MUSICAL RHETORIC IN SWEELINCK’S CHROMATIC FANTASIA

Society for Seventeenth-Century Music, 25th Annual Conference, April 20-23, 2017 Derek Remeš (Eastman School of Music)

derekremes@gmail.com

Presentation Overview

Example 1: Five canons of rhetoric (Rhetorica ad Herennium; Cicero, De Oratore)

Example 2: Two models of rhetorical dispositio

Derek Remeš, SSCM (2017)

Part I: Historical Context A. The Canons of Rhetoric B. Musica Poetica C. Music-Rhetorical Analysis D. Fantasia as Genre E. Sweelinck as Pedagogue

Part II: Analysis of the Chromatic Fantasia A. Overview B. Exordium C. Medium D. Finis

FIVE CANONS ASSOCIATED CONCEPTS

1 Inventio Content, loci topici, stasis

2 Dispositio Form, structure, organization

3 Elocutio Style, syntax, clarity, varietas

4 Memoria Pictoral scripts, mnemonics

5 Pronuntiatio Delivery (vox and gestus)

MODEL 1 MODEL 2

CLASSICAL SIX-PART MODEL FOR ORATIONS (Rhetorica ad Herennium)

TRIPARTITE VARIANT (VICENTINO 1555; Dressler 1563;

Cicero, De Oratore)1 Exordium Introduction 1 Exordium (authority)

2 Narratio Statement of Facts

2 Medium (logic)3 Partitio Main Points in Favor

4 Confirmatio Affirmation of Proof

5 Confutatio (Refutatio) Rebuttal

6 Peroratio (Conclusio) Conclusion 3 Finis (emotion)

1

Example 3: The only two extant depictions of Sweelinck (1562–1621)

Ex. 3a Ex. 3b

Unknown artist, dated 1606 Engraving by Jan Harmensz. Muller, dated 1624 (Dirck Sweelinck? [brother])

Example 4: Large-scale overview of the Chromatic Fantasia

Derek Remeš, SSCM (2017)

SECTION Exordium Medium Finis

MM. 1-69 70-170 171-197

PROPORTION Half Notes Whole Notes Quarter Notes 8th Notes Coda

MM. 1-103 104-148 149-183 184-193 194-7

STRUCTURAL STRETTO EVENTS

Subject fuga realis Pillar

(Ex.7a)

Subject fuga realis

Pillar in dim. (Ex.7b)

MM. 55-63 176-80

diminution

2

Example 5: Four levels of subject augmentation and diminution (proportion)

Ex. 5a - Double diminution in eighth notes

Ex. 5b - Diminution in quarter notes

Ex. 5c - "Original" rhythmic values in half notes

Ex. 5d - Augmentation in whole notes

Derek Remeš, SSCM (2017)3

Example 6: Four rhythmic levels of suspensions [preparation (P), suspension (S), and resolution (R) indicated]

Ex. 6a - Eighth note suspension—ornamented vs. structural versions

Ex. 6b - Quarter note suspension—ornamented vs. structural versions

Ex. 6c - Half note suspension

Ex. 6d - Whole note suspension—ornamented vs. structural version

Derek Remeš, SSCM (2017)

ORIGINAL

2 - 3

STRUCTURAL

2 - 3

ORIGINAL

4 - 3

STRUCTURAL

4 - 3

subject CS4

CS5

STRUCTURALORIGINAL

4

Example 7: Two analogous passages of fuga realis—four-voice subject stretto [preparation (P), suspension (S), and resolution (R) indicated] Dotted ties are not original.

Ex. 7a - In the exordium

Ex. 7b - Analogous passage in diminution in the finis

Ex. 7c - “Diatonicized” reduction of Ex. 7a

Derek Remeš, SSCM (2017)5

Example 8: Overview of exordium (asterisk indicates only instance of CS2 in the bass)

Example 9: Overview of medium (gray shows countersubject fuga realis [stretto])

SUBSECTION Part 1

DESCRIPTION Subject in Half Notes

MM. 70-74 74-78 78-82 82-86 87-93 90-93 94-103

VERTICAL ORDER OF SUBJECT AND COUNTER-SUBJECTS

S CS4

CS4 CS5

S

CS5 Free CP

CS4 S

CS4 fuga realis

(Ex. 10)

