Singing Jeremiah

Robert L. Kendrick

Description

Catholic ritual and music in early modern Europe

A defining moment in Catholic life in early modern Europe, Holy Week brought together the faithful to commemorate the passion, crucifixion, and resurrection of Jesus Christ. In this study of ritual and music, Robert L. Kendrick investigates the impact of the music used during the Paschal Triduum on European cultures during the mid-16th century, when devotional trends surrounding liturgical music were established; through the 17th century, which saw the diffusion of the repertory at the height of the Catholic Reformation; and finally into the early 18th century, when a change in aesthetics led to an eventual decline of its importance. By considering such issues as stylistic traditions, trends in scriptural exegesis, performance space, and customs of meditation and expression, Kendrick enables us to imagine the music in the places where it was performed.

Acknowledgements
Terminology, Abbreviations, Texts
1. Symbolic Meanings, Sonic Penance
2. Textual Understandings, Musical Expressions
3. Devotion, Models, Circulation, 1550-1600
4. Dynastic Tenebrae
5. Static Rites, Dramatic Music
6. European Tenebrae c. 1680
7. Ad honorem Passionis: Triduum Music and Rational Piety
8. Endings and Continuities
Appendix: Tables 1-4
Notes
Bibliography
Index

Sujets

• Musique
• Histoire de la musique
• Religion
• Christianisme
• Milan
• Music
• History
• Christian
• History of classical music traditions
• Religious music
• Criticism
• Early Christianity
• Multiple signal classification
• Religious

Informations

• Publié par: Indiana University Press
• Date de parution: 05 mai 2014
• Nombre de lectures: 0
• EAN13: 9780253011626
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Singing Jeremiah
M USIC AND THE E ARLY M ARLY M ODERN I MAGINATION Massimo Ossi, editor
Singing Jeremiah
Music and Meaning in Holy Week

