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‘THE TRUE FUNDAMENTALS OF COMPOSITION’: HAYDN'S PARTIMENTO COUNTERPOINT

Published online by Cambridge University Press:  11 March 2011

FELIX DIERGARTEN
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Abstract

In his autobiographical sketch Joseph Haydn claims to have learned the ‘true fundamentals of composition’ from Nicola Porpora. Porpora (1686–1768) was a student of Gaetano Greco at the Conservatorio dei Poveri in Naples and later himself became a maestro at the Conservatorio di San Onofrio, where Francesco Durante also taught. That Haydn's teacher Porpora came from the centre of the partimento tradition, which has attracted increased scrutiny by music theorists in recent years, justifies examining Haydn's relationship with this long-standing pedagogical method and compositional practice. In this essay I analyse the sources that shed light on Porpora's relationship to the partimento tradition and on Haydn's relationship to Porpora. Focusing on partimento counterpoint, I examine several of Haydn's fugues in contrasting genres in order to illustrate how the principles of thoroughbass and partimento help to explain particular structural procedures in Haydn's music, as well as the compositional processes that produced them.

Type
Research Article
Information
Eighteenth-Century Music , Volume 8 , Issue 1 , March 2011 , pp. 53 - 75
Copyright
Copyright © Cambridge University Press 2011

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References

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8 It is unclear on what evidence Karl Geiringer based his conviction that Haydn's lessons with Porpora lasted ‘all in all three months’. See Geiringer, , Joseph Haydn: Der schöpferische Werdegang eines Meisters der Klassik (Mainz: B. Schott's Söhne, 1959), 28Google Scholar . In any case, it would have been possible to teach a gifted student the fundamentals of partimento playing in this amount of time. In Conrad Ferdinand Pohl's influential Haydn biography written in the 1870s the account of the Porpora episode is affected by open Germanocentrism: ‘The contact with Porpora and Metastasio, however, presented a dangerous cliff, since Haydn was exposed to the risk of getting into the waters of the Italian school; but his good spirit prevented him from being untrue to his own nature’. See Pohl, Carl Ferdinand, Joseph Haydn, volume 1 (Berlin, 1875), 171Google Scholar . My translation.

9 The first indication that the partimento tradition could provide insight into the Porpora/Haydn relationship can be found in Gjerdingen, Robert, Music in the Galant Style (New York: Oxford University Press, 2007), 64Google Scholar ; Gjerdingen, , ‘Editorial’, Eighteenth-Century Music 4/2 (2007), 189Google Scholar ; and Diergarten, Felix, ‘“Anleitung zur Erfindung”: Der Musiktheoretiker Johann Friedrich Daube’, Musiktheorie 23/4 (2008), 315Google Scholar .

10 Gjerdingen, ‘Editorial’, 189.

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12 See Froebe, Folker, ‘Satzmodelle des “Contrapunto alla mente” und ihre Bedeutung für den Stilwandel um 1600’, Zeitschrift der Gesellschaft für Musiktheorie 4/1–2 (2007), 13–55Google Scholar ; Gjerdingen, , ‘Partimento, que me veux-tu?’, Journal of Music Theory 51/1 (2007), 91–93Google Scholar ; and Menke, Johannes, ‘Historisch-systematische Überlegungen zur Sequenz seit 1600’, in musik.theorien der gegenwart 3, ed. Gadenstätter, Clemens and Utz, Christian (Saarbrücken: Pfau, 2009), 87–111Google Scholar .

