Chromatic Techniques in Baroque Variation Sets and Their Relationship to Late Madrigals by © 2019 Christopher W
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A Striking Effect: Chromatic Techniques in Baroque Variation Sets and Their Relationship to Late Madrigals By © 2019 Christopher W. Gage Submitted to the graduate degree program in Music Theory and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. _____________________________ Chair: Scott Murphy _____________________________ Michael Bauer _____________________________ Bradley Osborn _____________________________ Roberta Schwartz _____________________________ William Keel Date Defended: 14 May 2019 The dissertation committee for Christopher W. Gage certifies that this is the approved version of the following dissertation: A Striking Effect: Chromatic Techniques in Baroque Variation Sets and Their Relationship to Late Madrigals _____________________________ Chair: Scott Murphy Date Approved: 14 May 2019 ii ABSTRACT One of the most widely used approaches in tonal music, variation technique has informed centuries of composition. Beginning with Jan Pieterszoon Sweelinck, the Baroque keyboard variation set was a prominent form; one particular multimovement variation set, commonly called the “partita,” included various treatments of a given theme, sacred or secular, in a display of compositional variety. One treatment occurs with some regularity and involves a harmonization of a chorale tune in which chromaticism is pervasive, having a non-diatonic note on every beat or including key areas that are more distant than was customary. This dissertation explores the chromatic variation with one broad question: how is this chromaticism generated? Are there particular aspects of a chorale melody that give rise to this treatment? What are the main compositional techniques that constitute a chromatic movement? Using detailed analyses of four pieces—Johann Sebastian Bach, O Gott du frommer Gott, BWV 767/7; Johann Pachelbel, Was Gott tut, das ist wohlgetan, variation 4; Pachelbel, Alle Menschen müßen sterben, var. 7; and Samuel Scheidt, Da Jesus an dem Kreuze stund, verse 6—I find six unifying principles that contribute to the chromatic nature of these movements. Then, using Pachelbel’s two movements as models, I compose chromatic variations on two chorale tunes, Freu’ dich sehr, o meine Seele and Jesu, meine Freude, which did not previously receive such treatment; the six principles are used to inform my own composition, and this exercise is a way to test the efficacy of those principles. Finally, a precedent for this high level of chromaticism is sought in the late-sixteenth-century madrigal, using several Italian and English pieces to draw a connection to the Baroque music that followed in the next century and a half. iii ACKNOWLEDGEMENTS This degree would not have been possible without the support of many people in my life. My advisor, Dr. Scott Murphy, has always been ready to offer words of advice and constructive criticism not only for this dissertation but also in the realm of pedagogy. It was also a joy to teach for Dr. Brad Osborn for two years; his collegial and generous spirit helped me grow as a teacher, and he brought those same gifts to my committee. Dr. Roberta Schwartz has consistently given me valuable feedback on my written work, as well as new perspectives to consider as I continue my research. Dr. Michael Bauer has been a model of musicianship and grace, and I am honored to count him among my organ teachers. Finally, my interactions and correspondence with Dr. William Keel have always enlightened me, and I have appreciated his attention to detail as Graduate Studies Representative. In addition, Drs. Murphy, Schwartz, Bauer, and Keel are reprising their roles as committee members from my previous doctorate; their willingness to put up with me for two degrees is admirable. I must also mention the seminars of Dr. Alan Street, who taught me how to think more critically and to broaden my horizons, all with ease and humor, aided by similar television preferences. None of my work would have been possible without the loving encouragement of my parents, Wayne and Nancy, whose unwavering support has helped me tremendously during, to quote my previous doctoral document, “the seemingly ill-advised decision to pursue several graduate degrees.” As a librarian, my sister, Lauren, has helped me find what I was looking for, doing so cheerfully and proactively. My families at St. Paul’s Episcopal Church, Leavenworth, and Overbrook Presbyterian Church, Philadelphia, have been my cheerleaders throughout this process—including, in Philadelphia, allowing the strangest working hours imaginable. I would iv also like to thank my wonderful students at the University of Kansas and the University of Delaware, even if they do occasionally forget to conduct while sight-singing. Finally, my friends and colleagues all over the country have kept my spirits afloat, especially Andrew Aziz and Robert Wells, who have, amid their own academic careers, never hesitated to offer me advice and encouragement when I needed it. v TABLE OF CONTENTS CHAPTER 1: Introduction .......................................................................................................... 1 1.1 Background and Rationale .......................................................................................... 1 1.2 Chapter Outline and Methodology .............................................................................. 2 CHAPTER 2: Genre and Literature Review ............................................................................. 5 2.1 Variation Set: Overview ............................................................................................. 5 2.2 Sixteenth-Century Madrigal: Overview .................................................................... 10 2.3 Survey of Existing Literature .................................................................................... 17 2.3.1 Chorale Variation Sets ...................................................................................... 17 2.3.2 Late Madrigals .................................................................................................. 17 2.3.3 Other Topics in Chromaticism .......................................................................... 24 CHAPTER 3: Four Chromatic Variations ............................................................................... 33 3.1 Guiding Principles for Chromatic Variations ........................................................... 33 3.2 Johann Pachelbel, Was Gott tut, das ist wohlgetan .................................................. 38 3.3 Pachelbel, Alle Menschen müßen sterben ................................................................. 49 3.4 Johann Sebastian Bach, O Gott, du frommer Gott .................................................... 60 3.5 Samuel Scheidt, Da Jesus an dem Kreuze stund ...................................................... 69 CHAPTER 4: Two NewLy Composed Chromatic Variations ................................................. 81 4.1 Goals of Model Composition .................................................................................... 81 4.2 Freu’ dich sehr, o meine Seele .................................................................................. 81 4.3 Jesu, meine Freude ................................................................................................... 87 CHAPTER 5: Finding Chromatic Precedents in Late Madrigals .......................................... 95 5.1 Chapter Goals and Repertoire ................................................................................... 95 5.2 Carlo Gesualdo, Moro lasso ..................................................................................... 96 5.3 Claudio Monteverdi, Rimanti in pace ..................................................................... 105 5.4 Thomas Weelkes, The Andalusian Merchant ......................................................... 107 5.5 John Wilbye, Oft have I vowed ............................................................................... 111 5.6 Luca Marenzio, Solo e pensoso .............................................................................. 115 CHAPTER 6: ConcLusion ........................................................................................................ 119 6.1 The Six Principles and Their Efficacy .................................................................... 119 6.2 Model Composition and Its Theoretical Implications ............................................ 121 6.3 A Word on Madrigals, and Opportunities for Further Study .................................. 122 BIBLIOGRAPHY ..................................................................................................................... 124 vi LIST OF MUSICAL EXAMPLES Example 2.1: Gesualdo, Moro lasso, mm. 1–2. ............................................................................ 26 Example 2.2: Gesualdo, Hai, gia mia disco loro, mm. 10–12. ..................................................... 27 Example 3.1: Possible chromatic passing tones between notes of the diatonic scale. .................. 34 Example 3.2: Applied-dominant notes corresponding to descending-fifth root motion. ............. 35 Example 3.3: Applied-subdominant notes corresponding to ascending-fifth root motion. .......... 36 Example 3.4: Three instances of the pattern 2-4-3 in Scheidt, Da Jesus. ..................................... 37 Example 3.5: Pachelbel, Was Gott tut, das ist wohlgetan, mm. 1–4. ..........................................