Marta Pielech Iwona Januszkiewicz-Rębowska

Marta Pielech

FMP Iwona Januszkiewicz-Rębowska

Musicalia Collegii Glacensis Societatis Jesu Societatis Jesu Societatis – Musicalia Collegii Glacensis Collegii – Musicalia Marta Pielech, Iwona Januszkiewicz-Rębowska Iwona Pielech, Marta

Wydawnictwo Naukowe Sub Lupa

ISBN 978-83-65886-77-4 A /III Fontes MusicÆ in Polonia A/III

9 7 8 8 3 6 5 8 8 6 7 7 4 A /III Musicalia Collegii Glacensis Societatis Jesu Publikacja finansowana w ramach programu Ministra Nauki i Szkolnictwa Wyższego pod nazwą „Narodowy Program Rozwoju Humanistyki” w latach 2016–2020

Projekt badawczy pt.: Repertuar muzyczny Towarzystwa Jezusowego w Rzeczpospolitej Obojga Narodów (1565–1773) Marta Pielech Iwona Januszkiewicz-Rębowska

Musicalia Collegii Glacensis Societatis Jesu

Sonia Rzepka

F o n t e s Warszawa 2019 Musicæ Wydawnictwo Naukowe Sub Lupa in Polonia Fontes Musicæ in Polonia, A /III Fontes Musicæ in Polonia www.fontesmusicae.pl seria | series A, vol. III

Redaktorzy serii | General Editors Tomasz Jeż, Katarzyna Spurgjasz

Rada Naukowa | Scientific Council dr hab. Paweł Gancarczyk, prof. Instytutu Sztuki Polskiej Akademii Nauk dr hab. Agnieszka Leszczyńska, Uniwersytet Warszawski dr hab. Aleksandra Patalas, prof. Uniwersytetu Jagiellońskiego dr hab. Danuta Popinigis, prof. Akademii Muzycznej w Gdańsku dr hab. Barbara Przybyszewska-Jarmińska, prof. Instytutu Sztuki Polskiej Akademii Nauk prof. dr hab. Marcin Szelest, Akademia Muzyczna w Krakowie mgr Ewa Hauptman-Fischer, Biblioteka Uniwersytecka w Warszawie (sekretarz | secretary)

Recenzent | Reviewer dr hab. Magdalena Walter-Mazur, Uniwersytet im. Adama Mickiewicza w Poznaniu

Tłumaczenia | Translations Tomasz Zymer

Na okładce | On the cover Anonim | Anonymous, Veni Sancte Spiritus & Magnificat, Kłodzko, Parafia Rzymskokatolicka Wniebowzięcia Najświętszej Maryi Panny, sygn. | shelf mark H-210

Redakcja językowa | Text editing Elżbieta Sroczyńska

Korekta językowa | Proofreading Halina Stykowska

Projekt i wykonanie układu graficznego | Graphic design and page layout Weronika Sygowska-Pietrzyk

Instytut Muzykologii Uniwersytetu Warszawskiego

Wydawnictwo Naukowe Sub Lupa

ISBN: 978-83-65886-77-4 Wstęp

Historia zbioru

uzykalia kościoła pw. Wniebowzięcia NMP w Kłodzku (Glatz) są uni- Mkatową kolekcją proweniencji jezuickiej, znajdującą się w obecnych granicach Polski. Zbiór ten wiąże się jednak głównie z tradycjami muzycznymi jezuitów prowincji czeskiej Towarzystwa Jezusowego, z której po pruskiej aneksji wydzielono prowincję śląską (1755), łączącą Śląsk z ziemią kłodzką. Obydwa te regiony związane były ze sobą kulturowo już wcześniej; od począt- ku XVII wieku Kłodzko stało się zaś bastionem kierowanej na Śląsk ofensywy rekatolizacyjnej, prowadzonej m.in. przez jezuitów1. O ile większość zbiorów muzycznych pochodzących z kościołów tego zakonu zaginęła w czasach kasaty, zbiór kłodzki szczęśliwie ją przetrwał. Wynikało to stąd, że kłodzka fara nie należała bezpośrednio do Towarzystwa, ale była mu dzierżawiona przez mia- sto; po kasacie muzykalia kościoła pozostały więc w jego murach. Kasatę prze- trwał także założony przez jezuitów konwikt; jego wychowankowie zajmowali się m.in. oprawą muzyczną liturgii odbywających się w kościele. Śladem kultury muzycznej pielęgnowanej w obydwu instytucjach jest zachowany do dziś zbiór muzykaliów, datowany na lata 1730–18602. Zbiór ten przechowywany jest obecnie w murach kłodzkiego kolegium, które po II wojnie światowej – wraz z farą – wróciło do Towarzystwa Jezusowego.

1 Johann Schmidl, Historiae Societatis Jesu provinciae Bohemiae..., t. 1, Praga: Drukarnia Aka- demicka 1747, s. 525. 2 Rudolf Walter, Kirchenmusikalienbestand in Glatz aus den Jahren 1730–1860, „Jahrbuch der Schlesischen Friedrich-Wilhelms-Universität zu Breslau” 36/37 (1995/1996), s. 151–177; Tomasz Jeż, Muzykalia kościoła Wniebowzięcia NMP w Kłodzku: unikatowa kolekcja repertuaru proweniencji jezuickiej na Śląsku, w: Muzykolog wobec świadectw źródłowych i dokumentów. Księga pamiąt- kowa dedykowana profesorowi Piotrowi Poźniakowi w 70. rocznicę urodzin, red. Zofia Fabiańska, Jakub Kubieniec, Andrzej Sitarz, Piotr Wilk, Kraków: Musica Iagellonica 2009, s. 241–260.

5 Wstęp

Parafialny kościół Wniebowzięcia NMP w Kłodzku trafił pod zarząd jezuitów w roku 1595, po latach administracji przez joannitów (od końca XII wieku), kanoników regularnych św. Augustyna (sprowadzonych w po- łowie XV wieku przez arcybiskupa praskiego Arnoszta z Pardubic), a w czasach reformacji (1562–1591) – ewangelików. W roku 1597 jezuici uruchomi- li w Kłodzku swoje kolegium oraz gimnazjum, które kilkanaście lat później kształciło już ponad 100 uczniów rocznie3. Kolejną jezuicką placówką dydak- tyczną w mieście był utworzony tam w roku 1614 konwikt, dedykowany póź- niej czci św. Alojzego Gonzagi4. Szkoła ta, przeznaczona pierwotnie dla kształ- cenia ubogiej młodzieży z pobliskiego Śląska, uruchomiona została dzięki darowiźnie biskupa wrocławskiego Karola Habsburga5. Pierwszym prefektem muzyki kłodzkiego konwiktu był Simon Praunstein (1568–1624). Jak podają zachowane kroniki zakonne6, jezuita ten zajmował się też komponowaniem muzyki – był autorem opracowań kilkunastu litanii, hymnów i antyfon maryjnych, które zachowały się w tzw. kodeksie Schwedlera7. Podobnie jak większość prowadzonych przez jezuitów instytucji wycho- wawczych tego rodzaju, także konwikt w Kłodzku przeznaczony był zarówno dla studiującej młodzieży utrzymywanej z regularnych wpłat bogatszych rodzi- ców (commensales), jak i dla chłopców z ubogich rodzin (collegiales), od których wymagano kształcenia się w zakresie muzyki i oprawy muzycznej uroczystości

3 Wilhelm Schulte, Beiträge zur Geschichte des Schulwesens in Glatz und des Gymnasiums insbesondere, w: Festschrift zur Feier des dreihundertjährigen Bestehens des Königlichen katholischen Gymnasiums zu Glatz 1597–1897, Glatz: Schirmer 1897, s. 74–111. 4 Alois Kroess, Geschichte der böhmischen Provinz der Gesellschaft Jesu. Nach den Quellen bearbeitet, t. 1: Geschichte der ersten Kollegien in Böhmen, Mähren und Glatz von ihrer Gründung bis zu ihrer Auflösung durch die böhmischem Stände 1556–1619, Wien: Mayer 1910 (Quellen und Forschungen zur Geschichte, Literatur und Sprache Österreichs und seiner Kronländer, 11), s. 788. 5 Paul Hahnel, Geschichte des königlichen Konvikts zu Glatz. Programm des Kgl. kathol. Gymna- siums zu Glatz, Glatz: Schirmer 1899; Oskar Linke, Gymnasium und Konvikt zu Glatz. Ein Beitrag zur Geschichte deutscher Erziehungs- und Bildungsarbeit in schlesischen Raum 1300–1945, Lüden- scheid: Verlag Grafschafter Bote 1961 (Die Grafschaft Glatz, 3); Rudolf Walter, Schlesische musikalische Collegia – hauptsächlich im 17./18. Jahrhundert – im Rahmen der allgemeinen Cäcilienbru- derschaften der gesamten katholischen Kirche, „Musik des Ostens” 11 (1989), s. 92, 96 i 104–105. 6 Nekrolog z 8 lipca 1624 r. (Praha, Národní Knihovna, Oddělení rukopisů a starých tisků, D 168. Excerpta ex Historia Collegij Glacensis Societatis Jesu (1597–1690), k. 98–99) podaje: „Sacrarum cantionum concionator festivus erat pubblico illi Civitatis parentatum”. 7 Fritz Feldmann, Ein unbekanntes Denkmal der Neisser und Glatzer Musikpflege aus der Zeit des dreißigjährigen Krieges, „Der Oberschlesier” 15 (1933), s. 145–148. Rękopis ten, uważany od czasów II wojny światowej za zaginiony, odnaleziony został niedawno w zbiorach Biblioteki Uniwersyteckiej w Warszawie (PL-Wu RM 5893), zob. Katarzyna Spurgjasz, Odnaleziony Ko- deks Schwedlera z Kłodzka i Nysy (1626–38), „Muzyka” 61/3 (2016), s. 115–134.

6 Historia zbioru kościelnych8. Środki na ich utrzymanie pochodziły z sukcesywnie kumulowa- nych darowizn, najczęściej wyraźnie określających muzyczny profil wykształce- nia konwiktorów9. Przeznaczoną na ten właśnie cel kłodzką fundację biskupa Karola Habsburga w kolejnych latach zasilały legaty wrocławskich kanoników i opatów, umożliwiające dzierżawienie domu na Grüne Straße (obecnie: ul. Woj- ska Polskiego) i utrzymanie w nim 32 uczniów rocznie10. W roku 1628 Johannes Christoph Metzinger von Kaltenstein11 ofiarował konwiktowi w Kłodzku swoje dobra ziemskie w Ścinawce Średniej (Mittelsteine). Majątkiem tym administro- wał dziekan kłodzki Hieronim Keck, który wzbogacił tę fundację o kilka innych dóbr ziemskich (Bożków, Żelazno), a w roku 1644 na ich podstawie ustanowił dla kłodzkiego konwiktu specjalną fundację typu pia causa12. Beneficjenci tej fundacji mieli zapewniony strój, posiłki i opiekę me- dyczną, obligowano ich zaś do nauki śpiewu i muzyki instrumentalnej, co- dziennego wykonania De profundis za swych zmarłych dobroczyńców, a także corocznego czczenia ich pamięci śpiewem Requiem13. Konwiktorzy byli też zobowiązani do cosobotniego wykonania antyfony Salve Regina, śpiewanej podczas mszy wotywnych dedykowanych czci Najświętszej Maryi Panny, określanych jako missae sub aurora. Kontynuowali w ten sposób tradycję za- początkowaną jeszcze w czasach Arnoszta z Pardubic14, czego świadectwem jest graduał Sacrum votivum de Beata Virgine, spisany w roku 1692 z inicja- tywy kantora kłodzkiej fary, Gottfrieda Antona Bergera15. Na śpiew antyfon maryjnych przy innych okazjach uczniom kłodzkiego konwiktu powierzano wiele różnych fundacji prywatnych, ustanawianych na podstawie procentów

8 Joseph Schröteler, Die Erziehung in den Jesuiteninternaten des 16. Jahrhunderts, Freiburg im Breisgau: Herder & Co. Verlagsbuchhandlung 1940, s. 95. 9 Kraków, Archiwum Prowincji Południowej Towarzystwa Jezusowego [dalej jako: KATJ] 2754. Catalogi scholarum Glacensium Anni 1687, 1688, 1690, 1691, 1692, 1730, 1733, 1735, 1737, 1738, 1739, 1743, 1755, s. 189. 10 Rzym, Archivum Romanum Societatis Iesu [dalej jako: ARSI], Boh. 11. Catalogi triennales provinciae Bohemiae SJ (1625, 1628, 1633), fol. 75r. 11 KATJ 2754, s. 190. 12 Johann Schmidl, Historiae..., op. cit., t. 3, s. 882–883. 13 ARSI Boh. 196 I–II. Fundationes I, m.in. Glacense, Hirschbergensis, Nissense, fol. 210r–211v; KATJ 2754, s. 196. 14 Tomasz Jeż, „Salve Regina” z jezuickiego Kłodzka – o rekonstruowaniu tradycji muzycznej, w: Tradycje Śląskiej Kultury Muzycznej, t. 14, cz. I, red. Anna Granat-Janki i zespół, Wrocław: Akademia Muzyczna im. Karola Lipińskiego 2017, s. 185–197. 15 Warszawa, Muzeum Narodowe, 1100. Sacrum votivum de Beata Virgine... [1692]. Paweł Gancarczyk, Nieznane rękopisy liturgiczno-muzyczne XIII–XVII wieku w zbiorach Muzeum Na- rodowego w Warszawie, „Muzyka” 52/2 (2007), s. 29.

7 Wstęp od kapitałów lokowanych na rzecz tej placówki. Fundacje te doprowadziły do stopniowego powiększania się aparatu wykonawczego i zwiększania liczby wy- konań tych antyfon – nawet do kilkuset w skali roku16. Niektóre z fundacji wiązały się z szerzonym w całym regionie kultem cudami słynącej Kłodzkiej Madonny17; inne stanowiły wyraz wdzięczności wiernych za ocalenie miasta z zarazy i pożaru w roku 168018. Głównym zadaniem kłodzkich konwiktorów było jednak opatrywa- nie muzyką uroczystości w kościele parafialnym. Do ich zobowiązań należało też muzykowanie przy okazji 10-dniowych nabożeństw ku czci św. Franciszka Ksawerego19, a także nowenn do św. Ignacego Loyoli20. W szczególnie uroczysty sposób konwiktorzy uhonorowali kanonizację Alojzego Gonzagi (1727), kiedy to przez całą oktawę wykonywali dziękczynne nieszpory ku czci swego patrona, a z okien konwiktu codziennie śpiewali litanię, wieńczoną hymnem applaudente semper duplici tubarum et tympanorum choro21. Jako muzycy brali oni też udział w świętach miejscowej sodalicji Wniebowzięcia NMP i organizowanych przez nią pielgrzymkach do pobliskiego Barda (Wartha)22. Występowali też przy okazji wi- zytacji biskupich23, uświetnianych często muzyczną melodramą24. Dla pozyskania potrzebnych środków finansowych kłodzcy konwiktorzy brali też udział w wyko- naniach muzycznych poza swym kościołem, stymulując w ten sposób dobroczyn- ność mecenasów, zarówno duchownych, jak i świeckich. Grywali więc z okazji wizyt znaczniejszych gości kolegium25, bądź przy okazji publicznych deklamacji uczniów kolegium26. Zapisywano im także różnego rodzaju fundacje prywatne,

16 ARSI Boh. 144. Historiae Litterae Annuae (1728), s. 89. 17 ARSI Boh. 116. Historiae Litterae Annuae (1704), s. 64. 18 KATJ 2787. Instrumentum pro Fundatione Litaniarum etc. ad Statuam Forensem Glacii in Perpetuum Cantandarum Fundatio Pachyana Anno 1686, die 4 Martii, s. 1–31. 19 ARSI Boh. 123. Historiae Litterae Annuae (1711), s. 71. 20 ARSI Boh. 143. Historiae Litterae Annuae (1727), s. 87. 21 Max Wittwer, Die Musikpflege im Jesuitenorden unter besonderer Berücksichtigung der Län- der deutscher Zunge, Diss. Greifswald: Grimmer Kreis-Zeitung 1934, s. 51. 22 ARSI Boh. 97 I. Historiae Litterae Annuae (1651), s. 311–312. 23 ARSI Boh. 98. Historiae Litterae Annuae (1661–1664), s. 591. 24 Paul Prohasel, Das Schultheater am Gymnasium zu Glatz, w: Festschrift zur Feier des dreihundertjährigen Bestehens des Königlichen katholischen Gymnasiums zu Glatz 1597–1897, Glatz: Schirmer 1897, s. 26–73; Tomasz Jeż, Kultura muzyczna jezuitów na Śląsku i ziemi kłodz- kiej (1581–1776), Warszawa: Wydawnictwo Naukowe Sub Lupa 2013, s. 577–581. 25 Np. arcybiskupa praskiego Ernsta Adalberta von Harracha, podejmowanego 6 czerwca 1663 przez regensa kłodzkiego seminarium ucztą w majątku w Ścinawce i spektaklem teatral- nym z towarzyszeniem muzyki. 26 KATJ 2754, s. 200.

8 Historia zbioru przeznaczone na cykliczny śpiew mszy rekwialnych w intencji zmarłych, m.in. Johanna Friedricha von Herberstein27 czy Marianny von Annenberg28. Rosnąca liczba zleceń na wykonania muzyczne w kościele wymagała uporządkowania podziału obowiązków między uczniów kłodzkiego konwiktu i utrzymywanych przez Radę Miasta profesjonalnych muzyków fary; upo- rządkowanie takie przyniosła sporządzona w roku 1670 Instructio Musicorum Glacensium29. Określono tam też kompetencje subregensa konwiktu, odpowiedzialnego za aktywność zespołu tej placówki. Jego zadaniem było doglądanie wspólnych prób muzyków konwiktu i muzyków kościoła, na których przygo- towywany był repertuar przeznaczony do wykonania. Podczas samej liturgii subregens miał być obecny na chórze, dbać o punktualność i godne zacho- wanie konwiktorów, zaś w razie niesubordynacji powiadomić o tym prefekta konwiktu lub rektora kolegium. Subregens wyznaczał spośród konwiktorów ucznia odpowiedzialnego za dystrybucję nut i prowadzenie zespołu. W dobo- rze repertuaru kierować się miał dotychczasową praktyką ośrodka. Natomiast w kwestii dyspozycji partii solowych pomiędzy konwiktorów a muzyków ko- ścielnych winien był współpracować z kantorem, odpowiedzialnym za jakość wykonań muzycznych. Kantor z kolei obligowany był do bliskiej współpracy z przełożonym konwiktu we wszystkich sprawach administracyjnych, zaś z rektorem kolegium – w zakresie wykonywanego przez muzyków repertuaru. Otrzymawszy na ten temat wskazówki i aprobatę rektora, kantor miał obowiązek odpo- wiednio wczesnego powiadomienia regensa konwiktu o chęci wprowadzenia w obieg nowego repertuaru, tak aby konwiktorzy zdążyli go w należyty spo- sób opanować. Podczas wykonań muzycznych kantor zobowiązywany był do utrzymania podległych sobie muzyków fary w należytej dyscyplinie, służąc za przykład muzykom – uczniom konwiktu. W precyzyjny sposób określone tu też zostały grupy świąt kościelnych, w których oprawę muzyczną mieli współ- organizować muzycy kościoła oraz konwiktorzy30. Sporą grupę uroczystości

27 KATJ 2606. Instrumentum Fundationis Herbersteinianae pro praemiis erectum anno 1690. 28 KATJ 2607. Fundatio Annabergicae (1630). 29 KATJ 3299. Instructio Musicorum Glacensium (1670), s. 1–11. 30 Były to m.in.: nieszpory i msze niedziel okresu zwykłego i triduum antecineralis, psalm Miserere i sekwencja Stabat Mater podczas Wielkiego Postu, Pasja w Niedzielę Palmową, cała liturgia Bożego Narodzenia wraz z mszą wigilii tego święta, liturgia Triduum Paschalnego (wraz z hymnem Te Deum) oraz uroczystości Bożego Ciała wraz z oktawą. Ponadto, łączony skład muzyków obydwu zespołów towarzyszył obchodom świąt św. Ignacego Loyoli i św. Franciszka Ksawerego, uroczystości sodalicji łacińskich (zarówno litania, jak i antyfony Ave maris stella i Salve Regina) oraz Wszystkich Świętych.

9 Wstęp upiększać miał wyłącznie zespół profesjonalnych muzyków kościoła31. Zespół muzyków konwiktu obsługiwał z kolei samodzielnie te uroczystości, których treść nawiązywała do profilu formacji wychowawczej tej instytucji32. Dynamiczny rozwój kłodzkiego konwiktu wymagał zdecydowanej po- prawy warunków lokalowych, które w połowie XVII wieku były niezadowa- lające m.in. ze względu na brak repositorium per instrumenta musica i miejsca, gdzie młodzież mogłaby ćwiczyć33. Dzięki staraniom dwóch kolejnych regensów konwiktu – Daniela Frideliusa i Christopha Faschanga – 6 czerwca 1665 wmurowano kamień węgielny pod nowy budynek kłodzkiego konwiktu przy Judenstraße (obecnie: ul. Ignacego Łukasiewicza), a w listopadzie tego samego roku oddano do użytku pierwsze skrzydło tego budynku. Kolejne jego części wznoszono wedle projektu Andrei Carovego i Carla Lurago w latach 1673–169834. Lata 1690–1740 były dla kłodzkiego konwiktu czasem naj- większego rozkwitu: liczba uczniów placówki utrzymywała się na poziomie ok. 50 osób rocznie. Ponad połowę z tego stanowili konwiktorzy utrzymywani częściowo z funduszu konwiktu (pozostała część ich utrzymania pochodziła bezpośrednio od zamożniejszych rodziców tych chłopców), mniejszą liczebnie grupę stanowili konwiktorzy w całości finansowani z procentów fundacjipia causa (ubodzy collegiales, zobowiązywani do kształcenia się w muzyce); liczbę wychowanków konwiktu uzupełniało nadto kilku uczniów miejscowego kolegium. Muzyczny zespół reprezentujący tę instytucję mógł więc liczyć w tym czasie co najmniej 20 konwiktorów. Rozkwit placówki zahamowała aneksja hrabstwa kłodzkiego przez Prusy i kontrybucje nałożone przez nowe władze. Wymusiły one znaczącą redukcję liczby wychowanków kłodzkiego konwiktu; w roku 1743 było ich już zaledwie 14. Biorąc jednak pod uwagę fakt, że większość z nich była muzykami, utrzy-

31 Były to wszelkiego rodzaju nabożeństwa za zmarłych, w tym msze rekwialne za fundatorów, ponadto msze prywatne fundacji hr. von Annaberg, celebracji mszalnych połączonych z matutinum (tzw. missa matura), liturgie niedziel i świąt października, nabożeństwa sodalicji rze- mieślników i Bractwa Dobrej Śmierci, wigilia Wszystkich Świętych. Zespół ten odpowiedzialny był także za muzykę podczas procesji: rezurekcyjnej (wraz z całym okresem paschalnym), na uroczystość Wniebowstąpienia, Niedzielę Palmową i św. Marka, jak również organizowanej co- rocznie pielgrzymki do Barda oraz mszy roratnich – w tych ostatnich przypadkach jednak do- puszczony był udział konwiktorów, którzy częstokroć sami bywali zarazem członkami sodalicji. 32 Wykonywał on litanie w każdą sobotę, wigilie świąt niektórych świętych (m.in. św. Fran- ciszka Ksawerego, św. męczenników japońskich oraz bł. Stanisława Kostki), a także muzykę w święto Praesentationis BMV i św. Barbary. 33 ARSI Boh. 98, s. 40. 34 Obecnie budynek ten jest siedzibą Muzeum Ziemi Kłodzkiej. Zdzisław Szczepaniak, Kole- gium jezuickie i konwikt w Kłodzku (1597–1945), Kłodzko: Wydawnictwo Maria 2005, s. 67–74.

10 Historia zbioru mywanymi z fundacji pia causa, nie odbijało się to negatywnie na dynamice życia muzycznego, tym bardziej, że we wszystkich większych uroczystościach uczestniczyli przecież także muzycy parafii. W tym samym roku 1743 było ich łącznie dziesięciu: pięciu wokalistów i pięciu instrumentalistów (w tym organista)35. Kasata Towarzystwa Jezusowego ogłoszona na terenie Prus 21 lute- go 1776 roku nie przyniosła więc zmiany znaczącej dla tradycji muzycznych pielęgnowanych w kościele Wniebowzięcia; tym bardziej, że przetrwał ją tak- że założony przez jezuitów konwikt, który przeszedł wprawdzie na własność pruskiego Królewskiego Instytutu Szkolnego; funkcjonował jednak do lat 30. XX wieku. Jednak już w roku 1808 uczniowie konwiktu zwolnieni zostali z do- tychczasowych obowiązków muzycznych na rzecz parafii36. Zachowany repertuar jezuickiego kościoła Wniebowzięcia NMP w Kłodzku obejmuje bogatą panoramę gatunków muzycznych. Spora część badanego tu zasobu stanowi egzemplifikację form muzyki typowej dla jezuickiego konwiktu: zarówno tych wykonywanych podówczas powszechnie (cykle mszalne, nieszpory, rekwia i arie śpiewane loco wybranych części proprium), jak i takich, które bardziej wiążą się z jezuicką tradycją muzyczną. W tej ostat- niej grupie wymienić należy przede wszystkim opracowania popularnych w jezuickich centrach muzycznych antyfon maryjnych (Salve Regina) i hym- nów (Ave maris stella), opracowań litanii (głównie Litanii loretańskiej i Lita- nii do Imienia Jezus), cyklów Stationes pro festo Corporis Christi, jak również utworów wykorzystujących teksty bliskie duchowości jezuickiej (np. Amo te Jesum solum ex C Valentina Fechnera). Wśród pojawiających się tu z imienia świętych, honorowanych we wszystkich ośrodkach jezuickich, nie zabrakło jednak: archanioła Michała, Jana Nepomucena i Józefa Kalasantego – pomoc- niczych patronów kłodzkiego Aloysianum. Repertuar wiązany proweniencyj- nie z kłodzkim konwiktem uzupełniają rękopisy należące do zbiorów samego kościoła, oznaczone adnotacją Eigenthum der Stadtpfarrkirche Glatz. Porów- nanie obydwu tych zasobów ujawnia przynależność do wspólnej tradycji re- pertuarowej, a także ciągłość pielęgnowanej w Kłodzku kultury muzycznej.

Tomasz Jeż

35 Rudolf Walter, Die Musikalienbestand..., op. cit., s. 151–152. 36 Paul Hahnel, Geschichte..., op. cit., s. 29.

11 Dokumentacja

1984 roku pod kierunkiem Tadeusza Maciejewskiego i patronatem dy- Wrektora Stefana Sutkowskiego w Warszawskiej Operze Kameralnej roz- począł działalność Ośrodek Dokumentacji i Badań Dawnej Muzyki Polskiej37. Celem Ośrodka było m.in. stworzenie bazy danych o istniejących w Polsce zbiorach muzykaliów. W orbicie tych zainteresowań znalazł się także zbiór rę- kopisów muzycznych kościoła farnego pw. Wniebowzięcia NMP w Kłodzku. Prace nad muzykaliami kłodzkimi podjęły pracownice Ośrodka, Marta Pielech i Iwona Januszkiewicz, we wrześniu 1986 roku. Podczas pierwszej wi- zyty w Kłodzku zbiór muzykaliów znajdował się częściowo w szafie na chórze kościoła, w części zaś, w nieładzie, rozrzucony po emporach chórowych. Jedną z pierwszych prac, którą trzeba było wykonać, było oczyszczenie nut z wielo- letniego brudu i kurzu oraz wstępne ich uporządkowanie. Stan zbioru z jednej strony dowodził całkowitego braku zainteresowania nim przez wiele lat, z drugiej zaś był – paradoksalnie – świadectwem jego ciągłości. Pozwalał wierzyć, że mamy do czynienia ze zbiorem, który w znacznym stopniu przetrwał kasaty, wojny, akcje inwentaryzacyjne. Wykonanie wstępnych prac uwidoczniło ślady takiej akcji. Na okładkach lub wtórnych obwolutach rękopisów widniały czerwone pieczęcie o treści „Amtlich eingetragen (vel aufgenommen) unter der Nr ... am ... 1928. Sichere Aufbewahrung erbaten”. W latach 20. ubiegłego stulecia na zlecenie Komisji Historii Muzyki (Mu- sikgeschichtliche Komission), działającej przy niemieckim Ministerstwie Nauki, Sztuki i Wychowania (Ministerium für Wissenschaft, Kunst und Volksbildung), prowadzono akcję inwentaryzacyjną, która obejmowała także zbiory śląskie38.

37 Ośrodek Dokumentacji i Badań Dawnej Muzyki Polskiej działał przy Warszawskiej Operze Kameralnej do 2010 r. 38 Agnieszka Drożdżewska, Życie muzyczne na Uniwersytecie Wrocławskim w XIX i w I poło- wie XX wieku: edukacja muzyczna – działalność naukowa – ruch koncertowy, Wrocław: Wydaw- nictwo Uniwersytetu Wrocławskiego 2012, s. 169–174.

12 Dokumentacja

W 1925 roku przyłączył się do niej również Instytut Muzykologii Uniwersyte- tu Wrocławskiego (Musikalisches Institut bei der Universität Breslau), kierowany wówczas przez Maxa Schneidera. Jak pisze w swojej pracy Agnieszka Drożdżew- ska, „Schneider był bowiem świadom, że nie wszystkie muzykalia przewieziono do Wrocławia w trakcie akcji sekularyzacyjnej w 1810 r.”39. Inicjatywa Schneidera spotkała się z życzliwym zainteresowaniem Maxa Seifferta w Berlinie i w związ- ku z tym, poszukiwania lokalnych zbiorów realizowano pod auspicjami Berliń- skiego Katalogu Centralnego (Berliner Zentralkatalog). W ramach tej akcji do Kłodzka trafił student muzykologii, uczeńMaxa Schneidera, Josef Wittkowski40. To on prawdopodobnie był sprawcą pojawienia się czerwonych pieczęci na tam- tejszych rękopisach i nadania muzykaliom nowego porządku. Udało mu się ska- talogować niemal pięćset pozycji. Zainteresował się też twórczością kłodzkich kompozytorów; Johann Franz Otto miał być bohaterem jego pracy doktorskiej (w wyniku posądzenia o plagiat – nieukończonej). Po rezygnacji z pracy nauko- wej poświęcił się dyrygenturze i publicystyce. Wykonał na antenie radia wro- cławskiego jedną z mszy Johanna Franza Otto, dyrygując prowadzonym przez siebie chórem studenckim41. Jednym z uczestników akcji inwentaryzacyjnej, prowadzonej w tamtym czasie przez wrocławski Instytut Muzykologii, był także Fritz Feldmann. Wiele muzykaliów – w celach porównawczych – przewiózł on do Wrocławia, m.in. kompozycje lokalnych muzyków – Johanna Franza Otto i Johanna Gregora Pausewanga. „Cały czas ubolewam nad tym, jak byłem głupi, że nie zrobiłem dla siebie kopii kart katalogowych zabytków muzycznych Śląska. Od dawna planuję bowiem kartografizację stanu zachowania śląskich muzykaliów” – pi- sał Feldmann do Schneidera w jednym ze swych listów. Żal jest tym większy, że od czasów II wojny światowej ślad po centralnym katalogu zaginął42. Podjęte w latach 80. XX wieku prace nad kłodzkimi muzykaliami trwały około dwóch lat. Dzięki życzliwości ówczesnego proboszcza kościoła Wniebo- wzięcia NMP, o. Ludwika Ryby SJ, który udostępnił miejsce do pracy podczas naszych kolejnych wizyt, udało się zabezpieczyć i uporządkować rękopisy. Każ- dy z nich otrzymał nową, dodatkową obwolutę z sygnaturą, w której zawarto informację o gatunku. I tak symbol M- oznaczał msze, R- rekwia, L- litanie, V- nieszpory i psalmy nieszporne. Symbolem P- oznaczono zmienne części mszy (propria), H- hymny, Am- zarezerwowano dla antyfon maryjnych, zaś

39 Ibid., s. 169. 40 Ibid., s. 172. 41 Ibid., s. 243. 42 Ibid., s. 173.

13 Wstęp

A- dla arii. Wewnątrz poszczególnych grup starano się zachować układ alfabetyczny, na końcu umiejscawiając pozycje anonimowe. Wprowadzono numera- cję ciągłą: M-1 do M-120, R-121... itd. Bez dodatkowych symboli pozostawiono rękopisy z niejednoznacznym określeniem gatunku. Poza nową sygnaturą na obwolutach zabezpieczających znalazły się także informacje o kompozyto- rze i tytuł utworu. Do opracowania kłodzkich muzykaliów włączył się Tadeusz Maciejew- ski, zaproszono też do współpracy Instytut Muzykologii UW. We wrześniu 1987 roku, pod naukową opieką Agnieszki Leszczyńskiej, ówcześni studenci Alida Podłaszczyk i Andrzej Bagiński odbyli w Kłodzku swoje praktyki archi- wistyczne. Uporządkowane rękopisy zostały przeniesione z chóru do archiwum parafialnego (co gwarantowało większe ich bezpieczeństwo) i ułożone na specjalnie w tym celu przygotowanych regałach. Powstała także kartoteka mu- zykaliów kłodzkich, umożliwiająca identyfikację incipitów nutowych w opar- ciu o dostępne wówczas katalogi. Najcenniejszy korpus rękopisów udało się zmikrofilmować. Równolegle z pracami prowadzonymi przez Ośrodek kłodzkim zbiorem interesował się Rudolf Walter, który pierwszy raz w farze kłodzkiej pojawił się w 1980 roku, a następnie w roku 1989, co odnotował w swoich artyku- łach poświęconych Johannowi Franzowi Otto oraz kłodzkim muzykaliom43. W pierwszym artykule pisze on o szafie z rękopisami, którą odkrył na chórze w kościele, podkreślając z satysfakcją fakt, że zbiór przetrwał, a jednocześnie wyrażając ubolewanie nad brakiem zainteresowania nim, by na koniec zauwa- żyć przeniesienie rękopisów w nowe, bezpieczniejsze miejsce i zabezpieczenie ich przed zniszczeniem. W drugim artykule stara się wiernie opisać kłodzki zbiór; zauważa, że szafa, którą widział na kościelnym chórze, miała ponumerowane półki od numeru XXXVII do numeru LXXII, a niektóre z nich posiadały dodatkowe opisy, np. Fach (półka) XXXVII „Alte Messen” czy Fach XXXVIII „Arien”. Wnioskuje na tej podstawie, że musiała istnieć też szafa zawierająca wcześniejsze numery: Fach I do Fach XXXVI. Wysunięta bez dodatkowego uzasadnienia teza o istnieniu dwóch szaf rodzi pytanie o ich zawartość, a w ślad za nim – mnóstwo domysłów. Przy całej skrupulatności opisu kłodzkich muzykaliów Rudolf Walter pomija fakt, że na rękopisach znajdują się nie tylko czerwone pieczęcie – dowód inwentaryzacji

43 Rudolf Walter, Franz Otto (1732–1805): ein Komponist der Grafschaft Glatz, „Musik des Ostens” 12 (1992), s. 239–265; Idem, Kirchenmusikalienbestand in Glatz aus der Jahre 1730–1860, „Jahrbuch der Schlesischen Friedrich-Wilhelm-Universität zu Breslau” 36/37 (1995/1996), s. 151–177.

14 Dokumentacja z lat 20. XX wieku – ale także dawne sygnatury, które dokładnie odzwierciedlają miejsce na półce (Fach) w jednej z dwóch szaf. Wynika z nich niezbicie, że ma- teriał muzyczny złożony pierwotnie w szafie pierwszej (Fach I–XXXVI) istnieje, jest niekompletny, ale na pewno nie został zniszczony wraz ze zniknięciem tej szafy. Papiery muzyczne z zaginionej szafy próbowano umieścić w szafie, która ocalała. Analiza dawnych sygnatur na rękopisach skłania do wniosku, że porząd- kowanie zbioru w obu szafach rozpoczęto w tym samym czasie. Rudolf Walter w jednym ze swoich artykułów przywołuje opis porząd- ku półek w zachowanej szafie44. Wynika z niego, że choć wszystkie półki były ponumerowane, to nie na wszystkich znalazło się określenie ich zawartości. I tak określenia nie posiadały działy o numerach XLIV, XLVI–XLVIII oraz półki LXII–LXXII. Być może i w pierwszej szafie, której układ odtwarzany jest na podstawie zachowanych sygnatur, miała miejsce podobna sytuacja i nie wszystkie ponumerowane półki miały swoje konkretne przeznaczenie. Ostatnim określonym działem jest Fach LXI, teoretycznie przeznaczony na kompozycje organowe. Analiza dawnych sygnatur oraz opis zachowanej szafy prowadzą do wniosku, że w szafie z numerami I–XXXVI planowano umieścić głównie rękopisy z XIX w., w drugiej zaś przewidziano miejsce m.in. na „Alte Antiphonen” (Fach XXXXI), „Alte Fronleichnamssachen” (Fach XXXXII) czy wspominane już „Alte Messen” (Fach XXXVII). W praktyce, jak się wydaje, plany te zrealizowano tylko częściowo. Zestawienie zachowanych dawnych sygnatur45 pozwala ustalić, że w szafie pierwszej działy Fach I do Fach X zarezerwowano dla kopii mszy, które sporządzono w I poł. XIX w.; jest to najbardziej okazała część zbioru. W tym przypadku numerowano rękopisy w sposób ciągły, w przybliżonym porządku alfabetycznym. Zasada nie była stosowana konsekwentnie; na pojedynczych rękopisach odnaleźć można adnotacje o zmianie miejsca, przeniesieniu z pół- ki na półkę, z jednej szafy do drugiej. Msze pojawiają się jeszcze w działach: Fach XXIV, gdzie przemieszane były z innymi gatunkami, Fach XXV oraz Fach L i następnych, gdzie znalazło się miejsce dla rękopiśmiennych partytur. Dla najstarszych, osiemnastowiecznych odpisów mszy przeznaczono Fach XXXVII, pierwszy w drugiej szafie, określony: „Alte Messen”. Faktycznie na okładkach najstarszych odpisów mszy znaleźć można sygnatury odsyłające do tego miejsca46. Zbiór mszy jest właściwie jedynym zbiorem, w którym utrzy-

44 Rudolf Walter, Kirchenmusikalienbestand..., op. cit., s. 159. 45 Zob. Aneks: zestawienie dawnych sygnatur z zachowanych muzykaliów, s. 452. 46 Np. Bolehovský, Missa in C, Fach XXXVII No 18, czy Kalous, Missa in D, Fach XXXVII no 3.

15 Wstęp many jest założony porządek sygnatur. W pozostałych przypadkach wydaje się, że pierwotne założenia co do podziału na Fächer (półki) i Notenschränke (szafy na nuty) nie były przestrzegane konsekwentnie. Od Fach XI numeracja ciągła zmienia się w numerację zamkniętą we- wnątrz działów. Fach XI i Fach XII przeznaczono dla mszy żałobnych. Trudno rozstrzygnąć w tym momencie, czy dwa rękopisy zawierające rekwia, na któ- rych widnieje sygnatura Fach XXXIX No 3347 i No 4248 wypełniają brakujące numery w Fach XI, czy są dowodem na istnienie innego zbioru mszy żałob- nych w drugiej szafie. Fach XIII przypisano litaniom. W szafie drugiej przewidziano miejsce na kolejne litanie (Fach XXXX), jednak na rękopisach nie odnaleziono takich sygnatur. Nie można jednoznacznie rozstrzygnąć, czy te rękopisy zaginęły. Wydaje się równie uprawnione stwierdzenie, że półka ta nigdy nie wypełniła się litaniami. W połowie XIX wieku spadło bowiem zainteresowanie tego typu repertuarem; jego obecność w zbiorze kłodzkim należy ściśle wiązać z aktyw- nością jezuitów w XVIII w. Dla antyfon maryjnych w pierwszej szafie zarezerwowano Fach XVI i Fach XVII, w drugiej zaś przewidziano miejsce na „Alte Antiphonen”. Jed- nak wszystkie „dawne antyfony”, także te pochodzące z konwiktu św. Alojzego, opatrzone zostały sygnaturami odsyłającymi tylko do pierwszej szafy. Kolejne półki: Fächer XIX–XX, a także XXIV oraz XXXII–XXXIII, przeznaczono dla zmiennych części mszy i kompozycji związanych ze świętem Bożego Ciała. Obserwacja tego fragmentu zachowanego repertuaru skłania do wniosku, że został on złożony w pierwszej szafie niezależnie od czasu, w jakim powstawał. Na przykład introity, graduały i ofertoria Johanna Franza Otto, kopie osiemnasto- i wtórne – dziewiętnastowieczne, zebrane w jednym ciągu, zajmują zasadniczą część półki Fach XXIV. Ciekawym przypadkiem jest Fach XXXVIII z drugiej szafy: „Arien”. Jest to jedyne miejsce przeznaczone do przechowywania tego repertuaru, nieza- leżnie od proweniencji (np. Semin. S. Aloysii Glacii) i czasu powstania (przemieszane arie z XVIII i XIX w.); swego rodzaju wyjątek. Fakt, iż dla zbioru arii przeznaczono tylko jedno miejsce, może potwierdzać przypuszczenie, że materiał muzyczny organizowany był w obu szafach w tym samym czasie.

47 Vogler, R-146, kopia z pierwszej poł. XIX w. 48 Anonimowe, osiemnastowieczne Requiem z proweniencją z Lewina Kłodzkiego (Lewin), R-150.

16 Repertuar

Dopełniając opisu, należy nadmienić, że działy Fach XXIX i Fach XXXVI przeznaczono dla nieszporów i przewidziano także miejsce dla nich – prawdopodobnie niezapełnione – w drugiej szafie: Fach XXXXII „Alte Vespern”. Analiza zachowanych inskrypcji na rękopisach każe stwierdzić, że oso- bom odpowiedzialnym za porządek w papierach muzycznych często brakowa- ło konsekwencji w nadawaniu sygnatur, a co za tym idzie – w ustalaniu miejsca na półce w konkretnej szafie. Porządek zapisany na półkach nie do końca po- krywa się z sygnaturami zapisanymi na rękopisach, na których można znaleźć numery/działy do Fach LXVI. Na zachowanych rękopisach wielokrotnie zo- stały też zapisane tylko numery, bez oznaczenia „Fach”. Istnieje również gru- pa rękopisów, na których widnieje jedynie czerwona pieczęć (ślad późniejszej inwentaryzacji), oraz kilkanaście rękopisów bez żadnych oznaczeń.