13 Sanguinetti, ‘The Realization of Partimenti’, 81–82.

14 On imitation see Gjerdingen, Robert, ‘Partimenti to Impart a Knowledge of Counterpoint and Composition’, in Partimento and Continuo Playing in Theory and Practice, ed. Moelants, Dirk (Leuven: Leuven University Press, 2010), 43–70Google Scholar . On partimento fugue see Renwick, William, The Langloz Manuscript: Fugal Improvisation through Figured Bass (Oxford: Oxford University Press, 2001)Google Scholar ; Gingras, Bruno, ‘Partimento Fugue in Eighteenth-Century Germany: A Bridge Between Thoroughbass Lessons and Fugal Composition’, Eighteenth-Century Music 5/1 (2008), 51–74Google Scholar ; and Giorgio Sanguinetti, ‘Partimento-Fugue: The Neapolitan Angle’, in Partimento and Continuo Playing in Theory and Practice, 71–111.

15 The following account is based on Kurt Markstrom and Michael F. Robinson, ‘Porpora, Nicola’, in Grove Music Online <www.oxfordmusiconline.com/subscriber/article/grove/music/22126> (25 August 2010).

16 I am grateful to Giorgio Sanguinetti for pointing this out to me and for allowing me to inspect the relevant passages from his forthcoming book The Art of Partimento: History, Theory and Practice in Naples (New York: Oxford University Press).

17 Excerpts will be published in Sanguinetti, The Art of Partimento.

18 Griesinger, Georg August, Biographische Notizen über Joseph Haydn, ed. Köhler, Karl-Heinz (Leipzig: Reclam, 1975), 21–22Google Scholar . English translation in Gotwals, Vernon, Haydn: Two Contemporary Portraits (Madison: University of Wisconsin Press, 1968), 12Google Scholar .

19 Dies, Albert Christoph, Biographische Nachrichten von Joseph Haydn, ed. Seeger, Horst (Berlin: Henschelverlag, 1976), 40Google Scholar . English translation in Gotwals, Haydn, 94.

20 On the specific Viennese meaning of the term ‘Skelett’ see Holtmeier, Ludwig, ‘Albrechtsberger’, in Beethoven-Lexikon, ed. von Loesch, Heinz and Raab, Claus (Laaber: Laaber, 2008), 32–33Google Scholar .

21 Dies, Biographische Nachrichten, 43–44. English translation in Gotwals, Haydn, 96, slightly amended.

22 See Sisman, Elaine, ‘Haydn, Shakespeare, and the Rules of Originality’, in Haydn and his World, ed. Sisman, (Princeton: Princeton University Press, 1997), 6–8Google Scholar .

23 Gjerdingen, ‘Partimento, que me veux-tu?’, 115.

24 Carpani, Giuseppe, Le Haydine ovvero lettere sulla vita e le opere del celebre maestro Giuseppe Haydn (Padova: Tipografia della Minerva, 1823), 30–33Google Scholar . My translation.

25 Undated draft of a letter probably written in spring 1804. Bartha, Joseph Haydn, 448. My translation.

26 See Christensen, Thomas, ‘Fundamentum, fundamental, basse fondamentale’, in Handwörterbuch der musikalischen Terminologie (Wiesbaden: Steiner, 2004)Google Scholar , and ‘Fundamentum Partiturae: Thorough Bass and Foundations of Eighteenth-Century Composition Pedagogy’, in The Century of Bach and Mozart: Perspectives on Historiography, Composition, Theory, and Performance in Honor of Christoph Wolff, ed. Thomas Forest Kelly and Sean Gallagher (Cambridge, MA: Harvard University Press, 2008), 17–40. In fact, Fux also writes of ‘true fundamentals’ (‘veri fundamenti’); see Fux, Johann Joseph, Gradus ad Parnassum, Sämtliche Werke VII/1 (Graz: Akademische Druck- und Verlagsanstalt, 1967), 139Google Scholar . But the claim in the New Grove cited earlier that Fux's Gradus is ‘the only work mentioned by any source that offers “true fundamentals”’ must be described as misleading.

27 Christensen, ‘Thoroughbass as Music Theory’, in Partimento and Continuo Playing in Theory and Practice, 39.

28 Deutsch, Otto Erich, ‘Haydns Musikbücherei’, in Musik und Verlag: Karl Vötterle zum 65. Geburtstag, ed. Baum, Richard and Rehm, Wolfgang (Kassel: Bärenreiter, 1969), 221Google Scholar .

