, 339-342; this is an uncommon application of noema, which is typically found in the middle of contrapuntal texture. 102

contain a closing loop. In the final portion of the exordium, a persistent descending line in

anaphora repetition depicts Cupid’s arrow traveling to “lodge” itself in Phyllis’s psyche

(Musical Example 4.86). This motive is repeated in its original form (in diminutio) and in

variation a total of fourteen times in six measures, painting Cupid’s persistency and his control

over Phyllis (Musical Example 4.87).

Words by Music by Musical Example 4.84. Schein, Amor, das liebe Räuberlein, m. 1Arranged by

Soprano 1 4 œ œ. œ œ œ œ & 2 œ. J ˙ A - mor, das lie - be Räu - ber - lein,

Soprano 2 4 j & 2 œ œ. œ œ œ œ. œ ˙ A - mor, das lie - be Räu - ber - lein,

Alto 4 & 2 œ œ. œ œ Œ A - mor, das lie - beœ Räuœ - berœ - lein,œ

Tenor 4 œ œ. œ œ j V 2 œ œ. œ œ Œ A - mor, das lie - be Räu - ber - lein,

Score Bass ? 4 œ œ. œ 2 œ œ œ œ œ Œ A - mor, das lie - be Räu - ber - lein.

Musical Example 4.85. Schein, Amor, das liebe Räuberlein, mm. 2-4

A Score 4 j Œ & 2 œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ in Fil - li Äu - ge - lein, in Fil - œli Äu - ge - lein,˙ einœ guœ -terœ Boœ -genœ -schütz,œ mitœ sei - ner Listœ und Witz˙

Musical Example 4.86. Schein, Amor, das liebe Räuberlein, m. 7 S1 4 œ j Score & 2 ˙ ˙ œ. œ ˙ hat sich lo - gie - ret ein, ©

Musical Example 4.87. Schein, Amor, das liebe Räuberlein, mm. 6-8

A 4 & 2 Œ Ó ∑ ˙ œ œ œ œ œ œ hat sich lo - gie œ- œ- œ œ- œ retœ einœ

103

The B section begins with a synonymia: the opening measure is comparable to the beginning of the madrigal, but features lower voices and is off-set by a quarter-note rest (Musical

Example 4.88).104 The rest gives the section a halting start, an example of aposiopesis, as if the speaker is stunned by the continuation of Cupid’s interference. The rapid descending line of “viel tausend, tausend Pfeil verschossen” depicts the rush of Cupid’s arrows in rapid succession

(Musical Example 4.89). This particular example of hypotyposis is known as a tirata, or tirade, aptly used for Cupid’s war-like assault.105 The imitation of this motive throughout all voices in mm. 18-20 creates a shower of arrows from which there is no escape (Musical Example 4.90).

Succumbing to Cupid’s blows, Phyllis’s heart becomes inflamed with love, demonstrated by auxesis, a rising melodic motive set in an ascending sequence (Musical Example 4.91).

MusicalWords Example by 4.88. Schein, Amor, das liebe Räuberlein, m. 12 Music by Arranged by

Alto & 24 . Œ Darœ - ausœ esœ unœ - verœ - dros˙ - senœ vielœ

Tenor 4 V 2 . Œ œ œ œ œ œ ˙ œ œ Dar - aus es un - ver - dros - sen viel

Bass œ œ œ œ œ œ œ œ ? 24 . Œ œ œ œ Score Dar - aus es un - ver - dros - sen vielœ tau - send, tau - send

Musical Example 4.89. Schein, Amor, das liebe Räuberlein, m. 13

A 4 4 & 4 2 œ œ vielœ tau - send, tauœ - sendœ Pfeilœ verœ - schosœ œ œ -œ œ œ sen,˙

104 Bartel, Musica Poetica, 405-408.

105 Ibid., 409-412. This particular example is a tirata defectiva, which spans a fifth in range.

Words by Music by Musical ExampleWords by 4.90. Schein, Amor, das liebe Räuberlein, mm. 18-20 ArrangedMusic byby Arranged by Soprano 1 4 œ Soprano &1 2 Œ4 ∑ Ó Œ œ & 2 Œ ∑ Ó Œ viel viel

Soprano 2 Soprano 2 4 œ œ œ & 2 Œ4 Œ‰ ‰œ œœ œ œ œ œ œ œ œ œ œ œœ œœ ˙ & 2 viel œtau - send, tau - send œ Pfeil,œ viel tau - send, tau - send Pfeil,˙ viel tau - send, tau - send Pfeil, viel tau - send, tau - send Pfeil,

Alto Alto 4 Œ4 Ó Œ & 2& 2 Œ Ó Œ œœ œœ œ œ œ œ vielœ vielœ tautau- send,- send, tautauœ- -sendœsendœ Pfeil.Pfeil.œœ vielvielœ tau - send,send,

TenorTenor 4 4 V 2V Œ2 ŒŒ Œ œ œ œ œ œ ÓÓ vielœ vielœ tau tau- send,- send,tauœ tau- send-œsendœ Pfeil,˙Pfeil,˙

