The Heartz: A Galant Schema from Corelli to Mozart. John A. Rice

Transcription

1 The Heatz: A Galant Schema fom Coelli to Mozat ohn A. Rice This is a pe-publication vesion of a pape published in Music Theoy Spectum 7 (20): Abstact: Daniel Heatz has called attention to passages in eighteenth-centuy music with subdominant hamony ove a tonic pedal, which convey a sweetness and tendeness chaacteistic of a cetain stain of the galant style. These passages can be descibed as elaboations of a voice-leading schema in which a melody moves fom the fifth scale degee to the sixth and then etuns to the fifth, ove a bass that sustains the fist scale degee. I call this schema the Heatz and demonstate how composes fom Coelli to Mozat used it as an opening gambit and a iposte in vocal and instumental music. Daniel Heatz (with whom I had the pivilege of studying at the Univesity of Califonia, Bekeley fom 980 to 987) has epeatedly called attention to passages in eighteenthcentuy music with subdominant hamony ove a tonic pedal. These passages convey, fo him, a sweetness and tendeness chaacteistic of a cetain stain of the galant style. Of Leonado Leo s aia Non so; con dolce moto (Cio iconosciuto, Tuin, 77; Example ), he wites: the dolce moto he sets to the sweet sounds of the subdominant in 6/ position. Leo s Salve Regina (Example 2) has a typically Neapolitan sweetness, with emphasis on the tonal elaxation povided by the subdominant chod. 2 In a flute sonata by Pieto Antonio Locatelli (published in 72; Example ) Heatz calls attention to the suavity lent to it by the long subdominant hamony ove a tonic pedal. In Colla bocca e non col coe, Rosina s fist aia in Mozat s La finta semplice (Vienna, 768; Example ), the violins in thids... intone a ising melody with chomatically aised fifth degee,... the aival of the sixth degee binging with it subdominant hamony in 6/ position. The sensuous and capicious Rosina is thus captued in a musical potait even befoe she begins to sing. Anothe Rosina s aia, Giusto ciel, che conoscete (Example ) in Giovanni Paisiello s Il babiee di Siviglia (St. Petesbug, 782), is chaacteized by the vey tende pogession of subdominant six-fou chod to tonic. Heatz (200, 8). 2 Heatz (200, 8). Heatz (200, 2). Heatz (99, 9). Heatz (990, ).

2 2 EXAMPLE. Leonado Leo, Cio iconosciuto, act 2, Non so; con dolce moto, mm. 7, fom a keyboad-vocal scoe (on two staves) published in ohann Fiedich Reichadt s Musikalisches Kunstmagazin (782), epoduced in facsimile in Heatz (200, 6 7). Tanslation: I do not know. With a gentle motion my heat tembles in my beast. Lago e con gusto b b Astiage Non so; b con dol - ce mo - to il co mi te-main pet -. R to EXAMPLE 2. Leo, Salve Regina in F, mm., fom Heatz (200, 9) Lago b Stings f p f p b 6 n f p EXAMPLE. Pieto Antonio Locatelli, Flute Sonata in A, Op. 2, No. 7, II, mm. 7, fom Heatz (200, 2). f. b b Lago Flute, Basso EXAMPLE. Wolfgang Amadeus Mozat, La finta semplice, act, Colla bocca e non col coe, mm. 2 Andante. 2 p Stings, Flutes Í..

3 EXAMPLE. Giovanni Paisiello, Il babiee di Siviglia, act 2, Giusto ciel che conoscete, mm. 2. Tanslation: ust heaven, you know how sincee my heat is. b b b b b b b b b Laghetto Rosina R R Giu- sto ciel che co - no - sce - te quan-toil co o - ne - sto. R p Stings b b b b b b. Hons b b b. si - a, quan toil co o - Bassoons Clainets Bassoons.. 2 b b b b b b b b b Stings ne sto si - a Clainets. It is no accident that all thee of the opea aias cited by Heatz contain the wod coe (also spelled co). Eighteenth-centuy opea composes associated the sonic sweetness of the subdominant chod ove a tonic pedal with the tende emotions of the human heat. The 6/ chods in all these passages ae neighboing 6/ chods (also called pedal o auxiliay 6/ chods). Dmiti Tymoczko has agued that the vast maoity of neighboing 6/ chods fall into ust a couple idioms o schemas chiefly I IV6/ I and V I6/ V. He has uged the abandonment of the tem neighboing 6/ chod in favo of an idiomatic o schema-based explanation of the passages in which it occus, which coectly gives the expectation that thee ae ust a couple of elevant

