MT Graduate Workshop Peter chubert: Renaissance Instrumental Music November 7, 2014 Derek Reme Musical Architecture in Three Domains: tretto, uspension, and Diminution in weelinck's Chromatic Fantasia Jan Pieterszoon weelinck's Chromatic Fantasia is among the most famous keyboard works of the sixteenth century. 1 It served as a model for instrumental polyphony that was imitated throughout Europe in the seventeenth century. 2 The fantasia's subject is treated in augmentation and diminution in four rhythmic levels and also in four-voice stretto. The initial stretto passage, which is repeated in diminution in the final climax of the piece, contains an unusual accented dissonance; in this style, accented dissonance is reserved only for suspensions. There are three metrical levels of suspensions used throughout the piece, which parallel the four rhythmic levels of the subject's augmentation and diminution only a whole note suspension is missing. I propose that the unusual accented dissonance in the first four-voice stretto passage is actually a rearticulated whole note suspension, representing the missing fourth metrical level in that domain. Therefore, this stretto passage combines two domains at their fourth and most heightened level: stretto in four voices and suspension at the whole note. This passage also represents a structural "pillar," which, through its repetition, divides the piece into three large sections. In addition, the middle section contains two analogous "internal pillars," which further subdivide the middle into three subsections. The last large-scale section, the climax, introduces subject stretto at the eighth note level, or 1 Harold Vogel, "weelinck's 'Orfeo' Die 'Fantasia Crommatica,'" Musik in die Kirche, No. 2 (2005) 2 The Ricercare Prima of Annuale, Op. 8 by Giovanni Battista Fasolo (1600-1659) paraphrases the first thirty-four bars of weelinck's Chromatic Fantasia (and is only fiftynine bars total) and was intended for pedagogical purposes.
double diminution the fourth, smallest, and most heightened level in this domain. Thus, the three domains of stretto, suspension, and diminution all exist in four levels of intensity; the two largest formal articulations in the piece are ultimately the result of simultaneous intensification in all three domains. The original manuscript is barred in 2/1 time, or two whole notes to a bar. Like Harold Vogel and Pieter Dirksen's edition of weelinck's keyboard works, my examples maintain the original barring and note values, but number each measure as if it were two bars of 2/2 time. 3 Thus, the first measure is labeled "one," the next is labeled "three," and so on. A countersubject is defined here as the longest melodic fragment that repeatedly accompanies the subject. In my examples, contrapuntal lines not relevant to the present discussion are omitted. Odd beats are considered stronger than even, and beat one stronger than beat three, where a beat is any of the four values from a whole note to an eighth note. Harmonic seconds, fourths, sevenths, and all augmented and diminished intervals are considered dissonant. 4 I am primarily concerned with intervals formed between the bass and the upper voices, not between the upper voices themselves. Example 1 shows the subject in its four levels of augmentation and diminution. Example 2 shows the four analogous metrical levels of suspensions. (The term "consonant fourth" refers to the technique of using a dissonant fourth as the preparation for a suspension.) Example 3 shows the two passages of four-voice subject stretto the so-called structural "pillars." tretti are analyzed by vertical interval and time interval, using the generic term "beat" to facilitate comparison between metrical levels, since example 3b is the same passage as 3a in diminution. The accented dissonances, shown in # $%&%'()*+,'%-(./,0,&1/&23,-4,(54"#$%&'()*+),-)*./,*012$)3&32$,4#)3$)513* 6&)$),27883*9))%&3'-*67/,38%(,-9:&,/02*;<0%-($=&0,'4>"??@AB4:(5C 4 Peter chubert, Modal Counterpoint, Renaissance tyle (New York: Oxford University Press, 2008), 19. "
boxes in both examples, are actually rearticulated suspensions. In example 3a, this suspension occurs at the whole note level in the alto voice of m.59 (the dotted ties in both examples are my own). This passage supplies the fourth level of suspension in example 2d, and is the only instance of a whole note suspension in the entire piece. Note that the head of the subject itself is reinterpreted as the rearticulated suspension. Thus, example 3a combines the two domains of stretto and suspension at their fourth and most heightened level: four-voice stretto saturates the texture with the maximum amount of thematic material, and the whole note suspension is the single longest dissonant pitch used in the piece. Example 3a is repeated in diminution as example 3b in the climax of the piece. This is the only instance of repetition of an entire passage in the whole fantasia. The two subject stretto pillars therefore articulate the piece into three large sections. The fantasia divides into exposition, middle section, and climax, as shown in table 1. The exposition explores various contrapuntal combinations between the subject and two countersubjects (C1 and C2) in invertible counterpoint. Taken together, these three melodic lines form what Peter chubert and Massimiliano Guido call a contrapuntal "box," shown in example 4. 