Lute and Theorbo in Vocal Music in 18th Century Dresden TABurris

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Kay Jaffee's proposed Ph.D. dissertation of several years ago, "The Art of





























































































Abstract The study attempts to establish the role of the lute and theorbo in vocal music at the preclassical court of Dresden, royal capital of Saxony and the seat of a distinctive and very rich culture. Lute participation there was of a depth and breadth that was in every sense exceptional and in many ways unique, especially for the second quarter of the eighteenth century. Significant new evidence is examined here which demonstrates Hofk apelle as late as 1750, well beyond the period extensive lute activity in the Saxon Hofkapelle

covered by previous research. An examination of twenty-six surviving theorbo parts suggests strongly that, of all the instruments of the lute family, the theorbo was the most prominent in Dresden’s court productions. Especially relevant are the numerous pencil additions —all in the same same hand —which are found in fifteen of these parts (all but one to works by Johann Adolph Hasse). The additions are attributed to Silvius Leopold Weiss, Hoflauteni Hofla utenist st at Dresden from 1718 to 175 1750 0 and the person pers on almost single-hande single -handedly dly responsible responsib le for the lute’ lut e’ss unusual prominence at the Saxon capital. Important performanc e practice issues discussed here include: Whether the theorbo played only in selected selecte d sections sectio ns (such as recitatives), recita tives), or played more or less throughout throug hout (evidence suggests overwhelmingly that the theorbo played most if not all the time); whether the theorbo participated in all genres, or only, for instance, in opera (numerous surviving theorbo parts to sacred works, as well as to instrumental and chamber



































































































primarily prima rily for playing playin g obb obblig ligato ato parts in opera arias, as well as in small ensemble, ensem ble, both vocal and instrumental, while the archlute, after about 1720, appears not to have been used in Dresden productions). productio ns). Chapter C hapter 2 provides for the first time an organological precis of the lute types used in Saxony. The accompanying cassette, part of the documentation for this dissertation, includes excerpts from opera arias with obbligato lute by Antonio Lotti ( Teofane) and Johann David Heinichen (Flavio Crispo), as well as sections of a cantata with obbligato theorbo {La bella bella fia m ma , by Johann David Heinichen) and the sacred work Divoti Affetti Af fetti by Giovan Gi ovanni ni Albert Alb erto o Ristori. Ris tori. These The se recorded reco rded exampl e xamples es illustrate ill ustrate the t he auth a uthor's or's interpretation interpret ation of the musical function of the lute and theorbo in the Dresden repertory, in both continuo and obbligato roles. All recorded excerpts here are made available for the first time; in Divot i Affetti, Affet ti, the the case of the Heinichen aria from Flavio Crispo and Ristori’s Divoti

recordings represent the fust known performance since the eighteenth century.



































































































C o n t e n t s

.....................................................................

vi-vii

List List of Illustration s .......................................................................................................... viii-ix List o f F ig u r e s ................... ........................... .................. ................... .................. ................... .................... ................... .................. ................... ................... .............x-xii ....x-xii List of Tables

......................................................................................................................

Abbreviations of journals cited

........................................................................................

xiii xiv

P r e f a c e ...................................................................................................................................

1

Introduction: Present state of research

6

............................................................................

1.

Lute nists at Dresde n

2.

Instrumentarium

..................................................................................................

40

3.

Arias with obbligato lut e/th eorbo eo rbo .......................................................................

72

4.

Lutes Lute s in sacred vocal music

............................................................................

112 112

5.

to eight Hasseo Hasseo p e r a s ............................................................ Theorbenbucher to

184 184

6.

Performance Performance notes to the accompanyin accompanying g rec or din g.......................................

219

Conclusion: Conclusion : Silvius Leopold Weiss and the Dresden lute lute tr a d it io n ........ ........... ....... ........ ........ ...... ..

229

...........................................................................................

22

Appendices: Author’s editions: I:

Heiniche Hein ichen’ n’ss “Io vorrei saper d’amo d’amore” re” (Flavio Crispo) ....................

233

II:

Heinichen’ Heinic hen’ss cantata La bella f i a m m a ..............................................

242

HI: HI:

Heinichen Heini chen’’s “I rapidi” (Serenata nel Giardino Chinese) .................

252

IV:

ffe tti Figured bass realization toVerso toVerso X of Riston’s Divoti A ffetti

262



































































































Contents (cont.) Facsimiles (cont.): VI:

Heinichen’ Heinichen ’s “Io vorrei saper d’am d’am ore ” (Flavio Crispo) .....................

323

VII:

Heinichen’ Heinich en’ss cantata La bella fi a m m a ..................................................