CS5 S

Free CP CS4

CS4 fuga realis

S6 fuga realis

SUBSECTION Part 2 Part 3

DESCRIPTION Subject in Whole Notes Quarter Notes

MM. 104-110 111-118 119-126

126-133 133-39 140-46 146-48 149-160

161-170

VERTICAL ORDER OF SUBJECT AND COUNTER-

SUBJECTS

CS6 S

CS7

CS6 fuga realis

CS8 CS8 S

CS9 CS9 S

CS9

CS8 fuga realis

(Ex.11)

S S frag. S frag. Free CP

Cadential Material

S Free CP

Free CP Free CP

S

Derek Remeš, SSCM (2017)

SUBSECTION Part 1

DESCRIPTION Fugue in Triple Invertible Counterpoint (subject, countersubject 1, countersubject 2)

MM. 1-4 5-8 9-13 13-17 17-21 21-25 26-29 29-33 34-38 38-42 42-46 47-51 51-55

VERTICAL ORDER OF

SUBJECT AND COUNTER-SUBJECTS

S S CS1

CS1 CS2

S

CS2 S

CS1

S CS2

(frag.) CS1

Free CP

CS1 CS2

S

CS2 S

CS1

S CS1 CS2

Free CP CS2 CS1

S

S Free CP Free CP

CS1

CS1 S

Free CP

S CS2 CS1

CS1 Free CP

CS2 S

SUBSECTION Part 2

DESCRIPTION Closing Function

MM. 55-63 63-67 68-69

VERTICAL ORDER OF

SUBJECT AND COUNTER-SUBJECTS

Subject fuga realis

Pillar (Ex.7a)

CS3 Free CP

S Free CP

Cadential Material

6

Example 10: CS4 fuga realis from medium (brackets show [-3, -3, +4] pattern)

Example 11: CS9 fuga realis from medium (brackets show [+4, -3, -3] pattern)

Derek Remeš, SSCM (2017)

ORNAMENTED:

STRUCTURAL:

STRUCTURAL:

ORNAMENTED:

7

Example 12: Overview of finis

Example 13: CS16 derived from CS2 in diminution

Ex. 13a - CS2 in exordium

Ex. 13b - CS16 congeries in finis, derived from CS2 fragment

Derek Remeš, SSCM (2017)

CS2 (fragment)

CS2 CS2 CS2

CS2 CS2

diminution

SUBSECTION Part 1 Part 2 Coda

DESCRIPTION Quarter Notes Eighth Notes -

MM. 171-76 176-180 181-83 184-188 189-193 194-197

VERTICAL ORDER OF SUBJECT AND

COUNTER-SUBJECTS

Subject in paired imitation

Subject fuga realis

Pillar in diminution

(Ex.7b)

CS16 CS16

S

S S S

“Dom.” Ped.

S S S

“Tonic” Ped.

Cadenza-like flourish over a

“Tonic” Pedal

8

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eybo

ard

Wor

ks of

Swe

elinc

k. E

astm

an S

choo

l of M

usic:

M

aste

rs Th

esis.

Bu

tler,

Gre

gory

. 197

4. “Th

e Fan

tasia

as a

Mus

ical I

mag

e.” M

Q 6

0: 6

02-6

15.

——

——

. 197

7. “F

ugue

and

Rhet

oric.

” Jou

rnal

of M

usic Th

eory

21,

no.

1: 4

9-10

9.

Butt,

John

. 200

4. “G

erm

any

and

the N

ethe

rland

s.” In

Key

boar

d M

usic

Befo

re 1

700,

edite

d by

Alex

ande

r Si

lbig

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47-2

34. N

ew Y

ork:

Rou

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——

——

. 199

4. M

usic

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n an

d th

e art

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erfo

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ce in

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erm

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ambr

idge

: C

ambr

idge

Uni

versi

ty P

ress.

C

arte

r, Ti

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005.

“The s

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h fo

r mus

ical m

eani

ng.”

In Th

e Cam

brid

ge H

istor

y of S

even

teent

h-Ce

ntur

y M

usic,

edite

d by

Tim

Car

ter a

nd Jo

hn B

utt,

158-

196.

