the use of multiple stops in works for solo violin by johann .../67531/metadc984169/...bach’s solo...
TRANSCRIPT
APPROVED: Julia Bushkova, Major Professor Paul Leenhouts, Committee Member Susan Dubois, Committee Member Benjamin Brand, Director of Graduate Studies
in the College of Music John W. Richmond, Dean of the College of
Music Victor Prybutok, Vice Provost of the Toulouse
Graduate School
THE USE OF MULTIPLE STOPS IN WORKS FOR SOLO VIOLIN BY JOHANN PAUL
VON WESTHOFF (1656-1705) AND ITS RELATIONSHIP TO GERMAN
POLYPHONIC WRITING FOR A SINGLE INSTRUMENT
Beixi Gao, B.M., M.M.
Dissertation Prepared for the Degree of
DOCTOR OF MUSICAL ARTS
UNIVERSITY OF NORTH TEXAS
May 2017
Gao, Beixi. The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von
Westhoff (1656-1705) and Its Relationship to German Polyphonic Writing for a Single
Instrument. Doctor of Musical Arts (Performance), May 2017, 32 pp., 19 musical examples,
bibliography, 46 titles.
Johann Paul von Westhoff's (1656-1705) solo violin works, consisting of Suite pour le
violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature
extensive use of multiple stops, which represents a German polyphonic style of the seventeenth-
century instrumental music. However, the Six Suites had escaped the public's attention for nearly
three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth
century. This project focuses on polyphonic writing featured in the solo violin works by von
Westhoff. In order to fully understand the stylistic traits of this less well-known collection, a
brief summary of the composer, Johann Paul Westhoff, and an overview of the historical
background of his time is included in this document. I analyze these works, including a
comparison between the works of Westhoff and those of other composers during his time, to
prove that Westhoff’s solo works establish multiple stops as a central factor of German violin
playing of the time, and, thus, to promote Westhoff’s works as a complement to the extant
repertoire of unaccompanied violin music written in the Baroque era before Johann Sebastian
Bach’s solo violin works and Georg Philipp Telemann’s Twelve Fantasias for Violin Solo.
Furthermore, this project will help one to better understand the use and function of multiple stops
in the German violin repertoire in the seventeenth century
ii
Copyright 2017
by
Beixi Gao
iii
ACKNOWLEDGEMENTS
I would like to express my sincerest appreciation to several people without whom this
project could not have been completed. First, I am deeply grateful for the immeasurable
motivation and guidance from my major professor and mentor, Julia Bushkova, throughout the
duration of my doctoral studies. I also wish to whole-heartedly thank Professor Paul Leenhouts
for generously sharing his comprehensive knowledge of Baroque music and precious feedback
for this project, and Dr. Susan Dubois, for her invaluable advice and help on this project and my
study at UNT.
Secondly, my true gratitude is also to Ms. Cynthia Roberts for her endless inspiration and
significant involvement on this project.
Finally, I must send the deepest thanks to my parents for their tireless support and
encouragement, as well as their unconditional love for me.
iv
TABLE OF CONTENTS
Page
ACKNOWLEDGEMENTS ........................................................................................................... iii LIST OF MUSICAL EXAMPLES ................................................................................................. v CHAPTER 1. INTRODUCTION ................................................................................................... 1 CHAPTER 2. VON WESTHOFF AND HIS TIME ....................................................................... 2
2.1 Biography ................................................................................................................ 2
2.2 Von Westhoff’s Works ........................................................................................... 3
2.3 Chronological List of von Westhoff’s Extant Works: ............................................ 4
2.4 Musical Life in the Dresden Court.......................................................................... 6 CHAPTER 3. POLYPHONY USED IN GERMAN VIOLIN MUSIC IN THE SEVENTEENTH CENTURY ...................................................................................................................................... 8
3.1 Overview of the Emergence of Violin Music in the Early 1700s ........................... 8
3.2 Polyphonic Writing for Bowed Instruments before 1600 ....................................... 9
3.3 Polyphonic Writing for Violin Music in Germany before von Westhoff ............. 10
3.4 The Impact of Printing .......................................................................................... 14 CHAPTER 4. VON WESTHOFF’S UNACCOMPANIED WORKS FOR VIOLIN SOLO ...... 16
4.1 Overview of the Solo Suites by von Westhoff...................................................... 16
4.2 German Dance Suite ............................................................................................. 16
4.3 Comparison with Works of Contemporary Composers ........................................ 18
4.4 Performance Practice of Multiple Stops in the Suites .......................................... 24
4.4.1 Three-or Four-Note Chords ...................................................................... 25
4.4.2 Two-Note Chords...................................................................................... 26 CHAPTER 5. CONCLUSION...................................................................................................... 28 BIBLIOGRAPHY ......................................................................................................................... 29
v
LIST OF MUSICAL EXAMPLES
Page
Example 1: Von Westhoff, Six Suites. Beginning of Allemande, Suite I (1696) ........................... 4
Example 2: Von Westhoff, Six Suites, Suite I, Courante, mm.1-3............................................... 18
Example 3: Walther, Scherzi da Violino Solo (1676), Suite I in A major, Corrente, mm.12-15.. 18
Example 4: Biber, Rosary Sonatas, Sonata V, Sarabande, mm.1-4. ............................................ 19
Example 5: Von Westhoff, Six Suites, Suite VI, mSarabande, mm.1-5. ...................................... 19
Example 6: Bach, Partita I for Solo Violin, Sarabande (1720), BWV 1002, mm.1-5. ................. 20
Example 7: Walther, Hortulus Chelicus (1688), Suite VI, Allemande, mm.1-4. ......................... 20
Example 8: Von Westhoff, Six Suites, Suite III, Allemande, mm.1-6. ........................................ 21
Example 9: Bach, Partita I for Solo Violin, Allemande, BWV 1002, mm. 1-2. .......................... 21
Example 10: Walther, Scherzi da Violino Solo, Suite I in A major, Giga, mm.1-4. .................... 22
Example 11: Biber, Rosary Sonatas (1676), Sonata VIII, Gigue, mm. 1-3. ................................. 22
Example 12: Von Westhoff, Six Suites, Suite III, Gigue, mm.1-7. .............................................. 22
Example 13: Johann Kuhnau, Neuer Clavier-Übung I (1689), Partita II, Allemande, mm.1-2. .. 23
Example 14: Von Westhoff, Six Suites, Suite II, Allemande, mm.1-2 ........................................ 23
Example 15: Bach, Praeludium XX, BWV 889, mm.1-2, 17-18. ................................................. 24
Example 16: Von Westhoff, Six Suites, Suite I, Gigue, mm.1-2, 11-12. ..................................... 24
Example 17: Von Westhoff, Six Suites, Suite III, Allemande, mm.1-6. ...................................... 25
Example 18: Von Westhoff, Six Suites, Suite II, Allemande, mm.1-2. ....................................... 26
Example 19: Von Westhoff, Suite pour le violon sans basse continue (1683), Courante, mm.11-13................................................................................................................................................... 27
1
CHAPTER 1
INTRODUCTION
Johann Paul von Westhoff’s (1656-1705) solo violin works, consisting of Suite pour le
violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature
extensive use of multiple stops, which represents a German polyphonic style of the seventeenth-
century instrumental music. However, the Six Suites has escaped the public’s attention for nearly
three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth
century.
