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The motets of Georg Philipp Telemann: a study of their sources, musical style, and performance practice

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The motets of Georg Philipp Telemann: a study of their sources, musical style, and performance practice

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Content THE MOTETS OF GEORG PHILIPP TELEMANN: A STUDY OF THEIR SOURCES, MUSICAL STYLE, AND PERFORMANCE PRACTICE by Tony Davis A Dissertation Presented to the FACULTY OF THE USC THORNTON SCHOOL OF MUSIC UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirement for the Degree DOCTOR OF MUSICAL ARTS (CHORAL MUSIC) MAY 2014 Copyright 2014 Tony Davis ii Acknowledgements I gratefully acknowledge the members of my dissertation committee, Dr. Nick Strimple, Dr. Adam Gilbert and Dr. Jo-‐Michael Scheibe for their editorial comments and guidance throughout the dissertation process. I thank Dr. Jeanne Swack of the University of Wisconsin-‐ Madison for her assistance in helping me locate resources essential to this project. A special thanks to Dr. Ralph-‐Jürgen Reipsch and the Zentrum für Telemann-‐Pflege und-‐Forschung in Magdeburg, Germany for their generous assistance in sending me scores and answering countless questions. I thank the staffs of the Staatsbibliothek Preuβischer Kulturbesitz, Berlin; the Yale University Music Library, New Haven and the Sächsische Landesbiliothek, Dresden for sending me manuscript copies of Telemann’s motets and the Interlibrary Loan Department of the University of Southern California for helping me acquire these sources. Translating the numerous German articles, treatises and texts were especially challenging and time consuming. I am thankful to my dear friend, Dr. David McKinney for his thoughtful German tranlsations and editorial revisions. Finally, I’m especially thankful for my partner Jacob for his unwavering love and support. iii TABLE OF CONTENTS Acknowledgements ii List of Musical Examples iv List of Figures v List of Tables vi List of Abbreviations vii Abstract ix Introduction 1 Chapter One: Historical Development of the German Motet 7 Chapter Two: Telemann’s Treatment of the Motet as a Genre 16 Chapter Three: Manuscripts and Source Materials 25 Chapter Four: The Motets 37 Chapter Five: Performance Practice Concerns in Telemann’s Motets 97 Chapter Six: Conclusion 117 Bibliography 120 Appendix: Motet Text Translations 125 iv List of Musical Examples Example 4.1 Chorale Nun danket alle Gott 40 Example 4.2 Gottlob, nun geht das Jahr zuende, BWV 28 44 Example 4.3 Jauchzet dem Herrn, alle Welt, TVWV 8:10 45 Example 4.4 Chorale Alle Menschen müssen Sterben 50 Example 4.5 Chorale Wenn mein Stündlein vorhanden ist 51 Example 4.6 Werfet Panier auf im Lande, TVWV 8:15 55-‐56 Example 4.7 Chorale O Haupt voll Blut und Wunden 59 Example 4.8 Amen, Lob und Ehre, TVWV 8:2 59 Example 4.9 Der Gott unsers Herrn Jesus Christi, TVWV 8:4 63-‐64 Example 4.10 Es segne uns Gott, TVWV 8:8 68 Example 4.11 Halt was du hast, TVWV 8:9 71 Example 4.12 Das ist meine Freude, TWV deest 74 Example 4.13 Chorale O Lamm Gottes unschuldig 76 Example 4.14 Chorale Herzlich tut mich verlangen 79 Example 4.15 Ich habe Lust abzuscheiden, TWV deest 80-‐81 Example 4.16 Ich will schauen dein Antlitz in Gerechtigkeit, TWV deest 83 Example 4.17 Ich will schauen dein Antlitz in Gerechtigkeit, TWV deest 84 Example 4.18 Ich will schauen dein Antlitz in Gerechtigkeit, TWV deest 85 Example 4.19 Rufe mich an in der Zeit der Not, TWV deest 87 Example 4.20 Selig sind die Toten, TWV deest 94 Example 4.21 Selig sind die Toten, TWV deest and TVWV 8:13 95 Example 4.22 Selig sind die Toten, TWV deest 96 v List of Figures Figure 3.1 Partitura über Chor-‐Stücke zu Darmstadt, 1789 31 Figure 3.2 Index Partiturae 34 Figure 4.1 Violoncello part, Laudate Dominum, TVWV 8:11 49 Figure 4.2 Das ist meine Freude, TWV deest 75 Figure 4.3 Fürwahr, er trug unsre Krankheit, TWV deest 77 Figure 4.4 Ich habe Lust abzuscheiden, TWV deest 78 Figure 4.5 Saget der Tochter Zion, TWV deest 89 Figure 4.6 Index Partiturae 91 Figure 4.7 Selig sind die Toten, TWV deest 93 Figure 5.1 Soprano concertist part Laudate Dominum, TVWV 8:11 100 Figure 5.2 Soprano ripienist part Laudate Dominum, TVWV 8:11 101 vi LIST OF TABLES Table 2.1 Motets catalogued in Werner Menke’s Thematisches Verzeichnis der Vokalwerke von Georg Philipp Telemann 20 Table 2.2 Motets extracted from corresponding cantatas 22 Table 3.1 Telemann’s motets in the Partitura über Chor-‐Stücke zu Darmstadt, 1789 36 Table 4.1 Voicing and Publication Status of Telemann’s Motets 38 Table 6.1 Motets with a cantus firmus and text combinations 117 Table 6.2 Motets with fugues/Biblically sourced texts 118 vii List of Abbreviations Library Sigla—includes each library’s manuscript call letters. D-‐B Staatsbibliothek Preuβischer Kulturbesitz, Musikabteilung (Berlin), Mus.ms. D-‐Dl Sächsische Landesbibliothek, Musikabteilung (Dresden), Mus. D-‐F Universitätsbibliothek Johann Christian Senckenberg (Frankfurt am Main), Ms.Ff.Mus. D-‐SWl Landesbibliothek Mecklenburg-‐Vorpommern, Musikaliensammlung (Mecklenburg-‐Vorpommern), Mus. Primary Sources and Manuscripts Am.B.Mus Amalienbibliothek manuscript BWV Bach-‐Werke-‐Verzeichnis KJV King James Version PD Partitura über Chor-‐Stücke zu Darmstadt, 1789 RISM Répertoire International des Sources Musicales TVWV Thematisches Verzeichnis der Vokalwerke von Georg Philipp Telemann TWV Telemann-‐Werke-‐Verzeichnis viii Instrumentation and Voicing A. Alto B. Bass Cnt. Continuo D.-‐B. Contrabass Fl. Flute Ob. Oboe Ob.d’am Oboe d’amore Org. Organ S. Soprano T. Tenor Trb. Trombone Timp. Timpani Trpt. Trumpet Vla. Viola Vc. Violoncello Vn. Violin ix ABSTRACT This document examines Georg Philipp Telemann’s motets in the context of the German motet tradition. Chapter One summarizes the German motet’s evolution from the fifteenth through the eighteenth centuries. Chapter Two considers Telemann’s motet writing style and its integration with accepted standards of the eighteenth-‐century German motet. Chapter Three discusses manuscript sources, including a recently discovered collection of motets. Hidden away from Telemann researchers for decades, they were found in the Lowell Mason Collection of Yale University’s Music Library. Chapter Four explores characteristic features of nineteen Telemann motets individually, referring to the original manuscript sources, when possible. Chapter Five covers vexing questions of performance practice issues—e.g., the number of singers in Telemann’s choir, colla parte instruments, and continuo practice. Finally, Chapter Six integrates the above findings in an attempt to define the Telemann motet. 1 Introduction Georg Philipp Telemann (1681-‐1767) was one of the most prolific composers in eighteenth-‐century Europe. He wrote more than one thousand sacred cantatas, approximately fifty Passion oratorios, twelve masses, and countless shorter works that include thirty psalm settings and sixteen motets. Yet in spite of his large output and overall recognition, publishers have only printed a small amount of his sacred music in modern editions. This document partially fills that gap in eighteenth-‐ century sacred music. Georg Philipp Telemann, born 14 March 1681 in Magdeburg, Germany, grew up in a religious household. Both his father and grandfather, Heinrich Telemann and Georg Telemann, served as clergymen in Lutheran churches in Magdeburg and surrounding areas. In 1685 Heinrich Telemann died, leaving his wife, Maria, to raise three children on her own. She had given birth to seven, but four died at a young age. Georg Philipp demonstrated a strong musical ability already at an early age. He immersed himself in the study of music, despite strong objections from his mother. He taught himself to play recorder, violin, and zither, and he composed an opera, Sigismundus, when he was merely thirteen. Maria Telemann feared that his musical ambitions might lure Georg Philipp away from a serious and reliable career, so she sent him to school in Zellerfeld, Germany in 1693. There he studied with Superintendent Caspar Calvör, a former colleague of Telemann’s father from their studies at the University of Helmstedt. She intended that Calvör, a theologian, 2 mathematician, and writer, would dissuade Georg Philipp from studying music and instead convince him to pursue more reputable subjects. Her intentions failed; Calvör, rather, encouraged Georg Philipp’s musical interests, and he even enabled Telemann’s study of music theory and composition. After four years of study in Zellerfeld, Telemann moved to Hildesheim in 1697 to continue his academic studies at the Gymnasium Andreanum. He supplemented the regular college preparatory school’s coursework by learning to play many more instruments: oboe, flute, viola da gamba, double bass, trombone, et al. Also, Telemann frequently took excursions to the nearby courts of Hanover and Brunswick, where he heard performances in the latest French and Italian styles and became acquainted with the music of Steffani, Rosenmüller, Corelli and Caldara. 1 He matriculated at the University of Leipzig at age twenty to study law. However, his passion for music overshadowed his law studies. He soon began to compose music for the Thomaskirche (St. Thomas’ Church) and Nikolaikirche (St. Nicholas’ Church), and he founded the forty-‐member student collegium musicum, whose concerts were widely celebrated in Leipzig. Telemann’s friend, Johann Sebastian Bach (1685-‐1750), inherited the collegium musicum when he was appointed cantor at the Thomasschule two decades later. In 1705 Telemann left Leipzig to become Kapellmeister to Count Erdmann II of Promnitz at Sorau (now Zary, Poland). The Count favored French instrumental 1 George J. Buelow, A History of Baroque Music, (Bloomington & Indianapolis: Indiana University Press, 2004), 559. 3 music, which gave Telemann his first incentive to study French style in the works of Jean-‐Baptiste Lully (1632-‐1687) and André Campra (1660-‐1744). 2 Duke Johann Wilhelm of Saxe-‐Eisenach appointed Telemann to his court in December 1708. Telemann spent four years in the Duke of Eisenach’s service and composed a prolific amount of sacred vocal music for him, including five annual cycles of church cantatas, numerous masses, psalms, and motets. Telemann later recalled in 1740 that the duke’s court Kapelle (here, the German refers to the instrumental members of the court’s musical establishment) was arranged in the French manner and surpassed in quality even the Paris Opéra’s orchestra. 3 Telemann then became director of music for the city of Frankfurt in 1712. His duties included composing music for the two main Lutheran churches— Barfüsserkirche (Church of the Barefoot Monks) and Katharinenkirche (St. Catherine’s Church)—and for civic occasions, as well as supervising singing lessons at the Lateinschule. Moreover, the Duke of Saxe-‐Eisenach, accustomed to having Telemann’s music at his court, still regularly commissioned new church and chamber cantatas from Telemann, greatly adding to his workload. 4 In 1721, at the age of forty, Telemann succeeded Joachim Gerstenbüttel (1647-‐ 1721) as director musices (music director) of Hamburg’s five main churches and 2 Buelow, A History of Baroque Music, 560. 3 Steven Zohn, "Telemann, Georg Philipp." Grove Music Online. Oxford Music Online, Oxford University Press, Web. 7 Jan. 2014. <http://www.oxfordmusiconline.com.libproxy.usc.edu/subscriber/article/grove/m usic/27635pg3>. 4 Richard Petzoldt, Georg Philipp Telemann, Translated by Horace Fitzpatrick, (London: Ernest Benn Limited, 1974), 32. 4 cantor of the Johanneum Lateinschule (Johanneum Latin School). He retained this post for forty-‐six years until his death in 1767. As director musices Telemann composed two cantatas for each Sunday, Passion music for Lent, and each year he had to compose music for the entertainment of guests of the commandant of the Hamburg militia (the so-‐called Kapitänsmusiken). In May 1722 he became the director of the Hamburg opera, where he performed at least twenty-‐nine of his own operas. Considering the vastness of Telemann’s vocal works, his motets occupy a mere niche in the broader genre of his sacred vocal compositions. Nevertheless, it is an important one for Telemann. He composed in this genre continuously from his youth until late in his life as director of music in Hamburg. This dissertation presents a comprehensive study of Telemann’s motets to readers for the first time in English. Until now, research on his motets has been limited and existed only in German sources. Research in the past two decades, by eminent German musicologist Brit Reipsch, consists of a handful of articles and conference papers specifically about Telemann’s motets in German. He also edited seven motets attributed to Telemann from the Partitura über Chor-‐Stücke zu Darmstadt, 1789 (Partitura on Choral Pieces from Darmstadt 1789). The Partitura über Chor-‐Stücke zu Darmstadt, 1789 belongs to the Yale University Music Library, hidden away from Telemann researchers until recently discovered in 1994. 5 Earlier, Max Seiffert discussed a Telemann motet, Werfet Panier auf im Lande (Raise the Flag 5 Brit Reipsch,ed., Vier Motetten für vierstimmigen gemischten Chor und Basso continuo by Georg Philipp Telemann, (Leipzig: Deutscher Verlag für Musik, 1996), Afterword. 5 in the Land), TVWV 8:15 in the foreword to his 1915 edition of Denkmäler Deutscher Tonkunst (Monuments of German Musical Art), a collection of various Thuringian motets from disparate eighteenth-‐century sources. One other important source comes from Wesley K. Morgan’s 1967 edition of four Telemann motets from the Amalienbibliothek collection (Am.B. 326), housed in the Berlin Staatsbibliothek Preußischer Kulturbesitzt. The collection contains six motets attributed to Telemann, but Morgan only edited four because he did not deem two as “worthy artistically as the other ones.” 6 Such statements beleaguered Telemann’s reputation since the nineteenth century when anti-‐Telemann critics began a concerted attack on his music, inspired by their all-‐encompassing, passionate admiration for the works of J. S. Bach. 7 This study aims to illuminate a neglected repertoire from one of Europe’s most prolific and esteemed German composers of his time. The first two chapters discuss the German motet’s development and its defining features. Chapter Three examines various sources from the eighteenth through twentieth centuries, including thematic catalogues, manuscript copies, and collections. Chapter Four studies each motet, referring to the extant sources when possible, and highlights features unique to each one. Chapter Five considers performance practice issues, specifically regarding Telemann’s performance forces and standard practices accepted in 6 Wesley K. Morgan, ed., Vier Motetten zu 3-‐8 Stimmen mit und ohne Generalbaβ by Georg Philipp Teleman, (Wolfenbüttel: Möseler Verlag, 1967), Foreword. “Diese Komposition [Und das Wort ward Fleisch] und die Motette Ein feste Burg wurden vorerst nicht veröffentlicht, weil sie gegenüber den anderen von geringerem künstlerischen Wert sind und kaum eigene Züge tragen.” 7 Buelow, A History of Baroque Music, 566. 6 eighteenth-‐century Germany. By doing this, the author intends to integrate the above findings in an attempt to define the Telemann motet. 7 CHAPTER ONE HISTORICAL DEVELOPMENT OF THE GERMAN MOTET A wealth of information has been handed down from eighteenth-‐century writers and theoreticians regarding the motet’s acclaim. In Der vollkommene Capellmeister (The Complete Music Director), music theorist and writer Johann Mattheson (1681-‐1764) describes the motet as the “greatest art,” and that “nothing compares with it and the half-‐ educated would soon burn their fingers on it.” 1 In 1700 it was still significant to musical life in Germany even though the much longer cantata comprised the main element of church services. Outside opera and oratorio, the cantata was the most important form of vocal music during the Baroque period. Nevertheless, shorter sacred vocal works were still in demand throughout the eighteenth century. As such, the motet belonged to the repertoire of Protestant grammar schools and church choirs, and they were traditionally performed during church services, at funerals, and for birthday and wedding celebrations. The development of the eighteenth-‐century German motet began with influential, early sixteenth-‐century figures such as Josquin Des Prez (1455-‐1521), Heinrich Isaac (1450-‐ 1517) and his student Ludwig Senfl (1486-‐1542). Josquin’s motets were popular throughout Germany, France, and Italy. By the time Josquin died in 1521, the motet as a genre appears to have been largely defined. Franco-‐Flemish musicians, sponsored by Holy Roman Emperor Maximilian I (1459-‐1519), then took this newly defined style of the Latin motet to the regions of Germanic culture. 2 A large number of extant compositions written expressly for 1 Johann Mattheson, Der vollkommene Capellmeister: A Revised Translation with Critical Commentary, Translated by Ernest C. Harriss, (Ann Arbor: UMI Research Press, 1981), 202. 2 Ibid. 8 Emperor Maximilian exists in contemporary manuscripts and early printed collections distributed among libraries throughout the world, although the largest group remains in Austria and Germany. 3 Maximilian I, also known as King of the Germans, was a keen supporter of the arts and sciences. He surrounded himself with artists and scholars, including Heinrich Isaac and Ludwig Senfl. Isaac and Senfl became important figures in the early development of the German motet. Their compositional style reflected established principles of motet writing similar to Josquin’s. Compositions written by musicians in the Emperor’s employ, especially Isaac, were included in anthologies compiled as late as the close of the sixteenth century— which is indeed high tribute to the excellence and durability of this music. 4 A number of motets by Josquin, Isaac and Senfl are located in two sixteenth-‐century motet anthologies, Novum et insigne opus musicum and Secundus tomus novi operis musici edited by Hans Ott and published by Formschneider in Nuremberg in 1537-‐8. 5 These two anthologies are considered landmarks of motet composition from the German Renaissance. Both anthologies were disseminated throughout Germany introducing the motets to a wide market. 6 3 Louise Cuyler, The Emperor Maximilian I and Music, (London: Oxford University Press, 1973), 110. 4 Ibid. 5 Stephanie P. Schlagel, “The Liber selectarum cantionum and the ‘German Josquin Renaissance,’” The Journal of Musicology (Fall 2002), 564. 6 Howard M. Brown and Louise K. Stein, Music in the Renaissance, 2nd ed., (Upper Saddle River: Prentice Hall, Inc.,1999), 213. 9 Isaac’s student, Ludwig Senfl embraced the new ideas coming out of the Reformation. He corresponded regularly from 1526-‐1540 with both Martin Luther (1483-‐1546) and Duke Albrecht of Prussia (1490-‐1568), Senfl’s employer. The exchanges with Albrecht and Luther included letters, gifts and compositions. 7 Senfl was on hand at the 1530 Diet of Augsburg, the assembly that produced the Augsburg Confession. 8 Subsequently, at the request of Luther, he sent the reformer three motets: In pace in idipsum, Non moriar sed vivam, and Ecce quam bonum, written for the opening ceremonies of the Diet. 9 Well known for his role in the Protestant Reformation, Martin Luther was also an avid musician. He was a great admirer of Netherlandish polyphony and of the works of Josquin in particular. He played the lute and flute, took a keen personal interest in the role of music in the new liturgical ceremonies. Some of the most famous melodies intended for congregational singing are attributed to him—among them one of the best known and most rousing of all Protestant chorales, Ein feste Burg ist unser Gott (A Mighty Fortress is our God). 10 Luther encouraged the introduction of chorales to be sung by congregations in the vernacular, however, he never intended to abandon the musical heritage of Catholic Europe. 11 7 James Cade Griesheimer, “The Antiphon-‐, Responsory-‐, and Psalm Motets of Ludwig Senfl,” Ph.d diss., Indiana University, 1990, 6. 8 Ibid. 9 Ibid. 10 Brown and Stein, Music in the Renaissance, 273-‐274. 11 Ibid. 10 Georg Rhau of Wittenberg (1488-‐1548), a printer, compiled a collection of motet-‐style chorales by various composers, including Senfl and Heinrich Finck (1444-‐1527). It contains single-‐line melodies in the vernacular that were simple and tuneful enough for the laity to sing. 12 This collection was distributed to German schools so that students could learn hymns and practice performing them. 13 In the 1560s and 70s a counter resistance arose against simple vernacular songs and congregational singing. 14 As a result, Latin reasserted itself, and composers once again wrote in more complex polyphony. 15 Throughout the latter part of the sixteenth century, both practices existed side by side. Some Protestant composers continued to write music in Latin, and others, such as Hans Leo Haβler, used both German and Latin in the sacred genres. 16 After 1600 the motet lost its position as a central sacred musical genre. Some of its traditional characteristics changed with the introduction of elements associated with the Italian seconda pratica. Italian compositional influences gained prominence in Catholic regions of Germany as Latin texts grew in popularity, and some of the most significant developments of motet compositions occurred after 1600 in Lutheran Germany. 12 Hugo Leichtentritt, Geschichte der Motette, (Hildesheim, Georg Olms, 1967), 280 & 282; John Eugene Seaich, “Leichtentritt’s ‘History of the Motet’ A Study and Translation (Chapters 7-‐15),” PhD. diss., University of Utah, 1958, 98 & 101. 13 Ibid. 14 Brown and Stein, Music in the Renaissance, 275. 15 Ibid. 16 Ibid. 11 The most important collection of motets from this time is the Florilegium Portense, published in two volumes by the German clergyman and musician Erhard Bodenschatz (1576-‐1636). This anthology gathers a valuable cross-‐section of German and Italian motets and includes compositions by composers writing in a broad range of styles from Palestrina-‐ like counterpoint to Venetian polychoral settings, a repertory of high quality motets for practical liturgical use. 17 It was “the bread and butter of the cantor’s art throughout the seventeenth century” and remained so for much of the eighteenth. 