PROTESTANT FUNERAL MUSIC AND RHETORIC IN SEVENTEENTH-CENTURY GERMANY A MUSICAL-RHETORICAL EXAMINATION OF THE PRINTED SOURCES By GREGORY SCOTT JOHNSTON B.Mus., The U n i v e r s i t y o f C a l g a r y , 1979 M.A., The U n i v e r s i t y o f B r i t i s h Columbia, 1982 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS OF THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (School o f Music) We accept t h i s t h e s i s as conforming to the r e q u i r e d standard THE UNIVERSITY OF BRITISH COLUMBIA May 1987 (c) Gregory Scott Johnston, 1987 In presenting this degree at the thesis in partial fulfilment of University of British Columbia, I agree freely available for reference copying of department publication this or of and study. this his or her Department of Music The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date DE-6n/fm 29 A p r i l 1987 that the representatives. may be It thesis for financial gain shall not permission. requirements I further agree thesis for scholarly purposes by the is an advanced Library shall make it that permission for extensive granted head by the understood be for that allowed without of my copying or my written ABSTRACT The present t h e s i s Protestant funeral i s an music begins w i t h an e x p o s i t i o n into occasional music f u n e r a l music. i n v e s t i g a t i o n i n t o the m u s i c a l r h e t o r i c i n s e v e n t e e n t h - c e n t u r y Germany. on the i n the present Baroque, works, a c u r s o r y studies The to is included. discussion of present study. the C h a p t e r Two focusing s u r v e y of methodological comprises obstacles i n the L u t h e r a n C h u r c h have s u r v i v e d Although a s i n g l e o r d e r of s e r v i c e exist. liturgical funerary background this trope f o r the chapter f o r the t n e i n any of the critical provides m u s i c as well funeral the of the Divine century, s o c i a l and as a p l a u s i b l e period A f t e r examining the context of o r a t o r i c a l r h e t o r i c of period extra- Lutheran and modern s t u d i e s . i s followed ii the t h e o r e t i c a l background to the German Baroque, funerary sermonic oratory. by a of P r o t e s t a n t l i t u r g y f r o m the both by regard the s e v e n t e e n t h funeral from Roman A n t i q u i t y i s e x a m i n e d i n the discussion hoc r h e t o r i c a l p e r s o n i f i c a t i o n o f the dead, i s of Chapter Three. r h e t o r i c a l device, ad procedure w i t h numerous examples l i t u r g y based on documents from the ££°£°££E££i£» subject This and a general discussion Service to discussed on this l i t e r a t u r e i s followed i n Baroque Germany. seems primarily study inquiry overview of e x i s t i n g liturgy not of mus i c o l o g i c a l B e c a u s e f u n e r a l m u s i c i s not b a s i c music reference brief state The of an investigation of the The into the m u s i c a l a p p l i c a t i o n of the concept of prosopopoeia i n v a r i o u s s t y l e s of funerary composition, compositions i n which from simple c an t i o n a 1 - s t y 1 e the p e r s o n i f i e d deceased works assumes c e r t a i n to physical dimensions. Chapter rhetorical in this metre, Four includes an e x a m i n a t i o n figures e f f e c t i v e l y employed of v a r i o u s other m u s i c a l - i n f u n e r a l music. Also treated and triple chapter are m u s i c a 1 - r h e t o r i c a l aspects of duple where t r i p l e understood metre figuratively, in particular, depending on the t e x t , m e t a p h o r i c a l l y or as a c o m b i n a t i o n of both. t h i s c h a p t e r makes c l e a r , owing to the p e r c e i v e d a n t i t h e t i c a l of metre illustrate and certain can figures, musical rhetoric was iii As properties often the d i s t i n c t i o n between t h i s w o r l d and the next. be used to TABLE OF CONTENTS ABSTRACT i i LIST OF EXAMPLES vi ACKNOWLEDGEMENTS ix Chapter I. II. III. INTRODUCTION 1 LUTHERAN FUNERAL LITURGY IN GERMANY IN THE SEVENTEENTH CENTURY 26 PROSOPOPOEIA: MUSICAL-RHETORICAL PERSONIFICATION OF THE DEAD 47 R h e t o r i c a l and M u s i c a l Background C a n t i o n a l - S t y l e Compositions Dialogue Solo A r i a s P h y s i c a l P e r s o n i f i c a t i o n o f the Dead IV. AFFECTIVE ELEMENTS OF COMPOSITION: FIGURENLEHRE AND METRE C a t a b a s i s and Anabasis Hyperbole and Hypobole Exclamatio Duple and T r i p l e Metre V. 47 71 78 99 105 129 133 151 155 164 CONCLUSIONS 194 APPENDIX 197 Severus G a s t o r i u s : "O T r a u e r - F a l l ! Der mien f a s t gantz entseelet." 198 Theodor Schuchardt: "Ach Gott wie i s t mein H e r t z b e t r u b t . " . . . 199 M i c h a e l Wagner: "Ach wie w i r d mein H e r t z . " 201 Simon B r a n c o v i u s : "Ach G o t t i c h muss i n T r a w r i g k e i t . " 204 H e i n r i c h Schwemmer: "0 wie manchen B e r g . " 215 Kaspar F b r k e l r a t h : "Wer uberwindet s i c h . " 223 H e i n r i c h Schwemmer: "Nun i s t a l l e s uberstanden." 227 iv H e i n r i c h Schwemmer: "Hie l i e g i c h u'berhaufft m i t Schmertzen.". . . . G o t t f r i e d E r n s t B r e c h t h o l d : " I h r l i e b s t e n Freunden i h r ! " . I. F.: " I c h habe das T h r a n e n t h a l d e r Welt." Anon.: "Nimm mein J e s u meine Wonne." H e i n r i c h A l b e r t : "Gedenkt wie mich d e r Tod." BIBLIOGRAPHY 228 . . . 229 229 230 230 231 v LIST OF EXAMPLES 1. 2. Johann P e z e l : "Es s c h a l l t d i e gantze Welt von l a u t e r E i t e l k e i t , " measures 1-7 Johann Hermann S c h e i n : 135 "Herr d e i n Ohre zu mir n e i g e n , " measures 1-4 137 3. Anon.: " F l e u g mein Seelgen auf zu G o t t , " measures 1-2 4. Severus G a s t o r i u s : "0 T r a u e r - F a l l ! Der mich f a s t 137 gantz e n t s e e l e t , " measures' 3-4 138 5. M a r t i n S e i d e l : "Ach T r a u r i g k e i t ! Ach L e i d und Schmertzen.". . . 138 6. Severus G a s t o r i u s : "0 T r a u e r - F a l l ! Der mich f a s t gantz e n t s e e l e t , " measures 1-2 140 7. F r i e d r i c h Funcke: "Ach! H e r t z e l e i d , " measures 9-12 8. Johann Rosenmuller: "Was hat der Mensch a u f f d i e s e r Erden?", measures 1-3 Johann Georg L e i b n i t z : "Weg mit D i r , du f a l s c h e Welt!", measures 1-3. Johann Rosenmiiller: "Was hat der Mensch a u f f d i e s e r Erden?", measures 4-6 9. 10. 11. Heinrich Schwemmer: "Hie l i e g 140 142 142 143 i c h u'berhaufft m i t Schmertzen," measures 13-15 144 12. F r i e d r i c h Funcke: "Ach! H e r t z e l e i d , " measures 13. Johann Hermann S c h e i n : "Das i s t meine F r e u d e , " measures 14. M e l c h i o r F r a n c k : " I s t Gott f u r uns," measures 15. Johann Rosenmuller: "Was measures 6-8 hat der Mensch 18-21 145 1-4 1-6 . . 145 146 a u f f d i e s e r Erden?", 147 vi 16. Simon B r a n c o v i u s : "Ach Gott i c h muss i n T r a w r i g k e i t , " measures 29-32 149 17. Samuel S c h e l d t : "Der Gerechte ob e r g l e i c h zu z e i t l i c h s t i r b t , " measures 21-23 149 Johann Georg L e i b n i t z : "Weg mit D i r , du f a l s c h e Welt!", measures 3-4 150 Samuel S c h e i d t : "Der Gerechte ob e r g l e i c h zu z e i t l i c h s t i r b t , " measures 21-31 151 Simon B r a n c o v i u s : "Ach Gott 53-55 153 18. 19. 20. 21. 22. 23. 24. 25. i c h muss i n T r a w r i g k e i t , " measures Simon B r a n c o v i u s : "Ach Gott i c h muss i n T r a w r i g k e i t , " measures 95-97 154 -Jakob S c h e i f f e l h u t : "Ach H e r r ! Lehre uns bedencken," measures 6- 12 155 Theodor Schuchardt: "Ach Gott wie i s t mein H e r t z b e t r i i b t , " measures 1-3 159 Simon B r a n c o v i u s : 1-3 160 "Ach Gott i c h muss i n T r a w r i g k e i t , " measures H e i n r i c h Schwemmer: "Siehe d e r Gerechte kommet umb," measures 7- 15 160 26. F r i e d r i c h Funcke: "Ach H e r t z e l e i d , " measures 1-3 27. Jakob S c h e i f f e l h u t : "Ach H e r r ! Lehre uns bedencken," measures 1-5 163 163 28. Johann Hermann S c h e i n : "Das i s t meine Freude," measures 1-4 . . 167 29. Theodor Schuchardt: "Gott wie i s t mein H e r t z b e t r i i b t . " 30. Johann Rosenmiiller: "Was h a t d e r Mensch a u f f d i e s e r Erden?" . . 174 31. Samuel S c h e i d t : "Der Gerechte ob er g l e i c h zu z e i t l i c h stirbt." 169 176 32. Jakob S c h e i f f e l h u t : "Ach H e r r ! Lehre uns bedencken." 178 33. Joachim J o r d a n : "Ach weh und p e i n , das Hertze mein." 182 34. Kaspar F b r k e l r a t h : "Wer uberwindet s i c h , " measures 36-54. . . . 184 vi i 35. Johann Rosenmiiller: "Welt ade i c h b i n d e i n mu'de." 36. F r i e d r i c h Funcke: "Ach H e r t z e l e i d . " viii 186 189 ACKNOWLEDGEMENTS I would like my committee, assistance and p a r t i c u l a r l y and t h o u g h t f u l of t h i s t h e s i s . this thesis Lunsford, For t o express my s i n c e r e appreciation t o the members o f to Dr Gregory G. B u t l e r , supervision were invaluable O t h e r s who have c o n t r i b u t e d a r e Dr M a r i a F l i r s t e n w a l d , whose generous t o the c o m p l e t i o n i n one way or a n o t h e r t o Dr P h i l l i p E. Harding, Dr Andrea and Dr Wolfgang Reich. t h e i r generous financial support over the past few y e a r s , should l i k e t o thank the S o c i a l S c i e n c e s and Humanities Research of Canada, the A l b e r t a British I Heritage Scholarship I Council Fund, and the U n i v e r s i t y o f Columbia. should like to acknowledge generous use of t h e i r f a c i l i t i e s : bibliothek i n Erlangen, bibliothek i n Gbttingen, the f o l l o w i n g The B r i t i s h L i b r a r y , the N i e d e r s a c h s i s c h e the K i r c h e n b i b l i o t h e k St. Mang i n Kempton/Allga'u, the Stadtbibliothek the U n i v e r s i t a t s - Landesbibliothek o f the E v a n g e l i s c h - L u t h e r i s c h e s the B a y e r i s c h e Staatsbibliothek and the L a n d e s k i r c h l i c h e s o f the B i s c h b f l i c h e burg, the S t a d t b i b l i o t h e k R e u t l i n g e n , Eberhard-Karls-Universitat f o r the t h e Niedersa'chsische S t a a t s - und U n i v e r s i t a t s - Hanover, Proske-Musikbibliothek libraries i n Tubingen, Pfarramt i n Munich, i n Nuremberg, the Zentralbibliothek i n Regens- the U n i v e r s i t a t s b i b l i o t h e k der the H e r z o g - A u g u s t - B i b l i o t h e k i n Wolf e n b l i t t e l , the Deutsche S t a a t s b i b l i o t h e k ix Archiv in i n Berlin, the B e r l i n e r Stadtbibliothek, schungsbibliothek Universitat the S a c h s i s c h e i n Gotha, i n Leipzig, Landesbibliothek t h e U n i v e r s i t a t s b i b l i o t h e k der K a r l - M a r x - R a t s s c h u l b i b l i o t h e k i n Zwickau. of g r a t i t u d e i s owed to the f a c u l t y and s t a f f F i n a l l y , I am especially grateful encouragement and boundless p a t i e n c e . thank enough, i n Dresden, the F o r - I d e d i c a t e t h i s work. x A special debt of UBC's Music L i b r a r y . to Susan Vedb'y f o r her u n f l a g g i n g To my parents, whom I cou'ld never CHAPTER I INTRODUCTION Funeral published received doubt music accounts critical attention of from relatively few scholars. There t h a t the c o m p o s i t i o n o f f u n e r a l m u s i c , o r p a r t i c i p a t i o n one of the p r i n c i p a l the L u t h e r a n m u s i c i a n . derived 1730 from Johann i s no i n the sources o f i n c i d e n t a l income The importance o f t h i s supplementary income from the a c c i d e n t i a can be seen i n the p o p u l a r l y quoted R u s s i a n R e s i d e n t Agent kantor. music i n Germany i n the seventeenth century,''' y e t as a genre i t has performance o f i t , was for f o r more than h a l f o f the o c c a s i o n a l S e b a s t i a n Bach i n Danzig and to Georg former Erdmann, schoolmate the petition Imperial of the Thomas- In the l e t t e r Bach complains t h a t my p r e s e n t p o s t amounts t o 700 t h a l e r , and when t h e r e a r e r a t h e r more f u n e r a l s t h a n u s u a l , t h e f e e r i s e s i n p r o p o r t i o n ; b u t when a h e a l t h y wind blows they f a l l a c c o r d i n g l y , as f o r example l a s t year, when I l o s t fees that would o r d i n a r i l y come i n from f u n e r a l s to an amount o f more than 100 thaler....^ L. Weinhold, "Die G e l e g e n h e i t s k o m p o s i t i o n des 17. J a h r h u n d e r t s i n Deutschland: nach dem Stand der westdeutschen RISM-Kartei," i n Q u e l l e n s t u d i e n z u r M u s i k : Wo 1 f g a n g S c h m i e d e r zum 70. G e b u r t s t a g , ed. by K. D o r f m i i l l e r ( F r a n k f u r t , L o n d o n , New Y o r k : C F . P e t e r s , 1972), p. 172. 2 H. T. D a v i d and A. M e n d e l , eds., The Bach R e a d e r : A L i f e o f J o h a n n S e b a s t i a n Bach in L e t t e r s and D o c u m e n t s , r e v . ed. (New Y o r k : W. W. N o r t o n & Company, Inc., 1972), pp. 125-26. "...meine i t z i g e s t a t i o n b e l a u f e t s i c h etwa auf 700 r t h l . , und wenn es etwas mehrere, a l s o r d i nairement, L e i c h e n g i b t , so s t e i g e n auch nach p r o p o r t i o n d i e a c c i d e n t i a ; i s t a b e r e i n e g e s u n d e L u f f t , so f a l l e n h i n g e g e n auch s o l c h e , w i e denn 1 Considering rites integral role of the L u t h e r a n c h u r c h , the livelihood of the of composers one music played that would n a t u r a l l y have survived expect s c h o l a r l y s t u d i e s on the s u b j e c t . to and the a handful century. 3 of Even i n b a s i c instance, there is "church m u s i c , " or and M u s i c i a n s ; Geschichte cipal pertinent find no e n t r y their neither not the cance is of toire possible, f u n e r a l music International entitled however, number number of There is case. the s u b j e c t , appeared and in this . t o p i c has been i g n o r e d : corresponding e n t r i e s for music," that matter i n Die Musik i n any o t h e r o f the in prin- encyclopedias. to o b t a i n some i n d i c a t i o n of the i n Baroque Germany by r e f e r r i n g to de js S o u r c e s Einzeldrucke vor the i n The New Grove D i c t i o n a r y o f Music nor f o r and the have to manuscript for "funeral music," "occasional are there und Gegenwart, studies works cognates music d i c t i o n a r i e s It shorter or an a p p r e c i a b l e But such i s reference funeral large in published n o t a s i n g l e monograph w h i c h d e a l s e x t e n s i v e l y w i t h only i n the importance of f u n e r a l music and p e r f o r m i n g m u s i c i a n s , funerary c o m p o s i t i o n s form, that Musicales). 1800,^ there are no In the RISM nine l e s s than 575 signifi(Repervolumes entries for v o r i g e s J a h r an o r d i n a i r e n L e i c h e n a c c i d e n t i e n liber 100 r t h l . " ( C i t e d i n W. Neumann and H . - J . S c h u l z e , S c h r i f t s t i i c k e v o n d e r Hand J o h a n n S e b a s t i a n Bachs, Bach-Dokumente: Herausgegeben vom B a c h - A r c h i v L e i p z i g , supplement to Johann S e b a s t i a n Bach Neue Ausgabe s a m t l i c h e r Werke, v o l . 1 [ C a s s e l , B a s e l , P a r i s , L o n d o n , New Y o r k : B a r e n r e i t e r V e r l a g , 1 9 6 3 ] , pp. 6 7 - 6 8 . ) 3 The obvious e x c e p t i o n to t h i s i s the c o m p a r a t i v e l y l a r g e number of w r i t i n g s d e a l i n g w i t h v a r i o u s aspects of Schutz's M u s i k a l i s c h e Exequien. In t h i s r e s p e c t see Chapter T h r e e , f o o t n o t e 111. K . S c h l a g e r , e d . , E i n z e l d r i i c k e v o r _18_9_P_> RISM ( R e p e r t o i r e I n t e r n a t i o n a l des Source M u s i c a l e s ) , i n 9 v o l s ( C a s s e l , B a s e l , T o u r s , London: B a r e n r e i t e r V e r l a g , 1971). H 2 f u n e r a l m u s i c p u b l i s h e d b e t w e e n 1600 and 1700. F u r t h e r m o r e , many o f these e n t r i e s c o n s i s t of s e v e r a l independent c o m p o s i t i o n s . refer to a n t h o l o g i e s music together with containing either s u p p l e m e n t e d by Reich Sachsische of the subsequent Landesbibliothek These works, which may refers to as tradition,""' c o n s t i t u t e a rather impressive literature, a r e p e r t o r y t h a t has of the relative reasons why p u b l i s h e d works e x i s t Indeed, i s to go, the "much l a r g e r body of musical remained, f o r the most p a r t , untouched. t h i s music has inaccessibility. be d i s c o v e r i e s and what Wolfgang manuscript One others f u n e r a l music alone or f u n e r a l o t h e r o c c a s i o n a l music. extensively Still the escaped c r i t i c a l only practical scrutiny is i t s way to know what e n t r y by e n t r y , through each of the v o l u m e s o f RISM's E i n z e l d r u c k e v o r 1800 -- a chore both nine tedious and unreliable.^ Because t h e r e i s no r e a d i l y a v a i l a b l e b i b l i o g r a p h y o f the small number o f m u s i c o l o g i c a l w r i t i n g s on t h e s u b j e c t o f f u n e r a l m u s i c i n B a r o q u e Germany, i t may provide a b r i e f overview of t h e i r contents. thoroughly i n some o f some s e n s e w i l l music p r o v e b e n e f i c i a l to c o n s i d e r them h e r e and was created be the o f the h i s t o r i c a l performed. published Leichenpredigten •'Reich to Johnston, l i c h e Uberlieferung." more f o l l o w i n g s t u d i e s , i t i s a l s o hoped here that imparted and Though d e a l t w i t h to Among the e a r l i e s t as a source 19 April context i n which s t u d i e s to draw on of m u s i c a l - h i s t o r i c a l 1984. "...viel this grbssere information handschrift- ^ I t i s u n r e l i a b l e i n t h e s e n s e t h a t i t i s i m p o s s i b l e a l w a y s to determine from the t i t l e of a c o m p o s i t i o n or of a l a r g e r work, as g i v e n i n RISM, whether the music i s f u n e r a r y or s i m p l y d e v o t i o n a l , p e n i t e n t i a l or commemorative. 3 are two nineteenth-century tively, published these a r t i c l e s a r t i c l e s , by P h i l i p p S p i t t a and i n the M o n a t s h e f te ^ i i r Mu_s i.kgescjijL£hte. are concerned w i t h The excerpted bodies directly o f the a r t i c l e s from the respecBoth 1 b i o g r a p h i c a l i n f o r m a t i o n on w e l l - l e s s e r - k n o w n German c o m p o s e r s o f t h e s i x t e e n t h and turies. Beyer c o n s i s t almost f u n e r a l sermons and seventeenth of and cen- e n t i r e l y o f passages accompanying curricula 8 vitae report work of the published on the l i v e s and is essentially Leichenpredigten, careers archival; of the musicians. although both importance of the i n f o r m a t i o n , they r e f r a i n A few m u s i c o l o g i c a l works which d e a l t a n g e n t i a l l y w i t h Otto Riemer's Er_har_d providing a contemporary S p i t t a ' s and authors Beyer's recognized the from e l a b o r a t i n g upon i t . have appeared i n the twentieth century the s u b j e c t of f u n e r a l music. These i n c l u d e Bodenschatz und sseiji F l ^ r i ^ e g ^ u m Portense P. S p i t t a , " L e i c h e n s e r m o n e a u f M u s i k e r des XVI. und X V I I . J a h r h u n d e r t s , " M o n a t s h e f t e f u r M u s i k g e s c h i c h t e 3, nos. 2-3 (1871): 24-44; Beyer, "Leichensermone auf M u s i k e r des 17. J a h r h u n d e r t s , " M o n a t s h e f t e f u r M u s i k g e s c h i c h t e 7, nos. 11-12 (1875): 171-88. The composers covered by S p i t t a i n c l u d e Hans Leo H a s s l e r , J o h a n n Hermann S c h e i n , Tobias M i c h a e l , Georg Ludwig A g r i c o l a , Clemens Thieme, and Andreas Werkmeister. Those m e n t i o n e d i n Beyer's a r t i c l e i n c l u d e H e i n r i c h S c h i i t z , M i c h a e l P r a e t o r i u s , H e i n r i c h Bach, C h r i s t i a n G r e f e n t h a l , W e r n e r F a b r i c i u s , Johann C h r i s t o p h Hoffmann, Johann H e l l e r , B a l t h a s a r H i l d e b r a n d , Herman Koch, Johann C h r i s t o p h Kb'rber and Adam Judenfeind. 8 The t e r m " L e i c h e n p r e d i g t ( p i . L e i c h e n p r e d i g t e n ) " i s most o f t e n t r a n s l a t e d i n t o E n g l i s h as " f u n e r a l sermon." In t h e c o n t e x t o f the present study, however, the term w i l l be understood i n i t s Baroque sense and i n the sense that i t i s c u r r e n t l y used i n s c h o l a r l y d i s c u s s i o n s of German f u n e r a r y l i t e r a t u r e and m u s i c . In the Baroque, L e i c h e n p r e d i g t was a t e r m used not o n l y i n r e f e r e n c e to the f u n e r a l s e r m o n as s u c h -that i s , the o r a t i o n most o f t e n based on s c r i p t u r e s and d e l i v e r e d by the p r e s i d i n g c l e r g y i n the church or chapel; i t a l s o encompassed a l l other items w i t h which the p u b l i s h e d sermon may be found, i n c l u d i n g o t h e r ad h o £ o r a t i o n s (e.g., A b d a n k u n g e n ) , d e s c r i p t i o n s o f t h e p r o c e s s i o n and s e r v i c e , e p i c e d i a and o t h e r p o e t r y , p o r t r a i t s and i l l u s t r a t i o n s , b i o g r a p h i c a l s k e t c h e s and g e n e a l o g i e s , and, of most i n t e r e s t here, f u n e r a l music. and Walter Although Reckziegel's Portense f u n e r a l s , Riemer has (Leipzig, very of these compositions.^ part his occasional book to funeral von exemplars.^ Johan Herman Schein. a stylistic which the performed on the o t h e r hand, devotes a discussion were 1627/1645) and incidental were p o p u l a r l y Q at to say about the o c c a s i o n a l a p p l i c a t i o n Reckziegel, Nevertheless, is entirely 1618/1621), little lieder Cantional (Leipzig, music Cantional s e v e r a l o f the works i n Bodenschatz's motet a n t h o l o g y , Florilegium of Das g i v e s the Reckziegel's to later of those of incorporated l o c a t i o n s of reference t h e more g e n e r a l small Schein's into his individual to Schein's funeral d i s c u s s i o n of the C a n t i o n a l as a whole. The f i r s t m u s i c o l o g i c a l work to focus c r i t i c a l l y and e x c l u s i v e l y on the s u b j e c t o f B a r o q u e f u n e r a l m u s i c i n Germany i s an a r t i c l e by A r n o Werner, "Die F u r s t l i c h e Leichenpredigtensammlung zu S t o l b e r g a l s musik- 12 ge s c h i ch 11 i c h e schung i n 1936. Quelle," published W e r n e r e x a m i n e s the in A r c_h i^v fiir Stolberg-Stolberg Mus i k f o r catalogue of 9 0. R i e m e r , E r h a r d B o d e n s c h a t z und £e_in F l o r i l e g i u m P o r t e n s e (Schonigen: J u l . Kaminsky, 1928); W. R e c k z i e g e l , Das C a n t i o n a l von Johan Herman Schein: Seine g e s c h i c h t l i c h e n G r u n d l a g e n , B e r l i n e r S t u d i e n z u r M u s i k w i s s e n s c h a f t : V e r b f f e n t l i c h u n g e n des M u s i k w i s s e n s c h a f t l i c h e n I n s t i t u t s d e r F r e i e n U n i v e r s i t a t B e r l i n , ed. Adam A d r i o , v o l . 5 ( B e r l i n : V e r l a g Merseburger, 1963). ^ A c c o r d i n g to a M a g i s t e r L e i b n i z i n the L e i p z i g e r Kirchenandachten (1694), the c o m p o s i t i o n s i n the F l o r i l e g i u m that were commonly used at f u n e r a l s were J a c o b u s G a l l u s ' s E c c e £ u o m o d o m o ^ i ^ u r J u s t u s and Medina v i t a , Hans Leo Hassler's Si^ bona suscapimus and A n n i b a l e S t a b i l e ' s Nunc dimitis. C i t e d i n F. Hamel, "Die L e i p z i g e r Funera: zur K u l t u r g e s c h i c h t e der Begrabnismusik," S c h w e i z e r i s c h e M u s i k z e i t u n g 88 (1948): 90. ^ R e c k z i e g e l , op. c i t . , pp. 140-51. 12 A. Werner. "Die F u r s t l i c h e Leichenpredigtensammlung zu S t o l b e r g a l s m u s i k g e s c h i c h t 1 i c h e Q u e l l e , " A r c h i v f i i r M u s i k f o r s c h u n g 1 (1936): 293-317. 5 Leichenpredigten information, as a source reference a study w h i c h r e c e i v e d i t s L i l i e n c r o n as p a r t o f the an accompanying eighteenth impetus and the at the behest of S t o l b e r g - S t o l b e r g , who d i e d i n 1749. in zeal, the from Rochus von Tonkunst. subsequent index were c a r r i e d out d u r i n g the century contemporaries initial s e r i e s Denkmaler d e u t s c h e r The c o l l e c t i o n o f L e i c h e n p r e d i g t e n of o f music and m u s i c a l - h i s t o r i c a l Grafin compilation first half of the Sophie Eleonore zu Though p e r h a p s u n m a t c h e d by h e r the G r a f i n ' s reasons f o r c o l l e c t i n g these works were w e l l i n accordance w i t h the contemporary p r a c t i c e among P r o t e s t a n t s o f p r e p a r i n g f o r d e a t h t h r o u g h t h e c a r e f u l s t u d y and c o n t e m p l a t i o n o f 13 funeral sermons. The a c t u a l r o u g h l y 25,000 d i f f e r e n t 1716, when t h e appeared. Earlier first publications bringing must h a v e begun o f the As t h e c o l l e c t i o n g r e w , s u p p l e m e n t a r y in this Stolberg, century, issued Leichenpredigten. reference of p r o v i s i o n a l catalogue Degener & Co. o f L e i p z i g , of process tool, less offers between 1927 and 1935, together sometime these before collected works i n d i c e s were added. the p u b l i s h i n g firm i n c o l l a b o r a t i o n w i t h the " F u r s t l i c h e Kammer" a four-volume catalogue A l t h o u g h the c a t a l o g u e e s p e c i a l l y w i t h regard to o f the a m a s s e d body o f i t s e l f is unreliable the musicalia,^ it as a nonethe- the modern s c h o l a r access to the r i c h and v a r i e d c o n t e n t s o f Leichenpredigten. Werner mentions the importance of the available biographical 13 See W. Z e l l e r , " L e i c h e n p r e d i g t und E r b a u u n g s 1 i t e r a t u r , " in L e i c h e n p r e d i g t e n a l s Q u e l l e h i s t o r i s c h e r W i s s e n s c h a f t e n , ed. by R. Lenz (Cologne, V i e n n a : Bbhlau V e r l a g , 1975), pp. 66-81. ^Werner, op. c i t . , p. 294. 6 information cantors, on musicians of various p r o f e s s i o n a l types music d i r e c t o r s , o r g a n i s t s , trumpeters, k a n t e n ) , and together a S t a d t p f e i f e r and sees i n t h e s e s o - c a l l e d P e r s o n a l i e n picture flourished.^ He of c l a s s system deictic poetry but musicians of cultural i s a l s o able century directors the was and i t s social i t seems, inferior social i n which ramifications i n honour o f for organists, status.^ Other Musi- the means o f p i e c i n g the to shed some l i g h t on the often written not, milieu (Capellmeister, musicians seventeenth- for musicians: Capellmeister epi- and music S t a d t p f e i f e r and other sections of the Leichen- £redig_ten he 1 d by Werner to be o f l e s s e r i n t e r e s t t o the h i s t o r i a n or musicologist receive little attention, and o r a t o r y known as the Abdankung i s s i m p l y the type s a i d to be Given the magnitude of the S t o l b e r g - S t o l b e r g h i t h e r t o unexploited wealth of m u s i c a l t h a t Werner's work w i t h zational than the catalogue interpretative. the most g e n e r a l of terms. He information, was the Baroque funeral "unimportant."'''^ collection, and its i t i s understandable of n e c e s s i t y discusses Funeral of f a r more f u n e r a l music organi- itself c o m p o s i t i o n s are mentioned as in having been most commonly w r i t t e n i n four or f i v e p a r t s without basso continuo, though p o l y c h o r a l composi- works w r i t t e n f o r two t i o n s f o r s o l o v o i c e were not r a r e . 1 5 Ibid., 1 6 Ibid. p. four-part choirs and Much l e s s common were f u n e r a l works 294. ^ I b id. But see M. F u r s t e n w a I d , "Zur T h e o r i e und F u n k t i o n der Barockabdankung," i n L e i c h e n p r e d i g t e n als Quelle h i s t o r i s c h e r Wissens c h a f t e n , ed. by R. L e n z ( C o l o g n e , V i e n n a : Bb'hlau V e r l a g , 1975), pp. 372-89. S i n c e the time of Werner's w r i t i n g , the Baroque Abdankung has been g i v e n due r e c o g n i t i o n by German l i t e r a r y s c h o l a r s as an a r t i s t i c g e n r e t h a t was w i d e l y p r a c t i s e d t h r o u g h o u t L u t h e r a n Germany i n the Baroque. 7 f o r two, three and s i x v o i c e s . singled out by W e r n e r f o r Trauerbuhne ( L e i p z i g , vorhanden i s t " 18 brief 1678) (Dresden and Z i t t a u , collection occasional discussion, music, well as Ernst Otipka's 1681). s t u d y by m a i n t a i n i n g presents as such are and E r h a r d T i t i u s ' s "Wenn mein S t i i n d l e i n Werner summarizes h i s Stolberg Some unusual funerary c o m p o s i t i o n s as us with that a largely considerable the Stolberg- untapped biographical source of information on 20 both famous and obscure composers it is felt sources in of its by Werner that historical represents S t o l b e r g catalogue references cians, to L e i c h e n p r e d i g t e n are overview of are the following five music mentioned poems the in the the c a t a l o g u e ; of whose death (Trauergedichte) funeral whose f a m i l y members are the o b j e c t references to corrections and who supplements have to written the of f u n e r a l music (pp. the 299-317) Stolberg- 2) r e f e r e n c e s sermons, of as p r o v i d e d by Werner: 1) to m u s i - curricula 3) vitae references funerary w r i t i n g s ; threnodic catalogue's significant of table were w r i t t e n ; musicians, musicians role contents indices Furthermore, also P r e c e d i n g an appended a brief on the o c c a s i o n threnodic the German Baroque. information concerning c u l t u r a l context. which or the of poems; to 4) 5) Werner's " V e r z e i c h n i s der Lieder und Musikstticke." 18 W e r n e r , op. c i t . , p. 297. 19 I b i d . , pp. 297-98. A c c o r d i n g to RISM, the s o l e exemplar of E r n s t Otipka's Trauerbuhne i s housed i n the S t a d t b i b l i o t h e k i n L i n d a u (Bodens e e ) ; h o w e v e r , a t t e m p t s by the l i b r a r y to l o c a t e the work were u n s u c c e s s f u l (Werner Dobras, L e i t e r des K u l t u r a m t e s , to Johnston, 17 November 1986). 2 0 Ibid., p. 298. 8 T w e l v e y e a r s a f t e r Werner's a r t i c l e was "Die L e i p z i g e r Funera: in zur K u l t u r g e s c h i c h t e der Begrabnismusik" an i s s u e of the S c h w e i z e r i s c h e not o v e r l y concerned his primary aim with writing this indifference a critical performed article to the and a corresponding ary composition. type was examination in Leipzig. L i k e Werner, Hamel i s of the music itself; Among Hamel's m o t i v a t i o n s h i s r e c o g n i t i o n of h i s of music ignorance performed during contemporaries' funeral of Germany's h i s t o r i c funeral music and ceremonies t r a d i t i o n o f funer- He hoped that h i s a r t i c l e might i n some way " E n t k i t s c h u n g " o f German music 21 Musikzeitung. appeared r a t h e r i s to d e s c r i b e the s o c i a l and c u l t u r a l context i n which f u n e r a l music was for p u b l i s h e d , F r e d Hamel's a revival lead to an o f the funeral 22 of the Baroque. The article comprises s i x main t o p i c s of d i s c u s s i o n , each of them 23 only b r i e f l y touched upon. The first, t i o n of f u n e r a r y p r a c t i c e s i n L e i p z i g description of the Baroque exequies d e t a i l s the involvement als, from the deceased. d u r i n g the B a r o q u e . on v a r i o u s c i v i c of the students of the L e i p z i g r e q u i r e d through Hamel p r o v i d e s to t h e i r Basing h i s ordinances, Hamel schools at f u n e r - s i n g i n g a t the the modern r e a d e r i n t o t h i s p e r i o d when d e a t h students is a descrip- the f i r s t n o t i f i c a t i o n on the b l a c k b o a r d t h a t t h e s t u d e n t s ' p a r t i c i p a t i o n was glimpse "Organisation," was with interment an o c c a s i o n a l a s t r a n g e r t o no one. of the T h o m a s s c h u l e , c o n j u g a t i n g L a t i n v e r b s , of To the learning the F. Hamel, "Die L e i p z i g e r Funera: zur K u l t u r g e s c h i c h t e der Begrabnismusik," S c h w e i z e r i s c h e M u s i k z e i t u n g 88 (1948): 87-92, 125-32. 22 23 Ibid., p. 132. I b i d ., pp. 88-89. 9 L u t h e r a n c a t e c h i s m and routine. occasions The s i n g i n g a t f u n e r a l s were a l l p a r t o f the same seriousness with which the students i s intimated in a school ordinance took from these 1723 mournful whereby the students were expected t o wear the t i m e - h o n o u r e d b l a c k g a r m e n t s , t o k e e p them n e a t and c l e a n as much as p o s s i b l e , to walk i n a p r o c e s s i o n a l manner ahead o f t h e body; and f u r t h e r m o r e , n o t to be up t o t h e l e a s t b i t o f m i s c h i e f , c h a t t e r , t o get out o f or even l e a v e a l t o g e t h e r t h e i r l i n e , but r a t h e r to s i n g s e d u l o u s l y t o g e t h e r the l i e d e r from the s o n g b o o k s t h e y have w i t h them and, f u r t h e r m o r e , t o o b s e r v e a proper consonance, and to remain q u i e t i n t h e i r r e s p e c t i v e p l a c e s d u r i n g the f u n e r a l sermon, as w e l l as i n the cemetery. The second s e c t i o n o f Hamel's a r t i c l e The author d i s c u s s e s here of i s headed " M u s i k a l i s c h e P r a x i s . " the r e s t r i c t i o n s f u n e r a l s i n o r d e r f o r them t o c o n f o r m c l a s s of the deceased. The ? the c a n t i o n a l - t y p e l i e d , performed at L e i p z i g third part the p a r t i c u l a r social ft w h i c h was f u n e r a l s , because v a t i o n of t h i s simple style, Cantional, further t h e T h i r t y Y e a r s ' War. with on the e l a b o r a t e n e s s i s g i v e n to a b r i e f d i s c u s s i o n o f t h e most common t y p e o f of c i v i c the use of i n s t r u m e n t s i n c i t y churches. was imposed as s e e n promoted owing o r d i n a n c e s which banned Hamel b e l i e v e s that the i n s u c h w o r k s as J . H. to the music culti- Schein's impoverishing effects J o h a n n R o s e n m i i l l e r i s the t o p i c o f the of fourth From the "E. E. Hochw. Raths der Stadt L e i p z i g Ordnung der Schule zu S t . Thomas," 1723, X I I , 1-3. C i t e d i n H a m e l , O J K c i t . , p. 89. "...die von a l t e r s her e i n g e f u h r t e ehrbare schwarze K l e i d u n g gebrauchen, auch s e l b i g e , so v i e l nur m o g l i c h , r e i n und sauber h a l t e n , p r o z e s s i o n s weise vor der L e i c h e hergehen, dabey n i c h t den g e r i n g s t e n Unfug t r e i b e n , plaudern, aus i h r e r Reihe oder gar davongehen, hingegen aber d i e l i e d e r aus denen bey s i c h habenden Gesang-Biichern a l l e s a m t f l e i s s i g absingen, dabey e i n e r i c h t i g e Consonanz beobachten, und unter wahrenden L e i c h e n p r e d i g t e n , w i e auch a u f dem K i r c h h o f an i h r e m b e h o r i g e n O r t e S t i l l e seyn." 2 5 I b i d . , pp. 89-91. 2 6 I b i d . , pp. 91-92. 10 p a r t , 27 as Hamel g i v e s a b r i e f overview of the types of f u n e r a r y music 28 w r i t t e n by him. As p a r t of the fifth point, Die M o t e t t e , Hamel notes that p a r e n t a t i o n motets were w r i t t e n by and c o m m i s s i o n e d by the d e c e a s e d ' s f a m i l y and 1750. Often published together were most as p a r t of the L e i c h e n p r e d i g t , o f t e n based r e s u r r e c t i o n and in Leipzig instrument ever, to funerals tion.. held The biblical l e d to last eventual and harmonic independent parts U n i v e r s i t y Church, topic for discussion the 1600 eventually parentation motets t o p i c s of death, s a l v a t i o n , Hamel p o i n t s the pitches permitted i n the t e x t s on i n motet c o m p o s i t i o n supply were not on eternal l i f e . technical complexity Baroque every Thomaskantor between out that i n the the trend latter i n t r o d u c t i o n of towards p a r t of a the keyboard support. Instruments, except f o r performances that i s , out of c i v i c i n Hamel's a r t i c l e howat jurisdic- i s the funeral c o m p o s i t i o n s by J. S. Bach. In 1959 an a r t i c l e by Werner B r a u n a p p e a r e d e n t i t l e d "Das Eisen- 29 3 acher Begrabniskantional question (Gotha, i s the E i s e n a c h 1653) , a aus dem Jahre 1653." The cantional Cantor Theodor Schuchardt's T h r e n o d i a s i n g l e copy of which was o f the L a n d e s b i b l i o t h e k 0 Weimar. discovered B r a u n e x a m i n e s and i n the in sacra collection presents a brief 27 lb id., pp. 125-27. Hamel p o i n t s out t h a t c e r t a i n o f R o s e n m u l l er's w o r k s (Acht B e g r a b n i s l i e d e r f i i r den L e i p z i g e r T h o m a n e r c h o r , W o l f e n b u ' t t e l - B e r l i n , 1930) were a v a i l a b l e i n modern e d i t i o n e d i t e d by Hamel h i m s e l f . 2 8 Ibid., pp. 127-28. 2 9 Ibid., pp. 129-31. 30 in W. Braun, "Das E i s e n a c h e r B e g r a b n i s k a n t i o n a l aus dem Jahre 1653," Jahrbuch fiir L i t u r g i k und Hymnologie, v o l . 4 (1958/59), pp. 122-28. 11 overview o f the contents relationship of the T h r e n o d i a cantionals, points traditional melodies. for o f the Schuchardt the anthology, touching upon the sacra to other contemporary of c o m p o s i t i o n a l The a r t i c l e which anthology, style, concludes and with funerary origins of the a table of contents i n c l u d e s r e p r e s e n t a t i v e w o r k s by Melchior Franck, Johann Hermann Schein, Joachim a Burck, M e l c h i o r V u l p i u s , w i t h a particularly large p r o p o r t i o n of compositions by Schuchardt. To date, no one has c o n t r i b u t e d more to the study and understanding of f u n e r a l music o f the German Baroque than has Wolfgang Reich. Reich's doctoral des 17. dissertation Jahrhunderts Universita't studies to "Die deutschen a l s musikalische i n Leipzig, gedruckten Q u e l l e , " completed continues Reich i n 1962 a t Karl-Marx- t o serve as the bench mark f o r modern i n the a r e a o f German f u n e r a l music. the d i s s e r t a t i o n , Leichenpredigten In h i s p r e f a c i n g remarks s t a t e s t h a t the p r i m a r y goal of h i s work i s to p r o v i d e music r e s e a r c h e r s w i t h a comprehensive r e f e r e n c e t o o l f o r g a i n i n g access t o sources o f p r i n t e d music found i n the l a r g e r Leichen- 31 predigten c o l l e c t i o n s Reich's i n the German Democratic dissertation begins with a general Republic. d i s c u s s i o n of p u b l i s h e d 32 L e i c h e n p r e d i g t e n as a h i s t o r i c a l phenomenon i n Baroque Germany. the s u b h e a d i n g , " D i e Mus i k b e i l a g e n der gedruckten Under Leichenpredigten," Reich t r a c e s the growth and decay of the p r a c t i c e of p u b l i s h i n g L e i c h e n 31 W. R e i c h . " D i e d e u t s c h e n g e d r u c k t e n L e i c h e n p r e d i g t e n des 17. Jahrhunderts a l s m u s i k a l i s c h e Q u e l l e " (Ph.D. d i s s . , K a r l - M a r x - U n i v e r s i t a t , 1962), p. I. 3 2 Ibid., pp. 1-6. 3 3 Ibid., pp. 6-13. 12 predigten with music throughout m i d - e i g h t e e n t h century, flourished at c e r t a i n taking times Germany from i n t o account because of l o c a l the m i d - s i x t e e n t h t o the the f a c t that some c e n t r e s composers who specialized 35 in funerary composition, Leichenpredigten Y e a r s ' War, other areas s e p a r a t e l y , and on the p u b l i c a t i o n of f u n e r a l no reason i s g i v e n , t h e r e appears i n D a n z i g a f t e r 1676, nung" from y e t o t h e r s , as a r e s u l t c l a s s c o n s c i o u s n e s s or a c o m b i n a t i o n restrictions music p u b l i s h e d the m u s i c 1705 music. of the o f the two, For and Thirty imposed instance, to be no p u b l i c a t i o n of ad hoc the though funeral and i n N u r e m b e r g a " V e r n e u e r t e L e i c h - O r d - decreed: And because the p r i n t i n g and d i s t r i b u t i o n of f u n e r a l l i e d e r i s a l l too much abused and almost no d i s t i n c t i o n i s m a i n t a i n e d thereby, thus s h a l l t h e r e be h e n c e f o r t h no more than two l i e d e r p r i n t e d i n f o l i o i n t h e f i r s t c l a s s , one i n q u a r t o i n t h e s e c o n d and t h i r d , but i n the f o l l o w i n g c l a s s e s none whatsoever, under p e n a l t y o f s i x gulden. Reich also alludes to the multifold problems of identifying the 37 composers whether of the music the name i n Leichenpredigten. given on the printed I t i s sometimes u n c l e a r title page See Anhang I, p. 180. Schema der zahlenmassigen L e i c h e n p r e d i g t d r u c k e s zwischen 1550 und 1750. i s that of the Ausbreitung des 35 For example, some of the more p r o l i f i c composers of f u n e r a l music i n c l u d e d , to name a few, Johann Hermann Schein and Johann Rosenmuller i n L e i p z i g ; H e i n r i c h Schwemmer and P a u l H a i n l e i n i n N u r e m b e r g ; W o l f g a n g C a s p a r B r i e g e l i n G o t h a ; J o h a n n S t o b a u s and H e i n r i c h A l b e r t i n D a n z i g and Kbnigsberg; Johann G o t t l i e b T h i l l i n Regensburg. 3ft C i t e d i n R e i c h , op. c i t . , p. 9. "VNd w e i l e n das D r u c k e n und Aust h e i l e n der L e i c h e n - L i e d e r a l l z u w e i t missgebrauchet, und f a s t gar k e i n V n t e r s c h i e d damit g e h a l t e n worden: So s o l l e n f u r o h i n i n dem E r s t e n Stand hochstens zwey, i n F o l i o , i n dem Andern und D r i t t e n E i n s , i n Quart, bey denen f o l g e n d e n S t a n d e n a b e r g a r k e i n e L i e d e r g e d r u c k t w e r d e n , bey S t r a f e Sechs Gulden." 3 7 I b i d . , pp. 11-13. 13 composer, the poet o r the performer. identified o n l y by h i s i n i t i a l s , and Other these times, initials the may composer l i k e w i s e appear w i t h t h o s e o f the p o e t , w h i c h o n l y compounds the p r o b l e m by t h e two. S y m p t o m a t i c o f the t i m e , w i t h the r e l a t i o m y s t i c a , ties through acrostics t o o , was cryptic messages. for t h e composer's name to be o m i t t e d For this either was reason because the German Neither preoccupation entirely authorship was evident identi- was i t uncommon from the publication. numerous composers have remained their confusing as composers concealed or v e i l e d t h e i r and is completely anonymous, to everyone when the music p u b l i s h e d , or s i m p l y because they chose to be. 38 Under the subheading Q u e l l e n b e r i c h t , Reich v i e w of the m a t e r i a l c o n s u l t e d f o r h i s study. study to a r c h i v e s and 65,000 L e i c h e n p r e d i g t e n f o r examination. bound t o g e t h e r are housed 16,000), the bibliothek i n the anthologies; Deutsche i n Z w i c k a u ( c a . 10,000) and The heading major largest of these are col- the Ratsschul- the L a n d e s b i b l i o t h e k (now Other significant the collec- c i t e d by R e i c h a r e l o c a t e d i n l i b r a r i e s i n G r e i f s w a l d , J e n a and s e c t i o n f o l l o w i n g the "Katalog der gedruckten I b i d . , pp. the (ca. 12,000), F o r s c h u n g s b i b l i o t h e k ) i n Gotha ( c a . 7,000). Rostock, W i t t e n b e r g , nevertheless S t a a t s b i b l i o t h e k i n B e r l i n (ca. S t a a t s a r c h i v i n Magdeburg t i o n s of L e i c h e n p r e d i g t e n were Reich Over 80 per cent of the L e i c h e n p r e d i g t e n i n the customary lections over- Though r e s t r i c t i n g h i s l i b r a r i e s of the German Democratic R e p u b l i c , remarks t h a t a p p r o x i m a t e l y available gives a general Leipzig. i n t r o d u c t o r y pages Musikbeilagen 14-15. 14 i n den bears the Leichenpredigt- Sammlungen der Deutschen 426 Demokratischen 39 a catalogue of some s e p a r a t e e n t r i e s o r g a n i z e d by p l a c e of p u b l i c a t i o n , year o f p u b l i c a - tion, and name o f the d e c e a s e d . The n e a r l y as p o s s i b l e by composer, t i t l e and Republik," setting. Reich also includes m u s i c a l works are i d e n t i f i e d of c o m p o s i t i o n or t e x t u a l additional bibliographic as incipit, information a b o u t c u r r e n t l o c a t i o n s o f c o p i e s of t h e w o r k s i n r e p o s i t o r i e s o f t h e German Democratic R e p u b l i c , i d e n t i f y i n g these l o c a t i o n s w i t h the s i g l a e s t a b l i s h e d i n RISM. oN." the The former He f u r t h e r m o r e u s e s the s i g l a " S t " and " S t which o f the works mentioned S t o l b e r g - S t o l b e r g c a t a l o g u e , and works the i n the S t o l b e r g - S t o l b e r g c o l l e c t i o n ment. F o r t u n a t e l y the b i b l i o g r a p h i c recognized, The al indicates and i t was but refers to exemplars l a c k i n g the music v a l u e of Reich's approaches of supple- catalogue was p u b l i s h e d i n a r e v i s e d v e r s i o n i n 1966.^ of some of the music, musical genre.^ 3 9 latter are i n c l u d e d i n second major d i v i s i o n of Reich's d i s s e r t a t i o n p r e s e n t s a analysis library c a t e g o r i z e d by geographic gener- area and by In h i s a n a l y s e s , R e i c h e x a m i n e s t h e c o m p o s i t i o n a l to f u n e r a l music as p r a c t i s e d i n v a r i o u s p a r t s o f Germany. I b i d . , pp. 16-68. ^W. R e i c h , ed., Threnodiae Sacrae: K a t a l o g der gedruckten Komposit i o n e n des 16.-18. J a h r h u n d e r t s i n L e i c h e n p r e d i g t s a m m l u n g e n innerhalb der Deutschen Demokratischen R e p u b l i k (Dresden: Sachsische L a n d e s b i b l i o thek, 1966). A l s o the r e s u l t o f Reich's work w i t h f u n e r a l music i s h i s e d i t i o n T h r e n o d i a e S a c r a e : B e e r d i g u n g s k o m p o s i t i o n e n aus g e d r u c k t e n L e i c h e n p r e d i g t e n des 16. und 17. J a h r h u n d e r t s , Das Erbe Deutscher Musik, v o l . 79 (Wiesbaden: B r e i t k o p f & H a r t e l , 1975). ^ R e i c h , "Die d e u t s c h e n g e d r u c k t e n L e i c h e n p r e d i g t e n , " pp. 77-145. The geographic breakdown comprises Northwest Germany, N o r t h e a s t Germany, C e n t r a l Germany, and Southern Germany. Under each o f these geographic headings the c u r r e n t forms or approaches to c o m p o s i t i o n are examined, i n c l u d i n g m o t e t s and g e i s t l i c h e K o n z e r t e , L i e d f o r m s , c a n t a t a s , d i a logues and o t h e r m u l t i p a r t i t e forms. 15 He discusses, f o r example, c e n t r a l Germany and this a p p r o a c h was fifty how, the i n the p o p u l a r i t y of d i a l o g i c second h a l f o f the seventeenth s u p e r c e d e d by d i a l o g i c c a n t a t a s . pages of t r a n s c r i b e d examples included to compositions illustrate at the some o f R e i c h ' s end of the in century, Approximately dissertation d i s c u s s i o n of are compositional style. Reich concluding summarizes Zusammenhang and Leichenpredigten quarter of of many o f h i s o b s e r v a t i o n s the s i x t e e n t h century, century, 1670s and 1680s, and eighteenth century. Leichenenpredigten with e x p l a i n i n g the third momentum i n the e a r l y years during the customary c a n t i o n a l s and compositions music was century, to the standard enumerates as law; H Z Ibid., 4 3 I b i d . , pp. 161-74. five p r a c t i c e of r e l y i n g removed from the 5) a f t e r the middle of the on of Leichen- seventeenth i t became i n c r e a s i n g l y common f o r the L e i c h e n p r e d i g t p. the of 4) p e r i o d i c a l l y the p u b l i c a t i o n of the to i n c o r - 136. T h i s i s n o t a b l y the case w i t h many of the funerary the c o l l e c t i o n of the R a t s s c h u l b i b l i o t h e k i n Zwickau. 4 4 in weak t r a n s m i s s i o n E x e q u i e n , were o f t e n p u b l i s h e d independently by the motet a n t h o l o g i e s ; 2) l a r g e r works, such as contemporaries;^ forbidden he h a l f of were i n c l u d e d i n the p u b l i c a - the L e i c h e n p r e d i g t ; 3) sometimes the music was p r e d i g t e n by the f i r s t relatively supplementary music, 1) o n l y ad hoc Musikalische i n the a p e r i o d of e f f l o r e s c e n c e i n t h e declined steadily In i n the sees p r i n t e d f u n e r a l music i n gathered reached t i o n s , s i n c e they were e x c e p t i o n s Schutz's He f u n e r a l music as a l a r g e l y German phenomenon that began the s e v e n t e e n t h c h i e f reasons: Thesen. on 16 compositions porate only the t e x t of the m u s i c a l work. In h i s c l o s i n g remarks, Reich makes a number o f o b s e r v a t i o n s o f b o t h g e n e r a l and Because Baroque composers a v a i l e d s t y l e s (though the c a n t a t a and A relatively funeral music s o l o song were i n many ways r e s t r i c t e d ) , Leichenpredigten published und version Schuhmacher's of a paper b e f o r e him, to a proper first article i n 1974. "^ read at study o f German "Musikbeigaben the Erstes of the context of Baroque in a Marburger Schuhmacher begins h i s a r t i c l e 4 not se. s e l b s t a n d i g v e r b f f e n t l i c h t e Sterbekompositionen," s t r e s s i n g that an u n d e r s t a n d i n g requisite genre per r e c e n t c o n t r i b u t i o n to the h i s t o r i c a l Personalschriftensymposion is f u n e r a l music, u l t i m a t e l y , may to as a s t y l i s t i c i s Gerhard natures. themselves of a l l the c u r r e n t m u s i c a l R e i c h s t a t e s that seventeenth-century be p r o p e r l y r e f e r r e d specific by f u n e r a l music a p p r e c i a t i o n of the music i t s e l f . Like others he comments on the g e n e r a l n e g l e c t of the s u b j e c t of f u n e r a l • 46 music. On the whole, Schuhmacher's a r t i c l e s u b j e c t of f u n e r a l music, of non-music eloquent specialists. directed as f o r others i t i s at the symposium's of the audience He mentions the p r a c t i c e of some of the more p a s t o r s i n the Baroque, who anthologies i s a g e n e r a l treatment to study and published emulate. 47 their f u n e r a l sermons i n Some o f these antholo- G. S c h u h m a c h e r , " M u s i k b e i g a b e n i n L e i c h e n p r e d i g t e n und s e l b s t a n d i g v e r b f fent l i c h t e Sterbekompositionen," i n Leichenpredigten als Q u e l l e h i s t o r i s c h e r W i s s e n s c h a f t e n , ed. R. Lenz (Cologne, Vienna: Bbhlau V e r l a g , 1975), pp. 408-25. ^ S c h u h m a c h e r i n f o r m s the r e a d e r i n a footnote that he, i n c o l l a b o r a t i o n w i t h Wolfgang R e i c h (Dresden) and Hans Unger (Jena), was a t t h a t t i m e w o r k i n g on a b i b l i o g r a p h y of o c c a s i o n a l m u s i c , w h i c h o f c o u r s e would i n c l u d e the s u b j e c t of f u n e r a l music. Ibid., p. 410. 4 7 I b i d . , pp. 412-14. 17 gies also included they might serve f u n e r a l music by the l o c a l cantor, as models f o r study and e m u l a t i o n , i n g and p e r f o r m a n c e . or merely f o r copy- T h i s i n t u r n demonstrates to a s m a l l degree the c l o s e p r o f e s s i o n a l and a r t i s t i c music presumably so that a s s o c i a t i o n between the composer o f the and the author o f the text -- sermon, lied t e x t , o r both. In h i s subsequent d i s c u s s i o n o f where and when the p u b l i c a t i o n o f f u n e r a l music was p r a c t i s e d , and what were t h e p r e v a i l i n g c o n d i t i o n s , d e r i v e s much o f h i s i n f o r m a t i o n Unlike the other Schuhmacher 48 studies. from e a r l i e r w r i t e r s , S c h u h m a c h e r i n h i s s t u d y does address p e r i o d i c a l l y and c u r s o r i l y t h e m a t t e r o f t h e r h e t o r i c o f f u n e r a l mu- 49 sic. He remarks upon the shortage of m u s i c a l - r h e t o r i c a l i n the music owing to the s t r o p h i c nature o f most works. In the case o f H e i n r i c h Schwemmer's m u s i c , h o w e v e r , he n o t e s t h a t t h e r e apotheosizing as a gradual e f f e c t i n each verse vowel t r a n s f o r m a t i o n the treatment ments b r i e f l y represent of the s t r i n g perceived from dark to l i g h t T h i s , he characters songs, the s i n n e r i n dialogues: i s often p e r s o n i f i e d with a greater i s r e f l e c t e d t o some degree of assigning s o p r a n o s , God o r J e s u s by a t e n o r , solo I b i d . , pp. 414-15. 