This project focus on polyphonic writing featured in the solo violin works by von
Westhoff. In order to fully understand the stylistic traits of this little known collection, a brief
summary of the composer, Johann Paul von Westhoff, and an overview of the historical
background of his time will be included in this document. I analyze these works, including a
comparison between the works of von Westhoff and those of other composers during his time, to
prove that von Westhoff’s solo works establish multiple stops as a central factor of German
violin playing of the time, and, thus, to show that von Westhoff’s works are a crucial link
between the extant repertoire of unaccompanied violin music written by violinist composers of
the Baroque such as Heinrich Ignaz von Biber and Johann Jacob Walther and later violin solo
masterpieces: Johann Sebastian Bach’s solo violin works and Georg Philipp Telemann’s Twelve
Fantasias for Violin Solo. Furthermore, this project will help one to better understand the use and
function of multiple stops in the German violin repertoire in the seventeenth century, and to see
von Westhoff’s music as a critical link between German violin playing of his contemporaries and
Bach’s unaccompanied violin sonatas and partitas.
2
CHAPTER 2
VON WESTHOFF AND HIS TIME
2.1 Biography
Johann Paul von Westhoff (1656-1705) was one of the leading violinist-composers of the
late seventeenth-century Germany. A native of Dresden, one of the major musical centers of
Germany at the time, he was given a solid musical education during his youth. In 1674, he
followed in his father’s (Friedrich von Westhoff) footsteps to become a member of the Dresden
Hofkapelle as a violinist. Praised by his contemporaries, such as violinist Daniel Merck, von
Westhoff, along with Heinrich Ignaz Franz von Biber and Johann Jakob Walther, was ranked
among the finest violinists of his time.1
Born with versatile talents, von Westhoff had multiple interests outside of music. In
1671, his proficiency for foreign languages procured him a position in the Saxon court as a tutor
to the two Princes of Saxony. He was fifteen years of age.
During his service as a court musician in the Dresden Hofkapelle (1674-1697), he
travelled throughout Europe and visited England, France, Italy, the Dutch Republic, and the
Imperial Court of Vienna. One of the highlights of his journeys included a performance for Louis
XIV in Paris in 1682.The king was very impressed by von Westhoff’s virtuosic playing. Soon
after, the Sonata in A minor was published in the December 1682 issue of the French magazine
Mercure Galant and another work, the Suite Pour le violon seul sans basse, in the January 1683
1 Daniel Merck, Compendium Musicæ Instrumentalis Chelicæ. Das ist: Kurtzer Begriff, Welcher Gestalten Die Instrumental-Music auf der Violin, Pratschen, Viola da Gamba, und Bass, gründlich und leicht zu erlernen seye. Der Jugend und andern Liebhabern zu Gefallen aufgesetzt, und auf Begehren guter Freunde zu offentlichen Druck befoerdert (Augsburg: Johann Christoph Wagner, 1695), Cap VII.
3
issue.2 In the following years, his performances received high acclaim from the Grand Duke of
Florence and the Imperial court of Vienna.3
After teaching contemporary languages at the University of Wittenberg for a short period
in 1698, he was appointed as a chamber secretary, chamber musician and teacher of French and
Italian at the court at Weimar, where he remained until his death in 1705.
2.2 Von Westhoff’s Works
Von Westhoff was already considered one of the major significant Austro-German
violinists in the second half of the seventeenth century by his contemporaries. Von Westhoff’s
works, compared to Walther’s and Biber’s, remained mostly inaccessible to the public.
Moreover, his Six Suites for Violin Solo in 1696 was a fairly recent rediscovery by musicologist
Peter Várnai in 1971.4
It is unclear why the Six Suites were not published until the 1970s. The unique notation
that von Westhoff developed, however, may reveal a likely reason. Judy Tarling, a musicologist
specializing in the Baroque repertoire and performance, states that an eight-stave system
combining various clefs that von Westhoff uses makes the “contrapuntal writing easier to see,
but …rather difficult to read.”5 5 Similarly, Belgian musicologist Greta Haenen believes that “it
2 Gregory Barnett, Bolognese Instrumental Music, 1660-1710: Spiritual Comfort, Courtly Delight, and Commercial Triumph (Burlington, VT: Ashgate Publishing Company, 2008), 151. 3 Agnes Simkens, “A Critical Edition of the ‘Sonate a Violino Solo con Basso Continuo Consecrate al Grand Apolline di Questi Tempi’ (1694) by Johann Paul von Westhoff (1656–1705)” (DMA diss. University of Houston, 2005), 5. 4 Peter P. Várnai, “Ein unbekanntes Werk von Johann Paul von Westhoff,” Die Musikforschung. 24, no.3, (1971): 282-93. 5 Judy Tarling, Baroque String Playing for Ingenious Learners (London: Corda Music Publications, 2013), 155.
