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An Examination Into the Stylistic Characteristics GEWESENER MAGDEBURGISCHE MUSICUS: AN EXAMINATION INTO THE STYLISTIC CHARACTERISTICS OF HEINRICH GRIMM’S EIGHT-VOICE MOTET, UNSER LEBEN WEHRET SIEBENZIG JAHR’ Benjamin Michael Dobbs, B.A. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS December 2010 APPROVED: Graham H. Phipps, Major Professor Frank Heidlberger, Minor Professor Gene J. Cho, Committee Member Eileen Hayes, Chair of the Division of Music History, Theory, and Ethnomusicology Lynn Eustis, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Robert B. Toulouse School of Graduate Studies Dobbs, Benjamin Michael. Gewesener Magdeburgische Musicus: An Examination into the Stylistic Characteristics of Heinrich Grimm’s Eight-Voice Motet, Unser Leben wehret siebenzig Jahr’. Master of Music (Music Theory), December 2010, 172 pp., 61 figures, references, 71 titles. Although Magdeburg cantor Heinrich Grimm was frequently listed among prominent musical figures of the early seventeenth century such as Heinrich Schütz, Johann Hermann Schein, and Michael Praetorius in music lexica through the nineteenth century, he has almost disappeared from modern scholarship. However, a resurgence in Grimm studies has begun in recent years, especially in the areas of biographical study and compositional output. In this study, I examine the yet unexplored music-analytic perspective by investigating the stylistic characteristics of Grimm’s 1631 motet, Unser Leben wehret siebenzig Jahr’. Furthermore, I compare his compositional technique to that of his contemporaries and predecessors with the goal of examining the work from both Renaissance and Baroque perspectives. Copyright 2010 by Benjamin Michael Dobbs ii ACKNOWLEDGEMENTS There are many people that I wish to acknowledge without whose support and assistance this study would not have been possible. I would first like to thank the Deutscher Akademischer Austausch Dienst for their generous financial support, which allowed me to complete my research abroad. The staff at the Herzog August Bibliothek in Wolfenbüttel, Germany, was immensely helpful in my search for materials, as well as Gillian Bepler, the coordinator of the library’s Fellowship Program. My advisor, Graham Phipps, provided exceptional guidance, and his flexibility allowed us to work from five thousand miles apart. On a personal level, I would also like to thank several colleagues and friends, including Kristi Miller, Dell Smith, and Marty Bishop, for their creative inspiration and assistance in gathering materials. I must also thank my family, especially my parents, Dennis and Gwenda Dobbs, my sister, Carrie Farthing, and my mother-in-law, Sharon Southard Baker, for their continual support and encouragement throughout my stay in Germany. Finally, this project would not have been possible without the loving devotion of my wife, Shana Southard- Dobbs, who not only encouraged me to apply for funding for my research, but also was willing to pack up and move halfway across the world to be with me for a year. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS..................................................................................... iii LIST OF ILLUSTRATIONS................................................................................... vi Chapter 1. INTRODUCTION ..............................................................................................1 Revival of a Forgotten Name Modern Grimm Studies Further Pertinent Scholarship 2. BIOGRAPHY ....................................................................................................8 Early Life and Education Magdeburg Period Flight from Magdeburg Braunschweig Period Legacy 3. THE MOTET...................................................................................................24 Genesis of the Motet Wolfenbüttel Exemplar Printing and Construction Modernization of Notation Interpretation and Correction of Errata Relationships Between Poetic and Musical Form Modal Definition 4. THE EXORDIUM ............................................................................................37 Part I Section A Section B iv 5. THE MEDIUM.................................................................................................78 Part II Section C Section D 6. THE FINIS ....................................................................................................106 Part III Section E Section F 7. CONCLUSION..............................................................................................138 APPENDIX – TRANSCRIPTION OF THE MOTET ...........................................144 BIBLIOGRAPHY................................................................................................166 v LIST OF ILLUSTRATIONS Page Figure 4.1. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 1-6 ............................39 4.2. Hassler, Nos autem populus ejus, mm. 1-6..............................................41 4.3. Praetorius, Lob, Ehr sei Gott im höchsten Thron, mm. 50-54 ..................43 4.4. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 1-11 ..........................46 4.5. A. Gabrieli, Cor meum conturbatum est in me, mm. 18-27 ......................48 4.6. Schütz, Herr, wenn ich nur dich habe, mm. 8-12......................................49 4.7. Praetorius, Mensch wilt du leben seliglich, mm. 34-38.............................51 4.8. Schein, Surge illuminare Jerusalem, mm. 25-28 ......................................52 4.9. Schein, A Domino factum est istud, mm. 7-10..........................................52 4.10. Praetorius, O Lamb Gottes unschuldig, mm. 25-27..................................57 4.11. Palestrina, Dies sanctificatus, mm. 75-80.................................................57 4.12. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 11-21 ........................59 4.13. Des Prez, Absalon, fili mi, mm. 30-41.......................................................60 4.14. Schütz, Herr, wenn ich nur dich habe, mm. 23-34....................................61 4.15. Schein, Alleluja! Wohl dem, der den Herren fürchtet, mm. 22-26, 75-80 .63 4.16. Praetorius, Gott der Vater wohn uns bei, mm. 94-97 ...............................65 4.17. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 11-21 ........................66 vi 4.18. Palestrina, Vidi turbam magnam, mm. 1-10 .............................................69 4.19. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 21-26 ........................69 4.20. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 21-35 ........................71 4.21. Di Lasso, Exaudi Domine vocem meam, mm. 7-16..................................73 5.1. Grimm, Unser Leben wehret siebenzig Jahr’, 34-37 ................................79 5.2. Schütz, Herzlich lieb hab ich dich, o Herr, mm. 36-40..............................79 5.3. Schein, Sic Deus dilexit mundum, mm. 9-12 ............................................81 5.4. Praetorius, O hilf Christe Gottes Sohn, mm. 36-39 ..................................81 5.5. Schütz, Das Wort ward Fleisch und wohnet unter uns, mm. 25-29..........84 5.6. Praetorius, Herzlich lieb hab ich dich, O Herr, mm. 2-5............................85 5.7. Schein, Quem vidistis pastores, mm. 37-40 .............................................86 5.8. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 36-48 ........................89 5.9. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 47-50 ........................91 5.10. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 48-56 ........................92 5.11. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 56-60 ........................94 5.12. Praetorius, Mensch wilt du leben seliglich, mm. 54-57.............................95 5.13. Schein, Sic Deus dilexit mundum, mm. 37-38 ..........................................96 5.14. Schein, Ist nicht Ephraim mein teurer Sohn, mm. 38-41 ..........................97 5.15. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 56-66 ........................97 5.16. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 66-75 ........................99 5.17. Schütz, Meine Seele erhebt den Herren, mm. 217-223 .........................100 5.18. Palestrina, Surge, amica mea, mm. 14-18 .............................................103 vii 5.19. G. Gabrieli, Jubilate Deo, mm. 68-72 .....................................................104 6.1. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 73-77 ......................106 6.2. Schein, Alleluja! Ich danke dem Herren, mm. 13-16 .............................107 6.3. Schütz, Die Himmel erzählen die Ehre Gottes, mm. 90-94 ....................109 6.4. Schütz, Das ist je gewißlich wahr, mm. 108-112 ....................................109 6.5. Schütz, Ich bin ein rechter Weinstock, mm. 16-20 .................................110 6.6. Praetorius, Jesus Christus, unser Heiland, mm. 22-28 ..........................113 6.7. Dufay, Gloria ad modum tube, mm. 13-21..............................................114 6.8. Hassler, Laudate Dominum, mm. 51-62 .................................................115 6.9. Praetorius, Jesaia dem Propheten das geschah, mm. 12-16.................116 6.10. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 76-81 ......................118 6.11. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 81-86 ......................118 6.12. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 76-86 ......................121 6.13. Schütz, Herr, nun lässest du deinen Diener, mm. 32-40 ........................122 6.14. Praetorius, Zu Gott in dem
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