Performance Composition of Johann Sebastian Bach’s Motets: Hypotheses and Discussions

Relevance and scientific novelty of the selected topic of the research. The issues of the performance of J. S. Bach's motets has not been considered in Ukrainian musicology before, and in creative practice it has been decided unequivocally: choirs sang motets a cappella. However, in the world practice of motets today there are three variants of performance: in addition to singing unaccompanied, motets are performed with basso continuo (organ), as well as with basso continuo accompanied by instruments that duplicate choral parts (colla parte). The revision of performance approaches in world concert practice took place in parallel and, apparently, due to scientific achievements in the history of music, source studies and related fields. Cognitive was the discussion of the performance of Bach's motets, which for a long time (since 1904) unfolded in the Germanspeaking musicological environment. A thorough analysis of the historical context, the text of the motets, the connection with the performing practice, and on the other hand — the limited opportunity to get acquainted with German-language materials determine the relevance of this article, which systematizes the arguments and counterarguments of this controversy. The aim of the article is to consider the arguments of German scientists (Konrad Ameln, Klaus Hofmann, Alfred Heuss and others) on the tradition of performances of motets by J. S. Bach, to draw the attention of the performing and scientific community to the possibility of the existence of different versions of the performing composition in these works; emphasize the need for a performing search in the field of baroque music, in particular, in those aspects, which in the classicalromantic tradition are considered unambiguously fixed in the musical text. The following methods were used in the study: historical (analysed the dynamics of changes in the performing tradition of Bach's motets), the method of generalization (based on the study of musicological literature generalized arguments in favour of three types of performing motets). Main results and conclusions. Based on the analysis of information from German-language musicological research, it is stated that in the time of Bach there were three types of performance for his motets: 1) a cappella, 2) with basso continuo, 3) with basso continuo and instruments colla parte. Arguments for each type are systematized depending on whether they come from the study of historical context (external) or based on the study of the original musical text of motets (internal). It is noted that the plurality of variants of the performance composition allowed in today's practice should be realized by the conductor, who should not unconditionally accept the performance version proposed in the motets edition as the only correct one. The choice of performance is made by the conductor depending on the specifics of the performance situation.

Previously Unknown Sources for Johann Philipp Kirnberger’s Flute Sonatas Found in the Former Rzewuski Music Collection from Podhorce (Pidhirtsi)

The music-related sources kept at Tarnów Municipal Library (Department of Early Prints and Nineteenth-Century Books) include manuscripts (PL-TAb 44, PL-TAb 45) which once belonged to the music collection of Wacław Rzewuski’s court ensemble in Podhorce (Pidhirtsi in Ukrainian). These manuscripts contain anonymously entered sonatas for flute and basso continuo, one of which has been recognised as the Sonata in E flat minor by Johann Philipp Kirnberger, previously only known from a Berlin copy. On the basis of comparative analysis with other extant sources, the Sonata in F sharp major found in the same manuscripts can also be attributed to Kirnberger.