Bass œ Bass ? 4 œ Œ œ œœ œ œ ? 4 2 œ œ œ œ œ ˙ Œ œ œ œ 2 œ vielœ tau - send,œ tauœ- send˙ Pfeil, œviel tau - send tau - send 19 viel tau - send, tau - send Pfeil, viel tau - send tau - send 19 S 1 œ œ œ S 1 œ œ œ œ œ. œ #œ ˙ œ ˙ & œ œ. œ œ œ œ œ œ œ. œœ #œ ˙ œ ˙ Ó & tau-send, tau-send Pfeil, œ vielœœ tauœ-sendœPfeil. verJ - schos - sen, tau-send, tau-send Pfeil, vielœ tau-send Pfeil verJ - schos - sen,

S 2 œ œ œ œ . S 2 Œ œ œ œ œ œ œ Ó & œ œ œ œ. œ œ œ œ œ œ. œœœ #˙ & Œ viel tau-send, tau-send Pfeil œ œ œver - schosœ œ. œ- œ #sen,˙ Ó viel tau-send, tau-send Pfeil ver - schosœ - œ sen,

A œ œ Ó A & œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ & œ tau-send Pfeil, viel œ tauœ-send,œ tau-send Pfeil, œviel œtau-œsend œPfeil œver-schos - sen, Ó tau-sendœ Pfeil,œ vielœ tau-send, tau-sendœ Pfeil,œ viel tau-send Pfeil ver-schos˙ - sen,˙ T œ Œ œ œ œ ˙ ˙ Ó T V œ œ œ œ œ œ œ œ œ V viel œ œtau-send,œ tau-send Pfeil, Œ viel œtauœ-send,œtau-œsend œPfeil œver-schos˙ - ˙sen, Ó vielœ tau-send, tau-sendœ Pfeil,œ vielœ tau-send, tau-send Pfeil ver-schos - sen, B ? w. ˙ w ˙ Ó B ? Pfeil ver - schos - sen, w. ˙ w ˙ Ó Pfeil ver - schos - sen,

Words by Music by Musical Example 4.91. Schein, Amor, das liebe Räuberlein, mm. 21-24 Arranged by

Alto 4 Ó ‰ Ó ∑ & 2 œ œ œ ˙. œ ˙ #˙ geœ-brenntœ wieœ lau˙. - terœ Feu˙ - er,œ ge-brennt wie lau - ter Feu - er, Tenor 4 œ ˙ ˙ w V 2 Ó ‰ #œ #œ ˙ œ n˙ œ œ œ œ #œ œ ∑ geœ-brenntwie lau - ter Feu - er, ge-brennt wie lau - ter Feu - er,

Bass ? 4 œ œ w 2 ‰ œ œ ˙ œ œ œ œ w ‰ œ w ∑ geœ-brenntwie lau - ter,wielau-ter Feu - er,˙ wie lau-ter Feu - er,

Despite Phyllis’s fall, Cupid is unrelenting with his arrows, which Schein continues to

musically depict in the C section. The damage is depicted by an increase of sharps at the

beginning of the section, and the shortened aposiopesis breath (Musical Example 4.92). The

euphoria of Phyllis’s “loving gaze,” in contrast with the pain of Cupid’s arrows, is painted by a

melismatic line with dotted rhythms imitated in all voices (Musical Example 4.93). The rising

flames described in the B section become an inferno of fire and arrows, as the melismatic “gnug

Feuer und Pfeile geben” is rapidly imitated in the final ten measures (Musical Example 4.94).

MusicalWords Example by 4.92. Schein, Amor, das liebe Räuberlein, m. 28 Music by Arranged by

Soprano 1 4 œ œ j & 2 . ‰ œ œ œ œ œ œ ‰ Œ Und schöß es mehr der Pfei - le noch,

Soprano 2 4 j & 2 . ‰ #œ œ œ œ ˙ #œ œ ‰ Œ Und schöß es mehr derœ Pfei - le noch,

Alto 4 . j & 2 . ‰ œ œ œ œ ‰ Œ Undœ schößœ esœ mehr der Pfeiœ - le noch,

Tenor œ V 24 . ‰ œ œ œ œ œ œ #œ ‰ Œ Und schöß es mehr der Pfei - le noch,J

Bass ? 4 œ j 2 . ‰ œ œ œ œ œ œ œ ‰ Œ Score Und schöß es mehr der Pfei - le noch,

Musical Example 4.93. Schein, Amor, das liebe Räuberlein, mm. 32-34

S1 4 ˙. j Score & 2 œ œ œ bœ œ. nœ œ. œ œ œ œ œ œ œ j ‰ Œ Ó mit ih - rem Lie - be - bli - . - - œ- . ckeœ - leinœ

