63 /1 he first mass composed for the Dresden court by Jan Dismas Zelenka (1679-1745) was named in honour of St Cecilia, the Patron Saint of Musicians, and it Twas dedicated to Zelenka’s employer, the King of Poland and Elector of Saxony, August II (‘der Starke’). Today, the principal source of the work is kept at the Sächsische Landesbibliothek – Staats- und Universitätsbibliothek, Dresden (SLUB): D-Dl, Mus. 2358-D-7a. This complex auto- graph document is a concept score whose original work- Janice B. Stockigt ing shows many crossed-out passages and alterations either written into the score or onto slips of manuscript Faculty of Fine Arts and Music paper pasted throughout which, until recently, obliterat- The University of Melbourne ed many sections of the original.1 Certain movements have been reworked (the part for first violins in the opening ‘Kyrie’, for example, was revised), and newly composed additions are seen The genesis and evolution of throughout the score. The card catalogue of the former Missa Sanctae Caeciliae (ZWV 1), Sächsische Landesbibliothek of Dresden (now SLUB) re- corded that the score once was accompanied by seven- Jan Dismas Zelenka teen parts. These now are missing. Zelenka’s autograph contains at least three workings. The original version of circa 1711 first was altered by January 1712 – known because Zelenka’s petition to August II, dated 31 January Zelenka Prague Conference 1712, revealed that due to the king’s recent absence from Dresden the mass could be revised. Zelenka wrote: A musical work is laid at your feet which was ready some time ago to be produced before Your Abstract Royal Highness. Because, however, at that time It is not surprising that the highly devout Dresden court Your Royal Highness was out of this country on musician Jan Dismas Zelenka (1679-1745) would name his important business and [the Mass] could be revi- first mass in honour of Saint Cecilia, the Patron Saint 2 sed in the meantime […]. of Musicians. Throughout his lifetime this G Major set- The major revision to the mass, however, took place in or ting would be transformed through at least three or about 1727 at which time Zelenka added page numbers more revisions because Zelenka frequently returned to to each upper corner.3 The date circa 1727 is established adapt and improve earlier works, his masses especially. Changes were due not only to Zelenka’s own develop- ment as a composer, but also to great developments 1 taking place within the renowned music ensemble of The score of Missa Sanctae Caeciliae (RISM, ID no. 12006519) the Dresden court, the Hofkapelle. Amendments reflect has been digitised by SLUB as part of the Deutsche Forschungs- changing conditions within this ensemble as the French gemeinschaft (DFG, German Research Foundation) project ‘Die manner of performance moved towards the musical Notenbestände der Dresdner Hofkirche und der Königlichen taste of Italy enjoyed by Saxon Electoral Prince Friedrich Privat-Musikaliensammlung aus der Zeit der sächsisch-polni- August and his wife, Maria Josepha. Moreover, this elec- schen Union’, http://digital.slub-dresden.de/id426603591/1 (Public Domain Mark 1.0). toral prince made it known that he expected the mass 2 to last no more than 45 minutes, an imperative that ‘Es leget zu Ew. Königl. Maj. Füßen sich ein Musicalisches might have caused Zelenka to delete movements from Werk, welches vor einiger Zeit albereit destiniret gewesen, vor Missa Sanctae Caeciliae. This article provides details of Ew. Königl. Maj. produciret zu werden; Weiln aber damahlen the surviving manuscript sources of Zelenka’s earliest Ew. Königl. Maj. wegen Dero höchst wichtigsten Angelegenhei- mass setting, it documents performances of the work ten sich außer Dero Landen befunden, und es mitler Zeit beßer revidiret werden können […].’ The autograph of Zelenka’s peti- that were reported during his lifetime, and the most tion is kept in the Österreichische Nationalbibliothek, Musik- important alterations made to Zelenka’s first-known sammlung, Vienna (A-Wn) together with a copy of Missae Sanc- mass setting are examined. tae Caeciliae (‘Missa Sollemnis’) made by Franz Hauser in 1826: A-Wn, Sign 15773. In his petition Zelenka named his teach- Key words: Zelenka, Jan Dismas; Missa Sanctae Caeciliae ers as the Dresden Kapellmeister Johann Christoph Schmidt (ZWV 1); Baroque music; Dresden Hofkapelle: August II; (1664-1728) and his former patron, Count [Johann Hubert von] August III Hartig of Prague (d. 1741). He also requested a study tour to Number of characters / words: 43 406 / 6 825 France and Italy. The petition is reproduced in Wolfgang HORN, Number of illustrations: 7 Thomas KOHLHASE, Ortrun LANDMANN, Wolfgang REICH (eds.), Number of tables: 1 Zelenka-Dokumentation: Quellen und Materialien (Wiesbaden: Secondary languages: Latin, German Breitkopf & Härtel, 1989), vol. 1, p. 103. 