Fruits of the Cross. Robert L. Kendrick

      

      Fruits of the Cross

      The publisher gratefully acknowledges the generous support of the Margarita M. Hanson Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

      The publisher and the University of California Press Foundation gratefully acknowledge the generous support of the Constance and William Withey Endowment Fund in History and Music.

      Fruits of the Cross

       Passiontide Music Theater in Habsburg Vienna

      Robert L. Kendrick

      UNIVERSITY OF CALIFORNIA PRESS

      University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu.

      University of California Press

      Oakland, California

      © 2019 by Robert L. Kendrick

      Library of Congress Cataloging-in-Publication Data

      Names: Kendrick, Robert L., author.

      Title: Fruits of the cross : Passiontide music theater in Habsburg Vienna / Robert L. Kendrick.

      Description: Oakland, California : University of California Press, [2019] | Includes bibliographical references and index. |

      Identifiers: LCCN 2018023733 (print) | LCCN 2018027723 (ebook) | ISBN 9780520969872 (E-book) | ISBN 9780520297579 (cloth : alk. paper)

      Subjects: LCSH: Sepolcri—Austria—Vienna—17th century—History and criticism. | Habsburg, House of—History—17th century. | Dramatic music—Europe, Central—17th century—History and criticism.

      Classification: LCC ML3222.2 (ebook) | LCC ML3222.2 . K46 2019 (print) | DDC 782.2/4—dc23

      LC record available at https://lccn.loc.gov/2018023733

      Manufactured in the United States of America

      27 26 25 24 23 22 21 20 19 18

      10 9 8 7 6 5 4 3 2 1

      The design here [the lament of the Three Marys at Christ’s Tomb in medieval English plays] is a kind of dramatic action which some modern definitions of action would altogether exclude: the action of a structure of feeling, expressed in a rhythmic pattern, of dramatic speech at a gained point of stillness and intensity.

      —Raymond Williams, Drama in Performance

      Contents

       List of Illustrations

       List of Music Examples

       Acknowledgments

       Abbreviations and Notes on Sources

       Introduction

      1. Passion and Theater

      2. Devotional Strategies

      3. Social Others and Selves

      4. Music and Its Affects

       Epilogue: The Power of the Cross

       Appendix 1. Checklist of Sepolcri, 1660–1711

       Appendix 2. The Preserved Repertory, 1660–1705, and Its Possible Tonalities

       Appendix 3. Possible Burnacini Drawings for Sepolcri

       Notes

       Bibliography

       General Index

       Index of Sepolcri by Short Title

Illustrations

      1. Frans Luycx, Crucifixion with Habsburg Mourners (c. 1662)

      2. J.A. Pfeffel and C. Engelbrecht (after J.C. Hackhofer), 1705 view of the Hofburgkapelle

      3. Photomontage: Hofburgkapelle in 1705; Burnacini’s 1692 set design “The Sacrifice of Isaac”; eighteenth-century Tomb

      4. Plan: The Alte Burg complex in the late seventeenth century

      5. L.O. Burnacini, Moses and the Burning Bush

      6. L.O. Burnacini, Jonah Cast Overboard

      7. L.O. Burnacini, Punishment of Core and Followers

      8. L.O. Burnacini, Tempest with Shipwreck

      9. L.O. Burnacini, The Sacrifice of Isaac

Music Examples

      1.1. G. Tricarico, La Gara della Misericordia e Giustizia (1661; A-Wn 18716), “Uccidetemi omai,” f. 8v

      2.1. J.H. Schmelzer, Stärcke der Lieb (1677; A-Wn 16883), “Uebe dich forthin,” f. 16

      2.2. Leopold I, Il Lutto dell’universo (1668; A-Wn 16899), “Ha l’ocaso nell’orto,” f. 39v

      2.3. Leopold I, Il Lutto dell’universo, “O voi che n’andate,” f. 26v

      3.1. M.A. Ziani, Il Sepolcro nell’orto (1711; A-Wn 19131), “Cieca Gierusalemme,” f. 36

      3.2. A. Draghi, Il Sole eclissato (1676; A-Wn 16878), Sinfonia, f. 5

      3.3. G.F. Sances, Sette consolationi di Maria (1670; A-Wn 16912), “Si, consolati,” f. 11

      3.4a–b. G.F. Sances, Sette consolationi di Maria, “E si rende soggetto,” f. 13

      4.1. J.H. Schmelzer, Le Memorie dolorose (1678; A-Wn 16915), recitative by Leopold I, “O quali mi destate, memorie dolorose,” f.10v

      4.2a–b. A. Draghi, Il Libro con sette sigilli (1694; A-Wn 18943), “Divino libro (è ver) … Dato in luce a mezza notte,” f. 48v

      4.3. A. Draghi, Il Libro con sette sigilli, accompanied recitative “Si spezza’l suolo,” f. 69v

      4.4. G.F. Sances, Sette consolationi di Maria, “Maria vive, e morto è Christo,” f. 4v

      4.5. A. Draghi, Il Segno della humana salute (1684; A-Wn 18914), “Altro non posso far io,” opening, f. 39v

      4.6. A. Draghi, Il Segno della humana salute (1684; A-Wn 18914), “Altro non posso far io,” ending, f. 43v

      5.1. A. Draghi, La Virtù della Croce (1697;