G. Ph. Telemann’s Concertos for Four Violins withoutbassocontinuoin the aspect of onomatopoeic and figurative rhetoric

Statement of the problem. In musicology there has long been a tacit belief that Baroque music is the music of rhetoric, rhetorical figures and affects. In Baroque aesthetics, rhetoric, which is an important element of Baroque poetics, is perceived as an integral part of the content of a musical piece that together with form, harmony, counterpoint and musical expression form its integral substance. The study of Baroque music from the perspective of the rhetorical aspect gives a clearer comprehension of the work, understanding the context, and the competent interpretation of the composer’s idea. Analysis of recent research and publication. The theoretical assumptions of this article are based both on historical treatises (M. Praetorius, Ch. Bernhard, J. Mattheson) and authoritative works of researchers who studied theoretical issues of historically informed performance of the late XX – early XXI century (D. Bartel, L. Dreyfus), including relatively new works (M. Zgółka, P. Zawistowski, A. Mocek). M. Zgółka (2016) adopts a rather traditional approach to rhetoric, which operates with rhetorical figures and affects, and at the same time offers an innovative division of rhetoric into three varieties. Referring to the most important treatises L. Dreyfus (2004) makes us think about the relevance of making parallels between oratory and musical rhetoric highlighting common features and differences. A. Mocek’s (2019) view on musical rhetoric and on the studies devoted to it is quite critical. The main objective of the study is to examine G. Ph. Telemann’s Concertos for Four Violins without basso continuo from the perspective of figurative and onomatopoeic rhetoric. The scientific novelty. In this research for the first time, Telemann’s Concertos were analyzed from the perspective of onomatopoeic and figurative rhetoric. The concept of division of rhetoric into three categories (onomatopoeic, figurative, symbolically mystical) was proposed by the Polish violinist and theorist M. Zgółka (2016). The author uses the following methods in this research: historical, typological, comparative and structural-functional analysis. Results. The analysis of four concertos demonstrates that G. Ph. Telemann uses not only figurative type of rhetoric but also onomatopoeic, successfully combining these two categories. In comparison with, for example, A. Vivaldi or H. I. F. von Biber, the palette of sound imitative techniques in the concertos of G. Ph. Telemann is not so diverse and comprehensive, however, elements of onomatopoeic rhetoric can be found both in fast and slow movements: sound of organ or bells as well as sound images of nature. The composer does not refuse from the elements of figurative rhetoric. Like in his duo sonatas, these are mainly represented by figures that describe a melodic motion. Such techniques are often found in polyphonic quick movements. In the lyrical slow movements, similarly to the duo sonatas, harmony, polyphony and intervals are brought to the fore. Conclusions. G. Ph. Telemann’s cycle of Concertos for Four Violins without continuo is an interesting example of chamber music not only in terms of composition but also from the view point of the usage and combination of various types of musical rhetoric. Knowledge of the rhetorical component brings researchers and performers to a new, more comprehensive level of understanding of the composer’s music, allowing us to consider the emotional content not only of the work as a whole, but also of each single intonation.

Pommern tiefer Lage (Bombardi, Bombardoni, Bomharte) als Bestandteil des Basso-continuo-Instrumentariums

Die französischen Holzblasinstrumente Oboe und Fagott hatten im Bereich kirchlicher Figuralmusik eine neue Situation geschaffen: Ihre die Klangnatur wesentlich mitprägende Einstimmung im "Kammerton" war um zwei Halbtöne ("hoher Kammerton") oder sogar drei Halbtöne ("tiefer Kammerton") tiefer als der über Jahrhunderte etablierte (und bis ins mittlere 19. Jahrhundert in Gebrauch bleibende) "Chorton" der Orgel. Als Lösung für ein Zusammenwirken bot sich an, die Komposition insgesamt nach wie vor am Chorton der Orgel auszurichten, Oboen- und Fagottstimmen aber zu transponieren, wie Johann Sebastian Bach es vor seiner Leipziger Zeit tat. Oder (wie in Leipzig von Bachs Vorgänger Kuhnau praktiziert) die Komposition orientierte sich am ("hohen") Kammerton, der für das gesamte Ensemble galt, während die Continuo-Stimme für die Orgel zu transponieren war. Der "Bombardo", der hier näher bestimmt wird, erweist sich durch seine Chortonstimmung als Instrument einer gegenüber Oboe und Fagott älteren Generation, das hier auch unter erheblich veränderten Gegebenheiten des Ensemblemusizierens im Gebrauch bleibt.

Madrigals, Part 5

Marco da Gagliano's Quinto libro de madrigali a cinque voci was published in October 1608, a little less than two years after his previous book. It contains fourteen madrigals for five voices and one for seven, all composed by Gagliano. The poets represented include Giambattista Marino, Giovanbattista Strozzi, both the older and the younger, Cosimo Galletti, and Ottavio Rinuccini. The madrigals of book 5 are quite varied in their style and their treatment of text. Many are light and remarkably concise, like the canzonetta-influenced madrigals of the Quarto libro, and most often set text syllabically to shorter rhythmic values in motives that alternate between homophony (or near homophony) and polyphony, imitative or nonimitative. Some, however, set poetry very differently. A three-part setting of a Marino sonnet, for instance, is filled with virtuoso melisma, probably intended for the professional singers of the Medici court. Book 5 also includes a concertato madrigal for seven singers and basso continuo that bears the prescriptive direction “per cantare e sonare” (for voices and instruments) in the basso partbook. Although there is no notational indication of instruments, the basso part lacks text for several measures, and it is likely that it was performed with improvised chords on an instrument. The book also contains two threnodies for Count Cammillo della Gheradesca that are in a somber and more traditional polyphony and contrast with the rest of the book's contents.