4 9 I b i d . , pp. 418-20. He com- p a r t i c u l a r voice-types to are depicted by m o r t a l men o r women by a l t o s . In represented angels by a b a s s v o i c e , sense o f v e r i t y by the composer. suggests that woodwinds a r e r a r e l y used because o f the 4 8 vowels. accompaniment by the composer. on the p o p u l a r i t y specific i s a kind of o f t e x t that can be a u r a l l y adds, though w i t h o u t g o i n g i n t o much d e t a i l , in elaboration 18 unless Schuhmacher inappropriateness of their bright symbols. The tone c o l o u r , area of i n f o r m s h i s audience, consideration of funeral trombones were s t i g m a t i z e d music and its rhetoric, as i n f e r n a l Schuhmacher i s wanting both i n s c h o l a r l y i n v e s t i g a t i o n and of the music, as an element of the Baroque, i n the contemporary It and context theory. is generally agreed upon that r h e t o r i c a l concepts m u s i c a l t h o u g h t i n B a r o q u e Germany, and we pervaded s h o u l d l i k e w i s e be a b l e assume t h a t these same m u s i c a l - r h e t o r i c a l p r i n c i p l e s were a p p l i e d to c o m p o s i t i o n of f u n e r a l music. studies have b e e n w r i t t e n figures i n the Over the about the more g e n e r a l genre. In the p r e f a c e k a l i s c h e E x e q u i e n from use years, a number o f the a p p l i c a t i o n of works o f s p e c i f i c sidered following in c o m p o s e r s , ^ " but of musical the the detailed musical-rhetorical none has yet rhetoric in a specific e d i t o r , Giinther G r a u l i c h , con- musical to the S t u t t g a r t e r S c h u t z - A u s g a b e o f the 1973 to Musi- makes the observation: No h i s t o r y o f p r o t e s t a n t f u n e r a l m u s i c has y e t b e e n w r i t t e n . In recent t i m e s the baroque f u n e r a l o r a t i o n has begun to a t t r a c t the a t t e n t i o n of s c h o l a r s as a r h e t o r i c a l l i t e r a r y genre; i t s m u s i c a l c o u n t e r p a r t a l s o w a r r a n t s more d e t a i l e d i n v e s t i g a t i o n i n t o i t s l i t u r g i c a l s i g n i f i c a n c e and i t s p l a c e i n the h i s t o r y o f music. For the p e r i o d from H e i n r i c h Schutz to Johann S e b a s t i a n Bach an i n v e s t i g a t i o n o f the g e n r e i t s e l f and i t s m u s i c o - r h e t o r i c a 1 c o n t e n t F o r e x a m p l e see, G. T o u s s a i n t , "Die Anwendung d e r m u s i k a l i s c h r h e t o r i s c h e n F i g u r e n i n den Werken von H e i n r i c h S c h u t z " (Ph.D. d i s s . , Mainz U n i v e r s i t y , 1949) and H. Rauhe, "Dichtung und Musik im w e l t l i c h e n Vokalwerk J. H. Scheins: S t i l i s t i s c h e und k o m p o s i t i o n s t e c h n i s c h e Untersuchungen zum W o r t - T o n - V e r h a l t n i s im L i c h t e der r h e t o r i s c h a u s g e r i c h t e ten Sprach- und M u s i k t h e o r i e des 17. J a h r h u n d e r t s " (Ph.D. d i s s . , Hamburg U n i v e r s i t y , 1959 [I960]). Rauhe s t a t e s a d d i t i o n a l l y i n h i s d i s s e r t a t i o n (p. 2) that h i s S t a a t s e x a m e n s a r b e i t at the Hamburg Hochschule f u r Musik i n 1955 was an e x a m i n a t i o n of the F i g u r e n l e h r e i n Schein's sacred music. See a l s o H. H. Eggebrecht, H e i n r i c h Schutz: Musicus P o e t i c u s (Gbttingen: Vandenhoeck & Ruprecht, 1959). 19 would c e r t a i n l y uncover much of While effect Graulich's introductory o b s e r v a t i o n s are no upon the academic community, above-mentioned a r t i c l e by Gerhard this reponse as a genre. The the p o s s i b l e valid, Schumacher, has been n e g l i g i b l e . p r e s e n t study, i n some ways, demonstration f u n e r a l music detailed of c o n s c i o u s l y applied o f the L u t h e r a n C h u r c h examination device w i l l serve as the For arising reasons More s p e c i f i c a l l y , i n Chapter primary chiefly primary from sources by investiand of musical rhetoric i n i n s e v e n t e e n t h - c e n t u r y Germany. Three o f the p r i n c i p a l backing to warrant such rhetorical a conclusion. the extreme d i s c r e p a n c i e s between on But is written i t i s an e x a m i n a t i o n elements the e x c e p t i o n of the to the u n q u e s t i o n a b l e need f o r f u r t h e r m u s i c o l o g i c a l g a t i o n i n t o f u n e r a l music. The with doubt i s s i m p l y i n keeping w i t h the g e n e r a l s t a t e o f n e g l e c t s u f f e r e d f u n e r a l music in interest. the one hand and the paucity the abundance of secondary s o u r c e s on the o t h e r , i t becomes n e c e s s a r y t o i m p o s e a t the o u t s e t some r e s t r i c t i o n s upon the scope o f the p r e s e n t work; i n t h i s alone can the aims o f the d i s s e r t a t i o n be s a t i s f a c t o r i l y of way achieved. The v a l u e of Wolfgang Reich's d i s s e r t a t i o n and c a t a l o g u e of printed G. G r a u l i c h , ed., H e i n r i c h S c h u t z : M u s i k a 1 i s c h e E x e q u i e n . Op. 7. Begrabnismusik i n d r e i T e i l e n fiir sechs, acht oder mehr Stimmen m i t G e n e r a l b a s s , t r a n s , by D. M c C u l l o c h , V o l . 8 i n S t u t t g a r t e r S c h i i t z Ausgabe (Neuhausen, S t u t t g a r t : H a n s s l e r V e r l a g , 1973), p. XXIV. " D i e G e s c h i c h t e der p r o t e s t a n t i s c h e n Trauermusik i s t noch n i c h t g e s c h r i e b e n . Wie d i e T r a u e r r e d e des Barock a l s r h e t o r i s c h e Gattung i n j i i n g e r e r Z e i t zunehmend w i s s e n s c h a f t l i c h e s I n t e r e s s e auf s i c h z i e h t , so ware s i c h e r l i c h auch d e r e n m u s i k a l i s c h e s G e g e n s t u c k e i n g e h e n d e r l i t u r g i e - und m u s i k g e s c h i c h t l i c h e r Untersuchung wert; und zumal u n t e r den Aspekten der G a t t u n g s t r a d i t i o n und der m u s i k a l i s c h - r h e t o r i s c h e n T o p i k waren h i e r fiir die Z e i t von H e i n r i c h S c h u t z b i s J o h a n n S e b a s t i a n Bach w e s e n t l i c h e A u f s c h l i i s s e zu e r w a r t e n . " ( i b i d . , p. VII.) 2.0 music supplements cratic R e p u b l i c has existing of to L e i c h e n p r e d i g t e n collections a l r e a d y been mentioned secondary sources. I t too has self with sizeable funeral its built-in Schutz's of f u n e r a l music. music body of music works as study sources printed which further s t i l l w i t h i n the borders N e i t h e r does he include Finally, by u t i l i z i n g o n l y t h o s e of the German Democratic t h e f o r e s i g h t to draw up such b o u n d a r i e s First concern him- of the L e i c h e n p r e d i g t , a would M u s i k a l i s c h e Exequien. limitations. of any c r i t i c a l e v a l u a t i o n of independently literature German Demo- i n the p r e c e d i n g overview a l l , R e i c h e l i m i n a t e s from h i s e x a m i n a t i o n the manuscript i n the such monumental Reich delineates h i s sources a v a i l a b l e to Republic. f o r the f i r s t Had him Reich lacked major study of the genre, he no doubt would have been overwhelmed by the sheer mass o f unassessed material. The printed in present sources t h i s way, study, from i t was the like Reich's, seventeenth is also century. limited By entirely delineating p o s s i b l e to make use of the two the to work i n d i c e s p u b l i s h e d by Werner and R e i c h , and a l s o o f t h e n i n e v o l u m e s o f RISM's E i n z e l d r u c k e vor 1800. Although these three sources alone do not p r o v i d e many c l u e s about the g e n e r i c n a t u r e of the f u n e r a l music, they at l e a s t p r o v i d e researcher with Reich and RISM, the p r e s e n t compositions. sources to of attempt this some i n d i c a t i o n of texts, settings and, i n the case l o c a t i o n s of s u r v i v i n g exemplars of Without c o m p a r a b l e r e f e r e n c e m a t e r i a l s f o r this repertoire, i t would be to b r i n g u n p u b l i s h e d nothing the of certain manuscript short of f o o l h a r d i n e s s f u n e r a l works i n t o c o n s i d e r a t i o n f o r study. Unlike does not Reich's dissertation, focus e x c l u s i v e l y on on t h e o t h e r h a n d , t h e p r e s e n t the r e p o s i t o r i e s 21 of a s i n g l e one country; neither i s i t restricted to those funerary compositions as m u s i c a l supplements to L e i c h e n p r e d i g t e n . confronted by indices. a problem Werner's included which index is stems from limited, i n published Leichenpredigten, Thus one to secondly, i n d e x pose two cross-references listed from i n Reich's different Reich index to RISM printed German Nor Democratic i s simply RISM's E i n z e l d r u c k e f o r those may i n fact be (based i n order of to determine which archives works outside of the L e i c h e n p r e d i g t solution f o r one texts to these of the problems, as t o c h e c k each o f the e n t r i e s i n which suggest that a musical work funerary. on s e t t i n g s , and limitations e a s i l y d e t e r m i n e the e x i s t e n c e The Upon examining the contents list The housed o n l y i n c o u n t r i e s o t h e r than Republic. mentioned before, compositions However, i t i s not so e a s y t o l e a r n can one funeral compositions other I t i s easy enough to make f u n e r a l works p u b l i s h e d independently e x i s t i n that country. of the to L e i c h e n p r e d i g - are d u p l i c a t e d i n l i b r a r i e s and t h e German D e m o c r a t i c R e p u b l i c . which ad hoc problems. solely immediatley those t e n which comprise the S t o l b e r g - S t o l b e r g c o l l e c t i o n . Reich's is limitations first, and, published abbreviated on titles, the c r i t i c a l a b o v e ) was compiled sentative of the seventeenth-century of these three r e f e r e n c e s a p r o v i s i o n a l textual incipits, a s s e s s m e n t s o f the comprising i n d i c a t i o n s of s c h o l a r s mentioned f u n e r a r y w o r k s p r e s u m e d t o be various musical Germany. The forms and subsequent f i e l d styles work was repre- current in conducted i n 52 Europe, time which allowed f o r an examination o f the d a t a and for verifi- A c o m p l e t e l i s t o f l i b r a r i e s and a r c h i v e s v i s i t e d d u r i n g i s g i v e n i n the "Acknowledgements," pp. v i i i - i x . 22 this cation genre that the gathered compositions or u n i q u e l y a b e r r a n t (and believed that sampling an will assessment permit an of funeral second the rhetorical). musical-rhetorical inference compositions of certain a r e an of a speech, important the l i t u r g i c a l h a v e been p r a c t i s e d the l i t u r g y i t s e l f , music. c o n t e x t was I t i s the service was found i t i s not p o s s i b l e an later discussions rhetoric will jectured placement further be better third of funeral in this chapter l i t u r g y as i t may performed. compositions of was discusHowever, and their o f t h e i r known o r I t m i g h t be added at t h i s l i t u r g y and m u s i c o f t h i s conpoint period p r o d u c t i v e study. chapter i s an i n v e s t i g a t i o n o f what may c a r d i n a l r h e t o r i c a l d e v i c e employed by f u n e r a l m u s i c -While factor in t o be t r e a t e d as f r e e l y as in l i g h t as i n the Because the placement specific i n the c e r e m o n y . funeral Just here to enter i n t o a f u l l understood research into would be a v e r y this principles important intention s i o n of when or where i n the ceremony the music was The of rhetorical consideration i n the L u t h e r a n C h u r c h . m u s i c i n the f u n e r a l the It is as a whole. to o u t l i n e a p l a u s i b l e s e v e n t e e n t h - c e n t u r y that content l i t u r g y i n L u t h e r a n Germany i n the seventeenth century. the c o m p o s i t i o n o f f u n e r a l some o f o f the c h a p t e r o f the d i s s e r t a t i o n i s a c u r s o r y s t u d y o f t h e the c i r c u m s t a n c e s writing t h u s more h i g h l y accurate g o v e r n i n g the genre of f u n e r a l The were e i t h e r r e p r e s e n t a t i v e composers of well be the seventeenth-century n a m e l y , the r h e t o r i c a l p e r s o n i f i c a t i o n o f t h e dead. o t h e r elements of r h e t o r i c a l p e r s u a s i o n are 23 e v i d e n t i n the music, none f o u n d i n the c o u r s e o f t h i s e x a m i n a t i o n musical animation o f the deceased. c a r r i e s the f o r c e o f t h e By e n t e r i n g i n t o a d e t a i l e d d i s c u s - s i o n o f the most e f f e c t i v e r h e t o r i c a l d e v i c e found hope to demonstrate extremely not only the presence in this repertoire, I i n funeral music p e r s u a s i v e m u s i c a l r h e t o r i c but a l s o of a m u s i c a l t h a t can be seen, i n c e r t a i n ways, to bear c l o s e comparison of an rhetoric to sermonic oratory. In t h e f o u r t h and f i n a l chapter, a number of r h e t o r i c a l or a f f e c t i v e d e v i c e s employed by Baroque composers w i l l be examined. ceivably, no doubt o t h e r s -- any one of these c o n c l u d i n g t o p i c s c o u l d be e x a m i n e d w i t h the personification. rhetorical present figures, dissertation. will independent study. 53 exceed the The F i g u r e n l e h r e , the be l o o k e d of i t s role as the p r e c e d i n g treatment of s u c h d e t a i l e d i n v e s t i g a t i o n s o f e a c h and c o n s i d e r a t i o n would q u i c k l y examination an But same d e p t h -- and at, though Con- every intended scope o f the so-called doctrineof a concentrated and d e t a i l e d i n f u n e r a r y c o m p o s i t i o n would be best served i n Secondly, the incorporation of metric changes, I t would a l s o be i l l - a d v i s e d h i s t o r i c a l l y , f o r the F i g u r e n l e h r e o u g h t t o be u n d e r s t o o d as a s i n g l e f a c e t o f m u s i c a l r h e t o r i c . See M. Ruhnke, " M u s i k a l i s c h - r h e t o r i s c h e F i g u r e n und i h r e m u s i k a l i s c h e Q u a l i t a t , " i n Ars Musica Ars S c i e n t i a : F e s t s c h r i f t H e i n r i c h Huschen zum 65. G e b u r t s t a g , ed. by D. A l t e n b u r g ( C o l o g n e : G i t a r r e und L a u t e V e r l a g s g e s e l l s c h a f t , 1980), pp. 385^86. B a s i n g h i s comments on the p e d a g o g i c a l w r i t i n g s o f Joachim B u r m e i s t e r , Ruhnke reminds the r e a d e r t h a t m u s i c a l r h e t o r i c a l a n a l y s e s too o f t e n focus on the F i g u r e n , to the e x c l u s i o n o f other e q u a l l y important m u s i c a l - r h e t o r i c a l elements. Burmeister himself encouraged h i s students and the readers o f h i s Musica a u t o s c h e d i a s t i k e ( R o s t o c k , 1601) and M u s i c a p o e t i c a ( R o s t o c k , 1606) a l w a y s t o l o o k f o r a d d i t i o n a l r e l a t i o n s h i p s b e t w e e n the r h e t o r i c s o f m u s i c and o r a t o r y . See a l s o M. Ruhnke, J o a c h i m B u r m e i s t e r : e i n B e i t r a g z u r M u s i k l e h r e urn 1600 ( C a s s e l : B a r e n r e i t e r V e r l a g , 1955), pp. 144, 145. 24 particularly from duple to t r i p l e metre, w i l l be viewed as f u l f i l l i n g antithetical rhetorical in funeral f u n c t i o n analogous to a f f e c t i v e oratory. 25 an changes employed CHAPTER I I LUTHERAN FUNERAL LITURGY IN GERMANY IN THE SEVENTEENTH CENTURY The p r o c e s s o f r h e t o r i c a l c o m p o s i t i o n i n t h e Baroque number o f s t e p s t h a t composers of music. the i n v e n t i o were s h a r e d e q u a l l y by w r i t e r s o f o r a t i o n s and A t the f i r s t say i t , and (3) o r a t o r might t i o n a l process. (1) what he had to say, the f i r s t cal The forensic the a p p r o p r i a t e e t h i c a l , to whom he was Although the w i t h l i t t l e o r no step i n the composi- can be e a s i l y rhetoric account used or epideictic. logical He would and p a t h e t i c then arguments The p a r a l l e l s between m u s i c a l and o r a t o r i imagined. i n the L u t h e r a n c e n t u r y Germany would i m m e d i a t e l y The -- i.e., and c o n t e x t , the o r a t o r c o u l d then d e c i d e whether h i s t o the s i t u a t i o n . compositon steps immediately, i t was n e v e r t h e l e s s an e s s e n t i a l o r a t i o n was to be d e l i b e r a t i v e , begin s e l e c t i n g (2) A f t e r d e c i d i n g upon the s u b j e c t and t a k i n g i n t o the audience pertinent an o r a t i o n the c o n t e x t i n which i t was to be s a i d . complete conscious e f f o r t , both stage o f composing t h e B a r o q u e r h e t o r w o u l d have h a d to t a k e a number o f factors into consideration: to involved a funeral suggest service i n seventeenth- much t o t h e p a s t o r - o r a t o r . type o f audience would be made up p r i m a r i l y o f mourners who knew the deceased personally. We can deduce 2-6 from the f u n e r a l o r a t o r y i t s e l f and gather from r h e t o r i c Leich=Redner orator was (Jena, and references t o and was with to console a lengthy p r o c e s s and from as C h r i s t o p h Weissenborn's P o l i t i s c h e r the fundamental Lob) and of the i s , the seventeenth to a u d i e n c e lamentation with the burial. t y p e and what we say and how Concerning we the bereaved The with affective or to f i n a l c o n s o l a t i o n time of death Three c e n t u r i e s l a t e r , changed (and we significantly the r h e t o r i c a l a i m s o f the c l e r g y ; e x p e r i e n c e , h o w e v e r , i s the f u n e r a l s e r v i c e i n the Lutheran century. the which e s s e n t i a l l y began at the concluded task of ( l a m e n t a t i o , Klage) the Tros t) see t h a t P r o t e s t a n t f u n e r a l r i t e s have n o t respect rhetorical resurrection. a state of p e r h a p s more f o r e i g n t o our own that lament (consolatio, assurances progression even b e f o r e ) can 1707)''' t h a t to honour ( l a u d a t i o , deceased, emotional manuals such context, context, Church as p r a c t i s e d i n the Q u i n t i l i a n says: "For not say i t i s o f i m p o r t a n c e , b u t a l s o the only circum- 3 stances u n d e r w h i c h we say it." In o r d e r r o l e of f u n e r a l music i n s e v e n t e e n t h - c e n t u r y to u n d e r s t a n d the suasory P r o t e s t a n t Germany, i t w i l l C. Weissenborn, P o l i t i s c h e r Leich=Redner w e l c h e r d i e p r a c t i c a b e l ^ s t e n K u n s t = R e g u l n von d e r I n v e n t i o n , D i s p o s i t i o n und E l o c u t i o n d e r e r nach h e u t i g e n Mode e i n g e r i c h t e t e n Abdanckungen bey o f f e n t l i c h e n Trauer= Solennien z u r Be f b r d e r u n g fe i n e r O r a t o r i schen C o l l e g i o r u m durch d e u t l i c h e Exempel e r l e u t e r t (Jena: H e i n r i c h C h r i s t o p h Crbker, 1707), pp. 1-2. M. F i i r s t e n w a l d , "Zur T h e o r i e und F u n k t i o n der Barockabdankung," i n L e i c h e n p r e d i g t e n a l s Que l i e n h i s t o r i s c h e r W i s s e n s c h a f t e n , p. 379. F i i r s t e n w a l d s t a t e s i n h e r d i s c u s s i o n o f the v a r i o u s p a r t s o f t h e Abdankung that " d i e l a m e n t a t i o w i r d n i c h t besonders behandelt, w e i l s i e vom P e r s o n e n l o b kaum zu t r e n n e n i s t ; s i e i s t g l e i c h s a m e i n k l a g e n d e s Echo, das dem Lob antwortet." ("The l a m e n t a t i o i s not s e p a r a t e l y d e a l t w i t h , because i t i s s c a r c e l y s e p a r a b l e from p e r s o n a l p r a i s e ; i t i s , so to speak, a p l a i n t i v e echo that answers the laudation.") 3 . . . . . Q u i n t i l i a n , I n s t i t u t i o Ora_torjLa, 3.3.2; L o e b C l a s s i c a l L i b r a r y (London: W i l l i a m Heinemann L t d . ; C a m b r i d g e , Mass.: H a r v a r d U n i v e r s i t y P r e s s , 1969), p. 385. "Non t a n t u m enim r e f e r t , q u i d et quo modo d i c a mus, sed e t i a m quo loco." 27 prove beneficial, then, t o have some u n d e r s t a n d i n g of the liturgy f u n e r a l l i t u r g y must d e a l w i t h an initial itself. Any problem: exequiae study of Lutheran u n l i k e the C a t h o l i c Church, which had f o r the s e v e n t e e n t h the L u t h e r a n funeral Church never liturgy. In established i t s c e n t u r y i n the R i t u a l e Romanum o f 1 6 1 4 , did arrive fact, firmly Friedrich at a s e t , u n i v e r s a l l y Kalb, in h i s Grundriss employed der g i k , w r i t e s at the b e g i n n i n g o f h i s d i s c u s s i o n of R e f o r m a t i o n liturgy that already in ordinances...offer a p i c t u r e the sixteenth of almost to v a r i e t y ; Hermann Caspar and p u b l i s h e d i n 1721 a catalogue "the Liturfuneral funeral bewildering d i v e r s i t y . B u t f u n e r a l o r d e r s were not t h e o n l y a r e a subject century of the L u t h e r a n Kbnig, Archdeacon documenting 351 4 liturgy in Celle, the to be compiled changes and a d d i t i o n s 6 to the b a s i c L u t h e r a n liturgy. T h e s e c h a n g e s , o f c o u r s e , w e r e not u n i v e r s a l but r a t h e r were independent over the y e a r s and i n various areas. the numerous other s e c u l a r ordinances a l t e r a t i o n s which came i n t o I t m i g h t be n o t e d h e r e (Polizeiordnungen, effect too t h a t Schulordnungen, S e e F. K a l b , G r u n d r i s s d e r L i t u r g i k : E i n e E i n f i i h r u n g i n d i e Ge^ s c h i c h t e , Grundsa'tze und Ordnungen des l u t h e r i s c h e n G o t t e s d i e n s t e s (Munich: C l a u d i u s V e r l a g , 1965), p. 271. 4 ^ I b i d . p. 273. " d i e Begrabnisordnungen...bieten verwirrender Mannigfaltigkeit." ein Bild fast ^E. S e h l i n g , ed., Die e v a n g e l i s c h e n Kirchenordnungen des XVI. J a h r h u n d e r t s, 6 v o l s . ( L e i p z i g : 0. R. R e i s l a n d , 1902), l : x . The c a t a logue i s e n t i t l e d " B i b l i o t h e c a Agendorum, bestehend aus einem v o l l s t a n digen Catalogo d e r e r Kirchen-Ordnungen, Agenden und anderer d e r g l e i c h e n S c h r i f f t e n , welche Ihro Hoch-Ehrwurden Herr C h r i s t i a n J u l i u s Bokelmann, A r c h i d i a c o n u s E c c l e s i a e C e l l e n s i s e t Cons i s t o r i a l i s d u r c h mehr a l s d r e y s s i g j a h r i g e s Bemuhen g e s a m m l e t ; und aus E i n e m Anhange e i n i g e r S c h r i f t e n von s o l c h e r Gattung welche man b i s s h e r n i c h t e r h a l t e n kbnne." 28 E h e o r d n u n g e n , Cons i s t o r i a l o r d n u n g e n , directly or i n d i r e c t l y , the continuous e t c . ) a f f e c t e d i n t h e i r own changes i n the liturgy from way, place to p l a c e . The in the liturgical flexibility w r i t i n g s of i n the P r o t e s t a n t the R e f o r m e r h i m s e l f , Luther never p r o v i d e d Church has Martin Luther. the Reformed Church w i t h 7 i t s roots In fact, a c o d i f i c a t i o n of h i s v i e w s on what o u g h t t o c o m p r i s e the f u n e r a l l i t u r g y . (He had done so 8 with the b a p t i s m a l 1533, Luther rules i n the priest was and still as Seven y e a r s later, in of the o p i n i o n that " t h e r e should not be r e q u i r e d ceremonies, to t r e a t wedding ceremonies. ) will r a t h e r they serve best,"^ should be i n the b e l i e v i n g that a u t h o r i t y of the liturgy the would See M. L u t h e r , "Deudsche Mess und o r d n u n g G o t t i s d i e n s t , " D. M a r t i n L u t h e r s Werke, (Weimar: Hermann Bbhlaus N a c h f o l g e r , 1897), 19:7273. ( E n g l i s h t r a n s l a t i o n i n M. L u t h e r , "The German Mass and O r d e r o f S e r v i c e , 1526," Luther's Works, t r a n s l a t e d by Augustus S t e i n l e [ P h i l a d e l p h i a : F o r t r e s s P r e s s , 1965], 53:61-62.) In the i n t r o d u c t i o n t o h i s Deudsche Messe und Ordnung G o t t i s D i e n s t s i n 1526, a r e v i s e d v e r s i o n of an e a r l i e r d r a f t from 1523, L u t h e r w r i t e s : Denn es n i c h t meyne meynunge i s t , das ganze deutsche land so eben m u s t e u n s e r W i t t e m b e r g i s c h e o r d n u n g an nemmen.... S o n d e r n f e y n were e s , wo ynn e y n e r i g l i c h e n h i r s c h a f f t d e r G o t t s d i e n s t a u f f e y n e r l e y weyse gienge und d i e umbligende s t e d l i n und d b r f f e r mit e y n e r s t a d g l e y c h b a r d e t e n ; ob d i e ynn a n d e r n h i r s c h a f f t e n d i e s e l b i g e n auch h i e l t e n o d d e r was b e s o n d e r s d a z u t h e t t e n , s o l f r e y und u n g e s t r a f f t seyn. For I do not propose that a l l Germany should u n i f o r m l y f o l l o w our W i t t e n b e r g order.... But i t would be w e l l i f the s e r v i c e i n every p r i n c i p a l i t y w o u l d be h e l d i n t h e same manner and i f t h e o r d e r observed i n a given c i t y would a l s o be f o l l o w e d by the surrounding towns and v i l l a g e s ; whether those i n other p r i n c i p a l i t i e s h o l d the same o r d e r or add to i t ought to be a m a t t e r of f r e e c h o i c e and not of constraint. Q Seh l i n g , op. c i t . , 1:10-11. Q W i t t e n b e r g e r K i r c h e n - O r d n u n g 1533, c i t e d i n S e h l i n g , op. c i t . , l:vi. "...es s o l l e n d i e c e r e m o n i e n n i c h t n o t i g e g e s e t z e s e i n , s o n d e r n i n des p f a r r e r s gewalt stehen, d a r i n zu handeln, wie es zum b e s t e n diene 29 take i t s own developed form "through throughout wide v a r i e t y seventeenth 1613/14, practice." t h e s i x t e e n t h c e n t u r y and Thus was the adapted liturgy to s u i t of c u s t o m s and c o n d i t i o n s , so t h a t a l r e a d y i n the century, a c c o r d i n g t o the Sachsen-Coburgischen " i n almost Judging by actual every village a different ordinance the numerous amendments to the b a s i c liturgy a early V i s i t a t i o n of holds t r u e . " ^ as evidenced in 12 • the church ordinances o f the s i x t e e n t h c e n t u r y , to assume t h a t the L u t h e r a n flexible and funeral liturgy i t i s reasonable of t h i s c o u l d be m o d i f i e d to s a t i s f y p e r i o d was here likewise the e x i g e n c i e s o f t i m e and place. What is little found eight Luther says about h i s v i e w s on i n the p r e f a c e to a c o l l e c t i o n Latin chants and of the P r o t e s t a n t f u n e r a l music funeral containing s i x German c h o r a l e s p u b l i s h e d by Johann K l u g i n 13 1542. In t h i s i n t r o d u c t i o n L u t h e r t a k e s the o p p o r t u n i t y t o condemn c e r t a i n "papal a b o m i n a t i o n s " Church, such Furthermore, Protestant as v i g i l s , Luther churches p r o c e s s i o n s , purgatory, writes were no or p l a c e s of mourning; p e r t a i n i n g to f u n e r a l r i t e s and r a t h e r , they used Catholic Masses f o r the dead. t h a t , u n l i k e the C a t h o l i c longer to be i n the churches, as houses o f the lamentation were to be " K o e m i t e r i a " , or dormi- wird." 1 Q Ibid. ^Ibid. "...durch "...beinahe t h a t s a c h l i c h e Ubung." i n jedem Dorf eine andere Ordnung gait." 12 R e v i s i o n s to f u n e r a r y procedures i n s i x t e e n t h - c e n t u r y P r o t e s t a n t Germany can be found i n Sehling's Die e v a n g e l i s c h e n Kirchenordnungen..., op. c i t . 1 3 Luther, See L u t h e r , "Die G e s a n g b u c h v o r r e d e n , " Werke " L i t u r g y and Hymns," Luther's Works 53:325-31. 30 35:478-83; and tories or r e s t i n g the C h r i s t i a n state and purpose places. burial rites sung over, and Those f e a t u r e s which had were p r e s e r v e d : the graves with o f the c e r e m o n y , a c c o r d i n g t o L u t h e r , was It funeral seems t h a t no s e r v i c e have r e a s o n s we was the bodies were adorned member of the c o n g r e g a t i o n the a r t i c l e not liturgical survived different Sunday i n L u t h e r a n Germany. Had to were c a r r i e d in tombstones. The t o i m p l a n t i n each for a seventeenth-century the t w e n t i e t h century. s h o u l d be a b l e t o assume a p r i o r i significantly belonged of the r e s u r r e c t i o n . outlines into always from For t h a t the f u n e r a l several service the D i v i n e S e r v i c e h e a r d t h e r e been any p r o n o u n c e d each liturgical c h a n g e s at the o u t s e t o f t h e R e f o r m a t i o n , L u t h e r , as he d i d w i t h Mass, would most l i k e l y have p u b l i s h e d h i s r e f o r m s , and c e r t a i n l y c o l l e c t i o n of music ing those views. seventeenth sary addressed, S i m i l a r l y , throughout no i t was done funeral locally In the the r e s t of t h e s i x t e e n t h t h e o l o g i a n s or the order of the church o r d i n a n c e s . ecclesiastics When the i t neceswas by means o f e m e n d a t i o n s t h r o u g h the of s t u d y i n g p r i n t e d L e i c h e n p r e d i g t e n , E x c e p t i o n s are n o t i c e a b l e through degree changes documents, possible in i n the and liturgy. and subject course liturgy. found most o f the sources tend to support a r e g u l a r de tempore d i v i n e actual Klug's would have p r o v i d e d the obvious v e h i c l e f o r e x p r e s s - centuries, to c o d i f y the Based modern l i t u r g i c a l and of extravagance on Luther's w r i t i n g s , service. rather historical musicologica1 writings, to c o n s t r u c t a p l a u s i b l e L u t h e r a n than i t is f u n e r a l ceremony as p r a c t i s e d s e v e n t e e n t h - c e n t u r y Germany. Funeral music in e x c l u s i v e l y to the music the seventeenth of the l i t u r g y ; 31 century was not restricted the church s e r v i c e was preceded by a funeral p r o c e s s i o n i n which music played funeral r i t u a l deceased a significant l a y i n s t a t e f o r a p e r i o d o f at l e a s t twelve hours. religious diagnosed revived.'' c o n s i d e r a t i o n , f o r death i n the s e v e n t e e n t h was as p o s s i b l e , g e n e r a l l y w i t h i n a few d a y s . and probably until wealth, were o f t e n embalmed s e v e r a l months l a t e r . This allowed was o f t e n extremely biblical churches R o y a l t y , d e p e n d i n g on r a n k at death and were not b u r i e d f o r a s u i t a b l e p e r i o d of s t a t e other and r e h e a r s a l o f music; The century to e p i c e d i a , and a l l o t h e r m a t t e r s of class Germany had much to do w i t h e n t e r the f u n e r a l ceremony. which p i c t u r e s and at the c h a p e l i n the deceased's domain; commissioning, observance f o r the the p r e p a r a t i o n o f the c o f f i n , to the pomp and pageantry strict t o arrange s e v e r a l sermons to be read v a r i o u s l y and contributing occasionally o r n a t e , w i t h s c u l p t e d legs and engraved scriptures; pragmatic c l a s s e s were b u r i e d as soon mourning and a l s o made i t p o s s i b l e f o r the e x e c u t o r s many e l a b o r a t e f u n e r a r y d e t a i l s : According not always a c c u r a t e l y c e n t u r y , and t h e " d e c e a s e d " Members of the lower and m i d d l e 4 The began i n the home or c o u r t chapel where the body of the to T h u r i n g i a n and Saxon c h u r c h o r d i n a n c e s , t h i s was more a than part. composition p e r t a i n i n g and o f the o c c a s i o n . distinctions in seventeenth- the degree of extravagance Ordinances of various kinds allowed provide us w i t h much of the i n f o r m a t i o n about the m a t e r i a l and m u s i c a l e l a b o r a tions 1 4 of funerals.^ As i n a l lother Church ceremonies, the S e h l i n g , op. c i t . , 1:320. ^ S e e F. H a m e l , " D i e L e i p z i g e r F u n e r a : z u r K u l t u r g e s c h i c h t e d e r B e g r a b n i s m u s i k , " S c h w e i z e r i s c h e M u s i k z e i t u n g 88 (1948): 88-90; and W. Reich, "Die deutschen gedruckten L e i c h e n p r e d i g t e n des 17. J a h r h u n d e r t s a l s m u s i k a l i s c h e Q u e l l e " (Ph.D. d i s s e r t a t i o n , K a r l Marx U n i v e r s i t y , 1962), pp. 69-76. 32 funeral service included adiaphora (indifferent Wilhelm Baier defines Moralis of 1698 in general terms m a t t e r s ) which Johann i n h i s Compendium T h e o l o g i a e as: M a t t e r s , whose use i n the p u b l i c a d m i n i s t r a t i o n of sacred t h i n g s or i n the p r i v a t e e x e r c i s e o f d i v i n e w o r s h i p i s i n d i f f e r e n t , as not b e i n g i n themselves p a r t of d i v i n e w o r s h i p and n e i t h e r p r o m o t i n g nor h i n d e r i n g the e t e r n a l s a l v a t i o n of men, but i n s t i t u t e d f o r the sake of good order and decency, add a c e r t a i n d i g n i t y , w i t h r e s p e c t to men, to r e l i g i o n and e c c l e s i a s t i c a l d i s c i p l i n e (p. 10). Thus, l i t e r a l l y a n y t h i n g c e r e m o n i a l that worship i t s e l f "supports -- in fact, and ornaments" the ceremonies to divine cious powers. worship'*' m e t a l u s e d i n the duration of the The type of 7 - - was subject counted act among to the r u l i n g c l o t h i n g worn, ceremonial cross, funeral service, the of themselves were seen m e r e l y as adiaphora of the Church, and was t h e r e f o r e and e c c e s i a s t i c a l d i d not a f f e c t the type the secular of the number o f c o a c h e s , the number of students a l l o w e d to prethe sing, the number and t i t l e s o f p i e c e s sung, a l l were p r e s c r i b e d by the governi n g and e c c l e s i a s t i c a l authorities to assure that class boundaries were 18 not transgressed. C i t e d i n F . K a l b , Theology of Worship i n 1 7 t h - c e n t u r y L u t h e r a n i s m , t r a n s , by H e n r y P. A. Hamann ( S a i n t L o u i s , M i s s o u r i : C o n c o r d i a P u b l i s h i n g H o u s e , 1965), p. 1 0 5 f n . F o r a f u l l e r d i s c u s s i o n of the adiaphora i n the L u t h e r a n Church of t h i s p e r i o d , see K a l b , Theology, op. c i t . , pp. 1 0 4 - 3 7 . ^ F r i e d r i c h B a l d u i n , T r a p t a t u s l u c u l e n t u s . . . de . . . c a s i b u s . . . c o n s c i e n t i a e ( W i t t e n b e r g , 1628), p. 1135. C i t e d i n K a l b , Theology, op. c i t . , p. 106. 7 18 F o r a d d i t i o n a l i n f o r m a t i o n on c l a s s d i s t i n c t i o n s i n Germany at t h i s t i m e , see D. K r i c k e b e r g , Das p r o t e s t a n t i s c h e K a n t o r a t im 17. Jahr-hundert: S t u d i e n zum Amt des deutschen K a n t o r s , B e r l i n e r S t u d i e n zur M u s i k w i s s e n s c h a f t : V e r b f f e n t l i c h u n g e n des m u s i k w i s s e n s c h a f t l i c h e n I n s t i t u t s d e r F r e i e n U n i v e r s i t a t B e r l i n , e d . by A . A d r i o , v o l . 6 ( B e r l i n : V e r l a g M e r s e b u r g e r , 1965), pp. 94-114. 3.3 By way o f e x a m p l e , one c a n c o n s i d e r b r i e f l y the c o n d i t i o n s w h i c h governed musical performances century. There one at L e i p z i g f u n e r a l s i n t h e were at that time f o r each o f the c i t y ' s three separate c a t e g o r i e s of three d i s t i n c t social classes, cy a p p a r e n t l y b e i n g above such c l a s s i f i c a t i o n . used at the could funeral, only expect "Viertelschule" consisted and of tertia, while the the members o f the to have present the at "kleine the funeral. at successive the social halbe class Schule" The c o n s i s t e d of funerals f o u r t e e n o f the p e r m i t t e d at t h i s tiefer Not" and Corresponding general was social level the prima youngest one music of the that was were such R e f o r m a t i o n a l c h o r a l e s as "Aus to the simplicity of the music and the modest fee of 3 t h a l e r , 6 groschen Members o f L e i p z i g middle vagance f o r t h e i r from the " E r b a r m d i c h m e i n , " w h i c h were t o be sung i n u n i s o n . S c h u l e and a mere 21 g r o s c h e n citizens Examples Schule school's of school. the Thomasschule, junior the even between h i m s e l f was at in Leipzig halbe s t u d e n t s s i n g i n g u n d e r t h e " B a k k a l a r e u s " , who instructors aristocra- or Kleine and t h e t e r t i a and q u i n t a c l a s s e s f r o m t h e Viertelschule funerals, In terms of the m u s i c lowest the alternation seventeenth ceremony f o r the k l e i n e o f the in halbe Viertelschule. c l a s s were p e r m i t t e d c o n s i d e r a b l y more e x t r a - funerals. this f o r the s e r v i c e s the social A t a c o s t o f 7 t h a l e r , 22 g r o s c h e n , stratum could secure "grosse h a l b e Schule," a l s o known as the chorus the musicus, services the of which was the made up of the students of the Thomasschule's t h r e e s e n i o r c l a s s e s as w e l l as t h e q u i n t a p e r f o r m i n g u n d e r the d i r e c t i o n o f the c a n t o r h i m s e l f . In accordance with the h i g h e r s o c i a l station, the music performed f u n e r a l s c o n s i s t e d o f harmonic s e t t i n g s of music o f f o u r and 34 at these f i v e parts. Also, unlike the f u n e r a l s a t w h i c h the halbe Schule p a r t i c i p a t e d , music was tery at the grave society were the patrons of the side. V i e r t e l s c h u l e and permitted Numbered among the members o f Thomasschu l e . the A city fee to be the sung i n the was forces of the "ganze Schule." c o u n c i l , learned ranging On anywhere citizens from these o c c a s i o n s sung from the F l o r i l e g i u m Portense and other of course, works commissioned s p e c i f i c a l l y depending on be expected the e s t i m a t i o n to s i n g b e f o r e I t should at a s p e c i f i c have had be figural accorded the deceased, limited influence a single city, even on to cities of the and, Sometimes, the c h o i r might also city. and one ordinance that t h i s ordinance surrounding communities. may Just how e x t r e m e were the d i v e r g e n c e s can be s e e n i n the a t t i t u d e s t o w a r d s i n c l u s i o n of m u s i c a l 24 music motet a n t h o l o g i e s , noted that these r e g u l a t i o n s make up but time w i t h i n 15 and secure f o r the o c c a s i o n . the gates of the ceme- uppermost c l a s s of L e i p z i g t h a l e r , f o r the f u n e r a l s of the m o n i e d s o c i a l c l a s s , c o u l d singing kleine the i n s t r u m e n t s i n performances of f u n e r a l music i n the Nuremberg and Luneburg. Heinrich Schwemmer shared r e s p o n s i b i l i t i e s as D i r e c t o r c h o r i m u s i c i (1621-1696), who i n Nuremberg, received a l a r g e number of commissions f o r f u n e r a l music, most of which included, i n a d d i t i o n to v o i c e s , continue The a three- or four-part such as D a v i d S c h e d l i c h (1626-1686) who at t h i s (1607-1687) and Paul time were a l s o a c t i v e i n Nuremberg, accompaniment was t i m e i n L u n e b u r g on cantor basso music of Schwemmer, as w e l l as that of o t h e r composers of f u n e r a l music, instrumental s t r i n g ensemble w i t h the o t h e r at St Johannis, was the norm f o r f u n e r a l music. Hainlein shows At that the same hand, F r i e d r i c h F u n c k e (1642-1699), fined a half-year's 35 salary, simply for the using a r e g a l at the f u n e r a l of h i s b r o t h e r - i n - l a w . that t h i s a c t i o n was taken because t h e r e may H a r o l d E. Samuel s t a t e s the r e g a l "had at the b u r i a l of a d i s t i n g u i s h e d c i t i z e n , " that 19 have been a precedent and for this never been permitted Wolfgang Reich suggests i n f r a c t i o n of the law in 21 order f o r i t to have e l i c i t e d as s t r i c t such a harsh fine. The ordinances were as they were d i v e r s e . Funeral processions the b e g i n n i n g were o c c a s i o n a l l y d e s c r i b e d i n great d e t a i l pages of p r i n t e d L e i c h e n p r e d i g t e n under c e s s i o n und Ordnung." For Wurtemberg (d. 24 M a r c h example, the the heading funeral for Friedrich, 1682), b e g a n a t s e v e n o ' c l o c k in "Pro- Duke of i n the m o r n i n g 22 with the preceptors c e s s i o n was and students l e d by t o r c h - b e a r e r s s i n g i n g i n the c o u r t y a r d . f o l l o w e d by the m u s i c i a n s . ant mourners were a s s i g n e d s p e c i f i c u s u a l l y d e p e n d i n g on their their rank i n s o c i e t y . fying each of the these are illustrations detailed mourners Processionen processions o f such t o g e t h e r and carefully relationship These d e s c r i p t i o n s can accompanying of The pro- attend- p o s i t i o n s i n the f u n e r a l p r o c e s s i o n , familial principal The by to t h e d e c e a s e d go on name f o r pages, and status. or identiOften und Ordnungen i n the L e i c h e n p r e d i g t e n the procession, l e n g t h t h a t they folded into consist often depicting of s e v e r a l pages glued the book. The d e s c r i p t i o n s and i l l u s t r a t i o n s found i n the L e i c h e n p r e d i g t e n 19 R e i c h , " D i e d e u t s c h e n g e d r u c k t e n L e i c h e n p r e d i g t e n , " op. c i t . , p. 75. ^ H. E. S a m u e l , " F u n c k e , F r i e d r i c h , " The New G r o v e D i c t i o n a r y o f Mus i c and Mus i c i a n s (1980), 7, p. 31. 21 R e i c h , " D i e d e u t s c h e n g e d r u c k t e n L e i c h e n p r e d i g t e n , " op. c i t . , p. 75. W 2 2 R e u t l i n g e n , S t a d t b i b l i o t h e k , Rt. 36 467. are i n v a l u a b l e sources compositions church, of m u s i c a l were used before and what s p e c i f i c had Ferdinand I Schmidlin them we procession. find funeral procession For what to s t y l e s were used and funeral service. the where Furthermore, we were n o t the o n l y ones instance, the funeral Duke of Wurtemberg (d. 15 October 1693) f o u r t h s e c t i o n i n the p r o c e s s i o n c o n s i s t e d e r m e l d t e n Regiment," t h e i r students, F r i d e r i c h Engel t i o n s we i n the groups: the of "zwey Trompeter von and the musical of t h e f o r Johann F r i d e r i c h , three m u s i c a l ceptors during From s t u d e n t s , a l u m n i and p r e c e p t o r s r e s p o n s i b l e f o r music procession and works and t h e y were u s e d i n the c o u r s e l e a r n t h a t the information. and the / Johann Bolch the seventh was t h i r t e e n t h s e c t i o n the "6 / Balthasar L e i c h t l i n & Georg M e l c h i o r Fenckel." a c q u i r e some s e n s e o f the Also the Trompeter / M a r c e l l Kerbs from these manner i n w h i c h pre- these descrip- w o r k s were performed. When the f u n e r a l p r o c e s s i o n had the coffin was placed Johann F r i d e r i c h , directly the body was a r r i v e d at t h e c h u r c h or beneath the p u l p i t ; chapel, 25 • i n the c a s e p o s i t i o n e d between the a l t a r and of the open 2 6 crypt. in The black, Friderich, congregation, and in the as one would expect, "Procession und was Ordnung" traditionally of the funeral Duke of Wurtemberg (d. 1682), the c h r o n i c l e r r e p o r t s t h a t 2 3 Ibid. 2 4 Ibid. clad of the 25 W. Z e l l e r , " L e i c h e n p r e d i g t und E r b a u u n g s l i t e r a t u r , " i n L e i c h e n p r e d i g t e n a 1£ Que l i e h i s t o r i s c h e r W i s s e n s c h a f t e n , ed. R u d o l f L e n z (Cologne and Vienna: Bbhlau V e r l a g , 1975), p. 67. 2 6 Reutlingen, S t a d t b i b l i o t h e k , Rt. 37 467. pulpit, the o r g a n and c h u r c h pews were a l l d r a p e d w i t h b l a c k cloth. T h i s seems not to have been too uncommon a p r a c t i c e , f o r i t was also the 28 custom i n the l a r l y draped was Schlosskapelie i n b l a c k and most o f t e n dressed The order was i n Dresden. l i t candles. i n the simi- The body seventeenth-century T r a c t ( ? ) , G o s p e l or s u b s t i Collect, Benediction. l i t u r g i c a l d i f f e r e n c e between the standard f u n e r a l s e r v i c e would latter. was have e x i s t e d as f o l l o w s : I n t r o i t , Ky r i e , G l o r i a , t u t e , C r e d o , Sermon, the L o r d ' s P r a y e r , case of the itself i n white. S a l u t a t i o , C o l l e c t , E p i s t l e , G r a d u a l and the coffin o f t e n surrounded by o f the a c t u a l f u n e r a l l i t u r g y L u t h e r a n C h u r c h may chief The seem to be The Sunday G o t t e s d i e n s t and the absence of the E u c h a r i s t i n the A second d i f f e r e n c e would be the o p t i o n a l i n s e r t i o n o f the p e r s o n a l i a o r c u r r i c u l u m v i t a e a t some p o i n t a f t e r the funeral M. Furstenau, Zur G e s c h i c h t e der Musik und des Theaters am Hofe zu D r e s d e n , 2 v o l s i n 1 (1861; f a c s i m i l e r e p r i n t ed., L e i p z i g : P e t e r s , 1971), 1:179. 2 8 Ibid. F o r g e n e r a l d i s c u s s i o n s and d e m o n s t r a t i o n s of the w i d e - r a n g i n g p o s s i b i l i t i e s of s i x t e e n t h - and s e v e n t e e n t h - c e n t u r y L u t h e r a n l i t u r g y see H. J . M o s e r , D i e e v a n g e l i s c h e K i r c h e n m u s i k i n D e u t s c h l a n d ( B e r l i n and D a r m s t a d t : V e r l a g C a r l M e r s e b u r g e r , 1954), p. 325 ( M o s e r g i v e s as the three most important r e p r e s e n t a t i v e sources o f the Lutheran l i t u r g y i n Germany the works of Johannes Spangenberg [1545], Lucas L o s s i u s [1553] and Johannes Keuchenthal [1573]); F. Blume, "The P e r i o d of the Reformat i o n , " i n P r o t e s t a n t C h u r c h Mus i c : a H i s t o r y , r e v i s e d by Ludwig F i n s c h e r , t r a n s l a t e d by F. E l l s w o r t h Peterson (London: V i c t o r G o l l a n c z , L t d . , 1975), pp. 51-62; E. S c h m i d t , Der G o t t e s d i e n s t am K u r f u ' r s t l i c h e n Hof zu Dresden: e i n B e i t r a g z u r l i t u r g i s c h e n T r a d i t i o n s g e s c h i c h t e v o n Johann W a l t e r b i s zu H e i n r i c h Schutz. V e r b f f e n t l i c h u n g e n der E v a n g e l i s c h e n G e s e l l s c h a f t f i i r L i t u r g i e f o r s c h u n g , ed. by 0. Sbhngen and G. Kunze, H e f t 12 ( G o t t i n g e n : V a n d e n h o e c k & R u p r e c h t , 1961); 0. B r o d d e , H e i n r i c h S c h i i t z : Weg_ und Werk ( B e r l i n : E v a n g e l i s c h e V e r l a g s a n s t a l t , 1985), p. 65; R. von L i l i e n c r o n , L i t u r g i s c h - M u s i k a l i s c h e G e s c h i c h t e der e v a n g e l i s c h e n G o t t e s d i e n s t e von 1523 b i s 1700 ( S c h l e s w i g : D r u c k und V e r l a g von J u l i u s Bergas, 1893; p h o t o - r e p r i n t H i l d e s h e i m and New York: G e o r g 01ms V e r l a g , 1970), pp. 121-22, 159; F u r s t e n a u , op. c i t . , 1:182. 38 sermon. There i s no i n the doubt that seventeenth-century. the Mass was In H e i n r i c h to the M u s i k a l i s c h e Exequien, he w r i t e s the i n t e g r a l to the Schutz's own funeral l i t u r g y prefatory comments of having composed the music " i n f o r m o f a German M i s s a , a c c o r d i n g t o t h e t y p e o f the L a t i n Kyrie, 30 Christe, Kyrie Following towards the the Eleison. Gloria in excelsis. the K y r i e , G l o r i a and a l t a r f o r the theme of death and a four-part the "Amen, amen." The i n t e r r a pax S a l u t a t i o , the C o l l e c t , a short resurrection 31 Et de & p r i e s t would tempore p r a y e r — -- a f t e r which the turn i.e., on c h o i r would p r i e s t , or the d e a c o n as was c." the sing case 32 in Leipzig, would then approach the lectern the s e r v i c e i n a s i m p l e r e c i t a t i o n a l t o n e . was to be r e a d i n the e i g h t h t o n e and and read the E p i s t l e for A c c o r d i n g to L u t h e r , t h i s at the same l e v e l as t h a t used i n • M u s i k a l i s c h e Exequien, ed. by Georg Schumann, V e r o f f ent 1 i c h u n g e n d e r Neuen Ba c h g e s e 11 s ch a f t , J a h r g a n g 29, Heft 1. ( L e i p z i g : B r e i t k o p f & H a r t e l , 1982), n.p. "...in Form e i n e r T e u t s c h e n Missa, nach a r t der L a t e i n i s c h e n K y r i e , C h r i s t e , K y r i e E l e y s o n . Gloria in exceIs i s . E t i n t e r r a pax & c/' But see F. K a l b , G r u n d r i s s, op. c i t . , p. 275. Kalb omits the G l o r i a from the f u n e r a l l i t u r g y , though he does not s p e c i f y the p e r i o d to which he i s r e f e r r i n g . Kalb does d e t a i l the L u t h e r a n f u n e r a l l i t u r g y , but h i s d e s c r i p t i o n i s p r o b a b l y o f a c o n t e m p o r a r y s e r v i c e , and much o f what he s a y s has l i t t l e b e a r i n g on seventeenth-century p r a c t i c e s . I t may be a d d i t i o n a l l y noted here that Schutz a l s o p o i n t s out i n the p r e f a c e t h a t the music of the M u s i k a l i s c h e Exequien could "an s t a t t e i n e r Teutschen M i s s a vnd v i e l l e i c h t i n F e s t o P u r i f i c a t i o n i s o d e r D o m i n i c a XVI pos t T r i n i t a t i s , a u c h n i c h t l i b e l gebrauchen," which p r o v i d e s f u r t h e r e v i d e n c e i n s u p p o r t o f the assumption t h a t the s e v e n t e e n t h - c e n t u r y f u n e r a l s e r v i c e d i d not d i f f e r s i g n i f i c a n t l y from the Sunday or other de tempore d i v i n e s e r v i c e s . 31 • L i l i e n c r o n , op. c i t . , p. 122. the 30 C o lH.l e cSchutz, t. 3 3 3 2 Ibid., 33 p. 159. L u t h e r , "Deudsche M e s s e , " op. 39 c i t . , p. 87; L u t h e r , "The German Friedrich instability liturgy Blume, of the in Protes tant Gradual in general, and and mentions continued to weaken throughout t h e appearing from the the liturgy Church Mu_s_i£, Sequence that within Lutheran funeral liturgy eventually dis- a l t o g e t h e r i n most p l a c e s . However, s i n c e something liturgy. Protestant i t s p o s i t i o n i n the retain the Tract, used Mass of the C a t h o l i c Church to r e p l a c e the A l l e l u i a , that the the sixteenth century, the P r o t e s t a n t Church d i d i n f a c t assume h e r e discusses similar may Blume goes on s e c t i o n o f t h e Mass c o u l d be, and Requiem i t i s reasonable h a v e been to p o i n t i n the practised in out that o f t e n was, r e p l a c e d by of the Mass. Standing this to the entire a congrega- 315 tional hymn. The and Gospel was f a c i n g the recitational the next item congregation, manner — normal c i r c u m s t a n c e s , i n the the the priest fifth Gospel tone, a c c o r d i n g reading f o r o r a t o r i c a l e l a b o r a t i o n i n the Sermon. Gospel and the Sermon w i t h i n the context discussed The in greater d e t a i l reading of the s a n g the served The c i t . , p. op. in a to Luther. the basic simple Under material f u n e r a l ceremony w i l l be presently. Gospel was followed the by the c h o i r or Apostolisches i n German by 72. Blume, op. c i t . , p. 3 5 Gospel lectern r e l a t i o n s h i p s between the of the Glaubensbekenntnis or Credo sung i n L a t i n by Mass," op. as at the 57. Ibid. L u t h e r , "Deudsche Messe," op. c i t . , p. 74. 40 c i t . , p. 90; Luther, "German Mass," the c o n g r e g a t i o n as " W i r glauben a l l an e i n e n G o t t . " t i o n a l l y w r i t e s t h a t the German creed c o u l d be 37 sung by Luther the addi- congregation 38 at the g r a v e s i d e or w h i l e d e p a r t i n g from s i n g i n g of the Credo i n the c h u r c h , pulpit from directly priest beneath the p u l p i t , and differed Catholic directly The w h i c h the Sermon was fundamentally Church, which b e f o r e the delivered. the l i t u r g i c a l prescribed that would proceed to the B e c a u s e the c o f f i n was thus 39 congregation. F o l l o w i n g the s i t u a t e d between T h i s P r o t e s t a n t custom p r a c t i c e at that time the the body be i n the placed instead altar. ^ 4 f u n e r a l sermon was ceded by a s h o r t votum. 37 from the p r i e s t the body was t h e members o f the the g r a v e . The almost always g i v e n i n German, and was pre- sermon i n the Sunday d i v i n e s e r v i c e custom- • L i l i e n c r o n , op. c i t . , pp. 122, 159. 38 L u t h e r , "Die G e s a n g b u c h v o r r e d e n , " op. c_i_t«, p. 483; Luther, " L i t u r g y and Hymns," op. c i t . , p. 331. 