Adding to the Galant Schematicon: The Lully

Adding to the Galant Schematicon: The Lully

John A. Rice

This is a pre-publication version of a paper given at the Internationaler Mozart-Kongress, Salzburg, 2–5 October 2014 and published in Mozart-Jahrbuch 2014 (Kassel: Bärenreiter, 2015, 205–225. I have added links to performances and some supplemental musical examples, not discussed in the published paper, at the end. This version posted on Academia.edu on 4 March 2016

Robert O. Gjerdingen’s Music in the Galant Style presents a theoretical framework for the analysis of eighteenth-century music deeply rooted in the educational and compositional practices and habits of thoughts of eighteenth-century musicians, including Mozart.1 At the center of the book is the idea that musicians understood their craft to involve the manipulation and elaboration of a series of formulae or schemata characterized by a basic melodic framework, a bass line, or a combination of both. In this paper, part of a larger project to expand Gjerdingen’s list of schemata (what I call the “schematicon,” by analogy with “lexicon”), I will discuss a voice-leading schema that was particularly important for Mozart, and to which several scholars, including Wolfgang Plath, Daniel Heartz, and Gjerdingen, have called attention.2

Of the beginning of the first movement of Mozart’s Piano Concerto in C, K. 503 (Ex. 1), Daniel Heartz writes:  

The long-held and eventually resolved bass tone recalls the grandiose beginning of Handel’s Coronation Anthem “Zadok the Priest” (1727) and other similar compositions intended to exalt majesty. The closest thing to the concerto’s beginning in Mozart’s own music is the chorus “Che del ciel, che degli Dei” near the end of La clemenza di Tito which deploys the same orchestral forces (plus an additional flute) with suspended bass tone and majestic dotted rhythms, full, slowly-changing chords and rumbling timpani [Ex. 2]. In this last scene, the stage opens up to reveal a vast and magnificent amphitheater filling with a great procession. The concerto’s Allegro maestoso paints a similar picture of imperial pomp and splendor, worthy of Kapellmeister Fux and the old “Habsburger Prunkstil.”3

                                                                                                               1 Robert O. Gjerdingen, Music in the Galant Style, New York: Oxford University Press, 2007. 2 This paper owes much to Edward Klorman, Manfred Hermann Schmid, Steven Jan, David J. Buch, David Lodewyckx, and members of the Mozart Colloquium (Harvard University, April 2014) for their valuable advice. I am also grateful to participants in the Internationaler Mozart-Kongress (Internationaler Stiftung Mozarteum, Salzburg, 2–5 October 2014) and in particular James Hepokoski, Katalin Komlós, Danuta Mirka, and Markus Neuwirth, for their questions and comments. 3 Daniel Heartz, Mozart, Haydn, and Early Beethoven, 1781–1802, New York: Norton, 2009, p. 165.

2  

Ex. 1. Wolfgang Amadeus Mozart, Piano Concerto No. 25, K. 503, I, 1–16. Performance: https://www.youtube.com/watch?v=GnKuTEGezpE  

Ex. 2. Mozart, La clemenza di Tito (1791), “Che del ciel, che degli dei,” mm. 1–3. Performance: http://www.youtube.com/watch?v=uVHOUVkvess

A year and a half after completing K. 503, Mozart wrote the Symphony in G minor, K. 550 (Ex. 3). Heartz argues persuasively that Mozart found inspiration for the opening measures in Tommaso Traetta’s aria “Crudeli, ahimé! che fate” (Ex. 4) in Sofonisba (Mannheim, 1762), an opera that Mozart had an opportunity to study in Paris in 1778. One of the things that the symphony and the aria share is the suspension in the bass that links K. 503 with the chorus “Che del ciel”:

The aria begins in common time with a measure of shimmering strings playing the accompaniment before the voice enters with the theme, an exact parallel with the beginning of K. 550... [and], like the symphony, continues with the rich sound of a supertonic seventh chord inverted so that the seventh, G, is in the bass, a suspension resolving to F sharp.4

                                                                                                               4 Heartz, Mozart, Haydn, and Early Beethoven, pp. 207–8. For more detailed commentary on Traetta’s aria and Mozart’s access to Sofonisba in Paris see Heartz, Music in European Capitals:

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Ex. 3. Mozart, Symphony in G minor, K. 550 (1788), I, mm. 1–9

Ex. 4. Tommaso Traetta, Sofonisba (Mannheim, 1762), “Crudeli, ahimé! che fate?”, mm. 1–7

                                                                                                               The Galant Style, 1720–1780, New York: Norton, 2003, pp. 555–57, and Paul Corneilson, “Count Sickingen’s Music Collection,” in: Society for Eighteenth-Century Music Newsletter 19 (April 2012), 1, pp. 9–12.  

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The voice-leading schema that the Piano Concerto K. 503, the chorus “Che del ciel,” the Symphony K. 550, and Traetta’s “Crudeli, ahimé! che fate?” share can be described, in conventional harmonic terms, as I – ii4/2 (or ii6/4/2) – V6 (or V6/5) – I; or, in the minor mode, i – iio4/2 – V6 – i. As one member of a family of harmonic progressions that Andreas Helmberger and Ulrich Kaiser have dubbed the “I – x – V – I Schema,”5 I – ii4/2 – V6 – I is common in eighteenth-century music, as Wolfgang Plath pointed out at a conference in Salzburg that Heartz attended and in a subsequently published article, where he referred to the schema as the “Andante-Dur Typus.”6 But neither Plath nor Heartz has, I believe, sufficiently emphasized the pervasiveness of this schema and the variety of music with which it was associated. More recently Gjerdingen has pointed to several elaborations of the Sol-Fa-Mi melodic schema in exactly this harmonic context, including the beginning of Mozart’s K. 550.7 But by not giving the schema a name and not including it in the list of “schema prototypes,” he left it outside the schematicon.

The schema in question was exemplified repeatedly by Jean-Baptiste Lully, who used it (in both major and minor) at the beginning of several of his overtures (Exx. 5–7), and in doing so helped to make it an essential part of the eighteenth-century musical vocabulary. The schema unfolds in four stages. (In what follows, and in the musical examples, I will use Gjerdingen’s system of indicating scale degrees in the melody with numbers in black disks and scale degrees in the bass with numbers in white disks.) Stage 1: the bass on 1, the melody on , , or . Stage 2: while the bass on 1 is sustained, the melody moves to or , creating a dissonance. Stage 3: the dissonance is resolved when the bass descends from 1 to 7. Stage 4: the melody proceeds to or while the bass returns to 1.8 Composers sometimes interpolated a root-position dominant chord at the end of stage 3, as Mozart did in K. 550, m. 8; but the four measures of V7 in K. 503, mm. 9–12, represent a departure from eighteenth-century norms, which contributes to the extraordinary length of this particular elaboration of the schema. Like Gjerdingen’s Romanesca, the schema to which I refer is primarily a bass pattern; like the Romanesca, it gave composers freedom to exploit a wide variety of melodic frameworks.9

                                                                                                               5 http://www.musikanalyse.net/tutorials/i-x-v-i-schema, consulted on 29 September 2014. 6  Wolfgang Plath, “Typus und Modell in Mozarts Kompositionsweise,” in: MJb 1973/74, pp. 145–58.  7 Gjerdingen, Music in the Galant Style, pp. 260–62. Plath, “Typus und Modell,” p. 150, refers to the opening of K. 550 as an example of the “Andante-Dur Typus,” but exceptional because of its fast tempo and minor mode. 8  In the first two overtures Lully used, in the dissonant chord at stage 2, the pitch a fifth above the suspended bass (C in Ex. 5, G in Ex. 6)—illustrating what is possibly an early stage in the development of the schema. 9  In addition to Plath, Heartz, and Gjerdingen, several scholars writing in German have discussed this voice-leading schema, referring to it as Minimalkadenz or Initialkadenz: Ulrich Kaiser, Gehörbildung. Satzlehre, Improvisation, Höranalyse, Vol. 2: Aufbaukurs, Kassel, 1998, p. 384; Hartmut Fladt, “Modell und Topos im musiktheoretischen Diskurs. Systematiken / Anregungen,” in: Musiktheorie 20 (2005), pp. 343–69; and Wendelin Bitzan, “Die Initialkadenz als Eröffnungstopos im Klavierschaffen Franz Liszts: Zum Fortwirken eines tradierten Generalbassmodells im 19. Jahrhundert,” available online at http://www.academia.edu/5677376/Die_Initialkadenz_bei_Franz_Liszt . (I prefer to avoid