3 Note that Zelenka’s page numbering does not correspond Revised and updated version of a paper originally presented at with the recent pagination seen at the lower centre of each page. the Zelenka Conference, Prague, 18 October 2019. © Association for Central European Cultural Studies Clavibus unitis 8/1 (2019), pp. 63-76 64 Janice B. STOCKIGT /2 by certain changes that took place to Zelenka’s notation of music between late 1725 and late 1728.4 Alterations made at that time also are clearly visible through his use of a lighter col- A oured ink, while some amendments suggest even later adjustments. R A vital aspect of this study is Claudia Lubkoll’s examination of the papers used in Zelenka’s 5 Table 1: T autograph which revealed the presence of four different types. These are shown in Table 1. Paper types used for Thus, no definitive version of Missa Sanctae Caeciliae exists. The autograph score reflects Zelenka’s autograph I Zelenka’s personal development as a composer, the changing taste and personnel of the prin- score and Philipp C cipal music ensemble of the Dresden court – the renowned Hofkapelle, as well as the order of Troyer’s score copy U the Saxon electoral prince that the length of the mass in the Catholic court church of Dresden of Missa Sanctae was to be curtailed.6789 L Caeciliae (ZWV 1) I Missa Sanctae Caeciliae (ZWV 1) D-Dl, D-Dl, D-Dl, D-Dl, D-Dl, Water- Pages Mus. 2358-D-7a Mus. 2358-D-8 Mus. 2358-D-7a Mus. 2358-D-7a Mus. 2358-D-7a mark Autograph Philipp Troyer Autograph Autograph Autograph c. 1711-12 c. 1712-19? c. 1727 c. 1727 c. 1728 ‘Kyrie eleison I’: Kyrie: Gloria: 7-30 ‘Christe eleison’: ‘Ky- Credo: Sanctus W-Dl-1786 39-60 rie eleison II’: Gloria: ‘Agnus Dei Credo: Sanctus Sicut Kyrie’ ‘Cum Sancto Spiritu’, W-Dl-0027 31-38 revised Title page: ‘Et unam sanctam’ revised: 3-4 W-Dl-2668 Revised and 61-80 newly-composed Sanctus – Agnus Dei Revised W-Dl-4929 5-6 introduction to ‘Kyrie eleison I’ Two title pages exist for Zelenka’s Missa Sanctae Caeciliae. They are written on the grey- blue paper he used as covers (Umschläge) for scores and performance materials. The first title page reads: ‘# 21 [upper right] | Missa Sanctæ | Coeciliæ10 | à 4: | di Giou: Disma Zelenka’ [lower right]. The number 21 corresponds to the number Zelenka assigned to the listing of this mass in his Inventarium, a catalogue which began to be compiled on 17 January 1726. There, the work is listed on page 6 (recent pagination) as ‘21 : g. a.: Missa S: Coeciliæ. à 4. S:A:T:B. | Wiolin 2[,] Oboe. 2. Viola. Viola di Gamba,11 Violoncello, Fagotto | concertato. et Basso Continuo, cu[m] partitura. | Zelenka.’12 Zelenka’s second title page to the mass is followed by the dedication to August II ( Ill. 1). In translation it reads: 4 Changes vital to dating Zelenka’s hand in the mid- to late 1720s include the attachment of a stroke, natural, or a flat to a figure of the basso continuo instead of placing the accidental beside the figure (late 1725); the use of strokes to separate systems of staves instead of a line to bind them together (circa 1727); alteration to the manner of writing the bass clef (late 1728) ( Ill. 7). Discussed by Janice B. STOCKIGT in Jan Dismas Zelenka (1679-1745): A Bohemian Musician at the Court of Dresden (Oxford: OUP, 2000), p. 136. 5 Identification of these paper types was kindly provided by Claudia Lubkoll. 6 Paper from Wangen in Allgäu, a region of Bavaria. Sometimes used in Dresden, mostly by Zelenka. 7 Paper from Dresden. Often used at the Dresden court. 8 Paper from Saxony. Often used at the Dresden court. 9 Paper from Niederlungwitz Saxony. Rarely used at the Dresden court, mainly by Zelenka. 10 Note that Zelenka’s spelling of Coeciliæ is given as Caeciliae in subsequent documentation (includ- ing RISM). This is the form used throughout this text. 11 Although Zelenka listed the viola da gamba in the Inventarium as a required instrument, in the score he later replaced that instrument with the viola (‘la viola da gamba’), and then with the viola section (‘Tutti la Viola’). See Illustrations 2 and 3. 12 ‘Inventarium rerum musicarum variorum authorum ecclesiae servientium’. MS. D-Dl, Bibl. -Arch. Clavibus unitis 8/1 (2019), pp. 63-76 © Association for Central European Cultural Studies The genesis and evolution of Missa Sanctae Caeciliae (ZWV 1), Jan Dismas Zelenka 65 /3 Zelenka Prague Conference Ill. 1: Missa S. Caeciliae (ZWV 1), circa 1727 (D-Dl, Mus. 2358-D-7a), autograph title page, http://digital.slub-dre- sden.de/id426603591/7 Missa S. Caeciliae: To the Most August Friedrich Augustus, King of Poland (Prince Egon de Fristenberg [= von Fürstenberg], Royal Governor of Saxony, my principal Patron and Master, prepared the way for this), dedicated in profound veneration and performed with great humility and with beneficial results (in that the above-mentioned Royal Majesty on reflecting on this slight work of mine most generously increased my normal salary by 100 Imperials a year) in the presence of His Royal Majesty.