ОРКЕСТРОВКА ПЕРШОГО КОНЦЕРТУ ДЛЯ ГОБОЯ З ОРКЕСТРОМ ЛЮДВІГА ЛЕБРЕНА І ТРАДИЦІЇ МАНГАЙМСЬКОЇ ШКОЛИ

Мета статті – проаналізувати оркестровку Першого концерту для гобоя з оркестром Л. Лебрена у світлі традицій Мангаймської школи і стилістичного зсуву від бароко до класицизму. Методологія. Аналіз партитур застосовано для виявлення характерних особливостей викладу в оркестрі у Л. Лебрена; компаративний метод – для порівняння оркестрування у Л. Лебрена та інших композиторів Мангаймської школи; історичний – для контекстуалізації концертів до відповідної епохи. Наукова новизна. Вперше зазначено, що особливостями викладу в оркестрі композиторів- мангаймців треба вважати не лише уславлені crescendi i diminuendi, особливості атаки звуку, злагодженість рухів смичків, відмову від basso continuo, а функціональний перерозподіл інструментів в оркестрі та трансформацію ставлення композиторів до ролі оркестру в жанрі концерту. В цьому контексті й проаналізовано оркестровку Першого концерту для гобоя з оркестром Л. Лебрена. Висновки. Визначено, що Л. Лебрен продовжує традицію, започатковану Я. і К. Стаміцами, прямого впливу вибору соліста на інструментальний склад оркестру. Аналіз особливостей тембру різних дерев’яних духових доводить невипадковість інструментальних комбінацій. Продемонстровано дієвість впливу на модифікацію музичних образів флейт, визначено роль литаврів як «перемикачів настрою». Підкреслено значення переоркестрування для трансформації музичних образів, наголошено на частішому використанні цього прийому композиторами-мангаймцями, порівнюючи з бароковими композиторами. Вказано, що зміни у ставленні до виразності оркестру, кореляція між вибором соліста і складом оркестру, роль переоркестрування у трансформації музичного образу у Концерті Л. Лебрена віддзеркалюють традиції Мангаймської школи та відбивають характер Концерту.

Mutual Influence of The Orchestra and Concerto Principle in The 16th – First Half of The 17th Centuries

The interaction between the evolution of the orchestra and the concerto at the end of the late 16th — first half of the 17th centuries has been considered. Three levels of interaction are revealed. The first one is the basso continuo. There is little attention paid to the importance of this technique for the formation of the orchestra: the impact on the formation of instrumentalists’ collectives through the appearance of a homophonic way of presentation; combining different forces of sound of instruments; strengthening the bass line as a solid foundation for the entire vertical structure. The second level is the concerto principle. It is emphasized that during the 16th century the concerto meant ―ensemble‖ of any configuration. The strengthening of the instrumental component in the works of M. Uccellini, I. Baccusi, A. and J. Gabrieli, A. Banchieri had an impact on the transformation of the concerto principle. Initially, the principle appeared through the opposition of pitches and density of texture, eventually extends to the comparison of instrumental, mixed vocal-instrumental and vocal groups, thus stimulating contrast in the middle of an instrumental groups such as ensemble and orchestra. The third level of the interaction is embodied in the genre of madrigal (C. Monteverdi). It seems that the release of instruments, the diversification of their functions, the rejection of the permanent exact duplications and the increased role of the timbre obviously require an instrumental body as a stable structure for the implementation of all above mentioned. The development of musical instruments, the diversification of their functions, the use of sinfonia and ritornellos in the choral composition became a driven force for the modification of the concerto principle resulted in the intensification of the competitive origin in the orchestra with each decade. All the above encourages to revise the depth of interaction between the orchestra and concerto. The orchestra as an organized and multi-instrumental collective, designed to exhibit music beyond the church or theatrical genres, becomes the institutional basis for the embodiment of the concerto principle in a particular genre of the instrumental concerto.

