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 Himmel droben/Herr, dein Ohren zu mir neige,

mm. 44-48...... 123

6.15. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 86-91 ...... 125

6.16. Schein, A Domino factum est istud, mm. 23-30...... 127

6.17. Schütz, Tröstet, tröstet mein Volk, mm. 81-98...... 128

6.18. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 91-97 ...... 129

6.19. Schein, Alleluja! Wohl dem, der den Herren fürchtet, mm. 82-86...... 132

6.20. Schütz, Das ist je gewißlich war, mm. 131-137 ...... 133

viii 6.21. Grimm, Unser Leben wehret siebenzig Jahr’, mm. 97-106 ...... 134

ix CHAPTER 1

INTRODUCTION

Revival of a Forgotten Name

Logic dictates that subsequent generations will not remember every composer, theorist, chronicler, and musician. Indeed the greater part of these are inevitably forgotten—some very quickly, others after some years.

Seventeenth-century German cantor Heinrich Grimm (1592/1593-1637) is among those whose name was forgotten after a few generations. This unfortunate fate was due to several factors: 1) the utter destruction of Magdeburg—where Grimm was located—in 1631; 2) the lack of royal or other significant patronage; 3) the failure to obtain a permanent position as cantor following his Magdeburg period; and 4) the printing of only a relatively small percentage of his works during his lifetime. While Grimm’s disappearance from the musical pantheon of the early seventeenth century is regrettable, the last seventy years has seen a reversal of this misfortune, and modern historians and theorists are succeeding where history has failed. Through the diligent work of five scholars in particular, the name Heinrich Grimm is experiencing a slow but steady resurgence in familiarity.

The goal of this study is to continue that trend in ways not yet explored.

1 In the relatively small field of Grimm studies, modern scholars have, to the present, focused on the first three of these possibilities. In this study, I approach

Grimm’s music from the previously unexplored music-analytic perspective. To do so, I examine the composer’s eight-voice motet, Unser Leben wehret siebenzig

Jahr’, HGWV I/274, which I have transcribed from the original printing.1 This motet was written in 1631, perhaps both the most volatile and professionally active year of the composer’s life.

I observe the stylistic traits and tendencies inherent in the work in order to uncover the unique aspects of Grimm’s compositional technique. With the further goal of placing Grimm’s oeuvre within a historical context, I study the composition from both the Renaissance and Baroque perspectives. In order to accomplish this, I examine the works of several of the composer’s predecessors and contemporaries, including Dufay, des Prez, Palestrina, Lasso, Hassler, A.

Gabrieli, G. Gabrieli, Praetorius, Schein, and Schütz. In my investigation, I consider the parameters of the organization of text, setting of speech rhythm, use of textural and polychoral effects, treatment of dissonance, presence of idiomatic linear figures, and aspects of mode, in a manner similar to that espoused by

Cristle Collins Judd in her analyses of early music.2

1 Thomas Synofzik, “Heinrich Grimm (1592/93-1637): “Cantilena est loquela canens.” Studien zu Überlieferung und Kompositionstechnik” (Ph.D. dissertation, Universität Köln, 1998), 397. The werkverzeichnis number comes from Synofzik’s catalog, which replaced an earlier organization by Lorenzen. 2 Cristle Collins Judd, “Some Problems of Pre-Baroque Analysis: An Examination of Josquin’s ‘Ave Maria… Virgo Serena.’,” Music Analysis 4, no. 3 (Oct. 1985): 201-202.

2

Modern Grimm Studies

Even though various scholars and lexica throughout music history mention

Grimm, recent scholarship is severely lacking.3 While music historians of the seventeenth and eighteenth centuries often named him alongside composers such as Scheidt, Schein, and Schütz as an important early seventeenth-century figure in music history, only five scholars from the twentieth and twenty-first centuries have written about him. The entire body of academic research on

Heinrich Grimm consists of three dissertations, one article, and a small booklet.

Of these five sources, two are purely biographical, one is a translation of a treatise in manuscript form, and two blend some aspects of history with a very small amount of analysis. These writings can be broken into two periods, separated by approximately fifty years.

Otto Riemer’s article, “Heinrich Grimm: ein mitteldeutscher Musiker” from the Festschrift Arnold Schering zum 60. Geburtstag (1937), was written three hundred years after the composer’s death, and it is the first example of modern

Grimm scholarship. Riemer questions history’s unjustified dismissal of Grimm, and enumerates several genera in which Grimm composed, citing brief examples

3 Otto Riemer, “Heinrich Grimm, ein mitteldeutscher Musiker,” Festschrift Arnold Schering zum 60. Geburtstag (Berlin: A. Glas, 1937): 180-181.

3 of each.4 While he does make some general comments on the characteristics of the excerpts, he does not make specific comparisons to other compositions.5

Hermann Lorenzen’s 1940 dissertation at the University of Hamburg, Der

Cantor Heinrich Grimm (1593-1637): Sein Leben und seine Werke mit Beiträge zur Musikgeschichte Magdeburgs und Braunschweigs, was written shortly after

Riemer’s article. This dissertation divides into three sections: 1) a biographical discussion of the composer’s life; 2) a description of the nature of Grimm’s compositions; and 3) a systematic catalog of his works.6 Grimm scholars

Thomas Synofzik and Joanna Carter praise Lorenzen’s achievement as a remarkable feat of archival reconstruction, and the forty-page biography remains to this day the most comprehensive study of the composer’s life. While there is some description of Grimm’s compositions—though without a single musical example—Lorenzen is concerned primarily with the composer’s choice of ensemble and text setting.7 Indeed, the author’s entire systematic catalog is based on a classification of text: A) Masses and Liturgical Texts; B) Biblical

Texts; C) Passions; D) Hymnody; E) Spiritual Concertos; and F) Musical

Treatises.8

After a gap of fifty years, Ralph-Jürgen Reipsch published a booklet in honor of the composer’s four-hundredth birthday in 1993. Heinrich Grimm, 1593-

4 Ibid., 181-182. 5 Ibid., 187-192. 6 Hermann Lorenzen, “Der Cantor Heinrich Grimm (1593-1637): sein Leben und seine Werke mit Beiträge zur Musikgeschichte Magdeburgs und Braunschweigs” (Ph.D. dissertation, Universität Hamburg, 1940), 3. 7 Ibid., 54-61. 8 Ibid., 51-52. 4 1637: Kantor, Komponist, Theoriker, although brief, began a revival in Grimm scholarship. Reipsch provides a summary of Grimm’s life, as well as a concise timeline of important events. In addition, the author includes three facsimiles of early print editions, as well as a hymn setting in modern notational format.9 This marks the first appearance of a complete Grimm composition in an academic setting.

Cantilena loquela canens: Studien zu Überlieferung und

Kompositionstechnik Mit Thematischem Wekverzeichnis, Thomas Synofzik’s dissertation completed in 1998 at the University of Cologne, contains the first serious attempt at a musical analysis of Grimm’s compositions. The author focuses on Grimm’s vocal works only, and divides them into categories based on number of voices and setting. Along with a somewhat computerized style analysis of each type of composition, the author includes works by other composers for comparison. While Synofzik does address Grimm’s motet style, he is primarily concerned with the composer’s smaller works, namely those for a single choir of six or fewer voices. In the last portion of the dissertation, Synofzik replaces Lorenzen’s thematic catalog and introduces a new Werkverzeichnis,

HGWV, which he organizes into five sections: I) Vocal Works; II) Instrumental

Works; III) Theoretical Works; IV) Unverifiable Nineteenth and Twentieth Century

Attributions; and V) Source Register.10

9 Ralph- Jürgen Reipsch, Heinrich Grimm (1593-1637): Kantor—Komponist— Theoretiker (Magdeburg: Stadt Holzminden, 1993), 8, 13, 18, 26. 10 Synofzik, “Heinrich Grimm,” xiii-ix. 5 Joanna Carter’s 2002 dissertation from Florida State University, A Study of Two Seventeenth-Century Teaching Manuals in Hamburg: Critical Editions and Translations of Thomas Selle’s ‘Kurze doch gründtliche Anleitung [sic] zur

Singekunst’ (c. 1642) and Heinrich Grimm’s ‘Instrumentum Instrumentorum, hoc est, Monochordum vel potius Decachordum’ (1634) is the most recent entry in

Grimm studies. The primary corpus of Carter’s work is a translation of two pedagogical manuals—one by Thomas Selle and the other by Heinrich Grimm— that were bound together during the seventeenth century. Carter’s study of

Grimm includes a brief biographical summary, a description of the theoretical circle of influence to which Grimm belonged, and a translation of Grimm’s pedagogical treatise on the practical uses of the monochord for the instruction of musicians.11

Further Pertinent Scholarship

Scholarly works concerning early music analysis, as well as those regarding the transition between the Renaissance and Baroque periods have also had a vital influence on the present study. Among the most significant works focusing on analysis are Cristle Collins Judd’s article, “Some Problems of

Pre-Baroque Analysis: An Examination of Josquin’s ‘Ave Maria…Virgo Serena’

,” and Thomas Bernick’s article, “Modal Digressions in the ‘Musicalische

11 Joanna Carter, “A Study of Two Seventeenth-Century Teaching Manuals in Hamburg: Critical Editions and Translations of Thomas Selle’s Kurze doch gründtliche Anleitung [sic] zur Singekunst (c. 1642) and Heinrich Grimm’s Instrumentum Instrumentorum, hoc est, Monochordum vel potius Decachordum (1634)” (Ph.D. dissertation, Florida State Universtiy, 2002), 5. 6 Exequien’ of Heinrich Schütz,” as well as others. Crucial writings on the musical transition of the early seventeenth century include Carl Dahlhaus’s monumental monograph, Studies on the Origin of Harmonic Tonality, Joel Lester’s article,

“Major-Minor Concepts and Modal Theory in Germany, 1592-1680,” Lester’s monograph, Between Modes and Keys: German Theory 1592-1802, Bernhard

Meier and Geoffrey Chew’s article, “Rhetorical Aspects of the Renaissance

Modes,” and Robert W. Wienpahl’s two articles, “Modality, Monality, and Tonality in the Sixteenth and Seventeenth Centuries: I and II.”

7 CHAPTER 2

BIOGRAPHY

Early Life and Education

German composer Heinrich Grimm was born ca. 1592-1593 in the small town of Holzminden in the Duchy of Braunschweig-Lüneburg as one of the twelve children of tailor Michael Grimm. While this cannot be confirmed in the

Citizen Register from that city, which was apparently destroyed during the Thirty

Years’ War12, the composer’s date and location of birth can be gleaned from later print sources, namely his theoretical treatise Instrumentum Instrumentorum, hoc est, Monochordum vel potius Decachordum13 and the fifth volume of Michael

Praetorius’s Musia Sioniae.14 Though the frequent use of the monogram

“H.G.H.” led eighteenth-century scholar Christoph Jöcher to list Grimm’s birthplace incorrectly as Holstein in the Allgemeine-Gelehrten-Lexicon15, manuscripts which bear the complete signature “Henricus Grimmius

Holzmindensis” definitively point to Holzminden as the composer’s place of birth.

Nothing is known of Grimm’s early musical training or any musical heritage that

12 Lorenzen, “Der Cantor,” 9. 13 Andreas Waczkat, “Grimm, Heinrich,” Die Musik in Geschichte und Gegenwart Personenteil 8 (Kassel: Bärenreiter, 1997-2004, 2008 supplement): 46. 14 Carter, “A Study,” 16. 15 Lorenzen, “Der Cantor,” 9. 8 his family might have had. Indeed, with the exception of a date and location of birth, nothing is known of Grimm’s life before 1607.16

We first learn of Grimm’s musical career from Praetorius’s Musia Sioniae, the fifth volume of which was published in 1607. In this volume, to which Grimm contributed a four-voice motet, Das alte Jahr ist nun vergahn, Praetorius lists

Grimm as his fourteen-year-old pupil.17 Praetorius, who worked in Wolfenbüttel as Hofkapellmeister for Duke Heinrich Julius of Braunschweig-Lüneburg, was regarded as one of the highest musical authorities in Germany at the beginning of the seventeenth century.18 Grimm must have already displayed much potential to be given lessons by such an important musical figure at such a young age. Because many of Praetorious’s duties in his post involved travel, it is unknown whether or not Grimm actually studied in Wolfenbüttel. Furthermore, due to numerous lost records, we can definitively give neither a starting nor an ending date for Grimm’s studies. While some scholars have previously suggested that Grimm was a chorister at the ducal court, this is only unsubstantiated conjecture.19

However, we do know that Grimm’s studies with the Hofkapellmeister must have concluded no later than 1609, when he matriculated at the University of Helmstedt. Enrollment records from the quondam institution list Grimm as

“Prorectore Laurentio Scheuerle S.S.Th Doctore et Professore immatriculati sunt

16 Reipsch, Heinrich Grimm, 4. 17 Ibid. 18 Lorenzen, “Der Cantor,” 10. 19 Synofzik, “Heinrich Grimm,” 2. 9 sequentes: Menso Julio 18 Henricus Grimmen Holzmindensis.” While there,

Grimm was primarily a student in the philosophy department, though he did attend numerous theology lectures.20 During these seminal years, Grimm met and formed a friendship with Conradt Huhstedt, who became a cantor in

Braunschweig in 1626, and played an important role in Grimm’s life in 1631.21

Magdeburg Period

Grimm’s formal education ceased when he obtained his first professional position as a cantor in Magdeburg. The actual date of the beginning of Grimm’s employment is difficult to discern. Once again, questions into Grimm’s life remain uncertain as the result of lost public records; church and city registers for

Magdeburg from 1616 to 1618 no longer exist. However, a Stammbuch from

Magdeburg musician Johann Dilliger states that Grimm was “Cantor pro tempore” in 1617. Therefore, we can place Grimm in this position at least as early as 1617, though the date could possibly be a year or two earlier.22

The position of cantor in Magdeburg was one of the most prestigious church posts of the time, and it is possible that Grimm was awarded the appointment upon the recommendation of Praetorius. During that period,

Praetorius was working with Heinrich Schütz and Samuel Scheidt to restructure the music at the Magdeburg Cathedral. Until the destruction of Magdeburg in

20 Reipsch, Heinrich Grimm, 4. 21 Lorenzen, “Der Cantor,” 11. 22 Synofzik, “Heinrich Grimm,” 2-3. 10 1631, it was one of the most important cities in Germany, with a population of

30,000 in 1630, twice that of Leipzig and Dresden.23 Grimm probably would have been attracted by such a prestigious post, and the expectations for the young cantor were likely extremely high.

As a cantor in Magdeburg, Grimm filled two roles: he was the cantor at the Altstätischen Gymnasium, where his title was “Musicus Magdeburgiensis

Ordinarius”24, and he was the Figuralcantor at the Altstadt churches of St.

Johannis and St. Jacobi.25 Music education at the schools alternated between music theory and singing.26 This training undoubtedly provided the background for his two extant theoretical works Unterricht, wie ein Knabe nach der alten

Guidonischen Art zu solmisieren leicht angeführt werden kann (1624) and

Instrumentum Instrumentorum, hoc est, Monochordum vel potius Decachordum

(1629).27 As Figuralcantor, Grimm was responsible for composing and directing polyphonic music at the churches in the Altstadt. In addition, beginning in 1619 he directed a choir of his students once per month at the cathedral.28

Grimm’s predecessors in his post include several important musical figures of the sixteenth and seventeenth centuries. A timeline compiled by

23 Ibid., 3. 24 Ibid., 4. 25 Lorenzen, “Der Cantor,” 14. At many churches during this time, in addition to the organist, two cantors were employed, one as the Choralcantor and the other as the Figuralcantor or Cantor scholae. The Choralcantor was regarded as the true song leader and led the music on a regular basis, while the Figuralcantor (who by definition was also the cantor at the Gymnasium) was responsible for the composition of polyphonic choral music and for leading the choirs in special exhibitions for particularly significant worship services. 26 Ibid., 26. 27 Carter, “A Study,” 18. 28 Reipsch, Heinrich Grimm, 6. 11 Lorenzen gives the following list for cantors in Magdeburg: Martin Agricola 1525-

1556, Gallus Dressler 1559-1576, Leonhardt Schröter 1576-1595, Friedrich

Weißensee 1596-1616, Johann Bonus 1611-1615, Valentin Brettschneider ??

(presumably 1615-1617??), Heinrich Grimm ?? (no later than 1617)-1631.29

In the years from 1617-1631, Grimm wrote most of his anthologies for school and church use. Grimm’s output includes motets, short masses, Passion music, bicinia and tricinia with generalbass, and chorale arrangements.

Remarkably, some of these works included very specific directions for orchestration, with idiomatic writing for a number of instruments including strings, cornets, trombones, and trumpets. There are even a few extant introductory instrumental sinfonia.30 Many of Grimm’s compositions and theoretical works are considered conservative. Evidence of this can be seen in his poly-choral works, as well as his parody mass from 1628, which follows the typical Lutheran two- movement form of the time, setting only the Kyrie and Gloria. Stylistic conservatism also emerges in his Mattheuspassion, which is a re-working of the

Passion by Johann Walter.31 In addition to Praetorius’s influence, Grimm’s compositions bear the mark of both Italian monodic and Italian poly-choral styles.32

Although some of his works are indeed conservative, Grimm was also an important innovator in early seventeenth-century compositional technique. While

29 Lorenzen, “Der Cantor,” 14. 30 Christopher Wilkens and Peter Downey, “Grimm, Heinrich,” The New Grove Dictionary of Music and Musicians 10 (New York: Macmillan, 2001): 424. 31 Waczkat, “Grimm, Heinrich,” 47. 32 Reipsch, Heinrich Grimm, 12. 12 Weißensee was responsible for introducing the Venetian Prunkstil to Magdeburg, it was Grimm who first used generalbass in that city, employing the technique in his spiritual concertos and motets.33 He employed the new technique with increasing frequency from early on in his Magdeburg period so that nearly half of his compositions included the figures by 1624.34

Grimm’s first published work, Threnodia, das ist, der klägliche und doch trostreiche Bet-Psalm des königlichen Proheten Davids for four voices, appeared in 1618, and a further motet, Ach Herr, straff mich nicht, followed later that year.

In the second work, Grimm was given the honored title “Musicus,” which indicated his status as an accomplished musician and composer.35 In 1624,

Grimm published a setting of Cornelius Becker’s German translation of the

Psalter36, as well as two other collections of sacred music, Sequuntur psalmorum melodiae, and Tyrocinia seu Exercitia Tyronum musica, the second of which has since been lost. His Missae aliquot were published in 1628, as well as the aforementioned Mattheuspassion.37 Many of his works from this period were published in collections and compilations along with those of other notable composers of the period such as Giovanni Gabrieli, Andrea Gabrieli, Heinrich

Schütz, Seth Calvisius, Heinrich Praetorius, Claudio Montiverdi, Heinrich

33 “Grimm, Heinrich,” Riemann-Musik-Lexicon Personenteil 1 (Mainz: B. Schott’s Söhne, 1959): 682. 34 Lorenzen, “Der Cantor,” 27. 35 Carter, “A Study,” 17. 36 Wilkens and Downey, “Grimm, Heinrich,” 424. 37 Reipsch, Heinrich Grimm, 6-7. 13 Baryphonus, Johann Hermann Schein, and Samuel Scheidt.38 Grimm’s realm of influence grew to include not only Magdeburg, but also all of the districts of

Saxony and Thuringia. Evidence of this is shown in the exceptionally large collection of Grimm’s motets at the Saxon Cantorei in Mügeln.39

In addition to his work as an educator and composer, Grimm also cultivated many relationships with important figures of the day. On the occasion of his wedding to Magdeburg Mayor Peter Brand’s daughter, Martha Brand, on

July 26th of 1619, Friedrich Weißensee dedicated an eight-voice motet to the couple. This indicates that the two cantors were not merely cordial peers, but also friends and colleagues. The text of the motet is in the form of an anagram on “Henricvs Grimmivs.”40 In addition, Grimm cultivated relationships with

Heinrich Baryphonus, Johann Herman Schein, Heinrich Schütz, and Samuel

Scheidt. Baryphonus, who was a friend of Praetorius, and Grimm exchanged numerous letters in which they discussed music-theoretical issues.41 Grimm must have thought highly of Baryphonus, as he printed a new edition of the theorist’s 1615 treatise Pleiades musicae, including many revisions and additions which subsequently increased the length of the work from 96 to 243 pages.42

Evidence of Grimm’s relationship with Schein is found in the two composers’ printed compilation, which remains only partially extant in Helmstedt.43 Grimm

38 Lorenzen, “Der Cantor,” 22. 39 Ibid., 22. 40 Ibid., 11. 41 Ibid., 8. 42 Ibid., 23-24. 43 Ibid., 22. 14 became acquainted with Schütz and Scheidt when the two were working together in Magdeburg from ca. 1618-1619. As mentioned previously Praetorius, Schütz, and Scheidt were the primary figures involved in the restructuring of the music program at the Magdeburg cathedral in order to establish a musical tradition that was more in line with current Italian influence.44 In his capacity as a cantor in that city, Grimm would have worked extensively with the trio throughout this process.