29 Christensen, , ‘Fundamentum Partiturae’, 36; J. G. Albrechtsbergers sämmtliche Schriften, ed. Ignaz Ritter von Seyfried (Wien: Anton Strauss, 1837), 1Google Scholar ; Heinichen, Johann David, ‘Vorrede’, in Der Generalbass in der Komposition (Dresden, 1728)Google Scholar .

30 Bischofreiter, Martin, ed., Michael Haydns Partiturfundament (Salzburg: Oberer, 1833)Google Scholar ; Flotzinger, Rudolf, ‘Unbekannte Modulationsbeispiele aus der Feder Michael Haydns? Jedenfalls: Eine Orgel- oder Generalbass-Schule aus dem Beginn des 19. Jahrhunderts’, in Festschrift zum zehnjährigen Bestand der Hochschule für Musik und darstellende Kunst Graz (Vienna: Universal Edition, 1974), 92–105Google Scholar .

31 Becker, Conrad Ferdinand, Systematisch-chronologische Darstellung der musikalischen Literatur, Nachtrag (Leipzig: Verlag von Robert Friese, 1839), 107Google Scholar .

32 See, for example, Deysinger, Johann Franz Peter, Compendium musicum oder fundamenta partiturae: Das ist: gründlicher Unterricht, die Orgel und das Clavier wohl schlagen zu lernen (Augsburg: Lotter, 1763)Google Scholar .

33 Italian original quoted in Brown, Abraham P., ‘Marianna Martines’ Autobiography as a New Source for Haydn's Biography during the 1750's', Haydn Studien 6/1 (1986), 68–70Google Scholar . Translation in Martines, Marianna, Dixit Dominus (Madison: A-R Editions, 1997), vii–viiiGoogle Scholar .

34 See Damschroder, David, Thinking about Harmony: Historical Perspectives on Analysis (Cambridge: Cambridge University Press 2008)CrossRefGoogle Scholar ; Menke, Johannes, ‘Stufe’, in Lexikon der systematischen Musikwissenschaft (Laaber: Laaber, 2010), 459–460Google Scholar ; and Lester, Joel, Compositional Theory in the Eighteenth Century (Cambridge, MA: Harvard University Press, 1992), 82–85Google Scholar .

35 See, for example, Gjerdingen, Music in the Galant Style, 386–395.

36 Poglietti, Alessandro, ‘Compendium oder Kurtzer Begriff, und Einführung zur Musica, Sonderlich einem Organisten dienlich’, MS, A-Kr, L. 146.

37 Dies, Biographische Nachrichten, 47; Gotwals, Haydn, 98. Georg Reutter the Elder – who exercised a formative influence on the curriculum at St Stephen's – was a pupil of Johann Caspar Kerll, who was formerly regarded as the teacher of Bernardo Pasquini, an important figure in the history of partimenti; see Friedrich Wilhelm Riedel, ‘Neue Mitteilungen zur Lebensgeschichte von Alessandro Poglietti und Kerll’, Johann Kaspar, Archiv für Musikwissenschaft 19/2 (1963), 140–141Google Scholar . This view, however, has been called into question by more recent scholarship. In any case, Georg Reutter the Younger was a pupil of Antonio Caldara, in whose compositions Robert Gjerdingen has traced the influence of partimento schemata (see Gjerdingen, ‘Partimento, que me veux-tu?’, 100–101).

38 Renwick, The Langloz Manuscript, 6. See also Renwick, , Analyzing Fugue: A Schenkerian Approach (Stuyvesant: Pendragon, 1995), 3–11Google Scholar .

39 Tritto, Giacomo, Scuola di contrappunto (Milano: Artaria, 1816)Google Scholar .

40 On aspects of fugal form in the partimento tradition see Stella, Gaetano, ‘Le “Regole del contrappunto pratico” di Nicola Sala. Una testimonianza sulla didattica della fuga nel settecento napoletano’, Rivista di analisi e teoria musicale 15/1 (2009), 116–138Google Scholar .

