La retórica en la música de biber

Abstract Abstract

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Discussions of Heinrich Biber's violin music to date have focused predominantly on its use (or otherwise) of virtuosity at the expense of other aspects; when rhetoric is taken as a departure point in this repertoire, a broader, more contextbased interpretation is possible. Chapter 1 explores the rhetorical background, the role of rhetoric in society, the educationsystem, and music theory of the period, and situates Biber in relation to these. The rhetorical style category phantasia, and its musical counterpart, the stylus phantasticus, are related to contemporary instrumental music, especially Biber's violin music. Biber's written Latin and German dedications to his music collections are analysed in Chapter 2: the use of rhetoric to express meaning inthese dedications highlights important aspects of the music. Chapters 3, 4 and 5 explore the violin music. The sacred violin music—the Mystery Sonatas—is discussed in Chapter 3, which highlights the symbols and images associated with the rhetorical and devotional context as exemplified by contemporary artistic representations, rosary psalters, and other liturgical texts. Chapters 4 and 5 discuss theremaining violin music, which is not specifically sacred, in terms of musical style, and particularly the use of the stylus phantasticus. Appendix A contains transcriptions and translations of the written dedications, and editions of those previously unpublished compositions discussed in Chapter 5 are given in Appendix B.

Contents Contents

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Listof Abbreviations................................................................................................6 Listof illustrations, Figures and Tables ...................................................................7 Preface ...................................................................................................................... 8 Introduction: Literature Survey........................................................................... 12

1 1.1 1.1.1 1.2 1.2.1 1.2.2 1.2.3 1.2.4

The Rhetorical Background.................................................................... 30 Rhetoric and Society..................................................................................31 Rhetoric and the Education System: Biber Among the Jesuits .................32 Rhetoric andMusic....................................................................................39 Early Sources for Musical Rhetoric...........................................................40 The Musical-Rhetorical Writings of Biber's Colleagues ..........................42 The Stylus phantasticus as a Rhetorical Style Category............................51 The Relationship Between Music and Rhetoric: Theory orPractice'?.......61

2 2.1 2.2 2.2.1
2.2.2

Rhetoric, Style, and Meaning in Biber's Written Dedications............63 The Dedications.........................................................................................63 Analysis of the Dedications.......................................................................64 The Mystery Sonatas (1670s)....................................................................64 Sonatce tam aris quam aulis servientes (Salzburg, 1676)..........................69 Mensa sonora (Salzburg, 1680)................................................................. 75 Sonatw violino solo (Nurnberg, 1681).......................................................81 Fidicinium sacro-profanum (Nurnberg, Ca. 1682) ....................................88 Vesperce longioresac breviores (Salzburg, 1693)....................................100 Harmonia artificioso ariosa (n.p., 1696)..................................................105 Summary...................................................................................................111 The 'Sacred' Violin Music: The Mystery Sonatas (1670s)...................116 The Historical, Stylistic, and Devotional...