Flight from Magdeburg

Though Magdeburg survived the first thirteen years of the Thirty Years’

War untouched, even managing to outlast a plague in 1625 and a lengthy siege in 1629, the city was almost completely destroyed in the Magdeburger

Bluthochzeit that began on May 10th, 1631.45 The city, which opposed the imperial Restitutionsedikt, was finally burned and ransacked by Count Tilly’s

Catholic troops.46 Grimm and his family only managed to flee with the aid of a

Jesuit priest.47 They found refuge briefly in Hamburg, where Grimm worked temporarily at the St. Catharinen Church. While there, he dedicated his now-lost

Probi patentia Jobi to the Hamburg City Council. In this anthology of two-voice

44 Synofzik, “Heinrich Grimm,” 3. 45 Reipsch, Heinrich Grimm, 8. 46 Lorenzen, “Der Cantor,” 28. 47 Reipsch, Heinrich Grimm, 8. 15 sacred concertos, Grimm named himself “Musicus olim Magdeburgensis, nunc exul.” in reference to his status as a refugee.48

Grimm’s tenure in Hamburg was brief, being unable to find a satisfactory long-term post. In order to acquire further employment, he turned to his university colleague Conradt Huhstedt, who was cantor at St. Martini Church in

Braunschweig. Huhstedt and Grimm remained close throughout their lives, and in the 1640s, Huhstedt was instrumental in the posthumous publication of some of Grimm’s works. Upon Grimm’s arrival in Braunschweig, he was well recognized and welcomed there by the court. A 1631 document from the ducal court accounts this cordial greeting:

Cantor Heinrich Grimm, an excellent contrapuntist who fled to Braunschweig after the destruction of Magdeburg, was given a friendly reception by Duke Friedrich Ulrich in Braunschweig.49

Braunschweig Period

During his first year in Braunschweig, Grimm held several transient positions. He was involved in work as both a freelance musician and composer for the churches of St. Michaelis and St. Martini, and he possibly held a temporary post as cantor at St. Katharinen Church.50 While Carter, Riepsch, and

Lorenzen all agree that Grimm was indeed employed in the office of cantor at both St. Katharinen and the Catharineum Gymnasium from Easter to Michaelis

48 Ibid., 9. 49 Lorenzen, “Der Cantor,” 28. “Cantore Heinrich Grimm, einem ausgezeichneten Contrapunktisten, der nach Magdeburgs Verwüstungen sich nach Braunschweig flüchtete, wurde vom Herzog Friedrich Ulrich eine freundliche Aufnahme in Braunschweig.” 50 Carter, “A Study,” 19. 16 163151, Riemer and Synofzik are skeptical. Riemer asserts that the cantorat at

St. Katharinen did not begin until 165052. Synofzik believes that Grimm only took part in the interview and audition process for the St. Katharinen cantorat, which took place between approximately April and September of 1631.53 Synofzik provides further circumstantial evidence, postulating that since there is no doubt that Grimm did freelance work at other churches, he could not have been employed full time at St. Katharinen. Furthermore, in a publication from that year

Grimm is named “gewesener Magdeburgische Musicus,” alluding to the fact that he had not as of that time found a permanent position.54 55

Regardless of the nature of his tenure at St. Katharinen, Grimm was no longer affiliated with that church by October of 1631. He continued to work on a freelance basis until Michaelis 1632, when he acquired a position at St. Andreas

Church. When the organist, Heinrich Matthaei, died in the autumn of that year,

Grimm took over the position, which he held until his death. According to church documents, his generous salary included accommodations in the Braunschweig

Altstadt.56

51 Michaelis, or the Feast of St. Michael, occurs at the end of September. The terminal date for this appointment is given as Michaelis 1632 by some sources. This must be a misunderstanding of source documents, which states that Grimm began his next post shortly after Michaelis 1632. Lorenzen, however, clarifies that Grimm was employed only on a freelance basis from Michaelis 1631 to Michaelis 1632. 52 Riemer, “Heinrich Grimm,” 182. 53 Synofzik, “Heinrich Grimm,” 5. 54 Ibid., 6. 55 The form of this post-nominal title is given as “Gewesenem Magdiburgischen Musico” on the title page of the motet. However, this is in the genative form, and the endings in both German and Latin must be altered slightly for the nominative form when taken out of context. 56 Lorenzen, “Der Cantor,” 31. 17 There has been some debate as to whether Grimm functioned only as organist at St. Andreas, or whether he held the position as cantor in conjunction with his organist duties; however, extensive archival research by Lorenzen tells us beyond a doubt that he was in fact only the organist. The confusion arises from a lack of explicit record keeping. While Grimm is clearly delineated as an organist on the church register, the document lists no cantor for this time period.57 The omission led scholars such as Riemer to believe that Grimm also held the position of cantor. This would have been highly unlikely for the time period, as most churches employed not one, but two cantors in addition to the organist.58 While Synofzik confirms Lorenzen’s conclusion, praising it as perhaps the single most important result of Lorenzen’s research, the myth of Grimm as cantor at St. Andreas still persists in many sources, most notably the New Grove

Dictionary of Music and Musicians.59

While Grimm was employed at St. Andreas, he maintained an active professional life, which consisted of composing, teaching, and performing some administrative duties. From 1632 to 1636, the organ at St. Andreas underwent extensive renovations under Grimm’s supervision. These were funded in large part by the Braunschweig City Council, which supported many such projects in other Braunschweig churches during this period.60 Grimm also taught

57 Ibid., 34. 58 For a description of the duties of both the Figuralcantor and Choralcantor, see note 25. 59 Wilkens and Downey, “Heinrich Grimm,” 424. 60 Lorenzen, “Der Cantor,” 36. The organ in St. Martini Church, built in 1631, is still extant and in use. 18 several students in music theory and composition, the two most notable being

Konrad Matthaei, the son of Grimm’s predecessor as organist at St. Andreas61 and who was to become cantor in Königsberg in 165362, and Otto Gibel, who became cantor in Minden in 1642.63 Both of these composer-theorists mentioned their studies with Grimm and the influences of his treatises in their own theoretical writings.64 Grimm also published two substantial collections during these years. His Sacer septenarius musicus primus, which has since been lost, was published in Leipzig in 1635; this collection consisted of seven spiritual concertos for up to seven voices and generalbass. Similarly, his 1636 publication Prodomus Musicae Ecclesiasticae contains twelve concertos for two voices and generalbass.65

In 1634, Grimm made one final attempt to obtain a position as cantor.

Upon the death of Duke Friedrich Ulrich, Grimm dedicated his monochord treatise, Instrumentum Instrumentorum, hoc est, Monochordum vel potius

Decachordum, to the duke’s successor, August the Younger. While the dedicated manuscript may in fact have been produced in 1634, evidence suggests that the treatise was actually written during Grimm’s Magdeburg period.

The decachord mentioned in the title is an instrument constructed by Grimm, who

61 Synofzik, “Heinrich Grimm,” 6. 62 Ibid., 8. 63 George Buelow, “Gibel, Otto,” The New Grove Dictionary of Music and Musicians 9 (New York: Macmillan, 2001): 840. 64 Carter, “A Study,” 19. 65 Reipsch, Heinrich Grimm, 10. 19 believed it to be better suited than the monochord for training in music theory.66

This pedagogical tool, which measures 81 cm long by 8 cm wide by 6.5 cm tall, is now housed in the Städitische Museum Braunschweig. A detailed report from

1928 gives the following description:

[An] elongated square box of fir wood with stained maple and ebony designs on the side. A sound hole in the shape of a rosette is on the top of the resonance chamber. The instrument is strung with ten strings, and on nine the pitch can be changed by sliding lateral screws fitted with wood blocks (bars) and small brass bridges. Instructions for [creating] different moods have been given with geometric shapes, numbers, and Latin names.67

In the accompanying treatise, Grimm cites copiously from the works of Guido d’Arezzo, Michael Praetorius, Seth Calvisius, and Johannes Lippius. In fact, the exemplar dedicated to Duke August the Younger is bound together with a copy of

Lippius’s Synopsis musicae novae.68 Ultimately, Grimm was unsuccessful at obtaining further employment with the ducal court, and he continued in his post at

St. Andreas until his death.

Although, following his flight from Magdeburg Grimm never again held a permanent post as cantor, nevertheless by the mid 1630s he was finally recovering personally and professionally. Indeed his reputation was once again growing at a rapid pace. However, this positive turn in direction was not to last.

66 Carter, “A Study,” 19-20. 67 Lorenzen, “Der Cantor,” 26. “Länglicher Vierkantkasten aus Tannenholz, an den Seitenflächen mit gebeiztem Ahorn- und Ebenholz ausgelegt. Auf der Decke des Resonanzkörpers ein Schalloch in Rosettenform. Das Instrument ist mit zehn Saiten 'bespannt, neun von ihnen können durch verschiebbare mit seitlichen Schrauben versehene Holzblöcke (Stege) mit kleinen Messingstegen in ihrer Tonhöhe verändert werden. Hinweise für verschiedene Stimmungen sind mit geometrischen Figuren, Zahlen und lateinischen Bezeichnungen gegeben worden.” 68 Ibid., 25. 20 In the summer of 1636, Grimm’s wife Martha died suddenly, and she was buried on August 4th. Grimm never completely overcame this loss, and he grew ill the following year. He resigned his post as organist at St. Andreas in the spring of

1637, and died on July 10th of that year. He was buried next to his wife in the cemetery of the St. Petri Church in Braunschweig on July 12th.69

Legacy

Grimm’s legacy lived on not only in his students Gibel and Matthaei, but also in his son Michael, who succeeded Delphin Strungk and Melchoir Woltmann as court organist under Duke Friedrich in Celle in 1642.70 In 1643, Michael published his father’s Vestibulum Hortuli Harmonici sacri, Hoc est: Fasciculus

Triciniorum Sacrorum, a collection of twelve spiritual concertos for two voices and generalbass.71 Michael had promised to publish this work shortly after his father’s death. In the preface, he includes a heartfelt plea for forgiveness for the delay in publication. The collection is dedicated to the Braunschweig City

Council, with whom Grimm had worked during his post as organist at St.

Andreas.72

While the name Heinrich Grimm is no longer widely recognized, many scholars and musicians knew of him up through the nineteenth century. His name appears in many important eighteenth-century sources. In Das beschützte

69 Ibid., 41. 70 Ibid., 8. 71 Waczkat, “Grimm, Heinrich,” 47. 72 Riemer, “Heinrich Grimm,” 182. 21 Orchestre from 1717, Johann Mattheson speaks of Grimm as a “famed musician and composer of his time” and accounts him as one of the most important teachers of solmization in the seventeenth century.73 His name also appears in eighteenth-century lexica by Johann Gottfried Walther, Ernst Ludwig Gerber, and

Johann Nicolaus Forkel, nineteenth-century lexica by Moritz Fürstenau, and

Friedrich Rochlitz, and Robert Eitner’s lexicon from the turn of the twentieth century.74 Perhaps the most intriguing evidence of Grimm’s disappearance from the canon of nineteenth-century editions is found in Hugo Riemann’s Musik-

Lexicon. While Grimm is given a substantial entry in the earliest versions, he begins to vanish from twentieth-century revisions. As late as the 1959 edition, he is given a third of a page, but thirteen years later only his birth and death dates are given, and by 1978 he has completely vanished.

It was not only the academics of subsequent generations who remembered Grimm. Carl Ferdinand Becker, who was a Gewandhaus Orchestra violinist, an organ professor at the Leipzig Conservatory, and a colleague of Felix

Mendelssohn, saw such value in Grimm’s Missae aliquot that he published a complete setting in the mid-nineteenth century.75 Yet, for more than a hundred years after this none of Grimm’s works were widely available, and it was not until the middle of the twentieth century that a small revival in Grimm studies began.

Had Count Tilly not been so thorough in his destruction of Magdeburg in 1631,

73 Lorenzen, “Der Cantor,” 23. 74 Reipsch, Heinrich Grimm, 14-15. 75 Ibid., 15. 22 perhaps Heinrich Grimm would still be remembered along with names such as

Praetorius, Schütz, Schein, and Scheidt as a prototype of the seventeenth- century German cantor, composer, and theorist.76

76 Ibid., 11. 23 CHAPTER 3

THE MOTET

Genesis of the Motet

The topic of this study, Heinrich Grimm’s motet, Unser Leben wehret siebenzig Jahr’, was almost certainly composed for the funeral service of an honored Braunschweig City Council member, as evidenced by the dedication that appears on the title page of the motet.77 However, because there is no known extant manuscript, an exact date of composition is not ascertainable.

Thomas Synofzik’s catalog of existing Grimm manuscripts is as exhaustive as modern scholarship allows, and he lists no exemplar for this motet.78

Furthermore, the motet does not appear at all in RISM A/II. The following information suggests, however, that Grimm composed the motet during

November 1631.

As mentioned in Chapter 2, Grimm was working as a musician and composer on a freelance basis for St. Martini Church in Braunschweig during the latter half of 1631 and first half of 1632.79 On November 4th, 1631, the highly-

77 Heinrich Grimm, Christliches leicht Gesänglein: Unser Leben wehret siebenzig Jahr’ (Celle: Eliam Holwein, 1637). 78 Synofzik, “Heinrich Grimm,” 397. 79 see pp. 16-17 24 esteemed City Council member Johann von Ussler died, and his funeral and burial services were conducted in St. Martini’s twelve days later.80 The funeral motet was composed to accompany the Leichenpredigt, which was written and delivered by church superintendent Daniel Mönchmeyer. However, neither the motet nor the funeral sermon was published until 1637.

Somewhat unusually, the two items were published separately.81 While the sermon itself was published in a collected edition of sermons, the motet seems to have been published as a single and complete entity. Both were published by Eliam Holwein in Celle, which at that time was the residential city of the Lüneburg-Celle line of the Dukes of Braunschweig-Lüneburg. Although the spelling of the deceased’s name differs—appearing with no regularity as Ussler,

Ußler, Usler, and Uslar—details of his life and death consistent between the two printings establish beyond doubt that their subject is the same individual.

Wolfenbüttel Exemplar

The exemplar from which I have transcribed the motet in question is housed in the Herzog August Bibliothek in Wolfenbüttel. During that time,

Wolfenbüttel was the residential city of the Braunschweig-Wolfenbüttel line of the

Dukes of Braunschweig-Lüneburg. The ducal library there remains one of the

80 Daniel Mönchmeyer, Christlicher Leichsermon für Iohann von Uslar (Celle: Eliam Holwein, 1637), 1. 81 Leichenpredigt were only published if the subject was extremely important, or if the family paid the printing fee. It was not uncommon for only the sermon (i.e., not the accompanying music) to be published. However, if a composition was published, it was most commonly printed together with the Leichenpredigt. 25 most outstanding collections of printed and manuscript works from the Early

Modern Period from a variety of disciplines. The library signature of the motet,

89.3 Quodl. 2º (6), indicates that the composition is the sixth entry in a volume of subsequently rebound works. Librarians and bookbinders of the time created such post-printing compilations for efficiency of space, often placing many items with disparate topics next to each other simply because they were the same size.

Of the other items in this binding, only the third, fourth, and fifth ones concern music. The five items are: 1) a philosophical thesaurus and treatise by Georg

Fabrici published in Braunschweig in 1624; 2) a history of Italian viticulture by

Andrea Bacci published in Rome in 1596; 3) a music treatise by Marco Scacchio published in Venice in 1643; 4) the St. Matthew Passion by Johann Walther published in Nürnberg in 1570; and 5) a collection of thirty-six fugues by Johann

Klemm published in Dresden in 1631.

Printing and Construction

The title page of the motet contains much valuable information about the composition. In addition to the details of von Ussler’s life and the publication of the motet, it presents the details of the composer and motet itself. The name of the composer is given in the Latinized form “Heinrico Grimmio” with the post- nominal “gewesener Magdeburgische Musicus,” thus hinting at the composer’s exodus from that city in the same year as the composition of the motet. The complete title is “Christliches Leich Gesänglein, oder das denckwürdige

26 Sprüchlein Moysis. Unser Leben wehret Siebenzig Jahr, zc. Aus dem 90. Psalm

Davids genommen,” or “Easy Christian Song, or the memorable proverb of

Moses. Our Life Endureth Seventy Years, etc. Taken from the 90th Psalm of

David.”

Following the title page are the individual voice parts, each on a single page. At the top of each page, a similar inscription is given: “Ab 8.v. H.Gr. Chori superioris Cantus.” The order of the voices is somewhat perplexing. The part of the Bassus superioris is printed on the reverse side of the title page, and the voice parts are printed so that two voices face each other, followed by two blank pages. Thus, the pairings are: 1) Bassus superioris and Cantus superioris; 2)

Bassus inferioris and Altus inferioris; 3) Altus superioris and Tenor superioris; and 4) Cantus inferioris and Tenor inferioris. With the exception of the title page and Bassus superioris, no item is printed on the back of another.

It is difficult to say whether or not the order of voices is significant.

Because of the rebinding, it is not entirely possible to establish in what order the voices were originally presented. However, without deconstructing the binding for further inspection, it appears the current binding remains true to the original state. Furthermore, the librarians and bookbinders were methodical in their work, and would have had no reason to alter the order of voices. If the current binding reflects the original state, then a possible explanation for the ordering of voices exists in the opening measures of the motet. When examining the pairings, each set contains at least one voice (or, in the case of the first pairing, both voices)

27 that enters with the initial point of imitation, an ascending triad F-A-C. Though the significance does not extend past the opening polyphonic statement of the motet, this seems the most likely explanation for the peculiar ordering.

As was common practice beginning in the mid-sixteenth centry, the edition was printed using single-impression movable type engraved with musical notation.82 This facilitated the simultaneous printing of staff lines, clefs, notes, accidentals, custos, and other symbols. This method of printing allowed for precise placement of items, though it required an incredible number of printing tiles to accommodate every different note value or symbol on each line. I have not been able to discern if the text and musical notation were printed simultaneously. The text is laid with close, though not exact, approximation to where it falls musically. The symbol, “ij,” indicates repetitions of portions of text.

Following the usual practice, the first letter of psalm text, “U,” is enlarged and embellished at the top of each voice part.

Modernization of Notation

My purpose in creating a modern edition was two-fold: to create a score for analytical study, and to create an edition performable by present day musicians. In order to achieve both of these ends, I have made several carefully

82 Daniel Heartz and Laurent Guillo, “Attaingnant, Pierre” The New Grove Dictionary of Music and Musicians 2 (New York: Macmillan, 2001): 147. French printer Pierre Attaingnat was most likely the first to use the single-impression technique, which surpassed the double- and triple-impression technique of Petrucci in both accuracy and cost efficiency. Following its inception in the late 1520s, the technique gained rapid popularity and was in use for over two hundred years. 28 calculated alterations to the original notation. The most necessary such alteration was the modernization of clefs. As was typical until the mid-nineteenth century, Grimm used a diverse range of C, F, and G clefs in order to best suit the ambitus of each voice; the Chori superioris used high clefs, while the Chori inferioris used low clefs. I have edited these in order to coincide with modern printing practice. The clefs, both original and substituted, as well as the ambitus of each voice are as follows:

-Cantus superioris: G2 Unchanged G2 f’-g’’ -Altus superioris: C1 Replaced with G2 e’-g’’ -Tenor superioris: C2 Replaced with G2 8vb d-c’’ -Bassus superioris: F3 Replaced with F4 Bb-f’

-Cantus inferioris: C3 Replaced with G2 g-bb’ -Altus inferioris: C4 Replaced with G2 c-f’ -Tenor inferioris: C4 Replaced with G2 8vb c-f’ -Bassus inferioris: F4 Unchanged F4 F-c’

With the exception of the addition of bar lines, of which there were none originally, the printed rhythmic notation required no adjustment. The time signature given is that of tempus imperfectus, and is notated with the symbol C.