39 . . . . . . . . C. T i t i u s , L o c i T h e o l o g i c i H i s t o r i c i , oder T h e o l o g i s c h e s ExempelBuch j_ Darinnen aus A l t e n und Neuen S c r i b e n t e n j_ s o n d e r l i c h r e i n e n und C h r i s t l i c h e n K i r c h e n - L e h r e n u n t e r den gewbhnlichen L o c i s T h e o l o g i c i s zu f i n d e n j_ m e h r e n t h e i l s s o l c h e Exempel und H i s t o r i e n / welche i n gewbhnl i c h e n P r e d i g t e n zur h e i l s a m e n Lehre ]_ T r o s t j_ Vermahnung und Warnung n l i t z 1 i c h a n g e z o g e n und e i n g e f u h r e t w e r d e n kbnnen, nunmehr a b e r v o n Autore a u f f s neue mit mehr a l s 2000 H i s t o r i e n und n i i t z l i c h e n R e g i s t e r n v e r m e h r e t , L e i p z i g , 1684. C i t e d i n W. Z e l l e r , " L e i c h e n p r e d i g t und E r a b a u u n g s l i t e r a t u r , " i n L e i c h e n p r e d i g t e n a l s Que 1 l e h i s t o r i s c h e r W i s s e n s c h a f t e n , ed. by R u d o l f Lenz (Cologne and Vienna: Bbhlau V e r l a g ) , p. 67. C a s p a r T i t i u s ' s L o c i T h e o l o g i c i H i s t o r i c i was originally p u b l i s h e d i n 1633. ^ K a l b , G r u n d r i s s d e r L i t u r g i k , op. c i t . , p. 271. "Der S a r g w i r d so vor dem A l t a r a u f g e s t e l l t , dass b e i der L e i c h e e i n e s N i c h t - P r i e s t e r s d i e Fiisse zum A l t a r g e r i c h t e t s i n d , b e i einem P r e i s t e r aber umgekehrt zum Volk h i n , 'als ob er Dominus vobiscum sagen w o l l t e ' (Muller-Umberg, Zeremonienbiichlein)." ("The c o f f i n i s so p o s i t i o n e d b e f o r e t h e a l t a r t h a t , w i t h the body of a n o n - p r i e s t , the f e e t are d i r e c t e d towards the a l t a r , but w i t h a p r i e s t t u r n e d a b o u t t o w a r d s t h e p e o p l e , 'as i f he wanted to say the Dominus vobiscum'....") 4 41 arily served as immediately and the exegesis as one i n the case century, favoured Luke orations instances sense, and i t would be 1 3 : l f f as p e r t a i n i n g to known f o r h i s i m p o r t a n t of v e r s e s from Luke. differed of base i n the a c o l l e c t i o n o f 147 late student Valerius f u n e r a l sermons (1612-20), a l s o made o c c a s i o n a l use But numerous o t h e r b i b l i c a l books, from both as o f r e l e v a n t s e r m o n i c themes. c o u l d c o n c e i v a b l y produce f a r the most suitable fruitful Though many b i b l i c a l books f u n e r a r y t e x t s f o r sermonic e l a b o r a - book i n t h i s r e s p e c t , and Psalms. r e p l a c e d by a Pslam or some other or whether the Gospel and was the one for appropriate verses, was the ( i f not more so) to the f u n e r a l which p r i e s t s most o f t e n turned Whether the Gospel of for h i s funerary 4 Testament, were as important t u r a l reading, death p o s s i b l e to a s s o c i a t e a c c i d e n t a l death. ^ Old and New by the t o p i c Pancratius, a scriptural intoned for funeral t h e theme o f t h e c e r e m o n y : i n G e i s t l i c h e Trauerbinden tion, been Themes dealt invariably with published sources which had however, must have f u n e r a l sermons. f o r i n s t a n c e , Andreas Melanchthon, in verse This d e t a i l , of In one t h e r e a d i n g o f the G o s p e l Herberger, the Gospel would expect, resurrection. sixteenth of b e f o r e the Credo. substantially sermons, an Sermon r e m a i n e d to the Book of scrip- unrelated A. P a n c r a t i u s , C h r i s t l i c h e L e i c h e n p r e d i g t e n . Darinnen d i e f i i r nembsten Sprviche A l t e s und Newes Testaments j_ a u f f a l l e r e l y N a t i i r l i c h e und U n n a t u r l i c h e T o d t s f a ' l l j_ nach R h e t o r i s c h e r D i s p o s i t i o n ]_ mit sonderbarem F l e i s s e r k l a r e t w e r d e n . Sampt a n g e h e n c k t e n s i e b e n be s o n d e r n L e i c h e n p r e d i g t e n j_ d a r i n n e n s i e b e n A n f ec t u n g e j_ we l c h e d i e E l t e r n bey Absterben i r e r K i n d e r am m e i s t e n zu betriiben p f l e g e n j_ und wie denselben a u s s G o t t e s Wort zu b e g e g n e n , T e i 1 3_ ( F r a n k f u r t / M a i n , 1588), pp. 93, 101, 105. C i t e d i n E. W i n k l e r , Die L e i c h e n p r e d i g t im deutschen L u t h e r tum b i s Spener, ed. by E. Wolf, Forschungen zur G e s c h i c h t e und Lehre des P r o t e s t a n t i s m u s , s e r i e s 10, v o l . 34 (Munich: Chr. K a i s e r V e r l a g , 1967), p. 77. See Winkler, op. c i t . , p. 105. 42 w i t h i n the f u n e r a l l i t u r g y i s unknown. Luther writes paraphrased from the century the Sermon was or from To what extent funeral liturgy the i s unknown, r u b r i c " V a t e r u n s e r u." f o r Wilhelm altar followed d i r e c t l y according t h i s p r a c t i c e was L e i c h e n p r e d i g t e n examined predigt t o be v e r s i o n o f t h e L o r d ' s P r a y e r , w h i c h c o u l d be pulpit 43 priest.' that for this At t h e end to the said of f o r a l a r g e p o r t i o n o f the study concluded with wir printed the o f the P e t e r L i m b u r g e r ' s w i t h "... / sprechen the seventeenth- simple Leichen- and J o b s t K r e s s e n von K r e s s e n s t e i n i n 1640, of the c l o s i n g votum concludes either wishes f o l l o w e d i n the by a the t e x t auss Andacht e i n h e i l i g e s V a t t e r v n s e r / u," t h a t i s , a l i t e r a l r e n d e r i n g of the Lord's Prayer century t o g e t h e r w i t h the c o n g r e g a t i o n . i n Dresden, Prayer was said the Sermon as and likely immediately 4 4 in other Throughout the places as well, seventeenth the b e f o r e the Sermon, ^ and o c c a s i o n a l l y 4 Lord's after well. ^ 4f In t h e f u n e r a l l i t u r g y , the p e r s o n a l i a o r c u r r i c u l u m v i t a e o f t e n f o l l o w e d the Sermon, as i n the case of Duke W i l h e l m Luther, "Deudsche Messe," op. Mass," op. c i t . , pp. 78-79. c i t . , pp. Ludwig of Wurtemberg 95-96; L u t h e r "The German P . Limburger, Leich-Sermon, Bey der B e s t a t t u n g Des E d l e n / Ehrenv e s t e n / F u r s i c h t i g e n / Hoch= und W o l w e i s e n H e r r n W i l h e l m K r e s s e n v o n K r e s s e n s t e i n j_ a u f f K r a f f t s h o f / . . . So woln auch Bey der B e s t a t t u n g dess E d l e n vnd E. Herrn J o b s t Kressens von K r e s s e n s t e i n / a u f f R e z e l s d o r f f ... G e h a l t e n von P e t r o Limburgern p. t. P f a r r e r n zu K r a f f t s h o f (Nuremberg: W o l f f g a n g E n d t e r , 1640). M i c r o p u b l i s h e d as No. 714.2 on R e e l 74A i n Goldsmiths'-Kress L i b r a r y of E c o n o m i c L i t e r a t u r e (New Haven: R e s e a r c h P u b l i c a t i o n s , Ltd., 1974). 4 4 45 S c h m i d t , 46 I b i d . , pp. 113-14. 43 (d. 1 6 7 7 ) and 4 7 Duke F r i d e r i c h . than the p r i e s t 4 8 I t c o u l d be r e a d by someone o t h e r as p a r t of the Abdankung " e i t h e r b e f o r e the h o u s e o f m o u r n i n g , a f t e r the the r e t u r n f r o m of the burial." The was church ceremony concluded the the p r a c t i c e Wurtemberg. the g r a v e , o r at t h e Since they with Collect and in Stuttgart were a Collect r e a d i n g of the C o l l e c t to g i v e the church the c o n g r e g a t i o n ceremony a to leave p r o c e s s i o n had entered. and by was according The stronger the c h u r c h Benediction. the chapel and i n use to the "Des It inter- because i n t e r r e d , the the later have been d e c i d e d upon i n o r d e r sense of finality, signaling to i n t h e same o r d e r i n w h i c h the f o l l o w i n g C o l l e c t recommended by L u t h e r was n e a r l y a l l the church o r d e r s as an E a s t e r or f u n e r a l still site f o r t h e b u r i a l o f the Dukes o f b u r i e d i n the and b l e s s i n g may and Benediction after m o u r n e r s were t o r e m a i n s e a t e d u n t i l the body was adopted the 4 9 a l s o p o s s i b l e to read ment as was door o f i n Saxony at the end of the Collect, s i x t e e n t h century D u r c h l a u c h t i g s t e n , Hochgebornen F u r s t e n U. H e r r n A u g u s t e n , H e r z o g e n zu S a c h s e n , O r d n u n g " o f 1580."^ Herrn, I t reads as follows: [V.] [R.] 4 7 C h r i s t u s von den t o d t e n e r w e c k e t , s t i r b t h i n f u r t n i m e r , Haleluia. Der Tod w i r d h i n f u r t uber i n n i c h t h e r r s c h e n , H a l e l u i a . Reutlingen, AO Reutlingen, S t a d t b i b l i o t h e k , Rt. 467. S t a d t b i b l i o t h e k , Rt. 468. W e i s s e n b o r n , op. c i t . , p. 1. "...entweder v o r d e r Thiir Trauer=Hauses / nach der Ruckkunfft vom Grabe / oder an der S t e l l e Begrabnisses." 4 9 des des " ^ S e h l i n g , op. c i t . , p. 275. The two p a i r e d v e r s e s and r e s p o n s e s , h o w e v e r , a r e n o t m e n t i o n e d i n the K i r c h e n o r d n u n g , and t h e r e i s some s l i g h t a l t e r a t i o n s i n the t e x t of the C o l l e c t i t s e l f . 44 [V.] [R.] Ich weis das mein e r l o s e r l e b e t , H a l e l u i a . Der w i r d mich hernach aus der Erden aufferwecken, Haleluia. A l m e c h t i g e r Gott, der du durch den Tod deines Sons d i e Siind und Tod zu n i c h t gemacht, Und durch s e i n a u f f e r s t e h e n Unschuld und ewiges L e b e n w i d e r b r a c h t h a s t , a u f f das w i r von d e r G e w a l t des T e u f e l s e r l b s e t , i n deinem R e i c h leben. V e r l e i h e uns, das w i r s o l c h e s von gantzem Hertzen gleuben, und i n solchem Glauben b e s t e n d i g d i c h a l l e Z e i t l o b e n und d i r d a n c k e n , D u r c h d e n s e l b i g e n d e i n e n Son, I h e s u m Christum, unsern HErrn, Amen. A f t e r the C o l l e c t , L u t h e r u s e d the f o l l o w i n g B e n e d i c t i o n to c o n clude the German Mass of Der Herr 1526: segene d i c h und behutte dich. Der Herr e r l e u c h t e s e i n a n g e s i c h t u b i r d i r und sey d i r gnedig. Der H e r r hebe seyn a n g e s i c h t a u f f d i c h und gebe dyr f r i d . ^ 2 T h i s same B e n e d i c t i o n , w i t h only s l i g h t v a r i a t i o n , was at the end of Paul M a r t i n A l b e r t i ' s funeral sermon also printed f o r Sigmund von 53 B i r k e n i n 1681. That t h i s B e n e d i c t i o n s u r v i v e d more t h a n 150 years - ^ L u t h e r , Werke, op. c i t . , 35:553-54; L u t h e r , "The C o l l e c t s , " i n Luther's Works ( t r a n s l a t e d by P a u l Z e l l e r Strodach; r e v i s e d by U l r i c h S. L e u p o l d ) , op. c i t . , p. 134: V. R. C h r i s t , b e i n g r a i s e d from the dead, d i e t h no more. Alleluia: Death hath no more dominion over him A l l e l u i a [Rom. 6:9]. or: V. I know that my Redeemer l i v e t h . Alleluia: R. Who s h a l l at the l a t t e r day wake me from the e a r t h . Alleluia: [Job 19:25]. " A l m i g h t y God, who by t h e d e a t h of t h y Son h a s t b r o u g h t t o n a u g h t s i n and death and by h i s r e s u r r e c t i o n hast brought a g a i n innocence and e v e r l a s t i n g l i f e so t h a t , d e l i v e r e d from the d e v i l ' s power, we may l i v e i n t h y k i n g d o m : G r a n t us t h a t we may b e l i e v e t h i s w i t h a l l our h e a r t and, s t e a d f a s t i n t h i s f a i t h , p r a i s e and t h a n k t h e e always; through the same thy Son Jesus C h r i s t our Lord. Amen." 5 2 L u t h e r , "Deudsche Mass," op. c i t . , p. 84: Messe," op. c i t . , p. 102; Luther, "German The L o r d b l e s s thee and keep thee. The L o r d make h i s face s h i n e upon thee, and be g r a c i o u s unto thee. The L o r d l i f t up h i s countenance upon thee, and g i v e thee peace. 53 • Cited i n M. F i i r s t e n w a l d , ed., T r a u e r r e d e n 45 • des B a r o c k , B e i t r a g e with v i r t u a l l y no change to the t e x t would seem a l s o a c c e p t e d as a s t a n d a r d well as s u p p o r t i n g services the the e a r l i e r were l i t u r g i c a l l y Finally formula to suggest t h a t f o r concluding suggestion that funeral i t was s e r v i c e s , as funeral and Sunday closely related. a de tempore v e r s i c l e was t o be sung, which was frequently C a n t i c u m S i m e o n i s , " H e r r nun l a s s e s t du d e i n e n D i e n e r i n F r i e d e n fahren," which was s i m p l y a German t r a n s l a t i o n o f the Nunc D i m i t t i s the Roman R e q u i e m , o r a v e r s i o n During the s i n g i n g buried."' 4 o f "Nun l a s s t uns den L e i b of the l a t t e r Other songs that hy mn, t h e body and gleuben a l l an einen the L a t i n songs, a c t u a l l y be from the c e m e t e r y include [ G o t t ] , " "Nu b i t t e n w i r den h e i l i g e n [ G e i s t ] , " "lam moesta Quesce," " S i enim Sanctorum," and "In pace begraben." were recommended by L u t h e r as b e i n g s u i t a b l e to be sung by t h e c o n g r e g a t i o n on r e t u r n i n g "Wir could from credimus," "Corpora sumus."^ z u r L i t e r a t u r des XV. b i s X V I I I . J a h r h u n d e r t s , e d i t e d by H a n s - G e r t R o l o f f , v o l . 4 (Wiesbaden: Franz S t e i n e r V e r l a g , 1973), p. 333. 5 4 and Reutlingen, Stadtbibliothek, Rt. 467 and Rt. 468. "'"'Luther, "Die Gesangbuchvorreden," op. c i t . , 483; Hymns," op. c i t . , p. 331. 46 Luther, "Liturgy CHAPTER I I I PROSOPOPOEIA: MUSICAL-RHETORICAL PERSONIFICATION OF THE DEAD R h e t o r i c a l and M u s i c a l Background Recognition of personification appears t o date back t o r h e t o r i c ' s some degree der as an e f f e c t i v e o r a t o r i c a l d e v i c e f o r m a t i v e years. i n H e i n r i c h Lausberg's overview literarischen of the trope i n h i s Handbuch R h e t o r i k , where he d i s c u s s e s o r a t o r i c a l t i o n u n d e r t h e g e n e r a l h e a d i n g f i c t i o p_ersonae. berg's b r i e f appellations We can see t h i s to s u r v e y , one i s i m m e d i a t e l y and the range struck personifica- Upon e x a m i n i n g by t h e d i v e r s i t y o f of c o r r e s p o n d i n g d e f i n i t i o n s a s c r i b e d concept. fewer than e i g h t names f o r the t r o p e : s e r m o c i n a t i o , c o n f o r m a t i o , ethodialogous, f i c t i o personae, texts,'' Lausberg to the basic poeia, R e f e r r i n g t o twelve c l a s s i c a l Laus- prosopopoeia, e i d o l o p o e i a , g i v e s no simulacri 2 factio. Some of these l a b e l s c i n a t i o = ethopoeia, f i c t i o eidolopoeia), a r e synonymous w i t h one another personae = prosopopoeia, s i m u l a c r i (sermofactio = w h i l e o t h e r s a r e i n t e r r e l a t e d but d i s t i n g u i s h e d by denota- ^H. Lausberg, Handbuch der l i t e r a r i s c h e n Max Hueber, 1960), 1:411-12. Rhetorik, 2 v o l s . (Munich: 2 . . . . . . L a u s b e r g h i m s e l f i s c i t i n g h i s i n f o r m a t i o n f r o m two o t h e r secondary s o u r c e s : C. Halm, Rhetores L a t i n i minores... ( L e i p z i g , 1863), and L. Spengel, Rhetores G r a e c i , 3 v o l s . ( L e i p z i g : v o l . 1 edendum c u r a v i t C. Hammer 1894; v o l . 2 1854; v o l . 3 1856). 47 tive shadings see b e l o w ) . (prosopopoeia vis-a-vis s i m u l a c r i f a c t i o and e i d o l o p o e i a , I t m i g h t be w e l l t o n o t e h e r e t h a t L a u s b e r g ' s l i s t supplemented with personificatio and c o n f o r m a t i o c a n be mentioned i nthe 3 Rhetorica ad H e r e n n i u m , and one c o u l d go f u r t h e r s t i l l , bringing i n s u c h c o t e r m i n o u s t r o p e s as m i m e s i s , a p o s t r o p h e and even hypotyposis. T h e r e i s a p o i n t t o be made i n l i s t i n g t h e s e t h e r e are others only current t e r m s : a l l o f them -- and -- are r e p r e s e n t a t i o n a l tropes, i n an a b s t r a c t sense many of which were not in rhetorical and philological w r i t i n g s i n t h e B a r o q u e , b u t were r e g u l a r l y a p p l i e d i n o r a t o r i c a l and musical composition. The present dead specific study mimetic trope which i s o f most i s t h a t w h i c h , by d e f i n i t i o n , r h e t o r i c a l l y t o speak. Edward P. J . C o r b e t t (=prosopoeia) i n i t s g e n e r a l concisely defines sense as a r h e t o r i c a l by one i n v e s t s " a b s t r a c t i o n s or i n a n i m a t e or abilities." classical importance 4 With literary this definition theorists cited objects Corbett i n the enables the prosopopoeia trope or t o p i c wherewith human q u a l i t i e s upholds what most o f the as b e i n g the d i s t i n c t i o n between p r o s o p o p o e i a ( f i c t i o p_ersonae) and e t h o p o e i a ( s e r m o c i n a t i o ) . only implied explicitly i n Corbett's definition, c l e a r that e t h o p o e i a the c l a s s i c a l cation of inanimate objects w r i t e r s make i t g e n e r a l l y p e r t a i n e d t o the l i v i n g , prosopopoeia, on the other hand, r e f e r r e d s p e c i f i c a l l y -- i n c l u d i n g , Though while t o the p e r s o n i f i - of course, t h e dead. 3 • • R h e t o r i c a ad H e r e n n i u m , 4.16. C i t e d i n L. A r b u s o w , Co l o r e s R h e t o r i c i : e i n e Auswahl r h e t o r i s c h e r F i g u r e n und Gemeinplatze a l s H i l f s m i t t e l f u r Ubungen an m i t t e l a I t e r l i c h e n Texten, 2nd rev. ed. e d i t e d by H. Peter (Gbttingen: Vandenhoeck & Ruprecht, 1963), p. 25. E . P. J . C o r b e t t , C l a s s i c a l R h e t o r i c f o r t h e M o d e r n S t u d e n t , 2nd (New York: Oxford U n i v e r s i t y P r e s s , 1971), p. 485. 4 ed. 48 Quintilian, commending the c o n s i d e r a b l e r h e t o r i c a l p o s s i b i l i t i e s offered by t h i s t r o p e , w r i t e s of prosopopoeia: "Nay, we a r e even a l l o w e d i n t h i s form of speech to b r i n g down t h e gods f r o m h e a v e n and r a i s e t h e dead, w h i l e c i t i e s a l s o and peoples may f i n d a voice."^ of A q u i l a e Romani de f i g u r i s to say o f f i c t i o personae sententiarum et e l o c u t i o n i s (i.e., as i t were, and, p l a c e d w i t h i n speech." Finally same sense i n the i n this AXE£O< Similarly, liber prosopopoeia): "when we r a i s e s i g h t o f the judge, has t h i s the dead, we p r o v i d e them w i t h respect, prosopopoeia y Jp.Qxr 7T£p£ O^yskTt^V the author i s d i s c u s s e d i n the as f o l l o w s : "Prosopopoeia i s the f o r m a t i o n of a v i s a g e which e i t h e r never was a l i v e or was a l i v e once b u t i s no l o n g e r . " Other 7 sources broadened not o n l y the dead, but a l s o taxonomical borders the d e f i n i t i o n of prosopopoeia to encompass i m a g i n a r y people. between p r o s o p o p o e i a Further b l u r r i n g of the and e t h o p o e i a came about as some t h e o r i s t s i n c l u d e d as p a r t o f t h e i r d e f i n i t i o n t h e m i m e t i c t r a y a l of l i v i n g , but absent, people. Thus e t h o p o e i a became a t l e a s t i n some cases a subcategory o f prosopopoeia, also draws the reader's a t t e n t i o n . por- a matter An a t t e m p t t o which Quintilian to r e - e s t a b l i s h the r h e t o r i c a l d i s t i n c t i o n s between the p e r s o n i f i c a t i o n o f a n i m a t e and i n - Q u i n t i l i a n , I n s t i t u t i o o r a t o r i a , 9. 2. 31. "Quin deducere deos i n hos genere d i c e n d i e t i n f e r o s e x c i t a r e concessum e s t ; urbes e t i a m popul i q u e vocem a c c i p i u n t . " Halm, op. c i j t . , pp. 2 2 f f . C i t e d i n L a u s b e r g , op. c ^ t . , p. 411. "cum... d e f u n c t o s a l i q u o s q u a s i e x c i t a m u s ab i n f e r i s e t i n c o n s p e c t u i u d i c i s c o l l o c a n t e s o r a t i o n e hos circumdamus." 7 S p e n g e l , op. c i t . , 3:19, 15. C i t e d i n L a u s b e r g , op. c i t . , p. 411. "rj TTpo6oo7ro7tc?uoc;^e £<rrc. TipaoowvS&^fxoiQ^oi ^COWtE(i.e., t h e dead)." inanimate Trjv 6cpxf}v junr| yevoflivoV tti $£ cVroc, (i.e., ob je c t ) K Y£Vou£VoT/ U - £ V , OT)|C ' ' 1 49 animate objects resulted poeia or i t s L a t i n i n the f o r m u l a t i o n o f y e t another term, cognate simulacri factio, ascribing eidolo- to the dead the 8 f a c u l t y o f speech. used In the p r e s e n t study, the term prosopopoeia w i l l be i n i t s most g e n e r a l sense. Of a l l t h e c l a s s i c a l r h e t o r i c a l m a n u a l s Q u i n t i l i a n ' s was unques- tionably the most i n f l u e n t i a l i n Germany -- indeed, throughout the Renaissance Quintilian's medieval I n s t i t u t i o was found philologists ments o f the work. Humanism exerted Until a complete copy o f at the monastary o f St G a l l i n 1416, s t u d y i n g Q u i n t i l i a n were No doubt forced t o r e l y on f r a g - promoted by the c u l t i v a t i o n and growth o f i n the Renaissance, Quintilian's discovery and B a r o q u e . i n a l l o f Europe -- more than one h u n d r e d editions of work were p u b l i s h e d b e t w e e n t h e t i m e o f t h e e x e m p l a r ' s and the b e g i n n i n g o f the seventeenth century. considerable influence The I n s t i t u t i o on, and i s d i r e c t l y r e f e r r e d to in, 9 Johann M a t t h a u s which figures language Meyfart's Teutsche as t h e most i m p o r t a n t book o n r h e t o r i c to be p u b l i s h e d i n the f i r s t and j u s t over a c e n t u r y l a t e r , edition of Quintilian R h e t o r i c a oder Redekunst i n which half o f 1634, i n t h e German o f the seventeenth c e n t u r y , i n 1738, Johann M a t t h i a s Gesner to pen h i s e u l o g i s t i c S. Bach's prowess as o r g a n i s t and c o n d u c t o r . ^ Indeed, chose an description of J. Bach h i m s e l f has 8 E i d o l o p o e i a i s t h e t e r m u s e d i n Hermogenous p r o g u m n a s m a t a ( S p e n g e l , op. c i t . , 2:1f) and A p h t h o n i o u s o p h i o t o u p r o g u m n a s m a t a ( S p e n g e l , i b i d . , 2 : 1 9 f ) . C i t e d i n L a u s b e r g , i b i d . , p. 412. 9 J. (Coburg: M. M e y f a r t , T e u t s c h e R h e t o r i c a o d e r Redekuns t , 2 v o l s , F r i d e r i c h Gruners, 1634), 1:409. in 1 ^ H . T. D a v i d and A. M e n d e l , e d s , The Bach R e a d e r : a L i f e o f Johann S e b a s t i a n Bach i n L e t t e r s and Documents, rev. ed. (New York, London: W. W. N o r t o n & Company, 1966), pp. 22, 231. One m i g h t n o t e t h a t n o t o n l y was Q u i n t i l i a n s t i l l c u r r e n t w e l l i n t o t h e e i g h t e e n t h c e n t u r y , b u t so too was r h e t o r i c a l p e r s o n i f i c a t i o n , as s e e n h e r e i n Gesner's a p o s t r o 50 been c r e d i t e d Quintilian's cited in recent years with being i n t i m a t e l y acquainted Institutio.^ I t might i n Johann G o t t f r i e d Walther's be added that Q u i n t i l i a n Mus i c a l i s c h e s Lexicon was i n 1732 with also for 12 h i s d i s c u s s i o n of music i n the I n s t i t u t i o More s p e c i f i c a l l y , the Baroque manuals i n Germany, i n t h e i r t i o n s of p e r s o n i f i c a t i o n , with any other (Frankfurt, classical 1625) Heinrich Alsted, by defini- compare more c l o s e l y w i t h the I n s t i t u t i o source. rhetorician, i t i s suggested for instance i n admonitions figure." oratoria. In the Triumphus composer, and Bibliorum champion that prosopopoeia Meyfart's c o n c e p t i o n of p r o s o p o p o e i a Sacrorum of C a l v i n i s m , " i n serious and vehement r e p r o a c h e s , than is a matters, remarkable i s e v e n more c l o s e l y phizing. ^ S e e U. K i r k e n d a l e , "The S o u r c e s o f Bach's M u s i c a l O f f e r i n g : The I n s t i t u t i o o r a t o r i a of Q u i n t i l i a n , " The J o u r n a l of the American Musicol o g i c a l S o c i e t y 33, no. 1 (1980): 88-141. 12 • • . . . . J . G. W a l t h e r , Mus l k a l i s c h e s L e x i k o n oder M u s i k a l i s c h e B i b l i o t h e k , f a c s . r e p r . ed. by R. S c h a a l ( C a s s e l and B a s e l : B a r e n r e i t e r V e r l a g , 1953; o r i g i n a l l y p u b l i s h e d , L e i p z i g : Wolffgang Deer, 1732), p. 509. W a l t h e r r e f e r s the r e a d e r to the I n s t i t u t i o o r a t o r i a , 1. 17, f o r Q u i n t i l i a n ' s d i s c u s s i o n of music. However, there are o n l y ten c h a p t e r s i n the f i r s t book. Q u i n t i l i a n ' s most e x t e n s i v e treatment of music i n the I n s t i t u t i o o r a t o r i a i s i n 1. 10. 9-33. 13 H. A l s t e d . Triumphus B i b l i o r u m Sacrorum Seu E n c y c l o p a e d i a B i b l i ca Exh^benjs Tr^umohum p h i l o s o p h i a e , i u r i s p r u d e n t i a e , e t m e d i c i n a e sacrae, itemque s a c r o s a n c t a e t h e o l o g i a e , quatenus i l l u a r u m fundamenta ex S c r i p t u r a V. e t N. T. c o l l i g u n t u r ( F r a n k f u r t , 1625), 9. 9. 483. Cited i n J . Dyck, T i c h t - K u n s t : D e u t s c h e B a r o c k p o e t i k und £h£t.££i££h£ T r a d i t i o n , Ars P o e t i c a : Text und B e i t r a g e zur D i c h t u n g s l e h r e und D i c h t k u n s t , e d i t e d by A. Buck, H. L a u s b e r g and W. Mause, v o l . 1 (Bad Homburg v o r d e r Hbhe, B e r l i n , Z u r i c h : V e r l a g Dr. Max G e h l e n , 1966), p. 94. " . . . i n r e b u s g r a v i o r i b u s , puta i n admonitionibus et o b j u r g a t i o n i b u s v e h e m e n t i o r i b u s , e s t o r n a t u m p r ae s t ab i l e." Compare I n s t i t u t i o o r a t o r i a , 9. 2. 30. "... et n o s t r o s cum a l i i s sermones et a l i o r u m i n t e r se c r e d i b i l i t e r i n t r o d u c i u m , e t s u a d e n d o , ob i u r g a n d o p e r s o n a s i d o n e a s damus." ("... we may i n t r o d u c e c o n v e r s a t i o n s between o u r s e l v e s and o t h e r s , or o f o t h e r s among themselves, and put words o f a d v i c e , reproach... i n t o the mouths 51 aligned outset with Quintilian's work. Like Q u i n t i l i a n , Meyfart o f h i s c h a p t e r on p e r s o n i f i c a t i o n constitutes a kind of prosopopoeia, f o l l o w i n g d e f i n i t i o n o f the (Chapter prefacing 40) w r i t e s at that the dialogismus his discussion with the term: Prosopopoeia i s , i f one wants to render i t c l e a r l y , a Representat i o n - F i g u r e , whereby the o r a t o r assumes the charge o f a n o t h e r p e r s o n and s p e a k s as t h a t p e r s o n ; o r a l s o p o s s i b l y i n t r o d u c e s inanimate o b j e c t s and speaks f o r them. However, i t i s more through Meyfart's examples, the pseudo-Cicero's his R h e t o r i c a ad Herennium and less than l u c i d d e f i n i t i o n similarity of h i s i d e a S o r r o w , Rome, and power t o speak. Caldenbach, To introduce that rhetoric was figure, of p e r s o n i f i c a t i o n that we to that i s d e f i n e d as o b j e c t s ' we attribute speaking j u s t active not at the U n i v e r s i t y as o n l y as follows: personality of the living."'''"' a composer i n Tubingen, one o f M e y f a r t ' s e x a m p l e s , t a k e n f r o m but illustrates the from through close Quintilian's: invested "What and than see I n t h e Compendium R h e t o r i c e s o f 1682 the dead, time Savonarola, t h e dead L u c i u s B r u t u s a r e e a c h prosopopoeia inanimate of the drawn as they are with the by C h r i s t o p h is prosopopoeia? d i s c o u r s e , or Caldenbach, who we at as a p r o f e s s o r of the t r o p e by u s i n g t h e R h e t o r i c a ad H e r e n n i u m , i n of a p p r o p r i a t e p e r s o n s . " ) •"^Meyfart, op. c i t . , 1:387. "Prosopopoeia i s t / wenn man es deutl i c h geben w i l / e i n e V o r b i l d u n g s - F i g u r / wenn der Redener e i n e r andern Person Ampt a u f f s i c h nimmet / vnd i n d e r s e l b i g e n Namen das Wort t h u t : oder auch wol l e b l o s e Ding e i n f i i h r e t vnd ihnen das Wort redet." ^ C . Caldenbach. C o m £ e n d i u m R h e t o r i c e s , p_ro S ^ h o J i i l i i i D u c a t u W i r t e m b e r g i c o o l i m a d o r n a t u m 5 C h r i s t o p h o r o C a l d e n b a c h i o , In A c a d . T u b i n g . E l o q . H i s t o r . ac. Poes. P r o f . P u b l , 2nd ed. ( T u b i n g e n , 1709; f i r s t p u b l i s h e d i n T u b i n g e n , 1682), p. 137. "Quid e s t P r o s o p o p o e i a ? Cum rebus i n a n i m a t i s personam sermonemque t r i b u i s m u s , aut mortuos t a n quam v i v o s i n t r o d u c i m u s loquentes." 52 which the dead L u c i u s Brutus Prosopopoeia, ness as a i s g i v e n the a b i l i t y persuasive device, i n the s e v e n t e e n t h c e n t u r y . what F e r d i n a n d van Ingen using the term calls Indeed, "Augenkultur," van celestial Baroque and v i s u a l a r t s . scenes Ingen By way More those i n churches towards sublime thoughts poeia, one personification stresses the importance a than just f r e s c o e s found i n d e c o r a t i o n , the textually eternal s i d e , through hypotypotic life and effect T h r o u g h the p o e t i c f o r him by evoking words clearer, images c o n j u r e d force of prosopopoeia as used s e v e n t e e n t h - c e n t u r y f u n e r a l ceremony, the e f f e c t o r a t o r a c t i n g i n the c a p a c i t y o f a medium and, but r a t h e r o f as i t were, to the c o n g r e g a t i o n messages from beyond the grave, giving of conwas the transmitting the mourners Ibid. "• F. van Ingen, V a n i t a s und Memento M o r i i n der deutschen l y r i k ( G r o n i n g e n : J . B. W o l t e r s , 1966), p. 299. 7 1 8 prosopo- with The from t o move the a f f e c t i o n s not that of the o r a t o r h i m s e l f s p e a k i n g d i r e c t l y , 1 6 freedom the a p p l i c a t i o n of -- i n the. t r u e sense o f the word -- the i n the paintings, s t i m u l i to s t i r the i m a g i n a t i o n of r e s u r r e c t i o n , up by the o r a t o r , t h e e a s i e r i t was h i s audience. i n the w i t h the h e r e a f t e r by means o f comparable p r o p h e t i c images i n the minds of the audience. the more v i v i d In 7 and c h a p e l s , were i n p a r t meant to p r o v i d e On the l i t e r a r y achieved thrived in o f example, van Ingen mentions the the c o n t e m p l a t i v e C h r i s t i a n w i t h v i s u a l w o r l d l y woes. none of i t s e f f e c t i v e - so f r e q u e n t l y d e p i c t e d i n the c e i l i n g architecture. especially speak. the Augenkultur o f Baroque Germany.* B a r o q u e o f c o n n e c t i n g the h e r e and now the l i t e r a r y lost to Ibid., p. 275. 53 Barock- a c o n s o l a t o r y and Like the and the aim course, i t was by in i t s e l f . which Rather, the orator S i n c e a n t i q u i t y , one to teach (docere, the could funeral oratory — admonitory was others beliefs lesson exhorting 19 This o f the manner of of poeia, and effect, served tool, a achieve a d e l e c t a r e and of movere), the c o n g r e g a t i o n to leading a C h r i s t i a n l i f e and by for • • i s an a t t i t u d e which d i f f e r e d i n that Luther as the ensure their from to r e c o g n i z e We to a s s u r e the any on them- must remember t h a t prosopo- were u n d o u b t e d l y u s e d e f f e c t alone. t h e o l o g i c a l ends of the enabled refused P r o t e s t a n t s had death. rhetoric in general, fundamentally the a means of o b t a i n i n g God's mercy Instead, s a l v a t i o n before preparing to the s e c o n d was congregation C a t h o l i c Church Prosopopoeia Of p r i m a r y importance was the i n t e r c e s s i o n a l prayer their members according of but n e v e r f o r d r a m a t i c the easily the r e s u r r e c t i o n , and the the s o u l s o f the d e c e a s e d . selves a persuasive more being to i n s t r u c t l e s s o n o f d e a t h and s a l v a t i o n by death. intended of sermonic r h e t o r i c i n the Baroque Church -- i n c l u d i n g , of consolatory own not of the t h r e e p r i n c i p a l g o a l s the t h e o l o g i c a l p r i n c i p l e s of the Church. their afterlife. an end means was of the prosopopoeia was r h e t o r i c a l end. rhetoric vision a r t of r h e t o r i c i n g e n e r a l , to be u s e d as rhetorical transcendent Rhetoric for dramatic i n the Church Church. funeral orator simultaneously to employ, See W. Z e l l e r , " L e i c h e n p r e d i g t und E r b a u u n g s 1 i t e r a t u r , " i n L e i c h e n p r e d i g t e n a l s Q u e l l e h i s t o r i s c h e r Wissenschaften, ed. by R. Lenz ( C o l o g n e and V i e n n a : B b h l a u V e r l a g , 1975), pp. 67-81; v a n I n g e n , op. c i t . , pp. 61-112; R. Mohr, P r o t e s t a n t i s c h e T h e o l o g i e und Frbmmigkeit im Angesicht des Todes wahrend des B a r o c k z e i t a I t e r s hauptsa'chlich auf Grund h e s s i s c h e r L e i c h e n p r e d i g t e n (Marburg: G. N o l t e , 1964), pp. 78-117, 229308. 54 to v a r y i n g degrees, the an a p p e a l t o the l i s t e n e r ' s a b i l i t y of the p e r s o n a l i t y at this lines of the l i s t e n e r briefly by an In o r d e r b e t t e r to t r o p e , i t may t o c o n s i d e r prosopopoeia (3) ( e t h o s ) ; and (pathos). the rhetor's a p p l i c a t i o n of t h i s point by t o r e a s o n ( l o g o s ) ; ( 2 ) by an a p p e a l or c h a r a c t e r o f the o r a t o r a p p e a l to the emotions appreciate means of p e r s u a s i o n : ( 1 ) three A r i s t o t e l i a n be worthwhile i n terms o f these three of persuasion. T h r o u g h t h e p r o s o p o p o e i a l e v o c a t i o n o f the dead, w h e t h e r or n o t this occurs i n the context of the the persona o f the deceased, congregation. own beliefs believe Though and funeral thus p l a y i n g the o r a t o r o p i n i o n s , the may ceremony, fully i n these congregation the o r a t o r on the sympathies more credence t o the was psychologically w o r d s o f the o r a t o r . p r i m a r y g o a l s o f t h e o r a t o r was o f the i n s t a n c e s be v o i c i n g h i s t h a t t h e i d e a s e x p r e s s e d were t h o s e o f t h e d e p a r t e d , giving assumed S i n c e one l e d to in turn of the to c o n v i n c e the c o n g r e g a t i o n o f the r e s u r r e c t i o n , prosopopoeia a l l o w e d f o r an i m p l i c i t enthymematic argument which, though considered untenable and i n terms of s t r i c t effective one. For syllogism, instance, deceased i s heard a t t e s t i n g then one can only reason that the statement posthumous t e s t i m o n y was for example, to s a l v a t i o n , was i f the r e s u r r e c t i o n and must be true. nonetheless a v o i c e of eternal i n the a s s u a s i v e v e r s e w r i t t e n i n the seventeenth Weint n i c h t , j h r meine Lieben, Weint n i c h t , es i s t n i c h t Noht, Wolt j h r euch so betruben? Ach! b i n i c h doch n i c h t t o d t , So k l a g l i c h niemand thue, Ich lebe jmmerdar, Worauff i c h j e t z u n d ruhe I s t keine T o d t e n - B a h r 55 20 life, T h i s brand o f common i n Baroque f u n e r a l l i t e r a t u r e , by Johann Sand: the as seen, century Weep not, my beloved, Weep not, there i s no need, Do you w i s h t o g r i e v e so? A l a s , I am not r e a l l y dead, So do not a c t so p i t e o u s l y , I l i v e f o r ever and ever, On what I now r e s t , Is n o t a c o r p s e ' s b i e r . In 1670 Sigmund v o n B i r k e n l i n e s i n the L e i c h e n p r e d i g t e n includes for h i s wife, the f o l l o w i n g which a g a i n personifying i s a repudiation of death and an a f f i r m a t i o n o f the r e s u r r e c t i o n : Ich l i g e i n der Ruh i c h S c h l a f f e / sonder Sorgen / Ich s c h l a f f e s i c h e r zu / b i s an den l e t z t e n Morgen...*"''*' I l i e i n rest I s l e e p without concern, I sleep securely, until By a d o p t i n g the i d e n t i t y o f the deceased w h i l e w r i t i n g and d e l i v e r - ing a funeral tial the judgement day. sermon, to s t r e n g t h e n h i s own c h a r a c t e r deceased, even immediately gregation the r h e t o r - p a s t o r the e t h i c a l side had a t h i s d i s p o s a l of the o r a t i o n , that i n t h e eyes o f t h e c o n g r e g a t i o n . through associate brief quotation, the speaker w i t h i s , to enhance By s p e a k i n g as t h e the c o n g r e g a t i o n 22 the deceased. w o u l d h a v e b e e n made up c h i e f l y the poten- Since would the con- o f m o u r n e r s , one n a t u r a l l y w o u l d e x p e c t t h i s p s y c h o l o g i c a l a s s o c i a t i o n to have been a 20 • C i t e d i n v a n Ingen, op. c i t . , p. 277. favourable 21 S. v. B i r k e n , T o d e s - G e d a n k e n und T o d t e n - A n d e n k e n (Nuremberg, 1670), p. 353. C i t e d i n I n g e n , op. c i t . , p. 277. 22 L. C o o p e r . The R h e t o r i c o f A r i s t o t l e : an E x p a n d e d T r a n s l a t i o n w i t^h S u p p l e m e n t a r y E x a m p l e s f o r S t u d e n t s o f Compos i t i o n and Pub l i e Speaking (Englewood C l i f f s : P r e n t i c e - H a l l , Inc., 1932), pp. 236-37. 56 one. As a r e s u l t o f the h e i g h t e n e d e t h i c a l s t a t u s of the o r a t o r , t h e c o n g r e g a t i o n w o u l d have been more r e c e p t i v e e x p r e s s e d by t h e s p e a k e r , a t t i t u d e s w h i c h characteristic fictitious, o f the deceased. Even to attitudes were p e r h a p s and dogma not e n t i r e l y i f the p e r s o n i f i c a t i o n was t o t a l l y i f e v e r y t h i n g s a i d by t h e o r a t o r were h i s i d e a s a l o n e b u t were n e v e r t h e l e s s expressed by him as the w o r l d l y r e p r e s e n t a t i v e deceased, of the the c o n g r e g a t i o n , u n w i l l i n g to d i s p u t e the v o i c e o f the person whom t h e y mourned, s t i l l w o u l d h a v e b e e n i n c l i n e d t o g i v e c r e d e n c e t o the orator. Although prosopopoeia argued p e r s u a s i v e l y by both l o g i c a l cal means, i t was u n d o u b t e d l y argument. used and e t h i - most p e r s u a s i v e as a p a t h e t i c form o f Q u i n t i l i a n remarks i n the I n s t i t u t i o that p e r s o n i f i c a t i o n was to i n c r e a s e the p e r s u a s i v e n e s s of a speech, themselves were no doubt capable f o r though of moving a l i s t e n e r bare towards facts assent, the r i n g o f a f a m i l i a r p e r s o n a l note, i n combination w i t h the f a c t s , was 23 known t o be even more e f f e c t i v e . deceased the The s p e a k e r not o n l y a n i m a t e d t h e by p u t t i n g words i n t o h i s mouth, he was a l s o expected to mimic p a t t e r n s of the deceased's voice and g e s t u r e s , when a p p r o p r i a t e . 23 I n s t i t u t i o o r a t o r i a , 6. 1. 25. "Nudae tantum r e s movent; a t cum i p s o s l o q u i f i n g i u m , ex p e r s o n i s quoque t r a h i t u r a d f e c t u s . " ("The bare f a c t s a r e no doubt m o v i n g i n t h e m s e l v e s ; b u t when we p r e t e n d t h a t t h e persons concerned themselves a r e speaking, the p e r s o n a l note adds to the e m o t i o n a l effect.") See I n s t i t u t i o ora_toria., 1. 8. 3 and 11. 1. 41-42 and v a n I n g e n , op. c i t . , pp. 299-300. See a l s o M e y f a r t , op. c i t . , 2:23. " I n d e r Prosopopei muss der Redener der Person / welcher e r d i e Rede a u f f d i c h t e t / auch d i e S t i m a u f f d i c h t e n / v n d z u s c h a w e n / was s o n s t e n d i e Rede l e y d e t . " ("In p r o s o p o p o e i a , t h e o r a t o r must a l s o a s c r i b e the v o i c e t o the person t o whom he a s c r i b e s the o r a t i o n , and c o n s i d e r whatever e l s e the o r a t i o n can use.") 57 When we we prosopopoeia must assume that the e f f e c t i v e tion expressed Sigismund be read s e c t i o n s employing text. preacher would have f e i g n e d the emo- I n t h e T r a u e r - R e d e w r i t t e n i n 1693 H e i n r i c h , F r e i h e r r von B i b r a n , to whose f u n e r a l music we returning bereaved i n the i n Baroque f u n e r a l sermons shortly, the preacher p e r s o n i f i e s , at d i f f e r e n t shall times, widow, the b r o t h e r , and the c h i l d r e n o f the d e c e a s e d . t h e members of the lamentive pathos. whose lament f a m i l y are The represented, following the text the Where i s laden i s a p e r s o n i f i c a t i o n o f the i s a c o n f l a t i o n of a p p r o p r i a t e s c r i p t u r a l for with widow, passages: Alas! I see now b e f o r e me the t e a r s of a deeply g r e a v i n g widow who s a d l y weeps..., she c r i e s t o the L o r d h e r God w h a t e v e r she c a n : See, LORD, how s o r e l y I am d i s t r e s s e d . My b o w e l s w r i t h e i n a n g u i s h : a t home t h e r e i s as d e a t h [ l i t e r a l l y , a t home D e a t h has made me a widow]. Lam. 1:20. the A l m i g h t y hath d e a l t v e r y b i t t e r l y w i t h me. R u t h 1:20. F o r t h e s e t h i n g s I weep; mine eye, m i n e eye r u n n e t h down w i t h w a t e r , b e c a u s e t h e c o m f o r t e r t h a t s h o u l d r e l i e v e my s o u l i s f a r from me. Lam. 1:16.^ Certainly preacher the e m o t i o n a l w o u l d be l e v e l o f the v o i c e assumed by modified significantly the skilled when p e r s o n i f y i n g the r e a s - s u r i n g v o i c e s o f t h e a n g e l s o r the c o n s o l a t o r y v o i c e o f t h e deceased. M. Wiedemann. I.N.I! Pass das L i e b r e i c h e Andencken Gottes j_ der be s t e und l e z t e W u n t s c h e i n e s R e c h t g l a ' u b i g e n Chr i s t e n s e i ; wo L t e Be i H o c h = F r e i h e r r l i c h e r B e = E r d i g u n g des_ w e i l a n d Hoch= und W o h l g e b o h r n e n Herrn j_ Herren Sigissmund=Heinrichs j_ F r e i = H e r r n von B i b r a n und Modlau; ... durch e i n e e i l i g s t = a b g e f a s s e t e ]_ und dahero e i n f a ' l t i g e TRAUER=REDE a u f gn'adigst = e r t h e i l t e n H o c h - F r e i h e r r l . B e f e h l j_ im H o c h = F r e i h e r r 1. Trauer=Zimmer zu O s s i g j_ den 9. Decembr. des 1693sten H e i l . Jahres J_ i n e i n e m k u r t z e n E n t w u r f f zeigen.... ( L a u b a n : J o h a n n G o t t f r i e d Dehne, c a . 1 6 9 3 ) , p. 15. B e r l i n , B e r l i n e r S t a d t b i b l i o t h e k , Grauenklostersammlung VII. "Ach! i c h sehe a n i t z o v o r m i r T h r a n e n e i n e r t i e f = L e i d e t r a g e n d e n Witwen / welche h e r z l i c h weinet ... / s c h r e i e t S i e zu dem HErren ihrem GOtt / was S i e immer k a n n : Ach HERR! S i e h e doch / w i e bange i s t m i r / i n meinem L e i b e / denn i c h b i n h o c h s t b e t ru'bet: d e r T o d t h a t m i c h im Hause zur Witwen gemacht. Thren. 1/20. der A l l m a c h t i g e hat mich sehr betrubt. Ruth. l / 2 [ 0 ] . darum w e i n e i c h so / und m e i n e b e i d e Augen f l i i s s e n m i t Wasser / dass der T r b s t e r / der meine Seele s o l t e erkwikken / f e m e v o n m i r i s t / T h r e n . 1/16." 5-8 Taken from the same f u n e r a l as the above j e r e m a i c , the f o l l o w i n g rhymed v e r s e s p e r s o n i f y i n g Sigismund an e m o t i o n a l H e i n r i c h are s o o t h i n g i n rhythm and tenor, a n t i t h e s i s o f the widow's p l a i n t . I d i e now, i t i s true; n e v e r t h e l e s s I s h a l l not p e r i s h , Not I; my d e s p a i r d i e s , my m i s e r y , f e a r and need, Through death d i e s my death. T h e r e f o r e I am happy to d i e , For whoever d i e s i n Jesus, d i e s w i t h o u t death. Death o f t e n came w i t h o u t fatality plague rate and among i n f a n t s other indiscriminate epidemics o f age the T h i r t y Y e a r s ' War chill c o u l d soon be today, was never was were i n the seventeenth extraordinarily Hardly less century. The high; outbreaks frequent, widespread, or s t a t i o n . d i s e a s e s were the armies of warning of d e v a s t a t i n g and discriminating than that sacked and plundered Germany i n the course (1618-48). I n t h a t age when even a f o l l o w e d by o b s e q u i e s , D e a t h , f a r away and seldom out slight much more so o f mind; than i t occupied the t h o u g h t s o f the s o c i e t y to a p o i n t w h i c h we can o n l y see as o b s e s s i v e . Because the people were aware, or were made to be aware, that "the f i n a l 27 hour comes l i k e of energy a thief," the P r o t e s t a n t c l e r g y expended upon t e a c h i n g t h e i r c o n g r e g a t i o n to prepare a great deal f o r death's unan- M. Wiedemann. I_^ N^ Jj_ Der G e i s t l i c h e H e r r e n = S t a n d d e r G o t t s fu'rchtigen... i n e i n e r C h r i s 1 1 i c h e n Gedenck=Predigt a l s Der Hoch = W o l g e b o h r n e H e r r j_ H e r r S i g i s m u n d H e i n r i c h j_ F r e y h e r r v o n B i b r a n und M o d l a u /•.. u.s.w. w e l c h e r den 14. Septembr. Anno 1693 zu R e i s i c h t i_n s e i n e m J E s u h o c h s e 1 i g e n t s c h l a f f e n war j_ den d a r a u f f f o l g e n d e n 9. Decembr. mi_t e i n e m F r e y h e r r l i c h e n Leichen=Begangniss i n O s z i g beehret wurde.... ( L a u b a n : J o h a n n G o t t f r i e d Dehne, c a. 1693), p. 33. Berlin, B e r l i n e r S t a d t b i b l i o t h e k , Grauenklostersammlung VII. Ich s t e r b e zwar izund / doch d a r f f I c h n i c h t v e r d e r b e n / Nicht Ich / mein Jammer s t i r b t / mein E l e n d / Angst und Noth / Durch s t e r b e n s t i r b t mein Tod. Drum f r e u Ich Mich z u s t e r b e n / Denn wer i n JEsu s t i r b t / der s t i r b e t ohne Tod. 27 Z e l l e r , op. c i t . , p. 71. "...die l e t z t e S t u n d kommt a l s e i n D i e b . " I t i s q u i t e p o s s i b l e t h a t t h i s maxim has b i b l i c a l o r i g i n s (2 P e t e r 3:10). 59 nounced a r r i v a l . bound The l a r g e number o f L e i c h e n p r e d i g t e n p u b l i s h e d and as a n t h o l o g i e s d u r i n g t h e s e v e n t e e n t h evidence o f t h i s p r e o c c u p a t i o n w i t h death. h e a l t h and e s p e c i a l l y funeral sermons Trauerbinden Heermann: such as those (Leipzig, Schola Euthanasias in illness, such communication as t h e s e , with I t was e x p e c t e d that, i n oneself with Geistliche and t h e f o u r v o l u m e s by J o h a n n m o r t i s : Todes S c h u l e (Leipzig, 1628), C h r i s t i a n a e 1630), Parma c o n t r a m o r t i s arma 2 collections graphic i n V a l e r i u s Herberger's 1618/1619), 1650), D o r m i t o r i a ( R o s t o c k , offers one w o u l d f a m l i a r i z e found Statutae (Leipzig, century (Rostock, 8 1650). Reflecting the reader in effect on t h e c o n t e n t s o f came i n t o a k i n d o f t h e h e r e a f t e r , n o t d i s s i m i l a r to the a s s o c i a t i o n s mentioned e a r l i e r by van Ingen. Based on the e x p e r i e n c e s had gone b e f o r e , one l e a r n e d i n t h i s way how t o p r e p a r e to d i e a p r o p e r C h r i s t i a n death, how successfully o f o t h e r s who f o r d e a t h , how t o make t h a t most 29 peaceful By t r a n s i t i o n from leaving t h i s world one's w o r l d l y a f f a i r s humously p r e s e n t e d the l i v i n g h i s or h e r s p i r i t u a l at i n good o r d e r , w i t h a s t r o n g case f o r the assumption sides o f death, either postthat In p r e p a r a t i o n o f i t was n o t uncommon f o r a to d i c t a t e h i s or her own c u r r i c u l u m v i t a e , the f u n e r a l the deceased a f f a i r s were l i k e w i s e i n order. t h e m a t e r i a l and s p i r i t u a l person t o the next. which c o u l d be read f o l l o w i n g the sermon o r at the g r a v e s i d e as p a r t F o r a b r i e f c r i t i c a l s t u d y o f H e r b e r g e r ' s and Heermann's work, see E. W i n k l e r , D i e L e i c h e n p r e d i g t i^m d e u t s c h e n L u t h e r t u m b i s Sp_e_ner, Forschungen z u r G e s c h i c h t e und Lehre des P r o t e s t a n t i s m u s , ed. by E. Wolf, v o l . 34 ( M u n i c h : Chr. K a i s e r V e r l a g , 1967), pp. 104-27, 135-58. 29 Z e l l e r , op. c i t . , pp. 66-71. 60 of the Abdankung. s e l e c t the b i b l i c a l as a l s o common p r a c t i c e f o r i n d i v i d u a l s d i d not have a to w r i t e the f u n e r a l sermon. favourite b i b l i c a l f u n e r a l sermons p r o v i d e d which to chose. scripture, the i n advance t h a t t h e i r If anthologies an ample s e l e c t i o n o f s u i t a b l e verses Other documents show t h a t some went f u r t h e r to t e x t , as m e n t i o n e d to s c r i p t u r e s or some other a p p r o p r i a t e t e x t to be used the theme upon which the p a s t o r was the person of I t was f u n e r a l sermon be b a s e d on a p a r t i c u l a r from request chorale i n t h i s n o t i c e from a W i t t e l s b e r g Kirchenbuch in 1665: E l i s a b e t h , Henchen P r e i s e n , b l e s s e d posthumous widow i n B e l t e r s hausen was b u r i e d on 3 February i n her e i g h t y - f i f t h year; and t r u e t h e f u n e r a l s e r m o n , on h e r r e q u e s t , was d e l i v e r e d from the C h r i s t i a n c h o r a l e : H e r z l i c h t u t mich v e r l a n g e n nach einem s [ e l i g e n ] Ende, through the e n t i r e v e r s e l.p. Still o t h e r s had the presence which would then be read of mind to w r i t e t h e i r own f o r them at the ceremony. One f u n e r a l sermon, i n s t a n c e of t h i s I b i d . , p. 67. I t h a r d l y needs m e n t i o n i n g t h a t much o f what we know b i o g r a p h i c a l l y of m u s i c i a n s from t h a t p e r i o d i s d e r i v e d from the c u r r i c u l a v i t a e found i n f u n e r a l sermons. I n t h i s r e s p e c t see, P. S p i t t a , " L e i c h e n s e r m o n e a u f M u s i k e r des XVI. und XVII. J a h r h u n d e r t s , " Monatshefte fiir M u s i k g e s c h i c h t e 3 (1871): 24-44; Beyer, "Leichensermone des 17. Jahrhunderts," Monatshefte fiir M u s i k g e s c h i c h t e 7 (1875): 171-88. For more i n f o r m a t i o n on the r o l e of the Abdankung at P r o t e s t a n t f u n e r a l c e r e m o n i e s , see M. F i i r s t e n w a l d , "Zur T h e o r i e und F u n k t i o n d e r B a r o c k abdankung," i n L e i c h e n p r e d i g t e n a l s Que l i e , " pp. 372-89. A l s o see C. Weissenborn, P o l i t i s c h e r Leich=Redner welcher d i e p r a c t i c a b e l s t e n Kunst =Reguln von d e r I n v e n t i o n , D i s p o s i t i o n und E l o c u t i o n d e r e r n a c h d e r h e u t i g e n Mode e i n g e r i c h t e t e n A b d a n c k u n g e n bey o f f e n t l i c h e n T r a u e r = S o l e n n i e n zu Befbrderung s e i n e r O r a t o r i s c h e n C o l l e g i o r u m durch d e u t l i c h e Exempel e r l e u t e r t (Jena: H e i n r i c h C h r i s t o p h Crbker, 1707), pp. 11-12. 31 C i t e d i n A. Hock, " B e g r a b n i s b r a u c h t u m und L e i c h e n p r e d i g t e n i n l a n d l i c h e n B e r e i c h e n H e s s e n s , " i n L e i c h e n p r e d i g t e n a l s Q u e l l e , p. 296. " E l i s a b e t h , Henchen P r e i s e n s(el.) nachgelassene w i t t i b zu B e l t e r s h a u s e n wurde begraben den 3*". F e b r u a r i j i h r e s s A l t e r s s 85 j a h r . Undt wahr d i e L e i c h Sermon uf i h r s e l b s t eigenes begehre g e h a l t e n aus dem C h r i s t l i c h e n K i r c h e n g e s a n g : H e r t z l i c h t h u t m i c h v e r l a n g e n nach e i n e m s. e n d t . p e r totum v e r s i c u l u m l.p." 61 is the Seele; funeral sermon on Psalm 116:7, " S e i nun wieder z u f r i e d e n , denn der Herr t u t d i r Gutes," w r i t t e n by Superintendant K l e i n of Weissenfels and d e l i v e r e d on 2 F e b r u a r y 1580, and meine Balthasar was later 32 published in Leipzig with a preface by Nikolaus Selnecker. This p a r t i c u l a r c a s e comes u n d e r d i s c u s s i o n i n the M a n s f e l d p a s t o r Titius's "Theo1ogisches Historici. Exempe 1-Buch" C o m p r i s e d of a l a r g e number o f o l d e r and writings, most of the m a t e r i a l Titius 1633, War, by the after but, Titius's f o r the book had owing to the c o l l e c t i o n was pathetic entitled death. argument as first Clearly, Titius in this too "that and stir more the h e a r t . " funeral, oratory they [funeral It i s in connection that T i t i u s mentions the custom the d e c e a s e d d i r e c t l y b e n e a t h the p u l p i t , t h a t l e s s between the o r a t o r prominence orator nor to the and body, audience, was the audience. i t assumed nevertheless by 1684, power in of his Leichenpredigten") sermons] a f f e c t more with his w r i t i n g of p l a c i n g the body on of i s , at a p o i n t more or By g i v i n g t h i s k i n d a status an the d i d a c t i c anthology; Titius fact 33 been compiled recognized f u n e r a l s e r m o n s ("Von the contemporaneous in a revised version in d i s c u s s i o n i n the c h a p t e r on acknowledges Theologici s a v a g i n g e f f e c t s o f the T h i r t y Y e a r s ' published presented already Loci Caspar that, of v i s u a l although i n e x t r i c a b l e component neither of the C. T i t i u s , L o c i T h e o l o g i c i H i s t o r i c i , oder T h e o l o g i s c h e s ExempelBuch [_ Darinnen aus A l t e n und Neuen S c r i b e n t e n j_ s o n d e r l i c h r e i n e n und C h r i s t l i c h e n K i r c h e n - L e h r e n u n t e r den gewbhnlichen L o c i s T h e o l o g i c i s zu f i n d e n I m e h r e n t h e i l s solche Exempe 1 und H i s t o r i e n /_ welche i n gewbhnl i c h e n P r e d i g t e n zur h e i l s a m e n Lehre j_ T r o s t / Vermahnung und Warnung n u t z l i c h a n g e z o g e n und eing_ef_Uhret. w e r d e n kbnnen, nunmehr a b e r vom Autore a u f f s neue mit mehr a l s 2000 H i s t o r i e n und n l i t z l i c h e n R e g i s t e r n v e r m e h r e t ( L e i p z i g , 1684), p. 1291. C i t e d i n Z e l l e r , op. c i t . , p. 67. 