Repertuar

ajcenniejszym fragmentem kłodzkiego zbioru są osiemnastowieczne Nmuzykalia przejęte po konwikcie św. Alojzego. Wzbogacają one repertuar przede wszystkim o litanie i antyfony maryjne, bliskie jezuickiej duchowo- ści, a poprzez nazwiska kopistów są także świadectwem muzycznej aktywności kłodzkiego konwiktu. W tej części kolekcji znajdujemy, oprócz dzieł lokalnych kompozytorów49, przede wszystkim utwory kompozytorów czeskich50 i zbiór kompozycji anonimowych. Na wielu rękopisach figurują nazwiska kopistów, uczniów poszczególnych klas (parvista, syntaxista), niekiedy z dodaną funkcją muzyczną (discantista, altista). Odnajdujemy ich na późniejszych kopiach jako posesorów czy nawet kompozytorów. Na przykład Anton Niedenführ, którego nazwisko figuruje w gronie kopistów sporządzających kopię Litanii Brixiego (L-180): „Hanc vocem descripsit Antonius Niedenführ | Syntaxeos studiosus | Anno Domini | 1776”, to kompozytor Missa in C (M-64). Johann Michael Kirchner, który na końcu głosu basowego w Requiem Johanna Schmida pozo- stawił inskrypcję: „Hanc voces paravit Ioannes Michäel Kirchner Syntaxeos studiosus [...] Anno Domini 1770”, był cenionym organistą w Ząbkowicach Śląskich (Frankenstein) i kompozytorem (R-130, V-161, V-174, P-290, -375). Joseph Hanning jako konwiktor sporządzał rękopisy dla Seminarium S. Aloy- sii Glacii, kopiując w 1773 r. głosy Salve Regina Alexiusa Gulitza (Am-199) czy Missa in D Spermalogiego (M-423). Następnie w latach 1800–1830 pełnił

49 Np. Joseph Latzel, Am-197, czy Johann Schmid z Nowej Rudy (Neurode) R-140. 50 František Xaver Brixi, L-180, Karel Loos, V-349, Vojtĕch František Manšinger, L-182, czy Gregor Schreyer, V-167.

17 Wstęp funkcję kantora („Rector”) w kłodzkiej farze, a o jego staraniach kompletowa- nia muzyki dla niej mogą świadczyć inskrypcje na kartach tytułowych mszy Diabellego (M-15, -18, -19), Salieriego (M-82), Schnabla (M-93) czy Voceta (M-114): „Rector Hannig gehörig”. Podobne inskrypcje odnajdujemy na kon- trafakturach arii Mozarta (A-238) i Salieriego (A-245), a także na ofertoriach Maška (P-293) i Naumanna (P-297). Wspominane tu kopie są też znakomi- tym przykładem przepływu repertuaru. Nazwisko posesora zostało bowiem skreślone, a na okładkach pojawił się napis „Eigenthum der Stadtpfarrkirche in Glatz” (także w formie: „jetzt der Pfarr Kirche in Glatz gehörig”). Charak- ter pisma sugeruje, że naniesienie aktualnej noty proweniencyjnej zbiegło się czasowo z nadaniem sygnatur na kartach tytułowych i głosach, co łączyło się również z umieszczeniem kopii na konkretnym miejscu w jednej z szaf. Obok muzykaliów pochodzących z konwiktu św. Alojzego zbiór kłodz- ki zawiera również osiemnastowieczne odpisy sporządzone bezpośrednio dla kłodzkiej fary (Habegger, Missa in d, [...] „Pro Choro | Ecclesiae Parochialis Glacensis”), lub podarowane przez posesorów (np. Agricola, Ariae 2ae, A-215 „Posessor Kles”). Wyróżnić tu należy twórczość kłodzkiego organisty, Johanna Franza Otto. Urodził się on w Jaszkowej Dolnej (Niederhannsdorf) w 1732 r. i kształcił w kłodzkim konwikcie, a w zakresie gry na organach lekcji udzie- lał mu kłodzki organista Paul Frömel51. Był nauczycielem w kłodzkim gimnazjum, a funkcję organisty w kościele Wniebowzięcia NMP w Kłodzku sprawo- wał do swojej śmierci w 1805 r. Zgromadzony w XVIII wieku repertuar fary kłodzkiej potwierdza ów- czesną popularność kompozytorów kręgu śląsko-czeskiego, takich jak: Dama- sus Brosmann, pijar, muzyk i nauczyciel w klasztorze Bílá Voda (Weißwasser) koło Paczkowa (Patschkau), kompozytor utworów religijnych, „zachowanych głównie w Kłodzku”52, František Černy („Braunovi Capella Magna”), Valentin Fechner z Sicin (Seitsch), a działający w Broumovie (Braunau)53, Alexius Gulitz, związany z cystersami w Kamieńcu Ząbkowickim (Kamenz), a następnie z Bar- dem (Wartha)54, Ondrej František Holý, Simone Höpler, Václav Kalous, pijar

51 Nazwisko organisty podawane jest w różnych formach: „Frömel” (Schlesisches Musiklexikon [dalej jako: SCHML], red. Lothar Hoffmann-Erbrecht, Augsburg: Wißner 2001, s. 562), „From- mel” (Rudolf Walter, Franz Otto..., op. cit., s. 240), „Froemel” (Remigiusz Pośpiech, Muzyka wielogłosowa w celebracji eucharystycznej na Śląsku w XVII i XVIII wieku, Opole: Redakcja Wy- dawnictw WT UO 2004 (Z dziejow kultury chrzescijanskiej na Slasku, 29), s. 321). 52 Remigiusz Pośpiech, Muzyka wielogłosowa..., op. cit., s. 313. 53 Ibid., s. 318. 54 Ibid., s. 325.

18 Repertuar z pobliskiego Rychnova (Reichenau)55, Franz Peter Koblitz, muzyk w klasztorze NMP na Piasku we Wrocławiu56, Leopold Antonin Koželuh, Joannes Lohelius (Oehlschlägel), wspomniani już František Xaver Brixi, Karel Loos, Vojtĕch Fran- tišek Manšinger oraz Václav Pichl, Christoph Schimpke z Cieszyna, działają- cy w Javorníku57, Joseph Christoph Spiller, Kajetán Vogel, Paul Wranitzký, Jan Zach czy Franz Ziegenheim58. Repertuar ten uzupełniają utwory autorów kręgu austriacko-niemieckiego: Johann Friedrich Agricola, Johann Georg Albrechts- berger, Balthasar Buchwieser, Carl Ditters von Dittersdorf, Johann Ernst Eber- lin, Johann Joseph Emmert, Carl Heinrich Graun, Johann Adolf Hasse, Johann Adam Hiller, Isfrid Kayser, Lambert Kraus, Johann Gottlieb Naumann, Johann Valentin Rathgeber, Ferdinand Schmidt, Christoph Sonnleithner, Johann Georg Zechner, a wśród nich najwięksi: bracia Haydnowie i Wolfgang Amadeusz Mo- zart. Można odnotować też dużą popularność kompozytorów włoskich: Felice Alessandri, Giovanni Giacomo Avanzini, Antonio Boroni, Antonio Caldara, Do- menico Cimarosa, Baldassare Galuppi, Antonio Sacchini czy tajemniczy „Sige: Napolitano”59. Nie można wykluczyć, że może to być tylko określenie pochodze- nia autora, ale rękopis Salve Regina (Am-431) jest najstarszą – jak dotychczas – zachowaną kopią w kłodzkiej kolekcji (1731), o ciekawej, niekonwencjonalnej obsadzie i wartą szczególnego wyeksponowania. Podczas pracy nad niniejszym katalogiem podstawą identyfikacji był oczywiście zasób katalogowy RISM, który pozwolił zweryfikować zarówno identyfikacje dokonane przed laty, jak i rozstrzygnięcia Rudolfa Waltera60. Dlatego też pozostawiono nazwiska: Laube (sygn. -384), Brunetti (-337) czy Manfredini (A-234) bezimiennie; nie udało się bowiem do tej pory odnaleźć konkordancji, które pomogłyby w przypisaniu ich do konkretnej osoby. Tę część zbioru uzupełniają kompozycje Davida Pereza i Vicenta Marti- na y Soler, a także kompozytorów bliżej nieznanych (Beroch, P-273; Habegger, M-40; Lamm, L-181, V-162) oraz utwory anonimowe, w tym kolekcje antyfon maryjnych. Charakterystyczne dla osiemnastowiecznej kolekcji muzykaliów kłodz- kich są drobne utwory: arie (ponad 60) i antyfony maryjne (bez mała 50). W grupie ofertoriów i graduałów, których jest ponad 40, 18 to kompozycje Jo-

55 Tomasz Jeż, Muzykalia kościoła pw. Wniebowzięcia NMP w Kłodzku..., op. cit., s. 250. 56 Remigiusz Pośpiech, Muzyka wielogłosowa..., op. cit., s. 333. 57 Ibid., s. 250. 58 Ibid., s. 362. 59 Por. hasło „Napolitano” w bazie RISM. 60 Rudolf Walter, Kirchenmusikalienbestand..., op. cit., s. 161–176.

19 Wstęp hanna Franza Otto. Tę część zbioru uzupełniają msze (30), nieszpory i psalmy nieszporne (15), msze funeralne (9), hymny (7) i inne gatunki (12). Jest więc to repertuar różnorodny, wykorzystywany w różnych liturgicznych i świątecz- nych sytuacjach. Warty podkreślenia jest fakt, że zachowany kłodzki zbiór litanii loretańskich (12) pochodzi z XVIII w. Obserwacja kłodzkiego repertuaru pochodzącego z przełomu wieku XVIII i XIX prowadzi do wniosku, że zainteresowanie twórczością kompozy- torów czeskich i włoskich, charakterystyczne dla poprzedniej epoki, ustępuje miejsca muzyce kręgu austriacko-niemieckiego. W I połowie XIX wieku naj- większym zainteresowaniem cieszyła się muzyka właśnie tego kręgu: trzydzieści pięć nazwisk kompozytorów przy siedmiu czeskich i trzech włoskich61. Wśród najbardziej popularnych twórców wymienić można Antona Diabellego, Johan- na Baptista Schiedermayra, Ignaza Rittera von Seyfrieda czy Louisa Spohra. Nie można pominąć obecności w kolekcji kłodzkiej odpisów dwóch wielkich mszy Ludwiga van Beethovena. Szczególnie przygotowana w roku 1852 kopia Missa Solemnis (M-433), ze zwielokrotnioną liczbą głosów wokalnych, sugeruje duże możliwości wykonawcze ówczesnego kłodzkiego zespołu. W tym kręgu kompozytorskim pozostaje także silnie reprezentowana (ponad 20 zachowanych kopii) twórczość Josepha Ignaza Schnabla, kapel- mistrza katedry wrocławskiej. Żywe zainteresowanie tym repertuarem może świadczyć o muzycznej więzi Kłodzka z Wrocławiem, głównym ośrodkiem w regionie. Kontakty te zacieśniały się w ciągu całego XIX wieku. Wśród kompozytorów pojawiają się także – poza Schnablem – nazwiska Friedricha Wilhelma Bernera (P-272, -371, -372), pierwszego organisty wrocławskiego kościoła św. Elżbiety i – podobnie jak Schnabel – nauczyciela w Królewskim Akademickim Instytucie Muzyki Kościelnej (Königliches Akademisches Insti- tut für Kirchenmusik)62, Johannesa Oppitza, pochodzącego ze Starego Wieli-

61 Kompozytorzy kręgu austriacko-niemieckiego: Christian August Bergt, Franz Bühler, Franz Danzi, Rochus Dedler, Anton Diabelli, Melchior Dreyer, Joseph Leopold Eybler, Bern- hard Hahn, Johann Nepomuk Hummel, Friedrich August Kanne, Joseph Klingohr, Joseph An- ton Laucher, Johann Georg Lickl, Joseph Liebl, Wenzel Müller, Joseph Ohnewald, Johann Fried- rich Peter, Joseph Anton Pfeiffer, Joseph Preindl, Ambros Rieder, Johann Christian Heinrich Rinck, Georg Valentin Röder, Johann Baptist Schiedermayr, Franz Xaver Schmid, Joseph Ignaz Schnabel, Friedrich Schneider, Wilhelm Schneider, Paul Caspar Schobacher, Joseph Schuster, Ignaz Ritter von Seyfried, Louis Spohr, Maximilian Stadler, Friedrich Starke, Georg Joseph Vog- ler; Włosi: Benelli, Cherubini, Salieri oraz Czesi: Josef Gellert, František Xaver Krištof Kohl, Vincenc Mašek, Alexius Parižek, Johann Baptist Vanhal, Jan Nepomuk August Vitášek, Jan Ne- pomuk Václav Vocet. 62 Agnieszka Drożdżewska, Życie muzyczne..., op. cit., s. 45–60; por. też Carl Julius Adolph Hoffmann, Die Tonkünstler Schlesiens, Breslau: G. P. Aderholz 1830 [dalej jako: HoffmannTK],

20 Repertuar sławia (Altwilmsdorf), organisty kościoła pw. NMP na Piasku63 (M-65), czy Eugena Seidelmanna, urodzonego w Krosnowicach (Rengersdorf) dyrektora Opery Wrocławskiej64 (M-405b). Obecność tego repertuaru świadczy zarów- no o kontaktach między muzycznymi środowiskami Kłodzka i Wrocławia, jak i o silnych powiązaniach między ośrodkami lokalnymi. Choć w XIX wieku śląska twórczość stanowi skromniejszą pod względem liczebności część kłodz- kiego zbioru, jest to jednak część bardzo istotna, w znacznym bowiem stopniu unikatowa. Alois Bach (sygn.: -369, -370) pochodzący z Ołdrzychowic (Ullersdorf) kształcił się w kłodzkim konwikcie (1781-87) pod kierunkiem Johanna Franza Otto, a po studiach teologicznych we Wrocławiu związał się jako nauczyciel z klasztorem cysterek w Trzebnicy (Trebnitz). Odnotowana jest jego działal- ność jako regensa chóru w gimnazjum kłodzkim (1812–31), jego wpływ na życie muzyczne miasta i związki z Kłodzkim Towarzystwem Muzycznym (Glatzer Musikverein). Tworzył używając pseudonimów Seraphinus i Cheru- binus. Zmarł w Szalejowie Górnym (Oberschwedeldorf)65. Emanuel Aloys För- ster pochodził ze Ścinawki Dolnej (Niedersteine), kształcił się w Międzylesiu (Mittelwalde) u znanego miejscowego organisty, Johanna Georga Pausewanga, a następnie w Broumovie, by na koniec stać się popularnym w Wiedniu kompozytorem muzyki instrumentalnej66. W Kłodzku przechowywana jest osiem- nastowieczna kopia jego arii (A-190). Z okolic Kłodzka pochodził Joseph Grüger (P-286), także uczeń jezuickiego gimnazjum, następnie kapłan w Ści- nawce Średniej (Mittelsteine) i Bystrzycy Kłodzkiej (Habelschwerdt), autor opublikowanego we Wrocławiu singspielu i kompozytor utworów religijnych (zm. 1814)67. Wymienić należy również Franza Aloysa Larischa, autora dwóch Requiem (R-132, „Organ. Mittelw.” oraz R-133). Larisch był także posesorem rękopisu Pastorelli Johanna Pausewanga, swojego poprzednika na stanowisku organisty w Międzylesiu (sygn. -429). Grono lokalnych kompozytorów uzu- pełniają: Joseph Latzel, urodzony w Niemojowie (Marienthal), kształcony we Wrocławiu, związany z klasztorem bożogrobców w Nysie, kompozytor popularnych utworów religijnych (Am-197)68, wspominany już Anton Niedenführ, s. 16–32: „Oberorganist zu St. Elisabeth, Musikdirektor an der Königl. Universität und öffentli- cher Lehrer der Tonkunst...”. 63 SCHML, s. 551–552. 64 Ibid., s. 695. 65 Ibid., s. 15. 66 Ibid., s. 167; zob. także Remigiusz Pośpiech, Muzyka wielogłosowa..., op. cit., s. 318. 67 HoffmannTK, s. 143; zob. także Remigiusz Pośpiech,Muzyka wielogłosowa..., op. cit., s. 324. 68 Remigiusz Pośpiech, Muzyka wielogłosowa..., op. cit., s. 336.

21 Wstęp którego jedynym znanym dziś świadectwem działalności są kłodzkie muzykalia (M-65). Więcej wiemy o Johannie Georgu Pausewangu, sławnym organi- ście z Międzylesia, teoretyku i nauczycielu m.in. Latzela oraz E. A. Förstera69. Lokalne sieci muzycznych powiązań potwierdza również postać Antona Wei- ganga. Jego nazwisko pojawia się na kilku rękopisach z kłodzkiego zbioru; był on posesorem arii Myslivečka i Dittersdorfa (A-218, A-226) oraz kompozytorem Requiem (R-150). Na karcie tytułowej kopii Requiem widnieje inskrypcja świadcząca o proweniencji z Lewina Kłodzkiego: „Ad usum Joanni Josephi Kabe Cantoris Levinensis”. Weigang, urodzony w Mielniku (Melling) koło By- strzycy, kształcił się u Johanna Franza Otto i w kłodzkim gimnazjum, ukończył studia teologiczne we Wrocławiu, gdzie skomponował dla założonej przez je- zuitów wrocławskiej sodalicji NMP Opella di Passione Domini w 1777 r., a na- stępnie osiadł w Krosnowicach, gdzie wraz z Josephem Seidelmannem stwo- rzył prężny ośrodek muzyczny70. W wieku XIX skompletowany repertuar fary kłodzkiej uzupełniony został o kopie utworów Ernsta Ellgutha, organisty kościoła św. Jakuba w Ny- sie71 (M-35), Ignaza Reimanna, pochodzącego z Wambierzyc (Albendorf), a działającego w Krosnowicach, ucznia Josepha Schnabla, popularnego miejscowego kompozytora72 (M-77b, V-163) oraz Eduarda Tauwitza73 (M-108). Urodzony w Kłodzku w 1812 roku kształcił się muzycznie u organisty fary kłodzkiej Franza Leifera i już jako chłopiec zyskał lokalną sławę; miał nie- zwykły głos i pięknie śpiewał. Studiował na Uniwersytecie Wrocławskim i jako student, w latach trzydziestych, dyrygował chórem działającym przy wrocławskim Akademickim Towarzystwie Muzycznym (Akademische Mu- sikverein). Komponował także pieśni chóralne na potrzeby tegoż chóru74. W zachowanym kalendarium koncertowym wrocławskich zespołów znaleźć można informacje, że w latach 1833–35 Tauwitz poprowadził w Kłodzku, w Landschafts-Saale, kilka koncertów. Obok popularnych w tamtym czasie kompozycji Beethovena, Eyblera, Kreutzera, Schuberta, Romberga, frag- mentów oper Aubera, Belliniego, Webera, Rossiniego, zaprezentował pieśni

69 SCHML, s. 566; zob. także Remigiusz Pośpiech, Muzyka wielogłosowa..., op. cit., s. 345. 70 HoffmannTK, s. 455–456; SCHML, s. 783; Remigiusz Pośpiech, Muzyka wielogłosowa..., op. cit., s. 360. Por. Johann Thamm (1719–1787) / Anton Weigang? (1751–1829). Opella de Passio- ne Domini, red. Tomasz Jeż, Warszawa: Wydawnictwo Naukowe Sub Lupa 2019 (Fontes Musicae in Polonia, C/XI). 71 SCHML, s. 497. 72 Ibid., s. 605. 73 Ibid., s. 736. 74 Agnieszka Drożdżewska, Życie muzyczne..., op. cit., s. 94.

22 Repertuar swojego autorstwa, fragmenty swojego II kwartetu smyczkowego i – pielę- gnując kłodzką tradycję muzyczną – wykonał utwory Johanna Franza Otto75. Po studiach we Wrocławiu kontynuował swoją karierę w teatrach w Wilnie i Rydze, by na koniec osiąść w Pradze jako drugi Musikdirektor Miejskiego Teatru. Był znany jako wykonawca i kompozytor przede wszystkim muzyki instrumentalnej, teatralnej i pieśni. W 1863 roku została wykonana w Pradze jego Feierliche Messe76. W kłodzkim zbiorze zachowana jest inna jego msza, Zweite Messe in G moll „Geschenkt vom Herrn Kreis= | Schule= Inspektor und Stadt= | Pfarrer Herzig” (M-108). W połowie XIX wieku zbiór kłodzki powiększył się o kilkanaście ręko- piśmiennych odpisów mszy Engelberta Aignera, Johannesa Bernardusa von Bree, Karla Ludwiga Drobischa, Bernharda Kleina, Wilhelma Bernharda Mo- lique’a, Mathiasa Pernsteinera czy Carla Gottlieba Reissigera oraz o ofertoria Carla Czerny’ego i Donata Müllera. W tej grupie znalazły się też kompozycje Czechów: Roberta Führera oraz Josefa Františka Hunke. Zbiór muzykaliów kłodzkich powstał przede wszystkim dzięki kolejnym kantorom i organistom kościoła farnego w Kłodzku. W jednym ze swoich tekstów poświęconych muzykaliom w Kłodzku Rudolf Walter przytacza nazwiska kantorów i organistów kłodzkiej fary z lat 1745–1855, m.in. Jose- pha Larischa, Josepha Hanniga, Josepha Prausego, Johanna Franza Otto czy Franza Leifera77. Nazwiska te odnaleźć można wśród inskrypcji na kłodzkich rękopisach. Potwierdzają one z jednej strony obserwacje Waltera, z drugiej – prowokują pytania. Pierwszym nazwiskiem wśród kantorów wymienionych przez niemieckiego badacza, które znajduje odzwierciedlenie w zachowanych papierach muzycznych, jest Joseph Larisch (1783). W Tonkünstler Schlesiens Hoffmann wspomina córkę kantora kłodzkiego Larischa, która była vortreff„ - liche Sängerin”, wspaniałą śpiewaczką, i odniosła sukces w kłodzkim wykona- niu oratorium Stworzenie świata Józefa Haydna w 1800 roku78. Być może więc Joseph Larisch był kantorem jeszcze w 1800 roku. Był też posesorem osiemnastowiecznych rękopisów: Litanii Manšingera (L-183), Arii Boroniego (A-219), Duetu i Terzetu Loheliusa (A-233, rękopis z przełomu XVIII i XIX w.), anoni- mowego, datowanego na 1775 rok Credo (M-123), Salve Regina „Sige: Napo- litano”, gdzie na głosach widnieje data wykonania kopii – 1731, oraz Arii Va-

75 Ibid., s. 480–484. 76 Česko-slovenský hudební slovník osob a institucí, t. 2:, M–Ž, red. Zdenko Nováek, Bohumir Štedroň, Gracian Cernušk, Praha: Statni Hudebni Vydavatelstvi 1965, s. 759. 77 Rudolf Walter, Kirchenmusikalienbestand..., op. cit., s. 153–154. 78 HoffmannTK, s. 282.

23 Wstęp lentina Fechnera (A-189), gdzie obok nazwiska posesora pojawia się również inskrypcja: „Schulmeister in Oberschwedeldorf”. Czy i kiedy Joseph Larisch był nauczycielem w Szalejowie Górnym, pozostaje otwartym pytaniem. Po- dobnie otwarte pozostają pytania o powiązania między kantorem Josephem, posesorem, a Carlem Larischem „in Rückers” (Szczytna), kopistą głosów w arii Boroniego, czy Franzem Aloysem, kompozytorem „kłodzkich” Requiem i or- ganistą w Międzylesiu. W końcu XVIII wieku drugą ważną dla zbioru osobą odpowiedzialną za jego kształt, był, w oczywisty sposób, organista i kompozytor Johann Franz Otto. Jego siostrzeniec i asystent, Franz Leifer przejął funkcję organisty po śmierci Otto, w 1806 roku. Na okładkach rękopisów znaleźć można inskrypcje: „Leifer” (Dedler, M-9,1829), „Geschenkt von Organist Leifer” (Hahn, M-41), a najczęściej: „Franz Leifer” (Pernsteiner, M-70, Vocet, M-113a, Mašek, P-294, Pfeiffer, P-299). Szczególnym dokumentem jest rękopis ofertorium autorstwa Johanna Franza Otto, którego posesorem był „Fr. Leifer” (P-410)79. W pierwszej połowie XIX wieku największy wpływ na kształt zbioru muzykaliów w Kłodzku mieli kantorzy: Joseph Hanning i Joseph Prause. Ana- liza kłodzkiego zbioru potwierdza wyróżniającą się aktywność Josepha Prau- sego zarówno jako kopisty, jak i posesora; jego nazwisko widnieje na ponad trzydziestu rękopisach, datowanych na lata 1824–1837. Mimo to jest on po- stacią na tyle tajemniczą, że nie został wymieniony w Schlesisches Musiklexi- kon w haśle poświęconym życiu muzycznemu Kłodzka80, a Rudolf Walter, wy- mieniając jego nazwisko wśród kantorów, odnotowuje jego działalność tylko w roku 183081. Kolejną tajemniczą postacią jest posesor o nazwisku Schöpler, które- go aktywność w latach 1842–1878 potwierdzają już tylko kłodzkie rękopisy. Jego nazwisko niejednokrotnie opatrzone jest dodatkowymi identyfikującymi inskrypcjami. Na okładce kopii Requiem Gellerta (R-128) widnieje „Schöpler Cantor”; inskrypcją „Rector Schöpler” opatrzone są rękopisy mszy Reimanna (M-77b), Mozarta (M-417b) oraz Haydna (M-421). „Der kathol. Stadpfarr- kirche in Glatz geschenkt von Schöpler” z datą 1862 znajduje się na rękopisie

79 We wszystkich przytaczanych przypadkach nazwisko organisty notowane jest w wersji „Leifer”, natomiast w SCHML, s. 563 w haśle: Otto, nazwisko „Leifer” występuje w pisowni: „Leiffer Franz”; zob. też Rudolf Walter, Kirchenmusikalienbestand..., op. cit., s. 153 oraz SCHML, s. 736, hasło: Tauwitz; w obu cytowanych przypadkach nazwisko organisty i nauczyciela pojawia się w zapisie „Leifer”, za to bez imienia. Inskrypcje na rękopisach w Kłodzku ujednolicają zapis nazwiska organisty: Franz Leifer. 80 SCHML, s. 194–195. 81 Rudolf Walter, Kirchenmusikalienbestand..., op. cit., s. 154.

24 Repertuar mszy Ludwiga Rottera (M-81). Wzbogacił zbiór przede wszystkim o rękopi- śmienne partytury mszy m.in. Haydna (M-399b) i Schnabla (M-401b). Dzięki niemu do zbioru trafiła msza i ofertorium na Boże Narodzenie Donata Mül- lera (M-61 i P-296). Dbał o różnorodność gromadzonego repertuaru. Rudolf Walter nie wymienia jego nazwiska wśród kantorów, jednak kłodzkie rękopisy zdecydowanie sugerują, że następcą Josepha Prausego był Schöpler82. Na karcie tytułowej Missa quadragesimalis in F Schnabla (M-92) widnieje inskrypcja: „J. Joseph Prause | 1828 || Von der Frau Rect. Prause gekauft 1860 der hiesigen StadtPfarrKirche [!] geschenkt i. J. 1878 | Schöpler”. Zawarta jest w nim skrócona historia kłodzkiego zbioru. Rękopis mszy, którego wła- ścicielem w 1828 roku był kantor Prause, został wykupiony od wdowy po nim – Frau Rector Prause – w 1860 roku i podarowany miejscowemu kościoło- wi farnemu w roku 1878 przez Schöplera. Wdowa po kantorze Prause, która dla kościoła farnego w Kłodzku zakupiła m.in. nieszpory Reimanna (V-164) i współpracowała z kantorem Schöplerem, przekazując na jego ręce do zbioru muzykaliów także m.in. mszę Niedenführa (M-64), Alois Veith83, budowniczy instrumentów, który ofiarował mszę Václava Veita84 (czy to przypadkowa zbież- ność nazwisk?), kupiec Grolms, który podarował w 1820 roku mszę Hummla (M-51), w 1840 drukowaną partyturę Reissigera (M-78b), czy w 1850 ofertorium Roberta Führera (P-284)85 – to reprezentanci oświeconego kłodzkiego mieszczaństwa, którym leżał na sercu los muzyki w kłodzkiej farze. Wśród rękopisów sporządzonych w połowie XIX wieku ciekawym dokumentem kłodzkiego życia muzycznego jest kompozycja dyletanta, dokto- ra medycyny i filozofii, Heinricha Amanda Bacha. Pochodził on z Szalejowa Górnego, kształcił się w gimnazjum kłodzkim, a następnie na Uniwersytecie Wrocławskim, w Wiedniu i Berlinie, by osiąść na koniec w Nowej Rudzie. Jego Stationes (sygn. -368) trafiły do zbioru za sprawą Josepha Prausego. Kolekcja dziewiętnastowiecznych muzykaliów kościoła pw. Wniebo- wzięcia NMP odpowiadała na ówczesne zapotrzebowanie środowiska, dla którego powstawała. W jej skład weszło ponad osiemdziesiąt mszy, około trzy-

82 Ibid. Rudolf Walter nie wymienia w swoim artykule Schöplera, pojawia się za to nazwisko „Schößler”, któremu badacz przypisuje stanowisko kantora. Na skatalogowanych rękopisach nazwisko „Schössler” pojawia się tylko raz, na dodatkowej okładce partytury mszy Niedenführa (M-64b); pojawia się ono obok nazwiska „Schöpler”. 83 SCHML, s. 194–195. 84 „Den hiesigen Stadtpfarrkirche geschenkt v. Instrumentenbauer Herr Veith – i. J. 1862” (M-111). 85 „Geschenkt von Kirchen Vorstehe[r] Kaufmann Herrn Grolms zu hiesige[r] Stadtpfarrkir- che | Glatz 7ten December 1850”.

25 Wstęp dziestu graduałów i ofertoriów, piętnaście rekwiów, a także kilka cyklów nie- szpornych, kilka dopasowanych do warunków procesji kompozycji na świę- to Bożego Ciała, nieliczne opracowania hymnu Te Deum i pojedyncze arie. W połowie stulecia pojawiło się coraz więcej druków, które pod koniec wieku naturalnie wyparły rękopiśmienne kopie, a kolekcjonerzy repertuaru coraz mocniej podążali za ówczesnymi modami. Należy w tym kontekście wspomnieć o Paulu Kaupercie86 (zm. 1946), który odpowiadał za kościelny chór odziedziczony po poprzedniku, Jakubie Heinzem87 („Heinze”, 1860, M-103). Na kilkunastu rękopisach utworów kom- pozytorów lokalnych pochodzących głównie z XVIII i I połowy XIX wieku widnieją ołówkowe inskrypcje: „Kaupert, Glatz”. Konsekwencja, z jaką Kaupert zaopiekował się najstarszą lokalną twórczością zachowaną w zbiorze farnym może świadczyć o znajomości tego repertuaru i świadomości jego znaczenia dla lokalnej tradycji. Ołówkowe inskrypcje z nazwiskiem „Kaupert” były też pomocne w identyfikacji autorów, kiedy brak imienia przy jednoczesnym braku odnotowania w zasobie RISM utrudniał jednoznaczną decyzję. Dzięki tym inskrypcjom m.in. zidentyfikowano niejednoznacznie opisane kompozycje Franza Otto czy Johanna Michaela Kirchnera. Muzykalia kłodzkie zawierają również, pochodzące z różnego czasu i reprezentujące różne style, utwory anonimowe, oczekujące na identyfikację, a także kompozycje twórców bliżej nieznanych, takich jak: Beroch, Josef Bo- lehovský, Grasel, Groetzebauch, Habegger, Hoffmann, Keller, Lamm, Lineck, Mattausch, Napolitano, Neumann, Piazzo, Pohl, Prachenski, Anton Reim, Ro- setti, Ignatius Rychlowski, czy G. Spermalogi. Pełna identyfikacja tych postaci to jedno z zadań, które czekają na kolejnych badaczy. Niniejszy katalog to pod- sumowanie stanu badań A. D. 2019, ale to też początek i zachęta do dalszych poszukiwań. Z jednej strony muzykalia kłodzkie to zbiór historyczny, świadec- two swoich czasów, kultury muzycznej kłodzkiego środowiska II poł. XVIII i I poł. XIX w., z drugiej jednak – to materia nadal żywa. W swoim artykule poświęconym kłodzkim muzykaliom Rudolf Walter zawarł ich spis, zaznacza- jąc, że był to stan z 1980 roku88. W porównaniu z kartoteką, która została spo- rządzona w l. 1986–88, nie da się ukryć kilku różnic – i nie chodzi tu o różnice w identyfikacji, tylko w stanie posiadania. Walter widział sześć mszy i dwa rekwia Johanna Kaspara Aiblingera, druk mszy Johanna Antona André, Stacje na Boże Ciało op. 13 Ernsta Bröera, „mehrere Messe mit Stimme-Material”

86 SCHML, s. 194–195. 87 Ibid. 88 Rudolf Walter, Kirchenmusikalienbestand..., op. cit., s. 161–176.

26 Podziękowania

Johanna Venzela Horáka czy msze Františka Maxa Knize. Wymienia przygoto- wane głosy do oratorium „Christus am Ölberge” op. 85 Beethovena, kopię Ave verum corpus Mozarta, „mehrere kurze Arien” Cimarosy. Poza tymi braka- mi przy porównaniu zawartości inwentarza Waltera i treści katalogu możemy odnotować inne pojedyncze ubytki. W wielu innych przypadkach nasz zbiór jest bogatszy np. o kopie kompozycji Diabellego, Schiedermayera, Schnabla. Świadczy to o „otwartej formie” [!] tego zbioru i stałych uzupełnieniach, które zaobserwowałyśmy także osobiście podczas naszych ostatnich wizyt w Kłodz- ku w ramach prac nad katalogiem. Obecnie w kłodzkiej kolegiacie trwają prace nad nową organizacją archiwum oraz nad muzykaliami z końca XIX i I po- łowy XX wieku. Z pewnością przyniosą one kolejne odkrycia.

Podziękowania

arówno na pierwszym etapie naszych prac nad kłodzkimi muzykaliami, Zjak i w trakcie naszych powrotów spotykałyśmy na swej drodze ludzi życzliwych, zainteresowanych, pomocnych. Dziękujemy więc proboszczom: o. Ludwikowi Rybie SJ, który sprzyjał naszym działaniom w latach 80. XX w., i o. Robertowi Molowi SJ, który bezwarunkowo przyjął, że muzykalia to część kłodzkich skarbów i roztoczył nad nimi świadomą opiekę. Kłaniamy się Dy- rekcji Muzeum Ziemi Kłodzkiej. Przed laty nasze prace zostały życzliwe za- uważone przez ówczesną dyrektor, panią Krystynę Toczyńską-Rudysz. Był to także czas prowadzonych z rozmachem prac adaptacyjnych w przeznaczonym w latach 70. na cele muzealne dawnym konwikcie św. Alojzego Gonzagi. Snu- łyśmy wspólne plany, aby w dawnej kaplicy – sali koncertowej – zabrzmia- ła jeszcze kiedyś kłodzka muzyka. W trakcie naszych ostatnich powrotów i weryfikacji materiału do katalogu znalazłyśmy w Muzeum życzliwe miejsce do pracy. Serdeczne podziękowanie składamy na ręce dyrektora Krzysztofa Miszkiewicza, ze specjalnymi wyrazami wdzięczności dla pani Ireny Klima- szewskiej, kierownika muzealnej biblioteki. Jesteśmy wdzięczne za konsulta- cje językowe germanistom, Annie Potapowicz i Pawłowi Piszczatowskiemu, oraz filolog klasycznej – Indze Grześczak. Dziękujemy naszym kolegom mu- zykologom: Tadeuszowi Maciejewskiemu, Agnieszce Leszczyńskiej, Alidzie Podłaszczyk-Nowakowskiej i Andrzejowi Bagińskiemu, którzy przed laty po- rządkowali kłodzki zbiór i współtworzyli ówczesną kartotekę, oraz Ludmile Sawickiej, która dołączyła do prac nad wprowadzaniem muzykaliów do bazy RISM, i wszystkim, którzy z uwagą pochylili się nad katalogiem.

Iwona Januszkiewicz-Rębowska

27 Zasady opracowania katalogu

I. Układ katalogu

Jest to katalog uporządkowany alfabetycznie, zarówno wedle nazwisk kom- pozytorów, jak i poszczególnych kompozycji. Układ alfabetyczny obowiązuje również w części II katalogu zawierającej kompozycje anonimowe oraz w czę- ści V, gdzie wyliczone są druki muzyczne. Kolekcje – zbiory rożnych kompozycji zebranych w jednym rękopisie – zestawione w części III, mają układ według sygnatur; zbędne wydaje się po- wtarzanie w tym punkcie zbiorów autorskich, ograniczono się zatem tylko do podania nazwisk i przypisanych im numerów katalogowych.

II. Elementy opisu

A. Nazwisko i imiona kompozytora podano wraz z datami życia, przyję- tymi za RISM – w uwagach uwzględniono inne źródła identyfikacji.

B. Sygnatury (nadane rękopisom przy inwentaryzacji w latach 80. XX wieku) zaznaczone są w prawym marginesie, przed daną pozycją. Numery w górnym marginesie sygnatury odsyłają do danej pozycji w przypadku ręko- pisów zbiorczych – kolekcji. Literą „b” przy sygnaturze oznaczono zachowaną rękopiśmienną lub drukowaną partyturę, która może być dołączona do głosów, lub funkcjonować samoistnie. W pierwszym przypadku, jeśli daty powstania głosów i partytury się nie różnią – obowiązuje data sporządzenia kopii głosów. Zasadą jest więc podawanie w pierwszej kolejności opisu głosów rękopiśmiennych. Zastosowa- nie znaku „=” w polu sygnatur oznacza, że dany utwór znajduje się również pod inną sygnaturą (inna kopia).

C. Tytuł wiodący – przyjęty za RISM – umieszczono w nawiasie kwadratowym, uporządkowany alfabetycznie według incipitów tekstowych oraz określonych jednoznacznie form: missa, litania, vesperae; po przecinku po-

28 Zasady opracowania katalogu dawana jest tonacja, a po średniku – numer opusowy. W przypadkach, gdy mamy do czynienia z kontrafakturą, podajemy incipit oryginału, a następnie tytuł kompozycji głównej, np. tytuł opery. Poza nawiasem podajemy symbole autorskich katalogów tematycznych przyjęte za RISM w przypadku potwier- dzonych kompozycji.

D. Odpis karty tytułowej – jeśli rękopis posiada samodzielną okład- kę, podano zaczerpnięty z niej pełny odpis karty tytułowej wraz z zaznaczo- nymi na niej ewentualnymi nazwiskami kolejnych posesorów i podaną tam proweniencją; podwójną kreską odnotowano włączenie danej kopii do zbioru muzykaliów kościoła farnego w Kłodzku: „Eigenthum der Stadpfarrkirche zu Glatz”. Wszelkie późniejsze (inną ręką) dopiski na karcie tytułowej zaznaczono znakiem {...}. Fragmenty nieczytelne oznaczono symbolem [...]. W sytuacji, kiedy w okładkę wpisany jest głos, lub jedno folio głosu zostało wykorzystane dla sporządzenia karty tytułowej, symbol tego głosu umieszczono w nawiasie kwadratowym, który poprzedza odpis karty tytułowej.

E. Opis fizyczny – w polu „Parts” wyszczególniono zachowane głosy uwzględniając wszystkie dodane informacje, np. strój instrumentów dętych, ad libitum, obbligato, w układzie skrótów przyjętych za RISM. Zacytowano oryginalne nazwy głosów specyficzne dla środowiska, w którym głosy po- wstawały. W nawiasie okrągłym, przed symbolem głosu, podano liczbę kopii sporządzonych w tym samym czasie; wtórne (późniejsze) kopie głosów odnotowano w pozycjach dodanych, po znaku „+” w klamrach {}. Jeśli w rękopisie znajduje się także głos „Directionstimme” – najczęściej w postaci wyciągu or- ganowego – zostaje dołączony w polu „Parts” za pomocą kolejnego znaku „+”. Po symbolu głosu, także w nawiasach, podano liczbę przypadających nań kart; w kolekcjach liczbę kart dla całości podano zawsze przy pierwszym utworze w kolekcji, a w przypadku pojedynczej kompozycji z kolekcji – folio, na którym został zapisany dany głos. Dwie partie głosowe zapisane na jednym folio zasygnalizowano znakiem „+”. W wierszu poniżej podano w centymetrach format rękopisu. Po śred- niku zaznaczone są karty w innym formacie. W tym samym wierszu podana jest sumaryczna liczba kart z zaznaczoną znakiem „+” obecnością okładki lub późniejszej obwoluty. W przypadku wtórnych kopii sporządzonych w później- szym czasie, ich liczbę podano po kolejnym znaku „+” i w klamrach {}. Doda- no także ilość kart dla głosu Directionstimme lub stron – jeśli strony w głosie ponumerowane są oryginalnie.

29 Zasady opracowania katalogu

Kolejne informacje dotyczą ewentualnych znaków wodnych (bez ich identyfikacji) oraz przybliżonego datowania rękopisu w nawiasach kwadrato- wych. W przypadku, gdy na manuskrypcie widnieje data, podano ją w tym miejscu bez nawiasów. Daty mogą dotyczyć sporządzenia rękopisu – te najczę- ściej pochodzą z kopii głosów – lub pozyskania rękopisu do zbioru: te widnieją na karcie tytułowej. Jeśli rękopis składa się z kopii sporządzonych w różnym czasie, zaznaczono to w tym miejscu, a późniejsze datowanie, poza nawiasem kwadratowym [], umieszczono dodatkowo w klamrach {}.