4 pogessions, occuing on specific scale degees, and expessing specific hamonic functions. 6 Looked at fom the point of view of the voice-leading schemata named and exploed by Robet O. Gedingen, and theoized in depth by Vasili Byos, 7 the passages quoted above can be descibed as elaboations of a schema ecently efeed to by Byos as the Sol-La-Sol in which a melody moves fom the fifth scale degee to the sixth and then etuns to the fifth, ove a bass that sustains the fist scale degee. 8 Gedingen quotes such a passage at the beginning of an aia in Leo s Olimpiade (Naples, 77). In Non so donde viene, King Clistene tells of the unfamilia feelings that come ove him as he sentences a young man to death, unawae that the youth is his own son. Again the heat is the souce of emotion, but the libettist Pieto Metastasio used petto instead of coe to satisfy the equiements of hyme: Non so donde viene I know not the souce of Quel teneo affetto: that tende affection, Quel moto ignoto that motion that suges Mi nasce nel petto: unknown in my bosom: Quel gel che le vene that chill which now seizes Scoendo mi va. my soul though and though. 9 The melody s motion ove a tonic pedal, beautifully decoated with leaps fom up to and down again to, conveys the tende affection of Clistene s heat (Example 6; in this and all subsequent musical examples, and in the text, I follow Gedingen in using black disks to efe to scale degees in the melody, and white disks to efe to scale degees in the bass). Gedingen descibes measues 7 8 as an opening gambit and measues 9 20 as the beginning of a Pinne in which a Meye is embedded. 0 I would ague that measues 7 20 togethe constitute a schema that is both common and distinctive enough to deseve its own name and a place among the galant schemata. I call it the Heatz, in acknowledgment of Daniel Heatz s ecognition of it as a chaacteistic and expessively potent element of the galant style, and also as a eminde of the fequency with which composes used it to communicate the meaning of texts that include the Italian wod fo heat. 6 Remaks by Dmiti Tymoczko, 20 Octobe 20, on consulted on 2 une Byos (202a) and Byos (202b), building on and extending the wok of Leonad Meye and Gedingen. 8 Byos (20, 22) uses Sol-La-Sol in efeence to one of the galant scale-degee schemata in the fist movement of Mozat s Piano Sonata in C, K The passage, with the tonic pedal shifted to a middle pat, is atypical of the schema discussed hee. 9 Fist stanza only; tanslation fom Gedingen (2007, 297). 0 Gedingen (2007, 0). On the Pinne see Gedingen (2007, 60); on the Meye, Gedingen (2007, 6).

5 EXAMPLE 6. Leo, Olimpiade, act, Non so donde viene, mm. 7 22, afte an annotated edition of the aia in Gedingen (2007, 00 08) and I-Nc, manuscipt Rai Tanslation: I know not the souce of that tende affection. Gedingen s annotations in italics, mine in oman. OPENING GAMBIT Laghetto Clistene V b b b b b b 2 V b b Non Stings. so don - de vie - ne quel te - ne - oaf - fet - to, quel p b b. b b te - ne - o af - fet - b b b b b % b to PRINNER b. b b I shae Gedingen s eluctance to associate a paticula voice-leading schema with paticula exta-musical meanings. Many schemata ae topically neutal: they do not communicate meaning though the system of musical topics, intensively exploed duing the last thity yeas by Leonad Ratne, Wye Allenbook, Robet Hatten, Raymond Monelle, Kofi Agawu, William Caplin, and othes, and the subect of a fothcoming book. 2 But some schemata do convey, o have the potential to convey, meaning, as Gedingen implied with the Italian names he gave them: the Quiescenza ( a state of epose o inactivity ) and the Indugio ( a playful taying o lingeing ). Likewise the Heatz is not only a melodic-hamonic famewok but also a gestue that can, in combination with othe musical paametes, communicate the idea of intense, heatfelt emotion. Thus we might be ustified in thinking of the Heatz not only as voice-leading schema but also as a topic. Table pesents a pototype of the Heatz. It diffes fom most galant schemata in its symmety: both the melody and the bass begin and end on the same scale degee. In this it esembles the Quiescenza, with which it can sometimes be confused. Both schemata featue a tonic pedal and a melody that moves to and then away fom it. But b MEYER Gedingen (2007, 20). 2 Mika, ed. (fothcoming). On the Quiescenza see Gedingen (2007, 8 9). On the Indugio see Gedingen (2007, 27 8). Modeled on those in Gedingen (2007, 6), but without indicating stength of metic position.

