Dietrich Buxtehude's studies in Learned Counterpoint BY KERALA J. Snyder. We know nothing about dietrich's musical education. Theile was an informator of the well-known.
Dietrich Buxtehude's studies in Learned Counterpoint BY KERALA J. Snyder. We know nothing about dietrich's musical education. Theile was an informator of the well-known.
Dietrich Buxtehude's studies in Learned Counterpoint BY KERALA J. Snyder. We know nothing about dietrich's musical education. Theile was an informator of the well-known.
Dietrich Buxtehude's Studies in Learned Counterpoint
Author(s): Kerala J. Snyder
Source: Journal of the American Musicological Society, Vol. 33, No. 3 (Autumn, 1980), pp. 544-564 Published by: University of California Press on behalf of the American Musicological Society Stable URL: http://www.jstor.org/stable/831305 . Accessed: 23/09/2013 15:21 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . University of California Press and American Musicological Society are collaborating with JSTOR to digitize, preserve and extend access to Journal of the American Musicological Society. http://www.jstor.org This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions . STUDIES AND REPORTS - Dietrich Buxtehude's Studies in Learned Counterpoint BY KERALA J. SNYDER WE KNOW NOTHING about Dietrich Buxtehude's musical education. Pre- sumably he received his first instruction from his father, Johann Buxte- hude, who was also an organist, and learned singing and basic theory in the Latin school in Elsinore, but beyond that there is only the statement in Jo- hann Mattheson's Critica musica that Johann Theile (1646-i724) had been an instructor to Buxtehude in Liibeck. Theile had corresponded with Matthe- son previously,1 so he had probably himself made this claim, which Matthe- son included in his obituary: Next he went to Stettin, and there he instructed organists and musicians; he also did this in Liibeck, and was an informator of the well-known Buxtehude, of the organist Hasse, and of the city musician Zachau, among others.2 Theile was definitely in Liibeck in 1673 and perhaps a few years before that; in that year he was twenty-seven years old and left Liibeck to assume his first official position, that of kapellmeister to the court of Schleswig-Holstein in Gottorf. Buxtehude, on the other hand, was thirty-four and organist at the Marienkirche in Liibeck, one of the most prestigious musical posts of north- ern Germany. For this reason, Mattheson's statement has often been dis- counted.3 Buxtehude was interested in learned counterpoint, Theile's 1 Mattheson published two letters from Theile, written in Naumburg in 1718, in Critica musica, II (Hamburg, 1725; rprt. Amsterdam, 1964), pp. 282-5. Facsimile and English translation in Elizabeth Jocelyn Mackey, "The Sacred Music of Johann Theile" (Ph.D. diss., University of Michigan, I968), pp. 265-72. 2 "Hiernechst begab sich der letzt-benannte nach Stettin / und unterrichtete daselbst Organisten und Musicos; desgleichen er auch zu Ltibeck vornahm / und unter andern des bekannten Buxtehuden / des Organistens Hasse / des Raths Musici Zachauens / und andrer informator ward." Mattheson, II, p. 57; translation mine; facsimile and translation of complete article in Mackey, pp. 261-4. Johann Gottfried Walther repeats this account verbatim in his Musikalisches Lexikon (Leipzig, 1732; rprt. Kassel, 1953), pp. 602-3. Note also the words "eigen handigem Berichte nach" in the quotation in n. 55 below. 3 See, e.g., Philipp Spitta,Jobann Sebastian Bach, transl. Clara Bell and J. A. Ful- ler-Maitland (New York, 1951), I, p. 257, n. 95; Bruno Grusnick, Dietrich Buxtehude: Sein Leben und Werk (Kassel, 1935), p. 8; Friedrich Blume, "Buxtehude," MGG, II (1953), col. 555- This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions STUDIES AND REPORTS 545 specialty, at precisely this time; during the early i67os he composed two canons, an intricate piece of invertible counterpoint and a mass in stile antico. Nevertheless, there is evidence to suggest that he derived his inspiration for these studies from Christoph Bernhard and Jan Adam Reincken rather than Theile. Buxtehude wrote the two canons in autograph books, a practice which was common among baroque composers and extended well into the nine- teenth century. On May 12, 1670 he entered the first one, "Divertisons nous aujourd'hui" (BuxWV 124),4 into the album of Meno Hannekin, a theological student and the son of the superintendent of the Libeck churches. The al- bum was lost during World War II, but the canon has been published several times in facsimile,5 and Bruno Grusnick has used it in his studies of the Diiben collection at Uppsala as an important key to the identification of Bux- tehude's hand,6 since it was Buxtehude's only known autograph in musical notation rather than German organ tablature. Both the text-a drinking song-and the inscription are in French, Buxtehude's only recorded use of that language. The solution is quite simple once one realizes that he seems to have made a mistake in the directions. It reads "Canon a 3 in Epidiapente et Epidiapason," i.e., the upper fifth and upper octave, but it will work only if the second voice enters at the upper octave and the third at the lower fifth (Hypodiapente) (Ex. I).7 Buxtehude entered another canon (BuxWV 123) in the album of the com- poser Johann Valentin Meder, and it appears here in facsimile for the first time (Fig. 1).8 This canon, dated Libeck, June 25, 1674, is both more ele- 4 Georg Karstadt, Thematisch-systematisches Verzeichnis der Werke von Dietrich Buxte- hude (Wiesbaden, 1974)- s Wilhelm Stahl, Franz Tunder und Dietrich Buxtehude (Leipzig, 1926), p. 36; Stahl, Dietrich Buxtehude (Kassel, 1937), Abb. Io; MGG, II, cols. 553-4- 6 Bruno Grusnick, "Die Dobensammlung: Ein Versuch ihrer chronologischen Ordnung," Svensk tidskriftfiir musikforskning, XLVIII (1966), pp. 177-86. 7 James Boeringer's published solution, with the text "While shepherds watched their flocks by night" (Dietrich Buxtehude, A Christmas Canon, ed. James Boeringer (St. Louis, 1965)), is incorrect; he brings both the second and third voices in at the upper fourth and covers the resulting fourths with an added bass line "in the style of the composer's continuo parts." 