STUDIES IN

EIGHTEENTH-CENTURY
MUSIC
A TRIBUTE TO
KARL GEIRINGER
ON HIS SEVENTIETH BIRTHDAY

EDITED BY H. C. ROBBINS LANDON

IN COLLABORATION WITH ROGER E. CHAPMAN

LONDON
GEORGE ALLEN AND UNWIN LTD
RUSKIN HOUSE MUSEUM STREET
 CONTENTS

FOREWORD

GERALD ABRAHAM
Some eighteenth-century Polish symphonies 13
OTTO E. ALBRECHT
English pre-Romantic poetry in settings.by German composers 23
PUTNAM ALDRICH
'Rhythmic harmony' as taught by Johann Philipp Kirnberger 37
EVA BADURA-SKODA
Clementi's 'Musical Characteristics' opus 19 53
IRMGARD BECKER-GLAUCH
Joseph Haydn's Ave Regina in A 68
WOLFGANG BOETTICHER
On vulgar music and poetry found in unexplored minor sources
of eighteenth-century lute tablatures 76
ANDRES BRINER
The early Zurich Neujahrsbliitter 86
GEORGE J. BUELOW
An evaluation ofJohann Mattheson's opera, Cleopatra (Hamburg
1704) 92
WALTER E. BUSZIN
The chorale in the baroque era and J. S. Bach's contribution to it 108
JACQUES CHAILLEY
Joseph Haydn and the freemasons 117
MARTIN CHUSID
Some observations on liturgy, text and structure in Haydn's late
masses
LOUISE E. CUYLER
Tonal exploitation in the later quartets of Haydn
WINTON DEAN
Vocal embellishment in a Handel aria
ROBERT DONINGTON
Amore traditore: A problem cantata 160
A*
 STUDIES IN EIGHTEENTH-CENTURY MUSIC
VINCENT DUCKLES
Johann Adam Hiller's 'Critical prospectus for a music library' 177
GEORG FEDER
Similarities in the w6rks of Haydn 186
HELLMUT FEDERHOFER AND RENATE FEDERHOFER
Eighteenth century litaniae lauretanae from the repertory of the
Viennese province of the Franciscan Order 198
K. G. FELLERER
The problem of heritage in the musical life of the present 213
KURT VON FISCHER
Arietta Variata 224
EDITH VOGL GARRETT
Georg Benda, the pioneer of the melodrama 236
JOHN GILLESPIE
The Keyboard Sonatas of Felix Maximo Lopez. An appreciation 243
THEODOR GOLLNER
J. S. Bach and the tradition of keyboard transcriptions 253
DOUGLASS GREEN
Progressive and conservative tendencies in the Violoncello
Concertos of Leonardo Leo 261
GERHARD HERZ
BWV 131. Bach's first cantata 272
ANTHONY VAN HOBOKEN
A rare contemporary edition of Haydn's 'Hymn for the Emperor' 292
DOLORES MENSTELL HSU
Weber on Opera: A challenge to eighteenth-century tradition 297
JAN LARUE
Haydn listings in the rediscovered Leuckart supplements: Breslau
1788-92 310
SIEGMUND LEVARIE
The closing numbers of Die Schopfung 31 S
ALFRED MANN
Haydn as student and critic of Fux 323
WILLIAM J. MITCHELL
Modulation in C. P. E. Bach's Versuch 333
 CONTENTS
LEONARD G. RATNER
Ars Combinatoria. Chance and choice in eighteenth-century music 343
GLORIA ROSE
Father and son: some attributions t<;> J. S. Bach by C. P. E. Bach 364
LASZL6 SOMFAI
A bold enharmonic modulatory model in Joseph Haydn's
String Quartets 370
BENCE SZABOLCSI
Mozart's Gagliarda
WILLIAM G. WAITE
Bernard Lamy, rhetorician of the passions
EMANUEL WINTERNITZ
A homage of Piccinni to Gluck 397
HELLMUTH CHRISTIAN WOLFF
The fairy-tale of the Neapolitan Opera
MARTIN A. SILVER
A selected bibliography of the works of Karl Geiringer
INDEX OF COMPOSERS 420
 EMANUEL WINTERNITZ