6 6 the Heatz diffes melodically fom the Quiescenza in stating and ending on, not, and in appoaching fom below, not above. 6 The Heatz pesents a melodic polongation of, the Quiescenza a melodic polongation of. Table. The Heatz: Schema Pototype Scale degee in the melody Sonoity, in intevals above the bass 6 Scale degee in the bass In all the passages illustated so fa, and most of the examples that follow, the Heatz is followed by a descent. In many of these cases, the Heatz, as a polongation of, can be head as the fist stage in a lage schema, the Sol-Fa-Mi. 7 The pevasiveness of the Heatz in eighteenth-centuy music is thus pat of a lage stoy: the fequency with which composes depended on the Sol-Fa-Mi as a melodic famewok. Because the Heatz is so often followed by, listenes may be sometimes tempted to hea its concluding (as Gedingen heas measues 9 20 in Example 6) as the beginning of a Pinne. But seveal musical paametes typically discouage us fom intepeting the Heatz s this way. Fist, it is accompanied by in bass, not the Pinne s nomal. Second, the Heatz is often diffeentiated fom what follows by a distinctive textue (such as the boken chods in eighth-notes undepinning the Heatz and only it in Example 6). Thid, the music that follows the Heatz often has its own schematic identity (e.g. the Meye in Example 6). Although composes bon between 690 and 770 used the Heatz with paticula fequency, composes bon ealie also used it typically as one element of a pastoal topic, defined by seveal musical paametes, including tempo, mete, and key, in addition to the Heatz s tonic pedal and subdominant hamony. 8 Both Coelli and Handel associated the Heatz with shepheds, the tonic pedal epesenting the done of ustic bagpipes: Coelli in the concluding Pastoale of his Conceto pe la notte di Natale, Op. 6, No. 8 (pobably witten aound 690; Example 7) 9 and Handel in the Musette of his Conceto Gosso, Op. 6, No. 6 (79), embedding a shot Heatz within a longe one 6 A passage in Niccolò ommelli s duet La desta ti chiedo that Gedingen (2007, 2, mm. 20 2) divides into two segments, each labelled Quiescenza, consists of two ovelapping Heatzes. Hepokoski and Dacy (2006, 0) conflate, within what they efe to as the 8 b7 6 nat7 8 patten, passages that can usefully be distinguished as Quiescenzas o Heatzes, fo example descibing a passage in Mozat s Piano Sonata in D, K. 28, I, mm. 9 2, as two loops of the patten, liteally in mm. 9 0, implicit in mm. 2. I pefe to say that Mozat clevely exploited the kinship between the Heatz and the Quiescenza, pesenting a two-measue phase in a ising sequence, fist as a Quiescenza, then as a Heatz. 7 On the Sol-Fa-Mi see Gedingen (2007, 2 62). 8 The scholaly liteatue on the pastoal topic is vast; fo a thoough discussion and bibliogaphy see Monelle (2006, 8 27). 9 Quoted and discussed in Monelle (2006, 229 0).

7 7 (Example 8), and the Pastoal Symphony in Messiah (7). Similaly pastoal (though not explicitly labelled as such) is the siciliano-like Lago by Locatelli (bon in 69) shown in Example. EXAMPLE 7. Acangelo Coelli, Conceto Gosso fatto pe la notte di Natale, Op. 6, No. 8, Pastoale, mm. Lago Stings EXAMPLE 8. Geoge Fideic Handel, Conceto Gosso, Op. 6, No. 6, III (Musette), mm. 7 b b b b Laghetto b.. b. b. b.. b b. b. 6b 6 b 6 Opea composes found such sonoities iesistable. They often sepaated them fom thei pastoal associations (and fom the 6/8 and 2/8 metes so chaacteistic of the pastoal topic) and used them instead to expess heatfelt emotions, pehaps sensing an anology between the melodic ise and fall,, and the expansion and contaction of a chaacte s chest as he o she sighs. They eplaced the pastoal done with epeated eighth-notes o quate-notes, the pulsing bass conveying the hythm of the heat to which libettists so often efeed in thei poety. In an ealy example of the non-pastoal Heatz, Antonio Lotti, setting yet anothe text with the wod co, used two Heatzes in the final duet of Teofane (Desden, 79; Example 9). He ealized the Heatz s as an appoggiatua, setting an example fo many subsequent uses of the schema.

