The Morte: A Galant Voice-Leading Schema as...

The Morte: A Galant Voice-Leading Schema as Emblem of Lament and Compositional Building-Block John A. Rice Handout for a paper given at the University of Minnesota School of Music (14 February 2015), Indiana University Music Theory Colloquium (25 March 2015), and Stanford University Department of Music (4 May 2015), and published in Eighteenth-Century Music 12 (2015), 157–81. This document includes most but not all of the examples that appear in the published version of the paper, as well as some supplemental examples (pp. 16–22) that do not appear in the published version, links to performances, and a bibliography. The musical examples follow Robert O. Gjerdingen’s use of black disks to identify scale degrees in the treble and white disks to identify scale degrees in the bass. To facilitate the comparison of examples, I have standardized the numbering of scale degrees as follows (of course this “spelling” often differs from the notation itself): ♯ refers to the scale degree an augmented fourth above the tonic a perfect fourth above the tonic a major third above the tonic ♭ a minor third above the tonic 7 a minor second below the tonic ♭7 a major second below the tonic 6 a minor third below the tonic ♭6 a major third below the tonic

2

Example 1. Johann Adolf Hasse, Artaserse (Venice, 1730), “Pallido il sole,” mm. 13–19. Translation: “The sun is pale, the sky is dark, pain threatens, death approaches: everything fills me with remorse and horror.” Performance: https://www.youtube.com/watch?v=v-G74Ma4gHQ

3

Example 2. Beethoven, 32 Variations on a theme in C minor, WoO 80 (1806), mm. 1–8. Performance: https://www.youtube.com/watch?v=brM1VRux7jM

Example 3. Prototype of the Passacaglia Progression in C Minor, adapted from Telesco 1998, Ex. 11 (p. 256)

Passacaglia progression in Telesco 1998 (= the Morte)

Chromatic tetrachord figures in Jan 1995

Lament schema in Caplin 2014 Omnibus and Chromatic Wedge in Yellin 1998, Telesco 1998,

Gauldin 2004, Damschroder 2008

4

Example 4. Fedele Fenaroli, Book 4, No. 2, mm. 1–9, as realized in Sanguinetti 2012, p. 181

Example 5. The same partimento as above, but with Sanguinetti’s 7–6 realizations of the descending chromatic basses replaced with realizations using contrary motion

Example 6. 6-stage Morte in A minor or A major; 5-stage Morte in A minor

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Example 7. Mozart, Coronation Mass, K. 317 (1779), Kyrie, mm. 1–5 (orchestral accompaniment omitted). Performance: https://www.youtube.com/watch?v=_NP_z6LmscI

Example 8. Johann Nepomuk Hummel, Missa Solemnis in C (1806), Kyrie, mm. 1–4 (orchestral accompaniment omitted). I treat Gjerdingen’s term “Ponte” as equivalent to “standing on the dominant” (Caplin,1998) and “dominant-lock” (Hepokoski and Darcy, 2006). Performance: https://www.youtube.com/watch?v=Y5wJOEyo9ss

6

Example 9. Jan Dismas Zelenka, Officium Defunctorum for the funeral of the Augustus the Strong, Elector of Saxony, ZWV 47 (Dresden, 1733), Invitatorium, mm. 1–5. Performance: https://www.youtube.com/watch?v=5ikZnoKeWXQ

Example 10. Giovanni Paisiello, Socrate immaginario (Naples, 1775), overture, mm. 1–6. Performance: https://www.youtube.com/watch?v=g_voqy3PBrc

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Example 11. Carl Heinrich Graun, Montezuma (Berlin, 1755), “Barbaro che mi sei,” mm. 1–12. Translation: “Barbarian that you are to me, cruel object of horror, you wish to speak to me of love?” Performance: https://www.youtube.com/watch?v=PtoKf7iRqJE

8

Example 12. Marianna Martines, “Perché, se tanti siete,” from the Scelta d’arie composte per suo diletto da Marianna Martines (Vienna, ca. 1767), mm. 1–6. Translation (of the entire first stanza): “Why, if you are so numerous that you make me rave, why do you not kill me, emotions of my heart?” Performance: https://www.youtube.com/watch?v=Zxgr7zRHW-k

Example 13. C. P. E. Bach, “Prussian Sonatas” (Berlin, 1742), No. 4, I, mm. 1–6. On the Heartz see Rice 2014; on the Meyer see Gjerdingen 2007. Performance: https://www.youtube.com/watch?v=kdV-2u1-8Sg

9

Ex. 14. Mozart, Lucio Silla (Milan, 1772), overture, I, mm. 19–29. Performance: https://www.youtube.com/watch?v=1sukIWVPRa8

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Example 15. Haydn, Symphony No. 7 in C Major, “Le Midi” (1761), I, mm. 76–85. Performance: https://youtu.be/QDEwmZBae3k?t=3m32s