F. Incipity muzyczne – zasadą dla załączanych incipitów muzycznych jest cytowanie głosu Violino I i głosu Canto (Soprano) wraz z podpisanym tekstem w głosie wokalnym, przy uwzględnieniu wyjątków: utworów solowych na inne głosy niż sopran, braku Violino I, wykorzystania incipitu innego głosu, jeśli sopran wchodzi później, po pauzach z innym tekstem. Głos wokalny zacytowano w oryginalnym kluczu. Oznaczenia agogiczne konsekwentnie podpi- sywane są tylko w głosie instrumentalnym przy dwóch cytowanych incipitach. Odstępstwem od reguły jest sytuacja, w której brak głosu instrumentalnego; wtedy cytujemy tylko partię wokalną. Jeśli rękopis zawiera kilka różnych tek- stów słownych – fakt ten odnotowano w uwagach w punkcie 3.

G. W kompozycjach wieloczęściowych podano nazwy części utworu, oznaczenia agogiczne, tonacje i oznaczenia metrum.

H. Pole „Uwagi” zawiera pozostałe informacje, które opracowującym niniejszy katalog wydawały się istotne dla źródła i dla zbioru:

1. Informacje o dawnych numerach inwentaryzacyjnych. Numery te zazwyczaj widnieją na kartach tytułowych lub kartach ochronnych dla danej pozycji. W przypadku utworów późniejszych, tj. z pierwszej połowy XIX stulecia, oznaczenia te znajdują się także na kartach głosów w ich górnych margi- nesach, co odnotowujemy w Uwagach poz. 2. Na przeważającej części materiałów (nutach, zwłaszcza obwolutach) zamieszczono w XIX stuleciu numery przyporządkowujące dany materiał do miejsca: „Fach ... No ...”, natomiast w czasie kolejnej inwentaryzacji zbioru w 1928 r., na materiałach odbito prostokątne pieczątki o treści: „Amtlich eingetragen (vel aufgenommen) unter der Nr ... am ... 1928. Sichere Aufbewah- rung erbaten”, w które ręcznie wpisano numery. 2. Wszelkie inskrypcje znajdujące się na głosach dotyczące numerów inwentarzowych, kopistów, dat itp. oraz uwagi dotyczące karty tytułowej.

30 Zasady opracowania katalogu

3. Wszelkie uwagi pochodzące od opracowujących katalog, a przede wszystkim istnienie drugiego (lub kolejnego) tekstu, który często dopisywany był później, albo we fragmentach, brak oryginalnej okładki itp. 4. Podano konkordancje do innych zbiorów z terenu Polski oraz numer ewidencyjny wraz z siglum biblioteki (przyjęte za RISM, jeśli źródła te wystę- pują w bazie), z zaznaczeniem, gdy na ich podstawie dokonano identyfikacji. Przytoczono konkordancje ze zbiorami z terenu Polski oraz najbliżej zlokali- zowanymi geograficznie do zasobu kłodzkiego, a więc z Czech, Słowacji, Nie- miec i Austrii. W przytoczonych konkordancjach w nawiasie kwadratowym odnotowywano wszelkie różnice (inna atrybucja autorska, inny tekst, inna obsada). Konkordancje podawane z odleglejszych krajów (Szwecja, Wielka Brytania czy USA), świadczą jedynie o tym, że w aktualnej bazie RISM innych nie znaleziono. 5. Podano numer ewidencyjny RISM dla danej pozycji wprowadzonej przez opracowujące katalog.

Introduction

History of the Collection

he music-related sources from the Church of the Assumption of the Blessed TVirgin Mary in Kłodzko (Glatz) are a unique collection of Jesuit provenance within the present-day territory of Poland. The manuscripts are associated with the Jesuit music traditions of the Czech province, from which the Silesian one was carved out (in 1755) after the annexation of Silesia by Prussia. The new Jesuit province comprised Silesia and Kłodzko Land. These two regions had already been culturally interconnected earlier, and from the early 17th century, Kłodzko became a bastion of the Jesuit re-Catholicising campaign targeting the inhabit- ants of Silesia1. While most of the music collections from Jesuit churches were lost in the period of the Suppression of the Jesuits, the one from Kłodzko has luckily survived, because the Kłodzko parish church did not directly belong to the Society of Jesus, but was leased to them by the city. Therefore after the disso- lution of the order, the music collection remained at the church. Also the convictus founded by the Jesuits survived those events. Its students provided, among others, the music for the liturgical services held in the church. The preserved music collection, dated to 1730–18602, reflects the musical culture cultivated in both institutions. The collection is now kept at Kłodzko’s Jesuit college, which was returned to the Jesuits after World War II, along with the parish church.

1 Johann Schmidl, Historiae Societatis Jesu provinciae Bohemiae..., vol. 1, Prague: Academic Printing House 1747, p. 525. 2 Rudolf Walter, Kirchenmusikalienbestand in Glatz aus den Jahren 1730–1860, “Jahrbuch der Schlesischen Friedrich-Wilhelms-Universität zu Breslau” 36/37 (1995/1996), pp. 151–177; Tomasz Jeż, Muzykalia kościoła Wniebowzięcia NMP w Kłodzku: unikatowa kolekcja repertuaru proweniencji jezuickiej na Śląsku [The Music-Related Sources from the Church of the Assumption of the Blessed Virgin Mary in Kłodzko. A Unique Collection of Jesuit Repertoire from Silesia], in: Muzykolog wobec świadectw źródłowych i dokumentów. Księga pamiątkowa dedykowana profesorowi Piotrowi Poźniakowi w 70. rocznicę urodzin [The Musicologist Responds to Sources and Documents. A Com- memorative Book on the Occasion of Professor Piotr Poźniak’s 70th Birthday] eds Zofia Fabiańska, Jakub Kubieniec, Andrzej Sitarz, Piotr Wilk, Kraków: Musica Iagellonica 2009, pp. 241–260.

33 Introduction

The Church of the Assumption in Kłodzko was taken over by the Jesuits in 1595, after centuries of remaining under the administration of the Knights Hospitaller (from the late 12th century), then the Canons Regular of St Augus- tine (introduced in the mid-15th century by Arnošt of Pardubice, archbishop of Prague), and the Protestants under the Reformation (1562–1591). In 1597 the Jesuits set up a college and a gymnasium in Kłodzko; the latter had more than a hundred students already about a dozen years later3. Another Jesuit educational institution in the city was a convictus, founded in 1614 and named Seminarium S. Aloyisii de Gonzaga4. The latter school mainly provided education to youth from poor families living in the nearby Silesia. Its foundation was made possible by a donation from the Wrocław bishop Charles Habsburg5. The school’s firstpraefectus was Simon Praunstein (1568–1624), who, as confirmed by surviving Jesuit chronicles6, was also a music composer, author of litanies, hymns and Marian antiphons, preserved in the so-called Schwedler Codex7. Like most Jesuit educational institutions of this kind, also the Kłodzko convictus admitted both young students supported by regular tuition fees paid by (rel- atively) well-to-do parents (commensales) and boys from poor families (collegia les), who were required to study and perform music during church ceremonies8.

3 Wilhelm Schulte, Beiträge zur Geschichte des Schulwesens in Glatz und des Gymnasiums insbesondere, in: Festschrift zur Feier des dreihundertjährigen Bestehens des Königlichen katholischen Gymnasiums zu Glatz 1597–1897, Glatz: Schirmer 1897, pp. 74–111. 4 Alois Kroess, Geschichte der böhmischen Provinz der Gesellschaft Jesu. Nach den Quellen bearbeitet, vol. 1: Geschichte der ersten Kollegien in Böhmen, Mähren und Glatz von ihrer Gründung bis zu ihrer Auflösung durch die böhmischem Stände 1556–1619, Wien: Mayer 1910 (Quellen und Forschungen zur Geschichte, Literatur und Sprache Österreichs und seiner Kronländer, 11), p. 788. 5 Paul Hahnel, Geschichte des königlichen Konvikts zu Glatz. Programm des Kgl. kathol. Gymna- siums zu Glatz, Glatz: Schirmer 1899; Oskar Linke, Gymnasium und Konvikt zu Glatz. Ein Beitrag zur Geschichte deutscher Erziehungs- und Bildungsarbeit in schlesischen Raum 1300–1945, Lüden- scheid: Verlag Grafschafter Bote 1961 (Die Grafschaft Glatz, 3); Rudolf Walter, Schlesische musikalische Collegia – hauptsächlich im 17./18. Jahrhundert – im Rahmen der allgemeinen Cäcilienbruder- schaften der gesamten katholischen Kirche, “Musik des Ostens” 11 (1989), pp. 92, 96 and 104–105. 6 An obituary written 8th July 1624 (Praha, Národní Knihovna, Oddělení rukopisů a starých tisků, D 168. Excerpta ex Historia Collegij Glacensis Societatis Jesu (1597–1690), pp. 98–99) states that: “Sacrarum cantionum concionator festivus erat pubblico illi Civitatis parentatum.” 7 Fritz Feldmann, Ein unbekanntes Denkmal der Neisser und Glatzer Musikpflege aus der Zeit des dreißigjährigen Krieges, “Der Oberschlesier” 15 (1933), pp. 145–148. This manuscript, considered lost after WWII, has recently been rediscovered in the collection of the University of Warsaw Li- brary (PL-Wu RM 5893), cf. Katarzyna Spurgjasz, Odnaleziony Kodeks Schwedlera z Kłodzka i Nysy (1626–38) [Schwedler’s Codex of Kłodzko and Nysa Rediscovered], “Muzyka” 61/3 (2016), pp. 115–134. 8 Joseph Schröteler, Die Erziehung in den Jesuiteninternaten des 16. Jahrhunderts, Freiburg im Breisgau: Herder & Co. Verlagsbuchhandlung 1940, p. 95.

34 History of the Collection

The latter were financed by successively accumulated donations, which in most cases clearly defined the profile of the musical education of the convictores9. The Kłodzko foundation established by bishop Charles Habsburg for this very purpose was enriched in later years by legacies from Wrocław canons and abbots. The foundation made it possible to pay the lease on the house in Grüne Straße (now Woj- ska Polskiego) and to maintain 32 pupils a year in that house10. In 1628 Johannes Christoph Metzinger von Kaltenstein donated his landed estate at Ścinawka Śred- nia (Mittelsteine) to the convictus in Kłodzko11. The estate was administered by Hieronymus Keck, a Kłodzko dean, who contributed several other landed estates (Bożków and Żelazno) to this foundation, and in 1644 established a special pia causa foundation on behalf of the Kłodzko convictus, based on income from the said property12. The foundation’s beneficiaries were provided with clothes, meals and med- ical care; they were obliged to learn singing and playing instruments, to perform De profundis for the souls of their benefactors on a daily basis, as well as a Requi- em in their honour once a year13. They were also expected to sing theSalve Regina antiphon every Saturday (during votive masses in praise of the Blessed Virgin Mary, known as the missae sub aurora). This was a tradition initiated back in the times of Arnošt of Pardubice14, whose continuation is evident from the gradual book Sacrum votivum de Beata Virgine, compiled in 1692 on the initiative of Gottfried Anton Berger, cantor of the Kłodzko parish church15. Numerous private foundations were set up for the students of the Kłodzko convictus to sing Marian antiphons on various occasions. These foundations drew income from interest

9 Cracow, Archive of the Southern Province of the Society of Jesus [hereinafter as: KATJ] 2754. Catalogi scholarum Glacensium Anni 1687, 1688, 1690, 1691, 1692, 1730, 1733, 1735, 1737, 1738, 1739, 1743, 1755, p. 189. 10 Rome, Archivum Romanum Societatis Iesu [hereinafter as: ARSI], Boh. 11. Catalogi triennales provinciae Bohemiae SJ (1625, 1628, 1633), fol. 75r. 11 KATJ 2754, p. 190. 12 Johann Schmidl, Historiae..., op. cit., vol. 3, pp. 882–883. 13 ARSI Boh. 196 I–II. Fundationes I, i.a. Glacense, Hirschbergensis, Nissense, fols 210r–211v; KATJ 2754, p. 196. 14 Tomasz Jeż, “Salve Regina” z jezuickiego Kłodzka – o rekonstruowaniu tradycji muzycznej [“Salve Regina” from the Jesuit Kłodzko – On Reconstructing a Music Tradition], in: Tradycje Śląskiej Kultury Muzycznej [Traditions of Silesian Music Culture], vol. 14, part I, eds Anna Gra- nat-Janki et al., Wrocław: Akademia Muzyczna im. Karola Lipińskiego 2017, pp. 185–197. 15 Warszawa, Muzeum Narodowe [National Museum in Warsaw], 1100. Sacrum votivum de Be- ata Virgine... [1692]. Paweł Gancarczyk, Nieznane rękopisy liturgiczno-muzyczne XIII–XVII wieku w zbiorach Muzeum Narodowego w Warszawie [Unknown Liturgical-Musical Manuscripts of the 13th – 16th cs. in the Collection of the National Museum in Warsaw], “Muzyka” 52/2 (2007), p. 29.

35 Introduction on capital invested on behalf of the convictus. This led to the performing forces gradually being extended, and the number of antiphon performances increased to several hundred every year16. Some of the foundations were related to the cult of the Madonna of Kłodzko (Glatzer Madonna), which was promoted throughout the region17, while others were an expression of the congregation members’ gratitude for saving the city from the plague and during the fire of 168018. The main task of the convictores from Kłodzko, however, was to provide music for ceremonies and services held in the parish church, as well as for the 10-day services in honour of St Francis Xavier19 and the novenas to St Ignatius of Loyola20. Particularly festive was the music of the convictores that marked the canonisation of Aloysius Gonzaga (1727), when they performed thanksgiving vespers in honour of this patron for a whole week and on the octave, while the litany was sung from the windows of the convictus, culminating in a hymn sung applaudente semper duplici tubarum et tympanorum choro21. As musicians, the convictores also took part in the feasts of the city’s Sodality of the Assumption of the Blessed Virgin Mary, and in that sodality’s pilgrimages to the nearby Bar- do (Wartha)22. They also gave performances on the occasion of bishops’ visits23, which were often honoured with a staged melodrama including a musical set- ting24. In order to obtain the necessary funds, the convictores of Kłodzko also took part in music performances outside their own church, stimulating the (ecclesias- tical and secular) patrons’ generosity in this way. Their music also accompanied major guests visiting the Jesuit college25 as well as public declamations by the

16 ARSI Boh. 144. Historiae Litterae Annuae (1728), p. 89. 17 ARSI Boh. 116. Historiae Litterae Annuae (1704), p. 64. 18 KATJ 2787. Instrumentum pro Fundatione Litaniarum etc. ad Statuam Forensem Glacii in Perpetuum Cantandarum Fundatio Pachyana Anno 1686, die 4 Martii, pp. 1–31. 19 ARSI Boh. 123. Historiae Litterae Annuae (1711), p. 71. 20 ARSI Boh. 143. Historiae Litterae Annuae (1727), p. 87. 21 Max Wittwer, Die Musikpflege im Jesuitenorden unter besonderer Berücksichtigung der Län- der deutscher Zunge, Diss. Greifswald: Grimmer Kreis-Zeitung 1934, p. 51. 22 ARSI Boh. 97 I. Historiae Litterae Annuae (1651), pp. 311–312. 23 ARSI Boh. 98. Historiae Litterae Annuae (1661–1664), p. 591. 24 Paul Prohasel, Das Schultheater am Gymnasium zu Glatz, in: Festschrift zur Feier des dreihundertjährigen Bestehens des Königlichen katholischen Gymnasiums zu Glatz 1597–1897, Glatz: Schirmer 1897, pp. 26–73; Tomasz Jeż, The Musical Culture of the Jesuits in Silesia and the Kłodzko County (1581–1776), Berlin – Bern – Bruxelles – New York – Oxford – Warszawa – Wien: Peter Lang 2019 (Eastern European Studies in Musicology, 11), pp. 400–404. 25 For instance, Ernst Adalbert von Harrach, archbishop of Prague, was entertained on 6th June 1663 by the regens of the Kłodzko seminary with a feast at the Ścinawka estate and a spec- tacle accompanied by music.

36 History of the Collection college students26. Various private foundations were set up to pay for the cyclic Requiem masses for the souls of the departed family members (for instance, for those of Johann Friedrich von Herberstein27 and Marianna von Annenberg28). As the number of commissioned music events in the church grew, the need arose to divide the competences between the students of the Kłodzko convictus and the professional musicians paid by the City Council to perform in the parish church. A document of 1670 known as Instructio Musicorum Glacen- sium29 regulated this issue, as well as defining the duties of the subregens of the convictus, who was responsible for the school’s ensemble. He was to supervise the joint rehearsals of the convictus students and the church musicians, during which they were to master the repertoire. During the liturgy itself, the subregens was to be present in the choir gallery, make sure that the convictores arrive on time and behave properly, and in case of insubordination – inform the praefectus of the convictus or the rector of the college. The subregens appointed from among the convictores one student responsible for distributing the sheet music and lead- ing the ensemble. In the choice of the repertoire, the subregens was to follow the hitherto practice of the given church, while the division of solo parts between the convictores and the church musician ought to be consulted with the cantor, who was responsible for the quality of music performances. The cantor, in his turn, was obliged to collaborate closely with the head of the convictus on all administrative matters, and with the rector of the college – with regard to the selection of the repertoire. Having obtained suitable guidelines and approval from the rector, the cantor was obliged to inform the regens of the convictus appropriately in advance about his intention of introducing new repertoire so that the convictores would have enough time to master it well. During the actual performances, the cantor was obliged to maintain discipline among the parish church musicians under his care, so that they could serve as an example for the convictus students. The document also precisely defines the cat- egories of church feasts for which the music was to be provided jointly by both the church musicians and the convictores30. Music for a considerable number of

26 KATJ 2754, p. 200. 27 KATJ 2606. Instrumentum Fundationis Herbersteinianae pro praemiis erectum anno 1690. 28 KATJ 2607. Fundatio Annabergicae (1630). 29 KATJ 3299. Instructio Musicorum Glacensium (1670), pp. 1–11. 30 These included, among others: the vespers and Sunday masses of the Ordinary Time and the triduum antecineralis; the psalm Miserere and the sequence Stabat Mater during Lent; the Passion on Palm Sunday; the entire liturgy of Christmas, along with the mass on Christmas Eve; the liturgy of the Paschal Triduum (with the hymn Te Deum) and of Corpus Christi (with its octave). The joint ensembles also performed during the feasts of St Ignatius of Loyola and

37 Introduction church services was left to the sole care of the professional musicians31, while the ensemble of the convictores was to perform alone at those ceremonies which were related to the educational profile of their institution32. The dynamic development of the Kłodzko convictus resulted in the need for a radical improvement in the infrastructure, which in the mid-17th century was unsatisfactory, among others owing to the lack of a repositorium per instrumenta musica and of any space where the young musicians could prac- tise33. Thanks to the efforts of two successive regentes convicti, Daniel Fridelius and Christoph Faschang, the foundation stone for a new seat of the Kłodzko convictus in Judenstraße (now Ignacego Łukasiewicza) was laid on 6th June 1665, while in November of the same year the first wing of the building was ready for use. The other parts were erected according to a design by Andrea Carove and Carlo Lurago in 1673–169834. The Kłodzkoconvictus reached its heyday in the years 1690–1740, when it educated c. 50 students a year. Of that number, more than half were the convictores supported partly from the funds of the convictus itself (while the other funds for their maintenance came from the families of the wealthier boys). A smaller group of convictores were wholly maintained from interest on the pia causa foundations (they were the poor collegiales, whose duty it was to learn music). The last group of theconvictus inmates were several students of the city’s Jesuit college. Altogether, the ensemble of the convictus probably consisted in that period of at least 20 members. The rapid development of theconvictus came to an end with the annexation of the County of Kłodzko by Prussia, and the tribute payments exact-

St Francis Xavier, the ceremonies of the Latin sodalities (litany and the antiphons Ave maris stella and Salve Regina), as well as All Saints’ Day. 31 The professional parish musicians performed alone in the case of:Requiem masses for the donors, the private masses of the Countess von Annaberg foundation, the mass ceremonies combined with the matutinum (the so-called missa matura), on Sundays and church feast days in October, during services of craftsmen’s sodalities and the Brotherhood of Good Death, and on All Saints’ Eve. The professional ensemble was also responsible for music accompanying processions during the Mass of the Resurrection (and the entire Paschal period), the Ascen- sion, Palm Sunday, and St Mark’s Day, as well as the annual pilgrimage to Bardo and the Rorate masses. In those latter cases, the convictores were also allowed to perform (many of them were sodality members themselves). 32 The ensemble of theconvictores performed litanies on every Saturday, on the eve of some feast days (those of St Francis Xavier, the Martyrs of Japan, and the Blessed Stanisław Kostka), as well as the music for the feasts of the Presentation of Mary and of St Barbara. 33 ARSI Boh. 98, p. 40. 34 At present this building is the seat of the Museum of the Kłodzko Land [Muzeum Ziemi Kłodzkiej]. Zdzisław Szczepaniak, Kolegium jezuickie i konwikt w Kłodzku (1597–1945) [The Jesuit College and Convictus in Kłodzko], Kłodzko: Wydawnictwo Maria 2005, pp. 67–74.

38 History of the Collection ed by the new authorities, which forced the Jesuits significantly to reduce the number of the convictores. There were as few as 14 of them in 1743. However, as most of them were musicians supported by the pia causa foundations, and since all the major ceremonies were attended by the parish musicians, this did not have a negative influence on musical life in the parish church. In the same year, 1743, there were ten professional church musicians: five vocalists and five instrumentalists (including the organist)35. The Suppression of the Jesuits was announced in Prussia on 21st February 1776, but it did not bring any major changes in the music traditions cultivated at the Church of the Assumption. The convictus founded by the Jesuits survived and continued its activity until the 1930s, though already as the property of the Royal Prussian School Insti- tute. However, in the year 1808 the convictus students were freed from their musical duties in the parish36. The preserved repertoire of the Jesuit Church of the Assumption of the Blessed Virgin Mary in Kłodzko represents a rich panorama of music genres. A large proportion of the collection under study exemplifies musical forms typical of the Jesuit convicti, both those universally performed in that period (mass cycles, vespers, Requiem masses, and arias sung in place of selected sections of mass proper), and those specifically connected with the Jesuit tradition. The latter group includes, first and foremost, settings of texts popular in Jesuit music centres – Marian antiphons (Salve Regina), hymns (Ave maris stella), litany settings (primarily the Litany of Loreto and Litany of the Holy Name of Jesus), cycles of Stationes pro festo Corporis Christi, as well as settings of texts reflecting Jesuit spirituality (e.g.Amo te Jesum solum ex C by Valentin Fechner). The saints honoured in pieces from this collection – also worshipped in other Jesuit centres – include Archangel Michael, St John Nepomucene, and St Joseph Calasanz – who were the auxiliary patrons of Kłodzko’s Aloysianum. The sources related to or coming from the Kłodzko convictus are supplemented by manuscripts which belonged to the collection of the parish church itself, marked as Eigenthum der Stadtpfarrkirche Glatz. Comparison of both these collections shows that they represent the same repertoire tradition and demonstrate the continuity of music culture in Kłodzko.

Tomasz Jeż

35 Rudolf Walter, Die Musikalienbestand..., op. cit., pp. 151–152. 36 Paul Hahnel, Geschichte..., op. cit., p. 29.

39 Documentation

he year 1984 saw the inception of Ośrodek Dokumentacji i Badań Dawnej TMuzyki Polskiej [The Centre for the Documentation and Study of Early Pol- ish Music], headed by Tadeusz Maciejewski and operating under the patron- age of Stefan Sutkowski, Director of the Warsaw Chamber Opera37. The Centre aimed, among others, to create a database of music collections existing in Po- land. One of the collections under study was that of music manuscripts from the parish Church of the Assumption in Kłodzko. Research on this collection was undertaken by Marta Pielech and Iwona Januszkiewicz, the Centre’s staff members, in September 1986. During their first visit to Kłodzko they found that part of the music-related sources was kept in a bookcase on the church’s choir loft, while other sources were scattered in the matronea without any order. The scholars had to start by cleaning the music manuscripts of the dust and dirt of many decades, and then introducing some initial order in the collection. The state in which they found it proved, on the one hand, that there had been absolutely no interest in the collection for many long years, while on the other – paradoxically – it testified to its continuity. It allowed the scholars to conjecture that the collection had largely survived the Suppression, wars, and large-scale stocktaking projects... The initial work revealed traces of one such project: the red stamps with the text “Amtlich eingetragen (or aufgenommen) unter der Nr ... am ... 1928. Sichere Aufbewahrung erbaten”, placed on the covers or the later dust jackets of the manuscripts. The inventorying work commissioned in the 1920s by the Music His- tory Commission (Musikgeschichtliche Komission) of the German Ministry of Science, Art and Education (Ministerium für Wissenschaft, Kunst und Volks-

37 The Centre for the Documentation and Study of Early Polish Music existed at the Warsaw Chamber Opera until 2010.

40 Documentation bildung) extended over Silesian collections as well38. The Institute of Musicol- ogy of the University of Wrocław (Musikalisches Institut bei der Universität Breslau), headed at that time by Max Schneider, joined this action in 1925. Agnieszka Drożdżewska writes in her study: “Schneider was aware that not all the music-related sources had been transported to Wrocław during the secu- larisation campaign in 1810.”39 Schneider’s initiative was favourably received by Max Seiffert in Berlin, which meant that the search for local collections was conducted under the auspices of the Central Berlin Catalogue (Berliner Zentralkatalog). As part of this project, musicology student Josef Wittkowski, pupil of Max Schneider, came to Kłodzko40, and it was most likely Wittkowski who placed the red seals on the manuscripts and reorganised the collection. He managed to catalogue nearly five hundred items, and developed an interest in the music of the Kłodzko composers. He wrote a doctoral dissertation about Johann Franz Otto (unfinished owing to accusations of plagiarism). Lat- er Wittkowski gave up research work and dedicated himself to conducting and journalism. He led a performance of one of Johann Franz Otto’s masses on Wrocław Radio, conducting an academic choir41. Another participant of the inventorying project conducted in that period by Wrocław’s Institute of Musicology was Fritz Feldmann, who transported many of the music-related sources (including works by local musicians – Jo- hann Franz Otto and Johann Gregor Pausewang – to Wrocław for comparative studies. “I cannot stop regretting my stupidity in not copying the catalogue cards of the Silesian music monuments for myself. I have long planned a car- tographic description of the state of their preservation,” wrote Feldmann to Schneider in one of his letters. We may regret it even more since the central catalogue disappeared during World War II42. The study of the Kłodzko collection, resumed in the 1980s, continued for about two years. Thanks to the kind support of Father Ludwik Ryba SJ, the then parish priest at the Church of the Assumption, who made workspace available to us during our successive visits, the manuscripts were put in order and secured; each was provided with a new additional dust jacket with a shelf

38 Agnieszka Drożdżewska, Życie muzyczne na Uniwersytecie Wrocławskim w XIX i w I połowie XX wieku: edukacja muzyczna – działalność naukowa – ruch koncertowy [Music Life at the Univer- sity of Wrocław in the 19th and the 1st Half of the 20th Century: Music Education – Research Work – Concert Life], Wrocław: Wydawnictwo Uniwersytetu Wrocławskiego 2012, pp. 169–174. 39 Ibid., p. 169. 40 Ibid., p. 172. 41 Ibid., p. 243. 42 Ibid., p. 173.

41 Introduction mark, which contained symbols for the given musical genre: M- for masses, R- for Requiem masses, L- for litanies, V- for vespers and vesper psalms, P- for mass propers (the sections that vary according to the calendar), H- for hymns, Am- for Marian antiphons, and A- for arias. Alphabetical order was introduced as far as possible within each group, and anonymous items were placed at the end. Continuous numbering was introduced, e.g. M-1 to M-120, then R-121, while manuscripts not representing specific genres did not receive any letter symbols. Apart from the new shelf mark, the new dust jackets contain information about the composer and the title of the work as well. Work on the organisation and description of the Kłodzko collection was joined by Tadeusz Maciejewski, and the Institute of Musicology of the University of Warsaw was also invited to participate. In September 1987, students Alida Podłaszczyk and Andrzej Bagiński (supervised by Agnieszka Leszczyńska) received their archive training in Kłodzko. The newly described manuscripts were moved from the choir loft to the parish archive (for greater safety) and placed in specially prepared bookcases. A file catalogue of the Kłodzko collection was created, which made it possible to identify music incipits on the basis of the then available catalogues. The most valuable body of manuscripts was microfilmed. Simultaneously with work undertaken by the Documentation Centre, the Kłodzko collection attracted the interest of Rudolf Walter, who first visited the Kłodzko parish church in 1980, and again in 1989, making note of it in his papers dedicated to Johann Franz Otto and the Kłodzko music-related sourc- es43. In the first article he describes a bookcase containing manuscripts which he discovered in the church choir, stresses with satisfaction that the collection has been preserved but laments the lack of scholarly interest, and finally notes that the manuscripts were moved to a new, more secure place and are now bet- ter protected. The second article contains an attempt to describe the Kłodzko collection in detail. Walter observes that the bookcase shelves were numbered from XXXVII to LXXII, with some additional notes such as: Fach (shelf) XXX- VII “Alte Messen” or Fach XXXVIII “Arien”. He concludes that there must have been another bookcase comprising the numbers Fach I through Fach XXXVI. The thesis concerning two bookcases, which Walter presents without additional commentary, gives rise to questions concerning their contents and opens a field for speculation. Despite the scrupulous character of his descrip-

43 Rudolf Walter, Franz Otto (1732–1805): ein Komponist der Grafschaft Glatz, “Musik des Ostens” 12 (1992), pp. 239–265; Idem, Kirchenmusikalienbestand in Glatz aus der Jahre 1730– 1860, “Jahrbuch der Schlesischen Friedrich-Wilhelm-Universität zu Breslau” 36/37 (1995/1996), pp. 151–177.

42 Documentation tion, Walter fails to mention the fact that the manuscript contain, apart from the red seals (evidence of the cataloguing project from the 1920s), also old shelf marks which precisely reflect their place on the given shelf (Fach) in one of the two bookcases. These shelf marks prove beyond any doubt that the music sources once held in the first bookcase (Fach I–XXXVI) still exist, albeit incomplete, and were certainly not destroyed when that bookcase disappeared. Attempts to place them in the other, surviving bookcase are evident. Analyses of the old shelf marks in the manuscripts prove that the collections from both bookcases were ordered and described at the same time. In one of his articles, Rudolf Walter describes the ordering of the shelves in the one preserved bookcase44. The shelves were numbered, but the contents of the manuscripts were not given for each of the numbers. Sections XLIV, XLVI–XLVIII and LXII–LXXII did not contain such additional tags. The situ- ation may have been similar in the other bookcase as well (we can reconstruct its contents on the basis of the preserved shelf marks) – not all the numbered shelves had their specific functions. The last ‘defined’ section is Fach LXI, probably set aside for organ compositions. Analyses of the old shelf marks and of the description of the preserved bookcase let us conclude that the bookcase with numbers I–XXXVI was primarily meant to comprise 19th-century manuscripts, while the other one was to provide space for, among others, “Alte Antiphonen” (Fach XXXXI), “Alte Fronleichnamssachen” (Fach XXXXII), and the already mentioned “Alte Messen” (Fach XXXVII). In practice, however, it seems that this plan was only partially carried out. A survey of old shelf marks45 proves that sections Fach I–X in bookcase one were reserved for mass setting copies made in the 1st half of the 19th century – which were the most sizeable part of the collection. Manuscript numbering was continuous here, and more or less followed the alphabetical order. This principle was not applied consistently. Some manuscripts contain notes reflecting the change of location, being moved from one shelf or bookcase to another. Mass settings can also be found in sections: Fach XXIV (mixed up with other musical genres), Fach XXV, then Fach L and the following, which contain handwritten scores. Fach XXXVII was set aside for the oldest, 18th-century copies of mass settings. It was the first section in bookcase two, marked as “Alte Messen”. On the covers of the oldest mass copies one can indeed find shelf marks that point to that particular shelf46. The collection of

44 Rudolf Walter, Kirchenmusikalienbestand..., op. cit., p. 159. 45 Cf. Appendix: A List of Old Shelf Marks found in the Preserved Manuscripts, p. 452. 46 E.g. Bolehovský, Missa in C, Fach XXXVII No 18; Kalous, Missa in D, Fach XXXVII No 3.

43 Introduction masses is in fact the only one that follows the original ordering of shelf marks throughout. It seems that in the other cases the initial division into Fächer and Notenschränke (bookcases for music sources) was not followed consistently. From Fach XI onward, continuous numbering is abandoned in favour of separate numbering for each section. Fach XI and Fach XII were assigned for Requiem settings. It is difficult to decide now whether the two manuscripts of Requiem masses bearing shelf marks Fach XXXIX No 3347 and No 4248 should fill in the gaps in the numbering of Fach XI, or else they prove the existence of another set of Requiem masses stored in the other bookcase. Fach XIII was set aside for litanies. Bookcase two contained space (Fach XXXX) for more litanies, but no manuscripts bear such shelf marks. We cannot establish beyond any doubt whether these manuscripts were lost or (an equally justified conjecture) that bookshelf was never in fact used for litanies. Interest in this repertoire diminished in the mid-19th century, and its presence in the Kłodzko collection is therefore closely related to Jesuit activity in the previous age. Marian antiphons were to be placed on Fach XVI and Fach XVII in bookcase one, while bookcase two comprised space for “Alte Antiphonen”. However, all the “old antiphons”, including those from the convictus of St Aloy- sius, bear signatures referring to bookcase one. The subsequent shelves: Fächer XIX–XX, XXIV and XXXII–XXXIII, were designated for mass propers and pieces for Corpus Christi. A study of the preserved works of this kind suggests that they were all placed in bookcase one regardless of the time of composition. For instance, the introits, graduals and offertories by Johann Franz Otto, as well as 18th- and secondary 19th-century copies were stored continuously and took up most of Fach XXIV. Fach XXXVIII in bookcase two, “Arien”, is a special case. No other space was assigned to this repertoire, regardless of its provenance (e.g. Semin. S. Aloysii Glacii) and time of copying (18th- and 19th-century arias were mixed up), which is a kind of exception in the entire collection. That only onelocum was set aside for arias may corroborate the thesis that both bookcases were filled in with music sources in the same period. Fach XXIX and Fach XXXVI were assigned to vespers, as also was the most likely unused space on Fach XXXXII “Alte Vespern” in the second bookcase. Analyses of inscriptions preserved in the manuscripts demonstrate that the persons responsible for keeping the music sources in order were frequently

47 Vogler, R-146, a copy from the 1st half of the 19th century. 48 An anonymous 18th-century Requiem setting from Lewin Kłodzki (Lewin), R-150.

44 Repertoire

inconsistent when it came to shelf marks and therefore also placing the given manuscript on a specific shelf in one of the two bookcases. The ordering of the shelves does not fully correspond to the shelf marks found in the manuscripts, in which the last section is Fach LXVI. Many manuscripts only contain the number without the word ‘Fach’, and in some sources we only find the red seal (evidence of the later cataloguing project). About a dozen manuscripts bear no marks at all.

Repertoire

he most valuable part of the Kłodzko collection consists of the 18th-century Tmusic sources taken over from the convictus of St Aloysius. They comprise, first and foremost, litanies and Marian antiphons, which were close to the Jesuit spirituality; the names of the copyists testify to the musical life in the Kłodz- ko convictus. The composers of these works include, apart from local names49, primarily Czech musicians50; a number of works are anonymous. Names of the copyists were entered on many of the manuscripts. They were students of the successive years (parvista, syntaxista), and their musical functions are sometimes also quoted (discantista, altista). In later manuscript copies we sometimes find the same names listed as possessors or even as composers of the works. For instance, Anton Niedenführ, whose name we find among the copyists of Brixi’s litany (L-180): “Hanc vocem descripsit Antonius Niedenführ | Syntaxeos studiosus | Anno Domini | 1776” – was the composer of the Missa in C (M-64), while Johann Michael Kirchner, who left the following inscription at the end of the bass part in Johann Schmid’s Requiem: “Hanc voces paravit Ioannes Michäel Kirchner Syntaxeos studiosus [...] Anno Domini 1770” – was highly regarded as an organist in Ząbkowice Śląskie (Frankenstein) as well as a composer (R-130, V-161, V-174, P-290, -375). Joseph Hanning was one of the convictores who prepared manuscripts for the Seminarium S. Aloysii Glacii; in 1773 he copied the part books of Alexius Gulitz’s Salve Regina (Am-199) and Spermalogi’s Missa in D (M-423). In 1800–1830 Hanning was the cantor (“Rector”) of the Kłodzko parish church. His efforts to expand the collection of music sources are reflected by the inscriptions on the title pages of masses by Diabelli (M-15, -18, -19), Sali- eri (M-82), Schnabel (M-93) and Vocet (M-114): “Rector Hannig gehörig.” Sim- ilar inscriptions can be found in manuscripts containing contrafacta of arias by

49 E.g. Joseph Latzel, Am-197, and Johann Schmid of Nowa Ruda (Neurode), R-140. 50 František Xaver Brixi, L-180; Karel Loos, V-349; Vojtĕch František Manšinger; L-182, Gre- gor Schreyer, V-167.

45 Introduction

Mozart (A-238) and Salieri (A-245), as well as offertories by Mašek (P-293) and Naumann (P-297). These copies also perfectly illustrate the history of repertoire transfer, since the owner’s name was later crossed out, and the words “Eigen- thum der Stadtpfarrkirche in Glatz” entered on the covers (also in an alternative form: “jetzt der Pfarr Kirche in Glatz gehörig”). The handwriting suggests that these notes concerning ownership were added in the same period as the shelf marks on the title pages and in the part books, related to placing these copies on a specific shelf in one of the bookcases. Apart from sources coming from the convictus of St Aloysius, the Kłodz- ko collection also contains 18th-century copies made directly for the Kłodzko parish church (Habegger, Missa in d [...], copied “Pro Choro | Ecclesiae Pa- rochialis Glacensis”), or presented by their owners (e.g. Agricola, Ariae 2ae, A-215 “Posessor Kles”). Of special interest is the output of the Kłodzko organist, Johann Franz Otto. Born in Jaszkowa Dolna (Niederhannsdorf) in 1732 and educated at the Kłodzko convictus, he learned the organ from the Kłodzko organist Paul Frömel51. Otto was later a teacher at the Kłodzko gymnasium, and organist at the Church of the Assumption until his death in 1805. The repertoire of the Kłodzko parish church, collected in the 18th century, confirms the popularity in that period of such Silesian-Czech composers as: Damasus Brosmann, a Piarist, musician and teacher at the Bílá Voda (Weißwasser) monastery near Paczków (Patschkau), composer of sacred music works, “mostly preserved in Kłodzko”52; František Černy (“Braunovi Capella Magna”); Valentin Fechner of Siciny (Seitsch) active in Broumov (Braunau)53; Alexius Gulitz working for the Cistercians in Kamieniec Ząbkowicki (Kamenz) and later in Bardo54; Ondrej František Holý, Simone Höpler, Václav Kalous, a Piarist from the nearby Rychnov (Reichenau)55; Franz Peter Koblitz, musician at the monastery of the Blessed Virgin Mary on Sand Island in Wrocław56; Leopold Antonin Koželuh, Joannes Lohelius (Oehlschlägel); the already men-

51 The surname of the organist is quoted variously as ‘Frömel’ (Schlesisches Musiklexikon [hereinafter as: SCHML], ed. Lothar Hoffmann-Erbrecht, Augsburg: Wißner 2001, p. 562), ‘From- mel’ (Rudolf Walter, Franz Otto..., op. cit., p. 240), ‘Froemel’ (Remigiusz Pośpiech, Muzyka wie- logłosowa w celebracji eucharystycznej na Śląsku w XVII i XVIII wieku [Polyphonic Music in the Liturgy of the Eucharist in 17th- and 18th-Century Silesia], Opole: Redakcja Wydawnictw WT UO 2004 (Z dziejow kultury chrzescijanskiej na Slasku, 29), p. 321). 52 Remigiusz Pośpiech, Muzyka wielogłosowa..., op. cit., p. 313. 53 Ibid., p. 318. 54 Ibid., p. 325. 55 Tomasz Jeż, Muzykalia kościoła pw. Wniebowzięcia NMP w Kłodzku..., op. cit., p. 250. 56 Remigiusz Pośpiech, Muzyka wielogłosowa..., op. cit., p. 333.

46 Repertoire tioned František Xaver Brixi; Karel Loos, Vojtĕch František Manšinger, Václav Pichl, Christoph Schimpke of Cieszyn (Teschen), active in Javorník (Jauer- nig)57; Joseph Christoph Spiller, Kajetán Vogel, Paul Wranitzký, Jan Zach, and Franz Ziegenheim58. The repertoire also comprises works by Austrian-German composers such as Johann Friedrich Agricola, Johann Georg Albrechtsberg- er, Balthasar Buchwieser, Carl Ditters von Dittersdorf, Johann Ernst Eberlin, Johann Joseph Emmert, Carl Heinrich Graun, Johann Adolf Hasse, Johann Adam Hiller, Isfrid Kayser, Lambert Kraus, Johann Gottlieb Naumann, Johann Valentin Rathgeber, Ferdinand Schmidt, Christoph Sonnleithner, Johann Georg Zechner, as well as the greatest masters: the Haydn brothers and Wolf- gang Amadeus Mozart. Italian composers also enjoyed considerable popularity: Felice Alessandri, Giovanni Giacomo Avanzini, Antonio Boroni, Antonio Caldara, Domenico Cimarosa, Baldassare Galuppi, Antonio Sacchini, and the mysterious “Sige: Napolitano”59. This might simply be the name of the author of the music; however, the manuscript of Salve Regina (Am-431) is the oldest (known) preserved copy in the Kłodzko collection (1731), notable for its un- conventional scoring and worthy of a separate mention. During our current work on the present catalogue, we naturally used the RISM resources as the basis for identifying music works and verifying identifi- cations made in the past or by Rudolf Walter60. We therefore left the surnames Laube (shelf mark -384), Brunetti (-337) and Manfredini (A-234) without first names, since no concordances have been found that would allow us to ascribe these pieces to a specific composer. This part of the collection is complemented by the works of Davide Perez and Vicente Martin y Soler, as well as composers of whom little is known otherwise (Beroch, P-273; Habegger, M-40; Lamm, L-181, V-162) and anonymous pieces, including sets of Marian antiphons. Characteristic of the 18th-century music sources from Kłodzko are short pieces: arias (more than 60) and Marian antiphons (nearly 50 of them). Of the more than 40 offertories and graduals, 18 were written by Johann Franz Otto. This part of the collection also comprises masses (30), vespers and vesper psalms (15), funeral mass settings (9), hymns (7), and other genres (12). This varied repertoire was used in liturgical settings and during church feasts. Notably, the preserved Kłodzko set of Litanies of Loreto (12) comes from the 18th century.