4
is safe to assume that Suites for Solo Violin from 1696 were not considered eligible for copying
because of the unique notation von Westhoff had developed for them.”6
Example 1: Von Westhoff, Six Suites. Beginning of Allemande, Suite I (1696)
After centuries of disregard and underestimation, von Westhoff’s music has gained
increasing acknowledgement from modern critics. For example, he is praised as the “greatest
master of polyphonic music for violin prior to Bach” by German musicologist Andreas Moser.7
Likewise, musicologist Gregory Barnett in his book Bolognese Instrumental Music states that the
significance of von Westhoff’s music was appreciated by contemporary Italians based upon
evidence that one of von Westhoff’s works, the Sonata for Violin and Continuo, is found in the
Biblioteca Estense Universitaria in Modena, Italy.8 The period-instrument movement that began
in the 1960s has discovered and introduced unfamiliar works from various historical periods,
which, in turn, may have also contributed to the rediscovery of the Six Suites of 1696.9
2.3 Chronological List of von Westhoff’s Extant Works:
• Erstes Dutzend Allemanden, Couranten, Sarabanden und Giguen Violino Solo sonder Passo Continuo (Dresden, 1682), lost
• Sonata for violin and basso continuo (December 1682, published in Mercure galant)
6 Greta Haenen, liner notes to Walther Westoff Bach, Uta Pape, Ars Produktion ARS38126, 2013. 7 Andreas Moser, Geschichte des Violinspiels: Zweite verbesserte und ergänzte Auflage von Hans- Joachim Nösselt. Ersten Band Das Violinspiel bis 1800 (Tutzing, Germany: Hans Schneider,1966), 132. 8 Barnett, 150. 9 Robert Philip, Performing Music in the Age of Recording (New Haven: Yale University Press, 2004), 137.
5
• Suite pour le violon seul sans basse (January 1683, published in Mercure galant)
• Sonate a Violino solo con basso continuo (Dresden, 1694)
• Six Suites for Violin Solo (Dresden, 1696; possibly a partial reprint of Erstes Dutzend)
Von Westhoff was not a prolific composer, most likely due to his multifaceted career as a
chamber secretary and language teacher. His two collections which are extant are the Sonata a
Violino Solo Con Basso Continuo published in Dresden in 1694 and Six Suites for Violin Solo
in 1696. The latter is speculated to be a reprint of the Erstes Dutzend Allemanden, Couranten,
Sarabanden und Giguen Violino Solo sonder Passo Continuo.10 Cited by Göhler, this work is
the earliest work by von Westhoff and considered lost.11
His two single pieces, the Sonata for Violin and Basso Continuo and the Suite pour le
violon seul sans basse, were published in a Parisian magazine Mercure Galant during his journey
in Paris. The sonata was especially favored by Louis XIV, who asked Westhoff to perform and
repeat it several times, and even gave a nickname, “la Guerre” (the war), to the third movement
of the sonata.12 Given the fact that the violin frequently served as an accompanying instrument
to the dance music, the king’s recognition earned Westhoff’s music immense success in the
French court.13
Von Westhoff’s style distinctively varies between the sonatas and suites. The sonatas of
1694 are written in a slow-fast setting with fair independence in character. For example, the
character of each movement varies from one movement to the next. In some movements double
10 Várnai, 282-86. 11 Ibid., 282-86. 12 Barnett, 151. 13 Henri Quittard, “J. P. Westhoff: Notes sur la musique en France ou XVIIe Siecle” Revue d ’histoire et de critique musicales continued by: Revue musicale (Paris, 1902), 357-361.
6
stops are used for the purpose of self-accompaniment enhanced by a non-contrapuntal continuo
part. In the suites, however, the character is generally more serious in each movement and
movements in a sonata are usually less varied. The use of polyphonic writing by means of a wide
variety of multiple stops, such as double stops, three (or four) note chords, arpeggios, and
rhythmically different double stops, indicates a German heritage that Westhoff inherits from his
precursors.
2.4 Musical Life in the Dresden Court
For generations, the Dresden court cultivated a musical tradition that spanned 1600s-
1760s, due to the Saxony rulers’ great enthusiasm for music.14 Heinrich Schütz (1585-1672), the
most important German composer in the seventeenth century, studied with Giovanni Gabrieli
and Monteverdi in Venice and served as the court composer to the Elector of Saxony and the
Hofkapellmeister of the Sächsische Staatskapelle Dresden during 1615-1672. He fused the
Italian concertato and operatic styles with the native German polyphonic tradition, resulting in a
profound impact on instrumental music in Germanic lands.15 In the late 1620s, when Carlo
Farina served as Konzertmeister to Heinrich Schütz in the Kapelle, Dresden became the leading
musical center of northern and central Germany, and later in 1666, the Kapelle reached its
summit during the reign of the Elector Johann Georg II (r.1656-80), whose fondness of music
stimulated an increasing demand for high quality music and performers from his native Germany
and abroad, particularly from Italy. Music not only played an essential role in ecclesial services,
but served significantly in courtly occasions varying from princely baptisms to hunting events.
14 George J. Buelow, The Late Baroque Era: From the 1680s to 1740 (Englewood Cliffs, NJ: Prentice Hall, 1994), 216. 15 Ibid., 228.