3 und 3 . . C i t e d i n Z e l l e r , op. naher zu H e r t z e n gehen." £i_t., p. 67. 62 "...dass s i e mehr afficiren rhetorical was process. Thus, according to T i t i u s , the funeral oration g i v e n by t h e p a s t o r , the c o n g r e g a t i o n of m o u r n e r s d i d n o t s a r i l y hear the p r i e s t comforting h i m s e l f p r e a c h i n g per p r o s o p o p o e i i a n were." In the most u n e x c e p t i o n a l , visual sensations would from the c o f f i n , p r o s a i c cases have been the moving; w r i t t e n by the as i t combined where o r n a m e n t e d h i s s e r m o n w i t h the o c c a s i o n a l p r o s o p o p o e i a 1 e f f e c t would have s t i r r e d neces- and admonishing them, but r a t h e r "the deceased and as audial the pastor passage, the deep emotions; where the o r a t o r read a sermon deceased, personally addressing the m o u r n e r s i n the c o n g r e g a t i o n , perhaps going so f a r as to mimic the deceased's speech 35 . gestures, century we . . can h a r d l y b e g i n to imagine . the impact on a seventeenth- congregation. Musicians funerals by l i k e w i s e suggested prearranging an certain active aspects p e r s o n a l presence of the Hermann Schein on h i s deathbed asked H e i n r i c h Schutz a f u n e r a l motet on SWV 277), Bernhard and the t e x t "Das Schutz erant a five-part opportunity 1:12, m o t e t on the tuae" (Psalm t o c h e c k and text 119:54), a work aus Ibid, "...g l e i c hs am p e r p r o s o p o p o i i a n den V e r s t o r b e n e n Sarge h e r f i i r p r e d i g e n . " f o o t n o t e 24 Johann Christoph Schutz See their to compose f o r him that h i s student Palestrinian justificationes had ceremony. which 35 actually at i s t j e g e w i s s l i c h wahr" (Timothy i n turn requested compose f o r h i m "Cantabiles mihi dem and approve w e l l i n selbst above. S. K b h l e r , H e i n r i c h S c h u t z : A n m e r k u n g e n ( L e i p z i g : VEB Deutscher V e r l a g f u r Musik, 1985), p. 63 zu L e b e n 112. und Werk advance o f h i s death i n 1672. Bernhard's motet p l u s t h r e e o t h e r works 38 by and Schutz were performed at the S c h e i n , the b i b l i c a l texts funeral. In the case of both Schutz c o r r e s p o n d i n g l y s e r v e d as themes f o r t h e i r r e s p e c t i v e f u n e r a l sermons. I t might be added t h a t o t h e r com- p o s e r s , among them, S e t h C a l v i s i u s , T o b i a s M i c h a e l and Z a c h a u s F a b e r , had o c c a s i o n to compose t h e i r own not function p u r e l y as swan songs. t r u e prosopopoeia, It the way i s not mere chance that brought personification f a m i l i a r w i t h the concept of prosopopoeia sense. Having obtained a s o l i d had disciplines studied either which what r h e t o r i c a l levels required into the t e x t s and i n i t s t h e o r e t i c a l and practi- f o u n d a t i o n i n the L a t e i n - t h e o l o g y o r j u r i s p r u d e n c e at mastery of r h e t o r i c . prosopopoeia as a r h e t o r i c a l they device. subse- university, No l i t e r a t u r e were s t u d i e d at the lower and of e d u c a t i o n , i t i s i n c o n c e i v a b l e t h a t to understand music t h a t German c o m p o s e r s were linguistic a complete have music. s c h u l e n , most of the c o m p o s e r s i n s e v e n t e e n t h - c e n t u r y Germany quently that of the works would i n which they e x p e r i e n c e d the o f t h e f u n e r a l , and t h e r e i s l i t t l e d o u b t cal these works d i d i t can h a r d l y be d e n i e d the congregation's knowledge of the o r i g i n s significantly affected Although matter upper would not have come Especially as well- 37 H. S c h u t z , G e s a m m e l t e Br i e f e und S c h r i f t e n , ed. by E. H. M u l l e r ( R e g e n s b u r g , 1931), p. 383. C i t e d i n S. K b h l e r , H e i n r i c h S c h u t z : Anmerkungen zu Leben und Werk ( L e i p z i g : Deutscher V e r l a g fiir Musik, 1985), p. 185. S c h u t z , a f t e r e x a m i n i n g the work, w r o t e t o Bernhard i n Hamburg, s a y i n g , "Mein Sohn, er hat m i r e i n e n Grossen G e f a l l e n e r w i e s e n durch Ubersendung der verlangte'n Motette. Ich weiss keine Note d a r i n zu verbessern." (My son, you h a v e [ l i t e r a l l y , he h a s ] done me a g r e a t favour by sending the d e s i r e d motet. I know o f no note i n i t that c o u l d be improved upon.) 38 C i t e d i n 0. B r o d d e , H e i n r i c h S c h u t z : Weg und Werk, ( B e r l i n : E v a n g e l i s c h e V e r l a g s a n s t a l t , 1985; o r g i n a l l y p u b l i s h e d C a s s e l : Barenr e i t e r V e r l a g , 1972), pp. 278-79. 64 educated L u t h e r a n s , steeped i n the c l a s s i c a l r h e t o r i c a l t r a d i t i o n o f the German s c h o o l s Church and u n i v e r s i t i e s , o r i n an a r i s t o c r a t i c well-acquainted with popular throughout funeral oratory ability chapel, the a n t h o l o g i e s the seventeenth with g e n e r a l l y expected and e v e n t u a l l y a critical employed e i t h e r by the t h e y c e r t a i n l y w o u l d have b e e n o f f u n e r a l l i t e r a t u r e which were so century, and they would have viewed eye f o r i t s r h e t o r i c . I t was also o f c o m p o s e r s as l i t e r a r y men t o d e m o n s t r a t e some to w r i t e p o e t r y for various occasions, which o f c o u r s e included 39 funerals, sections versions The and t h e y w o u l d s u r e l y have r e a d t h r o u g h t h e o f t e n of epicedia or funeral odes usually included i n printed of the f u n e r a l sermons. e p i c e d i a were f r e q u e n t l y w r i t t e n as a c o n s o l a t o r y p e r s o n i f i c a - t i o n o f t h e d e c e a s e d , and s o m e t i m e s b o r e t h e s i m p l e poeia." lengthy J u s t how conscious heading "Prosopo- were composers of the concept o f prosopopeia can be seen i n a s i n g l e pubished work by Johann Kemp (Kempe, Kempius). ^ 4 In 1985 t h e a u t h o r d i s c o v e r e d t h r e e e p i c e d i a i n t h e Gotha F o r s c h u n g s b i b l i o t h e k , F i l l 34(5), two w r i t t e n by C o n s t a n t i n C h r i s t i a n D e d e k i n d (1628-1715) and t h e t h i r d by S c h l i t z ' s b e s t - k n o w n p u p i l C h r i s t o p h Bernhard (1627-88). The poems a r e found among o t h e r e p i c e d i a w r i t t e n on t h e o c c a s i o n of t h e d e a t h o f Dedekind's son, Stephan C h r i s t i a n , who d i e d i n 1672. The poems by D e d e k i n d a r e nowhere mentioned i n F r i t z Hermann Stege's " C o n s t a n t i n C h r i s t i a n Dedekind: e i n D i c h t e r und M u s i k e r d e s 17. J a h r h u n d e r t s , " (Ph.D. d i s s . , F r i e d r i c h W i l h e l m - U n i v e r s i t a t zu B e r l i n [Humboldt], 1922) which i s s t i l l r e f e r r e d to by J o h n H. B a r o n i n t h e New G r o v e P i c t i o n a r y o f Mus i c and Mus i c i a n s as the a u t h o r i t a t i v e l i s t o f Pedekind's p o e t i c works. N e i t h e r i s Stege a b l e t o i d e n t i f y any o f Dedekind's c h i l d r e n (p. 8). T h i s f i n d i n g , though i n a p p r o p r i a t e t o d i s c u s s at length i n t h i s study, c o n t r i b u t e s t o the b i o g r a p h i c a l i n f o r m a t i o n on C. C. D e d e k i n d , b r i n g s t o l i g h t two p o e t i c w o r k s by an i m p o r t a n t German poet o f t h e s e v e n t e e n t h c e n t u r y , a t t e s t s f u r t h e r t o t h e c l o s e p e r s o n a l and a r t i s t i c r e l a t i o n s h i p t h a t e x i s t e d b e t w e e n D e d e k i n d and h i s t e a c h e r B e r n h a r d , and p r o v i d e s a l i t e r a r y work f o r c o n s i d e r a t i o n by Bernhard's b i o g r a p h e r s . 4 ®J. Kemp, 2j_ Moteten, Auff den t r a w r i g e n 65 vnd U n v e r h o f f t e n Todes- Kemp had been cantor i m p e r i a l poet l a u r e a t e i n Wingzig i n Gustrow i n 1619 and around 1634. ^ 4 became H o f c a n t o r and As court cantor, Kemp composed two motets on the death of Anna M a r i a , Duchess o f Machlenburg, etc. six, A l t h o u g h n e i t h e r o f the motets, one f o r e i g h t v o i c e s the other f o r i s w r i t t e n i n a manner which p e r s o n i f i e s the Duchess, of the p u b l i c a t i o n the l a s t page i s a p r o s o p o p o e i a l poem w r i t t e n by Kemp: Prosopopoeia Qua p i e d e f u n c t a P r i n c e p s Conjugem I l l u s t r i s i m u m & moestisimum a l l o q u i t u r ACH a l l e r l i e b s t e r Schatz / es mag zwar a u f f der Erden K e i n g r o s s e r Hertzens Schmertz jemals gefunden werden / A l s s wann zwey L i e b / d i e s t e t s g e l e b t i n F r e u n d i g k e i t / Z e r t r e n n e t werden durch des Todes Grawsambkeit. Drumb kan i c h auch bey mir l e i c h t s c h l i e s s e n vnd gedencken / Wie schmertz: vnd b i t t e r l i c h Euch mein A b s c h i e d muss krancken / Jedoch weis I c h / dass Ihr mit dem geplagten Mann Hiob / des Hbchsten Raht Euch werd g e f a l i e n l a n . Hat der n i c h t Macht / der Mich an Ewre S e i t gegeben/ Mich abzufodern / wann Er w i l / i n s Frewden Leben? Ihr w i s t j a wie meine Seel nach dem l i e b e n GOTT / Bey dem i c h nun auch b i n / gedurst i n meiner Noth. Betrawrt Mich n i c h t / dass Ich b i n von der bbsen Erden / Sondern Euch / dass I h r n i c h t habt s o l l n mein Gleitsmann werden / Meins L e i b e s Pf'ande l a s t Ewrn T r o s t vnd Frewde seyn / An welchen Ihr werd sehn vnd splihrn d i e Tugend mein. Nach trlibem Wetter / vnd nach h a r t e n Donnerschlagen / Nach B l i t z vnd Sturm / thut s i c h d i e l i e b e Sonn bewegen; Nach F r o s t vnd K a l t e kompt der L e n t z / nach C r e u t z vnd Leyd Frewd / nach trawren / lachen / vnd F r i e d kompt nach dem S t r e i t . Gesegn Euch GOtt mein Schatz / vnd a l l e l i e b e Meinen! Trawt Ihm i n a l l e r Noth / vnd l a s s e t j a das weinen / f a l l Der w e i l a n d Durchleuchtigen... Frawen ANNA MARIA Gebohrnen zu Ost F r i e s z l a n d t j_ H e r z o g i n n e n zu M a c h l e n b u r g . . . D e i n e r nunmehr in G o t t r u h e n d e n H o c h s e l i g e n g n a d i g e n F i i r s t i n n e n vnd F r a w e n : D i e E r s t e m i t 8. D i e A n d e r m i t 6^ Stimmen c o m p o n i r e t ^ Von JOHANNE KEMPIO, P.L.C. vnd F u r s t l . M. H o f f Cantore (Glistrow: Johann Jagern, 1634). London, B r i t i s h L i b r a r y , K. 5. c. 28. ^ E . L. G e r b e r , "Kemp, J o h a n n I I I , " H i s t o r i s c h - b i o g r a p h i s c h e s L e x i k o n d e r T o n k l i n s t l e r (1790-1792), 2 v o l s . , ed. by 0. W e s s e l y ( G r a z : A k a d e m i s c h e D r u c k - u. V e r l a g s a n s t a l t , 1977; o r g i n a l l y published, L e i p z i g : J . G. I. B r e i t k o p f , 1790), v o l . 1, c o l . 716. 66 Ich komm n i c h t mehr zu Euch / zu M i r werdt kommen Ihr / An den Orth da l i e b l i c h Wesen i s t f u r vnd f u r . In Tempus M o r t i s S E R E N I S S I M A E P R I N C I P I S Cronostichon Nomina, Annum, Mensem & Diem f e l i c i s s i m a complectens: migrationis QVInta Dies FebrVI n o s t r a t e s Verbere C o e p l t : Anna M a r i a p_I§ V e r g l t In a s t r a VIS. Observ. & i n Comm. hoc l u c t u d e c l a r . an. a f f e c t . grati§ f e c i t J O H A N N E S P.L.C. K E M P I U S & A.C. Prosopopoeia With what p i e t y the dead P r i n c e s s addresses her most i l l u s t r i o u s and most t e a r f u l Husband A l a s sweetest t r e a s u r e , there could be found i t i s t r u e On e a r t h no g r e a t e r h e a r t ache, Than when two l o v e s , who c o n t i n u a l l y l i v e d i n amity, Become separated by death's c r u e l t y . For that reason, I too can e a s i l y sympathize and c o n s i d e r , How p a i n f u l l y and b i t t e r l y my p a r t i n g must wound you, However, I know that you, w i t h the tormented man Job, submit y o u r s e l f t o the h i g h e s t c o u n c i l . Has He not the power t h a t put me by your s i d e , to c l a i m me, when He wishes, f o r the L i f e o f Joy? You know how my s p i r i t t h i r s t e d i n my need For the b e l o v e d God, w i t h Whom I too am now. Mourn me not, that I am gone from the wicked w o r l d , Rather y o u r s e l f , that you c o u l d not have been my e s c o r t , L e t the f o r f e i t s of my body be your c o n s o l a t i o n and joy, In which you can see and p e r c e i v e my v i r t u e , A f t e r cloudy weather and a f t e r harsh peals o f thunder, A f t e r l i g h t n i n g and storm, the dear sun s t i r s i t s e l f ; A f t e r f r o s t and c o l d comes s p r i n g , a f t e r a f f l i c t i o n and g r i e f Joy, a f t e r sorrow l a u g h t e r , and peace comes a f t e r c o n f l i c t . God b l e s s you my t r e a s u r e and a l l my loved ones! T r u s t Him i n need, and abandon the weeping, I come no more to you, t o me s h a l l you come, To the p l a c e where the l o v e l y s o u l i s f o r e v e r and ever. In Time o f Death 67 of the Most Serene Princess Chronost ichon Comprising the Names, Y e a r , Month and most happy Day o f m i g r a t i o n F i f t h Day of February Anna M a r i a PIA t u r n s towards the path to the stars Johann Kemp, I m p e r i a l Poet L a u r e a t e and Court C a n t o r , performed the s e r v i c e out of g r a t i t u d e a n d , a t a t i m e of common g r i e f , w i t h a s o u l that was touched, made the e x p o s i t i o n Of the numerous a u t h o r s o f seventeenth century, his writings Universalis appears from was to be Joachim incorporate the 1650). result 4 4 of Thuringus's in his musical-rhetorical [ s i c ] C o n f u s e d transliteration, on the F i g u r e n l e h r e i n the o n l y one to a d d r e s s Athanasius (Rome, treatises own book, Kircher, His in the t e r m p r o s o p o p o e i a Book application a misunderstanding. Opusculum Kircher f i g u r e pathopoeia, p e r h a p s by t h e the Musurgia term, however, In b o r r o w i n g m a t e r i a l bipartitum (Berlin, 1624) uses Thuringus's d e f i n i t i o n which T h u r i n g u s c a l l s similarities musikalischen in his i r r e g u l a r orthography, certain affective D. B a r t e l , Handbuch d e r L a a b e r V e r l a g , 1985), p. 30. of V of the of to the parthopoeia matters b e t w e e n the Figurenlehre of actual (Laaber: ^ J . T h u r i n g u s , Opusculum b i p a r t i t u m ( B e r l i n , 1624), p. 126. "Quid est Parthopoeia? E s t , quae d i c t i o n e s a f f e c t u u m , d o l o r i s , g a u d i i , timoris, r i s u s , luctus, misericordiae, exultationis, tremoris, t e r r o r i s , & s i m i l i e s i t a o r n a t , ut tam Cantores quam a u d i t o r e s moveat." ("What i s parthopoeia? I t e x i s t s when the [ m u s i c a l ] o r a t i o n i s o r n a m e n t e d by f e e l i n g s of p a i n , j o y , f e a r , l a u g h t e r , l a m e n t a t i o n , p i t y , e x u l t a t i o n , dread, t e r r o r and s i m i l a r a f f e c t i o n s of that type, so that it^ moves the s i n g e r s as w e l l as the l i s t e n e r s . " ) C i t e d i n B a r t e l , o p . c i t . , p. 235. M u s i c a l - r h e t o r i c a l pathopoeia is g e n e r a l l y understood as the s e m i t o n a l movement of a m e l o d i c l i n e o u t s i d e the e s t a b l i s h e d harmony or s c a l e i n o r d e r to express such a f f e c t i o n s as sorrow, f e a r , and the l i k e . 4 68 figures, or p o s s i b l y a combination m i s t a k e n l y a p p l i e s the new The to use prosopopoeia this term these and l a b e l prosopopaeia musical-rhetorical rhetorical of f i g u r e which comes c l o s e s t i n meaning to the i s hypotyposis. Joachim in i t s musical-poetical whereby i n a n i m a t e o b j e c t s appear described." ^ defines He Kircher [sic]. sense, i n h i s Hypomnematum musicae p o e t i c a e as "the 4 o t h e r reasons, it a animate, second B u r m e i s t e r i s the and first defines i t i n interpretation of a 1599 text, p l a c e d b e f o r e the e y e s time in 1606 in his or Musica poetica: Hypotyposis i s that ornament whereby the meaning of the t e x t i s so d e s c r i b e d t h a t t h e s e t h i n g s , w h i c h a r e h i d d e n i n the t e x t and do n o t have a s p i r i t o r l i f e [ i . e , i n a n i m a t e ] , a p p e a r to be endowed with l i f e . T h i s ornament i s most common among true a r t i s t s . Would that the same were s k i l f u l l y a p p l i e d by a l l c o m p o s e r s ! 47 In m u s i c a l r h e t o r i c , h y p o t y p o s i s most o f t e n s e r v e s as a g e n e r a l heading for a variety f i g u r e s was to suggest t e x t as v i v i d l y are fuga hypobole fast of r e l a t e d musically particular as p o s s i b l e . . (Kircher), figures. anabasis role of t h i s and catabasis (Kircher), of s h o r t notes used 48 For group of d e s c r i p t i v e passages I n c l u d e d among these t a x o n o m i c a l ( B u r m e i s t e r ) , to name a f e w . passages The and i n the subtypes hyperbole and i n s t a n c e , fuga c o n s i s t s o f to r e p r e s e n t such a c t i o n s as f l i g h t or J . B u r m e i s t e r , Hypomnematum m u s i c a e p o e t i c a e ( R o s t o c k , 1599), n.p. C i t e d i n B a r t e l op. c i t . , p. 197. "...textus i l i a e x p l i c a t i o , qua quaecxy-if)fo* sunt, v i d e a n t u r EJATJ/X ^ ad oculum s t a t u t a , v e l deumbrata." 0 J . B u r m e i s t e r , M u s i c a p o e t i c a ( R o s t o c k , 1606), p. 62. Cited in B a r t e l , op. c i t . , pp. 197-98. " H y p o t y p o s i s e s t i l l u d o r n a m e n t u m , quo textus s i g n i f i c a t i o i t a deumbratur, ut ea, quae t e x t u i subsunt & animam v i t a m q u e non h a b e n t , v i t a e s s e p r a e d i t a , v i d e a n t u r . Hoc o r n a m e n t u m u s i t a t i s s i m u m e s t apud a u t h e n t i c o s A r t i f i c e s . Utinam eadem e x t e r i t a t e ab omnibus a d h i b e r e t u r Componistis." 4 7 F o r a more complete l i s t o f f i g u r e s under the g e n e r a l heading o f h y p o t y p o s i s , see G. B u e l o w , " R h e t o r i c and M u s i c , " The New Grove D i c t i o n a r y of Music and M u s i c i a n s (1980), v o l . 15, p. 798. 4 8 69 fleeing, w h i l e the ascending and descending s c a l e passages which c o n s t i - t u t e a n a b a s i s and c a t a b a s i s , r e s p e c t i v e l y , were u s e d t o d e p i c t concerned figures with, will be say, heavenly i d e n t i f y i n g what are now typosis infernal d e v i s e d by descent. i n the composers next (These two chapter.) as a means o f The verbally commonly r e f e r r e d to s i m p l y as m a d r i g a l i s m s . r e l a t i o n s h i p b e t w e e n r h e t o r i c a l and m u s i c a l - r h e t o r i c a l hypoi s very comparing and discussed in greater d e t a i l names w e r e p r i n c i p a l l y The ascent texts close. The Burmeister's f i r s t similarities can be readily d e f i n i t i o n of the f i g u r e w i t h the d e f i n i t i o n o f o r a t o r i c a l hypotypos i s The pseudo-Cicero d e f i n e s the term from the R h e t o r i c a i n the f o l l o w i n g ad seen by following Herennium. way: The f i g u r e [ h y p o t y p o s i s ] so e x p l a i n s t h i n g s w i t h words t h a t we a p p r e h e n d them as though b e f o r e o u r e y e s . We b r i n g t h i s a b o u t by d e s c r i b i n g what the t h i n g has done, does and w i l l do, the c i r c u m stances and consequences of i t s e x i s t e n c e . 9 The r e l a t i o n s h i p between h y p o t y p o s i s and prosopopoeia close, especially with r e s p e c t to Burmeister's second i s also quite definition. the p r i n c i p a l characteristic that d i f f e r e n t i a t e s Essentially, the r h e t o r i c a l purpose of both f i g u r e s i s to s u g g e s t presence o f someone or something the two that i s not present. is But noteworthy. Whereas the hypotypo- s i s p e r m i t s the o r a t o r to achieve t h i s sense of presence through a v i v i d narrative person its portrayal, or t h i n g , ability prosopopoeia i s the a c t u a l which demonstrates t o speak. We may i t s own thus r h e t o r i c a l presence continue f i g u r e s as b e i n g f u n d a m e n t a l l y r e l a t e d , p e r s o n i f i c a t i o n of but we thinking of through these s h a l l presently that see two that R h e t o r i c a ad H e r e n n i u m , 4. 68. C i t e d i n L. A. S o n n n i n o , A Handbook t o S i x t e e n t h - C e n t u r y R h e t o r i c ( L o n d o n : Rout l e d g e & K e g a n P a u l , 1968), p. 71. 70 musica1-rhetorical prosopopoeia clearly transcends the c a t e g o r y of madrigalisms. Cantional-Style The readily Compositions simplest application of prosopopoeia type, by i n seventeenth-century f a r the most homophonically by cantionals. commonly performed five syllabic One (SSATB) p a r t s , of the most of sacred music Schein's by the c o n g r e g a t i o n a r e c h a r a c t e r i z e d by popularity in Lutheran reissued i n 1645 Michael. The by 1627 i n 1627, Schein's of l a r g e number o f c o m p o s i t i o n s successor at funerals. was Konfession.^ enjoyed expanded v e r s i o n o f at the Johann Thomaskirche, it such was Tobias the C a n t i o n a l c o n t a i n s a p r o p o r t i o n a t e l y ( a p p r o x i m a t e l y a q u a r t e r o f the w h i c h were composed s p e c i f i c a l l y performance an style. style Schein's c o l l e c t i o n that their seventeenth-century Gesangbuch A u g s b u r g i s c h e r Germany edition influential w r i t t e n i n the c a n t i o n a l C a n t i o n a l oder published i n L e i z p i g and either U s u a l l y w r i t t e n f o r f o u r (SATB) these compositions enduring be of t h i s f u n e r a l s , were sung s e t t i n g s of s t r o p h i c t e x t s i n a simple homophonic collections Hermann at can c h o r a l e s as Compositions the c h o i r alone, or monophonically w i t h the harmonic support of the c h o i r . First music seen i n the newly composed and t r a d i t i o n a l hymns and represented or i n funeral Under total) f o r , or were f a v o u r a b l y s u i t e d the h e a d i n g "Bey Begrabnissen" to, (At J. H. Schein, C a n t i o n a l oder Gesangbuch A u g s b u r g i s c h e r K o n f e s s i o n 1627/45, 2 v o l s . , Johann Hermann Schein: Neue Ausgabe s a m t l i c h e r Werke, ed. by A. A d r i o , Band 2 ( C a s s e l and B a s e l : B a r e n r e i t e r V e r l a g , 1967). F o r a c r i t i c a l h i s t o r i c a l e v a l u a t i o n o f S c h e i n ' s C a n t i o n a 1 , see W. R e c k z i e g e l , Das C a n t i o n a l von J o h a n Herman S c h e i n : S e i n e n g e s c h i c h t l i c h e n Grundlagen, Band 5 i n B e r l i n e r S t u d i e n zu M u s i k w i s s e n s c h a f t , ed. by A. A d r i o ( B e r l i n : V e r l a g Merseburger, 1963). 71 F u n e r a l s ) i n the p r e f a c i n g K i r c h e n o r d n u n g , are mentioned: "Vom Tod vnd five of them by name, S t e r b e n " ("Of 52 seventy-one forty-six compositions under the subheading D e a t h and D y i n g , " nos. 216-63), and twenty 53 under the subheading "Psalm." Additionally, at l e a s t two o t h e r works f r o m t h e C a n t i o n a l s e r v e d as f u n e r a r y c o m p o s i t i o n s , and a r e under nun the h e a d i n g "Am Tage M a r i a e included R e i n g i u n g " ("At Candlemas"): "Herr, l a s s t du d e i n e n D i e n e r " (no. 28) and " M i t F r i e d und F r e u d i c h f a h r d a h i n " (no. 29). The 1645 mented w i t h an a d d i t i o n a l as w e l l e d i t i o n o f S c h e i n ' s C a n t i o n a 1 was twenty-two as f i v e by T o b i a s M i c h a e l . f u n e r a r y works by century, h i s Cantional w i l l which personification was serve here applied Schein h i m s e l f , Because of Schein's m u s i c a l and p o e t i c i n f l u e n c e on L u t h e r a n church music to Baroque far-reaching i n the to d e m o n s t r a t e supple- seventeenth the manner i n funerary compositions in - ^ S c h e i n , op^ c i t . , pp. XV-XVI. " I n d i c h hab i c h g e h o f f e t H e r r " (no. 151), "Wer G o t t v e r t r a u t , hat wohl gebaut" (no. 187), "Wenn w i r i n hb'chsten Nbten s e i n " (no. 188), "Wenn d i c h Unglu'ck t u t g r e i f e n an" (nos. 196a-b), "Mag es denn j e n i c h t a n d e r s s e i n " (no. 190). 5 2 53 • • • The c a n t i o n a l s e t t i n g s o f t h e v e r s i f i e d P s a l m t e x t s a r e i d e n t i f i e d by r e f e r e n c e to the Psalm i t s e l f r a t h e r than by l o c a t i o n i n the C a n t i o n a l . Those s e t t i n g s i n Schein's C a n t i o n a l s a i d to be s u i t e d to performance at f u n e r a l s a r e : "Kehr d i c h , ach Herr, von deinem Zorn" (no. 139), " H e r r , w i e v e r g i s s t du m e i n so l a n g " (no. 143), " H e r r , wer w i r d wohnn und s i c h e r s e i n " (no. 145), "Der Herr der i s t mein H i r t " (no. 148), "Ach H e r r , n a c h d i r v e r l a n g e t m i c h " (no. 149), " D i c h f i i r d e i n W o h l t a t p r e i s e i c h " (no. 150), " I n d i c h hab i c h g e h o f f e t , H e r r " (no. 151), "Kein Siind, hab i c h m i r f u r g e s e t z t " (no. 153), " E i n mud und mattes H i r s c h e l e i n " (no. 154), " E r b a r m d i c h m e i n , o H e r r e G o t t " (no. 157) and "0 H e r r e G o t t , begnade m i c h " (no. 158), "Wie l i e b l i c h s i n d d i e Wohnung d e i n " (no. 164), " H e r r G o t t , m e i n H e i l a n d fromm" (no. 165), " H e r r G o t t , du u n s e r Z u f l u c h t b i s t " (no. 166), "0 w i e w o h l i s t dem immer d o c h " (no. 171), "Wohl m i r , das i s t m i r l i e b " (no. 172), " I c h heb m e i n Augen s e h n l i c h a u f " (no. 174), "Wenn G o t t d e r H e r r Z i o n e r l b s e n w i r d " (no. 178), "Aus t i e f e r Not s c h r e i i c h z u d i r " (no. 181), " I c h s c h r e i zu meinem l i e b e n G o t t " (no. 184), "Ach l o b den H e r r n , o S e e l e m e i n " (no. 185). 72 the c a n t i o n a l Despite style. the i n h e r e n t m u s i c a l r e s t r i c t i o n s o f these works, t h e r e i s e x t e n s i v e u s e o f p e r s o n i f i c a t i o n i n d i v e r s e ways by S c h e i n . which the deceased i s personified account p r o s o p o p o e i a l c o m p o s i t i o n s i n the C a n t i o n a l . conforms to the s o - c a l l e d considerable poetic deceased While style, closely the texts display S e v e r a l of the p i e c e s p o r t r a y the ( n o s . 29, 216, 223, 289, the deceased's The d e c e a s e d number o f the music addresses h i s S a v i o u r i n these works, to d e p i c t C h r i s t i a n death. the L o r d , imagination. a d d r e s s i n g God o r J e s u s Though the deceased designed cantional f o r the l a r g e s t Works i n 303). 5 4 the t e x t s are p a s s i n g as an e x a m p l e o f a p r o p e r i n t h e s e i n s t a n c e s i s made t o p e t i t i o n thereby a l l o w i n g him or her to g i v e e x p r e s s i o n to church d o c t r i n e r e g a r d i n g death, s a l v a t i o n , r e s u r r e c t i o n and e t e r n a l life. The c o n g r e g a t i o n o f m o u r n e r s , made p a r t y t o t h e s e p e t i t i o n s , i s meant t o f i n d c o n s o l a t i o n i n t h e i r sorrow in and renewed c o n f i r m a t i o n i n t h e i r faith the Church. Typical o f these c o m p o s i t i o n s , "Wenn m e i n S t i i n d l e i n v o r h a n d e n the f o l l o w i n g two v e r s e s taken ist" (no. 223) a p t l y d e m o n s t r a t e t h e d i d a c t i c manner i n which the p e r s o n i f i e d 4. W e i l du vom Tod e r s t a n d e n b i s t , werd i c h im Grab n i c h t b l e i b e n ; mein h b c h s t e r T r o s t d e i n A u f f a h r t ist, Tods F u r c h t kann s i e v e r t r e i b e n . Denn wo du b i s t , da komm i c h h i n , dass i c h s t e t s b e i d i r l e b und bin; drum f a h r i c h h i n m i t Freuden. from deceased addresses the Lord. Because you a r e r i s e n from the dead, I w i l l not remain i n the grave; Your ascent i s my g r e a t e s t comfort I t can d r i v e away f e a r o f death. For where your are, t h e r e come I, That I might always l i v e and be w i t h You; T h e r e f o r e I d i e w i t h happiness. -^"Mit F r i e d und Freud i c h fahr d a h i n " (no. 29), " H e r z l i c h l i e b hab i c h d i c h , o m e i n H e r r " (no. 216), "Wenn m e i n S t i i n d l e i n v o r h a n d e n i s t " (no. 223), " L a s s d i r , o m e i n H e r r J e s u C h r i s t " (no. 289), "Machs m i t m i r , G o t t , n a c h d e i n e r Gut" (no. 303). 73 5. So f a h r i c h h i n zu J e s u C h r i s t , mein Arm tu i c h a u s s t r e c k e n , i c h s c h l a f e e i n und ruhe f e i n , k e i n Mensch kann mich aufwecken. Denn J e s u C h r i s t u s Gottes Sohn der w i r d d i e Himmelstur a u f t u n , uns f u h r n zum ewign Leben. Elsewhere i n the c a n t i o n a l , Thus I go to Jesus C h r i s t , I reach out my hands, I go to s l e e p and q u i e t l y r e s t , No m o r t a l can wake me. For Jesus C h r i s t , Son of God W i l l open heaven's gate, And lead us to e t e r n a l l i f e . the deceased addresses the L o r d as i n the p i e c e s j u s t mentioned, but then a l s o turns h i s a t t e n t i o n towards the mourning congregation specifically sitions, family (nos. personifying text through consoles prosopopoeia 288, 295)"'"' congregation to God, composed and both immediately A good e x a m p l e of t h i s Mentioned f o r the f u n e r a l i n the i n 1620 C a n t i o n a l as b e i n g or In these compo- type i s " K l a g t m i c h n i c h t mehr, i h r l i e b e n L e u t " (no. 259), work o r i g i n a l l y 7 259, the the deceased's s u p p l i c a t i o n by d i r e c t l y a d d r e s s i n g the m o u r n e r s . Pose."' 224, towards members of the f a m i l y (no. 222)."'*' the vicariously and of a c e r t a i n s u i t a b l e "For of a Katharina the Funeral 58 o f a Spouse," addressing and of the c o m p o s i t i o n the c o n g r e g a t i o n (alternatively 7, the t e x t in verses the w i f e ) i n v e r s e s 1-3, 5-6, the g e n e r a l assembly of mourners begins God the w i t h the i n verse 4, the surviving children i n v e r s e 8. The deceased text husband in verse concludes w i t h an i n v o c a t i o n f o r the c o n g r e g a t i o n t o j o i n i n the s i n g i n g o f the "'"'"Hie l i e g i c h armes W u r m e l e i n und r u h " (no. 224), " K l a g t m i c h n i c h t mehr, i h r l i e b e n L e u t " (no. 259), "Ach H e r r , e r z e i g e Gnade m i r " (no. 288), " C h r i s t e J e s u , G o t t e s Sohn" (no. 295). Herzlich 5 6 l l t u t mich v e r l a n g e n " (no. 222). "* But see W. R e i c h , ed., Threnodiae Sacrae: K a t a l o g der gedruckten Kompositionen des 16. j- 18. J a h r h u n d e r t s i n L e i c h e n p r e d i g t s a m m l u n g e n i n n e r h a l b der D e u t s c h e n D e m o k r a t i s c h e n Republik (Dresden: Sachsische L a n d e s b i b l i o t h e k , 1966), p. 28. R e i c h g i v e s as the surname "Bose." 7 58 "Bey Begrabnis eines Ehegatten." 74 German Sanctus. The deceased does Schein's C a n t i o n a l . speaks directly others i n which special not There 247, the Lord i n a l l the the 253, deceased 255, addresses 251, the assembly 254, "Ihr l i e b e n In t h e c o u r s e 6 0 of the n i n e the mourners t h a t he was T r a u e r l e u t " (no. verses victorious the animate E l f e l d mourning, admonishes reasons, based adjures of e d i t i o n of the text, the address w i t h a b l e s s i n g and deceased in his spiritual battle as they are on h i s own the c o n g r e g a t i o n them to keep t h e i r 297), f o r the f u n e r a l o f Johannes no l o n g e r d e s i r o u s o f t h e v a i n and t r a n s i t o r y p l e a s u r e s o f a For these with 256). i n c o r p o r a t e d by M i c h a e l i n t o the 1645 existence. and 5 9 the members of the s u r v i v i n g f a m i l y Elfeld, informs 297) towards composed by Schein i n 1629 Cantional. of deceased of mourners, f o r example, was and was hymns a r e numerous i n s t a n c e s where t h e t o t h e c o n g r e g a t i o n (nos. 235, remarks d i r e c t e d (nos. 246, petition faith, to put and an and temporal experience, end to concludes h i s their final farewell: 8. So weint doch nun n i c h t mehr, euch bass b e s i n n e t und gerne gonnet mir s o l c h e Freud und E h r . H a l t Gott nur s t i l l , i h r werd dergleichen i n k u r z e r Z e i t mit mir e r r e i c h e n . So weep now no more, Remember w e l l And h a p p i l y grant Me such joy and honour. Abide by God, you w i l l l i k e w i s e 9. E i a , Gott gsegne euch, a l l mein Verwandte, a l l mein Bekannte; Now, God b l e s s you, A l l my f a m i l y , A l l my f r i e n d s ; J o i n me i n a s h o r t time. ^ "0 W e l t , i c h muss d i c h l a s s e n " (no. 235), " I c h hab m e i n L a u f v o l l e n d e t " (no. 251), "In F r i e d und F r e u d i c h f a h r d a h i n " (no. 254), "Ihr l i e b e n T r a u e r l e u t " (no. 297. 9 " S o f a h r i c h h i n m i t Freuden" (no. 246), " S e l i g k e i t , F r i e d , Freud und Ruh" (no. 247), " D i e Z e i t nunmehr v o r h a n d e n i s t " (no. 253), "Nun s c h i e d i c h ab i n F r b h l i c h k e i t " (no. 255), " M i t F r e u d e n f a h r i c h h i n zu G o t t " (no. 256). 6 0 75 i c h b l e i b im Himmelreich. 0 G o t t , e r h a l t d e i n Wort [ a l l h i e ] auf Erden, l a s s deine F e i n d zu Schanden werden. Amen. I t has been mentioned effectiveness purely I remain i n the heavenly kingdom. Oh God, keep Your word here on earth, L e t your enemies go t o r u i n . Amen. that the a p p l i c a t i o n o f prosopopoeia and i t s i n cantiona1-style textual level. With c o m p o s i t i o n s were r e s t r i c t e d s e v e r a l o f these c o m p o s i t i o n s , however, Schein s t r o v e t o impart as much as p o s s i b l e a p e r c e i v e d presence deceased. funeral suited Some p i e c e s , which ihr originally than o t h e r s f o r performance "bey Begrabnis schied vorhanden the p e r s o n i f i e d i c h ab i n F r b h 1 i c h k e i t " (no. 255) and " M e i n ist" (no. 287) w e r e recommended funeral of a m i n i s t e r " ^ ich n i c h t mehr, as b e i n g e s p e c i a l l y i n each c a s e a d d r e s s e s t h e s u r v i v i n g spouse and c h i l d r e n . "Nun f o r the For instance, i s t " (no. 253) and " K l a g t m i c h e i n e s Ehegatten" because of the by S c h e i n t o be b e t t e r at l a t e r f u n e r a l s . l i e b e n L e u t " (no. 259) a r e i d e n t i f i e d priate h a d b e e n composed o f a p a r t i c u l a r p e r s o n , were t h o u g h t "Die Z e i t nunmehr v o r h a n d e n to a approdeceased Similarly, Zeit f o r performances nunmehr "at the and the d i m i n u t i v e forms o f words i n "Hie lieg armes Wurmelein" (no. 224) made t h a t work most a p p r o p r i a t e "at the f\ 9 funeral of small children." (no. 256), w h i c h was b e s t s u i t e d s c h o o l t e a c h e r , the t e x t In "Mit Freuden fahr f o r performance i c h h i n zu G o t t " at the funeral of a c l o s e s w i t h the deceased b l e s s i n g and admonish- i n g h i s c o l l e a g u e s and s t u d e n t s : 10. Mein l i e b s t e H e r r n K o l l e g e n a l l , s e i d eurem Gott nur t r e u , er wirds v e r g e l t e n gwiss einmal mit Segen m a n c h e r l e i . ^"bey My d e a r e s t c o l l e a g u e s a l l , Be true to your God, He w i l l c e r t a i n l y reward you One day w i t h many b l e s s i n g s . B e s t a t t u n g eines S e e l s o r g e r s . " 69 "bey dem Begrabnis d e r k l e i n e n 76 Kinderlein." Und, o du z a r t e Jugend, gwbhn d i c h von K i n d h e i t auf zu G o t t e s f u r c h t und Tugend, f o l g n i c h t dem bbsen Hauf. And, Oh you tender youth Accustom y o u r s e l f from c h i l d h o o d on To v i r t u e and f e a r of God, Do not f o l l o w the wicked m u l t i t u d e . 11. To C h r i s t , my C h r i s t meinem Herrn i c h nun befehl die ganze Schul zusamm und a l l d a r i n mit L e i b und S e e l , b l l i h t , wachst i n Gottes Nam. 0 a l l e r l i e b s t e Kinder, nehmt eure Z e i t i n Acht, Gott macht eur A r b e i t l i n d e r . H i e r m i t zu Guter Nacht. Schein d i d not Most o f the t e x t s i n these compoJesu C h r i s t , ich s c h r e y zu d i r " (no. 228), "Ach G o t t und H e r r " (no. 240), o r " M i t t e n wir in Leben penitential e x c l u s i v e l y to i n a number of the hymns t h a t i t i s i n f a c t the c o n g r e g a t i o n t h a t i s p e r s o n i f i e d . are commend The e n t i r e s c h o o l t o g e t h e r And a l l t h e r e i n w i t h body and s o u l , Blossom, and grow i n God's name Oh d e a r e s t c h i l d r e n , Be a t t e n t i v e of your time, God makes your work e a s i e r . With these words, good n i g h t . l i m i t h i s a p p l i c a t i o n of prosopopoeia the dead, f o r i t i s apparent sitions L o r d , I now sind" (no. i n c h a r a c t e r , as 239), which is actually i n c l u d i n g "Auf m e i n l i e b e n G o t t " (no. 226) weiss gar wohl" (no. 227), "Nun lasst uns den The L e i b begraben" (no. 241), rhetoric the choir With the dead, was to p e r s o n i f y the By an e f f e c t i v e abstractly sung by the in persuasive a b l e to employ representing a a b l e to p r e s e n t to the c o u l d sometimes be 77 as the removal of i f different the poet/composer was he was of century served doubly C h r i s t i a n model worthy o f e m u l a t i o n . these c o m p o s i t i o n s One ich itself. nonetheless congregation. l i v i n g c o n g r e g a t i o n i n t h i s way, hand, which o f p e r s o n i f y i n g the c o n g r e g a t i o n , these c o m p o s i t i o n s , t i o n an e l o q u e n t "Herr J e s u C h r i s t , of s i g n a l l i n g both the c o n c l u s i o n to the ceremony approach to a n i m a t i n g device. and Others, f u n e r a r y p i e c e s i n the seventeenth a means of c o n s o l i n g the mourners and the body and a Kyrie trope. are c o n s o l a t o r y e x p r e s s i o n s of f a i t h . the most f r e q u e n t l y performed was i n "Herr On real congregathe other congrega- tion, thereby p e r s o n i f y i n g themselves, these circumstances congregation, they i n f a c t were imbued collectively felt so t o speak. with giving the spirit The of mourners i n an idealized v o i c e t o p e r s o n a l sentiments o r s h o u l d have f e l t . Needless which to say, m e l d e d with t h e s e c o n g r e g a t i o n a l e x p r e s s i o n s o f p e n i t e n c e and c o n s o l a t i o n was s m a l l amount of c h u r c h d o c t r i n e ; i n d e e d , c h u r c h d o c t r i n e was essence o f these t e x t s . in cantional the themselves from the v e r y Through the p e r s o n i f i c a t i o n of the c o n g r e g a t i o n hymns, the mourners w i t h i n and one reinforcing their no faith i n the were persuaded to console a n o t h e r from w i t h o u t , s i m u l t a n e o u s l y Church. Dialogue Compositions funeral music poeia. In in dialogue constitute i n which literary rhetoric, d i s c u s s i o n of l i t e r a r y cal dialogue composers prosopopoeia, and with 1° Quintilian sacrificing the rest reproach, the we complaint, 6 3 Institutio 6 4 the rhetoriof to be the Greek e q u i v a l e n t to the course describes credibility appropriate persons." of to of h i s d i s c u s s i o n may of his dialogue as praise discussion follows: of "...or i n t r o d u c e c o n v e r s a t i o n s between o u r s e l v e s and o t h e r s , o r o f o t h e r s among t h e m s e l v e s , advice, prosopo- always been i n t e g r a l treatment of 3 n personification, major category musical-rhetorical Quintilian's i s c o n s i d e r e d by him P_£i .£ without d i a l o g u e has together ft Latin employed prosopopoeia. i s found a second or pity into and put w o r d s o f the mouths of As e x a m p l e s o f t h i s t y p e o f p e r s o n i f i c a t i o n , oratoria, 9. 2. 31. I b _ i d . , 9. 2. 30. "...et n o s t r o s cum a l i i s s e r m o n e s et a l i o r u m i n t e r se c r e d i b i l i t e r i n t r o d u c i m u s , e t suadendo, obiurgando, querendo, laudando, miserando personas idoneas damus." 6 4 78 Quintilian r e f e r s the reader to t h i s r e s p e c t i t i s of i n t e r e s t not identify specific namely the G o r g i a s extant rhetorical the Socratic dialogues to n o t e t h a t , a l t h o u g h works by P l a t o , two and the P h a e d r u s , o f Plato. "* In 6 Quintilian does of Plato's S o c r a t i c d i a l o g u e s , a r e i n f a c t among the earliest tracts. B e c a u s e o f the g r e a t the f l e x i b i l i t y o f r h e t o r i c a l d i a l o g u e , a p p r o a c h e s to i t a r e v i r t u a l l y many the similarities dividing b 1 ur r e d . which lines A t one 6 7 the and orator shared between end l i m i t l e s s , and elements types between of o f the d i a l o g i c rhetorically speakers. In order to personified characters, evokes sustain a i t i s necessary o c c a s i o n a l l y , owing to the dialogue various can approaches, easily multiple real distinction f o r the or i n t o which the d i a l o g u e i s introduced. s p e a k e r a l w a y s to stronger the be rhetorical Lausberg remarks that t h e v i v i d n e s s o f t h e c h a r a c t e r s can be e n h a n c e d t h r o u g h the i m i t a t i o n of the in fictitious between m i n d f u l b o t h o f t h e c h a r a c t e r b e i n g p e r s o n i f i e d and of the situation become spectrum i s a c t u a l dialogue clear the a f f e c t i o n s through such o r a t o r i c a l speaker's devices as f\ r\ pathopoeia. naturally 6 5 As a corollary to Lausberg's statement, it would f o l l o w that g r e a t e r d i s t i n c t i o n between p e r s o n i f i e d c h a r a c t e r s Ibid., 5. 7. 28. S e e P l a t o , G o r g i a s , t r a n s , by W. C. H e l m b o l d ( I n d i a n a p o l i s : B o b b s - M e r r i l l E d u c a t i o n a l P u b l i s h i n g , 1952) and Phaedrus, trans, by W. C. H e l m b o l d and W. G. R a b i n o w i t z ( I n d i a n a p o l i s : B o b b s - M e r r i l l E d u c a t i o n a l P u b l i s h i n g , 1956). 6 6 S e e L a u s b e r g , op. c i t . , 1:409. The d e n o t a t i v e and s e m a n t i c problems of t h i s type are a l s o l a r g e l y r e s p o n s i b l e f o r the many c u r r e n t terms used to i d e n t i f y the trope of p e r s o n i f i c a t i o n . 6 7 6 8 Ibid., 1:408. 79 would result affections. from The the o r a t o r ' s use o t h e r extreme form of oppositive or antithetical o f d i a l o g u e i s i n n e r or m e d i t a t i v e r e f l e c t i o n , w h e r e b y one e n g a g e s i n a d i a l e c t i c a l p r o c e s s o f m e n t a l l y posing and answering q u e s t i o n s . Q u i n t i l i a n ' s view rhetoricians in the title i n the to of o r a t o r i c a l seventeenth to M e y f a r t ' s R h e t o r i c a : "What 6 9 d i a l o g u e was century. chapter on 7 Judging d e v i c e s , i t would seem that, to him, multiple application colloquendi systems through Paedologia read was both d e v i c e which sides 6 8 i n use Ibid., whatsoever d i a l o g u e was i n the Teutsche the dialogic in this used conveniently allowed any argument. (1518), The t o be a throughout the study writer of the of both Erasmus works (1518) and which were to ars s i v e d i a l o g i (1588-94) by J a c o b u s the widely P r o t e s t a n t Germany i n t h e s e v e n t e e n t h c e n t u r y . into the i n the P r o s t e s t a n t e d u c a t i o n Colloquia i n Germany w e l l to c h a p t e r to thought merely D i a l o g u e was already evident early Progymnasmata l a t i n i t a t i s were s t i l l of o f P e t r u s Moseallanus throughout demonstrated from M e y f a r t ' s t r e a t m e n t o f t h e s e of prosopopoeia. a didactic lucidly German To Meyfart's mind, d i a l o g u e i s so c l o s e l y r e l a t e d discuss i t independently. present by i s . L i k e w i s e , what d i a l o g u e i s p r o s o p o p o e i a t h a t he makes no a t t e m p t Baroque as is clearly prosopopoeia the noble prosopopoeia the o r a t o r s . " ^ This adopted The Pontanus the e i g h t e e n t h c e n t u r y , as were 1:408. 69 . . . . H. Lausberg, Elemente der l i t e r a r i s c h e n R h e t o r i k : e i n e E i n f i i h r u n g fiir S t u d i e r e n d e der k l a s s i s c h e n , romanischen, e n g l i s c h e n und deutschen P h i l o l o g i e , 2nd ed. (Munich: Max Hueber V e r l a g , 1963), p. 144. was ^ ^ M e y f a r t , op. c i t . , p. 38 7. "Was D i a l o g i s m u s bey den Redenern sey." 80 d i e E d l e Prosopopoeia sey. Item the classical relevance of dialogues rhetorical eighteenth-century Weisheit Cicero dialogue rhetoric Terence. was still such as The educational acknowledged Carl mid- a p p l i c a t i o n o f d i a l o g u e i n f u n e r a r y s e r m o n i c o r a t o r y of the 1748). P r o t e s t a n t C h u r c h d a t e s b a c k to none o t h e r t h a n i t s f o u n d e r Luther. in Die Redners (Jena, manuals and Gotthelf Miiller's des The of Luther though only two r e c o g n i z e d d i a l o g u e as a p o w e r f u l f u n e r a l sermons by L u t h e r rhetorical -- Martin device, have come down to us -- and both o f them were w r i t t e n on the d e a t h o f J o h a n n I o f Saxony i n 1532 --, are a b l e n o n e t h e l e s s i n the following to see a good example of sermonic dialogue we excerpt': But when some keep c o m i n g w i t h the law and a r g u i n g : Now my d e a r , who knows w h e t h e r God w i l l c o n s i d e r you to be good? T h i s i s the d i s m a l d e v i l h i m s e l f . . . . T h e r e f o r e , i t was a v e r y good t h i n g t h a t happened w i t h our p r i n c e , that he was not drawn i n t o t h i s d i s p u t a t i o n , o t h e r w i s e the d e v i l would d o u b t l e s s have a s s a i l e d him: L i s t e n t o me; how have you l i v e d , how h a v e you r e i g n e d ? ...so t h a t f i n a l l y you...say: D e v i l , r a g e as much as you p l e a s e , I do not b o a s t o f my good w o r k s and v i r t u e s b e f o r e o u r L o r d God a t a l l . . . . T h e r e f o r e , d e v i l , begone w i t h both my r i g h t e o u s n e s s and my s i n . I f I have committed some s i n , go eat the d u n g . 73 Interrogatio, W. B a r n e r , l i c h e n Grundlagen o r the rhetorical question, was a l s o p o p u l a r l y used B a r o c k r h e t o r i k : U n t e r s u c h u n g e n zu i h r e n g e s c h i c h t (Tubingen: Max Niemeyer V e r l a g , 1970), p. 290. 72 U. S t b t z e r , Deutsche Redekunst im 17. und 18. Jahrhundert ( H a l l e : Niemeyer V e r l a g , 1962), pp. 224-25. 73 M. L u t h e r , Works, 51:240-41. "Das man a b e r v i e l m i t dem G e s e t z komen w i l und d i s p u t i r e n L i e b e r , wer w e i s , ob d i c h G o t t auch f u r f r o m halten wil? Das i s t d e r l e i d i g e t e u f f e l . . . Darumb i s t u n s e r m F u r s t e n r e c h t w o l g e s c h e h e n , das e r n i c h t j n n d i e d i s p u t a t i o n komen i s t , Der t e u f f e l s o l t j n s o n s t w o l a n g r i f f e n h a b e n : H b r e s t du, w i e h a s t du g e l e b e t , w i e h a s t du r e g i r e t ? . . . das man doch e n d l i c h . . . s a g e n mus: T e u f f e l , s e y so z o r n i g du immer w i l t , I c h riihme m e i n e g u t e w e r c k und tugent gar n i c h t f u r unserm Herr Gott... Darumb T e u f f e l , f a r e h i n , beide m i t meiner g e r e c h t i g k e i t und sunde, Habe i c h etwas gesundigt, so f r i s du den m i s t da von." (M. L u t h e r , Werke, 36:250 f f . ) Max 81 in f u n e r a l sermons to introduce dialogue mentioned above the r h e t o r i c a l q u e s t i o n dialogic process whereby the on a more a b s t r a c t l e v e l . i s simply speaker provides quest i o n - a n d - a n s w e r sequence, or puts f o r t h implies an obvious answer. As an aspect both parts of a q u e s t i o n which of d i a l o g u e , the p o t e n t i a l f o r v i r t u a l l y e n d l e s s v a r i a t i o n , d i f f e r e n t examples taken an a b s t r a c t i o n of as from seventeenth-century the the itself interrogatio shown below As has i n three funeral orations: What c a n men do to one when t h e L o r d i s w i t h h i m ? a s k s the magnanimous K i n g David. I t i s y e t good to t r u s t i n t h e L o r d and n o t to r e l y on men. I t i s y e t good t o t r u s t i n t h e L o r d and n o t to r e l y on p r i n c e s . Now what s h o u l d I s t i l l add, l a d i e s and g e n t l e m e n ? Nothing what we a l l knew a l r e a d y ; I s h o u l d o n l y g u e s s y o u r t h o u g h t s express your h e a r t . but and But a l a s ! Where d i d i t go? and where d i d the ornament stay? Are a r t and s c i e n c e a l s o a n n i h i l a t e d by death? No, although the b e l o v e d maiden and her d e l i c a t e body succumb, The b e a u t i f u l resonance of her v i r t u e n e v e r t h e l e s s remains i n the world. 7 6 C. S c h u l t z , Trauer= und Ehren=Rede j_ Bey dem... Leichbegangniiss j_ des H e r r n H e i n r i c h v o n R e i c h e 1 ( B r e s l a u , 1646), i n T r a u e r r e d e n des B a r o c k , ed. by M. F i i r s t e n w a l d ( W i e s b a d e n : F r a n z S t e i n e r V e r l a g , 1973), p. 54. "Was kbnnen einem d i e Menschen thuen / <wenn> der HERR m i t ihm? f r a g e t der Grossmlithige Kbnig David. Es i s t dennoch gut a u f f den HERREN v e r t r a u e n / und s i c h n i c h t v e r l a s s e n a u f f Menschen/ Es i s t dennoch gut a u f f den HERREN v e r t r a u e n / und s i c h n i c h t v e r l a s s e n a u f f Fiirsten." ^ J . L a n g e , Abdanckungs=Rede ]_ bey B e e r d i g u n g des... H e r r n J o h . C a s p a r S c h a d e n s ( B e r l i n , 1698), i n T r a u e r r e d e n , p. 357. "Was s o i l i c h nun noch h i n z u t h u n / h o c h g e s c h a t z t e Anwesende? N i c h t s / a l s was w i r a l l e schon zuvor wissen; i c h s o i l nur eure Gedancken e r r a t h e n und euren Sinn aussprechen." 7 G. Neumark, P o e t i s c h e L e i c h r e d e v o n d e r S t e r b l i c h k e i t . . . d e r F r e u l e i n W i l h e l m i n e n = E l e o n o r e n H e r z o g i n n zu S a c h s e n ( J e n a , 1653), i n T r a u e r r e d e n , p. 98. 7 6 82 Dialogue another prior and music had a l r e a d y enjoyed to the seventeenth century. As e a r l y 7 7 eleventh c e n t u r i e s , d i a l o g u e was tropes. The e f f e c t i v e n e s s o f t h e m u s i c a l number o f p o s s i b i l i t e s the f o r employing s i x t e e n t h century. polychoral music used a long a s s o c i a t i o n w i t h one i n the c o m p o s i t i o n dialogue, of sacred as w e l l as t h e i t , increased s u b s t a n t i a l l y for chori spezzat i , as f i r s t heard i n Venice d i a l o g u e r e c e i v e d renewed impetus i n the e a r l y y e a r s the aid of continuo and and h i s f o l l o w e r s . B a r o q u e w i t h t h e d e v e l o p m e n t o f b a s s o c o n t i n u o and t h e m o n o d i c With during T h i s i n c r e a s e was due t o t h e d e v e l o p m e n t o f F l o r e n c e i n the works o f A d r i a n W i l l a e r t The as the t e n t h and accompaniment, i t became o f the style. possible in p e r f o r m a n c e s t o d i s t i n g u i s h c l e a r l y and e a s i l y b e t w e e n n a r r a t i v e and dialogic of sections of polyphonic dialogue with the f u l l the f u l l works: s o l o i s t s harmonic support could sing the s e c t i o n s o f the basso c o n t i n u o , c h o i r c o u l d be e m p l o y e d t o p r o v i d e t h e n a r r a t i v e while s e c t i o n s of the t e x t . The seventeenth-century m u s i c a l d i a l o g u e i n German church music was an e s s e n t i a l f o r e r u n n e r o f the e i g h t e e n t h - c e n t u r y c a n t a t a as e x e m p l i f i e d Abr ach! wo i s t es h i n ? und wo i s t d i e Z i e h r g e b l i e b e n ? Wird d i e Kunst und W i s s e n s c h a f t durch den Tod auch a u f g e r i e b e n ? Nein / obschon das l i e b e F r e u l e i n und i h r z a r t e r L e i b h i n f a l l t / B l e i b e t doch d e r schbne N a c h h a l l i h r e r Tugend i n d e r Welt. D . N u t t e r and J . Whenham, "Dialogue," i n The New Grove D i c t i o n a r y of Mus i c and Mus i c i a n s (1980), 5? 417. See L a u s b e r g , E l e m e n t e d e r l i t e r a r i s c h e n R h e t o r i k , p. 120. L a u s b e r g m e n t i o n s t h e d i a l o g i c j e u p a r t i and the tenzone, i n a d d i t i o n to the Lehrgesprach and eclogue, i n t h e i r s t r i c t l y l i t e r a r y sense. 