57 Ibid., p. 250. 58 Remigiusz Pośpiech, Muzyka wielogłosowa..., op. cit., p. 362. 59 Cf. the entry for ‘Napolitano’ in RISM. 60 Rudolf Walter, Kirchenmusikalienbestand..., op. cit., pp. 161–176.

47 Introduction

As for the repertoire of the late 18th / early 19th centuries, interest in the music of Czech and Italian composers, evident in the previous period, gives way here to the predominance of Austrian and German composers. In the 1st half of the 19th century, Austrian-German music clearly enjoyed the greatest popularity (35 composer names as compared to 7 Czech and 3 Italian ones61). The most popular composers included Anton Diabelli, Johann Baptist Schiedermayr, Ignaz Ritter von Seyfried, and Louis Spohr. We must also mention the presence in the Kłodzko collection of copies of two great masses by Ludwig van Beethoven. Especially the 1852 copy of Missa Solemnis (M-433), with multiplied vocal parts, suggests that the Kłodzko music ensemble had large performing forces at its disposal at that time. From the same group of composers, we have more than 20 preserved copies of works by Joseph Ignaz Schnabel, chapel master of Wrocław Cathe- dral. Lively interest in this repertoire may testify to the close musical links between Kłodzko and Wrocław, which was the main music centre in the region. These contacts were becoming closer throughout the 19th century. Wrocław composers in the collection include – apart from Schnabel – also Friedrich Wilhelm Berner (P-272, -371, -372), first organist of Wrocław’s St Elisabeth Church who – like Schnabel – taught at the Royal Academic Insti- tute of Church Music (Königliches Akademisches Institut für Kirchenmusik)62, as well as Johannes Oppitz from Stary Wielisław (Altwilmsdorf), organist of St Maria auf dem Sande63 (M-65), and Eugen Seidelmann, born in Krosnowice (Rengersdorf), Director of Wrocław Opera64 (M-405b). The presence of their

61 Composers belonging to the Austrian and German environment: Christian August Bergt, Franz Bühler, Franz Danzi, Rochus Dedler, Anton Diabelli, Melchior Dreyer, Joseph Leopold Eybler, Bernhard Hahn, Johann Nepomuk Hummel, Friedrich August Kanne, Joseph Klingohr, Joseph Anton Laucher, Johann Georg Lickl, Joseph Liebl, Wenzel Müller, Joseph Ohnewald, Johann Friedrich Peter, Joseph Anton Pfeiffer, Joseph Preindl, Ambros Rieder, Johann Christian Heinrich Rinck, Georg Valentin Röder, Johann Baptist Schiedermayr, Franz Xaver Schmid, Jo- seph Ignaz Schnabel, Friedrich Schneider, Wilhelm Schneider, Paul Caspar Schobacher, Joseph Schuster, Ignaz Ritter von Seyfried, Louis Spohr, Maximilian Stadler, Friedrich Starke, Georg Joseph Vogler, as well as the Italians: Benelli, Cherubini, Salieri; Czech composers: Josef Gellert, František Xaver Krištof Kohl, Vincenc Mašek, Alexius Parižek, Johann Baptist Vanhal, Jan Ne- pomuk August Vitášek, and Jan Nepomuk Václav Vocet. 62 Agnieszka Drożdżewska, Życie muzyczne..., op. cit., pp. 45–60; cf. also Carl Julius Ad- olph Hoffmann, Die Tonkünstler Schlesiens, Breslau: G. P. Aderholz 1830 (hereinafter as: HoffmannTK), pp. 16–32: “Oberorganist zu St. Elisabeth, Musikdirektor an der Königl. Univer- sität und öffentlicher Lehrer der Tonkunst...”. 63 SCHML, pp. 551–552. 64 Ibid., p. 695.

48 Repertoire works proves not only music contacts between Kłodzko and Wrocław, but also – close relations between local urban centres. In the 19th century, new Silesian music is represented less numerously among the Kłodzko manuscripts; still, it is a significant part of the collection, since it largely comprises unique copies. Alois Bach (shelf marks -369, -370) from Ołdrzychowice (Ullersdorf) was educated at the Kłodzko convictus (1781-87) under Johann Franz Otto. Af- ter studying theology in Wrocław, he became a teacher at the Cistercian Nuns monastery in Trzebnica (Trebnitz). Documents also confirm his work asregens chori at the Kłodzko gymnasium (1812–31), his participation in the city’s music life, and association with the Kłodzko Music Society (Glatzer Musikverein). He composed under the pen names of Seraphinus and Cherubinus. He died in Szalejów Górny (Oberschwedeldorf)65. Emanuel Aloys Förster of Ścinawka Dolna (Niedersteine), educated in Międzylesie (Mittelwalde) with the well- known local organist Johann Georg Pausewang, and later in Broumov, became a popular Viennese composer of instrumental music66. The Kłodzko collection includes an 18th-century copy of his aria (A-190). Also from the Kłodzko region came Joseph Grüger (P-286), likewise a student of a Jesuit gymnasium, later a priest in Ścinawka Średnia (Mittelsteine) and Bystrzyca Kłodzka (Habelschwerdt), author of a singspiel published in Wrocław and of sacred music (d. 1814)67. Another local artist was Franz Aloys Larisch, composer of two Requiem settings in the collection (R-132, “Organ. Mittelw.”, and R-133). Larisch was also the owner of the manuscript containing the Pastorella by Jo- hann Pausewang, his predecessor as organist in Międzylesie (shelf mark -429). Other local composers include: Joseph Latzel, born in Niemojów (Marienthal), educated in Wrocław, working at the monastery of the Knights of the Holy Sepulchre in Nysa (Neisse), who composed popular pieces of sacred music (Am-197)68, and the already mentioned Anton Niedenführ, for whose music the Kłodzko collection is now the only source (M-65). More is known about Johann Georg Pausewang, the famous Międzylesie organist, music theorist and teacher of, among others, Latzel and E. A. Förster69. Also associated with the local music circles is Anton Weigang, whose name can be found in several Kłodzko manuscripts; he was the owner of copies of arias by Mysliveček and Dittersdorf (A-218, A-226) as well as the composer of a Requiem (R-150). On

65 Ibid., p. 15. 66 Ibid., p. 167; cf. also Remigiusz Pośpiech, Muzyka wielogłosowa..., op. cit., p. 318. 67 HoffmannTK, p. 143; cf. also Remigiusz Pośpiech,Muzyka wielogłosowa..., op. cit., p. 324. 68 Remigiusz Pośpiech, Muzyka wielogłosowa..., op. cit., p. 336. 69 SCHML, p. 566; cf. also Remigiusz Pośpiech, Muzyka wielogłosowa..., op. cit., p. 345.

49 Introduction the title page of this Requiem we find an inscription which proves that the copy came from Lewin Kłodzki: “Ad usum Joanni Josephi Kabe Cantoris Levinen- sis.” Weigang, born in Mielnik (Melling) near Bystrzyca, studied with Johann Franz Otto and at the Kłodzko gymnasium. He later completed theology studies in Wrocław, where in 1777 he composed the Opella di Passione Domini for that city’s ex-Jesuit Sodality. He then settled in Krosnowice, where he created (with Joseph Seidelmann) a thriving centre of music life70. In the 19th century, the Kłodzko parish church repertoire was extended so as to include copies of works by: Ernst Ellguth, organist of St James Church in Nysa71 (M-35); Ignaz Reimann of Wambierzyce (Albendorf), active in Kro- snowice, pupil of Joseph Schnabel, a popular local 19th-century composer72 (M-77b, V-163), and Eduard Tauwitz73 (M-108). The latter, born in Kłodzko in 1812, received his music education from the Kłodzko parish church organist Franz Leifer, and gained local fame already as a boy thanks to his extraordinary voice and singing skills. He studied at the University of Wrocław; as a student in the 1830s, he conducted the choir of the Wrocław Academic Music Society (Akademische Musikverein). He also composed choral songs for that choir74. The preserved concert schedule of Wrocław ensembles proves that in 1833–35 Tauwitz led several concerts at Kłodzko’s Landschafts-Saale, presenting – apart from the then popular works by Beethoven, Eybler, Kreutzer, Schubert, Romb- erg, excerpts from operas by Auber, Bellini, Weber, and Rossini – also his own songs, selections from his String Quartet No. 2, and – from Kłodzko’s own music tradition – pieces by Johann Franz Otto75. Following his Wrocław studies, he continued his career at theatres in Vilnius and Riga, and eventually settled in Prague as the second Musikdirektor of that city’s theatre. He became known as a performer and composer primarily of instrumental works, theatre music and songs. The year 1863 saw a performance in Prague of his Feierliche Messe76. The Kłodzko collection includes another of his mass settings,Zweite Messe in

70 HoffmannTK, pp. 455–456;SCHML , p. 783; Remigiusz Pośpiech, Muzyka wielogłosowa..., op. cit., p. 360. Cf. Johann Thamm (1719–1787) / Anton Weigang? (1751–1829). Opella de Passio- ne Domini, ed. Tomasz Jeż, Warszawa: Wydawnictwo Naukowe Sub Lupa 2019 (Fontes Musicae in Polonia, C/XI). 71 SCHML, p. 497. 72 Ibid., p. 605. 73 Ibid., p. 736. 74 Agnieszka Drożdżewska, Życie muzyczne..., op. cit., p. 94. 75 Ibid., pp. 480–484. 76 Česko-slovenský hudební slovník osob a institucí, vol. 2: M–Ž, eds Zdenko Nováek, Bohu- mir Štedroň, Gracian Cernušk, Praha: Statni Hudebni Vydavatelstvi 1965, p. 759.

50 Repertoire

G moll “Geschenkt vom Herrn Kreis= | Schule= Inspektor und Stadt= | Pfarrer Herzig” (M-108). By the middle of the 19th century, the Kłodzko collection was extended owing to the addition of about a dozen handwritten copies of mass settings by Engelbert Aigner, Johannes Bernardus von Bree, Karl Ludwig Drobisch, Bernhard Klein, Wilhelm Bernhard Molique, Mathias Pernsteiner, and Carl Gottlieb Reissiger, as well as offertories by Carl Czerny and Donat Müller, and works by Czech composers: Robert Führer and Josef František Hunke. The Kłodzko collection owes its existence first and foremost to the successive cantors and organists working at Kłodzko’s parish church. In one of his texts on the sources from Kłodzko, Rudolf Walter lists the names of these cantors and organists for the years 1745–1855; these include Joseph Larisch, Jo- seph Hannig, Joseph Prause, Johann Franz Otto, and Franz Leifer77. The same names also appear in inscriptions found in the Kłodzko manuscripts, which confirms Walter’s claims, but, at the same time, gives rise to new questions. The first of the cantors listed by Walter to be mentioned in the music sources (1783) is Joseph Larisch. In his Tonkünstler Schlesiens Hoffmann writes about the daughter of the Kłodzko cantor Larisch, who was a “vortreffliche Sängerin”, an excellent singer, and scored a success in the Kłodzko performance of Joseph Haydn’s Die Schöpfung in 180078. This might suggest that in that year Joseph Larisch was still a cantor in Kłodzko. Larisch was also the owner of 18th-century manuscripts: Manšinger’s Litany (L-183), Boroni’s Aria (A-219), Lohelius’ Duet and Terzet (A-233, MS of late 18th / early 19th cs), the anonymous Credo of 1775 (M-123), a Salve Regina by “Sige: Napolitano”, bearing (in the part books) the date of copying the work – 1731, as well as an Aria by Valentin Fechner (A-189), containing, next to Larisch’s name, also the inscription “Schulmeister in Oberschwedeldorf”. When, if at all, did Joseph Larisch hold the post of teacher in Szalejów Górny? This question remains unanswered, just as the one concerning Joseph’s possible family relation to Carl Larisch “in Rückers” (Szczytna), copyist of the parts of Boroni’s aria, and Franz Aloys Larisch, composer of the ‘Kłodzko’ Requiem settings and organist in Międzylesie. The other person important for the Kłodzko collection in the late 18th century and responsible for its contents was, naturally, the organist-composer Johann Franz Otto. His nephew and assistant Franz Leifer took over the post of organist after Otto’s death in 1806. On the manuscript covers we find the inscriptions: “Leifer” (Dedler, M-9, 1829), “Geschenkt von Organist Leifer”

77 Rudolf Walter, Kirchenmusikalienbestand..., op. cit., pp. 153–154. 78 HoffmannTK, p. 282.

51 Introduction

(Hahn, M-41), and, most frequently, “Franz Leifer” (Pernsteiner, M-70, Vocet, M-113a, Mašek, P-294, Pfeiffer, P-299). Of special interest is the handwritten copy of Otto’s offertory, owned by “Fr. Leifer” (P-410)79. In the 1st half of the 19th century, the persons who exerted the greatest impact on the Kłodzko collection were the cantors Joseph Hanning and Joseph Prause. Analyses of the collection confirm the particular activity of Joseph Prause both as copyist and owner of manuscripts. His name can be found on more than 30 of them, dated to 1824–1837. He himself is a rather mysterious figure, since he is not even listed in the Schlesisches Musiklexikon in the entry for Kłodzko80, and Rudolf Walter lists his name among the cantors, but only provides information about his activity in the year 183081. Another mystery is a manuscript owner named Schöpler, whose activity in 1842–1878 is now only confirmed in the Kłodzko manuscripts. His name is frequently accompanied by other identifying tags. For instance, on the cover of Gellert’s Requiem (R-128) we read “Schöpler Cantor”, while on Reimann’s (M-77b), Mozart’s (M-417b) and Haydn’s (M-421) mass settings we find the words “Rector Schöpler”. The manuscript of a mass by Ludwig Rotter (M-81) contains the inscription “Der kathol. Stadpfarrkirche in Glatz geschenkt von Schöpler”, along with the date 1862. Schöpler mostly added handwritten copies of mass settings to the collection, including Haydn’s (M-399b) and Schnabel’s (M-401b) masses as well as a Christmas mass and offertory by Donat Müller (M-61 and P-296). Schöpler collected diverse repertoire. Rudolf Walter does not list him among the cantors, but the Kłodzko manuscripts clearly suggest that he was the successor of Joseph Prause82. On the title page of the Missa quadragesimalis in F by Schnabel (M-92) we read: “J. Joseph Prause | 1828 || Von der Frau Rect. Prause gekauft 1860 der hiesigen StadtPfarrKirche [!] geschenkt i. J. 1878 | Schöpler”. This is in fact a brief history of this part of the Kłodzko collection. The manuscript, owned in 1828 by the cantor Prause, was bought from his widow, Frau Rector

79 In all these cases, the name of the organist appears as ‘Leifer’, but in SCHML, p. 563 in the entry for: Otto, the name ‘Leifer’ is spelled as ‘Leiffer Franz’; cf. also Rudolf Walter,Kirchenmusi - kalienbestand..., op. cit., p. 153 and SCHML, p. 736, the entry for: Tauwitz, where the teacher-organist’s name is ‘Leifer’ again, without a first name. Inscriptions in the Kłodzko manuscripts all apply one spelling: ‘Franz Leifer’. 80 SCHML, pp. 194–195. 81 Rudolf Walter, Kirchenmusikalienbestand..., op. cit., p. 154. 82 Ibid. Rudolf Walter does not mention Schöpler in his article, but he lists one ‘Schößler’ as a cantor. The name ‘Schössler’ appears in the catalogued manuscripts once only, on the additional cover of the score of Niedenführ’s mass (M-64b), next to the name ‘Schöpler’.

52 Repertoire

Prause, in 1860 and presented to the parish church in 1878 by Schöpler. The Prause widow, who also purchased Reimann’s vespers for the parish church (V-164), among others, collaborated with the cantor Schöpler, passing on to him, among others, also a mass by Niedenführ (M-64). Other donors included instrument builder Alois Veith83 (a mass by Václav Veit84 – is the similarity of surnames a coincidence?), merchant Grolm – who presented a Hummel mass in 1820 (M-51), a printed score by Reissiger in 1840 (M-78b) and an offertory by Robert Führer in 1850 (P-284)85. All these donors represent educated Kłodzko townsmen, who cared about the standards of music performed at their parish church. An interesting document of Kłodzko’s music life in the mid-19th century, found among the Kłodzko manuscripts, is a composition by a musical dilettante, doctor of medicine and philosophy, Heinrich Amand Bach. Born in Szalejów Górny, he learned first at Kłodzko’s gymnasium, then at the Uni- versity of Wrocław, in Vienna and Berlin. He finally settled in Nowa Ruda. His Stationes (shelf mark -368) were incorporated into the collection by Joseph Prause. The collection of 19th-century music sources from the Kłodzko parish church reflects the needs and demands of the environment for which it was compiled. It includes more than 80 mass settings, c. 30 graduals and offertories, 15 Requiem masses, several vespers cycles, several compositions suitable to be performed during the Corpus Christi procession, a few Te Deum settings, and individual arias. From the middle of the century onward, we have more and more prints, which naturally supplanted the handwritten copies toward the end of the century; the persons responsible for the collection followed the current fashion more and more closely. It is in this context that we should mention the name of Paul Kaupert86 (d. 1946), responsible for the church choir, which he took over from his predecessor Jakub Heinze87 (“Heinze”, 1860, M-103). About a dozen manuscripts by local composers – mainly of the 18th and the 1st half of the 19th centuries – contain pencil notes: “Kaupert, Glatz”. The consistency with which Kaupert took care of the oldest local repertoire may suggest that he knew that music

83 SCHML, pp. 194–195. 84 “Den hiesigen Stadtpfarrkirche geschenkt v. Instrumentenbauer Herr Veith – i. J. 1862” (M-111). 85 “Geschenkt von Kirchen Vorstehe[r] Kaufmann Herrn Grolms zu hiesige[r] Stadtpfarrkir- che | Glatz 7ten December 1850.” 86 SCHML, pp. 194–195. 87 Ibid.

53 Introduction and was aware of its importance for the local tradition. The pencil inscriptions including the name ‘Kaupert’ helped to identify some composers in case their first names were missing, and lack of RISM concordances made the final deci- sion difficult. It is thanks to these inscriptions that ambiguously labelled works by, among others, Franz Otto and Johann Michael Kirchner, were identified. The Kłodzko collection also comprises anonymous works representing different periods and styles, which await identification, as well as compositions by otherwise unknown composers such as Beroch, Josef Bolehovský, Grasel, Groetzebauch, Habegger, Hoffmann, Keller, Lamm, Lineck, Mattausch, Na- politano, Neumann, Piazzo, Pohl, Prachenski, Anton Reim, Rosetti, Ignatius Rychlowski, and G. Spermalogi. A full identification of these figures is one of the tasks that future researchers must face. The present catalogue sums up the state of research for the year 2019, and constitutes the initial effort as well as encouragement for further research. The Kłodzko music collection is, on the one hand, a document of history, of the musical culture of Kłodzko in the 2nd half of the 18th and the 1st half of the 19th centuries. On the other hand, however, it is still in a state of change. In his article dedicated to the collection, Rudolf Walter listed the works (according to the state of knowledge in 1980)88. His list contains several differences in comparison with the card catalogue of 1986–88 – concerning not identification, but the absence of some sources. Walter found six masses and two Requiem settings by Johann Kaspar Aiblinger, a printed mass by Johann Anton André, music for one of Corpus Christi stations Op. 13 by Ernst Bröer, “mehrere Messe mit Stimme-Material” by Johann Venzel Horák, as well as masses by František Max Knize, part books for Beethoven’s oratorio Christus am Ölberge Op. 85, a copy of Mozart’s Ave verum corpus, and “mehrere kurze Arien” by Cimarosa. There are other mi- nor elements missing from the catalogue as compared to Walter’s inventory. In many other cases, however, our collection proves more extensive. For instance, the catalogue lists copies of works by Diabelli, Schiedermayer, and Schnabel. This proves the ‘open form’ (!) of the collection, which is constantly being complemented, as we experienced personally during our recent visits to Kłodzko and work on the catalogue. At present the Kłodzko collegiate church archive is being reorganised, while the music sources from the late 19th century and the 1st half of the 20th century are being studied, which will certainly lead to more discoveries.

88 Rudolf Walter, Kirchenmusikalienbestand..., op. cit., pp. 161–176.

54 Acknowledgements

Acknowledgements

oth during the initial stage of our work on the collection and on the occasion Bof our returns to Kłodzko, we have met kind and helpful persons willing to assist us in our work. We are grateful to the parish priests: Father Ludwik Ryba SJ, who supported our activity in the 1980s, and Father Robert Mól SJ, who uncon- ditionally accepted the fact that the collection is part of the city’s great treasure, and extended his conscious care over the manuscripts. We also owe gratitude to the management of the Museum of the Kłodzko Land. Many years ago our work was kindly received by its then director Krystyna Toczyńska-Rudysz. It was a time when extensive adaptation work was carried out in the former building of the convictus of St Aloysius Gonzaga, which was being converted into the museum. We planned concerts of music from Kłodzko in the former chapel, now turned into a concert hall. During our recent visits and work on the verification of material for the catalogue, the Museum provided us with a convenient work space. Our warm thanks are due to its director Krzysztof Miszkiewicz; we would like to express our special gratitude to Ms Irena Klimaszewska, head of the museum library. We thank the German philologists Anna Potapowicz and Paweł Piszczatowski, as well as the classical philologist Inga Grześczak for language consultations; our colleagues – musicologists: Tadeusz Maciejewski, Agnieszka Leszczyńska, Alida Podłaszczyk-Nowakowska and Andrzej Bagiński – for their work on the organisation of the Kłodzko collection and its card catalogue many years ago; to Ludmiła Sawicka, who was one of the persons entering the collection in the RISM database, and to all those who have dedicated their attention to our catalogue.

Iwona Januszkiewicz-Rębowska

55 Cataloguing Principles

I. Organisation of the catalogue

The catalogue has been arranged alphabetically by composer, and the ordering of works for each composer is alphabetical as well. Alphabetical order also concerns the anonymous compositions and the music prints (Section V). Collections (many pieces in one manuscript – listed in Section III) are arranged by growing shelf mark numbers. Redundant single-composer collections in this section would be unnecessary, so only the names and surnames were quoted, along with the appropriate catalogue numbers.

II. The Description

A. Composer surname and first names – followed by dates of birth and death after RISM. In the comments we quote other sources for composer identification.

B. Shelf marks (assigned in the 1980s during the most recent cataloguing project) are given in the right margin, before the given item. The numbers in the top index of the shelf mark refer to the given composition in case of handwritten collections. The letter “b” next to the shelf mark refers to a surviving handwritten or printed score that may either be bound with the part books or be preserved as a separate item. In the former case, if the dates of copying the parts and the score are the same, the date of copying the parts is quoted. Handwritten parts are described first. The symbol ‘=’ next to the shelf mark means that a given piece (another copy) can also be found under a different shelf mark.

C. The main titles – after RISM – in square brackets, are arranged alphabetically according to text incipits and to unequivocally defined forms:Missa , Litania, Vesperae. Key is given after a comma, opus number – after a semico- lon. In case of contrafacta, we quote the incipit of the original work, and then

56 Cataloguing Principles the title of the whole composition, e.g. an opera. Symbols of composers’ thematic catalogues (after RISM) are given after the brackets.

D. Title card transcription – if the manuscript has its own individual cover, a full transcription of the title page has been given, along with the names of the successive owners, if listed there, and the manuscript provenance. A double line indicates the incorporation of the given copy into the Kłodzko parish church collection: “Eigenthum der Stadpfarrkirche zu Glatz.” All the later notes (in a different hand) on the title page are marked as {...}, and illegible sections – as [...]. If a part is entered on the cover or one of the part book folios is used as the title page, the symbol of that part is placed in square brackets preceding the transcription of the title page.

E. Physical description – under the heading for “Parts”, the preserved parts are listed with all the additional information, such as the tuning of wind instruments, ad libitum, obbligato, using RISM abbreviations. The original names of parts specific for the environment in which they were written – have been preserved. In parentheses before the symbol of the given part, we give the number of the copies originally made, while secondary (later) copies are listed after the symbol ‘+’ in brackets {}. Should the manuscript also contain a “Directionstimme” – usually in the form of an organ transcript – it is added in the field for ‘Parts’ after another ‘+’. Following the symbol for parts, also in brackets, we quoted the number of cards (folios). In collections, the total number of cards is given in the entry for the first piece in the collection, and in the case of individual works from a collection, we quote the number of the folio which contains a given part. Two parts notated on one folio are marked with an ‘+’. In the line below, the format of the manuscript is given (in cm). After a colon – cards in a different format are listed. In the same line – the total number of cards, and after ‘+’ – the cover, if any, or the later dust jacket. In the case of secondary (later) copies, their number is quoted after another ‘+’ in brackets {}. The number of cards in the Directionstimme (or pages if originally pages were numbered) is also quoted. Further information concerns the possible watermarks (without identification) and the approximate dating of the manuscript (in square brackets). Should a date be entered on the manuscript itself, it is quoted here without brackets. The dates may concern the year of making the copies (as entered on part books) or the date of acquiring the manuscript for the Kłodzko collection (entered on title pages). If the manuscript consists of copies made in different

57 Cataloguing Principles periods, this is also marked here. The later dates, outside the square brackets [], were additionally placed in {}.

F. Music incipits – as a rule, we quote the Violino I and Canto (Soprano) parts, along with text under the music in the vocal part. Exceptions include: solo pieces for voices other than soprano, the lack of Violino I part, or the incipit of a different voice if the soprano only enters later in the course of the music, after rests and with a different text. The vocal part has been quoted in its original key. Tempo indications have consistently been quoted only for the instrumental part if two incipits are quoted; but if the instrumental part is missing and only the vocal part is quoted – this is an exception to this rule. Should the manuscript have several different texts set to the music – this fact is mentioned in the comments for point 3.

G. For multi-movement compositions, names of the movements have been quoted along with tempo indication, key and time signature.

H. The field for ‘Comments’ contains other information which the -au thors of the catalogue deemed important for the given source and for the collection as a whole:

1. Information concerning the old inventory numbers, usually found on the title pages or on the opening cards protecting a given piece. For later works (i.e. those of the 1st half of the 19th century) these numbers are found also on the part books, in the top margins, as signalled in the Comments, item 2. The majority of materials (the music manuscripts, especially the dust covers) contain 19th-century shelf marks indicating where the given source was to be stored: “Fach … No …”, while the later inventorying project of 1928 in- volved the stamping of rectangular seals with this text: “Amtlich eingetragen (vel aufgenommen) unter der Nr ... am ... 1928. Sichere Aufbewahrung erbaten”, completed with numbers entered in hand. 2. All the inscriptions found on the parts, concerning inventory numbers, names of copyists, dates, etc., as well as comments regarding the title page. 3. All kinds of comments added by the catalogue authors, such as those about the presence of a second text (or more texts), frequently added later or fragmentarily; the lack of original cover, etc. 4. Concordances for other collections from the territory of Poland, as well as the record numbers and library sigla (after RISM, if the given source

58 Cataloguing Principles can be found in the RISM database), with indication of whether they were used to identify the given piece. Concordances are quoted only for Poland and for regions geographically close to Kłodzko: the Czech Republic, Slovakia, Germany, and Austria. In the quoted concordances, all the differences (such as a different composer attribution, a different text, scoring, etc.) have been listed in square brackets. Some concordances are quite remote geographically (Sweden, Great Britain), but this only shows that no others have been found in the current RISM database. 5. The RISM record number for the given composition, entered by the authors of the catalogue.

Katalog | The Catalogue I. Authorum nominibus signata

AGRICOLA, Johann Friedrich (1720–1774) A-2151–2 1–2. [Ave maris stella, B]; [Eja plausus hilares, Es]

[fondamento:] Ariae 2ae | a | Soprano Solo | Due Violine | Viola | con | Fondamento | Del Sige: Agricola | Posessor | Kles [crossed out] || Eigenthum der Stadt-Pfarr-Kirche in Glatz

Parts: C solo(1), vl 1(1)-2(1), vla(1), fondamento =bc(2) F: 33 × 20 cm f. 6 wm [1750–1799]

[1]. C(1r), vl 1(1r)-2(1r), vla(1r), fondamento(1v) f. 5

[2]. C(1v), vl 1(1v)-2(1v), vla(1v), fondamento(2r) f. 5

Comments 1. Fach XXXVIII No 53; XXX, 8 1928 4. RISM Ø 5. RISM ID no.: 300300001: [1]. 300300002, [2]. 300300003

62 I. Authorum nominibus signata

A-428[3] 3. [Non sarei si sventurata, e] – aria from the opera Cleofide in: Ariae 3 {de Confessore} | à | Voce Solo. | Due Violini. | Viola, con | Fondamento. | Sige: Graun. et Hasse. [!] | Posessor | Kles. [crossed out] || Eigenthum der StadtPfarrKirche [!] in | Glatz.

[3]. C(2r-v), vl 1(1v-2r)-2(2r), vla(2v), fondamento =bc(2r-v) f. 6

Comments 3. Two texts: original aria and the contrafactum Iste confessor Domini; cf. also Catalogue no. 159 [Graun, Carl Heinrich], Collections no. 14. 4. Identification after RISM ID no.: 451505818 (D-W) and 451505666 (D-W) [Agricola, Johann Friedrich] 5. RISM ID no.: 1001022083: [3]. 1001022086

AIGNER, Engelbert (1798–1866) M-1 4. [Missa, A]

Choral= Messe | für | Canto, Alto, Tenore und Bass | von | Engelberto Aigner. | {Partitur Fach 49 No 22} || Eigenthum der Stadt= | Pfarr Kirche in Glatz.

Parts: (2x)S(2,2), (2x)A(2,2), (2x)T(2,2), (2x)B(2,2) F: 39 × 24,5 cm f. 16 + cover [1800–1849]

63 Katalog | The Catalogue

Sections Kyrie: Moderato assai, A, ¡; Gloria: Allegro, A, ¡; Credo: Allegro, A, ¡; Sanctus/Benedictus: Andante, A, ¢ – Moderato, A, ¢; Agnus Dei: Ada- gio, A, ¢ Comments 1. Fach LXI No 54; XX, 4 1928 2. In the parts, top left: “Fach LXI”, top right: “No 54”. 4. PL-WRk XXXVIIIa 28; cf. e.g. RISM ID no.: 601000792 (A-Wpp), 540003186 (SI-Ms) 5. RISM ID no.: 300300000

ALBRECHTSBERGER, Johann Georg (1736–1809) M-2 5. [Missa, F] SchAl A.I.20

Messe in F | für | 4 Singstimmen | 2 Violinen | 2 Clarinetten | 2 Horn | samt | Orgel und Violon | Componiert [!] durch Herrn Georg Albrechtsberger | Benda [crossed out] || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: (3x)S(3,4,4), A(3)T(3)B(3), vl 1(4)-2(4), vlne(4), cl in C 1(1)-2(1), cor in F 1+2(2), org =bc(4) F: 36 × 22 cm f. 40 + cover wm [1800–1849]

Sections Kyrie: Adagio, F, ³¼; [Gloria] Et in terra: Allegro, F, ³¼; [Credo] Patrem omnipotentem: Allegro moderato, F, ³¼; Sanctus/Benedictus: Adagio, F, ¡ – A cappella, F, ¡; Agnus Dei/Dona nobis: Adagio, F, ³¼ – Allegro, F, ¡ Comments 1. Fach IX No 143; XVIII, 17 1928 2. In the parts, top left: “Fach IX”, top right: “No 143”; at the end of vl 1 part: “Strecker Preparans”.

64 I. Authorum nominibus signata

4. Cf. e.g. RISM ID no.: 455039712 (D-NATk), 600171039 (A-KR), 600053476 (A-Wa), 605009498 (A-Ws) 5. RISM ID no.: 1001007910

ALESSANDRI, Felice (1747–1798) P-332 6. [Laeta surgit aurora, A] – contrafactum of the aria Nel seno mio, ch’ è agitato

Offertorium | De B.V. M. || Eigenthum der Stadt Pfarr=Kirche | in Glatz.

Parts: S(1), vl 1(1)-2(1), vla(1), b et vlc(1), ob 1(1)-2(1), cor in A 1(1)-2(1) F: 38,5 × 24,5; 19,5 × 24,5 cm f. 9 + dust cover wm [1750–1799]

Comments 1. Fach XXXVIII No 18; XX, 27 1928 3. Original cover missing. 4. Identification after RISM ID no.: 240007087 (D-SWl) [Alessandri, Fe- lice; Nel seno mio, ch’ è agitato]; cf. 300512779 (PL-Wu) [with text: Laeta surgit aurora], 303005259 (PL-POsm) [with text: Corde devoto affectu toto], 452002251 (D-B) [with text: Nel mio seno ch’ è agitato] 5. RISM ID no.: 1001007911

AVANZINI, Giovanni Giacomo (18.sc) A-216 7. [Valles deserte non disserte, B]

[b:] Aria in B {de S. Josepho | de tempore} | Tenore Solo | Violino Primo | Violino Secondo | Oboe I | Oboe II | Corni II | Viola | e | Basso | Del Sige: Avancini || Eigenthum der Stadt Pfarr | Kirche in Glatz.

65 Katalog | The Catalogue

Parts: S solo (1), vl 1(1)-2(1), vla(1), b(2), ob obl. 1(1)-2(1), cor in B 1(1)-2(1) F: 37 × 22 cm f. 10 wm [1750–1799]

Comments 1. Fach XXXVIII No 52; XXX, 7 1928 3. The nd2 text: Salve pater salvatoris. 4. RISM Ø 5. RISM ID no.: 1001005329

BACH, Alois (1770–1845) 369 8. [Pange lingua, C]

Pange lingua in C | festum S.S. Corporis Christe [!] | a | Canto, Alto, Tenore, Basso | Flauto duee [!], Clarinetto due | Cornu due Clarino due | Fagotto, Basso Trombone, Timpano | et Principale | Auth: D. Aloy: Bach | Prause [crossed out] || Eigenthum der StadtPfarr Kirche in Glatz

Parts: C(1)A(1)T(1)B(1), fl 1(1)-2(1), cl in C 1(1)-2(1), fag(1), cor in C 1(1)-2(1), clno in C 1(1)-2(1), principal in C(1), b-trb(1), timp(1) F: 20,5 × 18 cm f. 16 + cover wm [1800–1849]

Comments 1. Fach XX No 24; 36 1928 2. In the parts, top left: “Pange lingua”. 4. RISM Ø 5. RISM ID no.: 1001013772

66 I. Authorum nominibus signata

370 9. [Pange lingua, Es]

Pange Lingua von Bach

Parts: (2x)C(1,1), (2x)A(1,1), (6x)T(1,1,1,1,1,1), (6x)B(1,1,1,1,1,1), ob 1(1)-2(1), cl in B 1(1)-2 (1), fag 1(1)-2(1), cor in Es 1(1)-2(1), clno in Es 1(1)-2(1), a-t-b-trb(1,1,1), timp(1) F: 22 × 34,5; 22 × 17,5 cm f. 30 + cover wm [1800–1849]

BACH, Amand (b. 1791) 368 10. [Stationes]

IV Stationes | pro Festo S.S. Corporis Christi | a | Canto Imo et IIdo, Alto Imo et IIdo | Tenore Imo et IIdo, Basso Imo et IIdo | Flauto tertia, Clarinetto II | Cornibus IV. Clarino I | Fagotti II et Trombone Basso. | Auth: Dr: Amand Bach | Doctor Medic: || Jos. Prause [crossed out] | Eigenthum der Stadt= Pfarr | Kirche in Glatz.

Parts: (2x)C 1(5,6)-2(5,6), (2x)A 1(5,5)-2(5,7), (2x)T 1(5,6)-2(5,7), (2x) B 1(5,5)-2(5,7), fl(4), cl in B 1(4)-2(4), fag 1(4)-2(4), cor in Es 1(4)-2(2)-3(1)-4(1), clno in Es(1), b-trb(2) F: 21 × 28 cm f. 120 + cover wm [1840–1860]

67 Katalog | The Catalogue

Comments 1. Fach XX No 28 3. Composer identification (Bach, Amand) after HoffmannTK, p. 7. On title page in pencil: “Kaupert, Glatz”. 4. RISM Ø 5. RISM ID no.: 1001021627

BEETHOVEN, Ludwig van (1770–1827) M-408 11. [Missa, C; op. 86] KinB 86, LvBWV op. 86

Parts: (3x)S(6,6,6), (3x)A(6,6,6), (3x)T(6,6,6), (2x)B(6,5), (2x)vl 1(6,6)-2(6,6), vla 1(6)-2(6), vlc(6), vlne(3), fl 1(2)-2(2), ob 1(3)-2(3), cl in C 1(3)-2(3), fag 1(4)-2(4), cor in C 1(2)-2(2), clno in C 1(2)-2(2), b-trb ad lib.(2), timp(2), org =bc(6) F: 40 × 24 cm f. 152 + cover 1852

Sections Kyrie: Andante con moto, C, ²²¼; Gloria: Allegro con brio, C, ¡; Credo: Al- legro con brio, C, ¡; Sanctus/Benedictus: Adagio, A, ¡ – Allegretto ma non troppo, F, ²¼; Agnus Dei/Dona nobis: Poco andante, ¡, ¹¾ – Allegro, C, ¢ Comments 1. Fach XXXXXV No 134 2. In the parts, top left: “Fach LVIII” [!], top right: “No 134”.

68 I. Authorum nominibus signata

4. PL-Kk Mus. Inv. 401; cf. e.g. RISM ID no.: 1001043912 (PL-OPsm), 550270123 (CZ-Pnm), 550245549 (CZ-ND), 551002037 (CZ-BRE) 5. RISM ID no.: 1001034796

Printed score p. 107 F: 26 × 36 cm

M-433 12. [Missa, D; op. 123] KinB 123; LvBWV op. 123

Missa | composita, et | Serenissimo ac Emminentissimo | Domino Domino | Rudolpho Joanni | Caesareo Principi et Archiduci Austriae | S. R. E. Sit s. Petri in monte aureo Cardinali | et Archiepiscopo Olomucensi | profundissima cum veneratione | dedicata a | Ludowico van Bethoven [!]. | Opus 123. | Ex sumtibus [!] vulgantium. | Moguntiae | ex taberna musices B. Schott filiorum. | 1827 || Eigenthum der Stadt=Pfarr | Kirche in Glatz.

Parts: (3x)C solo(8,8,8), (3x)C tutti(7,7,8), (2x)A solo(9,10), (3x)A tutti(7,7,7), T solo(10), (2x)T solo e tutti(9,10), (2x)T tutti(7,7), B solo(8), (2x) B solo e tutti(8,10), (2x)B tutti(7,7), (3x)vl 1(11,8,10)-(2x)2(10,8), vla 1(9)-2(9), vlc(9), vlne(8), fl 1(6)-2(5), ob 1(6)-2(5), cl in A 1(6)-2(5), fag 1(7)-2(7), cor in D 1(5)-2(6)-3(4)-4(4), clno in D 1(4)-2(4), a-t-b- trb(3,3,3), timp(3), org =bc(11) F: 37 × 23 cm f. 348 + cover 1827 {1840–1860}

69 Katalog | The Catalogue

Sections Kyrie: Assai sostenuto, D, ¢; Gloria: Allegro vivace, D, ³¼; Credo: Allegro ma non troppo, g, ¡; Sanctus/Benedictus: Adagio, D, ²¼ – G, ¹¾; Agnus Dei/Dona nobis: D, ¡ – D, þ¾ Comments 1. Fach IX No 116 2. In the parts, top left: “Fach IX”, top right: “No 116”. 4. PL-Kk Mus. Inv. 400; cf. e.g. RISM ID no.: 1001014111 (D-B), 601001054 (A-KN), 700010780 (B-Br) 5. RISM ID no.: 1001037298

BENELLI, Antonio (1771–1830) Am-261 13. [Salve regina, a]

Parts: S(1)A(1)T(1)B(1) F: 23 × 19 cm f. 4 [1790–1820]

Comments 1. XXX, 26 1928 2. In the parts, top right: “von Ant: Benelli”. 3. Parts preserved separately. 4. Cf. e.g. RISM ID no.: 469148400 (D-Bsa), 452003568 (D-B), 211011822 (D-Dl) 5. RISM ID no.: 1001015470

BENDA (18.sc) A-217 14. [Lauda Sion salvatorem, A]

[b:] Aria in A de Venerabilis | a | Soprano | Violini due | Flauti due | Violetti due | con | Basso | Del Sige: Benda || Eigenthum der Stadt Pfarr Kirche | in Glatz

70 I. Authorum nominibus signata

Parts: S solo(1), vl 1(1)-2(1), vla 1(1)-2(1), b(2), fl trav. 1(1)-2(1) F: 31 × 22 cm f. 9 wm [1750–1799]

Comments 1. Fach XXXVIII No 29; XXX, 11 1928 3. The nd2 text: Benedic anima mea Domino. 4. RISM Ø 5. RISM ID no.: 1001014048

BERGT, Christian Gottlob August (1771–1837) H-205 15. [Te Deum laudamus, C] BreB A 1. 9

Te Deum | Auth: Bergt. || Eigenthum der Stadt= | Pfarr= Kirche in Glatz

Parts: (3x)S(2,2,2), A(2)T(2)B(2), vl (2x)1(2,2)-2(2), vla(2), vlc et b(2), fl 1(1)-2(1), ob 1(1)-2(1), fag 1(1)-2(1), cor in C 1(1)-2(1), clno in C 1(1)-2(1), timp(1), fondamento =bc(2) F: 38 × 24 cm f. 35 wm [1800–1849]

Comments 1. Fach XXII No 1; XXX, 13 1928 2. In the parts, top left: “Fach XXII”, top right: “No 1”; in the parts SATB, vl 1-2, fl 1-2, ob 1-2, fag 1-2, top right: “Bergt”. 3. Original cover missing. 4. Cf. e.g. RISM ID no.: 302000768 (PL-GD), 300005033 (PL-OPsm), 455003106 (D-MHjk) [print], 220000193 (D-ABGa).