41 Johnston, Gregory S., ‘Polyphonic Keyboard Accompaniment in the Early Baroque: An Alternative to Basso Continuo’, Early Music 26/1 (1998), 52Google Scholar .

42 See Sanguinetti, Giorgio, ‘La scala come modello per la composizione’, Rivista di analisi e teoria musicale 15/1 (2009), 79–83Google Scholar .

43 Renwick, Analyzing Fugue, 187. See also Dodds, Michael R., ‘Columbus's Egg: Andreas Werckmeister's Teachings on Contrapuntal Improvisation in Harmonologia musica (1702)’, Journal of Seventeenth-Century Music 12/1 (2006)Google Scholar , <http://sscm-jscm.press.illinois.edu/v12/no1/dodds.html>; Gjerdingen, ‘Partimento, que me veux-tu?’, 94; Froebe, ‘Satzmodelle’ and ‘Der Begriff der “Phantasia Simplex” bei Mauritius Vogt’, Zeitschrift der Gesellschaft für Musiktheorie 5/2–3 (2008), 205–207; Menke, ‘Historisch-Systematische Überlegungen’.

44 Peter Williams, Foreword to Renwick, Peter, The Langloz Manuscript: Fugal Improvisation through Figured Bass (Oxford: Oxford University Press, 2001), viiiGoogle Scholar .

45 This view is expressed by Bent, Ian; see, for example, his ‘Steps to Parnassus: Contrapuntal Theory in 1725 Precursors and Successors’, in The Cambridge History of Western Music Theory, ed. Thomas Christensen (Cambridge: Cambridge University Press, 2002), 582Google Scholar .

46 See David Chapman, ‘Thoroughbass Pedagogy in Nineteenth-Century Viennese Composition and Performance Practices’ (PhD dissertation, Rutgers University, 2008).

47 See Mann, , ‘Haydn as a Student and Critic of Fux’, and ‘Haydn's Elementarbuch: A Document of Classic Counterpoint Instruction’, The Music Forum 3 (1973), 197–237Google Scholar .

48 Werckmeister describes this very four-voice progression as a means of improvisation; see Werckmeister, Andreas, Harmonologia Musica (Frankfurt and Leipzig: Calvisius, 1702), 131Google Scholar . See also Froebe, ‘Satzmodelle’, 24.

49 On this distinction see Serebrennikov, Maxim, ‘From Partimento Fugue to Thoroughbass Fugue: New Perspectives’, Bach: The Journal of the Riemenschneider Bach Institute 40/2 (2009), 22–44Google Scholar .

50 I have tried to show elsewhere how Haydn employs simple and unconcealed partimento schemata to create formal functions and balance in a symphonic exposition; see my ‘Time Out of Joint – Time Set Right: Principles of Form in Haydn's Symphony No. 39’, Studia Musicologica 51/2 (2010), 109–126.

51 See also the description of this fugue by Enselein, Thomas, Der Kontrapunkt im Instrumentalwerk von Joseph Haydn (Köln: Dohr, 2008), 55–59Google Scholar .

52 See Kirkendale, Warren, Fuge und Fugato in der Kammermusik des Rokoko und der Klassik (Tutzing: Schneider, 1966), 184Google Scholar .

53 See Renwick, Analyzing Fugue, 91–100.

54 Artusi, Giovanni Maria, Seconda Parte dell'arte dell contrappunto (Venice: Vincenzi, 1589)Google Scholar , book 2, chapter 1. See also Palisca, Claude, Studies in the History of Italian Music and Music Theory (Oxford: Oxford University Press, 1994), 4Google Scholar .