8 Johannes Bolte described the contents of part of this album ("Das Stammbuch Johann Valentin Meders," Vierteljahresschrift fir Musikwissenschaft, VIII (1892), pp. 499-506), which was at the time in private possession. He also gave a transcription of Buxtehude's canon, omitting the fermata. Following the owner's death in I9OI these pages came into the possession of the Gesellschaft fUr Geschichte und Altertums- kunde in Riga, where they joined the rest of the album. It has since disappeared, but photographs of its musical entries obtained by Andrd Pirro in I9Io are at the Bibli- othbque nationale in Paris (Fonds Pirro, Boite 60). In addition to Buxtehude's canon there is a circle canon by Johann Petzold, a perpetual canon by Sebastian KnOpfer for nine voices, of which six are in augmentation at the lower fifth, and a four-voice fugue in E minor by Martin Radeck in organ tablature, 73 measures long. Less interesting canons are entered by Michael Zachaeus and Meder's brother Maternus, the latter noting that he was adding it "not so much out of a liking for this type of art as out of This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions 546 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY Example 1 Buxtehude, Canon (MuxWV 124), solution Di - ver - ti - sons nous Di - ver - ti- sons nous au - jour-d'hui, bou-vons, bou-vons, bou - au-jour-d'hui,bou-vons,bou-vons, bou-vons ~ la san-to de mon a - vons a la san- t6 de mon a - mi,bou - vons, bou-vons, bou- Di - ver - ti - sons nous au-jour-d'hui,bou-vons,bou-vons,bou- mi, bou-vons, bou-vons, bou-vons a la san - te, san- vons a la san - t6, san- te, a la san - t6 de mon a- vons a la san-t6 de mon a- mi, bou-vons, bou-vons, bou- td, a la san-td de mon a - mi. mi. VOns Ia la san-te, sail - t, ia la san-td de mon a - mi. brotherhood." A Griswold Faculty Research Fellowship from Yale University en- abled me to go to Paris to examine Pirro's literary estate. This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions STUDIES AND REPORTS 547 Lit* t A .......... . .... . . . .. ... Figure i Buxtehude, Canon duplex (BuxWV 23), from a photograph made by An- drd Pirro in I910 (Paris, Bibliotheque nationale, Fonds Pirro, Boite 60o) gantly written and more complex than its predecessor and is appropriately inscribed in Latin.9 Buxtehude does not give enough clues to make the solu- tion simple, but they are all correct this time. The second voice is found by augmentation at the lower fifth, beginning simultaneously with the given voice. But whereas for Bach a "canon duplex" consists in treating each of two voices canonically, for Buxtehude the duplex nature is shown in doubling each of these voices at the third, in this case below the top voice and above the bottom voice, to arrive at the prescribed four voices which are sung at the same time (Ex. 2). Also in 1674 Buxtehude published a much more extensive contrapuntal essay, two settings of the chorale "Mit Fried und Freud ich fahr dahin" in four-part invertible counterpoint, together with a hymn of lamentation, all of 9 "Symb: Non hominibus sed DEO. Canon duplex per Augmentationem, qua- tuor voces simul cantantur. Viro praestantissimo / Dno: Joh. Valentino Medero / cui cum literis raro exemplo Musica semper in deliciis fuit, Fautori suo honoratissimo Canonem hunc benivolae recordationis ergo huc apponere voluit Dietericus Buxte- hude, in Templo primario Mariano organista." (Symbol: Not to men but to God. Duplex canon by augmentation, four voices are sung at the same time. To a most outstanding man, Mr. Joh. Valentin Meder, who has always enjoyed music and liter- ature of an uncommon character, [the undersigned] wished to place this canon here for his most honored patron, for the sake of a kind remembrance. Dietrich Buxte- hude, organist in the eminent temple of Mary.) This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions 548 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY Example 2 Buxtehude, Canon duplex (BuxWV 123), solution ............................. $ 2 _ rrr- Prr - 4 s- --- o I P which had been performed at the funeral of his father on January 29, 1674.10 The two chorale settings, entitled Contrapunctus I and Contrapunctus II, place the unornamented cantus firmus in the soprano voice. The three lower voices proceed in faster note values, loosely imitative but unrelated to the chorale melody. An Evolutio is published after each; in both cases the soprano and bass exchange parts, as do the alto and tenor, transposed down a fourth. Contrapunctus I and its Evolutio are in simple invertible counterpoint at the octave; the parts of Evolutio H move in contrary motion as well. The four stanzas of the complete text of the chorale (Luther's paraphrase of the Nunc dimittis) are printed consecutively under the cantus firmus. The parts are in 10 BuxWV 76: Fried- und Freudenreicbe Hinfarth I Des alten grossgliubigen Simeons /bey seeligen ableiben / Des ... Herrn Jobannis Buxtebhuden (Lubeck, 1674; facsimile, ed. Max Seiffert, Lubeck, 1937); facsimile of title page and modern edition in Dietrich Buxte- bhude: Werke, ed. Glaubensgemeinde Ugrino (8 vols., Hamburg, 1925-58; rprt. New York, 1977), II, pp. 85-8. This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions STUDIES AND REPORTS 549 open score with no indication of the medium by which they are to be per- formed. The Klag-Lied is also in open score; the clefs are the same and the first of seven stanzas of text is printed under the soprano line, but the alto and tenor lines are marked "Tremulo" and the bass line is provided with figures, indicating a performance by soprano voice, continuo and two instruments, probably viols. It has a more strongly contrapuntal texture than Buxtehude normally used to set a strophic song text, but it does not appear to employ any contrapuntal tricks and is unrelated to the chorale settings except by the occasion on which they were all performed. Finally there is the Missa brevis (BuxWV 14), a strongly imitative stile antico setting of the Kyrie and Gloria for five voices with a basso seguente con- tinuo. 