18 Indeed, Johann Sebastian Bach and Georg Philipp Telemann routinely performed motets from this anthology in Lutheran church services. In the early seventeenth century German composers became fascinated with the new Italian style, developed by Giovanni Gabrieli (1554-‐1612) and Claudio Monteverdi (1567-‐ 1643). Michael Praetorius (1571-‐1621) was among the first of them to use the Italians’ concerted style (stile concertato), with colorful mixtures of voices and instruments, and broken choir technique (cori spezzati). 19 An exemplary contribution includes his eight-‐part Ecce Dominus veniet for double choir. It belongs to his Latin motet collection, Musarum Sioniarum from 1607, and features Venetian cori spezzati. 20 17 Mark Allen Chaney, "Four Motets from the "Florilegium Portense,” Order No. 3262119, The Ohio State University, 2007. http://search.proquest.com/docview/304832308?accountid=14749. 18 Geoffrey Webber, North German Church Music in the Age of Buxtehude (New York: Oxford University Press, 1996), 42. 19 Brown, Music in the Renaissance, 359. 20 Leichtentritt, Geschichte der Motette, 328. 12 The term “madrigal motet” originates from German musicological literature of the 1930s, in which one finds such terms as “madrigalartige Motette,” “madrigalistische Motette,” “madrigalisierte Motette,” or simply “Madrigal-‐Motette.” 21 Composers Heinrich Schütz (1585-‐1672) and Johann Herman Schein (1586-‐1630) introduced madrigal components such as imitative vocal pairs, emphasis on syllabic stress dictating rhythm, the notion of illustrating lyrics with music, and creating a metaphorical musical language. 22 Schütz’s Cantiones sacrae and Schein’s Israelis Brünlein illustrate how composers melded motet and madrigal features together. The Thuringian motet emerged soon after 1650, as evidenced in Wolfgang Carl Briegel’s (1626-‐1712), Johann Rudolph Ahle’s (1625-‐1673), and Andreas Hammerschmidt’s (1611-‐ 1675) printed collections. Of the three, Hammerschmidt was without doubt the most popular. Eighteenth-‐century German composer, music critic, and theorist Johann Adolph Scheibe (1708-‐1776) considered Hammerschmidt to be “the greatest master of the motet genre” and acknowledged that he “brought the motet back to the forefront along with a few others who lived at the same time as he.” 23 Yet twentieth-‐century musicologist Hugo Leichtentritt (1874-‐1951) described Hammerschmidt in his book, Geschichte der Motette (History of the Motet), as follows: 21 Magdalena Walter-‐Mazur and Iwona Kozlowiec. "The Madrigal Motet in Protestant Germany." Musikgeschichte in Mittel-‐ Und Osteuropa: Mitteilungen Der Internationalen Arbeitsgemeinschaft an Der Technischen Universität Chemnitz 11, (2006): 217-‐235. http://search.proquest.com/docview/904205214?accountid=14749. 22 Ibid., 235 23 Johann Adolph Scheibe, Critischer Musicus, 2 nd edn., (Leipzig: 1745), 178. Translation by David McKinney. 13 A decline in the grand, old contrapuntal art is immediately noticeable in Hammerschmidt. Song-‐like elements invade the old, strict form, as is the case with most contemporary German writers. He seldom bothers to work out the individual parts in detail, and his feeling for sound-‐color is not to be compared with the great Venetians; the harmony and contours also became rougher. 24 Hammerschmidt’s Thuringian motet style differs from earlier styles in that it displays far less contrapuntal complexity and declamatory sophistication. Counterpoint plays a relatively small role in the Thuringian repertoire, as more importance is placed instead on homophonic textures that promote text comprehension. The most obvious reason for this style change appears to lie in the widespread adoption of the basso continuo, a practice imported from Italy around 1610. 25 A second trend towards simplification occurred as a consequence of the general disuse of the modal system 26 Recognizable in most musical genres of the time, this trend can also be linked to Italian influences. 27 Thuringian motets exhibit refined melodic features set over simple harmonies homophonically. Generally, in Thuringian motets the chorale tune is performed by the soprano while the lower three voice parts recite biblical texts—often repeated or slightly varied motifs within a homophonic structure in basso ostinato. 28 24 Leichtentritt, Geschichte der Motette, 350; Seaich, “Leichtentritt’s ‘History of the Motet’ A Study and Translation (Chapters 7-‐15),” 196. 25 Peter Wollny, “Italian and German Influences in the Thuringian Motet Repertoire of the Late Seventeenth Century,” Paper presented at the Relazioni musicali tra Italia e Germania nell’età barocca; atti del VI Convegno internazionale sulla musica italiana nei secoli XVII-‐XVIII, Loveno, Italy, 1995, 204. 26 Ibid. 27 Ibid. 28 Georg Philipp Telemann, Motetten, with the Magdeburger Kammerchor, Magdeburger Barockorchester, conducted by Lothar Hennig, recorded April 16-‐18 and June 4, 1998, Raumklang RK 9803, 1998, compact disc. Liner notes by Brit Reipsch. 14 In the late seventeenth century more composers, such as Johann Pachelbel (1653-‐1706), Johann Christoph Bach (1642-‐1703), and Johann Michael Bach (1648-‐1694), introduced gallant melodic qualities that became popular throughout Thuringia and Saxony. They rejected complex polyphony, which could obscure the text, and opted for a simple melodic and clearly declaimed top vocal line over a mostly homophonic texture. Thus, the text could clearly be understood. One above-‐mentioned Thuringian composer, Johann Christoph Bach, an older cousin of J. S. Bach, integrated Italianate stylistic features into the Thuringian motet. J. C. Bach’s surviving motets stand apart from his contemporaries’ repertoire in a number of ways. First, they are not as strictly homophonic (though they do not approach the degree of polyphony found in Schütz's motets). 29 Second, J. C. Bach’s motets display a richer harmonic language with suspensions, chromaticisms, cross relations, and seventh chords in root position and all three inversions embedded in a web of strict counterpoint. 30 Third, his motets put greater emphasis on melody. The upper line is usually the most important throughout, displaying a cantabile quality. 31 One other important distinguishing factor in J. C. Bach’s motets is his strong predilection for text painting, similar to the madrigalisms employed by Heinrich Schütz and Johann Herman Schein. He thus preserved Venetian 29 Wollny, “Italian and German Influences in the Thuringian Motet Repertoire of the Late Seventeenth Century,” 209. 30 Ibid. 31 Ibid. 15 madrigal style and German motet tradition, integrated a more modern melodic style, and enriched the harmonic language much more fully than any of his contemporaries. 32 In the eighteenth century, J. S. Bach’s circle continued developing his concepts of blending melody, expressive harmony, and strict counterpoint into a highly idiosyncratic style. 33 This idea of integrating modern (Italian) and conservative (German) trends produced sophisticated seventeenth-‐century works and laid important foundations for the eighteenth-‐century German motet. Their motets fall entirely within the tradition of the central German motet outlined in this chapter. As the cantata came to the fore, it increasingly confined the motet to weddings, funerals, and similar special services, although J.S. Bach and Telemann continued to write them. They worked within the guiding principles established by their predecessors and contributed greatly to the motet genre. Moreover, their motets transcended those of earlier composers and their contemporaries. 32 Ibid. 33 Ibid., 212. 16 CHAPTER TWO TELEMANN’S TREATMENT OF THE MOTET AS A GENRE Definition of an Eighteenth-‐Century Motet The eighteenth-‐century understanding of the term “motet” varies greatly, as evidenced by various writers and composers of the time. German organist, composer, and theorist Johann Gottfried Walther (1684-‐1748) authored the Musicalisches Lexicon (Music Encyclopedia) in 1732. It was the first major music dictionary in German, and it was the first in any language that included both musical terms and biographies of musicians. It still serves as an important resource about musical concepts, performing practices, major composers, and writers up to the first decades of the eighteenth century. The Musicalisches Lexicon includes more than three thousand musical terms, including a description for motet as a musical genre. The first part of Walther’s definition follows: Motetto, plural Motetti [Italian] Motet, plural Motets [French]. Others write: Motteto; still others, Moteto; Latin: Motettus or Mottetus, Motetus, Motectum, Moteta, etc. is properly a musical composition written on a biblical Spruch, just to be sung without instruments (basso continuo excepted), richly ornamented with Fugen and Imitationibus. But the vocal parts can be taken by and strengthened with diverse instruments. Foreigners nowadays extend the meaning of this term Motetto, to a sacred composition whose text is in Latin, consisting of arias and recitatives, and to which various instruments are supplied, with à parten melodies by turn; as to be seen, among others, in the first opus of Gio. Batt. Allegri. 1 1 Johann Gottfried Walther, Musicalisches Lexicon, (Leipzig: 1732), 434;Daniel R. Melamed, J.S. Bach and the German motet, (Cambridge: Cambridge University Press. 1995), 8. Motetto, plur. Motetti [ital.] Motet, plur. Motets [gall.] Andere schreiben: Motteto; noch andere Moteto; Lateinisch: Motettus oder Mottetus, Motetus, Motectum, Moteta, &c. ist eigentlich eine mit Fugen und Imitationibus starck ausgeschmückte, und über einen Biblischen Spruch bloβ zum Singen ohne Instrumente (den General-‐Bass ausgenommen) verfertigte musicalische Composition; doch können die Sing-‐Stimmen auch mit allerhand Instrumenten besetzt und verstärckt warden. Ja die Ausländer extendiren nunmehr die Bedeutung dieses termini: Motetto, auch auf eine solche geistliche Composition, deren Text lateinisch, aus Arien und Recitativ bestehet, und wozu noch verschiedene Instrumente, mit à parten Melodien abwechselnd, gesetzt sind; wie, unter andern, aus des Gio. Batt. Allegri erstem Wercke zu ersehen. 17 “Motet” is defined and discussed in early eighteenth-‐century writings both as a type of piece (Gattung, genre) and a way of writing (stylus, Schreib-‐Art, style). 2 For example, eighteenth-‐century German composer and theorist Johann Mattheson (1681-‐1764) defined the motet as a kind of composition in his treatise Das neu-‐eröffnete Orchestre (The Newly-‐ Opened Orchestra). It was sung in Latin without instrumental accompaniment. I will, however, let others agonize over the names of the etymology of this word/they have more time to do so/and they find great pleasure in it. But there are these so-‐called motets, commonly Latin church pieces/which previously were comprised of voices alone. 3 But Johann Adolph Scheibe (1708-‐1776) wrote that a fugal chorus in a cantata was constructed like a motet. This view presumed the concept of a transferable motet style, not only a genre. 4 The theorists all agreed that the designations “Motete,” “Motetta,” or “Moteteto” were for primarily multi-‐voiced works, and as a rule, four-‐voiced. 5 Martin Heinrich Fuhrmann (1669-‐1745), who was steeped in the traditions of Andreas Hammerschmidt’s composition rules (as were many of his colleagues), believed that text could most optimally be 2 Ibid., 14. 3 Johann Mattheson, Das neu-‐eröffnete Orchestre (Hamburg: 1713), 141. Ich will indessen die jenigen sich über den Nahmen der Etymologie dieses Wortes den Kopf zerbrechen lassen/die mehr Zeit dazu haben/und grosser Plaisir daran finden. Es sind aber diese so genannten Motetti gemeiniglich lateinische Kirchen-‐Stücke/die vormahls bloβ aus Singstimmen. Translation by David McKinney. 4 Melamed, J.S. Bach and the German Motet, 15. 5 Brit Reipsch, “Bemerkungen zu Georg Philipp Telemanns Motetten,” Paper presented at the Musikkonzepte—Konzepte der Musikwissenschaft; Bericht über den Internationalen Kongress der Gesellschaft für Musikforschung, 1998 (Halle (Saale): Volume 2, 200), 311. 18 understood when set with four voices. 6 Johann Adolph Scheibe’s musings provide some background about the types of texts used and what makes a suitable motet text: A good motet first requires a smart text selection, and then a wise, comprehendible, and full-‐voiced setting. We want to look at both. The words are comprised of one or more passage(s) from scripture; and it is also possible to include a verse or two from a chorale or canticle, according to whim. When selecting the text, one must take into consideration how the motet will used, e.g., at a funeral, wedding, birthday, on a Sunday, or on a holiday. Next, one must also read the words aloud to make sure they fit to a four-‐voiced choral setting. 7 Scheibe further insisted that texts also be “divisible into two, three, or four movements, because this is how long a motet should be,” and that they “agree with each other.” 8 Fuhrmann and Scheibe both advocated for the four-‐voice setting as the ideal number of voices for “full voice elaboration”. 9 6 Ibid. 7 Scheibe, Critischer Musicus, (Leipzig: 1745), 178. Zu einer guten Motette gehöret erstlich eine kluge Wahl der Worte,und dann eine scharfsinnige, deutliche und vollstimmige Ausarbeitung. Wir wollen beydes untersuchen. Die Worte sind insgemein ein Spruch, oder mehrere aus der heiligen Schrift; hierzu kömmt noch, doch nur bey gewissen Gelegenheiten, ein Vers, oder zweene, aus einem geistreichen Liede, oder Lobgesange. Bey der Wahl der Worte hat man vornehmlich auf den Gebrauch der Motetten zu sehen, ob sie nämlich bey Begräbnissen, bey Hochzeiten, bey Geburtstagen, oder auch den Sonntagen und Festtagen gebrauchet werden sollen. Ferner muβ man auch solche Worte auslesen, die sich von sich selbst zu Chören und vielstimmigen Sätzen schicken. Translation by David McKinney. 8 Scheibe, Critischer Musicus, 179. 9 Reipsch, “Bemerkungen zu Georg Philipp Telemanns Motetten,” 312. 19 Motets Catalogued in Thematisches Verzeichnis der Vokalwerke von Georg Philipp Telemann Twentieth-‐century musicologist Werner Menke categorized Telemann’s vocal works in two volumes entitled Thematisches Verzeichnis der Vokalwerke von Georg Philipp Telemann (The Thematic Catalogue of Vocal Works by Georg Philipp Telemann, TVWV). The most recent edition of this catalogue was published in 1995. Volume one categorizes over 1,700 cantatas, and volume two covers other vocal works: oratorios, passions, psalms, motets, masses, and operas. 10 Menke catalogues sixteen motets with various vocal forces ranging from two-‐voice choir to eight-‐voice choir. These motets were likely used in the Gottesdienst (church service) and Vesper services. 11 The catalogue also lists several motets used at important celebrations—birthdays, weddings, funerals, etc.—that are examined further in Chapter Four of this document. The Table 2.1 lists Telemann’s motets catalogued in the TVWV. It details each motet manuscript’s compositional date, housing library with shelf number, vocal forces, instrumentation, and text source. 10 The numeric classification for the vocal works is listed as TVWV followed by a number indicating the identifying genre. A number after the colon indicates the order in the genre. For example, the cantata genre is classified by the number one, psalms are the number seven and motets are number eight, i.e. TVWV 1:1750 is a cantata, TVWV 7:16 is a psalm and TVWV 8:2 is a motet. 11 Werner Menke. Thematisches Verzeichnis der Vokalwerke von Georg Philipp Telemann. (Frankfurt am Main: Vittorio Klostermann GmbH, 1995), 35. 20 Table 2.1 Motets catalogued in Werner Menke’s Thematisches Verzeichnis der Vokalwerke von Georg Philipp Telemann TVWV Title Date of Manuscript Manuscript Housing Library Voicing/ Instrumen-‐ tation Shelf number Text 8:1 Amans Disciplinam 1740 Berlin D-‐B ST/ Vc. Cnt. Mus.ms. 21748/5 Proverbs 12:1 8:2 Amen, Lob Und Ehre 1780 Berlin D-‐B SA(T)B Am.B. Mus. 326 Nr. 30 Revelation 7:12/ Sacer 8:3 Danket dem Herrn 1722 Dresden D-‐DI SATB/TB Mus. 1268 Nr. 114 Psalm 118/ Rinckart 8:4 Der Gott unsers Herrn Jesu Christi 1780 Berlin D-‐B SATB/Cnt Am.B.Mus. 326 Nr. 28 Ephesians 1:17-‐ 18 8:5 Der Herr gibt Weisheit 1756 Berlin D-‐B SAB/Vc. Cnt Mus.ms. 21751/20 Proverbs 2: 6-‐8 8:6 Der Herr ist König 1750 Berlin D-‐B SATB Mus.ms. 30425 Nr. 5 Psalm 97:1 8:7 Ein feste Burg ist unser Gott 1780 Berlin D-‐B SATB Am.B.Mus. 326 Nr.23 Luther/ popular poetry 8:8 Es segne uns Gott unser Herr 1780 Berlin D-‐B SATB Am.B. Mus.326 Nr.29 Psalm 67:7 8:9 Halt, was du Hast 1780 Berlin D-‐B SATB/SATB Am.B. Mus. 326 Nr. 24 Revelation 3:11,5/ Gerhardt 8:10 Jauchzet dem Herrn alle Welt Before 1759 Berlin D-‐B SATB/SATB Mus.ms. Bach P.1207 Psalm 101/Gramann/ Revelation 7:12 8:11 Laudate Dominum 1740 Berlin D-‐B SATB/Fl 1,2. Vn 1,2. Va. Vc. Db. Org Mus.ms. 21746/60 Psalm 148 & 144 8:12 Non aemulare cum viris malititiae 1750 Berlin D-‐B SB/Vc. Cnt Mus.ms. 21748/10 Proverbs 24:1-‐3 8:13 Selig sind die Toten 1760 Berlin D-‐B SATB Mus.ms. 21747/50 Revelation 14:13/ Rosenmüller/ Herman 8:14 Und das Wort ward Fleisch 1780 Berlin D-‐B SATB Am.B.Mus. 326 Nr.31 John 1:14 8:15 Werfet Panier auf im Lande 1726 Frankfurt am Main D-‐F SATB/ Ob1,2 Tp. Tmp. Vn1,2. Va. Vc. Org Ms.Ff.Mus. 1491 Jeremiah 51:27-‐ 29 8:16 Wohl dem, der Herrn fürchtet 1745 Berlin D-‐B SA/ Cnt Mus.ms. 2174/60 Psalm 112: 1-‐3 21 Four of the TVWV motets do not easily fit the motet rubric previously outlined: they lack four voices and are multi-‐movement works. Additionally, these works have an obbligato basso continuo. The questionable works Amans disciplinam (Lover of Learning) TVWV 8:1; Der Herr gibt Weisheit (The Lord Gives Wisdom) TVWV 8:5; Non aemulare cum viris malitiae (Do Not Envy the Malicious), TVWV 8:12; Wohl dem, der den Herrn fürchtet (Blessed Are Those Who Fear the Lord) TVWV 8:16); feature vocal ariosos, arias, and duets. Definitive tutti movements do not exist. Menke assigns these works to the motet genre apparently because that is how they were labeled in some sources, ones even inscribed as such by Georg Michael Telemann. 12 Telemann’s grandson was probably thinking of the Italian solo motet when he used this identification, though the Italian solo motet has nothing in common with established criteria of the German motet genre from the first half of the eighteenth century. 13 For these reasons, these motets will not be studied individually in Chapter Four. Continuing, at least five more of the works listed in Menke’s TVWV are now known to be cantata movements. As discussed earlier in this chapter, the term “motet” can be broadly interpreted. In this case, it refers to a style of writing (stylus, Schreib-‐Art or writing style) as described by Daniel Melamed in his book, J. S. Bach and the German Motet. 14 Because Telemann required colla parte instrumental accompaniment for numerous tutti movements of his cantatas, the motet-‐like movements could simply be removed and 12 Georg Philipp Telemann’s grandson. 13 Reipsch, “Bemerkungen zu Georg Philipp Telemanns Motetten,” 311. 14 Daniel Melamed, J.S. Bach and the German Motet (Cambridge: Cambridge University Press, 1995), 14. 22 separated from available performance materials. 15 Menke considers these extracted works from cantatas to be motets considering they were composed in motet style. These five motets from the TVWV fit the German motet rubric described by Scheibe and Fuhrmann, therefore will be discussed individually in Chapter Four. Table 2.2 lists the motets, with voicing and instrumentation, extracted from Telemann’s cantatas. Table 2.2 Motets extracted from corresponding cantatas 15 Ibid., 310-‐311. Motet Corresponding Cantata Voicing for Cantata Instrumentation for Cantata Cantata Text Manuscript Housing Library/ Shelving Number for Cantata Amen,Lob und Ehre, TVWV 8:2 Amen,amen,Lob und Ehre, TVWV 1:91 SAB Vn 1, 2. Va. Cnt. Neumeister Berlin D-‐B/ Mus.ms. 21740/220 Der Herr ist König, TVWV 8:6 TVWV 8:6 SATB Ob d’am. Tp1,2. Tmp. Vn1,2. Cnt Psalm 97, Revelation 14, verses 6-‐ 8., Martin Luther Berlin D-‐B/ Mus.ms. 30425 Nr. 5 Jauchzet dem Herrn alle Welt (final chorus Amen, Lob und Ehre), TVWV 8:10 Lobt Gott ihr Christen allzugleich, TVWV 1:1066 SATB Ob 1,2. Tp 1,2. Tbn 1,2,3. Tmp. Vn1,2. Va. Vc. Cnt. Neumeister Frankfurt am Main D-‐F/ Ms.Ff.Mus. 1248 Und das Wort ward Fleisch, TVWV 8:14 Und das Wort ward Fleisch, TVWV 1:1431 SAB Vn 1,2. Va. Cnt. Neumeister Mecklenburg-‐ Vorpommern D-‐SWI/ Mus.5380a Werfet Panier auf im Lande, TVWV 8:16 Werfet Panier auf im Lande, TVWV 1:1580 SATB Ob 1,2. Tp 1,2. Tmp. Vn1,2. Va. Vc. Cnt. Helbig Frankfurt am Main D-‐F/ Ms.Ff.Mus. 1491 23 Challenges Identifying a Telemann Motet Researchers struggle with two obstacles concerning Telemann’s motets: identifying how many motets exist and determining which works should be considered a motet. Werner Menke’s thematic catalogue lists sixteen. Wesley K. Morgan edited some of Telemann motets, and he insists in a revised foreword to the edition of his scores that there are no fewer than twenty-‐five. 16 Common factors the motets share include that they are written for four-‐to-‐eight voices, do not have obbligato instrumental parts (except continuo), and have formal structures based on biblical texts. Twelve motets listed in TVWV fit this rubric, and seven additional motets from Partitura über Chor-‐Stücke zu Darmstadt, 1789, discovered in 1994 at Yale University, also meet these requirements. For these reasons, nineteen of Telemann’s motets will be examined in Chapter Four. The lack of research and cataloguing of Telemann’s motets remain hugely problematic in understanding what constitutes a “Telemann motet.” One factor commonly overlooked by researchers is the role of instruments. Eighteenth-‐century motets do not have instrumental preludes, interludes, or postludes. In his 1739 treatise, Der vollkommene Capellmeister, Johann Mattheson (1681-‐1764) clearly states that “…instrumentalists play not a note more, different, or less than the singers. This is an essential trait of motets.” 17 Today, we could consider this aspect to differentiate Telemann’s motets from his psalm settings because the psalm settings have independent, obbligato instrumental parts. In his 16 Morgan, Vier Motetten zu 3-‐8 Stimmen by Georg Philipp Telemann, Foreword. 