Musical Example 4.94. Schein, Amor, das liebe Räuberlein, m. 35

? 4 2 Œ œ œ œ œ œ œ. œ œ ˙ gnug Feur œ undœ Pfei - le ge - ben,

Unlängst dem blinden Göttelein

Formal/ Measures Text Translation Rhetorical Structure A (A’) 1-16 (A) Unlängst dem blinden When the little blind god Exordium 17-34 (A’) Göttelein sein Liebesfeur unleashed his love-fire, verlasch, nicht nu rein einig more than a few sparks Fünkelein wollt blinken untr blinked under the ash tree. der Asch. B (Repeat) 35-52 Amor, das Schälklein, inne Love, the little trickster, Confirmatio/ ward der Filli Herzelein; paused Phyllis’s heart, and Conclusio pickt dran mit seinem Pfeil pecked at it with arrows so hart als an ein Feuerstein, hard as flint, until her heart bald fuhr heraus ein große became a large flame, Flamm, entzündet Herz und igniting heart and arrow Pfeil zusamm. together.

Table 4.15. Analysis of Unlängst dem blinden Göttelein

In Unlängst dem blinden Göttelein, Schein depicts Cupid’s effect on humans and non- humans alike through subtle mythological references paired with word painting. The Exordium, though simple in design, contains many hints at the strength of Cupid’s power and the characters involved (Table 4.15). The opening thirteen measures are set in triple meter with a simple homophonic texture, in a similar manner to the praise-songs typically found in the Conclusio sections (Musical Example 4.95). The text mentions Cupid’s release of “love-fire.” This text is followed by the enigmatic phrase “more than a few sparks blinked under the ash tree.” While this may seem like pure innuendo, Schein’s reference to the ash tree, paired with the musical setting of the text, reveals this praise-song as a ritual dance of the wood nymphs, hijacked for Cupid’s wishes. 107

In Greek mythology, the ash tree is the symbol of the Meliae wood nymphs, the daughters of earth and sky deities.106 In pastoral poetry, nymphs are portrayed as the ideal

Petrarchan feminine archetype: alluring, yet allusive.107 Their expression of worship and courting through song and dance inspired Schein to set the madrigal’s opening as a praise-song.108 The scoring of this praise-song for treble voices depicts the dancing of the wood nymphs who, through Cupid’s intervention, turn the dance into a session of courting. Gerbino writes on this subject, “as in ancient mythology a man could become possessed by the nymphs, so the sight of

[one] could plunge the Petrarchist lover into the abyss of madness.”109 The exact repetition of the nymph’s song in the lower voices portrays the men’s enchantment. The word painting in both the higher and lower voices on “wollt blinken” is an example of hypotyposis and sexual innuendo common in madrigal and chanson texts of the Renaissance and early Baroque (Musical Example

4.96).

Musical ExampleWords by 4 .95. Schein, Unlängst dem blinden Göttelein, mm. 1-7 Music by Arranged by

Soprano 1 ˙ w ˙ w & b 23 ˙ ˙ ˙ w ˙ w ˙ w ˙ w Ó Un-längst dem blin - den Göt - te - lein sein Lie - bes - feur ver - lasch,

Soprano 2 3 & b 2 ˙ ˙ ˙ w ˙ w ˙ w ˙ nw ˙ w n˙ w Ó Un-längst dem blin - den Göt - te - lein sein Lie - bes - feur ver - lasch,

Alto 3 & b 2 ˙ ˙ ˙ w ˙ w ˙ w ˙ w Ó Un-längst dem blin - den Göt - te - lein sein Lie - bes˙ - feurw ver˙ - lasch,w

106 Richard Caldwell, Hesiod's Theogony (Cambridge: Focus Publishing, 1987), 38.

107 Gerbino, Music and the Myth of Arcadia in Renaissance Italy, 86.

108 Ibid., 86.

109 Ibid., 86.

Musical ExampleWords by 4 .96. Schein, Unlängst dem blinden Göttelein, mm. 14-16 Music by Arranged by

Soprano 1 2 œ 4 œ œ j & b 2 œ œ œ 2 Œ œ œ Œ œ œ œ. œ œ œ w Asch, wollt blin - ken, wollt blin - ken, wollt blin-ken untr der Asch;

Soprano 2 2 œ 4 œ œ œ & b 2 œ œœœ Œ 2 œ Œ œ œ œ œ œ œ ˙ w Asch,œ wollt blin-ken, wollt blin-ken, wollt blin-ken untr derœ Asch;

Alto & b 2 24 ˙ w ˙ ˙ ˙ ˙ Asch,˙ wollt blin - - - ken untr der Asch;w

In the B section of the madrigal, Schein tells the fate of Phyllis, who succumbs to Cupid’s arrows despite her “hard as flint” heart. Like that of Amor, das liebe Räuberlein, Unlängst’s text is violently graphic in its depiction of Phyllis’s suffering at Cupid’s hand. The voices rhythmically alternate to paint arrows pecking at Phyllis’s heart (Musical Example 4.97). In mm.