11 It contains numerous examples of all these contrapuntal techniques: canon, invertible counterpoint and even two simultaneous sets of parallel thirds, although not canonic (Kyrie, mm. 82-4). Both Grusnick12 and Ru- din13 have dated the copying of its manuscript at about I675, which could well place its composition in the early I670s. Buxtehude could thus have been inspired to compose it by Theile, who published a collection of stile antico masses in 1673.14 Canons and invertible counterpoint were subjects of particular interest to Theile. He left several treatises on invertible counterpoint,15 and his "Musi- kalisches Kunstbuch" opens with an augmentation canon which is extended to four voices by the addition of parallel thirds. 16 In spite of the fact that the manuscripts for these treatises cannot be dated before 1690,17 Friedrich Rie- del has credited Theile with inspiring not only Buxtehude's "Mit Fried und 11 Martin Geck has questioned the authenticity of this work ("Quellenkritische Bemerkungen zu Dietrich Buxtehudes Missa brevis," Die Musikforschung, XIII (i96o), pp. 47-9). I have examined the manuscript and consider it an authentic work, but since it is beyond the scope of this essay to prove its authenticity, it will not figure significantly in the following discussion. 12 Grusnick, "Diibensammlung," p. i63- 13 Jan Olof Rud6n, "Vattenmirken och Musikforskning: Presentation och TillAmpning av en Dateringsmetod pl musikalier i handskrift i Uppsala Universi- tetsbibliotekets Dibensamling" (Licentiatavhandling i musikforskning, Uppsala Uni- versity, 1968), I, p. i64. 14 Johann Theile, Pars prima Missarum 4. et 5. vocum a pleno choro cum et sine basso continuo juxta veterum contrapuncti stylum (Wissmar, 1673). is They are all in MS at D-ddr Bds: "Von dem dreyfachen Contrapunct," Mus. ms. theor. 91o; "Unterricht von einigen gedoppelten Contrapuncten und deren Ge- brauch," Mus. ms. theor. 913; "Curieuser Unterricht von denen doppelten Con- trapuncten;" Mus. ms. theor. 916; "Griindlicher Unterricht von den gedoppelten Contrapuncten" and "Contrapuncts-Praecepta," Mus. ms. theor. 917. (Library sigla are those of the R6pertoire internationale des sources musicales.) 16 Bds Mus. ms. theor. 913; ed. Carl Dahlhaus, Denkmiler norddeutscher Musik, I (Kassel, 1965), PP- 3-I1. 17 "Contrapuncts-Praecepta" bears the date 169o, but since it was copied by Jo- hann Gottfried Walther (1684-1748) the date must have come from his exemplar. The other MSS were copied by Georg Osterreich (1664-1735) and Heinrich Bokemeyer (1679-175 i). Most of Osterreich's copies date from the 169os, but he studied compo- This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions 550 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY Freud" but a series of related works by other North German composers, including invertible-counterpoint chorale settings by Johann Philipp F6rtsch (168o), Martin Radeck and Christian Flor (1692). 18 The friendship between Buxtehude and Theile is evidenced by the fact that Buxtehude was one of the financial backers of the publication of Theile's masses in I673 and contrib- uted a dedicatory poem to Theile's other publication of the same year, his St. Matthew Passion.19 There does appear to be some justification for Theile's claim; certainly Buxtehude's canon writing became more sophisticated be- tween 167o and 1674. There are, however, other models for both the duplex canon and the invertible counterpoint. The composition treatise attributed to Jan Pieters- zon Sweelinck contains a "Canon duplex a 4 per augmentationem" made up of two voices with their parallel thirds (Ex. 3)* 20 As in Theile's "Musi- kalisches Kunstbuch" canon, the voice in augmentation enters at the octave and the parallel thirds are above both voices. Buxtehude's doubling is dif- ferent because his augmentation voice is at the lower fifth. Later in the trea- tise there is an example of this type of parallel-third doubling, below the upper voice and above the lower voice, although it is not a canon.21 Chris- toph Bernhard's "Tractatus compositionis augmentatus" also has a chapter on making a Quatour out of a Bicinio by adding parallel thirds,22 also non- canonic, which Dahlhaus sees as a source for Theile's work.23 There was of course nothing new about an augmentation canon, but dou- bling both of the voices at the third seems to have been cultivated mainly in Germany, and although Theile participated in this practice he was certainly not its originator. Its roots can be found in Arnolt Schlick's versets for organ, sition with Theile at Braunschweig from i686 until 1689, so these MSS may be slightly earlier. See Harald Kimmerling, Katalog der Sammlung Bokemeyer (Kassel, 1970), p. II. 18 Quellenkundliche Beitrdige zur Geschichte der Musik fir Tasteninstrumente in der zwei- ten Hlfte des 17. Jabrhunderts (Kassel, i960), p. 182. Flor's work is lost. Both F6rtsch and Radeck's settings are found in D-brd B Mus. ms. 6473, dating from c. 168o; Radeck's has been edited by Bo Lundgren (Jesus Christus, unser Heiland: Koralvariatio- ner for orgel (Copenhagen, 1957)). Both are in four-part invertible counterpoint with several different inversions, though none in contrary motion. 19 Theile dedicated the masses to the 24 men, including Buxtehude, Jan Adam Reincken and the young Meno Hannekin, who employed the publisher and advanced the printing costs. Buxtehude's poem appears in Denkmdler deutscher Tonkunst, XVII (Leipzig, 19o4), p. I09. See Mackey, pp. 299-318 for facsimiles and translations. 20 "Composition Regeln Herrn M. Johan Peterssen Sweeling," ed. Hermann Gehrmann, Werken van Jan Pieterszn. Sweelinck, X (The Hague, I9oi), p. 87. 21 Sweelinck, Werken, X, p. 97. 22 Joseph Miller-Blattau, ed., Die Kompositionslebre Heinrich Schiitzens in der Fassung seines Schiilers Christoph Bernhard (Kassel, 1926; 2nd ed., 1963), pp. 127-8; transl. Wal- ter Hilse in The Music Forum, III (1973), pp. 175-6. Most scholars now agree that Bernhard is the author of the treatise, not Schutz (cf. Grusnick, MGG, I, cols. 1786- 7). 