7
The flourishing musical life in Dresden continued during the reigns of Johann Georg II’s
successors, thus attracting generations of high quality musicians like Kapelle members von
Westhoff and Walther. Saxony rulers established a reputation throughout Europe as patrons of
the arts. In fact, due to its prominent cultural achievements, Dresden was praised as “Florence on
the Elbe” for centuries until its destruction in World War II.16
16 Ibid., 228.
8
CHAPTER 3
POLYPHONY USED IN GERMAN VIOLIN MUSIC IN THE SEVENTEENTH CENTURY
3.1 Overview of the Emergence of Violin Music in the Early 1700s
The seventeenth century witnessed a remarkable development of violin technique in
Austro-German territories, especially in the second half of the century. It is worth pointing out
that Italian violinists first recognized the violin’s exceptional flexibility for various styles and
fully appreciated its singing nature. They treated the violin much more independently than in the
past, for example, Giovanni Paolo Cima published the first solo sonata for the violin with basso
continuo in 1610. They also experimented with diminution practice, which involved shortening
note values and often included improvised embellishment.17
Germans embraced these trends from the south of the Alps even though they were
devastated by the Thirty Year’s War (1618-48). Adaptation to foreign influences in German-
speaking lands varied from region to region. For instance, violinists in the northern cities such as
Johann Schop (1590-1667) in Hamburg, and Nicolaus Bleyer (1591-1658) in Lübeck, were
among the first ones to develop new types of playing through combining Italian idioms with
English dance and Polish folk music. Towards the end of the century when Westhoff completed
the Suite for Solo Violin, as David Boyden remarks in his book, The History of Violin Playing
from Its Origin to 1761 and Its Relationship to the Violin and Violin Music, “they (the Germans)
developed an advanced style in violin music, surpassing the Italian style in certain technical
respects, such as the use of multiple stops and varied bow techniques.”18
17 Greer Garden and Robert Donington, "Diminution," Grove Music Online, Oxford Music Online, Oxford University Press, accessed November 20, 2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/42071. 18 David Boyden, The History of Violin Playing from Its Origin to 1761 and Its Relationship to the Violin and Violin Music (London: Oxford University Press, 1965), 102.
9
3.2 Polyphonic Writing for Bowed Instruments before 1600
It is uncertain when polyphonic music was applied to a single stringed instrument, but the
diminution practice, which requires a musician’s mastery of improvised diminutions over an
existing polyphonic piece, prevailed in the repertoires of lute and keyboard in the late
Renaissance and Baroque. Giovanni Bassano’s Motetti, madrigali et canzone francese (1591),
comprising a considerable amount of diminution examples with texts based on motets, madrigals
and chansons, are suitable for voice or instrument.19 For the violin, Johann Schop’s “Nasce la
pena mia,” published in 1646, is based on Alessandro Striggio’s madrigal under the same title. It
uses a pre-existing composition as the structural base for improvised diminutions and virtuosic
double stops on the violin.
On the other hand, the lute playing provides historical evidence of the execution of
chords on stringed instruments, even though the manner of producing the sound on a lute differs
significantly from a bowed instrument. One of the earliest written records of chordal playing on a
stringed instruments Tinctoris’s De Inventione et Usu Musicae (c.1487). In his treatise, he
praises the lute player’s masterful playing “in not only two parts, but even in three or four. For
example, Orbus, the German, or Henry who was recently in the service of Charles of Burgundy;
the German was super-eminent in playing in this way.”20
Surviving instructional treatises from the early Baroque era were written for the viol, the
string instrument the public most admired.21 British composer Christopher Simpson (ca.1602–
1669) describes the methods of playing various multiple stops on the viol in the notable The
19 Brian Paul Brooks, “The Emergence of the Violin as a Solo Instrument in Early Seventeenth Century Germany” (PhD diss. Cornell University Press, 2002), 129. 20 Anthony Baines, "Fifteenth-Century Instruments in Tinctoris's De Inventione Et Usu Musicae," The Galpin Society Journal 3 (1950): 24. 21 Boyden, 94.
10
Division-Violist, and an Introduction to the Playing upon a Ground (London, 1659).22 I discuss
the detailed execution of different multiple stops in chapter 3.
The real potential of the violin aim to rival the human voice in a lyrical capacity triggered
its rapid growth as a solo instrument in the seventeenth century, and the treatise for viol provided
the direct instructions. Therefore, it is easy to imagine that, though not first executed on the
violin, multiple stops would soon be adopted as an indispensable idiom to cultivate polyphonic
writing in the violin repertoire.
3.3 Polyphonic Writing for Violin Music in Germany before von Westhoff
Closely associated to the German violin school in the early seventeenth century, Italian
violinists Biagio Marini (1594-1663) and Carlo Farina (1604-1639) exploited the possibilities on
the fingerboard and right-hand technique. Marini’s Op.8, featuring early examples of double
stops and the first appearance of scordatura tuning, is a fruit of his stay at the Palatine court of
Wittelsbach in Neuburg an der Donau from 1623 to 1628.23 In respect to the chord execution,
Marini indicated the triple stops in Capriccio per sonare il violin con tre corde a modo da lira
(No.67) to be played in the da gamba style, meaning the two lowest strings sound together
followed by a swift slide over to the top note. Similar to Marini, Farina’s works were published
during his services in Dresden. These works are written in three-or four-parts for the violin
family. The Capriccio stravagante a 4 in Book II (1627) is well known for imitating sounds of
instruments and animals by utilizing various treatments including multiple stopping. Farina
instructed playing three-note chords with con il legno in order to imitate the lira, with the
22 Tarling, 149. 23 Rudolf Aschmann, Das Deutsche Polyphone Violinspiel im 17.Jahrhundert: Ein Beitrag zur Entwicklungsgeschichte des Violinspiels (Zürich: L.Speich Reproduktionsanstalt, 1962), 80.
11
heading note: “Qui si batte con il legno del archetto sopra le corde” (beating with the wood of the
bow).24
Different from published works, manuscripts from the former Breslau (now Wroclaw,
Poland) Stadtbibliothek documented important resources of the musical life in the early
seventeenth century. Probably compiled in the 1620s and 30s, the Breslau MS.114 includes a
large quantity of instrumental music, mostly in the treble range.25 Some of figurations such as
double stops and string crossing suggest distinct features of the violin. This volume contains
musical works varying from fantasias to diminutions on vocal polyphonic works, including Op.2
(1628) by Ottavio Maria Grandiwho was most compositionally active between1610 and 1630.