Cam

brid

ge: C

ambr

idge

Uni

versi

ty P

ress.

C

urtis

, Alan

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2. S

weeli

nck’s

Key

boar

d M

usic:

A S

tudy

of E

nglis

h El

emen

ts in

Sev

entee

nth-

Cent

ury D

utch

Co

mpo

sitio

n. L

eiden

: Leid

en U

nive

rsity

Pre

ss.

Dirk

sen,

Piet

er. 1

997.

The K

eybo

ard

Mus

ic of

Jan

Piete

rszoo

n Sw

eelin

ck: I

ts St

yle, S

ignific

ance

and

Influ

ence

. U

trech

t: Ko

nink

lijke

Ver

enig

ing

voor

Ned

erlan

dse M

uziek

gesc

hied

enis.

9

——

——

. 200

2. “Th

e Swe

elinc

k Pa

rado

x: R

esea

rchi

ng, A

naly

sing

and

Play

ing

the K

eybo

ard

Mus

ic of

Ja

n Pi

eter

szoo

n Sw

eelin

ck.”

In S

weeli

nck

Stud

ies: P

roce

edin

gs of

the S

weeli

nck

Sym

posiu

m, e

dite

d by

Pi

eter

Dirk

sen,

93-

113.

Utre

cht:

Foun

datio

n fo

r Hist

orica

l Per

form

ance

Pra

ctice

. —

——

—. 2

005-

. Swe

elinc

k: S

ämtli

che W

erke

für T

asten

instr

umen

te. B

d. 2

, “Fa

ntas

ias.”

Wies

bade

n:

Breit

kopf

& H

ärte

l. —

——

—. 2

006.

“The E

nigm

a of t

he S

tylus

Pha

ntas

ticus

and

Diet

erich

Bux

tehu

de’s

Prae

ludi

um in

G

min

or (B

uxW

V 1

63).”

In O

rphe

i Org

ani A

ntiq

ui: E

ssays

in H

onor

of H

arold

Vog

el, ed

ited

by

Clev

eland

John

son,

107

-132

. Orc

as, W

A: W

estfi

eld C

ente

r. D

uran

te, S

. 198

7. “O

n Ar

tificio

so C

ompo

sitio

ns at

the T

ime o

f Fre

scob

aldi.”

In F

resco

bald

i Stu

dies

, ed

ited

by A

lexan

der S

ilbig

er, 1

95-2

17. D

urha

m: D

uke U

nive

rsity

Pre

ss.

Elde

rs, W

illem

. 199

1. C

ompo

sers o

f the

Low

Cou

ntrie

s. Tr

ansla

ted

by G

raha

m D

ixon

. New

Yor

k: O

xfor

d U

nive

rsity

Pre

ss.

Fadi

ni, E

mili

a. 19

87. “Th

e Rhe

toric

al As

pect

of F

resc

obald

i’s M

usica

l Lan

guag

e.” In

Fre

scoba

ldi S

tudi

es,

edite

d by

Alex

ande

r Silb

iger

, 284

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. Dur

ham

: Duk

e Uni

versi

ty P

ress.

Fi

eld, C

hrist

ophe

r D.S

., et

al. "

Fant

asia.

" Gro

ve M

usic

Onl

ine.

Oxf

ord

Mus

ic O

nlin

e. O

xfor

d U

nive

rsity

Pr

ess.

Acce

ssed

Augu

st 27

, 201

5. h

ttp://

www.

oxfo

rdm

usico

nlin

e.com

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crib

er/a

rticle

/gro

ve/

mus

ic/40

048.

G

oehr

, Lyd

ia. 1

992.

The I

mag

inar

y Mus

eum

of M

usica

l Wor

ks: a

n Es

say i

n th

e Phi

losop

hy of

Mus

ic. O

xfor

d:

Clar

endo

n Pr

ess.

G

rape

nthi

n, U

lf. 2

002.

“The T

rans

miss

ion

of S

weeli

nck’s

Com

posit

ion

Rege

ln.”

In S

weeli

nck

Stud

ies:

Proc

eedi

ngs o

f the

Swe

elinc

k Sy

mpo

sium

, edi

ted

by P

ieter

Dirk

sen,

171

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. Utre

cht:

Foun

datio

n fo

r H

istor

ical P

erfo

rman

ce P

ract

ice.