331 331

(Serenata ata nel Giardi Giardino no C h in e se ) .................. VIII: Heinichen’ Heinich en’ss “I rapidi” (Seren

345

IX:

Lotti’s Lotti’s “Lascia che nel suo viso” (Teofane)

......................................

354

X:

Hasse’s Hasse’s "Tutte all'invito de' nostri accenti" accen ti" (II cantico) .....................

360

XI:

Lute aria to Heinichen’ Heinichen ’s Dori vezzosa, vezzo sa, Dori b e l l a ............................

378

XII:

Hasse’s Hasse’s “Cerva al bosco” (Cleofide)

385

..................................................

XIII: Theorbo and organ parts to Heinichen’ Heinich en’ss Magnificat in F

................

406

XTV: English translation translation of text to Ri sto n’s n’s Divoti A f f e t t i ..........................

419

XV: XV:

424

Miscellaneous:

Four Standard Standard Lute Lute T u n in g s ..................................................................

XVI: Detail of added figures (by number) in the theorbo part to Hasse's Cajo Fabrizio .........................

426

XVII: Detail of numbers with added figures in the theorbo part to Hasse's D e m e t r io ................................

433

XVIII: XVIII: List of sacred compositions compositions with with surviving theorbo p a r t s ................

436

Bibliography (including source list)

.............................................................................

................................................................................................ Biog Biogra raph phy y of the the a u th o r ................................................................................................

438 457



































































































LIST OF ILLUSTRATIONS Chapter 3:

Illustration 1: arciliuto, “Tomaso Spilman in Venetia.” Private collection ............... 41 Illustration 2: tiorba (chitarrone ), “Pietro Railich/al Santo in Padova.” Hessisches Landesmuseum, Darmstadt........................ 42 .................................... ........................ ........................ .............. .. Illustration 3: theorbierte Laute, “Sebastian Schelle, Lauten und Geigenm acher in Num berg , Hummels Erben, An. 1744.” Private collection

43

Illustration 4: 11-course 11-course baroqu ba roqu e lute. “Sebastian Schelle, Schelle , Lauten und Geigenm acher in Num berg , Hummels Erben, An. 1736.” Private collection

45

Illustration 5: 13-course baroque lute. “Thomas Edlinger Lauten und Geigenmacher, [without place or year-the bottom of the label has been trimmedl.” Leipzig Musikinstrumenten-Museum: Nr 497 ............................. 46 Illustration 6: 12-course baroque lute. “Johann Jac. Lindner Mus. Elector. ............................. ...... Saxon fecit Dresden 1697.” Eisenach Bachhaus Nr 1 .......................

48

Illustration 7: German theorbo. “V. Venere in Padova 1613.” Adapted by Sebastian Schelle (a ttested by labels dated 1723 1723 and 1726) 1726).. Leipzig Musikinstrumenten-Museum, No 3357)........................ 51 .................................... ................ .... Illustration 8: German theorbo. “Joh: Christian Hoffman Konigl. Poln. und Churf- Sachs. Sachs. Ho ff Instrument- und Lautenmacher in Leipzig. 1720.” 1720.” ................................... ........................ .............. .. Leipzig Musikinstrumenten-Museum: Nr 506 .......................

60

Illustration 9: liuto attiorbato. “Matteo Sellas alia Corona in Venetia [no date, but probably prob ably circ a 164 16401.” 01.” Leipzig Leipz ig Mu Musiki sikinstru nstrumen menten-M ten-M useum useu m Nr 495 495.. . .

65

Illustration 10: colascione. “Johann Heinrich Kramer, Wien 1704.” Joha Johann nneu eum, m, G ra z ........................ 67 .................................... ........................ ........................ ........................ ........................ ......................... .............. .





































































































LIST OF ILLUSTRATIONS (cont) Chapter 4:

Illustration 11: “Der Zuschauerraum des Opem- und Komodienhauses am Taschenberg.” Original Kupfersti 1927,4) by Johann Oswald Harms Kupf erstich ch (B 1927,4) Ku pferstic rstichka hkabin binett ett in (1643-1708), currently in the Kupfe in Dresden. From the bo ok “Ballett “Balle tt v.d. Zusamm Zusa mmenk enkunft unft u. Wirkun Wir kung g d. VII Planeten Planet en auf au f Ihr Churfl. Durchl. zu Sachsen Anno 167 1678.” 8.” Photo supplied supplie d by the Sachsische Landesbibliothek, Abteilung Deutsche Fotothek (number 98491) ..................................................................................................