8 8 EXAMPLE 9. Antonio Lotti, Teofane, act, A tenei affetti, mm. 6 2, fom Heatz (200, 0). Tanslation: Let the heat suende to gentle emotions; let those who enoy such pleasue foget sadness. b 2 Teofane, Ottone b 2 20 b b A' te - ne - iaf - fet - ti il co s'ab - ban - do - ni al Stings (violins doubling voices) b appoggiatua appoggiatua HALF CADENCE duo - lo pe - do - ni chi go - de co - si The Heatz became a standad pat of the galant vocabulay by the mid 720s. Leonado Vinci s opea Enelinda (Naples, 726) exemplifies the schema in a wide vaiety of duations. It also shows how the Heatz typically seved to open a movement, as the fist element in a boade Sol-Fa-Mi. The aia Sento che dice al coe begins with a thee-measue Heatz: the opening gambit in a seven-measue A B B melody (Example 0). Like the Sol-Fa-Mi in Ex. 2 and 6, this one ends with a Meye; but hee the epetition of the Meye within the A B B melody encouages us to hea the Meye as a sepaate schema as well as pat of the lage Sol-Fa-Mi. That, in tun, helps us hea the Heatz as a sepaate schema as well a peception confimed by the oscilating sixteenth-notes that accompany the Heatz but not the Meye. Anothe aia in Enelinda, Sì, t intendo, begins with not one but a fluy of shot Heatzes in both the vocal line and the ochesta (Example ). As in Sento che dice al coe the pedal point and the distinctive accompanimental patten make it possible to hea the Heatzes, collectively, as a distinct musical gestue, sepaate fom the cadence that follows (and sepaate fom the Sol-Fa-Mi of which both the Heatzes and the cadence ae pats). The Heatzes in Sì, t intendo constitute (like those in Lotti s A tenei affetti ) a seies of appoggiatuas, thus exemplying anothe common featue of the Heatz in geneal.

9 9 EXAMPLE 0. Leonado Vinci, Enelinda, act, Sento che dice al coe, mm. 20, I-Nc, manuscipt Rai Tanslation: I hea a flatteing hope speaking to my heat. Andante. R Sen - to che di - ceal co MEYER e la Stings p 7 %. end of epeated MEYER epeated %.. spe - me lu - sin - ghie - a, la spe - me lu - sin - gie - a... EXAMPLE. Vinci, Enelinda, act, Sì, t intendo, mm.. Tanslation: Yes, I undestand you, taito. Eduige b 2 b 2 b 2 Sì, Stings t'in - ten - do, t'in - ten - do, o ta - di - to - e In a final except fom Enelinda, fom the aia Soge taloa, the thid stage of the Heatz again takes the fom of an appoggiatua, whose stuctual impotance the violins emphasize by momentaily inteupting thei othewise constant tiplets (Example 2).

10 0 EXAMPLE 2. Vinci, Enelinda, act 2, Soge taloa, mm Tanslation: Sometimes a dak dawn ises, then the sky, without a vail of clouds. Andante Vitige c c Stings p c. So - ge ta - lo - a fo - sca l'au - o - a.. appoggiatua poi sen - za ve - lo di nu - beil cie - lo CONVERGING CADENCE % We do not know fo sue the autho of a paticulaly lovely inteaction of Heatz and Pinne in the fist act of a setting of Metastasio s libetto Demofoonte; it was most likely composed in Naples in the mid-70s by eithe Domenico Sao o Leo. 20 The shipweck aia Speai vicino il lido begins with a melody that unusually fo the peiod consists of only the fist line of text (Example ). The Heatz begins with this line of text, and fo its completion the compose epeated only the fist wod, Speai. To complete the poetic line, and the melody, he pesented the est of the wods ( vicino il lido ) in a Pinne. The music clealy diffeentiates the Heatz and the Pinne, but the text bings them togethe. This passage exemplifies a featue of many Heatzes: the full line is appaent only in the accompaniment. The busy boken-chod figuation, depicting ocean waves, will play an impotant ole in many late Heatzes. 20 The manuscipt in which this Demofoonte is peseved (Naples, Consevatoio San Pieto a Maella, Rai 7.., available on the Intenet Cultuale and IMSLP websites) may coespond to a poduction of the opea (Naples, 7) with music by thee composes: Domenico Sao (act ), Fancesco Mancini (act 2), and Leonado Leo (act ). Howeve, two numbes in act 2 ae attibuted to Leo in othe manuscipts, aising the possibility that the entie opea is by Leo.