Gui

do, M

assim

ilian

o an

d Pe

ter S

chub

ert.

2014

. "U

npac

king

the B

ox in

Fre

scob

aldi's

Rice

rcar

i of 1

615.

" M

usic Th

eory

Onl

ine 2

0.2.

H

arris

on, D

. 199

0. “R

heto

ric an

d Fu

gue:

An A

naly

tical

Appl

icatio

n.” M

usic Th

eory

Spe

ctrum

12:

1-4

2.

How

ard,

Alan

. 201

5. “C

ompo

sitio

nal S

trate

gies

in P

urce

ll’s S

econ

d Th

ree-

Part

Fant

azia.

” Mus

ic Th

eory

O

nlin

e 23,

no.

3. A

cces

sed

Nov

embe

r 14,

201

5. h

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mto

smt.o

rg/is

sues

/mto

.15.

21.3

/mto

.15

.21.

3.ho

ward

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John

son,

Calv

ert (

edito

r). 2

012.

Hist

orica

l Org

an T

echn

ique

s and

Rep

erto

ire: Th

e Neth

erla

nds,

1575

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0,

Vol.

2. G

ener

al Ed

itor,

Way

ne L

eupo

ld. C

olfa

x, N

C: W

ayne

Leu

pold

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tions

. K

enne

dy, G

eorg

e A. 1

999.

Cla

ssica

l Rhe

toric

and

Its C

hrist

ian

and

Secu

lar T

radi

tion

from

Anc

ient t

o M

oder

n Ti

mes.

2nd

ed. C

hape

l Hill

: Uni

versi

ty o

f Nor

th C

arol

ina P

ress.

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irken

dale,

War

ren.

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9. “C

icero

nian

s ver

sus A

risto

telia

ns o

n th

e Rice

rcar

as E

xord

ium

, fro

m B

embo

to

Bac

h.” J

AMS

32: 1

-44.

La

nham

, Rich

ard

A. 1

991.

A H

andl

ist of

Rhe

toric

al T

erm

s. Be

rkley

: Uni

versi

ty o

f Cali

forn

ia Pr

ess.

Leste

r, Jo

el. 1

990.

“A 1

7th-

Cen

tury

Pub

licat

ion

Inclu

ding

Chr

istop

h Be

rnah

rd’s

Figu

renl

ehre

.” Isr

ael

Stud

ies in

Mus

icolo

gy 5

, 97-

112.

Jeru

salem

: Isra

el M

usico

logi

cal S

ociet

y. M

acey

, Pat

rick.

200

0. “J

osqu

in an

d M

usica

l Rhe

toric

: Mise

rere

Mei,

Deu

s and

Oth

er M

otet

s.” In

The

Josq

uin

Com

pani

on, 4

85–5

30. N

ew Y

ork:

Oxf

ord

Uni

versi

ty P

ress.

M

ack,

Pet

er. 2

011.

A H

istor

y of R

enai

ssanc

e Rhe

toric

. New

Yor

k: O

xfor

d U

nive

rsity

Pre

ss.

Man

iates

, Mar

ia Ri

ka. 1

983.

“Mus

ic an

d Rh

etor

ic: F

acet

s of C

ultu

ral H

istor

y in

the R

enais

sanc

e and

the

Baro

que.”

Isra

el St

udies

in M

usico

logy

3, 4

4-69

. Jer

usale

m: I

srael

Mus

icolo

gica

l Soc

iety.

M

ann,

Alfr

ed. 1

958.

The S

tudy

of F

ugue

. Upd

ated

ed. N

ew Y

ork:

Dov

er, 1

987.

M

avro

mat

is, P

anay

otis.

199

9. “Th

e Ear

ly K

eybo

ard

Prelu

de as

an A

gent

in th

e For

mat

ion

of S

chen

keria

n Ba

ckgr

ound

Pro

toty

pes.”

Pap

er d

elive

red

at th

e Third

Inte

rnat

iona

l Sch

enke

r Con

fere

nce,

Man

nes

Col

lege o

f Mus

ic, M

arch

12.

M

cCre

less,

Patri

ck. 2

002.

