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Music in the Western World A History in Documents Selected and Annotated by Piero Weiss and Richard Taruskin MUSIC IN THE WESTERN WORLD MUSIC IN THE WESTERN WORLD A History in Documents Selected and Annotated by PIERO WEISS and RICHARD TARUSKIN Department of Music, Colu mbia University SCHIRMER BOOKS A Division of Macmillan, Inc. NEW YORK Collier Macmillan Publishers LONDON Copyright © 1984 by Schirmer Books A Division of Macmillan, Inc. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the Publisher. Schirmer Books A Division of Macmillan, Inc. 866 Third Avenue, New York, N.Y. 10022 Collier Macmillan Canada, Inc. Library of Congress Catalog Card Number: 83-16171 Printed in the United States of America printing number 123456789 10 Library of Congress Cataloging in Publication Data Main entry under title: Music in the Western World. Includes index. 1. Music—History and criticism—Sources. I. Weiss, Piero. II. Taruskin, Richard. ML160.M865 1984 780'.9 83-16171 ISBN 0-02-872900-5 (pbk.) ISBN 0-02-872910-2 Contents Preface xiii PART I THE HERITAGE OF ANTIQUITY 1 Orpheus and the Magical Powers of Music (Ovid) 1 2 Pythagoras and the Numerical Properties of Music (Nicomachus) 3 3 Plato’s Musical Idealism 6 4 Aristotle on the Purposes of Music 10 5 The Kinship of Music and Rhetoric (Quintilian) 12 6 Music in Temple and Synagogue: The Judaic Heritage (Bible, Philo of Alexandria) 15 7 Music in the Christian Churches of Jerusalem, c. A.D. 400 (Egeria) 21 PART II THE MIDDLE AGES 8 The Church Fathers on Psalmody and on the Dangers of Unholy Music (St. Basil, St. John Chrysostom, Origen of Alexandria, Eusebius of Caesarea, Honorius of Autun) 25 9 The Testimony of St. Augustine 29 10 The Transmission of the Classical Legacy (Boethius, Shakespeare) 33 11 Music as a Liberal Art (Scholia enchiriadis) 38 12 Before Notation (Isidore of Seville, St. Augustine, John the Deacon, Notker Balbulus, Costumal of St. Benigne) 41 13 Embellishing the Liturgy (Notker Balbulus, Ethelwold) 46 V VI Contents 14 Musical Notation and Its Consequences (Odo of Cluny, Guido of Arezzo, Chaucer) 48 15 Music in Courtly Life (Raimbaut de Vaqueiras, Roman de la rose) 55 16 The Emergence of Polyphony (Aldhelm, Scotus Erigena, Hucbald, Regino of Prixm, Giraldus Cambrensis, Anon. IV, John of Salisbury) 59 17 The Forms and Practices of Music, c. 1300 (Johannes de Grocheo, Aegidius of Murino) 63 18 The First Musical Avant-Garde (Jean de Muris, Jacobus of Liege, John XXII, motet and madrigal texts) 67 19 The Life of Francesco Landini (Filippo Villani) 72 20 A Letter from Guillaume de Machaut 76 PART III THE RENAISSANCE 21 The “Fount and Origin” (Martin Le Franc, Tinctoris) 79 22 Music at Church and State Festivities in the Early Renaissance (Manetti, d’Escouchy) 81 23 The Triumph of Emperor Maximilian 83 24 Music as a business (Petrucci, Francis I, Tallis and Byrd) 89 25 Music in Castiglione’s Courtier 94 26 Josquin des Prez in the Eyes of His Contemporaries (Glareanus, “Gian,” Coclico, Luther) 97 27 Luther and Music (Luther, Walther, parody texts) 100 28 The Swiss Reformers (Calvin) 107 29 The Reformation in England (cathedral injunctions, John Bull) 109 30 High Renaissance Style (Aron, Zarlino) 111 31 