11 EXAMPLE. Domenico Sao o Leo, Demofoonte, act, Speai vicino al lido, mm. 7, I-Nc, manuscipt Rai 7... Tanslation: I hoped the shoe was close. Laghetto Timante C C C Spe Stings, Hons - ai vi - ci - noil li - do, spe - p. 9 PRINNER a - i vi - ci - noil li - 2 do f Ó Ó Ó The pefeence that galant composes showed fo the mao mode means that mino-mode Heatzes ae quite ae. Leo used one in the last act of Demofoonte (Naples, 7), setting Timante s climactic aia, Miseo pagoletto in F mino (Example ). Timante, mistakenly believing that his wife Dicea is his siste and that his son is consequently the poduct of incest, addesses the child with hoo and pity. 2 Leo s A B B melody, with a Meye as B, follows the stuctue and schematic content of the melody by Vinci in Example 0; but the mino mode and augmented-second melodic intevals evoke a vey diffeent emotional landscape. The Heatz seems to have seved pimaily as an opening gambit in the 720s and 70s; late in the centuy it seved moe fequently as a iposte o a continuation. In ohann Adolf Hasse s Solimano (Desden, 7), the aia Fugge invano begins with a two-measue opening gambit (Example ). A Meye follows a Heatz (with the leaps we saw in Leo s Non so donde viene ), in the same succession of schemata as in Examples 2, 6, and 0). EXAMPLE. Leo, Demofoonte, act, Miseo pagoletto, mm. 7 22, I-Nc, manuscipt Rai 7... Tanslation: Poo little child, you do not know you fate 2 Fo a longe except fom this aia and discussion of the music see Heatz (200, 2 ).

12 2 Andantino gustoso Timante b b b C b b b C b b b C 20 b b b b b b Mi p Stings b b b b MEYER appoggiatua - - se - o pa - go - let - to il tuo de - stin non pf n b end of epeated n MEYER epeated b b pf n % sa - i, il tuo de - stin non sa - i. b n b n 2p % n b n b n 2p EXAMPLE. ohann Adolf Hasse, Solimano (7), act, Fugge invano, mm. 6 2, D-Dl, manuscipt Mus. 277-F-68. Tanslation: The eckless man flees in vain, seeking shelte, seeking peace. OPENING GAMBIT Molto allego Solimano V b c Fug gein b c p Stings, Oboes, Hons b c. - - va - no, in - van l'au - da - ce ce-caa appoggiatua MEYER.. f p f p 20 V b b b % si lo e ce ca.. f p - - pa - ce f

13 In using the Heatz as a iposte, composes often epeated it, taking advantage of its beginning and ending on the same scale degee (anothe way the Heatz esembles the Quiescenza, which usually occus in pais). Hasse s aia Nell oo d ata cavena (Example 6) begins with a Do-Re-Mi unfolding maestically ove six measues. A pai of Heatzes (the second embellished, again, with leaps) initiates a modulatoy passage. EXAMPLE 6. Hasse, Solimano, act, Nell oo d ata cavena, mm Tanslation: Into the hoo of the dak cave the tavele wondes thoughtfully. DO-RE-MI Andante Solimano V b b b C Nell' o b b b C b b p Stings, Hons b C 2 V b b b b b poco fote b.. - o d'a - ta ca - ve - na, d'a - suspended Hasse spent much of the 720s in Naples, woking togethe with Vinci to establish the galant style. As Kapellmeiste in Desden fom 70, he played a cucial ole in the spead of the galant fom Italy to the est of Euope. One of many composes who leaned fom his example was ohann Adam Hille, who gew up in Desden while Hasse dominated Italian opea in the Saxon capital. In Die agd (Weima, 770) Hille potayed Hannchen s sweetness and vitue with the ochestal intoduction to he fist aia, Du süsse Wohnplatz (Example 7), which ends with the line Sein Hez sey mein, wie sein mein Hez ( May his heat be mine, as my heat is his ). Music maked ta ca - ve - na tal s'in - te - na il b b b 29 V b b b b b b b b b % % pas %. Ó p % appoggiatua. R %. % appoggiatua b - - sag - gie - o e già va col suo pen - sie - o n

