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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)
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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mus
icolo
gy.fi
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ordp
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3/01
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09-m
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Exordium (ethos/authority), mm.1-69
subject
∑ ∑ ∑ ∑
Each bar is counted double to match
Dirksen's critical edition
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##
= evaded cadence
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Jan Pieterszoon Sweelinck (1562-1621)
Chromatic Fantasia (c.1600-1621)
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70
77
82
87
94
103
109
115
124
&
Medium (logos/logic), mm.70-170
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133
140
145
149
154
158
161
165
168
&
Medium, cont. (logos/logic), mm.70-170
CS9
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171
!
176
182
186
189
194
&
Finis (pathos/emotion), mm.171-197
S
S
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S in paired imitation
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complexio = repetition of initial passage at end
congeries = "piling up" of synonyms
S
fuga realis = stretto
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14