Willaert the Reformer (Zarlino, Stocker) 114 32 Music at a Medici Wedding (Giunti) 115 33 Lasso and Palestrina as Revealed in Their Letters 121 34 The Life of the Church Musician (Constitutiones Capellae Pontificiae, Zarlino, etc.) 124 35 The Genres of Music in the High Renaissance (Morley, Cerone, Vicentino) 129 Contents Vll 36 The Counter Reformation (Bishop Franco, Council of Trent, Palestrina, Animuccia, Ruffo, Gregory XIII, Coryat) 135 37 Palestrina: Fact and Legend (Agazzari, Cresollio, Guidiccioni, Baini, Palestri na) 140 38 Madrigals and Madrigalism (Mazzone, Zarlino-Morley) 143 39 Gesualdo, Nobleman Musician (Fontanelli) 146 40 The Most Musical Court in Europe (Bottrigari, Giustiniani) 147 41 Music and Dancing as Social Graces (anonymous conversation book, Arbeau, Byrd, Morley, Shakespeare) 150 42 Renaissance Instrumentalists (Tinetoris, Ventemille, cathedral and municipal documents) 158 43 Radical Humanism: The End of the Renaissance (Vicentino, Mersenne, Le Jeune, Galilei) 162 PART IV THE BAROQUE 44 The Birth of a “New Music” (Caccini) 169 45 The “Second Practice” (Artusi, Monteverdi) 171 46 The Earliest Operas (Gagliano, Striggio) 174 47 Basso Continuo and Figured Bass (Agazzari, Banchieri) 178 48 From the Letters of Monteverdi 180 49 Schiitz Recounts His Career 184 50 The Doctrine of Figures (Bernhard) 187 51 Music and Scientific Empiricism (Milton, Bacon) 189 52 Music in the Churches of Rome, 1639 (Maugars) 194 53 Music under the Sun King (Pierre Rameau) 197 54 Rationalistic Distaste for Opera (Corneille, Saint-Evremond, La Bruyere) 200 55 A New Sound Ideal (Mersenne, Le Blanc) 204 56 The Baroque Sonata (North, Purcell, Couperin) 207 57 Modern Concert Life Is Born (North) 211 58 The Mature Baroque: The Doctrine of the Affections (Descartes, Mattheson) 212 59 The Art of Music Reduced to Rational Principles (J.-P. Rameau) 220 viii Contents 60 The Earliest Musical Conservatories (Burney) 222 61 Castrato Singers (Burney) 225 62 The Conventions of the Opera Seria (Goldoni) 229 63 Opera Audiences in Eighteenth-Century Italy (Sharp) 231 64 Domenico Scarlatti at the Harpsichord (Burney) 234 65 A Traveler’s Impressions of Vivaldi (Uffenbach) 235 66 Couperin on His Pieces de Clavecin 237 67 The Piano Is Invented (Malfei) 238 68 Addison and Steele Poke Fun at Handel’s First London Opera 240 69 Some Contemporary Documents Relating to Handel’s Oratorios 243 70 Bach’s Duties and Obligations at Leipzig 246 71 Bach Remembered by His Son 248 72 Bach’s Obituary (C. P. E. Bach, Agricola) 250 PART V THE PRE-CLASSICAL PERIOD 73 The Cult of the Natural (Heinichen, Scheibe) 255 74 The Advice and Opinions of an Italian Singing Master (Tosi) 257 75 From Geminiani’s Violin Tutor 260 76 From Quantz’s Treatise on Flute Playing 263 77 Carl Philipp Emanuel Bach on Playing Keyboard Instruments 268 78 The Rise of the Italian Comic Opera Style (La serva padrona, d’Holbach, Hiller) 273 79 From Rousseau’s Dictionary of Music 283 PART VI THE CLASSICAL PERIOD 80 A Side Trip into Aesthetics (Rousseau, Avison, Beattie, Twining, Smith, Kant) 287 81 Haydn’s Duties in the Service of Prince Esterhazy 298 82 Gluck’s Operatic Manifesto 301 83 Some General Thoughts on Music by Dr. Burney 302 84 Frederick the Great Gives a Concert (Burney) 304