14 Con teneezza begins with a Heatz whose ascent Hille intensified with a chomatic appoggiatua. 22 EXAMPLE 7. ohann Adam Hille, Die agd (Weima, 770), Du süsse Wohnplatz stille Feuden, mm. 8, fom Heatz (200, ). Con teneezza b b b. b b b Stings (violins with mutes), flutes, hons. b b b... b b b n... appoggiatua b CONVERGING CADENCE n n % C. P. E. Bach s use of the Heatz exemplifies his dak, intoveted take on galant schemata. The slow movement of the Pussian Sonata No. (published in 72) is famous fo its ecitative; but ust as theatical is beginning of the movement, in which Daniel Heatz heas an elegiac, gently thobbing discouse, eplete with many sighs, which ceate a plaintive mood. 2 The F-mino Heatz with which the movement opens contibutes to this mood, as does the totuously twisted Sol-Fa-Mi in which it is embedded (Example 8). In the Magnificat (79), the aia Suscepit Isael (Example 9) again begins with a mino-mode Heatz, but this time Bach supises the listene by following it with a Pinne iposte in the elative mao. EXAMPLE 8. Cal Philipp Emanuel Bach, Pussian Sonatas, No., II, mm., fom a facsimile of the fist edition (Nuembeg, 72) in Heatz (200, 99 02) c c Andante b b. b piano b appoggiatua b b bb b n b b n b.. b b HALF CADENCE b b b 22 Fo a longe except of this ochestal intoduction and a peceptive appeciation see Heatz (200, ). 2 Heatz (200, 0).

15 EXAMPLE 9. C. P. E. Bach, Magnificat, Suscepit Isael, mm Tanslation: He has come to the help of his sevant Isael. b b b MODULATING SOL FA MI Andante Alto.. Su - sce - pit Is - a - el pu - e - um su -.. Flutes, muted stings The Venetian teenage Anna Bon enoyed the patonage of Wilhelmina, magavine of Bayeuth. Wilhelmina was the siste of C. P. E. Bach s employe Fedeick the Geat, so it is not supising that Bon s keyboad sonatas should eflect Bach s influence. He sonata in B mino (published in 77) has a slow movement in B mao that begins with a tendely polonged Heatz (Ex. 20), with two small Heatzes nested within the lage one. Fom, Bon made the same yeaning leap up to that we saw in Leo s Non so donde viene and Hasse s Fugge invano and Nell oo d ata cavena (see Examples 6,, and ). To complete the lage Sol-Fa-Mi Bon had ecouse to a schema used aely in this context, the upite. EXAMPLE 20. Anna Bon, Keyboad Sonata in B mino, II, mm PRINNER IN F MAOR.. um. Adagio non molto UPITER appoggiatua.. %.. Composes using the Heatz in instumental music liked to deploy the exciting boken-chod accompaniments and ising apeggios that animate such aias as Speai vicino il lido (see Example ). In doing so, they sometimes made music with hadly a tace of the tendeness and sweetness with which Vinci, Leo, and Bon imbued the schema. oseph Haydn could have absobed the Heatz fom Nicola Popoa, the Neapolitan maste fom whom he leaned the tue fundamentals of composition. 2 In an ealy Keyboad Sonata in C, Hob. XVI: (witten befoe 766) he assigned the ising apeggios to the ight hand and the boken chods, in the fom of an Albeti bass, to the left (Example 2). By epeating he gave his melody the same A-B-B shape as the 2 See Diegaten (20).