The semibreve and not the breve receives the tactus. While this is not unusual for the time, Grimm differs significantly from his teacher in this regard, as

Praetorius typically uses longer note values as the basic rhythmic pulse.83

Therefore, I have used no rhythmic reduction in my transcription of the motet, maintaining Grimm’s original notation. In examining Grimm’s other works, I have been able to determine that he generally uses this practice for all of his settings

83 Praetorius, Michael, Musae sioniae, 9 vols. (Regenspurg: Bartholomäus Gräf,1605- 1610). Longer note values are most notably used by Grimm’s teacher, Praetorius. 29 in tempus imperfectus; however, when he uses tempus perfectus, there is a shift in pulse to the breve, and a 2:1 rhythmic reduction is needed in order to maintain fluid rhythmic values. Because I have transcribed the included musical examples of other composers from modern editions, I have not altered the printed notation.

Thus, in these examples varied clefs are present, and a 2:1 rhythmic reduction must be inferred for some of the examples in order to relate said examples to

Grimm’s motet. Please also observe that, in these examples, the pitch levels reflect modern editions and not original prints.84

Interpretation and Correction of Errata

As with most early seventeenth-century printed editions, there are several inaccuracies in the type setting. It was common for these mistakes to be enumerated and corrected following the completion of the work under the heading “Errata sic corrige,” or “Errors, thus corrections.” The collection of fugues that precedes Grimm’s motet in the current binding includes such an addendum; however, there is no such entry following the composition in question. These occur in both musical notation and text underlay. I have rectified these mistakes in my transcription, using careful judgment, and at times a little imagination. The following list denotes those alterations. Note that I use modern measure numbers, and that numbers following decimal points refer to

84 Heinrich Schütz, Musicalia ad Chorum sacrum, Das ist: Geistliche Chor-Music (Dresden: Johann Klemmens, 1648). This is most notably an issue in modern editions of Schütz’s works, where transposition often occurs to accommodate modern vocal ranges. 30 beats within the measure. Thus, 54.4 is the fourth quarter-note (semiminim) in m. 54, and 89.15 is the second eighth-note (fusa) in m. 89:

Mistakes in Musical Notation: -m. 54.4, Tenor superioris: minim changed to semiminim -m. 55, Bassus superioris: printed line is A-Bb-A, but must contrapuntally be A-Bb-C -m. 84.1, Bassus superioris: one semiminim rest inserted -m. 89.15, Tenor inferioris: semifusa changed to a fusa -m. 93.3, Bassus inferioris: one semiminim rest removed -m. 98.4, Altus superioris: fusa changed to dotted fusa -m. 100.3, Tenor inferioris: fusa changed to dotted fusa -m. 101.3, Cantus superioris: fusa changed to dotted fusa -m. 101.3, Cantus superioris: fusa changed to dotted fusa -m. 101.1, Altus superioris: dotted semifusa changed to dotted fusa -m. 101.3, Altus superioris: dotted semiminim changed from E to F -m. 105, Tutti: the final note given in the printed edition is a long. As this seems excessive in a modern edition, I have shortened this to a breve.

Mistakes in Text Underlay: -m. 79.4, Altus superioris: inserted extra word, “schnell” -m. 83.15-83.2, Tenor superioris: inserted extra word, “dahin”* -m. 84.15-84.2, Tenor inferioris: inserted extra word, “dahin”* -m. 85-15-85.2, Tenor superioris: inserted extra word, “dahin”* -m. 90, Bassus superioris: inserted extra phrase, “als flögen wir davon” where there were no repeat marks

Concerning the three changes marked with an asterisk (*): There remains a large question as to whether or not these changes are necessary. The additional word does not appear in either voice, and both voices contain identical repetitions of an antiphonal-homophonic statement. I have opted to include the addition here, though others might not. Inserting the word avoids the creation of a melisma on the final syllable of “dahin.” This portion of music is entirely syllabic, and the melisma would be stylistically uncharacteristic. I believe this to

31 be the only questionable alteration in my transcription, and I deem the license that I have taken to be appropriate and excusable.

Relationships Between Poetic and Musical Form

The text for the motet, which is also that of the funeral sermon, comes from the prayer to Moses in Psalm 90. Though this cannot be definitively stated, it is reasonable to presume that the text was chosen by Mönchmeyer and given to Grimm to set musically. While the verse number is not given on the title page of the motet, it is listed as Psalm 90:11 on the first page of the Leichenpredigt.

However, one must be careful to note that the practice of numbering verses differed somewhat in early seventeenth-century Germany. In some printings of the bible during this period, the heading of each chapter was listed as the first verse, and the text proper began with verse two. Mönchmeyer must have been working with a bible that was printed with this practice. Modern editions of the

Luther Bible now list the text of the motet as Psalm 90:10. At any rate, both the motet and sermon give the text, and begin with the words “Unser Leben…”

There is, however, one significant difference between the text that appears in the sermon and that which appears in the motet, and this difference has serious repercussions for our understanding of Grimm’s composition. While the text given in the sermon is partial, consisting of only the first two-thirds of the verse, the motet sets the complete text of the verse. There are many possible explanations for this discrepancy ranging in the significance of their implications:

32 perhaps it was simple miscommunication between Mönchmeyer and Grimm, or perhaps Grimm saw compositional value in setting the whole verse. Regardless of the reason for textual divergence, when examining the motet we must regard it from Grimm’s point of view—as complete.

Psalm 90:10 as it appears in the motet consists of four sentences, which divide neatly into six lines of text. When one examines the poetic form from a broader perspective, three couplets emerge. The themes of each of these line pairings can be summarized as follows: the duration of life, an acknowledgement of life’s joys and sorrows, and the temporal nature of earthly existence. Grimm mirrors this poetic meta-structure in the musical form, setting the text in three large parts (corresponding to couplets), each with two sections (corresponding to individual lines). The poetic similarities between the first and third couplets, which both concern time, provide opportunities for Grimm to create cyclical characteristics within the music.

The three part musical form of the motet aligns perfectly with ideas concerning musical rhetoric, or the relationship between music and text, at the end of the Renaissance and beginning of the Baroque period. The term Musica poetica (concerning the study of musical composition) was first used by Nikolaus

Listenius in the middle of the sixteenth century as an alternative to the Boethian duality of Musica theoretica (concerning music theory) and Musica practica

(concerning musical performance). In 1563, Gallus Dressler published his treatise Praecepta musicae poetica, in which he established the compositional

33 practice of organizing compositional form into three parts, exordium, medium, and finis, corresponding to the beginning, middle, and end of a composition.85 It is important to note that Dressler held the position of cantor at the Gymnasium in

Magdeburg, the exact position that Grimm held a few generations later.86 In my analysis of Grimm’s motet, I have followed Dressler’s rhetorical construction, assigning Part I to the exordium, Part II to the medium, and Part III to the finis.

The following figure illustrates the musical form of Grimm’s motet as it relates to the poetic form of the verse and the common music-rhetorical practice of the time.

mm. 1-35 Part I (exordium) mm. 1-21 A Unser Leben wehret siebenzig Jahr’. mm. 21-35 B Wenn’s hoch kömpt, so sind’s achtzig Jahr’. mm. 36-75 Part II (medium) mm. 36-48 C Und wenn’s köstlich gewesen ist, mm. 48-75 D so ist es Müh’ und Arbeit gewesen. mm. 76-106 Part III (finis) mm. 76-86 E Denn es fehret schnell dahin, mm. 86-106 F als flögen wir davon.

Modal Definition

As a final pre-analytical point of inquiry, I would like to establish the mode of Grimm’s motet as it would have been understood by composers and theorists in the early seventeenth century. The process of ascertaining mode from the

Renaissance perspective consists of two parts: finding the ambitus of each voice

85 Blake Wilson, “Rhetoric and Music,” The New Grove Dictionary of Music and Musicians 21 (New York: Macmillan, 2001): 261. 86 Walter Blankenburg and Clytus Gottwald, “Dressler, Gallus,” The New Grove Dictionary of Music and Musicians 7 (New York: Macmillan, 2001): 588.

34 (listed above), and locating the final tenorizans cadential pattern. The final authentic cadence in the motet on F, which is the opening and closing sonority of the composition, occurs at m. 97. The tenorizans pattern, with motion from 2-1 occurs in the Cantus superioris. The ambitus of that voice, f’-g’’, is almost a perfect octave between two Fs, confirming that this is in an F mode.87 The final consideration in determining mode is the signature, here with a Bb.

While the tenorizans pattern was the primary method for establishing mode throughout the Renaissance period, the Baroque period saw the emergence of a new process. Christoph Bernhard, who was perhaps the most notable of Schütz’s students, believed that mode was established by melodic means at the outset of a composition. This was achieved through idiomatic use of a mode’s defining intervals, namely the placement of the half-step within the species of the fifth and fourth. Following the opening portion of a composition, composers were free to wander from the proper bounds of modal definition. In other words, the melodic lines and ambituses of the opening measures rather than the final cadence determined mode.88 If we examine the opening measures of Unser Leben wehret siebenzig Jahr’, perhaps through the initial polyphonic portion (mm. 1-11), we find that the primary motion outlines either a fifth or a fourth, and other motion places the half-step within those intervals. These measures also utilize a much more focused set of ambituses:

87 Thomas Bernick, “Modal Digressions in the ‘Musicalische Exequien’ of Heinrich Schütz,” Music Theory Spectrum 4, (Spring 1982): 54. According to Zarlino, the ambitus of an octave plus a tone was close enough for classification of an octave species and mode. 88 Ibid., 52. 35 -Cantus superioris f’-f’’ -Altus superioris f’-f’’ -Tenor superioris c’-f’ -Bassus superioris Bb-c’

-Cantus inferioris bb-f’ -Altus inferioris f-f’ -Tenor inferioris f-d’ -Bassus inferioris F-f

-Combined F-f’’

Regardless of which method is used, Renaissance or Baroque, the result is the same: the motet is an F piece with a Bb signature. There are two possibilities for the modal classification of such a composition: it could either be a lydian piece with a Bb (this had been standard throughout much of the

Renaissance89), or it could be once-transposed ionian. Heinrich Glarean addresses this issue of duplicity in his forward-thinking treatise, Dodecachordon, published in 1547. He believed that it was inconsistent for some modes to be pure, and some to have alterations, the Bb in lydian for example.90 Following the publication of his treatise, the rigidity of modal classification as belonging to a specific octave species began to relax, and transposition became more widely accepted. For that reason, I believe that Grimm’s motet is best classified as belonging to the ionian mode.

89 Judd, “Pre-Baroque Analysis,” 202. Josquin’s fifteenth-century motet Ave Maria…virgo serena contains a Bb in the signature, but is listed as Mode VI, or hypolydian, because its composition predates the convention of transposed ionian. 90 Joel Lester, Between Modes and Keys: German Theory 1592-1802, Harmonologica Series 3 (Stuyvesant, New York: Pendragon, 1989), 2-3.

36

CHAPTER 4

THE EXORDIUM

Part I

Part I (mm. 1-35), or the exordium, of Grimm’s motet is composed of two distinct sections, mm. 1-21 and mm. 21-35. Grimm uses this two-section organization in each of the three parts of the motet. While there does seem to be a break within the first section, which would indicate a three-section organization for the exordium, my analysis shows that Grimm’s contrapuntal writing does not support this aural impression. These two sections set the first of the three couplets in the motet. The first section is a setting of the first line of text, “Unser

Leben wehret siebenzig Jahr’.” The repetition of the first two words of text,

“Unser Leben,” gives the motet the above-mentioned three-section appearance.

The second section sets the second line of text, “wenn’s hoch kömpt, so sind’s achtzig Jahr’.”

While there are only two distinct sections, the apparent division in m. 11 allows Grimm to create a cyclical structure, with the beginning and ending portions of Part I sharing many similarities. The purpose of the exordium is to establish musical arguments that will be addressed in the course of a motet.

37 One of the so called arguments established here is of cyclical formal construction; just as there are compositional parallels between mm. 1-11 and mm. 21-35, there are also parallels between Parts I and III at a larger formal level.

Section A

The beginning of the motet is characterized by a sweeping, lyrical style, with a unified-polyphonic texture and imitation in five of the eight voices in the ensemble. The voices containing imitation are, in order: Bassus superioris,

Altus superioris, Cantus superioris, Altus inferioris, and Tenor inferioris. While imitative entries were perhaps the most common texture at the beginning of motets from the time period, Grimm uses an interesting mixture of imitative and free polyphony (Figure 4.1).91 The imitated pattern consists of two portions, head and tail. The first portion presents a simple ascending arpeggio, F-A-C, on the primary triad of the mode. The imitation then concludes with a descending stepwise line from C back down to the starting F, or alternatively with a turn to A as the third of the F major harmony. The first four imitative voices contain both portions of the pattern, but the final entry in the Tenor inferioris continues with adjustments in m. 5 following the ascending triad, allowing the prolonged harmony to move to Bb.

91 Grimm, Unser Leben. 38 Figure 4.1: Grimm, Unser Leben, mm. 1-6.

Although the remaining three voices do not participate in the opening imitation, their rhythms are similar to the other voices, and their melodic contours complement the imitation. The Tenor superioris and Cantus inferioris enter with a leap ascending from C to F. The combination of the two opening ideas, ascending triad and ascending fourth, creates a complete arpeggio of the primary triad of the mode—an introductory gesture of sorts. The Bassus inferioris, which functions as the harmonic foundation for the opening of the motet, begins with three repeated Fs in a rhythm that is similar to the other seven voices. The repetition rather than arpeggiation allows for motion from the prolonged F

39 sonority to Bb, because the Bassus inferioris descends not from C to F, but from

F to Bb.

Grimm’s imitation bears a striking, if not exact, resemblance to the motets of the sixteenth century, as imitation was perhaps the most common technique used to begin motets in the Renaissance. In his Cantiones sacrae, Hans Leo

Hassler begins his eight-voice motets with one of two textural settings. He either begins with alternating antiphonal-homophonic statements, or he completes a point of imitation in one choir before the other choir enters with a homophonic statement. While it should be noted that in his works for seven or fewer voices he often begins with a point of imitation in all voices, he does not extend the point of imitation to a full complement of eight voices. The vital difference between his technique and Grimm’s is that when Hassler begins with imitation, all voices in an ensemble—one choir in a double-choir work constitutes an ensemble— participate in that imitation. He does not begin, as Grimm does here, with a mixture of imitative and free polyphony. An example of Hassler’s technique appears in his motet, Nos autem populis ejus (Figure 4.2).92 In this example, the

Chori superioris begins with a polyphonic phrase that is completed in m. 6 with an imperfect cadence. The Altus superioris and Tenor superioris contain the imperfect tenorizans pattern and cantizans pattern respectively, and the

92 Hans Leo Hassler, “Nos autem populus ejus” in Sämtliche Werke: Cantiones sacrae, vol. 1, edited by C. Russell Crosby, Jr. (Wiesbaden: Breitkopf & Härtel, 1961), 115. 40 cantizans pattern, which is placed below the tenorizans pattern, is decorated with a 4-3 suspension typical of the Renaissance period.93

Figure 4.2: Hassler, Nos autem populus ejus, mm. 1-6.

I think it would be prudent at this point to discuss the cadence in terms of

Renaissance practice. The most extensive explanation of the Renaissance cadence is found in Gioseffo Zarlino’s treatise, Le istitutioni harmoniche, Part III, which has been translated by Guy Marco and Claude Palisca as The Art of

Counterpoint. In Chapter 53, Zarlino gives three types of cadence: perfect, imperfect, and evaded. The perfect cadence involves contrary motion from the third to the unison or from the sixth to the octave.94 The imperfect cadence (also referred to as the improper cadence) involves contrary motion to the third, fifth, or

93 The cantizans pattern is the ascending motion 7-1, which is usually by half-setp. The tenorizans pattern is the corresponding descending motion 2-1. An imperfect tenorizans pattern moves 2-3 to the third of the cadential sonority. 94 Gioseffo Zarlino, The Art of Counterpoint: Part Three of Le Istitutioni harmoniche, 1558, trans. Guy Marco and Claude Palisca (New York: W. W. Norton & Company, Inc., 1976), 142. 41 other consonance.95 The evaded cadence is one that appears to be moving like a perfect cadence to the unison or octave, but one voice turns in the opposite direction at the last moment.96 Zarlino does not use the terms “cantizans,”

“tenorizans,” or “bassizans,” as earlier theorists. However, the term “imperfect tenorizans” has been adopted to refer to the turn in this pattern that occurs in the imperfect cadence as described by Zarlino. It is vital to note that, in Renaissance practice as outlined by Zarlino, there is no plagal cadence. However, terminal harmonic motion with a descending fourth or ascending fifth in the lowest voice is certainly common. Therefore I refer to these types of endings as “plagal endings” and not “plagal cadences.”

In Unser Leben wehret siebenzig Jahr’, Grimm balances the leaps of the arpeggiated gesture with stepwise motion, which generally proceeds in the opposite direction. There is a correlation between the type of motion and rhythm; the composer sets leaping or repeating patterns with longer note values, while notes in stepwise motion are given shorter duration. This not only increases the sense of balance in the opening, but it also creates a propelling force toward the ends of melodic ideas, thus intensifying the sweeping nature of the opening measures. A similar practice appears in Praetorius’s motet, Lob, Her sei Gott im höchsten Thron, mm. 50-54 (Figure 4.3).97 Praetorius was working on his enormous compendium, Musae sioniae, in 1607 while Grimm was a student of

95 Ibid., 142, 150. 96 Ibid., 151. 97 Michael Praetorius, “Lob, Ehr sei Gott im höchsten Thron” in Gesamtausgabe der musikalischen Werke von Michael Praetorius, vol. 4, edited by Friedrich Blume (Wolfenbüttel: Georg Kallmeyer Verlag, 1933), 22. 42 his, and this motet comes from the fourth volume of that collection. The Bassus inferioris in this example carefully balances leaping motion with stepwise lines, and the fusa rhythm in m. 53 propels the voice toward the Bassizans pattern of the cadence.98 The cantizans pattern with a 4-3 suspension is in the Cantus inferioris, and the tenorizans pattern with a 7-6 suspension is in the Tenor inferioris.

Figure 4.3: Praetorius, Lob, Her sei Gott im höchsten Thron, mm. 50-54.

I describe the opening measures of Unser Leben wehret siebenzig Jahr’ as sweeping, and while that word may conjure images of turmoil and distress, the beginning is harmonically stable—the first five measures contain only F major sonorities. Additionally, there is a constant F sounding in the lowest voice until the Bassus inferioris begins a stepwise descent in m. 5. Harmonic calm is further promulgated by the use of only two harmonies, F and Bb, in this

98 Bassizans refers to the descending fifth, or ascending fourth, motion from the root of the penultimate sonority to the root of the ultimate sonority in a cadence. 43 polyphonic portion. These two sonorities share the tone F, the final of the mode, which is sustained by the Tenor superioris throughout most of mm. 1-11. To create added tranquility, Grimm uses only unaccented passing tones as dissonances, employing no accented dissonances or other linear features in the first eleven measures. The vertical combination of voices in stepwise motion creates several instances of parallel perfect consonances—thirds, sixths, and tenths. The prolongation of a single sonority, here F or Bb, with this type of motion was a common feature in Renaissance music beginning in the fifteenth century stemming from the compositional practice of fauxbourdon.99 The passage from mm. 1-11 has numerous instances of this technique. Several examples and the sonorities prolonged within them are: mm. 3-4 in the Cantus and Altus superioris (F), mm. 4-5 in the Altus and Bassus inferioris (F), mm. 6-7 in the Cantus and Tenor superioris (Bb), mm. 8-9 in the Altus superioris and

Cantus inferioris (Bb).