17 Johann Mattheson, Der vollkommene Capellmeister, (Hamburg: 1739), 75 §.44; Ernest Charles Harriss, “Johann Mattheson’s ‘Der Vollkommene Capellmeister’: A Translation and Commentary,” PhD diss., George Peabody College for Teachers. 1969, 310. 24 catalogue, Menke treats psalm settings as a separate genre because of their use of obbligato instruments. Despite increased Telemann research in the last few years, significant work remains. For example, there are no plans to include Telemann’s motets in his collected works. 18 Werner Menke’s catalogue is outdated now with the discovery of the motet manuscripts at Yale University. Menke’s catalogue of vocal works with two or three voices as motets, alongside cantata movements as motets, further complicates the issue of what constitutes a Telemann motet. A complete revision of this catalogue is in order to align with the most current research. Until there is further research, many questions will remain largely unanswered. 18 This statement was confirmed in an email dated September 1, 2013 from Wolfgang Thein, Director of Editorial Department and Music Editor of Complete Editions at Bärenreiter Verlag. 25 CHAPTER THREE MANUSCRIPTS AND SOURCE MATERIALS Extant Source Materials Telemann composed psalm settings and motets throughout his career, but most of his surviving motets stem from his years in Eisenach (1708-‐12) and Frankfurt, where he served as chapel master and musical director, respectively. 1 Extant hand-‐copied manuscript collections of works by Saxon and Thuringian composers contain motets written by Telemann. 2 F. A. Gotthold, director of the Königsberger Gymnasium, owned one such motet manuscript collection in a music volume entitled Denkmäler deutscher Tonkunst, and Max Seiffert published it in 1915. 3 Seiffert’s edition encompassed ninety-‐three compositions (mostly written for four voices, but also some for six to eight, and mainly one movement works) by Arnoldi, Johann Michael Bach, Philipp Heinrich Erlebach, Kellner, Liebhold, Friedrich Erhard, Nicolous Niedt, Georg Thodor Reineccius, Georg Philipp Telemann, and Johann Topff, as well as anonymous composers. 4 They contain traditional stylistic elements of sacred concerts and choral motets of the seventeenth century: typical simultaneous pairing of the chorale tune in the upper voice and a homophonic declamation of biblical 1 Georg Philipp Telemann, Motetten, with the Magdeburger Kammerchor, Magdeburger Barockorchester, conducted by Lothar Hennig, recorded April 16-‐18 and June 4, 1998, Raumklang RK 9803, 1998, compact disc. Liner notes by Brit Reipsch. 2 Ibid. 3 Reipsch, “Bemerkungen zu Georg Philipp Telemanns Motetten,” 308. Max Seiffert, ed., Thüringische Motetten der ersten Hälfte des 18. Jahrhunderts, Denkmäler deutscher Tonkunst, Erste Folge;Bd. 49-‐50, (Leipzig: Breitkopf und Härtel, 1915). 4 Ibid. 26 passages in the lower voices. 5 This volume holds one of Telemann’s most often performed motets, Werfet Panier auf im Lande (Raise the Flag in the Land), TVWV 8:15. Two other important collections containing Telemann motets presently exist. The first is volume 326 from the Amalienbibliothek (Am.B. 326). It contains thirty-‐four scribed (manuscript) scores from various composers, with the majority labeled as motets. Six are attributed to Telemann and are included in the TVWV. Second and most recent is the Partitura über Chor-‐Stücke zu Darmstadt, 1789, which was found at Yale University’s Lowell-‐Mason Collection. The Amalienbibliothek Collection (Am.B 326) Prussian Princess Anna Amalia (1723-‐1787), youngest sister of Friedrich II, was a patron of the arts, amateur musician, and composer. She began studying composition in earnest in her mid thirties, and in 1758 she engaged Philipp Kirnberger (1721-‐1783), a pupil of J. S. Bach, as her court musician. Amalia studied keyboard, violin, flute and composition under his tutelage. 6 Amalia’s greatest significance in music history lies in her music library, the Amalienbibliothek, which now forms part of the music collection of the Staatsbibliothek zu Berlin, Preuβischer Kulturbesitz. 7 5 Ibid. 6 Konrad Küster, Oxford Composer Companions J. S. Bach, ed. Malcolm Boyd, (New York: Oxford University Press, 1999), 13. 7 Ibid. 27 Kirnberger, in her employment, advised Amalia in selecting compositions for her library, and he even supervised preparation of many manuscripts housed in it. 8 The core collection began with about 325 musical works. Later, upon Kirnberger’s passing in 1783, items were acquired from his estate; this collection included many items that Kirnberger had inherited, in turn, from the estate of Amalia’s chamber musician, Christoph Schaffrath (1709-‐1763). 9 It is no longer possible to distinguish which works came from Schaffrath’s estate and which ones came from Kirnberger’s estate in the expanded collection. Yet certain indicators hint Amalia acquired the pieces in Am.B. 326 from Kirnberger’s estate. Composers featured in Am.B. 326 either came from Saxony or were connected to J. S. Bach in some way. E. R. Wutta, nèe Blechschmidt, identified the volume’s scribe as Bach Copyist XXV. These strongly indicate a Kirnberger heritage. 10 The original source the copyist used is unknown, as autographs are apparently lost. 11 The six motets attributed to Telemann in Am.B. 326 bear the same marking, “di Telemann.” In one motet, Und das Wort ward Fleisch (And the Word Became Flesh), the marking “di 8 Darrell Berg, "Anna Amalia (i), Princess of Prussia," Grove Music Online. Oxford Music Online, Oxford University Press, accessed November 28, 2013, http://www.oxfordmusiconline.com.libproxy.usc.edu/subscriber/article/grove/music/00 960. 9 Ibid. 10 Brit Reipsch, “Telemann-‐Motetten im Sammelband Nr. 326 der Amalienbibliothek; Uberlegungen zum Gattungsbefriff bei Telemann,” Paper presented at the Zur Aufführungspraxis und Interpretation der Vokalmusik Georg Philipp Telemanns; ein Beitrag zum 225. Todestag; Konferenzbericht der XX. 99, 94-‐102, 1995, 95. 11 Morgan, Vier Motetten zu 3-‐8 Stimmen by Georg Philipp Telemann, Foreword. 28 Telemann” is lengthened to include Telemann’s initials “G. P.” 12 Wesley K. Morgan comments about the sloppy work of Am.B. 326’s copyist in the foreword to his edition of motets from the collection: That the copyist either lacked proficiency or simply worked too fast, perhaps both, is obvious from the shoddy work. Were the autographs impeccable, then one can only assume that the copyist made hasty, sloppy mistakes. In more than one instance, notes and even groups of notes are mis-‐transcribed by a half step, whole step, and sometimes an entire third—both too high and too low. This bad habit makes it difficult to know just what is supposed to happen. And only in places where the figured bass lets you know can one determine what was originally intended. Furthermore, the sentences (text) are written in for only one voice, not just in homorhythmic, declamatory sections, but also in those where the voices differ from one another rhythmically. 13 As mentioned above, Am.B. 326 from Amalia’s library contains thirty-‐four handwritten (manuscript) scores from various composers: six motets from Telemann, eleven motets of anonymous authorship, one work from J. C. Gundelach, six motets from Cantor of Eisenach Johnn Conrad Geisthirt (1676-‐1735), one piece from Gotha’s School and City Cantor Johnnes Matthaeus Schmiedeknecht (1650-‐1727), eight compositions from Johann Ludwig 12 Ibid. 13 Ibid. Die Arbeit des unbekannten Kopisten läβt hastige Gleichgültigkeit oder Mangel an Befähigung—vielleicht auch beides—erkennen. Sollten die Vorlagen einwandfrei gewesen sein, dann kann es sich bei den zahlreichen Fehlern nur um Flüchtigkeitsfehler handeln. In mehreren Fällen hat der Schreiber einzelne Noten oder Noten-‐gruppen um einen Halbton, einen Ganzton und sogar um eine Terz zu hoch oder zu tief gesetzt: eine Unart, die nur an den Stellen weniger ins Gewicht fällt, wo aus der Generalbaβbezifferung hervorgeht, was gemeint ist. Ein Zeichen von Nachlässigkeit ist es auch, daβ die Sätze nicht allein bei homorhythmischer Deklamation in nur einer Stimme textiert sind, sondern auch dort, wo die übrigen Stimmen von der textierten in der Deklamation abweichen. Translation by David McKinney. 29 Bach (1677-‐1731), cousin of Johann Sebastian Bach, and one sacred concert from Johann Michael Bach (1648-‐1694). 14 The six Telemann motets found in Am.B. 326, which Menke also lists as motets in his Thematisches Verzeichnis der Vokalwerke (TVWV), follow: Ein feste Burg ist unser Gott (A Mighty Fortress is our God), TVWV 8:7, Halt, was du hast (Hold What You Have), TVWV 8:9, Der Gott unsers Herrn Jesu Christi (God of Our Lord Jesus Christ), TVWV 8:4, Es segne uns Gott, TVWV 8:8 (God Shall Bless Us) , Amen, Lob und Ehre, TVWV 8:2 (Amen, Blessing, and Glory), Und das Wort ward Fleisch,TVWV 8:14 (And the Word Became Flesh). Performance editions of these six works exist and are listed in Table 4.1 in Chapter Four. Wesley K. Morgan edited four of the motets in 1967, published by Wolfenbüttel, for Vier Motetten zu 3-‐8 Stimmen mit und ohne Generalbaβ (Four Motets of 3-‐8 Voices with and without Basso Continuo). This edition includes Halt, was du hast, TVWV 8:9 for double choir, Der Gott unsers Herrn Jesu Christi, TVWV 8:4 for SATB choir and continuo, Es segne uns Gott, TVWV 8:8 for SATB choir and continuo, and Amen, Lob und Ehre, TVWV 8:14 for SAB chorus and continuo. It is interesting that Morgan did not include Ein feste Burg ist unser Gott, TVWV 8:7 and Und das Wort ward Fleisch, TVWV 8:14 in his edition of the Telemann motets from Am.B. 326. In the foreword to his edition, Morgan states that he excludes them because they were less artistically worthy than the others, and that they had never gained any traction. 15 14 Reipsch, “Telemann-‐Motetten im Sammelband Nr. 326 der Amalienbibliothek; Uberlegungen zum Gattungsbegriff bei Telemann,”95. 15 Morgan, Vier Motetten zu 3-‐8 Stimmen by Georg Philipp Telemann, Foreword. 30 Carus-‐Verlag has an edition for Ein feste Burg ist unser Gott, TVWV 8:7 for SATB choir and continuo, edited by Günter Graulich in 2009, with English translation by David Johnston. 16 There is also an online edition on the Choral Public Domain Library. 17 Finally, Werner Menke edited a critical edition of Und das Wort ward Fleisch, TVWV 8:14 for SATB choir and continuo, published in 1999 by Carus-‐Verlag. 18 Partitura über Chor-‐Stücke zu Darmstadt, 1789 The Partitura über Chor-‐Stücke zu Darmstadt, 1789 (PD) 19 is a miscellany that contains forty motets and arias from different composers; Telemann composed seven of the motets and one four-‐voiced choral piece for SSTB (labeled as an aria). This collection of arias and motets in the PD manuscript remained unknown to Telemann specialists until the early 1990s when it was found in the music library at Yale University. Unfortunately, the motets attributed to Telemann from this collection have not been catalogued in the TVWV and have been assigned the missing catalogue designation deest. This discovery offers valuable information on how Telemann dealt with motet compositional form. The Partitura über Chor-‐Stücke zu Darmstadt, 1789 (PD) belongs to the Lowell-‐Mason Collection named after the American music teacher, editor, and composer Lowell Mason (1792-‐1872) who put together the collection and bequeathed it to Yale University in 16 Günter Graulich, ed., Ein feste Burg ist unser Gott TVWV 8:7 Motette für Coro (SATB), Basso continuo ad libitum, by Georg Philipp Teleman, (Stuttgart: Carus-‐Verlag, 2009). 17 Choral Public Domain Library, accessed November 21, 2013, http://www1.cpdl.org/wiki/images/sheet/twv8-‐7.pdf. 18 Werner Menke, editor. Und das Wort ward Fleisch TVWV 8:14, by George Philipp Teleman, (Stuttgart: Carus-‐Verlag, 1999). 19 For simplicity, the author will refer to this manuscript as the PD manuscript. 31 1873. 20 In 1852 Mason acquired the extensive music collection of Darmstadt Organist Johann Christian Heinrich Rinck (1770-‐1846) at an auction while traveling in Europe. Since 1805 Rinck had lived in Darmstadt, where he worked as choirmaster, organist and composer. He apparently acquired manuscripts from the Darmstadt Pädagogium, which had been originally gifted to it by a prominent tenor associated with the choir, Secretary Lachmund, in 1789. (Note the inscription inside the cover page of the source shown in Figure 3.1) Figure 3.1 Partitura über Chor-‐Stücke zu Darmstadt, 1789 21 This score is given by Mr. (…) Secretary Lachmund to the Choir, 1789. 22 20 Brit Reipsch, ed., Vier Motetten für vierstimmigen gemischten Chor und Basso continuo (ad libitum) by Georg Philipp Teleman, (Leipzig: Deutscher Verlag für Musik,1996). Afterword. 21 Inside cover of the Partitura über Chor-‐Stücke zu Darmstadt, 1789 from Yale University Music Library, Ma21 Y11 A14. 22 Diese Partitur wurde dem Chor vom Herrn (…) Secretair Lachmund geschenkt 1789. Translation by David McKinney. 32 The Telemann motets in the PD manuscript were part of Rinck’s collection of printed editions and manuscripts of eighteenth-‐century and early nineteenth-‐century works. 23 The motets and arias in the PD manuscript were possibly used in Darmstadt’s churches during the second half of the eighteenth century. Besides Telemann, the included works come from three of his contemporaries: Johann Balthasar König, Heinrich Remigius Barthels, and Johann Lachmund. The inclusion of the works by König and Barthels attests to musical connections that they had developed between Darmstadt and nearby Frankfurt. Given Telemann’s time in Frankfurt from 1712 to 1721, it makes sense that the collection includes some of his works. The assimilation of works in the source was not accomplished, however, until sometime after Telemann’s departure from Frankfurt in 1721. 24 Telemann associated closely with Johann Balthasar König (1691-‐1758) in Frankfurt. Their working relationship began in 1712, when König began to work for him as a copyist and also learned to imitate his style. 25 And Telemann served as godfather to König’s son in 1718. A composer in his own right, König composed nearly thirty cantatas, a handful of motets and arias, and most notably, published the Harmonischer Lieder-‐Schatz (Treasury of Harmonic Songs), 1738. The most comprehensive hymnbook of the eighteenth century, it contained nearly two thousand melodies with figured bass. Given his dual profession as a 23 Brit Reipsch, “Unbekannte Motetten von Georg Philipp Telemann aus der Musikbibliothek der Yale University (New Haven),” Beiträge zur musikalischen Quellenforschung. Protokoll-‐ Band Nr.3 der Kolloquien im Rahmen der Köstritzer Schütz-‐Tage 7. Oktober 1993. 4. October 1994. 24 Ibid. 25 Dorothea Schröder. "König, Johann Balthasar." Grove Music Online. Oxford Music Online. Oxford University Press, accessed December 1, 2013, http://www.oxfordmusiconline.com.libproxy.usc.edu/subscriber/article/grove/music/15 327. 33 copyist and composer, König has caused confusion at times by copying single arias or choruses from Telemann’s cantatas and reusing them, sometimes with different words even, in a new context. 26 The Partitura über Chor-‐Stücke zu Darmstadt (PD) contains a few motets and arias attributed to him in the manuscript’s index (Index Partiturae), located in the back. Notice his name next to the piece beginning on page 14, spelled Koenig, as seen in Figure 3.2. The index, labeled Index Partiturae, outlines the title of each composition, its corresponding page number, and sometimes the composers’ name. Those written by Telemann are indicated by “T.,” “Telemann,” or “Telem.” in the Index Partiturae. 26 Ibid. 34 Figure 3.2 Index Partiturae 27 Frankfurt am Main’s New Church Inventory Book of Offices & Positions lists Johann Lachmund as a member of the boys’ choir, along with Johann Balthasar König and others. 28 In 1743 he began work as a tenor in Darmstadt’s Court Chapel of Ludwig VIII, Landgrave of Hesse-‐Darmstadt (1691-‐1768). He also became widely sought after as a tenor for many church music productions in the city. Furthermore, in the Receipts of Retirees from 1749, 27 Partitura über Chor-‐Stücke zu Darmstadt, 1789 from Yale University Music Library, Ma21 Y11 A14. 28 Brit Reipsch, “Unbekannte Motetten von Georg Philipp Telemann aus der Musikbibliothek der Yale University (New Haven).” 35 Lachmund is listed with the title “secretary.” 29 And according to an extant 1758 record, concertmaster Wilhelm Gottfried Enderles recommended him to a post in the court chapel. Thus, “Secr. U. KM. Lachmund” (Secretary and Chapel Master Lachmund) became a violist in the group. 30 But Lachmund went blind shortly thereafter, so he is only listed as Secretary to the Kanzlei (chamber or solicitor’s office) after 1 July 1761. 31 In the second half of the eighteenth century, the court chapel and its singers were responsible for the court music, the music of the palace church, and the city-‐run Paedagogium (school) performances in Darmstadt. Established in 1729, its pupils sang in the city church. 32 Given Lachmund’s association with these venues, there is a possibility he could have amassed a sizeable collection of vocal works from composers in the area during his singing career then gifted the collection to the school choir. 33 The last composer listed in the PD manuscript is Heinrich Remigius Barthels, a prominent economic icon of Frankfurt who avidly participated in the collegium musicum under Telemann’s direction. His name appears twice in the Index Partiturae as “Schoeff Barthels in Frankfurt.” Telemann praised his musical prowess on multiple occasions, and Barthels successfully directed the premiere of Telemann’s Brockes Passion on 2-‐3 April 1716 in Frankfurt’s Barfüβerkirche. 34 29 Ibid. 30 Ibid. 31 Ibid. 32 Ibid. 33 Ibid. 34 Ibid 36 Upon the PD manuscript’s discovery, German musicologist and Telemann expert Brit Reipsch edited and published the seven Telemann motets for performance. Telemann based the seven motets in the Darmstadt manuscript on biblical passages. These seven motets from the PD manuscript will be anaylyzed individually in Chapter Four in addition to twelve motets from the TVWV. Table 3.1 lists Telemann’s motets in the PD manuscript from 1789. Table 3.1 Telemann’s motets in the Partitura über Chor-‐Stücke zu Darmstadt, 1789 Motet Title (German) Motet Title (English) Biblical Verse Das ist meine Freude This Is My Joy Psalm 72:28 Fürwahr, er trug unsre Krankheit Surely, He Bor Our Sorrows Isaiah 53:4-‐5 Ich habe Lust abzuscheiden I Long to Leave Philippians 1:23 Ich will schauen dein Antlitz in Gerechtigkeit I Want to See Your Face in Righteousness Psalm 17:15 Rufe mich an in der Zeit der Not Call Upon Me in Your Time of Need Psalm 50:15 Saget der Tochter Zion Say to Zion’s Daughter Matthew 21:5 Selig sind die Toten Blessed are the Dead Revelation 14:13 37 CHAPTER FOUR The Motets This chapter discusses individual motets from Thematisches Verzeichnis Der Vokalwerke von Georg Philipp Telemann (TVWV), Amalienbibliothek collection (Am.B. 326), and the Partitura über Chor-‐Stücke zu Darmstadt, 1789 (PD). Compositions listed in TVWV as motets that only contain two or three voices will not be covered in this study: they do not fit the motet rubric outlined in Chapter Two. As current research stands, the motets within these collections, examined here in detail, comprise the majority of motets in Telemann’s oeuvre. Table 4.1 lists each motet covered in this chapter. Publication information is included for each motet. 38 Table 4.1 Voicing and Publication Status of Telemann’s Motets TVWV/ TWV Title Voicing/ Instrumentation Publisher Year Editor TVWV 8:2 Amen, Lob und Ehre SAB Möseler Verlag Wolfenbüttel 1967 Wesley K. Morgan TVWV 8:3 Danket dem Herrn SATB/ TB Möseler Verlag Wolfenbüttel 1967, 2013 Wolfgang Hobohm TVWV 8:4 Der Gott unsers Herrn Jesu Christi SATB Möseler Verlag Wolfenbüttel 1967 Wesley K. Morgan TVWV 8:6 Der Herr ist König SATB Carus-‐Verlag 2006 Günter Graulich TVWV 8:7 Ein feste Burg SATB Carus-‐Verlag 1978, 1992 Günter Graulich TVWV 8:8 Es segne uns Gott SATB, Cnt. Möseler Verlag Wolfenbüttel 1967 Wesley K. Morgan TVWV 8:9 Halt, was du hast SATB/SATB Möseler Verlag Wolfenbüttel 1967 Wesley K. Morgan TVWV 8:10/BWV Anh. 160 Jauchzet dem Herrn SATB/SATB, Cnt. Hänssler-‐Verlag 1978 Klaus Hoffman TVWV 8:11 Laudate Dominum SATB, Cnt. Zentrum für Telemann-‐Pflege und –Forschung 1993 Brit Reipsch TVWV 8:13 Selig sind die Toten SATB Wuppertal Verlag Singende Gemeinde 1989 Horst Krüger TVWV 8:14 Und das Wort ward Fleisch SATB, Cnt. Carus-‐Verlag 1970, 1992 Werner Menke TVWV 8:16 Werfet Panier auf im Lande SATB Tetra Music Corp. 1965 Abraham Kaplan TWV deest Das ist meine Freude SATB Deutscher Verlag für Musik 1996 Brit Reipsch TWV deest Fürwahr, er trug unsre Krankheit SATB Deutscher Verlag für Musik 1996 Brit Reipsch TWV deest Ich habe Lust abzuscheiden SATB Deutscher Verlag für Musik 1996 Brit Reipsch TWVdeest Ich will schauen dein Antlitz in Gerechtigkeit SATB Deutscher Verlag für Musik 1996 Brit Reipsch TWV deest Rufe mich an in der Zeit der Not SATB Deutscher Verlag für Musik 1996 Brit Reipsch TWV deest Saget der Tochter Zion SATB Deutscher Verlag für Musik 1996 Brit Reipsch TWV deest Selig sind die Toten SATB Deutscher Verlag für Musik 1996 Brit Reipsch 39 Danket dem Herrn, TVWV 8:3 Danket dem Herrn (Give Thanks unto the Lord), scored for SATB chorus with bass and tenor soloists. The only extant manuscript belongs to an untitled miscellany located in the Dresden Sächsische Landesbibliothek (D-‐DI). The untitled miscellany contains 164 motets from various Thuringian and Saxon composers. The motets in this collection are in full-‐ score format only—with no separate performance parts included. However, some motets, including Danket dem Herrn, have figured bass notation above the choral bass line in the score. Although the collection was copied in January 1722 the motet may have been written earlier during Telemann’s time in Eisenach or Frankfurt between 1708 and 1721. 1 It is unclear for what occasion Telemann composed the motet and details about its first performance remain unknown. The motet has two major sections that correspond to its textual divisions. The first text comes from Psalm 107:1. The second set is from the Lutheran hymn, Nun danket alle Gott, one of the most popular Protestant hymns. Martin Rinckart (1586-‐1649) wrote the hymn’s text in 1630 and Johannes Crüger (1598-‐1662) wrote the chorale tune and published it in his Praxis pietatis melica (1647). The chorale tune is prominently placed in the tenor in Telemann’s motet, Danket dem Herrn, TVWV 8:3. Figure 4.1 depicts the chorale tune for Nun danket alle Gott. 1 Wolfgang Hobohm, ed., Danket dem Herrn by Georg Philipp Teleman, (Wolfenbüttel: Möseler Verlag, 1967), Foreword. 