77 &3 by t h e w o r k s o f J . S. Bach. M u s i c a l d i a l o g u e i s d e f i n e d by M i c h a e l P r a e t o r i u s i n t h e S y n t a g m a m u s i c u m I I I i n 1619 as "a c o n v e r s a t i o n , as when one a n s w e r s t h e q u e s t i o n p u t by a n o t h e r , or s i m i l a r l y when one 79 alternates with another i n chorus," and adds f u r t h e r to t h i s defini- t i o n t h a t the Echo c o u l d a l s o be i n c l u d e d as an aspect o f d i a l o g u e . term i s s t i l l c u r r e n t i n the f i r s t seen i n J . G. Walther's The t h i r d o f t h e e i g h t e e n t h c e n t u r y as M u s i k a l i s c h e s Lexikon i n 1732: D i a l o g u e . . . i s a c o m p o s i t i o n o f a t l e a s t two v o i c e s , o r as many i n s t r u m e n t s , w h i c h a r e h e a r d a l t e r n a t e l y , and when t h e y come t o g e t h e r a t the end, make a t r i o w i t h the basso c o n t i n u o ; there are a l s o c o m p o s i t i o n s f o r 2, 3 and 4 c h o i r s , which a l t e r n a t e conversationally. O r g a n i s t s a l s o i m i t a t e t h o s e same exchanges on organs when they have more than one keyboard. ^ Most o f the e a r l y i n f l u e n c e on the Baroque development i n Germany was e x e r t e d d i r e c t l y the music of G a b r i e l i and i n d i r e c t l y by I t a l y . and h i s s c h o o l , an e a r l y o f the d i a l o g u e In a d d i t i o n to seventeenth-century i n f l u e n c e on t h e d e v e l o p m e n t o f t h e d i a l o g u e i n Germany was Ludovico For an e x t e n s i v e d i s c u s s i o n o f s a c r e d d i a l o g u e s i n German music o f t h e s e v e n t e e n t h c e n t u r y , s e e H.-O. Hudemann, " D i e p r o t e s t a n t i s c h e D i a l o g k o m p o s i t i o n im 17. J a h r h u n d e r t " (Ph.D. d i s s . , K i e l U n i v e r s i t y , 1941). M. P r a e t o r i u s , Syntagma musicum, 3 v o l s . ( W o l f e n b u t t e l , 1614/1519; f a c s i m i l e r e p r i n t ed. by W. G u r l i t t ; C a s s e l , B a s e l , L o n d o n , New Y o r k : B a r e n r e i t e r - V e r l a g , 1958), 3:16. "...ein G e s p r a c h / a l s wenn e i n e r dem a n d e r n v f f b e s c h e h e n e F r a g e a n t w o r t e t / v n d e i n s vmbs a n d e r g l e i c h per Choros vmbgewechselt wird." ( T r a n s l a t i o n i n A. Kirwan-Mott, The S m a l l - S c a l e Sacred C o n c e r t a t o i n the E a r l y Seventeenth Century, 2 v o l s . [Ann Arbor: UMI Research P r e s s , 1981], 1:323.) 79 80 J . G. W a l t h e r , M u s i k a l i s c h e s L e x i k o n oder M u s i k a l i s c h e B i b l i o thek. ( L e i p z i g : W o l f f g a n g D e e r , 1732; f a c s . r e p r . ed. by R. S c h a a l , C a s s e l and B a s e l : B a r e n r e i t e r V e r l a g , 1953), p. 204. " D i a l o g o . . . i s t e i n e Composition wenigstens von zwo Stimmen, oder so v i e l Instrumenten, so wechse l s = w e i s e s i c h h o r e n l a s s e n , und wenn s i e am Ende zusammen kommen, m i t dem G^ Bj_ e i n T r i o machen; es g i e b t aber auch Compositiones a u f 2. 3. und 4 C h o r e , so G e s p r a c h s = w e i s e A l t e r n i r e n . Die Organisten i m i t i r e n d e r g l e i c h e n Umwechselungen auch a u f den Orgeln, wenn s i e mehr a l s e i n C l a v i e r haben." 84 Viadana's Musical w i d e l y d i s s e m i n a t e d Cento d i a l o g u e was sixteenth century readily sectional forms textual well-suited lent themselves i n a s a c r e d c o n t e x t as was effective doctrinal dialectical method Musically, it to s e t t i n g Textually, textual composi- dialogues, the d i a l o g u e , o f t e n t h e c a s e , was when an e x t r e m e l y of p r e s e n t i n g Church dogma and stressing points. Dialogue was used in single c o m p o s i t i o n s by composers J o h a n n Hermann S c h e i n i n the s a c r e d c o l l e c t i o n Ope 11a Nova 1626) and by Samuel S c h e i d t ££AiLLLi£j!§. ^£H£^.£i£H between late to the t a s t e s of Baroque Germany; have appealed to German composers. employed reasons. 1602. o f the and c o n t r a s t i v e f e a t u r e s of m a d r i g a l and motet t i o n , which n a t u r a l l y would accepted by German composers f o r m u s i c a l and suggested a s t y l e that was c o n c e r t i e c c l e s i a s t i c i of allegorical characters 1634) Christ the Damned (tenor and bass). as (Leipzig, i n "Kommt her, i h r besegneten" from the Newe (Halle, the p e r s o n i f i e d such i n which (bass), the c o n v e r s a t i o n the E l e c t i s held (soprano and bass) and Other d i a l o g u e s on sacred s u b j e c t s between include Johann Erasmus Kindermann's Des Jesu C h r i s t i und siindigen Menschen heylsames Erlosers Gesprach (Nuremberg, 1643), Book I of Viadana's Cento c o n c e r t i e c c l e s i a s t i c i was p u b l i s h e d by N i k o l a u s S t e i n i n F r a n k f u r t - a m - M a i n as e a r l y as 1609. The c o m p l e t e e d i t i o n was l a t e r p u b l i s h e d by S t e i n ( F r a n k f u r t , 1620). Some o f Viadana's comments from the Cento c o n c e r t i were t r a n s l a t e d by M i c h a e l P r a e t o r i u s and i n c l u d e d i n S y n t a g m a musicum I I I ( W o l f e n b i i t t e l , 1618). The c o n c e r t a t o s t y l e o f Viadana was a l s o q u i c k l y taken up by composers i n Germany, f i r s t by Gregor A i c h i n g e r i n h i s Cantiones e c c l e s i a s t i c a e t r i u m e_t q u a t u o r vocum...cum B a s s o G e n e r a l i . e_t C o n t i n u o i n usum Organistarum ( D i l l i n g e n , 1607) and by Adam Gumpeltzhaimer i n Book I I o f h i s S a c r i concentus (Augsburg, 1614). See H. F. R e d l i c h , " E a r l y Baroque Church Music," i n The Age of Humanism 1540-1630, The New Oxford H i s t o r y o f M u s i c , v o l . 4, ed. by G. Abraham ( L o n d o n : O x f o r d U n i v e r s i t y P r e s s , 1968), pp. 536-37, 544-49. 85 August i n 1661), Pfleger's Dialog z w i s c h e n Adam, Eva und and Kaspar F b r s t e r ' s der Schlange Congregantes P h i l i s t e i : Such was the dialogi popularity (Hamburg, Davidis of the cum Phi 1 i s t e o ( D a n z i g ? , 1667). sacred dialogues i n s e v e n t e e n t h - c e n t u r y Germany that c o l l e c t i o n s o f d i a l o g i c c o m p o s i t i o n s began to appear around the m i d d l e o f the c e n t u r y , b e g i n n i n g with Andreas einer Hammerschmidt's D i a l o g i , glaubigen S e e l e n (Dresden, Ahle's G e i s t l i c h e D i a l o g e ( E r f u r t , Gespra'ch u'ber die Evangelien Briegel's Evangelische G e i s t l i c h e Harmonien who also Gesprache oder Gesprache 1645), by Johann 1648), H a m m e r s c h m i d t ' s (Dresden, (Gotha, (Dresden, 1665). contributed followed z w i s c h e n Gott und significantly 1655/56), 1660) Among Musikalische Wolfgang Caspar Christoph Bernhard's the n o t e w o r t h y composers to d i a l o g i c and Rudolf works o f t h i s p e r i o d are Johann Rosenmliller, S e b a s t i a n Kniipfer, Johann P h i l i p p K r i e g e r and Thomas Selle. 8 2 There a r e two century funeral and m u s i c a l . principal music: one is strictly Compositions belonging works f o r chorus i n which deceased, types o f d i a l o g u e employed are t e x t u a l l y two i n seventeenth- t e x t u a l , the o t h e r to the f i r s t both type are textual strophic or more persons, i n v a r i a b l y i n c l u d i n g personified. A typical the example of the a p p l i c a r t i o n of t h i s k i n d o f c h o r a l d i a l o g u e c a n be f o u n d i n a work by S e v e r u s G a s t o r i u s (1646-82) o f Jena w r i t t e n f o r the f u n e r a l i n 1679 o f a c e r t a i n Herr Wilken von Berglasen. (See Appendix, p. 198) We know f o r For a more e x t e n s i v e d i s c u s s i o n o f the sacred music d i a l o g u e i n s e v e n t e e n t h - c e n t u r y Germany, see E. Noack, " D i a l o g , " D i e M u s i k i n G e s c h i c h t e und G e g e n w a r t (1954), 3, c o l s . 393T99. See a l s o , K i r w a n M o t t , op. c i t . , 1:323-46. 83 dess... S. G a s t o r i u s , K l a g - und T r a u e r - G e s p r a c h bey L e i c h - B e g a n g n u s s H e r r n W i l k e n v o n B e r g l a s e n . . . den 18. A u g u s t i des 1 6 7 9 s t e n 86 c e r t a i n t h a t t h e work i s w r i t t e n as a d i a l o g u e b e t w e e n the m o t h e r and h e r dead 8 are son not because labelled h e a d i n g "Sohn." of the music, " M u t t e r " and The each but because v e r s e s 1, 3, 5, 7 and of the r e m a i n i n g v e r s e s b e a r s music, p r i n t e d i n score format, i s w r i t t e n s i m p l e , f o u r - p a r t (SATB) homphonic s t y l e w i t h basso c o n t i n u e and unchanged f o r each o f the e i g h t v e r s e s . the in a i s used The t e x t , on the o t h e r hand, i s a c l e a r e x a m p l e o f t h e a p p r o a c h to f u n e r a r y d i a l o g u e s o f the L u t h e r a n church i n which the text the deceased and the mourners are r e p r e s e n t e d . to Gastorius's' c o m p o s i t i o n i s t y p i c a l of d i a l o g u e , i n both form and c o n t e n t , i t w i l l in f u l l and t o comment b r i e f l y of t h i s Because particular kind be of use t o g i v e i t here on i t . Mutter 0 T r a u e r = F a l l ! Der mich f a s t gantz e n t s e e l e t / Ach! was empfind i c h doch v o r b i t t e r n Schmertz! Muss denn a l s o mein Leben seyn gequalet / Und angsten s i c h mein Jammer=volles H e r t z ; Mein T r o s t und Stab / mein gantz V e r l a n g e n / Ist durch den Tod d a h i n gegangen. Mother Oh death that a l l but k i l l s me, A l a s ! Yet what I f e e l o f b i t t e r pain! Must my l i f e then be thus tormented, And my wretched h e a r t be afraid; My comfort and s t a f f , my complete d e s i r e , Has, through death, departed this l i f e . Sohn Was hbr i c h doch f u r Weh= und Jammer=Klagen / Dass mich der Tod e n t r i s s e n von der Welt / Was wo It i h r Euch umb mich so h e f f t i g plagen / Bedenckt / dass es dem hb'chsten so g e f a l l t / Ich b i n i n Himmel aufgenommen / Son What k i n d of l a m e n t a t i o n and w a i l i n g do I hear, That death t e a r s me from the world, Why torment y o u r s e l v e s so p a s s i o n a t e l y f o r me, Remember that i t p l e a s e s the Most High, I have been taken up i n t o heaven, Jahres•.. i n e i n e r A r i e g e s e t z e t ( J e n a : Johann Werther, B a y e r i s c h e S t a a t s b i b l i o t h e k , S l g . Her 0 238/5. 87 1679). Munich, Zu a l i e n Ausserwehlten Frommen. to a l l the e l e c t e d Mutter Ach wie so u n v e r h o f f t w i r d nun entzogen M i r meine Lust und gantze Zuversicht! Es w a l l e t mir mein H e r t z wie Meeres=Wogen / S o l i d i e s e r H i n t r i t t mich betruben n i c h t ? Mein H e r t z / ach Schmertz! i s t weg g e r i s s e n Hat d i e s e Welt v e r l a s s e n miissen. Mother A l a s how unexpectedly now are my j o y and a l l c o n f i d e n c e s t r i p p e d from me! I t rocks my heart l i k e ocean waves, Should not t h i s departure g r i e v e me? My h e a r t , o g r i e f ! has been t o r n away, has had to leave t h i s w o r l d . Sohn Die Welt l e g i c h durch d i e s e n T r i t t Zuru'kke / Und a l l e s d i s s / was S t e r b l i c h e betrubt / Wer es bedenckt / missgbnnt mir n i c h t mein Gliikke / Wenn er mich noch f u r andern hat g e l i e b t ; Der Tausch i s t gut / und noch wohl g e t r o f f e n / Die Seele f i n d e t den Himmel offen. Son With t h i s step, I lay a s i d e the world, and a l l t h i s that g r i e v e s mortals, Who bears i t i n mind does not envy me my l u c k , I f he s t i l l loved me f o r another; The exchange i s good and opportune, The s o u l f i n d s heaven open. Mutter Mein G e i s t thut n i c h t s / a l s s t e t i g s e h n l i c h klagen / Ich steh gantz einsam und verlassen hier / » Was s o i l i c h thun / a l s s e u f f z e n / k l a g l i c h sagen: G e f a l i e n i s t d i e Krone / meine Zier; Ach r i n n e t / f l i e s s e t meine Zehren! Weil niemand meinen Schmertz kan wehren. Mother My s p i r i t does n o t h i n g but c o n s t a n t l y l o n g i n g l y lament, I stand here completely alone and abandoned, What should I do but s i g h [and] p i t e o u s l y say: F a l l e n i s the crown, my delight; A l a s , run, flow my t e a r s ! Sohn Gehabt Euch wohl / und s t i l l e t eure Thranen / Ich b i n j a wo man ewig s i c h e r bleibt / Es i s t umsonst a l l / euer s e h n l i c h e s Sehnen / B e f r i e d g e t euch / und d i e s e s Son Farewell, Because no one pain. and can pious. subdue my stay your t e a r s , I am where one s t a y s s a f e forever, I t i s a l l i n v a i n , your ardent longing, Be c o n t e n t , and b e l i e v e t h i s 88 feste glaubt: Die / so i n C h r i s t o s e e l i g sterben / Die kbnnen nimmermehr verderben. firmly: Those who d i e b l e s s e d l y Christ Can never p e r i s h . Mutter Mother So then, sleep w e l l you sunken bones, U n t i l the Redeemer on Judgement Day C a l l s you from the b l a c k c r y p t to the heavenly community, To him i n h i s heavenly c i t a d e l o So ruht denn wohl i h r e i n g e s e n k t e n Beine / B i s s der E r l b s e r euch aus schwartzer Grufft / Am j i i n s t e n Tag zur h i m m l i s c h e n Gemeine / In seine Himmels=Burg zu s i c h berufft: Wo Jesus s e l b s t d i e Himmels=Sonne / B e s t r a h l t d i e Frommen s t e t s mit Wonne. Where Jesus h i m s e l f , the heavenly sun, C o n s t a n t l y shines w i t h b l i s s upon the pious. Die Seele l e b ' i n ungekrankten Freuden / Sie i s t von a l l e r Angst und Schmertzen l o s s / Sie f i i h l e t n i c h t / was wir noch mu'ssen l e i d e n / Sie ruhet s a n f f t bey Gott i n Abrams=Schoss: Wir w o l l e n e i n s t nach d i e s e n Leben / Ihr ewig da G e s e l l s c h a f t gebe n. At the in the beginning l o s s of her verses assurances heaven. 6, that his death soul lives composition, the the sorrow and mother was the is grieving accepts and through that his with the consolation personified in life. mother 89 her soul the the dialogue son son's was in argu- accordingly knowledge that her In the performance of t h i s work at the f u n e r a l , the r e a l m o u r n e r s w o u l d be e x p e c t e d t o themselves laments t h e o l o g i c a l or d o c t r i n a l mother of eternal mother to the p e r s o n i f i e d consoled God's w i l l personified s a l v a t i o n and in undiminished It i s f r e e of a l l f e a r and sorrow, It does not f e e l what we must s t i l l suffer, It r e s t s i n peace w i t h God i n the lap of Abraham: One day a f t e r t h i s l i f e , we will Be i t s company t h e r e f o r eternity. a C h r i s t i a n to r e f u t e type, achieved The T h r o u g h the t e x t a s c r i b e d and this abandons her the 4 Unable as ments of son has 2, son. of in of the dialogue associate and would c o r r e s p o n d i n g l y be a f f e c t e d by the s o l a c e o f f e r e d by these arguments. The number of p e r s o n i f i e d c h a r a c t e r s r e p r e s e n t e d this t y p e i s not r e s t r i c t e d , Gespra'chs-Ode which was Frau D i e t z s c h i n . ^ des of 3 W i t t i b e r s " (lament the deceased and 4 personified storbene" (the after to the v e r s e s are w r i t t e n as the identified blessed f o r comfort. "Eltern" The ( p a r e n t s ) as i n the deceased), composition appears in they, Subsequently "Klage husband in their The v o i c e of as "Die the of a t e x t of v e r s e s to console t h e i r son. addresses her g r i e f - s t r i c k e n h u s b a n d . text funeral of the widower) i n which the p e r s o n i f i e d c a p a c i t y , attempt wife, the sermon at the two c a l l s upon h i s parents i n e f f e c t u a l wordly the performed is attributed of as c a n be s e e n i n Adam K r i e g e r ' s T r a u e r - Here, the f i r s t 4 in dialogues fifth Selig=Ververse identified and i n the s i m p l y as the " W i t t i b e r " (the s u g g e s t i o n of l a m e n t a t i o n h a v i n g been n o t a b l y removed), the widower b i d s h i s w i f e "gute Nacht", acknowledging that that death i s d e s p a i r i n the but a n e c e s s a r y presence of death i s purposeless and s t e p towards the a t t a i n m e n t of e t e r n a l were a b l e greater d i s t i n c t i o n between p e r s o n i f i e d c h a r a c t e r s o f d i a l o g i c f u n e r a l m u s i c by e m p l o y i n g either • Composers to h i g h l i g h t r e a l or i m p l i e d p o l y c h o r a l e f f e c t s . the music were still represented the Although chorally a p p l i c a t i o n o f o p p o s i n g b o d i e s o f sound was suggesting works, m u l t i p l e c h a r a c t e r s than where persons the were o n l y t e x t u a l l y life. the p e r s o n s d e p i c t e d i n by several voices, the a more e f f e c t i v e means o f chorus alone in cantional-like identified. As an example of A . K r i e g e r , T r a u e r - G e s p r a c h s - O d e w e l c h e Bey der... F r a u D i e t z s c h i n B e e r d i g u n g j_ Nach g e h a l t e n e r Le i c h e n = P r e d i g t l_ \vi d e r Got t e s = Acker= K i r c h e j_ zum S a l v a t o r genant f_ abgesungen worden von Joh. Mich. •^E^iH^ ^ a n t ^ Cob. ( C o b u r g : J o h a n n C o n r a d M b n c h , F u r s t l i c h e Buchdruckerei, 1667). B e r l i n , Deutsche S t a a t s b i b l i o t h e k , Ee 700-695. 8 4 90 this type of c o m p o s i t i o n , one c a n c i t e "Ach G o t t w i e i s t m e i n H e r t z b e t r i i b t " composed by the E i s e n a c h c a n t o r 1656 Theodor Schuchardt (1601-77) i n f o r t h e f u n e r a l o f Johann H e i n r i c h W e i s s e , who d i e d a t twenty-two Q r weeks o f age. voice the choirs, father, (See Appendix, pp. 199-200) I n t h i s work f o r two f o u r the chorus p r i m u s i d e n t i f i e d as the "Quereus" represents and t h e chorus secundus c a l l e d the "Respondens" p e r s o n i f i e s the i n f a n t son. Schuchardt a p p r o p r i a t e l y a s s i g n s the t e x t o f the f a t h e r to the f i r s t c h o i r c o m p r i s e d o f l o w e r v o i c e s (ATTB), and the t e x t o f the r e s p o n d i n g son i s g i v e n to a c h o i r o f higher t h i s work, the two c h o i r s p e r f o r m laments h i s l o s s , while doctrine section i n alternation. Following l a b e l l e d "Conelusio" which i s derived I n the C o n c l u s i o can see, at t h i s towards r h e t o r i c a l assent w i t h musically contesting "father" point, church v a i n l y placed musically on musical from t h e the two c h o i r s alter- c a d e n c e o f e a c h t e x t u a l and c l a u s e of the chorus secundus being We The b e r e f t him f o r the value n a t e a t much s h o r t e r i n t e r v a l s , w i t h t h e primus. Throughout t h e s i x t h v e r s e i s an a d d i t i o n a l m a t e r i a l o f the chorus secundus. musical (SSAB). the "son" comforts h i s f a t h e r w i t h and f u r t h e r m o r e c h a s t i s e s worldly things. voices q u i e t l y e c h o e d by c h o r u s the father t h e son. Instead gradually moving o f t e x t u a l l y and the p o i n t w i t h h i s h i s p e r s o n i f i e d son, the f a t h e r b e g i n s t o e c h o h i s w o r d s and m u s i c . Assent i s u l t i m a t e l y achieved i n t h i s work as t h e p e r s o n i f i e d f a t h e r and son a r e u n i t e d t e x t u a l l y ("wenn 85 T. Schuchardt, C h r i s t l i c h e s Gesprach e i n e s betru'bten V a t e r s m i t seinem a b g e l e i b t e n Sbhnlein. A u f f den... H i n t r i t t . . . Johann-Henrici, des... H e r r n M. J o h a n n i s Weissen... S b h n l e i n s Welches... anno 1656... ehtschlaffen. M i t 8. S t i m m e n z u 2 u n t e r s c h i e d e n e n C h o r e n g e s e t z t ( G o t h a : J o h a n n M i c h a e l S c h a l l , 1656). B e r l i n , D e u t s c h e S t a a t s b i b l i o t h e k , 2 i n Ee 700-3882. 91 wir zusamen kommen") and composition, to musically when, f o r t h e f i r s t the two c h o i r s j o i n f o r c e s and there i s a change from a joyous t r i p l e Similar i n approach to Schuchardt's c o m p o s i t i o n , the Q u e d l i n b u r g e r who Appendix, died pp. 11 September 201-03) (SATTB) which, Wagner has 1671 and was further 29 December. for a or even three c h o i r s . first and As choirs. second tenor, and (See five-part a c c o r d i n g to the composer's i n s t r u c t i o n s , the p i e c e arranged f o r two i s made up o f a l t o , buried Wagner's c o m p o s i t i o n i s w r i t t e n e f f e c t i v e l y performed by two score, w i r d mein Herz" goes i n i t s a t t e m p t a c c u r a t e l y t o p e r s o n i f y t h e l a t e F r a u H e d w i g nee Busche, choir duple metre. M i c h a e l Wagner's p o l y c h o r a l "Ach! Ach! wie still t i m e i n the could i t exists i n the The chorus primus bass v o i c e s , the cantus p a r t b e a r i n g Wagner's i n s t r u c t i o n s : " T a c e t h. V. u s q ; ad V e r s . 6." chorus primus, performs presumably the f i r s t woman i s mourned. chorus secundus, two representing the v e r s e s o f the t e x t disconsolate i n which be The husband, the d e a t h o f t h e The c o m f o r t i n g t e x t o f v e r s e s 3 and 4, sung by t h e i s intended s o l a c e t o her husband. to r e p r e s e n t the deceased A l t h o u g h the music woman offering i s performed c h o r a l l y , Wagner M. Wagner, A r i a i n D i a l o g o i.e. Traur= und Trost=Gesprach j_ A u f f s e l i g e s Abs t e r b e n Der Hoch=Ede l g e b o r n e n j_ und mij: Chr i s t=Ade l i c h e n Tugenden begabten Frauen j_ Frauen Hedwig [_ Gebornen dem Busche ]_ aus dem Hause Ippenburg j_ u^ Des hoch=Edelgebornen Gestrengen und Vesten H e r r n j_ Hn. C h r i s t i a n W i l h e l m Hahnen j_ ^ \u_ Wei land Hertz= E h e g e l i e b t e s t e n j_ Nachdem D i e s e l b e am 11. S e p t e m b r . Anno 1671. n a c h M i t t a g e urn 2^ Uhr s e l i g i n dem HERRN e n t s c h l a f f e n ]_ und d a r a u f f den 29. Novembris s e l b i g e n Jahres m i t Hoch=Adelicher j_ a n s e h n l i c h s t e r und v o l c k r e i c h e r B e g l e i t u n g i n d i e K i r c h e Seeburg b e y g e s e t z t wurde ji_ A n g e s t e l l t und a u f f g e s e t z e t von M. GEORGIO SICELIO, P a s t o r e i n B e s s e n s t e t / Und a u f f Begehren i n einem fu'nf f s t i m m i g e n C o n t r a p . S^_ e y l f e r t i g s t v e r s e t z e t / und n a c h Be l i e b e n a u f f 2j_ o d e r 3j_ C h o r e a n z u s t e l l e n e i n g e r i c h t e t von MICHAELE WAGNERO, M u s i c o und C a n t o r e Ord. in Q u e d l i n b u r g ( L e i p z i g : J . B a u e r , 1672). B e r l i n , Deutsche S t a a t s b i b l i o t h e k , 2 i n Ee 658 4°. 92 comes c l o s e r to l e n d i n g f e m i n i n e of the dead woman by more draws the labelling again by lamentation, t h e "vox the this chorus time to his- p e r s o n i f i c a t i o n the Cantus v o i c e to the c h o i r performers' a t t e n t i o n i t as sung adding characteristics to the principalis." primus with importance Verses the c o n t i n u e s i n t h e s e v e r s e s . We further- of t h i s p a r t by 5 through tacit r e p r e s e n t i n g the e n t i r e and soprano 7 are once part. The f a m i l y of mourners, see i n t h e s e v e r s e s where t h e m u l t i p l e c h o i r s c o u l d p o s s i b l y h a v e been e m p l o y e d : Wagner s i m u l t a n e o u s l y u s e s three d i f f e r e n t children, t e x t s the b e t t e r and b r o t h e r s and sisters to r e p r e s e n t t h e m o u r n i n g as they address Der grimme Tod hat s i c h unser Mutter Und meiner l i e b s t e H e r t z unser Schwester As the mourners are e v e n t u a l l y persuaded their sadness to t r i p l e forces with metre. joy, the music The text c o m p o s i t i o n concludes as the v a r i o u s p e r s o n i f i e d v e r s e 11, and f i n a l l y and figures the husband, deceased: gerochen gebrochen. by the deceased to r e p l a c e undergo a change from w i t h the two sing first choirs t o one duple joining another in i n a c o l l e c t i v e s u p p l i c a t i o n to J e s u s a t t h e end of verse. 12: 11. waret waret i h r bey mir Ach waren / ach |waren wir a l l e z u g l e i c h e / In JEsus versiissetem h i m l i s c h e n Reiche. wir sie zugleiche / 12. H i l f f JEsu dass a l l e B a l d komen zum ewigen h i m l i s c h e Reiche. In 1651 composition Simon B r a n c o v i u s , cantor i n Raniss, f o r nine v o i c e s and basso 93 composed a polychoral c o n t i n u o on the death of Frau Agna Elisabeth von Breitenbauch. (See Appendix, pp. 204-14) The p o i n t s o u t on t h e t i t l e page of t h e w o r k t h a t t h e w o r k was for two choirs, w r i t t e n "... as i f the Most Noble deeply d i s t r e s s e d Herr von bauch i n the f i r s t c h o i r , composer Breiten- i n the second however the Most Noble F r a u von 88 B r e i t e n b a u c h , on p a r t i n g , as i t were, t h u s the widower, with the f i r s t accompanying choir i s written for Alto, basso continuo. i s made up o f S o p r a n o I and Appropriate to a r e a l i s t i c husband and the deceased the lower spoke...." The II, Alto, second Tenor, Representing Tenor and Bass v o i c e s p o r t r a y i n g the dead Lady B a s s and b a s s o continue i f a b s t r a c t m u s i c a l d e p i c t i o n of the widowed wife, the two choirs emphasize, respectively, and h i g h e r v o i c e types. Brancovius d i d compose a soprano part f o r the comments on i t at the b e g i n n i n g of the p a r t book as chorus secundus and follow: The f i r s t c h o i r , when i t a l t e r n a t e s w i t h the second c h o i r , always proceeds w i t h o u t the D i s c a n t . At the end, however, the f o l l o w i n g D i s c a n t i s added to i t , and not w i t h o u t s p e c i a l E f f e c t ; f o r such a S. B r a n c o v i u s , M u s i c a l i s c h e C h r i s t l i c h e E i n b i l d u n g e i n e s r e c h t b e w e g l i c h e n C l a g = und T r o s t = G e s p r a c h s V f f das f r l i e z e i t i g e doch s e l i g e Absterben Der Weyland Hoch E d e l g e b o h r n e n E h r e n und V i e 1 T u g e n d r e i c h e n F r a w e n / Agnae E l i s a b e t h e n v o n B r e i t e n b a u c h j_ G e b o h r n e n v o n V i p p a c h j_ Des auch Hoch Edelgebornen [_ Gestrengen und Mannvesten Herrn ]_ M e l c h i o r n von Breitenbauchs u f f Raniss und B r a n d e n s t e i n j_ e t c . Churf 1. D u r c h l . zu Sachsen W o h l v o r g e s a t z t e n Ober = S t e u r E i n n e h m e r s d e r Land= und T r a n c k = S t e u r i^n d e n A f f e c u r i r t e n A e m p t e r n H e r t z g e l i e b t e n gewesenen Haussfrawen g e r i c h t e t / Vnd Bey dero A d e l i c h e n L e i c h e = P r o c e s s i o n , so den 21. J u l i i Anno 1651. a n g e s t e l l e t wurde j_ u f f zwey Chor j_ a l s wenn im e r s t e n C h o r d e r Hoch Ade 1. h o c h b e t r u b t e H e r r von B r e i t e n b a u c h j_ lm a n d e r n a b e r di^e H^ A d l . F r a w von B r e i t e n b a u c h zum A b s c h i e d e g l e i c h s a m a l s o r e d e t e n j_ z u s i n g e n / Hochgedachten A d e l i c h e n W o h l s e l i g e n Matron zu s c h u l d i g e n l e t z t e n E h r e n = G e d a c h t n i i s s Mi_t 9j_ S t i m m e n c o m p o n i r e t und numehro u f f Begehren neben beygefligten Basso Continuo zum Druck aussgea n t w o r t e t j_ Von Simone B r a n c o v i o Gub. Lusato, Cantorn zu R a n i s s . (Jena: Caspar Freyschmied, 1651). London, B r i t i s h L i b r a r y , H i r s c h I I I 666. 1 i 88 "... u f f zwey Chor / a l s wenn im e r s t e n Chor d e r Hoch A d e l . hochbetrubte Herr von B r e i t e n b a u c h / Iiri andern aber d i e H. A d l . Fraw von B r e i t e n b a u c h zum Abschiede g l e i c h s a m a l s o redeten...." 94 D i s c a n t c a n a l s o r e p r e s e n t , as i t were, i n a d d i t i o n t o t h e M o s t N o b l e L o r d o f B r e i t e n b a u c h , o t h e r a t t e n d i n g Most N o b l e mourners .... The composer goes further sopranos of the chorus primus to say t h a t , they might at l e a s t f o l l o w along. the text Breitenbauch now bears t o keep t h e from becoming bored because o f the long p e r i o d o f s i l e n c e , he i n c l u d e d t h e f u l l enters, i n order such As e a c h o f t h e p e r s o n i f y i n g headings speaks here...," ^ which as "The M o s t Noble choirs Lord of i s f o l l o w e d by "The M o s t 9 b l e s s e d l y d i s e m b o d i e d Lady t e x t o f t h e work f o r them t h a t Noble, o f B r e i t e n b a u c h t h u s r e s p o n d s , so t o 91 speak, t o her... d i s t r e s s e d w i d o w e r i n t h e f o l l o w i n g way...." In the second entrance o f the chorus secundus, the p e r s o n i f i e d woman "renounces this transitory world," 92 and c o n c l u d e s w i t h a "Valediction to the 93 g a t h e r i n g o f Most N o b l e friends." choirs addressing a p e t i t i o n The work c o n c l u d e s w i t h t h e two to God. The next work to be d i s c u s s e d i s the second o f two works w r i t t e n i n 1672 by Nuremberg o r g a n i s t H e i n r i c h Schwemmer f o r the f u n e r a l o f A m a l i a , H e r r i n von S t u b e n b e r g . 94 (See Appendix, pp. 215-22) The deceased woman 89 I b i d . "Der e r s t e Chor / wenn e r m i t den andern Chor abwechselt / g e h e t immer ohne D i s c a n t , zum B e s c h l u s s a b e r kbmmet n a c h f o l g e n d e r D i s c a n t dazu / und n i c h t ohne sondern E f f e c t , den s o l c h e r D i s c a n t neben dem H o c h A d e l . H e r r n v o n B r e i t e n b a u c h auch a n d e r e H o c h A d e l . a n g e h b r i g e B e t r u b t e g l e i c h s a m b r e p r a e s e n t i r e n kan...." 90 Ibid. "Der Hoch A d e l . Herr von Breutenbauch redet hier...." 91 Ibid. " D i e Hoch a d e l i c h e numehr s e e l , a b g e l e i b t e F r . v o n B r e u t t e n b a u c h i n / r e s p o n d i r e t g l e i c h s a m b Ihrem... b e t r i i b t e n H e r r e n Witber / n a c h f o l g e n d e r m a s s e n also...." 92 " . . . v e r n i c h t e t d i e s e v e r g a n g l i c h e Welt,..." 93 . . . V a l e d i c t i o n an d i e s a m b t l i c h e Hoch A d e l . F r e u n d s c h a f f t . " 94 H. Schwemmer, Zwey Klag= und A b s c h i e d s = L i e d e r j_ liber den L e i c h = 95 is personified accurate previously and in* this vivid composition i n a manner which approaches a more r e p r e s e n t a t i o n of the deceased mentioned works. The work begins f o r f o u r v i o l e da b r a c c i a and b a s s o throughout the work as a u n i f y i n g voices, lamenting the three-part choir's f i r s t interlude, by one i n the five-part instrumental r i t o r n e l l o . work by "sonata" four l i n e s of text and The the a l t o , l o s s of t h e i r beloved Amalia. members tenor accompaniment and F o l l o w i n g the a brief instrumental the soprano e n t e r s i n a c l e a r p e r s o n i f i c a t i o n of the woman, s i n g i n g c o m f o r t i n g l y to the ensemble. a seen continuo, which i n f a c t f u n c t i o n s of the c o n g r e g a t i o n are r e p r e s e n t e d i n t h i s bass with than o f the deceased instrumental Whether Schwemmer intended t h i s p r o s o p o p o e i a l t e x t to be sung or s e v e r a l s o p r a n o s cannot be a s c e r t a i n e d f r o m the m u s i c , but there can be no doubt t h a t the composer intended to i n v e s t the t e x t w i t h m u s i c a l q u a l i t i e s which would most c l o s e l y living correspond to the v o i c e of a Amalia. Whereas Schwemmer's a p p l i c a t i o n o f m u s i c a l - r h e t o r i c a l prosopopoeia f i t t i n g l y d e p i c t e d the v o i c e s of the c o n g r e g a t i o n of m o u r n e r s and deceased, music funeral K a s p a r F b r k e l r a t h , o r g a n i s t a t St M a r i e n to an a l l e g o r i c a l of S i b y l l a the i n Flensburg, set d i a l o g u e i n a work composed i n 1671 f o r the U r s u l a , Duchess of Brunswick, LUneburg, etc. "' 9 (See Text und T i t u l j_ Der Hoch=Wolgebornen Frauen j_ Frauen Amaliae j_ H e r r i n v o n S ^ u b e n b e r g j_ G e b o r n e r H e r r i n v o n L i e c h t e n s t e i n j_ und Murau u. a u f g e s e z e t v o n T o b i a F r a n c k e n : i.n d_ie N o t e n a b e r v e r s e z e t j_ und bey; H o c h a n s e h n l i c h e r Beerdigung m u s i c i r e t von H e i n r i c h Schwemmer /_ D i r e c t . Mus. (Nuremberg: C. Gerhard, 1665). Nuremberg, S t a d t b i b l i o t h e k , W i l l I I 1121.4°. K. F b r k e l r a t h , C h r i^s__t I i c h e s S t e r b - L i e d . . . der... S i b y l l a e U r s u l a e . . . v e r f a s s e t von H e n i n g o P e t e r s e n . . . und Anno 1672 den 6_^ F e b r . gesungen und m u s i c i r e t (Hamburg: Georg Rebenlein, 1672). Wolfenbiittel, 96 A p p e n d i x , pp. 223-26) siegende angels). group identified More so t h a n application as "Der E n g e l i n F b r k e l r a t h ' s c o m p o s i t i o n r e p r e s e n t s as as p o s s i b l e the a c t u a l v o i c e - t y p e s of a l l the c h a r a c t e r s b e i n g The p a r t o f J e s u s , as was c u s t o m a r y , i s sung by a b a s s , the v o i c e o f the woman's s o u l i s a s s i g n e d i s given to a f o u r - p a r t chorus c o m p o s i t i o n , Jesus her acceptance to t r i p l e , into Chor" ( t h e c h o i r o f i n the p r e v i o u s l y mentioned composition, the of prosopopoeia personified. choir p l a c e between Jesus, "Die S e e l e " ( t h e v i c t o r i o u s s o u l ) -- i . e . , t h e l a t e S i b y l l a U r s u l a -- and a t h i r d closely The d i a l o g u e t a k e s to a soprano, (SATB). and the a n g e l i c In the course o f f e r s e n t r y i n t o heaven to the deceased o f the o f f e r , of the woman. Upon the metre o f the music changes from and the a n g e l i c c h o i r e n t e r s welcoming the v i c t o r i o u s duple spirit heaven. The overall design of this funeral composition by F b r k e l r a t h d i f f e r s c o n s i d e r a b l y from t h a t of the o t h e r d i a l o g i c works m e n t i o n e d thus far. First, the c h a r a c t e r s represented i n the music are wholly a l l e g o r i c a l , that i s , a p e r s o n i f i c a t i o n o f the mourners i s n o t i c e a b l y absent. Secondly, as a c o n s e q u e n c e t o t h i s , t h e t e n o r o f t h e t e x t had n e c e s s a r i l y t o assume a q u i t e d i f f e r e n t rath's c o m p o s i t i o n of the text upon ( R e v e l a t i o n s 3:5). i s i n fact which a musical literary direction. r e p r e s e n t a t i o n or m a g n i f i c a t i o n the subsequent funeral What the c o n g r e g a t i o n heard Herzog-August-Bibliothek, Gn. 4 ° 1592 Fbrkel- sermon was was a most p e r s u a s i v e , (2). • 96 based • In t h e d e s c r i p t i o n o f t h e f u n e r a l c e r e m o n y a t t h e b e g i n n i n g o f the p u b l i s h e d L e i c h e n p r e d i g t o f 1672, t h e u n i d e n t i f i e d a u t h o r w r i t e s t h a t F b r k e l r a t h ' s m u s i c was p e r f o r m e d , f o l l o w e d by t h e s i n g i n g o f t h e Duchess's b e l o v e d " H e r r J e s u C h r i s t wahr M e n s c h und G o t t , " and t h e 97 almost dramatic r e a l i z a t i o n of a narrative b i b l i c a l case o f a composer e x p l o i t i n g The nature, the Augenkultur t e x t s of the d i a l o g i c comparable f u n e r a l sermons. in their an exemplary o f the p e r i o d . compositions intent text are c l e a r l y to t h e ^ p r i n c i p l e s didactic in v o i c e d i n Baroque C h r i s t o p h Weissenborn s t a t e s near the b e g i n n i n g o f h i s P o l i t i s c h e r L e i c h = R e d n e r o f 1707 t h a t t h e p u r p o s e o f t h e Abdankung, a type o f f u n e r a r y o r a t o r y , was t o p r a i s e the deceased lament the death o f the deceased mourners ( T r o s t , ; attending consolatio), the s e r v i c e (Lob, l a u d a t i o ) , t o (Klage, l a m e n t a t i o ) , to c o n s o l e the and to thank the c o n g r e g a t i o n f o r (Danksagung, g r a t i a r u m a c t i o ) . 9 7 Honouring the 98 deceased and and l a m e n t i n g h i s o r h e r d e a t h a r e i n e f f e c t t h e same a c t , thanking formality basic the c o n g r e g a t i o n than elements for their of necessity. of d i a l o g i c attendance the mourners, communication with funeral music and s e r m o n i c i n one s e n s e , the h e r e a f t e r are given i n that a direct they, by t h e dead. At the b e g i n n i n g compositions, personified mourners sermon. 97 oratory are Through p r o s o p o p e i a l p e r s o n a l l y addressed the more o f Thus, we a r e a b l e t o s e e t h a t t h e two e s s e n t i a l l y the same: l a m e n t a t i o n and c o n s o l a t i o n . dialogues i s a matter give the line living, of are o f the d i a l o g i c voice in music I b i d . , p. 4. . . . C. Weissenborn, P o l i t i s c h e r Leich=Redner welcher d i e p r a c t i c a b e l s t e n Kunst=Reguln von der I n v e n t i o n , D i s p o s i t i o n und E l o c u t i o n d e r e r nach der h e u t i g e n Mode e i n g e r i c h t e t e n Abdanckungen bey o f f e n t l i c h e n Trauer=Solennien z u r Befbrderung f e i n e r O r a t o r i s c h e n C o l l e g i o r u m durch d e u t l i c h e Exempel e r l e u t e r t ( J e n a : H e i n r i c h C h r i s t o p h C r b k e r , 1707), p. 6. 98 See a l s o M. F i i r s t e n w a l d , " T h e o r i e und F u n k t i o n d e r B a r o c k a b dankung," i n L e i c h e n p r e d i g t e n a l s Q u e l l e h i s t o r i s c h e r W i s s e n s c h a f t e n , ed. by Rudolf Lenz (Cologne, Vienna: Bbhlau V e r l a g , 1975), p. 379. 98 to emotions mourners. reduced their which would I n the course to i t s essence, sorrow i n heaven. the emotional o f the c o m p o s i t i o n , the s o u l and t o r e p l a c e deceased, according happily reflect persuades i t with state like o f the r e a l a funeral the s u r v i v o r s I t was hoped by the composers o f the t e x t method can s c a r c e l y be imagined feel vicariously Solo Arias A third — Compositions for solo with voice of this basso c o n t i n u o type were most accompaniment, s o l o v o i c e w i t h an accompanying i n s t r u m e n t a l There a r e s e v e r a l The f i r s t the mourners. the and a more themselves t o type o f f u n e r a l music i n which prosopopoeia was employed i s solo aria. type. would a l l o w possible is frequently ensemble. approaches t o p r o s o p o p o e i a l characterized 1670.^ written less frequently f o r settings of by the r e p r e s e n t a t i o n o f one o f One example i n which one o f the mourners i s p e r s o n f i e d i s s e c o n d o f two w o r k s f o r C a n t u s and c o n t i n u o w r i t t e n Schwemmer and music consoled. the this that the t e s t i m o n y , was s a f e l y and t h a t t h e i n d i v i d u a l and c o l l e c t i v e m o u r n e r s i n t h i s way persuasive to abandon j o y i n the knowledge to h i s o r h e r p e r s o n a l sermon f o r the funeral (See A p p e n d i x , o f Johann p. 227) Sigmund In t h i s by H e i n r i c h H a l l e r von H a l l e r s t e i n composition, "Nun i s t a l l e s iiberstanden," which was performed d i r e c t l y a f t e r the f u n e r a l sermon, t e x t was sung as a p e r s o n i f i c a t i o n o f H a l l e r ' s s o n . tone of the text i s much the same as that o f other in The the consolatory works that have been 99 H. Schwemmer, L e t z t e r Z u r u f f j_ w e l c h e r nach g e h a l t e n e r Predigt a b g e s u n g e n und a u f g e s e z z t worden durch Obennanten [ i . e . H e i n r i c h Schwemmer] (Nuremberg: M. Endter, 1670). Zwickau, R a t s s c h u l b i b l i o t h e k , M. 105, l j ; Nuremberg, S t a d t b i b l i o t h e k , W i l l V I I , 1 3 0 8 . 4 ° . 99 examined: the son b i d s t h e d e c e a s e d congregation with words of farewell consolation. t h e r e b y p r o v i d i n g the Because we are given no i n d i c a t i o n as t o t h e age o f the son, i t i s i m p o s s i b l e to know e x a c t l y what degree of r e a l i s m Schwemmer has if hoped H a l l e r ' s son p o r t r a y e d i n the work was to achieve still in this setting: a young c h i l d at the t i m e o f J o h a n n Sigmund's d e a t h , Schwemmer's c h o i c e o f a s o p r a n o v o i c e w o u l d have c o n t r i b u t e d to the a c c u r a c y o f the r e p r e s e n t a t i o n ; i f n o t , t h e e f f e c t i v e n e s s of t h e p r o s o p o p o e i a elements of number and w o u l d have been l i m i t e d to the text. A s i m i l a r a p p l i c a t i o n of p e r s o n i f i c a t i o n i n another work by Schwemmer i s an a r i a from 1661 (See A p p e n d i x , p. 228) continuo, the c o m p o s i t i o n followed by beginning the "Hie f o r the f u n e r a l of M a r i a Magdalena W i n c k l e r . * ^ Written viol c o n s o r t and the soprano. The eleven verses it As of text, i c h uberha'ufft mit Schmertzen," c h a r a c t e r i s t i c a l l y d i s p l a y the g r a d u a l a f f e c t i v e change i n the mourner from consolation. basso begins w i t h a b r i e f i n s t r u m e n t a l i n t r o d u c t i o n entry of lieg f o r soprano, i n the case of Schwemmer's "Nun i s not p o s s i b l e t o d e t e r m i n e i s t alles w h e t h e r or n o t he was t h e work a g r e a t e r s e n s e lamentation libers tand en," attempting to infuse into selecting a high voice. S i n c e the p e r s o n i f y i n g v o i c e p a r t i s not a s c r i b e d to any person in p a r t i c u l a r , o f r e a l i s m by to a c t i n g r a t h e r as a k i n d of a b s t r a c t i o n o f a s i n g l e even of a group o f mourners, the rhetorical effect of the or prosopopoeia *^H. Schwemmer, T e x t - L i e d l i b e r den se 1 i g s t e n H i n t r i t t und bey C h r i s t l i c h e r B e s t a t t u n g der E d l e n und T u g e n d r e i c h s t e n Frauen Marien=Magdalenen j_ gebohrnen PELLERINNEN / Des E d l e n und Vesten Junckherrn Bened i c t Winckler... Eh=Schatzes... ( L e i p z i g : C. M i c h a e l , 1661). Nuremberg, S t a d t b i b l i o t h e k , W i l l I I 1208.4°. 100 is not d i m i n i s h e d . Although the p e r s o n i f i c a t i o n o f m o u r n e r s i n t h e s o l o a r i a was common and p e r s u a s i v e a p p l i c a t i o n of m u s i c a l - r h e t o r i c a l the r e p r e s e n t a t i o n of the deceased s o l o a r i a s where a mourner was personifying the deceased. i n w h i c h the deceased where the q u a l i t y by One Gottfried Appendix, father The We w r i t t e n as a p e r s o n i f i c a t i o n them f r o m verses of text that he school the t i t l e to t h a t of the deceased portrayed h i s father rector i s found i n a work i n Neustadt.*^ (See f u n e r a l o f Brechthold's o f the work t h a t i t was in fact o f B r e c h t h o l d ' s f a t h e r as he " t a k e s h i s his remaining i s a s h o r t note f o r s o l o v o i c e and compositions t e x t u a l l y by a s o l o s i n g e r , b u t w r i t t e n f o r the the grave." t i o n both to h i m s e l f and tion the a r i a was from by o r a l t o v o i c e i n c o r p o r a t e d t o p e r s o n i f y an know from world As i n p o s s i b l e means o f is characterized example o f t h i s k i n d o f prosopopoeia p. 229) leave of t h i s first of v o i c e does not correspond Ernst Brechthold, i n 1668. addresses d e p i c t e d , t h e r e are two The prosopopoeia, more f r e q u e n t l y employed. is personified -- f o r e x a m p l e , a s o p r a n o a d u l t male. was a wife Appended and children, i n t h i s work as a way ( u n f i g u r e d ) basso m u s i c a l - r h e t o r i c a l prosopopoeia, thus t o t h e end o f the n i n e i n which the composer informs to the g r i e v i n g f a m i l y . and the reader of o f f e r i n g consola- Although this composi- c o n t i n u o i s a c l e a r example o f the composer, f o r some reason, chose to G. E. B r e c h t h o l d , Trauer=Musica, Der S e l i g = v e r s t o r b e n e H. Johann B r e c h t h o l d von seinem h i n t e r = l a s s e n e n Eheweib und K i n d e r n den Abschied aus d i e s e r Wel_£ Bi . .e_t / und ^ i f . g l e i c h s a m aus dem G r a b e aj. so_ a n r e d e t (Coburg: Johann Conrad Mbnch, 1668). Gotha, F o r s c h u n g s b i b l i o t h e k , RIII 10(32). m i m n o Ibid, "...von s e i n e m h i n t e r = l a s s e n e n E h e w e i b und K i n d e r n den Abschied aus d i e s e r Welt nimmet / und s i e g l e i c h s a m aus dem Grabe a l s o anredet." 101 write the v o c a l line f o r a soprano voice. Why would d e l i b e r a t e l y p o r t r a y h i s f a t h e r w i t h a soprano v o i c e ? no Brechthold Perhaps there was a v a i l a b l e a d u l t male at the time t o s i n g the a r i a , or perhaps f i n d i n g a voice to correspond consideration to that o f the deceased f o r the composer. A third was n o t an and p l a u s i b l e a l t e r n a t i v e i s t h a t t h e v o c a l l i n e , though w r i t t e n could have been While t h i s would sung latter certainly comfortably an o c t a v e important performance f o r soprano v o i c e , l o w e r by a t e n o r voice. a l t e r n a t i v e may n o t have been t h e c a s e a t a l l , make m u s i c a l and r h e t o r i c a l sense, i t and such a p r o p o s i - t i o n c a n be f u r t h e r s u p p o r t e d by h i s t o r i c a l e v i d e n c e , as we s h a l l now see. In the same year that Brechthold a n o t h e r composer, i d e n t i f i e d wrote a s o l o a r i a published h i s composition, i n t h e p r i n t o n l y by t h e i n i t i a l s 1668, I. F., f o r the f u n e r a l o f Dr Johann V a l e n t i n Majer o f C r a i l s - . 1 0 3 heim. (See Appendix, habe das T h r a n e n t h a l and basso continuo. the v o c a l p. 229) der Welt" i s o s t e n s i b l y w r i t t e n I t i s noted voice l i n e c o u l d be p e r f o r m e d by " C a n t u s s i v e T e n o r s o l u s . " One t o h a v e sung t h e p r o s o p o p o e i a 1 t e x t i f t h e performance sought deceased p h y s i c i a n as an animate s p i r i t . by f o r soprano that i n this i n the piece composition, "Ich by I. F., h o w e v e r , would e x p e c t a tenor v o i c e musicians As was Brechthold's I. F. i s n o t a n o m a l o u s f o r that to p o r t r a y r e a l i s t i c a l l y the Assuming that the c o m p o s i t i o n t i m e -- i n d e e d , i t i s t y p i c a l o f 103 I. F., M u s i c Dess s e e l i g v e r s t o r b e n e n H e r r n . D. M a j e r s l e t z t e V a l e d i c t i o n £3o n a c h g e h a l t e n e r L e i c h = P r e d i g t in d e r S t a t t k i r c h e n zu C r a i l s h e i m d u r c h e i n e n D i s c a n t i s t e n von der Orge1 abgesungen worden (Ansbach: Johann Hornung, 1668). Erlangen, U n i v e r s i t a t s b i b l i o t h e k , T h l . XIX, 9 4 Qu. (X 307). a 102 vocal and i n s t r u m e n t a l would be r e a s o n a b l e possibility s u b s t i t u t i o n as p r a c t i s e d i n the Baroque t o assume that this alternative works o f t h i s type i n the seventeenth German composers of f u n e r a l music g e n e r a l l y texts. The l a t e Anthonius an anonymously w r i t t e n mein J e s u meine Wonne."^ originally written parts a final Heinrich occasional tion, first farewell. i s identified 1684 e n t i t l e d "Nimm The c o m p o s i t i o n was (the of the e i g h t string verses, the temporal A second example of the funerary solo a r i a i n i s accurately Thei1 i n 1648.*^^ "Gedenkt w i e mich der Tod" (no. continuo, i s personified and then b i d s Siebender music p u b l i s h e d mindful to p r o s o p o - of three v i o l s In the course p e t i t i o n s Jesus o f the deceased Albert's from p. 230) a consort a r e l o s t ) and basso c o n t i n u e which the v o i c e in (See Appendix, 4 music f o r instance, funeral composition f o r tenor v o i c e , the p e r s o n i f i e d Schott world Schott, century. appeared t o be o f t h e s e x o f t h e d e c e a s e d when s e t t i n g s o l o v o c a l in performance was l i k e w i s e a v a i l a b l e t o t h e p e r f o r m e r s o f B r e c h t h o l d ' s work and t o other poeial it represented der Arien, can be found an a n t h o l o g y One o f the a r i a s i n t h i s 81), w r i t t e n as the " L e t z e r rede Einer of collec- f o r soprano and basso vormals s t o l t z e n und Anon., Gewbhnlicher Wahl=Spruch oder Himmels=Verlangen j_ Dess... Herrn Anthonius S c h o t t ]_ I h r e r C h u r f u r s t l . Durch. zu Sachsen w i i r c k l i c h e n Geheimden Raths /... nunmehro s e e l i g e n Andenckens j_ Bey dessen hochans e h n l i c h e n und v o l c k r e i c h e n B e e r d i g u n g . . . I n e i n e r T r a u e r = O d e j_ v o n E i n e m M i t b e t r i i b t e n e n t w o r f f e n und d a s e l b s t a b g e s u n g e n j_ am Tage d e r Beysetzung J_ den 2. Decembris, 1684 (Regensburg: Paul D a l n s t e i n e r s s e e l . W i t t . , c a . 1685). R e g e n s b u r g , B i s c h b f l i c h e Z e n t r a l b i b l i o t h e k (Proske-r M u s i k b i b l i o t h e k ) , An. 84. ^"*H. A l b e r t , S i e b e n d e r T h e i 1 d e r A r i e n , e t 1 i c h e r t h e i I s g e i s t l i c h e r : s o n d e r l i c h zum T r o s t i n a l l e r h a n d C r e u t z und W i d e r w e r t i g k e i t , w i e auch z u r E r w e c k u n g s e e l i g e n S t e r b e n s L u s t ; t e i l s w e l t l i c h e r ; zu geziemenden Ehren-Freuden und Keuscher L i e b e dienender L i e d e r , zu singen g e s e t z e t . (Kbnigsberg: 1648). London, B r i t i s h L i b r a r y , G. 62. b. 103 und gleich jetzt Characteristic sterbenden of Albert w r i t t e n more i n a s p i r i t seen i n the opening Jungfrawen."^^ (See A p p e n d i x , i n many o f t h e s e c o m p o s i t i o n s , of admonition p. 230) the a r i a i s t h a n o f c o n s o l a t i o n , as c a n be lines: Gedenkt w i e mich der Tod So s c h e u s s l i c h hat gemacht Ich tanze nur v o r an i h r werdet f o l g e n mussen. C o n s i d e r how hideous death has made me I o n l y lead o f f the dance you w i l l have t o f o l l o w . Interestingly, on the word "tanze," there i s a change i n the score from duple to t r i p l e metre i n a r a r e m u s i c a l r e f e r e n c e i n Baroque f u n e r al music to the T o t e n t a n z . ^ Hans J o a c h i m that A l b e r t ' s 7 Moser, i n h i s b i o g r a p h y o f H e i n r i c h Schutz, w r i t e s prosopopoeial compositions o f the more g r a p h i c type "were 108 often i n r a t h e r bad t a s t e " Albert's setting of Robert -- p o s s i b l y R o b e r t h i n ' s "Wie l i e g the Siebender T h e i l d e r A r i e n . origin, "...last address a r i a s as i c h h i e ! " , no. 32 i n T h i s c o m p o s i t i o n , presumably o f f u n e r a r y i s d e s c r i b e d as the "Rede e i n e r v e r s t o r b e n e n ^ Ibid. 6 i n r e f e r e n c e t o such of a once proud J u n g f r a u auss dem and now dead maiden." ^ S e e R. Hammerstein. Tanz und Musik des Todes: d i e m i t t e l a l t e r l i c h e n T o t e n t a n z e und i h r N a c h l e b e n ( B e r n und M u n i c h : F r a n c k e V e r l a g , 1980). A l t h o u g h Hammerstein has r a t h e r l i t t l e t o say about the Totent a n z i n t h e s e v e n t e e n t h c e n t u r y , he does m e n t i o n t h a t r e f e r e n c e s i n f u n e r a l s e r m o n s t o t h e dance were common (p. 14), and t h a t , g e n e r a l l y speaking, the Totentanz was most o f t e n d e p i c t e d m u s i c a l l y through t r i p l e m e t r e (p. 4 9 ) . 7 108 See H. J . Moser, H e i n r i c h Schutz: H i s L i f e and Work, t r a n s , from 2nd ed. by C. F. P f a t t e i c h e r ( S a i n t L o u i s : C o n c o r d i a P u b l i s h i n g House, 1959), p. 487. 