Grimm sets “Unser” syllabically and “Leben” melismatically here. While the first word of the text is set in a relatively simple manner, the second word winds up and down with convoluted and often unpredictable motion. By emphasizing the second word, the composer is drawing attention to the very long life—eighty-four years—of the motet’s dedicatee, Johann von Ussler. The melismatic figure conforms to the definition of the Baroque figure circulatio as it is perhaps best described by Grimm’s contemporary Athanasius Kircher in his

99 Brian Trowell, “Fauxbourdon,” The New Grove Dictionary of Music and Musicians 8 (New York: Macmillan, 2001): 618-619. 44 treatise, Musurgia universalis. 100 While the figure is used in its purest form to depict literal circles in the text, many composers used it to express the idea of completion. Grimm uses it here to express the idea of a fulfilled life that is to be celebrated and exalted. Grimm is considerably more selective than his teacher in the application of melismas. In the first line of Praetorius’s aforementioned motet, Mensch wilt du leben seliglich, every word is set melismatically at one or other point during the exordium.101 Clearly this compositional technique does not serve the same purpose in the Praetorius motet as it does in Grimm’s motet.

There are two curious palindromes in the opening imitative portion, one harmonic and one melodic (Figure 4.4).102 After five measures of an F major sonority, Grimm alternates between Bb and F. This creates a pattern of five chords, with F in the middle, F-Bb-F-Bb-F. The melodic motion of the Bassus inferioris complements this harmonic palindrome. Following a repetition of three

Fs, the lowest voice in the ensemble descends stepwise to Bb. It then leaps down to F, which serves as the pivotal tone in the palindrome, and a leap back up to Bb. Finally, it ascends stepwise up to F to finish where it began. These harmonic and melodic palindromes create on a miniscule level the same cyclical structure that is present within the larger formal constructions of the motet.

100 Dietrich Bartel, Handbuch der musikalischen Figurenlehre (Freiburg: Laaber-Verlag, 1985), 119. “Kyklosis oder circulatio ist eine musikalische Periode, in der die Stimmen sich kreisartig zu bewegen scheinen. Sie dient dazu, eine kreisende Bewegung im Text auszudrücken, wie Philippe de Monte es zum folgenden Text macht: “Ich werde mich erheben und die Stadt umzingeln”.” 101 Michael Praetorius, “Mensch wilt du leben seliglich” in Gesamtausgabe der musikalischen Werke von Michael Praetorius, vol. 4, edited by Friedrich Blume (Wolfenbüttel: Georg Kallmeyer Verlag, 1933), 41. 102 Grimm, Unser Leben. 45 Figure 4.4: Grimm, Unser Leben, mm. 1-11.

As mentioned previously, the aural effect of an apparent plagal ending in m. 11 is incongruous with contrapuntal implications. While it is possible to infer a break at this point when solely using the ear, such a distinction is contradicted by the writing in the Chori inferioris. Although there is motion at m. 11 that could be classified as plagal, the continuation in the Altus inferioris and Tenor inferioris, as well as the misalignment of the final syllable in the Bassus inferioris undermine a strong sense of repose, thus overriding any possibility of plagal motion as an ending of the section. In order for this to be considered a true formal dividing point in the Late Renaissance and Early Baroque periods, all sounding voices— whether all eight voices, one choir, or some combination of voices between choirs—must conclude with the final syllable of text at either the cadence or the plagal ending. Such is not the case here, as three of the voices do not conclude textually at m. 11, and two of those voices do not conclude melodically. Only the

46 upper five voices conclude both textually and melodically at this point, and the necessary falling fourth root movement is not present in any of those voices.

Although contrapuntal indications rule out the possibility of that the section has concluded at m. 11, there is still a change at this point that is discernable by both the ear listening to the music, and the eye examining the score. If this is not the end of a section, how then should the shift that appears here be understood?

Section A is best conceptualized as consisting of two sub-sections that are not demarcated by either a cadence or a plagal ending. The section begins with a partial point of imitation in a unified-polyphonic texture, and it concludes with an antiphonal-homophonic extension. This type of homophonic writing emerged only during the last fifty years or so of the Renaissance period in the works of more progressive composers such as Lasso, Hassler, and Andrea Gabrieli. An early example of this type of texture occurs in Gabrieli’s motet, Cor meum conturbatum est in me (Figure 4.5).103 The phrase begins in m. 18 with a homophonic texture in which the Tenor and Quintus are metrically displaced.

After four measures, all voices align in homophony from mm. 22-25. The passage then continues in m. 26 with an imitative polyphonic texture. While boundaries between textures may seem definite, and indeed the text does align in each voice, the textural shift in m. 25 occurs without cadence.

The use of frequent shifts in texture became more widespread in the early seventeenth century, increasing first in the works of composers such as

103 Andrea Gabrieli, “Cor meum conturbatum est in me,” in L’Arte Musicale in Italia, vol. 2, edited by Luigi Torchi (Milan: Ricordi, 1968), 112-113. 47 Figure 4.5: A. Gabrieli, Cor meum conturbatum est in me, mm. 18-27.

Praetorius, Schütz, Schein, and indeed Grimm, and thus highlighting the developing nature of musical aesthetics during this period. The first portion of music in Grimm’s motet, which is completely polyphonic, recalls a Renaissance style that has been established for centuries. In contrast, the homophony of the extension harkens to more modern tastes dating back perhaps only little more than half a century. Within the first section of the motet, Grimm is paying homage to both that which has come before, and that which is more modern.

The fluid technique in textural shift that Grimm uses here is a more restrained version of that used often by Heinrich Schütz. In his motet, Herr, wenn ich nur dich habe, Schütz alternates freely between homophonic and

48 Figure 4.6: Schütz, Herr, wenn ich nur dich habe, mm. 8-12.

polyphonic textures. Indeed, he remains in one texture so briefly at times, that it is difficult to classify some portions as either polyphonic or homophonic. The passage from mm. 8-12 (Figure 4.6) provides an exceptional example of this blending of textures.104 While mm. 8-9 are clearly homophonic, the premature entry in the Tenor inferioris in the anacrusis to m. 10 creates a cascading effect that disintegrates into polyphonic writing. The cadence in m. 12 concludes the brief polyphonic episode, and the Chori superioris enters in the middle of that measure once again in a homophonic texture. This brief passage includes a series of five cadences, three in the homophonic portion and two in the polyphonic portion. The first cadence is authentic, with the cantizans in the

Cantus superioris and the tenorizans in the Tenor superioris. The second

104 Heinrich Schütz, “Musikalische Exequien: Herr, wenn ich nur dich habe” in Neue Ausgabe sämtlicher Werke, edited by Friedrich Schöneich (Kassel: Bärenreiter, 1956), 52-53. 49 cadence is imperfect with the cantizans in the Altus inferioris and the imperfect tenorizans in the Tenor inferioris. The same voices that contain the cadential patterns in the first cadence of this passage have the patterns in the third; however, the tenorizans is imperfect, and the two patterns have been inverted, with the tenoriazns now above the cantizans. The final two cadences in this portion are presented by the Cantus voices of both choirs. The cadence in m. 11 is imperfect, with the cantizans in the Cantus superioris and the imperfect tenorizans in the Cantus inferioris. The Cantus voices trade patterns in the final cadence of this passage, and the cadence in m. 12 is once again authentic. In both of the final two cadences, the patterns are inverted, with the tenorizans occurring above the cantizans.

Such extensive frequency of textural shift is not often found in Grimm’s compositional style, but the first measures of the motet in question approach a style similar to that used by Schütz. More commonly in Grimm’s oeuvre, we encounter clear changes of texture at formal junctures, such as the one between

Section A and Section B in m. 21. Praetorius and Schein also use this more rigid technique. In m. 37 of Mensch wilt du leben seliglich (Figure 4.7), Praetorius concludes the exordium and begins the medium with a clear and sudden shift between textures.105 The cadence occurs in m. 36; the cantizans pattern is in the lowest voice of the Chori inferioris, and the tenorizans pattern is in the highest voice of that choir. Neither of the cadential patterns bears ornamentation. The

105 Praetorius, “Mensch wilt du leben seliglich”, 43. 50 cadential sonority is then altered by the Altus superioris and Tenor superioris which have descending parallel thirds. Following the arrival at a G major sonority, the Chori inferioris enters in a polyphonic texture.

Figure 4.7: Praetorius, Mensch wilt du leben seliglich, mm. 34-38.

Numerous examples of this textural shift appear in works by Schein; two notable illustrations occur in m. 26 of the motet, Surge, illuminare Jerusalem

(Figure 4.8)106, and m. 29 of the motet, A Domino factum est istud (Figure 4.9).107

The first example, which begins with a homophonic ending, and continues with a new polyphonic section, is further interesting in that it contains a true plagal ending. The inverted cantizans and tenorizans patterns are present in the Altus inferioris and Altus superioris voices respectively, but their motion to the octave

106 Johann Hermann Schein, “Cymbalum Sionum, Teil 2: Surge illuminare Jerusalem” in Neue Ausgabe sämtlischer Werke, edited by Arno Forchert (Kassel: Bärenreiter, 1997), 34. 107 Johann Hermann Schein, “Cymbalum Sionum, Teil 2: A Domino factum est istud” in Neue Ausgabe sämtlischer Werke, edited by Arno Forchert (Kassel: Bärenreiter, 1997), 50. 51 Figure 4.8: Schein, Surge illuminare Jerusalem, mm. 25-28.

Figure 4.9: Schein, A Domino factum est istud, mm. 7-10.

occurs not on the root of the sonority in m. 26, but rather on the fifth above the root. However, the presence of these two patterns were not enough to classify this plagal ending as a cadence, and the plagal motion from A to E still takes precedence. The second example, presenting a typical authentic cadence with

52 the decorated cantizans in the Tenor superioris and the tenorizans in the Altus inferioris, is important for its representation of textural shifts that occur not only at formal junctions, but at changes in tempus as well.

Grimm’s homophonic extension which begins in m. 11 completes the first line of text, “Unser Leben wehret siebenzig Jahr’.” It consists of two almost identical statements of a five-measure idea. These are best understood if the statement in the Chori superioris is considered a repetition in the form of an answer to or echo of the initial extension in the Chori inferioris. Both occur at the same modal level, and differ only in their anacruses and octave placement, the second occurring one octave higher. The slight differences between the anacruses occur as a result of the continuing motion in the Chori inferioris from previous material. When the Chori superioris enters with the repetition of the idea in m. 16, it does not begin with a continuation. Thus, the Altus superioris and Tenor superioris are not influenced by the polyphonic material as the Alto inferioris and Tenor inferioris had been. The Cantus superioris differs from the preceding statement in that it does not begin with a repetition of three Fs. In fact, no voice except the Bassus superioris begins with repeated notes. The lowest voice differs only in rhythm, omitting the long sustained note that was present in m. 11.

Following the anacruses, it is possible to analyze the two statements as one and the same. As is typical of chorale style writing, the outer voices serve as the primary contrapuntal pair, while the inner voices provide the harmonic

53 substance necessary for the homophonic style. While one might expect Grimm to emphasize “Leben” by setting it melismatically as he did in the polyphonic opening, he chooses to emphasize two different words in the homophonic extension. With the exception of the anacrusis in m. 11, all words in this sub- section are set syllabically. Rather than using melismas, Grimm emphasizes

“wehret” and “siebenzig” with agogic accents, allotting a much longer note value to the first syllables of those words. The first syllable in “wehret” is set with a semibreve, and the second is set with a minim. The only other syllable to receive a semibreve is the word “Jahr’,” which receives the increased length because it is the terminal syllable in the cadence. Similarly, the first syllable of “siebenzig” is given a dotted minim. The setting of these two words paint musically the poetic ideas of “enduring” and “seventy,” which are crucial to the meaning of the text, again emphasizing the long life of von Ussler. They comprise three full measures, while the remaining three words in the section only comprise two and a half, including the anacrusis.

In addition to the agogic accent, the word “siebenzig” bears further importance as a means of highlighting Grimm’s technique for setting three- syllable words, of which there are only two in the entire motet. In order to avoid barbarisms, Grimm follows the natural accents of speech. He sets “siebenzig” with a dotted minim-semiminim-minim (durational ratio of 3:1:2), deemphasizing the middle syllable and exaggerating first. Grimm’s technique for the setting of

54 the other three syllable word in the verse, “gewesen” which occurs twice in the text, is somewhat different and is discussed in Chapter 5.

The passage from mm. 11-21 contains many elements which suggest both Renaissance and Baroque practice. This mixture of elements is not limited to any voice in particular, and indeed stylistic characteristics from different periods often appear next to each other in the same voice part. The Cantus voices, containing the tenorizans pattern, exhibit one such juxtaposition. The pattern here is imperfect, ascending from G-A rather than descending from G-F.

While Renaissance composers such as Willaert and Palestrina began to shift focus from the tenorizans pattern, the deterioration of the perfect tenorizans became more prevalent in succeeding generations as the third of the cadenial sonority gained importance.108 In addition to adding the third of the cadential sonority, the result of the presence of the imperfect tenorizans pattern at this point in Grimm’s motet is a weakening of the finality of the cadences. It should also be noted that the imperfect tenorizans pattern is placed above the cantizans pattern.

Praetorius uses a different method in order to achieve a similar weakening. Grimm’s teacher instead places the perfect tenorizans pattern in the lowest voice, maintaining the contrary contrapuntal motion from a sixth to the octave, while avoiding the descending fifth motion in the lowest voice. An example of this occurs in his motet, O Lamb Gottes unschuldig in m. 27 (Figure

108 See Figure 5.6 for an example from Schütz. 55 4.10).109 The cantizans pattern, which is decorated with a 4-3 suspension and nota cambiata figure is present in the Tenor inferioris, and the tenorizans pattern is located in the Bassus inferioris. An example of this type of cadence from slightly earlier can be found in Palestrina’s motet, Dies sanctificatus (Figure

4.11), at mm. 77-78.110 The cantizans pattern, which is decorated with a 4-3 suspension, is located in the Tenor, while the tenorizans pattern is placed in

Bassus. Unlike the example from Praetorius, there is no bassizans pattern in this example.

The imperfect tenorizans pattern in m. 11-21 of Grimm’s motet it is decorated with a clearly Renaissance element, namely the nota cambiata that precedes the final tone. The descending leap allows Grimm to avoid a dissonant seventh over the lowest voice. This use of the nota cambiata is a common feature of the sixteenth-century English madrigal, where, like the imperfect tenorizans pattern, it permits the third to sound in the cadential sonority. The cantizans pattern, which has also been crucial in cadences since the Medieval

Period, is present in the Tenor voices. While this pattern had traditionally been accompanied by a 4-3 suspension since the fourteenth century, the early

Baroque period saw a decrease in this type of cadential flourish. Of the eighteen

109 Michael Praetorius, “O Lamb Gottes unschuldig” in Gesamtausgabe der musikalischen Werke von Michael Praetorius, vol. 4, edited by Friedrich Blume (Wolfenbüttel: Georg Kallmeyer Verlag, 1933), 26. 110 Giovanni Pierluigi da Palestrina, “Dies sanctificatus” in Le opere complete di Giovanni Pierluigi da Palestrina, vol. 3, edited by Lino Bianchi (Rome: Institution Italiano per la Storia della Musica, 1968), 4. 56 Figure 4.10: Praetorius, O Lamb Gottes unschuldig, mm. 25-27.

Figure 4.11: Palestrina, Dies sanctificatus, mm. 75-80.

cadences in the motet, almost a third are without the suspension. This is one of the most vital changes from the Renaissance to the Baroque, and it is prevalent in the works of Grimm and his contemporaries. At the surface, the presence of both the cantizans and tenorizans patterns clearly recalls a Renaissance style cadence; however, upon deeper inspection the imperfect motion on the

57 tenorizans and the lack of ornamentation on the cantizans harken also to

Baroque aesthetic tastes.

The Bassus voices also contain both Renaissance and Baroque elements.

While the lowest voice in mm. 1-11 contains material that was quite similar in nature to the upper voices, the bassline in mm. 11-21 is completely independent.

Rather than contributing to a polyphonic texture, it serves as a foundation for the other three voices. This harmonic underpinning is a fundamental element for music throughout the Baroque period, and it was the first step towards the use of figured bass numbers, which were first widely used during Grimm’s lifetime.

Further disparate qualities can be found in the two parts of the line, head and tail.

The first part is a falling thirds sequence, which is carried out three times: F-(C)-

D-(A)-Bb. This type of harmonic sequence became increasingly common throughout the seventeenth and eighteenth centuries, and it helps to further the harmonic tranquility that began with the initial polyphonic idea (Figure 4.12).111

The use of a sequential pattern creates expectations in the listener’s mind, that, when fulfilled, provide a sense of calm and ease. Furthermore, the mixture of major and minor sonorities is much softer than the brilliant, all-major quality of the first eleven measures. Finally, while the dissonances in opening measures were slight, occurring only on unaccented portions of the beat, there are no dissonances in mm. 11-21 whatsoever. The use of the sequence, mixture of

111 Grimm, Unser Leben. 58 Figure 4.12: Grimm, Unser Leben, mm. 11-21.

harmonic qualities, and avoidance of dissonance makes this portion of music one of the most peaceful in the entire motet, and provide the passage with some elements from Baroque practice.

The second part of the line, however, contains an element dating from much earlier practice. Grimm concludes each statement with the bass pattern 3-

4-5-1, which had been in use since at least the end of the fifteenth century. An early example occurs in the motet, Absalon fili mi (Figure 4.13).112 113 In the passage from mm. 30-41, there are three examples of this type of cadential motion. While the first and second examples, mm. 31-34, in actuality include

112 Josquin des Prez, “Absalon, fili mi,” in New Josquin Edition, vol. 14, edited by Richard Sherr (Utrecht: Koninklijke Vereinging voor Nederlandse Muziekgeschiedenis, 2002), 2. 113 Honey Meconi, “Another Look at Absalon,” Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 48, no. 1 (1998): 3. While the version of the motet reproduced here comes from the New Josquin Edition, the authorship of the composition has been disputed in recent years. Many believe the attribution to des Prez is valid; however, there are compelling arguments for authorship by Pierre de la Rue. 59 Figure 4.13: Des Prez, Absalon, fili mi, mm. 30-41.

motion 1-2-3-4-5-1, the slower rhythm for the motion 3-4-5 emphasize the latter part of the ascending line. The third example, mm. 39-41, presents the line it its true form, with longer note values adding emphasis to the cadence. It is important to note that, while the text does not align at mm. 32, 34, and 41, these would have been considered cadences during des Prez’s time. Each of these cadences includes the cantizans pattern—located in the Cantus, Altus, and

Cantus. The first two contain the perfect tenorizans pattern—in the Tenor and

Cantus—while the final cadence utilizes the imperfect tenorizans pattern—in the

Tenor—to achieve the third above the root. The cantizans pattern occurs above the tenorizans in the first and third cadence, but the patterns are inverted in the middle cadence.

60 This pattern persisted throughout the rest of the Renaissance period, and was commonly used in the Baroque period, becoming an almost codified cadential element. Schütz concludes several passages with this pattern.

Throughout his motet, Herr, wenn ich nur dich habe (Figure 4.14), this model appears eleven times. The passage from mm. 23-34 is especially rich in this pattern.114 In each of the seven occurrences reproduced here, the bassizans pattern is built into the 3-4-5-1 motion, while the cantizans and tenorizans patterns always occur in the Cantus and Tenor voices respectively. This example also includes one plagal ending in mm. 30-31. This ending is the only occurrence in the example where the tenorizans pattern is placed above the cantizans pattern, and it also involves the Altus voice rather than the Tenor voice.

Figure 4.14: Schütz, Herr, wenn ich nur dich habe, mm. 23-34.

114 Schütz, “Herr, wenn ich dich habe,” 55-57. 61

Schein employs the pattern frequently as well, composing such basslines in the motet, Alleluja! Wohl dem, der den Herren fürchtet, at mm. 22-26 and mm.