5 Table 2 illustrates the combinations of subject, countersubject one, and countersubject two used in the exposition. The first pillar, shown in gray, stands out because of its calm homorhythmic half note texture after a flourish of thirty-second notes, shown in example 3a. There are four levels of rhythm separating thirty-second notes from half notes, analogous to the four levels of intensity in each domain. The stark contrast between the thirty-second notes and half notes creates tension between the expectation that the thirty-seconds will return, and the uncertainty of when. Like a coiled spring, this tension provides the impetus for the remainder of the piece to @ D%33/E/'/%-*FG/(*%-(.,0,&H>IG8,&05JK-;%>2/-+0I,:*L/-M&,3>*8%'(/N3 O/>,&>%&/*<CPC@5J:42&'*0()8,;*<3%&3)"?5"6"?CQB5 #
compose out four metrical levels of diminution applied to the subject. In this way, the pillar in example 3a is a summation of the processes that drive the large-scale architecture; that is, stretto, suspension, and diminution in four levels. Example 3a also acts like a bookend, dividing the exposition from new material in the middle section. Table 3 illustrates how the middle section is immediately introduces a new countersubject in mm.70-74, termed C3. Countersubjects one and two from the exposition's contrapuntal box are never reused, while a new box is formed between subject, countersubject three, and countersubject four, first used in mm.74-78 and repeated in mm.87-92 in invertible counterpoint. The middle section also introduces the subject in augmentation and diminution. These events further subdivide the middle section into three subsections. The middle section also explores the domain of stretto, first introduced by the initial pillar in the exposition. However, the middle section focuses almost exclusively on countersubject stretto, rather than subject stretto. On two occasions does the complexity of the countersubject stretto rival that of the pillars by having the same countersubject present in four simultaneous voices that is, they reach the fourth and highest level of stretto intensification. These two passages are shown in gray in table 3, and are illustrated in examples 4 and 5. Note that the use of stretto not strict when all four voices are sounding. This pair of four-voice countersubject stretti mirrors the two outer pillars which contain them. Like the outer pillars, the internal pillars are located near the borders between subsections. Consequently, the domain of stretto is used to signal the arrival of a new level in the domain of augmentation and diminution. The emerging pattern is one of intensification towards the fourth and most heightened level in a domain. Once reached, a new section begins shortly thereafter and explores another Q
domain or a new countersubject, because the previous domain cannot be heightened any further. At the end of the middle section, the surface rhythm accelerates to a stream of constant sixteenths and sixteenth triplets for over thirty bars, finally arriving on a "dominant" pedal point after a "Phrygian half cadence" (both anachronistic terms) at the beginning of the third large section the climax. This abrupt change in texture coincides with the beginning of an extended passage of various subject stretti in m.171, culminating with the repetition of the initial four-voice pillar in diminution (example 3b), shown in gray in table 4. The first pillar (example 3a) served to close the exposition and combined the domains of stretto and suspension; the second pillar heightens those domains by applying diminution. The second pillar also leads to the entry of the fourth and most heightened level of subject diminution in eighth notes in m.184. Like the internal pillars of countersubject stretto in the middle section, the final pillar signals the arrival of a new level of intensity in a different domain. This double subject diminution, shown in example 6a, also contains unusual accented dissonances, indicated by vertical arrows. Example 6b offers a rationale: if the bass pedal point is the disregarded, the upper voices form parallel imperfect consonances. till, the insistent repetition of dissonant sevenths with the bass accentuates the climactic arrival of the fourth and most heightened level of subject diminution. Thus, the climax reaches maximum intensification in the domains of stretto and diminution; the whole note suspension already occurred in the initial pillar, and returned in heightened diminution. In sum, the two largest formal articulations in the piece are ultimately the result of simultaneous intensification in the domains of stretto, suspension, and diminution. The two pillars are the only instances of four-voice subject stretto and direct repetition found @