104 Grabe," 109- animate i n which haven demonstrates the personified f o r worms. greater In sympathy these than corpse becomes i n s t a n c e s at Moser for a decaying least, the van world but Ingen view of P r o t e s t a n t Germans i n the seventeenth century: f o r the Baroque poet, the theological ends, in this case e f f e c t i v e admonition, justified the p o e t i c means: But that i s e x a c t l y what the poets wanted to achieve! In o r d e r t o work at any c o s t , no method was too c r a s s , no p l a c e too v i l e . The Baroque helped i t s e l f to a l l t h i n g s , animate as w e l l as i n a n i m a t e , to e x p l a i n them e m b l e m a t i c a l l y . T h e r e f o r e , man must s u f f e r a t every stage of h i s l i f e . For the Memento m o r i , he becomes a l l the more u s e f u l as a d y i n g o r d e a d man: h i s f i n a l hours, h i s f i n a l r e s t i n g p l a c e and h i s decaying, p u t r e f i e d body p r o v i d e t h i s genre w i t h t h e most e f f e c t i v e means of i n t e n s i f i c a t i o n . . . . He p a i d no a t t e n t i o n to taboos; a l s o , he was p r o b a b l y unaware o f any. In poeial the same way that g r a p h i c extremes pervaded much o f the funerary l i t e r a t u r e i n the seventeenth century, prosopo- composers, too, used every a r t i s t i c means a t t h e i r d i s p o s a l t o p o r t r a y as v i v i d l y possible presence o f the the animate as deceased. P h y s i c a l P e r s o n i f i c a t i o n o f the Dead The last type o f m u s i c a l - r h e t o r i c a l prosopopoeia to be c o n s i d e r e d h e r e i s c h a r a c t e r i z e d by t e x t u a l p e r s o n i f i c a t i o n o f t h e d e c e a s e d , by r e p r e s e n t a t i o n of the deceased by a s o l o v o i c e , and by an added p h y s i c a l dimension displacement through ^^"Address the s p a t i a l o f a dead maiden from of the p e r s o n i f y i n g voices. the grave." ^^Van Ingen, op. c i t . , p. 299. "Aber das w o l l t e n d i e D i c h t e r gerade e r r e i c h e n ! Um zu w i r k e n um j e d e n P r e i s , war k e i n M i t t e l zu k r ass, k e i n O r t zu g a r s t i g . Das B a r o c k e b e d i e n t e s i c h a l l e r D i n g e , l e b e n d i g e r wie l e b l o s e r , s i e s i n n b i l d l i c h auszudeuten. Dazu muss auch der Mensch, auf a l i e n S t u f e n s e i n e s Lebens, h e r h a l t e n . Fiir das Memento m o r i w i r d e r e r s t r e c h t a l s Sterbender oder a l s T o t e r brauchbar: Seine l e t z t e n Stunden, s e i n e l e t z t e R u h e s t a t t e und s e i n z e r f a l l e n e r , v e r f a u l t e r Kbrper fuhren d i e s e r Gattung d i e e f f e k t r e i c h s t e n S t e i g e r u n g s m i t t e l zu.... Um Tabus kummerte er s i c h n i c h t ; e r kannte s i e wohl auch n i c h t . " 105 The two w o r k s to be e x a m i n e d h e r e a r e H e i n r i c h S c h i i t z ' s Exequien (SWV 279-81) of Musikalische 1635 and t h r e e f u n e r a r y c o m p o s i t i o n s written in 1693 by M i c h a e l Wiedemann. The M u s i k a l i s c h e Exequien of H e i n r i c h Schutz most s t r i k i n g i n s t a n c e s of m u s i c a l - r h e t o r i c a l s t a n c e s s u r r o u n d i n g the o c c a s i o n for the recounted, has and the musicological work i t s e l f scrutiny.*** prosopopoeia. b e e n the subject Strasbourg) and after He was an e d u c a t e d able of his father's ruler, well Lobenstein, travelled, often considerable death), man ( h a v i n g s t u d i e d the The c i r c u l a r M u s i k a l i s c h e Exequien are Plauen, G r e t z , C r a n i c h f e l d , Gera, S c h l e i z , b o r n 6 J u l y 1572. one of Count H e i n r i c h I I von Reuss (named b e c a u s e he was b o r n t h r e e months over represents Posthumus Sovereign etc., rhetoric was in diplomatically See R. G e r b e r , "Die ' M u s i k a l i s c h e E x e q u i e n ' v o n H e i n r i c h S c h u t z , " M u s i k und K i r c h e 7 ( 1 9 3 4 ) : 2 9 6 - 3 1 0 ; H. J . M o s e r , H e i n r i c h S c h u t z : H i s L i f e and Work, t r a n s , f r o m 2nd r e v . ed. by C. F . P f a t t e i c h e r ( S a i n t L o u i s : C o n c o r d i a P u b l i s h i n g H o u s e , 1959; o r i g i n a l l y p u b l i s h e d , C a s s e l : B a r e n r e i t e r - V e r l a g , 1936), p p . 1 5 5 - 5 9 , 4 8 5 - 8 8 ; F . S c h b n e i c h , "Zum Aufbau des G l o r i a - T e i l s i n Schutzens M u s i k a l i s c h e n E x e q u i e n , " Musik und K i r c h e 20 ( 1 9 5 0 ) : 1 8 2 - 9 0 ; G. A . T r u m p f f , "Die ' M u s i k a l i s c h e E x e q u i e n ' von H e i n r i c h Schutz," Neue Z e i t s c h r i f t fur Musik 123 (1962): 12023; G. M i t t r i n g , " T o t e n d i e n s t und Chr i s t u s p r e d i g t : zum T e x t d e r M u s i k a l i s c h e n E x e q u i e n von H e i n r i c h S c h u t z , " i n M u s i k a l s L o b g e s a n g : Festschrift fu'r W i l h e l n r Ehmann, e d . G. M i t t r i n g and G. R b d d i n g ( D a r m s t a d t : T o n k u n s t V e r l a g K a r l M e r s e b u r g e r , 1964), pp. 4 3 - 6 3 ; H. R e i c h , "Handels Trauer-Hymne und d i e M u s i k a l i s c h e Exequien von Schutz," M u s i k und K i r c h e 36 (1966): 7 4 - 7 8 ; 0. B r o d d e , H e i n r i c h S c h u t z : Weg und Werk, ( B e r l i n : E v a n g e l i s c h e V e r l a g s a n s t a l t , 1985; o r i g i n a l l y p u b l i s h e d K a s s e l : B a r e n r e i t e r V e r l a g , 1972), pp. 1 4 4 - 5 4 ; G. G r a u l i c h , ed., H e i n r i c h S c h u t z : M u s i k a l i s c h e Exequien. Op. 7., S t u t t g a r t e r Schu'tz-Ausgabe, v o l . 8 (Neuhausen-Stuttgart: H a n s s l e r V e r l a g , 1973), pp. v i i - x l i i ; R. H e n n i n g , " Z u r T e x t f r a g e d e r ' M u s i k a l i s c h e E x e q u i e n ' v o n H e i n r i c h Schutz," S a g i t t a r i u s 4 (1973): 44-57; M. G r e g o r - D e l l i n , H e i n r i c h Schutz: s e i n L e b e n , s e i n W e r k , s e i n e Z e i t ( M u n i c h , Z u r i c h : R. P i p e r GmbH & C o . , 1984), pp. 215-19; S. K b h l e r , H e i n r i c h Schutz: Anmerkungen zu Leben und Werk ( L e i p z i g : Deutscher V e r l a g fiir Musik, 1985), pp. 143-46. 106 skilled, and socially education and the a r t s , he h i m s e l f singer capable thems...." of singing Heinrich servant's adroit. A "the Posthumus's was generous a proficient bass love patron i n many secondarily f o r t h e i r domestic of music was skills.** 4 lowly Musikanten,**^ and would act church, motets such that times an- even h i s Though an a r i s t o c r a t , at as and and q u a l i t i e s and not h e s i t a t e to c r o s s s e v e r a l c l a s s b a r r i e r s to partake with the instrumentalist fine were h i r e d p r i m a r i l y f o r t h e i r m u s i c a l of only he did i n music-making Capellmeister, to 1 1 6 use h i s own regards the term, during latter, c h u r c h s e r v i c e s a t the c o u r t c h a p e l . Christoph H e i n r i c h Posthumus t h a t " i t was when e v e r y t h i n g R i c h t e r mentions i n the o b s e q u i e s a p a r t i c u l a r source of joy to His went s m o o t h l y and As i n an o r d e r l y f a s h i o n i n the for Grace church 112 H. R. Jung, " E i n unbekanntes Gutachten von H e i n r i c h Schutz iiber d i e N e u o r d n u n g d e r Hof-, S c h u l - und S t a d t m u s i k i n G e r a , " B e i t r a g e z u r M u s i k w i s s e n s c h a f t 4 (1962): 19. 113 G r a u l i c h , op. c i t . , pp. v i i i , xxv ( t r a n s , o f G r a u l i c h ' s p r e f a c e by Derek M c C u l l o c h ) . " . . . v i e l e n k u n s t l i c h e n a n m u t h i g e n M o t e t t e n und C o n c e r t e n den Bass...." ** Ibid. 4 **^Schiitz p r a i s e s t h i s aspect of H e i n r i c h Posthumus's c h a r a c t e r i n the e l e g y w h i c h p r e f a c e s the p u b l i s h e d v e r s i o n o f t h e Musikalische Exequien of 1636. A c c o r d i n g to the "Kursachsische L a n d e s k l e i d e r o r d n u n g " o f 1612, the a r i s t o c r a c y b e l o n g e d t o the f i r s t c l a s s , w h e r e a s c o u r t M u s i k a n t e n were d e s i g n a t e d as members o f the f i f t h c l a s s . See D. K r i c k e b e r g , Das p r o t e s t a n t i s c h e Kantorat im 17. Jahrhundert: S t u d i e n zum Amt des deutschen Kantors, B e r l i n e r Studien zur M u s i k w i s s e n s c h a f t , ed. by A. A d r i o , v o l . 6 ( B e r l i n : V e r l a g M e r s e b u r g e r , 1965), pp. 79-80; and K b h l e r , op. c i t . , p. 45. ** C. R i c h t e r , Gott vber a l l e s . Das i s t : Frommer C h r i s t e n l i e b s t e r Schatz... Bey des Wey l a n d Hoch wo l g e b o r n e n H e r r n j_ H e r r n H e i n r i c h d e s s Jiingern... L e i c h P r e d i g t . . . g e z e i g t ( G e r a , [ 1636]). C i t e d i n G r a u l i c h , op. c i t . , p. i x , xxv ( t r a n s . ) . 6 107 and at services."''''' 7 Because Schutz was b o r n i n K b s t r i t z i n the area b i r t h a s u b j e c t o f t h e Reuss f a m i l y . sonal He e n j o y e d a l o n g - s t a n d i n g and p r o f e s s i o n a l r e l a t i o n s h i p w i t h spanned some twenty years of Gera, he was by H e i n r i c h Posthumus, up to the Count's death i n 1635. During perwhich that p e r i o d , S c h u t z h a d c a u s e t o meet w i t h H e i n r i c h P o s t h u m u s on numerous occasions, 1617, their f i r s t d o c u m e n t e d e n c o u n t e r t a k i n g p l a c e as e a r l y as when Schutz was e n t r u s t e d with the r e o r g a n i z a t i o n of the m u s i c a l 118 affairs i n the c o u r t , s c h o o l and town o f Gera. As d i d a l l c o n s c i e n t i o u s P r o t e s t a n t s many, H e i n r i c h Posthumus spent t u a l p r e p a r a t i o n for death. i n s even t e e n t h - c en t u r y G e r - time i n p r i v a t e c o n t e m p l a t i o n prepara119 t i o n s : he chose the t e x t s f o r the three f u n e r a l and b u r i a l sermons, s e l e c t e d a s s o r t e d c h o r a l e s t o be sung d u r i n g t h e s e r v i c e s , and had an active hand Nor d i d he n e g l e c t and s p i r i - i n the r e c o r d i n g o f h i s c u r r i c u l u m the m a t e r i a l v i t a e which was read a t 12 0 the funeral. Part of these preparations also included the I b i d . , " E i n e W u n d e r - h e r t z 1 i c h e F r e w d war es I h r Gn. wann es a l l e s i n der K i r c h e n vnd beym G o t t e s d i e n s t / f e i n o r d e n t l i c h vnd z i e r l i c h / vnd a l s o zugieng." 7 118 The a c t u a l t i e s between the Schutz and Reuss f a m i l i e s date back at l e a s t another two years, a t which time Schu'tz's b r o t h e r , Georg, was i n s t a l l e d as t u t o r t o H e i n r i c h Posthumus's s o n s . See H. R. J u n g , " E i n n e u a u f g e f u n d e n e s G u t a c h t e n v o n H e i n r i c h S c h u t z aus dem J a h r e 1617," A r c h i v f i i r M u s i k w i s s e n s c h a f t 18 (1961): 241-47; and J u n g , " E i n unbek a n n t e s G u t a c h t e n , " op. c i t . F o r a d d i t i o n a l i n f o r m a t i o n on S c h i i t z ' s p e r s o n a l and f a m i l i a l t i e s t o G e r a , s e e E. P. K r e t s c h m a r , " S c h u t z i n G e r a , " i n F e s t s c h r i f t z u r E h r u n g v o n H e i n r i c h S c h u t z , ed. by G. K r a f t (Weimar: B u c h d r u c k e r e i Uschmann, 1954), pp. 57-60. 119 M o s e r , op. c i t . , p. 156. 12 0 omitted G r a u l i c h , op. c i t . , p. v i i i . (Mention of the "Lebenslauf" i s by M c C u l l o c h from the E n g l i s h t r a n s l a t i o n . ) 108 clandestine painted construction of a copper coffin, which he t h e n had and e n g r a v e d -- t h e f o u r s i d e s and t o p o f t h e l i d , and t h e two s i d e s o f the case -- w i t h a s e l e c t i o n o f b i b l i c a l his choice. his death, i t s existence and c h o r a l e verses of Although the c o f f i n had been prepared a y e a r i n advance o f was k e p t s e c r e t by H e i n r i c h P o s t h u m u s until 122 just a few days be fo r e he d i e d . used v a r i o u s l y The i n s c r i b e d v e r s e s w e r e i n t u r n i n t h e s e r m o n s and a l s o s e r v e d a s t h e t e x t s Schutz s e t the music. to which The t e x t s were e m p l o y e d i n such a manner as t o g i v e a s e n s e o f c o h e s i o n to a l l a s p e c t s o f t h e c e r e m o n y : f o r i n s t a n c e , the t e x t f r o m P s a l m ich 73:25-26, " H E r r / wenn i c h n u r d i c h habe / so f r a g nichts nach H i m m e l vnd E r d e n , " w h i c h right-hand side of the c o f f i n , was e n g r a v e d s e r v e d as t h e b i b l i c a l on t h e u p p e r text f o r the sermon at the b u r i a l s e r v i c e on 4 February 1636, was quoted by Schutz i n the f i r s t s e c t i o n o f the M u s i k a 1 i s c h e E x e q u i e n ( C o n c e r t i i i Form e i n e r t e u t s c h e n Begra'bnis-Missa) performed for b e f o r e the sermon, and was the t e x t t h e e i g h t - v o i c e m o t e t (SWV 280) w h i c h was p e r f o r m e d immediately f o l l o w i n g the sermon. Conflicting Musikalische Richter's reports as to who commissioned the music E x e q u i e n and when i t was a c t u a l l y w r i t t e n . of the Appended t o s e r m o n i s a l i s t i n g o f t h e s c r i p t u r a l v e r s e s and hymn t e x t s which had been chosen and exist the t i t l e these, f o r the d e c o r a t i o n o f the appendix o f H e i n r i c h Posthumus's coffin, says i n p a r t : a l s o at the behest of o f T h e i r Most Noble Graces, Her Lady- 121 But see G r e g o r - D e l l i n , op. c i t . , p. 216. G r e g o r - D e l l m suggests t h a t t h e c o f f i n was made o f p e w t e r , c o n t r a r y t o C h r i s t o p h R i c h t e r ' s statement i n the L e i c h e n p r e d i g t . 12 2 C. R i c h t e r , C i t e d i n G r a u l i c h , op. c i t . , p. i x . 109 s h i p t h e C o u n t e s s Widow and h e r two s o n s , were s e t t o m u s i c and sung by t h e c h o i r t o t h e o r g a n b e f o r e t h e Sermon a t t h e s o l e m n b u r i a l service.... On t h e o t h e r hand, on t h e t i t l e Musikalische Exequien Schutz page o f t h e p u b l i s h e d writes l a t e Grace, at repeated request that during v e r s i o n o f the the work was "...sung f o r H i s his lifetime to a d i s c r e e t l y 10/ registrated at organ." h i s word. confidence In t h i s First case o f a l l , Schutz already protestant had been taken i t was no s e c r e t practices of the v a r i o u s that Heinrich a n d b y h i s own musical personal i n order. T h i r d l y , there appears changing the f a c t s , f o r he had l i t t l e Dresden, he a l r e a d y the wife possessed tried to gain. t h a t i t had i n f a c t a l r e a d y construction driven by f o r Schutz's As H o f k a p e l l m e i s t e r musical in appointment i n Posthumus's music f o r the f u n e r a l , unaware been p r e p a r e d ; h e r husband, a f t e r a l l , had s u c c e s s f u l l y kept h e r i n the dark w i t h r e g a r d and i n Gera. to h i s v a l e d i c t i o n I t i s possible Heinrich t o commission Schutz to w r i t e given inclination for t o be no r e a s o n the most e n v i a b l e most p r e s t i g i o u s German c o u r t . was Schutz i n t o the affairs Posthumus o r g a n i z a t i o n , t o assure that a l l arrangments r e l e v a n t were to take o f H e i n r i c h P o s t h u m u s as e a r l y as 1617, when he was charge of the r e o r g a n i z a t i o n Secondly, i t i s most tempting o f the c o f f i n . to t h e a r r a n g e m e n t s f o r I t i s conceivable too t h a t R i c h t e r , i n 123 R i c h t e r , op. c i t . C i t e d i n G r a u l i c h , op. c i t . , pp. i x , x x v i (trans), " d i e auch V f f Gna'dige A n o r d n u n g D e r e r H o c h W o l g e b o r n e n / I h r Gn. h i n t e r l a s s e n e n G r a f f l i c h e n Fraw W i t t b e n / v n d H e r r e n Sbhne i n d i e Music v e r s e t z e t / vnd bey dero... a n g e s t a l t e r H e r r l i c h e n L e i c h b e y s e t z u n g v o r d e r P r e d i g t i n d i e O r g e l / nach I h r W o l s e l . Gn. h i e b e v o r n m e h r m a l s w i e d e r h o l t e r a n l e i t u n g f i g u r a l i t e r abgesungen werden s o l l e n . " 10/ See f a c s i m i l e r e p r i n t i n G r a u l i c h , op. c i t . , p. l i . T r a n s , i n G r a u l i c h , i b i d . , p. x x v i i . "...ihrer w o l s e h l i g e n Gnaden / bey dero l e b z e i t e n w i e d e r h o l t e n b e g e h r e n nach / i n e i n e s t i l l e v e r d a c k t e O r g e l a n g e s t e l l e t vnd abgesungen worden." 110 writing the sermon understandably, and assumed the appendix that the to i t , wrongly, members of Heinrich but Posthumus's immediate f a m i l y were the o n l y ones i n a p o s i t i o n to make the arrangements methodical f o r the music, that Schutz unkown, t h o u g h i t was 1635, composed when he i n the c e d i n g the death There has i n t h e summer o r f a l l o f 1635. is In r e s i d e n t t h e r e f r o m e a r l y December 1633 returned to Germany b e c a u s e I t seems most l i k e l y , period f o l l o w i n g the death of then, the 1633 until death 4 of his t h a t the music was of Schutz's of H e i n r i c h Posthumus on 3 December mother and pre- 1635. been a c o n s i d e r a b l e amount of d i s c u s s i o n about the degree obsequies remark s u g g e s t i n g himself and the M u s i k a l i s c h e E x e q u i e n w h i c h H e i n r i c h Posthumus s u p e r v i s e d the musical conscientious had b e e n named R o y a l D a n i s h K a p e l l m e i s t e r a t the C o u r t o f K i n g mother, Euphrosyne. to composed probably C h r i s t i a n IV, and was May the necessary Count. When i t was Schutz underestimating quite or, indeed, i f he t h a t t h e r e was i n the o r d i n a n c e to was composition actively of Schutz's i n v o l v e d at a l l . o u t s i d e i n f l u e n c e i s made by the p e r f o r m a n c e r e f e r e n c e to the c o n f l a t i o n of c h o r a l e t e x t s and o f t h e work. One Schutz Here, in modes, he w r i t e s : S i n c e I h a v e had t o b r i n g t o g e t h e r i n one body v e r s e s o f German hymns i n a v a r i e t y o f modes, I hope d i s c e r n i n g m u s i c i a n s will f o r g i v e me, where I have had on o c c a s i o n to t r a n s g r e s s the N i n t h Mode i n o r d e r to f o l l o w these hymn tunes. H. Schutz, " A b s o n d e r l i c h V e r z e i c h n u s deren i n diesem W e r c k l e i n b e f i n d l i c h e n M u s i c a l i s c h e n Sache...," f a c s i m i l e i n G r a u l i c h , op. c i t . , pp. l x i i , x x i v ( t r a n s . ) " w e i l d i e G e s e t z l e i n d e r T e u t s c h e n Kirchen Gesange von a l l e r h a n d T o n i s , i c h i n e i n Corpus zusammen b r i n g e n s o l l e n / h o f f e i c h v e r s t a n d i g e Mus i c i m i r v e r z e i h e n w e r d e n / wo i c h aus den S c h r a n c k e n N o n i T o n i b i s s w e i l e n a u s s s c h w e i f f e n vnd s o l c h e n K i r c h e n Melodeyen nachgehen miissen." Ill Presumably Schutz would h i s m u s i c had he had not have f e l t the need to w r i t e an a p o l o g i a f r e e r e i g n o f the c o m p o s i t i o n : he instead have w r i t t e n the work d i f f e r e n t l y , f o r s u r e l y these modal offended h i s ear dresses. scribed as much as Furthermore, on Heinrich consider the Posthumus's c o f f i n , and in turn, incorporated Musikalische t h o s e o f the " v e r s t a n d i g e i f we Exequien, we see that then, that order the o r d e r i n g of the 3 clear, represented on The on the 2 February coffin of the t e x t terestingly was the and at which h e l d by time the Subsequently, embalmed, a p r a c t i c e , We were b o r n i n t o then l a i d Pastor the coffin Bartholomaus and 1636. Schwarz body were the trans- f a m i l y c r y p t was lo- e x e c u t e d on 4 F e b r u a r y , i n - c e r t a i n l y i n t e n t i o n a l l y , the b u r i a l day of Simeon. It ceremony t h a t S c h u t z p e r s o n a l l y d i - the performance of the M u s i k a l i s c h e must b e a r i n m i n d how the in state in numerous i n s c r i p t i o n s on f i n a l b u r i a l c e r e m o n y was i n the c o u r s e of t h i s l a t t e r rected provided to set to music. common among t h o s e who sermons was were r e f e r r e d to. and coffin. O s t e r s t e i n , where i t remained u n t i l February three 1636, the f o r him f e r r e d t o the P f a r r k i r c h e St J o h a n n i s , where the cated, the t e x t s i n Schutz's E x e q u i e n , o r a t l e a s t the Count c o u l d a f f o r d i t . H i s body was of S c h l o s s of Schutz, on mentioned e a r l i e r , first i n which Schutz e i t h e r c o l l a b o r a t e d w i t h H e i n r i c h Posthumus Upon h i s death, H e i n r i c h Posthumus's body was the chapel t e x t s as i n - is Schutz w i t h a s p e c i f i c o r d e r i n g u p p e r c l a s s e s and ad- It the t e x t of the M u s i k a l i s c h e as was M u s i c i " he each o f t h e s e t e x t s i n t o the c o m p o s i t i o n o f Mill - - b r e v i s a r e c o r r e s p o n d e n t l y 8 would transgressions l a y o u t o f the the for Exequien. h e a v i l y the d e a t h of H e i n r i c h P o s t h u m u s w e i g h e d upon the m o u r n e r s among the f a m i l y and 112 friends. From the de- s c r i p t i o n s we have o f R e u s s , he a p p e a r s sociable person sudden absence t o have been a g r e g a r i o u s and l o v e d by h i s f a m i l y , f r i e n d s -- i n every sense and s u b j e c t s , and h i s but the c o r p o r e a l -- was sure t o have b e e n d e e p l y f e l t as a p e r s o n a l l o s s by t h o s e a t t h e G e r a C o u r t . These d o u b t l e s s i n t e n s e f e e l i n g s were g i v e n l i t t l e c h a n c e t o a b a t e , f o r t h e i m m e d i a t e f a m i l y and c o u r t i e r s c o u l d h a r d l y p u t o u t o f m i n d t h e f a c t that throughout the Christmas the c o u r t c h a p e l . lasted season t h e Count's body was i n s t a t e i n During the l e n g t h y p e r i o d of o f f i c i a l mourning, which at l e a s t the two months between H e i n r i c h Posthumus's death and eventual b u r i a l , the f a m i l y c o n s t a n t l y would have been reminded of t h e i r l o s s , and t h e y no d o u b t w o u l d have r e m i n i s c e d i n t h e m e a n t i m e a b o u t h a p p i e r days. Since v i g i l s such as those p r a c t i s e d t i o n had been denounced by Luther, behaviour was expected they s t i l l spend time were they expected Were de tempore year) s t i l l of the f a m i l y w i t h r e g a r d periodically services (especially ceremony, D i d they or c o n s i d e r i n g the time o f period? probably i n a lengthy funeral t o those d e p i c t e d i n contemporaneous engravings, church f o r the b u r i a l ceremony. Throughout t h e body o f H e i n r i c h P o s t h u m u s p r e s u m a b l y pulpit. Whether unknown, though eral this or n o t t h e c o f f i n published Did i n t h e c h a p e l at S c h l o s s O s t e r s t e i n on 2 the body was t r a n s p o r t e d , Johannis t o the deceased. r e s p e c t s t o the deceased? intriguing h e l d i n the chapel d u r i n g cession s i m i l a r St t o pay t h e i r tradi- t o know what k i n d o f i n p r a y e r and d e v o t i o n i n the chapel? F o l l o w i n g t h e ceremony February, i t is difficult i n the Roman 113 t o the this final l a y beneath the was open d u r i n g t h e c e r e m o n y i s seventeenth-century frequently included i l l u s t r a t i o n s pro- Leichenpredigten depicting i n gen- c l o s e d as w e l l as open coffins, and suggests that casket sermons a l s o made o c c a s i o n a l r e f e r e n c e to the body, funeral i t was would additional visual exposed prove impact.) to the c o n g r e g a t i o n . to be The an open- e m o t i o n a l l y more moving owing to the ceremony began w i t h the f i r s t Schutz's M u s i k a l i s c h e Exequien. 73:25 ("HErr / wenn i c h nur (Naturally which section of F o l l o w i n g t h e sermon b a s e d on d i c h habe"), the c h o i r performed the Psalm second s e c t i o n o f S c h u t z ' s work, t h e s e t t i n g o f the same t e x t as a m o t e t f o r two four-part choirs. a Collect Rather than drawing and B e n e d i c t i o n a f t e r would have been the customary the ceremony to a c l o s e w i t h the p e r f o r m a n c e o f the m o t e t , w h i c h procedure, the c h o i r i m m e d i a t e l y commenced w i t h the t h i r d p o r t i o n o f the work. The s e t t i n g o f t h e movement and Schutz's d i r e c t i o n s f o r i t s p e r - formance are amply d e s c r i b e d i n the " S p e c i a l Index o f the M u s i c a l Items contained gracious heading in this reader." slight The work t o g e t h e r w i t h relevant " I I I . O r d i n a n t z des ordinance the O r d i n a n c e s i s the t h i r d Gesanges Simeonis: HErr nun f o r the and bears lassestu D i e n e r i n F r i e d e f a h r e n , " and i t w i l l p r o v e u s e f u l t o quote the deinen i t here i n full. 1. I t i s t o be noted that t h i s c o n c e r t e d motet i s f o r two c h o i r s , e a c h c h o i r s i n g i n g i t s own t e x t . C h o r u s P r i m u s i s i n f i v e p a r t s and r e c i t e s t h e w o r d s o f S i m e o n : H e r r , nun l a s s e s t du d e i n e n D i e n e r . C h o r u s Secundus i s i n t h r e e p a r t s , f o r two t r e b l e s and a b a r i t o n e o r h i g h bass, s i n g i n g the f o l l o w i n g t e x t and o t h e r s : S e l i g s e i n d d i e T o t e n , d i e i n dem H e r r n s t e r b e n . W i t h t h e i n v e n t i o n o f t h i s second c h o i r the Author has attempted to i n t i m a t e and convey something o f the j o y of the b l e s s e d disembodied Soul i n Heaven i n the company of Heavenly S p i r i t s and h o l y Angels. 2. Primus Chorus i s to be p l a c e d i n c l o s e p r o x i m i t y t o t h e o r g a n , b u t t h e Secundus C h o r u s i s to be s e t up a t a d i s t a n c e , a c c o r d i n g t o t h e way t h a t G r a u l i c h , op. c i t . , p. x x x i x . " A b s o n d e r l i c h V e r z e i c h n u s d e r e n i n d i e s e m W e r c k l e i n b e f i n d l i c h e n M u s i c a 1 i s c h e n S a c h e n / n e b e n s t den O r d i n a n t z e n an den G u n s t i g e n L e s e r . " ( F a c s i m i l e r e p r i n t i n G r a u l i c h , op. c i _ t . , p. x i i i . ) 114 seems most p r a c t i c a b l e . 3. By making another one or two c o p i e s o f t h i s Second Choir, and by s e t t i n g i t up a t d i f f e r e n t p l a c e s around the church, a c c o r d i n g to the p o s s i b i l i t i e s t h a t present themselves, t h e A u t h o r hopes t h a t t h e e f f e c t o f t h e w o r k m i g h t be g r e a t l y enhanced. I n t r o d u c e d by 2:29-32), Primus the tenor's i n t o n a t i o n o f the Canticum " H e r r nun lassest (Mezzo-Soprano, Chorus A l t o , Tenor I - I I , Bass) c o n t i n u e s f o r t i t e r with a S c h u t z ' s d i r e c t i v e s , was t o be p o s i t i o n e d rangement which i n i t s e l f was four a drop the v o i c e s and succession, different text i n dem i n no way i n the dynamic of the Secundus Chorus imitative (Luke du d e i n e n D i e n e r , " the f i v e - p a r t homophonic statement of " i n F r i e d e fahren." breves Simeonis from h i g h e s t T h i s c h o i r , a c c o r d i n g to close to t h e o r g a n , an a r - extraordinary. level (Soprano to from After fortiter to the first submisse, I-II, Baritone) enter in lowest v o i c e , taken from R e v e l a t i o n s 14:13, " S e l i g with a completely s i n d d i e Toten, d i e Herren sterben," l a t e r incorporating a d d i t i o n a l text from the a p o c r y p h a l Wisdom of Solomon (3:1). We can see from the o r d i n a n c e that Schutz composed conscious c o n s i d e r a t i o n of i t s r h e t o r i c . this work w i t h The t a s k he s e t b e f o r e h i m - Ibid. "1. I s t zu w i s s e n das d i e s e s C o n c e r t zwey Chor vnd i e g l i c h e r Chor s e i n e a b s o n d e r l i c h e Wort habe. Chorus primus i s t Quinque Vocum vnd r e c i t i r e t d i e Wort Simeonis: HErr nun l a s s e s t u deinen Diener. Chorus Secundus i s t Trium Vocum, hat zwene D i s c a n t vnd e i n e n Baritonum oder hohen Bass, s i n g e t folgende vnd andere Wort mehr: S e l i g seynd d i e T o d t e n d i e i n dem H E r r n s t e r b e n . M i t w e l c h e r i n v e n t i o n o d e r Choro Secundo der A u t o r d i e Freude der a b g e l e i b t e n S e h l i g e n S e e l e n im Himmel / i n G e s e 1 1 s c h a f f t d e r H i m m l i s c h e n G e i s t e r vnd h e i l i g e n E n g e l i n e t w a s e i n f i i h r e n vnd andeuten w o l l e n . 2. Primus Chorus werde a l l e r n e c h s t bey d i e O r g e l / Secundus Chorus aber i n d i e f e m e geordnet / vnd wie es etwa e i n e m i e d e m f u r das r a h t s a m b s t e b e d i i n c k e n w i r d . 3. Wer auch d i e s e n Chorum Secundum noch e i n : oder zweymahl a b s c h r e i b e n l a s s e n / vnd nach g e l e g e n h e i t d e r K i r c h e n an v n t e r s c h i e d e n e n O r t e n s o l c h e P a r t h e y e n a n s t e l l e n w o l t e / wiirde des A u t o r i s H o f f n u n g nach / den e f f e c t des Wercks n i c h t wenig vermehren." ( I b i d , p. x l . ) 115 self, w i t h the i n v e n t i o , of the disembodied was spirit h i s wish to r e p r e s e n t i n music i n the company of angels. the j o y Schutz was unques- t i o n a b l y employing a m u s i c a l p r o s o p o p o e i a at t h i s p o i n t , i m p l y i n g much i n the o r d i n a n c e . First o f a l l the t e x t u a l to the p e r c e p t i o n of disembodiment. Canticum Simeonis had long been employed at L u t h e r a n f u n e r a l s and, the mourners. i n this i s addressed to God. and Chorus's text from the is clearly a representation of i n n a t u r e and r e m i n d f u l o f promised The t e x t o f the t h r e e - v o i c e Secundus on the o t h e r hand, i s a c o n s o l a t o r y r e s p o n s e i n t h a t i t i s an a f f i r m a t i o n of a covenant o f death and God Primus contribute c h o r a l i t e r to accompany b u r i a l s case, The t e x t , p e t i t i o n a r y resurrection, Chorus, The differences as Man. Interestingly, though, resurrection that e x i s t s between i t seems to l a c k the almost t i o n i n g e m o t i o n a l c h a r g e o f the C a n t i c u m ques- S i m e o n i s ; r a t h e r i t i s much more a d i s t a n c e d , somewhat a p a t h e t i c statement of f a c t , made i n what an e x t r e m e l y p a t h e t i c Secondly, was situation. Schutz t h o u g h t f u l l y selected the p a r t i c u l a r v o i c e s to be used i n the Secundus Chorus. The v o i c e s o f t h e a n g e l s , a p p r o p r i a t e l y bearing I and the sopranos. labels I t was Seraphim Seraphim I I , a r e a s s i g n e d to two common at t h a t t i m e t o have boy s o p r a n o s r e p r e s e n t s e r a p h i c f i g u r e s ; Hans J o a c h i m M o s e r w r i t e s t h a t p e o p l e w o u l d travel l o n g d i s t a n c e s t o h e a r C h r i s t m a s m a t i n s a t Reuss's C o u r t , and t h a t i n 1623 Heinrich Posthumus p e r s o n a l l y d i r e c t e d a performance c h o i r b o y s were d r e s s e d as a n g e l s w e a r i n g g r e e n w r e a t h s f o r which and holding The f i v e s t e p s i n w r i t i n g a c c o r d i n g t o c l a s s i c a l r u l e s r h e t o r i c are i n v e n t i o , d i s t r i b u t i o , e l o c u t i o , memoria, p r o n u n t i a t i o . 116 the of burning voice, torches. significantly, Convenient harmonic though was i t was states written of Heinrich specifically f o r "einen Baritonum that anthems." Posthumus's r e p u t a t i o n Schutz fact that could clearly this supported Count by was the makes a baritone. statement much g r e a t e r , undoubtedly as a capable m u s i c i a n , every This i n Reuss's effort i s i n fact i s tempted w i t h b e i n g able to s i n g the bass p a r t n o t e -- m o t e t s third oder hohen Bass." handle "the bass i n many f i n e low v o i c e the H e i n r i c h Posthumus, and one the the that a bass p a r t would p r o v i d e the n e c e s s a r y as a s i n g e r who e s t a b l i s h the that i n the o r d i n a n c e f o u n d a t i o n f o r t h e c o n c e r t a t o c h o i r , S c h u t z was thinking and Schutz in this and motets work to a personification of to conclude from the evidence supposition would " L e b e n s l a u f " where he i n many -- but not a l l , seem to be i s credited one should and a n t h e m s : i n B a r o q u e f u n e r a r y p e r s o n a l i a , i t was and widely acknowledged, tendency to e x a g g e r a t e a the d e c e a s e d ' s q u a l i t i e s t h a n to d i m i n i s h them, as w o u l d o t h e r w i s e be t h e c a s e here.'' ^ 3 T h i r d l y , the s p a t i a l d i s p l a c e m e n t of the c o n c e r t a t o Secundus figures Chorus p r o m i n e n t l y i n S c h u t z ' s p e r s o n i f i c a t i o n of H e i n r i c h Posthumus. Since the time of h i s s t u d i e s i n Venice w i t h Giovannni G a b r i e l i , M o s e r , op. c i t . , p. Schutz 156. S e e R. L e n z , " G e d r u c k t e L e i c h e n p r e d i g t e n (15 50-17 50)," i n L e i c h e n p r e d i g t e n a l s Que 1 l e , op. c i t . , pp. 43-44. B e c a u s e o f -the growing tendency i n L e i c h e n p r e d i g t towards e x c e s s i v e l y h y p e r b o l i c d e s c r i p t i o n s o f t h e a t t r i b u t e s and a c h i e v e m e n t s o f t h e d e c e a s e d , L e i c h e n p r e d i g t e n came i n c r e a s i n g l y to be r e f e r r e d to i n the seventeenth century as Lugenpredigten. 1 3 0 117 was w e l l - a c q u a i n t e d w i t h t h e a c o u s t i c and d r a m a t i c chori spezzati, a d e v i c e w h i c h he u s e s k a l i s c h e Exequien. t o good e f f e c t In h i s p e r s o n i f i c a t i o n the e f f e c t o f the disembodied t h e d i s t a n c e , most l i k e l y p o s s i b i l i t i e s of of the Count, i n the MusiSchutz s o u l by p l a c i n g the Secundus Chorus o f f i n i n the g a l l e r y . f o r the a l t e r n a t i n g S i n c e the m u s i c i s w r i t t e n sectionally to allow two Schutz saw a d d i t i o n a l p r o s o p o p o e i a l p o s s i b i l i t i e s . choirs, achieves concertato e f f e c t between the He takes advantage of the ample pauses between e n t r i e s i n the Secundus suggesting tional that the t r i o be d u p l i c a t e d o r even t r i p l i c a t e d . Chorus, The a d d i - c h o i r s were then t o be p l a c e d i n o t h e r p a r t s o f the church, again probably seraphim i n the g a l l e r y . Most likely the s i n g e r s r e p r e s e n t i n g the and H e i n r i c h Posthumus were not v i s i b l e t o the c o n g r e g a t i o n , an 131 e f f e c t i v e p l o y Schutz himself replicated had been aware o f as e a r l y as 1623. the v o i c e s of the Secundus Chorus, I f Schutz as he p r e s c r i b e s i n t h e o r d i n a n c e , t h e c o n g r e g a t i o n w o u l d have h e a r d n o t o n l y the p e r s o n i f i e d v o i c e of H e i n r i c h Posthumus c o m f o r t i n g l y s i n g i n g they would have h e a r d from t h e v o i c e s , i n c o r p o r e a l and m i g r a n t , above, emanating from d i f f e r e n t but i n d e t e r m i n a t e p a r t s o f the church. Schutz full composed the l a s t s e c t i o n of the M u s i k a l i s c h e Exequien i n t e n t i o n s o f making a p o w e r f u l e m o t i o n a l mourners. T h i s i s made q u i t e c l e a r impact with on the assembly o f when he w r i t e s at t h e end o f t h e H. Schutz, "Preface t o H i s t o r i a d e r Auferstehung J e s u C h r i s t i , " i n Readings i n the H i s t o r y o f Music i n Performance, t r a n s , and ed. by C. M a c C l i n t o c k (Bloomington: Indiana U n i v e r s i t y Press, 1979), p. 142. A f t e r a d e t a i l e d d e s c r i p t i o n o f how a performance of the H i s t o r i a was to be executed, Schutz concludes the p r e f a c e w i t h the f o l l o w i n g statement: " I t s h o u l d be k e p t i n mind t h a t t h i s H i s t o r y w i l l be p e r f o r m e d w i t h b e t t e r grace o r e f f e c t i f o n l y the E v a n g e l i s t i s seen, the o t h e r p e r sonages and o t h e r s r e m a i n i n g hidden." 118 relevant hoped power o r d i n a n c e t h a t , through the a p p l i c a t i o n of p r o s o p o p o e i a , the " e f f e c t of des Werkes" might personification must c o n g r e g a t i o n of mourners. of have had i n c r e a s e d . The a i n the J o h a n n i s k i r c h e . first i n state months, the time upon the the body o f i n the c o u r t c h a p e l and During the two-month p e r i o d , t h e Count's p a s s i n g u n t i l emotional strong effect During the p r e c e d i n g two H e i n r i c h Posthumus l a y l i f e l e s s , later be g r e a t l y from of h i s interment, the of H e i n r i c h Posthumus's remains. logical guarantee resurrection and that eternal concepts were p r o c l a i m e d evidence that before a death was life, period, unprepared and death present l a y the body the r e a l i t y , the i n t e r m e n t which emotional Christian Although resurrection ended a prolonged, The gregation singing Schutz offered as c o n c r e t e and actual W e i n e n und a l l of which v e s s e l was concrete a promise. Moments and exhausting Heinrich's incorporeal friends. the mourners t a n g i b l e evidence incontrovertible Klagen," Collect and appears the c o n g r e g a t i o n c o u l d r e s t being interred, f o r t h e y had und Freud the coni c h fahr t h e hymn " H S r t t o be little assured that j u s t heard s i n g i n g from above i n the heavenly company o f angels. 119 as Reuss's corpse accompanied by t h e o l d b u r i a l hymn " M i t F r i e d the c l o s i n g But those to h i s f a m i l y and act o f i n t e r m e n t was d a h i n , " f o l l o w e d by denouement. where by Posthumus, stressful u n s u s p e c t i n g c o n g r e g a t i o n to hear the r e s u r r e c t i o n , of death. theo- followed church of Heinrich the the i t must have come as n o t h i n g l e s s than a shock to the Through the prosopopoeia, was t h e r e was always i n the v o i c e u t t e r i n g v a l e d i c t o r y words o f assurance of was day the i d e a o f d e a t h must have been u b i q u i t o u s i n the G e r a C o u r t , m a n i f e s t e d by presence he more auf mit than a o n l y an empty the l i v i n g spirit As an example of prosopopoeia performing forces, a more s t r i k i n g Exequien can be found in f o r the 1693 e f f e c t e d by s p a t i a l deployment of the i n two funeral example than Schutz's M u s i k a l i s c h e of three works by M i c h a e l Wiedemann w r i t t e n of Sigismund Heinrich, Freiherr von Bibran und Modlau. Rather of peasant 1659. 133 little i s known about the composer. Wiedemann was s t o c k i n G e i l s d o r f o r G e i b s d o r f i n O b e r l a u s i t z on 13 as p a s t o r i n O s s i g near Liegnitz Schweidnitz. B e t t e r known f o r h i s l i t e r a r y Wiedemann was the author of F i d o , l a t e r p u b l i s h e d another der literary work e n t i t l e d Musikant Owing to the J e s u i t s ' p e r c e i v e d calumny i n t h i s work, Wiedemann was consequently i n December 1693, C h r i s t l i c h e Gedenck-Predigt Ossig. In 1702 c o u r t preacher. Sigismund He f o r he where he appointed Superintendent a l s o served as Heinrich, Freiherr von published with Bibran latter He und was i n the as t h e p a s t o r i n by the Count of s e n i o r (Oberprediger) d i e d i n S t o l b e r g 1 September the c u r r i c u l u m v i t a e Geschichten is identified, f o r H e i n r i c h Sigismund, Wiedemann was Stolberg-Wernigerode, 12 a u s e r l e s e n e n removed from h i s p a s t o r a l post. however, n.d.), Historisch-poetischer (Leipzig, 1690). in output, (s.l., bestehend there April subsequently than h i s m u s i c a l unbesorgte i n E r z e h l u n g von and Gefangenschaften, still born • • what must have been a u n i v e r s i t y e d u c a t i o n i n theology, After Wiedemann worked and 132 and 1719. Modlau, according t h e L e i c h e n p r e d i g t , was to born i n 132 The b i o g r a p h i c a l i n f o r m a t i o n on M i c h a e l Wiedemann i s taken from Gerber, op. c i t . , c o l . 804, and R. E i t n e r B i o g r a p h i s c h - b i b l i o g r a p h i s c h e s Que 1 l e n L e x i k o n , 11 v o l s , i n 6 ( G r a z , A u s t r i a : A k a d e m i s c h e V e r l a g s Druck- u. V e r l a g s a n s t a l t , 1959), 10:255. 13 3 G e r b e r i d e n t i f i e s Wiedemann's b i r t h p l a c e as G e i l s d o r f , and E i t n e r , on the o t h e r hand, g i v e s G e i b s d o r f as the name of the town. 120 Liegnitz on March. it 26 F e b r u a r y Although we 1640, throughout Leipzig Dresden, and was do not know very i s known t h a t he s p e n t travelling and b a p t i z e d f i v e days much about f i v e y e a r s , most Europe. subsequently his earliest years, i n the mid 1660s, likely From L i e g n i t z , he l a t e r on 3 travelled t o the R h i n e l a n d and first to the N e t h e r l a n d s . He a l s o spent time i n France and n o r t h e r n I t a l y , e v e n t u a l l y c r o s s i n g the Alps i n t o Germany and was used as grooming p e r i o d foreign customs and finally r e t u r n i n g home. i n t e n d e d to prepare languages, This itinerant him, through time immersion in f o r h i s a c c e s s i o n to the baronetcy. He m a r r i e d on 14 November 1 6 6 9 , and i n the next twenty-three years f a t h e r e d t w e l v e sons and s i x daughters. died on 14 S e p t e m b e r sons, four daughters 1693. 1693 A f t e r a s h o r t i l l n e s s Sigismund a t the age o f f i f t y - t h r e e , and h i s w i f e . His funeral was s u r v i v e d by h e l d on two 9 December 1 3 5 Funeral ficantly procedures different from f o r Sigismund those H e i n r i c h were probably not for Heinrich Posthumus von there were a p p r o x i m a t e l y two-months between the Baron's burial, was Heinrich i t should be safe to assume that embalmed at death. the body, Reuss. signiSince p a s s i n g and h i s a c c o r d i n g to custom, Considering h i s s t a t i o n in l i f e , this period l i k e l y a t i m e o f o f f i c i a l m o u r n i n g d u r i n g w h i c h t h e body o f the was Baron 1 Q / The b i o g r a p h i c a l i n f o r m a t i o n on Sigismund H e i n r i c h i s d e r i v e d from the L e b e n s l a u f which was p u b l i s h e d w i t h the other s e c t i o n s of the L e i c h e n p r e d i g t from 1693. The L e i c h e n p r e d i g t , which c o n s i s t s o f more than one hundred pages of sermon, an eight-page Abdankung, a nine-page c u r r i c u l u m v i t a e , a six-page p r o s o p o p o e i a l poem, v a r i o u s t i t l e pages, an e n g r a v i n g o f t h e c o f f i n and s e v e n t y pages o f m u s i c , is in Berlin, B e r l i n e r S t a d t b i b l i o t h e k , Grauenklostersammlung VII. 1 3 5 p. I. N. J ! Dass das L i e b r e i c h e A n d e n c k e n G O t t e s 1. 121 /... TRAUER=REDE, lay i n state. short service church, As i n t h e c a s e o f H e i n r i c h P o s t h u m u s , where t h e r e was a i n the court chapel before the obsequies f o r Sigismund carried al h e l d i n the "Trauer-Zimmer," Following this first o r a t i o n , t h e body was i n p r o c e s s i o n to the E v a n g e l i s c h e K i r c h e i n O s s i g f o r the f u n e r - service proper. Before the f u n e r a l sermon, w h i c h was b a s e d werde n i c h t s t e r b e n / sondern u.), to the H e i n r i c h began w i t h a t h i r t y - t h r e e - page " T r a u e r - R e d e , " a f u n e r a r y o r a t i o n , presumably at the court. t h e body was moved the f i r s t performed. on P s a l m 118:17 ( I c h l e b e n / und des H E r r n Werck v e r k l i n d i g e n " B e g r a ' b n i s - C o n c e r t " composed by M i c h a e l Wiedemann was Because this poeial characteristics, particular composition i t i s not necessary here e x h i b i t s no prosopo- to d i s c u s s i t i n de- tail. Following the f u n e r a l sermon, t h e second "Begra'bnis Concert" was 137 performed. The c o m p o s i t i o n i s a p o l y c h o r a l p i e c e w r i t t e n f o r three M. Wiedemann, Begra'bnis=Concert von zehen Stimmen unter denen A l t , T e n o r und B a s s e t l i c h e B i b l i s c h e T e x t e v o r s i n g e n f_ w e l c h e s Zwey D i s c a n t e m i t e i n e m T r o s t = und Bet = C h o r a l aus g e i s t l i c h e n K i r c h e n Gesa'ngen beantworten. Dabey 2 V i o l i n e n und 3 V i o l e n massig d a r z w i s c h e n s p i e l e n bey dem F r e y h e r r l i c h e n Leichen=Begangniss Welches Dem Hochwohlg e b o h r n e n H e r r n ]_ HERRN S i g i s m u n d H e i n r i c h F r e y h e r r n v o n B i b r a n und Modlau... Den 9. Decembris des 1693sten Jahres i n O s s i g g e h a l t e n wurde ]_ V o r d e r P r e d i g t z u M u s i c i r e n g e s e z t v o n M i c h a e 1 Wiedemann ( L a u b a n : Johann G o t t f r i e d Dehnen, ca. 1693/94). 137 M. Wiedemann, Begra'bnis Concert a u f f 3. Chbren u n t e r welchen 1. Der Lehr=Chor a l l e r h a n d B i b l i s c h e Texte i n A l t [ , ] Tenor und Bass nebst 2. F l b t e n v o r s i n g e t J_ D e r G l a u b e n s Chor m i t e i n e r A r i e aus dem L e i c h e n = T e x t i.n d i s c a ' n t e n n e b s t 3. V i o l d i Gamb. e i n s t i m m e t 3. D i e Seelen Stimme den C h o r a l ^ H e r t z l i c h thut mich v e r l a n g e n i n einem D i s c a n t n e b s t e i n e r L a u t e ( h i n t e r m S a r g e v e r b o r g e n ) n a c h s i n g e t bey dem F r e y h e r r l i c h e n L e i c h b e g a n g n i s s w e l c h e s Dem hochwohlgebohrnen Herrn Herrn S i g i s m u n d H e i n r i c h j_ F r e y h e r r n y o n B i e b r a n und Modlau... den 9. Decemb r i s des 1693 J a h r e s i n O s z i g g e h a l t e n wurde Nach d e r P r e d i g t zu musici-^ ren g e s e t z t von M i c h a e l Wiedemann (Lauban: Johann G o t t f r i e d Dehnen, ca. 1693/94). 122 separate performing groups. The f i r s t i s labelled "Der Lehr Chor" and i s w r i t t e n f o r a l t o , t e n o r and b a s s v o i c e s , and f o r two o b b l i g a t o r e corders. direct scriptural second ing The t e x t s f o r f o u r o f t h e f i v e v e r s e s sung by t h i s c h o i r a r e choir quotations is identified the c o n g r e g a t i o n , da gamba. The t e x t sermon, beginning sterben / t h e O l d and New Testaments. f o r the second the t e x t leben." The of two sopranos and three c h o i r i s d e r i v e d from of Psalm third text and m u s i c 118:17: " I c h w e r d e group mented note organ values provides groups, sung by t h e p e r s o n i f i e d i s the c h o r a l e " H e r z l i c h the basso continuo viole the f u n e r a l i s called nicht the "Seelen Stimme," which c o n s i s t s o f a s o l o soprano and an accompanying The The as "Der Glaubens Chor," presumably r e p r e s e n t - and i s comprised with sondern from lutenist. v o i c e of the s o u l i n augthut mich verlangen." The accompaniment f o r the f i r s t two and an a d d i t i o n a l f i g u r e d b a s s p a r t i s p r o v i d e d f o r t h e t h i r d ensemble, with indications i n both continuo p a r t s t o suggest to the p e r f o r m e r s where they were and were not to p l a y . The three groups perform i n a l t e r n a t i o n w i t h one another, f i r s t w i t h t h e " L e h r Chor," f o l l o w e d by t h e e n t r a n c e Chor" and f i n a l l y the "Seelen Stimme." v e r s e s i n fragments r a t h e r than The beginning o f the "Glaubens The a l t e r n a t i n g c h o i r s s i n g the i n complete statements of the t e x t s . t e x t s of the c o r r e s p o n d i n g verses are t h e m a t i c a l l y s i m i l a r , a p p o s i t i o n of the s c r i p t u r a l , sermonic allows for a three-fold and c h o r a l e t e x t u a l magnification of their content. and the fragments At the end o f the p i e c e , t h e " L e h r C h o r " and t h e " G l a u b e n s C h o r " s h a r e t h e same for the l a s t v e r s e , the l a s t two l i n e s o f which (Das[s] i c h mag frblich s i n g e n das Consummatum e s t ) b e i n g e c h o e d by t h e " S e e l e n Stimme." 123 text The alternation of material also allows of the more f r e q u e n t ensembles: and concertato c o n t r a s t s are p r o v i d e d makeup of each of the elements are p r o m i n e n t l y m e n t a l bodies three by page o f this particular work. which proclaims is reflected i n the i s w r i t t e n i n s u c h a way tion. The music no the v a r i e d v o c a l instru- w i t h i n each of the i n d i v i d u a l c h o i r s . entity scriptures concerting heard between the v o c a l and The b a s e d as i t i s e n t i r e l y on s c r i p t u r e s , physical because c h o i r s , and a d d i t i o n a l T h a t Wiedemann meant to use p e r s o n i f i c a t i o n title variety c o n t r a s t s between the m u s i c o f the the main m u s i c a l instrumental for greater musical the Chor," w i t h from the i t s text r e p r e s e n t s an a b s t r a c t , m e t a Word o f God. t e x t sung by as t o r e p r e s e n t prosopopoeial "Lehr is evident congregation the The sense of the "Glaubens Chor," which the members o f t h e congrega- c o l l e c t i v e l y represented i n the longer laments the death of the Baron, f i n d i n g i n s t e a d c o n s o l a - t i o n i n i t s p r o f e s s e d a c k n o w l e d g e m e n t o f s a l v a t i o n , r e s u r r e c t i o n and eternal l i f e . the I t i s w o r t h n o t i n g t h a t some o f t h e t e x t t h r o u g h w h i c h r e p r e s e n t a t i o n a l congregation of the "Glaubens Chor" expresses s t a t e of c o n s o l a t i o n i s a c t u a l l y d e r i v e d from c o n s o l a t o r y p r e v i o u s l y made i n the sermon by Wiedemann's w i s h having in that, been consoled the sermon, by the r e a l themselves to f e e l i f the the congregation r a t h e r he a soprano v o i c e . Chor" c o u l d statements Perhaps i t be was depicted as to the Sigismund H e i n r i c h of mourners would s i m i l a r l y allow consoled. Stimme" i n order the deceased; "Glaubens words a t t r i b u t e d Wiedemann, u n l i k e Schutz, the "Seelen the p e r s o n i f i e d Baron. its One d i d not compose the p r o s o p o p o e i a l p a r t of f o r i t to decided correspond to express to the v o i c e - t y p e the v o i c e of the s p i r i t can o n l y s p e c u l a t e as t o t h e composer's 124 of with criteria for chosing Baron. any First, other case t o d e p i c t more a c c u r a t e l y the there of H e i n r i c h lengthy Leichenpredigt Posthumus i n p a r t by court Capellmeister the or a d d i t i o n t o most Wiedemann personify may the not fact cantor of have and von the t h a t i t was (This the same the seventy As in may and be not a pages of music, If this as mentioned of existed suggestion compulsion deceased to such a degree. that the c o u r t p a s t o r funeral oratory.) felt the to suggest the k i n d deceased Reuss. that composed the v o i c e q u a l i t y of i n the Baron's c u r r i c u l u m v i t a e or i n a s s o c i a t i o n between music supported in i s nothing p a r t s o f the affinitive the not i s the did case, Schutz earlier, it to was common p r a c t i c e i n the Baroque to d e p i c t s e r a p h i c v o i c e s w i t h the v o i c e s o f boy trying s o p r a n o s , and project i t may to the c o n g r e g a t i o n Baron than the image of t h e c a s e , we animation. strictly the be p o s s i b l e t h a t Wiedemann was l e s s the living seraphic or apotheosized w o u l d be d e a l i n g t h e n w i t h flesh-and-blood considerations, realizing that stand most c l e a r l y heard as s o l o i s t . as being what were the m u s i c a l availability o f the of m u s i c a l f u n e r a l music. one r h e t o r i c a l s k i l l of the composer and selecting whatever musical rather than governed at by perwould Without knowing more the Baron's Court to say t o what d e g r e e , f o r c e s a f f e c t e d the Finally, this types, a soprano v o i c e conditions t i m e of h i s d e a t h , i t i s d i f f i c u l t Were in this p a r t i c u l a r of the p o s s i b l e v o i c e precisely spirit. a transformation formance context, out image of the I t i s a l s o q u i t e p o s s i b l e t h a t Wiedemann was musical to composition and must a l s o c o n s i d e r his inventiveness means were r h e t o r i c a l l y and most at i f any, the the performance the musical- discretion in s u i t e d to the situation. What i s most noteworthy about Wiedemann's a p p l i c a t i o n of 12 , 5 musical- rhetorical prosopopoeia i s the p h y s i c a l element three p e r f o r m i n g ensembles. cular location i n the church the organ, striking for either of as was g e n e r a l l y about the "Lehr Chor" or the "Glaubens lutenist: practised t h e y were b o t h at that t h i s p i e c e a r e Wiedemann's d i r e c t i v e s the soprano voice Wiedemann of the "Seelen states o f the Because Wiedemann does not s p e c i f y a p a r t i - C h o r , " i t i s most r e a s o n a b l e t o assume t h a t near o f placement time. positioned What i s most f o r the p o s i t i o n i n g S t i m m e " and t h e a c c o m p a n y i n g on the t i t l e page that this third ensemble 138 was to p e r f o r m while on the placement third Heinrich's behind the c o f f i n . " Before of the "Seelen Stimme" and the l u t e n i s t , us b r i e f l y mention The "hidden the l a s t commenting however, l e t o f Wiedemann's t h r e e f u n e r a l works. and f i n a l c o m p o s i t i o n w r i t t e n by Wiedemann f o r Sigismund funeral was the German translation o f the Consummatum e s t , 139 "Es i s t vollbracht." Throughout this work o f t h r e e v e r s e s , the s o l o soprano, h a r m o n i c a l l y supported by a l u t e , represent the v o i c e of the Baron's s o u l and s i n g s the opening s e c t i o n o f the t e x t . The c h o i r , with ment, s u b s e q u e n t l y e c h o e s s e t t i n g (SSATB). through each soprano's 3 realizing t h i s statement 9 continues to the c o n t i n u o i n a homophonic, accompanifive-part T h i s t y p e o f a l t e r n a t i o n c o n t i n u e s p h r a s e by p h r a s e of the three verses, concluding f i n a l l y f i n a l u t t e r a n c e o f "es i s t v o l l b r a c h t . " Ibid. 1 the organ presumably "hinterm Sarge with the solo As i n t h e p r e c e d i n g verborgen." . M. Wiedemann, K u r t z e s B e s c h l u s s = L i e d g e n a u f f das CONSUMMATUM EST. von 8 Stimmen a u f f zwey Choren (1.) E i n D i s c a n t nebst der Laute ( i n d e r G r u f f t v e r d e c k e t ) i n t o n i r e t w e l c h e s (2.) Der g a n t z e Chor h e r n a c h w i e d e r h o l e t (Lauban: Johann G o t t f r i e d Dehnen, ca. 1693/94). 