5  

Ex. 5. Jean-Baptiste Lully, overture to Georges Dandin, 1668. Performance and full score at www.youtube.com/watch?v=TmF8LEGmYXs

Ex. 6. Lully, overture to Thésée, 1674. Performance: http://www.youtube.com/watch?v=ENYB31USQRQ)

Ex. 7. Lully, overture to Roland, 1685. Performance: https://www.youtube.com/watch?v=WRIW_RhbECo

Composers used this voice-leading schema throughout the eighteenth century, almost always placing it, like Lully, at the beginning of a movement or (more rarely) at the beginning of a tonally stable passage later in a movement. I propose that we name it after the composer who demonstrated it so often and effectively. With this proposal I do

                                                                                                               “cadence” in referring to this schema because this word is so closely associated with musical endings of various kinds; this schema, in contrast, almost always constitutes a beginning.)

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not mean to suggest that Lully invented the schema, but only that his use of it in widely admired and disseminated music encouraged other composers to adopt it.10 Eighteenth-century musicians who used partimenti to teach the basics of musical composition took for granted the usefulness of the Lully. Already in 1706 Friedrich Erhard Niedt was teaching the Lully as an opening gambit. In his Handleitung zur Variation (Hamburg, 1706) he showed how a figured bass that begins with a Lully (Fig. 1) could, with appropriate modifications, serve as the foundation for a wide variety of dance movements and preludes. Italian partimenti are full of what Fedele Fenaroli called the “legatura del basso,” suspended notes in the bass. Students learned to play notes a second and a fourth above the suspended note, creating the dissonance that was resolved when the bass descended by a step.11 The “legatura del basso” could occur on any of several scale degrees, and the resolution in the bass did not always serve as a leading tone (Fig. 1, m. 2; Ex. 8). But in practice the maestri often limited the “legatura del basso” to the first scale degree, with its resolution serving as a leading tone followed, in the normal way, by a halfstep ascent (Exx. 9 and 10 and Fig. 2). With such passages, they made the Lully part of the compositional toolbox for most eighteenth-century musicians.

Fig. 1. The beginning of a partimento from Friedrich Erhard Niedt, Handleitung zur Variation (Hamburg, 1706), chapter 8, illustrating the use of the Lully as an opening gambit. Ex. 8. Giacomo Tritto, Partimento in C (ca. 1790s), mm. 1–7, from a longer quotation (with realization) in Gjerdingen, Ex. 7.20 (realization can be heard at http://faculty-web.at.northwestern.edu/music/gjerdingen/galant_book/chapter07/chapter07.htm)

                                                                                                               10  Among composers who used the schema before Lully, Johann Jakob Froberger deployed it at the beginning of four out of six toccatas (Nos. 2, 3, 5, and 6) in the earliest surviving manuscript collection of his keyboard pieces (1649): by no means the only aspect of his toccatas that anticipates the French overture. 11 Giorgio Sanguinetti, The Art of Partimento: History, Theory, and Practice, New York: Oxford University Press, 2012, pp. 133–35.

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Ex. 9. Fedele Fenaroli, Partimento in F, Book 4, No. 8, mm. 1–9

Ex. 10. Giacomo Insanguine, Partimento in G, illustrating the discussion of the partimento legato, as edited and translated in Gjerdingen, Monuments of Partimenti, http://faculty-web.at.northwestern.edu/music/gjerdingen/partimenti/collections/Insanguine/regoleP10.htm  

Fig. 2. Beginning of a partimento in G by Paisiello, from his Regole per bene accompagnare il partimento ossia il basso fondamentale sopra il cembalo (I-Nc, Rari 3.4.17)

J. S. Bach’s use of the Lully illustrates several different approaches to the schema, in one of which he closely followed in the footsteps of the father of French opera. In the Orchestral Overture No. 3 (Ex. 11) the Lully (the first stage spectacularly elongated with a tonic pedal) helps to give this French overture an authentically Lullian flavor—and to imbue this music with the solemnity and grandeur evocative of Louis XIV and the court of Versailles.