16 6 opening melodies of Vinci s Sento che dice al coe (Example 0) and Leo s Miseo pagoletto (Example ). Haydn s opening theme could easily have seved as the accompaniment fo an aia such as those of Vinci and Leo; but it lacks the melodic line that listenes could have associated with an opeatic chaacte s expession of heatfelt emotion. EXAMPLE 2. oseph Haydn, Keyboad Sonata in C, Hob. XVI:,, mm. 7 c c Allego M M M M Mozat leaned the Heatz along with many othe voice-leading schemata as a boy. 2 A keyboad piece in C mao, K. 9a, which Mozat wote at the age of eight o theeabouts, in 76 o 76 (without tempo making, but pesumably an allego; Example 22) begins with tiadic ascent that may seem to have nothing to do with the EXAMPLE 22. Mozat, Keyboad Piece in C mao, K. 9a (76 6), mm. 6 end of epeated M M M CONVERGING CADENCE n DO-MI-SOL c c - appoggiatua % 2 On Mozat s childhood appopiation of galant schemata as documented in his ealy keyboad woks see Gedingen (2007, 7).

17 7 Heatz. But if, encouaged by the Albeti bass, we hea measues as a single musical gestue, that gestue eveals itself as a Heatz and the fist stage of an even boade Sol- Fa-Mi. 26 Mozat found othe ways to elongate the Heatz, stetching it out to six measues in the opening movement of his Symphony No. 7, K. (768). The Heatz seves hee as a esponse: the fist pat of an ABB melody (Example 2, mm. 7 6) whose schematic content is identical to that of the beginning of Haydn s Sonata in C, except that Haydn s melody ends with a half cadence. Mozat s Sol-Fa-Mi is twice as long as Haydn s. EXAMPLE 2. Mozat, Symphony No. 7, K., I, mm. 6 Allego DO-RE-MI c Stings, Oboes, f Hons, Tumpets, p Timpani c CADENCE.. Stings CADENCE.. f Full Ochesta DO-RE-MI p % f f p f end of epeated Gedingen (2007, 7), quoting this passage only fom the beginning of measue, heas mm. 6 as a Pinne.

18 8 EXAMPLE 2. Mozat, Violin Conceto No., K. 207, III, mm. 7 Pesto b b 2 b b 2 f 7 b b OPENING GAMBIT: I-V oscillation... b b b b b b... CADENCE EXAMPLE 2. Mozat, Piano Conceto No. 2, K. 67, III, mm Allego @

19 9 Although the passages ust quoted demonstate Mozat s continued inteest in the Heatz as a means of continuation and intensification, he also made use of it as an opening gambit. Of the beginning of his Piano Conceto in G, K. (78; Example 26) Daniel Heatz wote: only the tonic and subdominant ae head, lending the poceedings a vey soothing and elaxed quality and establishing a paticula mood of blissful ease. 27 ames Hepokoski and Waen Dacy include this idea among themes exemplifying the cicula 8 b7 6 nat7 8 patten (conflating Gedingen s Quiescenza and the Heatz); 28 but because it begins and ends on, not, I pefe to hea it as an unusually long Heatz athe than a Quiescenza. EXAMPLE 26. Mozat, Piano Conceto No. 7, K., I, mm. 9 c. p c Allego Stings... + Hons (tonic pedal) Ó Ó Ó... n Ó Ó Ó Given the impotance of the Heatz in Italian opea and in Mozat s concetos, we should expect to find it in Mozat s opeas. In Così fan tutte (790), Mozat used the schema so often in esponse to this opea s Neapolitan setting that it became pat of the dama s distinctive colo. With the pominent sound of the Heatz nea the beginning of the ovetue fist in the fom of a quick alteation of tonic and subdominant chods, then in a moe leisuely unfolding of the schema ove six measues (Example 27) Mozat announced its impotance thoughout the opea. Lovingly elaboating the Heatz and othe schemata in a ich textue of inteweaving voices, instumental as well as vocal, Mozat showed himself in Così fan tutte to be the ultimate hei and geatest genius of the galant style. 29 n Ó Winds Ó 27 Heatz (2009, 96 97). 28 Hepokoski and Dacy (2006, 92). 29 Heatz (200, 007).

