The Volta: A Galant Gesture of Culmination Nate Mitchell Princeton University
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1 Mitchell 1 Society for Music Theory Arlington, VA November 3 rd, 2017 The Volta: A Galant Gesture of Culmination Nate Mitchell Princeton University ndm2@princeton.edu Figures Figure 1. Pergolesi, Stabat Mater (1736), Sancta mater istud agas. Figure 2. Shakespeare, Sonnet 130. I have emphasized the Sonnet s volta with boldfaced type. My mistress eyes are nothing like the sun, Coral is far more red, than her lips red, If snow be white, why then her breasts are dun: If hairs be wires, black wires grow on her head: 5 I have seen roses damasked, red and white, But no such roses see I in her cheeks, And in some perfumes is there more delight, Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know, 10 That music hath a far more pleasing sound: I grant I never saw a goddess go, My mistress when she walks treads on the ground. And yet by heaven I think my love as rare, As any she belied with false compare.
2 Mitchell 2 Figure 3. Hasse, Cleofide (1731) Pupillette vezzosette. Figure 4. Hasse, Cleofide (1731) S e ver che t accendi. Figure 5. Hasse, Cleofide (1731) Che sorte crudele.
3 Mitchell 3 Figure 6. Derivation of the Prinner, the Modulating Prinner, and the Volta from tetrachordal subsets of the descending Rule of the Octave. Figure 7. Mozart, Così fan tutte K. 588 (1790) Per pietà, ben mio, perdona.
4 Mitchell 4 Figure 8. Vinci, Alessandro nell Indie (1730) Se possono tanto. Figure 9. Vinci, Didone abbandonata (1726) Se resto sul lido. Figure 10. Terradellas, Artaserse (1744) Se miro quel volto.
5 Mitchell 5 Figure 11. Selected Haydn Symphonies. A.) No. 73 in D major (ca. 1781), i. Adagio Allegro. B.) No. 66 in Bb major (ca. 1778), iii. Menuetto. C.) No. 56 in C major (1774), iv. Finale: Prestissimo. D.) No. 54 in G major (1774), i. Adagio maestoso Presto. E.) No. 68 in Bb major (ca. 1778), i. Vivace. E.) No. 70 in D major (1779), i. Vivace con brio.
6 Mitchell 6 Figure 12. A.) Bernasconi, L Olimpiade (1764) Se cerca, se dice; B.) Hasse, Cleofide (1731) Cervo al bosco che piagato. A.) B.) Figure 13. Reproduction of Sherrill s Example 5.2, Overview of the first vocal period (A 1 ).
7 Mitchell 7 Figure 14. Der Tod Jesu (1755), Ein Gebet um neue Stärke (abridged by Koch). Figure 15. Hasse, Cleofide (1731) Che sorte crudele.
8 Mitchell 8 Figure 16. Galuppi, La clemenza di Tito (1759) Fra stupido e pensoso. Figure 17. Vinci, Artaserse (1730) Per quel paterno amplesso.
9 Mitchell 9 Figure 18. Probability that the Volta is preceded by a given schema. Figure 19. Probability that the Volta is followed by a given schema.
10 Mitchell 10 Figure 20. Pergolesi, Adriano in Siria (1734) Chi soffre senza pianto. Figure 20. Pergolesi, L Olimpiade (1735) Se cerca, se dice.
11 Mitchell 11 Figure 21. Vinci, Artaserse (1730) Tu vuoi ch io viva, o cara. Figure 22. Sammartini, Symphony in G major J-C 39 (before ca. 1744), i. Allegro ma non tanto.
12 Mitchell 12 Appendix: Pieces Consulted Aprile, Giuseppe Solfeggi (1791) Bach, Carl Phillipp Emmanuel Prussian Sonatas WQ. 48 (1740) Bach, Johann Christian Catone in Utica (1761) Zanaida (1763) Bach, Johann Sebastian Prelude, Fugue, and Allegro BWV 998 (ca. 1740) The Well-Tempered Clavier Book II (1740) Beethoven, Ludwig van Symphonies ( ) Feo, Francesco Andromaca (1730) Ferrandini, Giovanni Battista Catone in Utica (1753) Galuppi, Baldassare Gustavo Primo (1740) Didone abbandonata (1741) L Olimpiade (1747) Artaserse (1749) Il mondo alla roversa (1750) Artaserse (1751) Il filosofo di campagna (1754) Oracolo del Vaticano (1758) La clemenza di Tito (1759) L amante di tutte (1760) Il caffé di campagna (1761) Gluck, Christoph Willibald Trio Sonatas (1746) La Semiramide riconosciuta (1748) Ezio (1750) La clemenza di Tito (1752) Iphigénie en Tauride (1779) Graun, Karl Heinrich Der Tod Jesu (1755) Montezuma (1755) Handel, George Frideric Poro (1731) Arianna in Creta (1734) Serse (1738) Hasse, Johann Adolf Solfeggi (n.d.) La serva scaltra (1729) Artaserse (1730) Cleofide (1731) Antigono (1744) Attilio Regolo (1750) L Olimpiade (1756) Siroe (1763) Romolo ed Ersilia (1765) Ruggiero (1771)