German musicologist Gustav Beckman believes that Grandi was the “first to attempt writing a
two-voiced contrapuntal movement for the violin.”26 This piece is also found in the Breslau
Manuscript 114. Though written by less-well known composers, the Breslau MS. 114 provides a
compilation of various techniques and repertoire available to the early seventeenth-century
violinists.27
In the second half of the century, the opinion toward violin music was divided between
the Italians and their counterpart north of the Alps. Italians, especially those of the Bologna
school, increasingly favored clarity of forms, expressiveness of melody, and tonality that
clarifies the keys. The technical extremeness built by earliest masters was subordinate to the
element of novelty and elegance. Such virtues were inherited by Arcangelo Corelli (1653-1713),
regarded as the leading virtuoso of the high Baroque. The Germans, on the other hand,
24 Carlo Farina, “Capriccio Stravagante a 4,”in Ander Theil newer Paduanen, Gagliarden, Couranten, französischen Arien (Albese con Cassano, Italy: Musedita, 2008), 21. 25 Brooks, 13. 26 Willi Apel, Italian Violin Music of the Seventeenth Century (Bloomington: Indiana University Press, 1990), 89. 27 It includes variations on a song “Est-ce Mars” by Nicolaus Bleyer, featuring the use of double stops on the violin.
12
continuously advanced the field of violin technique with the concept of large-scale variations and
adaption from the keyboard, especially organ music, and maximized the range of virtuosity
unparalleled to their contemporaries throughout the century, leading to the culmination of the
violin as a solo instrument in J.S .Bach’s sonatas and partitas.
Philipp Böddecker’s violin sonata from Sacra Partitura (1651) is a continuous work
consisting of several contrasting sections indifferent characters. This sonata displays a wide
variety of polyphonic writing for the violin: constant two-voice sections with interspersed three-
or four-voice chords within the movement, usually at the cadence; combination of double stops
with trills; various rhythms mixed with contrapuntal writing. This sonata is an early example
exploiting the use of multiple-stops on the violin by non-Italians. During the middle of the
century, violin music in Germany was often written by organists such as Böddecker. Thus, the
compositional style of violin works embodied the polyphonic language deeply rooted in the
keyboard music of the time.
Compared to other Austro-German composers, Johann Heinrich Schmelzer (c.1623-80)
seemed less interested in experimenting with violin technique than exploring stylistic
possibilities. His work Sonatae unarum fidium (1664), greatly influenced by Marco Uccellini’s
Op. 5 violin sonatas (1649), is the first collection of sonatas for violin and basso continuo
published by a German-speaking composer.28 Each of the six pieces is a lengthy movement
within which multiple sections contrast in character, reflecting the style of the Italian sonata of
the time. Schmelzer utilizes advanced techniques including rapid passages and arpeggios in the
full range of the violin (up to the sixth position) to fulfill an artistic need rather than for the sake
of virtuosity.
28 Aschmann, Das Deutsche Polyphone, 88.
13
Heinrich Ignaz Franz von Biber (1644-1704) is ranked as the top-level violin virtuoso of
the seventeenth century. The Sonatae Violino Solo (1681) presents his formidable techniques:
fast passages up to the seventh position, multiple stops in different rhythms, and advanced down
bow staccato. English historian Charles Burney, admiring these works 100 years after they were
written, said of Biber that “his solos are the most difficult and most fanciful of any music I have
seen of the same period.”29 Like Schmelzer, Biber was fond of large-scale variations over an
ostinato bass, as seen in his Passacaglia from the Rosary Sonatas (1676), the first
unaccompanied solo work devoted to the violin in the extant literature. A series of sixty-five
variations, built on a simple descending tetrachord provides a wide variety of sonority, rhythm,
and texture, while the theme is repeatedly enhanced as polyphony unfolds over the bass.
Biber’s mastery of various types of polyphonic texture is evident in his sonatas. Imitative
polyphony in two-part writing is carried by a combination of double stops and dotted rhythms.
The three- or four-note chords are broken into arpeggios played with different bowing
techniques, or double stops are written in parallel or opposite motions.
Considered by Belgian critic François-Joseph Fétis to be the “Paganini of the seventeenth
century,” Johann Jakob Walther (1650-1717), a colleague of Westhoff, served the elector of
Saxony at the Dresden Hofkapelle as primo violinista da camera in the late 1670s.30 Like von
Westhoff, he did not choose music as his only career; a few years later in 1681 he left for Mainz
to be a clerk at the Elector’s court. Walther’s extraordinary skills are presented in his two
collections: Scherzi da Violino solo con il basso continuo, published in 1676, and Hortulus
29 Charles Burney, A General History of Music from the Earliest Ages to the Present Period (New York: Dover Publications, 1935), 462. 30 Isidor Saslav, "Walther, Johann Jakob,” Grove Music Online, Oxford Music Online, Oxford University Press, accessed September 26, 2016, http://www.oxfordmusiconline.com/subscriber/article/ grove/music/29878.
14
Chelicus in 1688. Walther’s works were known for making full use of virtuosic techniques of the
time: multiple stops, various bow strokes, and high positions in fast passages, but, unlike Biber,
Walther excluded scordatura from his works. The German’s favored traits, like programmatic
elements and sets of variations, often mark Walther’s German-based styles.
German violinist-composer David Petersen (1650-1737) was active in Amsterdam, The
Netherlands. He is known for a collection of 12 sonatas for the violin and continuo, entitled
Speelstukkenand published in 1683. It features a great number of virtuosic passages: multiple
stops, rapid scales, large leaps and so forth. This collection shares resemblance with Walther’s
Scherzi da Violino solo con il basso continuo.
3.4 The Impact of Printing
During the middle of the century, the change of printing technique affected the musical
trends in Italy and Germany. The widely used printing technique for instrumental music at the
time, so-called movable type, encountered considerable difficulties to cope with new idiomatic
notations.31 Clarity was the most concerning issue. Therefore, works containing multiple stops
survived mostly in manuscripts or newly invented copper-plate engraving, which could clearly
show the notations for multiple stops. The copper-plate engraving was adopted by the German
publishers earlier than the Italians. According to musicologist Peter Allsop, this might explain
the historical mystery that the Italian composers seemed to lose interest in virtuosic display, as
the technical requirements of their works were relatively more modest compared to those of
Biber and Walther. In fact, Walther’s Scherzi da violino solo (1676) and Westhoff’s Six Suites
31 Peter Allsop, “Violinistic Virtuosity in the Seventeenth Century: Italian Supremacy or Austro-German Hegemony,” Baroque Music (Burlington, VT: Ashgate Publishing Company. 2011), 244.