23 "Einleitung" to Theile, Musikalisches Kunstbuch, p. viii. This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions STUDIES AND REPORTS 551 Example 3 Canon Duplex a 4 per augmentationem (Sweelinck, Werken, vol. X, p. 87) Subject - . I- kV7 AkFF An i' ,, - !" _ F r _r I . - J . .. t i u This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions 552 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY composed in 1520, where both the cantus firmus and an accompanying non- canonic voice are doubled at the third and sixth24 and in Zarlino's Le istitu- tioni harmoniche (1558)25 as transmitted to Germany by Seth Calvisius26 and Sweelinck's students.27 Samuel Scheidt included in his Tabulatura nova (1624) two canons "sine Pausis" which double a counterpoint to a cantus firmus at the tenth. 28 But none of these are canonic in the conventional sense of the term, and Zarlino's and Scheidt's examples double only one voice, not two. This technique finds its culmination in Andreas Werckmeister's Harmo- nologia musica (i 702), which reduces the arts of writing both double counter- point and canons to manipulations with two sets of parallel thirds.29 Buxtehude wrote a congratulatory poem for this treatise. A much closer model exists for Buxtehude's two settings of "Mit Fried und Freud." Although they were published in 1674, Buxtehude had com- posed them in 167 1 for the funeral of Meno Hannekin, superintendent of the Liibeck churches and the father of the young man in whose album Buxte- hude had entered his canon the previous year.30 Two years earlier Christoph Bernhard had published a similar work, Prudentia prudentiana.31 The title refers to Aurelius Prudentius, the fourth-century author of the text "Jam moesta quiesce querela," a hymn customarily sung at funerals in Hamburg 24 Arnolt Schlick, Hommage 4 l'empereur Charles-Quint: Dix versets pour orgue, ed. M. S. Kastner and M. Querol Gavaldd (Barcelona, 1954); cf. Wilibald Gurlitt, "Can- on sine pausis," Musikgeschichte und Gegenwart, ed. Hans Heinrich Eggebrecht (Wiesbaden, 1966), I, pp. 105-10o. 2s "Double counterpoints may be sung in three voices, with the extra voice a tenth above the lower voice of the principal and a seventeenth below the inverted upper part." (Part III, chap. 56; translated by Guy A. Marco and Claude V. Palisca (New Haven, 1968), p. i62). 26 Seth Calvisius, MEAOLIOIIA sive melodiae condendae ratio, quam vulgo musicam poeticam vocant, ex verisfundamentis extructa et explicata (Magdeburg, 1630), fol. 17 (orig- inally published Erfurt, I592). 27 Sweelinck, Werken, X, pp. 63, 65. 28 Samuel Scheidt, Werke, VI/i, ed. Christhard Mahrenholz (Hamburg, 1953), pp. 115-16. 29 "Also dass unten lauter Tertien / und oben lauter Tertien bleiben / das ist also der Schliissel zu allerhand Arten von den Canonibus und gedoppelten 3. und 4. fachen Contrapuncto." Andreas Werckmeister, Harmonologia musica (Frankfurt and Leipzig, 1702), p. 102. I do not mean to imply that this technique was not also developed in Italy; two sets of parallel thirds making four voices can be found as early as Silverio Picerli, Specchio secondo di musica (Naples, 163 ), pp. 79 ff. But they are non-canonic, and they do not receive the emphasis that they do in the German sources, perhaps because the German treatises tend to be more practical in nature. 30 Carl Stiehl in "Mitteilungen," Monatsheftefiir Musikgeschichte, XXV (1893), p. 35- 31 Prudentia Prudentiana / Maxime reverendo Doctori et clarissimo / Professori / Domino / Rudolfo Capello / Hamburgensi / matrem laudatissimam / honestissimam et ornatissimam matronam / Christinam Capellam / natam Losiam / quae A. MDCLXVIII D. VI. Aprilis suaviter exspiravit / et uxorem optimam I nobilissimam et praestantissimam / foeminam / Annam Capellam / natam Bernbergiam / A.C. MDCLXIX D. XXVI Januarii pie mortuam lugenti / solatio / tribus contrapunctis / This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions STUDIES AND REPORTS 553 and the cantus firmus for Bernhard's work.32 It consists of four major sec- tions; the first two are in four parts with the cantus firmus in the soprano, and in each case the published Revolutio which follows shows the same voice ex- changes and transpositions as in Buxtehude's work, invertible counterpoint at the octave for the first and in contrary motion for the second (Ex. 4). In the third setting the cantus firmus is in the bass and it can also be performed in retrograde inversion by turning the page upside down and reading from the clefs at the end.33 The fourth section contains four written parts with the cantus firmus in the tenor and indications for canonic voices to follow the alto at the lower fifth after a semibreve and the bass at the upper fifth after three semibreves. The resolution is not published and is not entirely satisfactory; either through printing or compositional errors it contains several parallel octaves and fifths and an impossible final cadence. The similarity between Bernhard's first two sections and Buxtehude's "Mit Fried und Freud" is so striking that there cannot be any doubt that Buxtehude modelled his work on that of Bernhard. Both works are unique among their composers' output, and they are totally atypical of German fu- neral music of the period.34 The external differences between the two pieces are slight, apart from the fact that Buxtehude chose not to set the chorale with retrograde inversion or canon in the manner of Bernhard's two final sections. Although Bernhard printed all ten stanzas of the hymn on the title page, he underlaid only the first four in the music, one stanza to each major section; in the first two, there is no text under the cantus firmus of the Revo- lutio. There are some tonal differences: Bernhard transposed his cantus firm- us from F major in the first section to G major in the second, and he did not retain the intervallic identity in contrary motion to the extent that Buxtehude did.35 convertibilibus et auctario / elaborata / a / Christophoro Bernhardi / Musices apud Hamburgenses / directore (Hamburg, 1669). Bruno Grusnick first suggested the con- nection between these two works in his article "Christoph Bernhard" (MGG, I, col. 1789). This print does not appear in RISM, and I am indebted to Dr. Grusnick for helping me locate it at the Staatsarchiv in Hamburg. 