75-80 (Figure 4.15).115 Each of the four uses of this line is accompanied by varied cantizans and tenorizans patterns. In the first one, the cantizans pattern is decorated by a 4-3 suspension with a nota cambiata figure in the Tenor inferioris, while the tenorizans pattern is decorated with consonant 6-5 motion in the Altus inferioris. The second one contains a similarly decorated cantizans pattern in the

Altus superioris, while the Cantus superioris has an imperfect tenorizans pattern , deflecting up from E to F#. In both of the first two occurances, the cantizans pattern is placed underneath the tenorizans pattern. With the exception of minor alterations, the third and fourth appearances are the same; the cantizans pattern

115 Johann Hermann Schein, “Cymbalum Sionum, Teil 2: Alleluja! Wohl dem, der den Herren fürchtet” in Neue Ausgabe sämtlischer Werke, edited by Arno Forchert (Kassel: Bärenreiter, 1997), 110-111, 118-119. 62 decorated with a 4-3 suspension is in the Cantus voices, and the imperfect tenorizans pattern is in the Tenor voices.

Figure 4.15: Schein, Alleluja! Wohl dem, der den Herren fürchtet, mm. 22-26, 75-80.

Perhaps surprisingly, Praetorious does not seem to have considered the pattern to be a standard cadential bass model. The final cadence of his motet,

Gott der Vater wohn uns bei, is one of the few examples in his repertoire (Figure

63 4.16).116 The bassizans pattern, which in this example employs permissible parallel octaves, occurs in the Bassus voices.117 The Altus superioris contains the cantizans pattern, which is decorated once again with a 4-3 suspension and a nota cambiata figure. The Cantus inferioris presents the tenorizans pattern in its most pure form, while the Tenor inferioris has a highly ornamented melismatic example of the imperfect tenorizans. The cantizans and perfect tenorizans patterns are inverted, moving 3-1 instead of 6-8. The long melismas on the final word give this example a particularly Renaissance sound.

One final element that gives this section of Grimm’s motet a mixture of qualities is perhaps the most prevalent Baroque characteristic in the motet.

While terminal harmonic motion was traditionally given melodic weight in the

Renaissance with the use of melismas on the penultimate syllable of a cadence,

Grimm uses such melismas only a few times throughout the entire motet. One might suggest two reasons for this frequent omission: a desire for clear and concise compositional writing, and a desire for clarity in text setting. In

116 Michael Praetorius, “Gott der Vater wohn uns bei” in Gesamtausgabe der musikalischen Werke von Michael Praetorius, vol. 1, edited by Friedrich Blume (Wolfenbüttel: Georg Kallmeyer Verlag, 1928), 10. 117 Hans Lampl, “A Translation of Syntagma musicum III by Michael Praetorius” (Ph.D. dissertation, University of Southern California, 1957), 161. According to Praetorius in his treatise Syntagma musicum, there are a few instances in which parallel perfect consonances, or perfect consonances by contrary motion are permissible. One of these involves doublings between the voices of different choirs. This occurs frequently throughout works by both Praetorius and Grimm in cadences which involve both choirs. 64 Figure 4.16: Praetorius, Gott der Vater wohn uns bei, mm. 94-97.

mm. 15-16 and mm. 20-21, Grimm maintains the simplicity of this portion of music by refraining from typical ornamentations. Furthermore, he has chosen to accentuate the penultimate word “siebenzig” with an agogic accent rather a melismatic one.

The alteration of the tenorizans pattern, the omission of the 4-3 suspension on the cantizans pattern, and the lack of a melisma on the penultimate syllable are all Baroque characteristics found in the passage from mm. 11-21. However, the presence of the nota cambiata in the Cantus voices, and the use of the 3-4-5-1 bass pattern come from earlier practice, and give this portion of music a mixture of aesthetic qualities that come from different eras.

These characteristics also diminish the strength of the two cadences in this 65 passage. While mm. 15-16 and mm. 20-21 carry much more harmonic weight than the alluded plagal motion in mm. 10-11, there is still not enough to signify the end of a major formal unit (i.e., the end of Part I). To this point, there have been no complete authentic cadences, which require all three cadential motions—including the perfect tenorizans pattern—and which typically are accompanied by ornamental figures. The cadence at the end of Section A, though clear, leads directly into the subsequent formal unit of the motet without a significant caesura (Figure 4.17).118

Figure 4.17: Grimm, Unser Leben, mm. 11-21.

Section B

In order to create cohesion between the first two formal units, Grimm composes an intersection of voices in the cadence at m. 21. This method

118 Grimm, Unser Leben. 66 projects a much clearer formal boundary than the alluded cadence in m. 11.

Section B begins as three voices enter with a new line of text while the Chori superioris is sustaining the cadential sonority of Section A. This method of continuation provides a sense of unity that binds the two sections of Part I together. Grimm’s method for creating formal boundaries between two parts, and thus establishing a formal hierarchy is discussed in the following chapter.

The final section (m. 21-35) in Part I sets the text “Wenn’s hoch kömpt, so sind’s achtzig Jahr’.” Like the previous section, it is broken into two smaller slightly delineated sub-sections. The setting of the first half of the text comprises the bulk of the musical material, lasting eleven measures, and the text for this portion is repeated several times in each voice. When this eleven-measure subsection is taken into account, each of the first three musical units—polyphonic opening, harmonic extension, and the first sub-section of Section B—are the same length. The setting of the second half of the text is much shorter, lasting only four measures, and each voice states this portion of text only once.

Texturally, Section B is similar to the opening of Section A, utilizing a unified-polyphonic texture until the voices join together in a unified-homophonic cadence in m. 35. However, there are some important differences between the technique used here and the one used earlier. Though each voice is independent, there are some interesting groupings. At the beginning of the section, the eight voices are organized into four forces; however, these forces do not consist of pairs. Rather, they are organized into two groups of three with two

67 voices remaining independent: Cantus inferioris/Altus inferioris/Tenor inferioris,

Altus superioris/Tenor superioris/Bassus superioris, Bassus inferioris, and

Cantus superioris. Thus, the six inner voices act as two ensembles, while the two outer voices work freely.

Section B employs imitation in much the same way as mm. 1-11.

However, the imitation is even more prevalent here—occurring in six voices— than it was in the opening measures of the motet. The imitation begins in the

Tenor inferioris with the ascending line, F-Bb-C-D-E-F. The first note of the line is variable, sometimes beginning with a repeated pitch or with a leap of differing intervals before beginning the stepwise ascent. The accompaniment of an imitative line, here the Cantus inferioris and Altus inferioris, was common throughout the sixteenth century, especially in the works of Palestrina. The opening measures of his six-voice motet, Vidi turbam magnam, show a clear example of this type of accompaniment (Figure 4.18).119 Here the imitated line, which begins in the Tenor, is accompanied by the three voices above it. The

Quintus and then Bassus enter with the same line. It is impossible to distinguish from the outset which voice contains the line that will be repeated, and the

119 Giovanni Pierluigi da Palestrina, “Vidi turbam magnam” in Le opere complete di Giovanni Pierluigi da Palestrina, vol. 5, edited by Lino Bianchi (Rome: Institution Italiano per la Storia della Musica, 1968), 174. 68 Figure 4.18: Palestrina, Vidi turbam magnam, mm. 1-10.

Figure 4.19: Grimm, Unser Leben, mm. 21-26.

69 imitation only becomes apparent with subsequent recurrences of that line.

Following the initial statement, the accompaniment dissolves into free polyphony, much as it does in Unser Leben wehret siebenzig Jahr’ (Figure 4.19).120

The imitated ascending line in Grimm’s motet occurs sixteen times, and it is used in order to move through a series of “tonal” centers, so that the final cadence in Part I occurs not on F, but rather on C. Tracing the location of the line (Figure 4.20), it occurs in its original form first in the Tenor inferioris in the middle of m. 21.121 The next imitative entry, which appears in the Altus superioris in the middle of m. 22, is adjusted intervallically. It begins with a repeated Bb, and rather than continuing up to F, the line only ascends to D. Proceeding upward would create a cross relation in close proximity between the E and a following Eb. Next, the Bassus inferioris moves to a Bb “tonal” center with the line

Bb-Eb-F-G-A-Bb in mm. 23-25. This Eb is the first chromatic tone outside of the mode in the motet. Following this brief “tonal” adjustment, another abbreviated version appears in the Altus superioris in mm. 24-25. The Cantus superioris then presents the line at its original level in mm. 24-26, though with a repeated opening note. At the same time, the Tenor inferioris enters at the same level, and the lengthened second note value prevents parallel perfect consonances.

There are then several entries which reinforce F as the modal center: mm. 25-27 in the Altus superioris with a repeated first note, mm. 25-27 in the Bassus superioris with an octave leap and sustained second note, mm. 26-27 in the Altus

120 Grimm, Unser Leben. 121 Ibid. 70 Figure 4.20: Grimm, Unser Leben, mm. 21-35.

inferioris with a partial line. In mm. 27-29, the Bassus inferioris is adjusted once again. In order to achieve the “tonal” motion to C instead of Bb, the opening leap is adjusted from a fourth to a fifth; the line here is Bb-F-G-A-Bb-C. To give a sense of increased forward motion, Grimm begins the next line before the

Bassus inferioris is finished. In the middle m. 28, the Cantus inferioris enters with

71 yet another intervallic adjustment, using the opening interval of a fifth, F-C-D-E-F-

G. This motion to G is reinforced with five more statements: mm. 28-30 in the

Cantus superioris with a repeated first note, mm. 29-30 in the Tenor superioris, mm. 29-21 in the Altus superioris, mm. 30-31 in the Cantus inferioris, and mm.

30-32 in the Tenor inferioris with an lengthened first note. The final occurrence of this line prepares homophonic setting of “so sind’s achtzig Jahr’.” It also sets up the harmonic motion from G to C, which leads to the cadence in m. 35.

Harmonic motion in Section B is from F to Bb to F to C to G to C.

With the exception of the Tenor inferioris, subsequent statements of the imitated line in the same voice generally occur at a higher level in register, creating a correlation between musical setting and text. Thus, “hoch” is not merely a poetic theme; it bears musical implications as well through intervallic adjustment and registral shift. I use the phrases “tonal motion” and “intervallic adjustment” because these are not true modulations. While the goal note of a melodic line is altered through contrapuntal means, Grimm neither includes ficta on penultimate pitches to create leading tones, nor can leading tones be inferred by performers. In this harmonic regard, a modulation is only achieved in m. 33 with the raised note in the Altus inferioris.

Orlando di Lasso uses an analogous adjustment technique in his motet,

Exaudi Dominus vocem meam, (Figure 4.21) from his collection Sacrae

72 cantiones, which was published in Nuremberg in 1562. 122 In mm. 7-16, he uses the words “clamavi ad te” to achieve a similar “tonal” motion. By using ascending leaps of a fourth, fifth, and octave, which begin and end on progressively higher tones, Lasso shifts from Bb to G. He achieves this by moving upward from Bb through C up to D, and then treating D as the upper fifth of a cadence on G.

Figure 4.21: Di Lasso, Exaudi Domine vocem meam, mm. 7-16.

Grimm creates further similarities between the opening of Section A and

Section B through the use of melismas to accentuate the words “hoch” and

122 Orlando di Lasso, “Exaudi Domine vocem meam” in The Complete Motets 2: Sacrae cantiones (Nuremberg, 1562), edited by James Erb (Middelton, Wisconson: A-R Editions, 2002), 55-56.

73 “achzig”; all other words in this line of text are set syllabically. Once again, these words relate to the long life of the dedicatee. With “hoch,” Grimm brings to life the idea of “more,” and “achzig” is elongated to illustrate a life of over eighty years. Just as “Leben” was further emphasized with a baroque figure, circulatio,

“hoch” is treated with an ascending line, or anabasis, which illustrates the literal meaning of the text.123 Thus, the poetic ideas of the homophonic extension (i.e., concerning length) are emphasized through the compositional means of the polyphonic opening (i.e., melisma). Like in the opening polyphonic statement, these measures contain many instances of parallel imperfect consonances prolonging a single sonority in Renaissance fashion, here Bb or C; for example: mm. 26-27 in the Altus and Bassus superioris (Bb), mm. 29-30 in the Cantus and

Tenor superioris (C), mm. 29-30 in the Altus and Tenor superioris (C), mm. 30-31 in the Altus superioris and Cantus inferioris (C).

Harmonic characteristics provide one final similarity between mm. 1-11 and mm 21-35. Like the opening, Grimm once again uses only unaccented passing tones, with the exception of the cadential passage. While Grimm does vary the harmonic language more in this section, using five triads (F, Bb, Eb, C, and G) as opposed to the two of the opening (F and Bb), all chords used are major in quality. Thus, similarities in harmonic language, as well as texture and

123 Bartel, Figurenlehre, 84. “Anabasis oder Ascensio (Aufstieg) ist eine musikalische Periode, durch die wir etwas Herausragendes, etwas im aufsteigen Begriffenes oder etwas Erhabenes ausdrücken, wie zum Beispiel: Ascendens Christus in altum.” 74 technique for emphasizing important words in the text lend a cyclic character to

Part I.

While Section B is certainly best viewed as two subsections, the ending of the first one bears no real harmonic weight. There is certainly no authentic cadence, and to classify the motion from F to C as plagal would be quite a stretch. The real cadential weight in Section B, and indeed in Part I, comes on the phrase “so sind’s achtzig Jahr’.” This passage contains all three necessary cadential patterns: the cantizans is in the Altus inferioris, the tenorizans is in the

Cantus superioris, and the bassizans is in both Bassus voices. The decoration of the cantizans pattern with a 4-3 suspension in the Altus inferioris, which is further ornamented by an anticipatory portamento with a lower neighbor tone, as well as the use of the tenorzians pattern give the terminal harmonic motion a more

Renaissance quality than the cadences in mm. 15-16 and mm. 20-21.124 Grimm creates further interest in the Cantus inferioris by utilizing a nota cambiata figure, which is filled in with stepwise motion, in combination with the imperfect tenorizans pattern. The mixture in mm. 33-35 of a perfect tenorizans pattern in the Cantus superioris and an imperfect tenorizans pattern in the cantus inferioris is a common feature in the polyphonic writing of both the conservative Italian school, as exemplified by Palestrina, and the progressive Italian school, as exemplified by Lasso. Grimm’s grandly ornamented cadence, which lasts three full measures from mm. 33-35, is the first complete authentic cadence in the

124 In the Renaissance and Baroque contexts, a portamento is a linear feature in which a resolution is anticipated in one voice melodically before the arrival at the resolved sonority. 75 motet, and it serves as the true cadence of Section B as well as Part I (See

Figure 19). It is curious that the first complete cadence in the motet is not on the final of the mode, F, but on C. This definitive ending on the cofinal allows the exordium to establish a modal “argument” which is revisited in both Part II and the formal extension of the motet.

In the first thirty-five measures, Grimm modifies the straightforward text of the psalm by adding a repetition of the first two words. This allows him to create a complete cycle within Part I, with striking similarities between mm. 1-11 and mm. 21-35, while mm. 11-21 differ considerably in style. This cycle is manifest in many aspects: the unified-polyphonic textures of the polyphonic opening and

Section B contrast the antiphonal-homophonic texture of the homophonic extension; the use of melismas to emphasize important words in the outer sections varies from the use of agogic accents in mm. 11-21; the opening measures and Section B contain similar dissonances, while the homophonic extension is peacefully consonant; finally, the use of only major harmonies in mm. 1-11 and mm. 21-35 creates a more brilliant character than that which is found in mm. 11-21.

By creating this cyclical structure in Part I, Grimm mirrors on a small scale the overall form of the motet. He composes musical similarities between the opening and closing measures, and in doing so draws a parallel between small and large formal units, with similarities also existing between the opening and closing parts. The establishment of such elements is one of the goals of the

76 exordium, which serves the function of setting up and presenting the so-called arguments to be examined. The argument here is one of formal and cyclical construction, and it is carried out on a larger level throughout the motet. A further

“modal” argument exhibited by the cadence on the cofinal in mm. 34-35 is reexamined later in the motet.

77 CHAPTER 5

THE MEDIUM

Part II

Grimm carefully establishes a formal hierarchy between sections and parts through the compositional means of intersection and rest. Unlike the internal boundary between Sections A and B in Part I, the beginning of Part II is a clear establishment of a new formal unit. The complete cadence sounding in all eight voices in m. 35 is contrasted by an ensemble rest at the beginning of m. 36.

This stark disparity announces that a new portion of the formal construction is beginning (Figure 5.1).125

The use of a rest in all voices was not the most common means of delineating large formal units; however, there are numerous examples in the music of Grimm’s contemporaries. I have chosen three such excerpts, each of which shows a slightly different use of the rest. Schütz initiates a formal boundary with a rest in m. 39 of his six-voice motet, Herzlich lieb hab ich dich, o

Herr (Figure 5.2).126 The cadence in the preceding measure is complete—with the cantizans and tenorizans patterns in the Altus and First Tenor voices

125 Grimm, Unser Leben. 126 Heinrich Schütz, “Geistliche Chormusik: Herzlich lieb hab ich dich, o Herr” in Neue Ausgabe sämtlicher Werke, edited by Wilhelm Kamlah (Kassel: Bärenreiter, 1956), 103. 78 Figure 5.1: Grimm, Unser Leben, mm. 34-37.

Figure 5.2: Schütz, Herzlich lieb hab ich dich, o Herr, mm. 36-40.

79 respectively—and involves all six voices. The rest functions not only as a formal marker, but also as a point of textural shift, continuing with only four voices now in homophony. Of the three examples included here, this technique is most similar to Grimm’s.

This technique appears less in the works of Schein. Indeed, the example presented here, from Sic Deus dilexit mundum (Figure 5.3), is not a true formal boundary.127 Following the ending and rest in m. 11, the Chori superioris concludes the line of text begun in the previous measures. While this is the first statement of this portion of text, the fact that it is a textual continuation rather than a textual beginning undermines the presence of a formal marker. This cadence would have been considered an imperfect or improper cadence by

Zarlino, because the contrary motion moves to a fifth and not to an octave.128

Furthermore, the descending half-step motion in the Bassus superioris gives the motion a phrygian character. Thus, while this is one of the few instances of this kind of rhythmic construction, the harmonic motion is somewhat dissimilar to the other examples presented for comparison.

Praetorius uses a technique that is quite different from Grimm in m. 38 of his motet, O hilf Christe Gottes Sohn (Figure 5.4).129 The misalignment of voices in this example creates an impacting cadential formal marker. Although the outer

127 Johann Hermann Schein, “Cymbalum Sionum, Teil 2: Sic Deus dilexit mundum” in Neue Ausgabe sämtlischer Werke, edited by Arno Forchert (Kassel: Bärenreiter, 1997), 41. 128 See description on pp. 41-42. 129 Michael Praetorius, “O hilf Christe Gottes Sohn” in Gesamtausgabe der musikalischen Werke von Michael Praetorius, vol. 4, edited by Friedrich Blume (Wolfenbüttel: Georg Kallmeyer Verlag, 1933), 37. 80 Figure 5.3: Schein, Sic Deus dilexit mundum, mm. 9-12.

Figure 5.4: Praetorius, O hilf Christe Gottes Sohn, mm. 36-39.

voices of the Chori inferioris arrive at the cadence point half way through m. 37, the 7-6 suspension in the Tenor inferioris, which resolves and continues down to the fifth of the cadential sonority, as well as the contrapuntal adjustment in the

Altus inferioris from G to G# delay a sense of repose until the following measure.

81 After the rest, both choirs enter with material from the beginning of the motet.

The textural shift here from antiphonal to unified is in direct contrast to the examples from Grimm and Schütz, who both come to a cadence with all voices and then proceed with only a partial ensemble.