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Quite different in effect is the beginning of the Prelude in C major, Well-tempered Clavier, Book 1 (Ex. 12), where the Lully, stripped of its dotted rhythms, is expressively neutral, except insofar as it expresses the idea of a beginning, not only of this prelude, but of the Well-Tempered Clavier as a whole. It serves the structural function of establishing the tonic as strongly as possible before the prelude’s kaleidoscopic exploration of harmonies.12 Simultaneously it identifies this prelude as the beginning of a multi-movement exploration of the tonal universe. The Lully is followed immediately by a passage in which Bach again suspends C in the bass, but this time he raises the F above it to F sharp, causing us to reinterpret the C as the fourth degree of the dominant key; thus Bach modulates quickly to G major. This modulatory schema shares part of its bass line with the Lully, and Bach was by no means the only composer to exploit the similarities between them.13 But its function differs from that of the Lully so completely that I prefer, for the purposes of this paper, to focus on the latter.

The Sinfonia of the cantata Christ lag in Todesbanden (BWV 4) begins with a double Lully (Ex. 13), its two-fold halfsteps in the treble and bass anticipating the obsessive dwelling on the halfstep starting already in the treble in mm. 3–4, and recurring throughout the cantata, most memorably in Versus II (“Den Tod, den Tod, den Tod”).14 Ex. 12. Bach, Well-Tempered Clavier, Book I, Prelude in C Major, mm. 1–11. Voice-leading reduction

                                                                                                               12 Joel Lester, “J. S. Bach Teaches Us How to Compose: Four Pattern Preludes of the ‘Well-Tempered Clavier,’” in: College Music Symposium 38 (1998), pp. 33–46. 13  Sanguinetti, 133–34. For another example of a bass suspension as part of both a Lully and a modulation to the dominant (in an Andante for keyboard by Baldassare Galuppi) see Heartz, Music in European Capitals, pp. 288–89.  14 My thanks to Edward Klorman for directing my attention to this Sinfonia.

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The suspended bass of Jean-Baptiste Lully and the Italian maestri is easily recognizable in the Giga of Jean-Marie Leclair’s Violin Sonata Op. 1, No. 11 (published in 1723, and quoted by Gjerdingen as an example of the Do-Re-Mi with a suspension in the bass; Ex. 14) and in Leonardo Vinci’s aria “Se d’un amor tiranno,” from his Artaserse of 1730 (Ex. 15). Ex. 14. Jean-Marie Leclair, Op. 1, No. 11, III (Giga), mm. 1–3 (as quoted by Gjerdingen, p. 79)

Ex. 15. Leonardo Vinci, Artaserse, “Se d’un amor tiranno.” Performance: https://www.youtube.com/watch?v=hAdop5DU2D0

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Leclair seems to have been particularly enamored of the Lully, using it as an opening gambit in no fewer than five of his Opus 1 sonatas.15 But composers born after 1700 tended to follow Niedt (as illustrusted in Fig. 1, above) in avoiding literal suspensions in the bass in favor of repeated notes on the same pitch: the form in which the Lully became a favorite voice-leading schema of galant composers. In Carl Philipp Emanuel Bach’s Magnificat, the Lully that unfolds slowly, over four measures, at the beginning of the soprano aria “Quia respexit” (in B minor; Ex. 16), pays galant tribute to his father’s soprano aria “Aus Liebe will mein Heiland sterben” (in A minor) in the St. Matthew Passion, which likewise begins with a four-measure Lully.16 Ex. 16. C. P. E. Bach, Magnificat (1749), “Quia respexit”

In “Per quel paterno amplesso,” written by Baldassare Galuppi for the great

musico Gioacchino Conti (also known as Egiziello) to sing in Artaserse (Padua, 1751), the Lully serves as the opening gambit in a beautifully linked sequence of voice-leading schemata (Ex. 17); what I call the “Heartz” involves a -- melody over a tonic pedal.17 “Per quel paterno amplesso” is the kind of music that Plath had in mind when he invented the term “Andante-Dur Typus”—an important subtype of the Lully characterized by the major mode, slow to moderate tempo, and a sweet, lyrical quality.