40 Example 4.1 Chorale Nun danket alle Gott 2 Telemann features the chorale tune in the tenor line in the second half of his motet while the rest of the choir sings Psalm 107:1. The end of the motet is set in a cantional, or traditional chorale, style with text from the third verse of Nun danket alle Gott. Der Herr ist König, TVWV 8:6 Telemann’s Der Herr ist König (The Lord is King), TVWV 8:6 is recognized in the TVWV as a motet. Menke mentions that the work was found among other motets from Homilius and Rolle. 3 The manuscript was found in a collection of thirty-‐seven sacred songs by various eighteenth-‐ and nineteenth-‐century composers. The collection’s owner, Adolph Friederich Göhler, added the word Motetto to the piece. Actually, though, the motet is the opening movement from a Telemann cantata that bears the same name. The cantata’s 2 Adapted from The Book of Worship, (New York: The New Church Board of Publications, 1876), 324, Public Domain. 3 Menke, TVWV, 36. Anmerkungen Quelle stehen neben der o.a. Motette von Telemann weitere von Homilius (1 &2) und Rolle (3&4). 41 catalogue number is missing (deest), therefore, Werner Menke attributes this piece to the motet genre in the TVWV. Manuscript copies of the cantata appeared in Leipzig in 1724-‐25. J. S. Bach took a keen interest in the cantata and prepared it for performance in 1725. Three of Bach’s copyists at the St. Thomas Church copied it. 4 Their activities as copyists for Bach, as well as handwriting and watermarks, allow the dating of this copy to be limited between 11 June 1724 and 6 May 1725. 5 It is unclear for which occasion Bach performed this particular cantata. One musicologist, Carsten Lange, postulates that the cantata may have been performed in recognition of a change in the Leipzig city council because of its Reformation Day texts from Revelation 14:6-‐8 (“Fear God and give him glory…”) and verse three of Ein feste Burg. 6 The cantata is scored for SATB choir and SATB soloists, first and second violin, viola, oboe, first and second trumpet, timpani, and continuo. The opening chorus is written in motet style for SATB chorus and continuo. Its text is Psalm 97:1. Telemann divided the verse in two statements. The first statement, fugally set, begins with bass and follows with tenor, alto and soprano in succession. The second section, homophonically set, begins with eighth note coloratura writing in the soprano and tenor, voiced in sixths, on the word 4 The copyists names are Johann Christian Köpping, Johann Andreas Kuhnau (the nephew of J. S. Bach’s predecessor at St. Thomas in Leipzig, Johann Kuhnau) and Christian Gottlob Meiner. 5 Georg Philipp Teleman, Telemann: Die Donnerode, Der Herr ist König, Rheinische Kantorei, Das Kleine Konzert, Hermann Max, (Cappricio compact disk 10 556, 1995), Liner notes by Carsten Lange. 6 Ibid. 11. Refer to the Appendix for translation of Ein feste Burg. 42 Fröhlich (cheerfully). The motet ends with all voices homophonically on the phrase so viel ihr sind (many you are), which refers to the multitude. Jauchzet dem Herrn, alle Welt, TVWV 8:10 The double chorus motet Jauchzet dem Herrn, alle Welt (Praise the Lord, all the World), TVWV 8:10 is not an original composition, rather it is a compilation of three separate motets by J.S. Bach and Telemann. 7 Each individual movement is substantial enough to be considered a motet in its own right. Sources from the eighteenth and early nineteenth centuries ascribe the work to either J. S. Bach or to Bach and Telemann jointly. 8 But Wolfgang Schmieder’s Bach-‐Werke-‐Verzeichnis lists the entire work as BWV Anh. 160 among those works “erroneously ascribed to J. S. Bach,” and assigns it to Telemann. Menke’s Thematisches Verzeichnis Der Vokalwerke von Georg Philipp Telemann (TVWV) attributes the motet to Bach and Telemann and references Schmieder’s BWV Anh. 160. Renowned nineteenth-‐century Bach scholar Philipp Spitta (1841-‐1894) discusses the authorship of each movement in his multi-‐volume biography of J. S. Bach, Johann Sebastian Bach, his work and influence on the music of Germany, 1685-‐1750. The first volume appeared in 1873, and volume two followed in 1880. In 1899, Clara Bell and J. A. Fuller-‐Maitland supplied an English translation of the biography, which Novello published. The rightful author of the motet’s first movement is the most contentious detail debated by scholars. 7 Klaus Hofmann, Jauchzet dem Herrn, alle Welt by Johann Sebastian Bach, (Neuhausen-‐ Stuttgart: Hänssler-‐Verlag, 1978), Preface. 8 Ibid. 43 Spitta writes: “…the genuineness of the first [movement] must remain doubtful, for though it bears unmistakable traces of Telemann’s hand, it has a certain breadth of outline, and that richness of harmony and certainty of part treatment which are peculiar to Bach.” 9 In the preface to his edition of Jauchzet dem Herrn, alle Welt Klaus Hoffman conjectures that the first movement is a Bach arrangement of a Telemann work. An inscription above the opening movement in a part-‐book supports this notion. Now lost, it belonged to St. Thomas’ choir school and says, “…by Telemann, improved [verbessert] by Joh. Seb. Bach” 10 Spitta attributes the motet’s second movement to J. S. Bach’s “…chorale chorus out of [Bach’s] cantata Gottlob, nun geht das Jahr (Praise God, The Year’s End Draws Nigh), BWV 28 but with the fifth verse of the hymn instead of the first.” 11 Spitta refers to Johann Gramann’s chorale (1487-‐1541), Nun lob, mein Seel, den Herren (Praise the Lord, O My Soul). Bach used this chorale in his cantata Gottlob, nun geht das Jahr, BWV 28. Bach reworked the cantata movement into a motet piece, listed individually as BWV 231 in Schmieder’s catalogue, and it is included in the Peters’ edition of Bach’s motets. 12 Bach’s Sei Lob und Preis mit Ehren (All Glory, Laud, and Honor), BWV 231 appears unaltered in Telemann’s motet, Jauchzet dem Herrn, alle Welt, TVWV 8:10. Example 4.2 depicts opening measures of the chorale chorus, Nun lob, mein Seel, den Herren, from Bach’s cantata, Gottlob, 9 Philipp Spitta, Johann Sebastian Bach, his work and influence on the music of Germany, 1685-‐1795; translated from the German by Clara Bell and J.A. Fuller-‐Maitland, (London: Novello and Co., 1899) http://hdl.handle.net.libproxy.usc.edu/2027/heb.06348.0002.001, 717. 10 Hofmann, Jauchzet dem Herrn, alle Welt, Preface. 11 Spitta, Johann Sebastian Bach, his work and influence on the music of Germany, 716. 12 Wyant Morton, “Questions of Authenticity in Three Motets Attributed to Johann Sebastian Bach,” (diss., University of Arizona,1992), 27. 44 nun geht das Jahr zuende, BWV 28. Compare Bach’s cantata movement to the identical middle movement from Telemann’s Jauchzet dem Herrn, alle Welt, TVWV 8:10 in Example 4.3. Example 4.2 Gottlob, nun geht das Jahr zuende, BWV 28. 13 13 Johann Sebastian Bach, Bach-‐Gesellschaft Ausgabe, Band 5, Edited by Wilhelm Rust (245-‐ 72), (Leipzig:Breitkopf & Härtel, 1844), 258. Public Domain. 45 Example 4.3 Jauchzet dem Herrn, alle Welt, TVWV 8:10 14 14 Johann Sebastian Bach, Bach-‐Gesellschaft Ausgabe, Band 39, Edited by Franz Wüllner, (Leipzig:Breitkopf & Härtel, 1892), 167, Public Domain. 46 The double-‐choir closing chorale from Jauchzet dem Herrn, alle Welt is Telemann’s Amen, Lob und Ehre movement from his cantata Lobt Gott ihr Christen allzugleich (All Christians, Praise God Together), TVWV 1:1066, which should not be confused with the identically named Amen, Lob und Ehre, TVWV 8:2 for SAB choir from cantata TVWV 1:91. This choral movement appeared in Friedrich Rochlitz’s Sammlung vorzüglicher Gesangstücke (Collection of Superb Songs) with no mention that it came from a cantata. 15 English teacher and composer John Hullah (1812-‐1884) included it in an 1847 publication of sacred choral pieces from the sixteenth through eighteenth centuries. He translated the text into English and boasted that Amen: Blessing and glory [sic] was the first work of Telemann printed in England. 16 Klaus Hofmann makes an important connection regarding the inclusion of Amen, Lob und Ehre as the final movement of the motet, which may clarify how both composers are associated with Jauchzet dem Herrn, alle Welt, TVWV 8:10. Hofmann cites a reference found in Schmieder’s BWV regarding Jauchzet dem Herrn’s first edition by Johann Friedrich Döring (1766-‐1840). Döring claimed, “…the third movement was added at a later date by Johann Gottlob Harrer (1703-‐1755), Bach’s successor at St. Thomas’, Leipzig.” 17 Döring received this information from one of Bach’s pupils and confirmed it with a second generation pupil, in Leipzig during Harrer’s period as cantor. So there is every reason to 15 Reipsch, “Bemerkungen zu Georg Philipp Telemanns Motetten,” 310. 16 Ibid. 17 Hofmann, Jauchzet dem Herrn, alle Welt. Preface. 47 take his claim seriously. 18 If Döring’s remarks are accurate, then the motet originally consisted of only the first two movements, presumably written by Bach, and that Harrer’s addition of Telemann’s Amen, Lob und Ehre transformed the motet into a larger work. Laudate Dominum, TVWV 8:11 As current research stands, Laudate Dominum, (Praise Ye the Lord) TVWV 8:11 is Telemann’s only motet in Latin. The manuscript source dates from 1740, and he wrote it well into his Hamburg period. This work, alongside Selig sind die Toten (Blessed are the Dead), TVWV 8:13 from Am.B 326 and Selig sind die Toten TWV deest from the PD manuscript, reflects Telemann’s “mixed style,” his blending of Italian and French tastes. Eighteenth-‐century composer Joachim Quantz (1697-‐1773), an admirer of Telemann’s works, described the mixed style in his treatise, On Playing the Flute: …if one has the necessary discernment to choose the best from the styles of different countries, a mixed style results that, without overstepping the bound of modesty, could well be called the German style, not only because the Germans came upon it first, but because it has already been established at different places in Germany for many years, flourishes still, and displeases in neither Italy nor France, nor in other lands. 19 The creation of a mixed style of music contributed significantly to the disintegration of Baroque musical concepts and the abandonment of many seventeenth-‐century German compositional practices. 20 18 Morton, “Questions of Authenticity in Three Motets Attributed to Johann Sebastian Bach,” 29. 19 Joachim Quantz, On Playing the Flute: A Complete Translation, Trans. and introduced by Edward R. Reilly, (London: Faber, 1966), 341. 20 Buelow, A History of Baroque Music, 563. 48 Certainly later in his Hamburg period, Telemann’s music incorporates more elements associated with Classical Style in his Laudate Dominum. The melody emphasizes clarity and balance, and it is comprised of relatively short phrases. The first phrase is five measures in length, ascends from F4 to F5 and descends back to F4 outlining a symmetrical melodic arch. The next five measures repeat verbatim, and this completes a ten-‐measure period. The motet is scored for SATB chorus and continuo. The manuscript contains ripieno vocal parts for two additional sopranos and an alto. The instrumental parts include continuo parts for violoncello (with figures), contrabass, and organ (with a separate ripieno part including figures), and colla parte instrument parts for first and second violin, viola, and first and second flute. The instrumental parts include dynamic markings. The motet’s texts are from Psalms 148 and 144. The motet’s formal structure is rondo form, another Classical association. The full ensemble plays during the A sections as the chorus sings “Laudate Dominum, Laudate eum.” In contrast, a concertino group performs the B and C sections to text from the psalms’ verses. These sections are grouped in duets. B has bass with alto and tenor with soprano; C has tenor with bass and soprano with alto. The only instrument to play with the concertino group is the violoncello, shown in Figure 4.1. The organ part does not include music for sections B and C; it is reserved for the A sections when the full ensemble plays. Interestingly, figures above the violoncello part indicate chords that may have been played by the harpsichord, theorbo, an additional string instrument such as the lute, or even the colochon (a lute-‐like instrument, but louder, which tunes similar to the viola da gamba). Any one of these instrumentalists could easily sit or stand next to the violoncellist and read from the same part. 49 FIGURE 4. 1 Violoncello part, Laudate Dominum, TVWV 8:11 21 21 Violoncello part, Staatsbibliothek Preuβischer Kulturbesitz, Musikabteilung, Berlin (D-‐B), Signatur Mus.ms.21746/60. 50 Selig sind die Toten, TVWV 8:13 Telemann selected three texts for this work from disparate sources. Their content points to the motet’s use at funerals or burial ceremonies. The texts come from the Bible and two Lutheran chorales: Revelation 14:13, Johannes Rosenmüller’s (1619-‐1684) Alle Menschen müssen sterben (All People Perish), and Nicolaus Hermann’s (1480-‐1561) Wenn mein Stündlein vorhanden ist (If My Time Has Come). The texts, as expected, dictate the motet’s form. Selig sind die Toten has four musical sections. Part one features homophonic texture with an empfindsam stil and a 6 8 Siciliano rhythm on the biblical text (the first half of the verse). The idea of willingly giving up one’s life to be with the Lord continues seamlessly into the second part. Here, Telemann uses the chorale tune from Rosenmüller’s Alle Menschen müssen sterben and text from verse two in the soprano. Christoph Anton (d. 1658) composed the tune. It appeared in a Weimar chorale book in 1681 and a Weiβenfels chorale book in 1714. Example 4.4 Chorale Alle Menschen müssen sterben 22 22 Adapted from Evangelisches Gesangbuch mit vierstimmigen Melodien, (Cleveland: Verlagshaus der Evang. Gemeinschaft, 1894), 335. Public Domain. 51 Part three uses the second half of the Revelation’s verse, “Ja, der Geist spricht, daβ sie ruhen von ihrer Arbeit, den ihre Werke folgen ihnen nach (Yea, saith the Spirit that they may rest from their labours and their works do follow them.)” The choir sings a homophonic statement in unison on the words Ja der Geist spricht (Yea, saith the Spirit) (Example 4.21) and transitions to the motet’s final part, which is set to verse five of Hermann’s chorale, Wenn mein Stündlein vorhanden ist (If My Time Has Come). The text in this section four portrays greeting Christ in heaven and feeling his embrace. The chorale tune first appeared in print in Kirchen Gesang (Church Songs), Frankfurt am Main, 1569. Thuringian composers, for example, Hans Leo Haβler, Samuel Scheidt, and Johann Pachelbel, also used of it in their works. Example 4.5 Chorale Wenn mein Stündlein vorhanden ist 23 A lone extant manuscript of Selig sind die Toten, TVWV 8:13 survives in a 1760 copy by Telemann’s grandson, Georg Michael Telemann. The dust cover title printed by G. M. Telemann reads, “Motete, von G. Phil. Telemann (mit 2 darin verwebten Chorälen—Sehr 23 Adapted from Evangelisches Gesangbuch, (St. Louis: Zu beziehen durch den Vereins-‐ Secretair, Pastor L. Nollau, 1862), 444. 52 gute Musik).” 24 This indicates that G. P. Telemann used two chorale tunes, and that G. M. Telemann considered the motet to be very good music. The manuscript contains four vocal parts, one for each singer in the SATB choir. The expression marking Mäβig (measured) appears at the top of each part. Werfet Panier auf im Lande, TVWV 8:15 Werfet Panier auf im Lande (Raise the Flag in the Land), TVWV 8:15 is currently one of the most frequently performed Telemann motets by high school and college choirs in the United States. There is an edition of this motet in the Choral Public Domain Library (CPDL) which is based on Max Seiffert’s edition in his 1915 anthology, Thüringische Motetten der ersten Hälfte des 18 Jahrhunderts (Thuringian Motets from the First Half of the 18th Century). This motet is a cantata movement from Werfet Panier auf im Lande, TVWV 1:1580. Johann Friedrich Helbig (1680-‐1722) wrote the cantata’s text. Helbig was active as secretary at the ducal court of Saxony at Eisenach from 1709 onwards. 25 Per his duties for this position, he wrote an annual cycle of church cantata texts, Aufmunterung der Andacht (Encouragement of Devotion) published in 1720. Telemann set 168 of Helbig’s cantata texts to music. Helbig’s time in Eisenach overlapped with Telemann’s residency at the same court from 1708-‐1712. Given their time together in Eisenach, it follows that this cantata most likely dates from 1709-‐1712. 24 Georg Philipp Telemann, Selig sind die Toten, manuscript, Staatsbibliothek Preuβischer Kulturbesitz, Musikabteilung, Berlin (D-‐B), Signatur Mus.ms.21747/50, circa 1760. 25 Konrad Küster, Oxford Composer Companions J. S. Bach, ed. Malcolm Boyd, (New York: Oxford University Press, 1999), 213. 53 Telemann’s cantata Werfet Panier auf im Lande, TVWV 1:1580 consists of three movements: one, instrumental; two, choral; three, aria. A direct comparison of the motet TVWV 8:15 with the same-‐named cantata TVWV 1:1580 shows that the motet is identical to the cantata’s tutti movement (instrumental colla parte, basso continuo seldom deviates from the vocal bass voice). 26 Thus, this “motet” was at some point divorced from its original context, and it eventually took on a life of its own. The motet’s text cites from the Bible, Jeremiah Chapter 51:27-‐29. The prophet Jeremiah envisions a war between Israel and Babylon. A command is given to the people of God to unite against the powerful enemy, and Jehovah, Israel’s God, shall seek destruction against the evil Babylon. The rollicking nature of Telemann’s writing reflects the warrior nature of the text. He captures the commanding nature of the scripture’s message by juxtaposing homophonic and polyphonic textures throughout the motet. At the motet’s beginning, the people of Israel are ordered to prepare for battle. Telemann expresses this moment by outlining a C major triad on the words from the title, Werfet Panier auf im Lande, in a homophonic setting (Example 4.6). The significance of C major to depict war and fighting is a common affection in the Baroque and Classical Periods. Johann Mattheson, in Das neu eröffnete Orchester (Hamburg, 1713), provides a complete description of key affects (Affektenlehre) for seventeen most practical keys. 27 Mattheson describes C major as having a “…rather rude and bold 26 Reipsch, “Bemerkungen zu GPT Motetten,” 308. 27 George J. Buelow and Hans Joachim Marx, eds., New Mattheson Studies, (Cambridge: Cambridge University Press, 1983), 401. 54 character, but not…unsuited to rejoicing and other situations where one otherwise give[s] full scope to joy.” 28 The next text incipit, blaset die Posaunen (sound the trombones), is set with successive choral voice entries on the notes G-‐C and then again on C, starting with the soprano and passing down through the texture (Example 4.6). Finally, Telemann portrays trembling and shaking by uniting all voices, homophonically, on the word erbebe (shake). Each voice repeats the same note in a triplet eighth note rhythm, imitating a shaking voice (Example 4.6). 28 George Buelow, “An evaluation of Johann Mattheson’s opera, Cleopatra (Hamburg, 1704),” in Studies in eighteenth-‐century music; a tribute to Karl Geiringer on his seventieth birthday, H. C. Robbins Landon and R. E. Chapman, eds., (New York and London: 1970), 98. 55 Example 4.6 Werfet Panier auf im Lande, TVWV 8:15 29 29 Telemann, Georg Philipp, Thüringische Motetten der ersten Hälfte des 18. Jahrhunderts, Denkmäler deutscher Tonkunst, Erste Folge;Bd. 49-‐50, Edited by Max Seiffert, (Leipzig: Breitkopf und Härtel, 1915), 283, Public Domain. 56 Example 4.6 Werfet Panier auf im Lande, TVWV 8:15 30 30 Telemann, Georg Philipp, Thüringische Motetten der ersten Hälfte des 18. Jahrhunderts, Denkmäler deutscher Tonkunst, Erste Folge;Bd. 49-‐50, Edited by Max Seiffert, (Leipzig: Breitkopf und Härtel, 1915), 284, Public Domain. 57 Motets from Amalienbibliothek (Am.B. 326) Collection This next section gives details about motets from Amalienbibliothek (Am.B. 326). The collection of manuscript sources is housed in the Staatsbibliothek zu Berlin Preuβischer Kulturbesitz, Musikabteilung. Telemann composed six of the collection’s thirty-‐four motets. These six motets are included in the TVWV catalogue. Amen, Lob und Ehre, TVWV 8:2 Amen, Lob und Ehre, (Amen, Blessing and Glory), TVWV 8:2 and Und das Wort ward Fleisch (And the Word Became Flesh), TVWV 8:14 are entrance chorales from Telemann’s Musicalisches Lob Gottes in der Gemeine des Herrn (Musical Praise of God in the Congregation of the Lord), a cycle of cantatas for the liturgical calendar, published by Balthasar Schmid in Nuremberg in 1744. 31 These cantatas definitively date from Telemann’s latest period in Hamburg. In 1742 the cantata cycle’s librettist, Erdmann Neumeister (1671-‐1756), published a cycle of texts in Nuremberg under the same name, Musicalisches Lob Gottes. Telemann used some of these in his cantatas in Musicalisches Lob Gottes. 32 Anna Amalia later procured Telemann’s liturgical cantata cycle for her library. 33 In the cantata cycle Musicalisches Lob Gottes, Telemann begins each one with a three-‐ voice chorale movement (soprano, alto, bass) set to an apposite biblical passage for every respective Sunday and high, holy day in the liturgical calendar. 34 In the foreword to his 31 Brit Reipsch, “Telemann-‐Motetten im Sammelband Nr.326 der Amalienbibliothek”, 98. 32 Ibid. 33 Ibid. 34 Ibid. 58 publication, Telemann provides performance instructions for his Biblische Sprüche (Biblical sayings): [Each chorale is] actually meant for just three parts, namely soprano and alto or two soprano voices and the bass continuo…however, in order not to leave a bass singer idle, if one should happen to be there…I dedicated to him a third line in the score as a filler voice, and I announced that it is permitted that the above mentioned two upper voice parts can also be sung an octave lower, that is, by tenor and bass; also, according to the presence of available voice parts, they may be combined heartily and at their own discretion. 