In terms of formal-rhetorical organization, Part II of Unser Leben wehret siebenzig Jahr’ functions as the medium of the motet, and it is constructed of two sections. A stylistic comparison to Part I reveals that Section C (mm. 36-48) most clearly aligns with the homophonic extension in Section A (mm. 11-21), and

Section D (mm. 48-75) closely relates to Section B (mm. 21-35). When we examine the middle portion of the verse of text, we find that, of the three couplets in the poetic structure, the second is the most intriguing. These two lines speak of both the rich and fulfilling nature of life, as well as the struggles that occur as a result. Just as the psalmist points out that one is not possible without the other, so also does Grimm create a music in which dissonance and richness cannot be mutually exclusive. The first section of Part II is a setting of the text, “Und wenn’s köstlich gewesen ist,” while the second section of Part II concludes the couplet, setting the text, “so ist es Müh und Arbeit gewesen.”130

130 Examination of the modern Luther Bible highlights an interesting discrepancy with the seventeenth-century text that Grimm uses at this point. The text that appears in this motet is taken from Martin Luther’s translation of the Old Testament, which was based not on Greek, as was his translation of the New Testament, but rather on Hebrew. The primary discrepancies in text appear in the second couplet. Luther’s original translation reads: “Wenn’s köstlich gewesen ist, so ist es Müh’ und Arbeit gewesen,” or “If [these seventy or eighty years] have been rewarding, so have they also been work and toil.” Reexamination of this passage in the Hebrew Bible by later scholars has deemed this translation to be a misinterpretation of the Hebrew language. Modern editions of the Luther Bible have an altered text that seems to be more true to the psalmist’s intended meaning: “…und was daran köstlich scheint, ist doch nur vergebliche Mühe,” or “…and what appears to be of value in this life is now only toil in vain.” In my analysis of 82 Section C

Grimm gives energy to the beginning of Section C with a syncopated figure that is unique in this motet; the composer uses no such rhythm at any other point in the duration of the work. The style of this section parallels the completely antiphonal texture of the homophonic extension in the middle of Part I

(mm. 11-21). This section consists of four repetitions of the same thematic idea, alternating between choirs: Chori inferioris, Chori superioris, Chori inferioris, and

Chori superioris. Because of the overlapping repetitions, only the initial statement includes the first word of text, “und.” Perhaps this additional word explains in part Grimm’s use of syncopation in m. 36 (see Figure 5.1). Such syncopated entries were common in contemporary repertoire if a new choir was entering while another was sustaining; however, completely exposed entries such as this one were much rarer.

Schütz uses similar syncopation in setting the text “und wohnet unter uns” from the motet Das Wort ward Fleisch und wohnet unter uns in m. 27 (Figure

5.5), though the sustained notes in the First Tenor and Bass voices mask the effect somewhat.131 The entrance in the other four voices on a non-accented beat is not as impacting as it would be if the preceding phrase ended with a unison release. Of further interest in this example is the contrapuntal writing in

this passage I have approached this text as Grimm would have understood it, remaining true to Luther’s original translation. 131 Heinrich Schütz, “Geistliche Chormusik: Das Wort ward Fleisch und wohnet unter uns” in Neue Ausgabe sämtlicher Werke, edited by Wilhelm Kamlah (Kassel: Bärenreiter, 1956), 86. 83 Figure 5.5: Schütz, Das Wort ward Fleisch und wohnet unter uns, mm. 25-29.

the Second Soprano and Second Tenor voices, which contain the cantizans and tenorizans patterns respectively. While the first tone in the cantizans pattern appears immediately at the beginning of m. 26, the voice resolves upward prematurely and then returns at the end of the measure. The voice containing the tenorizans pattern begins in that measure with a 7-6 suspension, the resolution of which is the beginning of a 6-5 motion leading to the middle of the measure. The combination of these two ornamented patterns gives the passage a very dated character, reminding the listener of early fifteenth-century practice.

In contrast to Schütz’s masked syncopation, Praetorius uses a more exposed technique in m. 4 of his motet, Herzlich lieb hab ich dich, O Herr (Figure

5.6).132 Following the phrygian cadence in m. 3, with the tenorizans in the

Bassus superioris and cantizans in the Altus superioris, the ensemble rests

132 Michael Praetorius, “Herzlich lieb hab ich dich, O Herr” in Gesamtausgabe der musikalischen Werke von Michael Praetorius, vol. 4, edited by Friedrich Blume (Wolfenbüttel: Georg Kallmeyer Verlag, 1933), 81. 84 Figure 5.6: Praetorius, Herzlich lieb hab ich dich, O Herr, mm. 2-5.

briefly before entering with a syncopated rhythm in the following measure. While this technique is similar to Grimm’s in that there is no overlap, the cadence preceding the syncopation involves only one choir, and is therefore not as strong as that found in Grimm’s motet. Indeed, neither of these examples employs the bold syncopation that appears in Unser Leben wehret siebenzig Jahr’.

The example most similar to Grimm’s that I have been able to locate occurs in a motet by Schein (Figure 5.7).133 In m. 39 of Quem vidistis pastores, the composer concludes one portion of the motet with a complete authentic cadence—the cantizans pattern in the Tenor superioris is decorated with a nota cambiata figure with a portamento; the tenorizans pattern occurs in the Bassus

133 Johann Hermann Schein, “Cymbalum Sionum, Teil 2: Quem vidistis pastores” in Neue Ausgabe sämtlischer Werke, edited by Arno Forchert (Kassel: Bärenreiter, 1997), 8. 85 superioris—which is followed by an ensemble rest and a weak entrance in only the Chori inferioris. With the exception of the exact placement of the entrance within the tactus, the example is almost identical to Grimm’s, with a unified- polyphonic cadence followed by an antiphonal-homophonic entry in syncopation.

Figure 5.7: Schein, Quem vidistis pastores, mm. 37-40.

Section C of Unser Leben wehret siebenzig Jahr’ is set entirely syllabically; however, Grimm does highlight the word “köstlich” with an agogic accent. He brings the word to life musically through increased note length on the first syllable. Though this word can be translated as “magnificent” or “luscious” in broadest usage, it has specific connotations of “delicious” or “sumptuous” as it relates to food. Thus, Grimm is creating a metaphorical feast for the ears by stretching the first syllable of the word.

In the entire motet, there are only two three-syllable words. The first,

“siebenzig,” occurred in Section B, and the second, “gewesen,” occurs in both

86 sections of Part II. As with the first three-syllable word, “gewesen” is set in a manner that complements natural speech. In Section C, this word is set with two superimposed rhythms, with two voices singing each rhythm. While one of the rhythms, three semiminims, neither conflicts with nor supports a natural speaking rhythm, the superimposed rhythm properly places emphasis on the second syllable. By using a semiminim-dotted semiminim-fusa rhythm, Grimm mirrors the proper pattern of speech with a 2:3:1 durational ratio between syllables. Note also that the second syllable, “we,” always occurs on the accented portion of the beat.

While Part II is the most harmonically charged in the motet, the first portion of Section C is completely consonant. The beginning of each statement only uses two sonorities, separated by a perfect fifth, and there are no dissonant figures. The harmonic complexities do not manifest until the last two words,

“gewesen ist.” The second portion of each statement begins with a deflection up a step on the first syllable of “gewesen.” The use of 4-3 cadential suspensions at the end of each repetition, which occur exclusively in the cantus voices, creates interest through dissonance. The mixture of major and minor triads also provides a harmonic association to harmonic extension in the first section of Part I (mm.

11-21). The three progressions in Section C proceed as follows, with the vertical line marking the deflection134:

134 The last statement is a repetition of the harmonies in the third presentation. I have omitted the anacruis to each statement, as the harmonies are directly impacted by the preceding 87 1) F-C-F-C | d-A-d 2) Bb-F-Bb-F | g-D-g 3/4) Eb-Bb-Eb-Bb | c-G-C

If one omits the anacruses, then the entire progression is an example of a perfect descending fifths harmonic sequence, with repetitions beginning on F, Bb and Eb, and ending on d, g and C, respectively. Thus, the entire progression is a descending fifth from F to C. However, when one does take the anacruses into account, Section C both begins and ends on a C sonority.

The amount of inconsistency in musical material between repetitions varies by voice, with the Bassus voices being the most consistent, and the Altus and Tenor voices being the most inconsistent. With the exception of the anacrusis in each statement, the Bassus voices do not alter their line. The

Cantus voices differ only in the first statement, with the other three being identical. The inner voices, however, have different material for each of the modal degrees; only the third and fourth statements, which are at the same modal level, utilize the same material.

Each of the four cadences in this section is complete, employing all three cadential voice-leading patterns. While the cantizans and the bassizans always occur in the same voice type, Cantus and Bassus respectively, Grimm alters the location of the tenorizans pattern. For the first two statements, this pattern appears in the Altus voices; Grimm moves this figure to the Tenor voices for the final two. With the exception of the second statement, the tenorizans pattern is progression. Consequently, the entrance of the first statement, which is not effected by previous material, varies slightly from the other three. 88 Figure 5.8: Grimm, Unser Leben, mm. 36-48.

89 always below the cantizans pattern. By varying the location of this pattern,

Grimm ensures that each voice participates in the cadential construction at one point or another (Figure 5.8).135

Section D

In order to create cohesion between Sections C and D, Grimm composes a brief overlapping of phrases in m. 48 similar to that found between Sections A and B. The Chori inferioris initiates Section D while the Chori superioris is sustaining the final chord from Section C (Figure 5.9).136 The consistency between sections is further achieved by maintaining the same texture. The new section begins much the same way as the previous one, with homophonic statements alternating between choirs.

Section D (mm. 48-75) contains the final line of the second couplet. The musical setting of the text, “so ist es Müh und Arbeit gewesen,” shares a similar construction with the Section B in that the last word in both sections appears only in the final textual repetition. Thus, the first four out of the five statements of the text are incomplete, including only the words “so ist es Müh’ und Arbeit.” Once again, Grimm relates similar formal components with poetic and compositional techniques. Throughout this section, the composer highlights two words through the use of melismas and suspensions; Grimm depicts aurally the ideas of “Müh”

135 Grimm, Unser Leben. 136 Ibid. 90 Figure 5.9: Grimm, Unser Leben, mm. 47-50.

and “Arbeit”—or “toil” and “work”—as being integral components to a life that is long and fulfilling.

The first two statements of the text in Section D are completely antiphonal- homophonic, and proceed in the same manner as Section C (Figure 5.10).137

These statements are related harmonically by ascending rather than descending fifth, the first occurring on Bb and the second on F. Section D is the most rich and dissonant in the composition, with fifteen of the twenty-three suspensions in the motet occurring from mm. 48-75. Six of these suspensions, all in the Altus voices, occur in the first two statements. The two chains of suspensions include a 7-6 suspension that is ornamented with underthird motion, another 7-6 suspension, and a cadential 4-3 suspension. The final two suspensions are accompanied by cadential motion, 3-4-5-1, in the Bassus voices. These two

137 Ibid. 91 cadences are imperfect, with the imperfect tenorizans pattern in the Cantus voices placed above the cantizans pattern in the Altus voices. While the alteration of this pattern might seem to suggest a somewhat more modern practice, the presence of melismas on the penultimate syllable of “Arbeit” in six out of the eight voices override that possibility.

Figure 5.10: Grimm, Unser Leben, mm. 48-56.

Statements three and four utilize a combination of textures, which is partially due to Grimm’s grouping of voices. In a manner similar to Section B, there are four forces; however, these forces differ in combination from the end of

Part I—the Chori inferioris acts as one complete force, while the Bassus superioris and Cantus superioris act independently, and the Altus superioris and

Tenor superioris are paired. Although the statement in the Chori inferioris is homophonic, the imitative entries in the Chori superioris give this portion of music its mixture of textural qualities.

92 Statement three, which is presented by the Chori inferioris shares similarities with the preceding two statements in the upper voices. The descending, mostly stepwise line in the Cantus inferioris, as well as the chain of suspensions in the Altus inferioris provides a high level of aural familiarity.

However, the first and third suspensions do differ: the first omits the underthird ornamentation, and the third is a 7-6 suspension with a change of harmony on the resolution rather than a 4-3 cadential elaboration.

The similarities between the first two statements and the third statement do not extend to the lower voices (Figure 5.11).138 The Tenor voice of this passage is stepwise and employs an important ornamental turn in the middle.

Furthermore, while the bassline of the preceding two statements fulfills a harmonic role, ending with the typical cadential formula, the Bassus inferioris in these measures employs a completely stepwise descending pattern. Though the line certainly does not conflict with the harmonic progression, it does not provide the foundational support of the previous two statements.

The cadence is somewhat weakened by this motion in the lowest voice.

Composers often rearranged the placement of the three cadential patterns in order to lessen the impact of a cadence.139 Harmonic force at the end of the third statement does not come from a descending fifth bassizans pattern, but from the descending stepwise tenorizans pattern. Harmonically, the cadence moves from an aº6 sonority to a Bb sonority, with root movement up by step. Thus, with the

138 Ibid. 139 Judd, “Pre-Baroque Analysis,” 214. 93 Figure 5.11: Grimm, Unser Leben, mm. 56-60.

cantizans pattern in the Altus inferioris and the tenorizans pattern in the Bassus inferioris, the cadence lacks the bassizans pattern. This type of cadential construction was the most basic and common type found in fifteenth- and sixteenth-century practice, and with it Grimm pays homage to an older musical style. This construction was less prevalent in the seventeenth century, with the notable exception of the phrygian cadence.

While the bassizans pattern was certainly a significant cadential marker for Grimm’s contemporaries, it is possible to locate examples without this pattern.

In addition to the excerpt given in the chapter concerning Part I of the motet

(Figure 4.10: Praetorius, O Lamb Gottes unschuldig, mm. 25-27), Praetorius uses such a cadence in m. 55 of Mensch wilt du leben seliglich (Figure 5.12).140

Unlike the earlier example from Praetorius, which contained the bassizans

140 Praetorius, “Mensch wilt du leben seliglich,” 44. 94 pattern in an inner voice, here he omits it completely. The cantizans pattern in the Altus inferioris and then Tenor superioris is highly ornamented. In addition to the placement of the tenorizans pattern in the Bassus voices, the continuing motion in the Cantus voices creates a fluidity of link with the next entrance.

Figure 5.12: Praetorius, Mensch wilt du leben seliglich, mm. 54-57.

I have included for comparison two examples from Schein. The first example, taken from m. 38 of Sic Deus dilexit mundum (Figure 5.13), presents a construction similar to that which Grimm and Praetorius used, with a whole step descending motion in the lowest voice.141 However this motion as a cadence must be questioned, because there is no corresponding cantizans pattern.

Rather, the fifth in the Septima vox proceeds to the octave. This pattern is perhaps a substitution for the cantizans pattern, but there is no leading tone. The second example from Schein, taken from his motet, Ist nicht Ephraim mein teurer

141 Schein, “Sic Deus dilexit mundum,” 45. 95 Figure 5.13: Schein, Sic Deus dilexit mundum, mm. 37-38.

Sohn (Figure 5.14), contains two occurrences of the more typical phrygian variety of this cadential construction.142 With the exception of minor alterations and the transposition up by fifth, the two statements in mm. 38-41 are almost exactly identical, with the distinctive half step descending motion in the tenorizans pattern in the lowest voice.

The previously mentioned combination of textures in statements three and four of Unser Leben wehret siebenzig Jahr’ occurs as a result of imitative entries in the Chori superioris. Two measures after the Chori inferioris begins statement three, the Bassus superioris enters by itself (m. 58). Its material is taken directly from the descending stepwise motion in the Bassus inferioris in

142 Johann Hermann Schein, “Cymbalum Sionum, Teil 2: Ist nicht Ephraim mein teurer Sohn” in Neue Ausgabe sämtlischer Werke, edited by Arno Forchert (Kassel: Bärenreiter, 1997), 25-26. 96 Figure 5.14: Schein, Ist nicht Ephraim mein teurer Sohn, mm. 38-41.

Figure 5.15: Grimm, Unser Leben, mm. 56-66.

the preceding statement. After two more measures, the Altus inferioris and

Tenor inferioris enter, with the same descending line appearing in the upper of the two voices. Finally, the Cantus superioris enters after a further two

97 measures, imitating the previous canonical entries. All four statements of the descending stepwise line occur at the same modal level, proceeding F-Eb-D-C-

Bb (Figure 5.15), though they are harmonized somewhat differently.143 Grimm used this technique of accompanied imitation earlier in the motet in Section B in mm. 21-32, and as with the previous example, the imitated line only becomes apparent with subsequent repetitions. The four voices of the Chori superioris combine to form a complete cadence in m. 66: the Altus superioris contains the cantizans pattern decorated with a 4-3 suspension, the Cantus superioris has the tenorizans pattern, and the Bassus superioris descends by fifth with the bassizans pattern. Because the descending stepwise line is stated last in the

Cantus superioris, the cadential patterns are inverted in m. 66. Notice that, unlike the previous two cadences, the penultimate syllable is syllabic, with exception of the resolution of the suspension.

While the fifth and final statement in this section begins with an antiphonal-homophonic texture, it quickly dissolves into a climactic, unified- polyphonic one (Figure 5.16).144 Two measures after the Chori inferioris begins in m. 66, the remaining four voices enter, and the two choirs proceed independently until joining for the cadential passage beginning in m. 73. The final statement of the text contains obvious musical elements from the previous four statements. The Bassus inferioris begins with descending stepwise motion that is taken from repetitions three and four. The fusa pattern in the Tenor

143 Grimm, Unser Leben. 144 Grimm, Unser Leben. 98 inferioris comes from the ornamental turn found in the same voice in the third repetition. Repetitions one and two are recalled in the chain of suspensions found in the Altus inferioris. With the entry of the Chori superioris these allusions to previous material become much less literal, and the counterpoint is largely free of influence.

Figure 5.16: Grimm, Unser Leben, mm. 66-75.

Among Praetorius, Schein, and Schütz, the technique of staggering choral entrances and then bringing the choirs together at the cadence is most widely employed by Schütz. The passage from mm. 217-223 of his motet, Meine Seele erhebt den Herren (Figure 5.17), is a clear example of this textural morphing.145

Here, the Chori inferioris begins in a homophonic texture, and the Chori

145 Heinrich Schütz, “Einzel Psalmen II: Meine Seele erhebt den Herren” in Neue Ausgabe sämtlicher Werke, edited by Werner Breig (Kassel: Bärenreiter, 1971), 203. 99 Figure 5.17: Schütz, Meine Seele erhebt den Herren, mm. 217-223.

superioris enters exactly one measure later in the same fashion. However, after both choirs have entered, their homophony dissolves and the voices proceed independently until the unified-polyphonic cadence. The cantizans pattern occurs in the highest voice, and is decorated with a 4-3 suspension and nota cambiata figure. The tenorizans pattern occurs in the Tenor inferioris, which has a lengthy melisma on the penultimate syllable of the text. As in Grimm’s motet, a full statement of the text is followed with partial repititions.

In addition to the emergence of an antiphonal process now in stretto in

Grimm’s motet at the end of Section D, increased harmonic energy is achieved through a saturation of dissonant linear features. These begin with a chain of suspensions in the Altus inferioris. Like earlier statements, this chain begins with two 7-6 suspensions; however, these are followed not by a suspension, but

100 rather by a 7-8 retardation which is ornamented with a descending stepwise line.

An internal cadence occurs on Bb in m. 72, with the cantizans pattern decorated by a 4-3 suspension in the Altus superioris, the tenorizans pattern in the Altus inferioris, and the bassizans pattern in both Bassus voices. Finally, a pair of suspensions in the Tenor superioris—the first one is a 7-6 suspension which is ornamented with a portamento figure and involves a change of harmony; the second one is a 4-3 suspension—heightens the cadential intensity at the end of

Section D.

The second appearance of the three-syllable word “gewesen” occurs in the final cadential passage of this section. The middle syllable, “we,” is extremely drawn out, so that the setting “gewesen” lasts as long as four measures in some voices. The three syllables are set rhythmically as minim- breve-semibreve in the Altus inferioris, and the natural speech pattern with an accented second syllable is even more evident here than it was in the previous occurrence of this word in Section C (m. 44-45). The two words, “siebenzig” and

“gewesen,” are the only words containing three syllables in the entire verse, and their settings in the motet demonstrate Grimm’s attention to detail in preserving natural linguistic emphasis. While their patterns of stressed and unstressed syllables differ—the first syllable of “siebenzig” is accented, while the second syllable of “gewesen” receives emphasis—Grimm adapts the settings of these words to accommodate these differences.

101 The final cadence in Part II is one of the most climactic in the entire motet.

It is the third complete cadence involving both choirs thus far, and it is the first such cadence to occur on F, the final of the mode. The previous two, m. 35 on C and m. 72 on Bb, were a fifth above the final (which is the co-final) and a fifth below the final, respectively. This organization creates a tonal balance that perhaps serves as a preparation for the grand cadence at m. 75 on F. The cadence here alludes to earlier cadential practice in two significant ways. First,

Grimm places both the cantizans and tenorizans patterns in the Tenor superioris and Tenor inferioris respectively, recalling a much earlier compositional style in which the Tenor voice was the most fundamental element in formulating cadences. The second way in which this cadence alludes to earlier practice can be observed in the ornamentation of the final word. The penultimate syllable of the text is highly decorated, receiving long melismas in six of the ensemble’s eight voices. Additionally, the Cantus superioris line is further ornamented with a nota cambiata pattern. Examples of this florid style are present in sixteenth- century works by composers from both the conservative Roman School and the progressive Venetian School.