15
for Solo Violin (1696) – milestone works of German polyphonic writing for violin – were both
engraved, while most of Biber’s instrumental works were preserved in manuscript at the
Kromĕříž archbishop archive. Likewise, the Italian Giuseppe Colombi (1635-94) left a large
quantity of compositions for the violin, including unaccompanied works, in manuscript archived
at the Biblioteca Estense Universitaria in Modena, Italy.32
Some scholars argue that composers were discouraged from writing double stops in their
music because the old style of printing did not allow for clarity. However, such claims fail to
address the aesthetic tastes of the composers. Aesthetic tastes determined whether violinists took
a path toward either lyricism or virtuosity, and the problem caused by the old printing technique
was an external obstacle for music production alone. If the majority of Italians held the tradition
of exploring virtuosity on the violin, preserved manuscripts like Colombi’s would provide
evident resources. But based upon the extant manuscripts, the technical challenges, such as
multiple stops, are found less often in Italian scores than in German scores because Italian
composers generally favored the lyrical style over virtuosity.
32 Barnett, 150.
16
CHAPTER 4
VON WESTHOFF’S UNACCOMPANIED WORKS FOR VIOLIN SOLO
4.1 Overview of the Solo Suites by von Westhoff
Von Westhoff’s Suites represent the classical German polyphonic style in instrumental
music. Although J.S.Bach’s Three Sonatas and Three Partitas for Solo Violin written in 1720
stand out as a monument in the solo violin repertoire, von Westhoff’s work most likely served as
inspiration for Bach’s works. Peter Wollny, in the preface of the score to Three Sonatas and
Three Partitas for Solo Violin of J.S.Bach, wrote:
Among his (Bach’s) possible forebears, special importance attaches to the solo suites of Johann Paul von Westhoff, an important central German violinist who was a member of the Dresden court chapel from 1674 to 1697 and a chamber secretary and musician at the Weimar court from 1699 until his death. Bach surely met him as a young man during his first Weimar appointment in 1703. By then Westhoff had already published…and another volume of six suites in 1696. … They reveal that although Westhoff’s suites bore hardly any stylistic resemblance to Bach’s works, both have the common goal of transferring a polyphonic texture to an unaccompanied violin while adhering to the rules of strict counterpoint, thereby elevating this species of composition to the realm of high art.33 It is noteworthy that von Westhoff’s Suite of 1683, based on extant literature for solo
violin, is believed to be one of the earliest known multi-movement pieces for violin.34
4.2 German Dance Suite
Although Johann Schop’s suite (1640), set as an allemande-courante-sarabande, appeared
as the first example of the suite in Germany, Johann Jacob Froberger (1616-1667) was credited
33 Peter Wollny, Preface to “Three Sonatas and Three Partitas for Solo Violin” BWV 1001-1006, by J.S. Bach (Kassel: Bärenreiter-Verlag Karl Vötterle GmbH &Co.KG, 2006),VIII. 34 Christoph Wolff, et al. "Bach." Grove Music Online. Oxford University Press. accessed March 26,2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/40023pg10. Although Biber’s Passacaglia from Rosary Sonatas (1674) is found the earliest unaccompanied work for solo violin, it is a single movement.
17
for his contribution in cultivating the form of the suite in the German Baroque.35 Greatly
influenced by French lute music, Froberger’s suites for harpsichord consist of three basic
movements: allemande, courante, and sarabande. Later, he also used gigues regularly in his
suites.36 Most of his suites were compact and thematically related within the movements of the
suite. Such traits were inherited by later composers like Dieterich Buxtehude (1637-1707) and J.
S. Bach.
Von Westhoff’s 1696 suites are strictly cast in the typical suite model of the Baroque era:
four movements in a setting of allemande-courante-sarabande-gigue; each movement is in binary
form; and the same key is shared within each suite. The characteristic built up by Froberger is
represented in the Suites: the allemande and courante share the same thematic material, forming
a progressive variation based on a combination of two movements.37 Von Westhoff mixes
different national styles of dance in the suites. For example, he uses 3/2 meters that are often
used in French courantes but some of them, featuring relatively fast motion, imply an Italian
corrente in 3/4. Additionally, the sarabandes carry the French dignified character in a slow triple
meter 3/1. The gigues feature a light character with a loose fugal style. Though lacking virtuosic
display, such as rapid passages and high registers, the Six Suites of 1696 are full of various
polyphonic textures, within which von Westhoff expanded the bounds of multiple stops. The
motivic imitation and repetitive rhythmic patterns alternate in different voices as a two-voice part
grows into multiple ones. Also, von Westhoff is fond of large leaps, as seen in the sarabande of
Suite II and the allemande of Suite III.
35 Howard Schott, "Froberger, Johann Jacob," Grove Music Online, Oxford Music Online, Oxford University Press. accessed September 28, 2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/10298. 36 Manfred F. Bukofzer, Music in the Baroque Era: From Monteverdi to Bach (New York: W. W. Norton & Company, 1947), 109. 37 Bukofzer, 112.
18
4.3 Comparison with Works of Contemporary Composers
In this section I compare the selected examples from von Westhoff’s Suites to works of
other composers in order to define his compositional style, to prove his innovative contribution
to the solo violin literature, and to understand his role as an indispensable contributor to German
violin playing of the time.
Von Westhoff explores the possibility of using the violin as a self-accompanied
instrument. In the courante from Suite I, the melodic progression is seen in two ways: the
moving lines largely rely on the harmonic accompaniment of multiple stops, while the chord
progression is linked by the stepwise moving quarter notes beginning in measure two (Example
2). Unlike Walther’s corrente (Example 3), von Westhoff replaced the basso continuo with
multiple stops as harmonized accompaniment. In addition, the chords appear only on important
beats as if they are played in lute fashion, which could remind one of the origin of the suite in
lute music.
Example 2: Von Westhoff, Six Suites, Suite I, Courante, mm.1-3.
Example 3: Walther, Scherzi da Violino Solo (1676), Suite I in A major, Corrente, mm.12-15.