Example 16. Mozart, Piano Sonata in E flat, K. 282 (1774), I, mm. 16–21. Performance: https://youtu.be/M91zTzdjbFs?t=3m14s

11

Example 17. Mozart, Piano Concerto in E flat, K. 449 (1784), III, mm. 156–65. Performance: https://youtu.be/4EHtVWvGIBU?t=18m22s

Example 18. Andrea Bernasconi, Miserere in D minor (ca. 1752–57), “Amplius lava me,” mm. 51–57. Performance: https://youtu.be/aLS57Xg_YLE?t=7m30s

12

Example 19. Niccolo Jommelli, Requiem (1756), “Dies irae,” mm. 55–62. Translation: “What shall a wretch like me say then? Who shall intercede for me, when even the just need mercy?” Performance: https://youtu.be/qFPYb961qcQ?t=8m16s

Example 20. Christoph Gluck, Sémiramis (Vienna, 1765), No. 12, mm. 1–18

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Ex. 21. Joseph Haydn, Keyboard Sonata in C, Hob. XVI/21 (1773), III, mm. 56–71. Performance: https://youtu.be/rqz3i8fV3dw?t=13m10s

14

Example 22. Mozart, Piano Concerto in A, K. 414 (1782), I, mm. 188–95. Performance: https://youtu.be/OPR8-‐ZZAFt8?t=4m56s

Ex. 23. Bernasconi, Miserere, “Miserere mei Deus,” mm. 8–14 (orchestral accompaniment omitted). The ascending chromatic line migrates from alto to soprano to tenor. On the Lully schema (characterized by the progression I–ii4/2–V6–I or i–iio4/2–V6–i), see Rice forthcoming. Performance: https://www.youtube.com/watch?v=aLS57Xg_YLE

15

Ex. 24. Mozart, Piano Sonata in C minor, K. 457 (1784), III, mm. 197–213. Performance: https://youtu.be/04AcWrR9i_8?t=17m30s

Example 25. Mozart, Requiem, “Lacrimosa,” mm. 5–8. Performance: https://www.youtube.com/watch?v=k1-TrAvp_xs

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Supplementary Examples S1. Johann Adolf Hasse, Miserere in C minor, ca. 1730. Hasse’s opening, in which a Morte emerges from what appears at first to be a Lully, may have provided Porpora and Bernasconi with a model for similar passages: the beginning of Porpora’s recitative “In tanta horroris nocte” (see Ex. S2 below) and the beginning of Bernasconi’s Miserere in D minor (see Ex. 23 above). Performance: https://www.youtube.com/watch?v=sLp3kO8XR4M

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17

S2. Nicola Antonio Porpora, “Placida surge aurora,” solo motet (Venice, 1744), instrumentally accompanied recitative, “In tanta horroris nocte,” mm. 1–6. Source: critical edition by Stefano Aresi (Pisa: Edizioni ETS, 2004). Translation: “In such a night of horror, in such bitter exile, o sun of eternal light, how can I be joyful in my desolation?” Performance: https://youtu.be/tcgsE5bpJVA?t=5m8s This example and the following one show two composers, about a half century apart, integrating the Morte and the distinctive musical language of recitative. In Mozart’s La clemenza di Tito, both recitative schemata and the Morte have achieved a level of conventionality that they lack in Porpora’s motet. Porpora’s Morte begins with the same schematic ambiguity as Hasse’s Miserere in C minor (Ex. S1) and ends without one of this schema’s most characteristic feature, an augmented-sixth chord.

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18

Ex. S3. Mozart, La clemenza di Tito (1791), “Che orror! che tradimento” (orchestrally accompanied recitative for Tito), mm. 9–14. Translation: [You were] plotting my death at the same time? And I delay punishment? Delay signing the decree?” I have identified some recitative schemata using the terminology introduced in Sherril and Boyle, 2015. Performance: https://www.youtube.com/watch?v=mxDL3Dl2adk

S4. Georg Reutter the younger, Servizio di tavola (1757), Larghetto, cantabile, mm. 20–33. The Morte’s inexorable chromatic motion could, occasionally, take a composer and a performer very high or very low (as we will see in Ex. S6). The great tradition of high clarino trumpet playing was nearing its end when the Viennese court composer Reutter wrote this amazing passage. He used galant schemata to lead his trumpet soloist higher and higher. With the Monte he rose chromatically to A; with the Morte he continued the chromatic ascent to E. We hardly expect the clarino to go beyond that climactic note; but the Prinner requires it to go a half step higher. Performance: https://youtu.be/kmEmQ0GNVus?t=5m40s

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20

S5. Mozart transforms a Heartz into a five-stage Morte. Parallel passages from the exposition and recapitulation of the first movement of the Sonata for Keyboard and Violin, K. 296 (violin part omitted). Performance: https://www.youtube.com/watch?v=j-x16GjIwok