But many Lullys do not fit in the “Andante-Dur Typus,” either because they are in the minor mode or in a fast tempo, or both. J. C. Bach and Johann Baptist Vanhal shared with other galant composers a fondness for ABB melodies, consisting of three phrases, the second and third being similar or identical. Working with different modes, genres,

                                                                                                               15 See, in addition to the Giga quoted here, Op. 1, No. 2, I; No. 3, III; No. 9, I; and No. 10, I. 16 My thanks to David Lodewyckx for directing me to J. S. Bach’s “Aus Liebe.” 17  John A. Rice, “The Heartz: A Galant Schema from Corelli to Mozart,” in: Music Theory Spectrum 36 (2014), pp. 315–32. In 1755 Regina Mingotti sang Galuppi’s aria in a production of Demofoonte in London, transposed down to D and with a different text, beginning “Se tutti i mali miei.” In this version it was published anonymously in a collection of favorite songs (London, 1755; GB-Lbl G.201, reproduced in part in Michael Burden’s handout for his paper “‘Arias on the loose’: Retrieving musical resources for the London aria,” American Society for Eighteenth-Century Studies, Cleveland, 4–7 April 2013). My thanks to Ulrich Leisinger for identifying Galuppi as the composer of this aria and “Per quel paterno amplesso” as the original text, and to Ines Mazzola (Accademia Nazionale Virgiliana) for sending me a copy of the manuscript on which Example 17 is based.

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and performing forces, Bach and Vanhal created opening melodies identical in their ABB structure and in the role played by the Lully as part of a Do-Re-Mi in the opening phrase (Exx. 18 and 19).

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Ex. 19. Vanhal, Symphony in C, I (“La speranza”), mm. 1–9. Performance: http://www.youtube.com/watch?v=W0d-DFtjIOk

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Ex. 21. Vanhal, Missa Solemnis in C, Kyrie, mm. 1–16

Mozart absorbed the Lully as a child, as effortlessly as he absorbed the rest of the musical language in which he was immersed from infancy. He seems, however, to have been slow to realize its potential for the expression of the sublime. Until about 1785 most of his Lullys are expressively neutral. For example, in Betulia liberata, the B-section of the aria “Del pari infeconda” begins with a Sol-Fa-Mi combined with a Lully (Ex. 22) in a manner that Mozart could have learned from such arias as the Galuppi’s “Per quel paterno amplesso” (see Ex. 17). Throughout the rest of his career Mozart continued to use

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the Lully as the basis for lyrical melodies in slow or moderate tempos and the major mode belonging to Plath’s “Andante-Dur-Typus.”18

Ex. 22. Mozart, Betulia liberata, “Del pari infeconda,” mm. 101–106 (beginning of B-section). Performance: https://youtu.be/qPKuzCKbhlg?t=4m20s

But the effectiveness of the combination of the Lully, trumpets and drums, and the key of C major that Haydn and Vanhal demonstrated in the music illustrated in Exx. 19, 20, and 21 eventually had an effect on Mozart, leading him to use the Lully in evocations of the sublime and the majestic.

Some of these passages are dominated by dotted rhythms. The combination of dotted rhythms and the Lully was characteristic of the French overture, as illustrated in Exx. 5, 6, 7, and 11. But by the time Mozart was born the French overture survived mainly as a topic—that is, in works belonging to other genres in which a composer used the stylistic features of the French overture (and evoked the French overture’s

                                                                                                               18  Plath, “Typus und Modell,” cites, as examples of the “Andante-Dur-Typus” in Mozart, “Ave verum corpus,” K. 618, mm. 3–6; the aria “Vorrei spiegarvi, oh Dio, K. 418, mm. 12–15; “Un’ aura amorosa” (in Così fan tutte), mm. 2–5 (not a Lully, since the bass is a tonic pedal, not a contrapuntally active line), and the Andantes of the Piano Concertos in A, K. 414, mm. 29–32, and in G, K. 453, mm. 35–38.