115 115

Illustration 12: “Vue interieure de la Chapelle Royale au Chateau de Dresde ou l’on a chante le Te Deum, en actions des graces de l’Arrivee de Leurs Altesses Roiales.” Date 3 September 1719. Currently in the Kupfe Ku pferstic rstichka hkabin binett ett (Mappe Ca 200, Bl. A 19) in Dresden. Photo supplied by the Sachsisc Sac hsische he Landesb Lan desbibliot ibliothek, hek, Abte ilung ilun g Deutsche Deut sche Fotothek Foto thek (number 143 052) .............................................................................................

116 116



































































































LIST OF FIGURES Chapter 3:

Figure 1: 1: Opening Opening measures of "Lascia che nel suo v is o " .........................................

77

Figure Figure 2: Measures Measures 23 23 to 26 of "Lascia "Lascia che nel suo vi s o " .........................................

78

Figure 3: 3: Measures 45 to 49 of "Lascia "Lascia che nel suo vi s o " .........................................

79

Flav io C r i s p o .................... Figure 4: Opening measures of lute aria to Heinichen’s Flavio

81

Figure 5: Measures 8 and 9 of “Io vorrei saper d’amore”

83

..........................................

Figure 6: Opening measures to “Cari Gufi che intomo volate imparate” Figure Figure 7: “S’ode “S’ode un un leuto” from from I / 8 Figure 8: Note “replica il suono”

.................

85

...............................................................................

87

....................................................................................

87

Figure 9: Archlute solo from page 4 of “Cerva al bosco” Figure 10: First score page of “Cerva al bosco” bosc o”

..........................................

90

........................................................

91

Figure 11: 11: Como Com o da caccia and archlute parts, conclusion conclu sion of page 11 of “Cerva al bosco” ...................................................................................................

91

Figure 12: 12: Idem ditto, ditto, beginning of page 12 of “Cerva al bosco” bosc o”

92

..........................

Figure 13: // cantico. Start of archlute solo, page 6, system 2 ......... ............. ........ ........ ....... ....... ........ ...... .. 94



































































































LIST OF FIGURES (cont.) Chapter 3 (cont.):

Figure 21: Opening of Heinichen’s “I rapidi” Figure Figure 22: Fifth page,

...........................................................

second system of theorbo aria “I rapidi”

..................

100 101 101

Figure 23: 23: Theorbo Theo rbo solo in the concluding measures to “La bellafi bellafiamm amma” a”

106

Figure 24: Opening measures to ‘cello and basso continuo parts to “Da chiare e dolci venea ” (Mus. (Mus. 2455 -L-l) ................................................

110 110

Chap ter 4: 4: Figure 25: “Adag io” added in pencil. (Upper: Cajo Fabrizio , 0/4; lower Num a , Intermezzo) .......................................................................................................... 127 127 Figure 26: Moveme nt

heading headin g from autograph suite in d by S.L.W e i s s .....

127 127

Figure Figure 27: 27: Movement

heading heading from from sarabande sarabande of the same s u i t e ...............

127 127

Figure 28: 28: Lines drawn in theorbo part to Hasse’ Hasse ’s Sant'Elena al Calvario

.........

158 158

Figure Figure 29: Corresponding Corresponding measures in in score score (see (see previous previous f ig u r e ) .......................

158 158

Figure 30: Page 1, theorb the orbo o part par t to Hasse’s Hasse’s Venite

...................................................

162 162

Figure 31: Wate rmark rma rk from Hasse’ Ha sse’ss Venite, Pastores ..............................................

164 164



































































































LIST OF FIGURES (cont.) Chapter 5 (cont.):

Figure 38: “Manca Rec:” Cajo Fabrizio, D 3 / 9 ........................ .................................... ........................ ....................... ...........

192 192

Mari nari in theorbo part Figure 39: Reference to Ballo di Marinari

......................... ..................................... ............

209

........................ .................................... ........................ ............. .

210

Figure 41: Opening to “Dove: col pie scosceso” from Ristori’s A r ia n n a ...............

211

Figure 42: Andante marked with with double “X” in Weiss’s Weiss’s hand (see (see right side) side) . . .

211 211

Mari nari in score Figure 40: Reference to Ballo di Marinari

Figure 43: Notes and “presto” added in Weiss’s hand ........................ 212 .................................... ....................... ........... Figure 44: Figures in Weiss’s Weiss’s hand on second page of Andante (note tenor clef) . 213



































































































LIST OF TABLES Chapter 1:

Table 1: Weiss's pre-Dresden appointments...................................................................