The Small Imitation Form in the Sacred Chorale Concertos by Samuel Scheidt

Известный немецкий теоретик музыки XVII века Вольфганг Каспар Принц в труде „Historische Beschreibung der edelen Sing- und Kling-Kunst“ («Историческое описание благородного искусства вокальной и инструментальной музыки», 1690) назвал Генриха Шютца, Иоганна Германа Шейна и Самуэля Шейдта тремя лучшими композиторами их времени в Германии. Композиторское письмо двух из упомянутых Принцем персон, Шейна и Шейдта, остается малоизученным в отечественном музыкознании. В статье рассматривается малая имитационная форма в хоральных концертах Шейдта из собрания „Geistliche Concerte“ («Духовные концерты»), четыре части которого были опубликованы в 1631, 1634, 1635 и 1640 годах. Тридцатилетняя война (1618–1648), непосредственно коснувшаяся Шейдта, стала причиной обращения композитора к разновидности вокального духовного концерта для небольшого состава, включающего несколько вокальных голосов (в концертах Шейдта это, как правило, три партии) и бассо континуо. Исследуются тексто-музыкальные единицы, образующиеся на основе строки или сегмента строки хорала и становящиеся материалом для имитации, раскрываются особенности имитационной техники, выявляется связь свободной части малой имитационной формы с типом обработки — Cantionalsatz, типологизируются структуры, различающиеся порядком поступления материала строки в малую имитационную форму. В конце статьи прослеживаются изменения, которые претерпевает малая имитационная форма в хоральных концертах по сравнению с хоральными мотетами из первого собрания вокальной музыки Шейдта “Cantiones sacrae” («Священные песнопения», 1620). The famous German music theorist of the 17th century, Wolfgang Caspar Printz, in his work „Historische Beschreibung der edelen Sing- und Kling-Kunst“ (“Historical Description of the Noble Art of Vocal and Instrumental Music”, 1690) named Heinrich Schütz, Johann Hermann Schein and Samuel Scheidt as the three best composers of their time in Germany, the compositional technique of two of them, Schein and Scheidt, remaining poorly studied in Russian musicology. The article examines the small imitation form in Scheidt’s chorale concertos from the „Geistliche Concerte“ (“Sacred Concertos”) collection, four parts of which were published in 1631, 1634, 1635 and 1640. The Thirty Years’ War (1618–1648), which directly affected Scheidt, caused the composer to turn to a kind of vocal sacred concerto for a small cast, including few voices (in Scheidt’s concertos, these are, as a rule, three parts) and basso continuo in the organ. The textual-and-musical units that are formed on the basis of a chorale line or a segment of a line and become the material for imitation are investigated; the features of the imitation technique are revealed; a connection of the free part with the type of arrangement — Cantionalsatz, is established, mapping the structures that differ in the order in which the line material arrives in the small imitation form. At the end of the article, the changes are traced that the small imitation form has undergone in chorale concertos in comparison with chorale motets from Scheidt’s first collection of vocal music “Cantiones sacrae” (“Sacred chants”, 1620).

Accompanied Solfeggio

The chapter provides a survey of the history of accompanied solfeggio from its origins in late sixteenth-century monody and basso continuo to flamboyant rococo arias and nineteenth-century exercises in composition. Three case studies provide an overview of the main didactic functions of the Type 3 solfeggio: (1) an expert critique of Italian bel canto in the form of a parody by Mozart, (2) a typical object of its mockery in the form of a bravura study by the castrato Farinelli, and (3) a lesson in composition by Zingarelli. The chapter then investigates the closeness of the relation between the contrasting solfeggi that made up multi-movement lessons by comparing slow-fast pairs by Leo and Cafaro. Did they record alternative renditions of the same underlying cantus firmus?