in the piece (excluding repetition of invertible counterpoint from a contrapuntal box). The first pillar contains the only whole note suspension in the piece, which is derived from the head of the subject, and represents the fourth metrical level of that domain, a parallel to the four levels of diminution and stretto in four voices. The first pillar combines the two domains of stretto and suspension and articulates the division between the exposition and the middle section, while the second pillar leads to the fourth level of subject diminution at the border between the middle section and the climax. In this way, the largest articulations in the piece are the result of the interaction between various levels of intensity in the three domains of stretto, suspension, and diminution. The fantasia's largescale architecture is therefore both shaped by, and contained within, with twin pillars. P
" MT Graduate Workshop Peter chubert: Renaissance Instrumental Music November 7, 2014 Derek Reme Eastman chool of Music derekremes@gmail.com Musical Architecture in Three Domains: tretto, uspension, and Diminution in weelinck's Chromatic Fantasia Table 1: Large-scale overview with four-voice subject stretti ("pillars") in gray ection Exposition (table 2) Middle ection (table 3) Climax (table 4) Measures 1-69 70-170 171-197 ubject Aug./Dim. Half Notes Whole Notes Quarter Notes Eighth Notes Coda Measures 1-103 104-148 149-183 184-193 194-7 tretto Type: ubject or Countersubject (C) Outer subject stretto Inner Cstretto Inner Cstretto Outer subject stretto Measures 55-63 (Ex.3a) 82-86 (Ex.5) 133-39 (Ex.6) 176-80 (Ex.3b)
Example 1: Four levels of subject augmentation and diminution " Ex.1a - Double diminution in eighth notes (also see ex.6a) Ex.1b - Diminution in quarter notes Ex.1c - "Original" rhythmic values in half notes Ex.1d - Augmentation in whole notes
Example 2: Four metrical levels of suspensions [preparation (P), suspension (), and resolution (R) indicated] " Ex.2a - Eighth note suspension - ornamented vs. structural versions Ex.2b - Quarter note suspension - ornamented vs. structural versions Ex.2c - Half note suspension / Contrapuntal "box" from middle section (see table 3) Ex.2d - Whole note suspension - ornamented vs. structural versions
Ex.3a Example 3: Two passages of four-part subject stretto (outer "pillars") containing rearticulated suspensions [preparation (P), suspension (), and resolution (R) indicated] Dotted ties are not original. " Ex.3b - Analogous passage in diminution
" 6'.)*(178.9'.+: #$%;'()<#= >+$,)'.3#$%;'()<>#=?.''>+$,)'./+*,)<?.''>@= Table 2: Overview of Exposition #$%&'()*+, Part 1 -'&(.*/)*+, Contrapuntal "box" (subject, C1, C2) 0'1&$.' 2345 13-17 17-21 21-25 26-29 29-33 34-38 38-42 42-46 47-51 51-55 >#4 >#A # >#4 >#A #?.''>@ # >#4 # >#A # >#A<:.1BC= >#A # >#4 >#A?.''>@ # >#A # >#4 >#4 # >#4 >#A >#4?.''>@?.''>@ >#4?.''>@ # >#4 #$%&'()*+, Part 2 -'&(.*/)*+, Closing 0'1&$.' 55-63 63-66 67-69 6'.)*(178.9'.+: #$%;'()<#= >+$,)'.3#$%;'()<>#=?.''>+$,)'./+*,)<?.''>@= Outer ubject tretto (Ex.3a) Cadential Material >#4?.''>@ >#A # Example 4: Three voices forming the contrapuntal "box" in the exposition (see table 2)
" Table 3: Overview of Middle ection #$%&'()*+, Part 1 ubject Aug./Dim. Half Notes -'.&$/' 70-74 74-78 78-82 82-86 87-92 92-103 0'/)*(.12/3'/+4 #$%5'()6#7 8+$,)'/9#$%5'()68#7 :/''8+$,)'/;+*,)6:/''8<7 C3 C3 C4 C4 C3 (ex.2c) Inner stretti w/ C3 (ex.5) C4 C3 Various tretti w/ C5 #$%&'()*+, Part 2 Part 3 ubject Aug./Dim. Whole Notes Quarter Notes -'.&$/' 104-110 111-118 119-126 126-133 133-39 140-46 146-48 149-160 161-170 0'/)*(.12/3'/+4 #$%5'()6#7 8+$,)'/9#$%5'()68#7 :/''8+$,)'/;+*,)6:/''8<7 C5 Various tretti w/ C5 C6 C6 C7 C7 C7 Inner stretti w/ C7 (ex.6) frag. Free CP Cadential Material
Example 5: Four-voice countersubject stretto (inner "pillar") from middle section (see table 3) " Example 6: Four-voice countersubject stretto (inner "pillar") from middle section (see table 3)
Table 4: Overview of Climax #$%&'()*+, Part 1 Part 2 Coda ubject Aug./Dim. Quarter Notes Eighth Notes n/a -'.&$/' 171-76 176-180 181-83 184-188 189-193 194-197 0'/)*(.12/3'/+4 #$%5'()6#7 8+$,)'/9#$%5'()68#7 :/''8+$,)'/;+*,)6:/''8<7 3-voice ubject tretto Outer ubject tretto (ex.3b) C8 C8 Dom. Ped. Tonic Ped. Cadenza-like flourish Tonic Pedal " Example 7: ubject in Double Diminution (mm.184-188) Ex.7a - Accented dissonant sevenths with the bass (arrows) Ex.7b - Example 7a (texture simplified), showing parallel imperfect consonances between the upper voices