! ! JAN$DISMAS$ZELENKA’S$$

MISSA%SANCTI%SPIRITUS,$ZWV$4$

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A$CRITICAL$EDITION$AND$STUDY$$ OF$THE$MANUSCRIPT$SOURCES$

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VOLUME$2$

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Andrew$Leslie$Frampton$

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Submitted$in$total$fulfillment$of$the$requirements$of$the$degree$of$

Master$of$Music$(Musicology)$

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Melbourne$Conservatorium$of$Music$

The$University$of$Melbourne$

2015$

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Produced$on$archival$quality$paper$ 196!!

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PART$II$ $ $ $ ZWV$4:$A$Study$of$the$Manuscript$Sources 198!!

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CHAPTER$1$

$ Zelenka’s$Missa%Sancti%Spiritus:%Background$and$Context$

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Jan!Dismas!Zelenka’s!Missa%Sancti%Spiritus,!ZWV!4,!sits!at!a!critical!juncture!in!his! career!as!a!composer!and!in!the!development!of!the!!Catholic!court!church! and!orchestra!(the!Hofkapelle).!Scored!for!soprano,!alto,!tenor!and!bass!soloists!and! ripienists,!two!trumpets!in!D,!timpani,!two!,$two!flutes,!two!violins,!viola!and! basso!continuo,!it!is!a!lengthy!setting!in!nineteen!movements!of!the!full!text!of!the!

Mass!Ordinary.!The!evidence!that!remains!in!the!guise!of!several!manuscript!sources! suggests!to!a!long!and!complex!composition!and!performance!history,!much!of! which!remains!uncertain.!These!sources!include!a!complete!autograph!score!and! several!copyists’!manuscripts,!which!will!be!discussed!in!subsequent!chapters.!The! aim!of!this!first!chapter!is!to!present!a!concise!outline!of!the!broader!historical!and! musical!contexts!in!which!the!work!exists,!specifically:!(i)!Zelenka’s!mass!oeuvre!and! the!place!of!the!Missa%Sancti%Spiritus!within!it;!(ii)!the!role!of!musical!mass!settings!in! the!worship!of!the!Dresden!Catholic!court!church!during!this!period,!and!the!likely! circumstances,!insofar!as!they!can!be!determined,!of!the!work’s!first!performance,! and!(iii)!the!forces!for!which!the!work!was!originally!composed,!focusing!on!the! structure!and!membership!of!the!Dresden!Hofkapelle!and!its!influence!on!subsequent! revisions!made!to!the!work.!This!will!not!only!serve!as!a!general!introduction!to!the! history!of!this!mass,!but!further!illuminate!key!points!raised!in!subsequent!chapters! focusing!directly!on!the!sources.1!!

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1!Throughout!this!study,!relevant!scholarly!literature!will!be!critically!dealt!with!as!it!arises!in!the!text.! 200!!

I.$The$Missa%Sancti%Spiritus$in$the$context$of$Zelenka’s$mass$oeuvre$

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Zelenka’s!output!of!mass!settings!comprises!a!total!of!twentyTone!known!works!that! can!be!divided!into!three!distinct!groups.!The!first!group!is!comprised!of!the!three!

‘early’!masses,!ZWV!1–3,!written!from!1711–1719!during!Zelenka’s!first!period!in!

Dresden.!The!five!‘late’!masses,!ZWV!17–21,!constitute!the!last!group,!and!display! characteristics!that!clearly!mark!a!shift!in!Zelenka’s!style!of!mass!composition.2!

Sitting!between!these!two!groups!is!the!largest!category,!which!accounts!for!the! majority!of!Zelenka’s!mass!output.!This!group,!displayed!in!Table$1.1,!is!made!up!of! thirteen!works!composed!across!a!period!of!ten!years.!

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Table$1.1:$Zelenka’s$‘annual’$masses,$ZWV$4–ZWV$16$(1723–1733)3$ !

Title$&$ZWV$No.$ Year$of$composition$ Key$ Comments$ Missa%Sancti%Spiritus,!ZWV!4! 1723,!revised!c.!1728–9!! D!major! For!Pentecost?! Missa%Spei,!ZWV!5! 1724! C!major! Missing! Missa%Fidei,!ZWV!6! 1725! C!major! Kyrie!&!Gloria! only! Missa%Paschalis,!ZWV!7! 1726,!revised!c.!1732! D!major! For!Easter!Monday! Missa%Nativitatis%Domini,! 1726! D!major! For!the!2nd!Day!of! ZWV!8! Christmas! Missa%Corporis%Domin[ic]i,! c.!1727! D!major! ! ZWV!9! Missa%Charitatis,!ZWV!10! c.!1727! D!major! ! Missa%Circumcisionis,!ZWV! 1728!(begun!1723?)4! D!major! For!the!Feast!of!the! 11! Circumcision! Missa%Divi%Xaverii,!ZWV!12! 1729! D!major! Without!Credo! Missa%Gratias%Agimus%Tibi,! 1730! D!major! ! ZWV!13! Missa%Sancti%Josephi,!ZWV!14! c.!1731–1732!! D!major! Without!Credo! Missa%Eucharistica,!ZWV!15! 1733! D!major! Kyrie!&!Gloria! only! Missa%Purificationis,!ZWV!16! 1733! D!major! !

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 2!See!Janice!B.!Stockigt,!Jan%Dismas%Zelenka:%A%Bohemian%Musician%at%the%Court%of%Dresden%(Oxford:!Oxford! University!Press,!2000),!251–252.!ZWV!19–21!were!designated!‘Missa!ultimae’!by!Zelenka,!and!were! conceived!as!part!of!a!planned!set!of!six!masses.% 3!Much!of!the!information!in!this!table!is!drawn!from!the!complete!worklist!printed!as!Appendix!I!in! Stockigt,!Jan%Dismas%Zelenka,!287–289,!although!some!of!the!information!presented!there!(particularly! with!regards!to!dating!and!nonTautograph!copies)!is!now!significantly!out!of!date.! 4!Norbert!Schulz,!‘Johann!Dismas!Zelenka’!(PhD!Diss.,!Berlin,!1944),!16.! ! 201!

As!can!be!seen!from!the!dates!given!above!(some!of!which!are!only!approximate),! between!1723!and!1733!Zelenka!generally!composed!at!least!one!new!mass!setting! each!year;!hence,!the!term!‘annual’!masses!has!been!loosely!applied!here!to!describe! the!whole!group.!However,!the!true!nature!of!Zelenka’s!mass!output!over!this!period! is!a!little!more!complex!than!this!term!conveys:!in!at!least!two!(possibly!three)!years!

(1726,!1727!and!1733)!he!composed!two!new!mass!settings,!and!at!least!three!works!

(Missa%Sancti%Spiritus,!Missa%Paschalis!and!probably!Missa%Circumcisionis)!were! significantly!revised!and!expanded!several!years!after!their!first!performances,!as! were!two!of!the!‘early’!masses.!As!a!result,!more!often!than!not!during!the!mid!to! late!1720s!it!would!have!been!usual!for!two!‘new’!Zelenka!mass!settings!to!be! performed!during!the!year.!

Another!distinctive!feature!of!the!‘annual’!masses!is!that!all,!with!the!exception!of! the!Missa%Spei!and!Missa%Fidei,!are!in!the!key!of!D!major!and!make!use!of!brass! instruments!(trumpets!and/or!horns)!and!timpani.5!None!of!the!‘early’!or!‘late’! masses!exhibit!either!of!these!characteristics,!and!Zelenka’s!virtuosic!brass!writing!

(see!below)!is!a!distinctive!feature!of!these!works!that!give!them!all!a!particularly! festive!atmosphere,!as!befitted!the!‘solemn’!musical!requirements!of!the!high!feasts! for!which!many!of!them!were!written.6!The!Missa%Sancti%Spiritus!is!the!first!of!these! pieces,!although!it!was!not!to!emerge!in!its!final!form!until!towards!the!end!of!the!

1720s.!As!will!be!discussed!in!Chapter!2,!the!autograph!score!of!this!work!is!dated!

1723,!but!in!places!it!exhibits!a!number!of!characteristics!that!suggest!significant! revision!and!expansion!at!a!later!time,!with!a!hypothetical!performance!in!1729.!It!is! therefore!to!the!year!1723!we!must!first!look!to!establish!a!context!for!the!work’s! initial!composition!and!performance,!and!then!to!the!second!half!of!the!decade!for! information!about!the!state!of!the!Dresden!Hofkapelle!at!the!time!of!its!revision.!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 5!See!the!worklist!in!Stockigt,!Jan%Dismas%Zelenka,!287–289,!for!details!of!instrumentation.% 6!The!division!of!church!music!into!three!distinct!categories!during!this!period!in!Dresden!followed!the! Viennese!model.!The!‘A!Capella’!style!was!the!simplest!type,!and!included!two!subcategories,!one! unaccompanied!and!one!accompanied,!whilst!‘Ordinary’!music!was!used!in!services!of!moderate!length! and!employed!fourTpart!choir!and!soloists!with!standard!instrumentation.!‘Solemn’!music!was!the!most! elaborate!style,!utilised!on!high!feast!days!and!characterised!by!complex!and!lengthy!(usually!multiT movement!settings)!that!often!employed!brass!and!drums.!See!Frederic!Kiernan,!‘Six!Ave%regina%coelorum% Settings!(1737)!by!Jan!Dismas!Zelenka!(ZWV!128):!Context!and!Critical!Edition’!(MMus!Diss.,! University!of!Melbourne,!2013),!32–35,!and!Stockigt,!Jan%Dismas%Zelenka,!66–67.! ! 202!!

II.$A$Whitsun$Mass$for$1723?$The$first$performance$of$ZWV$4$

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1723!was!a!year!of!great!productivity!for!the!Dresden!Catholic!court!church,!and!for!

Zelenka!himself.!As!the!Jesuit!annual!letter!to!Rome!for!that!year!makes!clear,7!there! was!a!great!flowering!of!musical!composition!and!performance!in!Dresden,! following!the!introduction!of!regular!performances!of!musical!mass!settings!in!1721.8!

The!letter!makes!special!mention!of!the!Princess!Maria!Josepha!(future!Electress!of!

Saxony!and!Queen!of!Poland)!as!a!direct!influence!on!this!growth:!!

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What!is!exceptional!about!our!Serene!Princess…is!that!on!all!Sundays!and!

feast!days!throughout!the!year!she!has!given!lustre!to!the!royal!chapel!during!

the!Sung!Mass!and!Vespers!(sub%cantato%Sacro%et%decantatis%Vesperis)!by!her!own!

and!her!court’s!singular!piety.!As!a!further!spur!and!encouragement!to!this!

piety,!at!major!feasts!the!King’s!Virtuosi!vied!in!creating!delight!and!

exhibiting!skill!through!totally!new!and!exceptionally!elegant!compositions!

of!Masses!and!Vespers.9!

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Many!of!these!“totally!new!and!exceptionally!elegant”!pieces!were!written!by!the! court!,!Johann!David!Heinichen!(1683–1729).!Assisting!him!was!Zelenka,! who!was!employed!as!both!a!violone!player!in!the!Dresden!Hofkapelle!and!as!a!court! composer!(effectively!working!as!Heinichen’s!deputy),!along!with!Tobias!Butz!(c.!

1692–1760),!and!the!Italian!composer!Giovanni!Alberto!Ristori!(1692–1753).10!A!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 7!The!‘Annuae!Literae’!(annual!letters)!to!Rome!from!Dresden!and!Leipzig!are!today!located!in! Provinciae!Bohemiae!(hereafter!Boh.),!Fondo!Veccia!Compagnia,!Archivum!Romanum!Societatis!Iesu,! Rome!(ARSI;!hereafter!ITRar).!! 8!Janice!B.!Stockigt,!‘The!Vespers!!of!Jan!Dismas!Zelenka!(1679–1745)!in!the!Liturgy!and!Life!of! the!Dresden!Catholic!Court!Church’!(PhD!Diss.,!University!of!Melbourne,!1994),!54.$ 9!‘Singulare!verò!illud!est!in!Serenissima!nostra…quod!omnibus!Dominicis!et!festis!per!annum! Capellum!regiam!sub!cantata!Sacro,!et!decantatis!Vesperis!singulari!sua,!suaeque!Aulae!pietate! illustràrit.!Ad!hanc!animandam!ampliùsque!et!amplius!inflammandam!regii!Virtuosi!novissimis,!et! longè!elegantissimis!Sacrorum,!Vesperarùmque!compositionibus!amabili!simul,!et!artificiosà!inter!se! aemulatione!majoriubus!festivitatibus!concertavère.’!Annuae%Missonis%Dresdensis%ad%annum%1723,!17–18,! Boh.!138,!ITRar,!cited!in!Stockigt,!‘The!Vespers!Psalms’,!55.! 10!Stockigt,!Jan%Dismas%Zelenka,!62.!There!was!a!strict!hierarchy!that!emerged!between!Heinichen,! Zelenka!and!Butz,!as!the!Diarium!makes!clear!in!reports!for!triduum!(threeTday)!festivals.!Heinichen! would!usually!provide!the!music!for!high!liturgical!feasts!and!royal!occasions!(for!example,!Easter! Sunday).!Zelenka,!as!his!senior!assistant,!composed!music!for!the!second!feast!day!(e.g.!Easter!Monday),! ! 203! whole!series!of!extraordinary!works!from!both!Heinichen!and!Zelenka!were! premiered!in!1723,!including!Zelenka’s!three%Lamentations%pro%hebdomada%sancta!(ZWV!

54),11!twentyTseven!Responsoria!(ZWV!55),!and,!most!notably,!his!!Sub%olea% pacis!(ZWV!175).!As!Stockigt!comments,!“1723!was!a!truly!golden!year!musically!for! the!Catholic!court!church!of!Dresden!and!during!the!following!two!years!the! momentum!established!at!this!point!of!the!decade!was!to!be!maintained.”12!

It!seems!hardly!surprising!that!the!Missa%Sancti%Spiritus,!with!its!lavish!festive! scoring!and!truly!virtuosic!writing,!particularly!for!the!orchestra,!should!have!been!a! product!of!this!“golden!year”.!But!on!which!of!the!high!feast!days!during!the!year! was!it!first!performed?!The!title!suggests!that!a!performance!at!the!Feast!of!the!Holy!

Spirit—that!is,!Whitsun,!or!Pentecost—would!have!been!the!most!likely!occasion!(in! the!same!way!that!Missa%Circumcisionis!was!intended!for!the!Feast!of!the!

Circumcision).!Unfortunately,!however,!the!lack!of!specific!information!given!in!the!

Diarium,!the!diary!of!the!court!Jesuits,!about!the!music!that!was!heard!during!this! period!makes!it!very!difficult!to!identify!references!to!specific!works!with!any! certainty.!The!Diarium%entry!for!Whit!Sunday!reads!as!follows:!!

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16!May!1723.![In!Festo!Pentecostes:!S.!Joannes!Nepomuk!M.]!

At!10!o’clock,!the!King!heard!Mass,!during!which!music!was!performed.!At!

11!o’clock,!Sung!Mass.!The!royal!musicians!performed!music!with!intraden,!

which!have!been!performed!during!the!Sung!Mass!throughout!the!triduum.13!

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The!reference!to!‘intraden’,!that!is,!trumpets!and!timpani,!matches!the! instrumentation!of!the!Missa%Sancti%Spiritus.!Furthermore,!as!Stockigt!points!out,! because!the!feast!of!Saint!John!of!Nepomuk,!Martyr!Patron!of!!and!Patron!of! the!Saxon!Mission,!coincided!with!Whit!Sunday,!it!is!“possible!that!the!account!of! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! while!Butz!provided!music!for!the!third!feast!day!(e.g.!Easter!Tuesday).!Ristori’s!place!in!the!hierarchy! is!unclear,!but!Stockigt!notes!that!the!Diarium!reports!and!the!sheer!extent!of!his!compositional!output! suggests!his!musical!contributions!‘at!least!equalled!those!of!Heinichen!and!Zelenka’.! 11!These!three!1723!settings!are!distinct!from!an!earlier!set!of!six!Lamentations%pro%hebdomada%sancta!(ZWV! 53),!composed!and!premiered!the!previous!year.! 12!Stockigt,!‘The!Vespers!Psalms’,!61.! 13!‘16.5.1723.![In!Festo!Pentecostes:!S.!Joannes!Nepomuk!M.]!!Seren.!Rex!audivit!hora!10.!Sacrum,!sub! quo!facta!musica.!Cantatum!hora!11.!Fecerunt!Regii!Musici!musicam!cum!intradis,!quae!toto!triduo! factae!sunt!ad!Sacrum!cantatum.”!Diarium!Vol.!2,!extract!published!in!ZS%II,!338.$ 204!! the!feast!of!saints!particularly!honoured!in!Dresden!contains,!by!inference,!reference! to!the!performance!of!Zelenka’s!Missa%Sancti%Spiritus”.14!But!it!is!also!conceivable!that! the!Diarium!could!instead!be!referring!to!a!mass!composed!by!Heinichen!that!also! used!this!scoring;!indeed,!it!was!more!usual!for!Heinichen,!as!Kapellmeister,!to!have! his!own!work!performed!on!the!principal!feast!day!(Sunday)!of!the!triduum,!and!for!

Zelenka,!as!deputy,!to!contribute!a!piece!for!the!following!Monday.15!The!absence!of! any!information!about!music!on!Whit!Monday!and!Whit!Tuesday!means!it!is! impossible!to!know!exactly!on!which!day!Zelenka’s!mass!was!performed,!even!if!we! can!surmise!it!was!at!some!time!during!the!Whitsun!triduum.!

The!fact!that!nowhere!in!the!autograph!is!there!any!specific!mention!of!Whitsun,! however,!has!led!to!an!alternative!interpretation!of!‘Missa!Sancti!Spiritus’!as!a!votive! title,!and!the!suggestion!that!the!work—at!least!in!its!original!incarnation,!consisting! of!a!Kyrie!and!Gloria!only—was!actually!intended!as!a!votive!mass!for!an!entirely! different!feast!day.!Gerhard!Poppe!argues!that!this!would!stylistically!connect!the!

1723!Missa%Sancti%Spiritus!with!the!1725!setting!Missa%Fidei,!ZWV!6,!which!is!also!a!

KyrieTGloria!mass!with!a!votive!title,!and!possibly!the!(now!missing)!Missa%Spei,!

ZWV!5.16!His!further!suggestion!that!the!true!occasion!of!its!premiere!was!the!Feast! of!the!Circumcision,!1!January!1724,!is!nonetheless!debatable.!The!Diarium%report!for! this!day!simply!notes,!“Zelenka!composed!an!attractive!new!Mass.!The!Prince!and!

Princess!attended!the!performance,!which!was!long”.17!The!dating!of!the!Missa%Sancti%

Spiritus%autograph!as!1723!would!not!preclude!a!performance!on!this!date,!as!the! composition!would!have!been!finished!well!before!New!Years’!Day.!However,!it!is! not!the!only!candidate!for!the!identity!of!the!“attractive!new!Mass”!referred!to!by!the!

Diarium:!there!is!also!evidence!to!suggest!this!occasion!may!have!been!the!premiere!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 14!Stockigt,!‘The!Vespers!Psalms’,!57.!See!also!Wolfgang!Horn,!Die%Dresdner%Hofkirchenmusik,%1720%–%1745:% Studien%zu%ihren%Voraussetzungen%und%ihrem%Repertoire!(Kassel!and!New!York:!Bärenreiter,!1984),!74.! 15!See!footnote!10!for!an!explanation!of!the!hierarchy!of!Dresden!court!composers!during!the!1720s.!It!is! puzzling!that!the!Diarium!comments!on!the!use!of!intraden!throughout!the!1723!Pentecost!triduum— that!is,!Whit!Sunday,!Whit!Monday!and!Whit!Tuesday—but!only!notes!“sub!cantato!Intradae”!for!the! latter!two,!with!no!further!detail!of!any!music!being!performed.!! 16!Gerhard!Poppe,!‘Dresdner!Hofkirchenmusik!von!1717!bis!1725!–!über!der!Verhältnis!von! Repertoirebetrieb,!Besetzung!und!musikalischer!Faktur!in!einer!Situation!des!Neuaufbaus’,!in! Mitteldeutschland%in%musikalischen%Glanz%seiner%Residenzen,!ed.!Peter!Wollny!(Beeskow:!Ortus,!2005),!301– 342.!$ 17!‘Composuit!novum!Sacrum!elegans!Dominus!Zelenka;!interfuit!toto!Cantato!quod!longum!fuit,! Serenissimi!Princeps!et!Principessa.’!Diarium!Vol.!2,!extract!published!in!ZS%II,!339.! ! 205! of!Zelenka’s!Missa%Circumcisionis,!ZWV!11.!Although%the!autograph!of!this!work!is! dated!December!1728,!and!was!therefore!almost!certainly!intended!for!performance! on!the!Feast!of!the!Circumcision!of!the!following!year,!1!January!1729,!the! handwriting!features!of!some!sections!shows!that!it!may!have!been!partially! composed!before!1726.!Moreover,!one!of!the!first!scholarly!studies!of!Zelenka!and!his! music,!conducted!in!1944,!gives!the!date!of!Missa%Circumcisionis%as!1723.18!

Until!further!evidence!comes!to!light,!therefore,!the!nature!of!the!occasion!of!the!

Missa%Sancti%Spiritus’!original!performance!must!remain!speculative.!Given!the! strength!of!the!argument!for!an!initial!performance!of!at!least!part!of!Missa%

Circumcisionis!on!New!Years’!Day!1724,!and!the!undeniable!logic!of!viewing!the!title!

Missa%Sancti%Spiritus!as!a!reference!to!Whitsun,!in!keeping!with!Zelenka’s!other!feastT specific!mass!titles,!it!is!perhaps!safer,!for!the!present,!to!cautiously!suggest!that!a! performance!during!the!Whitsun!triduum!is!the!more!likely!scenario.19!!

$ III.$‘The$King’s$Virtuosi’:$the$Dresden$Hofkapelle$in$1723$

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Of!all!the!musical!ensembles!active!in!Dresden!at!the!court!of!Friedrich!August!I!

(known!as!August!‘the!Strong’),!the!royal!court!orchestra,!or!Hofkapelle,!was!by!far! the!most!famous,!and!renowned!for!its!high!standards!of!playing.!As!Ortrun!

Landmann!notes,!Hofkapelle!musicians!were!expected!to!perform!only!on!one! instrument!rather!than!several,!and!as!a!result!each!member!of!the!orchestra!was!

“capable!of!achieving!a!degree!of!accomplishment!far!beyond!that!of!a!‘jackTofTallT

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 18!Schulz,!‘Johann!Dismas!Zelenka’,!16.!This!date!could!not!have!been!inferred!from!information!in!the! autograph!in!its!current!state:!Schulz!may!have!been!looking!at!the!nowTmissing!cover!of!the!autograph! score,!or!perhaps!the!corresponding!set!of!parts!that!have!been!lost!since!the!end!of!the!Second!World! War.! 19!Shortly!before!the!final!printing!of!this!thesis,!a!new!alternative!theory!about!the!work’s!premiere! came!to!light:!due!to!the!fact!that!the!title!page!of!the!first!volume!of!the!autograph!was!most!likely! added!after!1723!(see!Chapter!2!below),!and!the!separate!Kyrie!and!Gloria!parts!(now!missing)!named! in!the!1765!and!c.1784!catalogues!do!not!refer!to!‘Missa!Sancti!Spiritus’!(see!Chapter!3!below),!it!is! possible!that!the!1723!version!of!the!work!did!not!bear!this!title!at!all,!and!thus!had!no!original! connection!with!Whitsun.!The!1723!KyrieTGloria!mass!may!therefore!have!been!performed!at!another! festive!occasion!during!that!year.!I!am!grateful!to!Dr!Jana!Vojtěšková!for!drawing!my!attention!to!this! possibility,!which!requires!further!research.! 206!! trades’”.20!As!a!consequence,!many!of!Zelenka’s!sacred!works,!including!the!Missa%

Sancti%Spiritus,!demand!great!virtuosity!from!nearly!all!of!the!orchestral!players.!The! origins,!structure!and!membership!of!the!Dresden!Hofkapelle!during!the!reign!of!

August!II!(‘the!Strong’)!continue!to!be!the!subjects!of!much!intensive!and!ongoing! research.21!Nevertheless,!it!is!useful!here!to!briefly!describe!the!composition!of!the! orchestra!in!order!to!better!understand!the!forces!for!which!the!Missa%Sancti%Spiritus! was!originally!written.$

The!instrumentalists!that!comprised!the!Dresden!Hofkapelle!from!around!1717,! which!Stockigt!describes!the!“real!beginning”!of!the!ensemble,22!were!a!culturally! diverse!group,!and!came!not!only!from!GermanTspeaking!lands!but!also!France,!

Italy,!Bohemia,!and!further!afield.!The!leader!of!the!orchestra!from!1709!to!1728!was! the!SpanishTborn,!FrenchTtrained!violinist!JeanTBaptiste!Volumier!(also!frequently! spelt!Woulmier!or!Woulmyer,!1670–1728),!who!was!responsible!for!introducing!

French!performance!techniques!into!the!orchestra.23!Court!salary!records!from!the! early!1720s,!today!housed!in!the!Sächsisches!Hauptstaatsarchiv!in!Dresden,!provide! detailed!lists!of!the!royal!musicians!employed!at!this!time,!including!full!names,! positions,!and!countries!of!birth.24!Although!no!salary!records!known!to!be!from!1723! survive,!a!comparison!of!records!from!c.!1721!and!1725!shows!that!the!membership! of!the!ensemble!between!these!years!remained!largely!consistent,!thus!allowing!us!to! reconstruct!a!likely!list!of!Hofkapelle!members!from!1723!(Table$1.2).!As!a!result,!the! number!of!players!employed!for!each!instrument!in!the!royal!orchestra!in!this!year! can!also!be!determined!with!some!certainty!(Table$1.3),!thus!giving!us!some!idea!of! the!forces!for!which!the!Missa%Sancti%Spiritus!was!originally!composed.!

!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 20!Ortrun!Landmann,!‘The!Dresden!Hofkapelle!during!the!Lifetime!of!Johann!Sebastian!Bach’,!Early% Music,!17!(1989),!19–20.! 21!See,!for!example,!Shelley!Hogan,!‘The!Bass!Ripieno!section!of!the!Dresden!Hofkapelle!during!the!First! Half!of!the!Eighteenth!Century’,!PhD!diss.,!University!of!Melbourne!(in!progress).!For!a!summary!of!the! origins,!structure!and!membership!of!the!Dresden!Hofkapelle!during!the!first!half!of!the!eighteenth! century,!see!Janice!B.!Stockigt,!‘The!Court!of!SaxonyTDresden’!in!Samantha!Owens,!Barbara!M.!Reul!and! Janice!B.!Stockigt!(eds.),!Music%at%German%Courts,%1715–1760:%Changing%Artistic%Priorities!(Woodbridge:! The!Boydell!Press,!2011),!17–49.! 22!Stockigt,!‘The!Court!of!SaxonyTDresden’,!23.! 23!Stockigt,!‘The!Court!of!SaxonyTDresden’,!24.! 24!DTDla,!10006TOberhofmarschallamt,!K!II!No.!6,!‘Königl.!Poln:!und!Churfüstl.!Sächs:!HofTbuch!von! 1721.!usg.!1725.’! ! 207!

Table$1.2:$A$Reconstruction$of$the$1723$Dresden$Hofkapelle25$ ! Name$ Role$ Region$of$Birth$ Johann!David!Heinichen! Capellmeister! SaxonyTAnhalt! Jean!Baptist!Voulmyer! Maitre!des!Concerts![Violinist]! Spain! [Volumier]! Johann!Georg!Pisendel! Violinist! Bavaria! Silvius!Leopoldus!Weiß! Lautenist! Silesia!(Habsburg)! Simon!le!Gros! Violinist! France! Franciscus!le!Riche! Violinist! France! Franciscus!Hund! Violinist! Italy! Johann!Friedrich!Lotti! Violinist! ! Adam!Ribizky! Violinist! Greater!Poland! Carl!Joseph!Rhein! Violinist! Austria! Johann!Christian!Richter! Hautboist! Saxony! Charle!Henrion! Hautboist! Luxembourg! Martin!Seÿffert! Hautboist! Mecklenburg! David!Weigelt! Hautboist! Saxony! Peter!Gabriel!Puffardin! Fleute!Allemande! France! [Buffardin]! Johann!Martin!Blochwitz! Hautboist! Saxony! Martin!Golde! Bracciste! Saxony! Johann!Christoph!Reichel! Bracciste! Saxony! Michael!Petzschmann! Bracciste! Saxony! Christian!Petzold! Kammercomponist!und!organist! Saxony! Johann!Wolfgang!Schmidt! Organist!und!notist! Saxony! Gottfried!Pently![Bentley]! Kammertiorbist! Saxony! Agostino!Antonio!de!Rosi! Violoncellist! Italy! [Rossi]! Giovanni!Felice!Maria! Violoncellist! Italy! Picenetti! Jean!Baptista!Prache!de! Violoncellist!und!Notist! France! Tilloy! Robert!du!Houlondel,!La! Violoncellist! France! france!le!per! Jean!Baptiste!Joseph!du! Violoncellist! Belgium!(Flanders)! Houlondel,!le!fils! Jean!Cadet! Bassonist! France! Johann!Gottfried!Böhme! Bassonist! Saxony! Casper!Ernst!Quaz! Bassonist! Prussia! [Quatz]! Dismas!Zelenska! Violonist! Bohemia! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 25!Compiled!from!records!from!c.!1721!and!1725,!given!in!DTDla,!10006TOberhofmarschallamt,!K!II!No.!6,! fol.!2v–4r!&!pp.!74–78.!As!far!as!possible,!spellings!of!names!and!roles!are!given!as!they!appear!in!the! records.!I!am!extremely!grateful!to!Shelley!Hogan!for!her!assistance!with!the!compliation!of!this!table.! 208!!

George!Friedrich!Kästner! Violonist! SaxonyTAnhalt! Johann!Adam!Schindler! Waldhornist! Bohemia! Andreas!Schindler! Waldhornist! Bohemia! Panthaleon!Heberstreit! Kammermusicus![Pantaleonist]! SaxonyTAnhalt! Peter!Giuart! Sänger!Bassist! France! Francois!Gottfried! Sänger!Altist! Prussia! Beauregard!! Girolamo!Personelli! Sänger!Altist26! Italy! Johann!Gottlieb! Bracciste! Saxony! Morgenstern27! Peter!Rommel! Violonist![sic]! Mainz! Carl!Matthais!Lehneiß! Violonist![sic]!Scholar! Austria! Gottlob!Werner! InstrumentTdiener![i.e.!Servant]!! Saxony! ! ! Table$1.3:$Numerical$breakdown$of$the$1723$Dresden$Hofkapelle$by$instrument$ ! Instrument/Voice$ Number$of$Players$ Violin! 10! Viola! 4! Violoncello! 5! Violone! 2! Flute! 1! ! 4! Bassoon! 3! Waldhorn! 2! Pantaleon! 1! Lute! 1! Theorbo! 1! Organ! 2! Alto!Singers! 2! Bass!Singers! 1! ! ! From!amongst!these!musicians,!those!who!first!performed!the!Missa%Sancti%Spiritus! in!1723!will!be!found,!although!exactly!how!many!players!would!have!been!utilised! for!each!part!remains!open!to!speculation.!Nonetheless,!we!do!know!something! about!performance!practices!in!Dresden!during!this!period,!particularly!regarding! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 26!The!1725!records!list!Personelli!as!‘Contrabass,!Notist’,!with!‘Sänger!Altist’!crossed!out;!however,! other!records!from!1723!list!him!as!‘Sänger!Altist’,!confirming!he!performed!as!a!singer!at!this!time.! 27!Morgenstern!appears!in!the!1725!list!only,!as!an!insertion!towards!the!end!of!the!document.! Landmann!postulates!that!Morgenstern!worked!as!a!viola!player!in!the!Hofkapelle!from!1722!onwards.! See!Ortrun!Landmann,!Über%das%Musikerbe%der%Sächsischen%Staatskapelle:%Drei%Studien%zur%Geschichte%der% Dresdner%Hofkapelle%und%Hofoper%anhand%ihrer%Quellenüberlieferung%in%der%SLUB%Dresden!(2nd!edition)! (Dresden:!Sächsische!Landesbibliothek!–!StaatsT!und!Universitätsbibliothek!Dresden,!2010),!163.$ ! 209! the!basso!continuo!section,!which!has!important!implications!for!understanding! markings!in!the!autograph!score.!

Thomas!Kohlhase!has!described!how!the!continuo!section!of!the!Dresden!

Hofkapelle!was!divided!into!two!distinct!groups:!the!‘Organo’!group,!containing! organ,!theorbo!and!violoncello,!and!the!‘Ripieno’!group,!which!adds!bassoon!and! violone!to!the!‘Organo’!instruments.28!Kohlhase!has!also!shown!that!the!manner!in! which!these!two!groups!were!used!was!closely!linked!to!the!choral!ensemble.!In!a! score!such!as!the!autograph!of!ZWV!4,!the!markings!‘Rip:’!and!‘Tutti’!were!used!to! instruct!the!‘Ripieno’!group!(that!is,!all!instruments)!to!play.!These!markings! generally!occur!in!tandem!with!the!presence!of!the!vocal!bass!line,!which!acted!as!the! foundation!of!the!ensemble,!and!therefore!required!the!instrumental!support!of!the! complete!continuo!section.29!When!the!tenor!was!the!lowest!voice!in!the!choir,!the! instruments!of!the!basso!ripieno!fell!silent,!and!only!the!‘Organo’!group!played!

(denoted!in!the!score!by!the!markings!‘Senza!Rip:’!or!‘Soli’);!if!the!alto!or!soprano! voices!became!the!lowest!in!the!ensemble!at!any!point,!only!the!theorbo!and!organ! were!used!as!continuo!accompaniment.30!Furthermore,!Kohlhase!notes!that!the! bassoon!and!violone!never!accompanied!vocal!soloists.31!

Surviving!original!continuo!parts!from!Dresden!vividly!demonstrate!the! application!of!these!principles!when!compared!to!the!corresponding!full!scores.32!

Other!markings!in!Zelenka’s!autograph!scores!also!allude!to!these!performance! practices,!often!in!a!highly!specific!manner:!for!example,!where!the!change!from!

‘Ripieno’!to!‘Senza!Ripieno’!occurs!on!an!offbeat,!Zelenka!writes!a!vertical!stroke! between!the!notes!to!indicate!the!precise!moment!of!separation!(a!different!form!of! vertical!stroke!is!also!used!to!indicate!tasto%solo).!In!addition,!the!usage!of!clefs!in!the!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 28!Thomas!Kohlhase,!‘Anmerkungen!zur!Generalbaßpraxis!der!Dresdner!Hofkirchenmusik!der!1720er! bis!1740er!Jahre’,!in!ZS%I,!233–240.! 29!Stockigt,!‘The!Vespers!Psalms’,!355;!360–361.!She!notes!that!the!violone!and!bassoon!“…were! unequivocally!tied!to!each!other!in!the!dual!role!of!doubling!the!choral!basses!and/or!doubling!the! organ!in!ritornelli!and!tutti!passages.”! 30!Kohlhase,!‘Anmerkungen!zur!Generalbaßpraxis’,!234.! 31!Kohlhase,!‘Anmerkungen!zur!Generalbaßpraxis’,!234–236.! 32!For!example,!the!scores!and!parts!for!Zelenka’s!1725!Kyrie,!ZWV!27!(DTDl!Mus.!2358TDT32/32a),!and! the!1725!offertory!motet!Angelus%Domini%descendit,!ZWV!161!(DTDl!Mus.!2358TET39/39a).!See!the!analyses! in!Stockigt,!‘The!Vespers!Psalms’,!356!&!361,!and!Andrew!Frampton,!‘A!Critical!Edition!of!Jan!Dismas! Zelenka’s!Missa%Paschalis,!ZWV!7’!(BMus(Hons)!Diss.,!University!of!Melbourne,!2013),!Vol.!II,!25–26!&! 75–83.! 210!! continuo!part!also!generally!corresponds!to!the!lowest!voice!being!used!at!the!time,! thus!indicating!a!change!in!vocal!texture!and!therefore!a!required!change!in!the! continuo!instrumentation.!

Other!Dresden!parts!provide!information!about!another!important!performance! practice,!this!time!concerning!the!oboes.!The!usual!function!of!the!oboes!was!to! double!the!violin!parts!colla%parte,!and!consequently!Zelenka’s!autograph!scores!often! do!not!contain!writtenTout!notation!for!these!instruments;!rather,!they!simply!give! written!instructions!for!the!doubling.!However,!violin!parts!as!written!were!not! always!entirely!suitable!for!performance!on!the!oboe.!Sometimes!they!fell!out!of!the! oboe’s!range,!which!on!instruments!of!this!era!extended!from!c’!to!d’’’,!generally! excluding!c#!(a!note!considered!very!difficult!to!play).33!In!addition,!rapid!repeated! notes,!while!highly!idiomatic!for!the!violin,!became!untidy!and!awkward!to!play!on! the!oboe.!The!surviving!materials!show!that!Zelenka!and!his!copyists!routinely! modified!the!separate!oboe!parts!in!order!to!resolve!these!issues.!Notes!outside!the! oboe’s!range!were!shifted!up!or!down!an!octave!as!necessary,!and!passages!featuring! rapid!repeated!notes!were!simplified!(for!example,!by!changing!semiquavers!into! quavers).34!It!may!be!safely!assumed!that!such!modifications!were!found!in!the! original!oboe!parts!of!the!Missa%Sancti%Spiritus!(now!missing),!and!indeed!surviving! eighteenthTcentury!copies!of!the!work!exhibit!readings!that!confirm!this!to!have!been! the!case!(see!‘About!this!Edition’).!