Palestrina, from the Roman School, uses such writing for the cadence in mm. 16-18 of his motet, Surge, amica mea (Figure 5.18).146 The first syllable of the word “veni” is emphasized with melismas in the Cantus and both Tenor

146 Giovanni Pierluigi da Palestrina, “Surge, amica mea” in Le opere complete di Giovanni Pierluigi da Palestrina, vol. 11, edited by Lino Bianchi (Rome: Institution Italiano per la Storia della Musica, 1966), 147. 102 voices. Interestingly, the First Tenor, unlike the others, contains only one statement of the text. The longer sustained note in the Bassus, while not a melisma, supports and enhances the florid motion of those melismas by creating a static harmonic field. Though this example utilizes plagal motion, the movement from 6-8 in the Cantus and Tenor I to the fifth of the cadential sonority confirms the presence of an ending.

Figure 5.18: Palestrina, Surge, amica mea, mm. 14-18.

A more extensive use of this technique appears in mm. 70-72 of the motet, Jubilate Deo (Figure 5.19), by Giovanni Gabrieli of the Venetian School.147

In much the same way as the example given from Palestrina, the composer lengthens the penultimate syllable of the final word of text, “ejus,” which concludes with an internal cadence in m. 72. Melismas of varying length are present in seven of the ensemble’s eight voices; only the Bassus superioris is without such decoration. The cadence is authentic, with the cantizans pattern decorated with a 4-3 suspension in the Tenor superioris, and the tenorizans

147 Giovanni Gabrieli, “Motetta (Sacrae Symphoniae, 1597): Jubilate Deo” in Giovanni Gabrieli Opera Omnia, vol. 1, edited by Denis Arnold (Rome: American Institute of Musicology, 1956), 112. 103 pattern in the Altus inferioris. Interestingly, neither of the voices containing these patterns utilizes extensive melismas on the final word. Instead, the most elaborate use of this technique occurs in the Cantus voices of each choir, though the Cantus inferioris does terminate slightly early in order to avoid a prohibited parallel perfect consonance.

Figure 5.19: G. Gabrieli, Jubliate Deo, mm. 68-72.

While Grimm’s motet contains an abundance of dissonances in the form of suspensions, which subsequently create harmonic interest on one level, the overall tonal trajectory of Section D is somewhat less adventurous. If we omit the anacrusis to the first statement in m. 49, then the beginning and ending sonorities of this section are F major triads. Furthermore, Grimm employs cadences on only two tones for the five statements of text: Bb-F-Bb-Bb-F.

Perhaps the composer felt that such a high level of intricate contrapuntal writing required grounding in a more reserved and stable harmonic platform.

104 In terms of rhetorical form, Part II is the medium of Grimm’s motet. The text, which speaks of both the joys and the struggles of a fulfilling life, is mirrored in the harmonic complexities of Sections C and D. This passage is the most harmonically rich and dissonant within the entire motet. It is impossible for these two musical elements to be mutually exclusive, just as it is impossible for life to be joyous without times of strife. The parallel construction of poetic meaning and compositional technique enhances the excitement and intrigue of Part II. The cyclical structure which was presented in the exordium is furthered through the correlation in character between Section C and the homophonic extension of

Section A, and between Section D and Section B. Additionally, the final cadence of Part II, which is on the final of the mode, “corrects” the final cadence of Part I, which was on the cofinal of the mode.

105 CHAPTER 6

THE FINIS

Part III

Figure 6.1: Grimm, Unser Leben, mm. 73-77.

Part III begins in m. 76 following the grandly ornamented cadence which brought Part II to a conclusion in the preceding measure (Figure 6.1).148 This formal boundary has both similarities and differences to the one located between

Parts I and II. Like the previous division, there is no intersection of voices.

However, Grimm does not use a rest between Parts II and III as he did previously in m. 36. Even though a rhythmic pause is not physically present, performers

148 Grimm, Unser Leben. 106 would have almost certainly inserted at least a slight breath before the Chori inferioris entered with the new line of text in m. 76. The change in harmony from

F to Bb further delineates the two formal units.

Figure 6.2: Schein, Alleluja! Ich danke dem Herren, mm. 13-16.

While this type of formal boundary, with neither overlap nor rest, appears frequently in Grimm’s motets, his contemporaries used such a technique far less often. One of the few instances where Schein creates this type of partition occurs at m. 15 of his motet, Alleluja! Ich danke dem Herren (Figure 6.2).149

However, this example is not entirely similar to Grimm’s due to the metrical shift from tempus imperfectus to tempus perfectus that occurs at the same place. The formal boundary is initiated by a phrygian cadence in m. 14 with the tenorizans pattern in lowest voice, and the cantizans pattern decorated by a 7-6 suspension

149 Johann Hermann Schein, “Cymbalum Sionum, Teil 2: Alleluja! Ich danke dem Herren” in Neue Ausgabe sämtlischer Werke, edited by Arno Forchert (Kassel: Bärenreiter, 1997), 96. 107 in the Tenor. The four voices that participate in the cadence then release before the entire ensemble enters with the new formal unit now in triple meter.

Die Himmel erzählen die Ehre Gottes (Figure 6.3) contains an example of a large formal boundary with neither rest nor overlap from Schütz’s repertory.150

The three voices in the cadence in this example contain the three cadential patterns, with the cantizans and tenorizans patterns inverted. As in mm. 75-76 of

Unser Leben wehret siebenzig Jahr’, the cadence that concludes the preceding formal unit is followed by an ensemble release. The reentry without rest then initiates the following formal unit. Although the shift in texture is different in

Grimm’s composition, the effect is still the same.151

Schütz’s procedure in Das ist je gewißlich wahr, which was commissioned by Schein as a funeral motet for himself152, differs in two important aspects

(Figure 6.4).153 The first is the presence of the fermata in m. 110, which draws out the concluding cadence of the preceding formal unit and brings the music to a halt.154 The second is the rest in m. 112 that immediately follows the beginning of the new formal unit. This rest, in a manner of speaking, acts almost like a break between formal units rather than a rest in the middle of a continuous

150 Heinrich Schütz, “Geistliche Chormusik: Die Himmel erzählen die Ehre Gottes” in Neue Ausgabe sämtlicher Werke, edited by Friedrich Schöneich (Kassel: Bärenreiter, 1956), 98. 151 Grimm changes from unified-homophonic to antiphonal-homophonic while Schütz changes from antiphonal-polyphonic to unified-homophonic. 152 Eva Linfeld, “Modal and Tonal Aspects in Two Compositions by Heinrich Schütz,” Journal of the Royal Musical Association 117, no. 1 (1992), 95. 153 Heinrich Schütz, “Geistliche Chormusik: Das ist je gewißlich wahr” in Neue Ausgabe sämtlicher Werke, edited by Friedrich Schöneich (Kassel: Bärenreiter, 1956), 120. 154 Heinrich Schütz, Geistliche Chor-Music. This fermata does appear in the original printing. Additionally, a somewhat rare bareline follows the fermata. 108 Figure 6.3: Schütz, Die Himmel erzählen die Ehre Gottes, mm. 90-94.

Figure 6.4: Schütz, Das ist je gewißlich wahr, mm. 108-112.

section of music. Moreover, the motion by descending fifth from mm. 110-111 creates a quasi-cadential feeling which bridges the formal boundary created by the fermata and text.

The most common technique for creating a boundary between large formal units involved a rhythmic overlap of some sort. This could either be one choir entering before the other exits, or it could involve a partial ensemble releasing early and initiating the new formal unit while the rest of the ensemble is

109 still sustaining the cadential sonority. The latter was the most common method, and Schütz uses it in m. 18 of his motet, Ich bin ein rechter Weinstock (Figure

6.5).155 While four of the voices sustain the cadential sonority for a full semibreve, the third and fifth voices only sound for a minim before beginning the new line of text. In general, Grimm avoids this type of overlap between large formal units, thus creating a formal hierarchy. While he does create overlap between sections within the same part (i.e., between Sections A and B, Sections

C and D, and Sections E and F), he avoids overlap between larger formal units

(i.e., between Parts I and II, and Parts II and III).

Figure 6.5: Schütz, Ich bin ein rechter Weinstock, mm. 16-20.

In Unser Leben wehret siebenzig Jahr’, Part III is the last of the three large formal units, and it is the finis in the rhetorical and formal construction of the motet. It sets the last couplet of text, and like the previous two parts, it consists of two sections. Section E sets the first line of the final couplet in mm. 76-86, and

155 Heinrich Schütz, “Geistliche Chormusik: Ich bin ein rechter Weinstock” in Neue Ausgabe sämtlicher Werke, edited by Friedrich Schöneich (Kassel: Bärenreiter, 1956), 124. 110 Section F sets the final line of the verse in mm. 86-106. These two lines of text,

“Denn es fehret schnell dahin” and “als flögen wir davon,” speak of the temporal nature of earthly life. Thus, the texts of Part I and Part III are related by their focus on the passing of time; Part I speaks of a long life, while Part III stresses that life, no matter how long, is still fleeting.

Resemblances to other portions of the motet also exist on a smaller formal scale. Section E is similar to the homophonic extension of Section A (mm. 11-

21) and to Section C (mm. 36-48), while Section F bears a strong resemblance to

Section B (mm. 21-35) and Section D (mm. 48-75). Grimm draws upon the inherent textual relationship between the first and third couplets, and he composes similarities in the musical material of different sections in order to create a strong sense of musical cohesion throughout the duration of the composition. Though the motet consists on one level of three couplets set as three formal parts, and on another level of six lines of text set as six formal sections, Grimm’s compositional procedures allow the work to be whole and complete.

Section E (mm. 76-86)

Section E begins with an antiphonal-homophonic texture, which is introduced by the Chori inferioris. This is the only time that Grimm begins a formal unit with a Bb sonority, using F and C to begin each of the other formal units. The harmonic trajectory in the initial two-measure statement in the lower

111 four voices is from Bb to F. This motion affects the subsequent entry in the Chori superioris, which has the same material transposed up by fifth. Grimm uses a relatively limited harmonic vocabulary in this section. Each of these two statements uses only two sonorities, both of which are major triads. The entire gamut of harmonic possibilities for Section E—Bb, F, and C—is presented in these first two statements.

Grimm introduces two important compositional techniques in Section E, each of which is related to the antiphonal-homophonic texture. The first of these is a fragmentation of text. Only the first antiphonal statement in each choir presents the entire line of text, “denn es fehret schnell dahin”; the subsequent statements contain only textual fragments, whether a single word or a small grouping of words. This fragmentation was used quite frequently during this period, and it is quite similar to a technique found often in works by Grimm’s teacher. On the one hand, Praetorius, who frequently presents a text in fragmented form following the initial complete statement, takes the technique one step further in his motet, Jesus Christus, unser Heiland (Figure 6.6).156 Following the fragmented portions of text, the entire line is once again repeated: the complete text, “Trug für uns Gottes Zorn” is stated, and then given as only “trug für uns” before once again appearing in complete form. Only the final cadence in this passage is complete with all three cadential patterns in their proper forms.

156 Michael Praetorius, “Jesus Christus, unser Heiland” in Gesamtausgabe der musikalischen Werke von Michael Praetorius, vol. 2, edited by Friedrich Blume (Wolfenbüttel: Georg Kallmeyer Verlag, 1939), 61. 112 Schütz, on the other hand, rarely uses this fragmentary process. Instead, he frequently uses a gradual process in which portions of a text are slowly added until the final statement presents the complete line of text.

Figure 6.6: Praetorius, Jesus Christus, unser Heiland, mm. 24-28.

The second compositional technique that Grimm introduces in Section E is in actuality a drastic exaggeration of a technique that he has already employed.

While the alternation of antiphonal-homophonic statements was used very early on in the motet, the rapidity of alternations is much more frequent in Section E.

The highly exaggerated technique used here is reminiscent of the earlier practice of hockets. While the first uses of this compositional technique in the thirteenth and fourteenth centuries do not bear much resemblance to Grimm’s technique, the transformation of the hocket into an instrument of antiphonal polyphony in the fifteenth century by composers such as Cesaris and Dufay led to the adoption

113 and adaptation of the technique in polychoral works of the late Renaissance and early Baroque.157

I have included three examples from different periods in the development of the hocket as a compositional technique. The first example is from the fifteenth century, and comes from Dufay’s mass fragment, Gloria ad modum tube

(Figure 6.7).158 The upper two voices, which are derived canonically, display the imitative nature of the hocket, although one voice does not rest while the other is sounding. The lower two voices, however simple their parts might be, display the alternating statements that became the basis for antiphonal responses in later practice.

Figure 6.7: Dufay, Gloria ad modum tube, mm. 13-20.

The second example is from one of Hassler’s settings of Laudate

Dominum (Figure 6.8).159 In this example, we see the alternating imitative statements between the two choirs antiphonally. There is also a small amount of rhythmic overlap, with one choir entering on the same sonority while the other

157 Ernest Sanders, “Hocket,” The New Grove Dictionary of Music and Musicians 11 (New York: Macmillan, 2001): 569-570. 158 Guillaume Dufay, “Fragmenta Missarum: Gloria ad modum tube” in Opera Omnia, edited by Heinrich Besseler (Rome: American Institute of Musicology in Rome, 1962), 80. 159 Hans Leo Hassler, “Laudate Dominum” in Sämtliche Werke: Sacri concentus, vols. 5 and 6, edited by C. Russell Crosby, Jr. (Wiesbaden: Breitkopf & Härtel, 1961), 159. 114 choir arrives at the last note of its statement. This creates the seamless character typical of the hocket during the Renaissance period.

Figure 6.8: Hassler, Laudate Dominum, mm. 51-62.

The final example presents a technique almost identical to that which

Grimm uses. The seventeenth-century example from Praetorius’s motet, Jesaia dem Propheten das geschah (Figure 6.9), does have some rhythmic overlap, but

115 it is not as extensive as it was in the example from Hassler.160 One choir enters while the other choir is already sustaining its final sonority, rather than entering when the already sounding choir arrives at its final sonority. Praetorius often limits his alternations to groups of three, and this example is one of the few in which he carries the technique further.

Figure 6.9: Praetorius, Jesaia dem Propheten das geschah, mm. 12-16.

None of these examples presents the incredible frequency and speed with which Grimm alternates between choirs. Indeed, Grimm’s use of hockets seems to be among the most severe or drastic in the period. While I disagree with

Christopher Wilkens and Peter Downey categorically, perhaps this is the basis on which they make their assessment of Grimm’s works in their article on the composer in New Grove:

160 Michael Praetorius, “Jesaia dem Propheten das geschah” in Gesamtausgabe der musikalischen Werke von Michael Praetorius, vol. 2, edited by Friedrich Blume (Wolfenbüttel: Georg Kallmeyer Verlag, 1939), 76. 116 The small-scale chorale arrangements are tightly constructed and pleasing works, whereas the large-scale chorale, polychoral compositions are more loosely organized and often overdo the antiphony between high- and low-sounding choirs.161

As previously mentioned, Grimm uses a limited harmonic vocabulary for each of these hockets. With the exception of m. 83, each statement uses only two harmonies, Bb and F or F and C. Grimm once again uses parallel imperfect consonances to prolong harmonies, most notably F and Bb in mm. 81-84 though examples do occur throughout Section E. The first two statements of the text are the longest, presenting the entire text and lasting two measures. Because of the nearly identical material in the lowest voice of each choir, the harmonic progressions are the same with the second transposed up by fifth. However, the contrapuntal lines in the upper three voices are unrelated melodically, containing similarities only in rhythm. Following the first two statements, which each last two measures and a downbeat, there are two quick alternating interjections of only one word, “dahin” (Figure 6.10).162 When considered together, these interjections form a plagal exclamation, with motion in the Chori inferioris from C to F, and motion in the Chori superioris back from F to C. Thus, the combined progression is C-F-C.

This is followed by four alternating statements of the textual fragment, “es fehret schnell dahin,” with the two statements in each choir sharing similarities

161 Wilkens and Downey, “Grimm, Heinrich,” 424. 162 Grimm, Unser Leben. 117 Figure 6.10: Grimm, Unser Leben, mm. 76-81.

Figure 6.11: Grimm, Unser Leben, mm. 81-86.

(Figure 6.11).163 Let us first consider the statements of each choir separately

(i.e., m. 81 and m. 83 in the Chori inferioris, and m. 82 and m. 84 in the Chori superioris). The lines in the Chori inferioris have the same shape, but the

163 Ibid. 118 contrapuntal intervals in the second statement vary slightly so that, while the first progresses C-F-C, the second progresses C-Bb-F. The lines in the Chori superioris are the exact same, but transposed up by fourth with harmonic motion

C-F-C and then F-Bb-F. When these four statements are considered together

(i.e., division between choirs is not taken into account), the overall harmonic trajectory is down by fifth from C to F. The lines are very similar within each of the four statements: the Cantus and Altus voices have only one change per repetition, the Tenor voices have two changes in each repetition, and there is only one change in the third statement in the bassline. However, one must consider the last beat in the Altus and Tenor voices separately, as they contain continuation figures. The text is further fragmented with three statements of

“schnell dahin.” The bassline—which maintains an F sonority throughout—and rhythm are the same in each repetition, but the other voices differ slightly in their lines.

Every word in Section E is set syllabically, much as the harmonic extension of Part I was in mm. 11-21. The rapid exchange between choirs and the short rhythmic values depict aurally the meaning of the text in much the same way that melismas and agogic accents emphasize significant words in previous parts of the motet. The brevity of existence, which is the focus of the text here, is portrayed with the fleeting fusa rhythms, whereas longevity, which is the focus of the text in Part I, is represented with longer tones. While we cannot know whether or not Grimm wished to set one word above the others in terms of

119 textual significance, the word “dahin” or “away” appears sixteen times in mm. 76-

86, more than any other word in this portion of text.

Section E consists of almost entirely plagal motion, and there are no authentic cadences. The section is brought to a close with three measures of an

F major sonority in which harmonic motion is avoided, though chord inversion does change. Harmonic motion is further weakened in these measures with the frequent use of stepwise basslines. Consequently, Grimm often avoids even the weaker leap by fourth characteristic of plagal motion. The harmonic turmoil of

Part II is not present in Section E, and like the opening measures of the motet, the only dissonances are unaccented passing tones.

Although there is only a minimal amount of actual rhythmic overlapping between entering and exiting choirs, continuity is maintained by harmonic overlapping, with the entering choir always beginning with the last sonority of the exiting choir. This creates a seamless character throughout the eleven antiphonal hockets of Section E (Figure 6.12).164 The technique of harmonic overlapping was quite common throughout the late sixteenth and seventeenth centuries. In his motet, Herr, nun lässest du deinen Diener (Figure 6.13), Schütz uses such a technique not only for alternations between choirs, but also for the subdivisions within choirs, such as that in m. 39.165 While Praetorius uses more

164 Ibid. 165 Heinrich Schütz, “Musikalische Exequien: Herr, nun lässest du deinen Diener” in Neue Ausgabe sämtlicher Werke, edited by Friedrich Schöneich (Kassel: Bärenreiter, 1956), 66-67. 120 rhythmic overlap than Grimm in his motet, Zu Gott in dem Himmel droben/Herr, dein Ohren zu mir neige (Figure 6.14), the effect is quite the same.166

Figure 6.12: Grimm, Unser Leben, mm. 76-86.

166 Michael Praetorius, “Zu Gott in dem Himmel droben/Herr, dein Ohren zu mir neige” in Gesamtausgabe der musikalischen Werke von Michael Praetorius, vol. 2, edited by Friedrich Blume (Wolfenbüttel: Georg Kallmeyer Verlag, 1939), 117. 121 Figure 6.13: Schütz, Herr, nun lässest du deinen Diener, mm. 32-40.