41-42, a melisma on the word “Feuerstein” illustrates the transition of Phyllis’s flint-like heart to one set aflame (Musical Example 4.98). Lastly, two opposing motives in antithesis paint the text

“bald fuhr heraus ein große Flamm, entzündet Herz und Pfeil zusamm.” A rising eighth-note scale, or tirata perfecta, runs throughout the voices, painting growing flames (Musical Example

4.99).110 This scale is paired with a winding descending line, depicting the interweaving of

Phyllis’s passion and pain (Musical Exampl© e 4.100). The motives interact for five measures, until the weaving motive dominates. The augmentation of this phrase for the final cadence is an example of schematoides (Musical Example 4.101)

110 Bartel, Musica Poetica, 409-412.

109

MusicalWords Example by 4.97. Schein, Unlängst dem blinden Göttelein, mm. 39-40 Music by Arranged by

Soprano 1 4 ˙ œ & b 2 œ Œ œ Œ œ ‰ œ Œ Ó ∑ lein pickt, pickt, pickt, picktJ dran

Soprano 2 4 œ & b 2 œ Œ œ Œ œ Œ œ œ Œ Ó ∑ lein pickt, pickt, pickt, pickt dran

Alto 4 & b 2 #˙ Œ Œ Œ nœ œ Œ Ó ∑ lein pickt,œ pickt,œ pickt dran

Tenor 4 V b 2 ˙ œ Œ œ Œ œ ‰ œ œ Œ Ó ∑ lein pickt, pickt, pickt, picktJ dran

Bass . ? b 24 ˙ ˙ ˙ œ œ Œ Ó ∑ lein pickt dran, pickt dran Score

Musical Example 4.98. Schein, Unlängst dem blinden Göttelein, mm. 41-42

S1 4 œ. œ œ . œ . œ j & b 2 œ œ œ œ œ œ œ. œ œ œ. œ œ. œ œ J œ ‰ Œ Ó Score hart als an eim Feu - - - - er stein,

Musical Example 4.99. Schein, Unlängst dem blinden Göttelein, mm. 42-43

S1 4 œ œ œ & b 2 ∑ ‰ œ œ œ œ œ œ œ œ œ œ Œ Ó Score bald fuhr her© -aus ein gro-ße Flamm, baldœ fuhrœ herœ -aus ein gro-ße Flamm,

Musical Example 4.100. Schein, Unlängst dem blinden Göttelein, mm. 44-55

S1 4 & b 2 Ó Œ œ œ œ œ œ œ œ œ œ ˙. œ w ent - zün - det Herz und Pfeil zu - samm,

110

MusicalWords Example by 4.101. Schein, Unlängst dem blinden Göttelein, mm. 49-52 Music by Arranged by

Soprano 1 4 & b 2 ∑ Ó ˙ œ œ œ œ œ œ œ œ ˙ ˙ W ent - zün - det Herz und Pfeil zu - samm.

Soprano 2 4 & b 2 Ó ˙ œ œ œ œ œ œ œ w W ent - zün - det Herzœ und Pfeil˙ zu˙ - samm.

Alto 4 & b 2 ∑ Ó Œ ˙ ˙ ˙ ˙ ˙ W entœ -zün - der Herz˙ und Pfeil zu - samm.

Tenor 4 ˙ ˙ V b 2 ∑ Ó œ œ œ œ . œœœœ ˙ ˙ W ent - zün - det Herz und Pfeil zu - samm.

Bass ? b 24 Ó ˙ bœ œ œ œ œ œ œ œ w. ˙ ent - zün - det Herz und Pfeil zu - samm.W

111

Other Pastoral Madrigals

Most of the Diletti pastorali madrigals center on the theme of amorous love, both requited and unrequited. One madrigal in the collection, however, focuses on non-amorous devotion. Mirtillo hat ein Schäfelein centers on a shepherd’s love for his favorite sheep, who has fallen ill. Though Mirtillo is seen without amorous interest in Schein’s collection, he is the leading male character in Guarini’s Il pastor fido, in love with none other than Amaryllis, who spurns his advances.111 Schein’s choice to add Mirtillo to the collection but disconnect him at all from Amaryllis’s narratives echoes Guarini’s narrative of Amaryllis and Mirtillo as star-crossed lovers.

111 Guarini, The Faithful Shepherd, 7. 112

Mirtillo hat ein Schäfelein

Formal/ Measures Text Translation Rhetorical Structure A 1-8 Mirtillo hat ein Schäfelein, Mirtillo has a little sheep, Exordium/ welchs es vor andern liebt, which he loves above all Narratio das wollte etwas unbaß sein, others, which felt sick, and des ward er hoch betrübt: Die deeply saddened him: his Woll, gewaschen nur zu lang, wool, grown too long, made dem Schäflein macht so angst the sheep anxious and afraid. und bang. B 8-16 Er gab ihm mit eim Löffelein With a promise, he fed the Propositio 16-24 ein herzerquickend Säftlein sheep a heart-quickening Confirmatio ein, tät ihm die Woll potion, and cut off his wool: abschneiden: worauf alsbalde An hour later, the sick sheep C zu der Stund became well, leaping and Conclusio 24-42 das kranke Schäflein wurd springing for joy! gesund, hüpfet und sprang für (Repeat BC) Freuden

Table 4.16. Analysis of Mirtillo hat ein Schäfelein

Mirtillo hat ein Schäfelein uses three primary devices for text expression in the A section: pathopoeia, aposiopesis, and syncopatio. Two of these three are found in the first two measures.