$ IV.$Trumpets,$Timpani$and$Singers$

$

Although!the!Missa%Sancti%Spiritus!calls!for!trumpets!and!timpani,!it!will!be!noted!the! players!of!these!instruments!are!absent!from!the!lists!of!royal!musicians!given!in!the! court!salary!records.!This!is!because!trumpeters!and!timpanists!were!not!considered! part!of!the!Hofkapelle;!they!belonged!to!a!separate!group,!the!highly!prestigious!

Hoftrompeter%und%Paucker,!which!at!this!time!usually!consisted!of!two!timpanists!and!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 33!Stockigt,!Jan%Dismas%Zelenka,!111.! 34!For!more!about!the!modifications!made!to!orchestral!oboe!parts!in!Dresden,!see!Janice!B.!Stockigt,! ‘The!Role!of!Copyists!when!Preparing!Orchestral!Oboe!Parts!from!Scores!of!Jan!Dismas!Zelenka’,!Double% Reed%25!(2002),!31–39.!! ! 211! twelve!trumpeters!in!total.!The!trumpeters!were!further!divided!into!‘field’!

(Feldtrompeter)!and!‘musical’!trumpeters.!It!was!from!the!latter!group!that!the! performers!of!the!individual!brass!parts!in!music!for!the!Catholic!court!church,! including!the!Missa%Sancti%Spiritus,!were!drawn.35!As!Stockigt!notes,!their!playing!

“added!splendour!to!occasions!of!importance!in!the!church”.36!The!extraordinary! skill!of!these!‘musical’!trumpeters!is!apparent!from!the!two!technically!demanding! trumpet!parts!in!this!mass.!The!trumpets!(both!in!D)!are!set!at!a!high!tessitura,!which! allows!access!to!a!greater!variety!of!notes!in!close!proximity!to!each!other,!but!also! demands!great!technical!skill!to!obtain!clear!and!precise!intonation.!The!trumpet! parts!also!feature!long!passages!consisting!of!fast!semiquaver!rhythms,!often! oscillating!between!adjacent!notes,!as!in!the!‘Gloria!in!excelsis!Deo’!(Example$1.1):!

!

!

!

!

!

Example$1.1:$Jan!Dismas!Zelenka,!Missa%Sancti%Spiritus,!‘Gloria!in!excelsis!Deo’:!bars!12–13,! Trumpets!I!&!II.! !

An!additional!difficulty!is!that!the!trumpets!are!consistently!required!to!play!in! close!thirds,!making!precise!intonation!even!more!important.!In!several!places!in!the!

‘Gloria! in! excelsis! Deo’,! the! two! trumpets! directly! imitate! and! reinforce! intricate! rhythmic!and!melodic!material!from!the!oboe!and!violin!parts,!which!are!of!course! also! divided! into! two,! thereby! effectively! creating! three! tiered! pairs! of! simultaneously! duetting! instruments.! For! example,! in! bar! 25,! the! trumpets! (along! with!the!violins)!imitate!the!figuration!introduced!by!the!oboes!in!bar!24!(Example$

1.2),!thereby!acting!as!a!true!melodic!counterpart!to!the!string!and!wind!sections.!The! first!trumpet!then!subsequently!reinforces!the!oboe!and!violin!lines!in!bar!26.!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 35!Stockigt,!‘The!Court!of!SaxonyTDresden’,!20;!Landmann,!‘The!Dresden!Hofkapelle’,!23.!! 36!Stockigt,!Jan%Dismas%Zelenka,!75.! 212!!

Tromba!I! ! ! Tromba!II! ! ! ! Timpani! ! ! ! Oboe!I! ! ! Oboe!II! ! ! Violin!I! ! ! Violin!II!

!

Example$1.2:$Jan!Dismas!Zelenka,!Missa%Sancti%Spiritus,!‘Gloria!in!excelsis!Deo’:!bars!24–26,! Trumpets!I!&!II,!Timpani,!Oboes!I!&!II,!and!Violins!I!&!II.! !

Little!information!is!available!regarding!the!singers!who!would!have!performed! the!vocal!parts!of!the!1723!Missa%Sancti%Spiritus.!No!new!group!of!vocalists!had!been! appointed!to!the!Dresden!court!following!the!dismissal!of!the!Italian!singers,!and!the! closure!of!the!Dresden!opera!in!1720,!and!the!group!of!boys!and!young!men!that! formed!the!Kapellknaben!would!usually!only!have!been!employed!to!sing!a!capella! and!‘Ordinary’!music,!not!a!Solemn!mass!setting.37!The!Jesuit!sources!indicate!that! royal!singers,!referred!to!variously!as!Chorus%Regius,!Regiis%Phonascis,!and!Castrati,! were!sometimes!engaged!to!sing!in!the!Royal!Chapel!for!important!occasions.38!It! may!also!be!noted,!from!the!list!of!musicians!given!in!Table$1.2!above,!that!the!

Hofkapelle!also!employed!specific!individual!singers!during!this!period,!including!

Giuart,!Beauregard!and!Personelli.!Zelenka!himself!may!sometimes!have!been!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 37!Stockigt,!Jan%Dismas%Zelenka,!68.!She!does!note!that!“perhaps![the]!services![of!the!Kapellknaben]!were! occasionally!required!for!Solemn!music.”!For!more!information!about!the!Kapellknaben,!see!Chapter!4,! ‘The!Kapellknaben’,!in!Kiernan,!‘Six!Ave%regina%coelorum%Settings’,!57–69.!! 38!Stockigt,!Jan%Dismas%Zelenka,!71.! ! 213! engaged!to!sing!tenor.39!This!situation!lasted!until!1725,!when!a!group!of!new!Italian! singers!was!formally!appointed.!

$ V.$Changes$in$the$Dresden$Hofkapelle$between$1723$and$1729$

$

Zelenka!heavily!revised!the!Missa%Sancti%Spiritus!in!early!1729,!expanding!it!into!a! complete!mass!setting!by!adding!the!Credo,!Sanctus!and!Agnus!Dei!sections,!and! making!numerous!revisions!to!the!existing!Kyrie!and!Gloria.40!In!the!intervening!six! years,!the!Dresden!Hofkapelle!had!undergone!a!number!of!changes,!some!of!which! are!reflected!in!the!revisions!made!to!this!work.!

In!1724,!having!been!without!a!dedicated!group!of!Italian!singers!since!the!closure! of!the!opera!four!years!previously,!the!Dresden!court!decided!to!hire!a!new!group!of! singers!from!.!From!an!exhaustive!analysis!of!Dresden!letters!and!the!Diarium,!

Jóhannes!Ágústsson!has!established!that!seven!singers!were!brought!from!Venice!to!

Dresden!in!October!1724,!made!their!first!appearance!singing!a!mass!on!the!tenth!of! that!month,!and!were!formally!engaged!in!April!1725.41!Of!these!singers,!there!were! four!solo!male!vocalists:!the!soprano!Andrea!Ruota!and!the!alto!Nicolo!Pozzi,!who! were!both!castrati,!the!tenor!Matteo!Luchini,!and!the!bass!Cosimo!Ermini.42!It!is!for! these!singers!whom!Zelenka!composed!solo!sacred!music!in!the!second!half!of!the!

1720s,!and!thus!to!them!that!we!can!link!the!performance!of!the!solo!parts!in!the! revised!version!of!the!Missa%Sancti%Spiritus.!Luchini!and!Ermini!are!of!particular! interest,!because!it!is!they!who!would!most!likely!have!premiered!the!only!two!solo! !in!the!work:!the!‘Et!resurrexit’!and!the!‘Benedictus’,!both!of!which!were!added! in!1729.43!!

One!of!the!most!notable!revisions!made!to!the!work!was!the!addition!of!flute! parts.!As!discussed!in!Chapter!2,!the!autograph!makes!clear!that!flutes!were!not!part!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 39!I!am!grateful!to!Johannes!Ágústsson!and!Janice!B.!Stockigt!for!providing!me!with!this!information.! 40!A!partial!dating!of!1729!is!assigned!by!Horn!and!Kohlhase!in!Dok!I,!113.!The!evidence!for!this,!and!the! revisions!made!by!Zelenka!to!the!1723!sections,!will!be!discussed!in!Chapter!2.! 41!Jóhannes!Ágústsson,!‘The!Secular!Vocal!Collection!of!Jan!Dismas!Zelenka:!A!Reconstruction’,!Studi% Vivaldiani!13!(2013),!9–10.!! 42!Ágústsson,!‘The!Secular!Vocal!Collection!of!Jan!Dismas!Zelenka’,!10.!See!also!Stockigt,!Jan%Dismas% Zelenka,!71,!where!Margharita!Ermini!is!listed!as!a!soprano.! 43!See!the!discussion!in!Chapter!2.! 214!! of!the!original!1723!ensemble,!despite!the!fact!that!the!ranks!of!the!Dresden!Hofkapelle! at!this!time!included!a!fine!flautist,!PierreTGabriel!Buffardin.!What!prompted!

Zelenka!to!enrich!the!instrumental!section!with!flutes!in!the!revised!version?!!

It!was!only!from!the!late!1720s!that!Zelenka’s!sacred!works!began!to!routinely! incorporate!two!duetting!flutes!as!a!compositional!device,!often!evoking!a!pastoral! setting:!examples!may!be!found!in!the!‘Domine!Deus’!and!‘Benedictus’!from!the!

Missa%Nativitatis%Domini,%ZWV!8!(1726,!revised!1728)!and!the!second!‘Domine!Deus’! from!the!Missa%Divi%Xaverii,!ZWV!11!(1729).44!The!impetus!for!this!may!have!been!the! formal!appointment,!in!March!1728,!of!Johann!Joachim!Quantz!(1697–1773)!as!a!court! flautist!alongside!his!former!teacher!Buffardin.!Quantz,!who!had!also!studied! !with!Zelenka,45!was!specifically!engaged!to!perform!only!on!the!flute!

(previously,!as!a!member!of!the!Polish!Kapelle,!he!had!also!been!required!to!double! on!the!oboe),!with!an!annual!salary!totalling!466!thalers,!an!extraordinary!amount!for! a!new!member!of!the!orchestra.46!He!therefore!appears!to!have!been!recognised!as! one!of!the!orchestra’s!most!outstanding!players,47!and!it!is!reasonable!to!assume!that! he!would!have!expected!to!be!included!as!a!featured!instrumentalist!in!any!new! major!work!from!a!Dresden!composer.!

The!nature!of!the!flute!writing!in!the!Missa%Sancti%Spiritus!is!indicative!of!the! important!position!Quantz!occupied!alongside!Buffardin.!Both!flutes!are!given! prominent!concertante!status!in!the!movements!in!which!they!are!employed!(always! as!a!duet),!often!acting!as!instrumental!counterparts!to!solo!vocal!lines,!but!they!are! carefully!treated!in!equal!partnership.!Neither!flute!ever!dominates!the!other,!nor!is! one!more!virtuosic!or!favoured!with!a!more!prominent!melody!line.!This!parity!is! often!achieved!through!the!use!of!highly!imitative!writing,!allowing!both!parts!to! play!the!same!melodic!material,!as!in!the!second!‘Qui!tollis’!movement!(Example$

1.3):! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 44!Stockigt,!Jan%Dismas%Zelenka,!144–147.!Although!ZWV!8!was!composed!in!1726,!the!flute!parts!in!the! ‘Domine!Deus’!and!the!entire!‘Benedictus’!movement!appear!to!have!been!added!a!few!years!later.!The! later!addition!of!a!‘Benedictus’!is!also!observed!in!the!Missa%Paschalis,!ZWV!7!(composed!1726,!revised! 1732),!and!it!is!quite!possible!that!the!solo!obbligato!part!in!this!movement!may!have!been!intended!for! the!flute.!See!Frampton,!‘A!Critical!Edition!of!Zelenka’s!Missa%Paschalis’,!Vol.!II,!5–6!&!65.! 45!Edward!R.!Reilly,!‘Introduction’,!in!Johann!Joachim!Quantz,!On%Playing%the%Flute,!Second!edition,! trans.!Edward!R.!Reilly!(London:!Faber!&!Faber,!1985),!xiv.! 46!Edward!R.!Reilly,!‘Introduction’,!xx.! 47!Edward!R.!Reilly,!‘Introduction’,!xx.! ! 215!

!

!

!

!

Example$1.3:$Jan!Dismas!Zelenka,!Missa%Sancti%Spiritus,!‘Qui!tollis!peccata!mundi!II’:!Flutes!I! &!II,!bars!16–18.! !

In!October!1728,!shortly!after!Quantz’s!arrival,!the!concertmaster!Volumier!died,! and!his!successor,!Johann!Georg!Pisendel!(1687–1755),!introduced!a!new!style!of! playing!to!the!Hofkapelle!that!fused!together!French!and!Italian!performance! elements,!known!as!the%vermischter%Geschmack!(‘mixed!style’,!or!stile%misto).!!In!his! autobiography,!Quantz!observed:!

!

Through!the!French!equal!style!of!execution!introduced!by!Volumier…[the!

Hofkapelle]!already!distinguished!itself!from!many!other!orchestras;!and!later,!

under!the!direction!of…Mr!Pisendel,!it!achieved,!through!the!introduction!of!

a!mixed!style,!such!refinement!of!performance!that,!in!all!my!later!travels,!I!

heard!none!better.48!

!

Although!Poppe!notes!that!Zelenka!favoured!the!French!style,!unlike!Ristori,!who! more!overtly!engaged!with!Italian!compositional!practices,49!the!influence!of!

Pisendel’s!own!florid!style!is!nonetheless!evident!in!some!sections!of!the!Missa%Sancti%

Spiritus!written!in!1729,!such!as!in!the!Violin!I!part!of!the!‘Sanctus’!(Example$1.4).50!!

Figure$1.4:$Jan!Dismas!Zelenka,!Missa%Sancti%Spiritus,!‘Sanctus’:!bars!8–10,!Violins!I!and!II.!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 48!Johann!Joachim!Quantz,!‘Herrn!Johann!Joachim!Quantzens!Lebenslauf,!von!ihm!selbst!entworfen’,!in! F.!W.!Marpurg’s!Historischbkritische%Beyträge%zur%Aufnahme%der%Musik,!I!(1755),!206T7,!quoted!in!Reilly,! ‘Introduction’,!xiiiTxiv.! 49!Poppe,!‘Dresdner!Hofkirchenmusik!von!1717!bis!1725’,!331.! 50!For!more!information!about!Pisendel’s!style,!see!Kai!Köpp,!Johann%Georg%Pisendel%(1687–1755)%und%die% Anfänge%der%neuzeitlichen%Orchesterleitung!(Tutzing:!Hans!Schneider,!2005).! 216!!

There!is!no!known!record!of!a!revival!performance!of!the!Missa%Sancti%Spiritus!in!

Dresden!during!Zelenka’s!lifetime.!It!is!interesting!to!note!that!in!1728!Whitsun!fell! on!the!same!day!as!it!did!in!1723!(May!16),!therefore!again!coinciding!with!the!feast! of!Saint!John!of!Nepomuk.51!It!is!tempting!to!speculate!that!this!may!have!given!

Zelenka!cause!to!revive!the!work!for!the!dual!occasion!for!which!it!was!first! premiered,!but!the!Diarium!makes!no!mention!of!a!piece!by!Zelenka,!or!indeed!the! details!of!any!other!music!performed,!in!its!entry!for!this!date.!

One!intriguing!indication!that!part!of!the!work!may!date!from!around!1729,! therefore!implying!a!revival!performance,!is!its!entry!on!page!six!of!Zelenka’s!

Inventarium,!a!catalogue!listing!his!own!works!and!those!by!other!composers!in!his! collection.!Zelenka!began!the!Inventarium!in!the!years!leading!up!to!Heinichen’s! death!in!1729,!possibly!with!a!view!to!supporting!his!anticipated!application!to! succeed!Heinichen!as!Kapellmeister.52!The!Missa%Sancti%Spiritus!is!listed!between!the!

Missa%Charitatis,!composed!c.!1727,!and!the!Missa%Divi%Xaverii,!written!in!1729!(the!

Missa%Circumcisionis,!which!dates!from!1728,!is!listed!separately).53!This!suggests!that! it!was!in!some!way!revised!as!a!‘new’!work!between!the!composition!of!these!two! other!masses,!although!one!is!led!to!wonder!why!Zelenka!did!not!include!the!1723! version!in!his!original!list!when!he!first!began!to!compile!the!Inventarium.!

Aside!from!the!Inventarium,!the!only!firm!surviving!evidence!for!the!existence!of! the!work!at!all!is!in!the!form!of!the!surviving!manuscript!sources!in!which!it!has! been!transmitted.!These!include!Zelenka’s!own!autograph!in!two!volumes,!as!well!as! several!nonTautograph!manuscript!copies!in!various!hands.!By!closely!examining! their!codicological!and!palaeographic!features,!further!information!may!be!obtained! regarding!both!the!compositional!history!of!this!work!and!the!way!in!which!it!was! transmitted!beyond!Dresden.!It!is!therefore!to!the!manuscript!sources!that!we!must! now!turn!for!answers!about!the!history!of!the!Missa%Sancti%Spiritus,!beginning!with!a! detailed!study!of!the!complex!autograph!score!in!the!next!chapter.! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 51!Stockigt,!‘The!Vespers!Psalms’,!181.! 52!The!inside!cover!page!of!the!Inventarium!reads!factum![‘done’,!crossed!out]!inchoatum![‘begun’],!and!is! dated!17!January!1726.!This!may!refer!to!the!initial!date!of!completion!of!the!document,!which!was!then! subsequently!continued.!See!Kiernan,!‘Six!Ave%regina%coelorum!settings’,!13.! 53!See!the!facsimile!in!Dok!II,!173.!The!entry!for!the!Missa%Sancti%Spiritus%is!written!on!a!piece!of!paper! that!is!pasted!over!another!entry.!The!erroneous!listing!of!the!work!as!being!in!G!minor!probably!refers! to!the!piece!referenced!by!the!original!entry!underneath!(possibly!a!mass!by!Palestrina).! ! 217!

CHAPTER$2$

$ The$Autograph$Manuscript$

$

$

Zelenka’s!autograph!manuscript!of!the!Missa%Sancti%Spiritus!is!today!held!in!the!

Sächsische!Landesbibliothek!–!StaatsT!und!Universitätsbibliothek!Dresden!(SLUB)! under!the!shelfmark!Mus.!2358TDT18,1T2.!On!examining!the!score,!one!encounters!a! heterogeneous!collection!of!paper!types,!inks!and!palaeographic!forms,!giving!the! distinct!visual!impression!of!a!work!that!was!conceived!in!stages.!The!purpose!of!this! chapter!is!twofold:!firstly,!to!describe!the!major!features!of!the!autograph! manuscript,!especially!with!regards!to!its!codicology!and!palaeography,!and! secondly,!through!a!detailed!analysis!of!these!features,!attempt!to!reveal!the! compositional!history!of!the!Missa%Sancti%Spiritus!as!presented!in!the!autograph,! which!exhibits!multiple!layers!of!composition!and!revision!that!were!made!over!a! period!of!time.!

! I.$Codicology$ $ $ (i)$Title$pages,$labels$and$stamps$$ $ !

The!manuscript!is!divided!into!two!volumes,!the!first!comprising!the!Kyrie!and!

Gloria!sections,!and!the!second!the!Credo,!Sanctus!and!Agnus!Dei.!!Both!volumes! have!been!subject!to!heavy!refurbishment!and!restoration,!and!display!signs!of! recent!rebinding.!

The!first!volume!contains!fortyTsix!leaves!and!measures!30!cm!x!23!cm.54!It!is! bound!in!a!plain!blueTgrey!hardcover,!and!stuck!on!the!front!is!a!paper!label!that! reads:!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 54!Jan!Dismas!Zelenka,!Missa%Sancti%Spiritus,!RISM!http://opac.rism.info/search?documentid=211011534! (accessed!20!February!2015).! 218!!

Lit:%Schranck%No:%III.%/%Z.%12.%Fach%6.%Lage%/%No.%23.%Kyrie%e%Gloria%/%à%4.%Voci![in!

pencil:!Missa%S.%Spiritus]%/%co’%VVni,%Viola%ed%Org.%/%Parti%cav:%senza%Partitura%/%del%

Sigr.%Zelencka.%

!

Below!this!inscription!is!a!short!music!incipit!corresponding!to!the!opening!three! bars!of!the!Violin!I!part.!This!label!refers!to!the!location!of!the!manuscript!in!the! manuscript!storage!system,!showing!that!the!volume!was!kept!in!the!third!cupboard!

(Schrank)!on!the!twelfth!shelf!(Fach)!in!the!sixth!lot!(Lage).!The!reference!to!‘parti!cav:’!

[cavate]!indicates!the!existence!of!a!set!of!parts!extracted!from!the!score.55!The!title! page!(Facsimile$1!on!page!xix),!which!was!probably!added!after!1723,!reads:!

!

No.%17%/%Missa%S:%Spiritus%/%Kyrie,%Gloria%/%a%4.%/%C:%A:%T:%B:%/%Violin%2.%/%Oboe%2%

[Flauti%2.]%/%Viola%/%Trombe%2.%/%Tymp:%/%e%/%Basso%Contin:%/%di%/%G:%D:%Z:%

!

The!indication!‘Flauti!2.’!is!not!in!Zelenka’s!hand!and!was!added!at!a!later!time!

(see!below).!‘No.!17’!refers!to!the!number!in!the!Inventarium!catalogue.56!

!The!second!volume!contains!thirty!leaves!and!measures!30!cm!x!22.5!cm.57!It!is! bound,!like!the!first!volume,!in!a!plain!blueTgrey!hardcover,!although!there!is!no! label!on!the!front.!!The!title!page!reads:!

!

D#%/%No.%17%/%Credo,%Sanctus%/%et%/%Agnus%Dei%/%ex%/%Missa%S.%Spiritus%/%di%/%G:%D:%Z:%

Shortly!before!or!soon!after!Zelenka’s!death,!both!scores!and!the!nowTmissing! parts!were!acquired!as!part!of!Zelenka’s!complete!musical!estate!by!Maria!Josepha,! and!were!integrated!into!the!music!collection!of!the!Dresden!Catholic!court!church.58!

The!stamps!on!both!title!pages!(‘Sächs.!LandesTBibl’)!and!page!85!of!Volume!1!

(‘Sächs.!Landesbibliothek.!Depostium!der!Kath.!Hofkirche’)!reveal!that!the!scores! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 55!See!Table!3.1!for!more!information.! 56!Dok!II,!173–174!(Inventarium!facsimile).!! 57!Zelenka,!Missa%Sancti%Spiritus,!RISM!http://opac.rism.info/search?documentid=211011534!(accessed!20! February!2015).! 58!Stockigt,!Jan%Dismas%Zelenka,!228.!It!has!also!recently!been!suggested!that!Zelenka!may!have!sold!off! portions!of!his!musical!scores!to!the!court!during!his!lifetime,!in!response!to!personal!financial!crises.! See!Janice!B.!Stockigt,!‘Jan!Dismas!Zelenka:!Recent!Research’,!15th!Biennial!International!Conference!on! !Music,!11–15!July!2012!(unpublished!paper).! ! 219! remained!in!the!holdings!of!the!church!until!after!1919,!when!the!Royal!Public!

Library!took!its!current!name!of!‘Sächsische!Landesbibliothek’.59!

!

(ii)$Gathering$structure$

!

The!physical!gathering!structures!of!both!volumes!are!very!complicated!and! difficult!to!establish!with!complete!certainty.!This!is!partly!due!to!the!strength!of! their!current!binding,!which!restricts!the!observation!of!collation!mechanisms,!and! the!presence!of!numerous!stabilisers!that!have!been!applied!in!the!restoration!of!the! manuscript,!thus!interrupting!the!sequences!of!bifolia.!As!Figure$2.1$shows,!Volume!

1!is!divided!into!eight!major!gatherings;!the!first!gathering!(containing!the!Kyrie)!is! additionally!divided!into!three!subTgatherings.!A!number!of!bifolia!have!been!cut!in! half!and!their!stubs!subsequently!stuck!down!on!to!the!edges!of!other!bifolia,!often! making!it!difficult!to!distinguish!between!bifolia!that!have!been!cut!and!inserted! single!leaves.!This!halving!process!appears!to!have!been!executed!on!superfluous! leaves!from!bifolia!that!were!only!partially!used:!traces!of!notation!on!the!remaining! stubs!reveal!that!some!of!these!contained!other!unrelated!music!that!was!then! presumably!discarded!once!the!mass!was!assembled.!!

A!rather!puzzling!feature!of!Volume!1!is!the!single!leaf!containing!pages!85!and!

86.!This!leaf,!which!has!been!stuck!into!the!volume,!effectively!replaces!the!other!half! of!the!bifolium!that!contains!pages!71!and!72,!which!has!been!cut!off.!On! examination,!the!leaf!reveals!itself!to!be!the!autograph!title!page!of!Zelenka’s!

Capriccio!in!G!major,!ZWV!183,!composed!in!1718.60!Today,!the!title!page!is!missing! in!the!autograph!score!of!this!work!(DTDl!Mus.!2358TNT12),!and!the!visual! concordances!of!its!paper!type!and!handwriting!with!the!manuscript!of!ZWV!183! suggest!that!the!leaf!indeed!once!belonged!to!this!autograph.61!At!some!point,! therefore,!it!became!detached!from!the!rest!of!the!manuscript,!and!was!then!inserted! for!an!unknown!reason!into!the!first!volume!of!ZWV!4!as!an!end!page.! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 59!Kiernan,!‘Six!Ave%regina%coelorum!settings’,!137–138.!! 60!See!Stockigt,!Jan%Dismas%Zelenka,!303.!The!identity!of!this!work!is!confirmed!by!the!key,!title,!list!of! instrumentation!and!date!given!on!this!page,!which!in!the!ZWV!4!autograph!volume!seems!to!have! been!inserted!backTtoTfront:!the!verso!page!86,!which!contains!the!writing,!was!originally!the!recto.! 61!Jan!Dismas!Zelenka,!Capriccio%in%G%major,!RISM!http://opac.rism.info/search?documentid=212002998! 220!!

Figure$2.1:$Gathering!structure!of!Volume!1!of! the!Missa%Sancti%Spiritus!autograph!(DTDl!Mus.! 2358TDT18,1).! ! Two!pagination!systems!are!given!in!the! autograph.!An!old!pagination!in!an!unknown! hand,!using!large!Arabic!numerals,!is!located!on! the!bottom!right!of!each!recto!page!and!the! bottom!left!of!each!verso!page.!All!these!numerals! have!been!subsequently!crossed!out!and!replaced! with!a!second!pagination!in!the!hand!of! Wolfgang!Reich,!using!small!Arabic!numerals! located!on!the!bottom!centre!of!each!page.!For! ease!of!reference,!this!bottomTcentre!pagination! has!been!retained!here.! ! As!noted!above,!the!title!page!is!probably!a!later! addition,!and!was!not!present!in!the!original!1723! version!of!the!autograph.!It!is!possible!that!pages! 1–2!and!29–30!may!have!served!as!the!original! wrapper!of!the!score.! ! ! TP!=!Title!Page!! ! Sch.!=!Schrank!labels! ! ! $ Movements$ ! 1.!Kyrie!eleison!I!=!pp.!3–12! ! 2.!Christe!eleison!=!pp.!13–22! ! 3.!Kyrie!eleison!II!=!pp.!23–28! ! [4.]!Gloria!Title!Page!=!pp.!29–30! ! 4.!Gloria!in!excelsis!Deo!=!pp.!31–48! ! 5.!Qui!tollis!peccata!mundi!I!=!pp.!49–50! ! 6.!Qui!tollis!peccata!mundi!II!=!pp.!51–55! ! 7.!Quoniam!tu!solus!Sanctus!=!pp.!56–68! ! 8.!Cum!Sancto!Spiritu!=!pp.!68–83! ! !

! ! 221!

Figure$2.2:$Gathering!structure!of!! ! Volume!2!of!the!Missa%Sancti%Spiritus! ! autograph!(DTDl!Mus.!2358TDT18,2).! ! ! ! ! ! ! ! TP!=!Title!Page!! ! ! ! ! ! ! $ ! Movements$ ! ! ! 9.!Credo!in!unum!Deum!=!pp.!3–7! ! ! ! 10.!Et!incarnatus!est!=!p.!10! ! ! 11.!Crucifixus!=!pp.!9–10! ! 12.!Et!resurrexit!=!pp.!11–18! ! 13.!Et!unam!Sanctam!=!pp.!19–20! ! 14.!Et!vitam!venturi!=!pp.!21–30! ! 15.!Sanctus!=!pp.!31–34! ! 16.!Benedictus!=!pp.!35–40! ! 17.!Osanna!in!excelsis!=!pp.!41–44! ! 18.!Agnus!Dei!=!pp.!45–49! ! 19.!Dona!nobis!pacem!=!pp.!50–58! ! !

! ! ! ! ! ! ! !

!

! ! ! 222!!

Figure$2.2!shows!the!gathering!structure!of!Volume!2,!which!is!divided!into!six! major!gatherings.!It!can!be!observed!that!there!is!significantly!less!halving!of!bifola!in! this!volume,!and!multiple!movements!are!often!found!in!a!single!gathering,! suggesting!a!consistent!date!of!composition.!The!‘Et!resurrexit’!(pages!11–18)! constitutes!one!entire!gathering,!and!the!‘Benedictus’!(pages!35–40),!although! incorporated!into!a!larger!gathering,!is!nonetheless!selfTcontained!within!two!bifolia,! one!of!which!has!been!trimmed.!These!features!will!become!important!when!dating! these!two!movements!(see!below).!

!

(iii)$Dedications$and$watermarks$

$

An!important!feature!of!many!of!Zelenka’s!autograph!scores!is!the!dedication! mottos!appended!to!selected!movements!or!sections.!These!commonly!take!the!form! of!a!series!of!letters!that!display!a!consistent!order.62!In!the!autograph!of!ZWV!4,!they! read!as!follows:!!

!

A.%M.%D.%G.!!

[Volume!1,!page!83,!conclusion!of!the!Gloria]!

!

O:%A:%M:%D:%G:%B:%V:%M:%OO:%SS:%H:%AA:%P:%I:%R:%

[Volume!2,!page!29,!conclusion!of!the!Credo]!

!

O:%A:%M:%D:%G:%B:%M:%V:%OO:%SS:%H:%AA:%P:%I:%R:!!

[Volume!2,!page!44,!conclusion!of!‘Osanna!in!excelsis’]!

!

%O:%A:%M:%D:%G:%B:%V:%M:%OO:%SS:%H:%AA:%P:%I:%R!

[Volume!2,!page!58,!conclusion!of!‘Dona!nobis!pacem’]!

!

These!letters!represent!dedications!that!honour!God!(‘Ad!Majorem!Dei!Gloriam’),! the!Virgin!Mary!(‘Beatae!Virgini!Mariae’),!the!saints!(‘Omnibus!Sanctis!honor’),!and!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 62!Stockigt,!Jan%Dismas%Zelenka,!136.! ! 223! lastly,!the!royal!and!electoral!family,!who!were!Zelenka’s!patrons!(‘Augustissimis!

Principibus!in!reverentia’).63!Stockigt!notes!that!these!dedications!are!useful!in! determining!works!by!Zelenka!that!were!composed!to!a!court!commission!(which! only!occurred!from!approximately!1725!onwards),!and!also!those!that!were!not! originally!composed!to!commission!but!later!reworked.64!In!the!case!of!ZWV!4,!the! absence!of!the!formulae!honouring!the!Virgin!Mary,!the!saints!and!the!royal!family! in!the!dedication!at!the!end!of!the!first!volume!is!particularly!noteworthy,!and! supports!the!hypothesis!that!only!the!Kyrie!and!Gloria!were!composed!in!1723,!two! years!before!Zelenka!began!to!receive!court!commissions.!A!similar!formula!appears! in!a!Salve%Regina!setting!dating!from!1724!(although,!unlike!the!Missa%Sancti%Spiritus,! it!appears!that!the!‘missing’!dedications!were!added!in!later,!when!the!work!was! revived).65!Conversely,!the!inclusion!of!these!dedications!in!other!sections!of!the! mass!is!clear!evidence!that!they!date!from!a!later!time,!and!that!the!work!was! probably!revived!and!expanded!on!commission!from!the!court.!

If!the!manuscript!was!indeed!compiled!over!a!period!of!time,!one!might!also! expect!that!the!types!of!manuscript!paper!used!throughout!the!volume!would!vary.!

Distinguishing!between!paper!types!based!purely!on!visual!observations!is!a!highly! imprecise!science,!but!there!appear!to!be!at!least!three!different!types!used! throughout!the!two!volumes.!Paper!Type!1!is!used!throughout!the!first!volume!(with! the!exception!of!the!title!pages,!pages!3!and!4!and!pages!49!and!50),!and!for!the!‘Et! resurrexit’!and!‘Benedictus’!in!the!second!volume.!Paper!Type!2,!which!is!of!a!lighter! colour!than!Paper!Type!1,!is!found!throughout!the!rest!of!the!second!volume,! together!with!pages!3!and!4!and!pages!49!and!50!of!the!first!volume.66!Paper!Type!3! appears!in!both!volumes,!but!is!only!used!for!pasteTovers.!

Unfortunately,!due!to!the!extremely!fragile!state!of!the!manuscript,!it!has!not!been! possible!to!make!detailed!studies!or!tracings!of!watermarks!to!further!clarify!these! observations.!The!preliminary!watermark!data!that!has!been!made!available!is! summarised!in!Table$2.1.! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 63!Stockigt,!Jan%Dismas%Zelenka,!136;!see!also!Dok!I,!157,!which!gives!two!alternative!readings!for!the!final! dedication:!‘Augustissimo!Principi!in!reverentia’!and!‘Augustissimum!Poloniarum!in!Regem’).! 64!Stockigt,!Jan%Dismas%Zelenka,!136.! 65!Salve%Regina,!ZWV!139.!See!Stockigt,!Jan%Dismas%Zelenka,!136.! 66!Pages!55–56!appear!to!be!Paper!Type!1.! 224!!

Table$2.1:$Watermarks$in$the$autograph$of$ZWV$4,$DfDl$Mus.$2358fDf18,1f267$ $ Volume$ Pages$ Watermark$ Number$ Distance$ Height$x$

of$chain$ between$chain$ width$

lines$ lines$(mm)$ (mm)$

1! 3/4! Upper!part!of!a!fullTsize! 12! 24T26! 39!x!42!

unicorn!

1! 5/6! Lower!part!of!a!fullTsize! unknown! unknown! 47!x!77!

unicorn!

1! 7/8! Lower!part!of!a!twoTlined! unknown! unknown! 17!x!46!

‘CVC’!monogram!

1! 27/28! Upper!part!of!a!twoTlined! unknown! unknown! 17!x!62!

‘CVC’!monogram!

2! 5/6! Unclear,!possibly!a!name,! 10! 22T25! 113!x!118!

location!or!figure! (?)!

2! 13/14! Upper!part!of!a!twoTlined! 12! 24T25! 17!x!50!

‘CVC’!monogram!

2! 15/16! Lower!part!of!a!twoTlined! 12!(?)! 24T25! 18!x!50!

‘CVC’!monogram!

2! 17/18! Lower!part!of!a!fullTsize! unknown! unknown! 36!x!79!

unicorn!

2! 39/40! Lower!part!of!a!fullTsize! unknown! unknown! 36!x!79!

unicorn!

!

All!of!these!watermarks,!with!the!possible!exception!of!pages!5!and!6!in!Volume!2,! are!indicative!of!paper!that!came!from!the!mill!of!Christian!Vödel,!in!

Niederlungwitz,!Saxony.68!Beyond!this,!it!is!hard!to!draw!any!meaningful! conclusions!from!the!data,!due!to!the!irregular!and!sporadic!appearances!of!the! watermarks!throughout!the!manuscript,!and!because!information!about!watermarks!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 67!The!information!given!in!this!table!was!kindly!provided!by!Claudia!Lubkoll,!Sächsische! Landesbibliothek!–!StaatsT!und!Universitätsbibliothek!Dresden.! 68!Vödel’s!paper!is!also!known!to!have!been!used!by!Johann!Sebastian!Bach.!See!Wisso!Weiß!and! Yoshitake!Kobayashi,!Katalog%der%Wasserzeichen%in%Bachs%Originalhandschriften!(=!NBA!IX/1)!(Kassel:! Bärenreiter,!1985),!Textband,!63–64.!The!twoTline!‘CVC’!monogram!is!probably!very!similar!to! Watermarks!73!and!74!(see!Abbildungsband,!72–73).!! ! 225! in!other!Zelenka!manuscripts,!which!might!be!used!for!comparative!purposes!to! make!some!general!observations!about!dating,!is!presently!unavailable.69!!

! II.$Palaeography,$dating$and$the$process$of$revision!

!