35 Telemann further states that the cantatas’ “compositional nature dictates that the parts be sung by a complete choir, strong, and mixed-‐at-‐will.” 36 Thus, a conductor can split the parts in these three-‐voice chorales in a variety of ways: the soprano part could be sung by the tenors, for instance. Or if the choir has a large number of basses, some of them could sing the alto part. This sort of arrangement benefits a conductor’s ability to make the most of limited resources on hand. It is comforting to know that Telemann dealt with similar issues facing modern choral conductors today, in his attempts to present high quality performances with limited resources. This particular motet, or cantata entrance chorale, would make an excellent addition to any school, civic, or church chorus’ repertoire. It is flexible in nature and features beautiful writing. The text for Amen, Lob und Ehre, TVWV 8:2 is comprised of a combination of biblical passages and church songs, similar to Danket dem Herrn, TVWV 8:3 and Selig sind die Toten, TVWV 8:13. This cantata movement has two sections. The first is a setting of Revelation Chapter 7:12. The second is a cantional setting of text from Gottfried Wilhelm Sacer’s 35 Klaus Hofmann, ed., Biblische Sprüche. 16 Motetten für zwei-‐oder dreistimmigen Chor Streichinstrumente ad libitum un Orgel by Georg Philipp Telemann(Stuttgart: Carus-‐Verlag, 1992), viii, Translation by David McKinney. 36 Reipsch, “Telemann-‐Motetten im Sammelband Nr.326 der Amalienbibliothek,” 98. 59 (1635-‐1699) Durch Trauern und durch Plagen (Through Mourning and Through Affliction) featuring the melody from Paul Gerhardt’s chorale, O Haupt voll Blut und Wunden (“O Sacred Head Now Wounded”), more famously known as the Passion chorale. Incidentally, the chorale’s melody originated from Hans Leo Haβler’s popular secular tune, Mein G’müth ist mir verwirret (My Soul is Confused), 1601. Example 4.7 Melody O Haupt voll Blut und Wunden 37 Example 4.8 Amen, Lob und Ehre, TVWV 8:2 38 37 Adapted from Evangelisches Gesangbuch, (St. Louis: Deutschen Evangelischen Synode von Nord Amerika, 1894), 78. 38 Morgan, Vier Motetten zu 3-‐8 Stimmen by Georg Philipp Telemann, 34. © by Möseler Verlag, Wölfenbüttel with kind permission of the publisher. Copyright permission secured for all musical examples in December 18, 2013 in the form of email. Instructions given by publisher regarding use of examples in this document have been followed. 60 The manuscript source from the Amalia Library, Am.B 326 (30), labels this excerpted motet from Telemann’s cantata Amen, Lob und Ehre, TVWV 1:91 as a “Chor: di Telemann.” In another manuscript from a different copyist, the cantata’s title reads “Am Son. Tage nach Weihnachten.” This title refers to the specific day of the year it should be performed: the Sunday after Christmas. Wesley Morgan states in the foreword to his edition of the Telemann motets that the motet’s text is indeed that of a New Year’s Day chorale. 39 The last stanza of Sacer’s Durch Trauern und durch Plagen illustrates: As the year ends, Lord, pour out your grace upon me today, Renew my heart. I leave old sins behind and find new blessings in you. This, Your Word promises. 40 Und das Wort ward Fleisch, TVWV 8:14 As with Amen, Lob und Ehre, TVWV 8:2, Und das Wort ward Fleisch, (And the Word Became Flesh), TVWV 8:14 actually belongs to a cantata. Specifically, the cantata is for the third day of Christmas. The same-‐named cantata, Und das Wort ward Fleisch, TVWV 1:1431, for SAB chorus, violin one and two, viola, and continuo, was published in the 1744 cantata cycle, Musikalisches Lob Gottes. The extracted motet is the opening movement and first chorus in the cantata. The Am.B. 326 manuscript version, however, is slightly different in texture. Instead of SAB, it is set for SATB. Otherwise the motet is identical to the opening cantata chorale. Perhaps the fourth voice was added to enhance the three-‐voiced choral work in the spirit of 39 Morgan, Vier Motetten zu 3-‐8 Stimmen by Georg Philipp Teleman, Foreword 40 Heut ist das Jahr beschlossen, Herr, deine Gnad sei heut auf mich ausgegossen,/Mein Herz werd auch erneut. Laβ ich die alten Sünden, so werd ich, Gott, bei dir/Auch neuen Segen finden; dein Wort verspricht es mir. Translation by David McKinney. 61 using any and all available resources, as described above for Amen, Lob und Ehre, TVWV 8:2. The tenor voice’s contributor remains anonymous, as Am.B 326 was not published until after Telemann’s death in 1780. The cantata movement’s text comes directly from the Bible, John 1:14. The text divides in three statements: (1) Und das Wort ward Fleisch und wohnet unter uns (and the Word was made flesh and dwelt among us), (2) und wir sahen seine Herrlichkeit, eine Herrlichkeit als des eingebornen Sohns vom Vater (and we beheld his glory, the glory as of only begotten of the Father), and (3) voller Gnade und Wahrheit (full of grace and truth). The first statement of text begins with homophonic texture in D major with duets (soprano/alto and tenor/bass). Sopranos and altos have the moving line in thirds, while the tenors and basses provide harmonic stability in whole notes and half notes. The first section concludes on a half cadence. The second statement of text starts with a fugue. The soprano first sings the subject, answered by the alto, and simultaneously the bass sings the third text statement to a new theme. Telemann keeps each individual theme with its corresponding text throughout the remaining portion of the cantata movement. It ends in G major. 62 Der Gott unsers Herrn Jesu Christi, TVWV 8:4 The inscription to this motet found in Am.B. 326, Der Gott unsers Herrn Jesu Christi (God of our Lord Jesus Christ), TVWV 8:4, for SATB chorus, indicates its use in Vesper services at Pentacost: “On Pentacost’s Holy Evening in the Vesper. Directed by Telemann.” 41 The text comes from Ephesians 1:17-‐18. Text from verse seventeen opens the work. Telemann uses homophony to portray the “glory of the Father” and elegant coloratura on the words Herrlichkeit (glory), Erkenntnis (knowledge), and erleuchtete Augen (enlightened eyes) (Example 4.9). The first section ends on a half cadence. 41 Am Pfingst Heil: Abend in der Vesper. di Telemann. Translation by David McKinney. 63 Example 4.9 Der Gott unsers Herrn Jesus Christi, TVWV 8:4 42 42 Morgan, Vier Motetten zu 3-‐8 Stimmen by Georg Philipp Telemann, 19. © by Möseler Verlag, Wölfenbüttel with kind permission of the publisher. 64 Example 4.9 (continued) 43 Telemann sets verse eighteen fugally in the second section. The exposition contains a four measure subject that encapsulates the first part of the text: Daβ ihr erkennen möget welches da sei die Hoffnung eures Berufs (that ye may know what is the hope of his calling). The sopranos introduce the subject followed by altos, tenors, and basses in succession. He composes three countersubjects, each lasting four measures, for the second half of verse eighteen. After the exposition Telemann brings back the subject material in stretto, modulates to the original key of G major, and finishes, homophonically on the word Heiligen (saints). 43 Morgan, Vier Motetten zu 3-‐8 Stimmen by Georg Philipp Telemann, 20. © by Möseler Verlag, Wölfenbüttel with kind permission of the publisher. 65 Ein feste Burg, TVWV 8:7 While musical director and cantor of the city (1721-‐1767), Telemann composed the motet Ein feste Burg ist unser Gott (A Mighty Fortress is our God). 44 TVWV 14:3, entitled “Compositions for Hamburg and Altona Schools,” mentions this motet. 45 And Menke states in his TVWV that the piece was composed for the 1730 anniversary celebrations of the Augsburg Confession at the Johanneum, Hamburg’s renowned grammar school. 46 This important celebration marked the bicentennial of the meeting of the Diet of Augsburg (1530). The city submitted a statement of faith, broke away from the Holy Roman Empire and Catholicism, and framed the legal coexistence of Reformers and the old church. 47 It is appropriate Telemann selected Martin Luther’s Ein feste Burg for the bicentennial celebration. The chorale dates back to 1529, during the Diet of Speyer. 48 And its stature in the Lutheran Church is monumental, representing the church’s firm standing and unshakeable presence. 44 Telemann, Motetten, Liner notes. 45 Menke, TVWV, 57. “vor dem Actu: Das ganze Lied “Ein feste Burg ist unser Gott” worunter gemischet ward: “Gottes Wort und Luthers Lehr.” 46 Ibid. 36, 1730 “zur Feier der Augsburgischen Confession in Johanneum.” 47 Thomas A. Brady,"Emergence and consolidation of Protestantism in the Holy Roman Empire to 1600", Cambridge History of Christianity, 1st ed. Vol. 6. (Cambridge: Cambridge University Press, 2007), 20-‐36. Cambridge Histories Online. Web. 16 December 2013. http://dx.doi.org/10.1017/CHOL9780521811620.003. 48 The Diet of Speyer is considered the first kernel of what would become the basis for a political movement for religious schism. For further reading See Brady, Thomas A.. "Emergence and consolidation of Protestantism in the Holy Roman Empire to 1600", Cambridge History of Christianity. 1st ed. Vol. 6. Cambridge: Cambridge University Press, 2007. 20-‐36. Cambridge Histories Online. Web. 16 December 2013. http://dx.doi.org/10.1017/CHOL9780521811620.003. 66 The Hamburgische Correspondent described one part of the Johanneum celebration as follows: “…[b]efore the actu, the entire song Ein feste Burg ist unser Gott, interspersed with ‘God’s Word and Luther’s teachings,’ was performed.” 49 These words were borrowed from the event’s printed program. 50 This description illustrates that Telemann not only used text from Ein feste Burg, but also that he incorporated the rousing Reformation call: Gottes Wort und Luthers Lehr vergehet nun und nimmer mehr. 51 This line, printed on various seventeenth-‐century German silver coins, reminds the congregation that God’s Word and Luther’s teachings endure forever. It is the only motet in which Telemann used poetry not affiliated with the Bible or an existing chorale. 52 Telemann deftly weaves the ancillary text throughout Luther’s text, thus bolstering the importance of his words and their impact to listeners. Therefore, Telemann’s reworking of the symbolic Reformation chorale into a motet magnificently celebrated this auspicious occasion. Telemann’s simple setting of Ein feste Burg ensures text comprehension, and it prominently displays the chorale tune. Sopranos and tenors sing the chorale tune in the first and third verses, and the basses sing it in verses two and four. The fifth verse is set homophonically as a cantional. 49 Reipsch, Telemann-‐Motetten im Sammelband, 96. See footnote 45 for the German text. Translation by David McKinney. 50 Ibid. 36, Aufführung ausgewiesen durch den Programm-‐Druck, darin Anmerkung: “Ein feste Burg…” worunter gemischet ist “Gottes Wort und Luthers Lehr...” 51 God’s word and Luther’s teachings will endure forever. Translation by author. 52 Telemann, Motetten, Liner notes. 67 Es segne uns Gott, TVWV 8:8 The caption on the manuscript from Am.B. 326 reads “Motetta di Teleman.” Es segne uns Gott (God Shall Bless Us), TVWV 8:8 is clearly a later composition. It contains expression markings in German (Ernsthaft and Hurtig), which Telemann first began only fter 1730. 53 Unfortunately, the precise composition date and the motet’s purpose remain unknown. Its text comes from Psalm 67:7. It is scored for two sopranos, tenor, and bass. Altos, though, could easily sing the second soprano part. Telemann divides the motet in two major sections as dictated by the text. In part one, marked Ernsthaft (solemnly), the vocal parts enter imitatively over a pulsing, rhythmic pattern in the obbligato basso continuo (Example 4.10). (Interestingly, this is the only motet that has an obbligato basso continuo part for a four-‐voice choral composition.) Discordant harmonies occur repeatedly on the phrase es segne uns and resolve picturesquely on the word Gott or God (Example 4.10). Telemann modulates from B minor to D major back to B minor, and he ends this first section on a half cadence. In part two, marked Hurtig (hurried), Telemann presents a brief nine-‐measure fughetta on the phrase und alle Welt fürchte ihn (and all the ends of the earth shall fear Him). He finishes the motet homophonically with a Piccardy third. 53 Georg Philipp Telemann, Ein feste Burg, with Vocalensemble Rastatt and Les Favorites, conducted by Holger Speck, recorded October 5-‐10, 2004, Carus-‐Verlag, CV 83.166, 2005, compact disc, Liner notes by Brit Reipsch. 68 Example 4.10 Es segne uns Gott, TVWV 8:8 54 54 Morgan, Vier Motetten zu 3-‐8 Stimmen by Georg Philipp Telemann, 25. © by Möseler Verlag, Wölfenbüttel with kind permission of the publisher. 69 Halt, was du hast, TVWV 8:9 Halt, was du hast (Hold What You Have), TVWV 8:9 is a motet for double-‐choir (SATB/SATB) in E minor about death. Johann Mattheson describes E minor as pensive, profound, grieved, or sad. 55 Considering the topic, Telemann’s choice of E minor is an appropriate affect for this motet. Telemann sets two verses, Revelation 3:5, 11, and two strophes from Paul Gerhardt’s chorale O du allersüβeste Freude (O Thou Sweetest Source of Gladness). The texts deal with the struggle of living a life acceptable to God and resisting temptations of the devil. With God’s forgiveness, he who overcomes evil will not be blotted out of the Book of Life, but will be accepted into heaven. Wesley K. Morgan suggests that Halt, was du hast was most likely used at a burial ceremony or remembrance celebration based on three factors: First he discusses the difficulty of placing the two verses from Revelation in a liturgical context. Many difficulties arise when trying to place this motet in a liturgical context. If the text from Revelation 3:11 belongs to the second reading of Vespers on the 21 st Sunday after Trinity Sunday, then the text from verse five does not fit. Also, Thomasius’ Kollektenbuch (collect or prayer book) assigns the text from Revelation 3:7-‐11 to the epistle reading for Vespers on the 4 th Sunday after Easter. But the Hannover Kollektenbuch includes the entire text of verses 5-‐11 when it assigns the whole of verses 1-‐13 to the Vespers on the 3 rd Sunday of Advent. So much suggests that the inclusion of the motet within the regular church calendar is not how it was used. 56 55 Mattheson, Das neu-‐eröffnete Orchestre, Quoted in Buelow and Marx, New Mattheson Studies, 401. 56 Morgan, Vier Motetten zu 3-‐8 Stimmen by Georg Philipp Telemann, Foreword. Wenn der 11. Vers aus dem dritten Kapitel der Offenbarung zur zweiten Lesung bei der Vesper am 21. Sonntag nach Trinitatis gehört, so trifft dies für den 5. Vers nicht zu. Wie schwierig eine liturgische Einordnung der Motette ist, ergibt sich aber auch aus anderen Fakten: Nach 70 Second, Telemann’s choice to use text from Revelation together with a hymn coincides with his practice of combining such texts in other funeral motets, e.g., Selig sind die Toten, TVWV 8:13. The last verse used in Halt, was du hast, TVWV 8:9 describes being taken away from the grave to live with the souls in heaven. Third, Morgan notes that the manuscript lacks a basso continuo part, and that this was characteristic of a funeral motet in Telemann’s day. 57 However, Telemann specialist Brit Reipsch suggests this theory should be cautiously considered since most motets found in Am.B. 326 have no basso continuo. He suggests that this is because the volume itself was not intended for performance. Thus, one should not automatically presume that a missing instrumental bass line means the piece is a burial motet. 58 Halt, was du hast is another example of a traditional Thuringian choral motet with the chorale tune performed line by line in the soprano while the other three voices recite biblical texts with varied motives. The antiphonal setting of text in the first two sections of the motet contains the two verses from Revelation. These two sections would have a dramatic antiphonal effect in a church where the two choirs are separated by space, as these are the words spoken by God and his heavenly angelic chorus on judgment day. The abrupt, antiphonal declaration of the word Halt, Thomasius’ Kollektenbuch war der Text Offen. Joh. 3, 7011 die Peistel für die Vesper am 4.Sonntag nach Ostern, während das Hannoversche Kollektenbuch die Verse 4 und 11, aber eingeschlossen in die Versfolge 1-‐13, der Vesper am 3. Sonntag im Advent zuweist. Es spricht also vieles dafür, daβ eine Einordnung der Motette in das de tempore gar nicht beabsichtigt gewesen ist. Translation by David McKinney. 57 Morgan, Vier Motetten zu 3-‐8 Stimmen by Georg Philipp Telemann, Foreword. 58 Reipsch, “Telemann-‐Motetten in Sammelband 326,” 97. 71 separated by rests, immediately draws attention to the text from Revelation 3:11 (Example 4.11). Example 4.11 Halt, was du hast, TVWV 8:9 59 New thematic material appears in the second section with a focus on the other verse from Revelation. Here the bass voices rest, which thins the texture and gives the sense of an angelic choir, dressed in white raiment, singing the phrase der soll mit weiβen Kleidern angetan werden. The basses reenter at und ich werde seinen Namen nicht austilgen aus dem Buch des Lebens (I will not blot his name out of the book of life eternal) and join the other voices in homophony. The addition of low voices portrays God’s voice of judgment and the Book of Life. 59 Morgan, Vier Motetten zu 3-‐8 Stimmen by Georg Philipp Telemann, 1. © by Möseler Verlag, Wölfenbüttel with kind permission of the publisher. 72 The third section of music, mostly homophonic, portrays the sinner quietly praying to God for his own salvation. Here the soprano voice sings the chorale tune, line by line, from Gerhadt’s O du allersüβeste Freude. The other voices sing the texts from Revelation. The motet shifts from E minor to E major at the end as it finishes with man’s plea to be resurrected and taken to heaven to live eternally with God (hin, da du in ewgen Freuden wirst dein’ Auserwählte weiden). Partitura über Chor-‐Stücke zu Darmstadt, 1789 The next seven motets come from the Yale University manuscript entitled Partitura über Chor-‐Stücke zu Darmstadt, 1789 (PD), as discussed in Chapter Three. The PD manuscript was compiled in 1789, however, Brit Reipsch believes these motets date back to Telemann’s time in Frankfurt or before. Telemann must have composed these motets during his tenure as Frankfurt music director (1712-‐1721) at the latest. A few aspects of their compositional structure even suggest that they were written earlier. Four of the seven pieces in the New Haven miscellany [PD manuscript] can be categorized as chorale motets whose writing clearly reflects 17 th -‐century traditions. The other three are characterized by the section-‐wise setting of the text (a typical motet feature) with the close relation of word and music characteristic of Telemann. 60 All works are four-‐part choral motets based on chorales and biblical quotations and simple in style and texture. 60 Brit Reipsch,ed., Drei Motetten by Georg Philipp Telemann, (Leipzig: Deutscher Verlag für Musik, 1996), Afterword. 73 Das ist meine Freude, TWV deest This motet, located on page seventy-‐eight in the PD manuscript source, bears the caption Motetta di Telemann (motet of Telemann) written above the score. The text, from Psalm 72:28, segments the formal structure of the music into three parts (one section for each line of text). The first section of music begins in G major with a homophonic statement on Das ist meine Freude, daβ ich mich zu Gott halte (There is my joy, that I draw myself to God). Telemann embellishes Freude (joy) with coloratura in each voice part (Example 4.12). This part closes on a strong perfect authentic cadence, quite different from other motets covered in this study thus far. 74 Example 4.12 Das ist meine Freude, TWV deest 61 61 Reipsch, Vier Motetten für vierstimmigen gemischten Chor, 15. © by Deutscher Verlag für Musik, Leipzig with kind permission of the publisher. Copyright permission secured for all musical examples on January 2, 2014 in the form of email. Instructions given by Deutscher Verlag für Musik, Leipzig regarding use of examples in this document have been followed. 75 Figure 4.2 Das ist meine Freude, TWV deest 62 Section two, labeled Adagio (Figure 4.2), is six measures long and is sung by the lower three voices only. The second section ends on a half cadence, and sopranos reenter for the fugal third section, labeled Allegro. Telemann introduces the fugue’s subject first in the soprano, and then the answer comes in succession from alto, tenor, and finally bass. Note, this pattern is typical for his fugal sections in the examined motets. As the fugue progresses, the subject reappears in stretto, however, the voices come back homophonically shortly after the appearance of the subject. Finally, all the voices unite on the phrase daβ ich verkündige alle sein Tun (that I may declare all thy works)to close the motet in G major on another perfect authentic cadence. Fürwahr, er trug unsre Krankheit, TWV deest This motet depicts the idea of God’s suffering servant from Isaiah 53 and Nicolaus Decius’ (1485-‐1541) chorale, O Lamm Gottes unschuldig (O, Innocent Lamb of God). Isaiah 53 is the last of the four songs of the suffering servant. It tells the story of a “man of 62 Partitura über Chor-‐Stücke zu Darmstadt, 1789 from Yale University Music Library, Ma21 Y11 A14. 76 sorrows,” or “God’s suffering servant.” O Lamm Gottes unschuldig, likewise, depicts Christ’s languishing on the cross. The motet is in the key of F major, a key exhibiting affections of “…most beautiful sentiments, generosity, constancy, [and] love.” 63 F major is the perfect key for this text, for there is no greater generosity, love, or sentiment than Christ’s dying on the cross for humanity’s sins. The two texts sound together simultaneously. The Thuringian motet model is exemplified here as sopranos sing the chorale tune on the hymn’s text, and the lower three voices sing the biblical text, lending a supporting role to the melody. The following examples show the chorale tune (Example 4.13) and how Telemann uses it in the motet (Figure 4.3). Example 4.13 Chorale, O Lamm Gottes unschuldig 64 63 Buelow, Mattheson Studies, 401. 