The half-step motion from A to B-flat occurs twice, once on “Schäfelein” and once on “andern” of the phrase “vor andern liebt” (Musical Example 4.102). The use of chromaticism, or pathopoeia, defines Mirtillo’s emotional connection to his sheep and hints that this relationship might be strained in some way. Mirtillo’s emotion is further highlighted by the use of aposiopesis after the word “Schäfelein” and the circulatio pattern on the word “andern” in the alto line, highlighting the sheep’s place “above all others.”

Further in the A section, syncopatio is used to paint Mirtillo’s grief at his sheep’s illness

(Musical Example 4.103). A suspension in the bass line creates dissonance with the tenor and soprano 2 line on the phrase “hoch betrübt.” Syncopatio occurs again between the soprano 1 and 113 alto line on the word “angst,” demonstrating the connection between Mirtillo’s grief and his sheep’s anxiety (Musical Example 4.104). Schein sustains the soprano voices into the B section while the other voices release, creating a feeling of uncertainty as the lower voices transition to a new motive.

MusicalWords Example by 4.102. Schein, Mirtillo hat ein Schäfelein, mm. 1-2 Music by Arranged by

Soprano 1 4 ˙ & 2 œ œ œ œ bœ. œ ˙ Œ œ œ œ Mir - til - lo hat ein Schä - Jfe - lein, welchs es vor˙ an

Soprano 2 4 j j & 2 #œ ˙ œ œ œ œ. œ #œ ‰ nœ œ œ Mir - til - lo hat ein Schä - fe - lein, welchs esœ vor œan œ œ ˙

Alto & 24 j ‰ j j Mirœ - til˙ - œlo hatœ einœ Schäœ. - œfe - lein,œ welchsœ esœ vorœ banœ. - dernœ liebt,˙

Tenor 4 j j V 2 œ ˙ œ œ œ œ. œ œ ‰ j œ œ Mir - til - lo hat ein Schä - fe - lein, welchsœ erœ vor anœ. œ- dernœ

Bass ? 4 j 2 œ ˙ œ œ œ œ ‰ œ œ œ b˙. œ Mir - til - lo hat ein Schäœ. - œfe - lein, welchsJ er vor an - dern

Musical ExampleWords by 4.10 3. Schein, Mirtillo hat ein Schäfelein, mm. 4-5 Music by Arranged by

Soprano 1 4 œ ˙. œ & 2 ∑ Ó ‰ œ œ #˙ Ó des ward er hoch - be - trübt:

Soprano 2 4 & 2 ∑ ‰ œ œ œ œ œ w ∑ des ward er hoch - be - trübt:

Alto 4 j & 2 ∑ Ó Œ œ Ó des wardœ erœ hochœ. - beœ - trübt:˙

Bass ? 4 œ œ ˙ ˙ #˙ ˙ 2 ∑ ‰ œ Ó des ward er hoch - be - trübt:

Musical ExampleWords by4.10 4. Schein, Mirtillo hat ein Schäfelein, mm. 7-8 Music by Arranged by

Soprano 1 4 œ œ œ ˙ ˙ ˙ ˙ & 2 ∑ ‰#œ œ . ∑ dem Schäf-lein macht so angst und bang.

Soprano 2 4 j & 2 ∑ Ó ‰ œ œ ˙ œ ˙ œ œ. œ #˙ . ˙ ∑ demœ Schäf-leinmacht so angst, so angst und bang.

Alto 4 & 2 ∑ Ó ‰ œ œ œ ˙ . ∑ #demœ Schäfœ -leinœ macht œ so angst˙ #undœ bang.˙

Tenor V 24 ∑ Ó Œ œ œ œ œ œ ˙ ˙ ˙ . ∑ dem Schäf - lein macht so angst und bang.

Bass ? 4 œ œ œ œ œœœ 2 ∑ ‰ œ œœ œ ˙ . ∑ dem Schäf-lein macht so angst und bang.

The first measure of the B section features the lower voices, which begin with an aposiopesis (Musical Example 4.105). As in the B and C sections of Amor, das liebe Räuberlein, this pause creates an impetus of forward motion, as Mirtillo decides to take action to save his sheep. A short melisma on “herzerquickend” is an example of word painting for “heart reviving”

(Musical Example 4.105). Auxesis and circulatio on “tät ihm die Woll abscheiden” depict

Mirtillo’s rapid movements (Musical Example 4.106). As Mirtillo’s sheep recovers, the A to B- flat motive from the beginning returns, occurring in each voice of the counterpoint (Musical © Example 1.107), reflecting again the close companionship of Mirtillo and his sheep.