13 Mitchell 13 Haydn, Joseph Symphonies (ca ) Haydn, Michael Missa in honorem Sanctae Ursulae (1793) Jommelli, Niccolo Solfeggi (n.d.) Didone abbandonata (1747) Didone abbandonata (1763) Demofoonte (1770) Latilla, Gaetono La finta cameriera (1738) Martines, Marianna Berenice, che fai? (1767) Il consiglio (1778) Il primo amore (1778) La tempesta (1778) Mazzoni, Antonio Antigono (1755) Il re pastore (1756) Mozart, Wolfgang Ammadeus Solfeggi (1782) Le nozze di Figaro (1786) Don Giovanni (1787) Così fan tutte (1790) La clemenza di Tito (1791) Paisiello, Giovanni Le due contesse (1776) Nina (1790) Pergolesi, Giovanni Battista Salustia (1731) Lo frate nnamorato (1732) Il prigionier superbo (1733) La serva padrona (1733) Adriano in Siria (1734) L Olimpiade (1734) Salve Regina in C minor (1734) Stabat Mater (1736) Piccinni, Niccolo La buona figliuola (1760) Porpora, Nicola La Semiramide riconosciuta (1729) Germanico in Germania (1732) Rossini, Giancomo La gazza ladra (1817) Salieri, Antonio Mass in D major (1788) Sammartini, Giovanni Battista Memet (1732) Symphonies (before 1775) Sarro, Domenico Achille in Sciro (1737) Terradellas, Domenec Astarto (1739) Artaserse (1744) Sesostri (1751)
14 Mitchell 14 Various 35 settings of Se cerca, se dice from L Olimpiade ( ) Venturini, Carlo Solfeggi (ca. 1720) Vinci, Leonardo Li zite n galera (1722) La Rosmira fedele (1725) Didone abbandonata (1726) Catone in Utica (1728) Alessandro nell Indie (1729) La Semiramide riconosciuta (1729) Artaserse (1730) Bibliography Aerts, Hans The Svago: Methodological Reflections on a Schema in Solfeggi by Leonardo Leo ( ). Paper presented at the 9 th European Music Analysis Conference, Strasbourg, June 28 July 1. Berger, Karol Bach s Cycle, Mozart s Arrow: An Essay on the Origins of Musical Modernity. Berkeley: University of California Press. Byros, Vasili Towards an Archeology of Hearing: Schemata and Eighteenth-Century Consciousness. Musica Humana 1 No. 2: Meyer s Anvil : Revisiting the Schema Concept. Music Analysis 31 no. 3: Caplin, William What Are Formal Functions? In Musical Form, Forms, & Formenlehre: Three Methodological Reflections. Edited by Pieter Bergè, Leuven: Leuven University Press. Cousins, A. D. and Peter Howarth, eds The Cambridge Companion to the Sonnet. Cambridge: Cambridge University Press. Gjerdingen, Robert A Classic Turn of Phrase. Philadelphia: University of Pennsylvania Press Music in the Galant Style. Oxford: Oxford University Press, Gjerdingen, Robert and Janet Bourne Schema Theory as Construction Grammar. Music Theory Online 21 no. 2. Hatten, Robert Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation. Bloomington: Indiana University Press. Heartz, Daniel Music in European Capitals: The Galant Style, New York: W. W. Norton & Company. Hepokoski, James, and Warren Darcy Elements of Sonata Theory: Norms, Types, and Deformations in the Late- Eighteenth-Century Sonata. Oxford: Oxford University Press. Koch, Heinrich Christoph Introductory Essay on Composition: The Mechanical Rules of Melody. Sections 3 and 4. Translated by Nancy Kovaleff Baker. New Haven: Yale University Press. Meikle, Robert Burns Leonardo Vinci s Artaserse: An Edition, with an Editorial and Critical Commentary. PhD diss., Cornell University.
15 Mitchell 15 Meyer, Leonard B Emotion and Meaning in Music. Chicago: University of Chicago Press. Neuwirth, Markus and Pieter Bergè What is a Cadence?: Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire. Leuven: Leuven University Press. Oppenheimer, Paul The Birth of the Modern Mind: Self, Consciousness, and the Invention of the Sonnet. New York: Oxford University Press. Rice, John A The Heartz: A Galant Schema from Corelli to Mozart. Music Theory Spectrum 36 No. 2: The Morte: A Galant Voice-Leading Schema as Emblem of Lament and Compositional Building Block. Eighteenth-Century Music 12 No. 2: Climbing Monte Romanesca: Eighteenth-Century Composers in Search of the Sublime, Northwestern University, 1 December 2016; Theory Group, Princeton University Department of Music, 3 April. Samarotto, Frank Sublimating Sharp ^4: An Exercise in Schenkerian Energetics. Music Theory Online 10 No. 3. Sanchez-Kisielewska, Olga Interactions between Topics and Schemata: The Case of the Sacred Romanesca. Theory and Practice 41: Rabinovitch, Gilad. Forthcoming. Gjerdingen s Schemata Revisited. Journal of Music Theory. Sherril, Paul The Metastasian Da Capo Aria: Moral Philosophy, Characteristic Actions, and Dialogic Form. PhD diss., Indiana University. Smith, Barbara Poetic Closure: A Study of How Poems End. Chicago: University of Chicago Press. Stendhal The Life of Haydn, in a Series of Letters Written at Vienna, Followed by the Life of Mozart, with Observations on Metastasio, and on the Present State of Music in France and Italy. With Notes by William Gardiner. Boston: J. H. Wilkins and R. B. Carter. Vogler, George Joseph Fufte und Sechste Lieferungen fur den Wein und Wintermonat Betrachtungen der Mannheimer Tonschule. Band I. Mannheim. Wen, Eric L. More on Sharp ^4 to Natural ^4: Further Thoughts on Frank Samarotto s Article Sublimating Sharp ^4: An Exercise in Schenkerian Energetics. Music Theory Online 10 No. 4 (December, 2004).
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