26

Table 2: Weiss's activities outside Dresden while in the the Kursachsische Kursachsische employ (23 August 1718 to his death on 16 October 1750) ........................................................... 27

Chapter 3: Table 1: Lute Lute and Theorbo Arias Compos Composed ed for D re sd e n ..........................................

75

Chapter 4: Table 1: Composers with responsibilities for sacred music in eighteenth-century D r e s d e n ............................................................................................................... Table 2: 2: Comparison o f pencil additions additions to eight operas operas by H a s s e .............. Table 3: Bass parts to Heinich en's Magnific (Mus. 2398-D-510) Mag nificat at in F (Mus.

120 120

123 123

..............

131 131

Duett i . . 148 Table 4: Comparison of textual incipits of the two versions versions of Ristori' Ristori'ss Duetti 148

Chapter 5: Table 1: 1: Hasse operas with surviving theorbo p a r t s .......................................

188 188

Table 2: Numbers in Irene 0/6). . . . Iren e without pencil additions (Sinfonia through 0/6).

195





































































































ABBREVIATIONS OF JOURNALS CITED AcM

Acta Act a Musicologica Musicolog ica

AcM c Analecta Ana lecta Musicologica Musicolo gica A M f

Archi Ar chivv f u r Musikforschung Musikfors chung

AM w Archiv Arc hiv f u r Musikwissensc Musikwi ssenschaft haft BJ B J

Bach-Jahrbuch Bach-Jahrbu ch

BMw

Beitrage zur Musikwissens Musikw issenschaft chaft

EM

Early Music

GSJ

Galpin Society Journal

JAMS JA MS Journa Jou rnall o f the Ame America rican n Musicolog Musi cological ical Society Soc iety



































































































Preface The unification of the two Germanys (die Wende) that took place in early 1990 1990 had consequences that are still being felt in both Alien Alie n and Neuen Bundesldn Bund esldndem. dem. Most developments have been positive, and prominent among these are improved accessibility of source materials and simplified communication between scholars. Dresden has suffered repeated devastations over the years which have destroyed large quantities of evidence, especially scores and parts. What wasn’t destroyed by the ravages o f war was often carted off by the conquero rs, or fell victim victim to neglect (a slower slower demise, to be sure, but just jus t as insidiously destructive). In that fateful February in 1945 1945,, the music department of the Sachsische Landesbibliothek was located near the banks of



































































































Ensemble vocal music represents the largest group of surviving Dresden sources, and for this reason it has become the focus of this dissertation. Even here, only a few obbligato obblig ato parts par ts survive, along with twenty-six continuo parts for theorbo—not many, when one considers that Silvius Leopold Weiss, one of Europe’s finest instrumentalists, was Hofla Ho flaute utenis nist t there there for over thirty years.

One question loomed large: How much should one say about the nuts and bolts of lute playing? Writing about harpsichord technique, for instance, instance, is by comparison quite straightforward: the tradition is well (if not always consistently) documented, and explanations will undoubtedly be more comprehensible to the average reader (who has likely had a few piano lessons at some time, if nothing else). Detailed discussions of lute technique, on the other hand, would be somewhat of a stretch even for guitarists.



































































































An ironic result of this attitude towards early music is that it precludes the recreation of what is arguably the most authentic component in its original perform per form ances: anc es: the th e immedia imm ediate, te, unreflec unre flected, ted, and ‘natu na tural ral’’ delivery delive ry of a native nativ e speaker. Those particular ways of inflecting, inflecting, bending, or even distorting distorting music music that are so characteristic of vernacular renderings will necessarily be missing. There is really no way to re-establish that fundamentally inimitable psychological and physio phy siolog logica icall rela tion ship shi p of the perform perf ormer er to a langua lan guage ge he has not learned but absorbed unconsciously [emphasis added], so that it is encoded as a fundamental determinant of his very way of thinking, hearing, and speaking.1 *

*

*•

Acknowledging all the contributions which lead to the completion of a work of this kind is always a tricky business, but, without the encouragement of the following people, peo ple, this thi s disser dis sertati tation on would wou ld almost certainly certa inly not have hav e seen see n the light of day. Anne Moriarty challenged me to put up or shut up, without which I likely wouldn't have gotten



































































































her perhaps my single largest musical influence, has provided no end of encouragement. My wife of recent years, Lisa Kay Moore, has always known when it was time to drag me away from my work and turn my attention to other things. To all, I offer my heartfelt thanks. On a more practical level, my advisor, Prof. Peter Williams, proved to be an excellent editor, always giving me sufficient room for manoeuver, and yet sparing no effort in examining the smallest detail of my work. Andre Burguete and Tim Crawford of the Academie Weiss gave me the lead on the Hasse Theorbenbucher , and were most generous with the results of their own research into lute practices in the German baroque. Prof. Hans-Gunther Ottenberg (TU-Dresden), despite a press of other activities, served as





































































