Musical ExampleWords by 4.105. Schein, Mirtillo hat ein Schäfelein, mm. 8-10 Music by Arranged by

Alto 4 . Œ j Œ & 2 œ. œ œ œ œ ˙ œ œ j Erœ gabœ ihmœ mitœ œ eimœ œ Löf-fe - lein ein herzœ œ- erœ - qui - ckendœ Säftœ. - leinœ ein,˙ erœ

Tenor 4 j V 2 . Œ#œ œ œ œ œ œ œ œ#œ œ œ œ. œœ #œ ˙ œ ˙ Œ œ Er gab ihm mitœ eim Löfœ.-œfe - leinœ ein herz - er - qui - ckend Säft - lein ein, er

Bass ? 4 . j œ œ . 2 . Œ œ œ œ œ œ œ. œ œ œ œ œ œ ˙ œ w Er gab ihm mit eim Löf-fe - lein ein herz - er - qui-ckend Säft - lein ein,

MusicalWords Exam byple 4.106. Schein, Mirtillo hat ein Schäfelein, mm. 13-14 Music by Arranged by

Soprano 1 4 œ œ œ j & 2 ‰ œ œ œ ˙ ‰ œ œ œ œ œ œ œ. œ w tät ihm die Woll, tät ihm die Woll ab - schnei - den,

Soprano 2 4 & 2 ‰ œ œ œ ˙ ‰ œ œ œ ˙ #œ ˙ œ w tät ihm die Woll, tät ihm die Woll ab - schnei - den,

Musical ExampleWords by4.10 7. Schein, Mirtillo hat ein Schäfelein, mm. 19-23 Music by Words by Music by

Soprano 1 4 ∑ ‰ bœ œ œ #œ œ Soprano 1 4& 2 œ œ œ œ œ œ #œ œ œ œ nœ & 2 ∑ ‰œ œdasœkranbœ-ke Schäf-lein# wurdœ ge#-sund,œ œdas œkran-œke Schäfnœ -lein das kran-ke Schäf-lein wurd ge-sund, das kran-ke Schäf-lein Soprano 2 4 ∑ Ó ‰ bœ œ Soprano 2 4& 2 œ œ œ œ œ œ œ œ œ œ œ œ & 2 ∑ Ó ‰ œdasœkrankeœ Schäfœ - leinœ wurd ge - sund,œ œdas œkranb-œke Schäf-lein dasœ kranke Schäf - lein wurd geœ - sund,œ das kran-ke Schäf-lein Alto 4 ∑ ‰ Alto & 2 œ œ œ 4 das kran - ke Schäf˙ - œ leinœ bwurdœ ge - sund, geœ - sund,˙ & 2 ∑ ‰ œ œ œ œ œ das kran - ke Schäf˙ - œ leinœ bwurdœ geœ - sund,œ geœ - sund,˙ Tenor 4 ∑ ‰ j Tenor V 2 œ œ œ œ. œ #œ œ 4 das kran - ke Schäf œ - œ lein wurdœ geœ - sund, dasœ kranœ -keœ Schäf-leinœ V 2 ∑ ‰ œ œ œ œ j œ #œ œ das kran - ke Schäf. œ - œ lein wurdœ geœ - sund, dasœ kranœ -keœ Schäf-leinœ Bass ? 4 ∑ ‰ œ œ œ ˙ Ó Bass 2 b˙ œ œ ? 4 ∑ ‰ œ œdas kran - ke Schäf - #lein˙ wurd ge ˙- sund, Ó 221 œ b˙ œ das kran - ke Schäf - #lein˙ wurdœ ge - sund, S21 1 Ó ‰œ œ œ bœ œ #œ ˙ œ 2 w S 1 & œ œ œ ˙ 2 wurd ge - sund,œ ge- sund, das kran-ke Schäf œ - lein#œ ˙wurd œ 2ge w- sund, & œ Ó ‰œ œ œ bœ 2 wurdœ geœ - sund,œ ge- sund,˙ das kran-ke Schäf - lein wurd ge - sund, S 2 œ #œ œ œ œ œ œ œ œ. œbœ œ 2 w S 2 & œ œ œ œ œ 2 œ wurd geœ - sund, ge- sund, das kran-ke Sch4f-lein wurd ge - sund,˙ wurd 2ge - sund, & #œ œ œ œ œ œ œ œ œ. œœbœ œ 2 w wurd ge - sund, ge- sund, das kran-ke Sch4f-lein wurdœ geœ - sund,˙ wurd ge - sund, © A 2 & ‰ ‰ œ œ 2 A bœ œ œ #œ œ œ œ œ œ 2œ w & ‰ dasœ kranœ -keœ Schäf-lein wurd ge - sund, geœ - sund,˙ ‰ das kran-ke Schäf-lein wurd2ge - sund, œ œ #œ œ œ œ œ œ œ œ œ w dasœ kranœ -keœ Schäfbœ -lein wurd ge - sund, geœ - sund,˙ das kran-ke Schäf-lein wurd ge - sund, T ˙ œ œ #œ œ 2 V œ œ ‰ œ œ œ bœ bœ œ œ œ œ œ œ 2 #w T wurd ge˙ - sund, das kran-ke Schäfœ -œlein wurd ge œ- sund, das kran-ke Schäf-lein wurd2ge - sund, V œ œ ‰ œ œ œ bœ #œ bœ œ œ œ œ œ 2 #w wurd ge - sund, das kran-ke Schäf-lein wurd ge - sund, das kran-ke Schäf-lein wurd geœ - sund, B ? 2 ∑ Ó ‰ œ œ œ œ œ œ 2 w B ? das kran-ke Schäf-leinœ wurd2ge - sund, ∑ Ó ‰ œ œ œ œ œ œ 2 w das kran-ke Schäf-leinœ wurd ge - sund,