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associations with splendor and majesty).19 Although the Lully was not essential in defining the French overture topic, its presence in passages with pervasive dotted rhythms reinforced the topical identity of such passages.

During the 1780s, Mozart seems to have associated the piano concerto, as a genre, with the deployment of galant schemata on the grandest possible scale. In the first movement of the Piano Concerto in C, K. 503 (see Ex. 1) he used the association of trumpets and drums, the key of C, and dotted rhythms in what is perhaps the grandest Lully of them all—and a powerfully evocative elaboration of the French overture topic. This passage consists of a pair of eight-measure phrases: the first, ending on V6/5, answered by the second, ending on I. That description might suggest something rather mechanical and dull; but Mozart’s music is far from it. I suggest that it is his blatantly asymmetical deployment of the Lully, with the third stage hugely extend by the interpolation of four measures of dominant-seventh harmony in root position and bridging the gap between the two eight-measure phrases, that brings this opening to life and allows us to hear it with interest over and over again. K. 503 also shows Mozart using the Lully to provide a sense of unity within a movement that features sharply contrasting material. The second theme could hardly be more different from the first—the French overture topic is entirely absent—yet it too is based on the Lully (this one more conventionally proportioned, though with a very unusual, continuously ascending treble line). Again the voice-leading schema pleasantly contradicts the phrase structure, taking the listener across the divide between antecedent and consequent (Ex. 23). Ex. 23. Mozart, Piano Concerto in C, K. 503, I, mm. 170–73. Performance: http://youtu.be/GnKuTEGezpE?t=5m3s  

In writing a three-measure Lully followed immediately by a two-measure half cadence, Mozart returned to procedures he had followed in the slow movement of the Piano Concerto in A, K. 488 (Ex. 24). These melodies differ in almost every conceivable way; and yet, in the voice-leading schema that underlies them, they are twins.                                                                                                                19    On the French overture topic see Leonard G. Ratner, Classic Music: Expression, Form, and Style, New York: Schirmer, 1980, p. 20; Kofi Agawu, Playing with Signs: A Semiotic Interpretation of Classic Music, Princeton: Princeton University Press, 1991, pp. 42–44 (on Beethoven’s use of the French overture topic in the introduction to the Grande Sonate Pathétique, Op. 13); and The Oxford Handbook of Topic Theory, ed. Danuta Mirka, New York: Oxford University Press, 2014, pp. 32, 98, 115, 201–2, and 498.

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Ex. 24. Mozart, Piano Concerto in A, K. 488, Andante, mm. 1–4. Performance: https://youtu.be/jCiS7yg2z2o?t=10m52s

Another example of the Lully’s unifying potential, again in the context of C major and the expression of majesty and splendor, is to be found in the final movement of Mozart’s “Linz” Symphony, K. 425. It begins with yet another Do-Re-Mi combined with a Lully (Ex. 25). A fugato that begins as if it were part of the second-theme group, but ends sounding more like part of the closing material, is built on a motive clearly related to the Lully bass in the opening measures, with its original legatura restored, and contributing to the “learned” flavor of this passage (Ex. 26). Ex. 25. Mozart, Symphony in C, K. 425 (“Linz”), IV, mm. 1–8. Performance: https://youtu.be/hwxNp-LzDYo?t=21m1s

Ex. 26. Mozart, Symphony in C, K. 425, IV, mm. 73–116

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I earlier cited the beginning of the first movement of the Symphony in G minor,

K. 550, as an example of the Lully; this movement contains yet another example of Mozart’s use of the Lully to impose a sense of unity over seemingly diverse material. He linked the second theme to the first by the obvious means of quoting, first in the winds and then in the strings, the first theme’s melodic material. More subtly, he linked the themes by using the Lully in both (Ex. 27). A dialogue between treble and bass presents first a pair of Meyers (mm. 72–76), then a passage (mm. 80–84) in which B-flat and A can be heard simultaneously (in a kind of schematic pun) as the first half of a Meyer melody (-) and the beginning of a Lully bass (1-1suspended-7). Ex. 27. Mozart, Symphony in G minor, K. 550, I, mm. 72–84. Performance: https://youtu.be/ps1GsP_7TvY?t=1m12s