Biber’s sarabande of Sonata V from the Rosary Sonatas features a different treatment of
multiple stops from that of von Westhoff’s. Biber assigns the violin a dance-like melody assisted
by the accompanying basso continuo, with a moderato tempo that Italian sarabandes favored
19
(Example 4).38 In comparison, most of von Westhoff’s sarabandes are written in an intense or
serious manner, embodying the German stylistic feature of the late seventeenth century.39 Here
in Example 5, he lays the stress at the beginning of each measure to reinforce the tonality of the
harmonic progression by use of triple and quadruple stops.
Bach displays his synthesis of both Biber’s and von Westhoff’s styles in his sarabande
(Example 6): 3/4 meter with a dance-like feel and the frequent multiple stops emphasize the
rhythmic and harmonic scheme of the dance form. Though bearing different stylistic
characteristics, the examples above suggest that Bach agreed with Westhoff’s idea of creating a
more polyphonic texture to unaccompanied violin music, and, with inspiration from others like
Biber, Bach revealed the full potential of the violin as a solo instrument.
Example 4: Biber, Rosary Sonatas, Sonata V, Sarabande, mm.1-4.
Example 5: Von Westhoff, Six Suites, Suite VI, mSarabande, mm.1-5.
38 Robert Donington, Baroque Music: Style and Performance (New York: W. W. Norton & Company, 1982), 17. 39 Ibid., 17.
20
Example 6: Bach, Partita I for Solo Violin, Sarabande (1720), BWV 1002, mm.1-5.
By the late seventeenth century, double stops already made frequent appearances in the
violin solo sonatas and suites. Walther, von Westhoff’s colleague at the Dresden court Chapel,
implemented a large number of multiple stops, mainly in variations based on a theme. By doing
so, the violin achieves a harmonic richness with a light accompaniment from the basso continuo
(Example 7). However, Walther did not negate the traditional instrumentation as all his works for
violin were written with an accompanying instrument, except for the last piece “Serenada.” In
the example below there is a bass line with figures, implying that it was written for violin and an
accompanying instrument.
On the contrary to Walther, von Westhoff, like Bach, firmly insists on the full
exploitation of multiple stops. He manifests a full harmonic texture from the very beginning,
enriched through joining of three-and four-note chords (Example 8). Alternating uses of double,
triple, and quadruple stops in passages lead to a wide variety of textural complexity repeatedly
enhanced with multiple voices. Bach also embraces the idea of using multiple stops to heighten
the intensity of harmonic progression for the self-accompanied violin in his Allemande from
Partita 1, (Example 9).
Example 7: Walther, Hortulus Chelicus (1688), Suite VI, Allemande, mm.1-4.
21
Example 8: Von Westhoff, Six Suites, Suite III, Allemande, mm.1-6.
Example 9: Bach, Partita I for Solo Violin, Allemande, BWV 1002, mm. 1-2.
Although the technically challenging chords in von Westhoff’s and Walther’s allemandes
might imply a slower tempo, the rhythmic patterns shared in both pieces suggest that the tempo
should be in a moderate pace, in comparison to Bach’s majestic manner with double-dotted
rhythms often seen in French overtures of the eighteenth century (Example 9).40 In fact, the
allemande tempo in the Baroque changed over the course of time, varying from a “very lively
style” for Thomas Mace in 1676 to “a serious and dignified movement” for Johann Gottfried
Walther in 1732.41
Replacing the basso continuo with the use of multiple stops is a common application in
von Westhoff’s suites. One example is the gigue of Suite III, in which a large number of triple
and quadruple stops embody the bass voice when the texture gradually thickens to four-part
writing. On the other hand, Johann Jakob Walther’s giga from Scherzi da Violino Solo consists
of a melodic violin part and chordal accompaniment in basso continuo (Example 10). In the
gigue from the Rosary Sonatas, Biber writes double stops and occasional triple stops for the
40 Nicolaus Harnoncourt, Baroque Music Today: Music as Speech: Ways to a New Understanding of Music (Portland, OR: Amadeus Press, 1995), 184. 41 Donington, 17.
22
violin intensified by the accompanying continuo (Example 11). After comparing the works by
Walther and Biber, it seems that von Westhoff inherited this idiom from his colleagues but create
a more dense harmonic texture, without basso continuo, by solely implementing multiple stops
on the violin.42
Example 10: Walther, Scherzi da Violino Solo, Suite I in A major, Giga, mm.1-4.
Example 11: Biber, Rosary Sonatas (1676), Sonata VIII, Gigue, mm. 1-3.
Example 12: Von Westhoff, Six Suites, Suite III, Gigue, mm.1-7.
Von Westhoff’s suites also feature the distinctive idiomatic style of the German keyboard
suite during the second half of the seventeenth century. A major figure in the late Baroque period
42 Both Scherzi da Violino Solo and Rosary Sonatae were published in 1676.
23
of Germany, Johann Kuhnau (1660-1722), published two collections of keyboard suites called
Neuer Clavier-Übung in 1689 and 1692 respectively. Example 13 shows that, aside from the
setting, the similar rhythmic pattern, harmonic progression, and motivic layout are also found in
von Westhoff’s Allemande from Suite III (Example 14).
Example 13: Johann Kuhnau, Neuer Clavier-Übung I (1689), Partita II, Allemande, mm.1-2.
Example 14: Von Westhoff, Six Suites, Suite II, Allemande, mm.1-2
There are some stylistic similarities shared in the keyboard and the violin works. The use
of chromatic scales in the gigue from Suite I, for example, is reminiscent of that in Praeludium
XX from the Well-Tempered Clavier by J.S. Bach. The first half of both von Westoff’s gigue and
Bach’s praeludium is structured by a chromatic descent (Example 7). In addition, the second half
of the gigue and the praeludium contain an ascending chromatic line, in opposition to the
descending line of the first half of both pieces. However, the chromatic motif of the gigue is
constantly put in the bass part decorated by a sequential progression in the upper voice, in
comparison to Bach who exchanges the chromatic line between the bass and treble lines in the
praeludium.
24
Example 15: Bach, Praeludium XX, BWV 889, mm.1-2, 17-18.