32 Text in Philipp Wackernagel, Das deutsche Kirchenlied (5 vols.; Leipzig, 1864-77), I, p. 40; melody in Johannes Zahn, Die Melodien der deutschen evangelischen Kirchenlieder (6 vols.; Giitersloh, 1888-93, rprt. Hildesheim, 1963), no. 1454a. " The necessary baritone clef at the end is misprinted as a bass clef. The tenor clef for the first system of Counterpoint II also appears incorrectly on the fifth line. 34 See Wolfgang Reich, ed., Threnodiae sacrae: Beerdigungskompositionen ausgedruck- ten Leichenpredigten des. z6. und 17. Jahrhunderts, Das Erbe deutscher Musik, 79 (Wiesbaden, 1975). 35 To do so would have required a B key signature in the second Revolutio; also, the pitch E of the counterpoint is answered by both F and F# in the Revolutio. Buxte- hude adds an F#~to the key signature of the second Evolutio to retain the same inter- vals in contrary motion, and quite consistently answers the accidental B~ with C#. It is interesting that in each case this is the note which pushes the composition from modality to tonality: from D dorian to D minor in Contrapunctus II and from D mix- olydian to D major in its Evolutio. Buxtehude occasionally departed from rigid adher- This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions Ixanplic 4 Christoph Bcrnhard, Prudentia Prudentiana, sections I. II 4 10 i i Jam me sta qu es - I ' ' 4 3 mas sus ', edi te S que - re - a, :La -0cry - Ma - - tres, Ni hls su - a pig no ma :plan gat, :Mors 40, wt - ; , . , , u ,
; ' " - - hacpig - no - a plan ti o v tasMors , o ,o _ I I ~~ : - " 0 i - hae re - a i ti - o :Vi " - :tfR , , , ,, , ', , I :;..' . !" i " i r -' , r r : ,, i 5- 0 i,- 0 r H 0- 0. H) This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions RIE'OLUTIO ,, , a m , , l, , , , ,, I I .~ J "/: ,I , , I 3'F 1 , - : : JiF LAMI IEI !~~ I I 1 S I i Ii , j ' j j " ! : : '2 I i' i ' , I ! I ',', I n .'1 r ?Ir - ,4 o 5T ,4 z' 0' 0' This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions Ill] 0 Quid nam si bi sa ,,, . - " . ,- I , . , I .I, ? , , xa ca - va - ta, :Quid pul - chra vo unt mo -u J I J - . I pul :chra vo - lunt ?mo - nu - , , .. I ? " d : men - t Re ,quod ni - si 0 Ji , , , AF i F, -mur tu -a led da t' sum u- - do 9 Ob --~~ ~ # I, . 01 4 O(O z O0 o CA CA This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions REVOLUTLO it , 1 I -VE ". _ J i j J . . J El . . . I :: i , I ,J i J ! a , OF - I i, I t I -I . 3AAd ,I , Cr 4 : 0 0 -P I I , /.,. I , :, ! i J 1 :. .. .: J ',- ,I , I , : : - d i "@ -' - ( i ' i r I iI : : ',: I o , , t~ ~ , ,,"_ h I " . . .IJ
. j i I _ _: : i I ' P'I I J J o .. I: z 0 0 o 4 tr "-4 This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions 558 JOURNAL OF THE AMERICAN MUSICOLOGICAL- SOCIETY In spite of their similarities, there appears to be a considerable difference in the purposes for which the two works were composed. Bernhard's was intended as a consolation (solatio) to his colleague, Rudolf Capell, a professor of rhetoric and Greek at the Johanneum in Hamburg, upon the deaths of his mother Christina (April 6, 1668) and his wife Anna (January 26, 1669). It is a four-page folio, presently bound in a large volume of Capell memorabilia be- tween two prints of similar format, the first containing poems concerning Anna's death (pp. 553-6), the second for Christina's (pp. 56I-4).36 Such poems, printed by friends to console the bereaved, were very common at the time, and Bernhard's offering, though musical, falls into this category. One might wonder how much consolation such highly intellectual art could pro- vide, but when one considers that Capell translated all of the familiar Ger- man Christmas chorales into Greek37 it seems more appropriate. It is highly unlikely that Prudentia was performed at either funeral; the title page states only that Bernhard "elaborated" this piece. It was conceived as abstract coun- terpoint, not sounding music, which explains the lack of any indications as to manner of performance. If it was performed later, in an informal setting, the cantus firmus would probably have been played on an instrument; the text does not appear in either Revolutio and could not possibly have been sung in the retrograde inversion of the third section. Buxtehude's music, on the other hand, was performed at two funerals, and this shift from the abstract to the concrete is reflected in its musical quality, which far surpasses its model. The notice of its performance on the occasion of Meno Hannekin's death appears at the end of a sixty-four-page quarto print containing many poems of condolence. It looks like a title page, although the music is not there, and it states that the work was both com- posed and performed by Buxtehude.38 The title page of his father's funeral music says nothing about composition, this having been accomplished three years earlier, only that the two counterpoints were performed by Buxte- hude.39 But how were they performed, and how can they best be performed today? This work has most often been published, described, catalogued and re- corded as a vocal work, a cantata consisting of a chorale setting and an aria, even though it is known that the two parts were composed at different times and lack the tonal unity of Buxtehude's other cantatas. Also, the chorale ence to intervallic identity for a good musical reason, such as the A # introduced in Evolutio II, m. Io; there are also modifications at the final cadence. 36 "Capelli Scripta et Programmata," Hamburg, Staatsarchiv A 710o/802. 37 Hamburg, Staatsarchiv A 710o/802, pp. 119-22. 38 "Simeons Abschied . . . zu Bezeugung schuldigen Wohlmeinung / gesetzet / und in zween Contrapunctis / abgesungen / von / Dieterico Buxtehude" (Carmina lugubria quibus obitum D. Menonis Hannekenni (Liibeck, n.d.), [p. 64].) 