71 Katalog | The Catalogue

5. RISM ID no.: 1001014049

Manuscript score F: 38 × 24 cm p. 348

Comments 1. Fach 57 No 62

BERNER, Friedrich Wilhelm (1780–1827) P-272 16. [Ecce panis angelorum, D]

Offertorium | Verbis hÿmni die Jovis | Soprano ripienne [!] | Canto Alto Tenore Basso | Violino Duo Viola | Violon et Violoncello obl. | Flauto, Oboe duo | Cornu Duo Clarino Duo | Fagott, Timpano et | Alt, Tenore, et Bass Posaune | Organo | Auth: Berner || Gehört der Stadt=Pfarr | Kirche in Glatz

Parts: C[solo](1), (2x)C(1,1), (2x)A(1,1), (2x)T(1,1), (2x)B(1,1), vl 1(1)-2(1), vla(1), vlc obl.(1), vlne(1), fl(1), ob 1(1)-2(1), fag(1), cor in D 1(1)-2(1), clno in D 1(1)-2(1), a-t-b-trb(1,1,1), timp(1), org(1) F: 23 × 35; 39,5 × 25 cm f. 27 + cover wm [1800–1849]

Comments 1. Fach XX No 19; XVIII, 9 1928 2. In the parts, top left: “Fach XX”, top right: “No 18”; at the end of parts: “Finis Innwich”.

72 I. Authorum nominibus signata

4. RISM ID no.: 1001014120 (PL-OPsm) 5. RISM ID no.: 1001014282

Manuscript score F: 39,5 × 25 cm p. 37

372 17. [Halleluja lobet den Herrn, D]

Parts: (3x)S(2,2,2), (3x)A(2,2,2), (3x)T(2,2,2), (4x)B(2,2,2,2), (2x)vl 1(1,1)- -2(1,1), vla(1), vlne(1), fl(1), ob vel cl in C 1(1)-2(1), fag 1(1)-2(1), cor in D 1(1)-2(1), clno in D 1(1)-2(1), c-a-t-b-trb(1,1,1,1), timp(1), org(4) F: 36 × 24; 40 × 25 cm f. 50 [1840–1860]

Comments 1. Fach XXXII No 82; VIII, 12 1928 2. In the parts, top left: “Fach XXXII”, top right: “No 82 | Berner”. 4. Cf. e.g. RISM ID no.: 302004529 (PL-GDap), 220034365 (D-LUC) 5. RISM ID no.: 1001014050

73 Katalog | The Catalogue

372b

150 Psalm | für | Canto, Alto, Tenore, Basso, | Violino Primo et Secundo, Viola | Oboe Primo et Secundo, Flauto, | Fagotto Primo et Secundo. | Cornu Primo et Secundo. | Clarino Primo et Secundo. | Quatuor Trombonis, Timpano | Violon, Violoncello et | Organo Solo. | von | F. W. Berner | Partitur. || Eigenthum der Stadt Pfarrkirche | in Glatz.

Manuscript score F: 39,5 × 25,5 cm p. 40

Comments 1. Fach LV No 57; VIII, 12 1928; Fach LXVI No 82 Eigen die Stimmen [!]

371 18. [Der Herr ist Gott, C]

Parts: T 1(1)-2(1), B 1(1)-2(1), fl(1), cl 1+2(1), fag 1+2(1), cor in C 1+2(1), clno in C 1+2(1), c+a-trb(1), t+b-trb(1), timp(1), org(1) F: 38 × 23; 23 × 19 cm f. 13 + cover 1869

Comments 1. No 126 2. In the parts, top left: “Psalm” or “Hymnus”, top right: “Berner”. 4. Cf. e.g. RISM ID no.: 451502582 (D-DT), 450106172 (D-Cm) 5. RISM ID no.: 1001014283

74 I. Authorum nominibus signata

BEROCH, D. (18.sc) P-273 19. [Tu trinitatis unitas, F]

Offertorium in F. | {Pro Dominica, vel festo H. Trinit.} | à | Canto, Alto, Tenore, Basso | Violinis IIbus | Clarinettis IIbus | Cornuis IIbus | con | Organo | Auth: D. Beroch || Eigenthum der Stadt= Pfarr= Kirche | in Glatz

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), cl in B 1(1)-2(1), cor in F 1(1)-2(1), org =bc(1) F: 18,5 × 23 cm f. 11 + cover wm [1750–1799]

Comments 1. Fach XXXII No 19; XX, 17 1928 2. In the parts, top left: “Offertorium”, top right: “di Beroch”. 4. RISM ID no.: 303005207 (PL-OPsm) [Beroch], 300234010 (PL-Pa) [Beroch, D; with text: Laudate Dominum in sanctis ejus], 300000755 (PL-CZ) [Maader, Ludwik], 551003950 (CZ-Pu) [Spohr, Louis; with text Laudate Dominum in sanctis ejus] 5. RISM ID no.: 1001014284

BOLEHOVSKÝ, Josef (18/19.sc) L-177 20. [Litaniae, D]

Lÿtaniae || Bolchorskÿ [!]

Parts: C(2)A(2)T(2)B(2), vl 1(4)-2(4), clno in D 1(1)-2(1), org =bc (2) F: 36 × 22,5 cm f. 20 + dust cover wm [1770–1820]

75 Katalog | The Catalogue

Sections Kyrie: Allegro, D, ³¼; Sancta Maria: Andante, A, ²¼; Mater inviolata: Alle- gro alla breve, D, ¢; Virgo prudentissima: Allegro molto, d, ¡; Speculum justitiae: Adagio, F, ³¼; Rosa mystica: Moderato, C, þ¾; Salus infirmorum: Adagio, a, ¡; Regina patriarcharum: Presto, D, ³¾, Agnus Dei: Andante, G, ¡; Kyrie: Presto, D, ²¼ Comments 1. Fach XIII No 23; XVII, 4 1928 3. Original cover missing. 4. RISM Ø 5. RISM ID no.: 1001006893

L-176 21. [Litaniae, g]

Parts: C(2)A(2)T(2)B(2), vl 1(3)-2(3), org =bc(3) F: 35 × 22 cm f. 17 + cover wm [1770–1820]

Sections Kyrie: Adagio, g, ³¼; Pater de caelis: Andante, B, ²¼; Sancta Maria: An- dante molto, F, ³¼; Virgo prudentissima: Allegro, C, ¡; Salus infirmorum: Adagio, C, ³¼; Regina angelorum: Allegro, G, ¡; Agnus Dei: Adagio, g, ³¼ Comments 1. Fach XIII No 28; XVII, 5 1928 4. RISM Ø 5. RISM ID no.: 1001006894

76 I. Authorum nominibus signata

M-3 22. [Missa, C]

Missa in C. | a | Canto, Alto, Tenore, Basso | Violinis IIbus | Viola di Alto I. II. | Flaut: IIbus | Clarin: IIbus | con | Organo. | Auctore Bolohausky [!] | Seminarii ad S. Aloysium | Glacii || Eigenthum der Stadt= Pfarr Kirche | in Glatz

Parts: C(3)A(3)T(3)B(3), vl 1(4)-2(4), vla 1(3)-2(3), fl 1(1)-2(1), clno in C 1(2)-2(2), (2x)org(4,5) F: 33 × 20,5 cm f. 41 + cover [1770–1820]

Sections Kyrie: Adagio, C, ¡; Gloria: Allegro, C, ¡; Credo: Allegro molto, C, ³¼; Sanctus/Benedictus: Tarde, C, ¡ – Andante molto, F, ¡; Agnus Dei/Dona nobis: Andante, G, ³¼ – Allegro, C, ³¼ Comments 1. Fach XXXVII No 18; XXVII, 37 1928 4. RISM Ø 5. RISM ID no.: 1001005945

Am-262 23. [Regina caeli, D]

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(2), clno in D 1(1)-2(1), a-t-b-trb(1,1,1), timp(1), org =bc(2) F: 21 × 17 cm f. 15 wm [1770–1820]

77 Katalog | The Catalogue

Comments 1. Fach XVII 1; XVII, 7 1928 4. RISM Ø 5. RISM ID no.: 1001006895

R-124 24. [Requiem, F]

Parts: C(2)A(2)T(2)B(2), vl 1(4)-2(4), cor 1(1)-2(1), org =bc(3) F: 30 × 22 cm f. 21 + cover wm [1770–1820]

Sections Requiem aeternam: Tarde, F, ¡; Dies irae: Adagio, F, ³¼; [Offertorium] Pelli mea consumptis / Miseramini amici: Adagio, B, ¡ – Adagio, B, ³¼; Sanctus/Benedictus: Tarde, F, ³¼ – Andante, B, ³¼; Agnus Dei: Adagio, f, ¡; Lux aeterna: Andante, F, ³¼ Comments 1. Fach XI No 6; XIX, 13 1928 4. PL-KRZ II-2; PL-Dzierżoniów 130 cf. mf PL-Wn 25459; cf. RISM ID no.: 550018350 (CZ-Pnm), 530000902 (H-VEs) [in Es] 5. RISM ID no.: 1001006501

78 I. Authorum nominibus signata

BORONI, Antonio (1738–1792) A-2181 25. [Ad festum mortales huc properate, D]

[vla:] Aria I in D | a | Canto Solo | Violino Primo | Violino Secundo | Oboe Primo | Oboe Secundo | Cornu Primo | Cornu Secundo in D | Alto Viola | et | Basso | Authore Boroni | II in Es | a | Canto Solo | Violino Primo | Violino Secundo | Oboe Primo | Oboe Secundo | Corno Concerto in Es | Fagotto Oblig. | Alto Viola | Cornibus in Es | con | Basso | Authore Missliveczek | Weigank [crossed out] || Eigenthum der Stadt | Pfarrkirche in Glatz

Parts: C solo(2), vl 1(2)-2(2), vla(2), b(2), ob 1(1)-2(1), fag vel vlc obl.(2), cor conc. in Es(1), cor in D 1(1)-2(1) F: 34 × 21 cm f. 17 wm [1750–1799]

[1]. C (1v-2r), vl 1(1v-2r)-2(1v-2r), vla(1v), b(1v-2r), ob 1(1r)-2(1r), cor in D 1(1r)-2(1r) f. 13

Comments 1. Fach XXXVIII No 56; XIX, 25 1928 3. Cf. Catalogue no. 292 [Mysliveček, Josef]; cf. Collections no. 3. 4. RISM ID no.: 300237612 (PL-CZ) 5. RISM ID no.: 1001014634: [1]. 1001014636

A-219 26. [Felix namque es, F]

[b:] Aria ex F-dur | a | Canto Solo | Violinis IIbus | Flaut: Trav: IIbus | Cornis IIbus | Viola di alto | et | Basso | Del Signore Boroni | Joseph Larisch [crossed out] || Eigenthum der Stadt Pfarr Kirche | in Glatz

Parts: C solo(1), vl 1(1)-2(1), vla(1), b(1), fl trav.1(1)-2(1), cor in F 1(1)-2(1) F: 26 × 17,5; 14 × 21,5 cm f. 9 wm [1750–1799]

79 Katalog | The Catalogue

Comments 1. Fach XXXVIII No 44 2. At the end of S part: “Carl Larisch in Rückers”. 4. RISM Ø 5. RISM ID no.: 1001015477

BREE, Johannes Bernardus van (1801–1857) M-4 27. [Missa, As]

Messe Solenne in As | Canto, Alto, Tenore, Basso | Violino Imo et IIdo, Viola, | Oboe Primo et Secundo | Clarinetto Primo et Secundo | Fagotto Primo et Secundo | Flauto | Cornu Primo et Secundo | Clarino Primo et Secundo | Alt, Tenor et Bas Trombone ad libit. | Timpano, Violon, Violoncello | et Organo. | Auth. J. B. van Bree || Eigenthum der Stadt=Pfarr= | Kirche in Glatz. | Geschenkt vom Gutsbesitzer | Herrn Mattern von hier.

Parts: (3x)S(6,6,6), (2x)A(6,6), (2x)T(6,6), (2x)B(6,6), (2x)vl 1(6,7)-2(6,7), (2x) vla(6,6), vlc(6), b(6), fl(2), ob 1(3)-2(3), cl in B 1(3)-2(3), fag 1(4)-2(4), cor in Es 1(3)-2(3), tr in Es 1(2)-2(2), a-t-b-trb(2,2,2), timp(2), org =bc(6) F: 39 × 24,5 cm f. 150 + cover wm [1800–1849]

Sections Kyrie: Adagio, As, ¡; Gloria: Allegro, Es, ¡; Credo: Allegro, B, ³¼; Sanc- tus/Benedictus: Maestoso, Es, ¡ – Andante, C, ²¼; Agnus Dei/Dona nobis: Largo, As, ¡ – Adagio, As, ¡

80 I. Authorum nominibus signata

Comments 1. Fach LX [!] No 140; XXIV, 1 1928 2. In the parts, top left: “Fach LV”, top right: “No 140”. 4. RISM ID no.: 702005369 (B-Asj) 5. RISM ID no.: 1001014321

BRIXI, František Xaver (1732–1771) L-179 28. [Litaniae, D]

[b:] Lÿtaniae | Brixi

Parts: C(2)A(2)T(2)B(2), vl 1(2)-2(2), a-vla(2), clno in D 1(1)-2(1), fondamento =bc(3) F: 37 × 23,5 cm f. 19 wm 1767

Sections Kyrie: Allegro moderato, D, ¡; Sancta Maria: Andante, A, ³¼; Mater Christi: Presto, D, ¹¾; Virgo prudentissima: Andante, G, ²¼; Vas spirituale: Grave, G, ³¼; Rosa mystica: Allegro, D, ¡; Regina angelorum: Presto, D, ¹¾; Agnus Dei: Adagio, D, ¡ Comments 1. Fach XII No 34; V, 1 1928 2. At the end of B part: “Descripsit Josephus Hötzel gram | mati | Sit semper. | Bassista. | Sem. Sti. Aloy | sii”; vl 1: “Finis | J: R:”; clno 1: “De- scripsit | Josephus | Hötzel et K. R. [?] | Anno 1767 | Die 8 Septemb | er”. 3. Original cover missing. 4. RISM Ø 5. RISM ID no.: 1001013795

81 Katalog | The Catalogue

L-180 29. [Litaniae, D]

Parts: C(2)A(2)T(1)B(2), vl 1(2)-2(2), clno in D 1(1)-2(1), org =bc(2) F: 37,5 × 23,5 cm f. 15 + cover wm 1776

Sections Kyrie: Moderato, D, ¡; Virgo prudentissima: Andante, G, ¡; Salus infirmorum: Adagio, h,³¼ ; Regina angelorum: Allegro, D, ¡; Agnus Dei: Largo, D, ¡ Comments 1. Fach XIII 33; V, 2 1928 2. At the end of C part: “Hanc vocem descripsit | Antonius Nüdenführ. | Syntaxeos studiosus. | Anno Domini. | 1776”; T: “Franciscus Jung | De- scripsit A. 1776 | Die 4 Junii. Syntaxista”. 4. RISM ID no.: 550255118 (CZ-Pkřiž), 550500552 (CZ-Pu), 450007551 (D-OB), 570001371 (SK-J) [Anonymous], 570004034 (SK-BRnm) [Anonymous] 5. RISM ID no.: 1001013794

M-395 30. [Missa, D]

Sacrum Solenne | à | C. A. T. B. | Violino 1. et 2 | Clar. 1. et 2. | Tympan. | et | Organo | Auth. D. Franc. Xav. Brixi | Semin. S. Aloysii | Glaceni | Ao. 1768 || Eigenthum der Stadt PfarrKirche | in Glatz

Parts: C(6)A(5)T(4)B(4), vl 1(8)-2(8), clno in D 1(2)-2(2), timp(1), org =bc(7) F: 34 × 22 cm f. 47 + cover wm 1768

82 I. Authorum nominibus signata

Sections Kyrie: Moderato, D, ³¼; Gloria: Allegro assai, D, ³¼; Credo: Allegro, D, ¡; Sanctus/Benedictus: Adagio, D, ¡ – Andante, G, ³¼; Agnus Dei/Dona nobis: D, ¡ – Allegro, D, ³¼ Comments 1. Fach XXXVII No 14; V, 16 1928 2. In B part, top right: “Brixi”; at the end of C part: “F. S. G. Ao. 1768”; A: “Josephus | Seppelt JS”; vl 1: “Descripsit Ignatius Rupprich Syntaxeos | Studiosus 1768 | Die 26 May”; vl 2: “Descripsit | Josephus Hötzel | Syn- taxeos | Studiosus | Anno 1768 | Die 20 May”; timp: “Descripsit Carolus Werner Parvista 1767 die 2 May”. 3. On inside cover: “Kÿnel”. 4. PL KRZ I-10; cf. RISM ID no.: 300161020 (PL-Wu), 450007568 (D-OB), 400014265 (CH-E) [Anonymous] 5. RISM ID no.: 1001013790

[2]. C(1v-2r), A(1v-2r), T(1r-v), B(1r-v), vl 1(2r-v)-2(1v-2r), org =bc(1v) f: 10

83 Katalog | The Catalogue

Comments 3. Cf. Catalogue no. 231 [Kohl, František Xaver Krištof]; cf. Collections no. 7 and 2. 4. RISM ID no.: 300161027 (PL-Wu), 300500095 (PL-KRZ), 570001185 (SK-NM) 5. RISM ID no.: 1001014635: [2]. 1001020395

Am-20321 = Am-2632 32. [Salve regina, C] in: [Collection of 21 Salve…]

[21]. C(16v-17r), A(11r-v), T(11r-v), B(11r-v), vl 1(23v-24r)-2(23r-v), org(21r-v) f: 9

Comments 3. Cf. Catalogue no. 533; cf. Collections no. 2 and 7. 4. Composer identification after RISM ID no.: 300500095 (PL-KRZ), 300161027 (PL-Wu), 570001185 (SK-NM) 5. RISM ID no.: 1001014735: [21]. 1001030406

Am-271 33. [Salve regina, D]

Parts: C(1)A(1)T(1)B(1), vl 1(2)-2(2), vla(1), fl 1(1)-2(1), cor in D 1(1)-2(1), org =bc(2) F: 30,5 × 24 cm f. 15 + dust cover wm [1750–1799]

84 I. Authorum nominibus signata

Comments 1. Fach XVII No 8; XVII, 28 1928 4. Composer identification after RISM ID no.: 300000038 (PL-CZ) [Brixi, František Xaver] and 550255494 (CZ-Pkřiž), 550500930 (CZ-Pu), 550401361 (CZ-KLm) 5. RISM ID no.: 1001014322

V-173 34. [Vesperae, C]

Parts: C(3)A(3)T(3)B(3), vl 1(4)-2(4), vla(4), clno [!] in C 1(1)-2(1), org =bc(4) F: 34 × 21 cm f. 30 + dust cover wm [1750–1799]

Sections Dixit Dominus: Andante, C, ¡; Confitebor: Andante, C, ¡; Beatus vir: Andante, D, þ¾; Laudate pueri: Allegro assai, D, ¡; Laudate Dominum: Allegro, F, ¡; Magnificat: Andante, A,³¾ Comments 1. Fach XXXVI No 28; XXVII, 3, 1928 3. Original cover missing. 4. Composer identification after RISM ID no.: 300161032 (PL-Wu) and 550401353 (CZ-KLm) [Brixi, František Xaver]; cf. concordances: 603002248 (A-LA) and 600178455 (A-KR) [Schürer, Johann Georg] 5. RISM ID no.: 1001013802

85 Katalog | The Catalogue

BROSMANN, Damasus [à Sancto Hieronymo, SchP] (1731–1798) P-2801–2 35–36. [Exspectans exspectavi Dominum, g]; [Domine in auxilium, c]

II Offertorium in G-Moll, et C-Moll | pro | Dominica 15ta et 16ta post Pentecosten | Canto, Alto, Tenore, Basso | Violinis IIbus | et | Organo | Authore P: Damaso à S: Hieronymo. || Eigenthum der Stadt= Pfarr= Kirche in | Glatz

Parts: S(1)A(1)T(1)B(1), vl 1(1)-2(1), org =bc(1) F: 31 × 22 cm f. 7 + cover wm [1750–1799] [1]. C(1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), org(1r) f. 7

[2]. C(1r-v), A(1r-v), T(1r-v), B(1r-v), vl 1(1v)-2(1v), org(1v) f. 7

Comments 1. Fach XXVI No 15; XVIII, 6 1928 4. RISM ID no.: [1]. 550195019 (CZ-OP), 550265525 (CZ-OSm); [2]. 550195020 (CZ-OP), 550265526 (CZ-OSm) 5. RISM ID no.: 1001012759: [1]. 1001012766, [2]. 1001012784

86 I. Authorum nominibus signata

P-279 37. [Immittet angelus Domini, G]

Offertorium in G-Dur | pro | Dominica 14ta post Pentecosten | Canto. Alto, Tenore, Basso | Violinis IIbus | et | Organo | Authore P: Damaso à S: Hieronymo || Eigenthum der Stadt Pfarr=Kirche | in Glatz.

Parts: C(1)A(1)T(1)B(1), vl 1(2)-2(2), org =bc(1) F: 22 × 30,5 cm f. 9 + cover wm [1750–1799]

Comments 1. Fach XXV No 17; XVIII, 9 1928 2. In the parts, top left: “Offertorium”. 4. RISM ID no.: 570004316 (SK-BRnm) 5. RISM ID no.: 1001012640

P-278 38. [In te speravi Domine, F]

[org:] {Der Aria} | Offertorium in F | pro | Dominica 13ia post Pentecosten | Alto Solo | 2. Violini | 2. Corni in F | et | Organo | Authore P: Damaso à S: Hieronymo || Eigenthum der Stadt= Pfarr Kirche | in Glatz

Parts: A(1), vl 1(1)-2(1), cor in F 1(1)-2(1), org =bc(2) F: 21,5 × 30 cm f. 7 + cover wm [1750–1799]

Comments 1. Fach XXVI No 14; XVIII, 7 1928 4. RISM ID no.: 550265522 (CZ-Osm) [Anonymous]

87 Katalog | The Catalogue

5. RISM ID no.: 1001014285

M-5 39. [Missa, A]

Missa in A | a | Canto, Alto, Tenor, Basso | Violino I et II | Oboe I et II | Cornu I et II | con | Organo | auth: Damaso Brossmann | Professi Scholarum piarum | Sacerdotis Or: aquensis. [!] | 1799 || Eigenthum der | Pfarrkirche zu | Glatz

Parts: C(4)A(4)T(4)B(4), vl 1(4)-2(4), ob 1(2)-2(2), cor in A 1(2)-2(2), org(4) F: 36,5 × 23 cm f. 36 + cover wm 1799

Sections Kyrie: Allegro, A, ¡; [Gloria] Et in terra: Moderato allegro, A, ³¼; [Credo] Patrem omnipotentem: Allegro, A, ¡; Sanctus/Benedictus: Adagio, A, ³¼ – Moderato, E, ²¼; Agnus Dei/Dona nobis: Adagio, a, ³¼ – Allegretto, A, ²¼ Comments 1. Fach XXXVII No 7; XXVII, 28 1928 2. In the parts, top left: “Fach XXXVII”, top right: “No 7”. 3. Slight differences in manuscript tempo indications between vocal and instrumental parts. 4. RISM Ø 5. RISM ID no.: 1001014286

V-157 40. [Vesperae, C]

Vespern d. Confessore | a | Canto, Alto, Tenore, Basso | Violino Primo et Secundo | Alt et Tenor Trombone, | Clarino Primo et Secundo, | Violon et Organo. | Auth: Damaso. || Eigenthum der Stadt Pfarr= | Kirche in Glatz.

Parts: (3x)C(4,4,4), A(4)T(4)B(4), vl 1(6)-2(5), vlne(5), clno in C 1(1)-2(1), a-t-trb(3,3), org =bc(6) F: 39 × 24 cm f. 54 + cover wm [1800–1849]

88 I. Authorum nominibus signata

Sections Dixit Dominus: Allegro, C, ¡; Confitebor tibi: Andante, C,³¼ ; Beatus vir: Andante, F, ¡; Laudate pueri: Allegro, C, ³¼; Laudate Dominum: Presto, G, ¡; Magnificat: Allegro, C,³¼ Comments 1. Fach XXXVIII No 44; XVIII, 4 1928 2. In the parts, top left: “Fach XXXVII”, top right: “No 44”. 4. RISM ID no.: 550265713 (CZ-OSm) 5. RISM ID no.: 1001014287

V-158 41. [Vesperae, Es]

Vespere [!] pro Festo | Annuntiationis B. V. | à | Canto Alto | Tenore Basso | Violino Duobus | et | Organo | Auth: Patre Damaso à Hieronimo | Scholar Piar | 1781. || Gehört der PfarrKirche [!] | in Glatz

Parts: C(4)A(4)T(4)B(4), vl 1(5)-2(5), vlne et vlc(4), org =bc(4) F: 38 × 24 cm f. 34 + cover wm 1781

Sections Dixit Dominus: Allegro, Es, ¡; Laudate pueri: Andante, g, ³¼; Laetatus sum: Allegro, C, ¡; Nisi Dominus: Moderato, F, ¡; Lauda Jerusalem: Presto, B, ²¼; Magnificat: Allegro, Es,¡ Comments 1. Fach XXIX No 9; XVIII, 3 1928 4. RISM Ø 5. RISM ID no.: 1001014288

89 Katalog | The Catalogue

BRUNETTI (18.sc) 337 42. [Exsultate fideles gentes, D]

Cantata [!] Ex D: {de Venerab. S.} | à | Alto Solo | Violinis IIbus | Obois IIbus | Cornuis IIbus In D | Alto Viola | et | Organo | Auth: Brunetti || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: A solo(1), vl 1(2)-2(2), vla(1), ob 1(1)-2(1), cor in D 1(1)-2(1), org(1) F: 31 × 21,5 cm f. 11 + cover wm [1750–1799]

Comments 1. Fach XXXVIII No 16; XXVII, 16 1928 2. In the parts, top right: “di Brunetti”. 3. The manuscript contains only Aria. 4. RISM ID no.: 550018841 (CZ-Pnm) [only Aria] 5. RISM ID no.: 1001013822

BUCHWIESER, Balthasar (1765c–1808p) P-274 43. [Laetamini in Domino, B]

Offertorium, | ã | Canto, Alto, Tenore solo, Basso | Violino Primo et Secondo | Clarinetto Primo et Secondo | Flauto Primo et secondo | Cornu Primo et secondo | Alto Viola, Fagotto obligato | Clarino Principale et Timbales Violone et Organo | Buchwieser || der Stadt-Pfarrkirche | zu Glatz gehörig

Parts: C(1)A(1), T solo(1), B(1), vl 1(1)-2(1), vla(1), vlc et vlne(1), fl 1(1)-2(1), cl in B 1(1)-2(1), cor di basso in B 1(1)-2(1), clno princ in B(1), timp(1), org =bc(1) F: 39,5 × 25 cm f. 17 + cover wm [1800–1849]

90 I. Authorum nominibus signata

Comments 1. Fach XXXII No 34 4. RISM ID no.: 300000052 (PL-CZ), 550018845 (CZ-Pnm), 450007666 (D-OB) 5. RISM ID no.: 1001013825

BÜHLER, Franz (1760–1823) V-153[1–9] 44–52. [Vesperae; op. 4]

Parts: (3x)C(19,13,13), A(12)T(12)B(13), vl 1(17)-2(15), vla(12), vlc(13), fl 1(11)-2(10), cl 1(4)-2(4), cor in D 1(9)-2(9), clno in D 1(4)-2(4), timp(4), org =bc(13) F: 38 × 24 cm f. 211 + cover [1800–1849]

[1]. Vesperae Solennis [!]

91 Katalog | The Catalogue

Sections 1. Domine ad adjuvandum: Allegro, D, ¡; 2. Dixit Dominus: Allegro, D, ¡; 3. Confitebor tibi: Andante più moto, G,³¼ ; 4. Beatus vir: Poco allegro, D, ³¼; 5. Laudate pueri: Andante più moto, G, ¢; 6. Laudate Do- minum: Andante più moto, A, ³¼; 7. In exitu Israel: Allegro, D, ³¼; 8. Mag- nificat: Andante/Allegro, D, ³¼

[2]. Vespere [!] breviores

Sections 9. Domine ad adjuvandum: Allegro, D, ¡; 10. Dixit Dominus: Allegro, D, ¡; 11. Confitebor tibi: Andante, A, ³¼; 12. Beatus vir: Allegro moderato, D, ³¼; 13. Laudate pueri: Andante, B, ¢; 14. Laudate Dominum: Andante più moto, G, ³¼; 15. In exitu Israel: Allegro, D, ¡; 16. Magnificat: Adagio, D, ³¼

[3]. Vespere [!] de Beata

Sections 17. Domine ad adjuvandum: Poco allegro, D, ³¼; 18. Dixit Dominus: Al- legro, D, ¡; 19. Laudate pueri: Andante, B, ¢; 20. Laetatus sum: Andante, G, ³¼; 21. Nisi Dominus: Poco allegro, B, ³¼; 22. Lauda Jerusalem: Poco allegro, A, ¢; 23. Magnificat: Largo/Allegro [!], D,³¼

[4]. Psalmi de Apostolis

92 I. Authorum nominibus signata

24. Credidi propter: Allegro, D, ³¼; 25. In convertendo: Andante, C, ³¼; 26. Domine probasti me: Andante più moto: C, ³¼

[5]. In 2dis Vesperis Confessoris Pontificis

27. Memento Domine David: Andante più moto, G, ³¼

[6]. Pro Festis S:S: Angelorum

28. Confitebor tibi: G,¡

[7]. Pro Festo SS. Corporis Christi

29. Credidi propter: Allegro vivace, A, ¡; 30. Beati omnes: Andante, G, ³¼

93 Katalog | The Catalogue

[8]. Pro Festo Nativitatis D:N:J:Ch:

31. De profundis: Andante più moto, d, ³¼, 32. Memento Domine David: Andante più moto, C, ¡

[9]. Antiphonae Marianae 1. [!] Alma redemptoris mater: Andante, F, ³¼; 2. Ave regina: Poco lento, G, ¢; 3. Regina coeli: Più moto, D, ³¼; 4. Salve regina: Poco adagio, Es, ³¼

Comments 1. Fach XXIX No 14 2. In the parts, top left: “Fach XXIX”, top right: “No 14”. 3. Section numbering – quoted after the manuscript; org part has separate cover: “Vesperae | per | totum Annum | a | Organo, 4 Vocibus cantant., 2 Violinis | et Viola obligates, 2 Flautis, 2 Clarinettis | 2 Cornibus, 2 Clarinis, Timpanis et | Violons non obligatis | cum | IV. Antiphonis Marianis | Compositae | per | Franciscum Bühler | Ecclesiae Cathedralis Augustanae Capellae Magistrum | Opus IV | Organo | Augustum Vin- delicorum | Sumptibus Joannis Jacobi Lotter et Fili”. 4. Cf. e.g. RISM ID no.: [1]. 300000073 (PL-CZ), 300000074 (PL-CZ), 300000075 (PL-CZ); [2]. 454501346 (D-GRO), 600055164 (A-VOR); [3]. 300257247 (PL-Kd), 550270178 (CZ-Pnm), 456005897 (D-KBD); [8]. 402008415 (CH-BM); [9]. 454501337 (D-GRO), 400108039 (CH-BM), 402008417 (CH-BM) 5. RISM ID no.: 1001022241: [1]. 1001022239, [2]. 1001022242, [3]. 1001022243, [4]. 1001022244, [5]. 1001022245, [6]. 1001037234, [7].1001037238, [8]. 1001037241, [9]. 1001037243

94 I. Authorum nominibus signata

V-154[1–3] 53–55. [Vesperae; op. 19]

III Vesperae | Quarum I de B.V. Maria | II et III de Dominca vel de Festo. | ab | Organo, 4 Vocibus cantant, 2 Violinis | et Viola obligatis. | 2 Flautis, 2 Cornibus, 2 Clarinis, Timpanis | et Violone non obligatis. | Compositae per Franciscum Bühler. | Ecclesiae Cathedralis Augustanae Capellae | Magistrum p. m. || Eigenthum der Stadt= Pfarr= | [Kirche in?] Glatz 1849.

Parts: (2x)C(7,7), A(6)T(6)B(6), vl 1(7)-2(7), vla(6), {b(6)}, fl 1(4)-2(3), cor in D 1(3)-2(3), clno in D 1(2)-2(2), timp(2), org =bc(6) F: 39,5 × 24 cm f. 77 + cover 1849

1. Vesperae de Beata

Sections Domine ad adjuvandum: Allegro, D, ³¼; Dixit Dominus: Allegro, D, ¡; Laudate pueri: Allegro, B, ¡; Laetatus sum: Allegro, G, ³¼; Nisi Dominus: Allegro, d, ¢; Lauda Jerusalem: Andante, G, ³¼; Magnificat: Allegro, D,¡

2. Vesperae de Dominica et Festo

Sections Domine ad adjuvandum: Allegro, D, ³¼; Dixit Dominus: Allegro, D, ¡; Confitebor tibi: Andantino, G,¢ ; Beatus vir: B, ³¼; Laudate pueri: An- dante, G, ¢; Laudate Dominum: Andante più moto, F, ³¼; In exitu Israel: Andante, D, ³¼; Magnificat: Adagio, D, ³¼

95 Katalog | The Catalogue

3. Vesperae de Dominica et Festo

Sections Domine ad adjuvandum: Poco allegro, D, ³¼; Dixit Dominus: Allegro, D, ¡; Confitebor tibi: Andante più moto, F, ³¼; Beatus vir: Allegro, B, ¡; Laudate pueri: Allegro, Es, ¡; Laudate Dominum: Andante, G, ³¼; Mag- nificat: Largo, D,³¼ Comments 1. Fach XXIX No 39; XXII, 3 [1928] 2. In the parts, top left: “Fach XXIX”, top right: “No 39”; at the end of vl 1 part: “Wachsmann | den 27. Sep. [18]49”; fl 2: “Wachs[mann]”; clno 1-2, timp: “geschrieben Anno 1849 Rudolph Franke 20/10”. 3. Additionally written b part, not included on title page 4. RISM ID no.: [1]. 300257086 (PL-Kd), 540003113 (SI-Ms); [2]. 300257246 (PL-Kd), 540003114 (SI-Ms), 400100039 (CH-ZGm); [3]. 300257247 (PL-Kd), 300000075 (PL-CZ), 550270178 (CZ-Pnm) 5. RISM ID no.: 1001037284: [1]. 1001022240, [2]. 1001037290, [3]. 1001037291

CALDARA, Antonio (1670c–1736) M-6 56. [Missa, d]

Messa Romana | in | Canone | a | Canto Alto | Tenore Basso | con | Fondamento | Del Sige. Caldara || Eigenthum der Stadt= Pfarrkirche | in Glatz. Geschenkt Schuldirector Herrn [?] Seidelmann in Glatz

Parts: C(4)A(5)T(5)B(5), org =bc(5) F: 29,5 × 23,5 cm f. 24 + cover wm [1750–1799]

96 I. Authorum nominibus signata

Sections Kyrie: d, ¢; [Gloria] Et in terra: d, ¢; [Credo] Patrem omnipotentem: d, ¢; Sanctus/Benedictus: d, ¢ – d, ³¼; Agnus Dei: d, ¢ Comments 1. Fach LXI No 51; V, 4 1928 4. RISM ID no.: 550282571 (CZ-Pkřiž) [Anonymous], 212006926 (D-Dl) [Reutter, Georg], 456000888 (D-TRb) [Sances, Giovanni Felice] 5. RISM ID no.: 1001020182

ČERNY, František (18.sc) V-155 57. [Vesperae, D]

Parts: C(4)A(4)T(3)B(4), vl 1(4)-2(4), clno in D - G- B 1(1)-2(1), org =bc(4) F: 35 × 22 cm f. 29 + cover wm [1750–1799]

Sections Dixit Dominus: Allegro moderato, D, ³¼; Confitebor tibi: Moderato, G, ¡; Beatus vir: Moderato, B, ³¼, Laudate pueri: Allegro moderato, D, ²¼; Me- mento Domine: Allegro moderato, G, ²¼; Magnificat: Adagio, D, ¡ Comments 1. Fach XXXVI No 29; XXVII, 5 1928 4. RISM Ø 5. RISM ID no.: 1001014616

97 Katalog | The Catalogue

V-156 58. [Vesperae, D]

Parts: C(3)A(3)T(4)B(3), vl 1(4)-2(4), clno in D 1(2)-2(2), org =bc(4) F: 34 × 21 cm f. 29 + cover [fragm.] wm 1773

Sections Dixit Dominus: Allegro moderato, D, ¡; Laudate pueri: G, ³¼; Laetatus sum: E, ²¼; Nisi Dominus: Andante, a, ¡; Magnificat: Adagio, D, ¡ Comments 1. Fach XXVI No 22; XXVII, 2 1928 2. At the end of C part: “Descripsit Francis- | cus Nüdenführ Syntaxe | os Allumnus atque Discantista in Seminari | o SS: Aloysii sub justi | tio literario.” 3. On second, later added title page: “Vespere [!] de Beata | atque ultimo | Psalmo”. 4. RISM ID no.: 550019083 (CZ-Pnm) 5. RISM ID no.: 1001020187

CHERUBINI, Luigi (1760–1842) P-275 59. [Lauda anima mea Dominum, Es]

Offertorium | (Lauda anima mea, Dominum) | Solo | für Sopran oder Tenor | mit Begleitung | von 2 Violinen, Viola, 2 Oboen, 2 Clarinetten | 2 Fagott. 2 Hoerner, Violoncell und Contrabass | componirt | von | L. Cherubini | mit Begleitung des Piano-Forte Statt [!] des | Orchesters | Prause [crossed out] || Eigenthum der Stadtpfarrkirche | in Glatz.

98 I. Authorum nominibus signata

Parts: C(1), T(1), vl 1(1)-2(1), vla(1), (2x)vlc et b(1,1), ob 1+2(1), cl 1+2(1), fag 1+2(1), cor in Es 1+2(1), pfte(2) F: 38 × 24 cm f. 13 + dust cover wm [1840–1860]

Comments 1. Fach No 116; XXVII, 10 1928 4. Cf. e.g. RISM ID no.: 300000082 (PL-CZ), 551002189 (CZ-BRE), 455038663 (D-WS), 455038663 (D-WS), 601000294 (A-GE) 5. RISM ID no.: 1001020199

CIMAROSA, Domenico (1749–1801) 339 60. [Adjuva nos, o virgo; Salve regina, C] – contrafactum of the recitative Misero me che veggo and the aria Se cerca, se dice from the opera L’Olim- piade de Beata | di Cimarosa || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: S(2), vl 1(2)-2(2), vla(2), b(2), ob 1(1)-2(1), cor in C 1(1)-2(1) F: 38,5 × 25,5 cm f. 14 + dust cover wm [1800–1849]

99 Katalog | The Catalogue

Comments 1. Fach XXXVIII No 15; IV, 2 1928 3. Original cover missing; on inside of later added cover: “Musicalien an Sr Hochwürden Königl: Preuss. Kreis Schulen Inspector Herrn Hoetzel in Neuwaltersdorf”; cover made of an fragment of an organ piece: “Sige: Lochelio”. 4. RISM ID no.: 000123823 (US-BEm) [Misero me che veggo and Se cerca, se dice from the opera L’Olimpiade]; 210021810 (D-Dl) 5. RISM ID no.: 1001020216

CZERNY, Carl (1791–1857) P-277 61. [Exsulta filia Sion, D; op. 155]

Offertorium in D | Pastorale | für 4 Singstimmen, 2 Violinen | Viola, 2 Oboen (oder Clarinetten) | 2 Hoerner, 2 Trompeten und Pauken | Violoncello, Contrabass und Orgel | componirt | von | Carl Czerni | 155-tes Werk | Jos: Prausse [crossed out] | 1830 || Gehört der Kirche | in Glatz.

Parts: (2x)S(1,2), A(1)T(1)B(1), vl 1(1)-2(1), vla(1), vlne et vlc(1), ob et cl in C 1(1)-2(1), cor in D ad lib. 1(1)-2(1), clno in D 1+2(1), timp(1), org =bc(1) F: 23 × 38,5 cm f. 17 + cover wm 1830

Comments 1. Fach XIX No 21; XIX, 15 1928 2. In the parts, top left: “Fach XIX”, top right: “No 21”; in most parts on the left: “Offertorium Pastorale”, on the right: “C. Czernÿ Opus 155”. 4. RISM ID no.: 600053783 (A-Wa) 5. RISM ID no.: 1001020217

100 I. Authorum nominibus signata

P-276 62. [Hodie Christus natus est, F; op. 154]

Parts: (3x)S(1,1,1), A(1)T(1)B(1), vl 1(1)-2(1), vla(1), vlc et b(1), ob et cl 1(1)-2(1), cor in F 1(1)-2(1), org =bc(1) F: 24,5 × 38,5 cm f. 15 + cover wm [1800–1849]

Comments 1. Fach XIX No 20; XIX, 14 1928 2. In the parts, top left: “Fach XIX”, top right: “No 20”. 4. RISM ID no.: 552001086 (CZ-TAS), 600054378 (A-Wm), 600501845 (A-Wdp) 5. RISM ID no.: 1001020218

DANZI, Franz Ignaz (1763–1826) M-7 63. [Missa, D] PecD 58

Missa Solemnis in D. | Soprano, Alto, Tenore, Basso. | Violino Primo et Secundo. | Viola Primo et Secundo. | Oboe Primo et Secundo. | Flauto | Cornu Primo et Secundo | Clarino Primo et Secundo. | Timpano et Organo. | Auth: Danzi. || Gehört der Stadt= | Pfarr= Kirche in | Glatz.