The!only!date!given!in!the!entire!autograph!score!is!found!at!the!conclusion!of!the! first!volume,!on!the!last!page!of!the!‘Cum!Sancto!Spiritu’,!which!reads!simply!‘1723’;! clearly,!this!does!not!apply!to!the!whole!manuscript.!Despite!the!lack!of!information! regarding!watermarks,!it!is!still!nonetheless!possible!to!refine!the!dating!of!ZWV!4! through!a!detailed!examination!of!Zelenka’s!handwriting.!In!her!study!of!the! autograph!manuscripts!of!Zelenka’s!Vespers!Psalms,!Stockigt!proposes!five!main! palaeographic!features!that!can!be!used!to!date!Zelenka’s!manuscripts!from!the!mid! to!late!1720s,!in!part!based!upon!earlier!observations!by!Hubert!Unverricht.70!These! are:!(i)!the!form!of!the!bass!clef;!(ii)!the!notation!of!the!figured!bass,!particularly! regarding!the!raised!fourth;!(iii)!the!ways!in!which!the!staves!and!systems!are! separated!or!combined!by!braces!and!brackets;!(iv)!the!organisation!of!consecutive! pages!of!the!score!where!two!or!more!systems!are!written!on!the!same!page;!and!(v)! other!miscellaneous!observations.71!!As!she!cautiously!notes,!however,!“No!single! criterion!provides!a!basis!on!which!the!dating!may!be!assigned.!It!must!be!stressed! that!it!is!the!combination!of!various!factors!which!allows!these!hypotheses!to!be!put! forward”.72!Of!Stockigt’s!five!categories,!it!is!the!first!three!that!are!the!most!relevant! to!the!autograph!of!ZWV!4.!The!application!of!Unverricht!and!Stockigt’s! observations!to!this!manuscript!therefore!assists!the!task!of!establishing!a!more! definitive!chronology!for!the!composition!of!this!work.!!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 69!RISM!does!provide!cursory!descriptions!of!watermarks!in!selected!Zelenka!autographs,!notably!for! some!of!the!instrumental!works!dating!from!the!early!1720s,!but!this!is!again!not!enough!to!draw!any! meaningful!conclusions.!! 70!Hubert!Unverricht,!‘Zur!Datierung!der!Bläsersonaten!von!Johann!Dismas!Zelenka.’!Die% Musikforschung!15!(1962):!265–268.!! 71!Stockigt,!‘The!Vespers!Psalms’,!234–235.!These!miscellaneous!observations,!some!of!which!Stockigt! acknowledges!“do!not!have!the!certainty”!of!the!other!four!types,!include!changes!in!the!spelling!of!the! indications!segue,!sequiz!and!sequitur!to!siegue!(not!relevant!to!the!autograph!of!ZWV!4),!natural!sign! forms,!spelling!of!instruments,!and!particular!characteristics!of!instrument!scoring!and!clefs.! 72!Stockigt,!‘The!Vespers!Psalms’,!235.! 226!!

Zelenka!autographs!that!date!from!before!the!end!of!1728!all!display!a!single!bass! clef!form,!characterised!by!a!reverseTC!shape!that!is!followed!by!a!set!of!double!lines! and!two!dots,!as!seen!in!Figure$2.3.!

!

!

!

!

Figure$2.3:$Examples!of!Zelenka’s!bass!clef!form!(preT1728):!(left)!Missa%Sancti%Spiritus,!Volume!1,! Basso!Continuo,!page!38;!(right)!Missa%Sancti%Spiritus,!Volume!1,!Basso!Continuo,!page!42.! !

In!those!manuscripts!dating!from!early!1729!or!later!(aside!from!occasional! instances!in!the!very!late!works),!the!bass!clef!exhibits!a!slightly!modified!profile:!the! two!vertical!lines!separating!the!reverseTC!and!the!dots!are!absent,!and!the!reverseTC! form!often!(but!not!always)!displays!a!more!elongated!upper!curve,!as!seen!in!Figure$

2.4.!

!

!

!

!

Figure$2.4:$Examples!of!Zelenka’s!bass!clef!form!(late!1728!onwards):!(left)!Missa%Sancti%Spiritus,! Volume!2,!Basso!Continuo,!page!4;!(right)!Missa%Sancti%Spiritus,!Volume!2,!Basso!Continuo,!page!21.! !

Another!important!palaeographic!feature!that!can!be!used!as!a!dating!tool! concerns!the!method!of!notating!accidentals!in!the!figured!bass,!particularly!raising! the!fourth.!Prior!to!1726,!the!raising!of!the!figure!4!was!indicated!by!the!placement!of! a!sharp!sign!before!or!after!the!note!(Figure$2.5).!!

!

!

!

Figure$2.5:$Examples!of!the!method!of!raising!the!fourth!(preT1726):!(left)!Missa%Sancti%Spiritus,! Volume!1,!Basso!Continuo,!page!37;!(right)!Missa%Sancti%Spiritus,!Volume!1,!Basso!Continuo,! page!71.! ! 227!

It!may!have!become!particularly!necessary!for!Zelenka!to!change!his!method!of! notating!this!figure!because!of!the!confusion!the!placement!of!the!sharp!sign!might! cause:!the!figures!could!be!easily!misinterpreted!as!denoting!a!3T4!progression!or!the! resolution!of!a!4T3!suspension.73!As!a!result,!from!very!late!1725!or!early!1726! onwards,!Zelenka!began!to!use!a!stroke,!or!plus!sign,!that!unambiguously!identified! the!fourth!as!being!raised!(Figure$2.6).!This!method!is!known!to!have!been!favoured! by!Heinichen.74!The!figure!2!was!also!raised!in!this!way,!although!less!consistently!

(one!example!in!the!Missa%Sancti%Spiritus!can!be!seen!in!the!final!bar!of!the!

‘Crucifixus’).75!

!

!

$

Figure$2.6:$Examples!of!the!method!of!raising!the!fourth!(postT1726):!(left)!Missa%Sancti% Spiritus,!Volume!2,!Basso!Continuo,!page!5;!(right)!Missa%Sancti%Spiritus,!Volume!1,!Basso! Continuo,!page!23.!

$

Together,!these!two!features!provide!firm!evidence!for!the!dating!of!a!Zelenka! autograph!score.!The!Appendix!gives!a!summary!of!their!appearance!in!the! autograph!of!ZWV!4,!along!with!other!important!features!such!as!the!use!of!system! dividers!and!brackets!(discussed!in!context!below).!It!can!be!seen!that!the!preT1728! bass!clef!form!and!preT1726!raised!fourth!form!are!found!throughout!the!entirety!of! the!first!volume,!with!the!exception!of!pages!3–4!and!49–50;!the!second!volume,!with! the!exception!of!the!‘Et!resurrexit’!and!the!‘Benedictus’,!displays!the!later!postT1728! form!of!bass!clef!(apart!from!one!anomaly!on!the!opening!page!of!the!‘Sanctus’,! discussed!below),!and!the!newer!method!of!raising!the!fourth!with!a!stroke.!As!a! result,!the!composition!of!the!autograph!can!be!broadly!divided!into!two!major! phases.!This!forms!the!basis!for!Horn!and!Kohlhase’s!theory!that!the!work!originally! consisted!of!a!Kyrie!and!Gloria!only!(that!is,!Volume!1),!to!which!the!inscribed!date!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 73!Stockigt,!‘The!Vespers!Psalms’,!239.! 74!Johann!David!Heinichen,!Der%Generalbaß%in%der%Komposition!(Dresden:!1728;!Hildesheim:!Georg!Olms! Verlag,!1969![Facsimile!Reprint]),!112–113.!! 75!Stockigt,!‘The!Vespers!Psalms’,!241.!The!method!of!raising!the!sixth!cannot!be!used!as!a!dating!tool,!as! the!stroke!was!employed!for!this!figure!from!the!early!1720s!onwards.! 228!!

1723!applies,!and!that!the!second!volume!represents!a!later!expansion,!dating!from! approximately!1729.76!An!exhaustive!palaeographic!analysis!of!the!autograph,! however,!reveals!a!more!complex!and!nuanced!history.!Building!on!the!principles! discussed!above,!the!following!case!studies!discuss!some!of!the!more!complex! features!of!the!autograph!score,!demonstrating!how!Zelenka!made!numerous! revisions!to!the!sections!of!the!work!that!already!existed.!

!!

(i)$Explaining$the$unexpected:$‘anomalous’$bass$clefs$$

$

The!appearance!of!pages!3!and!4!in!Volume!1,!containing!the!opening!of!the!

Kyrie,!is!noticeably!different!to!those!that!follow:!all!the!notation!is!written!in!brown,! instead!of!black,!ink;!the!writing!is!less!sharply!defined,!with!thicker!lines!for!slurs! and!beams,!and!it!is!also!slightly!smaller.!Most!importantly,!this!leaf!exhibits!the! postT1728!bass!clef!form,!strongly!suggesting!that!the!opening!of!the!Kyrie!was! recopied!or!revised!in!some!way!after!1728,!replacing!the!original!1723!leaf.!This!is! further!confirmed!by!an!analysis!of!the!gathering!structure!of!the!‘Kyrie!eleison!I’!

(see!Figure$2.1).!It!was!probably!the!case!that!this!movement!was!laid!out!over!three! nested!bifolios!(page!3,!extending!to!what!would!have!been!originally!been!page!14),! with!the!movement!finishing!on!page!12.!Therefore,!it!would!have!been! straightforward!for!Zelenka!to!remove!the!entire!outer!bifolio!of!this!gathering!

(pages!3–4!and!the!original!pages!13–14),!copy!pages!3–4!on!to!a!new!bifolio!and! insert!this,!cutting!off!the!other!half!of!the!bifolio.!As!a!result,!the!original!pages!13–

14!were!eliminated!and!the!gathering!is!seemingly!missing!its!last!folio.!

The!matter!of!dating!is!complicated,!however,!by!the!fact!that!on!page!3,!the!

Timpani!and!Basso!staves!display!the!postT1728!bass!clef!form,!but!the!Basso!

Continuo!clearly!shows!the!preT1728!form!(see!Figure$2.7).!There!is!no!observable! inconsistency!of!ink!types!to!suggest!a!significantly!earlier!dating!for!the!Basso!

Continuo!part!compared!to!the!other!staves,!and,!furthermore,!on!the!following!page! the!bass!clefs!are!all!of!the!postT1728!type.!!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 76!Dok!II,!113.! ! 229!

!

!

!

!

! $

$

!

! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Figure$2.7:$ZWV!4!autograph,!Volume!1,!page!3:!opening!of!the!‘Kyrie!eleison!I’.!The!Timpani!and! Basso!staves!display!the!later!(postT1728)!bass!clef!form,!and!the!Basso!Continuo!the!earlier!(preT 1728)!form.! !

Such!an!anomaly!is!not!unique!to!this!Zelenka!manuscript:!Stockigt!observes!that!in! some!autographs!dating!from!the!very!end!of!1728!and!the!beginning!of!1729,!both! forms!of!the!bass!clef!appear,!and!sometimes!even!on!the!same!page,!as!in!the! opening!of!the!Missa%Sancti%Spiritus.77!!One!example!comes!from!page!10!of!the!

Vespers!psalm!Confitebor%tibi%Domine,!ZWV!73!(DTDl!Mus.!2358TDT65).!Here,!the!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 77!Stockigt,!‘The!Vespers!Psalms’,!235–238.!! 230!!

Basso!and!Basso!Continuo!staves!of!the!first!system!display!the!old!form!bass!clef,!

whilst!those!of!the!second!system!exhibit!the!later!form!(Figure$2.8).! !

Figure$2.8:$Multiple!bass!clef!forms!in!the!autograph!of!Zelenka’s!Confitebor%tibi%Domini,!ZWV!73,!page! 10:!Basso!and!Basso!Continuo!on!first!system!with!earlier!form;!on!second!system!with!later!form.! Source:!Stockigt,!‘The!Vespers!Psalms’,!238!(reproduced!with!permission).$

! ! ! 231!

Stockigt!postulates!that!this!work!was!composed!in!late!1728,!along!with!another!

Psalm!setting,!Memento%Domine%David,!ZWV!98,!which!she!dates!(based!on!the!timing! of!a!specific!feast!for!which!it!may!have!been!composed)!to!November!or!December!

1728.78!In!addition,!she!cites!the!example!of!the!Missa%Circumcisionis,!ZWV!11,!which! was!most!likely!performed!on!New!Years’!Day!1729!and!thus!completed!at!the!very! end!of!1728!(as!evidenced!from!the!dates!written!in!the!autograph).79!Despite!the!fact! that!part!of!the!Missa%Circumcisionis!probably!originated!at!the!end!of!1723,80!an! examination!of!the!autograph!shows!that!the!Credo,!which!Zelenka!states!as!coming! from!1728,!exhibits!both!the!old!and!new!bass!clef!forms.81!It!is!possible!that!the!mass! was!performed!without!the!Credo,!which!may!have!been!finalised!after!1729,!thus! providing!a!plausible!explanation!for!the!inclusion!of!the!new!bass!clef!form.!

Another!possibility!is!simply!that!Zelenka!was!experimenting!with!new!bass!clef! forms,!as!he!appears!to!have!done!in!the!two!Psalm!settings!previously!cited,!for! which!the!hypothesis!of!score!additions!in!1729!would!seem!less!likely.82!From!this! evidence,!it!seems!that!in!approximately!late!1728!Zelenka!began!to!use!the!new!bass! clef!form,!and!for!a!very!short!time—at!the!end!of!1728!and!perhaps!early!in!1729— his!handwriting!displays!a!transitional!stage,!utilising!both!old!and!new!forms.!It!is! therefore!likely!that!the!first!leaf!of!the!Kyrie!in!ZWV!4!dates!from!the!very!end!of!

1728!or!early!1729.!

Exactly!why!Zelenka!decided!to!write!out!the!opening!of!the!Kyrie!again!is!not! clear.!It!seems!unlikely!that!the!‘Grave’!introduction!was!absent!in!the!original! version,!because!that!would!mean!the!earlier!copy!of!this!leaf!would!have!started! two!bars!before!the!end!of!page!4!(that!is,!at!the!beginning!of!the!‘Vivace’!)!in! order!to!properly!lead!into!the!first!bar!of!page!5.!More!plausibly,!Zelenka!may!have! decided!to!significantly!revise!part!of!the!‘Grave’!(possibly!in!the!instrumentation),! thus!necessitating!a!new!copy!rather!than!erasures,!or!perhaps!this!leaf!suffered! some!kind!of!damage!which!required!it!to!be!recopied.!

! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 78!Stockigt,!‘The!Vespers!Psalms’,!237–238.!% 79!Stockigt,!‘The!Vespers!Psalms’,!235–236.!! 80!See!the!discussion!in!Chapter!1.! 81!See!the!facsimile!in!Dok!II,!334.!! 82!Stockigt,!‘The!Vespers!Psalms’!235.! 232!!

This!theoretical!transitional!stage!between!the!two!bass!clef!forms!also!accounts! for!the!surprising!appearance!of!the!preT1728!bass!clef!form!on!the!opening!page!of! the!‘Sanctus’!(Volume!2,!page!31).!Aside!from!the!‘Et!resurrexit’!and!‘Benedictus’,! which!were!most!likely!written!earlier!(see!below),!this!is!the!only!place!in!the!entire! second!volume!that!this!clef!form!appears,!and!it!is!only!found!on!the!timpani!stave;! both!the!bass!and!continuo!staves!on!this!page!display!the!later!form.!The!presence! of!this!anomalous!bass!clef!serves!to!further!support!the!dating!given!to!the!first!leaf! of!the!Kyrie;!conversely,!if!we!accept!the!dating!of!the!Kyrie!leaf!from!the! palaeographic!evidence!above,!it!also!strengthens!Horn!and!Kohlhase’s!dating!of!the! expansion!of!the!mass!as!early!1729,!given!the!homogeneity!of!the!handwriting!and! paper!types!between!the!‘Sanctus’!and!most!other!sections!of!the!second!volume.!

It!is!also!worth!noting!that!the!postT1728!bass!clef!form!is!also!observed!on!one! other!leaf!in!Volume!1,!containing!the!first!‘Qui!tollis!peccata!mundi’!(Volume!1,! pages!49–50),!where!it!is!used!consistently!throughout.!From!the!gathering!structure! given!in!Figure$2.1,!it!would!seem!that!the!leaf!forms!one!natural!half!of!the!bifolium! also!containing!pages!55!and!56!(the!end!of!the!second!‘Qui!tollis’!and!the!beginning! of!the!‘Quoniam!tu!solus’),!but!short!of!Zelenka!leaving!this!folio!blank!in!1723!in! anticipation!of!composing!a!further!‘Qui!tollis’!setting!later,!it!appears!most!likely! that!this!is!actually!a!single!leaf!that!was!inserted!at!a!later!time!and!very!carefully! attached!to!the!original!partner!folio.!The!brevity!of!the!movement,!and!its! declamatory!nature,!provides!a!great!contrast!to!the!more!expansive!setting!that! follows,!and!recalls!similar!movement!pairs!found!in!other!Zelenka!masses.83!

!

(ii)$The$addition$of$flute$parts$$

$

Differences!in!ink!and!handwriting!style!also!reveal!one!of!the!most!significant! revisions!applied!to!the!autograph!score!around!1729:!the!addition!of!flutes!to!the! ensemble,!which!may!have!been!prompted!by!the!appointment!of!Quantz!to!the!

Hofkapelle!(see!Chapter!1).!As!noted!above,!the!indication!‘Flauti!2’!on!the!title!page!of!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 83!For!example,!the!‘Cum!Sancto!Spiritu’!pairs!in!the!Missa%Dei%Filii,!ZWV!20,!and!the!Missa%Omnium% Sanctorum,!ZWV!21.! ! 233!

Volume!1!is!not!in!Zelenka’s!hand,!and!is!listed!separately!from!the!other! instruments,!suggesting!that!flutes!were!not!part!of!the!original!instrumentation!for! the!Kyrie!and!Gloria.!This!is!confirmed!by!examining!the!two!movements!in!the! work!that!require!flutes,!the!‘Christe!eleison’!and!the!second!‘Qui!tollis!peccata! mundi’,!both!of!which!display!clear!evidence!of!heavy!revisions!in!the!instrumental! parts.!At!the!beginning!of!the!‘Christe’,!Senza%Oboe!is!written!in!the!same!dark!black! ink!as!the!notation,!but!the!indications!underneath,!including!that!which!specifies! violins!and!flutes!(Figure$2.9),!are!in!a!much!lighter!ink!colour,!signifying!these!were! added!at!a!later!time.!Evidence!of!revisions!in!the!notation!associated!with!the! addition!of!flute!parts!is!found!throughout!the!movement,!beginning!at!bar!13!

(Figure$2.10).!!

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Figure$2.9:$ZWV!4!autograph,!Volume!1,!page!13:!written!instructions!at!the!beginning!of! the!‘Christe!eleison’.!

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Figure$2.10:$ZWV!4!autograph,!Volume!1,!page!15:!‘Christe!eleison’,!bars!13–15,!Flutes!I!&!II! and!Viola.!!

! 234!!

As!this!example!demonstrates,!the!appearance!of!the!notation!on!the!top!two! staves!is!noticeably!different!from!that!on!the!staves!below,!indicating!two!distinct! phases!of!composition.!Distinguishing!between!the!handwriting!types!allows!us!to! reconstruct!Zelenka’s!initial!thoughts!of!1723,!and!to!identify!the!alterations!that!he! made!when!revising!this!movement!six!years!later.!In!the!original!version,!all!the! instruments!except!the!viola!(which!here!acts!as!a!petite%basse)!stopped!playing!in!bar!

12,!at!the!entrance!of!the!three!voices,!ensuring!the!vocal!texture!was!not! overwhelmed!by!other!melodic!lines.84!Bars!13–20!were!left!blank,!denoting!whole! bar!rests,!and!the!strings!then!reappeared!in!bar!21!after!the!cadence!in!the!voices.!In! the!revised!version,!Zelenka!doubled!the!violin!parts!with!flutes,!and!then!filled!in! bars!13–20!with!an!extraordinarily!beautiful!duet,!for!flutes!only,!to!accompany!the! vocal!parts.!The!manuscript!clearly!shows!how!the!first!beat!of!bar!21!was!changed! to!accommodate!the!end!of!the!flute!duet!(Figure$2.11).!On!the!top!stave,!a!single! quaver!with!a!particularly!thick!flag!(covering!over!the!original!quaver!rest)!was! added,!as!the!interval!to!the!next!note!was!too!large!to!justify!using!a!beam.!On!the! stave!below,!the!first!quaver!of!the!group!of!six!was!likewise!inserted!over!the! original!quaver!rest,!which!here!is!still!visible!behind!the!note,!and!carefully!beamed! to!the!already!existing!five!quavers!(note!the!slightly!thicker!leftThand!edge!of!the! beam!that!betrays!the!join).!!

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!

!

Figure$2.11:$ZWV!4!autograph,!Volume!1,!page!17:! ‘Christe!eleison’,!bar!21,!Flute!I/Violin!I!and!Flute! II/Violin!II.!

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 84!This!was!an!extension!of!the!performance!practice!followed!in!Dresden!that!applied!to!continuo! instruments,!as!discussed!in!Chapter!1.!In!a!solo!or!chamber!movement!such!as!this,!full!strings!and! oboes!acted!as!‘ripieno’!instruments,!and!it!was!expected!that!in!the!vocal!sections!the!instrumental! texture!would!be!reduced!(thereby!also!reducing!the!overall!dynamic).!The!‘ripieno’!instruments!would! then!return!once!the!voices!had!finished!singing,!as!here.!See!Kohlhase,!‘Anmerkungen!zur! Generalbaßpraxis’,!233–240.!! ! 235!

Zelenka!then!added!a!Tutti!indication,!supplemented!by!a!vertical!line!in! between!the!first!and!second!quavers,!in!order!to!signal!where!the!violins!should!reT enter.!The!same!revisions!were!applied!to!the!analogous!passage!in!the!second!half! of!the!movement,!at!bars!37–53,!with!further!Tutti!indications!added!as!necessary.!!

A!similar!process!of!revision!can!be!observed!in!the!second!‘Qui!tollis!peccata! mundi’,!although!establishing!what!the!original!state!of!this!movement!was,!and!

Zelenka’s!intentions!for!the!revised!version,!is!more!challenging.!Revisions!and! additions!can!least!be!identified!by!ink!colour!(often!a!lighter!brown)!or!the!presence! of!heavy!erasures.!This!movement!employs!a!larger!instrumental!ensemble!than!the!

‘Christe’,!with!two!flutes,!oboes,!full!strings!and!continuo,!but!there!was!no!space!to! notate!additional!woodwind!parts.!As!Figure$2.12!shows,!Zelenka!was!thus! sometimes!forced!to!partially!erase!notation!in!the!Violin!II!and!Viola!parts,!where! they!double!Violin!I,!in!order!to!accommodate!newlyTcomposed!flute!parts.!On!the!

Violin!II!stave!in!bar!7,!he!once!again!uses!a!vertical!line!to!indicate!where!the!first! flute!part!separates!from!the!strings;!the!Violin!II!part!is!implied!to!continue! doubling!Violin!I!by!the!indication!above!the!latter’s!stave,!‘VV:!Senza!Oboe’.!On!the!

Viola!stave!below,!the!erased!original!notation!is!still!just!visible!in!places!(for! example,!in!bar!9),!where!it!has!been!replaced!by!the!second!flute!part,!this!time! accompanied!by!a!treble!clef!that!has!been!crammed!into!the!end!of!bar!7.!Zelenka! therefore!then!had!to!add!the!indication!‘NB!Violi!con!Violin’!to!compensate!for!the! loss!of!Viola!notation.!

At!bar!11,!Zelenka!once!again!notates!the!flute!parts!on!the!violin!staves!and! specifies!when!only!the!flutes!should!play;!originally,!this!bar!in!both!parts! concluded!with!a!crotchet!rest,!which,!despite!the!erasure,!is!still!partially!visible! behind!the!crotchet!that!replaced!it!on!the!Violin!II!stave!(Figure$2.13).!Throughout! the!rest!of!the!movement,!as!in!the!‘Christe’,!Zelenka!employs!the!flutes!in!an! imitative!duet!above!the!vocal!lines,!made!particularly!striking!here!through!the!use! of!‘hocket’!(for!example,!the!motif!shown!in!Figure$2.14).85!!

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 85!Regarding!the!musicalTrhetorical!function!of!hocket,!see!Stockigt,!Jan%Dismas%Zelenka,!117.! 236!!

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Figure$2.12:$ZWV!4!autograph,!Volume!1,!page!51:!‘Qui!tollis!peccata!mundi!II’,!bars! 7–9,!Violin!I,!Violin!II/Flute!I,!and!Viola/Flute!II.!

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Figure$2.13:$ZWV!4!autograph,!Volume!1,!page!51:!‘Qui!tollis!peccata!mundi!II’,!bars! 11–12,!Violin!I/Flute!I!and!Violin!II/Flute!II.!

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Figure$2.14:$ZWV!4!autograph,!Volume!1,!page!51:!‘Qui!tollis!peccata!mundi!II’,!bars!17–18,! Flutes!I!&!II.!

! ! 237!

Ironically,!even!the!autograph!does!not,!in!all!probability,!transmit!the!final! version!of!this!movement,!as!the!discussion!in!Chapter!3!will!show.!Nonetheless,!the! procedures!of!insertion!and!erasure!described!above!provide!conclusive!evidence! that!neither!the!‘Christe’!nor!the!second!‘Qui!tollis’!were!heard!with!flutes!in!the! original!1723!performance.!

$

(iii)$Problems$of$dating$the$‘Et$resurrexit’$and$‘Benedictus’$

$

In!one!sense,!the!entirety!of!the!second!volume!may!be!regarded!as!a!‘revision’,! because!it!contains!those!sections!of!the!mass—the!Credo,!Sanctus!and!Agnus!Dei— that!were!not!part!of!the!original!1723!KyrieTGloria!version,!but!were!newly! composed!in!the!first!half!of!1729!in!order!to!expand!the!work!into!a!complete!mass! setting.!Several!features!of!the!manuscript!make!this!clear,!including!different!paper! and!ink!types!to!those!used!in!the!first!volume,!the!shape!of!the!notation,!and,!in! particular,!the!use!of!the!postT1728!bass!clef!form.!!

Two!movements,!however,!stand!out!as!exceptions:!the!‘Et!resurrexit’!and!

‘Benedictus’,!the!only!two!solo!arias!in!the!entire!work.!Both!of!these!movements! display!the!preT1728!bass!clef!and!the!earlier!method!of!raising!the!fourth,!indicating! that!it!is!likely!they!originated!separately!from!the!rest!of!the!second!volume,!and! were!then!incorporated!into!the!Credo!and!Sanctus!sections!once!the!other! movements!had!been!composed.!!

In!the!case!of!the!‘Benedictus’,!this!hypothesis!is!problematic,!because!its!opening! leads!straight!in!from!the!end!of!the!previous!movement:!as!the!choir!sings!the!last! note!of!the!‘Sanctus’,!the!time!signature!changes!and!the!orchestra!begins!the! introduction!to!the!‘Benedictus’!(Figure$2.15).!Zelenka!therefore!had!to!carefully!plan! the!layout!of!this!page!to!accommodate!four!staves!for!the!choir!to!sing!this!note.!But! it!clearly!displays!a!handwriting!style!consistent!with!the!rest!of!the!‘Benedictus’,! and!not!with!the!later!palaeography!of!the!‘Sanctus’.!How!could!Zelenka!have! planned!this!beginning!several!years!before!the!composition!of!the!‘Sanctus’?!

! ! 238!!

Figure$2.15:$ZWV!4!autograph,!Volume!2,!page!35:!opening!of!the!‘Benedictus’,!showing!the!end! of!the!‘Sanctus’!in!the!choir!parts.!

! ! 239!

The!matter!is!further!complicated!by!the!last!page!of!this!movement!(Volume!2,!

page!40),!the!lower!twoTthirds!of!which!contain!a!large!piece!of!pastedTover!

manuscript!paper!with!the!indication!‘Sequitz!Osanna’!(Figure$2.16).!In!paper!type!

and!ink!colour,!this!paper!matches!the!other!sections!dating!from!1729.!Underneath!

this!pasteTover!are!the!first!six!bars!of!a!completely!separate!movement,!not!part!of!

ZWV!4,!with!the!text!‘Qui!tollis!peccata!mundi’!(Figure$2.17).!!

!

Figure$2.16:$ZWV!4!autograph,!Volume!2,!page!40:! Figure$2.17:$ZWV!4!autograph,!Volume!2,!page!40:! last!page!of!the!‘Benedictus’,!with!pasteTover.! last!page!of!the!‘Benedictus’,!pasteTover!removed.!

!

The!identical!ink!type,!bass!clef!forms,!and!appearance!of!the!notation!in!this!

fragment!show!that!it!is!contemporary!with!the!‘Benedictus’,!raising!the!question!of!

why!an!incomplete!movement!with!a!text!belonging!to!the!Gloria!should!be!found!

on!the!same!page!as!the!end!of!this!movement.!One!possibility!is!that!this!was!

originally!a!leaf!from!a!discarded!‘Qui!tollis’!setting!that!was!used!as!a!spare!piece!of!

manuscript!paper!in!order!to!accommodate!the!end!of!the!‘Benedictus’.!But!this!does! 240!!

not!explain!why!the!‘Qui!tollis’!fragment!was!not!covered!up!or!erased!at!the!time!of!

the!latter’s!composition,!but!rather!several!years!later!as!part!of!the!1729!revisions,!

nor!does!it!account!for!the!unlikely!existence!of!a!leaf!on!which!a!‘Qui!tollis’!

movement!was!begun!five!staves!down!the!page,!with!the!first!four!staves!being!

conveniently!left!blank.!Furthermore,!there!are!no!signs!of!trimmed!or!pasted!edges!

evident!in!the!bifolium!to!which!this!page!belongs,!meaning!that,!for!this!theory!to!be!

plausible,!the!recto!side!of!this!leaf!as!well!as!its!partner!folio!(Volume!2,!pages!35–36)!

must!have!originally!been!blank,!which!seems!hardly!likely.!

The!true!answer!to!the!origin!of!the!‘Benedictus’!lies!not!in!the!music!but!in!the!

text.!Throughout!the!movement,!the!text!is!quite!difficult!to!read,!and!frequently!

appears!out!of!alignment!with!the!notes!in!a!distinctively!larger,!stylised!script!

featuring!thicker!letter!edges!(Figure$2.18),!of!the!kind!observed!in!Volume!1!where!

Zelenka!has!filled!in!the!text!underlay!as!part!of!the!revision!process!(Figure$2.19).!In!

addition,!it!is!often!partially!obscured!by!heavy!erasures!that!were!applied!to!the!

manuscript!at!some!point.!!

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Figure$2.18:$ZWV!4!autograph,!Volume!2,!page!37:!‘Benedictus’,!bars!41–47,!Tenor!Solo.! ! !

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Figure$2.19:$ZWV!4!autograph,!Volume!1,!page!63:!‘Quoniam!tu!solus!Sanctus’,!bars!45–46,!Alto.! ! !

The!only!place!where!this!does!not!occur!is!on!page!38,!at!bars!68–72,!where!the!

text!has!been!written!on!a!pasteTover!(Figure$2.20).!Looking!underneath,!one!might!

expect!to!find!a!particularly!illegible!version!of!the!same!text,!or!perhaps!a!slightly!

different!underlay;!instead,!what!actually!appears!is!a!completely!different!text:!

‘Domine!Deus,!Agnus!Dei,!Filius‘!(Figure$2.21).!! ! 241!

Figure$2.20:$ZWV!4!autograph,!Volume!2,!page!38:!‘Benedictus’,!bars!68–72,!Tenor!Solo,!with! pasteTover.! !

Figure$2.21:$ZWV!4!autograph,!Volume!2,!page!38:!‘Benedictus’,!bars!68–72,!Tenor!Solo,!! pasteTover!removed.! !

From!this!slice!of!text,!the!origin!of!the!entire!movement!is!revealed.!At!the!time!

the!music!was!composed,!it!was!not!a!setting!of!the!‘Benedictus’!at!all,!but!rather!of!

the!‘Domine!Deus’,!which!is,!of!course,!the!text!that!immediately!precedes!the!‘Qui!

tollis’!in!the!Gloria.!Both!it!and!the!‘Qui!tollis’!fragment!on!the!last!page!therefore!

came!from!another!Gloria!setting,!which!today!remains!unidentified;86!judging!from!

the!use!of!undulating!waveTlike!system!braces,!akin!to!those!seen!in!Volume!1,!the!

composition!cannot!date!from!later!than!1725.!It!was!only!in!1729!that!that!Zelenka!

decided!to!reTuse!this!music!by!inserting!it!into!the!Missa%Sancti%Spiritus!and!

changing!the!entire!text,!which!accounts!for!the!heavy!erasures!in!the!score,!over!

which!the!new!text!was!then!written.!In!bar!72!(the!last!bar!of!Figure$2.20!above),!

Zelenka!also!seems!to!have!slightly!revised!the!music!to!suit!the!new!underlay:!the!

lighter!ink!and!thinner!stems!of!the!first!and!third!notes!indicate!these!were!probably!

later!additions,!and!the!second!note!was!originally!a!crotchet!(which!would!also!

correspond!to!the!alignment!of!the!word!‘Filius’!observed!in!the!original!version).!A!

reconstruction!of!the!original!version!of!bars!68–72!is!shown!in!Example$2.1.!

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! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 86!RISM’s!identification!of!the!‘Qui!tollis’!as!a!fragment!from!an!older!Agnus!Dei!setting!is!therefore! incorrect.! 242!!

Example$2.1:$Jan!Dismas!Zelenka,!Missa%Sancti%Spiritus,!‘Benedictus’:!bars!68–72,!Tenor!Solo,! reconstruction!of!original!version.! !

Regarding!the!attacca!leadTin!from!the!‘Sanctus’,!it!therefore!follows!that!it!was!the! end!of!the!‘Sanctus’!that!was!deliberately!planned!to!lead!into!the!‘Benedictus’.!The! latter,!in!its!former!guise!as!a!‘Domine!Deus’,!still!must!have!exhibited!this!leadTin,! but!instead!from!a!choral!‘Gloria!in!excelsis!Deo’!movement!of!the!discarded!setting.!

This!also!accounts!for!the!mixture!of!inks!observed!in!the!Soprano!and!Alto!parts!in! bar!1!of!the!‘Benedictus’,!where!another!syllable!has!the!appearance!of!being! changed!to!‘Tsis’!(Figure$2.22):!the!darker!ink!indicates!the!original!letters,!with! lighter!ink!showing!the!modification.!Therefore,!the!‘Benedictus’!represents!an! important!example!of!Zelenka!recycling!a!previously!existing!composition!for! inclusion!in!another!work.!

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! Figure$2.22:$ZWV!4!autograph,!Volume!2,!page!35:! ‘Benedictus’,!bar!1,!SATB!Choir.! !

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The!‘Et!resurrexit’!appears!to!be!of!the!same!paper!type!as!the!‘Benedictus’,!and! displays!the!same!basic!palaeographic!features;!however,!it!also!exhibits!a!variety!of! bracket!and!brace!forms,!posing!a!fresh!challenge!to!the!dating!of!this!movement.!On! ! 243! the!first!page!of!this!movement!(Volume!2,!page!11),!the!two!systems!are!separated! by!the!sign!shown!in!Figure$2.23a,!a!symbol!that!Stockigt!establishes!was!not!used!by!

Zelenka!before!early!1728,87!and!is!also!found!in!sections!dating!from!1729!(for! example,!the!‘Et!unam!sanctam’).!The!following!page!exhibits!a!completely!different! sign,!a!bracket!of!the!type!seen!in!Figure$2.23b,!rather!than!the!system!break!symbol.!

It!is!akin!(but!not!completely!identical)!to!the!type!described!by!Stockigt!as!dating! from!around!1727.88!This!method!of!denoting!a!system!break!(i.e.,!by!means!of!such!a! bracket)!is!also!found!on!page!14,!whilst!pages!13!and!15–18!display!no!bracketing!or! system!breaks!at!all.!

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Figure$2.23:$Braces!and!brackets!found!in!the!autograph!of!ZWV!4,!‘Et!resurrexit’:!! (a)!Volume!2,!page!11:!system!break!(early!1728!or!after);!(b)!Volume!2,!page!14:!system!bracket! (1727?).!

!

The!most!likely!explanation!for!these!conflicting!symbols!is!that!they!were!not! written!at!the!time!of!composition!but!added!later!on.!Certainly,!this!must!apply!to! the!symbol!on!page!11,!but!the!manner!in!which!the!brackets!are!written!on!pages!12! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 87!Stockigt,!‘The!Vespers!Psalms’,!250–251.!! 88!Stockigt,!‘The!Vespers!Psalms’,!247.!The!c.!1727!bracket!described!by!Stockigt!exhibits!more!defined! angled!lines!at!each!end!that!flare!outwards,!rather!than!the!inwardTpointing!hooked!forms!seen!here.! 244!! and!14!also!suggests!they!were!added!at!a!later!time:!particularly!on!page!14,!the! bracket!consistently!strikes!right!through!(and!partially!obscures)!the!treble!clefs,! which!are!written!very!close!to!the!edge!of!the!stave.!Although!these!symbols!are! therefore!unreliable!for!determining!the!date!of!composition,!they!show!that!Zelenka! may!have!been!looking!at!this!movement!around!1727!and!1728,!and!obviously! attempting!to!make!the!divisions!between!systems!clearer.!Why!these!symbols!were! not!consistently!applied!to!all!pages,!however,!is!not!known.!!

As!with!the!‘Benedictus’,!the!text!appears!to!bear!evidence!of!erasures!in!many! places,!suggesting!that!the!music!of!the!‘Et!resurrexit’!too!was!originally!set!to!a! different!text!(perhaps!the!‘Quoniam!tu!solus!sanctus’).!Both!these!movements,! therefore,!probably!originated!around!1723–1725!in!earlier!forms,!and!were!then! heavily!revised!when!incorporated!into!the!Missa%Sancti%Spiritus.89!

!