39 "Dem Seelig-verstorbenen / als seinem hertzlich geliebten Vater zu schul- / digen Ehren und Christlichen nachruhme in 2. Contrapuncten abgesungen / von / Dieterico Buxtehuden." (Fried- undfreudenreiche Hinfarth, title page.) This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions STUDIES AND REPORTS 559 setting lacks the continuo figures which are provided for the Klag-Lied, and instrumental parts for the Klag-Lied alone have been found in Uppsala.40 Fi- nally, Johann Gottfried Walther considered "Mit Fried und Freud" to be keyboard music and the Klag-Lied a separate piece.41 Indeed, the chorale mel- ody in contrary motion works better as the pedal part of an organ setting- especially if it is registered as a bass line rather than a cantus firmus -than as a vocal line. Buxtehude's text underlay is often thought to argue against or- gan performance, but with Bernhard's Prudentia in mind this does not pre- sent so great a problem. It provided a model not just in compositional technique but also in printing format, including a text under the cantus firm- us. Since Buxtehude's chorale had four stanzas but he chose to compose only two sections, it must have appeared natural to print the second and fourth stanzas with the alternate versions. I think it most likely that Buxtehude originally performed the counterpoints on the organ, as they have most re- cently been published.42 Returning to Prudentia, one does not have to look far to find Bernhard's model. First there is his own treatise in its full form, "Tractatus composition- is augmentatus," and abbreviated, "Ausffihrlicher Bericht vom Gebrauche der Con- und Dissonantien." To each of these is appended a section on double counterpoint, which ends with a chapter on four-part invertible coun- terpoint.43 This is divided into three types, corresponding to the first three movements of Prudentia, (i) "plain," (2) "in contrary motion" and (3) "in ret- rograde motion," including both simple retrograde and retrograde in con- trary motion. Bernhard does not follow his own directions throughout; while his first and third movements correspond to examples in the treatise, the second does not. In both Bernhard's and Buxtehude's compositions, the con- trary motion in all four voices departs from the same note, so that the inter- vallic relationship between the voices remains the same in contrary motion with the parts exchanged as it was in the beginning.44 In the treatise the alto 40 Braccia 2 and basso continuo: S Uu, Vokal musik i handskrift 164:9. To be sure, there is a manuscript copy of the two counterpoints with added continuo figures (D-brd B, mus. ms. 2680, i) in the hand of Bokemeyer, but this cannot compete for authority with Buxtehude's own print. Dietrich Kilian in fact argues that the print was the exemplar for Bokemeyer's MS ("Das Vokalwerk Dietrich Buxtehudes: Quel- lenstudien zu seiner Uberlieferung und Verwendung" (Ph.D. diss., Freie Universitit Berlin, 1956), p. 85)- 41 "Von seinen vielen und kiinstlichen Clavier-Stficken ist ausser dem, auf seines Vaters Tod, nebst einem Klag-Liede gesetzten Choral Mit Fried und Freud ich fahr dahin, etc. meines Wissens sonsten nichts im Druck publicirt worden." Musikalisches Lexikon, p. 23. 42 Dietrich Buxtehude, Sdmtliche Orgelwerke, ed. Klaus Beckmann (2 vols.; Wiesbaden, 1971-2), II, pp. 77-80. Beckmann has included the Klag-Lied as well (p. 81); I hope that he does not mean to suggest that this too is organ music. 43 Mfiller-Blattau, pp. 128-31; Hilse translation, pp. 176-9. 44 Marco Scacchi's motet "Si Deus pro nobis" is composed in the same way. Al- though it was only published posthumously in 1687 (Angelo Berardi, Documenti armo- nici (Bologna, 1687; rprt. Bologna, 1970), pp. 64-70), it is conceivable that Bernhard This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions 560 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY part is transposed differently, producing a different set of intervals in the Revolutio. It is clear that Buxtehude followed Bernhard's music rather than his treatise. The Sweelinck treatise may have provided a model for Bernhard in this respect; it gives examples of double counterpoint at the octave in four ways: plain, retrograde, contrary motion and retrograde contrary motion,4s as well as four-part invertible counterpoint, although not in retrograde or contrary motion.46 It is even more clearly the model for the final canonic section of Bernhard's Prudentia in two double-canon settings of the chorale "Wenn wir in h6chsten N6hten seyn," or more accurately its Geneva-Psalter predeces- sor,47 the first presumably by Sweelinck, the second by John Bull with its canons in contrary motion.48 This composition treatise thus appears to have been consulted by both Bernhard and Buxtehude and warrants a closer look. It consists of two parts, the first heavily indebted to Zarlino's Le istitutioni harmonicbe, the second go- ing well beyond Zarlino and dealing exclusively with double counterpoint. The Sweelinck and Bull canons just mentioned are at the end of the first part; the augmentation canon with parallel thirds and the four-part invertible counterpoint are in the second part, which bears the heading "Kurtze doch deutliche Regulen von denen doppelten Contrapuncten."49 Two manu- scripts of this work survived at the Staats- und Universitiitsbibliothek in Hamburg until their destruction in World War II, both of them once owned by Jan Adam Reincken, organist at the Catharinenkirche in Hamburg and successor to his teacher Heinrich Scheidemann, a Sweelinck student. One manuscript (5384) was copied by Reincken himself in 1670 and was an ampli- fied version of Part I only; the other (5383) was copied earlier, perhaps by Scheidemann, and contained both parts. This latter manuscript may also have been owned at one time by Matthias Weckmann,so who had succeeded his teacher Jacob Praetorius, also a Sweelinck student, and was a close friend of Christoph Bernhard. A third manuscript, containing only Part I, still ex- might have seen it in manuscript; Scacchi had corresponded with Schfitz just prior to Bernhard's arrival in Dresden in 1649, and Bernhard owned a copy of Scacchi's Cri- brum musicum: cf. Hans Joachim Moser, Heinrich Schiitz: His Life and Work, transl. Carl F. Pfatteicher (St. Louis, '959), p. 179- 45 Sweelinck, Werken, X, pp. 94-5- 46 Sweelinck, Werken, X, pp. 99-1oi. The second set of examples consists of two sets of ornamented parallel thirds. 