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21

Ex. S6. Johann Friedrich Reichardt, Brenno (Berlin, 1789), “Dirai che di pace,” mm. 89–101. Translation: “[Tell them] that proud Rome should learn to tremble.” In this aria the Gallic hero Brennus threatens Rome with military defeat. Writing for the bass Ludwig Fischer (Mozart’s first Osmin), Reichardt took full advantage of Fischer’s splendid low register. Here, in a passage accompanied by string tremolos throughout, Reichardt had Fischer sing the Morte’s characteristic chromatic descent from scale degree 1 to scale degree 5. He elided the Morte to a Le-Sol-Fi-Sol with the ultimate goal of a long Ponte—in the form of a five-measure trill on low F-sharp! For a piano-vocal score of “Dirai che di pace” (and other arias written for Fischer) see Paul Corneilson, The Autobiography of Ludwig Fischer, Mozart’s First Osmin (Medford, MA: Mozart Society of America, 2011).

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22

S6. Joseph Haydn, Trumpet Concerto (1796), first movement, mm. 12-19. Haydn evaded the second Comma in a pair of Commas by eliding it with a Morte. Performance: https://www.youtube.com/watch?v=1JcQsoUiI8Y

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Bibliography

Adams, Kyle. “A New Theory of Chromaticism from the Late Sixteenth to the Early Eighteenth Century,” PhD dissertation, City University of New York, 2006 Brown, Bruce Alan. Gluck and the French Theatre in Vienna (Oxford, 1991) Byros, Vasili. “Foundations of Tonality as Situated Cognition, 1730–1830: An Enquiry into the Culture and Cognition of Eighteenth-Century Tonality with Beethoven’s Eroica Symphony as a Case Study,” PhD dissertation, Yale University, 2009 _____. “Topics and Harmonic Schemata: A Case from Beethoven,” The Oxford Handbook of Topic Theory, ed. Danuta Mirka (New York, 2014), 381–414 Caplin, William E. Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven (New York, 1998) _____. “Topics and Formal Functions: The Case of the Lament,” The Oxford Handbook of Topic Theory, ed. Danuta Mirka (New York, 2014), 415–52 Damschroder, David. Thinking about Harmony: Historical Perspectives on Analysis (Cambridge, 2008) Dietrich, Marie-Agnes. “Teufelsmühle und Omnibus,” Zeitschrift der Gesellschaft für Musiktheorie 4 (2007) Ellis, Mark R. A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler (Farnham, 2010) Fenaroli, Fedele. Regole musicali per i principianti di cembalo, Naples, 1775, edited and translated by Robert O. Gjerdingen, on the website “Monuments of Partimenti”: http://faculty-web.at.northwestern.edu/music/gjerdingen/partimenti/index.htm Gauldin, Robert, “The Theory and Practice of Chromatic Wedge Progressions in Romantic Music,” Music Theory Spectrum 26 (2004), 1–22 Gjerdingen, Robert O. “Courtly Behaviors,” Music Perception 13 (1996), 365–82 _____. Music in the Galant Style (New York, 2007) Godt, Irving. Marianna Martines: A Woman Composer in the Vienna of Mozart and Haydn, ed. with contributions by John A. Rice (Rochester, 2010)

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Heartz, Daniel. Music in European Capitals: The Galant Style, 1720–1780 (New York, 2003) Hepokoski, James, and Warren Darcy. Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth-Century Sonata (New York, 2006) Howard, Alan. “‘Your Murd’red Peace Destroy’: The Augmented 6th in England in the Late 17th Century,” Early Music 61 (2013), 477–93 Jan, Steven. Aspects of Mozart’s Music in G Minor: Toward the Identification of Common Structural and Compositional Features (New York,1995) Rice, John A. “The Heartz: A Galant Schema from Corelli to Mozart,” Music Theory Spectrum 36 (2014), 315–32 _____. “Adding to the Galant Schematicon: the Lully,” forthcoming in Mozart-Jahrbuch, 2015; preliminary version available at https://www.academia.edu/7783771/Adding_to_the_Galant_Schematicon_The_Lully Rosand, Ellen. “The Descending Tetrachord: An Emblem of Lament,” Musical Quarterly 65 (1979), 346–59 Sherrill, Paul, and Matthew Boyle. “Galant Recitative Schemas,” Journal of Music Theory 59 (2015), 1–61 Sanguinetti, Giorgio. The Art of Partimento: History, Theory, and Practice (New York, 2012) _____. “Gli schemi di partimento in alcune composizioni sacre di Pergolesi: Modelli, materiali e trasformazioni,” Studi Pergolesiani 9 (2015), 457–84 Telesco, Paula J. “Enharmonicism and the Omnibus Progression in Classical-Era Music,” Music Theory Spectrum 20 (1998), 242–79 Williams, Peter. The Chromatic Fourth (Oxford, 1997) Yellin, Victor Fell. The Omnibus Idea (Warren, MI, 1998)

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