(iv)$Other$revisions$

$

Aside!from!the!major!revisions!discussed!above,!scattered!throughout!the!Kyrie! and!Gloria!are!numerous!isolated!alterations!and!additions.!The!uniformity!of!the! handwriting!in!all!these!cases,!and!the!fact!they!are!all!notated!in!brown!ink,! suggests!they!all!date!from!the!same!time.!Just!one!example!is!the!trumpet!and! timpani!parts!in!bars!62–71!of!the!‘Cum!Sancto!Spiritu’!fugue!(Figure$2.24),!which! were!completely!absent!in!the!1723!version.!The!high!first!trumpet!line!doubling!the! soprano,!as!elsewhere!in!the!movement,!heightens!the!impact!of!the!fugal!entry!at! this!moment;!additionally,!the!insertion!of!piano%timpani!reinforces!the!dominant! pedal!point!in!the!bass!and!continuo!parts,!creating!a!moment!of!great!tension!and! excitement.!An!instance!of!a!smaller,!less!dramatic!revision!can!be!found!in!bar!29!of! the!first!‘Kyrie!eleison’,!in!the!Violin!I!part!(Figure$2.25):!the!black!ink!of!the!first!a’’! and!f#’’!pitches!on!the!second!and!third!beats!shows!they!were!originally!crotchets,! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 89!Dok!II!(286)!notes!that!part!of!the!‘Agnus!Dei’!(found!in!the!second!section,!‘Grave’)!is!a!parody!of!the! opening!of!No.!18,!‘Caligaverunt!oculi!mei’,!from!the!Responsoria%pro%hebdomada%sancta,!ZWV!55!(1723).! However,!unlike!the!‘Et!resurrexit’!and!the!‘Benedictus’,!the!parody!is!only!partial,!involves!substantial! reworking!of!the!music,!and!is!merged!with!newlyTcomposed!material;!as!a!result,!the!‘Agnus!Dei’! movement!as!a!whole!cannot!really!be!considered!to!have!originated!before!1729!(and!the!autograph!of! this!movement!dates!only!from!this!time).!Nonetheless,!it!represents!another!example!of!how!Zelenka! utilised!previously!existing!material!in!a!new!composition.! ! 245! and!Zelenka!used!brown!ink!to!add!more!notes!and!beams,!so!changing!them!into! semiquavers!and!quavers,!giving!the!end!of!the!phrase!a!greater!sense!of!flourish.!All! of!these!alterations,!however!small,!vividly!display!Zelenka’s!desire!to!refine!and! perfect!every!aspect!of!the!score!for!its!revival!as!part!of!the!nowTcomplete!mass! setting.!!

!

Figure$2.24:$ZWV!4!autograph,!Volume!1,!page!81:!’Cum!Sancto!Spiritu’,!bars!65–69.!!

! 246!!

! ! Figure$2.25:$ZWV!4!autograph,!Volume!1,!page!8:!‘Kyrie!eleison’,!bars!28–29,!Violin!I.! !

! ! (v)$Pastefovers$

$

This!quest!for!refinement!takes!its!ultimate!form!in!one!of!the!autograph’s!most! striking!features:!additional!pieces!of!manuscript!that!have!been!carefully!cut!out! and!laid!over!certain!places!in!the!score.!These!‘pasteTovers’!are!of!particular!interest! because!their!distinctive!paper!type,!not!found!elsewhere!in!the!score,!indicates!they! probably!postTdate!the!1729!expansion!of!the!score!and!the!other!notated!revisions.!

Studying!the!original!versions!of!the!passages!underneath!the!pasteTovers!shows! they!fall!into!two!categories.!The!first!and!by!far!the!most!common!type!is!a!simple! recopying!of!a!passage!that!on!the!original!score!has!become!illegible.!This!is! sometimes!due!to!messy!handwriting!or!corrections,!or!an!unintended!consequence! of!another!process!(for!example,!ink!that!has!bled!through!to!the!opposite!side!of!a! leaf,!rendering!the!passage!unreadable).!This!type!of!pasteTover!occurs!particularly! frequently!at!the!tops!and!bottoms!of!pages!as!a!direct!result!of!loss!of!notation!and! articulation!due!to!trimming,!thus!indicating!the!manuscript!must!have!been! trimmed!to!its!current!size!during!Zelenka’s!lifetime,!before!the!pasteTovers!were! applied.!The!second!type!of!pasteTover,!which!occurs!only!rarely,!is!that!which! revises!the!musical!text!of!a!particular!passage!(we!have!already!seen!one!example,! in!the!‘Benedictus’,!where!the!text!itself!was!completely!changed).!An!example!of!this! type!comes!from!bars!87–90!of!the!bass!solo!part!in!the!‘Et!resurrexit’.!The!pasteTover! covering!these!bars!is!shown!in!Figure$2.26.! ! 247!

Figure$2.26:$ZWV!4!autograph,!Volume!2,!page!47:!‘Et!resurrexit’,!bars!85–90,!Bass!Solo! (final!version!with!pasteTover).!

! !

Behind!this!pasteTover!it!is!the!earlier!version,!shown!in!Figure$2.27,!which!reveals! that!Zelenka!originally!tried!to!fit!the!text!into!a!threeTbar!phrase!instead!of!four,! using!a!more!complicated!rhythm!and!ending!the!phrase!on!a!cadence!to!the! dominant.!

!

Figure$2.27:$ZWV!4!autograph,!Volume!2,!page!47:!‘Et!resurrexit’,!bars!85–90,!Bass!Solo!(original! version).!The!crotchet!and!rest!in!bar!90!are!part!of!the!pasteTover!version!(as!this!bar!was! originally!blank,!they!was!simply!notated!onto!the!page).!

! !

A!smaller!revision!can!be!found!in!the!continuo!part!of!the!same!movement!at!bar!

101,!where!Zelenka!decided!to!change!the!contour!and!pitches!of!the!notes!(Figure$

2.28).!

!

!

!

!

Figure$2.28:$ZWV!4!autograph,!Volume!2,!page!48:!‘Et!resurrexit’,!bars!100–102,!Basso!Continuo.! (Left)!final!pasteTover!version;!(right)!original!version.!

!

! 248!!

These!are!just!a!few!examples!of!the!many!pasteTovers!that!can!be!found! throughout!the!score.!Aside!from!demonstrating!Zelenka’s!ongoing!refinement!of! the!musical!text,!the!exceptionally!careful,!almost!surgical!manner!of!their!insertion! into!the!score!perhaps!also!suggests!something!about!the!developing!concern!that!

Zelenka!had!for!the!aesthetic!appearance!of!his!manuscripts.!

The!field!of!Zelenka!autograph!studies!is!still!very!much!in!its!infancy,!and!it!is! clear!that!much!further!work!needs!to!be!done!regarding!detailed!comparative! investigations!of!paper!types!and!palaeographic!features!in!order!to!draw!more! meaningful!conclusions!about!the!dating!of!scores.!Nevertheless,!the!autograph!score! of!the!Missa%Sancti%Spiritus!does!clearly!reveal,!through!its!myriad!of!codicological! and!palaeographic!features,!that!the!date!‘1723’!given!at!the!end!of!the!first!volume! belies!the!true!complexity!of!its!compositional!history.!Significant!characteristics!of!

Zelenka’s!handwriting!that!changed!over!time,!such!as!bass!clef!forms!and!the! method!of!raising!the!fourth,!show!that!only!the!first!half!of!the!work!originated!in! this!year,!and!that!the!sections!from!the!Credo!onwards!were!only!added!in!late!1728! or!early!1729.!Most!of!these!added!movements!were!newly!composed,!but!Zelenka! also!reworked!previously!existing!compositions!into!what!became!the!‘Et!resurrexit’! and!the!‘Benedictus’,!thus!accounting!for!the!palaeography!of!these!movements,! which!is!at!odds!with!the!rest!of!the!second!volume.!Furthermore,!differences!in!the! appearance!of!the!notation,!ink!colours!and!the!presence!of!pastedTover!pieces!of! manuscript!show!that!Zelenka!also!undertook!significant!revisions!to!the!Kyrie!and!

Gloria!sections.!From!the!addition!of!flutes!in!two!movements!to!isolated!changes!in! notation,!he!continually!sought!to!refine!and!improve!the!musical!text.!The! autograph!is!therefore!not!a!fair!copy!but!a!working!document,!a!vivid!record!of!how! the!Missa%Sancti%Spiritus!was!constructed!over!time.!It!thus!allows!us!to!understand! the!differences!between!the!versions!of!the!work!heard!in!1723!and!(presumably)!

1729,!and!gives!a!valuable!insight!into!Zelenka’s!compositional!process.!!!!

!

!

!

! ! 249!

CHAPTER$3$

$ From$Dresden$to$Berlin:$the$nonfautograph$manuscript$sources$

$

$

The!most!important!of!the!nonTautograph!sources!for!the!Missa%Sancti%Spiritus!is! currently!missing.!The!old!card!catalogue!of!the!Sächsische!Landesbibliothek,! compiled!after!the!First!World!War,!records!the!existence!of!sixtyTfour!parts!for!this! work!that!accompanied!the!two!autograph!full!score!volumes.90!According!to!this! entry,!the!library!held!thirtyTone!parts!for!the!entire!mass;!in!addition,!there!were! separate!copies!of!twentyTfour!parts!for!the!Kyrie,!and!nine!parts!for!the!Gloria!

(noted!as!incomplete).91!

These!parts!are!also!listed!in!two!important!eighteenthTcentury!catalogues!of!the!

Dresden!Catholic!court!church’s!sacred!music!collection.!The!first!Catalogo,!which! today!is!the!more!complete!of!the!two,!was!compiled!in!1765,!following!the! devastation!of!the!Seven!Years’!War!(1756–63).92!Only!the!third!volume!of!the!later!

Catalogo!survives!today;!it!is!not!dated,!but!was!probably!compiled!in!or!just!before!

1784.93!Table$3.1$shows!the!entries!relevant!to!ZWV!4!in!the!two!catalogues.!As!can! be!seen,!each!lists!two!distinct!sets!of!parts!for!the!work:!one!for!the!entire!mass!and! one!for!the!Kyrie!and!Gloria!sections!only,!kept!in!separate!locations.!

!

$

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 90!Dok!II,!286.!! 91!I!am!grateful!to!Janice!B.!Stockigt!for!supplying!this!information.!The!card!reads:!(Aut.%205)%Mus.%2358b Db18%1b2%/%Zelenka,%Giovanni%Disma:%[Messen.%Z%4]%/%Missa%Sancti%Spiritus%a%4%voci%con%2%Violini,%2%Oboi,%2% Flauti,%Viola,%2%Trombe%e%Basso%continuo.%D%dur.%Part.%u.%St.%1723.%2%Bd%m.%64%St.%4to%Part.:%Orig.bMus.bMscr.% Mus.%Mscr.%Kyrie:%24%St.%Gloria:%9%St%(unvollst.)%Ganze%Messe:%31%St.%Kath.%Hofkirche%Stimmen%stehen%gesondert. 92!Catalogo%1765!(DTB!Mus.!ms.!Theor.!K.!186).!A!comprehensive!database!detailing!the!entire!contents!of! the!1765!Catalogo!has!been!compiled!by!Janice!B.!Stockigt,!and!can!be!found!at! http://hofkirchecatalogo1765.mcm.unimelb.edu.au!(accessed!5!April!2015).! 93!Catalogo!c.!1784!(DTDlb!Sign.!Bibl.!Arch.!III!H!788,!3).!The!entries!concerning!Zelenka’s!works!are! printed!in!facsimile!in!Dok!II,!which!gives!the!date!of!its!compilation!as!1775.!However,!Stockigt!has! presented!a!detailed!and!convincing!argument!that!c.!1784!is!the!most!likely!date.!See!Janice!B.!Stockigt,! ‘A!database!of!the!‘Catalogo!della!Musica!di!Chiesa!composta!da!diversi!Autori!–!secondo!l’alfabetto! 1765’,!compiled!in!3!volumes!under!the!supervision!of!Joannes!Georg!Schürer’!(unpublished!paper,! 2014),!1.! 250!!

Table$3.1:$Entries$for$the$Missa%Sancti%Spiritus$in$the$catalogues$of$1765$and$c.$1784$

$ Catalogo% Location! Listing$ Incipits$ Materials$held$ 1765! Schrank!III,! [Zelenka.]%/%No.%3.%[Messe]%S.%Spiritus.% One!!! Score!and! Fach!7,!Lage!1! /%a%4%Voci%co’%VVni.%Viola,%/%Flauti,% parts! Trombe%e%Timp.% 1765! Schrank!III,! [Zelenka]%/%No.%23.%Kyrie%e%Gloria%/%a%4% One! Parts!only! Fach!12,!Lage!1! voci%con%Stromenti.% c.!1784! Schrank!III,!! [Zelencka]%/%Messa%S.%Spiritus%/%Kÿrie%/% Five! Score!and! Lit:!Z,!Fach!8,! à%4%voci%co’%VVni.%Ob:%Fl.%Vla,%Tromb:% parts!for!each! Lage!3!! Timp.%ed%Org.%/%Gloria%/%à%4%voci%co’% of!the!five! VVni.%Ob:%Vla,%Corni,%Trombe,%Timp:% sections! ed%Org.%/%Credo%/%à%4%voci%co’%VVni.%Ob:% Vla,%Corni,%Trombe,%Timp:%ed%Org.%/% Sanctus%/%à%4%voci%co’%VVni.%Ob:%Vla,% Corni,%Trombe,%Timp:%ed%Org.%/%Agnus% Dei%/%à%4%voci%co’%VVni.%Ob:%Vla,%Corni,% Trombe,%Timp:%ed%Org.% c.!1784! Schrank!III,!! [Zelencka]%/%No:%23.%Kÿrie%à%4%voci%co’% One! Parts!only! Lit:!Z,!Fach!12,! VVni.%Oboi,%Viola%ed%Org.%/%Gloria%à%4% Lage!6! voci.% !

The!set!kept!with!the!autograph!full!score!and!referred!to!under!the!heading!

‘Messe!S.!Spiritus’!is!undoubtedly!the!set!of!thirtyTone!parts,!and!it!was!probably!this! set!that!was!used!for!the!1729!performance!at!which!the!complete!mass!was!first! heard.!The!function!of!the!separate!Kyrie!and!Gloria!sets,!for!which!there!was!no! accompanying!full!score,!is!unclear.!The!absence!of!flutes!raises!the!possibility!that! these!might!be!the!original!parts!from!the!1723!version!of!the!work;!as!the!

Hoftrompeter%und%Pauker!were!not!part!of!the!Hofkapelle!(see!Chapter!1),!it!is!possible! that!the!brass!and!drum!parts!for!the!Kyrie!may!have!been!kept!elsewhere!and! subsequently!lost.!This!theory!thus!assumes!that!the!majority!of!the!parts!for!the!

Gloria!were!likewise!unaccountably!lost!at!some!point.!Alternatively,!the!parts!may! date!from!an!entirely!separate!performance!(or!intended!performance)!of!the!Kyrie! and!Gloria,!where!either!the!mass!was!performed!without!brass!and!timpani,!or!the! copying!of!the!parts!was!abandoned!before!these!parts!had!been!written!out.!

Likewise,!either!the!majority!of!the!Gloria!parts!were!lost,!or!were!not!copied!out!for! some!reason.!

! ! 251!

All!the!parts!referred!to!in!the!two!catalogues!and!the!SLB!card!catalogue!have! been!missing!since!the!end!of!the!Second!World!War,!along!with!a!large!number!of! other!scores!and!parts!from!the!former!Dresden!Catholic!court!church.94!They! represent!a!significant!loss!because!they!potentially!transmitted!further!revisions! made!by!Zelenka!that!are!not!found!in!the!autograph.!!As!Stockigt!notes,!Zelenka’s! autograph!scores!do!not!necessarily!transmit!a!‘definitive’!text:95!the!few!original!

Zelenka!parts!that!do!survive!contain!detailed!performance!markings!and!further! revisions!(possibly!made!by!Zelenka!during!rehearsals)!that!were!not!subsequently! entered!into!the!full!score.96!It!is!highly!likely!that!the!parts!for!the!Missa%Sancti%

Spiritus,!particularly!the!complete!set!of!thirtyTone!parts,!contained!such!information,! and!are!thus!of!paramount!importance!in!transmitting!Zelenka’s!final!intentions!for! this!work.!!

There!are,!however,!six!known!nonTautograph!sources!for!this!mass!that!do! survive!today,!as!follows:!

!

1. Full!score!copy,!DTBsa!SA!691!

2. Set!of!nineteen!parts,!plus!twelve!additional!vocal!parts!for!the!‘Dona!

nobis!pacem’,!DTB!Mus.!MS!23541!

3. Full!score!copy!of!Kyrie,!Gloria!and!Credo,!DTB!Mus.!MS!30187,!fols.!36–

77!

4. Full!score!copy,!DTB!Am.B!360![I]!

5. Full!score!copy,!DTB!Am.B!359!

6. Partial!score!copy,!DTBsa!SA!692!

!

It!is!necessary!to!investigate!each!of!these!manuscript!sources!in!turn!in!order!to! understand!the!transmission!and!performance!history!of!the!Missa%Sancti%Spiritus! outside!of!Dresden!and!assess!the!authenticity!and!reliability!of!these!copies.! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 94!These!materials!form!part!of!a!very!large!corpus!of!cultural!treasures!that!were!illegally!relocated! from!Dresden!following!the!end!of!the!Second!World!War,!many!of!which!have!not!yet!been!recovered.! For!further!information!on!the!missing!Dresden!musical!sources,!see!Karl!Wilhelm!Geck,!‘Die!SLUB!als! Archiv!für!die!Musik!der!Dresdner!Hofkapelle’,!SLUBbKurier!12!(1998):!12–14.! 95!Stockigt,!Jan%Dismas%Zelenka,!283.! 96!See,!for!example,!the!Kyrie!in!A!minor,!ZWV!27!(Score:!DTDl!Mus.!2358TDT32;!Parts:!DTDl!Mus.!2358TDT 32a).! 252!!

I.$The$Harrer$Manuscript,$DfBsa$SA$691$

$

The!manuscript!DTBsa!SA!691,!hereafter!SA!691,!is!a!full!score!copy!of!the!complete! mass.!It!is!in!the!hand!of!Johann!Gottlob!Harrer!(1703–1755),!who!is!probably!best! known!as!the!successor!to!Johann!Sebastian!Bach!in!the!post!of!Thomaskantor!in!

Leipzig.97!Importantly,!several!features!observed!in!this!manuscript!(discussed! below)!suggest!that!Harrer!was!principally!copying!not!from!the!autograph!full!score! but!from!a!set!of!parts:!possibly!the!original!set!from!Dresden,!currently!missing.!

!

(i)$Harrer$and$Zelenka$

$

Harrer!was!born!in!1703!in!the!town!of!Görlitz,!in!eastern!.!After!studying! law!at!the!University!of!Leipzig!from!1722–1725!(where,!no!doubt,!he!would!have! encountered!the!music!of!Johann!Sebastian!Bach),!and!music!in!Italy,!he!moved!to!

Dresden!in!the!early!1730s,!where!he!served!as!a!singer!at!the!court!of!Court!Heinrich! von!Brühl,!who!was!Minister!of!State!to!August!I.98!In!his!autobiography,!Harrer! records!how!Brühl!paid!for!him!to!take!composition!lessons!with!Zelenka!during!this! time:!

!

As!a!result!of!the!generosity!of!this!Most!Illustrious!patron!I!thoroughly!

learnt!the!technique!of!composing!vocal!music!according!to!musical!numbers,!

as!he!first!entrusted!my!training!to!Joh.!Dismas!Zelenka,!a!person!highly!

skilled!in!the!art!of!music…99!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 97!For!more!about!the!circumstances!of!Harrer’s!appointment!as!Thomaskantor,!see!Christoph!Wolff,! Johann%Sebastian%Bach:%The%Learned%Musician!(New!York:!W.W.!Norton!&!Co.,!2000),!442–443.! 98!Norman!Rubin,!‘Johann!Gottlob!Harrer’,!in!The%New%Grove%Dictionary%of%Music%and%Musicians,!Second! Edition,!ed.!Stanley!Sadie!and!John!Tyrrell!(London:!Macmillan,!2001),!Vol.!11,!48.!Stockigt,!Jan%Dismas% Zelenka,!267.!Rubin!gives!the!date!of!Harrer’s!move!to!Dresden!as!1731,!but!this!does!not!accord!with!the! date!implied!by!Harrer!himself!in!his!autobiography,!which!is!quoted!by!Stockigt:!“Shortly!afterwards! the!Most!August!King!was!taken!from!the!world!and!by!the!working!of!Divine!Benevolence!it!came! about!that!I!was!able!to!perform!the!same!duties![the!singing!of!choral!music]!for!the!Most!Illustrious! Count!Brühl,!the!Most!August!KingÉs!Minister!of!State”.!The!reference!to!the!death!of!August!I,!which! occurred!in!1733,!thus!implies!that!Harrer!did!not!enter!the!employ!of!Brühl!until!this!year.! 99!‘Illustrissimi!hujus!Maecenatis!gratia!factum!est,!ut!rationem!secundum!numerous!musicos!cantus! compenedi!rite!addisscerem,!cum!primo!quidem!viro!artis!Musicae!peritissimo!Joh.!Dismas!Zelenka!me! ! 253!

For!his!part,!Zelenka!clearly!regarded!some!of!his!pupil’s!musical!compositions!as! worthy!of!preservation:!two!of!Harrer’s!works!are!listed!in!Zelenka’s!Inventarium,! showing!he!kept!copies!of!them!as!part!of!his!own!manuscript!collection.100!Aside! from!his!tutelage!in!composition!under!Zelenka,!Harrer!was!also!actively!involved!in! musical!performances!at!the!Royal!Court!as!a!singer:!

!

I!become!so!accomplished![in!music]!that!the!Most!August!Friedrich!

Augustus,!King!of!the!Poles,!deemed!me!worthy!to!be!appointed!as!a!

supernumerary!member!of!the!musicus%chorus!in!addition!to!the!ordinary!

number!of!singers!which,!through!the!King’s!beneficence,!is!nurtured!in!the!

court.101!

!

In!both!his!composition!studies!and!performances,!therefore,!Harrer!would!have! become!closely!acquainted!with!Zelenka’s!music,!and!it!is!hardly!surprising!that!he! copied!out!several!of!his!teacher’s!pieces.!Stockigt!regards!Harrer!as!one!of!the!most! important!Zelenka!copyists!of!the!eighteenth!century,!both!in!terms!of!the!number!of! works!he!copied!and!the!significance!of!the!role!he!played!in!the!transmission!of!

Zelenka’s!music!beyond!Dresden,!ensuring!it!did!not!remain!entirely!unknown!or! unheard!in!the!decades!that!followed.102!Today,!the!extant!Zelenka!copies!known!to! be!totally!or!partially!in!his!hand!are!all!housed!in!the!Staatsbibliothek!zu!Berlin!–!

Preußischer!Kulturbesitz.!Some!are!found!in!the!collection!of!the!former!AmalienT

Bibliothek,!and!the!archive!of!the!former!SingTAkademie!zu!Berlin!(hereafter!Berlin!

Singakademie),!including!SA!691.!

!

!

$

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! instituendum!daret’.!Facsimile!in!Wolfgang!Reich,!‘Jan!Dismas!Zelenka!und!seine!Dresdner!Kopisten’,! in!ZS%I,!111–113.!The!translation!is!from!Stockigt,!Jan%Dismas%Zelenka,!267.! 100!Stockigt,!Jan%Dismas%Zelenka,!137.!! 101!‘…adeo!proferi!ut!Augustissimus!Polonrum!Rex!Friedericus!Augustus!dignum!judicaret,!quem!in! chorum,!qui!regia!beneficentia!in!aula!agitur,!musicum,!praeter!ordinarium!Cantorum!numerum,! cooptari!juberet.’!Facsimile!in!Reich,!‘Zelenka!und!seine!Dresdner!Kopisten’,!111–113.!The!translation!is! from!Stockigt,!Jan%Dismas%Zelenka,!75.! 102!Stockigt,!Jan%Dismas%Zelenka,!267.! 254!!

(ii)$The$manuscript:$codicology,$palaeography$and$the$copying$process$

$$

The!Berlin!Singakademie!archive!was!recovered!in!2001!from!the!Ukraine,!where!it! had!been!evacuated!for!safety!reasons!during!the!Second!World!War;!as!a!result,! none!of!the!source!listings!published!in!the!standard!Zelenka!literature!mention!any! of!the!manuscripts!from!this!collection.103!Among!its!treasures!is!Harrer’s!copy!of!

ZWV!4.!It!is!a!small!volume,!measuring!21.5!cm!x!20.5!cm,!bound!in!a!faded!blueT green!hardcover.!On!the!front!cover!is!a!pastedTdown!title!etiquette!that!reads!Missa%/% da%/%Giov.%Dismas%Zelenka,!in!the!hand!of!Carl!Friedrich!Zelter!(1758–1832),!who!was!

Director!of!Singakademie!from!1800!to!1832!(and!as!we!shall!see,!his!presence!in!the! manuscript!extends!far!beyond!the!cover).104!Two!stamps,!both!of!Ukrainian!origin!

(and!therefore!applied!after!the!Second!World!War),!are!found!at!the!bottom.!

The!volume!contains!sixtyTthree!leaves!(excluding!the!endpapers)!divided!into! five!fascicles.!Each!fascicle!is!comprised!of!twelve!single!leaves!that!have!been! stitched!together,!with!the!exception!of!the!second!fascicle,!which!contains!an!extra! leaf!at!the!front!(noticeably!slightly!smaller!than!the!others),!and!the!fifth!fascicle,! which!contains!fourteen!leaves.!Thus,!the!structure!of!the!volume!is!as!follows:!

!

Fascicle!1:!Fols.!1–12!!

Fascicle!2:!Fols.!14–25!(fol.!13!added!on!at!the!front)!

Fascicle!3:!Fols.!26–37!

Fascicle!4:!Fols.!38–49!!

Fascicle!5:!Fols.!50–63!!

!

The!foliation,!written!in!grey!pencil!in!the!top!rightThand!corner!of!each!recto! page,!does!not!originate!with!Harrer;!it!may!be!in!the!hand!of!Zelter!(see!below).!

Fols.!1r,!1v,!2r,!2v,!and!3r!also!display!evidence!of!both!an!initial!and!revised!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 103!See!the!listings!in!Dok!I!and!II,!and!Stockigt,!Jan%Dismas%Zelenka,!286–306.!For!more!information!about! the!entire!Berlin!Singakademie!archive,!including!a!complete!list!of!items,!see!Axel!Fischer!and!Matthias! Kornemann!(eds.),!The%Archive%of%the%SingbAkademie%zu%Berlin:%Catalogue!(Berlin!&!New!York:!De!Gruyter,! 2010).! 104!I!am!very!grateful!to!Dr!Peter!Wollny!for!his!expert!advice!on!numerous!aspects!of!this!manuscript,! including!the!identification!of!Zelter’s!hand.! ! 255! pagination!begun!by!Harrer!himself,!which!for!some!reason!was!not!continued.!The! paper!has!been!ruled!with!a!single!rastrum,!although!the!highly!uneven!staves!on! some!of!the!pages,!particularly!fols.!62v!and!63r,!indicate!that!the!paper!was!not! purchased!preTruled.105!The!uneven!trimming!of!the!pages!also!shows!that!the!paper! did!not!come!professionally!bound!into!the!volume.!!

The!title!page!reads!as!follows:!

!

MISSA%2.%a.%/%a%15.%/%II%Clarini,%Timpani,%II%Oboi,%II%Violini,%/%Viola,%Soprano,%Alto,%

Tenore%Basso%/%II%Flauti%traversi,%Violoncello,%/%Fagotto,%Tiorba,%ed%Organo%/%del%/%Sr.%

Giovanni%Dismas%Zelenka.%/%Gottlob%Harrer.%

%

The!title!page!also!bears!the!stamp!of!the!Berlin!Singakademie,!with!its! characteristic!lyre!symbol,!and!another!stamp!of!Ukrainian!origin.!RISM!notes!that! the!watermark!has!been!identified!as!a!coat!of!arms!(‘Kursachswappen’),!containing! the!word!‘Dresden’!in!italics;!there!is!no!countermark.106!

The!manuscript!is!undated,!and!so!we!must!look!to!the!features!of!the! handwriting!to!arrive!at!an!approximate!dating.!Both!Wolfgang!Horn107!and!

Wolfgang!Reich108!have!undertaken!detailed!palaeographic!investigations!of!Harrer’s! autograph!manuscripts!and!Zelenka!copies.!Horn!identifies!two!different! handwriting!types,!although!he!acknowledges!that!the!boundaries!between!the!two! are!not!always!clearly!definable.109!Type!1!is!fluent!and!legible!in!both!notes!and!text,! whereas!Type!2,!which!is!later,!displays!more!closely!packed!and!‘sketchTlike’! notation.110!In!particular,!Horn!points!to!the!distinct!change!in!the!form!of!Harrer’s!CT

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 105!I!thank!Shelley!Hogan!for!her!advice!on!this!point.! 106!Jan!Dismas!Zelenka,!Missa%Sancti%Spiritus!(copyist:!Gottlob!Harrer),!RISM! http://opac.rism.info/search?documentid=469069100!(accessed!23!February!2015).! 107!Wolfgang!Horn,!‘Die!wichtigsten!Schreiber!im!Umkreis!Jan!Dismas!Zelenkas:!Überlegungen!zur! Methode!ihrer!Bestimmung!und!Entwurf!einer!Gruppierung!der!Quellen’,!in!ZS%I,!141–210.!I!am!very! grateful!to!Frederic!Kiernan!for!providing!me!with!an!English!translation!of!this!article.! 108!Reich,!‘Zelenka!und!seine!Dresdner!Kopisten’,!109–140.!Reich!provides!a!visual!summary!(on!p.!124)! of!his!conclusions!regarding!the!development!of!Harrer’s!‘copyist!handwriting’!from!1725!to!1744.! However,!as!Horn!notes!in!his!article!(p.!141),!Reich’s!study!contains!several!highly!questionable! assumptions!and!also!wrongly!identifies!the!hands!of!two!important!anonymous!Zelenka!copyists!as! Harrer.!Thus,!Horn’s!conclusions!regarding!Harrer’s!handwriting!may!be!considered!the!more!reliable.! 109!Horn,!‘Die!wichtigsten!Schreiber’,!152.!! 110!Horn,!‘Die!wichtigsten!Schreiber’,!152–153.! 256!! clefs,!noting!the!resemblance!of!the!Type!2!CTclef!to!that!used!by!Johann!Adolf!

Hasse.111!A!comparison!of!Horn’s!handwriting!profile!of!Harrer!to!the!profile!of!SA!

691!shows!that!it!is!Type!1!that!most!closely!matches!the!general!palaeography!of! this!manuscript.!In!particular,!the!CTclefs!are!always!of!the!KTform!variety!that!Horn! ascribes!to!Type!1!(Figure$3.1),!rather!than!3Tform!clef!that!is!found!in!Type!2.!Many! of!the!treble!clefs!(Figure$3.2)!also!correspond!to!the!Type!1!forms,!of!which!Horn! identifies!three.!Two!of!these!are!marked!by!a!distinctive!absence!of!the!loop!at!the! top!(and,!at!times,!the!lack!of!a!full!inwards!curve!in!the!lower!half!of!the!clef),!and!a! third!type!displays!a!characteristic!loopedTE!shape.!However,!SA!691!also!displays! additional!treble!clef!forms,!some!of!which!correspond!more!to!those!of!Type!2,!and! others!that!appear!to!be!halfway!between!the!two!types.!Moreover,!these!different! forms!are!not!used!at!random:!they!appear!to!correspond!to!specific!instrumental! parts!(Figure$3.3).!The!clef!with!a!loop!at!the!top,!resembling!Type!2,!is!always!found! on!the!brass!staves;!the!loopedTE!Type!1!form!is!used!for!the!oboes;!and!the!form! lacking!the!top!loop!is!confined!to!the!violins.!Rather!than!indicating!a!transitional! stage!in!Harrer’s!handwriting,!this!is!a!deliberate!choice!to!identify!specific! instruments!through!clef!differentiation,!a!detail!that!Horn!notes!may!have!had!a! practical!application!in!helping!a!conductor!(or!another!copyist)!quickly!identify!the! specific!part!they!were!looking!at.112!

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Figure$3.1:$Type!1!KTform!CTclefs!in!SA!691!(fol.!2v):!(left)!alto!clef;!(centre)!soprano!clef;!(right)!tenor! clef.!

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$

Figure$3.2:$Treble!clef!forms!in!SA!691!(fol.!23v):!(left)!form!without!loop!at!top;!(centre);!form!with! loop!at!top;!(right)!loopedTE!form.! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 111!Horn,!‘Die!wichtigsten!Schreiber’,!153.!Horn!contends!that!Harrer!may!have!been!deliberately! imitating!features!of!Hasse’s!clef!forms,!as!he!would!have!been!very!familiar!with!Hasse’s!handwriting.! 112!Horn,!‘Die!wichtigsten!Schreiber’,!153.! ! 257!

$

Figure$3.3:$InstrumentTspecific!treble!clef!differentiation!in!SA!691,!fol.!30v.!From!top!(treble!clef! staves!only):!Trumpets!I!&!II!(clef!with!loop!at!top);!Oboes!I!&!II!(loopedTE!treble!clef);!Violins!I!&!II! (clef!with!no!loop!at!top).!

!

!

! 258!!

Two!other!interesting,!albeit!somewhat!inconspicuous,!characteristics!of!Harrer’s! handwriting!that!Horn!draws!attention!to!are!his!use!of!a!‘flourish’!after!the!double! bar!line!to!conclude!movements!or!sections,!and!the!placement!of!dots!in!dotted! notes!that!are!situated!on!lines,!which!are!usually!also!carefully!placed!on!the! corresponding!line!(Figure$3.4).113!! ! ! ! ! ! ! ! ! ! ! ! ! ! !

Figure$3.4:$Other!characteristics!of!Harrer’s!handwriting!as!observed!in!SA!691:!(left)! ‘flourish’!concluding!the!‘Cum!Sancto!Spiritu’!(fol.!37v);!(right)!placement!of!dots!for!dotted! notes!on!lines!(fol.!4r).! ! The!Type!1!handwriting!of!Harrer!evident!in!this!manuscript!appears!to!date!from! early!in!his!career!as!a!copyist!and!composer.114!Combined!with!the!fact!that!the! paper!comes!from!a!Dresden!miller,!this!suggests!that!the!copy!was!prepared! sometime!in!the!1730s,!when!Harrer!was!a!student!of!Zelenka.!!

When!compared!to!the!autograph!score,!it!can!be!seen!that,!overall,!SA!691! transmits!a!remarkably!accurate!and!detailed!text,!aside!from!certain!significant! deviations!discussed!below.!The!manuscript!vividly!shows,!however,!that!this! accuracy!was!achieved!with!considerable!effort:!it!is!littered!with!crossingsTout,! corrections!and!erasures!(Figure$3.5),!none!so!significant!as!to!disrupt!the!layout!of! the!score!or!hinder!its!readability,!but!nevertheless!lending!it!a!somewhat!untidy!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 113!Horn,!‘Die!wichtigsten!Schreiber’,!153.!Horn!compares!this!feature!with!two!other!important!Zelenka! copyists,!known!as!ZS!0!and!ZS!1,!neither!of!whom!display!this!characteristic!but!instead!usually!place! the!dot!in!the!next!higher!or!lower!space.!! 114!I!am!very!grateful!to!Dr!Peter!Wollny!for!his!advice!on!this!matter.!See!also!the!discussion!in!Horn,! ‘Die!wichtigsten!Schreiber’,!152–153,!regarding!examples!of!Harrer!manuscripts!corresponding!to!each! Type!(some!of!which!have!been!dated).! ! 259! appearance.!These!emendations!frequently!affect!pitches!of!notes,!rests!and! placement!of!the!text.!In!multiple!places,!for!example,!a!whole!passage!has!been! written!on!the!wrong!line!or!space!(very!often!a!third!above!or!below!the!intended! pitches)!and!then!altered!simply!by!adding!noteheads!at!the!correct!pitches.!

Correction!of!individual!pitch!errors!is!usually!attempted!by!altering!the!notehead!in! some!way,!or,!if!this!has!simply!made!the!pitch!even!more!unclear!due!to!smudging!

(as!frequently!appears!to!have!been!the!case),!writing!the!letter!name!of!the!correct! pitch!above!the!note.!These!attempts!at!alteration!frequently!result!in!some!very! unusually!shaped!notes!and!rests.!Erasures!(such!as!where!a!passage!from!a! completely!different!instrumental!part!or!section!of!the!score!has!been!wrongly! copied)!are!generally!clearly!evident,!including!a!particularly!forceful!one!on!fol.!13! that!has!left!a!hole!in!the!leaf.!

!

Figure$3.5:$Examples!of!corrections!in!SA!691!(clockwise!from!top!left):!erasure!due!to! wrong!passage,!correction!of!smudged!notehead!pitches!using!letters,!misshapen!crotchet! rest!due!to!alteration!(fol.!12r,!Trumpet!II);!correction!of!multiple!pitches!using!additional! noteheads!(fol.!49r,!Soprano);!correction!of!misplaced!text!(fol.!11r,!Bass);!overwriting!of! wrong!passage,!visible!underneath!in!lighter!ink!and!partially!smudged!out,!with!correction! of!notehead!pitches!using!letters!(fol.!24v,!Viola).!

!

Despite!all!these!blemishes,!only!comparatively!rarely!do!they!affect!the!clarity!of! the!final!text.!Accuracy,!then,!was!the!most!important!factor!for!Harrer,!rather!than! aesthetic!considerations,!which!indicates!that!the!manuscript!functioned!as!a! working!document!for!practical!use,!not!as!a!presentation!copy.!The!very!visibility!of! these!corrections,!moreover,!gives!us!an!interesting!insight!into!Harrer’s!thought! processes,!including!his!mistakes,!as!he!copied!the!text.!