Robert L. Kendrick
INDIANA UNIVERSITY PRESS Bloomington and Indianapolis
This book is a publication of
Indiana University Press Office of Scholarly Publishing Herman B Wells Library 350 1320 East 10th Street Bloomington, Indiana 47405 USA
iupress.indiana.edu
Telephone orders 800-842-6796 Fax orders 812-855-7931
2014 by Robert L. Kendrick
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, includingphotocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses Resolution on Permissions constitutes the only exception to this prohibition.
The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992.
Manufactured in the United States of America
Library of Congress Cataloging-in- Publication Data
Kendrick, Robert L., author.
Singing Jeremiah : music and meaning in Holy Week / Robert L. Kendrick.
pages cm - (Music and the early modern imagination)
Includes bibliographical references and index.
ISBN 978-0-253-01156-5 (cloth : alkaline paper) - ISBN 978-0-253-01162-6 (ebook) 1. Holy Week music-Europe-History and criticism. I. Title. II. Series: Music and the early modern imagination.
ML3020.2.K46 2014
781.72 6-dc23
2013037077
1 2 3 4 5 18 17 16 15 14
Contents
Acknowledgments
Terminology, Abbreviations, Texts
CHAPTER 1
Symbolic Meanings, Sonic Penance
CHAPTER 2
Textual Understandings, Musical Expressions
CHAPTER 3
Devotion, Models, Circulation, 1550-1600
CHAPTER 4
Dynastic Tenebrae
CHAPTER 5
Static Rites, Dramatic Music
CHAPTER 6
European Tenebrae c. 1680
CHAPTER 7
Ad honorem Passionis: Triduum Music and Rational Piety
CHAPTER 8
Endings and Continuities
Appendix: Tables 1-4
Notes
Bibliography
Index
Acknowledgments
My first debt is to the Franke Institute at the University of Chicago, Rich and Barbara Franke, its director Jim Chandler, and the other Fellows in the 2011-12 year for their encouragement during the writing of the book. To my Chicago colleagues Fred de Armas, Martha Feldman, Anne Robertson, and Jim Robertson I owe gratitude for advice on various topics. Several students past and present gave invaluable aid, including Kasia Grochowska, Nick Betson, Cesar Favila, Kirsten Paige, Erika Honisch, and Andrew Cashner, who performed incredible feats in making the music examples concise and legible. Craig Monson furnished unstinting support and a number of archival documents. My thanks to my colleagues in Renaissance/early modern studies: Sabine Arend, Jane Bernstein, Franz Bosbach, John Butt, Alessandro Catalano, David Cranmer, Drew Davies, Simon Ditchfield, Lucero Enr quez Rubio, Ferran Escriv Llorca, Martin Eybl, Myriam Fragoso Bravo, Mar a Gembero Ust rroz, Jonathan Glixon, Manuel G mez del Sol, Kenneth Gouwens, Rosa Isusi, Javier Jim nez Belmonte, Herbert Kellman, Gottfried Kreuz, Jeffrey Kurtzman, Franca Leverotti, Ignazio Macchiarella, Arnaldo Morelli, Elisa Novi Chavarria, Greta Olson, Edward Olszewski, Noel O Regan, John S. Powell, Patrizia Radicchi, Colleen Reardon, Luis Robledo, Emilio Ros-F bregas, Steven Saunders, Louise Stein, Kevin Stevens, lvaro Torrente, and Gabriella Zarri. Some of the archivists, librarians, and others who made research possible include Giulio Battelli; Frs. Roberto Primavera and Joel Warden, C.O.; don Francisco Delgado; padre Miguel Navarro Sorn ; don Giovanni Spinelli and don Mariano Colletta, O.S.B.; don Maurizio Brioli, C.R.S.; padre Adolfo Garc a Dur n, S.P.; dott. Andrea Cargiolli and dott. Domenico Rocciolo; Richard Schano; Profs. Marie-Agnes Dittrich and Sven Hansell; Martin Kahl and Prof. Hermann Max; the colleagues of the Fondazione Levi (Venice) and of Bratislava University Library; and especially Drs. Bonifacio Bartolom in Segovia and Alfredo Vitolo in Bologna. Special thanks to the archivist of the ACSP, mons. Dario Rezza, and dott. Vincenzo Piacquadio. At the last minute, my colleague Thomas Christensen tracked down an important source in Berlin. My Italian family-Giorgio Marchi, Massimo and Maria Giuseppina Liber-was unwavering in their help scouring archives in Emilia-Romagna, Liguria, and Tuscany. In Piacenza, Lucia Rocchi and mons. Giuseppe Busani went to great pains to provide the dust-jacket illustration. For advice on performance issues I am grateful to Jean-Marc Aymes, Geoffrey Burgess, Bruce Dickey, and Candace Smith. Despite the serious issues that much of this music raises, the sheer beauty of some of it-such as Charpentier s Tenebrae output to which I was first introduced by my late teacher H. Wiley Hitchcock-has inspired me, even in difficult times. I am deeply thankful to Massimo Ossi for soliciting this book proposal, to Prof. Christine Getz and anonymous Press readers for improving it, and to Raina Polivka for making it happen. In sickness and in health, Lucia Marchi variously advised, read, consoled, and encouraged, and without her there would be no book. This volume is for my sister Carroll Kendrick Burns, a severe critic of church music performances, who has looked after my well-being for a long time now.
Terminology, Abbreviations, Texts
As explained in chapter 1 , the book uses a shorthand for the liturgical placement of those Office texts that were anticipated to occur the afternoon before their normal days and times. Items designated for liturgical Holy Thursday ( Feria V in Coena Domini ) were thus normally sung on the afternoon of Holy Wednesday. In order to avoid confusion, I call the services by liturgical order; hence liturgical Thursday, with its Matins and Lauds sung on Wednesday, is abbreviated as F5, and similarly for Good Friday (= Feria VI in Parasceve or my F6 ) and Holy Saturday ( Sabbato Sancto, my SS ). I have designated the nine psalms, Lessons, and Responsories of Matins by consecutive number inside the Hour as a whole (L1, R7), and two items of Lauds in shorthand: the canticle Benedictus Dominus Deus Israel as Benedictus and the expanding antiphon Christus factus est as CFE. Combining these systems allows e.g., F6/L2 to be read as the second Lesson of Matins for liturgical Good Friday, sung on Thursday afternoon, or F5/R7 as the seventh Responsory of Matins for liturgical Holy Thursday, sung on Wednesday afternoon (I thus use the Nocturne system of Matins only sparingly, often to refer to those Lessons not normally set to music until about 1700, L4-9).
Normally, Lessons 1-3 at these Matins were taken from the biblical book of Lamentations. Citations from Lamentations are given as chapter:verse; verses chosen for a given Lesson are given inside curled brackets (e.g., F6/L2={2:12-15}), and the individual sub-sections (here called sub-verses ) of every verse are designated as letters with verse numbers or inside square brackets (e.g., 1:11a for the first section of chapter 1 , verse 11). Collections of Holy Week Office texts or music, normally called Officium hebdomadae sanctae, are here abbreviated as OHS. Those musical manuscripts that have Census-Catalogue of Renaissance Music Manuscripts 1400-1550 sigla are so abbreviated; otherwise, I use standard RISM sigla for libraries and manuscripts. Actual pitches are given in scientific pitch notation (middle C=C 4 ; pitch-classes in general are given as capital letters; and pitches that come from chant models or chant finals in lowercase italics. Clef combinations for polyphony are given in the normal combination (e.g., C1/C3/C4/F4 for standard mixed-voice scoring). General abbreviations are in the bibliography.
Chapter 1
Symbolic Meanings, Sonic Penance
In the ritual year of early modern Catholics, the days before Easter represented the longest single commemoration, collective and personal, of the central events of salvation. Despite the survival or re-invention of historical Holy Week traditions today, it is still hard to imagine how much prayer and penitence were packed into the seventy-odd hours between the afternoons of Wednesday and Saturday. The three central days-the Triduum-recalling the Passion included the chanted words, participatory rites, and sonic behavior of liturgical Maundy Thursday ( Feria V in Coena Domini, hereafter F5), Good Friday ( Feria VI in Parasceve, hereafter F6), and Holy Saturday ( Sabbato Sancto, hereafter SS). Beyond the structures of the Divine Office and Mass, there were community actions: processions, entombments of Christ, depositions from the Cross, ceremonies of mourning and weeping, and, less appealingly, group violence. The social re-enactment of Christ s atonement went hand in hand with individual purging of sin via penance and often Confession. This dialectic between the audible expression of mourning and the internalization of remorse was vital for the Week s meaning.
Sounds simple and complex projected the listing of human guilt, the recollection of the Passion in narration and allegory, and the meanings of liturgical action. In order to focus on allegory and narrative voice, this study considers largely the most renowned music of these days, the polyphony and chant for the Canonical Hours of Matins followed by Lauds, in the two centuries after 1550. These were combined as a single service in Catholic continental Europe and its outposts. 1 The Hours also drew lay participation, beyond the monks, nuns, or cathedral clergy who would have sung the texts.
From some point in the later Middle Ages onward, evidently first at the Papal court and then increasingly elsewhere, these services were in most places anticipated to occur in the late afternoon of the day preceding their liturgical assignment. Thus the texts of litu