122 Figure 6.14: Praetorius, Zu Gott in dem Himmel droben/Herr, dein Ohren zu mir neige, mm. 44-48.

Section F (mm. 86-106)

The division between Section E and Section F is the most seamless in the motet. The material that begins in the middle of m. 86 appears as if it will be another statement of the fragment, “schnell dahin”; however, that is not the case.

The new text, “als flögen wir davon,” begins with a deflection up a step, destroying the regularity and predictability of this passage and initiating the new formal unit. Furthermore, the deflection allows Grimm to create an authentic cadence once again utilizing the cadential bass pattern, 3-4-5-1. This type of harmonic deflection was first used in Section C at m. 38 (Figure 5.8). The change of text and the harmonic deflection that leads to a cadence are clear markers of the beginning of the final section of the motet. The boundary between these two sections is also unique in that Grimm does not alternate between

123 choirs—the Chori inferioris contains both the last statement in Section E and the first statement in Section F, while maintaining an antiphonal-homophonic texture.

Section F is the final section of the motet, and while it does form a coherent whole, it can be broken into three subsections: mm. 86-91, mm. 91-97, and mm. 97-106. This organization alludes to many different facets of the formal construction of the motet. Although there are only two sections in Part I, the plagal motion in m. 11 gives Part I the feeling of three sections: the two subsections of Section A which are followed by Section B. The three-unit construction relates more explicitly to the three parts of the motet. Each of these formal groupings of three relates to the three couplets of the psalm verse, and enhances the cyclical organization of Grimm’s motet as well as the relationship between poetic structure and musical form. Each statement of the text in Section

F is complete, and Grimm no longer uses the fragmentary procedure that is found throughout the previous section.

The first subsection (mm. 86-91) contains five statements of the text, during which Grimm shifts from an antiphonal-homophonic to a unified- homophonic texture (Figure 6.15).167 This shift is achieved gradually: the first two statements are completely responsorial, the second two involve some overlapping and interruption, and the final one is unified between choirs. While the rhythms for each of the five statements in this subsection are the same—with all words set syllabically—the contrapuntal writing does vary somewhat in each

167 Grimm, Unser Leben. 124 Figure 6.15: Grimm, Unser Leben, mm. 86-91.

statement. The first two statements (mm. 86-88) contain different anacruses, because the second one is not influenced harmonically by the previous section as the first one was. Following the anacruses, the basslines are the same.

Grimm uses the same three lines in the upper three voices, though he shifts their placement in voice part. The harmonies are, with the exception of the anacruses, the same: F-g-A-D and D-g-A-D.

The second two statements (mm. 88-90) use the same two chords: D-g-

D-g. Once again, they contain the same bassline, and the upper three lines alter their voice part placement. There is one difference in these three lines between the two statements. While the Altus voices contain almost the exact same part, the Altus superioris alters the second note of its line, ascending from A to Bb rather than descending from A to G as the Altus inferioris did. This adjustment is made to avoid a parallel octave with the Tenor inferioris that arises as a result of

125 the overlapping of these two statements. No such adjustment was necessary in the first two statements, because there was no interruption between choirs.

The fifth statement (mm. 90-91) arrives at a unified-homophonic texture, and the progression, G-C-D-G, is a transposition of the second statement. There are no dissonances whatsoever in this first subsection of Section E. Each of the five statements terminates in a complete cadence, though the first, third, and fourth cadences place the tenorizans pattern above the cantizans pattern. While the bassizans is always in the Bassus voice, the location of both the cantizans and tenorizans patterns changes with each statement of text. The final cadence is in some regards the purest in the motet, with the cantizans occurring in the

Cantus superioris, the tenorizans occurring in the Tenor inferioris, and the bassizans occurring in both the Bassus superioris and the Bassus inferioris. The cadence tones for mm. 86-91 are D and G, with the first two occurring on D and the final three on G.

Grimm’s contemporaries use a textural shift from antiphonal-homophonic to unified-homophonic frequently. Schein most commonly uses such a technique while setting the word, “Alleluja”; however, there are a few instances where he does so with complete lines of text. In his motet, A Domino factum est istud

(Figure 6.16), he shifts initially from a unified-homophonic texture to an antiphonal-homophonic texture.168 He then shifts back to a unified-polyphonic texture for the cadence in mm. 29-30. These shifts take place rapidly, and the

168 Schein, “A Domino factum est istud,” 52. 126 entire process happens in seven measures from mm. 24-30. Schein uses a mixture of plagal endings and phrygian cadences in this passage. His technique here is decidedly more intricate than Grimm’s, and he achieves these textural shifts by creating metrical delays, interruptions, and overlaps.

Figure 6.16: Schein, A Domino factum est istud, mm. 23-30.

127 Figure 6.17: Schütz, Tröstet, tröstet mein Volk, mm. 81-98.

Clear examples of this blending technique are more difficult to locate in

Schütz due to two factors: he generally uses homophonic textures less than some of his contemporaries, and he shifts so frequently between homophonic and polyphonic textures that he rarely stays in a homophonic texture long enough to shift from antiphonal to unified. However, textural blending does

128 appear in mm. 82-89 from his motet, Tröstet, tröstet mein Volk (Figure 6.17).169

Following two somewhat lengthy homophonic statements, the lower choir remains in a homophonic texture, while the upper choir interrupts two measures later with rhythmically freer material. The two choirs finally align in mm. 97-98 for a unified-homophonic cadence. With the exception of the plagal ending in m. 98, all other endings in this excerpt are complete authentic cadences with the tenorizans pattern placed above the cantizans pattern.

Figure 6.18: Grimm, Unser Leben, mm. 91-97.

The second subsection of Section F in Grimm’s motet begins in m. 91 after an ensemble release and a brief rest in all voices (Figure 6.18).170 The unified-homophonic texture from the end of the previous subsection is maintained throughout this subsection, although there are some slightly

169 Heinrich Schütz, “Geistliche Chormusik: Tröstet, tröstet mein Volk” in Neue Ausgabe sämtlicher Werke, edited by Friedrich Schöneich (Kassel: Bärenreiter, 1956), 69-70. 170 Grimm, Unser Leben. 129 independent moving lines. There are three repetitions of the text in this subsection, again emphasizing the importance of the number three in the formal and poetic construction of the motet. Each repetition is partitioned with a rest that is similar to the one at the beginning of the subsection. While the rhythms are similar in each of the three statements, the highest voice does contain shorter rhythmic values in the first statement than it does in the following two statements. Similarly, the harmonic motion of the first statement is slightly more complex; it has three sonorities while the other two statements have only two each. The progressions for the middle subsection of Section F are: G-C-D-G, G-

C-G-C, and C-F-C-F. Thus, the third statement is a transposition down by fifth of the second statement. Once again, Grimm creates a link harmonically between the ending sonority and beginning sonority of two statements.

The three cadence tones in mm. 91-97 are G, C, and F, which follow a descending fifth pattern. Each of the three cadences is complete with the cantizans and tenorizans always occurring in the Chori superioris, and the bassizans occurring in both Bassus voices. The tenorizans pattern occurs above the cantizans pattern in the second and third cadence. There is one 4-3 cadential suspension in each of the three cadences, occurring in each of the upper three voices of the ensemble—in order, Cantus superioris, Altus superioris, and Tenor superioris. Finding a textual correlation for these dissonances presents more of an issue than in Part II. Indeed, it is possible that there are no textual underlying causes for these suspensions. Perhaps they are

130 employed solely for the purpose of enhancing cadential intensity. However, if a case were to be made for a textual reason for these dissonances, it might be linked to the text “flögen wir davon” or “we fly away.” Perhaps Grimm is drawing a parallel between the suspension as a dissonance between two consonances

(in a state of limbo, so to say), and the state of dying as between life and death

(earthly life and heavenly life). At any rate, if there is no textual explanation, then

Part III, like Part I, only employs passing tones and cadential suspensions as dissonances. Regardless, the dissonances in these two parts are not as closely related to text as those of Part II, which are almost certainly linked to poetic meaning.

The second cadence in this passage (m. 95) is of particular interest because of its peculiar doubling of the tenorizans pattern between the Cantus superioris and Tenor inferioris. While these parallel octaves are technically permissible according to the third volume of Praetorius’s Syntagma musicum, this is the only instance of such a doubling in the entire motet.171 Furthermore, there is no imperfect tenorizans pattern. It is possible that Grimm did not intend for the pattern to be doubled, but that one voice (I would surmise the Tenor inferioris) contains a misprint. If so, then that voice would move not from D to C, but from D to E.

Before moving on to the final subsection, I must point out that the last cadence of the second subsection (mm. 96-97) is the final true authentic

171 See footnote 117. 131 Figure 6.19: Schein, Alleluja! Wohl dem, der den Herren fürchtet, mm. 82-86.

cadence in the motet. Subsequent harmonic motion is only plagal away from and back to F. Consequently, the last of the three subsections in Section F is a formal extension to the motet. In the fourth chapter of his 1525 treatise, Trattato della natura e cognitione di tutti gli tuoni di canto figurato, Italian theorist Pietro

Aaron describes such extensions:

If sometimes, as has become the custom, the composer prolongs his work, amusing himself with additional progressions, you will, in my opinion, need to consider whether the final, as altered by the composer, is suited to and in keeping or out of keeping with his composition, for if reason guide him in what is suited to the tone he will at least see to it that some one part (namely, the tenor or cantus) sustains the final, while the others proceed as required by the tone, regular or irregular, with pleasing and appropriate progressions.172

172 Pietro Aaron, Excerpt from Trattato della natura e cognitione di dutti gli tuoni di canto figurato, 1525, In Source Readings in Music History, ed. Oliver Strunk, rev. ed. Leo Treitler (New York: W. W. Norton and Company, 1998), 424. 132 This type of formal extension is found throughout the repertoire of this time period. Schein is one of the composers who only uses this technique sparingly, but such an example does occur at the end of his motet, Alleluja! Wohl dem, der den Herren fürchtet (Figure 6.19).173 This example is of further interest not only for the inversion of the cantizans and tenorizans patterns in the authentic cadence, but also for the doubling of the bassizans pattern in contrary motion between the Bassus inferioris and Tenor superioris in mm. 82-83. Although most of the motets in Schütz’s Geistliche Chormusik end with an authentic cadence, plagal formal extensions often occur on the word “Amen,” as is the case in Das ist je gewißlich war (Figure 6.20) in mm. 132-137.174 The tenorizans pattern occurs above the cantizans pattern in both the authentic cadence and the plagal ending.

Figure 6.20: Schütz, Das ist je gewißlich wahr, mm. 131-137

173 Schein, “Alleluja! Wohl dem, der den Herren fürchtet,” 119. 174 Schütz, “Das ist je gewißlich wahr,” 122. 133 The third subsection, or the formal extension of Grimm’s motet, begins in m. 97 and continues until the end of the motet (Figure 6.21).175 The long melismas accentuate the word “flögen” and give life to the idea of flying away, and this is the most literal textual representation in the entire motet. The end of the motet, much like the beginning, utilizes a unified-polyphonic texture, and it contains varying numbers of repetitions—from two to four—of the text in the different voices. The voices are independent, and although there is some repetition of musical material between voices, there is not any true imitation.

While some voices do act in pairs at times during these ten measures, this never extends beyond a few beats. The harmonic motion, like that of the polyphonic opening in Section A, oscillates between F and Bb. Like Part I, all dissonances in

Figure 6.21: Grimm, Unser Leben, mm. 97-106.

175 Grimm, Unser Leben. 134 this subsection, and indeed in Section F, are either unaccented passing tones or cadential suspensions. The formal extension contains the most extensive use of fauxbourdon-like parallel thirds, sixths, and tenths to prolong harmonies. This occurs most notably between the Cantus superioris and Bassus inferioris (or the outer most voices) in m. 98 (Bb), the Bassus superioris and Cantus inferioris (or the inner most voices) in m. 98 (Bb), and throughout m. 100 in the Tenor inferioris and Bassus inferioris (Bb).

The harmonic motion in mm. 102-103 does create some interesting questions for modality. If it were considered a true cadence, the final authentic cadence in the motet would terminate not on the final of the mode, but rather on

Bb. However, I believe that this motion to Bb is not a cadence. Although there is a 4-3 cadential suspension in the Tenor inferioris, continuing motion in the Tenor superioris and the Cantus inferioris negates any feeling of cadential finality.

Furthermore, this motion cannot be considered a true cadence because it comes on the penultimate word of text of the verse and not the final word. Thus, I believe that this harmonic motion is not a cadence, but it merely sets up the final plagal motion in the motet in mm. 104-105. That motion from Bb-F cannot be considered a plagal ending. While it contains the cantizans pattern to C, which is the fifth above F, there is no tenorizans pattern that moves to C. Although it would have been simple for the Cantus superioris to move down from D to C, it instead leaps from D to A. Grimm’s careful avoidance of this most traditional

135 cadential pattern confirms that mm. 97-106 is a formal extension, utilizing a unified-polyphonic texture evocative of the opening measures of the motet.

Part III is the finis in the rhetorical and formal construction of the motet, and as such it is charged with the task of bringing any musical “arguments” to a close, as well as summarizing the motet as a whole. Much of this conclusion process is wrapped up in the intrinsic cyclical features of the composition.

Grimm draws upon poetic and textual parallels inherent in the psalm verse, and he creates musical parallels with groupings of three, uses of dissonance, construction of rhythms, and organization of textures. The similarities between

Parts I and III in both text and music provide the motet with a sense of completeness. This is enhanced by the formal extension, which cannot be an independent formal unit, and is thus a direct musical parallel to the polyphonic opening in mm. 1-11, which is dependent on the homophonic extension that follows.

Furthermore, the “argument” of mode, which was established with the cadence on the cofinal at the end of the exordium, and was resolved with the cadence on the final at the end of the medium, is readdressed in the formal extension. The final authentic cadence in m. 97 is abrupt and unexpected, and, while m. 103 is not an actual cadence, the possibility of an authentic cadence on

Bb as the final authentic cadence in the motet is peculiar. Indeed, the final motion of both the exordium and the finis is not an authentic cadence to F, and only the medium contains an authentic cadence on the final as the last harmonic

136 motion of one of the three parts of the motet. This modal “argument,” while put to rest in Part II, is reopened and left unresolved at the end of the motet.

137 CHAPTER 7

CONCLUSION

Heinrich Grimm’s double-choir motet, Unser Leben wehret siebenzig

Jahr’, was written during perhaps the most troubling, but also most professionally active, year of the composer’s life. His family was forced to flee their home in

Magdeburg during its total destruction at the hands of imperial troops. This set off a somewhat lengthy search for a permanent residence, which first led them to

Hamburg and finally to Braunschweig. However, during this year, Grimm continued to work diligently: he worked in at least three cities, and in as many as six different posts. The motet that is the subject of this study was the result of his employment at one of these posts, St. Martini Church in Braunschweig.

The ultimate objective of this study is to aid other modern scholars in their work to increase and renew the familiarity of Grimm’s name and music as an important figure in the early seventeenth century. I have approached this task from the yet unexplored music-analytic perspective by engaging in a detailed examination of one of the relatively few extant double-choir motets published during the composer’s lifetime. After transcribing the motet into modern notational format, a copy of which can be found in the Appendix, I

138 examined the composition in order to discern the stylistic characteristics of

Grimm’s compositional practice.

With the further goal of placing Grimm within a historical context, I compared these stylistic characteristics to compositions by both contemporary composers and predecessors. Through this process, I have been able to conclude that Grimm’s compositional practice is an amalgamation of styles and influences, resulting from the intense period of transition during which Grimm lived. Because he was working during the early seventeenth century, Grimm was witness to the changes in musical aesthetics that were occurring during the shift from the Renaissance to the Baroque.

The most substantial compositional techniques in the motet which hint at

Renaissance practice are in the form of idiomatic linear features. Many of these are directly related to cadential elements from the fifteenth and sixteenth centuries. Grimm uses melismas on penultimate syllables of a few cadences throughout the motet in order to draw out melodic lines and increase tension.

This occurs most notably in the final cadences of Parts I and II. The nota cambiata figure appears several times throughout the work in conjunction with the cantizans pattern, though Grimm disguises it somewhat by filling in the leap of a third with passing motion as he does in mm. 33-34, mm. 51-52, etc. As another decoration of the cantizans pattern, Grimm uses 4-3 suspensions in well over half of the cadences in the motet, such as those in mm. 39, mm. 42, mm.

45, etc. One final Renaissance characteristics not explicitly related to cadential

139 practice concerns the prolongation of a harmonic passage. In a manner reminiscent of fauxbourdon, Grimm uses parallel imperfect consonances in several passages to prolong a single harmony. This occurs most notably in the polyphonic portions of Part I and Part III, though there are instances in other parts of the motet. This brief list of Renaissance characteristics found in the motet is not exhaustive, but these elements are certainly some of the most striking. In particular, Grimm’s use of melismas, nota cambiata figures, and 4-3 suspensions give many cadences a distinctly sixteenth-century quality.

Interestingly, many of the Baroque characteristics of the motet are in fact omissions of once standard Renaissance practices. The most notable of these is the disintegration of the descending tenorizans pattern. While several cadences still contain this oldest of cadential constructions, several contain the imperfect variety, such as those in mm. 15-16, mm. 51-52, etc. Although many cadences in the motet do contain melismas on penultimate syllables, this practice begins to dissolve during Grimm’s lifetime. With the exception of the word “Arbeit” in

Section D, internal cadences within formal parts (i.e., those cadences which are not the final cadence of a Part I or II) lack this traditional Renaissance feature.

There are also several cadences that are not decorated with the 4-3 suspension which had been almost perfunctory since the fourteenth century, for example the cadences in Section A and the first subsection of Section F. One final notable

Baroque characteristic, though there are certainly others in the composition, is

140 the presence of sequential progressions, most notably the falling thirds sequence in the homophonic extension of Section A, mm. 11-21.

As a final comment on compositional characteristics inherent in the motet,

I would like to mention several areas in which Grimm seems to differ somewhat from both his contemporaries and predecessors. Each of these facets involves meticulous care in Grimm’s compositional planning of the composition, and perhaps they were even his own personal compositional rules. The first involves the care with which he establishes a formal hierarchy. The musical form of the motet is, on the broadest level, constructed of three parts. Each of these parts has two sections, and some of these sections contain subsections. Through the means of musical intersection and rest, he sets up levels of importance: subsections contain no significant cadential differentiation (e.g., the division of

Section A into a polyphonic opening and homophonic extension); sections generally, though not always, contain musical overlap (e.g., m. 21 is both the end of Section A and the beginning of Section B); and parts contain no musical overlap whatsoever (e.g., Part I concludes completely before Part II begins).

Grimm also goes through meticulous lengths to ensure that portions correspond musically with other portions in the motet: the polyphonic opening of Section A is related to the formal extension; the homophonic extension of Section A relates to

Sections C and E; and Sections B, D relate to the first two subsections of Section

F.

141 Two further facets of compositional planning involve the setting of words themselves. While Praetorius and Schütz use melismas somewhat freely,

Grimm only uses them to either highlight textually significant words or to enhance the gravity of a cadence. Finally, Grimm is meticulous in his setting of three- syllable words. While there are only two such words in the motet, “siebenzig” and “gewesen,” Grimm maintains natural linguistic emphasis with respect to durational ratio and the level of stress a syllable should receive in each setting of these words.

The task of renewing the familiarity of the name and music of Heinrich

Grimm is a difficult, but worthy, undertaking. This German cantor is not simply an unimportant passing figure who was immediately forgotten upon death. Until the mid-nineteenth century, he was listed among other early seventeenth-century figures such as Praetorius, Schütz, Schein, and Scheidt as one of the most talented and influential German composers and pedagogues from the period.

While we cannot definitively state what caused scholars and lexicographers from the nineteenth and twentieth centuries to omit him from their studies, we can endeavor to undo this tragic fate. Scholars such as Otto Riemer, Hermann

Lorenzen, Ralph-Jürgen Reipsch, Thomas Synofzik, and Joanna Carter have already begun this strenuous process. It is my hope that the present study will continue their pioneering work through the yet unexplored music-analytic perspective, and that future scholars will continue to see this task as not only

142 valid, but vital to our complete understanding of the music of the Late

Renaissance and Early Baroque.

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APPENDIX

TRANSCRIPTION OF THE MOTET

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164 165 BIBLIOGRAPHY

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