Other!features!of!the!manuscript!also!hint!at!this!copying!process.!Differences!in! ink!colouration!and!handwriting!style!show!how,!particularly!in!the!large!choral! 260!! movements,!he!prioritised!the!copying!of!certain!voices!and!prominent!instrumental! lines,!effectively!sketching!in!the!outline!of!the!movement,!and!then!returned!later!to! fill!in!missing!parts.!For!example,!on!fol.!15v!(Figure$3.6)!it!can!be!seen!that!the! continuo!line,!tenor!and!bass!voices!and!part!of!the!alto!voice!were!probably!written! in!first,!as!they!all!appear!in!a!dark!black!ink,!and!in!places!also!share!a!certain! tautness!of!handwriting!characterised!by!small!noteheads!and!fine!stems.!

Subsequently,!after!working!on!other!sections!of!the!score,!Harrer!returned!to!this! page!to!write!out!the!remaining!parts!in!a!light!brown!ink,!which!corresponds!to!the! ink!used!for!the!text!underlay!in!this!passage!(most!likely!written!out!after!the! notation).!

Figure$3.6:$SA!691,!fol.!15v,!vocal!parts!and!continuo.!

Another!example!of!this!copying!method!can!be!seen!in!the!Violin!I!part!from!the! same!movement,!the!distinctive!palaeography!of!which,!compared!to!the!parts!above! and!below,!shows!that!it!was!written!out!separately!in!a!linear!fashion!(Figure$3.7).!

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Figure$3.7:$SA!691,!fol.!16v!and!fol.!17r!(partial),!Violins!I!&!II.! ! 261!

Lastly,!it!is!worth!mentioning!what!is!perhaps!the!most!puzzling!feature!of!the! entire!volume:!two!facing!pages!(fol.!62v!and!63r),!immediately!following!the! conclusion!of!the!score,!that!contain!what!can!only!be!described!as!casual!sketch! material!(Figure$3.8).!Some!of!these!passages!seem!to!relate!to!thematic!material!from! the!‘Cum!Sancto!Spiritu’!and!‘Et!vitam!venturi’!!(notably!the!descending! chromatic!countersubject),!but!the!derivation!of!others,!especially!the!crotchets!seen! on!fol.!63r,!is!very!difficult!to!trace.!Perhaps!Harrer!was!testing!out!a!reading!he!felt! uncertain!of,!or!reminding!himself!of!corrections!that!needed!to!be!made!in!the!score;! but!ultimately,!aside!from!the!fact!that!they!most!likely!relate!somehow!to!the! copying!process,!the!function!of!the!material!on!these!two!pages!remains!a!mystery.!

Figure$3.8:$The!mysterious!sketch!material!at!the!end!of!SA!691,!on!fol.!62v!(top)!and!fol.!63r! (bottom).! !

$ 262!!

(iii)$SA$691$as$evidence$for$a$further$revision!

!

Many!of!the!copying!processes!discussed!above!suggest!that!Harrer!was!using!a!set! of!parts,!possibly!the!original!Dresden!parts!(now!missing),!as!his!principal!source.!!

This!would!also!account!for!multiple!differences!observed!between!the!autograph! and!Harrer’s!manuscript,!the!most!significant!example!of!which!can!be!found!in!the! sixth!movement,!‘Qui!tollis!peccata!mundi!II’.!

As!discussed!in!Chapter!2,!this!movement!was!present!in!the!original!1723!version! but!underwent!a!major!revision!in!early!1729,!when!two!flutes!were!added!to!the! ensemble.!In!the!autograph,!at!the!beginning!of!the!movement,!the!violin!lines!

(which!are!also!doubled!by!oboes)!are!simply!marked!‘Tutti’,!thus!implying!that!the! flutes,!too,!should!play!as!written!(Figure$3.9):!

!

Figure$3.9:$ZWV!4!autograph,!Volume!1,!page!51:!‘Qui!tollis!peccata!mundi!II’,!bars!1–6,!Flute! I/Oboe!I/Violin!I!and!Flute!II/Oboe!II/Violin!II.!

However,!in!Harrer’s!copy!(Figure$3.10)!the!flute!parts!are!considerably!embellished:!

!

Figure$3.10:$SA!691,!fol.!23r:!‘Qui!tollis!peccata!mundi!II’,!bars!1–6,!Flutes!I!&!II.!

!

These!embellishments,!built!on!a!repeated!twoTnote!figure,!give!a!mournful,! sighing!quality!to!the!flute!lines,!and!also!highlight!the!suspensions!between!the! ! 263! parts.!Analogous!passages!throughout!the!rest!of!the!movement!are!embellished!in!a! similar!manner.!Minor!rhythmic!changes!are!observed!elsewhere!in!the!movement,! such!as!in!bars!27,!30!and!33,!where!in!Harrer’s!score!both!flutes!play!in!unison,! unlike!in!the!autograph!where!one!immediately!echoes!the!other!(c.f.!the!Critical!

Commentary!for!the!autograph!version).!

Another!difference!between!the!autograph!and!Harrer’s!copy!concerns!the!pitches! of!particular!notes!at!cadential!points!in!the!trio!movement!(‘Christe!eleison’),!and! the!two!solo!arias!(‘Et!resurrexit’!and!‘Benedictus’).!All!of!these!movements!are!in!3/4! time!and!share!common!rhythm!features!at!authentic!cadential!points,!represented! by!the!basic!form!!!!!! .!!!!!!!!

In!almost!all!cases!where!this!rhythmic!pattern,!or!an!elaboration!of!it,!occurs!in!

Zelenka’s!autograph!score,!the!pitch!of!the!single!quaver!(or!similar!note)! corresponds!to!that!of!the!dotted!crotchet;!that!is,!it!acts!as!a!repetition,!before! moving!by!step!to!the!note!that!resolves!the!cadence!(see!the!example!in!Figure$3.11).$$

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Figure$3.11:$ZWV!4!autograph,!Volume!1,!page!22:!‘Christe!eleison’,!bars!64–66,!Flute!I/Violin!I.!

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In!the!Harrer!manuscript,!however,!the!pitches!of!each!of!these!notes!correspond! to!the!note!in!the!following!bar,!so!they!therefore!act!as!nonharmonic!anticipatory! tones.!This!results!in!a!slightly!more!satisfying!ornamental!effect!and!better! highlights!the!resolution!of!the!cadence!(see!the!example!in!Figure$3.12).!

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Figure$3.12:$SA!691,!fol.!8v:!‘Christe!eleison’,!bars!64–66,!Flute!I.! 264!!

It!is!interesting!that!one!bar!in!the!autograph!of!the!‘Christe’!contains!an!unclear! reading!that!may,!in!fact,!represent!an!attempt!to!alter!the!pitch!to!an!anticipatory! note!(Figure$3.13).!

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Figure$3.13:$ZWV!4!autograph,!Volume!1,!page!15:!‘Christe!eleison’,!bars!11–12,!Flute!I/Violin!I.!

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These!are!just!two!of!the!most!significant!examples!of!notational!discrepancies! between!the!autograph!and!Harrer’s!copy!(another,!present!throughout!the!entire! score,!concerns!articulation).!!Given!the!overall!faithfulness!of!the!SA!691’s!text!to! that!of!the!autograph,!it!seems!unlikely!that!Harrer!would!have!made!these!kind!of! changes!himself,!particularly!if!he!was!copying!under!Zelenka’s!supervision.115!The! most!probable!explanation!is!that!these!are!revisions!made!by!Zelenka!that!were! present!in!the!original!set!of!parts,!but!were!not!carried!over!to!the!autograph.!This! means!that!Harrer’s!text!likely!transmits,!at!least!to!some!extent,!the!text!of!the! missing!parts,!which!therefore!must!have!contained!a!further!layer!of!revision.116!

!

(iv)$A$Berlin$performance$of$the$Missa%Sancti%Spiritus?!

!

Although!it!is!preserved!completely!intact!and!in!relatively!good!condition,!the! manuscript!displays!many!signs!of!wear!and!frequent!handling.!In!particular,!many! leaves!exhibit!bent!corners!on!the!bottom!right!hand!side,!accompanied!by! distinctive!thumbmarks,!and!some!are!also!badly!foxed!and!torn!on!the!bottom!edge,! especially!fol.!63.!There!are!also!numerous!smudges!and!stains!that!appear!to!have! resulted!from!spillages,!including!a!large!stain!that!seems!to!have!originated!at!the! top!of!fol.!63!and!has!permeated!this!location!on!all!leaves!through!to!fol.!57.!All!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 115!I!wish!to!thank!Dr!Peter!Wollny!for!his!valuable!advice!on!this!matter.! 116!More!questionable!is!whether!SA!691,!given!that!it!is!a!full!score,!transmits!all!the!performance! markings!that!would!likely!have!been!found!in!the!parts.!See!the!discussion!in!‘About!the!Edition’.! ! 265! these!features!give!the!strong!impression!of!a!manuscript!that!has!received!frequent! use!as!a!practical,!working!document:!in!other!words,!as!a!conducting!score!used!in! performance.!

This!hypothesis!is!borne!out!by!another!striking!feature!of!the!volume:!several! annotations,!mostly!in!grey!pencil,!in!the!hand!of!Carl!Friedrich!Zelter!(1758–1832).!

They!are!now!extremely!faded,!and!some!are!all!but!unreadable,!but!they!possibly! functioned!as!performance!markings!(see!the!examples!in!Figure$3.14).!Many!of!them! are!explicit!reminders!of!a!particular!doubling!or!ensemble!direction,!often!involving!

‘Tutti’!and!‘Soli’!designations.!In!some!places,!they!seem!all!but!redundant!–!for! example,!on!fol.!46r,!where!‘Soli’!is!written!in!grey!right!next!to!where!‘Soli’!is! already!indicated!in!black!(perhaps!this!reflects!an!independent!decision!on!Zelter’s! part!to!retain!the!marking).!

!

!

!

!

!

!

!

!

!

!

!

!

!

Figure$3.14:$Examples!of!annotations!and!markings!in!SA!691!in!the!hand!of!Carl!Friedrich! Zelter!(clockwise!from!top!left):!fol.!23r,!Soprano!and!Alto;!fol.!25r,!Soprano!and!Alto;!fol.!46r,! Soprano,!Alto!and!Tenor.!

!

A!somewhat!baffling!marking!occurs!in!selected!passages!in!several!of!the!larger! movements.!These!are!numbers,!most!commonly!‘1’,!‘2’,!‘3’!and!occasionally!‘8’,! written!in!red!pencil!or!crayon!above!selected!notes!in!the!brass,!oboe!and!violin! 266!! parts!(see!Figure$3.15).!They!do!not!seem!to!indicate!beats!or!another!rhythmic! pattern,!but!it!seems!most!likely!that!they!refer!to!some!kind!of!performance! instruction!or!reminder!for!the!conductor.!

As!Matthias!Kornemann!notes,!Zelter!was!a!great!collector!of!scores!from!an!early! age,!and!it!was!he!who!was!largely!responsible!for!building!up!the!rich!archive!of!the!

Berlin!Singakadamie!from!a!great!variety!of!sources.117!In!the!case!of!the!Harrer! manuscript,!it!seems!to!have!been!acquired!by!Zelter!from!the!Breitkopf!firm!in!

Leipzig!(see!below).118!The!markings!in!his!hand!described!above!indicate!that!he! may!have!been!responsible!for!conducting!a!performance!of!the!Missa%Sancti%Spiritus! in!Berlin!in!the!early!nineteenth!century,!when!he!was!Director!of!the!Singakademie.!

! !

Figure$3.15:$Examples!of!numerical!markings!in!red! pencil!or!crayon!in!SA!691!(from!top):!fol.!28v,!Violin! I;!fol.!29r,!Oboes!I!&!II,!Violins!I!&!II;!fol,!17v,!Oboes!I! &!II;!fol.!31v,!Trumpet!I.!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 117!Matthias!Kornemann,!‘Zelter’s!Archive.!Portrait!of!a!Collector’,!in!Fischer!and!Kornemann!(eds.),!The% Archive%of%the%SingbAkademie%zu%Berlin,!19.! 118!Christoph!Henzel,!‘,!Masses,!Sacred!and!Secular!Cantatas,!Arias!and!Lieder’,!in!Fischer!and! Kornemann!(eds.),!The%Archive%of%the%SingbAkademie%zu%Berlin,!70–71.!Zelter!also!acquired!Harrer’s!copy!of! a!mass!setting!(SA!452)!by!the!Italian!composer!Domenico!Natale!Sarro!(1679–1744)!from!Breitkopf.! Some!of!the!Singakademie’s!other!copies!of!music!by!Dresden!composers,!including!Zelenka,!came!to! Berlin!in!the!second!half!of!the!eighteenth!century!as!a!result!of!the!close!connections!between!several! Berlin!court!musicians!and!the!Dresden!Hofkapelle.!Particularly!notable!as!examples!of!this!musical! exchange!are!the!copies!of!Zelenka!works!by!J.S.!Bach’s!pupil!Johann!Friedrich!Agricola!(1720–1774),! including!the!Missa%Divi%Xaverii,!ZWV!12!(DTBsa!SA!687)!and!the!Missa%Paschalis,!ZWV!7!(GBTOb!MS! Tenbury!749).!For!more!on!Agricola’s!role!as!a!Zelenka!copyist,!see!Andrew!Frampton,!‘A!Copyist!of! Bach!and!Zelenka:!identifying!the!scribe!of!GBTOb!MS!Tenbury!749’!(unpublished!conference!paper,! Melbourne!Bach!Forum,!2014).! ! 267!

II.$Harrer,$Breitkopf$and$the$AmalienfBibliothek$copies$

$

(i)$The$Leipzig$parts:$DfB$Mus.$MS$23541$

!

The!full!score!manuscript!SA!691!does!not!represent!Harrer’s!only!contribution!to!the! transmission!of!ZWV!4.!A!complete!set!of!manuscript!parts!kept!in!Berlin!under!the! shelfmark!DTB!Mus.!MS!23541!also!bears!his!name!and!is!partially!in!his!hand.!The! title!page,!which!is!a!single!leaf!separate!to!the!parts!themselves,!reads:!!

!

Missa%2.%a.![in!red:]!cum%Sanctus%ed%Agnus%/%[in!black:]!a%15.%/%2%Tromba%/%Timpani%

/%2%Flauti%traversi%/%2%Oboi%/%2%Violini%/%Viola%/%S.%A.%T.%B.%/%Continovo%/%di%Gio:%

Dismas%Zelenka.%/%GHarrer.!!

!

The!set!contains!nineteen!parts,!each!measuring!35!x!21!cm.!Most!parts!consist!of! individual!leaves!that!have!been!stitched!together!to!form!a!complete!part!(the! exceptions!being!the!brass!and!timpani!parts,!as!noted!below).!The!contents!of!the!set! is!as!follows:!

!

Soprano![4!fols.]!

Alto![4!fols.]!

Tenore![4!fols.]!

Basso![4!fols.]!

Violino!Primo![6!fols.]![x!2]!

Violino!Secondo![6!fols.]![x!2]!

Viola![4!fols.]!

Basso!per!Fondamento![6!fols.]!

Basso!Ripieno![4!fols.]!

Flauto!Traverso!1o![1!fol.]!

Flauto!Traverso!2do![1!fol.]!

Oboe!Primo![6!fols.]!

Oboe!Secondo![6!fols.]! 268!!

Tromba!prima![2!fols.]![one!single!bifolium,!not!two!single!leaves!bound!

together]!

Tromba!seconda![2!fols.]![one!single!bifolium,!not!two!single!leaves!bound!

together]!

Tamburi![2!fols.]![one!single!bifolium,!not!two!single!leaves!bound!together]!

Organo![6!fols.]!

!

The!set!also!contains!additional!vocal!parts,!consisting!of!twelve!individual!leaves!

(three!leaves!per!part),!for!the!‘Dona!nobis!pacem’,!marked!as!‘III!Cori’.!

This!source!appears!to!have!originated!well!over!a!decade!after!the!SA!691!full! score.!In!addition!to!Harrer’s!hand,!the!parts!display!the!hands!of!several!other! unknown!copyists,!possibly!former!pupils!from!the!Thomasschule!in!Leipzig!(see!

Facsimiles$IX!and!X!in!the!front!of!this!volume).119!Ulrike!Kollmar!notes!the!presence! of!two!watermarks!with!countermarks:!(i)!the!letters!‘IWI’!(countermark:!coat!of! arms!of!Zedwitz);!(ii)!the!word!‘LOESNIZ’!(countermark:!posthorn!in!crowned! shield,!with!four!hooks,!flanked!by!the!letters!‘E’!and!‘L’).120!These!watermarks!are! also!found!in!other!Harrer!manuscripts!dating!from!after!1750,!firmly!indicating!that! the!copy!was!most!likely!made!when!he!was!in!Leipzig.121!The!existence!of!this! source!may!therefore!point!to!a!possible!Leipzig!performance!between!1750!and!1755! of!ZWV!4;!furthermore,!the!remark!‘III!Cori’!on!the!additional!‘Dona!nobis’!parts! suggests!that!this!movement,!at!least,!was!performed!by!the!third!choir!of!Leipzig,!a! group!of!vocalists!that!usually!sang!motetTlike!music!in!the!city’s!Neukirche.122!!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 119!Ulrike!Kollmar,!Gottlob%Harrer%(1703–1755),%Kapellmeister%des%Grafen%Heinrich%von%Brühl%am%sächsischb polnischen%Hof%und%Thomaskantor%in%Leipzig!(=!Schriften!der!Mitteldeutschen!Musikgeschichte!der! Ständigen!Konferenz!Mitteldeutsche!Barockmusik,!Band!12)!(Beeskow:!Ortus,!2006),!307.! 120!Kollmar,!Gottlob%Harrer,!307.! 121!For!example,!Harrer’s!copy!of!masses!by!Johann!Christoph!Schmidt!(1664–1728).!See!Johann! Christoph!Schmidt,!Masses,!(copyist:!Gottlob!Harrer),!RISM! http://opac.rism.info/search?documentid=455030804!(accessed!25!February!2015),!and!Kollmar,!Gottlob% Harrer,!295.! 122!Janice!B.!Stockigt,!‘Two!Zelenka!masses!in!J.S.!Bach’s!Nachlaß’!(unpublished!paper,!Eighth!Biennial! Conference!on!Baroque!Music,!University!of!Exeter,!9–12!July!1998),!7.! ! 269!

After!Harrer’s!death,!his!collection!of!manuscripts!passed!into!the!possession!of! the!Breitkopf!publishing!house!(today!Breitkopf!&!Härtel).123!Founded!in!1719!by!

Bernhard!Christoph!Breitkopf!(1695–1777),!it!was!based!in!Leipzig,!which,!as!Barry!

Brook!comments,!was!the!heart!of!the!German!publishing!industry!during!the! eighteenth!century.124!The!first!music!catalogues!produced!by!Breitkopf!closely! resembled,!and!were!issued!with,!the!trade!catalogues!produced!for!Leipzig’s! famous!Book!Fairs.!These!Verzeichnisse!were!nonTthematic,!consisting!of!lists!of! works!by!genre,!but!without!musical!incipits.125!Over!twentyTfour!nonTthematic! catalogues!were!produced!by!Breitkopf!between!1760!and!1800,!covering!both! printed!music!and!manuscripts.126!

One!of!the!items!listed!in!Breitkopf’s!1761!catalogue!of!manuscripts127!is!Harrer’s! set!of!parts!for!ZWV!4,!priced!at!‘5!thl.!8!gl’!(five!thalers!and!eight!groschen).128!The! parts!were!eventually!purchased!from!Breitkopf!(presumably!several!years!later)!by!

Count!Otto!Karl!Friedrich!von!Voß!(1755–1823).129!Voß!is!known!to!have!bought!a! large!number!of!manuscripts!of!church!cantatas!(including!many!by!Johann!

Sebastian!Bach)!and!LatinTtexted!concerted!works.130!He!seems!to!have!purchased! several!Zelenka!copies!from!Breitkopf,!among!them!Harrer’s!copies!of!the!Missa%

Sancti%Spiritus,%two!Salve%Regina!settings!(ZWV!137!&!141,!DTB!Mus.!MS!30172)!and! the!C!major!!(ZWV!107,!DTB!Mus.!MS!23545).131!The!collection!of!Voß!and! his!descendants!was!subsequently!acquired!by!the!Royal!Library!in!Berlin!(now!the! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 123!HansTJoachim!Schulze,!‘Bach’s!Vocal!Works!in!the!Nonthematic!Catalogs!of!1761!to!1836’,!in!George! B.!Stauffer!(ed.),!Bach%Perspectives%2:%J.S.%Bach,%the%Breitkopfs,%and%EighteenthbCentury%Music%Trade!(Lincoln! and!London:!University!of!Nebraska!Press,!1996),!44.! 124!Barry!S.!Brook,!‘Introduction’,!in!Barry!S.!Brook!(ed.),!The%Breitkopf%Thematic%Catalogue:%The%Six%Parts% and%Sixteen%Supplements%1762–1787!(New!York:!Dover,!1986),!x.! 125!George!B.!Stauffer,!‘Introduction:!The!Breitkopf!Family!and!Its!Role!in!EighteenthTCentury!Music! Publishing’,!in!Stauffer!(ed.),!Bach%Perspectives%2,!6.! 126!Barry!S.!Brook,!‘Introduction’,!xi.! 127!Breitkopf!1761,!10.! 128!Kollmar,!Gottlob%Harrer,!307.! 129!Kollmar,!Gottlob%Harrer,!307.!The!manuscript!is!listed!in!Section!VIII,!p.!118,!of!Voß!Kat%(DTB!Mus.!ms.! theor.!K!21).! 130!Andreas!Glöckner,!‘Church!Cantatas!in!the!Breitkopf!Catalogs’,!in!Stauffer!(ed.),!Bach%Perspectives%2,! 29.!Glöckner!notes!that!Voß!only!seems!to!have!been!interested!in!cantatas!based!on!Psalm!texts,! reflecting!a!certain!prejudice!against!madrigal!cantata!texts!(the!exception,!in!Voß’s!case,!being!the! cantatas!of!J.S.!Bach).!! 131!Kollmar,!Gottlob%Harrer,!304–308;!Bettina!Faulstich,!Die%Musikaliensammlung%der%Familie%von%Voß:%Ein% Beitrag%zur%Berliner%Musikgeschichte%um%1800!(=!Catalogus!Musicus,!Band!XVI)!(Kassel:!Bärenreiter,!1997),! 476–477.!According!to!Faulstich,!Voß!also!purchased!scores!of!Zelenka’s!Missa%Corporis%Domini%(ZWV!9,! DTB!Mus.!MS!30187)!and!the!Litaniae%Laurentanae%‘Salus%infirmorum’!(ZWV!151,!DTB!Mus.!MS!30172).! 270!!

Staatsbibliothek!zu!Berlin!–!Preußischer!Kulturbesitz),!where!all!these!manuscripts,! including!the!Zelenka!copies,!now!reside.!

Both!Harrer!and!Breitkopf!appear!to!have!played!a!crucial!role!in!the!transmission! of!Zelenka’s!music!during!the!second!half!of!the!eighteenth!century.!It!is!revealing! that!every!single!Zelenka!work!listed!in!the!Breitkopf!nonTthematic!catalogues,!aside! from!the!Missa%Nativitatis%Domini!(ZWV!8),!also!exists!as!a!copy!in!Harrer’s!hand.132!

As!Yoshitake!Kobayashi!has!noted,!it!was!the!firm’s!normal!policy,!at!least!in!its! early!years,!to!retain!acquired!manuscripts!(called!‘House!manuscripts’,!or!

Stammhandschriften)!and!then!make!new!copies!of!them!to!sell.133!Before!they!were! subsequently!sold,!most!of!these!Harrer!manuscripts!would!have!been!classed!as!

Stammhandschriften.!They!would!therefore!have!acted!as!the!sources!from!which!

Breitkopf’s!sale!copies!of!Zelenka!works!were!originally!prepared.!Two!other!full! score!sources!for!ZWV!4,!one!a!partial!score!copy!(DTB!Mus.!MS!30187,!fols.!36–77),! and!the!other!a!complete!copy!(DTB!Am.B!360![I]),!illustrate!this!practice.!

!

(ii)$The$Breitkopf$and$AmalienfBibliothek$copies:$DfB$Mus.$MS$30187,$DfB$Am.B$

360$[I]$and$DfB$Am.B$359$

$

DTB!Mus.!MS!30187!is!a!large!volume!containing!sacred!works!by!several!different! composers:!aside!from!ZWV!4,!it!includes!a!copy!of!the!Kyrie!and!Gloria!from!

Zelenka’s!Missa%Corporis%Dominici,!ZWV!9,!Magnificat!and!Sanctus!settings!by!

Francesco!Mancini!(1672–1737)!and!Johann!Adolf!Scheibe!(1708–1776),!two!church! cantatas!by!Scheibe!and!Johann!Christoph!Schmidt!(1664–1728),!and!mass!settings!by!

Marino!Silvani!and!Gottfried!Heinrich!Stölzel!(1690–1749).134!The!presence!of! different!scribes!for!each!work,!none!of!which!have!been!identified,!suggests!that! perhaps!the!individual!pieces!were!once!separate,!and!then!collected!together!in!one! volume.! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 132!Stockigt,!‘Two!Zelenka!masses!in!J.S.!Bach’s!Nachlaß’,!6–7.!Stockigt!suggests!that,!in!all!likelihood,! Harrer!did!make!a!copy!of!ZWV!8,!which!has!now!been!lost.! 133!Yoshitake!Kobayashi,!‘On!the!Identification!of!Breitkopf’s!Manuscripts’,!in!Bach%Perspectives%2,!109.! 134!Kobayashi,!‘On!the!Identification!of!Breitkopf’s!Manuscripts’,!119;!Faulstich,!Die%Musikaliensammlung% der%Familie%von%Voß,!477.!Faulstich!does!not!list!the!work!by!Mancini,!a!Magnificat,!but!instead!names!a! mass!by!Johann!Georg!Schürer!(1720–1786).!I!have!not!yet!been!able!to!view!the!entire!manuscript,!so! have!not!been!able!to!confirm!which!of!the!two!is!correct.! ! 271!

The!copy!of!ZWV!4,!which!occupies!folios!36–77!of!the!volume,!is!in!full!score,!but! only!contains!the!Kyrie,!Gloria!and!Credo!sections.!The!reason!for!this!is!not!clear,! although!a!nota%bene!on!the!first!page!(folio!36)!appears!to!acknowledge!that!the!

Sanctus,!Osanna!and!Agnus!Dei!sections!are!missing.!Despite!the!fact!that!this!score! substantiates!the!revisions!in!Harrer’s!score!that!are!attributable!to!Zelenka!(for! example,!the!elaboration!of!the!flute!parts!in!the!second!‘Qui!tollis’),!it!also!contains! several!deviant!readings!(such!as!changes!of!pitch,!rhythm,!and!text!underlay)!not! found!in!either!Harrer’s!score!or!the!parts.!Furthermore,!much!of!the!articulation! present!in!the!autograph!and!the!Harrer!copies!is!missing.!

DTB!Am.B!360,!on!the!other!hand,!does!contain!the!entire!mass,!and!it!is!almost! certainly!a!Breitkopf!manuscript!(see!below).!The!ZWV!4!copy!forms!one!half!of!this! volume,!the!other!half!being!a!copy!of!Zelenka’s!Missa%Nativitatis%Domini!(ZWV!8),! completed!with!a!Sanctus!and!Agnus!Dei!possibly!lifted!from,!or!later!used!in,!the!

Missa%Charitatis!(ZWV!10).135!!It!belongs,!together!with!another!full!score!copy!of!

ZWV!4,!Am.B!359,!to!the!collection!of!the!former!AmalienTBibliothek.!This!was!once! the!personal!library!of!Princess!Anna!Amalia!of!Prussia!(1723–1787),!the!youngest! sister!of!Frederick!the!Great!(1712–1786),!and!contained!around!3000!books!and!over!

600!volumes!of!music.136!The!volumes!in!which!these!copies!of!ZWV!4!are!found!are! both!bound!in!light!brown!leather,!with!goldTembossed!decorations!and!labels!and! colourTmarbled!endpapers.137!Am.B!360!contains!one!hundred!and!forty!leaves,! measuring!22/22.5!cm!x!30.5!cm!(an!example!page!is!given!in!Figure$3.16).!!The!score! copy!of!ZWV!4!is!found!on!folios!1–73;!folios!74–140!contain!the!score!copy!of!ZWV!

8.!The!title!page!of!the!ZWV!4!copy!reads:!Missa%/%a.%/%2%Clarini%/%Tympano.%/%2%Oboi%/%2%

Flauti,%2%Violini%/%Viola%/%5%Voci%/%e%/%Fondamento.%/%del%Sig%Zelenka.!It!is!interesting!that!the! title!page!notes!‘5!Voci’!when!only!four!vocal!parts!are!present;!this!is!probably!a! mistake!on!the!part!of!the!scribe.!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 135!Stockigt,!Jan%Dismas%Zelenka,!287.! 136!Eva!Renate!Blechschmidt,!Die%AmalienbBibliothek:%Musikbibliothek%der%Prinzessin%Anna%Amalia%von% Preußen%(1723–1787)!(=!Berliner!Studien!zur!Musikwissenschaft,!Band!8)!(Berlin:!Merseburger,!1965),!14.! 137!Blechschmidt,!Die%AmalienbBibliothek,!44.! 272!!

The!identity!of!this!scribe!is!unknown.138!Nevertheless,!a!clue!to!the!manuscript’s! filiation!comes!from!the!fact!that!several!of!its!corrupt!readings!correspond!to!those! found!in!MS!30187!(in!addition!to!the!general!absence!of!much!articulation).!

Kobayashi!has!concluded,!on!the!basis!of!his!own!watermark!and!palaeographic! analyses!of!several!Breitkopf!manuscripts,!that!MS!30187!was!a!House!manuscript! while!Am.B!360!was!a!sale!manuscript.139!This!implies!that!the!latter!was!copied!from! the!former;!however,!the!fact!that!MS!30187!is!an!incomplete!copy!means!that!Am.B.!

360!must!instead!have!been!at!least!partially!copied!from!another!source.140!

Furthermore,!it!appears!that!MS!30187!was!offered!for!sale!in!the!nonTthematic! catalogues,!which!Kobayashi!himself!notes!would!have!been!unusual!for!a!House! manuscript.141!A!potential!alternative!is!that!both!copies!were!in!fact!sale! manuscripts,!and!MS!30187!was!copied!from!Am.B!360,!rather!than!the!other!way! around.142!

!

!

!

Figure$3.16:$DTB!Am.B!360,! opening!page.!

!

!

!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 138!Blechschmidt!designates!the!anonymous!scribe!‘Zelenka!II’,!although!this!should!not!be!confused! with!the!anonymous!Zelenka!scribe!named!‘ZS!II’!by!Wolfgang!Horn.!She!also!identifies!the!copyist!of! the!title!page!as!‘J.S.!Bach!XI’.!See!Blechschmidt,!Die%AmalienbBibliothek,!219–220.!! 139!Kobayashi,!‘Breitkopf’s!manuscripts’,!120–121.! 140!At!the!time!Kobayashi!was!writing,!the!Berlin!Singakademie!collection!had!not!been!recovered,!so!he! would!have!been!unaware!of!the!existence!of!the!Harrer!full!score!copy!SA!691!as!a!potential!source.! 141!Faulstich,!Die%Musikaliensammlung%der%Familie%von%Voß,!476–477.!The!manuscript!was!eventually! acquired!by!Voß,!perhaps!at!the!same!time!as!the!Harrer!set!of!parts.!Although!House!manuscripts!were! later!sold!off!by!Breitkopf,!including!the!Harrer!full!score!copies—many!of!which,!as!noted!above,!were! bought!by!Voß—they!do!not!seem!to!have!been!listed!in!the!Breitkopf!nonTthematic!catalogues!of!the! 1760s!as!MS!30187!was!(see!the!1764!catalogue,!page!15,!and!the!1769!catalogue,!page!16).!This!possibly! also!explains!the!reason!why!Voß!did!not!purchase!Harrer’s!full!score!copy!of!ZWV!4,!now!SA!691,! because!he!already!owned!a!partial!score!and!a!full!set!of!parts.! 142!The!advantage!of!this!explanation!is!that!it!allows!for!Am.B!360!to!have!been!copied!from!a!single! source!(namely!SA!691),!which!seems!somewhat!more!likely!than!it!being!descended!from!two! independent!sources.! ! 273!

Am.B!359!contains!one!hundred!and!twentyTnine!leaves,!measuring!34.3!cm!x!23.7! cm!(an!example!page!is!given!in!Figure$3.17).!The!title!page!reads:!D.%/%Missa.%/%a%4%

Voc:%/%Con%str:%/%Canto.%/%Alto.%/%Tenore.%/%Basso.%/%2%violini.%/%1%viola.%/%2%Cornua.%/%Con%/%

Organo.%/%Dell%Sig:%Giov:%Dismas%/%Zelenka.!The!stamp!on!the!cover!reads!GYMNASIO%/%

REG:%JOACHIM:%/%LEGAT:%AB%ILLU=%/%STRISS:%PRINCIPE%/%AMALIA.!An!interesting! inscription!is!found!on!fol.!37v,!written!over!the!alto!solo:!‘Sig:!Cajetano.!Solo.’!This! clearly!refers!to!an!alto!soloist!named!Cajetano,!indicating!that!the!score!may!have! been!used!in!performance!at!some!point.!

The!presence!of!corrupt!readings!in!Am.B!359!suggests!it!is!closely!related!to!MS!

30187!and!Am.B.!360,!although!it!is!not!mentioned!by!Kobayashi!as!a!manuscript! held!or!sold!by!the!Breitkopf!firm.143!For!the!present,!the!filiation!of!these!three! manuscripts!must!therefore!remain!open!to!speculation.!What!is!clear,!however,!is! that!at!least!one!of!them!must!have!been!prepared!from!a!Harrer!copy,!most!likely!

SA!691;!it!was!at!this!point!that!(for!whatever!reason)!several!corrupt!readings!were! introduced,!and!then!carried!over!into!subsequent!copies.!

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Figure$3.17:$DTB!Am.B!359,!opening! page.!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 143!One!possibility!is!that!Am.B!359!was!copied!from!Am.B!360!after!it!had!been!acquired!for!the! AmalienTBibliothek.!Blechschmidt!(and!consequently!RISM)!designates!the!scribe!of!Am.B!359!as! ‘Zelenka!I’;!again,!this!should!not!be!confused!with!the!scribe!‘ZS!I’.!RISM!assigns!the!manuscript!a!date! of!1760!(see!Jan!Dismas!Zelenka,!Missa%Sancti%Spiritus!(anonymous!copyist,!Am.B!359),!RISM! http://opac.rism.info/search?documentid=452506996!(accessed!23!February!2015).! 274!!

(iii)$An$incomplete$source$from$the$Singakademie:$DfBsa$SA$692$

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The!only!source!that!remains!to!be!discussed!briefly!is!another!score!copy!from!the! collection!of!the!former!Berlin!Singakademie,!with!the!shelfmark!DTBsa!SA!692.!The! volume,!bound!in!a!dark!red!hardcover,!contains!one!hundred!and!twentyTeight! leaves,!and!measures!18!cm!x!22.5!cm.!There!is!no!title!page.144!Each!page!contains! nine!preTruled!staves,!but!the!top!four!staves!are!always!blank!(with!the!exception!of! fols.!3!and!4,!see!below).!The!lower!staves!contain!the!vocal!and!continuo!parts!only!

(without!figures)!in!the!hand!of!an!unknown!Berlin!copyist.145!The!vocal!parts! themselves!exhibit!significant!deviant!readings,!both!rhythmic!and!melodic,!and! many!of!these!bear!no!relation!to!readings!found!in!any!of!the!sources.!It!therefore! seems!that!the!scribe!has!deliberately!altered!the!parts!to!suit!his!or!her!tastes,!or!the! needs!of!the!ensemble!that!may!have!used!the!score;!alternatively,!it!may!have!been! copied!from!an!unknown!source!that!is!now!missing.!

The!instrumental!parts!have!been!partially!sketched!in!on!folios!1r,!3r,!3v,!4r!and!

4v!by!Zelter!(Figure$3.18),!which!suggests!that!perhaps!at!one!time!he!intended!to! use!the!score!for!rehearsal!or!performance!purposes.!The!lack!of!any!further! additions!to!the!manuscript,!however,!makes!it!difficult!to!draw!any!firm! conclusions!about!its!function.!If!it!was!used!in!performance,!the!most!likely!scenario! is!that!it!functioned!as!a!vocal!score,!but!the!discrepancies!between!it!and!the!other! extant!sources!make!it!difficult!to!see!how!it!could!have!been!used!alongside!any!of! the!full!score!copies!or!parts.!

!

For!all!the!faults!of!these!copies,!they!nonetheless!show!that!the!Missa%Sancti%Spiritus% was!certainly!copied,!studied!and!performed!multiple!times!outside!of!Dresden!after!