64 Adapted from Evangelisches Gesangbuch, (St. Louis: Deutschen Evangelischen Synod von Nord Amerika, 1894), 75. 77 Figure 4.3 Fürwahr, er trug unsre Krankheit, TWV deest 65 65 Partitura über Chor-‐Stücke zu Darmstadt, 1789 from Yale University Music Library, Ma21 Y11 A14. 78 Ich habe Lust abzuscheiden, TWV deest Ich habe Lust abzuscheiden (I Have a Desire to Depart), TVWV deest was most likely used as a funeral motet. Its text discusses longing to leave a world of pain and sorrow to enjoy heavenly comfort. Moreover, the text Leichen Motetto (literally, corpse motet) is written above the soprano line in the PD manuscript (Figure 4.4). 66 Figure 4.4 Ich habe Lust abzuscheiden, TWV deest 67 Telemann composed this piece in B minor, a key with “bizarre, morose, and melancholic” affections. 68 The two selected texts, Philippians 1:23 and Christoph Knoll’s (1563-‐1621) Herzlich tut mich verlangen (I Yearn From My Heart), are often paired together. (Probably most popular is Johann Sebastian Bach’s Cantata 161, Komm, du süβe Todesstunde, Come, Sweet Hour of Death.) This motet fits into Telemann’s Thuringian 66 Brit Reipsch, “Unbekannte Motetten von Georg Philipp Telemann.” 67 Partitura über Chor-‐Stücke zu Darmstadt, 1789 from Yale University Music Library Ma21 Y11 A14. 68 Buelow, “An Evaluation of Johann Mattheson’s Opera, Cleopatra,” 98. 79 motet style. Again, the soprano sings the chorale tune on the hymn’s text, and the choir sings the Bible verse. (Knoll wrote the chorale text in 1605 and later set it to Hans Leo Haβler’s famous secular tune, Mein G’müth ist mir verwirret, 69 in 1653, when Paul Gerhardt’s text, O Haupt voll Blut und wunden, was published with Haβler’s melody in Johannes Crüger’s hymnal Praxis pietatis melica. 70 ) Example 4.14 illustrates the chorale tune, and Example 4.15 shows Telemann’s rendering of the melody in his motet. Example 4.14 Melody Herzlich tut mich verlangen 71 69 Robert L. Marshall and Robin A. Leaver. "Chorale." Grove Music Online. Oxford Music Online. Oxford University Press, accessed December 19, 2013, http://www.oxfordmusiconline.com.libproxy.usc.edu/subscriber/article/grove/music/05 652. 70 Walter Blankenburg and Vincent J. Panetta, "Hassler." Grove Music Online. Oxford Music Online, Oxford University Press, accessed December 19, 2013, http://www.oxfordmusiconline.com.libproxy.usc.edu/subscriber/article/grove/music/12 525pg2. 71 Adapted from Evangelisches Gesangbuch, (St. Louis: Deutschen Evangelischen Synode von Nord Amerika, 1894), 78. 80 Example 4.15 Ich habe Lust abzuscheiden, TWV deest 72 72 Reipsch, Drei Motetten by Georg Philipp Teleman, 9-‐10. © by Deutscher Verlag für Musik, Leipzig with kind permission of the publisher. Copyright permission secured for all musical examples on January 2, 2014 in the form of email. Instructions given by Deutscher Verlag für Musik, Leipzig regarding use of examples in this document have been followed. 81 Example 4.15 continued. 73 73 Ibid. © by Deutscher Verlag für Musik, Leipzig with kind permission of the publisher. 82 Ich will schauen dein Antlitz in Gerechtigkeit, TWV deest The words simpler Choral (simple chorale) appears next to this motet’s title in PD’s Index Partiturae. The description refers to a simple compositional form that Telemann used for chorales in his church music. 74 It underscores the song’s heritage in congregational singing to reinforce the theological message delivered during the church service. 75 The inclusion of a cantional at the end of his motets is a stylistic feature Telemann frequently employs, not only in this motet, but also in Danket dem Herrn, TVWV 8:3, Ein feste Burg, TVWV 8:7, and Amen, Lob und Ehre, TVWV 8:2. The texts for Ich will schauen dein Antlitz in Gerechtigkeit (As for me, I will Behold thy Face) are Psalm 17:15 and Bartholomäus Ringwaldt’s (1532-‐1599) Herr Jesu Christ, ich weiβ gar wohl (Lord Jesus Christ, I Know Quite Well), suggest that this is another funeral motet. The majority of the motet is a musical setting of the first two lines from Psalm 17:15. The opening measures begin in A minor with each voice entering in succession from lowest to highest (Example 4.16), creating dissonance, on the words Ich will schauen (I will see). This dissonance resolves with the second half of the phrase, dein Antlitz in Gerechtigkeit (your face in righteousness). Telemann musically paints a picture of arising from the grave and death, looking up to heaven, but with blurred vision. Then as God’s face appears, everything becomes clear. God’s presence is fully realized after several repetitions of dein Antlitz in Gerechtigkeit. Telemann arrives at the key of C major by sequencing harmonically as the first, full phrase ends. 74 Reipsch, “Unbekannte Motetten von Georg Philipp Telemann.” 75 Ibid. 83 Example 4.16 Ich will schauen dein Antlitz in Gerechtigkeit, TWV deest 76 In the second section, marked adagio, altos, tenors, and basses sing ich will satt werden (I want to be sated, or full). Later, at un poco Allegro, Telemann abruptly brings in the sopranos on wenn ich erwache (when I awaken) and introduces a fugue with spirited sixteenth notes on erwache (Example 4.17). 76 Reipsch, Drei Motetten by Georg Philipp Teleman, 13. © by Deutscher Verlag für Musik, Leipzig with kind permission of the publisher. 84 Example 4.17 Ich will schauen dein Antlitz in Gerechtigkeit, TWV deest 77 Telemann closes the motet with the simpler Choral, setting the ninth strophe of Ringwaldt’s Herr Jesu Christ, ich weiβ gar wohl (Example 4.18). 77 Ibid. 15. © by Deutscher Verlag für Musik, Leipzig with kind permission of the publisher. 85 Example 4.18 Ich will schauen dein Antlitz in Gerechtigkeit, TWV deest 78 78 Ibid. 20. © by Deutscher Verlag für Musik, Leipzig with kind permission of the publisher. 86 Rufe mich an in der Zeit der Not, TWV deest Rufe mich an in der Zeit der Not (Call Upon Me in Your Time of Need), TWV deest is a short chorale motet. A homophonic setting of Psalm 50:15 in the lower voices provides the background as sopranos sing the chorale tune from Jakob Ebert’s (1549-‐1614) chorale, Du Friedefürst, Herr Jesu Christ (Prince of Peace, Lord Jesus Christ). The motet’s simple nature focuses one’s attention on the chorale’s beautiful melody. The repetition of the first word from the psalm, Rufe (call), is the most striking feature of the motet as it is used rhetorically to introduce each line of the chorale’s text. That is, as the soprano sings a line from the chorale, the psalm verse is sung underneath. The lower voices repeat the verse with each new line of chorale text. So each time they introduce the soprano’s text with a reiteration of the word Rufe (Example 4.19). Telemann thus paints a picture of one calling out to God over and over in prayer and supplication. 87 Example 4:19 Rufe mich an in der Zeit der Not, TWV deest 79 79 Reipsch, Vier Motetten für vierstimmigen gemischten Chor by Georg Philipp Teleman, 10. © by Deutscher Verlag für Musik, Leipzig with kind permission of the publisher. 88 Saget der Tochter Zion, TVW deest Saget der Tochter Zion (Say to Zion’s Daughter), TVWV deest based on Matthew 21:5 and Luther’s chorale Nun komm der Heiden Heiland (Come, Savior of Unbelievers), clearly point to its use at Advent. Moreover, an inscription found at the edge of the score, Motetto zur Advents Zeit (“motet for the time of Advent”), indicates this as well (Figure 4.5). 80 Again, Telemann assigns the chorale tune to the soprano and the Bible verse to the lower voices. Telemann specialist Brit Reipsch questions the motet’s authorship. Namely, a Koenig appears just below the score’s inscription in the PD manuscript. Reipsch believes this refers to Johann Balthasar König, one of Telemann’s copyists and his successor at the Katharinenkirche in Frankfurt. Reipsch notes that this may indicate the motet’s author. Alternatively, König merely could have provided the inscription. Also, note Telemann’s initial, T, which appears just above the soprano line in Figure 4.5. PD’s anonymous copyist used this throughout the collection to indicate Telemann’s authorship. 80 Reipsch, “Unbekannte Motetten von George Philipp Telemann.” 89 Figure 4.5 Saget der Tochter Zion, TWV deest 81 81 Partitura über Chor-‐Stücke zu Darmstadt, 1789 from Yale University Music Library Ma21 Y11 A14. 90 Continuing the discussion of author identity, Reipsch writes that PD’s Index Partiturae shows “the name Telemann…replaced by ‘König’…” (Figure 4.6). 82 This observation, buried in the afterword’s footnotes of his performance edition, seems erroneous. Examine the Index Partiturae excerpt in Figure 4.6, and one sees that von H. Telemann (“by Mr. Telemann”) is clearly visible. Granted, Koenig appears beside the preceeding and succeeding works, which begin respectively on pages nineteen and twenty-‐five. But Saget der Tochter Zion, which begins on page twenty-‐three, definitely shows it is Telemann’s attribution. Lastly, Reipsch elaborates that the voice leading is unusual for Telemann, and that the syllables in the final line of text and their musical accents feel awkward compared to other Telemann motet text settings. 83 One additional plausible explanation follows is that a Koenig has nothing whatsoever to do with Saget der Tochter Zion. Indeed, König authored the preceding work copied in PD (Figure 4.5). And one could ascertain from the inscription’s appearance that someone added it after König’s name had already been written on the page. Notice that the “Z” of Zeit covers up the “a” and “K” of a Koenig. Thus, the copyist could have written a Koenig at the end of the preceding composition and simply left little room between it and the following Telemann motet. Most likely, someone later wrote the motet’s inscription in that small space, somewhat covering up a Koenig, thus causing confusion for researchers. 84 82 Reipsch, Vier Motetten, Vier Motetten für vierstimmigen gemischten Chor by Georg Philipp Telemann, Afterword. 83 Ibid. 84 David McKinney, via personal email and telephone conversations, provided the added insight and alternative postulate presented here. 91 Figure 4.6 Index Partiturae 85 85 Partitura über Chor-‐Stücke zu Darmstadt, 1789 from Yale University Music Library Ma21 Y11 A14. 92 Selig sind die Toten, TWV deest This setting differs greatly from Telemann’s other aforementioned motet setting with the same title (TVWV 8:13). The text for this one comes solely from Revelation 14:13. The harmonic fabric is also richer and more colorful. This motet portrays Telemann as more deep and introspective than his critics sometimes gave him credit. Often they decried his occasional, frivolous musical style. Daniel Ebeling (1741-‐1817) said, “he so loved tone painting that not seldom he applied it senselessly to a picturesque word or thought, and therefore so forgot the entire affect that he sank into child’s play and wished to paint things that no music can express.” 86 Certainly, Telemann’s setting of Selig sind die Toten would easily silence the claims of his critics. The opening measures present a quiet prayer on the text Selig sind die Toten, die in dem Herrn sterben, von nun an (“Blessed are the dead, who die in the Lord, from henceforth”) (Figure 4.7). Spiritual strength is found as the melody ascends in conjunct motion from V to I in the soprano on die in dem Herrn sterben (which die in the Lord). Altos, tenors, and basses reply quietly (piano) with a homophonic statement on von nun an (Example 4.20). The words and their music sequence, and this section climaxes with a heartfelt homophonic statement of Selig sind die Toten. From there, the melody descends with graceful suspensions, and the first section ends on the minor sixth (B minor). A quiet transition to the second music section occurs on von nun an. Telemann actually borrows (self-‐plagiarizes) music from his other motet on Selig sind die Toten, TVWV 8:13. He uses the same rhythmic idea from ja, der Geist spricht (“yea, saith the Spirit”) in TVWV 8:13 for this same spot here (Example 4.21). 86 George Buelow, A History of Baroque Music, (Bloomington: Indiana University Press, 2004), 565. 93 The second section, Un poco Vivace, begins with a fugue on den ihre Werke folgen ihnen nach (because your works follow after you). The fugue’s subject begins in the soprano with a leap of a perfect fourth in measure 48, followed by a descending countersubject in measure 50 (Example 4.21). The sequence of entries is always SATB. The exposition ends in B minor, the minor vi of the home key. As the fugue’s development begins with the subject in stretto, the harmony transitions to the dominant, A major. The fugue eventually transitions with cascading countersubject material in points of imitation to the motet’s homophonic close in D major. Figure 4.7 Selig sind die Toten, TVWV deest 87 87 Partitura über Chor-‐Stücke zu Darmstadt, 1789 from Yale University Music Library Ma21 Y11 A14. 94 Example 4.20 Selig sind die Toten, TWV deest 88 88 Reipsch, Drei Motetten by Georg Philipp Telemann, 3. © by Deutscher Verlag für Musik, Leipzig with kind permission of the publisher. 95 Example 4.21 Selig sind die Toten, deest and TVWV 8:13 TWV deest 89 TVWV 8:13 90 89 Ibid. 4. © by Deutscher Verlag für Musik,Leipzig with kind permission of the publisher. 90 Edition by author. 96 Example 4.22 Selig sind die Toten, TWV deest 91 91 Reipsch, Drei Motetten by Georg Philipp Telemann, 5. © by Deutscher Verlag für Musik, Leipzig with kind permission of the publisher. 97 CHAPTER 5 Performance Practice Concerns in Telemann’s Motets The study of performance practice issues relating to Telemann’s motets begins with a cursory overview of commonly accepted practices observed by various Lutheran cities in Germany. Written sources provide evidence about the context in which Telemann’s motets would have been performed and their function in the Lutheran liturgical service. Ample treatises and sources show that eighteenth-‐century German composers agreed on the motet’s fundamental aesthetics and rules of performance. Each motet served a different purpose, and available performance resources changed ubiquitously from place to place. Examining the size of ensemble, role of instruments and timbre gives the performer insight to Telemann’s concept of sound in his motets. Likewise, examining principles of tempo and rhythmic alteration guides the performer to a more informed historical performance of Telemann’s music. This chapter will examine aspects of performance practice listed above related to principles of sound and performance in eighteenth-‐century Germany. PERFORMANCE FORCES THE CHOIR Joshua Rifkin’s controversial paper, “Bach’s Chorus,” presented at the 1981 meeting of the American Musicological Society, purported that Bach’s sacred choral music was sung by one singer per part. 1 This theory ignited a bitter controversy regarding performance practice and still continues to this day. Almost two decades after Rifkin’s paper, Andrew 1 Robin A Leaver. “Performing Bach: one or many? “ The Choral Scholar, The Online Journal of the National Collegiate Choral Organization. Volume 1, Number 1. (Spring 2009): Abstract, www.ncco-‐usa.org/tcs. Accessed December 31, 2013. 98 Parrott thoroughly investigated a wide range of sources: Bach’s own writing, the scores and parts he used in performance, theoretical works of Bach’s predecessors, and treatises of Bach’s contemporaries. In his book, The Essential Bach Choir, 2 he aligns himself with Rifkin. Such in-‐depth, thorough research bolstered their arguments. Although the focus of Rifkin and Parrott’s argument concerns the vocal works of Bach, the broader issue also involves the vocal music of Georg Philipp Telemann, and other Bach contemporaries. For example, preserved performance parts from Telemann’s cantatas in Frankfurt and Graupner’s in Darmstadt indicate that the general custom was to have each vocal line sung by a single singer. 3 Telemann scholar Jeanne Swack, from the University of Wisconsin, presented a paper for the Telemann-‐Festtage conference in Magdeburg, Germany in March 2000. She details the size of Telemann’s choir in Frankfurt when he served as music director at the Barfüβerkirche (Barefoot Friars Church) and at the Katharinenkirche. Her examination of the Frankfurt cantata collection held at the Stadt-‐ und Universitätsbibliothek Frankfurt am Main shows that most of the time, there is just one part book for each voice, meaning the choirs were made up of four, sometimes five, singers. For the cantatas that contain five singers, the extra voice is most often a ripieno soprano part. When this is the case, the copyist marked it on the cover or the title page to show how exceptional it was. 4 2 Andrew Parrott, The Essential Bach Choir, (Rochester, NY: The Boydell Press. 2000). 3 Leaver, “Performing Bach: one or many?,” 6. 4 Jeanne Swack, “”Telemanns Chor”: Aufführungspraxis und Stimmensätze in Telemanns Frankfurter Kantaten”, In Freiheit oder Gesetz? Aufführungspraktische Erkenntnisse aus Telemanns Handschriften, zeitgenössischen Abschriften, musiktheoretischen Publikationen und ihre Anwenddung, edited by Dieter Gutknecht, 295-‐314, (Hildesheim: Georg Olms Verlag, 2007), 296. 99 Such works contain the notations Canto, Canto in ripieno, Alto, Tenor, and Bass. 5 Swack emphasizes that the ripieno does not necessarily mean its sole function is to double or strengthen the concertist part throughout an entire work. The ripieno part functions as a separate choral part altogether. In sections that contain “aria and chorale,” the concertist sings the solo, and the ripienist sings the standard choral part. This observation also holds true for manuscript sources that contain performance parts in Telemann’s motets. Laudate Dominum, TVWV 8:11 contains separate parts for concertists and ripienists, one part per vocalist. In this motet concertists sing the verses in duets, and the ripienists join the ensemble during refrains. However, the ripienists do not sing the entire refrain. The concertists begin the refrain, and the ripienists join them when the phrase repeats. Notice the word alle in measure six of the concertist part. This indicates that the ripienists join the ensemble (Figure 5.1). Figures 5.1 and 5.2 illustrate separate parts for the soprano concertist and the soprano ripienist respectively. 5 Ibid., 298. 100 Figure 5.1 Soprano concertist part Laudate Dominum, TVWV 8:11 6 6 Canto part, Staatsbibliothek Preuβischer Kulturbesitz, Musikabteilung, Berlin (D-‐B), Signatur Mus.ms.21746/60. 101 Figure 5.2 Soprano ripienist part Laudate Dominum, TVWV 8:11 7 This evidence, together with Swack’s research, shows that Telemann consistently supplied one vocal part for each singer. Furthermore, even when extra singers were available, they did not double the other voices and create the larger ‘choral’ texture to which we are accustomed. Instead, the ripienist roles are intentional in this motet—to reinforce the full ensemble as it takes up musical ideas introduced by the concertists, and to clarify the musical structure. Does this mean Telemann’s choirs consisted of only four to eight singers? Most likely, yes. On high holy festival days, there could be as many as five concert voice parts (SSATB) and five respective ripieno voice parts, which increased the number of choral singers to ten. 8 7 Canto ripieno part, Staatsbibliothek Preuβischer Kulturbesitz, Musikabteilung, Berlin (D-‐ B), Signatur Mus.ms.21746/60. 8 Ibid., 313. 102 A discussion on the number of singers Telemann had available for his motets should also include an accounting of singers he had access to during his various periods of motet composition. Most of Telemann’s preserved motets come from his time as Kappelmeister at the court in Eisenach (1708-‐1712), and possibly also as the musical director of Frankfurt (1712-‐1721). 9 The number of singers available to Telemann in Frankfurt was small, and he expressed his discontent about the paucity of singers and instrumentalists in a candid letter to Frankfurt’s city office on 5 October 1717. He had just received an offer from the court in Saxony-‐Gotha, and he leveraged this to try and improve the situation in Frankfurt. 10 It is well known that I am at my wit’s end with this church music situation. Things never change, and my overall mood is one of unrest. These people with whom I have to put on a performance are insufferable… I have already doubled up the singing parts [with instruments]. It goes without saying, the instrumentalists were also more in number [then] than now, and I even had lutes, cornets, and viola-‐da-‐gambas. 11 9 Telemann, Motetten, Liner notes. 10 Jeanne Swack, “”Telemanns Chor”: Aufführungspraxis und Stimmensätze in Telemanns Frankfurter Kantaten”, 297. 11 Roman Fischer, Frankfurter Telemann-‐Dokumente, (Hildesheim: Georg Olms Verlag, 1999), 181. Da nun Denenselben wissend ist, daß da bey der Kirchen-‐Music von Sängern gantz entblößet bin, mich beständig selbst fatiguiren muß,worbey dann zugleich, wegen ermangelnder Abwechselung, mein Gemüth in stetiger Unruhe unterhalten wird; Als gehe Dieselben hiermit gehorsambst an, wegen Ersetzung dieser unentbehrlichen Personen einige Veranstaltung zu verfügen, darbey zugleich behertzigende, … daß schon vor diesem die Singe-‐Stimmen in duplo besetzet gewesen, zu geschweigen, daß auch damahls der Instrumental-‐Chor weit mehr Subjecta als gegenwärtig, begriffen, indem man so gar Lautenisten, Zinckenisten, Viol-‐di-‐Gambisten…” Translation by David McKinney. 103 Overall that year, Telemann’s singers declined in number. Swack brings attention to this when she observes that indicated ripieno parts in the cantatas progressively declined. Later covers are even marked “ripieno voices not contained.” 12 Telemann wrote Laudate Dominum, TVWV 8:11 and Ein feste Burg, TVWV 8:7 during his Hamburg period as cantor of the Johanneum and director of music for the five main churches. Telemann may have had only six or seven singers in each church. Or it may have been even more extreme. Johann Mattheson deplores Hamburg’s blight of available singers in Der musicalische Patriot from 1728: Indeed, here in Hamburg the singers are few. Seventeen churches have but five to six vocalists. In other big cities, e.g., Breslau, Berlin, Braunschweig, etc., almost every church has their own cantor and associated adjuncts. Here, we have to make do with just a few people. Hence, even some of the main churches have no music for up to seven weeks at a time. 13 This evidence strongly suggests that Telemann’s church choirs consisted of four to eight singers. Two singers per part would have been rarely available. The word “choir” took on a broader meaning in the eighteenth-‐century compared to the modern sense of the word. Today, although rarely articulated, a defining characteristic of a “choir,” large or small, is that each voice part has at least two singers—and perhaps twelve, or even twenty—but not just one. 14 In Telemann’s time, however, the term “choir” meant a 12 Swack, 313. 