Example 16: Von Westhoff, Six Suites, Suite I, Gigue, mm.1-2, 11-12.
4.4 Performance Practice of Multiple Stops in the Suites
For modern violinists, there may be confusion between what is written out and how the
music actually sounded. The sharp contrast is that, in the Baroque, the performer was left with
more freedom to actualize the music with artistry, whereas the modern player is accustomed to
play exactly what is written. Regarding the performance practice of multiple stops, there are
several ways of implementation according to the context as long as one respects the priority of
the bass line and the rule of harmonic consideration of the Baroque style.43
43 Tarling, 149.
25
4.4.1 Three-or Four-Note Chords
The extant earliest treatise describing multiple stops was not written for the violin but for
the viol. Both Christopher Simpson and Thomas Mace suggested that the chord is to be swiftly
arpeggiated, using a full smooth bow starting from the lowest note of the chord to the top
(beginning of Example 17). This rule was applied to violin music. In regard to the length of the
note on the bottom or top and the speed of breaking a chord, there is no settled formula but it
remains the artistic choice of the performer based upon the musical context.
The tradition of executing a chord as a roll from the bottom to the top, continued in the
eighteenth century. Johann Joachim Quantz reaffirmed it in his Versuch (1752).44
Example 17: Von Westhoff, Six Suites, Suite III, Allemande, mm.1-6.
Continuous chordal progressions, which are another kind of multiple stop, also appeared
frequently in the late Baroque period. Boyden observes that these multiple stops “were played as
arpeggios, even without the direction.”45 The most influential violin treatises of this century,
written in the 1750s to 1760s, provide specific instructions on using arpeggiation for execution.
In The Art of Playing on the Violin (1751), Francesco Geminiani presents eighteen ways of
44 Johann Joachim Quantz, Versuch einer Anweisung die Flöte traversiere zu spielen (Berlin: 1752) trans. Edward R. Reilly as On Playing the Flute (Boston: Northeastern University Press, 1985), 220. 45 David Boyden, The Violin and Its Techniques in the 18th Century (Urbana, IL: American String Teachers Association, 1950), 25.
26
arpeggiating a three-measure progression.46 In Versuch einer gründlichen Violinschule (A
Treatise on the Fundamental Principles of Violin Playing, 1756), Leopold Mozart states that “the
style of performing these broken chords is partly indicated by the composer; partly carried out by
the violinist according to his own good taste. … As the Arpeggio is indicated in the first bar of
each example, so must the following notes…to be continued in the same manner.”47 L’Abbé le
fils gives systematic arpeggiation of chords, notated as triple and quadruple chords in Principes
du Violon (1761); he also includes instructions of double stops in the same treatise.48
4.4.2 Two-Note Chords
There is no difficulty playing note-against-note double stops (see Example 18), because
the violinist can easily play the two-note chord on adjacent strings together. In rhythmically
different ones, the longer value note should not be sustained in order to stress the harmonic
progression, as seen in the third beat of measure 1 in Example 18.
Example 18: Von Westhoff, Six Suites, Suite II, Allemande, mm.1-2.
However, when the dissonance appears, as shown in the fourth and fifth beat of measure
2 of example 10, both voices need to emphasize the suspended dissonance. In the case of
example 10, a chain of dissonant sequences occurs: the upper b should be held through to the a,
46 Francesco Geminiani, The Art of Playing on the Violin, ed. David Boyden (London: Oxford University Press, 1952), 28. 47 Leopold Mozart, Versuch einer gründlichen Violinschule (London: Oxford University Press, 1985), 161-63. 48 L’Abbé le fils, Principes du Violon (Paris: 1761; reprint. Paris: 1961), 440.
27
forming a 7-6 suspension with the c# below; the b of the lower voice at the beginning of the next
measure should be sustained again, forming another 7-6with the a and g# above, and a similar
treatment is also applied in the last sequence.
Example 19: Von Westhoff, Suite pour le violon sans basse continue (1683), Courante, mm.11-13.
The bow plays a crucial role in execution of the multiple stops. In the seventeenth
century, its design and method of use varied in different parts of Europe. In German lands, the
commonly used bow was highly arched.49 The prevailing way of holding the bow was to place
the thumb under the bow hair with the three fingers above the stick. Composer and organist
Georg Muffat (1653-1704) states that “most of the Germans adopt the Lully bow grip when
playing the small and middle-sized violins in that they press the hair with the thumb and lay the
other fingers on the back of the bow stick, thus having the option of tightening the hair or leaving
them loose.”50 If articulate bow strokes were needed, the violinist was able to tighten the tension
of the bow hair by pressing the hair with the thumb. When playing multiple stops, the bow hair
could be rather loosen to touch more strings almost at the same time for the relaxing and full
sound effect, whereas with the long and straight modern bow, a violinist must break the chord.
49 Boyden, The History of Violin Playing, 433. 50 Georg Muffat, On Performance Practice. The Texts from Florilegium Primum, Florilegium Secundum, and Auserlesene Instrumentalmusik (Indianapolis: Indiana University Press, 2001), 109.
28
CHAPTER 5
CONCLUSION
Von Westhoff was considered as one of the finest violin virtuosos in the late seventeenth
century. His residence in Dresden exposed him not only to the Germanic tradition of polyphony,
but also to a high level of violin playing at the time. His musical experiences in Dresden are
reflected in his solo violin suites, which developed polyphonic writing for the violin and served
as inspiration for his contemporaries and the following generations.51
By examining the compositional traits of the suites and comparing von Westhoff’s use of
multiple stops with others, this study provides evidence of von Westhoff’s ambition to utilize the
violin as a self-accompanied instrument and showcase his contributions to the violin literature. It
was unfortunate that the Suites of 1696 were not rediscovered until the 1970s, but von
Westhoff’s addition to the violin repertoire shaped the instrument’s solo genre for years to come.
51 According to Barnett, von Westhoff’s sonata of 1683 is the first of an unpublished set, comprising seven pieces for the solo violin, by the composer-violinist Giuseppe Colombi (1635-1694), under the call-number Mus.E.282.
29
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