“Mus

ic an

d Rh

etor

ic.” I

n Th

e Cam

brid

ge H

istor

y of W

ester

n M

usic Th

eory

, ed

ited

by Th

omas

Chr

isten

sen,

847

-879

. Cam

brid

ge: C

ambr

idge

Uni

versi

ty P

ress.

N

oske

, Frit

s. 19

69. F

orm

a Fo

rman

s: Ee

n str

uctu

uran

alyti

sche m

ethod

e, to

egep

ast o

p de

instr

umen

tle m

uziek

va

n Ja

n Pi

etersz

oon

Swee

linck

. Am

sterd

am: F

rits K

nuf.

Revi

sed

Engl

ish ed

ition

in In

terna

tiona

l Re

view

of th

e Aest

hetic

s and

Soc

iolog

y of M

usic

7 (1

976)

: 43-

62.

——

——

. 198

8. S

weeli

nck.

Oxf

ord

Stud

ies o

f Com

pose

rs 22

. Oxf

ord:

Oxf

ord

Uni

versi

ty P

ress.

Owe

ns, J

essie

Ann

. 199

8. C

ompo

sers a

t Wor

k: Th

e Cra

ft of

Mus

ical C

ompo

sitio

n 14

50-1

600.

New

Yor

k:

Oxf

ord

Uni

versi

ty P

ress.

Pa

lisca

, Clau

de V

. 200

6. M

usic

and

Idea

s in

the S

ixtee

nth

and

Seve

ntee

nth

Cent

uries

. Vol

. 1 o

f Stu

dies

in

the H

istor

y of M

usic Th

eory

and

Lite

ratu

re. C

hica

go: U

nive

rsity

of C

hica

go P

ress.

—

——

—. 1

994.

“Ut o

rato

ria m

usica

: The R

heto

rical

Basis

of M

usica

l Man

neris

m.”

In S

tudi

es in

the

Hist

ory o

f Ita

lian

Mus

ic an

d M

usic Th

eory

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. Oxf

ord:

Clar

endo

n Pr

ess.

Po

rter,

Will

iam. 2

002.

“Ham

burg

Org

anist

s in

Luth

eran

Wor

ship

.” In

The O

rgan

as a

Mirr

or of

Its T

ime:

Nor

th E

urop

ean

Refle

ction

s, 16

10-2

000,

edite

d by

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ala J.

Sny

der.

New

Yor

k: O

xfor

d U

nive

rsity

Pr

ess.

——

——

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6. “J

ohan

n H

erbs

t’s A

rte p

ratti

ca &

poë

tica:

A W

indo

w in

to G

erm

an Im

prov

isatio

nal

Prac

tice i

n M

id-se

vent

eent

h Ce

ntur

y.” In

Orp

hei O

rgan

i Ant

iqui

: Essa

ys in

Hon

or of

Har

old V

ogel,

ed

ited

by C

levela

nd Jo

hnso

n, 2

51-2

59. O

rcas

, WA:

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tfield

Cen

ter.

Rive

ra, B

enito

. 198

0. G

erm

an m

usic

theo

ry in

the e

arly

17th

cent

ury:

the t

reat

ises o

f Joh

anne

s Lip

pius

. St

udies

in M

usico

logy

17.

Ann

Arb

or: U

MI R

esea

rch

Pres

s.

Schä

fertö

ns, R

einha

rd. 1

998.

Die

Fuge

in d

er N

ordd

eutsc

hen

Org

elmus

ik: B

eiträ

ge zu

r Gesc

hich

te ein

er

Satz

techn

ik. G

reifs

wald

er B

eiträ

ge zu

r Mus

ikwi

ssens

chaf

t, Bd

. 5. G

ener

al Ed

itors:

Ekk

ehar

d O

chs,

Nico

Sch

üler

, Lut

z Win

kler

. Fra

nkfu

rt am

Main

: Pet

er L

ang.

Se

iffer

t, M

ax. 1

891.

“J.P.

Swe

elinc

k un

d se

ine d

irekt

en d

eutsc

hen

Schü

ler.”

Vier

telja

hrssc

hrift

für

Mus

ikwi

ssens

chaf

t 7: 1

45-2

60.