Zelenka’s!death.!Ultimately,!it!is!to!Gottlob!Harrer!we!must!give!credit!for!this! transmission:!it!was!only!because!of!his!full!score!copy,!likely!made!in!Dresden! under!the!supervisor!of!Zelenka!himself,!that!the!Breitkopf!publishing!house!had! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 144!Jan!Dismas!Zelenka,!Missa%Sancti%Spiritus!(copyist:!anonymous/Carl!Friedrich!Zelter),!RISM! http://opac.rism.info/search?documentid=469069200!(accessed!23!February!2015).!It!is!noted!here!that! the!foliation,!in!grey!lead!pencil,!is!a!modern!addition.! 145!Zelenka,!Missa%Sancti%Spiritus!(copyist:!anonymous/Zelter),!RISM! http://opac.rism.info/search?documentid=469069200!(accessed!23!February!2015).! ! 275!

access!to!the!text!of!the!work!at!all,!and!thus!was!able!to!make!further!copies!of!it!for!

sale.!As!with!the!other!Zelenka!works!that!were!copied!by!Harrer,!which!display!a!

similar!transmission!pattern,!this!seems!to!have!led!to!the!distribution!and!possible!

performance!of!the!mass!in!Leipzig!and!Berlin!in!the!midTlate!eighteenth!and!early!

nineteenth!centuries.!Clearly,!therefore,!Zelenka’s!music!was!not!entirely!unknown!

outside!of!Dresden!during!this!time,!and!the!significant!role!played!by!individuals!

such!as!Harrer!in!its!transmission!is!an!important!area!fully!deserving!of!further!

research.!%

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Figure$3.18:$DTBsa!SA!692,!fol.!4v,!displaying!partially!sketched!instrumental!parts!in!the!hand! of!Carl!Friedrich!Zelter.!

! 276!!

CONCLUSION$

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Part!II!of!this!thesis!has!aimed!to!provide!the!first!comprehensive!study!of!all!the! surviving!manuscript!sources!of!the!Missa%Sancti%Spiritus.!My!opening!chapter! provided!important!historical!background!information!about!the!work!necessary!for! understanding!the!sources!in!context.!It!discussed!the!work’s!place!in!Zelenka’s!mass! oeuvre,!the!highly!circumstantial!evidence!for!its!first!performance,!and!the!nature!of! the!Dresden!ensembles!for!which!it!was!written.!This!was!followed!by!a!detailed! study!of!Zelenka’s!autograph!manuscript.!Through!a!close!examination!of!its! codicological!and!palaeographic!features,!I!have!revealed!more!about!the! compositional!history!of!the!work,!showing!that!the!manuscript!exhibits!multiple! layers!of!working!and!revision!that!were!applied!over!a!period!of!time.!Changes! observed!in!Zelenka’s!handwriting!prove!that!only!the!Kyrie!and!Gloria!sections! date!from!1723.!In!late!1728!and!early!1729,!Zelenka!decided!to!expand!the!mass!into! a!complete!setting!by!adding!the!Credo,!Sanctus!and!Agnus!Dei!sections,!most!of! which!consisted!of!newly!composed!material;!the!‘Et!resurrexit’!and!‘Benedictus’! movements!were!sections!from!earlier!compositions!that!were!reworked.!In!addition,!

Zelenka!made!significant!revisions!to!the!existing!Kyrie!and!Gloria!sections,!notably! by!adding!two!flutes!to!the!ensemble!and!rewriting!several!passages.!The!autograph! also!shows!how!he!added!‘pasteTovers’!at!specific!places!in!the!score,!which!serve!to! clarify!illegible!passages!or,!in!some!cases,!contain!further!revisions.!

In!the!third!chapter,!I!discussed!each!of!the!nonTautograph!manuscript!sources!in! turn,!focusing!particularly!on!the!full!score!copy!made!by!Gottlob!Harrer!(DTBsa!SA!

691).!I!established!that!this!copy!dates!from!Harrer’s!period!studying!with!Zelenka!in!

Dresden,!and!was!most!likely!prepared!from!the!original!set!of!parts,!now!missing,! which!contained!further!revisions!not!present!in!the!autograph.!I!then!traced!the! subsequent!transmission!history!of!the!Missa%Sancti%Spiritus,!examining!the!role!of!the!

Breitkopf!publishing!house,!which!most!likely!acquired!Harrer’s!manuscript! collection.! ! 277!

Part!II!of!this!thesis!thus!makes!an!important!contribution!to!Zelenka!manuscript! studies,!enriching!our!understanding!of!his!compositional!processes!and!the! development!of!palaeographic!characteristics!observed!in!his!autograph!scores.!

Furthermore,!the!evidence!surrounding!the!transmission!of!this!work!in!manuscript! copies!shows!that!Zelenka’s!music!did!not!remain!entirely!unknown!and! unperformed!during!the!second!half!of!the!eighteenth!century.!!

Another!significant!outcome!of!this!manuscript!study,!of!course,!is!that!it!allows! us!to!properly!evaluate!the!textual!significance,!reliability!and!‘authenticity’!of!each! of!these!sources.!The!conclusions!arising!from!this!manuscript!study!therefore!form! the!basis!for!the!source!criticism!undertaken!in!the!preparation!of!my!edition.!

Drawing!on!the!evidence!presented!above,!the!final!part!of!this!thesis!summarises! the!likely!filiation!of!the!sources!and!outlines!the!editorial!policies!that!underpin!the! edition.!This!is!followed!by!a!detailed!critical!commentary!that!lists!all!variant! readings!and!specific!editorial!emendations.!

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! 278!!

! ! ! 279!

PART$III$ $ $ $ Critical$Report$

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$ $ 280!!

$ $ ! 281!

ABOUT$THIS$EDITION$

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This!thesis!presents!the!first!critical!edition!of!Zelenka’s!Missa%Sancti%Spiritus.146!The! aim!of!this!section!is!to!draw!together!relevant!findings!of!the!manuscript!studies!in!

Chapters!2!and!3!in!order!to!give!an!overview!of!the!filiation!of!the!sources,!and! explain!how!this!has!informed!the!edition!of!this!work!presented!in!Volume!1.!The! guiding!editorial!principles!and!methods!of!the!edition!are!then!discussed!in!detail,! followed!by!the!Critical!Commentary.!

! I.$Rationale$

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As!discussed!in!Part!II,!the!extant!sources!for!the!Missa%Sancti%Spiritus!constitute!a! large!and!complex!body!of!material!that!requires!careful!evaluation!prior!to!making! any!judgements!about!which!manuscript,!or!manuscripts,!should!act!as!the!principal! source(s)!for!the!edition.!A!summary!list!of!all!the!known!sources!for!ZWV!4,!both! extant!and!lost,!is!given!below,!together!with!the!sigla!that!will!be!used!to!identify! them!in!the!rest!of!this!section!and!in!the!commentary.!!

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EXTANT$SOURCES$

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A.!Autograph!full!score!(2!vols.).!Sächsische!Landesbibliothek!–!StaatsT!und!

Universitätsbibliothek!Dresden.!Shelfmark:!Mus.!2358TDT18,1–2.!

!

B.!Full!score!copy!in!the!hand!of!Johann!Gottlob!Harrer,!with!annotations!in!the! hand!of!Carl!Friedrich!Zelter.!SingTakademie!zu!Berlin/Notenarchiv,!now!located!in! the!Staatsbibliothek!zu!Berlin!–!Preußischer!Kulturbesitz.!Shelfmark:!SA!691.! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 146!Shortly!before!the!submission!of!this!thesis,!my!attention!was!drawn!to!a!selfTpublished!edition!of!the! Missa%Sancti%Spiritus!by!Werner!Jaksch,!dated!January!2015,!which!at!the!time!of!writing!is!available!for! free!download!on!a!public!domain!sheet!music!website.!It!should!be!noted!that!despite!the!presence!of!a! short!‘Kritischer!Bericht’!(without!a!detailed!commentary),!Jaksch’s!score!does!not!constitute!a!proper! critical!edition!of!this!work:!it!is!based!on!one!source!only!(the!Harrer!copy,!SA!691)!and,!moreover,! some!of!Jaksch’s!conclusions!regarding!this!source!are!questionable!or!incorrect.!! 282!!

C.!Set!of!19!parts,!partially!in!the!hand!of!Johann!Gottlob!Harrer;!12!additional!vocal! parts!in!multiple!unknown!hands!for!the!‘Dona!nobis!pacem’.!Staatsbibliothek!zu!

Berlin!–!Preußischer!Kulturbesitz.!Shelfmark:!Mus.!MS!23541.!

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D.!Full!score!copy!in!an!unknown!hand.!Staatsbibliothek!zu!Berlin!–!Preußischer!

Kulturbesitz.!Shelfmark:!Am.B!360![I].!

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E.!Full!score!copy!in!an!unknown!hand.!Staatsbibliothek!zu!Berlin!–!Preußischer!

Kulturbesitz.!Shelfmark:!Am.B!359.!

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F.$Full!score!copy!of!Kyrie,!Gloria!and!Credo!in!an!unknown!hand.!Staatsbibliothek! zu!Berlin!–!Preußischer!Kulturbesitz.!Shelfmark:!Mus.!MS!30187,!fos.!36–77.!

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G.!Partial!score!copy!in!an!unknown!Berlin!hand!and!the!hand!of!Carl!Friedrich!

Zelter.!SingTakademie!zu!Berlin/Notenarchiv,!now!located!in!the!Staatsbibliothek!zu!

Berlin!–!Preußischer!Kulturbesitz.!Shelfmark:!SA!692.!

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LOST$SOURCES!

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X.$Set!of!64!parts:!Kyrie!only!(24!parts);!Gloria!only!(9!parts);!entire!mass!(31!parts).!

Formerly!Sächsische!Landesbibliothek!–!StaatsT!und!Universitätsbibliothek!Dresden.!!

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All!these!sources!have!been!described!in!Chapters!2!and!3.!The!stemmas!below! display!two!possible!filiation!scenarios!based!on!this!evidence.!Solid!lines!show! established!relationships,!whilst!dotted!lines!indicate!conjectural!or!uncertain! relationships.! ! 283!

!

!!!!!!!!!!!!!!!!!!!!!!!!!!!Stemma!1!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Stemma!2!

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The!most!speculative!part!of!each!stemma!concerns!the!filiation!of!D,!E!and!F,! which!is!very!uncertain.!These!sources!are,!however,!clearly!related!in!some!way!and! most!likely!share!B!as!a!common!ancestor,!owing!to!their!connection!with!the!

Breitkopf!publishing!house.!Stemma!1!presents!a!filiation!consistent!with!Yoshitake!

Kobayashi’s!observations,!where!F!was!a!Breitkopf!house!manuscript!that!acted!as! the!principal!source!for!D,!a!sale!manuscript.!For!this!scenario!to!be!plausible,! however,!another!copy!must!have!acted!as!a!supplementary!source,!owing!to!the! incomplete!state!of!F!(most!likely,!this!copy!would!have!been!B).!Stemma!2!presents! an!alternative!filiation,!where!B!(a!house!manuscript)!is!the!single!source!for!D,!from! which!F!was!then!copied.!!

In!both!cases,!the!filiation!of!E!remains!almost!entirely!conjectural.!RISM!asserts!it! was!copied!around!1760,!but!it!is!hard!to!pinpoint!exactly!which!manuscript(s)!acted! as!the!source!due!to!its!several!unique!variants!(including!the!absence!of!flutes).!The! most!plausible!scenario!is!that!it!was!copied!from!D.!Another!possibility,!not!shown! above,!is!that!B!acted!directly!as!a!source!for!E,!although!this!fails!to!account!for! 284!! corrupt!readings!common!to!D,!E!and!F!(E!cannot!have!acted!as!the!principal!source! for!D!and!F,!as!it!contains!corruptions!not!observed!in!either!manuscript).!

The!significant!doubt!surrounding!the!filiation!of!these!three!manuscripts,!none!of! which!have!had!their!scribes!identified,!makes!them!difficult!to!accept!as!trustworthy! sources!that!can!be!directly!connected!with!Zelenka.!Furthermore,!they!all!contain! numerous!variant!readings!not!found!in!either!A!or!B,!many!of!which!are!certainly! corrupt!or!at!least!highly!questionable.!As!a!result!of!all!these!factors,!D,!E!and!F! have!been!deemed!too!unreliable!to!be!considered!authentic!texts,!and!have!thus!not! been!consulted!in!the!preparation!of!the!present!edition.!Likewise,!G!can!be! eliminated!as!a!potentially!useful!text!owing!to!its!highly!incomplete!state!and,!once! again,!the!presence!of!corrupt!readings.!

We!are!therefore!left!with!four!sources!that!are!connected!in!a!line!of!descent!that! leads!directly!from!A!to!B!and!C!via!X.!It!is!naturally!tempting!to!regard!A!as!the! codex%optimus,!even!in!the!absence!of!X,!for!it!is!clearly!the!one!most!closely!connected! with!the!composer.!However,!as!Chapter!3!has!shown,!it!is!highly!likely!that!X! contained!important!markings!and!revisions!made!by!the!composer!that!are!missing! from!A,!and!that!B$transmits!at!least!some!of!these!revisions.!Moreover,!unlike!D,!E! and!F,!it!is!most!likely!that!B!was!prepared!in!Dresden!under!the!supervision!of!

Zelenka,!which!gives!it!further!authenticity.!These!factors!greatly!elevate!the!status! of!B!as!a!reliable!textual!source,!such!that!it!legitimately!competes!with,!and!may!be! considered!as!superseding,!A!as!a!codex%optimus.!Despite!B’s!overall!textual!fidelity!to!

A,!however,!it!should!not!be!assumed!that!it!is!completely!free!of!corrupt!readings,! and!indeed!it!clearly!contains!some!isolated!errors.!As!a!result,!prioritising!it!over!A! risks!silently!contaminating!the!edition!with!unidentified!corruptions!under!the! assumption!that!they!represent!revisions!made!by!the!composer.!Furthermore,!both! sources!contain!numerous!competing!readings!that,!in!many!cases,!may!be! considered!equally!viable.!C!must!be!treated!with!caution,!because!it!is!further! removed!from!X!than!B!and!was!produced!by!multiple!copyists,!so!it!therefore! carries!an!inherently!greater!risk!of!transmitting!corrupt!readings.!!

In!the!editor’s!view,!it!would!be!fundamentally!wrong!to!base!a!critical!edition!of! this!work!completely!on!the!readings!of!one!source!alone.!It!is!simply!not!possible!to! ! 285! arrive!at!a!text!that!is!faithful!to!one!source!alone,!takes!into!account!significant! competing!readings!with!their!various!arguments!of!authenticity,!and!produces!a! consistent!and!coherent!text!that!can!also!be!used!in!performance.!A!hybrid!edition! of!some!kind!thus!becomes!the!most!optimal!solution.!

! II.$Editorial$Policy$

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(i)$General$

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Owing!to!its!likely!transmission!of!important!revisions!made!by!Zelenka,!B!has! acted!as!the!overall!principal!source!for!this!edition,!and!so!its!readings!are!therefore! given!priority!over!A!by!default.147!Generally!speaking,!an!alternative!reading!from!

A!is!only!substituted!in!the!main!text!if!there!is!a!strong!justification!for!doing!so:!for! example,!if!B!contains!an!obvious!error!or!a!questionable!reading!that!is!deemed!to! carry!a!significant!possibility!of!being!corrupt.!In!all!other!cases,!if!A!contains!a! conflicting!reading!that!cannot!be!safely!classified!as!an!error!or!from!an!earlier! version,!it!is!notated!in!the!commentary!as!a!viable!alternative!(in!all!likelihood,!at! least!a!few!of!these!readings!probably!belong!in!the!main!text,!but!given!the!absence! of!X!there!is!no!way!of!knowing!for!certain!which!are!most!‘authentic’).!Special! exceptions!to!this!policy!concern!the!text!underlay,!continuo!markings,!and!other! staff!markings!such!as!articulation,!dynamics!and!figured!bass,!all!discussed!in!detail! below.!C!has!been!used!only!as!a!supplementary!source!to!confirm!certain!unclear!or! questionable!readings!in!B.!Where!omissions!occur!in!both!A!and!B,!editorial! interventions!(such!as!those!made!by!analogy!with!similar!passages,!or!through!the! harmonic!sense!of!the!passage)!are!indicated!on!the!staff!through!the!use!of!square! brackets!or,!in!the!case!of!slurs!and!ties,!dashed!lines.!

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 147!I!am!most!grateful!to!Dr!Peter!Wollny!for!his!advice!on!this!source!and!the!editorial!policy!described! here.! 286!!

(ii)$Titles$and$text$underlay$$

$

For!the!most!part,!neither!A$nor!B!give!separate!titles!for!each!movement,!so!these! have!been!added!according!to!text!incipits.!The!movement!numbering!is!editorial.!

The!text!underlay!in!both!sources!is!frequently!unclear!and!contains!numerous!errors! and!conflicting!readings.!In!the!editor’s!view,!it!is!unsafe!to!assume!that!B!always! transmits!Zelenka’s!final!intentions!for!the!text!underlay!and!that!any!readings! conflicting!with!A!always!represent!revisions!made!by!the!composer.!Therefore,! where!the!text!underlay!differs!in!the!two!sources!and!cannot!be!ascribed!to!error,! the!reading!considered!to!be!the!most!likely,!or!most!consistent!with!analogous! passages,!has!been!chosen!for!inclusion!in!the!main!text.!In!each!case,!the!rejected! reading!has!been!given!in!the!commentary,!and,!unless!otherwise!noted,!may!be! considered!as!a!viable!alternative.!Where!the!text!is!missing!in!A!because!of! notational!shorthand,!the!underlay!in!B!has!always!been!followed!unless!otherwise! noted.!!

The!spelling!and!orthography!of!the!text!has!been!regularised!according!to!the!

Liber%Usualis,148!except!for!‘caelestis’,!‘caeli’,!‘caelis’!and!‘exspecto’,!where!the!church!

Latin!spelling!of!the!sources!has!been!retained!according!to!modern!convention.!

Hyphenation!of!the!text!and!syllable!divisions!follow!modern!conventions,!and! punctuation!has!been!added!as!required!by!repeated!phrases!and!movement! divisions!(colons!present!in!the!Liber%Usualis!text!have!been!replaced!by!commas).!

!

(iii)$Score$order$and$general$notational$principles$

$

The!original!score!order,!which!deviates!from!modern!practice!by!placing!the! brass!and!timpani!above!the!woodwind!instruments,!has!been!retained.!All!parts!are! given!separate!staves,!as!in!B.!The!order!is!the!same!in!both!sources!for!all! movements,!with!the!exception!of!the!‘Christe!eleison’,!where!the!score!order!of!B! has!been!followed!(see!the!note!in!the!Critical!Commentary).!System!braces!and!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 148!Benedictines!of!Solesmes!(eds.),!The%Liber%Usualis:%With%Introduction%and%Rubrics%in%English!(Tournai! (Belgium);!New!York:!Desclée,!1961),!1–7.!! ! 287! brackets!follow!modern!usage.!All!clefs!in!the!vocal!parts!have!been!modernised! where!necessary,!and!the!originals!indicated!on!prefatory!staves!at!the!beginning!of! each!movement.!The!trumpet!and!timpani!parts,!following!the!practice!of!editions! such!as!the!revised!Neue%Bach%Ausgabe,!remain!as!transposing!instruments.149!

All!colla%parte!doubling!instructions!in!the!sources!have!been!fully!realised!without! further!comment,!unless!the!directions!given!in!the!sources!are!ambiguous.!

Modifications!to!the!oboe!parts!in!B,!which!likely!come!from!X!in!accordance!with! the!performance!practices!described!in!Chapter!1,!have!been!retained!unless! otherwise!noted.!Missing!barlines!have!been!tacitly!added,!and!final!barlines! modernised!to!the!standard!thinTthick!form.!Bar!numbers!have!been!added!at!the! beginning!of!each!system!above!the!top!stave.!Original!time!signatures!have!been! retained,!except!for!the!time!signature!‘3’,!which!has!been!modernised!to!3/4.!!

Stem!directions,!beaming!and!rhythmic!groups!have!been!modernised,!although! the!original!beaming!has!been!retained!in!the!vocal!parts!in!order!to!emphasise! syllabic!declamation.!Rests!missing!in!either!source!have!been!added!without!further! comment.!The!placement!of!ornaments!has!been!regularised.!Tempo!directions! intended!to!apply!to!the!entire!score!are!given!above!the!top!staff!and!the!basso! continuo!staff.!Some!tempo!directions!in!A!are!not!in!Zelenka’s!hand,!but!their! presence!in!B!suggests!they!likely!originated!in!X!and!were!then!retrospectively! applied!to!A.!

!

(iv)$The$basso$continuo$

$

B$gives!very!few!written!markings!denoting!the!continuo!performance!practices! described!by!Kohlhase!(see!Chapter!1),!although!dynamic!signs!often!appear!to!have! been!used!in!place!of!these!(for!example,!‘forte’!to!indicate!‘Tutti’,!‘piano’!to!indicate!

‘Soli’,!etc.).!A!employs!a!variety!of!written!terms,!including!‘R:’,!‘Rip:’,!‘Senza!Rip.’,!

‘Tutti’,!‘Solo’!and!‘Soli’,!some!of!which!are!synonymous.150!For!the!sake!of!clarity!and!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 149!See,!for!example,!Johann!Sebastian!Bach,!Messe%in%hbmoll,!Neue!Ausgabe!Sämtlicher!Werke,!Reviderte! Edition!(NBArev),!Band!1,!ed.!Uwe!Wolf!(Kassel:!Bärenreiter,!2010).! 150!In!particular,!the!terms!‘solo’!and!‘soli’,!both!of!which!are!interchangeable,!has!two!meanings:!when! accompanying!vocal!solos!or!if!the!choral!bass!is!absent,!they!are!used!synonymously!with!‘Senza!Rip.’! 288!! consistency,!all!written!terms!in!the!continuo!come!from!A!unless!otherwise!noted,! and!have!been!standardised!in!this!edition!to!the!following:!

!

T ‘Tutti’:!refers!to!full!ripieno!continuo!wherever!it!occurs,!whether!

accompanying!vocal!parts!or!at!an!instrumental!ritornello!

T ‘Soli’:!refers!to!the!‘Organo’!group!only,!denoting!the!absence!of!bassoon!and!

violone.!

!

The!precise!instrumentation!denoted!by!these!markings!has!also!been!editorially! added!in!square!brackets.!The!only!marking!not!accompanied!by!square!brackets!is!

‘Tutti’,!which!is!considered!selfTexplanatory.!Sometimes!the!addition!of!bassoon!and! violone!to!a!passage!already!being!played!by!the!‘Soli’!group!has!been!indicated! simply!as![+!fag,!vlo.]!if!considered!more!appropriate!than!‘Tutti’.!The!original!forms! that!have!been!changed!or!omitted!in!the!main!text!are!always!noted!in!the!critical! commentary.!Vertical!strokes!that!appear!on!the!stave!in!A!to!indicate!changes!in! continuo!forces!have!been!retained,!as!have!vertical!strokes!above!the!stave!that! indicate!tasto%solo.!All!clef!changes!given!in!the!sources,!which!indicate!changes!in! vocal!texture!and!therefore!the!required!change!in!continuo!texture,!have!also!been! retained.!It!is!interesting!to!note!that!neither!B!nor!C!explicitly!name!the!violone!in! the!instrumentation!for!this!work,!only!referring!to!the!bassoon,!violoncello,!theorbo! and!organ.!This!may!suggest!that!a!violone!part!was!not!present!in!X,!but,!if!so,!it!is! more!likely!that!the!violone!simply!shared!the!part!of!the!bassoon;!it!would!have! been!very!unusual!for!the!violone!to!have!been!omitted!from!any!Dresden!continuo! ensemble!of!the!1720s.!

$

(v)$Articulation$and$dynamics$

!

The!treatment!of!articulation!and!dynamic!markings!presents!one!of!the!most! complex!editorial!problems!encountered!for!this!work.!As!has!already!been!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! to!indicate!only!the!‘Organo’!group!should!play,!but!when!found!at!the!beginning!of!instrumental! ritornellos!they!refer!merely!to!an!absence!of!voices.!See!Stockigt,!‘The!Vespers!Psalms’,!357–358.!! ! 289! discussed,!X!likely!contained!detailed!articulation!and!dynamics!not!present!in!A,! and!so!we!might!expect!that!B,!which!is!directly!descended!from!X,!transmits!the! most!accurate!representation!of!these!markings.!In!fact,!however,!B!displays!a! number!of!inconsistent!and!imprecise!articulation!markings,!some!of!which!are! highly!questionable.!Moreover,!because!B!is!a!full!score,!it!is!possible!that!it!does!not! transmit!all!of!the!markings!in!the!original!parts.!A!likewise!contains!inconsistent! and!unclear!articulation!at!several!points,!but!also!markings!that!either!directly! conflict!with!those!in!B!or!are!simply!not!present!in!B!at!all,!and!there!are!numerous! instances!throughout!the!work!where!one!source!contains!a!marking!that!appears! significantly!more!logical!than!the!other.!These!factors!make!it!unwise!to!preference! the!articulation!markings!of!only!one!source!in!the!text!of!the!edition.!

The!articulation!markings!in!the!present!edition!therefore!represent!an!editorial! conflation!of!those!given!in!A!and!B.!Every!single!articulation!marking!in!the!two! sources!has!been!examined!and!evaluated!on!its!own!terms,!with!the!aim!of! providing!the!best!possible!representation!of!Zelenka’s!likely!intentions!while!also! ensuring!overall!consistency!and!stylistic!integrity.!This!therefore!maximises!the! amount!of!articulatory!detail!in!the!main!text!that!can!reasonably!be!assumed!as! authentic,!even!if!we!cannot!always!be!certain!exactly!which!markings!originated! from!Zelenka.!Where!an!articulation!marking!given!in!the!main!text!is!absent!in!one! of!the!sources,!this!is!recorded!in!the!commentary,!thus!allowing!the!user!to!identify! the!origin!of!the!marking!(so,!for!example,!a!slur!recorded!as!absent!in!A!therefore! comes!from!B).151!Ties!over!barlines!that!are!apparently!‘missing’!in!A!have!not!been! recorded,!as!in!almost!all!cases!they!are!simply!implied.152!An!articulation!marking! present!in!at!least!one!of!the!sources!that!has!been!rejected!from!the!main!text!for! stylistic!or!consistency!reasons!is!likewise!confined!to!the!commentary.!Where!both! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 151!Rather!than!recording!these!absences!in!the!commentary,!some!editions!prefer!to!differentiate! between!markings!on!the!score!itself!through!the!use!of!grey!type.!This!approach!was!considered,!but! ultimately!rejected!on!the!following!grounds:!(i)!if!markings!only!found!in!A$are!given!in!grey!(or!vice! versa),!it!does!not!differentiate!between!markings!present!only!in!B!(or!vice!versa),!which!are!given!in! normal!type,!and!those!in!both!A!and!B,!also!given!in!normal!type;!(ii)!it!restricts!the!editor’s!ability!to! indicate!which!marking,!if!any,!may!be!considered!the!most!preferable;!(iii)!it!causes!methodological! problems!with!regards!to!the!treatment!of!explicitly!conflicting!markings;!and!(iv)!it!may!be!confusing! for!performers!using!the!score.! 152!This!is!a!common!feature!of!Zelenka’s!autograph!scores:!often,!his!ties!are!only!partially!notated!(that! is,!one!‘half’!of!a!tie!connected!to!a!note!is!missing),!or,!particularly!when!two!notes!are!tied!over!a! barline,!the!tie!is!implied!and!thus!not!notated!at!all.! 290!! sources!explicitly!display!conflicting!articulation!markings!(for!example,!a!slur! instead!of!staccato),!the!reading!most!consistent!with!analogous!passages!has!been! chosen,!and!the!alternative!reading!given!in!the!commentary.!As!previously!noted,! editorial!articulation!markings!are!given!in!square!brackets,!or,!in!the!case!of!slurs! and!ties,!represented!by!dashed!lines.!Tied!notes!have!been!tacitly!substituted!for! dotted!notes!that!extend!over!a!barline,!and!the!practice!of!placing!a!dot!after!a! barline!to!indicate!a!tied!note!has!been!modernised!without!further!comment.!

A!similar!procedure!of!conflation!has!been!followed!with!regards!to!dynamic!and! other!expressive!markings,!although!here!the!conflict!between!the!sources!is! significantly!less!great.!If!a!dynamic!marking!in!the!main!text!is!absent!in!one!source,! or!at!least!one!source!contains!a!rejected!dynamic!marking,!it!is!recorded!in!the! commentary.!For!explicitly!conflicting!markings,!the!most!likely!and!consistent! reading!has!been!chosen!and!the!alternative!recorded!in!the!commentary.!The! exception!to!this!rule!is!the!‘Benedictus’!movement,!where!all!dynamic!markings!in!

A!have!been!accorded!authentic!status!over!those!in!B,!as!they!appear!to!be!late! autograph!additions!that!postdate!the!copying!of!B.!The!spelling,!orthography!and! placement!of!dynamic!and!expressive!markings!has!been!standardised;!editorial! markings!are!given!in!square!brackets,!even!if!they!are!strongly!implied!by!the! source.!Written!markings!such!as!‘for:’,!‘pia:’,!etc.,!have!been!modernised.!

!

(vi)$Accidentals$

$

Another!issue!that!requires!special!explanation!is!the!treatment!of!accidentals.!In!

A,!as!in!many!Baroque!scores,!the!majority!of!chromatic!inflections!are!indicated! through!the!use!of!sharps!and!flats!only,!rather!than!the!routine!employment!of!the! natural!sign!(although!naturals!are!occasionally!used).!For!example,!if!there!is!an!F! sharp!in!the!key!signature,!Zelenka!will!indicate!an!F!natural!in!the!score!through!the! use!of!a!flat,!rather!than!a!natural!sign;!in!a!similar!vein,!an!F!double!sharp!(c.f.!

‘Gloria!in!excelsis!Deo’,!b.!69)!is!indicated!through!the!use!of!a!prefixed!single!sharp! accidental,!as!an!F!sharp!is!already!present!in!the!key!signature.!This!practice!can! also!be!found!in!B,!but!to!a!much!lesser!extent;!natural!and!double!sharp!signs!are! ! 291! routinely!employed,!showing!that!the!method!of!indicating!accidentals!had!begun!to! change!by!the!time!Harrer!made!his!copy.!

In!Baroque!scores!such!as!these,!the!barline!has!no!significance!for!the!chromatic! inflection!of!notes:!it!does!not!serve!to!automatically!cancel!any!accidentals! introduced!in!the!preceding!bar.!Rather,!unless!otherwise!marked,!an!accidental! generally!remains!in!force!only!as!long!as!the!note!to!which!it!was!attached!was! repeated!at!the!same!pitch!and!without!interruption,!even!if!this!occurs!over!a! barline.153!As!a!rule,!an!accidental!is!therefore!cancelled!by!any!change!in!pitch!or!a! similar!interruption!(such!as!a!rest!or!another!accidental).!In!practice,!however,!it!is! common!for!scores!to!employ!licenses:!for!example,!accidentals!are!sometimes! omitted!in!places!where,!due!to!the!sense!of!the!passage,!the!performer!is!assumed!to! know!an!accidental!should!be!inserted.154!

In!this!edition,!the!application!of!accidentals!has!been!modified!to!conform!to! modern!practice:!in!other!words,!they!apply!to!the!end!of!the!bar!in!which!they! appear,!unless!cancelled!by!a!natural.!All!accidental!forms!have!been!modernised,!so! that!a!natural!is!substituted!for!a!sharp!or!flat!where!necessary.!Redundant! accidentals!in!the!sources!(such!as!a!repeated!sharp!sign!in!the!same!bar!after!a! change!in!pitch)!have!been!omitted!without!comment;!likewise,!accidentals!not! indicated!in!the!sources!but!required!as!a!result!of!the!transliteration!to!the!modern! system!have!been!tacitly!added!(for!example,!a!sharp!sign!before!the!first!note!in!a! new!bar!that!is!a!continuation!of!a!note!that!was!sharped!directly!before!the!barline).!

Cautionary!accidentals!given!in!B,!which!are!often!of!benefit!to!the!performer,!have! been!retained.!Erroneous!accidentals!in!the!sources!have!been!corrected!and!noted!in! the!Critical!Commentary.!All!editorial!accidentals,!including!additional!cautionary! accidentals!(inserted!to!conform!with!B)!and!those!not!indicated!in!the!sources!but! required!by!the!sense!of!the!passage,!are!given!in!square!brackets.155!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 153!John!Caldwell,!Editing%Early%Music!(=!Early!Music!Series,!5)!(Oxford:!Oxford!University!Press,!1985),! 57;!see!also!Michael!Talbot!and!Jasmin!Cameron,!‘Accidentals!in!Baroque!Music!(and!how!to!treat!them! in!editions!of!Baroque!Music’),!in!Talbot!and!Cameron,!Editorial%Techniques!(unpublished!paper),!5.! 154!Talbot!and!Cameron,!‘Accidentals!in!Baroque!Music’,!6.! 155!Caldwell!(Editing%Early%Music,!74–80)!advocates!the!use!of!a!complicated!fourTtiered!system!of! accidental!indication,!which,!while!certainly!specific,!has!been!deemed!too!confusing!for!use!by!other! scholars.!See!James!Grier,!The%Critical%Editing%of%Music:%History,%Method%and%Practice!(Cambridge:! Cambridge!University!Press,!1996),!164.! 292!!

(vii)$Figured$bass$

$

The!figured!bass!in!both!sources!is!often!difficult!to!read!and!contains!several! errors!and!inconsistencies.!As!a!result,!the!figured!bass!given!here!represents!a! conflation!of!the!two!sources:!where!they!significantly!disagree,!the!best!or!most! likely!reading!has!been!chosen!and!the!rejected!reading!noted!in!the!commentary.!

Where!both!sources!contain!an!erroneous!figure,!this!has!been!corrected!and!noted!in! the!commentary.!Editorial!figures!are!given!in!square!brackets.!Accidentals!have! been!modernised,!so!naturals!have!been!tacitly!substituted!where!necessary,!but! otherwise!the!original!figures!have!been!retained!in!order!to!preserve!the!rich!variety! of!Zelenka’s!markings.!

!

The!critical!commentary!below!lists!all!variant!readings!in!A!and!B!and!specific! editorial!emendations!made!to!the!text!not!covered!by!the!general!principles! discussed!above.!Whilst!it!aims!to!be!as!concise!as!possible,!the!highly!complex! nature!of!the!sources!and!their!treatment!in!what!is!essentially!a!hybrid!edition!also! requires!that!it!be!unashamedly!comprehensive.!Where!necessary,!specific!editorial! decisions!have!been!briefly!explained!and!justified:!this!not!only!enables!the!reader! to!understand!the!reasons!behind!the!editor’s!choices,!many!of!which!may!not!be! immediately!obvious!even!when!consulting!the!sources,!but!also,!if!desired,!to!make! informed!decisions!regarding!the!selection!of!alternative!readings!from!the! commentary!for!use!in!performance.!

Where!only!one!example!of!a!notational!object!under!discussion!(for!example,!a! slur!or!trill)!is!present!in!a!given!bar,!the!note(s)!to!which!it!belongs!have!not!been! specifically!identified,!as!this!is!considered!selfTexplanatory.!‘PasteTover!Type!1’! refers!to!pasteTovers!in!the!autograph!that!contain!identical!readings!to!the!notation! underneath;!these!have!not!been!given!further!comment.!‘PasteTover!Type!2’!refers!to! pasteTovers!in!the!autograph!that!contain!revisions;!in!these!cases,!as!the!pasteTover! version!can!be!found!in!the!main!text,!a!facsimile!of!the!earlier!version!underneath! has!been!given!in!the!commentary!for!reference.!

! ! 293!

CRITICAL$COMMENTARY$

$

$ KYRIE$ $ $ 1.$Kyrie$eleison$I$ ! ! BAR$ PART$ SOURCE$ COMMENTS$

4! Vln!I! B! Note!1!pitch!unclear,!reading!is!from!A!

6! Bass! A! ‘Tson’!is!under!minim!

10! Timp! A! Fermata!above!stave!

11! BC! A! Vertical!strokes!absent!

13! Bass! B,!C!

! 15! Ten! B,!C!

! 15! BC! B,!C! Upper!part!(doubling!Ten)!continues!for!first!two!quavers!of!

third!beat;!figures!found!only!in!B!and!C$

23! Ob!II! B,!C! Dotted!minim!(no!rest)!instead!of!crotchet!rest!and!minim!

29! Vln!II! B,!C! Pitch!of!last!note!is!a’!(probably!a!corrupt!reading!from!X)!

33! Tr!II! A! Note!5!is!e’’%

35! Vln!I! B! Appoggiatura!(pitch:!g’’?)!to!first!note!in!addition!to!trill!

35! BC! A! Tie!is!across!first!two!notes!(misplaced)!

36! Vla! A! Notated!in!tenor!clef!

36–37!! BC! A! Note!4!in!b.!36!and!all!notes!in!b.!37!marked!with!vertical!

strokes;!figures!absent!

37! Vln!II! A! In!soprano!clef!

38–39!! Ob!I! A,!B,!C! Reading!(deviating!from!Vln!I)!is!from!B$and!C;!A!has!no!

notation!

39–40!! Bass! B! Erroneous!tie!over!barline!

44! BC! A! First!note!is!minim,!then!minim!rest!

47! Ten! B,!C! Pitch!is!f#!(possibly!a!corrupt!reading!from!X)! 294!!

47! BC! A! Note!1!is!minim,!then!minim!rest!

48–49! Tr!I! A! Notes!2–5!in!b.!48!and!Notes!1–3!in!b.!49!absent!

48–49! Timp! A!

! 49–50! Ten! A! Tie!from!last!note!of!b.!49!to!additional!notehead!(pitch:!a)!for!

first!note!of!b.!50!(probably!a!mistake!that!was!then!corrected)!

$

2.$Christe$eleison$

$

G!sharp!is!not!given!in!the!key!signature!in!A.!The!score!order!follows!B,!where!Vla!is!the! lowest!stave!owing!to!its!assumption!of!a!petite%basse!role.!A!has!Vla!under!Vln!II.!

!