Parts: (2x)S(4,3), A(4)T(4)B(4), vl 1(4)-2(4), vla 1+2(4), vlne(2), fl(1), ob 1(2)-2(2), cor in D 1(2)-2(2), clno in D 1(1)-2(1), timp(1), b et org(4) F: 36,5 × 23 cm f. 49 + cover wm [1800–1849]

101 Katalog | The Catalogue

Sections Kyrie: Andante moderato, D, ¡; Gloria: Allegro con spirito, D, ³¼; Credo: Allegro moderato, D, ¢; Sanctus: Andante, D, ¡; Agnus Dei/Dona nobis: Andante, E, ³¼ – Alla breve, D, ¢ Comments 1. Fach VII No 46; XIX, 8 1928 2. In the parts, top right: “Danzi”; at the end of parts SATB, vl 1-2: “Miggenda”. 4. PL-KRZ I-20; cf. RISM ID no.: 300000118 (PL-CZ), 300257015 (PL-Kd) 5. RISM ID no.: 1001008635

M-8 64. [Missa, B] PecD 57

Choral Messe | für | Discant, Alt, Tenor, Bass | und | Organo. | von Danzi. || Eigenthum der Stadt= | Pfarrkirche in Glatz.

Parts: S(3)A(3)T(3)B(3) solo, S(3)A(3)T(3)B(3) coro, org =bc(3) + [organ transcript] F: 38 × 24 cm f. 27 + cover + 2 wm [1800–1849]

Sections Kyrie: Andante, B, ²¼; Gloria: Allegro, Es, ¢; Credo: Allegretto, B, ³¼; Sanctus: Moderato, Es, ¡; Agnus Dei: B, ²¼ Comments 1. Fach LXI No 56; XIX, 6 1928 2. In the parts, top left: “Fach LXI”, top right: “No 56”. 3. Manuscript also comprises organ transcription: “Missa für 4 Sing- stimmen | und Orgelbegleitung v. Danzi”.

102 I. Authorum nominibus signata

4. PL-WRk XXXVIIIa 102; cf. RISM ID no.: 550019187 (CZ-ND) 5. RISM ID no.: 1001011779

H-211 65. [Singt Lob dem Herrn, Es] PecD 54

Parts: T 1(1)-2(1), B 1(1)-2(1), c+a trb(1), t+b-trb(1) F: 19 × 23 cm f. 6 + cover [18]69

Comments 1. No 125; XIX, 7 1928 4. RISM ID no.: 605000354 (A-LId) 5. RISM ID no.: 1001011782

DEDLER, Rochus (1779–1822) M-10 66. [Missa, C] HaeD 82

Missa I | à | Canto, Alto, Tenore, Basso | Violino Primo et Secundo. | Cornu Primo et Secundo | con | Organo | Authore Dedler. || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: (2x)C(2,2), A(2)T(2)B(2), vl 1(3)-2(2), {b(2)}, cor in C 1(1)-2(1), org(2) F: 39 × 24 cm f. 21 + cover [1800–1849]

103 Katalog | The Catalogue

Sections Kyrie: Andante maestoso, C, ¡; Gloria: Moderato, C, ²¼; [Credo] Patrem omnipotentem: Allegro, C, ³¼; [Offertorium] Cantabo Domino: Spiritu- oso, C, ¡; Sanctus/Benedictus: Largo, C, ¢ – Cantabile, G, ²¼; Agnus Dei: Andante, C, þ¾ Comments 1. Fach IX No 114; XIX, 4 1928 2. In the parts, top left: “Fach IX”, top right: “No 114”. 3. Part b included but not listed on title page. 4. RISM ID no.: 301008551 (PL-WRu) [Dedler, Florian Johann], 450057512 (D-Mbs) and 706001889 (B-Nimep) [Dedler, Rochus] 5. RISM ID no.: 1001011783

M-11 67. [Missa, G]

Missa in G | a | Canto, Alto, Tenore Basso. | Violino Primo et Secundo. | Cornu Primo et Secundo. | con | Organo. | Authore Dedler. || Eigenthum der Stadt= Pfarr= | Kirche in Glatz

Parts: (2x)C(2,2), A(2)T(2)B(2), vl 1(2)-2(2), {b(2)}, cor in G 1(1)-2(1), org(2) F: 38 × 24,5 cm f. 20 + cover wm [1800–1849]

Sections Kyrie: Cantabile, G, ²¼; Gloria: Allegro assai, G, þ¾; [Credo] Patrem omnipotentem: Vivace, G, ¢; [Offertorium] Quam dilecta tabernacula tua: Andante molto, G, ¡; Sanctus/Benedictus: Largo, G, ¡ – Maestoso, D, ¢; Agnus Dei: Andante, G, ²¼ Comments 1. Fach IX No 112; XIX, 3 1928 2. In the parts, top left: “Fach IX”, top right: “No 112”. 3. Part b included but not listed on title page.

104 I. Authorum nominibus signata

4. RISM ID no.: 300000121 (PL-CZ), 553004657 (CZ-Bm) [Debler, sic!] 5. RISM ID no.: 1001011927

M-12 68. [Missa, D]

Missa in D. | a | Canto, Alto, Tenor Basso | Violino Primo et Secundo | Cornu Primo et Secundo | con | Organo. | Auth: Dedler. || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: (2x)C(2,2), A(2)T(2)B(2), vl 1(3)-2(3), {b(3)}, cor in D 1(1)-2(1), org =bc(3) F: 38 × 23,5 cm f. 24 + cover wm [1800–1849]

Sections Kyrie: Adagio, D, ¢; Gloria: Allegro assai, D, ¡; Credo: Moderato, D, ³¼; [Offertorium] Jubilate Deo omnis terra: Allegro molto, D, ¡; Sanctus/ Benedictus: Largo, D, ¢ – Andante G ²¼; Agnus Dei/Dona nobis: Lento, d, ³¼ – Allegro, D, ³¼ Comments 1. Fach IX No 115; XIX, 1 1928 2. In the parts, top left: “Fach IX”, top right: “No 115”. 3. Part b included but not listed on title page. 4. RISM ID no.: 300000122 (PL-CZ), 300257017 (PL-Kd), 600054819 (A-MS), 702005386 (B-Asj) 5. RISM ID no.: 1001011934

M-9 69. [Missa, A]

Missa in A | Canto, Alto | Tenore, Basso | Violino Primo | Violino Secundo | Cornu Primo | Cornu Secundo | cum | Organo | Auth: Dedler. | Leifer | 1829 || Eigenthum der StadtPfarrKirche [!] | in Glatz

105 Katalog | The Catalogue

Parts: (2x)C(2,2), A(2)T(2)B(2), vl 1(2)-{2(2), b(2)}, cor in A 1(1)-2(1), org(2) F: 38 × 24 cm f. 20 + cover wm 1829

Sections Kyrie: Largo maestoso, A, ¡; Gloria: Allegro molto, A, ¡; [Credo] Patrem omnipotentem: Moderato, A, ¢; [Offertorium] Deus noster refugium: Andante, A, ²¼; Sanctus: Largo, A, ¢; Agnus Dei/Dona nobis: Adagio, A, ¡ – Allegretto, A, ¡ Comments 1. Fach IX No 111; XIX, 5 1928 2. In the parts, top left: “Fach IX”, top right: “No 111”; at the end of org part: “Finis F. Inwich | 1828 Königshain”. 3. Part b included but not listed on title page. Vl 2 part added later, in a different hand. 4. RISM ID no.: 706001892 (B-Nimep) 5. RISM ID no.: 1001011940

M-13 70. [Missa, B]

Missa in B. | a | Canto, Alto, Tenore, Basso. | Violino Primo | Violino Secundo | Cornu Primo et Secundo. | con | Organo | Auth: Dedler. || Eigenthum der Stadt= Pfarrkirche | in Glatz.

Parts: (2x)C(2,2), A(2)T(2)B(2), vl 1(3)-2(3), {b(2)}, cor in B 1(1)-2(1), org(2) F: 38 × 24 cm f. 22 + cover wm [1800–1849]

106 I. Authorum nominibus signata

Sections Kyrie: Andante, B, ²¼; Gloria: Allegro con brio, B, ³¼; Credo: Moderato, B, ¡; [Offertorium] Miserere mei Domine: Adagio, Es, ¢; Sanctus/Benedic- tus: Adagio maestoso, B, ¢ – Grazioso, g, ¡; Agnus Dei: Adagio, B, ³¼ Comments 1. Fach IX No 113; XIX, 2 1928 2. In the parts, top left: “Fach IX”, top right: “No 113”. 3. Part b included but not listed on title page. 4. RISM ID no.: 300000123 (PL-CZ), 610040163 (A-FKdk), 706001891 (B-Nimep) 5. RISM ID no.: 1001011948

DIABELLI, Anton (1781–1858) M-15 71. [Missa, C; op. 109] WAD 13

Diabellis | kleine Landmesse No 3. | für | Diskant, Alt, Tenor, Bass. | 2 Violinen, 2 Hörn, | Orgel, Contra Bass und Wiolonzell | vom Rector Hannig [crossed out] | gehörig [crossed out] || jetzt der Pfarrkir= | che in Glatz gehörig.

Parts: (3x)S(3,3,3), A(3)T(3)B(3), vl (2x)1(3,3)-2(3), vlc et vlne ad lib.(3), {fl ad lib.(2), cl in C ad lib. 1(2)-2(2)}, cor in C ad lib. 1(1)-2(1), {clno in C ad lib. 1(1)-2(1), timp ad lib.(1)}, org(3) F: 39 × 24 cm f. 35 + title page + {9} wm [1800–1849]

Sections Kyrie: Andante con moto, C, ¡; Gloria: Allegro, C, ¡; Credo: Vivace, C, ¡; Sanctus/Benedictus: Moderato maestoso, C, ¡ – Allegretto ma non troppo, G, ¡; Agnus Dei/Dona nobis: Andante, a, ³¼ – Andantino, C, ¡ Comments 1. Fach VIII No 73; the seal on parts “vlc et vlne”: XV, 3 1928 2. In the parts, top left: “Fach VIII”, top right: “No 73”.

107 Katalog | The Catalogue

3. The following parts supplemented in the manuscript: fl, cl 1-2, clno 1-2, timp ad lib. 4. PL-KRZ I-25; PL-WRk XXXVIIIa 122; cf. RISM ID no.: 300000133 (PL-CZ), 1001018672 (PL-OPsm), 450041311 (D-AÖhk) 5. RISM ID no.: 1001011959

M-14 72. [Missa, G] WAD 12

Diabellis | kleine Landmesse No 2 | für | 2 Violinen, | 4 Singstimmen, | 2 Horn [!] ad lib. | Organo | und | Zello | nebst | Wiolon [!] || der Stadt= | Pfarrkirche zu Glatz | gehörig

Parts: (2x)S(3,3), A(3)T(3)B(3), vl 1(3)-2(4), vlc et b(2), {fl(2), cl in C 1(2)-2(2)}, cor in G 1(1)-2(1), b et org(3) + {S(3)A(3)T(3)B(3), vl 1(3)} F: 32,5 × 23,5 cm f. 35 + cover + {15} wm 1839; {[1840–1860]}

Sections Kyrie: Allegretto, G, ¡; Gloria: Allegro, G, ¡; Credo: Allegro, G, ³¼; Sanc- tus/Benedictus: Andantino, G, ³¼ – Allegro maestoso, C, ³¼; Agnus Dei/ Dona nobis: Andantino, e, ¡ – Allegretto, G, ¡ Comments 1. Fach VIII No 72; XV, 5 1928 2. In the parts, top left: “Fach VIII”, top right: „No 72”; On one of S parts: “in April 1839 Elsner”. 3. The following parts supplemented in the manuscript: fl, cl 1-2 in C and later copies of parts: SATB, vl 1. 4. Cf. e.g. RISM ID no.: 1001018639 (PL-OPsm), 551001053 (CZ-Pnm), 454001989 (D-MT), 450041824 (D-BG) 5. RISM ID no.: 1001011961

108 I. Authorum nominibus signata

M-398b 73. [Missa, D; op. 178 nr 6] WAD 16, 91

Manuscript score F: 36 × 24 cm p. 202 wm [1800–1849]

Sections Tantum ergo: Allegro moderato, D, ¡; Kyrie: Andante con moto, D, ³¼; Gloria: Allegro vivace, D, ¡; Credo: Allegro moderato, D, ¡; Sanctus/ Benedictus: Andante maestoso, D, ¢ – Allegro moderato, D, ¡; Agnus Dei: Andante, D, ¡ Comments 4. PL-KRZ I-156; cf. RISM ID no.: 550245538 (CZ-ND) [only Tantum ergo], 600502387 (A-Wsjm) 5. RISM ID no.: 1001011965

M-16b 74. [Missa, A; op. 165] WAD 14

IV. Landmesse in A | Canto, Alto, Tenore, Basso. | Violino Primo et Secundo, Viola, | Violoncello, Contrabass et Organo oblig. | 1 Flauto, 2 Oboen (oder

109 Katalog | The Catalogue

Clarinetten) 2 Fagott | 2 Trompeten und Pauken ad libitum. | Auth: Anton Diabelli | 165 Werk | Directionsstimme. || Eigenthum der Stadt= Pfarr= | Kirche in Glatz

Vocal parts in manuscript score F: 39 × 24,5 cm f. 30 wm [1800–1849]

Comments 1. Fach L No 34; XV, 11 1928 4. PL-KRZ I-23; cf. RISM ID no.: 301050584 (PL-STAb), 300000138 (PL-CZ), 550402249 (CZ-Pu) 5. RISM ID no.: 1001012460

M-122 75. [Missa, A; op. 1/4] WAD 6

Parts: C(2)A(2)T(2)B(2), vl 1(2)-2(2), vlc et b(2), cor in A 1(1)-2(1), org =bc(2) F: 36 × 23 cm f. 18 + cover wm [1800–1849]

Sections Kyrie: Andante, A, ³¼; Gloria: Allegro moderato, A, ¡; Credo: Moderato, A, ¢; Sanctus/Benedictus: Andante cantabile, A, ³¼ – Majestoso [!], D, ¡; Agnus Dei/Dona nobis: Adagio, a, ¢ – Allegro, A, ²¼ Comments 1. Fach IX No 83 2. In the parts, top left: “Fach IX”, top right: “No 83”.

110 I. Authorum nominibus signata

3. On inside cover page the vla part of another work [Quadro IV in C]. 4. Composer identification after RISM ID no.: 303005438 (PL-OPsm) and 550500793 (CZ-Pu) [Diabelli, Anton] 5. RISM ID no.: 1001012853

M-17 76. [Missa, F; op. 147] WAD 17

Missa Pastoralis | Canto, Alto, Tenore, Basso | Violino Primo et Secundo | Viola et Flauto | Clarinetto Primo et Secundo | Fagotto Primo et Secundo | Clarino Primo et Secundo | Timpano, Violon et Organo. | Auth: A: Diabelli || Gehört der Stadt= | Pfarr= Kirche in Glatz.

Parts: S solo(4), (2x)S tutti(5,4), A(4)T(4)B(4), vl (2x)1(6,5)-2(5), vla(5), vlne et vlc(5), fl(2), cl in C vel ob 1(2)-2(2), fag 1(2)-2(2), clno in C 1(2)-2(2), timp(2), org =bc(6) F: 39,5 × 25 cm f. 73 + cover [1800–1849]

Sections Kyrie: Andante con moto, F, þ¾; Gloria: Allegro vivace, C, ¡; Credo: Allegro moderato, G, ¡; Sanctus/Benedictus: Maestoso, C, ¡ – Allegretto, G, ¡; Agnus Dei/Dona nobis: Andante cantabile, Es, ³¼ – Allegro, Es, þ¾ Comments 1. Fach X No 91; XV, 1 1928 2. In the parts, top left: “Fach X”, top right: “No 91”. 4. PL-KRZ I-22; cf. e.g. RISM ID no.: 300000136 (PL-CZ), 550270225 (CZ-Pnm), 605000271 (A-GR) 5. RISM ID no.: 1001012855

M-17b [Pastoral-Messe in F.| von Diabelli | Directions= Stim= | me. || Eigenthum der Stadt= Pfarr | Kirche in Glatz.

111 Katalog | The Catalogue

Directionstimme in manuscript F: 36 × 23,5 cm p. 67

Comments 1. Fach L No 35; XV, 10 1928

M-19 77. [Missa, F; op. 49] WAD 9

Diabelli’s Messe aus F-dur | für | Discant, Alt, Tenor, Bass | Zweÿ Violinen, 2 Klarinetten | Zweÿ Hörner, Orgel | Violonzell und Contra Bass | dem Rektor | Hannig gehörig [crossed out] || jetzt der Pfarr Kirche | in Glatz gehörig

Parts: (3x)C(3,3,3), A(2)T(2)B(2), vl 1(3)-2(3), vlc et cb(2), cl vel ob 1(1)-2(1), cor in F 1(1)-2(1), org(3) F: 35 × 22,5 cm f. 30 + cover wm 1838

Sections Kyrie: Andante con moto, F, ¢; Gloria: Allegro, F, ¢; Credo: Moderato, F, ³¼; Sanctus/Benedictus: Maestoso, F, ¡ – Moderato, B, ¡; Agnus Dei: Andante, f/F, ³¼ Comments 1. Fach VIII No 71 2. In the parts, top left: “Fach. VIII”, top right: “No 71”; at the end of one of the C copies: “In Julii 1838”. 4. PL-Wb [olim ŚL A. I. Nr 18]; PL-KRZ I-159; cf. RISM ID no.: 300000139 (PL-CZ), 551000475 (CZ-Pu), 400110137 (CH-BM) 5. RISM ID no.: 1001027060

112 I. Authorum nominibus signata

M-397b 78. [Missa, B; op. 177] WAD 90/WAD 15

Manuscript score F: 37,5 × 24 cm p. 185 wm [1800–1849]

Sections Tantum ergo: Allegro, B, ¢; Kyrie: Andante sostenuto, B, ¡; Gloria: Al- legro vivace, B, ¡; Credo: Allegro moderato, B, ³¼; Sanctus/Benedictus: Andante maestoso, B, ¡ – Es, ¡; Agnus Dei/Dona nobis: Andante cantabile, d, ³¼ – Allegro, B, ¢ Comments 1. Fach VII no 101 4. RISM ID no.: 300000140 (PL-CZ), 303005443 (PL-OPsm), 651004419 (A-HALn) 5. RISM ID no.: 1001027357

M-18 79. [Missa, Es; op. 107] WAD 11

Parts: (3x)S(3,3,3), A(2)T(2)B(2), vl 1(3)-2(3), vlne et vlc(2), {fl (2), cl in B 1(2)-2(2)}, cor in Es ad lib. 1(1)-2(1), {clno in Es 1(1)-2(1), timp(1)}, org(3) F: 35,5 × 23,5 cm f. 37 + cover + {9} wm 1838

113 Katalog | The Catalogue

Sections Kyrie: Andante con moto, Es, ³¼; Gloria: Allegro, Es, ¡; Credo: Allegro mo derato, Es, ¡; Sanctus/Benedictus: Andante con moto, Es, ³¼ – Allegro maestoso, B, ¢; Agnus Dei/Dona nobis: Andante sostenuto, c, ³¼ – Allegro, Es, ¡ Comments 1. Fach VIII No 70; XV, 4 1928 2. In the parts, top left: “Fach VIII”, top right: “No 70”; at the end of one of the C copies: “Den 28 August 1838 | Elsner”. 4. PL-KRZ I-26; cf. RISM ID no.: 1001018660 (PL-OPsm), 550245780 (CZ-LIT) [all parts], 551001054 (CZ-Pnm), 570004605 (SK-BRnm) 5. RISM ID no.: 1001028131

P-3351–2 80–81. [Puer natus est nobis, G]; [Angelus ad pastores, a] WAD 75

Graduale et Offertorium | zu | Diabellis Pastoralmesse | a | Canto, Alto, Tenore, Basso, | Violino Primo et Secundo | Oboe Primo et Secundo | Fagotto Primo et Secundo | Clarino Primo et Secundo | Flauto, Viola, Violon | Timpano et Organo | Prause [crossed out] | Schöpler [crossed out] || Eigenthum der StadtPfarr | Kirche in Glatz

Parts: (3x)C(1,1,1), A(1), T 1(1)-2(1), B(1), vl (2x)1(1,2)-2(1), vla(1), vlne(1), fl(1), ob 1(1)-2(1), fag 1(1)-2(1), clno 1+2(1), timp(1), org =bc (1) F: 39 × 23,5 cm f. 20 + cover wm [1800–1849]

114 I. Authorum nominibus signata

Comments 1. No 122; XV, 13 [1928] 4. RISM ID no.: 1001011255 (PL-CZ), 600055203 (A-VOR), 530011347 (H-Gk) 5. RISM ID no.: 1001028367: [1]. 1001028368, [2]. 1001028369

P-335b1–2 Gradual u. Offertor: | zur Pastor: Messe | von Diabelli. | Partitur.

Manuscript score F: 32 × 21 cm p. 64 + dust cover

Comments 1. XV, 7 1928 5. RISM ID no.: 1001034122: [1]. 1001034123, [2]. 1001034124

H-3401–3 82–84. [Pange lingua, Es] [Tantum ergo, G] [Tantum ergo, C] WAD 86–88

[b et org:] Dreÿ Tantum ergo | für | 4. Singstimmen, 2. Violinen, 2 Horn (ad libitum) | und Orgel | von | Anton Diabelli | auch für Festtage eingerichtet | zwey Klarinetten, 2. Trompeten und Paucken, | diese Stimmen sind so eingerichtet, dass mann | entweder eine, oder die andere weglassen | oder auch alle samt. den schon dabeÿ befindlichen | zwey Hornern dazu [...] || Eigenthum der Stadt PfarrKirche | In Glatz

Parts: (2x)S(1,1), A(1)T(1)B(1), vl 1(1)-2(1), vlne(1), cl ad lib. 1(1)-2(1), cor ad lib. 1(1)-2(1), clno ad lib. 1(1)-2(1), timp(1), b et org =bc(2) F: 34,5 × 21,5; 21,5 × 17 cm f. 17 wm [1800–1849]

[1. Pange lingua, Es] S(1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), vlne(1r), cl ad lib. 1(1r)-2(1r), cor ad lib. 1(1r)-2(1r), clno ad lib. 1(1r)-2(1r), timp(1r), b et org = bc(1r) f. 15

115 Katalog | The Catalogue

[2. Tantum ergo, G] S(1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), vlne(1r), cl ad lib. 1(1r)-2(1r), cor ad lib. 1(1r)-2(1r), clno ad lib. 1(1r)-2(1r), timp(1r), b et org =bc(1v) f. 15

[3. Tantum ergo, C] S(1v), A(1v), T(1v), B(1v), vl 1(1v)-2(1v), vlne(1v), cl ad lib. 1(1v)-2(1v), cor ad lib. 1(1v)-2(1v), clno ad lib. 1(1v)-2(1v), timp(1r), b et org = bc(2r) f. 15

Comments 1. Fach XX No 21; XV, 2 1928 2. In the parts, top left: “Fach XX”, top right: “No 21”. 3. Notation of individual parts: each on one card, the same scoring throughout. 4. Cf. e.g. RISM ID no.: 600055713 (A-VOR) [3 Tantum ergo], PL-KRZ XIV-65 for no. 3; RISM ID no.: 300000142 (PL-CZ) [Pange lingua only no. 1], 300512225 (PL-Wu) [only no. 2]. 5. RISM ID no.: 1001028900: [1].1001028902, [2]. 1001028910, [3]. 1001028912

116 I. Authorum nominibus signata

DITTERSDORF, Carl Ditters von (1739–1799) A-256 85. [Ad laudes properate, B]

Aria || Eigenthum der Stadt Pfarr Kirche | in Glatz

Parts: S solo(1), vl 1(1)-2(1), vla(1), b =bc(1) F: 37 × 23 cm f. 5 + dust cover wm 1774

Comments 1. Fach XXXVIII No 31; XX, 28 1928 2. At the end of vla part: “Paravit hanc vocem | Josephus Dinter | Poëta 1774 | S: S: A:”. 3. Original cover missing. 4. Composer identification after RISM ID no.: 303000038 (PL-OPsm) [Dittersdorf, Carl Ditters von] 5. RISM ID no.: 1001029407

A-187 86. [Ave maris stella, F]

Aria in F. {de Beata} | à | Canto | Violinis IIbus | Viola di Alto | Cornibus in F. | Basso di Organo. | Sige: Ditters | Semin. ad S. Aloysii | Glacii 1772 || Eigenthum der Stadt Pfarrkirche | in Glatz.

Parts: S(1), vl 1(1)-2(1), b(1), cor in F 2(1) F: 36,5 × 23 cm f. 5 + cover wm 1772

117 Katalog | The Catalogue

Comments 1. Fach XXXVIII No 49 2. At the end of S part: “Vocem non sed notas | dextum quae descrip | sit Franciscus Nüden | führ in Anno quem | non debetis scire et | studuit scientiis” [crossed out]; vl 1: “Hanc Vocem paravit | Bonaventura Mann”. 3. The 2nd text:Joseph ab ortu regio; missing cor 1 part. 4. RISM Ø 5. RISM ID no.: 1001006355

A-223 87. [Deus tuorum militum/Per sonando iam tuba canora, F]

[org:] Aria ex F |{De Festo ascensione Dom. | De Sancto NN} | ab | Alto Solo | Violinis 2 | Hobois 2 | Cornis 2 ex F | Alto Viola | con | Organo | Del Sige: Carlo de Dittersdorff || Eigenthum der Stadt Pfarr Kirche | in Glatz

Parts: (2x)A solo(1,1), vl 1(2)-2(2), vla(1), ob 1(1)-2(1), cor in F 1(1)-2(1), org(2) F: 32 × 20,5 cm f. 13 wm [1750–1799]

Comments 1. Fach XXXVIII No 26 3. Two copies of A part, but with different texts. 4. RISM Ø 5. RISM ID no.: 1001021746

342 88. [Dimmi Clori costei, F]

[B coro:] Cantata in F | a | 2 Voci Nice è Clori | 2 Violini | 2 Oboe | 2 Corni | Viola | Fagotto oblig. | è | Cembalo | del Sige. Carlo Ditters. | No. 24 || Eigenthum der Stadt Pfarr Kirche | in Glatz

118 I. Authorum nominibus signata

Parts: [S] – Nice (3), [S] – Clori (2), A(1)T(1), B coro [!] (1), vl 1(4)-2(4), vla(2), ob 1(1)-2(1), cor in G 1(1)-2(1), cemb =bc(4) F: 33,5 × 20,5 cm f. 26 + title page wm [1750–1799]

Comments 1. Fach XXXVIII No 3 4. RISM Ø 5. RISM ID no.: 1001029415

341 89. [Eja omnes convolate, C]

[vlne:] Motetto in C | à | Canto | Alto | Tenore | Basso | Violinis 2. | Clarinis 2 in C | Violone | è | Organo Solo | Di Carlo de Dittersdorff || Eigenthum der Stadt= Pfarr Kirche | in Glatz

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), vlne(1), clno in C 1(1)-2(1), org =bc(2) solo F: 31 × 22,5 cm f. 11 + title page wm [1750–1799]

Comments 1. Fach XXVI No 7 3. Vlne part entered on cover – f. 2r; in vocal parts, 2nd text entered fragmentarily: Christi resurgentis neonati. 4. PL-KRZ VIII-16; cf. RISM ID no.: 553005372 (CZ-Bm) 5. RISM ID no.: 1001029422

119 Katalog | The Catalogue

A-224 90. [Ja, du hast den Sieg gesiegt, D] – aria from: Der Betrug durch Aberglau- ben, KreD 293-D

[cor 1-2:] Aria | Ja du hast den Sieg gesieget | a | Canto | Due Violino | Due Oboe | Due Corni | Viola et Basso | Del Sige: v: Dittersdorff || Eigenthum der Stadt PfarrKirche | in Glatz

Parts: vl 1(1)-2(1), vla(1), vlc et b(1), ob 1(1)-2(1), cor in D 1(1)-2(1) F: 38 × 24 cm f. 8 wm [1750–1799]

Comments 1. Fach XXXVIII No 47 3. Missing vocal parts. 4. RISM ID no: 301050576 (PL-STAb) [from: Der Betrug durch Aber- glauben], 450022026 (D-TEGha) 5. RISM ID no.: 1001029423

A-2201 91. [Jesu veni ubi es, A]

Aria II De tempore | Canto Solo. | Violinis Duobus | Viola Obligato | Fagotto | Organo | Alto Solo. De Tempore Cummu. [!] | Violino Imo | Violino IIdo | Organo | Authore Domo. I. Ditters | II. Fechner | Ex rebus [crossed out] | Joseph Kapst [crossed out] || Eigenthum der Stadt Pfarr Kirche in | Glatz

Parts: C solo(1), vl 1(1)-2(1), vla(1), fag obl.(1), org =bc(1) F: 37 × 23 cm f. 6 + cover wm [1750–1799]

[1]. C(1r), vl 1(1r)-2 (1r), vla(1r), fag obl.(1r), org =bc(1r) f. 6

120 I. Authorum nominibus signata

Comments 1. Fach XXXVIII No 33 2. In the parts C, vl 1, vla, org, top right: “Ditters”. 3. Cf. Catalogue no. 134 [Fechner, Valentin]; cf. Collections no. 4 4. RISM ID no.: 300511704 (PL-Wu) [with text: Lauda Sion salvatorem] 5. RISM ID no.: 1001029424: [1]. 1001029425

P-2811 92. [Maria gustum sentio, D] – contrafactum of the choir from the cantata Anbetend fallet nieder verehret Gottes Güte, KreD 318

Parts: C 1(2)-2(1), A(1)T(1)B(1), vl 1(2)-2(2), vla(1), ob 1(1)-2(1), cor in D/F 1(1)-2(1), org =bc(1) F: 22,5 × 31 cm f. 16 + title page [1750–1799]

[1]. C(1v-2r)-2(1r), A(1r), T(1r), B(1r), vl 1(1v-2r)-2(1v-2r), ob 1(1r)-2(1r), cor in D 1(1r)-2(1r), org (1r) f. 15

Comments 1. Fach XXVI No 4 3. 2nd piece on title page erroneously attributed: “…de Dittersdorff”; cf. Catalogue no. 363 [Pichl, Václav]; cf. Collections no. 10. 4. PL-KRZ III-11; cf. RISM ID no.: 300000160 (PL-CZ) [with text: In hac solemnitatem], 200022048 (D-GOl) [with text: Anbetend fallet nieder verehret Gottes Güte] 5. RISM ID no.: 1001029426: [1]. 1001029427

121 Katalog | The Catalogue

A-188 93. [Maria mater gratiae, C] – contrafactum of the aria Zufriedenheit gilt mehr als Kronen from the opera Der Apotheker und der Doktor, KreD 292

Aria | De Bea: Virg: Maria. | a | Canto Solo | Violinis IIbus. | Alto Viola IIbus. | Hoboa Concert. | Cornibus IIbus in C | con | Organo. | Authore de Dittersdorff. || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: C(1), vl 1(2)-2(1), vla 1(1)-2(1), ob conc.(1), org(1) F: 30 × 22 cm f. 8 + cover wm [1750–1799]

Comments 1. Fach XXXVIII No 35 3. Missing parts cor 1-2; on title page added later: “Horn fahlen” [!]. 4. RISM ID no.: 1001039754 (D-DEat) [the aria Zufriedenheit gilt mehr als Kronen from the opera Der Apotheker und der Doktor] and 201008535 (D-Zsch), 550030696 (CZ-CH); cf. 300001138 (PL-CZ) [here: Salieri, Antonio, with text: Tu nostra spes] 5. RISM ID no.: 1001005984

A-222 94. [Nepomuc invicte heros, C]

[b:] Aria in C | pro | Festo S. Ioannis Nepomuceni | et | Sanctorum Omnium | ab | Alto Solo | Violinis 2 | Flauto Traverso Solo | Viola | e | Basso | Authore Virtuoso Domino Carolo de Dittersdorff | Ex Par. [crossed out] | A. Kahler [crossed out] || Eigenthum der Stadt Pfarr Kirche | in Glatz.

Parts: A solo(1), vl (2x)1(1,1)-2(1), vla(1), b(1) F: 37 × 23 cm f. 6 + title page wm [1750–1799]

122 I. Authorum nominibus signata

Comments 1. Fach XXXVIII No 27 3. The nd2 text: Justorum animae. 4. RISM Ø 5. RISM ID no.: 1001029914

A-2261 95. [O gloriosa virginum, G]

[vla:] Ariae duae | 1ma | a | Canto Solo | Violino Primo | Violino Secundo | Alto Viola | et | Basso | Del Sige. Ditters | Altera in E | a | Canto Solo | Violinis 2 | Obois 2 | Cornibus 2 in E | Alto Viola | et | Basso | Authore Misliveczek | Antoni Weigank || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: C solo(2), vl 1(2)-2(2), vla(2), b =bc(2), ob 1(1)-2(1), cor in G 1(1)-2(1), cor in E 1(1)-2(1) F: 35 × 21,5 cm f. 16 wm [1750–1799]

[1]. C solo(1v-2r), vl 1(1v-2r)-2(1v-2r), vla(1v), b =bc(1v-2r), cor in G 1(1r)-2(1r) f. 11

Comments 3. The 2nd text: In conspectu Angelorum; cf. Catalogue no. 286 [Mys- liveček, Josef]; cf. Collections no. 5 4. RISM ID no.: 300511262 (PL-Wu) [with text: Eja volate cantate] 5. RISM ID no.: 1001029921: [1].1001029922

123 Katalog | The Catalogue

A-2251–2 96–97. [O mi Jesu, F]; [Aria, g] KreD 293

Aria {O mi Jesu} | a | Soprano | Violin IIbus | Violis di Alto IIbus | Cornib. In F II | Con Fondamento | Item Aria IIda a Soprano. Violinis II. Viola di Alto | Con fondamento | Auth. D. Ditters. | Semin. ad S. Aloysii | Glacii 1772 || Eigenthum der Stadt Pfarr Kirche | in Glatz

Parts: C vel T(1), vl 1(2)-2(1), vla 1(1)-2(1), b =bc(1), cor in F 1(1)-2(1) F: 37 × 24 cm f. 9 + cover wm 1772/1773

[1]. C vel T(1r), vl 1(1r-v)-2(1r), vla 1(1r)-2(1r), b(1r), cor in F 1(1r)-2(1r) f. 8

[2]. S [!](1v), vl 1(2r-v)-2(2r-v), vla(1v), b(1v) f. 5

Comments 1. Fach XXXVIII No 6 2. At the end of vla 2 part, Aria 2: “Descripta ab Auditore | Sacrae Palla- di. [?] | die 5 Januario | 1773”; b part, Aria 1: “Descripsit Carolus Han- nig | Gram[m]aticus Studiosus | Anno 1772”. 3. Parts vl 2 (aria 1) and vla (aria 2) entered on two sides of the same folio. Both arias without text. 4. RISM ID no.: [1]. 300257322 (PL-Kd) [with text: Caelorum tubae ex- sultent vos mortale], cf. 455034514 (D-B) [Anonymous]; [2]. 300001126 (PL-CZ) [Rygall, Ignacy, with text: O caput o spina] 5. RISM ID no.: 1001029924: [1]. 1001029925, [2]. 1001029936

124 I. Authorum nominibus signata

A-221 98. [Princeps gloriosissime sancte Michael, F]

[org:] Aria in F |{Textus secundus | de Nativit. Dom. | primus de Michaele archangelo [!]} | a | Canto Solo | Violino Primo | Violino Secundo | Alto Viola | Basso | Del Sige. Ditters | A. V. || Eigenthum der Stadt PfarrKirche in | Glatz

Parts: C solo(1), vl 1(1)-2(1), vla(1), org(2) F: 36 × 22 cm f. 6 wm [1750–1799]

Comments 1. Fach XXXVIII No 22 3. The 2nd text:O aeternae Pater in honorem. 4. RISM Ø 5. RISM ID no.: 1001029972

Am-195 99. [Regina coeli, C]

[org:] Regina Caeli. | à | Soprano IIplici | Alto. | Tenore. | Basso. | Violinis 2bus. | Cornibus in C 2bus | con | Organo. | Auth.: D. Carolo de Ditters. || Eigenthum der Stadt Pfarrkirche | in Glatz.

Parts: (2x)S 1(2,1)-2(2,1), (2x)A(1,1), (2x)T(1,1), (2x)B(1,1), (2x)vl 1(2,1)- -2(2,1), cor 1(1)-2(1), org =bc(2) + {(3x)C 1(1,1,1), (2x)B(1,1), org(2)} F: 36,5 × 23 cm f. 22 + {7} wm [1750–1799, {1800–1849}]

125 Katalog | The Catalogue

Comments 1. Fach XVII No 8 2. In the parts, top left: “Fach XVII”, top right: “No 8”. 4. RISM ID no.: 301050575 (PL-STAb), 300257277 (PL-Kd), 300511706 (PL-Wu), 300001487 (PL-CZ), 550505068 (CZ-Pu) 5. RISM ID no.: 1001029973

Am-204 100. [Salve regina, D] – contrafactum of the aria Dimmi amore from the comic opera Il Barone di Rocca Antica

Parts: S solo(1), vl 1(1)-2(1), vla(1), b(1), ob solo(1) F: 35 × 22 cm f. 6 wm [1750–1799]

Comments 2. In the parts, top left: “Aria”. 3. Parts preserved separately. 4. Identification after RISM ID no.: 1001025322 (H-Bn) [Dittersdorf, Carl Ditters von – aria Dimmi amore from the opera Il Barone di Rocca Antica]; cf. 300000169 (PL-CZ) [rec. Povera Beatrice piange smania, aria Dinimi [!] amore] 5. RISM ID no.: 1001029976

DREYER, Johann Mathias (1747–1824) H-2121–12 101–112. [12 Hymns op. 14]

[B:] Hymni XII. | 1. 2. 3 In Festis B: M: V: Ave maris stella. | 4. 5. 6. In Festis Confessorum – Iste Confessor | 7. In Festo Epiphania Domini – Hostis Heredae [!] | 8. Text: II a. de Confess: Iste Confessor; b. In Fest: S: M: Magdalena. Pater superni | 9. Text: II a. In Fest. B: V: Mar. – Ave maris stella; b. In Fest: S: M: Magdalena – Pater superni | 10. In Festis Apostolorum temp: Paschali –

126 I. Authorum nominibus signata

Tristis erant | 11. In Festis Apparit: S: Michael: Archa: – Tibi Christe | 12. In Festis Transfiguratio: DNJC – Quicumque […] [Christum] | Auctore Dreÿer

Parts: C(3)A(3)T(3)B(3) F: 37 × 23 cm f. 12 wm [1800–1849]

[1. Ave maris stella, D] C(1r), A(1r), T(1r), B(1r) f. 4

[2. Ave maris stella, D] C(1r), A(1r), T(1r), B(1r) f. 4

[3. Ave maris stella, F] C(1v), A(1v), T(1v), B(1v) f. 4

[4. Iste Confessor, F] C(1v), A(1v), T(1v), B(1v) f. 4

[5. Iste Confessor, B] C(2r), A(2r), T(2r), B(2r) f. 4

127 Katalog | The Catalogue

[6. Iste Confessor, G] C(2r), A(2r), T(2r), B(2r) f. 4

[7. Hostis Herodes, C] C(2v), A(2v), T(2v), B(2v) f. 4

[8. Iste Confessor, B] C(2v), A(2v), T(2v), B(2v) f. 4

[9. Ave maris stella, Es] C(3r), A(3r), T(3r), B(3r) f. 4

[10. Tristes erant apostoli, B] C(3r), A(3r), T(3r), B(3r) f. 4

128 I. Authorum nominibus signata

[11. Tibi Christe splendor, A] C(3v), A(3v), T(3v), B(3v) f. 4

[12. Quicumque Christum quaeritis, C] C(3v), A(3v), T(3v), B(3v) f. 4

Comments 1. Fach XXVIII 18; XXVII, 73 1928 4. RISM ID no.: [1.] 600502476 (A-FB) [with text Pastores surgite], [2.] 400108073 (CH-BM) [Nunc dimittis], [3.] 402008273 (CH-BM) [Stella caeli exstirpavit], 402008282 (CH-BM) [whole op. 14]; cf. Cata- logue of the prints (Dr 3), as “XII Offertories”. 5. RISM ID no.: 1001030000: [1-12].1001030001-30012

DROBISCH, Karl Ludwig (1803–1854) M-20 113. [Missa, C]

Messe | für | vier Singstimmen, 2 Violinen | Viola und Orgel obligat; dann | 2 C’Clarinetten [!] ein Floete, zwei | Horn, 2 Trompeten und Pauken | ad libitum. | Componirt von | Carl Ludwig Drobisch | No 1. in C || Eigenthum der Stadt Pfarr= | Kirche in Glatz

Parts: (3x)C(3,3,3), A(3)T(3)B(3), vl 1(3)-2(3), vla(3), vlne(3), fl ad lib.(2), cl in C ad lib. (2)-2(2), cor in C 1(1)-2(1), clno in C ad lib. 1(1)-2(1), timp ad lib.(1), org(3) F: 36,5 × 24,5 cm f. 44 + title page wm [1800–1849]

129 Katalog | The Catalogue

Sections Kyrie: Andante, C, ³¼; Gloria: Allegro vivace assai, C, ¡; Credo: Allegro moderato, C, ¡; Sanctus/Benedictus: Adagio, C, ³¼ – Moderato, F, ¢; Ag- nus Dei/Dona nobis: Adagio, c, ³¼ – Andante, C, ³¼ Comments 1. Fach VIII No 61 2. In the parts, top left: “Fach VIII”, top right: “No 61”. 4. RISM ID no.: 300512268 (PL-Wu), 301006900 (PL-WRu), 300000229 (PL-CZ), 553002386 (CZ-NH) 5. RISM ID no.: 1001030108

M-24 114. [Missa, a]

No 5. | Messe in A moll | für | Canto, Alto, Tenore, Basso | Violino Primo und [crossed out] Secundo | und Viola obligat., | dann 2 Clarinetten, eine Floete, | 2 Hoerner, 2 Trompeten und | Paucken ad libitum. | von | Carl Ludwig Drobisch. || gehört der Kirche | in Glatz.