116

The final portion of the madrigal features a presto dance of joy as Mirtillo’s sheep is healed. Three melodic motives interweave throughout: a descending melodic line (shown in

Musical Example 4.108 as a solid bracket), an ascending scale (shown as a broken bracket), and an octave leap (shown as a broken curve). In the first eight measures setting this text, the voices display the motives in contrapuntally enlivened homophony. In the following eight measures,

Schein modifies the motives from the previous section. Regardless of their respective motives, the voices move in descending sequences, an example of catabasis, as the dance winds to a close. In the final four measures of the madrigal, Schein drastically slows the tempo, and expands the phrase through diminutio and schematoides (Musical Example 4.109).

Musical ExampleWords by4.10 8. Schein, Mirtillo hat ein Schäfelein, mm. 24-38 Music by Arranged by Presto Soprano 1 3 j j & 4 œ. œ œ œ œ œ œ bœ œ œ.œ ˙ œ. œ œ œ œ œ j hüp-fetJ und sprang für Freu - den,. hüp-fet und sprangœ œ œ für Freuœ. œ - den,˙.

Soprano 2 3 j j & 4 œ. œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ bœ œ ˙ #˙ hüp-fet und sprangœ œ œ für Freuœ - den,. hüp.-fet und sprang für Freu - den,.

Alto 3 & 4 j j hüpœ.-fetœ undœ œsprangœ œ œ œ fürœ Freu˙ - den,˙. hüpœ.-fetœ undœ œsprangœ œ œ œ fürœ Freuœ #œ - den,˙.

Tenor 3 j œ. V 4 œ. œ œ . œ œ ˙ ˙. œ œ . œ œ œ œ ∑ hüp-fet und sprangœ œœ œ für Freu - den, hüp-fetJ und sprangœ œœ für Freu-den,

Bass ? 3 œ œ œ œ 4 œ. œœ œ ˙ œ. œœ œ ˙ ˙. hüp-fet undœ sprang œ für Freu - den,˙. hüp-fet undœ sprang œ für Freu - den,

Soprano 1 3 œ. j j & 4 ∑ œ œ ˙ Œ œ. œ œ ˙ Œ bœ. œ œ ˙ Œ œ.œ œ hüp-fetJ und sprang, hüp-fetJ und sprang, hüp-fet und sprang, hüp-fet und

Soprano 2 3 j j j & 4 ∑ œ. œ œ #˙ Œ œ. œ œ Œ œ. œ Œ œ.œ œ hüp-fet und sprang, hüp-fet und sprang,˙ hüp-fet undœ sprang,˙ hüp-fetJ und

Alto 3 ∑ ∑ œ œ Œ Œ Œ Œ j & 4 #œ œ#œ œ œ.œ j œœ hüpœ -fet und sprang, hüpœ -fet und sprang, hüp-fet bundœ sprangœ.œ

Tenor 3 j j œ ˙. œ. œ œ ˙ œ. œ œ œœ ˙ V 4 #œ œ. œ œ J . bœ bœ. Œ hüpœ.-fetœ und sprang, hüp-fet und sprang, hüp-fetJ und sprang,J

Bass ? 3 j j j j 4 ∑ ∑ œ. œ œ ˙ œ. œ œ bœ.œ œœ hüp-fet und sprang,. hüp-fet und sprang,˙. hüp-fet undœ sprangœ.œ

