MUSICAL RHETORIC IN SWEELINCK’S CHROMATIC FANTASIA Society for Seventeenth-Century Music, 25th Annual Conference, April 20-23, 2017 Derek Remeš (Eastman School of Music) [email protected] Presentation Overview Part I: Historical Context Part II: Analysis of the Chromatic Fantasia A. Te Canons of Rhetoric A. Overview B. Musica Poetica B. Exordium C. Music-Rhetorical Analysis C. Medium D. Fantasia as Genre D. Finis E. Sweelinck as Pedagogue Example 1: Five canons of rhetoric (Rhetorica ad Herennium; Cicero, De Oratore) FIVE CANONS ASSOCIATED CONCEPTS 1 Inventio Content, loci topici, stasis 2 Dispositio Form, structure, organization 3 Elocutio Style, syntax, clarity, varietas 4 Memoria Pictoral scripts, mnemonics 5 Pronuntiatio Delivery (vox and gestus) Example 2: Two models of rhetorical dispositio MODEL 1 MODEL 2 CLASSICAL SIX-PART MODEL FOR ORATIONS TRIPARTITE VARIANT (Rhetorica ad Herennium) (VICENTINO 1555; Dressler 1563; Cicero, De Oratore) 1 Exordium Introduction 1 Exordium (authority) 2 Narratio Statement of Facts 3 Partitio Main Points in Favor 2 Medium (logic) 4 Confrmatio Affirmation of Proof 5 Confutatio (Refutatio) Rebuttal 6 Peroratio (Conclusio) Conclusion 3 Finis (emotion) 1 Derek Remeš, SSCM (2017) Example 3: Te only two extant depictions of Sweelinck (1562–1621) Ex. 3a Ex. 3b Unknown artist, dated 1606 Engraving by Jan Harmensz. Muller, dated 1624 (Dirck Sweelinck? [brother]) Example 4: Large-scale overview of the Chromatic Fantasia SECTION Exordium Medium Finis MM. 1-69 70-170 171-197 PROPORTION Half Notes Whole Notes Quarter Notes 8th Notes Coda MM. 1-103 104-148 149-183 184-193 194-7 Subject Subject STRUCTURAL fuga fuga realis STRETTO realis Pillar EVENTS Pillar in dim. (Ex.7a) diminution (Ex.7b) MM. 55-63 176-80 2 Derek Remeš, SSCM (2017) Example 5: Four levels of subject augmentation and diminution (proportion) Ex. 5a - Double diminution in eighth notes Ex. 5b - Diminution in quarter notes Ex. 5c - "Original" rhythmic values in half notes Ex. 5d - Augmentation in whole notes 3 Derek Remeš, SSCM (2017) Example 6: Four rhythmic levels of suspensions [preparation (P), suspension (S), and resolution (R) indicated] Ex. 6a - Eighth note suspension—ornamented vs. structural versions ORIGINAL STRUCTURAL 2 - 3 2 - 3 Ex. 6b - Quarter note suspension—ornamented vs. structural versions STRUCTURAL ORIGINAL 4 - 3 4 - 3 Ex. 6c - Half note suspension CS5 CS4 subject Ex. 6d - Whole note suspension—ornamented vs. structural version ORIGINAL STRUCTURAL 4 Derek Remeš, SSCM (2017) Example 7: Two analogous passages of fuga realis—four-voice subject stretto [preparation (P), suspension (S), and resolution (R) indicated] Dotted ties are not original. Ex. 7a - In the exordium Ex. 7b - Analogous passage in diminution in the fnis Ex. 7c - “Diatonicized” reduction of Ex. 7a 5 Derek Remeš, SSCM (2017) Example 8: Overview of exordium (asterisk indicates only instance of CS2 in the bass) SUBSECTION Part 1 DESCRIPTION Fugue in Triple Invertible Counterpoint (subject, countersubject 1, countersubject 2) MM. 1-4 5-8 9-13 13-17 17-21 21-25 26-29 29-33 34-38 38-42 42-46 47-51 51-55 VERTICAL S S Free CP S CS1 ORDER OF CS1 CS2 CS2 CS1 CS2 CS1 S S CS1 CS2 Free CP Free CP S CS2 S (frag.) CS2 S S CS2 SUBJECT AND CS1 CS2 CS1 Free CP CS2 S CS1 CS1 S CS1 Free CP CS1 COUNTER- S CS1 S SUBJECTS Free CP SUBSECTION Part 2 DESCRIPTION Closing Function MM. 55-63 63-67 68-69 VERTICAL Subject CS3 Cadential ORDER OF fuga realis Free CP Material SUBJECT AND Pillar S (Ex.7a) Free CP COUNTER- SUBJECTS Example 9: Overview of medium (gray shows countersubject fuga realis [stretto]) SUBSECTION Part 1 DESCRIPTION Subject in Half Notes MM. 70-74 74-78 78-82 82-86 87-93 90-93 94-103 CS5 CS4 CS5 CS4 CS4 S6 VERTICAL ORDER OF SUBJECT S Free CP fuga S CS5 fuga fuga AND COUNTER-SUBJECTS CS4 CS4 realis Free CP S realis realis S (Ex. 10) CS4 SUBSECTION Part 2 Part 3 DESCRIPTION Subject in Whole Notes Quarter Notes MM. 104-110 111-118 119-12 126-133 133-39 140-46 146-48 149-16 161-170 6 0 S CS9 CS8 VERTICAL ORDER OF CS6 CS6 CS8 S frag. S Free CP CS9 fuga Cadential S fuga CS8 S frag. Free Free CP SUBJECT AND COUNTER- S realis Material SUBJECTS CS7 realis S Free CP S CS9 (Ex.11) CP 6 Derek Remeš, SSCM (2017) Example 10: CS4 fuga realis from medium (brackets show [-3, -3, +4] pattern) ORNAMENTED: STRUCTURAL: Example 11: CS9 fuga realis from medium (brackets show [+4, -3, -3] pattern) ORNAMENTED: STRUCTURAL: 7 Derek Remeš, SSCM (2017) Example 12: Overview of fnis SUBSECTION Part 1 Part 2 Coda DESCRIPTION Quarter Notes Eighth Notes - MM. 171-76 176-180 181-83 184-188 189-193 194-197 Subject S Subject S Cadenza-like VERTICAL ORDER fuga realis CS16 S in paired S fourish OF SUBJECT AND Pillar CS16 S imitation S over a COUNTER-SUBJECTS in diminution S “Tonic” Ped. “Dom.” Ped. “Tonic” Pedal (Ex.7b) Example 13: CS16 derived from CS2 in diminution Ex. 13a - CS2 in exordium CS2 (fragment) Ex. 13b - CS16 congeries in fnis, derived from CS2 fragment diminution CS2 CS2 CS2 CS2 CS2 8 Derek Remeš, SSCM (2017) PRIMARY SOURCES Praetorius, Michael. 1619. Syntagma Musicum III. 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