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Ex. 28. Thomas Arne, Symphony No. 4, finale, mm. 1–4. Performance: https://youtu.be/7kWmU3TcMQY?t=9m49s

Ex. 29. Joseph Haydn, Keyboard Sonata XVI:12, Andante, mm. 1–4. Performance: https://www.youtube.com/watch?v=bnn1mpHiy3M

Of course Gjerdingen takes the name of this particular melodic pattern from the final movement of Mozart’s Symphony No. 41 K. 551, yet another majestic work that brings together C major and trumpets and drums. But what about the Lully? In a revelatory analysis of the Andante of Mozart’s previous symphony, K. 550, Gjerdingen shows how Mozart exploited the relationship between the Jupiter and the Lully (without using this term, of course).20 Mozart did so again in the finale of K. 551, thus challenging listeners to notice a relationship between symphonies that in most respects differ so strongly. In the opening measures, Mozart hints at the Lully in the second violins (Ex. 30). And at the movement’s climax, in the coda, when Mozart presents all the contrapuntal elements together, the motive at the very bottom of the polyphonic pigpile closely resembles the Lully bass and serves much the same function (Ex. 31). Ex. 30. Mozart, Symphony No. 41 in C, K. 551, IV, mm. 1–4

                                                                                                               20 Gjerdingen, p. 124.

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Ex. 31. Mozart, Symphony No. 41 in C, K. 551, IV, mm. 399–402

Mozart and his contemporaries normally responded to the wide variety of melodic ideas associated with the Lully by using one of these melodic ideas at a time. In the finale of the Jupiter Symphony Mozart took the Lully in a new direction by using its ample melodic resources simultaneously.

In the last year of his life, in La clemenza di Tito, Mozart turned to the Lully to evoke the grandeur and splendor of absolute monarchy in the chorus “Che del ciel, che degli dei,” cited by Heartz as for its similarity to the beginning of the Piano Concerto in C, K. 503, and shown in Ex. 2. This chorus, pervaded by dotted rhythms, is one of Mozart’s most brilliant explorations of the French overture topic, and indeed the opening melody (tracing the scale degrees 1–3–4–3) resembles that of the overture to Lully’s Thésée, quoted in Ex. 6. But the double Lully that underlies the opening of “Che del ciel” more powerfully identifies the French overture topic than the melody by itself. “Che del ciel” also exemplifies the function that composers usually assigned to the Lully in the eighteenth century: that of opening gambit. The chorus’s orchestral postlude begins with the opening melody, but reharmonized, as if Mozart felt that the Lully bass was not appropriate so near the end of the movement (Ex. 32).21 Ex. 32. Mozart, “Che del ciel,” mm. 37–39

This wonderful chorus is not the first instance of the Lully in Tito. It also occurs

prominently near the beginning of the overture, in association with the key of C major and an orchestra of trumpets and drums (Ex. 33), where all of these elements together help to convey the solemnity and grandeur appropriate to a coronation opera.

                                                                                                               21 A much earlier example of an opening melody with a Lully that returns without it is the first theme of the overture to Gluck’s Don Juan (Vienna, 1761). The recapitulation begins with the opening Lully transformed into I – V7 – I.

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20  

Ex. 33. Mozart, La clemenza di Tito, overture, mm. 8–12

Mozart was by no means the last composer to exploit the Lully. Beethoven, in the climactic chorus of angels “Welten singen Lob und Ehre” near the end of Christus am Ölberge, extended the eighteenth-century tradition of combining dotted rhythms, trumpets and drums, the key of C major, and the Lully in passages that allude unmistakably to the French overture and convey the sublimity associated with that antiquated genre. By using the French overture topic within a triumphal chorus, Beethoven alluded specifically to Mozart’s “Che del ciel, che degli dei” (Ex. 34). Almost exactly fifty years later, and almost 200 years after Jean-Baptiste Lully popularized the schema, Franz Liszt used it at the beginning of Mazeppa, the fourth piece in the Etudes d’exécution transcendante (1852)—one of several appearances of the Lully in his work (Ex. 35).22