20 20 EXAMPLE 27. Mozat, Così fan tutte, ovetue, mm. 2 7 C C Pesto f Full Ochesta Oboe 0 b Flute b CADENZA DOPPIA Flute w Oboe, Bassoon w Gedingen agues that many of the schemata he discusses wee passed fom one geneation of composes to anothe by means of patimenti lines, mostly base lines without figues, that young musicians leaned to use as the basis fo impovisation and composition. Gedingen and Giogio Sanguinetti analyze patimenti as consisting, in pat, of some of the schemata that seved eighteenth-centuy musicians as compositional famewoks. 0 But evidence fo the Heatz is hade to find in patimenti than its ubiquity in eighteenth-centuy music would lead us to expect, pobably because teaches of composition wee eluctant to give thei students bass lines with a single pitch epeated ove seveal measues. They may have felt that thei students could easily lean the Heatz by ea. Yet two students of the geat Neapolitan maste Fancesco Duante did povide ae oppotunities fo thei students to pactice the Heatz. Fedele Fenaoli gave an ole fo the schema in his Patimento No. in E mao, in his Libo pimo (Example 28). Afte modulating fom the tonic to the dominant and cadencing thee, Fenaoli laid down a pedal point on B, decoated with leading tones (like Hille s pedal point in Example 6). The altenating figues /, 6/, /, 6/, invite the student to play two ovelapping Heatzes. Nea the end of the patimento the passage etuns in the tonic. 0 See Gedingen (2007) and Sanguinetti (202).

21 2 Giacomo Insanguine, who used two-pat solfeggi to teach the elements of composition, showed in his Solfeggio 2 (Example 29) how the Heatz could be pat of a Sol-Fa-Mi and at the same time maintain its own identity. EXAMPLE 28. Fedele Fenaoli, Libo pimo, Patimento No. in E mao, as tanscibed by Robet O. Gedingen on the website Monuments of Patimenti : consulted on 2 May 20, mm. 8 6 c EXAMPLE 29. Giacomo Insanguine, Solfeggio No. 2 (ca. 780s), as tanscibed in Gedingen (2007, 8). c c appoggiatua I intepet Gedingen s Music in the Galant Style, using one of his favoite phases, as an opening gambit: both he and othe scholas should feel fee to change his list of schemata as ou knowledge of the music they descibe changes. Like most of the schemata named by Gedingen, the Heatz has been head, enoyed, and ecognized by musicians and listenes fo centuies, and neve moe peceptively and appeciatively than by Daniel Heatz himself. I hope that by naming this schema and pointing out a few examples of its use, I will encouage eades to include the Heatz in futue discussions of the music of which it foms a pat. Gedingen (2007, 8) descibes this passage as a Pinne iposte with a tiadic flouish ; but the absence of the full Pinne bass makes me eluctant to accept that intepetation.

22 22 WORKS CITED Byos, Vasili, 202a. Uneathing the Past: Theoy and Acheology in Robet Gedingen s Music in the Galant Style, Music Analysis : 2 2 Byos, Vasili, 202b. Meye s Anvil: Revisiting the Schema Concept, Music Analysis : 27 6 Byos, Vasili, 20. Tazom s Wit: Communicative Stategies in a Popula yet Difficult Sonata, Eighteenth-Centuy Music 0: 2 2 Diegaten, Felix. 20. The Tue Fundamentals of Composition : Haydn s Patimento Countepoint, Eighteenth-Centuy Music 8: 7. Gedingen, Robet O Music in the Galant Style. New Yok: Oxfod Univesity Pess.. Monuments of Patimenti, consulted on 2 May 20. Heatz, Daniel Mozat s Opeas. Bekeley: Univesity of Califonia Pess Haydn, Mozat, and the Viennese School, New Yok: Noton Music in Euopean Capitals: The Galant Style, New Yok: Noton Mozat, Haydn, and Ealy Beethoven, New Yok: Noton. Hepokoski, ames, and Waen Dacy Elements of Sonata Theoy: Noms, Types, and Defomations in the Late-Eighteenth-Centuy Sonata. New Yok: Oxfod Univesity Pess Mika, Danuta, ed. Fothcoming. Oxfod Handbook of Topic Theoy. New Yok: Oxfod Univesity Pess Monelle, Raymond The Musical Topic: Hunt, Militay and Pastoal. Bloomington: Indiana Univesity Pess Sanguinetti, Giogio The At of Patimento: Histoy, Theoy, and Pactice. New Yok: Oxfod Univesity Pess. Tymoczko, Dmiti. 20. Remaks dated 2 Octobe 20 in consulted on 2 une 20.