A HOMAGE OF PICCINNI
TO GLUCK

Some years ago, browsing through Parisian book stores, I found a tiny,
luxuriously bound music calendar for the year 1789,1 a portentous year
indeed. The contents, however, contained not the slightest hint that
everything was not quiet around the Bastille. On the contrary, many
"royal" virtuosi advertised their services. The calendar had evidently been
printed well in advance of the beginning of the year, or probably at the
beginning or the middle of 1788. This is also suggested by several
obituaries on Gluck, who had died on November 1,5, 1787. They are
followed by an undated letter from Piccinni to the editor. The obituaries
are ~liches; Piccinni's· letter is not. In fact, it is such a noble and moving
document that we will quote it here in full.
A few dates may illuminate the scene. Nicola Piccinni, born in Bari,
went to Paris as late as 1774, in his 46th year. There Gluck was firmly
established as an opera composer. 1777 saw the great success of Gluck's
Armide at the Paris Opera, and one year later, Piccinni's first French
opera, Renaud, was performed. In 1779, both Piccinni and Gluck prepared
an lphigenie en Tauride, but Piccinni's setting had to be postponed because
of the performance of Gluck's opera in May, 1779, which was a triumph.
Soon after, Gluck left Paris for good and spent his last years in Vienna.
In January 1781, Piccinni's lphigenie was performed, also with great
success, although the second performance, according to the chronique
scandaleuse, was marred by a painful accident-the singer of the main
role, Mlle. Laguerre, appeared on the stage in an intoxicated state, which
led the public to add to the list of Iphigenies (lphigenie au Aulide,
lphigenie en Tauride) a third one, 'Iphigenie en Champagne'.
397
 STUDIES IN EIGHTEENTH-CENTURY MUSIC
Cluck's banner was taken over in Paris by another contestant, Antonio
Maria Gasparo Sacchini, who, according to Burney's testimony, was one
of the most famous Italian composers of the time. Only two days after
Piccinni's Didon-no less than 250 performances-Sacchini's Chime was
given at Fontainebleau, a performance which at once established Sacchini
as a worthy successor of Gluck. The Gluckistes did their best to woo
Sacchini and to alienate him from the Piccinnistes-how successfully, one
can infer from the fact that Sacchini's Renaud, originally composed in
1772 for Milan.under the title Armida and given in Paris in 1783, was
criticized by the Pitcinnistes as 'gluckine'.
Piccini left Paris ten years after Gluck, in 1789. The revolution had
deprived him of his royal pension. He returned to Naples and devoted
himself chiefly to church music, but he was still in Paris when he learned
of Cluck's death in Vienna. Here is the text of his letter 'to the editors of
the musical calendar':