Parts: (3x)C(3,3,3), A(2)T(2)B(2), vl 1(3)-2(3), vla(3), vlne(3), fl (ad lib.) (2) cl in A (ad lib.) 1(2)-2(2), cor in C (ad lib.) 1(1)-2(1), clno in D (ad lib.) 1(1)-2(1), timp ad lib.(1), org =bc(3) F: 39,5 × 24,5 cm f. 41 + cover wm [1800–1849]

Sections Kyrie: Andante, a, ¡; Gloria: Allegro, A, ³¼; Credo: Allegro moderato, A, ¡; Sanctus/Benedictus: Andante, A, – Un poco adagio, A, ²¼; Agnus Dei: Larghetto, a, ³¼

130 I. Authorum nominibus signata

Comments 1. Fach VIII No 65 2. In the parts, top left: “Fach VIII”, top right: “No 65”. 4. PL-KRZ I-34; cf. e.g. RISM ID no.: 30051245 (PL-Wu), 300000233 (PL-CZ), 553002391 (CZ-NH) 5. RISM ID no.: 1001030109

M-23 115. [Missa, G; op. 5]

Messe | für | vier Singstimmen, 2 Violinen, | Viola u. Orgel obl., dann | 2 Clarinetten, 1 Flöte, 2 Horn, | 2 Trompeten u. Pauken ad libit. | von | C. L. Drobisch. | No 4 in G. || Eigenthum der | StadtPfarrKirche [!] in Glatz.

Parts: (3x)C(3,3,3), A(3)T(3)B(3), vl 1(3)-2(3), vla(3), vlne(3), fl ad lib.(2), cl in C ad lib. 1(2)-2(2), cor in G 1(1)-2(1), clno in C 1(1)-2(1), timp ad lib. (1), org =bc(3) F: 39,5 × 24,5 cm f. 44 + cover wm 1839

Sections Kyrie: Ma non troppo, G, ³¼; Gloria: Allegro con spirito, G, ¢; Credo: Allegro moderato, g, ³¼; Sanctus/Benedictus: Andante, G, þ¾ – Allegro moderato, C, ¢; Agnus Dei: Larghetto, g, ¡ Comments 1. Fach VIII No 64 2. In the parts, top left: “Fach VIII”, top right: “No 64”; at the end of one of the C copies: “1839”. 4. Cf. e.g. RISM ID no.: 300000230 (PL-CZ), 300512274 (PL-Wu) [with text: Höre uns wenn wir zu dir rufen], 540003235 (SI-Ms) 5. RISM ID no.: 1001030161

131 Katalog | The Catalogue

M-26 116. [Missa, E; op. 17]

Missa in E dur. | Canto Imo et IIdo, Alto Imo et IIdo, Tenore Imo et IIdo | Basso Imo et IIdo, | Violino Primo et Secundo in dupplo | Viola Pimo et Secundo | Oboe Primo et Secundo | Flauto Primo et Secundo | Fagotto Primo et Secundo | Cornu Primo et Secundo | Clarino Primo et Secundo | Alto= Tenor= et Bass Trombone, | Timpano, Violon, Violoncello | et | Organo. | Auth: Lud: Drobisch. | Jos. Prause [crossed out] | 1837 [crossed out] || Eigenthum der Stadt= PfarrKirche | in Glatz.

Parts: C1(6)-2(5), A1(5)-2(5), T1(6)-2(5), B1(6)-2(5), (2x)vl 1(5,6)-2(5,6), vla 1(6)-2(6), (2x)vlc(4,5), vlne(5), fl 1(3)-2(3), ob 1(3)-2(3), fag 1(3)-2(3), cor in E 1(2)-2(2), clno in E 1(1)-2(1), a-t-b-trb(1,1,1), timp(1), org conc.(10) F: 39 × 26,5 cm f. 129 + cover wm 1837

Sections Kyrie: Andante con molto espressione, E, ³¼; Gloria: Allegro con brio, E, ¡; Credo: Allegro, e, þ¼; Sanctus/Benedictus: Grave, E, ¡ – Andante con molto [!], A, ³¼; Agnus Dei/Dona nobis: Adagio, E, ²¼ – Andante con molto espressione, E, ³¼ Comments 1. Fach VII No 100 2. In the parts, top left: “Fach VII”, top right: “No 100”. 3. Parts and cover placed in an additional jacket, on which the scoring and opus number were entered [op. 17]. 4. RISM ID no.: 600055234 (A-VOR) 5. RISM ID no.: 1001030162

132 I. Authorum nominibus signata

M-21 117. [Missa, F; op. 2/2]

Messe in F. | für | 4 Singstimmen, 2 Violinen, | Viola, Bass und Organo oblig. | dann 2 Clarinetten, 1 Floete, 2 Horn, | 2 Trompeten und Pauken ad libitum. | Componirt | von | Carl Ludwig Drobisch. | No 2. || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: (3x)C(3,3,3), A(3)T(3)B(3), vl 1(3)-2(3), vla(3), vlne(3), fl ad lib.(2), cl ad lib. 1(2)-2(2), cor in F ad lib. 1(1)-2(1), clno in C ad lib. 1(1)-2(1), timp ad lib.(1), vlne et org =bc(3) F: 39,5 × 24 cm f. 44 + cover wm 1839

Sections Kyrie: Andante, F, ²¼; Gloria: Allegro vivace, C, ¡; Credo: Allegro mode rato, F, ³¼; Sanctus/Benedictus: Andante maestoso, C, ¡ – Andante con moto, F, ³¼; Agnus Dei: Adagio, F, ¡ Comments 1. Fach VIII No 62 2. In the parts, top left: „Fach VIII”, top right: „No 62”; at the end of one of the C copies: “Finis | Den 2 Januar Elsner | 1839”. 4. PL-KRZ I-36; cf. e.g. RISM ID no.: 300000234 (PL-CZ), 300512273 (PL-Wu) [with text Unsere Seele harret auf den Herrn], 553002390 (CZ-NH) 5. RISM ID no.: 1001030163

M-25 118. [Missa, d]

Messe in D moll | für | vier Singstimmen, zwei Violin | Viola, Bass und Orgel obligat. | dann zwei Clarinette, eine Floete | zwei Hoerner, zwei Trompeten | un[!] Paucken ad libitum. | Componirt von | Carl Ludwig Drobisch | No. 6. in D. || Gehört der Stadt= Pfarr= | Kirche in Glatz.

133 Katalog | The Catalogue

Parts: (3x)C(4,4,4), A(4)T(4)B(4), vl 1(4)-2(4), vla(4), vlne(4), fl(2), cl in C vel ob 1(2)-2(2), cl in A (ad lib.)1(2)-2(2), cor in F (ad lib.) 1(2)-2(2), clno in D (ad lib.) 1(2)-2(2), timp (ad lib.) (1), org =bc(4) F: 38,5 × 24,5 cm f. 63 + cover wm 1839

Sections Kyrie: Andante maestoso, d, ¡; Gloria: Allegro vivace assai, D, ³¼; Credo: Allegro moderato e maestoso, D, ¡; Sanctus/Benedictus: Grave, D, ¡ – Allegretto, G, þ¾; Agnus Dei/Dona nobis: Adagio, d, ¡ – Allegretto, D, ³¼ Comments 1. Fach VIII No 66 2. In the parts, top left: “Fach VIII”, top right: “No 66”; on one of C copies: “den 27 Januar | 1839 Elsner”. 4. PL-KRZ I-35, cf. e.g. RISM ID no.: 300000232 (PL-CZ), 300512249 (PL-Wu) [with text Herr hör’ unser Flehen], 550245528 (CZ-ND) 5. RISM ID no.: 1001030287

M-22 119. [Missa, Es]

Messe in Es | für vier Singstimmen, 2 Violinen, | Viola, Bass und Orgel obligat., | dann 2 Clarinetten, eine Floete, | 2 Hoerner, 2 Trompeten und Pauken | ad libitum. | Componirt von | Carl Ludwig Drobisch. | No 3. || Gehört der Stadt= Pfarr= | Kirche in Glatz.

Parts: (3x)C(4,4,3), A(3)T(3)B(3), vl 1(3)-2(3), vla(3), vlne(3), fl ad lib.(2), cl in B ad lib. 1(2)-2(2), cor in Es ad lib. 1(1)-2(1), clno in Es ad lib. 1(1)-2(1), timp ad lib.(1), org =bc(3) F: 40 × 24,5 cm f. 46 + cover wm [1800–1849]

134 I. Authorum nominibus signata

Sections Kyrie: Grave, Es, ¡; Gloria: Allegro vivace, Es, ³¼; Credo: Allegro mode rato, Es, ¡; Sanctus/Benedictus: Adagio, Es, ³¼ – Allegro ma non troppo, B, ¡; Agnus Dei: Adagio espressivo, Es, ³¼ Comments 1. Fach VIII No 63 2. In the parts, top left: “Fach VIII”, top right: “No 63”. 4. Cf. e.g. RISM ID no: 300000235 (PL-CZ), 300512246 (PL-Wu) [with text Vater höre deiner Kinder], 540003234 (SI-Ms) 5. RISM ID no.: 1001030289

R-127 120. [Requiem, d]

Zweites. | Requiem in D | für 4 Singstimmen. | 2 Violinen, Viola, Contrabass und Orgel | obligat. 2 Clarinetto, 1. Floete, 2. Hörner, | 2 Trompeten, und Pauken ad libitum | von | C: L: Drobisch || Gehört de Stadt= | Pfarr= | Kirche in Glatz. | 1833

Parts: (2x)S(3,3), A(3)T(3)B(3), vl 1(3)-2(3), vla(3), {b(3)}, fl(2), cl 1(2)-2(2), cor 1(1)-2(1), clno 1(1)-2(1), timp(1), org et b =bc(3) F: 38,5 × 24 cm f. 41 + cover 1833

Sections Requiem aeternam: Adagio ma non troppo, d, ²¼; Dies irae: Allegro assai, F, ³¼; [Offertorium] Domine Jesu Christe: Allegro moderato, F,¡ ; Sanctus/Benedictus: Maestoso, D, ¡ – Andante con moto, G, ³¼; Agnus Dei: Larghetto, D, ³¼; Lux aeterna: Adagio, d, ²¼ Comments 1. Fach XII No 19

135 Katalog | The Catalogue

2. In the parts, top left: “Fach XII”, top right: “No 19 | von Drobisch No 2”. 3. Part b included but not listed on title page. 4. Cf. e.g. RISM ID no.: 300512263 (PL-Wu), 453007936 (D-OB), 454002203 (D-MT) 5. RISM ID no.: 1001030291

R-126 121. [Requiem, Es; op. 10]

3tes | Requiem | in Es | für 4 Singstimmen | 2 Violinen, Viola | Contrabass u. Orgel oblig. | 2 Clarinetten, 1 Floete | 2 Hörner, 2 Trompeten | u. Pauken ad libitum | von | C. L. Drobisch || Eigenthum der Stadt= | Pfarrkirche in Glatz.

Parts: (2x)C(3,3), A(3)T(3)B(3), vl 1(3)-2(3), vla(3), {b(3)}, fl(2), cl in B 1(2)-2(2), cor in Es (ad lib.) 1(1)-2(1), clno in C (ad lib.) 1(1)-2(1), timp(1), org =bc(3) F: 39 × 24,5 cm f. 41 + cover [1800–1849]

Sections Requiem aeternam: Andante maestoso, Es, ³¼; Dies irae: Allegro assai vivace, g, ¢; [Offertorium] Domine Jesu Christe: Allegretto, B,³¼ ; Sanctus: Adagio, Es, ³¼; Agnus Dei: Un poco adagio, Es, ¡; Lux aeterna: Andante maestoso, Es, ³¼ Comments 1. Fach XII No 20 2. In the parts, top left: “Fach XII”, top right: “No 20”. 3. Part b included but not listed on title page. 4. Cf. e.g. RISM ID no.: 300512278 (PL-Wu), 464120566 (D-B) 5. RISM ID no.: 1001030294

136 I. Authorum nominibus signata

R-125 122. [Requiem, c]

Erstes | Requiem | in C | für | 4 Singstimmen | 2 Violinen, Viola, Contrabass und | Orgel obligat., 2 Clarinetten, eine | Floete, 2 Hoerner, 2 Trompeten | und Paucken ad libitum | von | C. A. Drobisch || Gehört der Stadt= Pfarr= | Kirche in Glatz.

Parts: (2x)S(3,3), A(3)T(3)B(3), vl 1(3)-2(3), vla(3), {b(3)}, fl(1), cl in B 1(1)-2(1), cor in Es 1(1)-2(1), clno in C 1(1)-2 (1), timp(1), b et org =bc(3) F: 39 × 23,5 cm f. 38 + cover [1800–1849]

Sections Requiem aeternam: Andante sostenuto, c, ¢; Dies irae: Allegro assai vivace, c, ¡; [Offertorium] Domine Jesu Christe: Allegro ma non troppo, Es, ³¼; Sanctus/Benedictus: Adagio, C, ³¼ – Andante, F, ³¼; Agnus Dei: Andante sostenuto, c, ¡ Comments 1. Fach XII No 18 2. In the parts, top left: “Fach XII”, top right: “No 18”. 3. Part b included but not listed on title page. 4. Cf. e.g. RISM ID no.: 300512276 (PL-Wu), 550508233 (CZ-Pu), 402006379 (CH-SGd) 5. RISM ID no.: 1001030296

EBERLIN, Johann Ernst (1702–1762) M-27 123. [Missa, g] HerEb V-g

Messa Romana | in | Canone | a | Canto Alto | Tenore Basso | con | Fondamento | Del Sige: Eberle || Eigenthum der Stadt= | PfarrKirche in Glatz.

137 Katalog | The Catalogue

Parts: C(6)A(6)T(6)B(6), org =bc(9) F: 29 × 23,5 cm f. 33 + cover wm [1750–1799]

Sections Kyrie: g, ¡; [Gloria] Et in terra: g, ¢; [Credo] Patrem omnipotentem: g, ¢; Sanctus: G, ¢; Agnus Dei: g, ¢ Comments 1. Fach XXIV No 44; XX, 1 1928 4. Cf. e.g. RISM ID no.: 550282682 (CZ-Pkřiž), 000103208 (US-Bp) 5. RISM ID no.: 1001030297

ELLGUTH, Ernst (1800c–1857) M-35 124. [Missa, C]

Lateinische Messe | in C und G | mit | 4 Singstimmen, 2 Violinen, Viola, 2 Clari= | netten, 2 Horne [!], Contrabass und Orgel obligat. | 2 Trompeten und Pauken nicht obligat | componirt und | Sr Wohlgeboren | dem Kirchenvorsteher und Stadtaeltesten [!] | Herrn | A. Klant in Neisse | hochachtungsvoll gewidmet | Ernst Ellguth | Organist bei der Stadtpfarrkirche | St. Jacobum | in | Neisse. || Eigenthum der Stadt= | Pfarr Kirche in Glatz.

Parts: (3x)S(3,3,3), A(3)T(3)B(3), vl (2x)1(3,3)-2(3),vla(3), b et vlc(3), ob vel cl in C 1(2)-2(2), cor 1(2)-2(2), clno 1(2)-2(2), timp(1), org =bc et vlc(4) + Orgelstimme F: 34 × 27 cm f. 50 + cover + p. 12 [1840–1860]

138 I. Authorum nominibus signata

Sections Kyrie: Andante sostenuto, C, ¡; Gloria: Allegro, G, ¡; Credo: Andante con moto, G, ¡; Sanctus/Benedictus: Poco adagio, G, ¡ – Andante sostenuto, G, ²¼; Agnus Dei: Larghetto, G, ¡ Comments 1. Fach 64 No 156; XII, 23 1928 2. In the parts, top left: “Fach 64”, top right: “No 156”. 4. RISM ID no.: 540000370 (SI-Nf), 706001939 (B-Nimep) 5. RISM ID no.: 1001030299

EMMERT, Johann Joseph (1732–1809) Am-267 125. [Ave regina, Es]

Parts: A solo(1), vl 1(1)-2(1), a-vla(1), org =bc(1) F: 34 × 21 cm f. 5 + dust cover wm [1750–1799]

Comments 1. Fach XVI No 1; XVII, 20 1928 3. Original cover missing. 4. Composer identification after RISM ID no.: 300000282 (PL-CZ), 550401347 (CZ-KLm) and 402007977 (CH-BM) [Emmert, Johann Jo- seph] 5. RISM ID no.: 1001030302

ENDER (18.sc) A-227 126. [Omni die dic Mariae, F]

139 Katalog | The Catalogue

Parts: B solo(1), vl 1(1)-2(1), vla(1), ob 1(1)-2(1), cor in F 1+2(1), org =bc(2) F: 22 × 31 cm f. 9 + cover wm 1794

Comments 1. Fach XX No 20; XX, 7 1928 3. 2nd owner’s name – illegible; 2nd text: Lauda Sion salvatorem. 4. RISM Ø 5. RISM ID no.: 1001030304

EYBLER, Joseph Leopold (1765–1846) M-31b 127. [Missa, C] HerEy 3

Vierte Messe in C | (De Sancto Ludovico) | Für 4 Singstimmen, 2 Violinen, | Viola, Violoncello, und Contrabass, | 2 Hoboen, 2 Clarinetten, 2 Fagotte, | 2 Horn, 2 Trompeten, Pauken | und Orgel | von | Joseph Eibler. | Partitur No 3 Fach I || Eigenthum der Stadt = Pfarr= | Kirche in Glatz.

Manuscript score F: 38,5 × 24 cm p. 151 + (2) + title page [1800–1849]

Sections Kyrie: Andante maestoso, C, ¡; Gloria: Allegro con spiritu, C, ¡; Credo: Allegro con spiritu, C, ¡; Sanctus/Benedictus: Adagio, C, þ¾ – Andante grazioso, F, þ¾; Agnus Dei/Dona nobis: Adagio con sordini, h, ³¼ – Alle- gretto, C, ²¼ Comments 1. Fach XXV No 28; XXI, 2 1928

140 I. Authorum nominibus signata

4. Cf. e.g. RISM ID no.: 300000303 (PL-CZ), 550030764 (CZ-Pnm), 570000107 (SK-KRE) 5. RISM ID no.: 1001030307

M-33b 128. [Missa, C]

Manuscript score F: 38 × 24,5 cm p. 117 + title page [1800–1849]

Sections Kyrie: Andante maestoso, C, ¢; Gloria: Allegro moderato, C, ¢; Credo: Allegro spirituoso, C, ²¼; Sanctus/Benedictus: Adagio, C, ¡ – Andante grazioso, G, þ¾; Agnus Dei/Dona nobis: Adagio, C, ¡ – Allegro moderato, C, ²¼ Comments 1. XXI, 17 1928 4. Cf. e.g. RISM ID no.: 300512291 (PL-Wu) [with text Heiliger Erbarm- er erhöre], 301005288 (PL-WRu), 605002464 (A-LId) 5. RISM ID no.: 1001030309

M-34 129. [Missa, C] HerEy 2

141 Katalog | The Catalogue

Primo et Secundo | Cornu Primo et Secundo | Timpano, Alt, Tenor et Bass | Trombone, Violon | Violoncello et Organo. | Auth: Eybler. || Gehört der Kirche […]

Parts: C 1(4)-2(3), A 1(4)-2(3), T 1(4)-2(3), B 1(4)-2(3), (3x)vl 1(6,6,6)-2(6,6,6), (2x)vla(4,4), vlc(4), (2x)vlne(4,4), fl(3), ob vel cl in C 1(3)-2(3), ob 1(3)-2(3), fag(3), cor in C 1(2)-2(2), clno in C 1(2)-2(2), a-t-b-trb(1,1,1), timp(1), org =bc(5) F: 39,5 × 24; 30,5 × 24,5 cm f. 119 + cover wm [1800–1849]

Sections Kyrie: Andante sostenuto, C, ¡; Gloria: Allegro vivace, C, ³¼; Credo: Al- legro vivace, C, ¢; Sanctus/Benedictus: Adagio, C, ³¼ – Andante, G, ²¼; Agnus Dei/Dona nobis: Adagio, c, ³¼ – Allegro vivace, C, ²¼ Comments 1. Fach I No 6; XXI, 8 1928 2. In the parts, top left: “Fach I”, top right: “No 6”. 4. Cf. e.g. RISM ID no.: 551000579 (CZ-Pu), 600500566 (A-Wlic), 603001190 (A-LA), 600172173 (A-KR) 5. RISM ID no.: 1001030310

M-34b Missa Solenne | in C | Canto, Alto, Tenore, Basso | Violino Imo et IIdo, Viola | Clarinetto et Oboe Primo et Secundo | Flauto, Fagotto. | Cornu Primo et Secundo | Clarino Primo et Secundo | Alto, Tenore et Bass Trombone, | Timpano, Violoncello, Violon | et Organo. | Auth: Jos: Eybler. | Partitur zu No 6. Fach I. || Eigenthum der Stadt Pfarrkirhe | zu Glatz.

Manuscript score F: 39,5 × 25 cm p. 212

Comments 1. Fach XXV No 29; XXI, 3 1928

142 I. Authorum nominibus signata

M-32 130. [Missa, F] HerEy 17

Fünfte | Messe | (de sancto Rudolpho) | für | 2 Soperane [!], 2 Alto, 3 Tenore, 3 Baesse [!] | 2 Violinen, 2 Viola, 2 Oboen, 2 Fagotte, | 2 Horn, 2 Trompeten, Pauken, | Violoncello, Contrabass | und | Orgel | von | Joseph Eibler | k. k. erstem Hofcapellmeister. | Wien beÿ Tobias Haslinger | Musikverleger | im Hause der ersten oesterr. Sparkasse | am Graben No. 572 || Gehört der Kirche […]

Parts: C 1(3)-2(3), A 1(3)-2(3), T 1(4)-2(3), B 1(4)-2(4), (2x)vl 1(4,4)-2(4,4), vla(4), vlc(3), vlne(3), ob 1(2)-2(2), fag 1(2)-2(2), cor in F 1(2)-2(2), clno in C 1(1)-2(1), timp(1), org =bc(3) F: 38 × 24 cm f. 71 + cover [1800–1849]

Sections Kyrie: Andante sostenuto, F, ¡; Gloria: Allegro, F, ³¼; Credo: Allegro moderato, F, ¢; Sanctus/Benedictus: Adagio, F, ¡ – Andante cantabile, B, þ¼; Agnus Dei/Dona nobis: Adagio, b, ¡ – Allegro, F, ³¼ Comments 1. Fach I No 4; XXI 10, 1928 2. In the parts, top left: “Fach I”, top right: “No 4”. 4. Cf. e.g. RISM ID no.: 604000012 (A-HEE), 603001189 (A-LA), 600243063 (A-Whk) 5. RISM ID no.: 1001030312

M-28 131. [Missa, d] HerEy 11

Missa in D | Canto, Alto, | Tenore, Basso. | Violino I et II in Dupllo [!] | Alto Viola | Oboe I et II | Clarino I et II | Tÿmpano | Violon, Violoncello | con | Organo | Auth. Jos. Eibler. || Gehört der Stadt= | Pfarrkirche in Glatz.

143 Katalog | The Catalogue

Parts: (2x)C(4,4), A(4)T(4)B(4), (2x)vl 1(6,5)-2(5,5), vla(4), vlc(4), vlne(4), ob1(2)-2(2), clno in D 1(1)-2(2), timp(1), org(5) F: 29,5 × 24; 39,5 × 25 cm f. 66 + cover wm 1826

Sections Kyrie: Andante, d, ³¼; Gloria: Allegro con fuoco, D, ¡; Credo: Allegro vivace, D, ¡; Sanctus/Benedictus: Maestoso, D, ³¼ – Andante, G, ¡; Agnus Dei/Dona nobis: Adagio, d, ³¼ – Allegro, D, ²¼ Comments 1. Fach I No 7; XXI, 4 1928 2. At the end of vl parts: “1826”. 4. Cf. e.g. RISM ID no.: 1001044967 (PL-OPsm), 540003101 (SI-Ms), 552000087 (CZ-Pu), 1001030314 (PL-KAM) 5. RISM ID no.: 1001030313

M-28b Missa in D | Canto, Alto, | Tenore, Basso. | Violino I et II in Dupllo [!] | Alto Viola | Oboe I et II | Clarino I et II | Tÿmpano | Violon, Violoncello | con | Organo | Auth. Jos. Eibler. || Gehört der Stadt= | Pfarrkirche in Glatz

Manuscript score F: 39,5 × 25 cm p. 182

Comments 1. XXI, 5 1928

M-30 132. [Missa, d] HerEy 12

Missa | a | Canto, Alto, Tenor, Basso | (Et incarnatus Solo für 4 Maennerstimmen) | Violino Imo et IIdo, | Viola | Clarinett Imo et IIdo | Oboe Imo et IIdo | Fagotto Imo et IIdo | Cornu Imo et IIdo | Clarino Imo et IIdo. | Tympano, | Violon, Violoncello | et | Organo | v. | J. Eybler. | No 3. | Schöpler || der Stadt Pfarrkirche in Glatz | geschenkt.

144 I. Authorum nominibus signata

Parts: (2x)S(5,3), A(3), (2x)T(5,4), (2x)B(5,4), (2x)vl 1(5,4)-2(5,4), vla(3), vlc(3), vlne(3), ob 1(2)-2(2), cl in B 1(2)-2(2), fag 1(2)-2(2), cor in D 1(1)-2(1), clno in D 1(1)-2(1), timp(1), (2x)org =bc(4,4) F: 39 × 23,5; 34,5 × 21 cm f. 81 + cover wm [1800–1849]

Sections Kyrie: Adagio ma non tanto, d, ¡; Gloria: Allegro spiritu [!], D, ¡, Credo: Allegro, D, þ¼; Sanctus/Benedictus: Poco adagio, D, ¢ – Andante cantabile, B, ²¼; Agnus Dei/Dona nobis: Adagio, G, ³¼ – Allegro, D, ²¼ Comments 1. Fach XXV No 27; XXI, 4 1928 3. Et incarnatus divisi in the male vocal parts. 4. Cf. e.g. RISM ID no.: 552000087 (CZ-Pu), 455009801 (D-NBss), 540000099 (SI-Ls) 5. RISM ID no.: 1001030316

M-30b Messe in D moll | für | Canto, Alto, Tenore, Basso, | (Et incarnatus Solo für 4 Maennerstimmen) | Violino Imo et IIdo, Viola | Oboe Imo et IIdo, Clarinetto Imo et IIdo | Fagotto Imo et IIdo, Cornu Imo et IIdo | Clarino Imo et IIdo. Timpano, | Violon, Violoncello et Organo | von | Jos. Eybler | No. III. || Eigenthum der Stadt Pfarrkirche | in Glatz

Manuscript score F: 38 × 24 cm p. 186

Comments 1. Fach XXV No 27; XXI, 4 1928 4. RISM ID no.: 1001030317 (PL-KAM) 5. RISM ID no.: 1001030316

145 Katalog | The Catalogue

P-282b 133. [Si consistant adversum, c] HerEy 86

Offertorium in C moll | (Si consistand [!] ad versum me castra) | für 6 Singstimmen, 2 Violinen, Viola, | 2 Oboen, 2 Fagotte, 2 Horn, 2 Trompeten, | Pauken, Contrabass und Orgel. | von | Joseph Eybler. | No 2. | Partitur. || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Manuscript score F: 38 × 24 cm p. 26 + title page [1800–1849]

Comments 1. Fach LV No 55; XXI, 15 1928 4. Cf. e.g. RISM ID no.: 553001906 (CZ-PELmv), 550030751 (CZ-ND), 600263111 (A-RZ) 5. RISM ID no.: 1001030319

[2]. A(1v), vl 1(1v)-2(1v), org(1v) f. 4

146 I. Authorum nominibus signata

Comments 3. Cf. Catalogue no. 91 [Dittersdorf, Karl Ditters von]; cf. Collections no. 4 4. RISM Ø 5. RISM ID no.: 1001029424: [2]. 1001031865

A-1891 135. [Huc gentes properate, D]

[org:] Aria I Ex D# | de | Qualibet Festivitate | à | Canto Solo | Violinis et Cornis 2plici | Viola | et | Organo. | Authore Sige: Val: Fechner | Aria IIda Ex F. | de Tempore. | a | Soprano Solo. | Violinis Duobus | Oboe IIbus | Cornibus IIbus | et | Basso. | Joseph Larisch | Schulmeister in | Oberschwedeldorf || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: C solo(2), vl 1(2)-2(2), vla(2), clno vel cor in D + ob 1(1)-2(1), org(2) F: 31 × 21 cm f. 12 wm [1750–1799]

[1]. C solo(1v-2r), vl 1(1v-2r)-2(1v-2r), vla(1v-2r), clno vel cor in D 1(1r)-2(1r), org(1v) f. 11

Comments 1. Fach XXXVIII No 10; XXVIII, 15a 1928 3. Cf. Catalogue no. 390 [Sacchini, Antonio]; cf. Collections no. 1 4. RISM ID no.: 1001031867 (PL-KAM) 5. RISM ID no.: 1001038718: [1]. 1001038720

FÖRSTER, Emanuel Aloys (1748–1823) A-190 136. [Flamma sancta surge oneste, Es]

Aria in Es. | à | Tenore Solo. | 2 Violini. | 1 Viola. | 1 Fagotto, non obl: | 2 Talie [!], | 2 Cornu, et | Basso. | Förster | Hannig || Eigenthum der Stadt= Pfarrkirche | in Glatz.

147 Katalog | The Catalogue

Parts: T(1), vl 1(1)-2(1), vla da braccio(1), talie 1(1)-2(1), fag(1), cor in Es 1+2(1), fondamento =bc(1) F: 37,5 × 24 cm f. 9 + cover wm [1750–1799]

Comments 1. Fach XXXVIII No 7; XVII, 21 1928 3. Identification after: SCHML, p. 167–179 and HoffmannTK, p. 111; in T part Recitativo (without text), followed by aria: Flamma sancta. 4. RISM Ø 5. RISM ID no.: 1001031869

FÜHRER, Robert (1807–1861) P-283 137. [Assumpta est Maria, E] KolF 91

Offertorium in E | De Beata | {Für Mariahimmelfahrt} [added in pencil] | Canto, Alto | 2 Tenore 2 Bässe | 2 Violinen, Viola | 2 Oboen, Flauto | 2 Horn, 2 Clarinen | 3 Posaunen, Timpano | Violon et Organo | Componirt von | R. Führer || Eigenthum der Stadt= Pfarr= | Kirche in Glatz | Geschenkt vom Herrn Kuschel im Jahr 1852.

Parts: (3x)S(1,1,1), (2x)A(1,1), T 1(1)-(2x)2(1,1), B 1(1)-2(1), (2x)vl 1(2,1)-2(1,1), vla(1), vlc(1), vlne(1), fl(1), ob 1+2(1), cor in E 1+2(1), clno in C 1+2(1), a-trb {=tr in C}(1), t+b-trb(1), timp(1), org =bc(1) + {piano transcript} F: 38 × 24 cm f. 26 + cover +{1} wm 1852 {po 1852}

148 I. Authorum nominibus signata

Comments 1. Fach LXVI No 97 2. In the parts, top left: “Fach LXVI”, top right: “No 97”. 3. Piano transcript and disposition of tr in C parts added later. 4. RISM ID no.: 450039790 (D-WS), 702005651 (B-Asj) 5. RISM ID no.: 1001030322

P-285 138. [Benedicta et venerabilis, G] KolF 90

Graduale in G | de beata [!] | a | 4 Singstimmen | Viola, 2 Oboen, 2 Horn | Violon et Orgel | v. | Robert Führer || Stadtpfarrkirche | Glatz

Parts: (3x)S(1,1,1), (2x)A(1,1), (2x)T(1,1), (2x)B(1,1), (2x)vl 1(1,1)-2(1,1), vla(1), vlne(1), ob 1(1), (2x)cor in G 1+2(1,1), (2x)org(1,1) F: 21 × 17 cm f. 20 + cover [1800–1849]

Comments 1. Fach XXXI No 30 2. In the parts, top left: “Fach XXXI”, top right: “No 30”. 3. On the cover and parts the seal: „Eigenthum der Stadtpfarr= Kirche zu Glatz”; missing ob 2 part. 4. Cf. e.g. RISM ID no.: 550269918 (CZ-LIT), 450033459 (D-LDN) 5. RISM ID no.: 1001030812

343 139. [Christus im Leiden und im Tode; op. 107] KolF 28

Parts: (3x)S(3,3,3), A(3)T(3)B(4), vl 1(6)-2(6), vla(6), vlne et vlc(5), fl(2), cl in B 1(2)-2(2), cor in Es 1(1)-2(1), tr in C 1(1)-2(1), b-trb(1), timp(1), org =bc(6)

149 Katalog | The Catalogue

F: 38 × 24,5 cm f. 60 + dust cover 1864

Comments 2. At the end of S part: “R. Führer | op. 107”; vlne et vlc: “13/7 [18]64”. 3. Original cover missing. 4. RISM ID no.: 400108098 (CH-BM) 5. RISM ID no.: 1001030820

Manuscript score F: 37 × 24,5 cm p. 130

P-284 140. [In virtute tua, D] KolF 85/9

Parts: (3x)C(1,1,1), A(1)T(1)B(1), (2x)vl 1(1,1)-2(1,1), vla(1), vlne(1), ob 1(1)- -2(1), cor in D 1(1)-2(1), clno in D 1(1)-2(1), a-t-b-trb(1,1,1), timp(1), org =bc(1) + {(2x)C(1,1), vl 1(1)-2(1)} F: 24 × 19 cm f. 23 + cover + {4} wm 1850, {1871}

150 I. Authorum nominibus signata

Comments 1. Fach LXVI No 94 2. In the parts, top left: “Fach XLVI”, top right: “No 94”. On later copies of C parts: “Geschrieben den 25 April 1871 Alfred Fabian”. 4. Cf. e.g. RISM ID no: 300501048 (PL-KRZ), 650004310 (I-BREd) 5. RISM ID no.: 1001030830

M-38 141. [Missa, C] KolF 34

Parts: (3x)S(4,4,4), A(4)T(3)B(3), vl (2x)1(6,6)-2(4), vla(4), vlne et vlc(3), fl ad lib.(2), ob 1(2)-2(2), cor in C 1(2)-2(2), clno in C 1(2)-2(2), timp(2), org =bc(5) + Directionstimme F: 38,5 × 25,5 cm f. 66 + p. 47 wm [1800–1849]

Sections Kyrie: Adagio maestoso, C, ³¼; Gloria: Allegro, C, ¡; Credo: Allegro mol- to, C, ¢; Sanctus/Benedictus: Adagio, C, ¡ – Andante, F, ²¼; Agnus Dei/ Dona nobis: Poco adagio, As, ³¼ – Alla breve, C, ¢ Comments 2. At the end of org part, top right: “v. Führer”. 3. “Direction=Stimme | zur Messe in C | von | Robet A. Führer || Schöpler”. 4. PL-KRZ I-147; cf. e.g. RISM ID no.: 540001377 (SI-Ls), 530011082 (H-EGb) 5. RISM ID no.: 1001030833

151 Katalog | The Catalogue

M-37 142. [Missa, B] KolF 29/1; 61/267

Missa in B | a | 4 Singstimmen, 2 Violinen, | Viola, 2 Oboen, 2 Horn | 2 Trompeten, Violon et Organo. | von | Robert Führer. | No. 3 der acht Sonntagsmessen. || Eigenthum der Stadt=| Pfarrkirche in Glatz.

Parts: (3x)S(2,2,2), A(2)T(2)B(2), vl 1(2)-2(2), vla(2), b(2), ob 1(1)-2(1), cor in B 1(1)-2(1), clno in B 1(1)-2(1), org =bc(2) F: 40 × 24,5 cm f. 28 + cover wm [1800–1849]

Sections Kyrie: Andante, B, ³¼; Gloria: Moderato vivo e risoluto, B, ¢; Credo: Alle- gro, B, ³¼; Sanctus/Benedictus: Lento assai, B, ³¾ – Andante gratioso, Es, ²¼; Agnus Dei: Andante, B, ³¼ Comments 1. Fach IX No 136 2. In the parts, top left: “Fach IX”, top right: “No 136”. 4. Cf. e.g. RISM ID no.: 550245540 (CZ-ND), 550269815 (CZ-LIT), 455035436 (D-Msjb) 5. RISM ID no.: 1001030838

M-36 143. [Missa, Es] KolF 32/1

Missa in Es. No. 1 | für | vier Singstimmen, 2 Violinen | Viola, Flauto, 2 Oboen, 2 Horn | Violon und Organo. | von | Robert Führer. | 1st Sonntagsmesse || Eigenthum der Stadt Pfarr= | Kirche in Glatz.

Parts: (3x)S(2,2,2), A(2)T(2)B(2), vl 1(2)-2(2), vla(2), vlne(2), fl(1), ob 1(1)- -2(1), cor in Es 1(1)-2(1), org =bc(2) F: 40 × 25 cm f. 27 + cover wm [1800–1849]

152 I. Authorum nominibus signata

Sections Kyrie: Adagio divoto e molto espressioni, Es, ³¼; Gloria: Allegro non tan- to, Es, ¢; Credo: Allegretto moderato ma risoluto, Es, ¡; Sanctus/Bene- dictus: Adagio, Es, ¢ – Andante grazioso, As, ²¼; Agnus Dei/Dona nobis: Maestoso, Es, ¡ – Andante molto, Es, ¡ Comments 1. Fach IX No 137 2. In the parts, top left: “Fach IX”, top right: “No 17”. 4. PL-KRZ I-161; cf. RISM ID no.: 454502547 (D-HMB), 650013608 (A-ST) 5. RISM ID no.: 1001030841

GALUPPI, Baldassare (1706–1785) A-2281–2 144–145. [Benedicta et venerabilis, G] [Lauda Sion salvatorem, Es] – contrafactum of the aria Non so frenare il pianto from the opera Demetrio]

[b:] Ariae II de Festo B: V: M: | de Sanctissimo | Alto Solo | Violini due | Viola | con | Basso | Del Sige: Galuppi || Eigenthum der Stadt Pfarr Kirche | in Glatz

Parts: A solo(1), vl 1(1)-2(1), vla(1), b(2) F: 30 × 22 cm f. 6 [1750–1799]

[1]. A(1r), vl 1(1r)-2(1r), vla(1r), b(1v) f. 5

153 Katalog | The Catalogue

[2]. A(1v), vl 1(1v)-2(1v), vla(1v), b(2r) f. 5

Comments 1. Fach XXXVIII No 28; XXVII, 18 1928 3. 2nd text entered fragmentarily in aria I: Lauda Sion salvatorem. 4. [1]. RISM Ø; [2]. cf. RISM ID no.: 452017255 (D-B) [aria Non so frenare il pianto from the opera Demetrio] 5. RISM ID no.: 1001034162: [1]. 1001034163, [2]. 1001034164

GELLERT, Josef (1787c–1842) R-128 146. [Requiem, Es]

Requiem in Es | für | Sopran, Alt, Tenor, Bass | 2 Violinen | 2 Horn | und | Orgel | von | Jos. Gellert | Schöpler [crossed out] | Cantor [crossed out] || Eigenthum der | Stadtpfarrkirche in Glatz

Parts: (3x)S(1,1,1), A(1)T(1)B(1), vl 1(1)-2(1), {b(1)}, cor in Es 1(1)-2(1), org =bc(1) F: 38 × 23 cm f. 12 + cover [1800–1849]

Sections Requiem aeternam: Adagio, Es, ¡; Dies irae: Adagio, Es, ¡; [Offerto rium] Hostias et preces: Andante, C, ¡; Sanctus/Benedictus: Adagio, Es, ¡ – Allegretto, G, ³¼; Agnus Dei: Adagio, Es, ³¼

154 I. Authorum nominibus signata

Comments 1. Fach XI No 45 2. In the parts, top left: “Requiem”, top right: “No 45”. 3. Part b included but not listed on title page. 4. Cf. e.g. RISM ID no.: 553002406 (CZ-NH), 552010233 (CZ-Pr), 550265444 (CZ-OSm) 5. RISM ID no.: 1001034358

GRASEL (18/19.sc) A-1911–2 147–148. [Huc adeste huc advolate, C]; [O plus amoris ignibus, F]

Ariae II in C et F | A. I Basso Solo | II Alto Solo | Violinis Duobus | Obois et Flautis Duobus | Clarinis et Cornibus duobus | con | Organo | Del Sige: Grasel | Joseph Prause [crossed out] | 1828 || Eigenthum der Stadt Pfarr | Kirche in Glatz

Parts: A(1)B(1), vl 1(2)-2(2), fl+ob 1(1)-2(1), cor+clno 1(1)-2(1), org(1) F: 38 × 24 cm f. 11 + cover wm 1828

[1]. B(1r), vl 1(1r-v)-2(1r-v), ob 1(1r)-2(1r), clno in C 1(1r)-2(1r), org(1r) f. 8

[2]. A(1v), vl 1(2r-v)-2(2r-v), fl 1(1v)-2(1v), cor in F 1(1v)-2(1v), org(1v) f. 8

155 Katalog | The Catalogue

Comments 1. Fach XXXVIII No 63 corrected [previously 43]; XXVII, 15 1928 2. In the parts, top right: “No 43”; at the end of parts vl 2, fl 1, cor 1: “Finis dn 27 Aug. 1828”. 3. 2nd text in aria II: “Alma redemptoris mater”; on title page – musical incipit: Alma redemptoris mater. 4. RISM ID no.: [1]. 550270382 (CZ-Pnm) [Grasl, Lorenz?; vocal parts missing] [2]. RISM: Ø 5. RISM ID no.: 1001034372: [1]. 1001034374, [2]. 1001034376

GRAUN, Carl Heinrich (1703c–1759) A-4261–2 149–150. [Adoro te devote, B] – contrafactum of the aria Figurati eclissati mirar from the opera Cinna, GraunWV B:I:16; [Ad festas volate, Es] – contrafactum of the aria O numi consiglio from the opera Cinna, GraunWV B:I:16

[b:] Ariae duae {pro omni festo} | [...] 4 Vocibus. | Canto Solo. | Violino 1mo | Violino 2do | Alto Viola | Con Organo | Auth: dell Sige: Carlo Enerico Graun | Dell Opera Cinna. | [crossed out] Ex Rebus Joannis | Josephi Hötzel | Sem. Ad S: Aloy: Gla: || Eigenthum der Stadt= Pfarrkirche | in Glatz.