47 "Leve le cueur, ouvre l'aureille," the metrical version of the Ten Command- ments, first published 1545. See Pierre Pidoux, Le psautier huguenot du XVIe sidcle (2 vols.; Basel, 1962), II, p. 201. 48 Sweelinck, Werken, X, pp. 83, 84. 49 Sweelinck, Werken, X, p. 86. 50 There was a note signed "M.W." on p. 43 (Gehrmann, "Einleitung" to Sweelinck, Werken, X, p. ii). Gehrmann considered Weckmann to be the copyist of the MS, but this was based on the mistaken assumption that he was also the copyist of Luneburg, Ratsbucherei, MS KN 206 (cf. Birbel Roth, "Zur Echtheitsfrage der Matthias Weckmann zugeschriebenen Klavierwerke ohne Cantus firmus," Acta musi- cologica, XXXVI (1964), pp. 34-5)- This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions STUDIES AND REPORTS 561 ists in Berlin,51 and a fourth, in Vienna, has thus far been inaccessible to me.52 Werner Braun has noted that two of Johann Theile's treatises on double counterpoint are nearly identical to Part II of the Sweelinck treatise and sug- gested that Theile was in fact the author of this part.3" While Sweelinck's authorship on Part II must indeed be questioned-the manuscript tradition leaves no doubt that it is an independent treatise-I do not believe that Theile was capable of writing it at this early date. He himself provides the best evidence in his masses, published in I673. While they make extensive use of invertible counterpoint in two and three parts, there is none in four parts, and the music often has the character of a student's contrapuntal exer- cise. That he was not able to compete with Buxtehude in a contrapuntal chorale setting is evident from the Missa brevis IV super Nun komm der Heyden Heyland for four voices. The Christe and Kyrie II are in two-part invertible counterpoint; the cantus firmus moves from alto to bass while the counter- melody moves from bass to soprano. But the other parts are different, and hence much easier to compose. Buxtehude's "Mit Fried und Freud," on the other hand, is not just a contrapuntal tour de force; it is a highly successful work of art. Theile had nothing to teach Buxtehude about counterpoint in i673, and the claim that he did so must be laid to rest. As for the "Sweelinck" composition treatise, Theile was probably studying it himself at this time, later to use the second part as a textbook for the lessons which he gave. Thus Bernhard, Buxtehude and Theile all seem to have consulted the same trea- tise, very likely the one owned by Reincken and possibly Weckmann. This hypothetical relationship among these musicians has recently been substantiated by Christoph Wolff's identification of Reincken and Buxtehude in a painting by Johannes Voorhout, dated Hamburg, I674, now at the Mu- seum fir Hamburgische Geschichte.54 It is a group scene, and the central 51 Bds, mus. ms. theor. 865; the cover of the MS is stamped "Burchardus Gram- man Anno I657." Gehrmann's edition is a conflation of these three MSS. 52 Minoritenkonvent, Klosterbibliothek und Archiv, codex 714; cf. Friedrich W. Riedel, Das Musikarchiv im Minoritenkonvent (Kassel, 1963), p. 72. s3 Werner Braun, "Zwei Quellen ffir Christoph Bernhards und Johann Theiles Satzlehren," Die Musikforschung, XXI (1968), pp. 460-2. The MSS in question are Bds mus. ms. theor. 913: "Theilens Unterricht von einigen gedoppelten Contrapuncten und deren Gebrauch" (hand of Heinrich Bokemeyer) and mus. ms. theor. 917, part 2, "Joh. Theilens ... Contrapuncts-Praecepta 1690" (hand of Johann Gottfried Wal- ther). There is yet another MS for Part II, under the title "Kurtze doch deutliche Reguln von den doppelten Contrapuncten." It is transmitted anonymously in a vol- ume which also contains Johann Kuhnau's Fundamenta compositionis (Bds mus. ms. autogr. Kuhnau, Johann: Fundamenta Compositionis). 54 Wolff's article is forthcoming, and I am grateful to him for having shared his work with me before its publication. The painting has been reproduced in part (color) in 3oo Jabre Oper in Hamburg, ed. Hamburg Staatsoper, Museum fdir Hamburgische Geschichte und Verein- und Westbank (Hamburg, 1977), p. 43, and in its entirety (black and white) in Beitrdge zur deutschen Volks- und Altertumskunde, XVII (1978), plate 23, accompanying a discussion of the painting by Gisela Jaacks, " 'Hiusliche Musik- szene' von Johannes Voorhout: Zu einem neu erworberen Gemilde im Museum fUir This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions 562 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY figure, a man in an elegant brocade dressing gown seated at the harpsichord, is easily identifiable as Reincken by comparison with an existing portrait. To his right is a younger man who is holding a canon with the inscription "In hon: dit: Buxtehude: et Joh: Adam Reink: fratres" and a Latin text from Psalm i33: "Behold, how good and how pleasant it is for brethren to dwell together in unity!" No one is looking at the canon, and they cannot be per- forming it, because it is scored for eight sopranos, so it must be in the paint- ing for the purpose of identification, and the man holding it must be Buxtehude. Wolff assumes Reincken to be the composer of the canon on the basis of his peculiar way of writing the C clef. To Reincken's left is a gamba player whom Wolff suggests to be Theile; he had earned his living by singing and gamba playing during his student days in Leipzig.5s Weckmann and Bernhard could not have been in this painting; Weckmann had died in Febru- ary, 1674, and soon afterwards Bernhard had returned to Dresden. Thus there appears to have been a coterie of musicians active in Hamburg and Libeck during the early I670s who delighted in contrapuntal games, including Bernhard, Reincken, Buxtehude, Theile and probably Weckmann. Although Theile would later be called the "father of the contrapuntists"56 he was actually