MESSIEURS,

Ce n'est pas l'eloge du grand Compositeur, dont votre Journal nous a annonce
la mort, que je veux faire clans la Lettre que j'ai l'honneur de vous adresser. La
guerre musicale dont cet homme celebre et moi fumes la cause, mais dont ii ne
fut pas la victime, feroit suspecter cet eloge par ceux qui ne me connoissent que
par mes Ouvrages ou par mon nom. C'est a vous, Messieurs, historiens de cette
guerre et de la revolution musicale qu'elle a operee en France, a louer dignement
l'homme a qui votre Theatre lyrique doit autant que la Scene Frarn_roise au
grand Corneille. L'Italie vient de consacrer plus qu'en eloge, quelque bien fait
qu'il puisse etre, a la memoire de Sacchini. Florence Jui a decerne un buste clans
sa Galerie; Rome a place !'image de ce grand Compositeur clans le Pantheon;
et le marbre retrace aux yeux d'un peuple qui aime veritablement la Musique,
!es traits d'un des hommes qui a le plus honore cet art.
J'oserai vous proposer pour le Chevalier Gluck, un hommage qui peut <lurer
plus que le marbre encore, et qui transmettra a la posterite la plus reculee, non
ses traits, que le buste que vous Jui avez eleve conservera, mais !'image du
genie de l'homme que !'Art et la France doivent honorer. Je vous propose en
consequence de fonder, en l'honneur du Chevalier Gluck, un concert annuel
qui aura lieu le jour de sa mort, si ce jour-la n'est pas jour d'O'pera, et clans
lequel on n'executeroit que sa Musique. Cet etablissement, qui honoreroit autant
la France que le grand homme auquel elle decerneroit cet hommage, pourroit,
ce me semble, etre rendu immuable par une souscription dont le produit, place
en rente perpetuelle sur le Roi, seroit affecte a ce Concert, que le Directeur du
Concert Spirituel s'engageroit a donner, et dont ce revenu annuel seroit a
398
 A HOMAGE OF PICCINNI TO GLUCK
perpetuite la premiere retribution. Une institution semblant me paroit la plus
digne de consacrer la memoire de Gluck, et elle joint a cet avantage celui de
servir encore apres sa mort, l'art qu'il professa d'une maniere si eclatante pendant
se vie. Vous savez, Messieurs, combien les traditions musicales se perdent et se
corrompent plus facilement encore que celles du jeu et de la declamation sur vos
autre Theatres: Cette institution auroit l'avantage de conserver le mouvement,
le caractere, !'esprit clans lequel Gluck avoit ecrit ses savantes Compositions.
Elle transmettroit le sentiment de ces parties qui constituent si particulierement
!'execution d'un Ouvrage musical; et clans tousles temps on pourroit reprendre
les chefs-d'oeuvre de ce Compositeur, et en retracer le genie a la posterite qui
succedera a celle qui les vit naitre. La philosophie de l'art y gagneroit encore.
Vous savez que cet art, qui doit peut-etre ses charmes a sa mobilite, et qui
commande, j'oserai le dire, une sorte d'inconstance clans ses formes, change
chez une nation en proportion de se qu'il perfectionne ou de ce qu'il s'y propage
davantage. Peut-etre ce besoin de variete, qui a corrompu l'art en l'Italie, vous
gagnera; et la musique que vous ferez clans quarante ans ne ressemblera
peut-etre plus a celle qui fait actuellement VOS delices. L'institution que je
propose aura encore l'avantage de rappeller vos Compositeurs aux principes de
l'_art et a la sorte de verite qu'exige ce!ui de la musique. L'image des grands
modeles que vous a laisse Gluck conservera, parmi ceux qui lui succederont, le
caractere et la marche de la musique dramatique, partie qui constituoi t
particulierement le genie de ce grand Composituer.
Telles sont, Messieurs, les idees qui m'engagent avous proposer mon projet
de souscription. S'il vous paroit susceptible d'execution, si la Souveraine qui
protegea ce grand homme et ses rivaux, daigne d'agreer, j'oserai prier le Public
de me permettre de consacrer les derniers accens d'une voix qui s'eteint, a
celebrer clans le premier Concert qui sera l'effet de cette souscription, !es talens
d'un homme de genie, dont la mort ne m'a fait eprouver d'autre sentiment que
le desir d'immortaliser la memoire d'un Compositeur dont le nom servira
d'epoque a la revolution qui s'est operee sur un des plus beaux Theatres de
!'Europe.

Signe, P1ccrn1.

P. S. ]'ignore trop !es formes a employer pour faire reussir ce projet, et je

compte trop sur votre attachement a la memoire et a la gloire du Chevalier
Gluck, pour n' esperer pas que vous me suppleerez a cet egard.