55 See the description of the secunda syncopata and its extension to polyphony in Heinichen, Der Generalbass in der Komposition, 160–165. See also Diergarten, Felix, ‘Ancilla Secundae: Akkord und Stimmführung in der Generalbasslehre’, in Musik und ihre Theorien. Clemens Kühn zum 65. Geburtstag, ed. Felix Diergarten and others (Dresden: Sandstein, 2010), 132–148Google Scholar ; Heimann, Walter, Der Generalbaß-Satz und seine Rolle für Bachs Choral-Satz (Munich: Katzbichler, 1973), 76–80Google Scholar .

56 The model is represented by different thoroughbass figures depending on which voice is used as the bass. Example 5 lists the different variants of the model by the position of the syncopatio. This represents my own systematization of this pattern, which to my knowledge is not found in this form in eighteenth-century sources.

57 On Fenaroli and his partimenti see Sanguinetti, ‘Partimento-Fugue’, 95–96.

58 On Choron see Cafiero, Rosa, ‘The Early Reception of Neapolitan Partimento Theory in France: A Survey’, Journal of Music Theory 51/1 (2007), 137–159CrossRefGoogle Scholar .

59 The fuga a 3 soggetti in contrapunto doppio in the finale of Symphony No. 70 is based on the principles outlined here.

60 It is perhaps worth noting here that the use of the terms Durchführung (thematic statement) and Zwischenspiel (episode) to describe the parts of a fugue can be found in the eighteenth century – for example, in Johann Mattheson's Der vollkommene Capellmeister, which Haydn knew well (Dies, Biographische Nachrichten, 44; Gotwals, Haydn, 96).

61 As early as the fifteenth century this progression was described by Franchinus Gaffurius as the ‘famous progression’ (Gilbert, Adam Knight, ‘Eight Brief Rules for Composing a Si Placet Altus, ca. 1470–1510’, in A Performer's Guide to Renaissance Music, second edition, ed. Jeffery Kite-Powell (Bloomington: Indiana University Press, 2007), 338Google Scholar ).

62 See also Gjerdingen, ‘Partimento, que me veux-tu?’, 117–118.

63 Wollenberg, Susan, ‘Haydn's Baryton Trios and the “Gradus”’, Music & Letters 54/2 (1973), 171Google Scholar . In relying on Fux as the only source for Haydn's contrapuntal techniques, however, Wollenberg has to draw the somewhat counterintuitive conclusion that Haydn had ‘not fully assimilated’ Fux's teaching in his baryton trio fugues, which ‘represent only an imperfect stage’, show a ‘stiff fugal style’, make an ‘archaic’ effect and are ‘altogether anachronistic’ (177–178).

64 Lester, Compositional Theory, 68. That Fuxian species could be adapted to the Neapolitan tradition, however, has been demonstrated by Gaetano Stella (‘Le “Regole del contrappunto pratico” di Nicola Sala’, 120). It is now accepted that Fux did not invent the idea of ‘species counterpoint’ and that his book is a transformation and synthesis of different contrapuntal traditions, which he bequeathed to eighteenth-century musicians; see William Clemmons, ‘Johann Joseph Fux's Gradus ad Parnassum and the Traditions of Seventeenth-Century Contrapuntal Pedagogy’ (PhD dissertation, City University of New York, 2001); Bent, ‘Steps to Parnassus’, and Peter Schubert, ‘Counterpoint Pedagogy in the Renaissance’, in The Cambridge History of Western Music Theory, 503–533.

65 Mann, ‘Haydn as a Student and Critic of Fux’; Mann, ‘Haydn's Elementarbuch’.

66 Lester, Compositional Theory, 47.

67 Sanguinetti, ‘Partimento-Fugue’, 72.

68 Martini, F. Giambattista, Esemplare o sia saggio fondamentale pratico di contrappunto (Bologna: Lelio dalla Volpe, 1774–1775)Google Scholar .