Musical Example 4.109. Schein, Mirtillo hat ein Schäfelein, mm. 39-42

Largo Largo

Soprano 1 œ œ Soprano 1 4 œ #œ œ œ œ nœ œ œ œ œ œ. œ œ j 4 & 2 œ œ œ œœœ #œ œœ œ œ nœ œ œ œ. œJœ œ. œj œ & 2 sprangœ œœ œ œ œ für Freu J- den, œhüp. - œfet œund sprangœ œ œ œ für Freu - den, hüp - fet und Soprano 2 4 #œ œ œ œ ˙ Soprano 2 4 & 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ ˙ Œ œ & 2 œ œsprangœ œ œ œ œ œ œ œ œ œ œ für Freu - den, Œ œhüp - sprangœ œ œ für Freu - den, hüp - Alto 4 Œ Ó Alto 4 & 2 ˙ ˙ œ œ ˙ œ œ ˙ #˙ & 2 Œ ˙ hüp - œ œfet und˙ sprang œ für Freu - #˙den, Ó ˙ hüp - fet und sprang fürœ Freu˙ - den, Tenor 4 Œ ˙ © w œ j Tenor V 2 œ œ ˙ œ œ 4 hüp - fet und sprang für˙ Freu - den, hüpœ. - fetj und V 2 Œ ˙ œ œ w œ œ hüp - fet und sprang˙ für˙ Freu - den, hüpœ. - fetœ und Bass ? 4 2 ˙ ˙ w w ˙ ˙ Bass ? 4 für Freu - - - - den, für 241˙ ˙ w w ˙ ˙ für Freu - - - - den, für S 1 41 œ #œ ˙ œ w . & œ œ œ. J . S 1 sprang für Freu - - ˙ - - - wden. & œ œ. œ #œ œ . sprangœ für Freu - J - - - - den. S 2 œ . & œ œ œ œ œ œ œ œ ˙ #w . S 2 - fet und sprang für Freu - - - den. & œ œ œ œ œ œ œ œ ˙ #w . - fet und sprangœ für Freu - - - den. A j & Œ œ. œ œ . hüp - fet und sprangœ fürœ Freu˙ - den.w A j & Œ œ. œ œ . T hüp - fet und sprangœ fürœ Freu˙ - den.w V œ œ. œ œ œ œ ˙ w . sprang, hüp - fetJ und sprang für Freu - den. T V œ œ. œ œ œ œ ˙ w . B sprang,? hüp - fetJ und sprang für Freu - den. W w . Freu ------den. B ? W w . Freu ------den. 118

CHAPTER 5: CONCLUSION

Johann Hermann Schein’s Diletti pastorali Hirtenlust madrigals feature a combination of two compositional techniques: Italian word-painting and German rhetorical devices. His Italian influence stems from his familiarity with masters such as Monteverdi, Caccini, and his friend and colleague Heinrich Schütz. His experience with rhetorical treatises, such as Burmeister’s Musica

Poetica, is demonstrated in his poetic and compositional style. His pieces represent the transition from the prima to seconda pratica in German secular music.

Schein’s skill as a poet and composer are equally exemplified in this collection. His texts take influence from Italian poets such as Petrarch, Tasso, and Guarini, as well as classic Greco-

Roman mythology. Like many pastoral poets, Schein uses analogy and metaphor to deepen his characters’ feelings while remaining light-hearted. His awareness of alternative storylines for

Amaryllis, Cupid, and others reveals his comprehensive knowledge of common literary characters. Schein’s preference for the German language and standard rhyme scheme demonstrates his devotion to the development of German vernacular poetry.

The madrigals of Johann Schein are rich in textual and musical expression and show a heightened awareness of conventional styles of the Renaissance and early Baroque eras. This collection, and other secular works by Schein, deserve greater attention in research and performance as scholars explore the rich tradition of German secular music.

119

APPENDIX: GLOSSARY OF RHETORICAL TERMS AND DEFINITIONS112

Anabasis: Ascending passage which depicts ascending or exalted images, people, or emotion Anaphora/Repetitio: Repeating bass line or ground bass; general repetition Antithesis: Musical depiction of opposing themes Aposiopesis: Rest in one or all voices Auxesis: Successive repetitions of a theme which rise by step Catabasis: Descending passage which depicts lowly or negative images, people, or emotion Circulatio: Series of usually eighth notes in a circular or wave formation Climax/Gradatio: Sequence of notes in one voice repeated; two voices in parallel motion; gradual increase, creating a growing intensity Conclusio: Concluding comments or moral Confirmatio: Supporting arguments or points Confutatio: Rebuttals to expressed or unexpressed disagreement Diminutio: Variation of a theme through subdivision Exordium: Introduction of main characters, themes, or dilemmas Fuga: Device in which a principal theme is imitated in subsequent voices Hypotyposis: Vivid musical representation of images found in the text; word-painting Interrogatio: A rise at the end of a phrase or melody to express a question Mimesis/Imitatio: Approximate rather than strict imitation of a subject at different pitches Narratio: Factual account Noema: Homophonic passage within an imitative texture Parrhesia: Insertion of a dissonance on a weak beat Pathopoeia: Use of chromaticism to depict a passionate emotion or state Pausa: Pause or rest Propositio: Proposed argument or point Schematoides: Restructuring of a previous passage through augmentation or diminution Suspiratio: Expression of a sigh by the insertion of a rest Syncopatio: Suspension, with or without a resulting dissonance Tirata: Rapid scale passage, spanning a fourth (mezzo) a fifth (imperfecta) or an octave (perfecta)

112 All rhetorical terms and their definitions are taken from Bartel, Musica Poetica.

120

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