Piccinni's reaction to the death of his old adversary was highly unusual.
! On the whole, musical party lines have an unwholesome effect on the
leaders, who are forced to represent the dogma in its extreme rigour, often
far beyond their own aesthetic credo. _One century later, Wagner hardly
!. 399

I
~
 STUDIES IN EIGHTEENTH-CENTURY MUSIC
Gluck's banner was taken over in Paris by another contestant, Antonio
Maria Gasparo Sacchini, who, according to Burney's testimony, was one
of the most famous Italian composers of the time. Only two days after
Piccinni's Didon-no less than 250 performances-Sacchini's Chime was
given at Fontainebleau, a performance which at once established Sacchini
as a worthy successor of Gluck. The Gluckistes did their best to woo
Sacchini and to alienate him from the Piccinnistes-how successfully, one
can infer from the fact that Sacchini' s Renaud, originally composed in
1772 for Milan· under the title Armida and given in Paris in 1783, was
criticized by the Pi'ccinnistes as 'gluckine'.
Piccini left Paris ten years after Gluck, in 1789. The revolution had
deprived him of his royal pension. He returned to Naples and devoted
himself chiefly to church music, but he was still in Paris when he learned
of Gluck's death in Vienna. Here is the text of his letter 'to the editors of
the musical calendar' :

MESSIEURS,

Ce n'est pas l'eloge du grand Compositeur, dont votre Journal nous a annonce
la mort, que je veux faire clans la Lettre que j'ai l'honneur de vous adr!'!sser. La
guerre musicale dont cet homme celebre et moi fumes la cause, mais dont ii ne
fut pas la vrctime, feroit suspecter cet eloge par ceux qui ne me connoissent que
par mes Ouvrages ou par mon nom. C'est a vous, Messieurs, historiens de cette
guerre et de la revolution musicale qu'elle a operee en France, a louer dignement
l'homme a qui votre Theatre lyrique doit autant que la Scene Fran~oise au
grand Corneille. L'Italie vient de consacrer plus qu'en eloge, quelque bien fait
qu'il puisse etre, a la memoire de Sacchini. Florence Jui a decerne un buste clans
sa Galerie; Rome a place !'image de ce grand Compositeur clans le Pantheon;
et le marbre retrace aux yeux d'un peuple qui aime veritablement la Musique,
!es traits d'un des hommes qui a le plus honore cet art.
J'oserai vous proposer pour le Chevalier Gluck, un hommage qui peut durer
plus que le marbre encore, et qui transmettra a la posterite la plus reculee, non
ses traits, que le buste que vous Jui avez eleve conservera, mais !'image du
genie de l'homme que !'Art et la France doivent honorer. Je vous propose en
consequence de fonder, en l'honneur du Chevalier Gluck, un concert annuel
qui aura lieu le jour de sa mort, si ce jour-la n'est pas jour d'O-pera, et clans
lequel on n' executeroit que sa Musique. Cet etablissement, qui honoreroit autant
la France que le grand homme auquel elle decerneroit cet hommage, pourroit,
ce me semble, etre rendu immuable par une souscription dont le produit, place
en rente perpetuelle sur le Roi, seroit affecte a ce Concert, que le Directeur du
Concert Spirituel s'engageroit a donner, et dont ce revenu annuel seroit a
398
 STUDIES IN EIGHTEENTH-CENTURY MUSIC
took notice of the existence of Verdi; Verdi was visibly shaken when,
during a rehearsal, he learned of Wagner's death, and he abruptly termin-
ated the rehearsal. Toward·s Brahms, Wagner maintained a cool, ironical
attitude with occasional facetious critical outbursts; Brahms, in ttirn,
unlike the Brahmsians, respectfully recognized the merits of Wagner's
music, if not the man. But in Gluck's and Piccinni's time, the feud was
confined to one comparatively narrow scene, one single court and one
city, and this, of course, made the battle more intense and colourful, and
inflamed the temperaments by the day or the week. It speaks for the
leaders that both, as noble characters and not without a sense of humour,
did not let themselves be degraded to lower intrigues or vulgar invectives.
If this in itself is unusual, Piccinni's letter to the calendar is of unique
greatness, for Piccinni not only recognizes warmly the artistic merits of
his dead adversary-for an Italian to compare a German to Corneille is a
supreme and imaginative laudation-but he suggests an immensely
practical way to perpetuate Gluck's glory by recommending something
like a Bayreuth for Gluck.

NOTES
I Calendrier Musical Universal pour !'an de Grace 1789; A Paris Chez I'Auteur, maison
de M. le Due, au Magasin de Musique et d'Instruments, rue du Boule, no. 6.

400