3 126 "Begra'bnis-Concert," i t i s the p h y s i c a l d i s p l a c e m e n t o f the p e r s o n i f y i n g v o i c e o f the s o u l t h a t i s m o s t s i g n i f i c a n t tion. Whereas the s o p r a n o and c o n c e a l e d b e h i n d the Baron's mann's i n s t r u c t i o n s this time, There it i s no w r i t t e n i s e v i d e n t that the l u t e n i s t had p r e v i o u s l y and the e n c o f f i n e d on musical s o u l would undoubtedly the c o n g r e g a t i o n , just be " h i d d e n i n the of the Baron's sometime between the performances animate performed page o f the l a s t p i e c e r e q u i r e the l u t e n i s t description Wiedemann's g r a p h i c body was of the second and depiction of crypt."l f u n e r a l ceremony, conveyed Sigismund H e i n r i c h ' s impression physical displacement and Wiedemann's use o f prosopopoeia, one might trope. and levels Schutz's funeral'music for Heinrich doubt Schutz's o f success of the r e s p e c t i v e a p p l i c a t i o n s o f the w i t h w h i c h Schutz There can be l i t t e per- w e l l compare the r h e t o r i - Posthumus has discussed in s u f f i c i e n t d e t a i l , d e m o n s t r a t i n g facility Post- o f the s o n i f y i n g v o i c e s i s t h e most s t r i k i n g c h a r a c t e r i s t i c o f b o t h results crypt pieces. have made a s t r o n g e m o t i o n a l Although 4 n though to the f a m i l y final the that, as Schutz's p e r s o n i f i c a t i o n of H e i n r i c h humus d i d on h i s audience. cal composi- c o f f i n i n the s e c o n d c o m p o s i t i o n , W i e d e - on t h e t i t l e the soprano i n the c o n c l u d i n g both d e p i c t e d the l i v i n g a l r e a d y been t h e p r o f u n d i t y and spirit that Wiedemann's assignment o f the Count. o f the p e r s o n i f y i n g v o i c e to a p o s i t i o n b e h i n d the c o f f i n and l a t e r i n the c r y p t must h a v e had a p o w e r f u l d r a m a t i c e f f e c t on the c o n g r e g a t i o n , but the composer i n t h i s i n s t a n c e seems to have f a i l e d t o use t h i s m u s i c a l - r h e t o r i c a l to achieve a s u i t a b l e t h e o l o g i c a l Exequien, 1 4 Q end. effect In the case of the M u s i k a l i s c h e the c o n g r e g a t i o n heard the p r o s o p o p o e i a l v o i c e of H e i n r i c h Ibid. "...in der G r u f f t v e r d e c k e t . " 127 Posthumus s i n g i n g f r o m t h e h e a v e n s , w h e r e a s the p e r s o n i f i e d v o i c e S i g i s m u n d H e i n r i c h was first, heard where the c o f f i n was the body had been c a r r i e d placed to the i n suggesting but seems t o have b e e n f a r l e s s of the the body, proximity f o r the c e r e m o n y and crypt. ful leaving to always i n close congregation Wiedemann was the concept of t o the body, finally after no doubt life since c o m p o s i t i o n c l e a r l y s t a t e s that "the the spirit text i s now itself success- after s u c c e s s f u l i n d e p i c t i n g the especially of of w i t h God, death, spirit's the final the body i n t h i s c r y p t , " * * a statement c l e a r l y i n c o n s i s t e n t w i t h what Wiedemann was expressing and 4 through the musical prosopopoeia. Wiedemann produced e x t r e m e l y v i v i d applications of Although both Schutz images of the deceased through musical-rhetorical prosopopoeia, there can their be no I / O question 4 that Schutz was "Die the s u p e r i o r S e e l ' i s t nun bey musicus poeticus. GOtt / der L e i b i n d i e s e r Gruf f t . . . . " I / O The manner i t s e l f i n w h i c h Wiedemann s i m u l t a n e o u s l y applied s c r i p t u r a l and c h o r a l e t e x t s i n the f i r s t c o m p o s i t i o n , s c r i p t u r a l and o t h e r n o n - s c r i p t u r a l t e x t s i n the s e c o n d c o m p o s i t i o n , as w e l l as the p r o s o p o p o e i a l r e p r e s e n t a t i o n o f t h e d e c e a s e d i n the s e c o n d and t h i r d c o m p o s i t i o n s , s u g g e s t s t h a t the s i m i l a r i t i e s b e t w e e n S c h u t z ' s and Wiedemann's music are more than mere c o i n c i d e n c e . 128 CHAPTER IV AFFECTIVE ELEMENTS OF COMPOSITION: FIGURENLEHRE AND METRE The F i g u r e n l e h r e , the d o c t r i n e of f i g u r e s , has been one o f the main focuses o f modern s t u d i e s o f m u s i c a l torically, first the r e l a t i o n s h i p codified 1601 between m u s i c a l i n the t h e o r e t i c a l and 1606.^ c o n s i d e r a t i o n both seventeenth and century currency first half musical works A practice cultivated c a t i o n of m u s i c a l - r h e t o r i c a l important rhetoric o f Joachim into of the e i g h t e e n t h s t y l e s and concepts century, Burmeister i n 1599, o f Johann A d o l f rhetoric caused century. The number d e c l i n e d d u r i n g the i n part by changes i n of m u s i c a l s t r u c t u r e i n c o m b i n a t i o n Scheibe's was an and t h e o r i s t s throughout the w i t h the g e n e r a l d e t e r i o r a t i o n o f p h i l o l o g i c a l s t u d i e s i n the s c h o o l s . time was i n Germany, the a p p l i - the e i g h t e e n t h of d i s c u s s i o n s o f musical His- figures i n musical compositions f o r composers and w e l l and o r a t o r i c a l primarily figures i n the Baroque. By t h e and Johann N i k o l a u s Forkel's w r i t i n g s i n 2 the second half o f the e i g h t e e n t h century, t h e F i g u r e n l e h r e as a '''The f i r s t of Burmeister's treatises to d e a l w i t h m u s i c a l r h e t o r i c a l f i g u r e s i s Hypomnematum m u s i c a e p o e t i c a e ( R o s t o c k , 1599). The i n i t i a l l i s t o f twenty-two f i g u r e s was supplemented and developed two y e a r s l a t e r i n h i s Mus i c a a u t o s c h e d i a s t i k e ( R o s t o c k , 1601) and Musica p o e t i c a (Rostock, 1606). Scheibe's w r i t i n g s on m u s i c a l r h e t o r i c appeared over a number o f y e a r s i n C r i t i s c h e r Musicus ( L e i p z i g , 1737-90). Forkel's d i s c u s s i o n s o f m u s i c a l r h e t o r i c a r e f o u n d i n h i s A l l g e m e i n e Ge_£C_hi £h_te d e r Mujsik 1 1 2 9 p r a c t i c a l c o m p o s i t i o n a l and a n a l y t i c a l system was Beginning with Arnold Schering's study effectively of at an end. musical-rhetorical 3 figures from 1908, a varied with the assortment articles dealing subject century. Some of these are c h i e f l y primarily comparative or c a t a l o g i c have t r e a t e d m u s i c a l r h e t o r i c tively have o f books, dissertations appeared reference works, i n nature."* i n the 4 (Gbttingen, 7 Still twentieth w h i l e o t h e r s are A number o f the s t u d i e s i n a f a i r l y general sense, l a r g e p o r t i o n have focused on the works o f s p e c i f i c composers. and 6 and a r e l a - theorists o t h e r s t u d i e s h a v e c o n c e n t r a t e d m a i n l y on and specific 1788). A. S c h e r i n g , "Die Lehre von den m u s i k a l i s c h e n F i g u r e n , " Kirchenmus i k a l i s c h e s Jahrbuch 21 (1908): 106-14. S e e A. S c h m i t z , " F i g u r e , m u s i k a l i s c h - r h e t o r i s c h e , " D i e M u s i k i n G e s c h i c h t e und G e g e n w a r t (1955), 4, c o l s 176-83; G. J . Buelow. " M u s i c , R h e t o r i c , and the Concept o f the A f f e c t i o n s ; a S e l e c t i v e B i b l i o g r a p h y , " N o t e s 30 (1973): 250-59; G. J . B u e l o w , " R h e t o r i c and M u s i c , " The New Grove D i c t i o n a r y o f Music and M u s i c i a n s (1980), 15, pp. 793-803. 4 lehre ^See, f o r example, D. B a r t e l , Handbuch der m u s i k a l i s c h e n F i g u r e n (Laaber: L a a b e r - V e r l a g , 1985). S e e S c h e r i n g , op. c i t . ; W. G u r l i t t , "Musik und Rhetork," H e l i c o n 5 (1944): 67-86; H.-H. Unger, Die Beziehungen zwischen Musik und R h e t o r i k im 16.-18. Jahrhundert (Wurzburg: K. T r i l t s c h , 1941). 6 Some o f the m u s i c a l - r h e t o r i c a l s t u d i e s that d e a l w i t h t h e o r e t i c a l s o u r c e s i n c l u d e : A. S c h m i t z , " D i e F i g u r e n l e h r e i n den t h e o r e t i s c h e n Werken J. G. Walthers," A r c h i v f u r M u s i k w i s s e n s c h a f t 19 (1952): 79-100; M. Ruhnke, J o a c h i m B u r m e i s t e r : e i n B e i t r a g z u r M u s i k l e h r e urn 1600, L a n d e s i n s t i t u t f u r M u s i k f o r s c h u n g , v o l . 5 ( C a s s e l and B a s e l : B a r e n r e i t e r - V e r l a g , 1955); F. F e l d m a n n , " M a t t h e s o n und R h e t o r i k , " B e r i c h t i i b e r den i n t e r n a t i o n a l e r m u s i k w i s s e n s c h a f t i e r Kongress, Hamburg 1956, ed. by W. G e r s t e n b e r g e t a l . ( C a s s e l and B a s e l : B a r e n r e i t e r - V e r l a g , 1957): 99-103; F. Feldmann, " M u s i k t h e o r e t i k e r i n eigenen Kompositionen; Untersuchungen am Werk des T i n c t o r i s , Adam von F u l d a und N u c i u s , " Deutsches Jahrbuch der M u s i k w i s s e n s c h a f t 1 (1957): 39-65; F. Feldmann, "Das 'Opusculum b i p a r t i t u m ' des J o a c h i m Thuringus (1625), besonders i n s e i n e n Beziehungen zu Joh. Nucius (1613)," A r c h i v flir M u s i k w i s s e n s c h a f t 5 (1958): 123-42; B. V. R i v e r a , German M u s i c T h e o r y i n the E a r l y 17th 7 130 compositions, compositional There have of yet to musical-rhetorical precedures be any m u s i c o l o g i c a l figures the the results scholar critically genus of would an e x a m i n a t i o n need assessed. studies in a specific Such an u n d e r t a k i n g would of course for and even s p e c i f i c a valid genus o f be a f o r m i d a b l e of a single means by of the application occasional task, for in which the data order could C o m p a r i s o n w i t h the m u s i c a l r h e t o r i c of understanding of at music. type to be of much v a l u e , w o u l d be the most l i k e l y m e t h o d o f e v a l u a t i o n , r e q u i r e a comprehensive figures. but be another this l e a s t one other genus. would With Century: The T r e a t i s e s o f Johannes L i p p i u s , S t u d i e s i n M u s i c o l o g y , ed. by G. J . B u e l o w , no. 17, (Ann A r b o r , M i c h i g a n : UMI R e s e a r c h P r e s s , 1980). S t u d i e s that focus on the works of s p e c i f i c composers i n c l u d e G. T o u s s a i n t , "Die Anwendung der m u s i k a l i s c h - r h e t o r i s chen F i g u r e n i n den Werken v o n H e i n r i c h S c h u t z " (Ph.D. d i s s e r t a t i o n , Mainz U n i v e r s i t y , 1949); H. Rauhe, " D i c h t u n g und M u s i k i n w e l t l i c h e n V o k a l w e r k J . H. S c h e i n s : S t i l i s t i s c h e und k o m p o s i t i o n s t e c h n i s c h e U n t e r s u c h u n g e n zum W o r t - T o n - V e r h a l t n i s im L i c h t e der r h e t o r i s c h a u s g e r i c h t e t e n Sprach- und M u s i k t h e o r i e des 17. J a h r h u n d e r t s " (Ph.D. d i s s e r t a t i o n , Hamburg U n i v e r s i t y , 1959 [ I 9 6 0 ] ) ; J . Mii 1 l e r - B l at t a u , D i e Kompos i t i o n s l e h r e S c h l i t z e n s i n d e r Fas sung s e i n e s S c h u l e r s C h r i s t o p h B e r n h a r d , 2nd e d . (C a s s e l , B a s e l , P a r i s , L o n d o n , New Y o r k : B a r e n r e i t e r V e r l a g , 1963); A. S c h m i t z D i e B i l d l i c h k e i t in d e r w o r t g e b u n d e n e n M u s i k J . S. Bachjs, 4 t h ed. (Laaber: Laaber V e r l a g , 1983). 8 Works w h i c h f o c u s p r i m a r i l y on t h e m u s i c a l r h e t o r i c o f s i n g l e c o m p o s i t i o n s i n c l u d e C. V. P a l i s c a , "Ut o r a t o r i a musicae: the R h e t o r i c a l B a s i s of M u s i c a l M a n n e r i s m , " i n The M e a n i n g o f M a n n e r i s m , ed. by F . W. R o b i n s o n and S. G. N i c h o l s ( H a n o v e r , N. H . : U n i v e r s i t y P r e s s o f New England, 1972), pp. 37-65; U. K i r k e n d a l e , "The Sources of Bach's M u s i c a l O f f e r i n g : The I n s t i t u t i o o r a t o r i a o f Q u i n t i l i a n , " The J o u r n a l o f the American M u s i c o l o g i c a l S o c i e t y 33, no. 1 (1980): 88-141. The r h e t o r i c o f fugue as a c o m p o s i t i o n a l p r o c e d u r e i s d e a l t w i t h i n G. G. B u t l e r , "Fugue and R h e t o r i c , " J o u r n a l o f M u s i c T h e o r y 21 ( 1 9 7 7 ) : 49-109. S t u d i e s which d e a l m a i n l y w i t h s p e c i f i c r h e t o r i c a l d e t a i l s i n c l u d e C. Dahlhaus, "Die F i g u r a e s u p e r f i c i a l e s i n den T r a k t a t e n C h r i s t o p h Bernhards," i n B e r i c h t liber den i n t e r n a t i o n a l e r musikwissenschaftlicher K o n g r e s s , B a m b e r g 1_9_53, e d . by W. B r e n n e c k e et a l . ( C a s s e l and B a s e l : B a r e n r e i t e r - V e r l a g , 1954). pp. 1 3 5 - 3 8 ; G. M a s s e n k e i l , "Die W i e d e r ho lungs f i g u r e n i n den Orator i e n G. C a r i s s i m i s , " A r c h i v fiir M u s i k w i s s e n s c h a f t 13 (1956): 42-60. 131 regard to the present study, f o r example, the t r u e s i g n i f i c a n c e r o l e of m u s i c a l - r h e t o r i c a l f i g u r e s i n seventeenth-century music c o u l d best be seen i n the yet body contemporary, of ad i n a u g u r a l or c o r o n a t i o n music the two genres should light of another, hoc literature -- and counterparts, that would a g a i n orations i n funerary i s , the i n order to and f u n e r a l sermon and involve detailed German f u n e r a l -- such rhetorical or wedding, one another. the the music's compari- oratorical the Abdankung. analyses a s c e r t a i n whether as i f the r h e t o r i c s of of e v a l u a t i o n might be compositions not of a But Baroque this rhetorical respect. treatises themselves C h r i s t o p h Weissenborn, offer this l a r g e number there was indeed d e m o n s t r a b l e tendency towards f a v o u r i n g c e r t a i n f i g u r e s over The the preferably contrasting only prove to be at v a r i a n c e w i t h A p o s s i b l e a l t e r n a t i v e method son o f f i g u r e s used even then of little of a others. assistance in i n h i s d i s c u s s i o n of e l o c u t i o i n Q his Politischer study to and Leich=Redner, i m i t a t e the the v a r i o u s r h e t o r i c In s p i t e of these simply advises the novice parentator works o f the b e s t German o r a t o r s , ^ and manuals of the to to refer day.^ inherent d i f f i c u l t i e s , i t i s p o s s i b l e to view i n C. Weissenborn, P o l i t i s c h e r Leich=Redner w e l c h e r d i e p r a c t i c a b e l ^ s t e n K u n s t = R e g u l n von d e r I n v e n t i o n , D i s p o s i t i o n und E l o c u t i o n d e r e r n a c h d e r h e u t i g e n Mode e i n g e r i c h t e t e n A b d a n c k u n g e n bey_ o f f e n t l i c h e n T r a u e r = S o l e n n i e n zu B e f b r d e r u n g s e i n e r O r a t o r i s c h e n C o l l e g i o r u m durch d e u t l i c h e Exempe 1 e r l e u t e r t . ( J e n a : H e i n r i c h C h r i s t o p h Crbker, 1707), pp. 177-84. Weissenborn begins t h i s t h i r d s e c t i o n on e l o c u t i o (p. 177) by d e f i n i n g i t as t h e " m i t g e s c h i c k t e n W o r t e n und R e d e n s = A r t e n a u s g e s c h m i i c k t e n A u s a r b e i t u n g d e r e r d i s p o n i r t e n Thematum." ("...elaboration o f the o r d e r e d s u b j e c t s , d e c o r a t e d w i t h s k i l f u l words and m a n n e r s o f speech.") Ibid., p. 183. Ibid., p. 184. 1 0 U 132 a limited figures c a p a c i t y the used r o l e o f a s m a l l number o f m u s i c a l - r h e t o r i c a l i n funerary compositions. f u n e r a l music d e p i c t a s p i r i t u a l Because transition the texts from t h i s w o r l d heading o f t h e two of h y p o t y p o s i s C a t a b a s i s and The achieved that they f i g u r e s t h a t come u n d e r t h e seem to be most e f f e c t i v e through r e p r e s e n t a t i o n of the rhetorical are d e s c r i p t i v e and by The opposite i n this general regard. Anabasis hypotypotic best defined realms. most to the next, t h e a u t h o r s ' c h o i c e of words w o u l d have to d e m o n s t r a t e t h e natures of Athanasius temporal figures antithetical and heavenly c a t a b a s i s and to each other. K i r c h e r i n h i s Musurgia u n i v e r s a l i s worlds i s anabasis in Catabasis i s (Rome, 1650) as f o l l o w s : C a t a b a s i s o r d e s c e n t i s a m u s i c a l p e r i o d , w h e r e b y we e x p r e s s t h e o p p o s i t e a f f e c t of the p r e c e d i n g [i.e., a n a b a s i s ] , as of s e r v i t u d e , i n s i g n i f i c a n c e , d e p r e s s i o n , and moreover of most i n f e r n a l t h i n g s , as i n M a s s a i n u s ' s 'I am however very i n s i gn i f i c an t ' and Massentius's 'the l i v i n g have descended i n t o h e l l . ' 2 M a u r i t i u s J o h a n n V o g t , i n h i s Cone l a v e t h e s a u r i magnae a r t i s mus i c a e (Prague, figure: 1719), sheds a l i t t l e more l i g h t on t h e m u s i c a l n a t u r e o f t h e "Catabasis or descent exists when one descends w i t h the v o i c e , 13 as w i t h the t e x t Tie descends i n t o h e l l ' . " The f i g u r e i s also treated i n much .the same manner i n the w r i t i n g s o f Thomas B a l t h a s a r J a n o w k a , A. K i r c h e r , M u s u r g i a u n i v e r s a l i s (Rome 1650), 50. 8, p. 145. " C a t a b a s i s s i v e descensus p e r i o d u s harmonica e s t , qua o p p o s i t o s p r i o r i a f f e c t u s pronunciamus s e r v i t u t i s , h u m i l i t a t i s , d e p r e s s i o n i s a f f e c t i b u s , atque i n f i m i s rebus exprimendes, ut i l l u d M a s s a i n i : Ego autem h u m i l i a t u s sum n i m i s , & i l l u d M a s s e n t i i : descenderunt i n infernum v i v e n t e s . " C i t e d i n B a r t e l , op. c i t . , p. 115. M. J . V o g t , Cone l a v e t h e s a u r i magnae a r t i s mus i c a e ( P r a g u e , 1719), p. 150. " C a t a b a s i s d e s c e n s u s cum vox d e s c e n d i t , ut cum t e x t u d e s c e n d i t ad i n f e r n o s . " C i t e d i n B a r t e l , op. c i t . , p. 115. 133 Johann W a l t h e r and Meinrad Musical-rhetorical the opposite of through which and The anabasis catabasis. we express eminent t h i n g s , etc.)."*"' Spiess.* term as He 4 or ascensio, describes i s again defined text, as in 'he ascends "a m u s i c a l something lofty, i n i t s more m u s i c a l into indicates, is ( C h r i s t ascending Cone l a v e t h e s a u r i : " A n a b a s i s i s an a s c e n t , and Kircher anabasis as something e x a l t e d , i n moral matters as w h e r e b y we heaven'."* 6 As period or noble i n t o heaven, sense i n Vogt's ascend i n v o i c e with catabasis, 17 anabasis i s d e a l t w i t h i n the w r i t i n g s of Janowka, Walther and When c o n s i d e r i n g the treatment of a p p l i c a t i o n o f a n a b a s i s or c a t a b a s i s , composers d i d not suggestive achieve in slavishly of ascent either independently possibly sensations rhythm, or circumstances, I t was by or tempo. i n conjunction i n c l u d i n g , of course, i t should possible, instituting suggest i n mind with one of p h r a s i n g and or more of to be treated the others, Depending on melodic was contrasts shape, or * F o r the d e f i n i t i o n s o f c a t a b a s i s g i v e n by Janowka, W a l t h e r S p i e s s , see B a r t e l , op. c i t . , pp. 115-16. 4 that f o r example, appropriate catabasis. the text that These elements c o u l d anabasis and considerations be k e p t these f i g u r e s to every or descent. s i m i l a r musical dynamics, metre, apply t e x t s w h i c h may Spiess. the of and *^A. K i r c h e r , op. c i t . , 50. 8. p. 145. "...periodus harmonica, quam [ s i c ] e x a l t a t i o n e m , ascensionem v e l res a l t a s & eminentes exprimimus, ut i l l u d M o r a l i s (Ascendens C h r i s t u s i n altum etc.)." C i t e d i n B a r t e l , op. c i t . , p. 84. 1 f\ M. J . V o g t , op. c_i_t., p. 150. "Anabasis ascensus e s t , ut cum v o c e & t e x t u a s c e n d i m u s : ut a s c e n d i t i n c a e l u m . " C i t e d i n B a r t e l , op. cit., 85. * S e e B a r t e l , op. c i t . , pp. 115-16. 7 134 keeping the melody w i t h i n singers, the ambitus of the mode and o f t e n o v e r r u l e d a s t r i c t adherence descending m e l o d i c line otherwise implied measures o f Johann Pezel's f o u r - p a r t canon, the range of the to a c o n t i n u i n g a s c e n d i n g or by the t e x t . In the opening f o r example, w r i t t e n on the 18 death of Stephan line C h r i s t i a n Dedekind should i d e a l l y 1 0 have c o n t i n u e d i t s descent entire p h r a s e "Es s c h a l l t lowest note 1.) i n 1672, the c a t a b a t i c melodic f o r the d u r a t i o n of the d i e gantze Welt von l a u t e r E i t e l k e i t , " the c o r r e s p o n d i n g to the final syllable of text. (See Example However, i n o r d e r t o k e e p w i t h i n the r a n g e s of the v o i c e s as w e l l as t o shape t h e m e l o d i c minor third on line, Pezel a l l o w s a concluding ascent of a "Eitelkeit." Example 1. J . P e z e l : "Es s c h a l l t d i e gantze Welt von k e i t , " measures 1-7. lauter Eitel- J. P e z e l , Des Menschen-Lebens E i t e l k e i t / A l s Der Wohl-Erenveste / Vor-Achtbare und W o h l g e l a h r t e Hr Stephan C h r i s t i a n DEDEKIND j_ S. S. Theologize Cultor, & Philosophiae Baccal. Auff dieser l b b l . U n i v e r s i t a t zu L e i p z i g j_ den 18. J u n i j des 1672sten Jahres j_ m i t einem a n s e h n l i c h e Leich=Begangnus j_ C h r i s t l i c h b e e r d i g e t wurde [_ Dem S e l i g e n J_ a l s einem werthe M i t g l i e d e j_ zu s t e t e n Ehren j_ e n t w a r f f s In e i n e r Trauer=Ode j_ das C o l l e g i u m Musicum.... [at the end o f the c o m p o s i t i o n ] In honorem atqve sempiternam memoriam beate DEFUNCTI compositus, proecedentiq, h u i c Odae accommodatus h JOHANNE PEZEL10, D i r e c t . C o l l e g . ( s . l . [ L e i p z i g ? ] , 1672). G o t h a , F o r s c h u n g s b i b l i o t h e k F i l l 34 ( 5 ) . See C h a p t e r 3, f o o t n o t e 39 above. 135 The degree of p e r s u a s i v e n e s s of a n a b a s i s governed by the form of c o m p o s i t i o n i n which the one would expect, compositions the music verse. written in a cantional style d i d not focused Thus the Hermann S c h e i n ' s Corvinus neige."*^ was his change catabasis conceived for E x a m p l e 2.) melody and t e x t i n subsequent coincidental. did used as simple i n 1625 which the o p e n i n g Thomas. of solo (See F l e u g ("fly"), strophic. As this soprano voice first i n Johann f u n e r a l o f Anna Maria " H e r r d e i n Ohre zu m i r Any f u r t h e r c o r r e s p o n d e n c e v e r s e s would most composer the word-painting text, between l i k e l y have been portrays pure and s i m p l e , anonymously composed a prosopopoeial the deceased The k e y e v o c a t i v e words the totally straightforward figures. can be seen i n the E x a m p l e 3.) of in Because the text However, m u s i c a l - r h e t o r i c a l s o l e c i s m s , example the also were used. verse, the f o r the "Fleug mein Seelgen auf zu Gott" from 1664, in to on s e t t i n g o c c u r i n the use o f t h e s e two q u i t e excellent i.e., from v e r s e attention music w r i t t e n (See figures was the a p p l i c a t i o n of such f i g u r e s was most r e s t r i c t e d itself customarily and c a t a b a s i s aria composition Maria of An the Elisabeth text - r auf zu Gott ("up to God") - - u n c o n d i t i o n a l l y r e q u i r e some J . H. S c h e i n , C u p r e s s u s l u c t u s a c e r b i o r i s . . . p r o c a p u l o . . . Annae M a r i a e , p u e l l u l a e s u p r a a e t a t u l a m . . . Dn. M. A n d r e a e C o r v i n i . . . f i l i o l a e . . . 4. A p r i l i s , anno M.DC.XXV. mortuae... emblematis m u s i c i s v e r m i c u 1ata.... ( L e i p z i g : s. n. [ F . L a n c k i s c h ] , 1625). Z w i c k a u , R a t s s c h u l b i b l i o t h e k , M. 6. 6. 32. 20 E x c e p t i o n s would be those works i n which the tenor of the t e x t u a l r h e t o r i c r e m a i n s more o r l e s s the same i n e a c h v e r s e . An e x a m p l e o f t h i s i s F r i e d r i c h Funcke's "Ach H e r t z e l e i d ! " (See f u l l r e f e r e n c e footnote 25 below.) 21 • • • A n o n . , D i e r u f f e n d e S t i m m des h i m m l i s c h e n B r ' a u t i g a m s . . . z u . . . li!l£ .£ia£fi££}!.tBHiL d e r . . . F r a u e n M a r i a E l i s a b e t h a d e s . . . H e r r n Iohann Thomasen... E h e f r a u e n , a l s d i e s e l b e . . . d i e s e s . . . 1 6 6 4 . I a h r s . . . v e r s c h i e d e n (Regensburg: C. F i s c h e r , 1664). B e r l i n , Deutsche S t a a t s b i b l i t o h e k , 4 i n Ee 651. e 136 s o r t of m u s i c a l - r h e t o r i c a l a n a b a s i s , e i t h e r as an ascending m e l o d i c o r l e a s t some i n t e r v a l l i c i n t i m a t i o n of upwards m o t i o n . common p r a c t i c e steadily and good t a s t e , descending E x a m p l e 2. 1-4. Ae«r> 5^*fr J*^ ^'* ^CA Herr d«t^ OUre nai T z u 1 rot'r and s o r r o w ; the earthly the One Gastorius's "0 the catabasis t h i r d and the to t e x t to a ex Wore i n funeral text. One wick neigen," measures e\r»w\T>\ / rmcU l i n m a l / zu In the example of of first the instance, T r a u e r - F a l l ! Der mich f o u r t h p h r a s e s o f the m e i n g a n t z V e r l a n g e n , I s t d u r c h den 137 be icW W "axm nd i s most o f t e n asso- concerns p e r s o n a l catabasis our on seen i n the the suffering transitory i s used to enhance loss Cantus of f a s t gantz e n t s e e l e t " of the Severus (SATB), where f i r s t v e r s e , " M e i n T r o s t und Tod w 1-2. music mourners' laments t h i s can ~&e«r* Gott," measures o t h e r d e a l s w i t h m a t t e r s o f d e a t h and portrayal deceased. .^a- g e n e r a l types o f existence. textual <L*-\not"t * Anon.: "Fleug mein Seelgen auf Musical-rhetorical two Contrary line. \Wx~ with composer i n e p t l y sets J . H. S c h e i n : " H e r r d e i n Ohre zu m i r Example 3. ciated the line d a h i n gegangen," are Stab, set to a w i n d i n g but c l e a r l y descending m e l o d i c l i n e . (See E x a m p l e 4.) An e v e n c l e a r e r e x a m p l e c a n be s e e n i n M a r t i n S e i d e l ' s t r e a t m e n t o f the Cantus for the phrase " J a a l l e s L e b e n s l u s t v e r d o r b e n " i n h i s "Ach T r a u r i g k e i t ! Ach L e i d und Schmertzen!" (SATB), where the four-part catabatic l i n e , w h i c h c o v e r s a f u l l o c t a v e , b e g i n s p r e c i p i t o u s l y w i t h downward leap of a perfect 5, measures f o u r t h before •J - p i descent. (See Example 9-10.) Example 4. S. G a s t o r i u s : e n t s e e l e t , " measures 1-2. f 1) continuing i t s — i + "0 T r a u e r - F a l l ! Der m i c h f a s t Q- |—_ 1 I 1 * 1 1 gantz . , ' " ° S. G a s t o r i u s , K l a g - und T r a u e r - G e s p r a c h bey L e i c h - B e g a n g n u s s d e s s . . . H e r r n W i l k e n v o n B e r g l a s e n . . . den 18. A u g u s t i des 1679sten J a h r e s . . . i n e i n e r A r i e g e s e t z e t (Jena: Johann W e r t h e r , 1679). Munich, B a y e r i s c h e S t a a t s b i b l i o t h e k , S l g . Her 0 238/5. 23 M . S e i d e l , K1 ag_- u n d T r o s t - L i e d ^ n we 1 c h e n . . . D e s H e r r n DanDechants...a 1 s . . . W i t t b e r seiner Eheliebsten tbdlichen H i n t r i t t hertzund s c h m e r t z l i c h b e k l a g t ; dargegen aber auss G o t t e s Wort s i c h k r a f f t i g l i c h wiederumb t r b ' s t e t und a u f f r i c h t e t I n e i n e r g e r i n g f u g i g e n P o e s i e und M e l o d i a v e r f a s s e t ( s . l . , s.n., s.d.). M u n i c h , B a y e r i s h e S t a a t s b i b l i o thek, S l g . Her. 0 238/12. 138 Example 5. continued. iii !U r i a p f M. S e i d e l : r f r r r r JJ J roe;«ex EW ,—. -0-4 "Ach T r a u r i g k e i t ! Ach L e i d und Schmertzen," ^ r J J—j J —I 1 ,.1 ,J s r-^T 1* \;eV%\e« T«n' =4 Specific typically w o r d s e x p r e s s i v e o f an a n g u i s h e d e m o t i o n a l s t a t e a r e s e t t o some sort of catabasis. Schmertz ("pain"), f o r i n s t a n c e , appears r a t h e r f r e q u e n t l y i n these laments and i s commonly s e t to a descending melodic l i n e , as c a n be r e a d i l y phrase o f Severus G a s t o r i u s ' s "0 T r a u e r - F a l l ! seen Der m i c h i n the second f a s t gantz e n t - o/ seelet." (See Example 6.) F o r the most p a r t , the l a m e n t i v e t e x t "was e m p f i n d i c h doch v o r b i t t e r n Schmertz!", w i t h o n l y s l i g h t d e v i a t i o n , i s s e t t o a s t e a d i l y d e s c e n d i n g m e l o d i c l i n e i n t h e C a n t u s f r o m e " t o e", the g e n e r a l p a t t e r n of which i s p a r a l l e l e d t o l e s s e r degrees i n the A l t u s and B a s s u s . 25 Of c o u r s e , t h e s e d e s c e n d • ing m e l o d i c passages are rhetorically a p p r o p r i a t e t o any t e x t s e x p r e s s i n g g r i e f , such as t h e Gastorius, op. cit. 25 • S i m i l a r m u s i c a l - r h e t o r i c a l t r e a t m e n t o f " p a i n " can be found i n w o r k s by o t h e r c o m p o s e r s , among them F r i e d r i c h F u n c k e , H e i n r i c h Schwemmer and M a r t i n S e i d e l . See "Works C i t e d " f o r F. Funcke, Klag=und T r o s t = Z e i l e n . . . ( L u n e b u r g , 1665); H. Schwemmer, T e x t - L i e d l i b e r d e n s e l i g s t e n H i n t r i t t . . . ( L e i p z i g : C. M i c h a e l , 1661); S e i d e l , op. c i t . 139 first and f i n a l phrases of the opening v e r s e o f F r i e d r i c h Funcke's music the f u n e r a l of Leonhard von D a s s e l i n 1665. for (See Example E x a m p l e 6. S. G a s t o r i u s : "0 T r a u e r - F a l l ! e n t s e e l e t , " measures 1-2. Example 7. rf-4 ft f r I I I <}> »•> | 1 ^, f *<— •' — •' == r =• ,r :• »>1»•> A<V. 1 a fast gantz H e r t z e l e i d , " measures 9-12. F. Funcke: "Ach! r Der m i c h 7.) C - ftcW. ttw j^ —•—— \ix - , n -WA. - Wd- ~ j i 1 | "VswllrV*- f _ | . . <^u««.\Cs = = = j U.n ? S > J »,). EEEpE •fed. T 3 r 1 f .WA. AcV f Ac>N tt^T.* Pj,^ ^ \ W ftcV _\.aCe». • W__Yf<A. F. F u n c k e , K l a g = u n d T r o s t = Z e i l e n / i i b e r d e n s c h m e r t z l i c h e n H i n t r i t Des Weiland j_ Wohl=Edlen j_ Vesten / Gross=Achtbaren und Wohlfiirnehmen H e r r n j_ H e r r n L e o n h a r d v o n D a s s e l j_ Vornehmen und u h r - a l t e n B e s c h l e c h t e r a l l h i r ]_ Welcher durch e i n e n u n v e r h o f t e n und f r u h - z e i t i g e n / j d o c h h b c h t s = [ s e l i ? ] g e n H i n r i s s d e s Todes d e n 12. J a n u a r i i i n d i s e m i t z t l a u f f e n d e n 1665 J a h r e d i s e K u m m e r = v o l i e W e l t g e s e g n e t [_ und d e r Seelen nach / s i c h Himmel-an geschwungen / Aus t i f s t - s c h u l d i g e m j_ auch h e r t z l i c h e m M i t l e i d e n [_ Wi^e a u c h A l l e n j_ l i b e r d i s e m u n v e r h o f t e n Todes=Fall s c h m e r t z l i c h Betriibeten ]_ zu T r o s t / und d i n s t - f r e u n d l i c h e m Gefallen... j_ g e s c h r i b e n und a b g e s u n g e n v o n FRIDERICO FUNCCIO, C a n t o r e S c h o l e S e n a t o r i a e ( L u n e b u r g : s.n., 1665). Gotha, F o r s c h u n g s b i b l i o t h e k , Theol. f o l . 357-358 13/15. 140 The way second a p p l i c a t i o n of c a t a b a s i s r e s t r i c t e d to d e p i c t i o n s rhetorical and of all life, voices mourning of with the life and varying the f i g u r e was congregation. the use on earth. degrees of descending (SSATB), Johann Rosenmuller w r i t e s hat der that In h i s greater judging reference melodic motion Mensch a u f f d i e s e r i t i s "Nur i n no by o f t h i s f i g u r e as a death f i v e - p a r t "Was Of i n these c o m p o s i t i o n s , l a r g e number o f c a s e s , was portraying transitory the t h e o l o g i c a l importance the r e l a t i v e l y means of shows that to in Erden?" Elend, Jammer, Angst 97 und Noth." (See Example 8.) of t r a n s i t o r y l i f e , for ing a literary melodies. The opening i n t e r r o g a t i v e i n t h i s line, at once the baseness of t h i s e a r t h / l i f e w h i l e m u s i c a l l y figure r h e t o r i c a l question i s Rosenmuller's d e c i s i o n i n f l e c t i o n usual Johann P e z e l itself. not Contributing to employ to the the catabasis to the beginning of h i s depicts implying an e f f e c t of rising to m u s i c a l s e t t i n g s o f t e x t u a l q u e s t i o n s . applies symbol as b e i n g s u i t a b l e i s a l s o set to a p r i m a r i l y descending m e l o d i c answer to the this i n t h i s context i s a l s o a word which composers saw settings with catabatic composition Earth, melodic Similarly four-part canon 98 "Es schallt d i e gantze Welt von Leibnitz, writing protracts his lauter E i t e l k e i t , " somewhat more f r e e l y though no catabasis over two phrases of while Johann Georg less e f f e c t i v e l y , t e x t , "Weg mit Dir, du 99 f a l s c h e Welt! Du f a l s c h e s Heergetummel." (See Example 9.) 27 J. Rosenmuller, L e t z t e r Abschied j_ Des E h r e n v e s t e n j_ V o r a c h t b a r n /_ W o l g e l a h r t e n und Wohlweisen Herrn Bartholoma'i Hayns j_ Welcher nach Got t e s u n e r f o r s c h l i c h e m Ra_th und W i l l e n den 7_^ Ma_i i^m J a h r 1650. i.n C h r i s t o s e i n e m ErK>s_er d i e s e Wel_t g e s e g n e t . Und den 9j_ H e r n a c h m i t a n s e h n l i c h e B e g l e i t u n g i n seine Ruhestatt getragen warden j_ Zu Bezeigung s e i n e s2 8 Peze C h r i1,s top. l i cchietn . M i t l'e i d e n s e y l f e r t i g a u f f g e s e t z t von Johann R o s e n m i i l l e r ( L e i p z i g : F r i e d r i c h L a n c k i s c h ' s Erben, 1650). Gotha, Forschungsbibliothek, Theol. f o l . 357-358, 2 of M u s i c a l i a . 141 E x a m p l e 8. J . R o s e n m u l l e r : "Was Erden?", measures 1-3. : r p J Example measures J d< 9. J . G. 1-3. J i " Leibnitz: -t • "fervor n -w • • ^ «l Musical-rhetorical text i n which death or d y i n g being infirmity; example representative dying, D i r , du dieser falsche gr~ f Welt!", -c\\ Wso^a -0 •—• * • VMA-,t * VtL«rv — .-VCY^W>«.V \0 p >, -PoWe Vies "XC-U K ^ K physical interment; The J —- Vy-,^U< WitW figure is particularly can be r e a d i l y understood and spiritual hell (See Example weakness and d a m n a t i o n . 10.) Immediately a b r i e f m e l o d i c a s c e n t on t h e w o r d s ''So b a l d w i r nur g e b o r e n 29 # most o f t e n a p p l i e d t o passages o f A o f t h i s i s t o be f o u n d , once a g a i n , i n Rosenmu'ller's "Was der Mensch a u f f d i e s e r Erden?" VnrAif _ the descending l i n e d e a t h and auff i^— rt i s mentioned. of Mensch , mit CaWW^ —• c a t a b a s i s was a p p r o p r i a t e here i n t h a t as \M«M\ der t y 1* • if— — , "Weg v -% , : VldH'. AWs hat and fine hat following werden," • J . G. L e i b n i t z , E c k e l , Ob d e r e i t l e n W e l t e m p f a n g e n / und n a c h JESU s e h n l i c h = g e t r a g e n e s V e r l a n g e n Des... H. I o h a n n - G e o r g L e i b n i t z . . . W e i l a n d / P f a r r e r zu R a s c h und V i c a r i i i n A l t d o r f f i A n f a n g s v o n ihm s e l b s t e i g e n h a n d i g a u f g e s e t z e t : j e t z o a b e r , n a c h s e i n e m den 3. M a r t i i d i e s e s J a h r s j_ geschehenem se 1 igem A b l e i b e n ]_ Zum D r u c k b e f o r d e r t (Nuremberg: Wolfgang Eberhard F e l s e c k e r , 1671). Zwickau, RatsschuTBTb^ l i o t h e k , M. 53, 6. 142 the m e l o d i c an b i s s i n den Todt." emphasizes death. l i n e r e v e r s e s d i r e c t i o n and descends both Other the In t h i s i n s t a n c e , the change o f m e l o d i c inevitability compositions of c o r p o r e a l death to the t e x t "da geht es o f death which i n t h i s and way i n c l u d e w o r k s by Jakob direction the p r o x i m i t y l i f e mention the Scheiffelhut and inevitability and Heinrich 31 Schwemmer. Catabasis is applied d e a t h and b u r i a l consort w i t h the t e x t song "Hie l i e g by Schwemmer to suggest c o r p o r e a l "Es g r a b e t a l l g e m a c h der Todt" i n h i s i c h i i b e r h a u f f t mit Schmertzen." (See E x a m p l e 11.) E x a m p l e 10. J. Rosenmuller: Erden?", measures 4-6. ^ 7 m „ Sa VaU-Wir r\ur ^atooTCn ,r wt/f "Was r r .den / da 1 i J 1 J hat .den/ da. eji»v Mensch auff dieser / J J M an i t I J der J K i ^ \>;^ ^ i J i y ,„ o ,jei\ = \r J 1„ „ r \ y \^ V ^ ^ i d c n J. S c h e i f f e l h u t , Die urn d i e Sterbens-Lehr b i t t e n d e und zum Leben und Tod Gott ergebene Seele m i t ihrem f r e u d i g e n W e l t - V a l e t . Der w e i l a n d J a c o b i n a Thurmin...zu l e t z t - s c h u l d i g e n Ehren...in N o t e n g e b r a c h t , das e r s t e von Jacob S c h e i f f e l h u t , das andere von D a n i e l Merk (Augsburg: J. J. Schbnigk, 1693). Kempten/Allgau, K i r c h e n b i b l i o t h e k der E v a n g e l i s c h L u t h e r i s c h e n P f a r r a m t S t . Mang, V. 3. 16. c. 31 • • H. Schemmer, T e x t - L i e d u'ber den ££j^g_££ en H i n t r l t t und b e y C h r i s t l i c h e r B e s t a t t u n g d e r E d l e n und T u g e n d r e i c h s t e n F r a u e n M a r i e n = M a g d a l e n e n /_ g e b o h r n e n PELLERINNEN / Des_ E d l e n und V e s t e n J u n c k h e r r n B e n e d i c t W i n c k l e r . . . Eh=S c h a t z e s... ( L e i p z i g : C. M i c h a e l , 1661). N u r e m b e r g , . S t a d t b i b l i o t h e k , W i l l I I 1208.4°. 143 ' E x a m p l e 11. H. Schwemmer: "Hie tzen," measures 13-15. |fc=^ ij, =3= j p f . 1 L. 1 i J-'**) L H i J • r 1 p J J ••' 1 • •• • , 1 J * rJ e 'j 1 J J | •••• \ j I lieg J J ]" r • J J r J .1 1 J J i c h u'berhaufft P r* J i. 1 p — t — U - f 1 1 mit Schmer- J 1 J II J J J i i i r r4 J P J i •> f l r f J t=J 1 f r In c o n t r a s t w i t h Baroque f u n e r a l music mainly c o n s o l a t i o n , s a l v a t i o n and resurrection. rhetorical the 12.) the The gradual anabasis can be to p o r t r a y t r a n s c e n d e n c e , God quickening easily C o n t r i b u t i n g a d d i t i o n a l l y to of triple i n c r e a s i n g dynamic l e v e l . reference "und * used i n of joy and Heaven, C h r i s t and effect the Freud." joyous a f f e c t thickening Anabasis on a s m a l l e r f i g u r a t i o n s on to God, vitalizing 0 Wonn und the metre, i n J o h a n n Hermann S c h e i n ' s "Das short anabatic and and J of musical- seen i n F r i e d r i c h Funcke's s e t t i n g of t e x t "schbnes K l ingen hb'ren w i r , presence textual aspects 1 1 1 i c a t a b a s i s , m u s i c a l - r h e t o r i c a l anabasis was J (See 32 i n Funcke's work i s vocal texture s c a l e i s used word " F r e u d e " and, meine Z u v e r s i c h t . " 3 3 (See later Example and similarly i s t m e i n e F r e u d e , " where he the Example on employs i n the 13.) F u n c k e , op. c i t . 33 J . H. S c h e i n , Symbolum o d e r T a g l i c h e r T r o s t = S p r u c h v e r s . 28. M i t w e l c h e m ]_ a u f f s e i n e n l a n g w i e r i g e n C r e u t z b e t t l e i n ]_ s i c h g e t r b s t e t / ^ Herr V i n c e n t i u s Schmuck...Mit sampt dem G e n e r a l - B a s s . . . ( L e i p z i g : G e o r g R i t z s c h , 1628). Niedersachsische S t a a t s - und U n i v e r s i t a t s b i b l i o t h e k , 4 ° 252/27. 144 / P s a l m 73. und S t e c h 5^ Stimmen Gbttingen, Cone. f u n . . Example 12. F. Funcke: "Ach! H e r t z e l e i d , " measures 18-21. H 5 1 Wore* iK.a.- i a A, .it.! — e .1 n J J.. J , &J -Jy—j *f= f " J] t O Wt>re.ry ^ — ^ j i S o , ', P, 1 i — J- H ita • • P • •r , ... . \*Jo*viO u.v\d ^-<"«LW<^- • ^ l 1 d Tt 1 J ' *t>l. : J tto Wofws und. freed* 1 11 ff, o ia,.—ft-4^-5—" •—,d p—*s w i f.. iiJ Vorc^ WW / 1 p Example 13. —p p •••• I Y \ . •• 1>—P . ^ ^ m 4 M ftd ^4 ^iiJi • ^ •Pre**- _ _ , L i n x J lift! 1 fr«*~ n Tre**„ 1 ' _ o A p o Textual a o i i J T J J =4 r u n . „_ T—PT —°- j d * y— j _ _ d*. _ foj. u bo • ta ° " - as b r i e f a s c e n d i n g m o t i v e s (SATB) f u n e r a l l - — m de e s e t t o anabatic melodies. t h e a n a b a s i s may u n f o l d o v e r a l o n g e r p e r i o d composition The f o r t h e word i t s e l f , o r of time as i n M e l c h i o r o f 1614, " I s t G o t f i i r tt 3 A- uns." 1 = dt- r e f e r e n c e s to God are o f t e n four-part Jo 1 £r*^ f i g u r e s may a p p e a r Franck's n *< i m - — — i, d* n Free*. _ u j Fre*^....... dt 1 H — 1 J . H. S c h e i n : "Das i s t meine Freude," measures 1-4. -tm A^j ••••r ••Jto (See E x a m p l e 14.) I n t h i s p a r t i c u l a r c a s e t h e m e l o d i c ascent M. Franck, T r o s t r e i c h e r Text, auss dem achten C a p i t e l der E p i s t e l P a u l i an d i e Rbmer. so bey C h r i s t l i c h e r L e i c h b e s t a t t u n g der... F r a u e n Hellenen...Hackens g e p r e d i g t . . . m i t v i e r Stimmen...componirt (Coburg: J u s t u s Hauck, 1614). L o n d o n , B r i t i s h L i b r a r y , C. 193. 2. 145 develops over a p e r i o d of three t e x t u a l r e p e t i t i o n s o f " I s t Gott f u r uns," each o f the two r e p e t i t i o n s ending a t h i r d h i g h e r than the preceding statement. I t might be noted a d d i t i o n a l l y ments o f the t e x t symbolic may have b e e n used r e f e r e n c e t o the Holy T r i n i t y . composition duple by metre w i t h a downwards the t e x t intentionally "Ich b i n z u r s a n f f t e n Ruhe kommen," f o l l o w e d T h i s moment o f r e p o s e rather than conjunct triple metre, o f the phrase together with a slight the i d e a of " g e n t l e i s i n t e r r u p t e d by t h e r e s u m p t i o n of the t h i s time a c c e l e r a t e d or compressed by d i s j u n c t motion and a l s o by a change significantly, on t h e w o r d s " H e r r J e s u . " first M. Franck: to t r i p l e metre. The becomes p e r c e p t i b l e t o the l i s t e n e r C o i n c i d e n t w i t h t h e change o f m e t r e on t h e word "Jesu" i s the h i g h e s t p i t c h Example 14. as a (See E x a m p l e 15.) The a n a b a s i s b e g i n s i n rounding-off melody's upwards ascent, by F r a n c k i n R o s e n m i i l l e r ' s "Was h a t d e r e x t e n s i o n o f the harmonies at the cadence t o convey rest." state- In a s i m i l a r v e i n to the Franck i s the r e f e r e n c e t o Jesus Mensch a u f f d i e s e r E r d e n ? " t h a t the t h r e e f o l d ( f " ) o f the c o m p o s i t i o n . " I s t Gott 146 f u r uns," measures 1-6. Example Erden?", .0 •j^itj 15. J . Rosenmii 1 l e r : measures 6-8. <Vo?* i • «Ua» V \) . . ev^ _ now*^ " "Was h a t d e r M e n s c h »* * *' ' • * ~» f t — i" W—V V • w—i f u n e r a l music i t passed t o r e p r e s e n t migrant from t h i s w o r l d departs this Brancovius's music Breitenbauch. J Were e5e*^ _ P p e r c e p t i o n o f music © / di< P ewic^ _ .— -- a p e r c e p t i o n i n the p o l y p h o n i c age o f suggests direc- F o r t h i s r e a s o n a n a b a s i s was f r e q u e n t l y e m p l o y e d i n t e x t s were a v a i l a b l e it -mevi century -- anabasis by i t s very nature t i o n and m o t i o n . P o J—, linear dieser l u x SanWV^ ft-V>- V ; ^ _ t h a t may c o n c e i v a b l y have been more pronounced seventeenth o Jfto vwm tm I - Because o f our l a r g e l y the i .. auff states t o the n e x t . to the composer. life. written A very of the transcendent s p i r i t as I n t h i s r e s p e c t , two t y p e s o f The f i r s t clear p o r t r a y s the s p i r i t as example of this i s Simon i n 1651 f o r the f u n e r a l o f Agna E l i s a b e t h von (See Example 16.) The phrase "obs euch bringt Schmertz S. B r a n c o v i u s , M u s i c a l i s c h e C h r i s t l i c h e E i n b i l d u n g e i n e s r e c h t b e w e g l i c h e n C l a g = und T r o s t = G e s p r a c h s V f f das f r l i e z e i t i g e doch s e l i g e Absterben Der Weyland Hoch E d e l g e b o h r n e n E h r e n und V i e l T u g e n d r e i c h e n F r a w e n J_ Agnae E l i s a b e t h e n v o n B r e i t e n b a u c h j_ G e b o h r n e n v o n V i p p a c h / Pes auch Hoch Edelgebornen j_ Gestrengen und Mannvesten Herrn j_ M e l c h i o r n von B r e i t e n b a u c h s u f f Raniss und B r a n d e n s t e i n / e t c . Churf1. D u r c h l . zu Sachsen W o h l v o r g e s a t z t e n Ober = S t e u r E i n n e h m e r s d e r Land= und T r a n c k = Steur i n den A f f e c u r i r t e n Aemptern^ H e r t z g e l i e b t e n gewesenen Haussfrawen g e r i c h t e t j_ Vnd Bey dero A d e l i c h e n L e i c h e = P r o c e s s i o n , so den 21. J u l i i Anno 1651. a n g e s t e l l e t wurde ]_ u f f zwey Chor [_ a l s wenn i m 147 und L e i d e n , d a s s i c h so b a l d m u s s t s c h e i d e n " s t e a d i l y r i s e s f r o m a' t o g " i n semiminimae d". Two in Cantus p o i n t s s h o u l d be I, r o u n d i n g o f f the ornamented made h e r e . First, the cadence application a s c e n d i n g m e l o d y to the w o r d s " S c h m e r t z und L e i d e n " i n t h i s should not be thought i s meant to d e p i c t the mourners. of as m u s i c a l - r h e t o r i c a l the d e p a r t i n g s p i r i t In f a c t , the ascending and line the e m o t i o n a l would almost and irrevocable b r e v i s r e s t s i n the two surrounding spirit's musical material, passage from "Drumb e i l t Example 17.) represented Again as departure. state this Secondly, the ensuing world imply to the next to the was listener complete. the that the Similar to i s Samuel S c h e l d t ' s c o n c e r t e d s e t t i n g (SSB) o f er the strongly of deceased's cantus p a r t s , a n o t a b l e t e x t u r a l change from Brancovius's treatment the text rapturous anabasis seem to demon- s t r a t e the f u t i l i t y and v a n i t y o f m o u r n i n g i n l i g h t o f t h e inevitable an instance s o l e c i s m s ; the not of on [God] spirit i t leaves t h i s mit ihm auss dem b b s e n Leben." (See of the deceased i n the company of God world. p o i n t i n the At this S c h e i d t q u i c k e n s the r h y t h m i c pace t h e b e t t e r t o e x p r e s s is composition the sense of "eilt." e r s t e n Chor d e r Hoch Ade 1. h o c h b e t r u b t e H e r r v o n B r e i t e n b a u c h j_ Im a n d e r n a b e r d i e H. A d l . F r a w von B r e i t e n b a u c h zum A b s c h i e d e g l e i c h s a m a l s o r e d e t e n ]_ zusingen/ Hochgedachten A d e l i c h e n W o h l s e l i g e n Matron zu s c h u l d i g e n l e t z t e n Ehren=Geda'chtnliss M i t 9. Stimmen c o m p o n i r e t ^ und numehro u f f Begehren neben beygefiigten Basso Continuo zum Druck aussgea n t w o r t e t [_ Von Simone Brancovio Gub. Lusato, Cantorn zu R a n i s s . (Jena: Caspar Freyschmied, 1651). London, B r i t i s h L i b r a r y , H i r s c h I I I 666. ^ ft S. S c h e i d t , Grab L i e d t A u s s dem Buch d e r W e i s s h e i t am 4_^ C a p i t . v. 1_ vnd 14. Zu C h r i s t l i c h e n A b d e n c k e n Das E h r w i i r d i g e n j_ A c h t b a r n v n d W o l g e l a h r t e n H e r r n THOMASE ANDREAE, S e e l s o r g e r s zu Glaucha v o r H a l l e / i n t z i g h e r t z l i e b e n Sb'hnleins M i c h a e l i s Reinholden j_ Welches d i e s e r Welt a b g e f o r d e r t vnd f o l g e n d e n 18. M a r t i j d a s e l b s t C h r i s t l i c h b e s t a t t e t w o r d e n j_ S e i n e s A l t e r s 24. Wochen C o m p o n i r e t vnd a u f f g e s e t z e t mi_t 3. Stimmen von Samuele S c h e i d t H a l l e n s e ( H a l l e : M e l c h i o r O e l s c h l e g e l , 1635). Gotha, F o r s c h u n g s b i b l i o t h e k , T h e o l . f o l . 357-358. 148 E x a m p l e 16. S. B r a n c o v i u s : "Ach G o t t i c h muss i n T r a w r i g k e i t , " measures 29-32. iTJLt A h J f ^ i J •< . 7 frc J j '" 1 J 1 i l j J > J ^ r /Lbftbp J . . 1 1 I I -r-t 1 1 \ J > l - J J ' J J r \ f ^ r r r r r r r LLL[ J i J 1| J 1 J ' P '• r F - r 1 ^ J J ^ • j ' ^-f*—-p-—p—j• j • J i J , M J ' dafj CcV\ f J i , * ' W<* T*<^M ' i ScVic^ _ _ _ _ _ _ _ —• t^V* 0- V > «A _^eh " p' _ . 1 .1 T ' •« - f • • hp r u r 1 Kl i C M . f'"f* f V. eA^wAae-V _ — _<***i . = ^ n scVieX S<W . _ = ^ R _ ^ , p ° R ScW- J ° fp _ 1 p p ' H^'J i . Leaden '*'V'j'Jtr r j ij i i P' — «A».CU Y\ttWV i>eYir ^ P M ^ - P f _ — ^ l l — E x a m p l e 17. S. S c h e i d t : "Der G e r e c h t e ob e r ^ g l e i c h z u z e i t l i c h s t i r b t , " measures 21-23. A slight emphasis variation i s upon even a r r i v i n g this 37 set to catabatic Leibnitz, soul striving or moving i n which the towards, o r An example o f anabasis b e i n g a p p l i e d to this t r a n s i t i o n can be found i n L e i b n i t z ' s "Weg m i t D i r , Welt!" (SATB). life 37 the transcendent i n , Heaven. kind of s p i r i t u a l falsche on the idea o f d e p a r t u r e are t e x t s op. (See Example 18.) Framed du by r e n u n c i a t i o n s o f l i n e s , the heavenward ascent o f the s p i r i t i s cit. 149 depicted by Leibnitz with " I c h nunmehr nach D i r streb, Du schbn gezie.rter Himmel!" s e t t o a s t e a d i l y r i s i n g melody i n the Cantus. E x a m p l e 18. J . G. L e i b n i t z : measures 3-4. Because heaven communication music, and e a r t h a r e h e l d m i t D i r , du f a l s c h e Welt!", t o be a n t i t h e t i c a l c o n c e p t s , the o f w h i c h was e s s e n t i a l to f u n e r a l o r a t o r y and f u n e r a r y composers used a n a b a s i s and c a t a b a s i s i n c l o s e p r o x i m i t y i n order to demonstrate t h i s a n t i t h e s i s treatment "Weg can be seen to greatest effect. One example o f t h i s i n Samuel Scheidt's "Der Gerechte ob er g l e i c h zu 3 8 zeitlich stirbt." (See E x a m p l e 19.) Immediately following numerous r e p e t i t i o n s o f anabasis f o r the text "Darumb e i l t Scheidt employs several dem bosen Leben." contrastive catabatic the e r m i t ihm," f i g u r e s t o the t e x t "auss S c h e i d t sharpens the m u s i c a l d i s t i n c t i o n by r e p l a c i n g the f l e e t i n g , p r e d o m i n a n t l y consonant f i g u r a t i o n w i t h s l o w e r , f r e q u e n t l y dissonant movement (striking m e l o d i c and harmonic harmonies, s u s p e n s i o n s ) . S c h e i d t , op. c i t . 150 tritones, augmented E x a m p l e 19. S. S c h e i d t : "Der G e r e c h t e ob e r g l e i c h s t i r b t , " measures 21-31. L e . _ / a«(b dew _ _ Il H i »r r r i Le- b e i / »ufi <*e* ^° U_ Vic, / \4**fj ^ Vie*,/ Vi$cn ^_ u v> 1 e Lc _ 44 o _ fee*, ' Hyperbole and The c S s * J 1 1 J ben. Le r"—e zeitlich . Le Le_ zu J J ^ «,) J Hypobole musical-rhetorical figures h y p e r b o l e and hypobole are closely on related to anabasis and c a t a b a s i s . d e f i n e s h y p e r b o l e as f o l l o w s : above i t s h i g h e s t boundary." ^ 4 B u r m e i s t e r , i n h i s Musica poetica, "Hyperbole i s the c r o s s i n g of a melody I t s c o u n t e r p a r t hypobole i s subsequently d e f i n e d by him as "the c r o s s i n g o f a melody below the lowest boundary its ambitus." * 4 of Judging from Burmeister's m u s i c a l example o f h y p e r b o l e , w r i t t e n i n the b a s s c l e f f w i t h a r a n g e o f C t o c, and from h i s d e f i n i - t i o n of hypobole, i t i s p o s s i b l e f o r the r e a d e r to a r r i v e at two denota- M e y f a r t d e f i n e s h y p e r b o l e i n h i s Teutsche R h e t o r i c a as f o l l o w s : " H y p e r b o l e i s a s t y l e when one makes t h i n g s e n t i r e l y t o o l a r g e o r e n t i r e l y too s m a l l . " ("Hyperbole i s t e i n e A r t / wenn man d i e D i n g e e n t w e d e r g a r zu g r o s s / o d e r g a r zu k l e i n machet.") M e y f a r t , op. c i t . , 1:178. H y p o b o l e ( a p p a r e n t l y a n e o l o g i s m by B u r m e i s t e r ) i s d e f i n e d by M e y f a r t u n d e r t h e name l i t o t e s as "a s t y l e where the o r a t o r . . . i m p l i e s more t h a n he s a y s . " ("...eine A r t / wenn d e r Redener...mehr a n d e u t e t / a l s e r s a g e t . " ) I b i d . , 1:144. ^ B u r m e i s t e r , op. c i t . , p. 64. C i t e d i n B a r t e l , op. c i t . , p. 195. "Hyperbole e s t M e l o d i a e supra supremum e j u s terminum s u p e r l a t i o . 11 *Ibid. jectio." 