BAR$ PART$ SOURCE$ COMMENTS$

3! Fl!II;!Vln!II! A! Note!2,!sharp!missing!

5–6!! Fl!I! A! If!followed!literally,!the!indication!‘Violin!e!flauti’!on!the!

violin!staves!gives!the!following!reading:!

! 7! Vla! A! Note!2,!sharp!missing$

8! Fl!II! A! Literal!reading:!

! 10! Fl!II;!Vln!II! B! Slur!absent!

11! Fl!I;!Vln!I! A! Trill!absent!

12! Sop! A! Slur!absent!

14! Fl!I! B! Slurs!absent!

14! Ten! B! Slur!absent!

15! Alt! B! Slur!absent!

17! Fl!I! B! Notes!5!and!6,!slur!absent!

20! Fl!I,!II;!Sop! A! Trill!absent!

20! Sop! B! Slur!absent!

21! Fl!I;!Vln!I! A! Notes!3!and!4,!slur!absent!

! ! 295!

22! Fl!I,!II;!! A! Notes!1!and!2,!slur!absent!

Vln!I,!II!

23! Fl!I,!II;!! B! Slur!absent!

Vln!I,!II!

25! Vla! A! As!for!b.!7!

26! Fl!I! A! Literal!reading:!

! 27! Fl!II;!Vln!II! A!

! 28! Fl!I! A! Literal!reading:!

! 28! Fl!II;!Vln!II! B! Note!3!is!a’!(possibly!an!error)!

29! Fl!I;!Vln!I! B! Slur!absent!

30! Fl!I;!Vln!I! A! Slur!absent!

31! Fl!I;!Vln!I! A! Note!4!is!f#’!

34–35!! Fl!I;!Vln!I! A! Slurs!absent!

34! Ten! B! Note!2!is!b’!

35! Fl!II! A! Literal!reading!(impossible!due!to!range):!

! 35! Fl!II! B! Trill!absent!

36! Fl!II! A! Literal!reading:!

! 39! Fl!II! A! Note!3!is!e’’!

41! Fl!I! B! Slur!absent!

42! Fl!I! A!

! 296!!

43! Fl!I! B!

! 43! Fl!I! B! Slur!absent!

44! Alt! A! Slur!absent!

44!! Fl!I! B! Notes!2!and!3!slurred,!Notes!4!and!5!slurred!

45! Fl!I! A! Note!1!is!crotchet!(note!2!is!therefore!absent)!

45! Fl!II! A! Slurs!absent!

46! Fl!I! B! Slur!absent!

47! Fl!I! B! Slur!absent!

52! Sop;!Alt! B! Trill!absent!

53! Fl!I,!II;!Vln! A! Slurs!absent!

I,!II!

53! Ten! A,!B! Note!is!minim!

55! Sop! A! Trill!absent!

55! Alt! A! Slur!absent!

55! Ten! B! Text!placement!of!‘Tlei’!slightly!unclear!in!B!–!syllable!appears!

to!have!been!written!under!note!2,!then!crossed!out!and!

written!under!note!3,!which!seems!an!unlikely!reading,!not!

least!because!it!conflicts!with!Sop!and!Alt!(no!text!underlay!

given!in!A!at!this!point!for!comparison)!

56! Fl!I;!Vln!I! A! Slurs!absent!

57! Fl!I;!Vln!I! A,!B! Note!1!is!crotchet!

58! Fl!II,!Vln!II! A! Notes!5!and!6!are!quavers!

59! Vla! A! As!for!b.!7!

61! Fl!I;!Vln!I! B! Slur!absent!

61! Fl!II;!Vln!II! A,!B! As!for!b.!29!

62! Fl!I;!Vln!I! A! Slur!absent!

63! Fl!I;!Vln!I! A! Trill!absent!

64! Fl!I,!II;!Vln! A! Notes!3!and!4,!slur!absent;!Notes!5!and!6,!slur!absent!(Fl!I!and!

I,!II! Vln!I!only)!

65! Fl!I;!Vln!I! A! Note!4!is!b’!

65! Fl!II! B! Slur!missing! ! 297!

65! Fl!II;!Vln!II! A!

! 66! Vln!I,!II;! B! Note!is!dotted!minim!

Vla!

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3.$Kyrie$eleison$II$

!

BAR$ PART$ SOURCE$ COMMENTS$

9! Ob!I! B,!C! b’’!dotted!crotchet!instead!of!first!three!quavers!(simplification!

rejected!on!grounds!of!c#’’’!being!present!in!b.!11)!

13! Ob!II! B,!C! f#’’!minim!instead!of!dotted!crotchet!and!semiquavers!

(rejected!by!analogy!with!Ob!I!b.!13)!

16!–17!! Alt! B,!C! Tie!over!barline;!C!has!‘Tson’!on!last!note!of!b.!16!(B!has!it!on!

first!note!of!b.!17!but!probably!implies!the!same).!Despite!this,!

the!reading!(possibly!corrupt!from!X)!has!been!rejected!in!

favour!of!A!owing!to!its!more!satisfactory!text!placement!by!

analogy!with!similar!passages.!The!slur!in!b.!16!is!hence!also!

from!A!

18–19!! Alt! B,!C! As!for!b.!16!–!17!

20! BC! A! Note!4!missing;!difficult!to!see!if!a!dot!is!present!on!the!minim;!

the!main!reading!is!found!in!B!and!C!

21! Tr!I! A! Tie!over!barline!from!b.!20!(possibly!nonTautograph);!pitches!

also!unclear!–!note!4!looks!like!d’’!(sounding!pitch),!and!note!5!

a’’!(although!could!conceivably!still!be!g’’)!

23! Ob!I! B,!C! Entire!bar!is!down!an!octave!(seemingly!deliberate!alteration)!

23! Vla! B! Note!5!is!dotted!crotchet!

23! Vla! D! Note!2!is!c#’!

23! Ten! D! Note!2!is!c#’%

25! Ob!II! B,!C! Dotted!crotchet!and!quaver!(same!pitch)!instead!of!last!minim!

25! Alt! B,!C!

! 298!!

25! BC! B! Note!4!erroneously!written!as!a,!but!sharp!(heavily!emphased!

in!ink)!confirms!correct!pitch!of!g#!!

26–27!! BC! A! Tie!over!barline!

27! Alt! A! Slur!under!notes!1!and!2!

27! Alt! B,!C! Text!placement!unclear!(‘Tlei’!looks!like!it!is!under!note!2)!

29! Vln!I,!Alt! A! Pitch!is!f#’!in!Alt!(therefore!f#’’!implied!for!Vln!I)!

30! Sop! A! Slur!over!notes!4!and!5!(last!two!quavers)!

33! Timp! A,!B! A:!

! B:!

! !

34! Tr!II! A! Possible!alternative!reading!(unclear)!

! 34! Sop! A! Slur!over!notes!3!and!4!

!

GLORIA$

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4.$Gloria$in$excelsis$Deo!

!

BAR$ PART$ SOURCE$ COMMENTS$

1! BC! A! Stave!is!labelled!‘Organo’!

3! BC! B,!C! Note!3,!bar!3!to!Note!2,!bar!5!(inclusive)!notated!in!tenor!clef!

6–8!! Ob!II! A!

! 8–9! Vln!II! B,!C! B:!

! ! 299!

11! Ob!I! A!

! 12! BC! A! Lower!figure!looks!like!‘2’!(probably!error)!

13–18! Tr!I! A! PasteTover!Type!1!

17–18!! Vln!I! A! PasteTover!Type!1!(b.!17!is!second!half!only)!

20! Vln!II! B,!C! Note!3!is!c#’’!

21! BC! A! ‘Tutti’!(on!note!1)!

23! BC! A! ‘Solo’!(on!note!1)!!

25! Tr!I! A! Note!8,!dot!missing;!Note!9,!third!flag!missing!

25! Tr!I! A! Articulation!absent!

25! Tr!II! A! As!for!Tr!I!b.!25,!except!for!two!faint!slurs!over!notes!4–5!and!

notes!6–7!!

28–30!! Tr!I! A! PasteTover!Type!1!

28! Vln!I! B! Staccato!on!notes!5!and!6!missing!

29! Vla! A! PasteTover!Type!1!

30–31!! Tr!II! B,!C! Both!B!and!C!have!the!notation!from!b.!31!placed!in!b.!30!

(although!C!also!has!the!first!note!incorrectly!pitched!as!f#’’!

[sounding!pitch]);!a!prominent!erasure!in!b.!31!of!B!shows!that!

the!notes!were!originally!written!in!b.!31!but!then!deliberately!

erased!and!moved!to!b.!30!

30! Timp! A!

!! 31! Alt! A! Slur!under!notes!3!and!4!

33! Vln!I! B! Dynamic!missing!

33! Vla! B,!C! Note!4!is!e’!

34! Vln!II! B,!C! Note!4!is!a’’!(probably!a!copying!error!in!X);!articulation!

absent!

34! BC! A! PasteTover!Type!1!

35! Vln!I! A! Staccato!wedges!not!marked,!but!probably!implied$

35! Bass! A!! Rhythm!of!notes!5–7!unclear!(possibly!quaverTsemiquaverT

semiquaver)!

36! Tr!II! B,!C! Note!3!is!e’’!(sounding!pitch,!written!pitch!d’’)!

36! Sop! A! Note!6!pitch!unclear!(looks!like!d’’)! 300!!

37–38!! Vln!I! B,!C! Dynamic!marking!in!b.!37!is!in!b.!38!

38! Vln!II! B,!C! Dynamic!absent!

39! Sop! A! Slur!absent!

39–40!! BC! B! Vertical!lines!indicating!tasto%solo!missing!

41–42!! Ob!I,!II! B,!C! Dynamics!absent!

41! BC! B! #3!missing!

42! Vln!II! A! PasteTover!Type!1!

44! Ten! B,!C! Slur!missing!

45–46! Tr!I,!II;!! A! Tie!over!barline!missing!(probably!implied,!certainly!in!Vln!

Vln!I! part)!!

46–47!! Ten! A!

!! 47–48!! Tr!I! A! As!for!b.!45–46!!

49–54!! Tr!I! A! PasteTover!Type!1;!however,!what!looks!like!a!semiquaver!

beam!and!an!extra!stem!after!note!3!in!b.!53!suggests!a!

possible!minor!revision!(most!likely!a!passing!note!of!g’’!

between!notes!3!and!4!that!was!then!omitted!in!the!revision,!so!

note!3!subsequently!became!a!quaver)!

49! Vln!I! A! Trill!sign!is!only!found!in!the!autograph!

49! Bass! B,!C! Articulation!absent!

50! BC! A! ‘Solo’!(on!note!3)!

53! Vln!I! A! Second!note!from!top!in!A!major!chord!is!e’’,!not!c#’’!(B!has!

both,!but!looks!like!the!c#’’!is!a!correction)!

53! Vln!II! A! Slur!missing!(probably!implied)!

54! BC! A! ‘Tutti’!(on!note!2)!

55! BC! A! ‘Solo’!(on!note!5)!

59! BC! A! ‘Tutti’!(on!note!2)!

60! Vln!I! A! Note!5,!sharp!missing!

60! BC! A! ‘Solo’!(on!note!5)!

61! BC! A! Note!1,!figure!(6)!missing!

62,!64! Vln!II! B! Staccato!wedges!missing!on!note!7!of!each!bar!

63–64!! Vla! B,!C! Tie!over!barline!missing!

63! BC! B! Note!2,!upper!figure!(#5)!missing! ! 301!

64–65!! Vln!II! A,!B,!C! A!has!a!whole!bar!rest!(b.!64)!and!minim!rest!(first!half!of!b.!

65);!although!b.!64!is!blank!in!B,!the!lack!of!whole!bar!rest!

suggest!an!implied!doubling!of!Vln!I,!confirmed!by!C.!

64! BC! A! ‘Tutti’!(on!note!2)!

65! Alt! A! Placement!of!‘Tmus’!slightly!uncertain!(could!be!under!note!3)!

65! BC! B! Note!1,!upper!figure!(#5)!missing!

67! Ten! A! Tie/slur!over!first!two!notes!(apparently!misplaced)!

69! Vln!II! B,!C! Note!2!is!c#’’!

69! Bass;!BC! A! See!comment!b.!69!Vln!I!above;!furthermore,!unlike!with!Vln!I!

&!II,!B!has!a!double!sharp!sign!firmly!marked!against!f!pitch;!

B!is!missing!lowest!figure!on!note!1!(#3)!and!#!next!to!5!on!

note!4!

70–71!! Bass! B! Tie!over!barline!missing!

72–73!! BC! B! Sharp!on!b.!72!note!2!upper!figure!(9)!missing;!tie!over!barline!

missing!

74! BC! A! ‘Solo’!(on!note!1)!

75! BC! A! ‘Tutti’!(on!note!1)!

75! BC! B! Vertical!lines!indicating!tasto%solo!missing!

79–82!! BC! A! Bottom!of!page!in!autograph!severely!trimmed,!resulting!in!

partial!loss!of!figures!

80! Alt! B! Sharp!on!last!note!missing!!

80! BC! B! Sharp!on!third!upper!figure!(5)!missing!!

82–83!! Alt! B,!C! Slur!over!barline!missing!

86! Alt! A! Note!2!is!g’!(almost!certainly!an!error)!

87!! Tr!I! A! PasteTover!Type!1!(blank!bar,!reason!unknown)!

90! BC! A! ‘Solo’!(on!note!2)!

91–96!! Tr!I! A! PasteTover!Type!1!(due!to!trimming!and!loss!of!legibility)!

93–94!! Tr!I! B! As!for!b.!25!

93! Tr!II! A,!B! Slur!over!notes!4–6!is!present!in!A;!otherwise,!all!articulation!

is!from!B!

94! Tr!II! A! Dot!missing!on!note!2,!flag!missing!on!note!3!(as!for!Tr!I!b.!25)!

94! Vla! A! PasteTover!Type!1!

94–95!! Tr!II! A! PasteTover!Type!1!

97! BC! A,!B! Note!2!pitch!slightly!unclear! 302!!

98! BC! A! ‘Tutti’!(on!note!4)!–!this!conflicts!with!the!normal!continuo!

practice!when!the!bass!is!absent,!and!thus!is!likely!an!error!

(furthermore,!C!does!not!have!the!ripieno!instruments!playing!

at!this!point)!

98–99!! BC! A! PasteTover!Type!1;!vertical!lines!indicating!tasto%solo!in!b.!98!see!

to!be!present!underneath!the!pasteTover;!the!figuring!in!b.!99!is!

too!difficult!to!see!(no!figuring!in!the!pasteTover)!

100! Vln!II;!Vla! A! Trills!absent!

102– Vln!II! A! PasteTover!Type!1!

103!!!

103! BC! A! Bottom!of!page!in!autograph!severely!trimmed,!resulting!in!

partial!loss!of!figures!

104! Tr!II! A!

! 105! BC! A! Figures!missing!

!

!

5.$Qui$tollis$peccata$mundi$I$

$

Above!the!staves!on!page!49!of!A!is!written!‘Trombe!tacet.!et!Oboe’.!The!figured!bass!is! absent!from!A,!and!thus!comes!entirely!from!B.!

!

BAR$ PART$ SOURCE$ COMMENTS$

5–6!! Sop! B! Tie!over!barline!missing!(but!surely!implied)$

5! Ten! A! The!cautionary!natural!on!note!5!has!been!retained!from!the!

autograph!(although!it!is!not!strictly!necessary)!!

!

$

$

$

$

$

$

$ ! 303!

6.$Qui$tollis$peccata$mundi$II$

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Regarding!the!dating!and!manner!of!the!notation!of!the!flute!parts!in!the!autograph,!see!the! discussion!in!Chapter!2.!

!

BAR$ PART$ SOURCE$ COMMENTS$

1! Ob!I,!II! A! ‘NB!Oboe!col!Sordini!’!

1! BC! A! ‘Rip.:’!

1! BC! B! Dynamic!marking!absent!

3! BC! B! Additional!marking!above!first!figure!(4),!looks!like!‘7’!

4–6!! Fl!I,!II! A! If!followed!literally,!the!‘Tutti’!indication!on!the!violin!staves!

gives!the!following!reading:!

! 4! Vln!I,!II! A! ‘T:’!marked!above!stave!(applies!also!to!winds);!‘affectuoso’!

absent!on!Vln!I!stave!!

4! Vln!I! B! Dynamic!marking!absent!

6! BC! A! Note!4!sharp!missing!!

7! Fl!I;!Ob!I;! B! Trill!sign!absent!

Vln!I!

7! Vln!I,!II;! B! Dynamic!markings:!Note!4,!Vln!I:!‘pia.’;!Note!7,!Vln!II:!‘p.’,!

Vla! Note!4,!Vla:!‘p.’!

7–8!! Sop;!Alt! A! Neither!part!is!marked!‘Solo’,!but!given!the!‘Tutti’!marking!

later!on,!probably!implied!(and!is!marked!as!such!in!B)!

7! Vla! A! Implied!reading:!

! 8! Vla! B! Slur!over!notes!1–3!!

9–11!! Sop! A!

! ! ! ! ! 304!!

10–11!! Fl!I! A! Literal!reading:!

! 12! Sop! A! Slur!under!quavers!

14! Fl!I,!II! A! Tremolo!lines!absent!

16! Fl!II! A,!B! Notes!3,!5!and!7!without!sharp!

16! BC! A! ‘Ripi:’!

18! BC! B! Upper!figure!on!note!5!appears!to!be!‘7’!instead!of!‘5’!

19–24!! BC! A! PasteTover!Type!1!

23–25!! Fl!I,!II! A! Literal!reading:!

! 23! BC! A! ‘R.:’!

24! Vla! A! Note!1!is!unreadable,!almost!wholly!erased;!followed!by!

quaver!rest!instead!of!dot!

26! Vln!II! A! Note!6!is!semiquaver,!but!apparently!only!because!of!the!

following!flute!notation,!not!as!the!intended!rhythm!for!Vln!I!

30–31!! Vln!I,!II! A!

! As!the!palaeography!of!the!notation!from!the!second!half!of!b.!

30!onwards!suggests!this!was!a!later!addition,!it!is!quite!

possible!that!the!intention!was!for!the!flutes!to!play!this!

passage!(as!in!B,!but!with!the!variant!rhythm!given!above)!

31–36! BC! A! PasteTover!Type!1!

33–34!! Vln!I,!II! A!

! (As!for!b.!30–31)! ! 305!

36!! Alt! A,!B! Sharp!on!Note!2!is!not!marked!in!either!source,!but!becomes!

necessary!in!order!to!avoid!a!strong!dissonance!created!with!

the!sharp!on!Note!3!in!BC,!which!is!clearly!marked!in!all!

sources!

36–37!! Alt! A! Text!underlay!unclear,!but!possibly:!

! 37! Sop! B! Notes!1!and!2!slurred!

38! BC! B! Upper!figure!on!note!7!is!6!with!a!backwards!stroke!through!!

44–46!! Fl!I,!II! A! Literal!reading:!

! 44! Vln!I,!II! A! Dynamic!marking!absent!(but!probably!implied!from!Vla)!

48! Ob!I! B! Two!direct!signs!are!marked!here,!one!at!the!pitch!of!Vln!I!and!

one!at!the!pitch!of!Vln!II;!next!to!the!latter!is!‘col!Vln!2.’,!which!

looks!like!it!has!been!corrected!to!a!strangelyTshaped!‘1’!–!

together!with!the!modification!in!b.!51,!which!only!works!if!

Ob!I!is!doubling!Vln!I,!this!suggests!the!indication!to!double!

Vln!II!is!erroneous!(A!and!C$indicate!doubling!of!Vln!I)!

49! BC! B! Figures!on!first!note!missing!

50! Bass;!BC! A! PasteTover!Type!1!

50! BC! B! Upper!figure!on!note!1!is!5;!upper!figure!on!note!2!is!6!

51–52!! Ob!I! A! The!modification!from!Vln!I!(note!4!of!b.!51!–!end!of!b.!52)!is!

not!notated!

52! Vla! A! Notes!1!and!2,!sharps!missing!

!

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$

$

$ 306!!

7.$Quoniam$tu$solus$Sanctus$

!

BAR$ PART$ SOURCE$ COMMENTS$

3! BC! A! ‘Solo’!

3–5!! BC! B! Figures!absent!

5! Ob!I;!Vln!I! A! Natural!sign!on!last!note!(in!Vln!I)!absent!–!reading!therefore!

appears!to!be!c#’’!

8! BC! A! ‘5’!figure!after!‘9’!(positioned!above!Note!1)!

11! Timp! A! Quaver!(written!pitch!G)!instead!of!first!rest!

11! Ob!I,!II! A! Slur!over!notes!4!and!5!absent!(but!certainly!implied,!

confirmed!by!analogy!with!b.!33)!

11! Ob!II! B! Note!1!pitch!unclear,!looks!like!e’’!–!probably!either!an!error!or!

careless!writing!

11! BC! A! Note!1!figuring:!6/4!–!5/3!(omitted!here!due!to!lack!of!

consistency!with!b.!10)!

12! BC! A! ‘Tutti’!

15! Sop,!Alt,! A,!B! ‘Soli’!not!indicated!in!A!(but!implied!through!other!‘Tutti’!

Ten! markings);!B!has!‘Soli’!above!the!Sop!stave,!changed!here!to!

‘Solo’!for!each!part!

15! BC! B! Dynamic!marking:!‘pia:’!

17! BC! B! Note!2!figure!is!dash!(indicating!carryingTthrough!of!‘6’)!

22! Vla!! A! Both!notes!are!a’!(surely!erroneous),!although!the!second!note!

appears!to!have!a!faintly!visible!correction!to!b’!

23! Ob!I,!II! A! Low!a%on!second!beat,!as!for!Vln!I!(error:!Zelenka!was!clearly!

just!copying!from!the!Vln!I!part)!

23! Vla! A! Note!is!minim!

24! Alt! B! Text!is!‘Christe’;!evidence!of!an!erasure!in!A!suggests!‘Jesu’!is!

a!correction!

25! Sop! A! Slur!added!by!analogy!with!Alt!

25–26!! Sop,!Alt,! B! Slurs!absent!

Ten!

25! BC! A! PasteTover!Type!1!

35! BC! B! Figures!absent! ! 307!

37! Ob!I,!II;!! A! Note!1!(in!Vln!I)!is!d’t%

Vln!I,!II!

38! BC! B! Figures!on!Notes!1!and!2!are!probably!‘9’!

41! Ob!II! A! No!explicit!indication!that!Ob!II!is!to!double!Vln!II,!but!to!

continue!with!doubling!Vln!I!would!unbalance!the!parts!

(bearing!in!mind!that!until!this!point!Vln!II!has!also!been!

doubling!Vln!I)!

42! BC! A! Upper!figure!on!Note!1!is!‘5’!

43! BC! A! Lowers!figures!on!Notes!1!and!2!absent!

44–46!! Sop,!Alt,! A,!B! As!for!b.!15!

Ten!

44! BC! B! Dynamic!marking:!‘pia:’!

50! Bass! A,!B! As!for!Ten!b.!19!

53! Alt,!Ten,! B! Erroneous!minim!rest!instead!of!crotchet!rest!

Bass!

56! BC! B! Note!2!figure!is!‘6’!

59! Vla! B! As!for!Ten!b.!53!

60–63!! Ten! A,!B! As!for!b.!19!

63! Bass! A,!B! As!for!Ten!b.!19!

64! Vln!II! A! Note!2!is!f#’!

70! Ob!I;!Vln!I! A! As!for!b.!5!

72! Ob!II! A,!B! Although!not!explicitly!indicated!by!either!source,!the!low!c#’!

has!been!omitted!by!analogy!with!b.!7!(although!it!is!present!

in!C,!it!is!difficult!to!play!on!the!Baroque!oboe)!

!

8.$Cum$Sancto$Spiritu$

!

BAR$ PART$ SOURCE$ COMMENTS$

5–6!! Bass;!BC! B! Tie!across!barline!missing!

6! BC! A! ‘Senza!Ripi:’!

6–9!! BC! A! Notated!in!bass!clef!

7! BC! B! Note!3!is!dotted!crotchet,!note!4!is!quaver!!

8–9!! Ob!I;!Vln!I! B,!C! The!change!in!register!from!b.!8!note!3!onwards!appears!to!be!

a!deliberate!modification!to!avoid!pitches!in!a!very!high! 308!!

register!(d’’’,!c#’’’)!that!would!result!from!continued!doubling!

at!the!octave!

9! Ob!II;!! A! Note!7!is!b’!

Vln!II;!Sop!

10–14!! BC! A! PasteTover!Type!1!

11! BC! B! Figures!on!note!1!missing!in!B!

12! Ob!II;!! A! Note!2!is!d’’!

Vln!II;!Sop!

12! BC! A! Notes!1!and!4,!figures!absent;!Note!6,!figure!is!‘7’;!Notes!7!and!

8,!figures!are!5/4T3;!possible!indication!of!‘Tutti’!or!‘Rip’!

almost!completely!lost!due!to!trimming!of!leaf!

13–14!! Ob!I;!Vln!I;! A!

Alt!

! 16! BC! A! Figures!missing!

19! BC! A,!B! Upper!part!(note!2)!stem!absent!(the!note!is!only!downT

stemmed)!

21! Vln!II! B! Note!9!is!f#’!(error)!

23–24!! Sop! A! ‘Tmen’!in!b.!23!and!‘aT‘!in!b.!24!absent;!no!hyphens!to!indicate!

continuation!of!melisma!until!b.!25,!so!unclear!which!text!

underlay!is!implied!

26,!27! BC! A! Note!4!absent,!note!5!is!quaver!

27! Ob!I;!Vln!I;! A!

Alt! ! 33! Alt! B! Note!4!sharp!missing!(but!present!on!note!6)!

33–34!! Alt! B!

! 32! Ten! B! Note!6!has!‘Tmen’,!but!the!lack!of!a!following!‘aT‘!in!b.!33,!

together!with!the!presence!of!hyphens!signalling!the!

continuation!of!the!previous!melisma,!suggests!this!is!

probably!an!error! ! 309!

33–34!! Bass! B,!C!

! 36! BC! B! Note!6,!vertical!stroke!missing!

41! BC! A! Figures!partially!lost!due!to!trimming!of!leaf!

43! Ob!I! B!

! 45–46!! Ob!I;!Vln!I! B,!C! As!for!b.!8–9!!

47! Alt! A,!B! As!for!b.!33!

48! Ob!I;!Vln!I! B,!C! The!upper!a’’!part!is!unusual,!and!not!marked!in!A;!however,!

given!its!presence!in!the!other!sources,!and!its!logical!function!

as!a!way!of!resolving!the!leading!note,!there!is!no!reason!not!

to!include!it!as!a!possible!authentic!reading!

!49! Tr!I! B!

$ 52! Sop! B,!C!

$ 52–57!! Bass;!BC! A! This!entire!passage!(excepting!the!last!note!of!b.!57)!is!an!

octave!higher!in!the!autograph,!where!it!lies!at!quite!a!high!

tessitura!for!bass!voices!and!very!close!to!that!of!the!tenor!

part;!Zelenka!possibly!chose!to!move!it!down!an!octave!in!

performance!to!resolve!this!issue,!and!heighten!the!impact!of!

the!entry!of!the!fugal!subject!in!augmentation!

54! BC! A,!B! Slightly!unclear!as!to!whether!last!figure!implies!a!normal!‘7’!

(that!is,!7#)!in!addition!to!the!‘7!natural’!

! !55! BC! B! Note!3,!upper!figure!(6)!absent!

57! Ob!I;!Vln!I;! B! Note!2!is!g’%

Alt! !

59–60!! Ten! A! Text!underlay!unclear!–!‘aT‘!on!note!in!b.!59!missing,!but!

present!under!note!2!or!3!in!b.!60!(more!likely!an!indication!of!

a!continuing!melisma!from!b.!59!rather!than!repetition,!as!this!

would!contradict!the!given!beaming);!regarding!the!rhythm,!

see!comment!below! 310!!

59–60!! Ten! B!

! Aside!from!the!text!underlay,!which!represents!a!legitimate!

alternative!to!the!main!text,!it!is!unclear!why!this!rhythm!

differs!from!the!reading!in!A!(of!which!it!is!a!slight!

simplification),!particularly!given!that!Vla!in!B!also!agrees!

with!A;!there!appears!to!be!no!reason!to!diverge!from!the!

rhythmic!pattern!of!Sop!and!Alt!in!this!bar,!and!it!does!not!

agree!with!b.!73,!or!Vla!

59! BC! A,!B! Note!2,!upper!figure!(6)!missing!in!A;!note!2,!lower!figure!has!

natural!sign!

60! Sop! B! Tie!missing!

61! BC! B! Note!3,!lower!figure!is!‘3’!

63–64!! Sop;!Alt;! A! PasteTover!Type!2!–!earlier!version!underneath:!

Ten;!Bass!

! 63–65!! Alt! B!

! 64–65!! Ob!I;!Vln!I! B,!C! As!for!b.!8–9!!

65! BC! A! Figures!partially!lost!due!to!trimming!of!leaf!

66! Sop! A! Slur!over!notes!6!and!7!

67! Vla! B! Note!1!is!crotchet,!followed!by!quaver!rest! ! 311!

67–68!! Sop! B,!C!

! 68! Ob!I;!Vln!I! B,!C!

! 69–71!! Sop! B,!C!

! 70! Tr!II! A! Additional!tie!between!notes!2!and!3!

70! Timp! B,!C! Note!1!is!G!(written!pitch,!sounding!pitch!A)%

70! Ob!I;!Vln!I! A! Minim!after!note!3!(instead!of!dotted!crotchet!and!quaver;!the!

alternative!reading!has!been!accepted!here!because!of!its!

concordance!with!Tr!I)!

72–73!! Alt! B!

! 73! Sop! B! Notes!4–6!beamed!together!(beaming!in!main!text!follows!A)!

74–75!! Bass! A! The!‘aT‘!in!b.!75!is!restated;!however,!because!there!is!no!‘Tmen’!

in!b.!74!to!conclude!the!previous!iteration!of!this!word,!but!

only!a!hyphen!to!indicate!the!continuation!of!the!melisma!on!

‘aT‘!from!b.!73,!it!is!unclear!as!to!whether!the!syllable!should!

be!reTsung!(and!therefore!a!‘Tmen’!inserted!in!b.!74).!It!is!

possible!that!the!repetition!of!‘aT‘!in!b.!75!is!simply!a!reminder!

of!what!syllable!is!being!sung!on!the!melisma,!as!it!comes!at!

the!beginning!of!a!new!page!in!the!manuscript,!which!would!

therefore!accord!with!the!reading!given!in!the!other!sources!

and!the!main!text!here!

!

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$

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$

$ 312!!

CREDO$

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9.$Credo$in$unum$Deum$

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In!both!sources,!the!viola!part!is!notated!in!bass!clef,!doubling!the!basso!continuo!at!an! identical!pitch.!It!is!unclear!how!this!would!have!been!performed!in!Zelenka’s!time,!as!some! notes!lie!outside!the!range!of!even!the!tenor!viola.!In!order!to!make!the!part!playable!on!a! regular!viola,!therefore,!it!has!been!presented!here!in!alto!clef!and!at!an!octave!higher!than!in! the!sources.!As!A!simply!gives!a!colla%parte!doubling!instruction,!the!few!readings!in!the!viola! part!that!deviate!from!the!basso!continuo!are!from!B.!

!

BAR$ PART$ SOURCE$ COMMENTS$

9! Bass! A! Slur!absent!

17! Tr!II! A!

$ 18! Timp! A! Minim!rest!in!place!of!note!1!

24! Ten! B! Slur!absent!

28! Ob!I,!II;!! A! Note!3!(notated!on!Vln!I!stave)!is!g’’!(erroneously!written!as!a!

Vln!I,!II! crotchet)!

30! Sop! A! Slurs!absent!

32! Sop! A! Slur!absent!

40! Ten! A! Slur!absent!

44! Vla! B! Note!1!is!a’!

46! Timp! A,!B,!C! Very!unclear!whether!the!dot!is!actually!a!dot!or!a!minim!rest;!

more!likely!to!be!a!minim!rest!in!A,!but!seems!more!like!a!dot!

in!B;!C$is!very!ambiguous!

46–47!! Ten! B! Slur!over!barline!absent!

47! Tr!II! B! Notes!2!and!3!erroneously!beamed!as!quavers!

48! Ten! A! Slur!absent!

49! All!parts! A,!B! Length!of!final!note!unclear!(some!parts!have!semibreve,!some!

have!dotted!semibreve;!dotted!semibreve!seems!more!likely)!

!

$

$ ! 313!

10.$Et$incarnatus$est$

!

BAR$ PART$ SOURCE$ COMMENTS$

1–3!! Sop! B,!C!

! 7! Alt! A!

! 8! BC! A! Note!5,!figure!missing!

9! Alt! A!

! 11–12!! Sop! A!

! 11! BC! A,!B! Note!6!without!sharp!

!

11.$Crucifixus$

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BAR$ PART$ SOURCE$ COMMENTS$

2! Vla! A! Note!7!without!natural!

6!! Sop! A! Slur!over!notes!1!and!2!

7! BC! A! Note!2!without!sharp!

!

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12.$Et$resurrexit$

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BAR$ PART$ SOURCE$ COMMENTS$

2! Vln!I! B! Staccato!articulation!absent!

2! BC! A! Figures!appear!to!be!missing!

3! Vln!II! B! Staccato!articulation!absent!(but!present!in!b.!4)!

5–6!! BC! B! Staccato!wedges!above!notes!2!and!3!(unlikely!to!be!tasto%solo)!

! 314!!

11–12!! Ob!I,!II;!! B! Slurs!absent!

Vln!I,!II!

13–14!! Ob!I,!II;! A! PasteTover!Type!1!

Vln!I!

13–14!! Ob!I,!II;!! B!

Vln!I,!II!

! 15–18!! Vln!II! A! PasteTover!Type!2!–!underneath:!

! 16–17!! Vla! B! Tie!over!barline!absent;!trill!absent!in!b.!17!

17! Ob!I,!II;! A! Trill!absent;!last!note!is!b’%

Vln!I,!II!

17! Ob!I,!II;! B! The!actual!reading!is!as!follows:!

Vln!I,!II!

!! Whether!the!grace!note!indicates!an!appoggiatura!or!references!

an!implied!trill!is!unclear;!however,!for!consistency!with!b.!114!

(where!a!trill!is!indeed!present),!it!has!been!interpreted!as!the!

latter,!and!consequently!changed!to!a!trill!sign!

18–19!! Bass! A,!B,!C! It!seems!strange!that!there!is!no!slur!across!the!barline,!given!its!

strong!rhythmic!presence!in!this!theme!already!stated!by!Vln!II!

in!b.!1–2,!and!later!on!in!the!Bass!itself!in!b.!62–63.!The!case!for!

an!inferred!tie!is!weakened!by!the!beaming!of!notes!2!and!3!in!b.!

18,!which!is!consistent!in!all!sources!and!denotes!a!melisma!(on!

the!syllable!‘reT‘),!therefore!meaning!that!‘Tsur’!can!only!be!

placed!on!the!following!crotchet.!It!seems!unlikely!that!‘sur’!is!

intended!to!be!held!over!the!barline!as!a!tied!note,!with!‘Tre’!on! ! 315!

note!2!of!b.!19.!The!reading!given!in!the!main!text!therefore!

appears!to!be!the!most!likely!one,!and!fits!most!comfortably!with!

all!the!sources!(see!the!facsimiles!of!A!and!B$below)!

A:!

! B:!

! 18! BC! B! Dynamic!marking:!‘piano’!

19! Vln!I! A! Dynamic!absent!

19! Bass! A! Appoggiatura!(g#)!on!note!1!(see!facsimile!of!A$in!previous!

comment);!this!was!notated!but!subsequently!erased!in!B!(see!

facsimile!of!B!above)!

19–22!! BC! A! Figures!absent!

25! BC! A! Note!3,!figure!unclear!(looks!like!‘7’)!

30! Vln!I,!II! A! Dynamic!absent!

31! BC! A! Figure!absent!

35! Ob!I,!II! B! Note!9,!natural!missing!(but!almost!certainly!implied!by!b.!36!

sharp)!

35! Vln!II! A! Unclear!if!dynamic!is!present!

36! Vln!II! B! Wedge!staccato!under!notes!2!and!3!

37! Vln!I! B! Dynamic!absent!!

42! BC! A! PasteTover!Type!1!

44! Vla! B! Note!3!is!c#’!(error)!

44! BC! A! ‘Rip’!

44! BC! B! Dynamic!marking:!‘fo.’!

46–47!! Vln!I,!II! B! Slurs!absent,!except!for!notes!5–6!of!b.!47!

47! Vln!I,!II! A,!B! Unclear!whether!note!6!should!be!sharp!or!natural!–!neither!

source!has!sharp!marked,!but!B!does!not!have!a!cautionary! 316!!

natural!either,!which!is!unusual!(considering!the!note!was!

sharped!in!b.!46);!sharp!has!been!editorially!added!by!analogy!

with!b.!109,!but!this!is!open!to!interpretation!

48! Vln!I,!II! B! In!addition!to!staccato,!notes!3–5!slurred!(intention!unclear);!no!

staccato!on!note!7,!notes!7–9!slurred!

48! BC! A,!B! Note!2!figure!missing!in!A;!Note!3!figure!missing!in!B!

49! Ob!I,!II! B! Notes!1!and!2,!staccato!wedges!absent!

49! Vln!I,!II! B! Note!11,!no!staccato;!notes!11–13!slurred!!

50! Vla! A! Note!3,!sharp!missing!

50! BC! A! Note!2!figure!missing!

51–52!! Vla! B! Tie!over!barline!absent!