13 Johann Mattheson, Der musicalische Patriot . (Hamburg 1728). 64. Doch ist es hier in Hamburg, absonderlich mit Sängers, dünne bestellt. Siebzehn Kirchen haben fünff biß sechs Vocalisten. In andern großen Städchen, als da sind Breslau, Berlin, Braunschweig, &c hat fast jede Kirche ihren eignen Cantorem, samt zugehöriden Adjucanten. Hier soll es einer thun, mit einerley Leuten. Da denn manche Haupt-‐Kirche offt in sieben Wochen keine Music haben. Translation by David McKinney. 14 Andrew Parrott, The Essential Bach Choir, (Rochester, NY: The Boydell Press. 2000), 3. 104 “pool of singers to be drawn upon, rather than a fixed line-‐up required to sing in every piece.” 15 A “well-‐set-‐up” ensemble of eight singers was not an extremely small choir, nor was it a group of four soloists with choir, rather it was a “quartet with its ripieno.” 16 Timbre and Vibrato In general, soft vocal production was idealized during the entire span of the Baroque era; loudness in singing was equated with harshness and a lack of elegance, and consequently, not appreciated. 17 Soft vocal production enables the performer to convey clarity of text and promotes vocal flexibility in executing ornamental passages. 18 Mattheson describes the importance of light vocal timbre in part two of his treatise, Der volkommene Capellmeister: One simply must be amazed by the clever rule which has already served for two hundred years, that each singing voice, the higher it goes, should be produced increasingly temperately and lightly; however in the low notes, according to the same rule, the voice should be strengthened, filled out, and invigorated. 19 English publisher John Playford (1623-‐1687) advocates soft singing and describes loud singing as harsh and rough. Increasing of the Voice [crescendo] in the Treble part, especially in feigned [falsetto] Voices, doth oftentimes become harsh, and unsufferable to the Hearing, as upon divers occasions I have heard…and therefore I have said that it showeth harsh and 15 Ibid., 41. 16 Ibid. 17 Dennis Shrock, Performance Practices in the Baroque Era, (Chicago: GIA Publications, Inc., 2013), 36. 18 Ibid., 36-‐37. 19 Ernest Harriss, Johann Mattheson’s Der vollkommene Capellmeister, A Revised Translation with Critical Commentary, (Ann Arbor: UMI Research Press, 1981), 266. 105 rough. But in the Diminishing of the Voice it will work a quite contrary effect, because when the Voice is slacked, then to give it a little spirit, will always make it more passionate. 20 Controversy about the use of vibrato in Baroque music is merely a question of degree, i.e. how much vibrato did singers and instrumentalists actually use? German composer Michael Praetorius (1571-‐1621) encouraged vibrato in moderation. He wrote in 1619 that “a singer must have a pleasantly vibrating voice (not, however, as some are trained to do in schools, but with particular moderation)…he must be able to maintain a steady long tone.” 21 On the other hand, English author and musician Roger North (1651-‐ 1734) promoted a clear plain sound when he wrote in 1695 that “the greatest elegance of the finest voices is the prolation of a clear plain sound. And…that in voice or instrument it is the most difficult part to performe.” 22 Research of British musicologist Robert Donington (1907-‐1990) suggests, that ultimately, an inconspicuous vibrato was taken for granted in the Baroque. The “natural enlivening of string tone, of vocal tone, and to some extent of wind tone” was never really absent in Baroque performances in the seventeenth and eighteenth centuries. 23 Thus, if vibrato was present in seventeenth-‐century performances, 20 John Playford, An Introduction to the Skill of Musick, (London: 1674), S.4 quoted in Shrock, Performance Practices in the Baroque Era, 43. 21 Michael Praetorius, Syntagma musicum, (Wolfenbüttel:1619), quoted in Carol MacClintock, ed., Readings in the History of Music in Performance, (Bloomington: Indiana University Press, 1979), 164. 22 Roger North, Roger North on Music: Being a Selection from His Essays Written during the Years c. 16956-‐1728, Ed. John Wilson, (London: Novello, 1959), 18. 23 Robert Donington, A Performer’s Guide to Baroque Music, (New York: Charles Scribner’s Sons, 1973), 87. 106 it was likely small and shimmering, and it did not alter the pitch of a note by any discernible degree. 24 THE INSTRUMENTS Colla parte doubling Eighteenth-‐century theorists discuss the role of instruments as an essential motet style element. In Walther’s definition of a motet, he cites that a motet is “just to be sung without instruments (basso continuo excepted).” Many other writers echo this as an essential restriction. 25 Instrumental accompaniment is permissible when they play colla parte with the voices. Johann Mattheson (1681-‐1764) explains in detail: Previously, motets consisted of fugues or fugue-‐like pieces, without instruments and without basso continuo. More recently, however, not only is basso continuo permitted, but the vocal parts can also be reinforced by all manner of instruments. An essential motet trait is that the instrumentalists play not a note more, different, or less than the singers. 26 Mattheson’s careful instructions for colla parte writing are specific, and eighteenth-‐ century composers, including J. S. Bach and Telemann, routinely doubled vocal parts with instruments in their motets and cantatas. Bach’s Der Geist Hilft Unserer Schwachheit Auf, BWV 226, is one of the most prominent examples of colla parte writing in a concerted vocal 24 Martha Elliott, Singing in Style, (New Haven: Yale University Press, 2006), 15. 25 Melamed, J. S. Bach and the German Motet, 12. 26 Johann Mattheson, Der vollkommene Capellmeister,( Hamburg:1739), 75 §.44. und aussolchen Fugen, oder Fugenmäβigen Sätzen bestunden die ehmaligen Moteten, ohne Instrumente, ohne General Baβ; wiewol man in den jüngern Zeiten nicht nur den General-‐ Baβ zugelassen, sondern auch eben dasjenige, was die Stimmen singen, durch allerhand Instrumente verstärcket, und mit zu spielen für gut erachtet hat. Doch machen hierbey die Spielende keine Note mehr, anders, oder weniger, als die Sänger, welches ein wesentlicher Umstand der Moteten ist. Translation by David McKinney. 107 work. Original performance material for BWV 226 includes a set of instrumental parts and basso continuo (strings double one choir, woodwinds double the other). 27 Not only did Bach use colla parte for his own compositions, he consistently practiced this technique in his arrangements of other composers’ compositions. 28 Telemann left out many details from his autographs, that his copyists later added. He tasked them to syllabically set texts in the chorales, write in figured bass numbers, assign colla parte indications, 29 and mark whether and when ensembles include both oboes and strings or just strings. 30 The only motet colla parte indications to have survived belong to Telemann’s two Hamburg motets, Ein feste Burg, TVWV 8:7 and Laudate Dominum, TVWV 8:11. A manuscript copy of a TVWV 8:7 choral score, dated a few years after Telemann’s death, indicates that oboes, bassoons, and violins should play on verses one and three. TVWV 8:11 has extant instrumental parts for first and second violin, viola, violoncello, double-‐bass, and two flutes, as well as continuo parts for organ and violoncello. The remaining motets lack instrument indications, and no extant instrumental parts exist. The best explanation for this is that the surviving motet manuscripts belong to collections, namely Am.B 326 and PD, which were not meant for performance. Therefore, 27 Ibid., 105. 28 See Melamed, J. S. Bach and the German Motet p. 105 for an extensive list of such compositions. 29 Telemann indicated this only with a special sign in his autographs. 30 Wolfgang Hirschman, “Colla-‐parte Führungen als aufführungspraktisches und editorisches Problem”, Freiheit oder Gesetz? Aufführungspraktische Erkenntnisse aus Telemanns Handschriften, zeitgenössischen Abschriften, musiktheoretischen Publikationen und ihre Anwendung, edited by Dieter Gutknecht, 218-‐237. (Hildesheim: Georg Olms Verlag, 2007), 218. 108 such parts and indications would not exist in those sources. Telemann remarks, however, that he often had to replace absent singers with instruments and double up weak vocalists with instruments to adequately cover the parts. Does this mean a conductor can add colla parte instruments at his or her discretion? At a minimum, colla parte doubling can be considered a normal part of the early eighteenth-‐ century motet concept and an appropriate performance practice of the time period. 31 Continuo Group The backbone of any Baroque composition is the continuo group. It functions to provide the ensemble’s bass part and play the chords indicated by the figures above the bass line. Although composers routinely call for basso continuo in Baroque ensemble music, they rarely specify which instruments should realize it. 32 The term continuo suggests that function is more important than specific instrumentation. 33 Continuo instruments available to Telemann can be divided in two groups: those which realize the chords from figures above the bass line, and the bass instruments who reinforce the continuo line itself. Specific instruments for the first group include organ, harpsichord, theorbo, lute, and colochon. The second group includes violoncello, viola da gamba, violone, and bassoon. The most commonly available ones Telemann had available to him were organ, harpsichord, violoncello, violone, and bassoon. The lute, colochon, and viola da gamba made exceptional appearances to reinforce a pictorial scene or a royal reference, 31 Melamed, J. S. Bach and the German Motet, 104. 32 Laurence Dreyfus. Bach’s Continuo Group: Players and Practices in His Vocal Works. (Cambridge, Mass.: Harvard University Press,1987), 2. 33 Ibid. 109 e.g., in French overtures. Recall from Telemann’s 5 October 1717 letter to the Frankfurt city office that he lamented the fact that he no longer had access to these instruments as before. This study of Telemann’s motets determines that organ and violoncello were the most common continuo instruments he used for this genre. Organ and violoncello parts have been handed down in the motet manuscripts, but no other instrumental parts for his motets have ever surfaced. The most likely players simply would have been those available the day of performance. For example, were the motet performed alongside a cantata with organ, violins, viola, and violoncello, then violoncello and organ would have been the logical candidates for the continuo group on that day. Further evidence supports the use of harpsichord in sacred music in northern Germany during the eighteenth century. In the final chapter of his Vollkommener Capellmeister, Mattheson suggests that the harpsichord and organ together provide an ideal combination when accompanying the choir: The clavicembalo, Steertstücke or harpsichord is fine everywhere… Though it would not be bad for a number of reasons if nice and quickly-‐speaking small positive organs without the reed stop could be united with the clavicembalo in churches, or even if a pair of the last-‐named were present, if there is a strong chorus. 34 Mattheson’s enthusiastic support for the harpsichord established a precedent. The harpsichord found a rightful placed and played simultaneously with the organ during performances of Protestant sacred music. 35 Practically, harpsichord accompaniments in church music, with the conductor seated at the keyboard, more easily allowed him to lead 34 Ernest Harriss, Johann Mattheson’s Der vollkommene Capellmeister, A Revised Translation with Critical Commentary, (Ann Arbor: UMI Research Press, 1981), 870. 35 Dreyfus, Bach’s Continuo Group, 24. 110 singers and instrumentalists with them directly in view. 36 Directing the ensemble from the organist’s bench proved far more challenging. Though extant harpsichord parts are a rare find in this study of Telemann’s motets, this does not mean that harpsichord was used sparingly. It is fully conceivable that the figures located above the violoncello part, e.g., Laudate Dominum, TVWV 8:11 (Figure 4.1) may well have been realized by a harpsichordist. A violoncellist could easily have sat next to the harpsichordist and played from the same part. Overall, the continuo group strategically helped execute an eighteenth-‐century musical piece, but no magic or prescribed formula for combining various instruments essential to a good performance existed. Instead, the continuo group primarily provided substance and cohesion to the ensemble; each continuo instrument supplied its own personality and contributed to the work’s interpretation. BAROQUE PERFORMANCE Tempo A Baroque composition’s suitable tempo depends on the content of the piece, tempo descriptions, and time-‐words. Tempo indications, e.g., allegro, adagio, and andante, describe rather the piece’s mood, from which the tempo follows. It does not indicate tempo itself per se. In a vocal composition, the text provides clues about the dramatic “affect” and mood. The rhythm of diction and the emotional quality of the words and music provide invaluable clues for selecting an appropriate tempo. 37 Combine these elements with a 36 Ibid. 37 Elliott, Singing in Style, 56. 111 review of faster note values in more intricate passages, and one should adequately be able to discern how the piece needs to move. 38 For example, Leopold Mozart (1719-‐1787) declared that tempo “must be inferred from the music itself, and this is what infallibly shows the true quality of a musician.” 39 Furthermore, Carl Philipp Emanuel Bach (1714-‐1788) also discussed tempo as it relates to compositional content: The pace of a composition, which is usually indicated by several well-‐known Italian expressions, is based on its general content as well as on the fastest notes and passages contained in it. Due consideration to the factors will prevent an allegro from being rushed and an adagio from being dragged. 40 Finally, the late musicologist Robert Donington again chose the middle ground when he advised that an allegro should not be played too quickly, nor an adagio too slowly. Indeed, difficulties of phrasing, accentuation, bowing, articulation, and even dynamics can be resolved once the piece is performed at an appropriate tempo. 41 Telemann assigns tempo descriptions and expression markings for five of the nineteen motets analyzed in Chapter Four. 42 Das ist mein Freude, Ich will schauen dein Antlitz in Gerechtigkeit, and Selig sind die Toten, TWV deest lack tempo indications at their 38 Ibid. 39 Leopold Mozart, Violinschule, (Augsburg: 1756), I,iii,7, quoted in Donington, A Performer’s Guide to Baroque Music, 249. 40 Carl Philipp Emanuel Bach, Versuch über die wahre Art das Clavier zu spielen (Essay on the True Art of Playing Keyboard Instruments, translated by W.J. Mitchell, (New York: Norton, 1949), 151. 41 Donington, A Performer’s Guide to Baroque Music, 249. 42 Das ist meine Freude, Ich will schauen dein Antlitz in Gerechtigkeit, Selig sind die Toten, TWV deest, Es segne uns Gott and Selig sind die Toten, TVWV 8:13. 112 beginnings, but Italian tempo markings appear in the middle of each to indicate a change in tempo and mood. In another two, Es segne uns Gott and Selig sind die Toten, TVWV 8:13, German expression markings (Hurtig, Mäsig, Ernsthalft) appear both at the beginning and in the middle of each motet. Interestingly, as Telemann did not use German expression markings until after 1730, motets with these markings must have been written late in Telemann’s life in Hamburg. 43 43 Georg Philipp Telemann, Ein feste Burg, with Vocalensemble Rastatt and Les Favorites, conducted by Holger Speck, recorded October 5-‐10, 2004, Carus-‐Verlag, CV 83.166, 2005, compact disc, Liner notes by Brit Reipsch. 113 Rhythmic Alteration Notes inégales, overdotting, and underdotting are related to rhythmic alteration in Baroque music. Notes inégales is a “historical name for the relatively consistent French custom of performing diminution-‐like passages as uneven pairs of notes, despite their notation in equal values.” 44 Donington concisely defined it as the “unequal performance of notes notated equally.” 45 The French practiced notes inégales throughout the entire Baroque period, and Germans adopted it in the middle of the seventeenth century. German composers Georg Muffat (1653-‐1704) and Johann Sigismund Kusser (1660-‐ 1727) studied under Jean-‐Baptiste Lully in Paris, and thusly were primary disseminators of the French style to German speaking areas. Muffat’s brief discussions of rhythmic inequality suggest that to perform such diminutions equally would be “boring, crude, and insipid.” 46 Moreover, as French musicians were hired to perform music of the French style in German courts, notes inégales spread to the German cities. The German courts of Hannover, Celle and Sorau (now Zary, Poland) became centers of French influence. Upon Telemann’s appointment to Kapellmeister in Sorau in 1705, he began to write numerous French overtures upon request from Count Erdmann II of Promnitz, who had recently returned from Paris. 47 At the court of Celle, Duke Georg Wilhelm’s wife was French, and the French Hofkapelle flourished there under the direction of Philipp LaVigne 44 Stephen E. Hefling, Rhythmic Alteration in Seventeenth-‐ and Eighteenth-‐ Century Music: Notes inégales and Overdotting, (New York: Schirmer Books, 1993), ix. 45 Donington, A Performer’s Guide to Baroque Music, 255. 46 Hefling, Rhythmic Alteration in Seventeenth-‐ and Eighteenth-‐ Century Music, 41. 47 Ibid., 42. 114 from 1666-‐1705. 48 Beyond these centers of French influence, a number of German composers wrote in Lully’s style: Johann Caspar Horn (1630-‐1685), Philipp Heinrich Erlebach (1657-‐1714), Johann Abraham Schmiere (1661-‐1719), Johann Georg Conradi (d.1699), and Johann Caspar Ferdinand Fischer (1670-‐1746). Quite possibly, they were sufficiently versed in French performance practice to expect notes inégales in performances of their works. 49 Telemann’s Laudate Dominum, TVWV 8:10 best represents the French style out of the previously analyzed motets. The soprano melody shown in Figure 5.2 meets all the criteria for rhythmic alteration in the French notes inégales stylistic praxis. Donington details these criteria as follows: …the notes fall naturally into pairs, the notes are mainly stepwise, be the shortest [rhythm] occurring in substantial numbers within the passage, be neither very fast nor very slow, be no longer than one pair to a beat, be of graceful rather than energetic character, and form melodic figures rather than integral turns of melody. 50 Indubitably, Telemann was thoroughly steeped in the French style. He spent eight months in Paris in 1737-‐38. There, six of his “Paris” quartets were published, and excellent Parisian musicians performed them. 51 Much of Telemann’s music shows a strong French influence, a fact that he and his contemporaries acknowledged in print. 52 And Johann 48 Ibid. 49 Ibid., 43. 50 Donington, A Performer’s Guide to Baroque Music, 259-‐260. 51 Hefling, Rhythmic Alteration in Seventeenth-‐ and Eighteenth-‐ Century Music, 48. 52 Ibid. 115 Mattheson writes of Telemann’s mastery of French style in his Der vollkommene Capellmeister: Proper, straightforward dancing melodies [minuets] of this type and their true characteristics can nowhere be better found than with the French and their skilled imitators in Germany, among whom Telemann is the most important: as is well known. 53 Baroque musicians also practiced overdotting and underdotting, which pertains to the lengthening and shortening of dotted figures. For example, a dotted eighth and sixteenth note could be performed with varying degrees of length and crispness, ranging from a gentle triplet to a “double dot.” 54 This is not now and never has been a mathematical convention. Donington also comments similarly about dotting’s performance execution: “the dot (of augmentation) in Baroque music lengthens the note after which it is placed by a variable amount.” 55 Overdotting adds extra time to the dotted note by stealing it from its latter partner; this creates a crisp, march-‐like, vibrant, heroic quality. Contrarily, underdotting subtracts time from the dot and gives it to the successive note. This results in “softened rhythms of lilting inequality.” 56 Additionally, underdotting has a practical use: it aligns differing rhythms so that they are sounded together. For example, two-‐against-‐three rhythms in Baroque music were 53 Johann Mattheson, Der vollkommene Capellmeister: A Revised Translation with Critical Commentary, Translated by Ernest C. Harriss, (Ann Arbor: UMI Research Press, 1981), 453. 54 Elliott, Singing in Style, 61. 55 Donington, A Performer’s Guide to Baroque Music, 271. 56 Ibid., 272. 116 uncommon. So when one part has triplet figurations and a counterpart has dotted notes, the dotted figures should be underdotted to accompany the triplets. Thus, when performing Baroque music, one must decide when to overdot, underdot, or play the figure as it appears. Telemann’s motet Es segne uns Gott, TVWV 8:8 (Example 4.10) presents the conductor with this challenge. The continuo plays a dotted quarter-‐ eighth note rhythmic ostinato. If one were to overdot, the successive eighth notes becomes short and jolting. This yields a well-‐defined downbeat and gives the piece forward momentum. Oppositely, if one were to underdot, the eighth note lengthens, and the rhythm softens. This results in a performance with more solemnity. Finally, if the conductor prescribes the continuo players to perform the ostinato as written, still yet another affect results and changes the overall mood of the piece. All these options are viable, and their performance considerations will ultimately impact a composition’s expression. 