Music and Confession in Heidelberg, 1556– 1618 Matthew Alan Laube Royal Holloway, University of London Submitted for the Degree of Doctor of Philosophy Acknowledgements I wish to thank my supervisor, Stephen Rose, for his constant encouragement and critical eye over the course of many drafts. In the UK, Christian Leitmeir, Howard Hotson, Helen Deeming, Iain Fenlon, Katharine Ellis, Paul Harper-Scott and Robin Leaver all provided helpful information and feedback on my work. Joachim Kremer, Peter Wollny and Eike Wolgast provided valuable support and assistance with archives and sources during my time in Germany. I wish also to thank the staff of libraries and archives in the UK and Europe: the British Library, Cambridge University Library, the Bodleian Library, the Library of St John’s College, Oxford, National Library of Scotland, Glasgow University Library, Aberdeen University Library, the Universitätsbibliothek and Universitätsarchiv Heidelberg, Generallandesarchiv Karlsruhe, Geheimes Hausarchiv and Bayerisches Staatsarchiv München, Staatsbibliothek Berlin, Theologisches Seminar Herborn, Bibliotheca Bipontina Zweibrücken, Universitätsbibliothek Leipzig, Bach-Archiv Leipzig, Uppsala University Library and Bibliotheca Apostolica Vaticana. For their help with tricky German and Latin translation, thanks go to Annika Forkert, Peter Sjökvist and Mattias Lundberg. Fellow post-graduate students Ester Lebedinski, Clare Brady and Harriette Peel proofread and provided feedback through the entire process. Lastly, my greatest measure of gratitude goes to my wife, Elizabeth, who has been proud since day one. Declaration of Authorship I, Matthew Laube, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ________________________________ Date:___________________________________ 2 Abstract As the boundaries between the Lutheran and Calvinist confessions hardened towards the end of the sixteenth century, music became a prominent symbol of confessional difference. In German-speaking lands, Lutheran churches often had organs whereas Calvinist worship did not; Lutherans detested the Genevan psalm tunes that were essential to Calvinist identity. This thesis examines the close relationship of music and religion in the city of Heidelberg in the turbulent period between its first fervent Lutheran reforms (1556) and the start of the Thirty Years’ War (1618). By Electoral decree, Heidelberg and its churches violently oscillated four times between Lutheran and Reformed (Calvinist) confessions between 1556 and 1618. Although each change caused confessional tension throughout the city, Heidelberg’s musical spheres showed continuities as much as discontinuities both within learned circles and on the popular level. Examining the theory of confessionalisation in relation to music, my thesis challenges the theory’s central premise that, in the process of building unified states and using social discipline to enhance secular power, ‘the three great confessions—Catholicism, Lutheranism and Calvinism—developed into internally coherent and externally exclusive communities distinct in institutions, membership and belief’ (Heinz Schilling, 1995). Case-studies examine the hymn repertory in Heidelberg, the role of music in confessionalised education, the uses of music books, and music in court ceremony. Combining hitherto unknown archival material and numerous printed sources with methods of cultural history, gender theory and theory of ritual, my thesis revises previous views about Calvinist musical culture, shows the extensive overlapping of Calvinist and Lutheran musical cultures, and explores the relationship of confessionalised music to pre-Reformation religious and political networks. 3 Table of Contents List of Tables 6 List of Figures 7 Abbreviations 11 Editorial Note 13 1. Introduction: Music, Religion and Society in Heidelberg, 1556–1618 14 City Profile 20 Musicians, Musical Spaces and Urban Networks 30 Confessionalisation as Historical Methodology 50 A New Vision: Confessionalisation, Performative Ritual and Identity Formation 54 2. Hymns, Hymnbooks and Religious Ritual 65 Liturgical Ritual and Church Orders 66 Hymns and Hymnbooks in Heidelberg, 1556–1575 77 Genevan Repertory: Psalters of Melissus (1572) and Lobwasser (1574–1620) 92 Conclusion 106 3. Music, Education and Discipline 109 Court Education 115 Latin and German Schools 129 University Students, Music and Anti-Social Behaviour 143 Latin Culture and Confessionalised Education 154 Conclusion 166 4. Music Books, Social Networks and Gift Rituals 168 Printed Music, Book History and Gift Rituals 169 Collections: Music Libraries in Heidelberg 175 Inscriptions: Private Gifts of Music Books 193 Dedications: Printed Music and Public Gifts 