As an opening gambit strongly associated in the second half of the seventeenth century with the French overture, and by extension with Louis XIV and the splendor of his court at Versailles, the Lully appealed to many eighteenth-century composers. They continued to use it mostly as an opening gesture, but often in passages that have nothing to do with the French overture in style or expressive intent (such as the beginning of Bach’s Prelude in C from the Well Tempered Clavier, Book 1, and the beginning of Mozart’s G Minor Symphony, K. 550). But composers did not forgot the association of the Lully with the majestic and the sublime. When they adopted the French overture as a topic, they often used the Lully as one of several elements that define the topic. The similarity between the beginning of Mozart’s Piano Concerto in C, K. 503, and the chorus “Che del Ciel, che degli dei” that Heartz heard so perceptively stems from both of these passages’ being elaborations of the French overture topic in which the Lully plays a crucial role.

                                                                                                               22  Bitzan, “Die Initialkadenz als Eröffnungstopos im Klavierschaffen Franz Liszts.” Nor was the Lully the only “galant” schema that continued to shape music well into the nineteenth century; see, for example, Robert O. Gjerdingen, “Gebrauchs-Formulas,” in: Music Theory Spectrum 33 (2011), pp. 191–99; and Michael Henri Weiss, “The Nineteenth-Century Fonte: The Continuing Tradition of a Galant Musical Pattern,” Masters Thesis, University of Aukland, 2013.  

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21  

Ex. 34. Beethoven, Christus am Ölberge, “Welten singen Lob und Ehre,” No. 6, mm. 259–62 Performance: https://www.youtube.com/watch?v=F1ufGDc5yLM

Ex. 35. Liszt, Etudes d’exécution transcendante, No. 4: Mazeppa, mm. 7–10. Performance: https://www.youtube.com/watch?v=9ctr0CxnzCw

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22  

Supplemental musical examples Ex. S1 Michel-Richard Delalande, Miserere for solo soprano and basso continue, 1687. With this opening, Delalande may have helped to start a tradition of using the Lully at the beginning of settings of Psalm 50 (see also S2 and S3). Performance: https://www.youtube.com/watch?v=lmyLYKmcd_o

Ex. S2. Johann Adolf Hasse, Miserere in C minor, ca. 1730. Hasse’s opening, in which a Morte emerges from what appears at first to be a Lully, may have provided Bernasconi with a model for the beginning of his Miserere in D minor (see S3). Performance: https://www.youtube.com/watch?v=sLp3kO8XR4M      On  the  Morte,  see  John  A.  Rice,  “The  Morte:  A  Galant  Voice-­‐Leading  Schema  as  Emblem  of  Lament  and  Compositional  Building-­‐Block,  Eighteenth-Century Music 12 (2015), 157–81.  

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23  

Ex. S3. Bernasconi, Miserere (1752–60), “Miserere mei Deus,” mm. 8–14 (orchestral accompaniment omitted). The ascending chromatic line migrates from alto to soprano to tenor. Performance: https://www.youtube.com/watch?v=aLS57Xg_YLE

Ex. S4. Bernasconi, Miserere, “Benigne fac,” mm. 3–5

Ex. S5. Bernasconi, Miserere, “Benigne fac,” mm. 18–20

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24  

Ex. S6. Bernasconi, Miserere, “Gloria,” mm. 1–3

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25  

Ex. S8. Gluck, Don Juan, Sinfonia, mm. 1–9, 33–41. The opening theme is odd, not only rhythmically (the initial 2 ½ + 2 ½ measures) but also schematically. The theme consists of a Lully and Heartz, but when it returns later in this miniature sonata-form movement it does so with new schematic identities. Did Gluck perceive the Lully and the Heartz as being especially effective at the beginning of the movement? Source: D-Ds, Mus. Ms. 340. Performance: https://www.youtube.com/watch?v=tuvj0UH8KpI

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26  

Ex. S9. Haydn, Symphony No. 45 (Farewell), I, mm. 1–8. Performance: https://www.youtube.com/watch?v=KXctarOxRz8

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