Huegelmeyer of the Maryknoll Missionaries (Ossining, New York) and Henk Rijkers of Utrecht, Holland. Despite all the assistance I’ve enjoyed, the careful reader may encounter occasional errors; the responsibility for them is naturally mine and mine alone. All translations, unless otherwise noted, are by the author. The goal was to make the texts sound natural in today’s English rather than rendering them word for word. Eighteenth-century German



































































































INTRODUCTION: PRESENT STATE OF RESEARCH

There has been very little recent scholarly research into lute in vocal ensembles of the late German baroque:1articles on the subject have been conspicuous by their absence, and little of what has been published is of recent vintage. So much remains to be done that the researcher is confronted with an open goal, as it were, albeit at



































































































Auffuh Au ffuhrung rungspra spraxis xis when instruments of the lute type are involved, but this is

(unfortunately) typical of general discussions of the baroque continuo group. Laurence Dreyfus's book, Bach's Bac h's Continuo Group: Players Player s and an d Practices Pract ices in his (Cambrid ge. MA: Harvard H arvard Univ. Press, Press, 1987), 1987), devotes just ju st over ov er two Vocal Works (Cambridge. pages pag es to the lute, sug sugges gesting ting that "Bach "Bac h made little use o f it in his sacred sac red vocal works" (unlike Johann Kuhnau, his predecessor at Leipzig from 1701-22). Dreyfus's argument



































































































play a role, for example? exam ple? Not only the participation partic ipation of lute as a continuo cont inuo instrument in the works of Bach, but also his solo compositions apparently for that instrument certainly require more extensive examination than either have yet received.7 Charles Nelson Amos's dissertation, "Lute Practice and Lutenists in Germany between betw een 1500 and 1750" (Ph.D. diss., Univ. of Iowa, 1975), covers cov ers such suc h a wide range of periods and subject areas as to render it of only limited usefulness in matters of



































































































much like the RISM volume he compiled (Nr BVTI, Handschrif Hand schriftlich tlich Uberlieferte Uberlie ferte Lauten Laute n- und un d Gitarrentabu Gitarr entabulature laturen n des 15. 15. bis 18. 18. Jah rkunde rku nde rts (Munchen: Henle,

1978)). The current study addresses questions not dealt with by Boetticher, and nothing more need be said about his work here. One of the lamentably scarce secondary sources covering details of lute organology is Ernst Pohlmann's Laute, Theorbe, Chitarrone (Bremen: Eres Edition,



























































































LUTE AND THEORBO IN VOCAL MUSIC IN 18TH-CENTURY DRESDEN: A PERFORMANCE PRACTICE STUDY

by Timothy A. Burris Department of Music Duke University

Date: Approved:

Peter Williams, Supervisor

-v

Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 1997

Abstract The study attempts to establish the role of the lute and theorbo in vocal music at the preclassical court of Dresden, royal capital of Saxony and the seat of a distinctive and very rich culture. Lute participation there was of a depth and breadth that was in every sense exceptional and in many ways unique, especially for the second quarter of the eighteenth century. Significant new evidence is examined here which demonstrates Hofk apelle as late as 1750, well beyond the period extensive lute activity in the Saxon Hofkapelle

covered by previous research. An examination of twenty-six surviving theorbo parts suggests strongly that, of all the instruments of the lute family, the theorbo was the most prominent in Dresden’s court productions. Especially relevant are the numerous pencil additions —all in the same same hand —which are found in fifteen of these parts (all but one to works by Johann Adolph Hasse). The additions are attributed to Silvius Leopold Weiss, Hoflauteni Hofla utenist st at Dresden from 1718 to 175 1750 0 and the person pers on almost single-hande single -handedly dly responsible responsib le for the lute’ lut e’ss unusual prominence at the Saxon capital. Important performanc e practice issues discussed here include: Whether the theorbo played only in selected selecte d sections sectio ns (such as recitatives), recita tives), or played more or less throughout throug hout (evidence suggests overwhelmingly that the theorbo played most if not all the time); whether the theorbo participated in all genres, or only, for instance, in opera (numerous surviving theorbo parts to sacred works, as well as to instrumental and chamber compositions, show that theorbo was used in all musical genres); the range of genres in which the baroque lute and the archlute were used (the former seems to have been used

iv











there being so few references to lutes in the later primary sources, especially in scores



























































































Lute and Theorbo in Vocal Music in 18th Century Dresden TABurris

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