207 Presentations: Manuscripts and the Private Presentation of Music 213 4 Conclusion 224 5. Court, Ceremony and Confession 226 Society, Confession and Court Music 227 Court Wedding Festivities and Urban Topography 233 Confession and Princely Funeral Processions 250 Music, Gender and Intra-Court Politics 258 Conclusion 264 Conclusion 266 Bibliography 271 Appendices A: Transcription of 1610 Contrafactum Text, GHA, MS 10, Palat. Misc. 302 B: Heidelberg Court Musicians, 1556–1618 304 C: Table of Heidelberg Lutheran and Calvinist Liturgies, 1546–1618 309 D: Table of Hymnbooks Printed in Heidelberg and Neustadt, 1567–1620 314 E: Table of Hymns Contained in Heidelberg Hymnbooks (Including Comparison with Hymn Contents of Bapst, Bonn and Hemmel Hymnbooks) 321 F: Inventory of Books Purchased at Frankfurt Book Fair for the Bibliotheca Palatina, 1568–1580 334 G: List of Presentation Manuscripts in Cod.Pal.Lat.1878, Biblioteca Apostolica Vaticana 337 5 List of Tables Table 1.1: Dynastic succession of Wittelsbach Electors Palatine, 1544–1623 22 Table 1.2: Structure of Legal Jurisdictions in Heidelberg 27 Table 1.3: Structure of Ecclesiastical Authority in Heidelberg 29 Table 1.4: Reproduction of Oskar Söhngen’s Table of ‘Various Forms of Musical Practice in Worship Services’, from Theologie der Musik (1967) 56 Table 2.1: Liturgical Calendars in Heidelberg, 1556–1618 73 Table 2.2: Number of Hymn Texts in 1561 Bonn Hymnbook and Heidelberg Hymnbooks, 1567–1575 87 Table 2.3: Comparison of text settings of Psalm 23 by Meusel and Melissus 97 Table 2.4: Heidelberg Editions of Lobwasser’s Psalmen, des Königlichen Propheten Davids 98 Table 2.5: Comparison of Psalm 23 by Meusel, Melissus and Lobwasser 99 Table 3.1: Educational Plans from the Palatine Court 115 Table 3.2: Bibliotheca privata Friderici Comitis Palatini, Cod.Pal.Lat.1917 and 1918 121 Table 3.3: Inventarium rerum relictarum a Principe Christofero Palatin (1574), Cod.Pal.Germ.835 124 Table 3.4: Metres Used by Joachim Christian and Concordances of Melodies, Cod.Pal.Lat.1738 164 Table 4.1: Inventory of books belonging to Louisa Juliane, GHA 1989, folio numbers unknown 176 Table 4.2: Inventory of music books belonging to Friedrich IV (1610), Cod.Pal.Germ.809 181 Table 4.3: Music books in the Bibliotheca Palatina (listed in Cod.Pal.Lat. 1938) according to their appearance at the Frankfurt Book Fair 191 Table 4.4: Printed Music with Dedications to Electors Palatine (Excluding 6 Hymnbooks) 208 Table 4.5: Text and Translation of Sydere qui patrias 217 Table 5.1: Known Wedding and Baptism Festivities Held in Heidelberg, 1556–1618 236 Table 5.2: Extant Archival Sources of Princely Funeral Processions in Heidelberg 250 List of Figures Figure 1.1: Verse 1 of ‘Churfürst Friedrich, Pfaltzgraf bey Rhein, ist tod’, GHA MS 10, Palat. Misc. 14 Figure 1.2: Matthäus Merian, Große Stadtansicht von Heidelberg (1620), Läuwer Gass area 40 Figure 1.3: Parish map of Heidelberg 44 Figure 2.1: Page One of ‘Kurtze Anzeig…’ from Psalter und Psalmen Davids (DKL 161904) 76 Figure 2.2: Liturgical Calendar from Gesangbüchlein Geistlicher Psalmen (Bonn, 1561) 82 Figure 2.3: Title Pages of 1567, 1569 and 1575 Hymnbooks 85 Figure 2.4: Moveable Type of 1567 Hymnbook versus Woodblock of 1569 Hymnbook 86 Figure 2.5: Title Page of Paul Melissus’s Di Psalmen Davids (Schirat: Heidelberg, 1572) 94 Figure 2.6: Anagram of Elector Friedrich’s sons: Ludovicus, Kasimirus and Christoph, Paul Melissus’s Di Psalmen Davids (1572) 96 Figure 2.7: Heading and Page One of the ‘Common Psalter’ (Gemeine Psalter), DKL 161108 101 Figure 3.1: ‘Aus tiefer Not’ from Prayerbook of Elizabeth of Saxony (c. 1570), Heidelberg Universitätsbibliothek, Cod.Pal.Germ. 458, 26v 117 7 Figure 3.2: Title Page of Noctes Musicae (Heidelberg/Leipzig: Vögelin, 1598) 150 Figure 3.3: Album Amicorum of Tübingen Student Johann Michael Weckherlin (c.1600), Württembergische Landesbibliothek Stuttgart, Cod.hist.oct.218, 264r 151 Figure 3.4: Title Page of Volume One of Flores Musicae (Heidelberg: Vögelin, 1600) 152 Figure 3.5: Album Amicorum of Achatius von Dohna (1550) 153 Figure 3.6: Title Page of Spethe’s Psalmorum Davidis (Frankfurt?, 1596) 158 Figure 3.7: Title Page of In Christianae religionis synopsin, Bibliotheca Apostolica Vaticana, Palat.Lat.1738 160 Figure 3.8: Text of Question 1, In Christianae religionis synopsin, p. 7 162 Figure 3.9: Concordance with Tune for Question 1, In Christianae religionis synopsin, pp 58–61 163 Figure 4.1: The ‘Communications Circuit’, from Robert Darnton’s The Kiss of Lamourette (1990) 173 Figure 4.2: Paul Melissus, Di Psalmen Davids (Heidelberg: Schirat, 1572), copy owned by Count Christoph, Biblioteca Apostolica Vaticana, Bibliotheca Palatina, F3181/F3182 194 Figure