69 Samber, Johann Baptist, Continuatio ad manuductionem organum (Salzburg: Mayr, 1707), 160Google Scholar .

70 Diergarten, ‘Anleitung zur Erfindung’, 295–296.

71 On Martini see Gjerdingen, ‘Partimento, que me veux-tu?’, 102–103.

72 Oldman, Erich Hertzmann and Cecil B., eds, Thomas Attwoods Theorie- und Kompositionsstudien bei Mozart, Neue Mozart Ausgabe X/30/1 (Kassel: Bärenreiter, 1965)Google Scholar . We know from numerous testimonials that Johann Sebastian Bach also began his teaching by using Generalbass before proceeding to stricter contrapuntal genres (see Christensen, ‘Fundamentum Partiturae’, 36–37).

73 Jones, David Wyn, ‘Haydn's Missa sunt bona mixta malis and the a capella tradition’, in Music in Eighteenth-Century Austria, ed. David Wyn Jones (Cambridge: Cambridge University Press, 1996), 89–111Google Scholar ; Chen, Jen-yen, ‘Palestrina and the Influence of “Old” Style in Eighteenth-Century Vienna’, Journal of Musicological Research 22/1–2 (2003), 1–44CrossRefGoogle Scholar , and ‘Catholic Sacred Music in Austria’, in The Cambridge History of Eighteenth-Century Music, ed. Simon P. Keefe (Cambridge: Cambridge University Press, 2009), 59–112. It has been frequently noted that this stylus a capella was not an exact copy of the Palestrina style (nor was it intended to be).

74 Niedt, Friedrich Erhard, Musicalische Handleitung, part 3 (Hamburg: Schillers Erben, 1717), 2Google Scholar . See also Lester, Compositional Theory, 68.

75 Niedt, Musicalische Handleitung, part 3, 3.

76 Stella, ‘Le “Regole del contrappunto pratico” di Nicola Sala’, 120.

77 Chen, ‘Palestrina and the Influence of “Old” Style’, 15 and 17.

78 Wollenberg, Susan, ‘The “Jupiter” Theme: New Lights on its Creation’, The Musical Times 116 (September 1975), 781–782CrossRefGoogle Scholar .

79 See, for example, the fugue ‘In te domine speravi’ from Fux's Te Deum (e37), which is based entirely on the 5–6 progression described above. This progression is also found in Gradus, 269.

80 Lester, Compositional Theory, 35–41.

81 Holtmeier, Ludwig, ‘Albrechtsberger, Johann Georg’, ‘Förster, Emanuel Aloys’, ‘Generalbass’ and ‘Oktavregel’, in Beethoven-Lexikon, ed. Heinz von Loesch and Claus Raab (Laaber: Laaber, 2008), 32–33Google Scholar , 253–254, 284–286 and 559–561; Christensen, ‘Thoroughbass as Music Theory’.

82 Griesinger, Biographische Notizen, 78; Gotwals, Haydn, 60.

83 Dies, Biographische Nachrichten, 221; Gotwals, Haydn, 204.

84 Holtmeier, Ludwig, ‘Heinichen, Rameau, and the Italian Thoroughbass Tradition: Concepts of Tonality and Chord in the Rule of the Octave’, Journal of Music Theory 51/1 (2007), 6Google Scholar .

85 Riemann, Hugo, ‘Generalbass’, in Hugo Riemanns Musik-Lexikon, ninth edition (Leipzig, 1919), 380–381Google Scholar .

86 Riemann, Hugo, Anleitung zum Generalbaß-Spielen (Harmonie-Übungen am Klavier) (Leipzig: Hesse, 1903)Google Scholar , xii; translated in Chapman, ‘Thoroughbass-Pedagogy’, 159.

87 Roger Moseley, ‘Presenting the Past: The Experience of Historically Inspired Keyboard Improvisation’, Keyboard Perspectives: The Yearbook of the Westfield Center for Historical Keyboard Studies 2 (2009), 90–91.

88 Christensen, Thomas, ‘Music Theory and Its Histories’, in Music Theory and the Exploration of the Past, ed. David Bernstein and Christopher Hatch (Chicago: Chicago University Press, 1993), 32Google Scholar .