Sigt

enho

rst M

eyer

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nhar

d va

n de

n. 1

934.

Jan

P. Sw

eelin

ck en

zijn

instr

umen

tale

muz

iek: m

et ee

n aa

ntal

ve

rluch

tinge

n en

ruim

200

muz

iek-v

oorb

eeld

en. D

en H

aag:

Ser

vire

. Si

lbig

er, A

lexan

der.

2005

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ntas

y an

d cr

aft:

the s

olo

instr

umen

talis

t,” In

The C

ambr

idge

Hist

ory o

f Se

vent

eent

h-Ce

ntur

y Mus

ic, ed

ited

by T

im C

arte

r and

John

But

t, 42

6-45

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Uni

versi

ty P

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Sc

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eter

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ion

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e Mid

dle

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and

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e. Ed

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l E. M

urra

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her W

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5. “C

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sitio

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d Im

prov

isatio

n in

the S

choo

l of J

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ach.

” In

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Pe

rspec

tives

1, ed

ited

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usse

ll St

inso

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Neb

rask

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nive

rsity

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ebra

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980.

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rich

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hude

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earn

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JAM

S, V

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3, N

o. 3

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utum

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2004

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eapo

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toric

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ns (U

K):

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da M

usic.

Tu

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195

8. Th

e Org

an W

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oon

Swee

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4. “F

igur

es o

f Rhe

toric

/Fig

ures

of M

usic?

” Rhe

toric

a 2,

no.

1: 1

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Vo

gel,

Har

ald an

d Pi

eter

Dirk

sen,

ed. 2

005.

Säm

tlich

e Wer

ke fü

r Tas

tenin

strum

ente

Jan

Piete

rszoo

n Sw

eelin

ck. B

d. 1

. Wies

bade

n: B

reitk

opf a

nd H

ärte

l. —

——

—. 2

005.

"Swe

elinc

ks 'O

rfeo'

Die

'Fan

tasia

Cro

mm

atica

.’” M

usik

in K

irche

2: 9

8-10

4.

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aul M

ark.

199

9. “F

ugue

in th

e Mus

ic-Rh

etor

ical A

nalo

gy an

d Rh

etor

ic in

the D

evelo

pmen

t of

Fugu

e.” In

Bac

h Pe

rspec

tives

4: Th

e Mus

ic of

J.S.

Bac

h: A

nalys

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d In

terp

reta

tion,

edite

d by

Dav

id

Schu

lenbe

rg, 1

59-1

79. N

ebra

ska:

Uni

versi

ty o

f Neb

rask

a.

——

——

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0. Th

eorie

s of F

ugue

from

the A

ge of

Josq

uin

to th

e Age

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ach.

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r: U

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of

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este

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ss.

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. 198

6. “F

rom

Ren

aissa

nce ‘

Fuga

’ to

Baro

que F

ugue

: The R

ole o

f the

‘Swe

elinc

k Th

eory

M

anus

crip

ts.’”

Schü

tz-Ja

hrbu

ch 7

-8: 9

3-10

4.

Will

iams,

Pete

r. 19

97. Th

e Chr

omat

ic Fo

urth

Dur

ing F

ourth

Cen

turie

s of M

usic.

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Yor

k: O

xfor

d U

nive

rsity

Pre

ss.

Wils

on, B

lake,

et al

. 201

5. “R

heto

ric an

d m

usic.

” Gro

ve M

usic

Onl

ine.

Oxf

ord

Mus

ic O

nlin

e. O

xfor

d U

nive

rsity

Pre

ss. A

cces

sed

Augu

st 20

, 201

5. h

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rdm

usico

nlin

e.com

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crib

er/a

rticle

/gr

ove/

mus

ic/43

166.

W

ong,

Hele

n K

in H

oi. 2

009.

Mus

ica P

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a in

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teent

h-Ce

ntur

y Refo

rmat

ion

Ger

man

y. M

aste

rs Th

esis,

Th

e Chi

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Uni

versi

ty o

f Hon

g Ko

ng. A

cces

sed

3 Fe

brua

ry 2

016.

http

s://

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mus

icolo

gy.fi

les.w

ordp

ress.

com

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Finis (pathos/emotion), mm.171-197

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