4 "...Melodiae i n f r a ejus infimum 151 Ambitus terminum sub- tive i n t e r p r e t a t i o n s o f these f i g u r e s . In the f i r s t seem t h a t any n o t e o f a m e l o d y t h a t a s c e n d s staff would i n s t a n c e , i t would above t h e t o p l i n e o f t h e be c o n s i d e r e d an e x a m p l e o f m u s i c a l - r h e t o r i c a l h y p e r b o l e . C o n v e r s e l y , based on that definition, one would m e l o d i c e x t e n s i o n below the lowest l i n e o f a s t a f f would musical-rhetorical hypobole. I f this i n t e n t i o n , hyperbole and hypobole naturally expect i n f a c t had been that a constitute Burmeister's would be so p e r v a s i v e i n Baroque as t o be r h e t o r i c a l l y i n e f f e c t u a l . music I t w o u l d seem most r e a s o n a b l e t o assume, t h a t B u r m e i s t e r ' s h y p e r b o l e , based on h i s d e f i n i t i o n o f h y p o bole, of p e r t a i n e d more to an a c t u a l m e l o d i c transgression a mode r a t h e r t h a n t h e l i n e s o f a s t a f f . b o l e would seem transgressions, quickly lose increasingly t o be most i tis s t i l l relevance effective possible o f the ambitus W h i l e h y p e r b o l e and h y p o - i f understood primarily as modal to see t h a t these two f i g u r e s would i n the course o f the Baroque as composers turned away from the church modes, and as extended melodic ranges became p a r t o f a standard m u s i c a l v o c a b u l a r y . Although t r a n s g r e s s i o n s both common o c c u r r e n c e s nevertheless effect i n this body o f m u s i c to see e x a g g e r a t e d i n f u n e r a r y music. i n B r a n c o v i u s ' s "Ach G o t t first i n s t a n c e , an a n a b a t i c and modal literature, ambitus a r e i tis possible e x t e n s i o n s o f t h i s k i n d u s e d t o good i c h muss i n T r a w r i g k e i t . " melody i n the Cantus i t s apogee w i t h the t e x t "meiner T h i s s h o r t s e c t i o n of music the s y m b o l i c line Two s t r i k i n g e x a m p l e s o f h y p e r b o l e c a n be found secundus reaches of staff i s rhetorically 4 2 I o f the chorus Frewd und Wonne effective, op. — cit. Co 152 hoch." f i r s t , because o f s i g n i f i c a n c e o f the a n a b a s i s and, secondly, because Brancovius, In t h e of the hypotypotic of the setting Cantus past then b^". the the word "hoch." g " (an o c t a v e Brancovius above the extends finalis), Thus the m e l o d y i s h y p e r b o l i c on b o t h c o u n t s Burmeister's attained of definitions. through the However, the true the to range a " and according hyperbolic effect e x t r a o r d i n a r i l y h i g h range of the v o i c e ; to is a" is v e r y s p a r i n g l y used i n the c h o r a l m u s i c o f t h i s p e r i o d , and t h e b ^ " i s rare enough to Example 20.) range later be classed as an a n o m a l y B r a n c o v i u s a g a i n employs in the composition singen f e i n , " a p p r o p r i a t e l y to suggest their b ". b (See "fine Example in this setting depict s i n g i n g " w i t h the in repertory. (See unusually high or h y p e r b o l i c the the rapid this text "und m i t den E n g e l n angels passagi i n heaven, i n c l u d i n g the and to novel 21.) E x a m p l e 20. S. B r a n c o v i u s : "Ach G o t t i c h muss measures 53-55. One m i g h t a r g u e t h a t the b " c o u l d have D 153 i n Trawr i g k e i t," been a c c o m m o d a t e d by E x a m p l e 21. S. B r a n c o v i u s : "Ach G o t t i c h muss measures 95-97. in Trawrigkeit," An e x a m p l e o f h y p o b o l e c a n be seen i n a J a k o b Sche i f f e l h u t ' s "Ach Herr! Lehre uns b e d e n c k e n . " s t e r b e n miissen" i s aptly set w h i c h i s then r e p e a t e d t w i c e fourth lower breves, eleventh. the than the bass 4 4 to (See E x a m p l e 22.) a catabatic melodic i n sequence, p r e c e d i n g statement. melody The t e x t "dass w i r steadily line i n the bassus, each r e p e t i t i o n b e g i n n i n g a Thus, descends i n the course of from a to E, a W h i l e the c o n g r e g a t i o n no doubt would have n o t i c e d the five perfect signi- p e r f o r m i n g the the work at a lower p i t c h . That n o t i o n can be countered t o some d e g r e e by n o t i n g t h e p r e s e n c e i n t h e same c o m p o s i t i o n o f t h e o c c a s i o n a l D i n the Bassus, which i n i t s e l f i s a l r e a d y uncommonly low. 4 4 Scheiffelhut, op. cit. 1-54 ficance o f the descending bass line as a p o r t r a y a l composer f u r t h e r emphasizes the i d e a t e x t u r a l l y , from of "to d i e , " the isolating the bass line the upper t h r e e p a r t s by an i n t e r v a l of a t w e l f t h . E x a m p l e 22. J . S c h e i f f e l h u t : measures 6-12. "Ach H e r r ! Lehre uns b e d e n c k e n , " Exclamatio The last h i s Teutsche the figures rhetorical Rhetorica, Meyfart discusses exclamatio which have to do w i t h what Exc l a m a t i o i s . " - * 4 exclamation f i g u r e t o be mentioned here i s e x c l a m a t i o . Meyfart i n Chapter In 36, "On speaking s h a r p l y and, to b e g i n with, i n f o r m s the reader that the f i g u r e o f i s the most common i n t h i s type o f s p e e c h , ^ and d e f i n e s i t as the f i g u r e whereby "the o r a t o r r e v e a l s the nature o f h i s f e e l i n g , and employs such sorrowful with a c o n s i d e r a b l y and n i c e l y a u d i b l e tone matters." 4 7 He s t a t e s i n joyous and i n a d d i t i o n that " t h i s f i g u r e is easily M e y f a r t , op. c i t . , 1:347. "Von den F i g u r e n / welche i n s c h a r f f e n Spru'chen b e s t e h e n / v n d e r s t l i c h / was Exc l a m a t i o sey." The c h a p t e r i t s e l f (pp. 347-60) -is made up m o s t l y o f q u o t a t i o n s e x e m p l i f y i n g t h e figure. 4 6 Ibid. 4 7 Ibid., 1:348. "...der Redner 155 s e i n e s Gemu'ths B e s c h a f f e n h e i t e n t - recognized the on the w o r d s 0, A c h , S i h e , w o l t e G o t t , L e i d e r , Ey Wehe and like." 4 8 Exclamatio was f e e l i n g s of sorrow. the oration funerary the where often As s u c h i t the a p p l i c a t i o n of Abdankung f o r employed the is of can be oratory f o u n d i n the mourned. figure funeral funeral is usually deceased this in A clear seen Johann E r h a r d i n the to express f i r s t part example of introduction Michael, written C h r i s t o p h Weissenborn and appended as a model o r a t i o n to h i s of the to by Politischer Leich=Redner: Alas! I the u n f o r t u n a t e s p e a k e r , I do not know w h e t h e r I s h o u l d remain s i l e n t or speak; f o r I stand by the open c o f f i n of the l a t e H e r r J o h a n n E r h a r d M i c h a e l , m e r i t o r i o u s p a s t o r . . . a t S i e g l i t z and Schleusckau.... But a l a s ! I the u n f o r t u n a t e speaker, how s h a l l I comfort others, since this loss i t s e l f so p a i n f u l l y s t i r s my heart? 4 9 Musical-rhetorical exclamatio, a v e r y p o p u l a r and e f f e c t i v e popularity in compositions, the musica1-rhetorical the few composers to reach decket thut / an because of i t s figure i n Baroque m u s i c . however, treatises of dramatic q u a l i t y , I n s p i t e of the f i g u r e was c u r i o u s l y ignored the seventeenth c e n t u r y . and t h e o r i s t s who d i d d i s c u s s the f i g u r e agreement as to what precisely / vnd m i t einem z i m l i c h e n vnd z i e r l i c h e n i n f r b l i c h e n vnd t r a w r i g e n Sachen." 49 its in Moreover, seemed unable constitutes musical- l a u t b a r n Thon solches Ibid. "Diese F i g u r w i r d l e i c h t l i c h erkennet an den Wbrten / Ach / Sihe / w o l t e Gott / Leyder / Ey Wehe vnd d e r g l e i c h e n . " 4 8 was 0 / "• C. W e i s s e n b o r n , D i e GOtt = g e f a ' l l i g e Bu'cher=Lust e i n e s frommen P r i e s t e r s Zum Ruhm=wiirdigen A n d e n c k e n Des Weyland Wohl=Ehrwu'rdigen j_ Gross=Achtbaren und W o h l g e l a h r t e n HERRN J o h a n n E r h a r d M i c h a e l i s . . . , i n P o l i t i s c h e r Leich=Redner, op. c i t . , pp. 5-6. "Ach! i c h u n g l u c k s e e l i g e r Redner / i c h w e i s s n i c h t / ob i c h schweigen oder reden s o l l e ? Denn i c h s t e h e bey dem a u f g e m a c h t e n S a r g e des W e y l a n d . . . H e r r n J o h a n n E r h a r d Michaelis / Wohl = v e r d i e n t e n S e e l = S o r g e r s . . . z u S i e g l i t z und S c h l e u s ckau.... Aber ach! i c h ung luck s e e l i g e r Redner / was w i l l i c h andern vor e i n e n T r o s t zusprechen / da m i r d i e s e r V e r l u s t s e l b e r so s c h m e r t z l i c h zu H e r t z e n gehet." 156 rhetorical of exclamatio. Michael P r a e t o r i u s , f o r instance, i n Part h i s Syntagma musicum ( W o l f e n b i i t t e l , Three 1619) d e s c r i b e s the e x c l a m a t i o as follows: E x c l a m a t i o , which must occur w i t h the r a i s i n g of the v o i c e , i s the c o r r e c t means to move the a f f e c t i o n s ; and descent, i n d o t t e d minims and s e m i m i n i m s , c a n be b r o u g h t i n and used. And t h e f o l l o w i n g note, which proceeds somewhat q u i c k l y , e s p e c i a l l y moves t h e a f f e c t i o n s and i s a l s o b e t t e r r e g a r d e d , more t h a n the s e m i b r e v e which o c c u r s more o f t e n i n r a i s i n g and l o w e r i n g the v o i c e w i t h o u t exclamation. In in the f i r s t h a l f of the e i g h t e e n t h c e n t u r y , the f i g u r e was several Syntagma w r i t i n g s on m u s i c . musicum, Walther's when one well hundred M a u r i t i u s Vogt v a g u e l y G r e e k name E c p h o n i s i s as "an forth.""^ One Exclamatio or exclamation (Leipzig, exclaims something movingly, the upwards after Praetorius's d e f i n e s the as 1732) figure i n '0 what ecphonisis is defined Musicalisches Lexicon through years defined under i t s p a i n ' and i n Johann so Gottfried as "a r h e t o r i c a l figure w h i c h i n m u s i c can o c c u r q u i t e l e a p o f a minor s i x t h . " In Der vollkommene M. P r a e t o r i u s , Syntagma musicum I I I ( W o l f e n b i i t t e l , 1619), Documenta m u s i c o l o g i c a ( E r s t e Reihe: D r u c k s c h r i f t e n - F a k s i m i l e s ) , No. 15, ed. by W i l i b a l d G u r l i t t ( C a s s e l , B a s e l , L o n d o n , New York: B a r e n r e i t e r V e r l a g , 1958), p. 231. " E x c l a m a t i o i s t das r e c h t e M i t t e l d i e a f f e c t u s zu moviren, so m i t erhebung der Stimm geschehen muss: Und kann i n a l i e n M i n i m i s und S e m i m i n i m i s m i t dem P u n c t / d e s c e n d e n d o a n g e b r a c h t und gebraucht werden. Und m o v i r e t s o n d e r l i c h d i e folgende Nota, so etwas g e w s c h w i n d e f o r t g e h e t / mehr a f f e c t u s , a l s d i e S e m i b r e v i s , w e l c h e i n erhebung und v e r r i n g e r u n g der Stimm ohn E x c l a m a t i o n mehr s t a d t f i n d e t / auch b e s s e r g r a t i a m hat." " ^ V o g t , op. c i t . , p. 151. Cited " I n c l a m a t i o , ut o, proh d o l o r etc." in Bartel, op. c i t . , p. 168. J . G. W a l t h e r , M u s i c a l i s c h e s L e x i c o n ( L e i p z i g , 1732), p. 233. "Exclamatio fi^ptov^tc, i s t e i n e R h e t o r i s c h e F i g u r , wenn man etwas bewegl i c h a u s r u f f e t ; w e l c h e s i n der Music gar f i i g l i c h durch d i e a u f w e r t s springende Sextam minorem geschehen kan." 15-7 Capellmeister (Hamburg, 1739), Johann Mattheson d i v i d e s exclamatio 53 three cal separate settings pertinent categories. of to . The second petitions, this study. of invocations these, and For exclamatory into . . which i n c l u d e s m u s i - lamentations, expressions of is most this type M a t t h e s o n recommends t h a t "now l a r g e (but not common), now s m a l l and extraordinary intervals must be introduced according to circum- .,54 stances. The a r r a y of m u s i c a l e x p r e s s i o n s music shows that the p r e c e p t s a n y t h i n g but immutable. matio foregoing definitions. not of t h i s a single musical-rhetorical excla- study conforms For example, it was fully possible to for s i m p l y to i g n o r e t h e m u s i c a 1 - r h e t o r i c a l i m p l i c a t i o n s o f exclamatio. "Ach Gott composer This wie does is ist evident mein nothing of first any o f the Hertz betriibt." 5 5 (See the a mus i c a l - r h e t o r i c a l beat of subsequent Example nature the composer textual i n Theodor Schuchardt's s t r o p h i c s e t t i n g d i s t i n g u i s h t h e e x c l a m a t o r y "Ach" f r o m o t h e r , a p p e a r i n g on the in funeral o f P r a e t o r i u s , W a l t h e r and Mattheson were Indeed, seen i n the c o u r s e of t e x t u a l e x c l a m a t i o n s 23.) that less significant of The would words measures. CO J . Mattheson, Der vollkommene C a p e l l m e i s t e r (Hamburg, 1739, Docum e n t a m u s i c o l o g i c a , e d . by M a r g a r e t e R e i m a n n ( E r s t e R e i h e : D r u c k s c h r i f t e n - F a k s i m i l e s ) , No. 5 ( C a s s e l and B a s e l : B a r e n r e i t e r V e r l a g , 1954), p. 193. Ibid. "...miissen, nach Befinden der Umstande, b a l d g r o s s e , doch n i c h t gemeine, b a l d k l e i n e und a u s s e r o r d e n t l i c h e I n t e r v a l l e angebracht werden." 5 4 T. S c h u c h a r d t , C h r i s t l i c h e s Gespra'ch e i n e s b e t r i i b t e n V a t e r s m i t seinem a b g e l e i b t e n S b h n l e i n . A u f d e n . . . H i n t r i 1 1 . . . J o h a n n - H e n r i c i , des H e r r n M. J o h a n n i s W e i s s e n . . . S b ' h n l e i n s W e l c h e s . . . anno 1656...entschlaffen. M i t 8. Stimmen zu 2 u n t e r s c h i e d e n e n Choren g e s e t z t (Gotha: Johann M i c h a e l S c h a l l , 1656). B e r l i n , Deutsche S t a a t s b i b l i o t h e k , 2 i n Ee 7003882. 5 5 158 Example 23. T. Schuchardt: measures 1-3. "Ach Gott wie ist mein H e r t z ftUu r ftcV Q„u w v««;-> WtrVi. VMA»SW / T 1 CIV* r r W « V \, V aV^e F = P J J J cation f r r J r r r J^EgE t r e a t m e n t s of exclamatory syncopated e n t r y and ascending the A l t u s and T e n o r . figuration is in fact opening i n v o c a t i o n on the Heinrich Example viole (See used texts. J Schwemmer, The opening on the first 25.) The second, Schwemmer's invocation the though s u b t l y , "Siehe, "Siehe •^Brancovius, siehe." op. same m u s i c a l words later to enhance more pronounced example string thirds on, the beat and the p r o l o n g a t i o n of the harmony der Gerechte F o l l o w i n g an i n s t r u m e n t a l by invo- effected in p a r a l l e l W h i l e the insignificant da b r a c c i o and b a s s o c o n t i n u o , accompanied semifusae E x a m p l e 24.) on r a t h e r word " G o t t " does s e r v e , exclamation. is J i n B r a n c o v i u s ' s "Ach G o t t i c h muss i n T r a w r i g k e i t " i s through the of J J. J ' f f J 3 Two w o r k s , one e a c h by S i m o n B r a n c o v i u s and H e i n r i c h show more e f f e c t i v e betrubt," ensemble, kommet three enter The homophonic textual to be mentioned umb."^ i n t r o d u c t i o n played the the with singing voices with invocation a is broadly repeated here (See three (SSB), stated twice cit. 57 H. Schwemmer, L e i c h = T e x t : S i e h e ! d e r G e r e c h t e kommet umb: In N o t e n g e s e t z t [_ M^t 2_j_ C a n t . 1. B a s . 3. V i o l da b r a z z . ( N u r e m b e r g : W. E n d t e r d. J . , 1659). Z w i c k a u , R a t s s c h u l b i b l i o t h e k , M. 105. I c . The p r i n t of t h i s c o m p o s i t i o n was removed from the L e i c h e n p r e d i g t i n which i t was o r i g i n a l l y bound. 159 to changing harmonies, the s t a t e m e n t s . silent while kommen umb." partly w i t h semiminim r e s t s A f t e r the t h i r d the Bassus i n t r o d u c e d between each o f s t a t e m e n t , the Cantus proceeds with the text Schwemmer a c h i e v e s t h e e x c l a m a t o r y I and I I f a l l "Siehe d e r Gerechte effect i n h i s music through the c o n t r a s t between the p u r e l y i n s t r u m e n t a l ensemble and the p r e c i p i t o u s , full-voiced e n t r y by t h e v o c a l i s t s . This forceful opening then g i v e s way t o the new t e x t , a t h i n n e r t e x t u r e , and c o n t r a s t ing melodic f i g u r a t i o n s sung by the s o l o Bassus. E x a m p l e 24. S. B r a n c o v i u s : "Ach G o t t i c h muss i n T r a w r i g k e i t , " measures 1-3. E x a m p l e 25. H. Schwemmer: measures 7-15. "Siehe 160 der Gerechte kommet umb," S u s t a i n e d harmonies o f the type seen i n Schwemmer's considered technique to be an e f f e c t i v e expression c a n be s e e n i n more d r a m a t i c of t e x t u a l work were g e n e r a l l y exclamations. c o n t e x t s i n two o t h e r funerary w o r k s , one by F r i e d r i c h F u n c k e , t h e o t h e r by J a k o b S c h e i f f e l h u t . Funcke's treatment Hertzeleid," of e x c l a m a t i o the composer i n the f i r s t gives three breves the i m p r e s s i o n 161 The In o f h i s "Ach of u n c o n t r o l l a b l e emotional outbursts. He a c h i e v e s t h i s e f f e c t through a s u c c e s s i v e l o w e r i n g of the dynamic l e v e l i n each o f the f i r s t "Ach!", from followed an u n m a r k e d but by a pianissimo. i m p l i e d mezzo f o r t e Corresponding piano to p i a n i s s i m o i s a melodic striking exclamations i s f o l l o w e d by the precedent exclamation i n the T e n o r of the first i s shortened a n a c r u s i s by the f u l l the unexpected, change from The Rather than Example Like 27.) Schwemmer (SATB) h o m o p h o n i c a l l y with considerable contrast with a minim the f i r s t Funcke, i n minims and rest. The subsequent the A l t u s , Tenor and Bassus so that more s t e a d f a s t Cantus. Funcke, op. c i t . Scheiffelhut, the followed d i r e c t l y uses an section. op. c i t . 162 third The e f f e c t of dynamic (See Example treats semibreves, 26.) s t a t e d at (See 59 the four s e p a r a t i n g each i n v o c a t i o n stands musical material. they descend the abbreviated ver- Scheiffelhut opening of to on Lehre uns bedencken." g r a v i t y of the i n t r o d u c t o r y e x c l a m a t i o n s , S c h e i f f e l h u t 59 conforming the pause a f t e r Funcke a l s o "Ach Herr! and from chordal e n t r y i s m a g n i f i e d by the a b r u p t Scheiffelhut's exclamation 58 two i n v o c a t i o n on t h e words "Ach H e r r ! " i s b o l d l y of in i n dynamics e x c l a m a t i o n o f "Ach H e r t z e l e i d . " syncopated the b e g i n n i n g voices rest. to a semiminima r e s t technique t o conclude threefold drop i n the Cantus I and I I and exclamations, p i a n i s s i m o to f o r t e . sion of t h i s to a w r i t t e n p i a n o E a c h o f the f i r s t a minima of i n f i v e of the s i x v o i c e s , most fifth II part. two to the descent i n the descent o f a p e r f e c t a minor seventh three exclamations Adding to in the s c o r e s the v o i c e s t o g e t h e r a g a i n s t the Example 26. F. Funcke: "Ach E x a m p l e 27. measures 1-5. By examining exclamatio o t h e r and Mattheson, exclamatio J. S h e i f f e l h u t : funeral compositions, the d e f i n i t i o n s i t i s easy were "Ach Herr! Lehre limited t o see and and why provided by bedencken," o f the textual them w i t h each P r a e t o r i u s , Walther and that approaches to m u s i c a 1 - r h e t o r i c a l o n l y by the i m a g i n a t i o n of the composer. h e l p to The understand f o r Vogt's noncommital d e f i n i t i o n of e x c l a m a t i o ( e c p h o n i s i s ) the seventeenth-century Praetorius) avoided exclamatio uns comparing l a r g e number of p o s s i b l e approaches to the f i g u r e may the reasons 1-3 each of the v a r i o u s m u s i c a l treatments i n these with H e r t z e l e i d , " measures can theorists d e a l i n g w i t h the t e r m clearly be seen as a 163 (with the altogether. rhetorical figure exception In any whose of event, affective p r o p e r t i e s were v a l u e d h i g h l y by p a r e n t a t o r s , poets and composers Duple alike. and T r i p l e Metre The v a s t m a j o r i t y o f f u n e r a l c o m p o s i t i o n s examined i n the course of t h i s study a r e w r i t t e n i n duple metre throughout, or p a r t s as e i t h e r C o r (£. indicated i n the score In c o m p i l i n g a r e p r e s e n t a t i v e sampling o f t h e l i t e r a t u r e f o r t h i s s t u d y , n o t a s i n g l e f u n e r a r y work was seen i n which that triple metre was p e r v a s i v e . such music was not w r i t t e n more e x t e n s i v e e x a m i n a t i o n that kind duced of assertion occasionally T h i s i s not to suggest i n the seventeenth c e n t u r y , f o r a much o f the r e p e r t o i r e c o u l d be made. into seem worthwhile subject of t r i p l e Triple motet at t h i s i n the Baroque of t r i p l e (SWV 373) f r o m point i s intro- Because the a composer's reasons f o r doing considerations, to focus c r i t i c a l l y Year, was frequently on t h e used as a t y p e o f In moderate tempi, f o r example, the m e t r e c o u l d be used or r o c k i n g motion. f o r New metre i n p a r t by m u s i c a l - r h e t o r i c a l musical-rhetorical hypotyposis. lating triple before metre. metre introduction be r e q u i r e d f u n e r a r y works i n d u p l e m e t r e . so may have been m o t i v a t e d would would However, p r a c t i c e d e v i a t e s from the norm, because it f o r a moment to s u g g e s t a g e n t l e undu- T h i s i s n o t a b l y the case i n Schutz's c h o r a l e "Gib unsern F u r s t e n e i n g e r u h i g und s t i l l e s the G e i s t l i c h e Chormusik (Dresden, 1 6 4 8 ) . c h a n g e s f r o m d u p l e to t r i p l e 6 0 Leben" The m e t r e f o r t h e t e x t " g e r u h i g und s t i l l e s Leben" fid An i n t e r e s t i n g study o f Schutz's a p p l i c a t i o n of t r i p l e metre i n the c o m p o s i t i o n s o f the G e i s t l i c h e Chormusik was undertaken by Johannes M i t t r i n g : see J . M i t t r i n g , "Der D r e i e r t a k t -- Ausdruck der Freude? Zu H e i n r i c h Schu'tzens ' G e i s t l i c h e r C h o r m u s i k ' von 1648," Musik und K i r c h e 34 (1964): 271-84. 164 thereby evoking H ij^_t o r ^ a von the " q u i e t der and tranquil und £££d^nrei.chen freuden- (Christmas O r a t o r i o , SWV 435) of 1664, life." Years later, Geburt...Jesu Schutz uses t r i p l e in his Christi metre a g a i n t o an o s t i n a t o b a s s p a t t e r n , w h i c h the c o m p o s e r d e c l a r e s i s i n t e n d e d t o represent the r o c k i n g m o t i o n l a r g e l y d e p e n d e n t on tempo and note e f f e c t may tranquility Both and use i t on funeral -- toire the one metre to a c h i e v e a c e r t a i n hand to evoke f e e l i n g s t h o s e o f e x h u b e r a n c e or e x c i t e m e n t and flow, and a r e r e l e v a n t to the c o m p o s i t i o n consideration for a rhetorical i s number as s y m b o l . T r i n i t y appears of peace on the o t h e r . the e v o c a t i o n s of of the seventeenth-century associated study of t h i s sacred reper- The number t h r e e as a s y m b o l o f the triple m e t r e o r t e m £ u s E££J-.££t.HE had s y m b o l i c a l l y w i t h the Holy T r i n i t y as e a r l y as the c e n t u r y by F r a n c o o f C o l o g n e . course Holy to have l o s t none o f i t s f o r c e i n s e v e n t e e n t h - c e n t u r y German t h o u g h t . In m u s i c , of Though music. Another was triple a p p l i c a t i o n s -- the g e n t l e ebb Sprungtanz child's c r a d l e . ^ i n t e r n a l rhythms, i t i s i n t e r e s t i n g to that a composition employing rhetorical and of the C h r i s t i n no way made i n w r i t i n g s on eighteenth c e n t u r i e s seem thirteenth The n u m e r o l o g i c a l r e f e r e n c e to t h r e e confined statements been to music to r e f e r treatment i n the most of metre; seventeenth f r e q u e n t l y to in and fact, early trinitarian See H. J . M o s e r , H e i n r i c h S c h u t z : H i s L_ife and Work, t r a n s , f r o m t h e 2nd ed. by C. F. P f a t t e i c h e r ( S a i n t L o u i s : C o n c o r d i a P u b l i s h i n g House, 1959), p. 65 3; and S. K b h l e r , H e i n r i c h S c h u t z : A n m e r k u n g e n z u Leben und Werk ( L e i p z i g : VEB Deutscher V e r l a g fiir Musik, 1985), pp. 17778. f\ ? R. H. H o p p i n , M e d i e v a l Mus i c (New Inc., 1978), p. 334. 165 Y o r k : W. W. N o r t o n & Company, symbols as they p e r t a i n to m a t t e r s of t e r t i a n harmony -- t r i a s musica ft figura 3 trinitatis. greater (Perhaps amount o f a t t e n t i o n developments of tertian principles o f metre.) shows that the concept foremost At being any rate, was partly focused harmony of t r i p l e rather the level, the at t h a t than evidence result time on of the constant on l o n g - e s t a b l i s h e d available metre as a t r i n i t a r i a n types o f f u n e r a l music. of t r i p l e metre at t h i s ought this i n the m i n d s o f the t h e o r i s t s , was composers of c e r t a i n or to us symbol, nonetheless amply i f not important Before l o o k i n g at the t h o u g h , o t h e r , more d i r e c t uses to use of i t to be c o n s i d e r e d . An anomalous a p p l i c a t i o n r h e t o r i c a l h y p o t y p o s i s has chapter of t r i p l e m e t r e as a t y p e o f m u s i c a l - a l r e a d y been mentioned i n regard to H e i n r i c h Albert's continuo a r i a , der Tod."^ m e t r e was 4 i n the preceding "Gedenkt wie I n t h a t p a r t i c u l a r c a s e , the change f r o m d u p l e t o mich triple r h e t o r i c a l l y r e q u i r e d by the t e x t " i c h t a n z e nur v o r a n , i h r werdet f o l g e n miissen." portray anything abstract sense, I f the change o f metre was more c o n c r e t e i t i s most l i k e l y In what i s perhaps than the verb intended by A l b e r t to "tanzen" i n r e f e r e n c e to the i n i t s most Totentanz.^ i t s most s i m p l e a p p l i c a t i o n , t r i p l e metre can be R. Damman, Der M u s i k b e g r i f f i.m d e u t s c h e n B a r o c k ( C o l o g n e : A r n o V o l k V e r l a g , 1967), pp. 439-56. ^ H. A l b e r t , S i e b e n d e r T h e i 1 d e r A r i e n , e t l i c h e r t h e i 1 s g e i s t l i c h e r : s o n d e r l i c h zum T r o s t i n a l l e r h a n d C r e u t z und W i d e r w e r t i g k e i t , w i e a u c h z u r E r w e c k u n g s e e 1 i g e n S t e r b e n s L u s t ; t e i l s w e l t l i c h e r : zu geziemenden Ehren-Freuden und Keuscher L i e b e dienender L i e d e r , zu singen g e s e t z e t . (Kbnigsberg: 1648). London, B r i t i s h L i b r a r y , G. 62. b. 4 For a d e t a i l e d e x a m i n a t i o n o f the Totentanz Tanz und Mus i k des; T o d e s : d i e m i t t e l a l t e r l i c h e n Nachleben (Bern und Munich: Francke V e r l a g , 1980). 166 see R. Hammerstein, Totenta'nze und i h r employed affect "Das i n f u n e r a l music of joy. T h i s can i s t meine F r e u d e , " (See E x a m p l e 28.) Vincentius 66 be ist ((f). means o f c o n v e y i n g seen the intervals the i n J o h a n n Hermann basic Schein's motet (SSATB) w i t h basso c o n t i n u o . S c h e i n composed the work i n 1628 Schmuck, at r e g u l a r clearly a five-part Superintendent t h e o l o g y at the U n i v e r s i t y . nate as a d i r e c t f o r the f u n e r a l o f in Leipzig and p r o f e s s o r of In the motet, duple and t r i p l e metre i n accordance with alter- the t e x t : the opening "Das meine" i s w r i t t e n i n three ((j)3/2), and the f o l l o w i n g "Freude" i n Although triple m e t r e a l o n e i s most o f t e n a s s o c i a t e d with two the l i g h t e r a f f e c t i o n s , the j o y o u s f e e l i n g i n t h i s e x a m p l e i s e n h a n c e d by the i n v i g o r a t i n g c h a n g e s o f m e t r e on one consequent upon the quality effect that internal level elements S c h e i n s e t s out t o c o m m u n i c a t e metres i s c h a r a c t e r i z e d f u r t h e r s t i l l , p a s s a g i or anabasis on the word "Freude" the q u a s i - s e q u e n t i a l ascent f o r each and, on a n o t h e r , o f rhythm. The through the exuberant alternating f i r s t , by a d d i n g t h e a s c e n d i n g and, of the secondly, following two by instituting textual repe- titions. Example 28. 66 Schein, J . H. S c h e i n : "Das i s t meine Freude." measures Symbolum oder T a g l i c h e r Trost=Spruch, 167 the op. c i t . 1-4. A slightly Theodor more complex treatment Schuchardt's s e t t i n g of "Gott wie double c h o r u s , a work w h i c h was m u s i c a l - r h e t o r i c a l prosopopoeia.^ is of t r i p l e metre can be i s t mein Hertz b e t r u b t " f o r earlier The 7 d i s c u s s e d as an e x a m p l e chorus deceased primus child o r "Quereus," i n the chorus w h i l e v e r s e s 2, 4 and secundus or father in 6 portray "Respondens." c o m p o s i t i o n s w r i t t e n i n d i a l o g u e , the b e r e f t a l t e r n a t i n g v e r s e s , g e n t l y c h a s t i s e s him transitory tion r a t h e r than the e t e r n a l . i s f o l l o w e d by a new content of the phrases of text, tones, quietly point, the c h i l d life foremost abandoning son. echoes Here, for placing than an t h e e n d i n g o f each primus, phrase. i n h i s m i n d ; the f a t h e r , i n subdued Textually at l a s t showing h i s f e e l i n g s of d e s p a i r , appears the sings s i x at a d v i s e s h i s f a t h e r to keep the r e s u r r e c t i o n and this eternal c l e a r s i g n s of to accept the c o u n s e l of h i s F o l l o w i n g t h e l a s t o f the s i x p h r a s e s , "0 Wie seyn," and musical extension of singing on composi- The however, the chorus secundus w h i l e the chorus i n the such vane worth The s i x t h v e r s e of the more of f a t h e r g r i e v e s over the l a b e l l e d "Cone l u s i o . " Conelus i o i s l i t t l e p r e c e d i n g chorus secundus. short section the Typical u n t i m e l y l o s s o f h i s b e l o v e d son, w h i l e t h e p e r s o n i f i e d c h i l d , the of d i a l o g i c t e x t of the c o m p o s i t i o n s t r o p h i c , w i t h v e r s e s 1, 3 and 5 r e p r e s e n t i n g t h e b e r e f t the found i n i t s c o r r e s p o n d i n g echo i s a b r i e f coda sung w i r d da e i n F r e u d e by both c h o i r s i n 68 triple metre, Example 29.) s e t t o the Schuchardt, text "Wenn w i r zusammen kommen." (See op. c i t . "0 such a happiness there w i l l be t h e r e , when we 168 come together." Example 29. T. Schuchardt: "Gott wie i s t mein H e r t z b e t r u b t . " E x a m p l e 29. continued. T. S c h u c h a r d t : "Gott l\i«e CVyiWt a\tamaV«Mi tar««rv;tu.5 \attvJe.*vt ^e<^^J\^*r c«ncWv« • L J 170 wie i s t mein H e r t z betriibt In i t s most can c l e a r l y be seen the " j o y " proposed i n "Das text of figurative sense, the u l t i m a t e change to t r i p l e as a h y p o t y p o t i c or m u s i c a l - r h e t o r i c a l by the t e x t , i s t meine Freude." similar The to the e f f e c t depiction employed by p a r t i c u l a r happiness metre imparted of Schein i n the r e f e r s t o the j o y f u l r e u n i o n of a f a t h e r and h i s son a f t e r a p e r i o d separation. human emotion Thus the j o y expressed at t h i s p o i n t r e f e r s i n the most w o r l d l y sense. Although -- t h a t i s , l a y i n g s t r e s s upon what i s o t h e r w i s e literature such i n order to p r o v i d e the mourners w i t h means by which they c o u l d c o n c e p t u a l i z e heavenly triple metre on fact would i s not anticipated serve effectively t h a t the r e u n i o n ness of the here fact, application as w o r l d l y v a n i t y -- seems i n many ways to stand intentional expressed an construed i n funeral d i c t i o n t o t h e i n t e n d e d message of t h e c o m p o s i t i o n , the to a s t r o n g was t o be intended p r i m a r i l y and j o y , the now but to focus rapture. the affective The change to listeners' attention i n heaven. a joy have been a concrete to be understood r a t h e r as i t may in contra- that The joy that i s as a mundane h a p p i i s yet t o be, joy of C h r i s t i a n s a l v a t i o n and e t e r n a l l i f e . ^ i t i s n o t uncommon in this literature to f i n d heaven j o y o f the h e r e a f t e r t o be i n many ways synonymous w i t h another; f o r t h e son e v e n s a y s t h a t t h e r e , i n the company o f the Trinity, "leb i c h j e t z t We begin t o see in now Freuden." In and imminent an the one Holy 70 that t r i p l e metre i s not simply a type of S e e J . M i t t r i n g , "Der D r e i e r t a k t -- A u s d r u c k d e r F r e u d e ? Zu H e i n r i c h S c h i i t z e n s ' G e i s t l i c h e r C h o r m u s i k ' von 1648," Musik und K i r c h e 34 (1964): 271-84. T h i s i s one of the p r i n c i p a l c o n c l u s i o n s a r r i v e d at by M i t t r i n g i n h i s c o n v i n c i n g l y argued study o f Schutz's a p p l i c a t i o n o f t r i p l e metre i n the G e i s t l i c h e Chormusik. 6 9 7 0 " . . . I now live i n joy." 171 musical-rhetorical its exclusive hypotyposis association used by composers to s k i p p i n g to depict or dancing. j o y through Rather, a c l o s e r understanding of i t s r h e t o r i c a l s i g n i f i c a n c e requires that triple metre be thought o f more i n metaphoric terms, that i s , as a m u s i c a l - r h e t o r i c a l trope rather than a h y p o t y p o t i c the number three significant figure. Of course the s i g n i f i c a n c e of as a symbol f o r the Holy T r i n i t y can a l s o be seen as a mus i c a l - r h e t o r i c a 1 c o n s i d e r a t i o n f o r composers o f f u n e r a l music. Continuing phoric with nature of t r i p l e composition. earth two representative the father insists we can a p p r e c i a t e metre through h i s choice -- i s emphasized at the o u t s e t choirs gain, lamenting the a b s o l u t e primus/ephemeral the h i s loss separation instead choirs between tutti time father/chorus i s maintained. Lutheran to share In church texts, doctrine, and cadential the c h o i r s are heard, which may be p e r c e i v e d as a k i n d with the c o n c l u d i n g would a t l a s t be r e u n i t e d 172 spheres. change to t r i p l e mourners ( i n c l u d i n g the f a t h e r ) two s p i r i t s the moves t o w a r d s r h e t o r i c a l a s s e n t a s s i m i l a t i o n o f e a r t h l y and h e a v e n l y occurs only the a t t e n d a n t f o r the f i r s t as t h e f a t h e r o f f i n d i n g comfort i n and the son/chorus s e c u n d u s / e t e r n a l begin of s y m b o l i c for his by the use of the As l o n g between the son whose speech n a t u r a l l y r e f l e c t s overlaps the o f the p i e c e of the son. the C o n e l u s i o , as t h e f a t h e r f i n a l l y with of s e t t i n g t o d i s t i n g u i s h between the anguished s t a t e o f and t h e t r a n q u i l s t a t e on s e l f i s h l y son's even more the meta- The d i v i s i o n b e t w e e n t h e s o n and f a t h e r -- i . e . , h e a v e n and his Schuchardt, metre, The allowing to see to the f u t u r e i n heaven. full Thus t r i p l e when metre c a n be s e e n h e r e as d e p i c t i n g b o t h w o r l d l y j o y i n a f i g u r a l heaven i n a metaphoric The rhetorical s e n s e and sense. r e a s o n s f o r the changes o f m e t r e i n t h e n e x t two f u n e r a l c o m p o s i t i o n s t o be d i s c u s s e d a r e b e s t understood i n a m e t a p h o r i c or symbolic sense. The f i r s t Mensch a u f f d i e s e r Erden."''* i s Johann Rosenmuller's (See Example 30.) "Was In t h i s s t r o p h i c s i t i o n f o r f i v e v o i c e s (SSATB), Rosenmu'ller makes a c l e a r between the mundane and the heavenly, and both through through the m u s i c a l d i f f e r e n c e s o f metre. verse begins with the r h e t o r i c a l hat der compo- distinction the t e x t u a l content The t e x t o f t h e f i r s t q u e s t i o n posed by the deceased, f o l l o w e d by the expected answer: Was hat der Mensch a u f f d i e s e r Erden? Nur E l e n d , Jammer, Angst und Noth. What does man have on t h i s e a r t h ? Only m i s e r y , d e s p a i r , f e a r and sorrow. And t h i s , we a r e a d d i t i o n a l l y t o l d , i s a l l t h e r e i s i n l i f e , the moment of b i r t h u n t i l h o w e v e r , l e a v e no d o u b t successfully death. The c o n c l u d i n g l i n e s o f t h e v e r s e , i n the l i s t e n e r s ' mind t h a t made the t r a n s i t i o n from from this world the deceased has to the next w i t h the text: Herr J e s u , d i r sey ewig P r e i s s , Durch d i c h l e b i c h im P a r a d e i s Lord Jesus, p r a i s e be e t e r n a l l y unto You Through You I l i v e i n P a r a d i s e . The poet's c h o i c e o f words make c l e a r the d i s t i n c t i o n between t h i s l i f e ( E r d e n , E l e n d , Jammer, A n g s t , Noth, T o d t ) and t h e a f t e r l i f e Jesu, ewig, leb, Paradeis). ^*Rosenmuller, I n Rosenmuller's c o m p o s i t i o n , the e x i s t e n - L e t z t e r A b s c h i e d , op. c i t . 173 (Herr Example Erden?" liL r P i y 1 V \ F F H ^ V *—* " * A_ , 30. . j , z) d i 1 1 r j , t 1 1r W — J i u^r^v r r T T J J "Was h a t d e r Mensch 1 , » W d wir nor < £ - W « A V . . j J. Rosenmiiller, J 1 • 1 . I I J- J — J p J 1 1 1 I f n , J Todtt / <J*w P J —4 1 j ^ J J J , j ft r <)-. H'' f 1 J t T \ i J — J " _ ^ ^ ' ' i r H0">«>«n /left ttvi y — J \ ^ 2.^ ^ \ j d \ =^ i e) 5»nWW J 1 J i J ftu\\«. . t!<w • 174 J j • d• , I — — J = o.\Uv> bi*i i*A ¥ n u - A = , a»J- J - i ^ J r - 1—:.-r-r—rr- t—^Vi 1 J y V ' j J. Vt 1 — ''J- — I, 1 4 , i ' 1 dieser I I I \ , \ J W auff d J * \ • | j \ . —" J, > L. . b v 4 * > j, I U « j J ' \ J * *=^=- tial polarity i s expressed with comparable v i v i d n e s s through the change of metre from the opening C to the c o n c l u d i n g 3/1. note that the change o f metre t i o n o f "happiness." explicit Christ i s by no means a d i r e c t l y C e r t a i n l y a joyous a f f e c t use o f t r i p l e I t i s i n t e r e s t i n g to metre is entirely f i g u r a l depic- i s implied metaphoric here, but the or s y m b o l i c of and heaven. A s i m i l a r a p p l i c a t i o n o f t r i p l e metre can be seen i n the p r e v i o u s l y mentioned work by Samuel S c h e i d t , "Der Gerechte ob e r g l e i c h zu z e i t l i c h 72 stirbt. (See Example 31.) W r i t t e n f o r the f u n e r a l of the i n f a n t son of Thomas Andreas R e i n h o l d , h i m s e l f a clergyman tion i n Glaucha, i s b a s e d on t h e Wisdom o f Solomon (4:7,14). composition by Rosenmuller, the composi- As i n t h e p r e c e d i n g the change to t r i p l e metre, appearing this t i m e i n t h e m i d d l e o f t h e c o m p o s i t i o n , i s s y m b o l i c o f God and h e a v e n , whereas mundane. the s u r r o u n d i n g t e x t The f i n a l the opening return C, c e r t a i n l y and m u s i c to duple metre i n duple metre i s indicated s i g n i f y the as § i n s t e a d o f to d e p i c t s i m u l t a n e o u s l y the wicked 73 the h a s t e w i t h which the deceased was removed from i t . C Der Gerechte, ob e r . g l e i c h zu z e i t l i c h s t i r b t , i s t e r doch i n d e r Ruhe. 3 Denn s e i n e Seele g e f e l l e t Gott, § Darumb e i l t e r m i t ihm auss dem bbsen Leben. But the good man, even i f he d i e s an u n t i m e l y W i l l be at r e s t . His s o u l was p l e a s i n g to the L o r d , Who removed him e a r l y from a wicked world. world and death, S c h e i d t , op. c i t . 73 The E n g l i s h t r a n s l a t i o n o f t h i s v e r s e i s t a k e n f r o m The New E n g 1 i s h B i b l e , S t a n d a r d E d i t i o n (New Y o r k : O x f o r d U n i v e r s i t y P r e s s , 1972). A l i t e r a l t r a n s l a t i o n o f t h e l a s t l i n e of German t e x t w o u l d read: T h e r e f o r e He hastens w i t h him from the wicked world. 175 E x a m p l e 31. stirbt." S. S c h e i d t : "Der G e r e c h t e ob e r g l e i c h zu zeitlich — w c\Wc.V, a s . . . h—i. he. 1 : / a .Wt/ . Aft, „—=\ ' P ;= qt — C f \<LV qt—U \ —\«A e -0 fj j <$MI Z J o Ce\ •> QM/ o,t \«A o ^oU M : i —'• i ^ r m i i i i i ~ * 0—• _ —* c^e^\ L . QoU i P* i '' ' • . f ' *r n <\« — — ie. —W* *Se.e.\e . f f f -i _. \ 176 .-, , . V Id. ; o , K K »< n l . ' - — E x a m p l e 31. S. S c h e i d t : "Der G e r e c h t e s t i r b t , " continued. ob e r g l e i c h te~v / ^ U — te^i £ o zu z e i t l i c h iy -© u / . . . r— J"" 1 1 j J i a * u v 1 -4The practice i n funeral composition between heaven and e a r t h through t h e end o f t h e s e v e n t e e n t h c o n t r a s t i n g metres was s t i l l century. the l a t e J a c o b i n a Thurmin i n 1 6 9 3 , musical-rhetorical principles in the p r e c e d i n g works. ^ o f s i g n i f y i n g the s e p a r a t i o n 74 In the " f r e u d i g e s W e l t - V a l e t " o f Jakob S c h e i f f e l h u t employs the same of metaphor as d i d Rosenmuller (See E x a m p l e 32.) 7 portrayed i n the t e x t . f u l e n t r e a t y to the Lord, duple m e t r e as a t h r e e f o l d 74 "...joyous farewell The p i e c e opens w i t h with and S c h e i d t Scheiffelhut c o n t r a s t between duple and t r i p l e metre to accentuate worlds c u r r e n t at uses the the two d i f f e r e n t the c h o i r ' s p r a y e r - t h e i n v o c a t i o n "Ach H e r r ! " w r i t t e n i n rhetorical exclamatio. The t e x t at t h i s to t h e world..." ^ J . S c h e i f f e l h u t , D i e um d i e Sterbens-Lehr b i t t e n d e und zum Leben und Tod Gott ergebene Seele m i t ihrem f r e u d i g e n W e l t - V a l e t . Der w e i l a n d J a c o b i n a Thurmin...zu l e t z t - s c h u l d i g e n Ehren...in No t e n g e b r a c h t , d a s e r s t e von Jacob S c h e i f f e l h u t , das andere von D a n i e l Merk (Augsburg: J . J. Schbnigk, 1693). Kempten/Allgau, K i r c h e n b i b l i o t h e k der E v a n g e l i s c h L u t h e r i s c h e n P f a r r a m t S t . Mang, V. 3. 16. c. 7 17:7 Example •+« 32. . J. Scheiffelhut: Tew • j' "jr vw. bedencken." dcntW r 1 " 1 n , 1 C.^ / b e . ^e-c Le-We. 'i <o r-Y—| uns S-»D «—o i 1 Aa. Lehre ; - bassus Herr! 'i 1 W. •*» "Ach o r~ f— y 1 da(b un* •**"<• T^J -devitkan -ft* - ' * i ii da&wif ^Vex, »J m mVf r. 1 . n 7" : 1— 1 Y~V—' — r ton / ^ , -i YnU^an / j dd(b wi< J J •3W- . . "i * P f m f VI' Wir* . - T f AafcwW o J id- J ,. J P r* t dad a J J ' d .1 f UV.^ r* ^r€Y Ott ^ .Vievi , * ^ *a SVA^ da^ )^ j i r> f V • a f* J J * o ' re wir VVu<^ ui«- d^aft w ; r * VVw^ da(S wi< «r r " \ d de« / • "~ '' . J . 6 — ^t>&nr\ u,i>SC< Mk . 44 . „ _ _ . d CAN s-L -—SI J * wt*" y- 1 HO' . p p 1 ur-w NctU'n^r 1 p 1 J _<Jfr>>/ VW^ W«^r— UW. c*«W VcW^ *-= M rt. - 1 a• * w < 3 0 — d — ft- 1 w - <*«^'® Tya-*- WW*- ;V,w< . la.W* wir devA*rAe*t/ So -6H—4 O**' C — -\ J So 178 &• Ic-Ucvx voir den^. V\ex<c« / £ 6^ S.W'- - \W StWiw VIG^ VlKVJ.C f E x a m p l e 32. J . S c h e i f f e l h u t : continued. ss JU r « *—* o «ji M o ^*ttrf - - - - - - Lehre uns b e d e n c k e n , " 1 i —2 "* "Ach H e r r ! V . *°- *l\ef. . W*-. w^W SWH-- _ t«« U3\<" 1 WvC d*v*>. H-*-«-«-. 2 a . fet* wir 2 SVcv -fe SW V>«* v-J.r 2 .U ,-TTT, lio ' dew* UevT->*> / {^^TI>V^ / •'_ dewv Uexfe^ / dirww / •'. / ft'- . \ \ • il II II V>e~ Jl* • f f f rl P' P 1* fv ° ' / w;<- / Uir " ^ • P ° J " ' ' tj P ° ' ° ' 1 _oir \t Ui<" Ve.\_a« LVjc^ / Oiv- ii - — a _ S^e-r _ fee* - , . W / odo< wiV Vie../ ' 'j / ori^r w i r ' iscjw , i odt/< \-o»r p %\t*-\_a.. ... "i-WWr. . _ te«-v / -U* \_oi<r n a S;»\CL 1 o 0 J ,1 •»(>< wir \«. \JB*> / w*V \«too f" / f fl^T it) i l 1 rl J 0' q Jk y \ J | ' l ' ' ° p 4 ^ ** u ; M) ; i )* | 1 -j » 1 ' rl /> h ' r) So ' te^ /U>.> ^frirf. ., J W r « ". ° d-lvt— •• J «'i W PTP' f i V A P • • '^«-'- - • • / .''j o - ui^r d«(j, "t^e^- • -1 - \ r. o — ° O G oder coiY 1 .j \ 1 -KZT-V—1» © d * < " ^if*" ~"^.er-_ _ \ i e T \ / 1 1 A A ,. ' 9 — n V V \ '' O - 7 T ~ ^ - »t) " ren/ Oe "SVerV>en / j) be-w \e .1 . . J J J . . 1 v \O.V \ t r ° d a - TV^/ ..V>an -o ^ 6 ^mtf wir ^e(S Uer _ _ -ran / ;^ .1 CJ r . \j \c \'c- c m \\«-»re»\/ " « d t r w'r wir It- ^ i" ^»™* w i r <kfo So c J a „ H A M / <_, A - i Wir c>«|_, SCr«J / / a jts O .. r ' ' .1 taev^ Wecr^ e 1 So \ W . bei-,/ii, t daft . • .Ve^ ^\^C 0»W d / W*/u>\V V)ft« / ij \« Jj,v V voir" ' . . fn. r * P _o;<- a -e <iVacV_e*\ _fl*_ P ~ 1 W*. .a... f /od«^r 4* .. „ P a n ' ° Wi<" — ^_=r wi< " m . \ .UP ij J _ l j . i l A — " t(Jd j .1 J -e—H—u J J _ u u v _ e*- Sa ^ i n d V^iCr- d«A Wer". - - rav, / / • ' •j ^ j—g 179 -j ^ ) o ^ rl tJJ p point suggests Lord to opening the supplication teach them section of t o be second, mindful congregation of the c o m p o s i t i o n the t r a n s i t o r y w o r l d w i t h The of the we i t s mortal their see in petitioning mortality. duple metre Thus a c t s of prayer and dying. and c o n c l u d i n g , p a r t o f the c o m p o s i t i o n is placed mainly i s marked by wir sterben...."^ The The musical on the words "Leben w i r , so l e b e n w i r H e r r e n ; s t e r b e n w i r , so s t e r b e n w i r dem change of H e r r e n , darumb w i r l e b e n metre, once the i m p l i c a t e d with the change to c o n t r a s t i n g t r i p l e metre set to Romans 14:8. emphasis in the again, dem oder assists the l i s t e n e r i n m a k i n g the c o n c e p t u a l t r a n s i t i o n f r o m e a r t h t o h e a v e n o r , more p r e c i s e l y in this case, from the p h y s i c a l i s p a r t i c u l a r l y n o t i c e a b l e i n the way notations of the word " s t e r b e n " are to the s p i r i t u a l . the p h y s i c a l and treated. or mortal life, suggests t r a n s p o r t s the Here, the metre, joyous meaning of the word through i t s associative a f f e c t , h e l p s to i l l u s t r a t e rewarded w i t h through through eternal touch Lord. i n the first transitory world life. The into the effect on h i s audience, to the o t h e r w i s e esoteric other realm. e v o c a t i o n of a and dying i n the Lord of a s p i r i t u a l death the t e x t u a l p r o x i m i t y o f r e f e r e n c e s to e t e r n a l the use of the buoyant metre and on the spiritual or s y m b o l i c that l i v i n g sense metre, are i s implied life and also rhythms set to "sterben." Perhaps s u s p e c t i n g t h a t t h i s s u b t l e approach might didactic con- " s t e r b e n " as the p h y s i c a l p r o c e s s o f d y i n g . Treatment of " s t e r b e n " i n the s e c t i o n set to t r i p l e hand, spiritual Duple metre p o r t i o n of the work, as a m e t r i c r e p r e s e n t a t i o n of t h i s This or w i s h i n g simply treatment, Scheiffelhut l a c k the d e s i r e d to add an ornamental s i n g l e s out key ^"If we l i v e , we l i v e f o r t h e L o r d ; i f we d i e , we d i e f o r Whether t h e r e f o r e we l i v e or d i e , we belong to the Lord." the 180 words f o r s p e c i a l t r e a t m e n t n a m e l y , " l e b e n " and " s t e r b e n . " t e x t u a l phrase concludes w i t h t h e word " l e b e n , " S c h e i f f e l h u t the prolongs note v a l u e s , o c c a s i o n a l l y adding a s l i g h t l y animated m e l i s m a t i c flourish. to When a In phrases ending on " s t e r b e n , " the note o f the cadence the second s y l l a b l e i s shortened and f o l l o w e d by s i l e n c e the audience the sense of n i h i l i t y . one o f the v o i c e p a r t s fifth or octave finally, the Scheiffelhut These on tone will the quality scores the v o i c e s first to convey At each o f these cadences, have a c a t a b a t i c or descending first syllable darkens of the noticeably i n a lower word at at "sterben." And these points I t also textual dichotomy tessitura. serves to accentuate m u s i c a l l y , unspeakable, i n these works that the e x i s t s between m o r t a l i t y and T h i r d l y , t r i p l e m e t r e , as t h e tempus p e r f e c t u m , can be reduced armen to t h a t d u p l e m e t r e o r tempus i s symbolic of the m a t e r i a l w o r l d . symbolic or metaphoric use through impli- contrast, s e e n t o s y m b o l i z e h e a v e n i n t h e same way their as examples have shown c l e a r l y enough that t r i p l e metre i s cation. The least of a heavenly j o y , unspoken i n that the t e x t s suggest j o y o n l y through imperfectum to motion c a p a b l e o f p o r t r a y i n g o r i m p l y i n g an u n s p o k e n , p e r h a p s immortality. given to c o n t r a s t their q u a l i t i e s o f duple and i n s e v e n t e e n t h - c e n t u r y German essence i n Joachim a n g s t l e i d e n d e n Sunders mit Jordan's Gespra'ch Christo.^ t r i p l e metre funeral und (See Example music and are Gesang e i n e s 33.) Jordan, ^For an e d i t e d v e r s i o n of t h i s p i e c e see W. R e i c h , ed., Threnodiae Sacrae: Beerdigungskompositionen aus gedruckten L e i c h e n p r e d i g t e n des 16. und 17. J a h r h u n d e r t s , Das E r b e D e u t s c h e r M u s i k , Band 79 ( W i e s b a d e n : B r e i t k o p f & H a r t e l , 1975), p. 1. A reduced photographic r e p r o d u c t i o n o f the o r i g i n a l may be f o u n d i n t h e a p p e n d i x o f : R. L e n z , ed., L e i c h e n p r e d i g t e n a l s Que l i e h i s t o r i s c h e r W i s s e n s c h a f t e n ( C o l o g n e , V i e n n a : B b h l a u V e r l a g , 1972), n.p. The r e p r o d u c t i o n i s i n c l u d e d t h e r e as a 181 pastor at St Catherine in Brunswick, between C h r i s t and the sinner Wri- Library Home /
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Protestant funeral music and rhetoric in seventeenth-century Germany : a musical-rhetorical examination… Johnston, Gregory Scott 1987
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| Title | Protestant funeral music and rhetoric in seventeenth-century Germany : a musical-rhetorical examination of the printed sources |
| Creator |
Johnston, Gregory Scott |
| Publisher | University of British Columbia |
| Date Issued | 1987 |
| Description | The present thesis is an investigation into the musical rhetoric of Protestant funeral music in seventeenth-century Germany. The study begins with an exposition on the present state of musicological inquiry into occasional music in the Baroque, focusing primarily on ad hoc funeral music. Because funeral music is not discussed in any of the basic music reference works, a cursory overview of existing critical studies is included. The survey of this literature is followed by a brief discussion of methodological obstacles and procedure with regard to the present study. Chapter Two comprises a general discussion of Protestant funeral liturgy in Baroque Germany. Although numerous examples of the Divine Service in the Lutheran Church have survived the seventeenth century, not a single order of service for the funeral liturgy from the period seems to exist. This chapter provides both the social and extra-liturgical background for the music as well as a plausible Lutheran funerary liturgy based on documents from the period and modern studies. Prosopopoeia, the rhetorical personification of the dead, is the subject of Chapter Three. After examining the theoretical background of this rhetorical device, from Roman Antiquity to the German Baroque, the trope is examined in the context of funerary sermonic oratory. The discussion of oratorical rhetoric is followed by an investigation into the musical application of the concept of prosopopoeia in various styles of funerary composition, from simple cantional-style works to compositions in which the personified deceased assumes certain physical dimensions. Chapter Four includes an examination of various other musical-rhetorical figures effectively employed in funeral music. Also treated in this chapter are musica1-rhetorical aspects of duple and triple metre, where triple metre in particular, depending on the text, can be understood figuratively, metaphorically or as a combination of both. As this chapter makes clear, owing to the perceived antithetical properties of metre and certain figures, musical rhetoric was often used to illustrate the distinction between this world and the next. |
| Subject |
Funeral music -- History and criticism |
| Genre |
Thesis/Dissertation |
| Type |
Text |
| Language | eng |
| Date Available | 2010-08-13 |
| Provider | Vancouver : University of British Columbia Library |
| Rights | For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use. |
| DOI | 10.14288/1.0097443 |
| URI | http://hdl.handle.net/2429/27359 |
| Degree |
Doctor of Philosophy - PhD |
| Program |
Music |
| Affiliation |
Arts, Faculty of Music, School of |
| Degree Grantor | University of British Columbia |
| Campus |
UBCV |
| Scholarly Level | Graduate |
| Aggregated Source Repository | DSpace |
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