117 CHAPTER SIX CONCLUSION The Telemann motets in this study separate distinctly in two categories. One, some motets with a chorale combine at least two selected texts from disparate sources: biblical passages, chorales, or popular poetry. And they do not contain a fugue. Two, other motets solely set biblical verses, have no chorale, but do have a fugal section. The only two exceptions (out of nineteen studied motets) to this rule include Laudate Dominum, TVWV 8:11 and Werfet Panier auf im Lande, TVWV 8:15. Both contain texts solely from the Bible, however, they do not have a fugal section (Tables. 6.1 and 6.2). Table 6.1 Motets with a cantus firmus and text combinations TVWV / TWV NAME VOICE THAT CONTAINS CANTUS FIRMUS TEXT COMBINATIONS TVWV 8:3 Danket dem Herrn T Bible verse/ hymn TVWV 8:7 Ein feste Burg S,T Hymn/popular poetry TVWV 8:9 Halt, was du hast S Bible verse/ hymn TVWV 8:10 Jauchzet dem Herrn S,T Bible verse/hymn TVWV 8:13 Selig sind die Toten S Bible verse/hymn TWV deest Führwahr, er trug unsre Krankheit S Bible verse/hymn TWV deest Ich habe Lust abzuscheiden S Bible verse/hymn TWV deest Rufe mich an in der Zeit der Not S Bible verse/hymn TWV deest Saget der Tochter Zion S Bible verse/hymn 118 Table 6.2 Motets with fugues/Texts are solely from the Bible TVWV / TWV NAME FORMAL SECTIONS SECTION WITH FUGUE TVWV 8:2 Amen, Lob und Ehre AB (second section is a cantional) A TVWV 8:4 Der Gott unsers Herrn Jesu Christi AB B TVWV 8:8 Es segne uns Gott AB B TVWV 8:14 Und das Wort ward Fleisch AB B TWV deest Das ist meine Freude AB B TWV deest Ich will schauen dein Antlitz in Gerechtigkeit AB (C) (third section is cantional) B TWV deest Selig sind die Toten ABC C Looking at these tables reveals interesting conclusions about Telemann’s motet style. Telemann preferred the chorale tune to be sung by the soprano, though occasionally he assigned it to the tenor (Table 6.1). Furthermore, he never sets the hymn text alone, rather, it is always accompanied by a biblical verse (Table 6.1). As such, Telemann’s motet style reflects the Thuringian style of motet writing: the chorale tune usually in the top line while other voices add textual layer to the meaning. As for motets with fugues, the fugue generally appears in the motet’s last formal section. The homophonic first section introduces the text, and the fugue embellishes it. Theorists at the time encouraged such juxtaposition of homophonic with fugal sections to make the music more interesting. Johann Mattheson wrote, “fugues are pleasing, but an entire work of nothing but fugues is unimpressive and rather unpleasant.” 1 As of now, only general statements can be made concerning the purpose and uses of Telemann’s motets. They were obviously sacred, multi-‐voiced, choral compositions. They 1 Johann Mattheson, Der vollkommene Capellmeister, 75 §.44; Ernest Charles Harriss, “Johann Mattheson’s ‘Der Vollkommene Capellmeister’: A Translation and Commentary,” 310. 119 belonged to the repertoire of Protestant choirs, Latin school choruses, and Lutheran church services, as well as funerals, birthdays, and other celebrations. Future research could determine what role Telemann’s motets played in the musical life of the time, especially their place and use in the Gottesdienst (church service). Moreover, further investigations should reconsider the problem of what distinguishes a stand-‐alone motet from a concerted psalm setting, or an extracted cantata movement serving as a motet. 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Leipzig. 1732. Webber, Geoffrey. North German Church Music in the Age of Buxtehude. New York: Oxford University Press, 1996. Wollny, Peter. “Italian and German Influences in the Thuringian Motet Repertoire of the Late Seventeenth Century,” Paper presented at the Relazioni musicali tra Italia e Germania nell’età barocca; atti del VI Convegno internazionale sulla musica italiana nei secoli XVII-‐ XVIII, Loveno, Italy, 1995: 201-‐215. 125 Appendix Translations Amen, Lob und Ehre, TVWV 8:2 Amen, Lob und Ehre und Weisheit Amen: Blessing, and glory, and wisdom, und Dank und Preis und Kraft und Stärke and thanksgiving, and power, and might, sei unserm Gott von Ewigkeit zu Ewigkeit! be unto our God for ever and ever. Amen. Amen. −Revelation 7:12 2 Heut ist das Jahr beschlossen, Today, as the year ends, Herr deine Gnad sei heut Lord pour out your mercy auf mich neu ausgegossen, Anew on me, mein Herz wird auch erneut. And renew my heart. Leg ich ab alte Sünden, I forsake my old sins, so werd ich Gott, bei dir God, and shall find new auch neuen Segen finden; Blessings in you; dein Wort verspricht es mir. Your Word promises me. Durch Trauern und durch Plagen (Gottfried Wilhelm Sacer 1635-‐1699) 3 Danket dem Herrn TVWV, 8:3 Danket dem Herrn, O give thanks unto the Lord, und seine Güte for he is good: währet ewiglich. for his mercy endureth forever. −Psalm 107:1 Nun lobet alle Gott Now thank we all our God with mit Herzen, Mund und Händen, heart and hands and voices, Who wondrous things hath der groβe Dinge tut an uns und allen Enden, done, in whom His world rejoices; der uns von Mutterleib und Kindesbeinen an Who from our mother’s arms hath blessed us on our way unzählig viel zu gut und jetzo noch getan. with countless gifts of love, and still is ours today. Lob, Ehr und Preis sei Gott, All praise and thanks to God dem Vater und dem Sohne the Father now be given, und dem, der beiden gleich The Son, and Him who reigns im hohen Himmelsthrone, with them in highest heaven: dem dreieinigen Gott, The one eternal God, als er ursprünglich war whom earth and heaven adore! und ist und bleiben For thus it was, is now wird jetzund und immerdar. and shall be evermore. −Nun danket alle Gott (Martin Rinckart 1586-‐1649) 4 2 All biblical verses are King James Version translation of the Bible unless noted otherwise. 3 Translated by David McKinney 4 Eric Lund, Seventeenth-‐Century Lutheran Meditations and Hymns, (New York: Paulist Press, 2011), 289-‐290, Translation by Catherine Winkworth. 126 Der Gott unsers Herrn Jesu Christi, TVWV 8:4 Der Gott unsers Herrn Jesu Christi, That the God of our Lord Jesus Christ, der Vater der Herrlichkeit, the Father of glory, gebe euch den Geist der Weisheit may give unto you the spirit of wisdom und der Offenbarung and revelation zu seiner selbst Erkenntnis in the knowledge of him: und erleuchtete Augen eurs Verständnis The eyes of your understanding being enlightened; Daβ ihr erkennen möget, that ye may know welches da sei die Hoffnung eures Berufs what is the hope of his calling, und welches seid der Reichtum and what the riches seines herrlichen Erbes an seinen Heiligen. of the glory of his inheritance in the saints. −Ephesians 1:17-‐18 Der Herr ist König, TVWV 8:6 Der Herr ist König, The Lord reigneth, des freuet sich das Erdreich Let the earth rejoice, und sein Fröhlich die Inseln let the the multitude of isles so viel ihrer sind. be glad thereof. −Psalm 97:1 Ein feste Burg, TVWV 8:7 Ein’ feste Burg ist unser Gott, A safe stronghold our God is still, ein gute Wehr und Waffen. a trusty shield and weapon. Er hilft uns frei aus aller Not, He’ll help us clear from all the ill die uns jetzt hat betroffen. that hat us now o’ertaken. Der alte böse Feind, The ancient prince of hell mit Ernst er’s jetzt meint; hath risen with purpose fell; groβ Macht und viel List strong mail of craft and power sein grausam Rüstung ist, he weareth in this hour. Auf Erd ist nicht seinsgleichen. On earth is not his fellow. Gottes Wort und Luther Lehr God’s own Word and Luther’s teachings vergehet nun und nimmermehr. Endure both now and evermore. Mit unsrer Mach ist nichts getan, With force of arms we nothing can, wir sind gar bald verloren; full soon were we down-‐ridden; Es streit für uns der rechte Mann, but for us fights the proper man, den Gott hat selbst erkoren. whom God himself hath bidden. Fragst du, wer der ist? Ask ye, who is this same? Er heiβt Jesu Christ Christ Jesus is his name, Der Herr Zebaoth, the Lord Sabaoth’s Son; und ist kein ander Gott; he, and no other one, Das Feld muss Er behalten. shall conquer in the battle. Und wenn die Welt voll Teufel wär And were this world of devils o’er, und wollt uns gar verschlingen, and watching to devour us, so fürchten wir uns nicht so sehr, we lay it not to heart so sore; 127 es soll uns doch gelingen. not they can overpower us. Der Fürst diser Welt, And let the prince of ill wie sau’r er sich stellt, look grim as e’er he will, tut er uns doch nicht, he harms us not a whit; das macht, er ist gericht’: for why? – his doom is writ; ein Wörtlein kann ihn fallen. a word shall quickly slay him. Das Wort sie sollen lassen stahn God’s Word, for all their craft and force, und kein Dank dazu haben. one moment will not linger, Er ist bei uns wohl auf dem Plan but, spite of hell, shall have its course; mit seinem Geist und Gaben. ‘Tis written by his finger. Nehmen sie den Leib, And though they take our life, Gut, Ehr, Kind und Weib. good, honor, children, wife, Lass fahren dahin! yet is their profit small; Sie haben’s kein Gewinn; these things shall vanish all: das Reich muss uns doch bleiben! the City of God remaineth! Preis, Ehr und Lob dem höchsten Gott, Praise, laud and thanks to God above, dem Vater aller Gnaden, the Lord of all creation, der uns aus Lieb gegeben hat he who has giv’n us with his love sein’ Sohn für unsern Schaden, his Son for our Salvation. den Tröster, Heilgen Geist, The Holy Ghost adore, von Sünd er uns reiβt, we sin then no more, zum Reich er uns heiβt he calls us to his throne, den Weg zum Himmel weist, and makes his heav’n our own, der hilft uns fröhlich. Amen. we shall praise him. Amen. − Ein feste Burg (Martin Luther1483-‐1546) 5 Es segne uns Gott unswer Herr, TVWV 8:8 Es segne uns Gott, God shall bless us; und alle Welt fürchte ihn. and all the ends of the earth shall fear him. −Psalm 67:7 Halt, was du hast, TVWV 8:9 Halt, was du hast, dass niemand Hold what thou hast, that no man deine Krone nehme! take thy crown of glory! Wer überwindet, He that o’ercometh, the same shall evermore be der soll mit weiβen Kleidern clothed in white raiment, angetan werden, and I will not blot und ich werde seinem Name his name out, nicht austilgen aus dem from out of the Buch des Lebens. book of life eternal. −Revelation 3:11, 5 5 Telemann, Ein feste Burg. Translation in liner notes. The translation in the liner notes alters the words to “Gottes Wort und Christi Lehr” (God’s own Word, and Christ’s teachings). 128 Nur allein dass du mich stärkets I can tread the path thou showest und mir kräftig stehest bei, only if thou leadest me, hilf, mein Helfer, wo du merkest, help, they Savior, for thou knowest, dass mir Hilfe nötig sei. when I am in need of thee. Brich des bösen Geistes Sinn, Overthrow the Devil’d plot, nimm den alten Willen hin, take the will that heeds thee not, mach ihn allerdinges neue, shape it, Lord, by thy true measure, dass mein Gott sich meiner freue. that my God in me have pleasure. Sei mein Retter, halt mich eben, Be my Guide, all sins forgiving, wenn ich sinke, sei mein Stab. my Redeemer, strong to save. Wenn ich sterbe, sei mein Leben, Take me, dying, to the living, wenn ich liege, sei mein Grab. when I die be thou my grave. Wenn ich wieder aufersteh, When thou resurrectest me, ei, so hilf mir, dass ich geh help me, Lord, that I may be hin, da du in ew‘gen Freuden led to pastures ever vernal wirst dein’ Auserwählte weiden. there to feed on joys eternal. − O du allersüβeste Freude (Paul Gerhardt 1607-‐1676) 6 Jauchzet dem Herrn, alle Welt TVWV 8:10 Jauchzet dem Herrn, alle Welt! Make a Joyful Noise unto the Lord, all ye Lands. Dient dem Herrn mit Freuden; Serve the Lord with gladness: kommt vor sein Angesicht come before his presence mit Frohlocken! with singing. −Psalm 100:1-‐2 Sei Lob und Preis mit Ehren Praise, laud, and honor Gott Vater, Sohn und Heil’gem Geist! be to God—Father, Son and Holy Spirit! Der woll in uns aus Gnaden verheisst, May he will to increase in us Dass wir ihm fest vertrauen, what he promises to us in mercy, Gänzlich verlass’n auf ihn, that we firmly trust in him, completely rely on him, Von Herzen auf ihn bauen, sincerely rest our hope in him Dass uns’r Herz, Mut und Sin that our heart, mind, and spirit Ihm tröstlich sol‘n anhangen. in comfort depend on him. Drauf singen wir zur Stund: Thereupon we sing this moment: Amen, wir werd’n’s Erlangen, Indeed, we will attain it, Glaub’n wir aus Herzensgrund. if we believe from the bottom of our heart. −Nun lob, mein Seel den Herren (Johann Gramann 1487-‐1541) 7 6 Ibid. Translation in liner notes. 7 San Francisco Bach Choir, accessed January 4, 204, http://www.sfbach.org, Translation courtesy of Robert Coote and the San Francisco Bach Choir. Used with permission from San Francisco Bach Choir email dated January 6, 2014. 129 Amen, Lob und Ehre und Weisheit Amen: Blessing, and glory, and wisdom, und Dank und Preis und Kraft und Stärke and thanksgiving, and power, and might, sei unserm Gott von Ewigkeit zu Ewigkeit! be unto our God for ever and ever. Amen. Amen. −Revelation 7:12 Laudate Dominum, TVWV 8:11 8 Laudate Dominum, laudate eum. Praise ye the Lord, praise Him. Quia exaltatum est nomen eius Because his name is exalted super terram et cœlos. above the earth and heavens. Extollam te, Deus, mi Rex, I praise you, God, my king, et benedicam nomini tuo and bless your name in æternum et perpetuum. continuously for eternity. In omni tempore benedicam For all time your name tibi et laudabo nomen tuum, is worthy to be praised in æternuum et perpetuum. continuously for eternity. Magnus est Dominus et laudabilis valde, Great is God and for He is most worthy to be praised et magnitudinis eius non est investigatio. and his greatness is not questioned. −Psalm 148: 1, 13-‐14 Laudate Dominum, laudate eum. Praise ye the Lord, praise Him. Quia magnus, quia suavis Because he is great, because he is kind gratiosus et misericors. beloved and merciful. Longanimus et magnus misericordia, His eternal spirit and great mercy, Memoriam multitudinis bonitatis Remembering your immense kindness tuæ eloquentur, and eloquence, et institiam cantabunt omnes gentes. that made all people sing. Ut notas faciant filiis hominis whereby he made man in His image et gloriam honoris regni ipsius. to honor and glorify His kingdom. −Psalm 144: 1-‐5, 12 Laudate Dominum, laudate eum. Praise ye the Lord, praise Him. 8 Translation by author 130 Selig sind die Toten, TVWV 8:13 Selig sind die Toten, Blessed are the dead die in dem Herrn sterben von nun an. which die in the Lord from henceforth: −Revelation 14:13 Drum so will ich dieses Leben, Therefore I want to give this life, weil es meinem Gott beliebet, Because it pleases my God, gern und willig von mir geben Most willingly and joyfully. und bin darum nicht betrübt. It does not depress me; Denn in meines Jesu Wunden Because in Jesus’ wounds hab ich schon Erlösung funden, I have already found salvation, und mein Trost in Todesnot And my comfort in death’s need ist ganz meines Mittlers Tod. is entirely in my mediator’s death. −Alle Menschen müssen sterben (Johannes Rosenmüller 1619-‐1684) 9 Ja, der Geist spricht, Yea, saith the Spirit, daβ sie ruhen von ihrer Arbeit, that they may rest from their labours; den ihre Werke folgen ihnen nach. and their works do follow them. -‐Revelation 14:13 So fahr ich hin zu Jesu Christ, Thus I go to Jesus Christ, mit ausgestreckten Armen With outstretched arms eil’ ich zu dem, der droben ist, I hurry to him, He’s just over there, getrost auf sein Erbarmen. And take comfort in His mercy. Er, Jesus Christus, Gottes Sohn, I am filled with joy, hat mir die Himmelstüre schon Because He, Jesus Christ, Son of God, zur wegen Freud eröffnet. Has already opened Heaven’s gates for me. −Wenn mein Stündlein vorhanden ist (Nicolaus Hermann 1480-‐1561) 10 Und das Wort ward Fleisch, TVWV 8:14 Und das Wort ward Fleisch And the Word was made flesh, und wohnet unter uns, and dwelt among us, Und wir sahen seine Herrlichkeit, and we beheld his glory, eine Herrlichkeit als des eingebornen the glory as of only begotten Sohns vom Vater, of the Father, voller Gnade und Wahrheit. full of grace and truth. −John 1:14 9 Translation by David McKinney 10 Translation by David McKinney 131 Werfet Panier auf im Lande, TVWV 8:15 Werfet Panier auf im Lande, Set up a standard in the land, blaset die Posaunen. blow the trumpet. Heiliget die Heiden wider sie, Prepare against her the nations, daβ das Land erbebe und erschrecke; And the land shall tremble and sorrow: den die Gedanken des Herrn wollen for every purpose of the Lord erfüllet warden wider Babel, shall be performed against Babylon, daβ er das Land Babel zur Wüste mache, to make the land of Babylon darinnen niemand wohne. a desolation without an inhabitant. −Jeremiah 51:27-‐29 Das ist meine Freude, TWV deest Das ist meine Freude, It is good for me daβ ich mich zu Gott halte to draw near to God und meine Zuversicht setze I have put my trust auf den Herren, in the Lord God, daβ ich verkündige alle sein Tun. that I may declare all thy works. −Psalm 72:28 Fürwahr, er trug unsre Krankheit, TWV deest Fürwahr, er trug unsre Krankheit Surely he hath borne our griefs, und lud auf sich unsre Schmerzen. and carried our sorrows: Wir aber hielten ihn für den, yet we did esteem him stricken, der geplagt und von Gott geschlagen smitten of God und gemarrert ware. and afflicted. Aber er ist um unser Missetat willen But he was wounded for our transgressions, verwundet und um unser Sünde willen he was bruised for our zerschlagen. iniquities. −Isaiah 53:4-‐5 O Lamm Gottes, unschuldig O Lamb of God, most stainless! am Stamm des Kreuzes geschlachtet, Who on the Cross didst languish, allzeit funden geduldig, Patient through all Thy sorrows, wiewohl du warest verachtet. though mocked amid Thine anguish; All Sünd hast du getragen, Our sins Thou bearest for us, sonst müβten wir verzagen. else had despair regned o’er us: erbarm dich unser, o Jesu. Have mercy upon us, O Jesu! −O Lamm Gottes, unschuldig (Nikolaus Decius 1485-‐1541) 11 11 Terry, Charles Stanford, Johann Sebastian Bach, Bach’s Chorals. Part III: The Hymns and Hymn Melodies of the Organ Works, (Cambridge: Cambridge University Press, 1915-‐1921). Accessed from http://oll.libertyfund.org/title/2057/197701 on 2013-‐12-‐18 (public domain). 132 Ich habe Lust abzuscheiden, TWV deest Ich habe Lust abzuscheiden Having a desire to depart, und bei Christ zu sein. and to be with Christ. −Philippians 1:23 Herzlich tut mich verlangen I yearn from my heart nach einem sel’gen End’, for a peaceful end, weil ich hier bin umfangen since her I am surrounded mit Trübsal und Elend. by sorrow and wretchedness. Ich hab’ Lust abzuscheiden I wish to depart von dieser bösen Welt, from this evil world, sehn’ mich nach ew’gen Freuden, I long for heavenly joys, o Jesus, komm nur bald. O Jesus, come quickly! −Herzlich tut mich verlangen (Christoph Knoll 1563-‐1621) 12 Ich will schauen dein Antlitz in Gerechtigkeit, TWV deest Ich will schauen dein Antlitz As for me, I will behold thy face in Gerechtigkeit; in righteousness: ich will satt warden, wenn ich erwache, I shall be satisfied, when I wake, nach deinem Bilde. with thy likeness. −Psalm 17:15 Derhalben ich in meinem Sinn Therefore, I surrender myself to You mich dir zu ganz ergeben; completely, mind, body and spirit; den sieh, der Tod ist mein Gewinn, and I do not fear death, du aber bist mein Leben for You are my life, und wirst mein’n Leib ohn’ all Klag’, and I know for certain that das weiβ ich g’wiβ, am jüngsten Tag on Judgement Day, You will resurrect my body zum Leben auferwecken. to a new and glorious form. −Herr Jesu Christ, ich weiβ gar wohl (Bartholomäus Ringwaldt 1532-‐1599) 13 12 Emmanuel Music, accessed December 18, 2013, http://www.emmanuelmusic.org , Translation courtesy of Pamela Dellal and Emmanuel Music Boston. Used with permission from Emmanuel Music email dated December 19, 2013. 13 Translation of hymn by David McKinney. 133 Rufe mich an in der Zeit der Not, TWV deest Rufe mich an in der Zeit der Not, And call upon me in the day of trouble: so will ich dich erretten I will deliver thee, und du sollst mich preisen. and thou shalt glorify me. −Psalm 50:15 Du Friedefürst, Herr Jesu Christ, O Prince of peace, Lord Jesus Christ, wahr’ Mensch und wahrer Gott, true human and true God, ein starker Nothelfer du bist You are a strong helper in need im Leben und im Tod. in life and in death. Drum wir allein Therefore only im Name dein in Your name zu deinem Vater schreien. do we cry to Your Father. −Du Friedefürst, Herr Jesu Christ (Jakob Ebert 1549-‐1614) 14 Saget der Tochter Zion, TWV deest Saget der Tochter Zion: Tell ye the daughter of Sion, Siehe, dein König kommt Behold, thy King cometh zu dir sanftmütig. unto thee. −Matthew 21:5 Nun komm, der Heiden Heiland, Now come, Savior of the nonbelievers, der Jungfrau Kind erkannt, known as the child of the Virgin, daβ sich wunder alle Welt, over him the whole world is in awe, Gott solch Geburt ihm bestellt. God ordained such a birth for him. −Nun komm, der Heiden Heiland (Martin Luther 1483-‐1546) 15 Selig sind die Toten, TVWV deest Selig sind die Toten, Blessed are the dead die in dem Herrn sterben von nun an. which die in the Lord from henceforth: −Revelation 14:13 14 Emmanuel Music, accessed January 4, 2014, http://www.emmanuelmusic.org. Translation courtesy of Pamela Dellal and Emmanuel Music Boston. Used with permission from Emmanuel Music email dated January 4, 2014. 15 Translation by author.

Abstract (if available)

Abstract This document examines Georg Philipp Telemann’s motets in the context of the German motet tradition. Chapter One summarizes the German motet’s evolution from the fifteenth through the eighteenth centuries. Chapter Two considers Telemann’s motet writing style and its integration with accepted standards of the eighteenth‐century German motet. Chapter Three discusses manuscript sources, including a recently discovered collection of motets. Hidden away from Telemann researchers for decades, they were found in the Lowell Mason Collection of Yale University’s Music Library. Chapter Four explores characteristic features of nineteen Telemann motets individually, referring to the original manuscript sources, when possible. Chapter Five covers vexing questions of performance practice issues—e.g., the number of singers in Telemann’s choir, colla parte instruments, and continuo practice. Finally, Chapter Six integrates the above findings in an attempt to define the Telemann motet.

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