52! Ob!I,!II;! A! Note!4!is!f#’!

Vln!I,!II!

53! BC! B! As!for!b.!18!

54! Vln!I! A! Dynamic!absent,!but!presence!of!‘forte’!in!b.!58!suggests!it!is!

possibly!implied!

54–57!! BC! A! Figures!absent!

56! Bass! A! Note!3!appears!to!be!crotchet!(probably!an!error,!most!likely!

intended!to!be!a!quaver),!note!4!is!quaver!

57! Bass! A! Note!2,!sharp!missing!

58! Ob!I,!II! B! Notes!1!and!2!slurred!

58! Bass! A! Note!2!is!quaver,!due!to!missing!second!flag!(almost!certainly!an!

error)!

58! BC! B! As!for!b.!44!

59! BC! B! Note!5,!lower!figure!(5)!absent!

62! BC! B! As!for!b.!18!

63! Ob!I,!II! A! Dynamic!absent!

66! Ob!I,!II! B! Notes!2!and!3!slurred,!notes!4!and!5!slurred!

66! Bass! A! Notes!2!and!3!slurred,!which!may!indicate!an!alternative!text!

underlay,!placing!‘Trit’!under!note!2!(although!the!actual!

placement!of!the!text!in!A!suggests!‘Trit’!under!note!3)!

68! Vln!I! A! Dynamic!marking!absent!

68! Vln!II! B! Dynamic!marking!has!been!crossed!out!here!and!rewritten!in!b.!

69!(unclear!why)! ! 317!

69! Vln!II! A!

! 70–72!! BC! A! Figures!absent!

74! Vla! A! Note!1,!extra!notehead!at!a’!(octave!above!given!pitch),!showing!

perhaps!originally!the!note!was!intended!to!be!at!this!pitch,!or!

representing!a!mistake!of!some!kind;!however,!the!reading!in!

the!main!text!is!almost!certainly!the!final!intention!

74! BC! B! ‘6’!figure!misplaced!under!note!4!

77,!79! BC! B! Note!1,!upper!figure!missing!

80! Bass! A,!B! Note!1!sharp!missing!in!A;!B!has!e#’%(possibly!implying!N6!

harmony)!

80! BC! A,!B! Note!1,!backwards!stroke!on!upper!figure!missing!(i.e.!just!‘6’)!

82! Vln!I! B! Note!1!has!‘Forte’!

82! Vln!II! A! Note!2,!sharp!partially!faded/erased!(?)!

87–90!! Bass! A! PasteTover!Type!2!–!earlier!version!underneath:!

! 88–89!! Vln!I! A! Apparent!tie!over!barline,!appears!to!have!been!partially!erased!

88! BC! A! Note!2!figure!is!‘6’!

89–90!! Ob!I,!II;!! B! Dynamics!absent!(possibly!implied)!

Vln!I,!II!

101– BC! A! PasteTover!Type!2:!earlier!version!underneath:!

102!!

! 105! Ob!I,!II! B! Trill!absent!

105! Vln!II! B! Dynamic:!‘pia:’!

105! Bass! A! Note!2!is!d’!(this!reading!is!also!found!in!B,!where!it!has!been!

crossed!out!and!corrected!to!the!pitch!found!in!the!main!text)!

! 318!!

106! Ob!I,!II;! A! Dynamic!absent!

Vln!I,!II!

106! BC! A! Note!2,!pitch!unclear!–!possibly!a!

106! BC! B! As!for!b.!18!

108! Ob!I,!II;! B! Placement!of!first!slur!unclear!(appears!to!be!only!over!notes!1!

Vln!I,!II! and!2);!slur!over!notes!6–8!missing!

109! Vln!I,!II! A,!B! Notes!1–4!beamed!together;!slur!over!notes!5–7!absent!in!B!

110! Vln!I,!II! B! Notes!7–9!slurred!(in!contrast!to!Ob!I/II)!

111!! Ob!I,!II! B! Slur!on!notes!4!and!5!is!present,!but!note!5!also!has!staccato!

(wedge?)!

111! Vln!I,!II! A,!B! Notes!10!and!11:!wedges!also!marked!in!A!in!addition!to!

staccato!dots!(final!intention!unclear;!dots!retained!in!main!text!

by!analogy!with!b.!14);!B!has!wedges!only!

111! BC! A! Placement!of!note!2!figure!uncertain!(appears!to!be!above!note!3)!

!

112– BC! A! Figures!absent!

115!!

114! Ob!I,!II;! A! Trill!absent;!note!4!is!b’!

Vln!I,!II!

115! Ob!I,!II;! A! Note!is!minim!(dot!missing)!

Vln!I,!II;!

Vla;!BC!

!

13.$Et$unam$Sanctam$

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BAR$ PART$ SOURCE$ COMMENTS$

1! BC! B! ‘Solo!piano’!written!underneath!

2! Sop! A! Slur!absent!

10! BC! B! Note!2,!figure!is!‘6’!

14! BC! A! Note!3,!bottom!figure!(natural)!is!absent!

15! BC! B! Note!1,!natural!and!flat!on!both!figures!missing!

!

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$ ! 319!

14.$Et$vitam$venturi$

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None!of!the!notational!changes!in!the!Ob!I!and!Vln!I!parts!are!found!in!A,!due!to!the!colla% parte!indications!given!in!b.!1.!All!of!the!differences!between!Alt!and!Ob!I/Vln!I!are!from!B! and!have!been!tacitly!incorporated!into!the!main!text;!any!further!alterations!in!these!parts! have!been!noted!below.!

!!

BAR$ PART$ SOURCE$ COMMENTS$

3–4!! Ob!I;!Vln!I! B! Tie!over!barline!missing,!probably!error!

9! BC! A,!B,!C! Placement!of!first!figure!consistent!with!all!sources;!

presumably!this!is!to!show!harmonic!motion!(an!alternative!

possibility!is!that!both!the!5/3!and!4/2!figures!are!intended!for!

Note!2)!

10! Vln!II! B! Notes!6!and!7,!pitch!unclear!–!note!6!looks!like!b’!and!note!7!

looks!like!e’!(most!likely!careless!notation)!

11! Alt! A!

! 15! BC! A! Upper!part,!minim!absent!

17! BC! A! Figures!absent!

18! Sop! B,!C! Text!underlay!unclear,!possibly:!

! 25! Alt! A! Note!1!is!a!(appears!to!be!an!error;!very!smudged!in!B,!but!

looks!like!this!reading!was!carried!over!and!subsequently!

corrected!to!b)!

25! BC! A! Note!3!onwards,!figures!absent!

27! Ob!I;!Vln!I! B,!C!

! This!rhythm!creates!a!sharp!dissonance!against!Alt,!and!is!

probably!a!mistake!

30! BC! A! Lower!figure!(4)!missing!on!6/4! 320!!

31! BC! A,!B! Natural!missing!on!6/4!(editorial!addition)!

33! Ten! B,!C! Text!underlay!unclear,!possibly:!

! 35! Alt! B,!C!

! 36! Tr!I! B,!C! Note!5,!pitch!(sounding)!is!a’’!(written!pitch!g’’),!anticipating!

the!first!note!of!b.!37;!this!clashes!with!the!pitch!given!in!Alt!

and!Vln!I!so!is!probably!erroneous!

36! Alt! A!

! 36! BC! B! Second!figure!appears!to!be!placed!closer!to!the!second!beat!of!

the!bar!

38! BC! A! Note!2,!upper!figure!is!‘6’!

39! Sop! B,!C!

! 39! BC! A,!B! Placement!of!second!figure!uncertain!(may!be!intended!for!

second!quaver!of!first!beat)!

41! Tr!I! A! Note!2!has!dot;!either!this!is!erroneous,!or!the!quaver!rest!is!

redundant!and!has!not!been!crossed!out!(B!suggests!the!

former,!and!so!consequently!the!dot!has!been!omitted!in!the!

main!text)!

!

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$ ! 321!

SANCTUS$

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15.$Sanctus$

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None!of!the!notational!changes!in!the!Ob!I!and!II!parts!are!found!in!A,!due!to!the!colla%parte! indications!given!in!b.!1!(see!below).!All!of!the!differences!between!Sop!and!Ob!I/II!are!from!B! and!have!been!tacitly!incorporated!into!the!main!text;!any!further!alterations!in!these!parts! have!been!noted!below.!

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BAR$ PART$ SOURCE$ COMMENTS$

6! Vla! A! Note!8!(and!edge!of!stave)!missing!due!to!erasure!or!damage!

9! Bass! B,!C! Note!2!is!g!(same!pitch!as!note!1)!

9! BC! B! Note!2!is!A%(error)!

10! Ob!I,!II! B,!C! Crotchet!rest!instead!of!note!5!

11! Ob!I,!II! B,!C! The!rhythm!as!given!here!is!found!in!all!these!sources,!so!has!

been!retained!in!the!main!text,!although!it!does!not!match!the!

simplified!rhythm!given!in!b.!12;!a!suggested!alternative!for!

performance!would!be!to!simplify!these!notes!to!crotchets,!as!

in!b.!12!

12! Sop,!Alt,! A! Crotchet!rest!(looks!more!like!quaver!rest!in!case!of!Ten)!after!

Ten! note!2,!most!likely!an!error!

16! Tr!I! B! Slur!missing!(probably!implied)!

18–19!! Sop! B,!C!

! 21! BC! A! Note!5,!natural!in!figure!missing!

22! Vla! B,!C! Note!1!is!e’!(error)!

22! BC! B,!C! Note!1,!natural!in!figure!missing!

24! Vln!II! A,!B! Note!2!written!as!two!crotchets!with!tie!

$

$

$

$

$ 322!!

16.$Benedictus$

$

All!dynamic!markings!in!the!main!text!are!found!in!A!only!unless!otherwise!stated!(see!the! comment!under!‘Articulation!and!dynamics’!above).!

$

BAR$ PART$ SOURCE$ COMMENTS$

2! BC! A! Notes!1!and!3,!figure!is!‘6’;!note!2!has!no!figure!

3! Vln!I,!II! B! Articulation!slightly!unclear!–!staccato!only!on!note!1,!slurs!

between!notes!2!and!3!(although!may!possibly!be!notes!1!and!

2,!rendering!the!staccato!obsolete)!and!notes!3!and!4!

4! Vln!I,!II! B! Slur!absent!

4! BC! A! Note!3,!figure!absent!

9! Vla! B! Note!3!is!sharp!(not!reflected!in!BC!figure)!

10! Vla! B! Slur!absent!

11! BC! B,!C! Crotchet!d’!instead!of!rest!(inconsistent!with!b.!12!and!b.!17);!

figures!absent!except!for!‘8’!on!note!1!

12! Vln!I,!II! B! Slur!under!notes!2!and!3!absent!

12! BC! B! Note!1!figure!is!‘7’!

13! Vln!I,!II! B!

! The!reading!given!in!the!main!text,!which!is!from!A,!is!a!later!

addition!that!most!likely!postdates!B!(as!with!the!dynamics)!

14! Vln!I,!II! A! Note!2!pitch!unclear,!possibly!c’’%

14! Vln!I,!II! B! Note!4!pitch!is!g’,!rejected!by!analogy!with!b.!21!

14! Vla! B! Slur!absent!

16! Vln!I,!II! A,!B,!C! Whether!note!3!should!be!natural!is!open!to!speculation;!none!

of!the!sources!explicitly!give!a!natural!(therefore!conflicting!

with!b.!104),!although!a!strangelyTshaped!natural!appears!to!

have!been!marked!in!at!a!much!later!time!in!B!

16! Vln!I,!II! B! Slurs!absent!

19! Vla! B! Unreadable!marking!above!note!5!(looks!like!trill!sign)!

20! Vln!I,!II! B! Notes!4!and!5,!slur!missing,!staccato!wedges!present!

22! Vla! B! Dynamic!marking:!‘pia:’!

22! Ten! A! Slur!absent! ! 323!

22! BC! A,!B! Figures!are!present,!but!unreadable!

23! Ten! B! Slur!absent!

24! Vla;!BC! B! Dynamic!marking:!‘fo.’!

25! BC! A! Note!4,!figure!absent!

26! Vla! B! Dynamic!marking:!‘pia:’!

26! Ten! B! Slur!absent!

28! Ten! A! Text!underlay!slightly!uncertain,!‘veT‘!may!be!under!note!4!

30! BC! B! Note!3,!figure!absent!

31! Ten! B! Slur!absent!

33! Ten! B! Slur!absent!

33! BC! A! Note!3,!natural!missing!!

37! Ten! A! Notes!1!and!2!are!semiquavers!(probably!an!error)!

37! Ten! B! ‘Tmi’!is!under!note!3!(dotted!crotchet)!

38! All! A! ‘Andante’!indication!absent,!possibly!trimmed!off!

39! Ten! B! Slur!absent!

41! Vln!I,!II! B! Notes!6!and!7,!slur!absent,!staccato!wedges!present!

41! Ten! B! Uncertain!placement!of!‘veT‘,!may!be!under!note!3!

45! Vln!I,!II! B! As!for!b.!13!

47! Ten! A! Notes!4!and!5!are!quavers!(the!dotted!rhythm!on!notes!2!and!3!

appears!to!be!a!later!addition,!and!may!have!been!implied!for!

notes!4!and!5!as!well)!

47! Ten! B! Slurs!absent!

48! Vln!I,!II! B! Slur!absent,!although!dynamic!is!present!

50! Vln!I,!II! B! Trill!absent!

50! Ten! A! Note!4!is!a!

51! Vln!I,!II! B! Only!‘forte’!dynamic!is!present,!placement!unclear!

51! Vla! A! Note!2,!natural!missing!(implied!because!of!note!3!sharp)!

51–55!! BC! A! Figures!absent!

52! Vln!I,!II! A,!B,!C! As!for!b.!16!

52! Vln!I,!II! !B! As!for!b.!16!

53! Ten! A! Notes!1!and!2!beamed!separately;!possible!sign!of!a!dot!next!to!

note!1,!but!no!extra!flag!seems!to!be!present!on!note!2!

54! Vln!I,!II! B! Articulation!absent!

55! Ten! B! Uncertain!placement!of!‘ve’,!may!be!under!note!4! 324!!

56! Vln!I,!II! A! Notes!1!and!2,!staccatos!absent!!

56! Vln!I,!II! B! Notes!3!and!4!are!staccato!(unclear!if!notes!1–4!are!dots!or!

wedges);!slur!absent;!dynamic!present!(also!in!Vla)!

56! Ten! B! Slur!absent!

56! BC! B! Dynamic!absent!

62! BC! B! Note!2,!natural!figure!under!‘5’!

63! Vln!I,!II! A! Top!of!page!heavily!trimmed!so!articulation!lost,!although!

notes!7–8!appear!not!to!be!slurred!

63! Vln!I,!II! B! Dynamic!present!

63! BC! A! Possibly!‘Rip:’!(unreadable)!

65! Vln!I,!II! B! Dynamic!crossed!out!

66! Vln!I,!II! A,!B! Note!5,!natural!missing!in!A;!slurs!absent!in!B!

67! Vla! B! Trill!absent!

68! Ten! B! Note!1!rhythm!uncertain,!may!have!been!changed!to!quaver!

68! BC! B! Unclear!marking!under!note!2,!possibly!‘pia.’!

69! Vln!I,!II! A! All!articulation!absent!

69! Ten! A! Notes!1!and!2!are!both!quavers!

69!! Ten! B! Slur!absent!

69! BC! B! Note!1,!figure!missing!

70! Ten! B! As!for!b.!55!

71! Vln!I,!II! A! As!for!b.!69!

71! BC! B! As!for!b.!69!

76! BC! B! Note!1,!natural!attached!to!figure!missing!

77! BC! A! Note!1,!natural!figure!missing!

78! Vln!I,!II! A! Staccato!wedge!absent!

80! Vln!I,!II! A! As!for!b.!78!

81! Vln!I,!II! B! Dynamic!marking:!‘piano.’!

83! BC! B! Note!2,!figures!missing!

85! Ten! B! Note!3!is!quaver;!semiquaver!beam!appears!to!be!only!on!note!

5,!implying!note!4!is!a!dotted!quaver!(although!no!dot!is!

present)!

!

!

! ! 325!

88! Ten! A! PasteTover!Type!2!–!earlier!version!underneath:!

! 93! Vln!I,!II! A! Staccato!wedges!absent!(probably!implied)!

94! Vln!I,!II! B! Slur!absent!

94! Ten! B! As!for!b.!55!

95! Vln!I,!II;! A! Dynamic!unclear,!possibly!‘piano’!

Vla;!BC!

95! Vln!I! B! Dynamic!present!

96! Vln!I,!II! A! Notes!1!and!2!have!staccato!wedges!instead!of!slur!

103– BC! A! Figures!absent!

104!!

103! Vln!I,!II;! B! Dynamic!present!

Vla!

105! BC! A! ‘Forte’!(redundant!as!passage!is!already!forte)!

107– Vln!I,!II! A! All!articulation!absent!

108!!

!

$

17.$Osanna$in$excelsis!

$

BAR$ PART$ SOURCE$ COMMENTS$

5! BC! A! Note!5!(upper!part)!missing!

6! BC! A,!B! Second!figure!(6)!has!backwards!stroke!(a!little!difficult!to!see!

if!this!is!really!the!case!in!A)!–!the!upper!parts!clearly!show!G!

natural,!not!G!sharp,!so!it!is!probably!erroneous!

7! Ob!I,!II;!! A! A!single!stave!is!allocated!to!Ob!I!and!Ob!II!in!A,!on!which!the!

Vln!II! indication!‘col!Sopran’!is!found;!suggesting!both!parts!should!

double!Sop;!however,!B!has!Ob!I!doubling!Vln!I/Alt,!which!is!

more!consistent!with!the!doubling!patterns!in!other!

movements! 326!!

11–12!! Alt! B,!C!

! 12–13!! Ob!I;!Vln!I! A! The!modification!from!Alt!is!not!notated,!due!to!colla%parte!

doubling,!so!this!reading!comes!from!B!!

13! Alt! B,!C! Slur!absent!

14! BC! A! Lower!note!absent!(probably!an!oversight);!very!difficult!to!

see!in!B!

15–18!! Timp! A! All!notation!absent!

17! Tr!II! A! Note!7!has!sharp!(in!B,!it!has!clearly!been!erased)!

19! BC! A! Lower!note!absent!(probably!an!oversight)!

20–24!! BC! A! All!figures!absent!

22! Ob!I;!Vln!I;! A! Note!4!is!g’,!which!creates!a!very!sharp!dissonance!with!Ten!

Alt! (visibly!corrected!in!B)!$

22! BC! B! Notes!1–3,!figures!absent!(added!here!by!analogy!with!b.!20)!

!

$

AGNUS$DEI$

$

18.$Agnus$Dei$

$

Ob!I!&!II!are!not!notated!in!A,!although!they!are!allocated!a!stave,!and!no!colla%parte!doubling! indication!is!given.!

!

BAR$ PART$ SOURCE$ COMMENTS$

9–10!! Sop! B! Tie!missing!

13! BC! A! ‘Solo’!

13–15! BC! A! Figures!absent!(except!on!Note!3!of!b.!15)!

16! BC! B! Note!3,!figure!is!‘2’!

19! BC! B! Note!2,!figure!is!‘6’!

23! Bass! B! Note!1!is!a!(error;!faintly!corrected!in!Zelter’s!hand)!

23! BC! A! Note!2,!natural!on!upper!figure!and!sharp!on!lower!figure!

appear!to!be!absent!

24! BC! B! Note!2,!last!figure!is!‘3’! ! 327!

31! Ten! B,!C! Note!2!is!f;!this!may!be!an!error!transmitted!from!X,!or!(less!

likely)!a!legitimate!revision!!

35! Alt! A!

! !

$

19.$Dona$nobis$pacem$

$

BAR$ PART$ SOURCE$ COMMENTS$

2! BC! A! Note!3,!figures!absent!

3! Alt! A! Note!2!is!e’!(unclear!in!B;!appears!to!have!been!corrected!to!f#’)!

3–4!! Ob!I! B!

! 3! BC! B,!C!

! The!reading!in!A!is!slightly!unclear,!but!seems!to!be!what!is!

presented!here!in!the!main!text,!which!accords!with!the!

rhythmic!and!melodic!motion!in!Ten;!the!question!of!whether!

the!alternative!reading!given!above!is!a!deliberate!revision!or!

the!result!of!erroneous!copying!(perhaps!in!X)!remains!open!to!

interpretation.!

5! Ten! B,!!

! 7! BC! B! Notation!unclear:!clef!appears!to!be!wrongly!positioned!in!

front!of!note!2!(which!is!still!notated!in!bass!clef),!and!note!3!

appears!to!be!missing!

10! Sop! A! Slurs!over!notes!1!and!2!and!notes!3!and!4!

10! BC! A,!B! B!has!‘9’!under!note!7;!A!is!missing!‘6’!under!note!8!

!

!

! 328!!

13! Alt! B,!C! Note!4!is!f#’;!possibly!an!error!transmitted!from!X!–!rejected!

due!to!creation!of!consecutive!octaves!between!Sop/Alt;!see!

also!different!text!underlay!for!b.!13–14!below:!

! 16! Bass! B! Note!3!is!a!(error)!

25! Ob!II! B,!C!

! 27! BC! B! Sharp!next!to!second!upper!figure!is!missing!

28–29!! Tr!I;!Ob!I;! B! Tie!over!barline!(nonsensical!due!to!‘Tcem’!on!first!note!of!b.!

Vln!I;!Alt! 29)!!

28! Ten! A! Minim!rest!at!beginning!of!bar;!however,!note!1!(with!its!

accompanying!text)!is!also!faintly!visible,!suggesting!it!was!

added!as!a!revision!or!correction!and!the!rest!was!simply!not!

removed.!

28! BC! A,!B! Second!lower!figure!is!sharp!instead!of!3!(clearly!an!error)!

32! BC! A! Note!1!is!octave!lower!

35! Ob!I! B,!C! Entire!bar!is!down!an!octave!(seemingly!deliberate!alteration)!

38! BC! B! Vertical!line!over!note!1!to!indicate!tasto%solo!(contradicts!

figuring)!

38–39!! BC! A! Tie!over!barline!

40! Ob!I;!Vln!I! A! Notes!3!and!4:!a!literal!reading!of!the!colla%parte!doubling!

indication!would!result!in!a!minim!instead!of!the!dotted!

crotchet!and!quaver!!

42–43!! Vla! B,!C! Tie!over!barline!absent!(unclear!if!this!is!intentional!or!not)!

43! Ten! A! Slur!over!notes!4!and!5!

44! Tr!II! A!

! !

! ! ! ! $ ! 329!

BIBLIOGRAPHY$

$

$ Ágústsson,!Jóhannes.!‘The!Secular!Vocal!Collection!of!Jan!Dismas!Zelenka:!A! Reconstruction.’!Studi%Vivaldiani!13!(2013),!9–10.!! ! Bach,!Johann!Sebastian.!Messe%in%hbmoll.!Neue!Ausgabe!Sämtlicher!Werke,!Revidierte! Edition!(NBArev),!Band!1.%Edited!by!Uwe!Wolf.!Kassel:!Bärenreiter,!2010.! ! Benedictines!of!Solesmes!(eds.),!The%Liber%Usualis:%With%Introduction%and%Rubrics%in% English.!Tournai!(Belgium);!New!York:!Desclée,!1961.! ! Blechschmidt,!Eva!Renate.!Die%AmalienbBibliothek:%Musikbibliothek%der%Prinzessin%Anna% Amalia%von%Preußen%(1723–1787).!Berliner!Studien!zur!Musikwissenschaft,!Band!8.! Berlin:!Merseburger,!1965.! ! Brook,!Barry!S.!(ed.)!The%Breitkopf%Thematic%Catalogue:%The%Six%Parts%and%Sixteen% Supplements%1762–1787.!New!York:!Dover,!1986.! ! Caldwell,!John.!Editing%Early%Music.!Early!Music!Series!5.!Oxford:!Oxford!University! Press,!1985.! ! Fischer,!Axel,!and!Matthias!Kornemann!(eds.)!The%Archive%of%the%SingbAkademie%zu% Berlin:%Catalogue.!Berlin!and!New!York:!De!Gruyter,!2010.! ! Faulstich,!Bettina.!Die%Musikaliensammlung%der%Familie%von%Voß:%Ein%Beitrag%zur%Berliner% Musikgeschichte%um%1800.!Catalogus!Musicus,!Band!XVI.!Kassel:!Bärenreiter,!1997.! ! Frampton,!Andrew.!‘A!Critical!Edition!of!Jan!Dismas!Zelenka’s!Missa%Paschalis,!ZWV! 7.’!BMus(Hons)!Diss.,!University!of!Melbourne,!2013.! ! ______.!‘A!Copyist!of!Bach!and!Zelenka:!identifying!the!scribe!of!GBTOb!MS! Tenbury!749.’!Paper!given!at!the!Melbourne!Bach!Forum,!25–27!July!2014.! ! Geck,!Karl!Wilhelm.!‘Die!SLUB!als!Archiv!für!die!Musik!der!Dresdner!Hofkapelle.’! SLUBbKurier!12!(1998):!12–14.!! ! Glöckner,!Andreas.!‘Church!Cantatas!in!the!Breitkopf!Catalogs.’!In!Bach%Perspectives% 2:%J.S.%Bach,%the%Breitkopfs,%and%EighteenthbCentury%Music%Trade,!edited!by!George!B.! Stauffer,!27–33.!Lincoln!and!London:!University!of!Nebraska!Press,!1996.!

Grier,!James.!The%Critical%Editing%of%Music:%History,%Method%and%Practice.!Cambridge:! Cambridge!University!Press,!1996.! 330!!

Heinichen,!Johann!David.!Der%Generalbaß%in%der%Komposition.!Dresden:!1728;! Hildesheim:!Georg!Olms!Verlag,!1969![Facsimile!Reprint].! ! Henzel,!Christoph.!‘Oratorios,!Masses,!Sacred!and!Secular!Cantatas,!!and! Lieder.’!In!The%Archive%of%the%SingbAkademie%zu%Berlin:%Catalogue,!edited!by!Axel!Fischer! and!Matthias!Kornemann,!65–73.!Berlin!and!New!York:!De!Gruyter,!2010.! ! Hogan,!Shelley.!‘The!Bass!Ripieno!section!of!the!Dresden!Hofkapelle!during!the!First! Half!of!the!Eighteenth!Century.’!PhD!Diss.,!University!of!Melbourne!(in!progress).! ! Horn,!Wolfgang.!‘Die!wichtigsten!Schreiber!im!Umkreis!Jan!Dismas!Zelenkas:! Überlegungen!zur!Methode!ihrer!Bestimmung!und!Entwurf!einer!Gruppierung!der! Quellen.’!In!ZS%I,!141–210.!! ! ______.!Die%Dresdner%Hofkirchenmusik,%1720–1745:%Studien%zu%ihren%Voraussetzungen% und%ihrem%Repertoire.!Kassel!and!New!York:!Bärenreiter,!1987.!! ! Kiernan,!Frederic.!‘Six!Ave%regina%coelorum%Settings!(1737)!by!Jan!Dismas!Zelenka! (ZWV!128):!Context!and!Critical!Edition.’!MMus!Diss.,!University!of!Melbourne,! 2013.! ! Kobayashi,!Yoshitake.!‘On!the!Identification!of!Breitkopf’s!Manuscripts.’!In!Bach% Perspective%2:%J.S.%Bach,%the%Breitkopfs,%and%EighteenthbCentury%Music%Trade,!edited!by! George!B.!Stauffer,!107–121.!Lincoln!and!London:!University!of!Nebraska!Press,!1996.!

Kohlhase,!Thomas.!‘Anmerkungen!zur!Generalbaßpraxis!der!Dresdner! Hofkirchenmusik!der!1720er!bis!1740er!Jahre.’!In!ZS%I,!233–240.! ! Kollmar,!Ulrike.!Gottlob%Harrer%(1703–1755),%Kapellmeister%des%Grafen%Heinrich%von%Brühl% am%sächsischbpolnischen%Hof%und%Thomaskantor%in%Leipzig.!Schriften!der!Mitteldeutschen! Musikgeschichte!der!Ständigen!Konferenz!Mitteldeutsche!Barockmusik,!Band!12.! Beeskow:!Ortus,!2006.! ! Köpp,!Kai.!Johann%Georg%Pisendel%(1687–1755)%und%die%Anfänge%der%neuzeitlichen% Orchesterleitung.!Tutzing:!Hans!Schneider,!2005.! ! Kornemann,!Matthias.!‘Zelter’s!Archive.!Portrait!of!a!Collector.’!In!The%Archive%of%the% SingbAkademie%zu%Berlin:%Catalogue,!edited!by!Axel!Fischer!and!Matthias!Kornemann,! 19–25.!Berlin!and!New!York:!De!Gruyter,!2010.! ! Landmann,!Ortrun.!‘The!Dresden!Hofkapelle!during!the!Lifetime!of!Johann! Sebastian!Bach.’!Early%Music!17!(1989),!17–32.! ! Landmann,!Ortrun.!Über%das%Musikerbe%der%Sächsischen%Staatskapelle:%Drei%Studien%zur% Geschichte%der%Dresdner%Hofkapelle%und%Hofoper%anhand%ihrer%Quellenüberlieferung%in%der% SLUBbDresden.!2nd!edition.!Dresden:!Sächsische!Landesbiblothek!–!StaatsT!und! Universitätsbibliothek!Dresden,!2010.! ! 331!

Poppe,!Gerhard.!‘Dresdner!Hofkirchenmusik!von!1717!bis!1725:!über!das!Verhältnis! von!Repertoirebetrieb,!Besetzung!und!musikalischer!Faktur!in!einer!Situation!des! Neuaufbaus.’!In!Mitteldeutschland%im%musikalischen%Glanz%seiner%Residenzen.%Sachsen,% Böhmen%und%Schlesien%als%Musiklandschaften%im%16.%und%17.%Jahrhundert,%edited!by!Peter! Wollny,!301–342.!Jahrbuch!Mitteldeutsche!Barockmusik!6.!Beeskow:!Ortus!Verlag,! 2005.!

Quantz,!Johann!Joachim.!On%Playing%the%Flute,!trans.!Edward!R.!Reilly.!2nd!ed.! London:!Faber!&!Faber,!1985.!

Reich,!Wolfgang.!‘Jan!Dismas!Zelenka!und!seine!Dresdner!Kopisten.’!In!ZS%I,!111– 113.!!

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Schulze,!HansTJoachim.!‘Bach’s!Vocal!Works!in!the!Nonthematic!Catalogs!of!1761!to! 1836.’!In!Bach%Perspective%2:%J.S.%Bach,%the%Breitkopfs,%and%EighteenthbCentury%Music%Trade,! edited!by!George!B.!Stauffer,!35–49.!Lincoln!and!London:!University!of!Nebraska! Press,!1996.!

Stauffer,!George.!‘Introduction:!The!Breitkopf!Family!and!Its!Role!in!EighteenthT Century!Music!Publishing.’!In!Bach%Perspective%2:%J.S.%Bach,%the%Breitkopfs,%and% EighteenthbCentury%Music%Trade,!edited!by!George!B.!Stauffer.!Lincoln!and!London:! University!of!Nebraska!Press,!1996.!

Stockigt,!Janice!B.!‘A!database!of!the!‘Catalogo!della!Musica!di!Chiesa!composta!da! diversi!Autori!–!secondo!l’alfabetto!1765’,!compiled!in!3!volumes!under!the! supervision!of!Joannes!Georg!Schürer.’!Unpublished!paper,!2014.! ! ______.!Jan%Dismas%Zelenka:%A%Bohemian%Musician%at%the%Court%of%Dresden.!Oxford:! Oxford!University!Press,!2000.! ! ______.!‘Jan!Dismas!Zelenka:!Recent!Research.’!Paper!presented!at!the!Fifteenth! Biennial!International!Conference!on!Baroque!Music,!University!of!Southampton,! 11–15!July!2012.! ! ______.!‘The!Court!of!SaxonyTDresden.’!In!Music%at%German%Courts,%1715–1760:% Changing%Artistic%Priorities,!edited!by!Samantha!Owens,!Barbara!M.!Reul!and!Janice!B.! Stockigt,!17–49.!Woodbridge:!Boydell!Press,!2011.! ! ______.!‘The!Role!of!Copyists!when!Preparing!Orchestral!Oboe!Parts!from!Scores!of! Jan!Dismas!Zelenka.’!Double%Reed!25!(2002):!31–39.!! ! 332!!

______.!‘The!Vespers!Psalms!of!Jan!Dismas!Zelenka!(1679–1745)!in!the!Liturgy!and! Life!of!the!Dresden!Catholic!Court!Church.’!PhD!Diss.,!University!of!Melbourne,! 1994.! ! ______.!‘Two!Zelenka!masses!in!J.S.!Bach’s!Nachlaß.’!Paper!given!at!the!Eighth! Biennial!Conference!on!Baroque!Music,!University!of!Exeter,!9–12!July!1998.! ! Talbot,!Michael,!and!Jasmin!Cameron.!‘Accidentals!in!Baroque!Music!(and!How!to! Treat!Them!in!Editions!of!Baroque!Music)’,!in!Editorial%Techniques!(unpublished! paper).! ! Unverricht,!Huburt.!‘Zur!Datierung!der!Bläsersonaten!von!Johann!Dismas!Zelenka.’! Die%Musikforschung!15!(1962):!265–268.!!

Weiß,!Wisso,!and!Yoshitake!Kobayashi.!Katalog%der%Wasserzeichen%in%Bachs% Originalhandschriften.!Johann!Sebastian!Bach,!Neue%Ausgabe%Sämtlicher%Werke!(=!Neue% Bach%Ausgabe),!Serie!IX,!Band!1.!Textband!und!Abbildungsband.!Kassel:!Bärenreiter,! 1985.! ! Wolff,!Christoph.!Johann%Sebastian%Bach:%The%Learned%Musician.!New!York:!W.W.! Norton!&!Co.,!2000.!! ! ZelenkabDokumentation:%Quellen%und%Materialen.!In!Verbindung!mit!Ortrun!Landmann! und!Wolfgang!Reich,!vorgelegt!von!Wolfgang!Horn!und!Thomas!Kohlhase.!2!vols.! Wiesbaden:!Breitkopf!und!Härtel,!1989.! ! ZelenkabStudien%I:%Referate%der%Internationalen%Fachkonferenz%Jan%Dismas%Zelenka%(1679– 1745),%Marburg,%J.bG.bHerderbInstitut,%16.b20.%November%1991.%Edited!by!Thomas! Kohlhase.!Musik!des!Ostens!14.!Kassel:!Bärenreiter,!1993.! ! ZelenkabStudien%II:%Referate%und%Materialien%der%2.%Internationalen%Fachkonferenz%Jan% Dismas%Zelenka,%Dresden%und%Prag%1995.!Edited!by!Wolfgang!Reich!and!Günter! Gatterman.!Deutsche!Musik!im!Osten!12.!Sankt!Augustin:!Academia!Verlag,!1997.! ! ! !

APPENDIX(( Summary(of(major(palaeographic(dating(features(in(the(autograph(manuscript(of(ZWV(4( " Movement( Bass(Clef( Raised(Note( System( PasteJovers( Date((excluding(pasteJovers)( (usually(fourth)( brackets(and( (ca.(1729(or( in(figured(bass( dividers( later)( 1."Kyrie"eleison"I" Pages"324:" Pages"3–4:" N/A" Yes" Pages"3–4:"late"1728"or"early" 1729" " " " " Pages"5–12:" Pages"5–12:" 1723" N/A" " Pages"5–12:"

" 2."Christe"eleison" N/A" " No" 1723;"substantially"revised," with"flutes,"1729" " 3."Kyrie"eleison"II" N/A" Yes" 1723" "

" 4."Gloria"in"excelsis"Deo" N/A" Yes" 1723"

" "

! 333" !

5."Qui"tollis"peccata"mundi"I" N/A" N/A" No" 1729"

" 6."Qui"tollis"peccata"mundi"II" N/A" " Yes" 1723;"substantially"revised," with"flutes,"1729" " 7."Quoniam"tu"solus"Sanctus" N/A" N/A" Yes" 1723"

" 8."Cum"Sancto"Spiritu" N/A" Yes" 1723"

" " 9."Credo"in"unum"Deum" N/A" No" 1729" " " 10."Et"incarnatus"est" N/A" No" 1729"

" " 11."Crucifixus" N/A" No" 1729" " " 12."Et"resurrexit" N/A" Page"11:" Yes" Probably"ca."1723/4;" substantially"revised,"with" new"text,"1729" " " Pages"12"&" 14:" " "

334"! !

13."Et"unam"Sanctam" N/A" N/A" No" 1729"

" 14."Et"vitam"venturi" N/A" No" 1729"

" " 15."Sanctus" Page"31"(timpani):" N/A" N/A" No" "

" All"other"staves:"

" 16."Benedictus" " Yes" Probably"ca."1723/4,"as"" ‘Domine"Deus’;"substantially" " revised,"with"new"text,"1729" " 17."Osanna"in"excelsis" N/A" N/A" No" 1729"

" 18."Agnus"Dei" N/A" No" 1729"

" " 19."Dona"nobis"pacem" N/A" No" 1729"

" " "

! 335"

Minerva Access is the Institutional Repository of The University of Melbourne

Author/s: Frampton, Andrew Leslie

Title: Jan Dismas Zelenka's Missa Sancti Spiritus, ZWV 4: a critical edition and study of the manuscript sources

Date: 2015

Persistent Link: http://hdl.handle.net/11343/56429

File Description: Jan Dismas Zelenka's Missa Sancti Spiritus, ZWV 4: A Critical Edition and Study of the Manuscript Sources - Volume 2