the youngest member of the group. They were all related to one another in a variety of ways. Buxtehude and Reincken helped finance the publication of Theile's masses, and Bernhard wrote the foreword.57 Rein- cken and Weckmann had family ties in Libeck,ss58 and Buxtehude later com- posed the music on the occasion of Reincken's second marriage in 1685.59 Weckmann, Bernhard and Theile were all students of Schitz; Weckmann and Reincken were both students of Sweelinck pupils and organists in Ham- burg churches. Buxtehude was familiar with Bernhard's Prudentia within a Hamburgischen Geschichte," pp. 56-9. It also appears on the cover of The Musical Times of June, 1979, illustrating my article "Buxtehude's Organ Music: Drama With- out Words," The Musical Times, CXX ('979), PP- 517-21. ss "Ferner ware noch bey unserm Theile zu merken, dass er sich auf der hohen Schule zu Leipzig, eigen handigem Berichte nach, mit der Viol da Gamba und mit dem Singen, bey Vornehmen vom Adel sehr beliebt gemacht, und dadurch seinen Unterhalt reichlich hat haben konnen." Johann Mattheson, Grundlage einer Ehrenpforte (Hamburg, 1740; rprt. ed. Max Schneider, Berlin, x9xo), p. 369. 56 Jacob Adlung, Anleitung zu der musikalischen Gelahrtheit (Erfurt, 1758; facsimile ed. Hans Joachim Moser, Kassel, 1953), P. 184. s7 See Mackey, pp. 299-309, for facsimiles and translations of the prefatory mate- rial. 58 Weckmann had married Regina Beute of Lubeck in 1648; Reincken's daughter Margarethe later married her nephew, Andreas Kniller (cf. Johann Hennings and Wilhelm Stahl, Musikgeschichte Liibecks, Band I: Weltliche Musik (2 vols., Kassel, 195 1- 2), pp. 81-2). His brother Gottfried Kniller painted Reincken's portrait before leaving for England in 1675; this painting is also at the Museum for Hamburgische Ge- schichte, and was the one used to identify Reincken in the Voorhout painting (cf. Jaacks, p. 58). 59 Liselotte Kruger, Die hamburgische Musikorganisation im XVII. Jahrhundert (Strassburg, 1933), P. 164, n. 539. The music was at D-brd Hs but was destroyed in '945. This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions STUDIES AND REPORTS 563 short time of its publication.60 Reincken and Theile collaborated in the founding of the Hamburg opera. All five of these men were involved in some way with learned counter- point during the years that Buxtehude was composing these works. Bernhard composed Prudentia in 1669, composed funeral music in stile antico for Schitz at his request in I67061 and in 1673 praised Theile's masses for their old style. Theile was composing those masses and perhaps also teaching counter- point, although not to Buxtehude. Reincken rewrote the first part of the Sweelinck treatise in 1670 and composed the canon in the painting. Weck- mann appears to have been in poor health during these years,62 but he may have been the owner of Hamburg 5383 at this time and his organ pieces show a great interest in canon.63 But perhaps the most important fact about this group of composers interested in esoteric counterpoint is that they were at the same time the leaders of new music in northern Germany. Weckmann and Bernhard led the Collegium musicum, Reincken was a founder of the Ham- burg opera, Theile composed the first opera for it, and Buxtehude changed the Libeck Abendmusiken to a much more dramatic format, all in the i670s. All of them composed primarily in the modern style. By the time J. S. Bach was old enough to choose his musical mentors, Weckmann and Bernhard were dead, but he sought out Reincken and Buxte- hude, Reincken on short visits when he was a student in nearby Lineburg (1700-2) and Buxtehude in 1705 by means of a long journey and an extended leave from his first job in Arnstadt. It would be tempting to suggest that Bach derived his interest in esoteric counterpoint from these contacts, but that is very likely not the case; as a young musician he was probably far more inter- ested in the flamboyant virtuosity of their organ playing and the large in- struments at their disposal. The speculations of the Hamburg coterie did eventually reach Bach, however, through a circuitous route which led from Theile and F6rtsch through their pupil Georg Osterreich to Heinrich Boke- meyer and thence to Johann Gottfried Walther, Bach's cousin. These rela- tionships all need to be explored further. As for Buxtehude, there is no evidence that he composed any works in learned counterpoint after 1674, the year Weckmann died and Bernhard left Hamburg. One organ piece, "Ich dank dir schon durch deinen Sohn" (BuxWV 195) bears strong suggestions of stile antico and may have been composed at about this time. The imprint of 60 This work must have aroused considerable interest among musicians; more than 60 years later Walther wrote of it: "Sein teutsches Manuscript von der Composition besitzet der jetzige Hochffirstl. Sachsen-Gothische Capell-Meister, Herr Gottfried Heinrich Stilzel im Original; die Copien aber davon sind in vieler Hinden" (Musi- kalisches Lexikon, pp. 88-9). 61 Mattheson, Grundlage einer Ehrenpforte, p. 323. 62 Gerhard Ilgner, Matthias Weckmann (Wolfenbiittel-Berlin, 1939), p. 58. 63 His chorale variations on "O lux beata trinitas" and "Es ist das Heil uns kom- men her" include several close canons against the cantus firmus; see Matthias Weck- mann, Gesammelte Werke, ed. Gerhard Ilgner, Das Erbe deutscher Musik; Zweite Reihe: Schleswig-Holstein und Hansestidte, 4 (Leipzig, 1942), Pp. 89, 91, o101, 105, 1o7- This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions 564 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY his studies in learned counterpoint can be found in much of his music; al- though canon was not an important element of his style, invertible counter- point was, and he often extended the number of voices in a contrapuntal fabric by the addition of parallel thirds, sixths or tenths. But he incorporated these techniques into a musical language which was thoroughly stile moderno. Yale University This content downloaded from 145.102.127.12 on Mon, 23 Sep 2013 15:21:14 PM All use subject to JSTOR Terms and Conditions