Parts: C(2), vl 1(2)-2(1), b(2) F: 33 × 22,5 cm f. 7 wm [1750–1799]

[1]. C(1v-2r), vl 1(1v-2r)-2(1r), b(1v) f. 6

[2]. C(2v-1r), vl 1(2v-1r)-2(1v), b(2r) f. 6

156 I. Authorum nominibus signata

Comments 1. Fach XXXVIII no 5; IV, 7 1928 3. Missing a-vla part. 4. RISM ID no.: 212009097 (D-Dl) [arias Figurati eclissati mirar and O numi consiglio from the opera Cinna]; cf. [1]. 240001813 (D-SWl) 5. RISM ID no.: 1001034471: [1]. 1001034472, [2]. 1001034473

Am-2693 151. [Ave regina, a] – contrafactum of the aria Quis desiderio sit pudor aut modus from: Cantata in obitum Friderici Guilielmi Regis Borussorum beati defuncti, GraunWV B:VIII:1; GruG:62 in: Ave Regina IV […]

[3]. C(1v), A(1v), T(1v), B(1v), vl 1(1v)-2(1v), org =bc(1v) f. 7

Comments 3. Cf. Catalogue no. 374–376 [Rathgeber, Valentin]; cf. Collections no. 9 4. Identification after RISM ID no.: 451513042 (D-Hs) [Graun, Carl Heinrich – aria Quis desiderio sit pudor aut modus from: Cantata in obitum Friderici Guilielmi…]; cf. 452019175 (D-B), 452504079 (D-B) 5. RISM ID no.: 1001035366: [3]. 1001035378

157 Katalog | The Catalogue

A-2531 152. [Beatam me dicent, Es]

Parts: A solo(2), vl 1(2)-2(2), vla(2), cor in F vel Es 1(1)-2(1), fondamento(2) F: 32 × 21 cm f. 12 [1750–1799]

[1]. A(1v), vl 1(2r-v)-2(2r-v), vla(1v-2r), cor 1(1r)-2(1r), fondamento(1r) f. 8

Comments 1. XXVII, 22 1928 3. In this collection there are also: “Aria 2da de Martyribus”: In me si tremant, cf. Catalogue no. 169, “Aria 3tia De Beata” Omni die dic Mariae, cf. Catalogue no. 170 identified as arias by Hasse, Johann Adolf; cf. Col- lections no. 6 4. Composer identification after RISM ID no.: 300514265 (PL-Wu) [Graun, Carl Heinrich] 5. RISM ID no.: 1001034475: [1]. 1001034476

A-4271–3 153–155. [La dolce compagna vedersi, A] – aria from the opera Demofoonte, GraunWV B:I:13 [Per lei quest’ anima, G] – aria from the opera Semiramide, GraunWV B:I:28 [Le furie al nodo, G] – aria from the opera Semiramide, GraunWV B:I:28

Ariae 3. {De Spiritu S. | De Beata} | Voce Solo. | Due Violini. | Viola, con | Fondamento. | Sige: Graun. | Posessor Kless [crossed out] || Eigenthum der Stadtpfarrkirche | in Glatz.

158 I. Authorum nominibus signata

Parts: [S](2), vl 1(2)-2(2), vla(2), fondamento =bc(2) F: 33,5 × 21,5 cm f. 10 + cover wm [1750–1799]

[1]. [S](1r-v), vl 1(1v-2r)-2(1v), vla(2v), fondamento(2v) f. 6

[2]. [S](1v-2r), vl 1(2r)-2(2r), vla(1), fondamento(1r) f. 6

[3]. [S](2r-v), vl 1(2v-1r)-2(2v-1r), vla(1v-2r), fondamento(1v-2r) f. 9

Comments 1. Fach XXXVIII No 48; IV, 3 1928 3. 2nd text added in arias I and II: Veni creator and Veni sponsa Christi 4. RISM ID no.: [1]. 230007886 (D-LEm) [aria La dolce compagna vedersi from the opera Demoofonte], 452019224 (D-B) and 706000179 (B-Bc); [2, 3]. 230007864 (D-LEm) [Per lei quest’ anima and Le furie al nodo from the opera Semiramide] 5. RISM ID no.: 1001034863: [1]. 1001034864, [2]. 1001034865, [3]. 1001034867

159 Katalog | The Catalogue

H-4301–2 156–157. [Omni die dic Mariae, C] – contrafactum of the aria Non han calma le mie pene from the opera Montezuma, GraunWV B:I:29; [Lauda Sion salvatorem, G] – contrafactum of the aria Godi l’amabile presente istante from the opera Montezuma, GraunWV B:I:29

D. Venerabe. | De Beata V. M. || Eigenthum der Stadt Pfarr | Kirche in Glatz

Parts: C(1), vl 1(1)-2(1), org(1) F: 36,5 × 23 cm f. 4 + dust cover wm [1750–1799]

[1]. C(1r), vl 1(1r)-2(1r), org(1r) f. 4

[2]. C(1v), vl(1v)-2(1v), org(1v) f. 4

Comments 1. Fach XXXVIII No 54; XXX, 6 1928 3. Original cover missing. 4. Identification after RISM ID no.: [1-2]. 250001086 (D-WRgs) [Graun, Carl Heinrich – Non han calma le mie pene, Godi l’amabile presente istante from the opera Montezuma] and 212007349 (D-Dl), cf. [1.] 212008645 (D-Dl) [only aria: Non han calma…] and [2.] 1001034335 (PL-Wu) [with text: Ave sanctissima virgo et mater] 5. RISM ID no.: 1001040315: [1]. 1001040316 [2]. 1001040317

160 I. Authorum nominibus signata

A-230 158. [O salutaris hostia, G] – contrafactum of the aria Se mi volesti o dei from the opera Ifigenia in Aulide, GraunWV B:I:18

Aria di […] {de Venerabili Sacramento} | Canto Solo | Violinis 2bus | Viola di Alto | Flauto 2bus | Con Organo | Semin. S. Aloysii Glacii || Eigenthum der Stadt Pfarr Kirche | in Glatz.

Parts: C(1), vl 1(1)-2(1), vla(1), b(1), fl trav. 1(1)-2(1) F: 36 × 23 cm f. 7 + cover wm [1750–1799]

Comments 1. Fach XXXVIII No 50; IV, 5 1928 2. In the parts, top left: “Aria XV ex Ifig:”, top right: “Graun”. 4. RISM ID no.: 212009096 (D-Dl) [Graun, Carl Heinrich – aria Se mi volesti o dei from the opera Ifigenia in Aulide] 5. RISM ID no.: 1001034596

A-4281 159. [Quest’oh dio lugubre aspetto, D] – aria from the opera Rodelinda regina de’ Longobardi, GraunWV B:I:6/49

[vla:] Ariae 3 {de Confessore} | à | Voce Solo. | Due Violini. | Viola, con | Fondamento. | Sige: Graun. et Hasse[!]. | Posessor [crossed out] | Kles. [crossed out] || Eigenthum der StadtPfarrKirche in | Glatz.

Parts: C(2), vl 1(2)-2(2), vla(2), fondamento =bc(2) F: 36,5 × 23 cm f. 10 wm [1750–1799]

[1]. C(1r), vl 1(2v)-2(2v-1r), vla(1v-2r), fondamento =bc(2v-1r) f. 8

161 Katalog | The Catalogue

Comments 1. Fach XXXVIII No 41; IV, 4 1928 2. In the parts, top right of Aria I: “Sige: Hasse” [!]; cf. Collections no. 14. 3. The nd2 text: Nisi Dominus custodierit civitatem. 4. RISM ID no.: 701000085 (B-Br) [aria Quest’oh dio lugubre aspetto from the opera Rodelinda regina…]; cf. 190010885 (S-Skma) and 553003004 (CZ-Bm) [with text: Ave virgo gratia plena] 5. RISM ID no.: 1001022083: [1]. 1001022084

H-206b [print] 160. [Te Deum laudamus, D] GraunWV B:VI:2

Te Deum | Laudamus, | Posto | In Musica | Dal | Sign. Carlo Enrico Graun, | Maestro di Capella di S.M.Il Ré di Prussia | In Lipsia | Presso, Giov. Gottl. Imman. Breitkopf | 1757 || [handwritten provenance note] Eigenthum der Stadt Pfarr Kirche in Glatz

Score F: 36,5 × 24,5 cm p. 134, (1) 1757

Comments 1. No 33; IV, 8 1928 4. Cf. e.g. RISM ID no.: 550282473 (CZ-Pkřiž) 5. RISM ID no.: 1001034862

162 I. Authorum nominibus signata

GROETZEBAUCH (19.sc) H-344 161. [Pange lingua, C]

Singstimmen | zu den Stationes | von Groetzebauch. | No. 1. | Prause [crossed out] || Eigenthum der Stadt= Pfarr | Kirche in Glatz.

Parts: (6x)C(6,6,6,6,6,6), (5x)A(6,6,6,6,6), (5x)T(6,6,6,6,6), (5x)B(6,6,6,6,6) F: 24 × 20 cm f. 126 + cover wm 1839

Comments 1. XXIII, 19 2. At the end of B part: “J. Franke 1839”; at the end of one of the C copies: “Elsner”. 4. RISM Ø 5. RISM ID no.: 1001034869

GRÜGER, Joseph (d. 1814) P-286 162. [Lauda Sion salvatorem, D]

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), vla(1), fl 1(1)-2(1), ob 1(1)-2(1), cl in A 1(1)-2(1), cor in D 1(1)-2(1), clno in D 1(1)-2(1), org =bc(1) F: 28 × 20 cm f. 18 + cover wm [1750–1799]

163 Katalog | The Catalogue

Comments 1. Fach XX No 16; 37 20 [!], XII 1928 2. In the parts, top left: “Offertorium”, top right: “Di Grüger”. 3. Identification after HofmannTK, p. 143; the 2nd text: Gaude Virgo gloriosa. 4. RISM Ø 5. RISM ID no.: 1001034870

GULITZ, Alexius (1732–1801) Am-199 163. [Regina caeli, D]

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), clno in Es 1(1)-2(1), timp(1), org =bc(1) F: 34 × 21; 17 × 21,5 cm f. 10 + cover wm 1773

Comments 1. Fach XVII No 6; XVII, 12 1928 2. At the end of C part: “Descripsit Joannes Seppelt Rhetor”; A: “Vocem Hanc scripsit Franziskus [!] Kles”; B: “Hannig”; vl 2: “Hanc vocem De- scripsit Franciscus Kles”; clno 1: “Ignatius scripsit vocem Mann nominis natus”; timp: “paravit Mann Poeta”. 3. Difference in scoring between title page and preserved parts. 4. RISM Ø 5. RISM ID no.: 1001021545

164 I. Authorum nominibus signata

HABEGGER (18.sc) M-40 164. [Missa, d]

Missa | à | Canto | Alto | Tenore | Basso | Violinis 2bus | et | Organo. | Auth. Dno Habegger. | {N-o 31} | Pro Choro. | Ecclesiae Parochialis | Glacensis.

Parts: C(4)A(4)T(3)B(4), vl 1(4)-2(4), org =bc(4) F: 36,5 × 23,5 cm f. 27 + cover wm [1750–1799]

Sections Kyrie: Allegro, d, ¡; [Gloria] Et in terra: Allegro, d, ¡; [Credo] Patrem omnipotentem: Allegro, d, ¡; Sanctus/Benedictus: Adagio, d, ¡ – An- dante, g, ¡; Agnus Dei/Dona nobis: Andante, d, ³¼ – Allegro molto, d, ¡ Comments 1. Fach XXXVII No 9; XXX, 3 1928 4. RISM Ø 5. RISM ID no.: 1001034920

HAHN, Bernard (1780–1852) 3961–2 165–166. [Diffusa est gratia, E]; [Gloria et honore, Es]

Hahn Bernhard | Diffusa est gratia | 2. Gloria et honore. || Stadtpfarrkirche Glatz.

Parts: C(2)A(2)T(2)B(2) solo, (5x)C(2,2,2,2,2), (4x)A(2,2,2,2), (4x)T(2,2,2,2), (4x)B(2,2,2,2) tutti + Directionstimme F: 23 × 19 cm f. 42 + dust cover + 1 wm [1840–1860]

165 Katalog | The Catalogue

Comments 3. In the parts oval seal: “Eigenthum der Stadtpfarrkirche zu Glatz”; original cover missing. 4. RISM ID no.: [1.] 1001027409 (PL-Wb), 450107149 (D-Cl); [2]. 450107150 (D-Cl), 455012204 (D-Tl) 5. RISM ID no.: 1001034923: [1]. 1001034924, [2]. 1001034927

M-41 167. [Missa, c]

Messe | zur feierlichen Consecration und | Inthronisation | Seiner Fürstlichen Gnaden | Des Hochwürdigsten und | Hochgeboren Herrn | Leopold Grafen v. Sedlnitzkÿ | Fürstbischof von Breslau etc. | componirt | von | Bernard Hahn | Kapellmeister am Dom zu Breslau. | Canto, Alto, Tenore, Basso. | 2 Violinen in duppl: Viola | 2 Clarinetten, 2 Oboen, 2 Floeten, | 2 Fagott, 2 Horn, 2 Trompeten | 3 Posaunen Violon et Violoncello. | Franz Leifer [crossed out] || Eigenthum der Stadt= Pfarrkirche | in Glatz. Geschenkt vom Organist | Leifer.

Parts: (3x)S(4,4,3), A(4)T(4)B(4), (2x)vl 1(3,4)-2(3,4), vla 1+2(3), vlc et b(4), fl 1(2)-2(2), ob 1(2)-2(2), cl in B 1(2)-2(2), fag 1(2)-2(2), cor in Es 1(2)-2(2), tr in C 1(1)-2(2), a-t-b-trb(1,1,1), timp(1), org(7) F: 40 × 24 cm f. 78 + cover wm [1830–1860]

Sections Kyrie: Andante, Es, ¡; Gloria: Allegro, C, ¡; Credo: Allegretto, F, ¢; Sanc- tus/Benedictus: Andante moderato, C, ³¼ – Allegretto, G, ²¼; Agnus Dei/ Dona nobis: Moderato, C, ¡ – Un poco più moto, C, ¡

166 I. Authorum nominibus signata

Comments 1. Fach VI No 117; XVII, 8 1928 2. In the parts, top left: “Fach VI | Missa”, top right: “No 117”. 4. PL-KRZ I-178; PL-Kk; cf. e.g. RISM ID no.: 1001045001 (PL-OPark), 300000429 (PL-CZ), 456000428 (D-TRb), 453450128 (D-KNd) 5. RISM ID no.: 1001034928

HASSE, Johann Adolf (1699–1783) A-254 168. [Felix namque es, Es] – contrafactum of the aria Quando divido il regno from the opera Artemisia

Aria in {de B. V. M.} | Violin[o] Primo et Secondo | Oboe Primo et Secondo | Corno Primo et Secondo in Es | Soprano Solo | con | Basso || Eigenthum der Stadt Pfarr Kirche | in Glatz.

Parts: S(2), vl 1(2)-2(1), vla(1), b(1), ob 1(1)-2(1), cor in Es 1(1)-2(1) F: 38 × 24,5; 18 × 23 cm f. 11 + cover wm [1800–1849]

Comments 1. Fach XXXVIII No 24; XX, 25 1928 4. Identification after RISM ID no.: 452001205 (D-B)Quando [ divido il regno from the opera Artemisia] 5. RISM ID no.: 1001034957

A-2532–3 169–170. [In me si tremant poena, Es] – contrafactum of the aria Digli ch’io son fedele from the opera Cleofide; [Omni die dic Mariae, F] – contrafactum of the aria Quanto mai felici siete from the opera Cleofide

167 Katalog | The Catalogue in: Ariae 3 a vocibus [...] Aria 2da | de Martyribus

[2]. A(2v-1r), vl 1(2v-1r)-2(2v-1r), vla(2r-v), fondamento =bc(1v) f. 8

Aria de Beata

[3]. A(2r-v), vl 1(1v)-2(1r-v), vla(2v-1r), cor 1(1v)-2(1v), fondamento(2r-v) f. 8

Comments 2. On left margin of A part: “Aria 2 da | De Martyribus”; above A part [f. 2r]: “Aria de Beata | 3tia”. 3. Cf. Catalogue no. 152 [Graun, Carl Heinrich]; cf. Collections no. 6 4. Composer identification after RISM ID no.: [2-3.] 270000632 (D-Dl) [Hasse, Johann Adolf – Digli ch’io son fedele and Quanto mai felici siete from the opera Cleofide], 270000635 (D-Dl); [2.] 300510934 (PL-Wu) [with text: Exsultet orbis gaudis], 000100993 (US-FAy), [3.] 550255033 (CZ-Pkřiž) [with text: Quantum potes cor fidele]. 5. RISM ID no.: 1001034475: [2]. 1001034477, [3]. 1001034478

168 I. Authorum nominibus signata

HAYDN, Joseph (1732–1809) 345 171. [Die Himmel erzählen die Ehre Gottes, C] Hob XXI: 2/8c

Chorus Solennis in C | a | Canto, Alto, Tenore Imo et IIdo, Basso. | Violino Primo et Secundo | Alto Viola | Clarinetto Primo et Secundo in C. | Oboe Primo et Secundo, | Flauto et Fagotto, | Cornu Primo et Secundo in C. | Clarino Primo et Secundo in C. | Trombone Alto, Tenor et Basso, | Timpano | et | Organo. | Auth. Joseph Haydn. {aus der Schöpfung} | Joseph Prause [crossed out] | 1828 [crossed out] || Eigenthum der Stadtpfarrkirche | in Glatz |

Parts: C solo(1), B solo(1), (3x)C(1,1,1), (2x)A(1,1), T 1(1)-2(1), {B(1) tutti}, vl (2x)1(1,1)-2(1), vla(1), fl(1), ob 1(1)-2(1), cl in C 1(1)-2(1), fag(1), cor in C 1(1)-2(1), clno in C 1(1)-2(1), a-t-b-trb(1,1,1), timp(1), (2x) fondamento(1,1) F: 38 × 24 cm f. 30 + cover wm 1828

Comments 1. In the parts, top right: “No 32”; at the end of parts: vla, cl 2, fag, cor 1, fondamento: “Finis den 11 Au[gust] 1828”. 3. Additional copies of B tutti written in a different hand. 4. Cf. e.g. RISM ID no.: 550270424 (CZ-Pnm) 5. RISM ID no.: 1001034958

357 172. [In die tam solenni, C] – contrafactum of the aria Sono contenta appieno from the opera L’isola disabitata, Hob XXVIII: 9/13

Chorus Solennis in C. | Pro omni Festivitate. | à | Vocibus | Canto I et II, Alto, Tenore, Basso. | Violino Concertante. | Violonzello Concertante, | Flauto Concertante, | Fagotto Concertante, | Violinis II. | Obois II. | Clarinis II. | Tÿmpanis | Viola | et | Organo. | Authore Dno. Righini [!] || Eigenthum der Stadt= Pfarr= Kirche | in Glatz.

169 Katalog | The Catalogue

Parts: C 1(1)-2(1), T(1)B(1), vl solo(2), vl 1(1)-2(1), vla(1), vlc obl.(1), fl obl. (1), ob 1(1)-2(1), fag obl.(1), clno in C 1(1)-2(1), timp(1), (2x)org(1,1) F: 35,5 × 22,5 cm f. 19 + cover wm [1800–1849]

Comments 1. Fach XXXII No 25; XXVII 3. Erroneus attribution on title page; missing A part. 4. Identification after RISM ID no.: 210097444 (D-Dl) [Haydn, Jo- seph – Sono contenta appieno from the opera L’isola disabitata]; cf. e.g. 530005267 (H-Bn), 303005296 (PL-OPsm) [with text: In die tam solem- ni], 551000315 (CZ-Psj) [with text: Omnes fideles, huc cito] 5. RISM ID no.: 1001035207

M-45 173. [Missa, C; “Paukenmesse”] Hob XXII: 9

Missa in C No II | a | Quatuor Vocibus | Violino Imo et IIdo in duppl. | Viola Imo et IIdo | Clarinetto Imo et IIdo | Fagotto Imo et IIdo | Flauto | Clarino et Cornu Imo et II [!] | Violon et Violoncello | con | Organo. | Auth: D. J. Haydn || Gehört der Stadt= Pfarr | Kirche in Glatz.

Parts: C(5)A(4)T(4)B(4) concerto, vl 1(6)-2(6), vla 1+2(5), fl solo(1), cl in C 1(4)-2(3), fag 1(4)-2(4), cor et clno in C 1(2)-2(2), timp(2), org =bc(6) + {C solo(5), C conc(5), (2x)C(4,4), vl 1(3)-2(3), vla 1 obl.(2), a-vla(2), (2x)vla(2,1), vlne et vlc(2)} F: 36 × 23 cm f. 62 + {cover + 33} 1803, {[1820–49]}

170 I. Authorum nominibus signata

Sections Kyrie: Largo, C, ¡; Gloria: Vivace, C, ³¼; Credo: Allegro, C, ¡; Sanctus/ Benedictus: Adagio, C, ¡ – Andante, c, þ¾; Agnus Dei/Dona nobis: Ada- gio, F, ³¼ – Allegro con spirito, C, ³¼ Comments 2. In the parts, top left: “Fach II”, top right: “No 12”; in the parts: “Haydn”, “Jos. Haydn”; at the end of parts: “Miggenda Musici”; at the end of org: “Miggenda Musici | den 20 Sept: | 1803”. 3. Cover and extra copies of parts added later. 4. PL-KRZ I-52, PL-Świdnica 40 (mf PL-Wn 23745) cf. e.g. RISM ID no.: 301003105 (PL-WRu), 1001045061 (PL-OPark), 550267413 (CZ-Pak), 550269029 (CZ-Pkřiž) 5. RISM ID no.: 1001035247

M-45b Messe Solen. | in C. | a | 4. Voix avec accompagnement de 2 Violons, | Viola et Basse, une Flute, 2 Hautbois, | 2 Clarinettes, 2 Bassons, 2 Cors, 2 Trompettes, | Timbales et Orgua | composée par | Joseph Haydn. | No II. | Partition. Schöpler [crossed out] || Eigenthum der Stadtpfarrkirche | in Glatz.

Manuscript score F: 36,5 × 23,5 cm p. 201

Comments 1. X, 8 1928

M-46 174. [Missa, C; “Mariazeller Messe”] Hob XXII: 8

Missa in C Solennis VII | a | 3 Canto, 2 Alto, 2 Tenore, 2 Basso | Violino Imo et IIdo Viola (in dupplo) | Oboe Primo et Secundo | Cornu Primo et Secundo | Fagotto a Gratias, Timpano, Violon, Violoncello et Organo | Auth. Jos. Haydn || Eigenthum der Stadt= Pfarrkirche | in Glatz.

Parts: (2x)C(5,4), A(4)T(4)B(4) solo, C(4)A(4)T(4)B(4) tutti, (2x)vl 1(5,4)- -2(5,4), (2x)vla(4,3), vlne(4), ob 1(2)-2(2), fag(1), (2x)clno in C 1(1,1)- -2(1,1), timp(1), org(4) + Directionstimme F: 40 × 24,5; 36 × 24 cm. f. 80 + cover + p. 32 wm 1827

171 Katalog | The Catalogue

Sections Kyrie: Adagio, C, ¡; Gloria: Allegro con spirito, C, ¡; Credo: Vivace, C, ³¼; Sanctus/Benedictus: Adagio, C, ³¼ – Allegretto, g, ²¼; Agnus Dei/ Dona nobis: Adagio, c, ¡ – Vivace, C, ¡ Comments 1. Fach LXIV No 132 2. In the parts, top left: “Fach LXIV”, top right: “No 132”; at the end of parts CATB solo, vl 1-2, vla, ob 1: “fine revis. 1827”; at the end of T solo: “ P r a u s e”. 3. Additionally: “Directions Stimme | zur solen. Messe in C | von | Jos: Haydn | No. VII”; Fach L No 45; X, 12 1928. 4. PL-Kk; cf. e.g. RISM ID no.:1001045062 (PL-OPark), 550509227 (CZ-ROZdu), 550031310 (CZ-Pnm), 570004616 (SK-BRnm) 5. RISM ID no.: 1001035929

M-44 175. [Missa, d; “Nelsonmesse”] Hob XXII: 11

Missa Solenn. in D moll. | Canto, Alto, Tenore, B. | (et in Kyrie Canto Primo et Secundo) | Violino Primo et Secundo. | Alto Viola, | Flauto, Fagotto, Clarino Principal I et II | Clarinetto Primo et Secundo | Oboe Primo et Secundo | Basso, Violoncello, Timpano | et Organo. | Auth: Joseph Haÿdn | No III. || Eigenthum der kathol: Pfarr= Kirche | zu Glatz.

Parts: C (2x)1(4,4)-2(1), A(4)T(3)B(5), vl (3x)1(6,6,5)-(2x)2(6,4), vla(3), vlc et vlne(5), fl (2), fl trav.(2), ob 1(2)-2(2), cl in C 1(2)-2(2), fag(2), cor in D 1(2)-2(2), (2x)clno princ(1,2), clno in D 1(1)-2(1), (2x)timp(1,2), b et org(6), org =bc(4) +{C 1(4)-2(4), A(3)T(3)B(3), vla(3)} F: 38 × 24 cm f. 88 + cover + {20} wm [1800–1849; {1840–1860}]

172 I. Authorum nominibus signata

Sections Kyrie: Allegro moderato, d, ³¼; Gloria: Allegro, D, ¡; Credo: Allegro con spirito, D, ¢; Sanctus/Benedictus: Adagio, D, ¢ – Allegro moderato, d, ²¼; Agnus Dei/Dona nobis: Adagio, G, ³¼ – Allegro vivace, D/d, ¡ Comments 1. Fach II No 13 2. In the parts, top left: “Fach II”, top right: “No 13”. 4. PL-KRZ I-45; cf. RISM ID no.: 300257697 (PL-BA); 300000441 (PL-CZ), 303000053 (PL-OPsm) 5. RISM ID no.: 1001036130

M-42 176. [Missa, B; “S. Bernardi von Offida; Heiligmesse”] Hob XXII: 10

Messe. | à 4 Voix avec accompagnement de 2 Violons, | Viola et Basse, 2 Hautbois 2 Clarinettes, | 2 Bassons, Trompettes, Timbales | et Organe [!] | composée par | Joseph Haydn | No 1 || Eigenthum der Stadt=Pfarrkirche | in Glatz.

Parts: (3x)S(5,6,6), A(5)T(5)B(5), (2x)vl 1(4,6)-2(5,5), vla(4), vlc et vlne(5), ob 1(3)-2(3), cl in B 1(3)-2(3), fag 1(2)-2(2), clno in B 1(1)-2(2), timp(2), org et b =bc(6) F: 36,5 × 23,5 cm f. 88 + cover wm [1800–1849]

Sections Kyrie: Adagio, B, ³¼; Gloria: Vivace, B, ¡; Credo: Allegro, B, c; Sanctus/ Benedictus: Adagio, B, ¡ – Moderato, Es, ²¼; Agnus Dei/Dona nobis: Adagio, b, ³¼ – Allegro, B, ³¼

173 Katalog | The Catalogue

Comments 1. Fach II No 11 2. In the parts, top left: “Fach II”, top right: “No 11”. 3. In S part, in section Et incarnatus – divisi (Soprano secundo solo), in one of the copies – on a separate card. 4. Cf. e.g. RISM ID no.: 550031227 (CZ-KU), 550031198 (CZ-Pnm) 5. RISM ID no.: 1001036061

Score F: 26,5 × 35 cm p. 107

M-43 177. [Missa, B; “Harmoniemesse”] Hob XXII: 14

Missa in B No VI. | a | Quatuor Vocibus Solo et Tutti, | Violino Imo et IIdo in duplo | Viola in duplo | Oboe Imo et IIdo | Clarinetto Imo et IIdo | Flauto terzio Solo | Fagottis | Corno Imo et IIdo | Clarino Imo et IIdo | Tÿmpani V. Cello | Violone et Organo | Auth: D: J: Haÿdn || Gehört der Stadt= Pfarr= | Kirche in Glatz.

Parts: (2x)C(6,6), A(6)T(6)B(6) solo, C(6)A(6)T(6)B(6) tutti, (2x)vl 1(8,8)-2(8,8), (2x)vla(6,6), vlc(8), vlne(8), fl (4), ob 1(4)-2(4), cl in B 1(4)-2(4), fag 1+2(6), cor in B 1(2)-2(2), clno in B 1(2)-2(2), timp(2), org =bc(8) F: 39 × 25 cm f. 158 + cover wm 1836

Sections Kyrie: Poco Adagio, B, ³¼; Gloria: Vivace assai, B, ¡; Credo: Vivace, B, ¡; Sanctus/Benedictus: Adagio, B, ³¼ – Allegro molto, F, ¡; Agnus Dei/Dona nobis: Adagio, G, ³¼ – Allegro con spirito, B, ¡

174 I. Authorum nominibus signata

Comments 1. Fach II No 15; VII, 3 1928 2. In the parts, top left: “Fach II”, top right: “No 15 Haydn VI”; at the end of parts A solo, vl 1, vlc, vlne, org: “[18]36 Inwich | Musici”. 4. PL-Kk; PL-Henryków (mf PL-Wn 25264), cf. e.g. RISM ID no.: 300000442 (PL-CZ) 5. RISM ID no.: 1001036122

M-47 178. [Missa, B; “Kleine Orgelmesse”] Hob XXII: 7

Joseph Haÿd’ns [!] | kleine Messe | für | 4 Singstimmen, 2 Violinen, | 2 Hoboen, 2 Hörn, Orgel | und Contra Bass nebst Wiolonzell || Gehört der Stadt Pfarr= | Kirche in Glatz

Parts: C solo (2), (2x)C(2,2), A(1), (2x)T(1,2), B(1) tutti, vl (2x)1(2,2)-2(2), (2x)vlc et b(2,2), ob 1(1)-2(1), clno in B 1(1)-2(1), org(3) F: 35,5 × 22; 18 × 22 cm f. 28 + cover wm [1800–1849]

Sections Kyrie: Adagio, B, ¡; Gloria: Allegro moderato, B, ³¼; Credo: Allegro, B, ¡; Sanctus/Benedictus: Allegro, B, þ¾ – Moderato, Es, ¡; Agnus Dei: Adagio, B, ³¼ Comments 1. Fach VIII No 74 2. In the parts, top left: “Fach VIII”, top right: “No 74”. 4. PL-KRZ; cf. RISM ID no.: 300000445 (PL-CZ), 540000092 (SI-Ls) 5. RISM ID no.: 1001036265

M-399 179. [Missa, B; “Theresienmesse”] Hob XXII: 12

175 Katalog | The Catalogue

Secondo | Tympano | con | Organo, Violon, et Violoncello. | Joseph Haÿden | Nr. VIII. || Gehört der Kirche in Glatz.

Parts: (3x)S(4,4,6), A(4)T(4)B(4), (2x)vl 1(5,5)-2(5,5), vla (4), vlc(4), vlne(4), cl in B 1(2)-2(2), clno et cor in B 1(2)-2(2), timp(1), org =bc(4) F: 35 × 23 cm f. 71 + cover [1800–1849]

Sections Kyrie: Adagio, B, ¢; Gloria: Allegro, B, ³¼; Credo: Allegro, B, c Sanctus/ Benedictus: Andante, B, ³¼ – Moderato quasi andante, G, ³¼; Agnus Dei: Adagio, g, ¢ Comments 1. Fach II No 16; VII, 81928 4. Cf. e.g. RISM ID no.: 1001044966 (PL-OPsm), 550270434 (CZ-Pnm), 570004282 (SK-BRnm), 570004617 (SK-BRnm) 5. RISM ID no.: 1001036266

M-399b Messe Solenn. in B | a | 4 Voix avec accompagnement de | 2 Violons, Viola, Violoncello et Basso | 2 Clarinettis 2 Cornis, Timballis | et Orgue | composee par | Joseph Haydn | N-r VIII. | Partition || Eigenthum der Stadtpfarr= Kirche in Glatz | Schöpler [crossed out]

Manuscript score F: 35 × 23,5 cm p. (2) + 228

M-418 180. [Missa, B] Hob: Bb5

176 I. Authorum nominibus signata

Parts: (3x)C(2,2,2), A(2)T(2)B(2), vl 1(2)-2(2), vla(2), b et vlc(2), cl in B 1(1)-2(1), cor in B 1(1)-2(1), org =bc(3) F: 41 × 22,5 cm f. 27 wm 1822

Sections Kyrie: Adagio, B, ¡; Gloria: Allegro moderato, B, ³¼; Credo: Allegro mo derato, B, ¡; Sanctus/Benedictus: Adagio, B, ¢ – Andante, B, ²¼; Agnus Dei: Adagio, B, ³¼ Comments 1. Fach VIII No 75; VII, 9 [1928] 2. In vla part, top right: “Haydn”. 4. Cf. e.g. RISM ID no.: 603001311 (A-LA), 550502232 (CZ-Pu), 550031228 (CZ-KU) 5. RISM ID no.: 1001036320

M-421 181. [Missa, B; “Schöpfungsmesse”] Hob XXII: 13

Parts: (3x)C(5,5,5), A(5), (2x)T(5,4), (2x)B(5,4), (2x)vl 1(8,8)-2(7,6), a-vla(5), ob 1(3)-2(3), cl in B 1(2)-2(2), fag 1+2(3), cor in B 1(2)-2(2), clno in B 1(2)-2(2), timp(2) F: 39 × 34,5 cm f. 95 + cover [1800–1849]

177 Katalog | The Catalogue

Sections Kyrie: Adagio, B, ³¼; Gloria: Allegro, B, ¡; Credo: Vivace, B, ¡; Sanctus/ Benedictus: Adagio, B, ¢ – Allegretto, Es, þ¾; Agnus/Dona nobis: Adagio, G, ³¼ – Allegro molto, B, ¡ Comments 1. Fach II No 14 2. In the parts, top left: “Fach II”, top right: “No 14”. 3. Missing parts: fl 1-2. 4. Cf. e.g. RISM ID no.: 570003202 (SK-BRnm), 456006464 (D-RF), 456006463 (D-GRH) 5. RISM ID no.: 1001037337

M-421b [Messe in B dur | No 4 | Auth: Jos: Haydn | Partitur.]

Manuscript score F: 37 × 24 cm p. 231

Comments 3. On the dust cover: “der Kirche geschenkt v. | Rector | Schöpler”

M-419 182. [Missa, Es; “Grosse Orgel-Solo-Messe”] Hob XXII: 4

Missa in Es sol. | a | Canto, Alto, Tenore, Basso | Violino Imo et IIdo | Clarinetto Imo et IIdo in B. | Cornu Imo et IIdo in Es | Viola et Fagotto | Alto und Tenor Trombone | Violon et Violoncello | Tÿmpano | et | Organo solo | Auth: D: Jos: Haÿdn | Grosmann [crossed out] || Eigenthum der Stadt Pfarrkirche | in Glatz.

Parts: (3x)C(4,4,4), A(4)T(4)B(4), vl (2x)1(5,6)-2(4), vla(2), vlne et vlc(4), cl in B 1(2)-2(2), fag(2), cor in Es 1(1)-2(1), clno in Es 1(1)-2(1), a-t-trb(3,2), timp(1), org solo =bc(9) F: 38 × 24 cm f. 70 + cover wm [1800–1849]

178 I. Authorum nominibus signata

Sections Kyrie: Allegro moderato, Es, ³¼; [Gloria] Et in terra: Moderato, Es, ¡; [Credo] Patrem omnipotentem: Vivace, Es, ³¼; Sanctus/Benedictus: An- dante, Es, ³¼ – Moderato, B, ¡; Agnus Dei/Dona nobis: Adagio, As, ³¼ – Presto, Es, þ¾ Comments 1. Fach LXIV No 131 2. In the parts, top left: “Fach LXIV”, top right: “No 131 | J. Haÿdn”. 4. Cf. e.g. RISM ID no.: 300000446 (PL-CZ), 300514425 (PL-Wu), 300513002 (PL-KAMkp), 303005351 (PL-OPsm), 302002423 (PL-GD), 570004410 (SK-BRnm) 5. RISM ID no.: 1001037340

M-419b Missa Solen in Es | a | Canto, Alto, Tenore, Basso | Violino Primo et Secndo, Viola |, Clarinetto Primo et Secundo, Fagotto, | Cornu Primo et Secundo, | Clarino Primo et Secundo, Timpani | Violone, Violoncello et | Organo. | Auth. Jos: Haÿdn. | Partitur || Eigenthum der Stadt= Pfarr= Kirche | in Glatz.

Manuscript score F: 40 × 25 cm p. 169

Comments 1. Fach L No 44; X,10 [1928]

M-420b 183. [Missa, Es] Hob XXII: Es 4

Missa in Es solen. | fur | Canto, Alto, Tenore, Basso | Violino Primo et Secudo, Viola | Clarinetto Primo et Secundo, Fagotto | Cornu Primo et Secundo, Clarino Imo et IIdo | Timpano, Violon et Organo | Auth: Jos: Haÿdn | Partitur || Eigenthum der Stadt= Pfarrkirche | in Glatz.

Manuscript score F: 38,5 × 25 cm p. 129

179 Katalog | The Catalogue

Sections Kyrie: Moderato, Es, þ¼; Gloria: Allegro con spirito, Es, ¢; Credo: Mo derato, Es, ¡; Sanctus: Adagio, Es, ³¼; Agnus Dei/Dona nobis: Adagio, Es, ²¼ – Allegro non molto, Es, ²¼ Comments 1. Fach LI No 52; X, 11 1928 3. Dubious attribution retained in agreement with title page. 4. RISM ID no.: 553006012 (CZ-VA), 552000006 (CZ-Pu) and 550031188 (CZ-KU) [Ryba, Jakub Šimon Jan, NemR 378]; cf. 300001065 (PL-CZ) [Righini, Vincenzo] and 600054314 (A-Wm) [Anonymous] 5. RISM ID no.: 1001037341

A-231 184. [O admirabile coeli – Hospes Jesus, G] – contrafactum of the aria Veni sancte Spiritus, Hob XXIIIa: G2

Aria | Canto Solo | Violino Primo | Violino Secundo | Alto Viola | Con Organo | Auth: Del: Sige: Hayden | Josephus Schwarzer | Anno Domini 1770 [crossed out] || Eigenthum der Stadtpfarrkirche in Glatz

Parts: C(2), vl 1(2)-2(2), vla(1), org =bc(2) F: 36,5 × 23 cm f. 9 + cover wm 1770

Comments 1. Fach XXXVIII No 42; VII, 5 1928 2. In the top right corner of vl 1 part: “Hayden”; vla: “Heyden”.

180 I. Authorum nominibus signata

4. RISM ID no.: 600077244 (A-WIL) [with text: Veni sancte spiritus], 600258058 (A-MT) [Haydn, Michael; with text: Quis sicut Dominus], 600502977 (A-SCH) [Anonymous; with text: Alme rector coelorum] 5. RISM ID no.: 1001039522

R-129 185. [Requiem, Es] Hob II, XXIIa: Es 5

Requiem | v. J. Haÿdn. | Haertel [crossed out] || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: (3x)C(1,1,1), A(1)T(1)B(1), vl 1(2)-2(2), b(1), cor in Es 1(1)-2(1), org =bc(1) F: 34,5 × 21 cm f. 14 + dust cover wm [1750–1799]

Sections Requiem aeternam: Tarde, Es, ¡; Dies irae: Tarde, Es, ³¼; [Offertorium] In ictu oculi: Tarde, Es, ³¼; Sanctus/Benedictus: Tarde, Es, ³¼– Andante, g, ²¼; Agnus Dei: Tarde, Es, ³¼; Lux aeterna: Tarde, As, ³¼ Comments 1. Fach XI No 8; VII, 2 1928 2. In the parts, top left: “Fach XI”, top right: “No 8”. 3. Original cover missing, b part included but not listed on title page.; the manuscript contains 2nd copy, compiled by two copyists in the 1st half of the 19th c.: “Requiem | a | Canto, Alto, Tenore, Basso | Violino 2bus | Cornuis 2bus | con Organo, | par | J. Haydn. | Pfitzner [?] Prause [crossed out] || Eigenthum der Stadt Pfarr | Kirche in Glatz” (f. 16; F: 24 × 19 cm). 4. PL-Wb [olim ŚL]; cf. e.g. RISM ID no.: 1001036472 (PL-SA), 1001008942 (PL-CZ), 300257760 (PL-PIk), 301050520 (PL-STAb), 300033345 (PL-Pa) 5. RISM ID no.: 1001039523

181 Katalog | The Catalogue

Am-196 186. [Salve regina, E] Hob XXIIIb: 1

Parts: C(1) solo, A(1)T(1)B(1) rip., vl 1(2)-2(2), org =bc(2) F: 33 × 22; 17 × 21,5 cm f. 10 wm 1768

Comments 1. Fach XVII No 7 2. At the end of B part: “Descripsit Josephus | Kuschel Poëta | die 16. Februarii Ao 1768”. 4. RISM ID no.: 300512851 (PL-Wu) 5. RISM ID no.: 1001039524

376 187. [Die sieben Worte des Erlösers am Kreuze] Hob XX: 2

Die sieben Worte des | Erlösers | Canto, Alto, Tenore, Basso. | Violine Imo et IIdo, Viola | Oboe Primo et Secundo | Clarinetto Primo et Secundo | Flauto Primo et Secundo | Fagotto Primo et Secundo | Cornu Primo et Secundo | Clarino Primo et Secundo. | Alt- et Tenor Trombone | Timpano, Violoncello et Violon. | Auth: Jos: Haydn. | Prause [crossed out] || Eigenthum der Stadtpfarrkirche | in Glatz.

Parts: (3x)S(6,6,6), (2x)A(5,5), (2x)T(5,6), (2x)B(5,4), vl 1(6)-2(6), vla 1+2(5), vlc et b(4), fl obl.(3), ob 1(3)-2(3), cl in B 1(2)-2(2), fag 1(3)-2(3), cor (2)1-2(2), clno in C -2(1)[!], a-t-trb(2,2) F: 38 × 25 cm f. 97 + cover wm [1800–1849]

182 I. Authorum nominibus signata

Comments 2. In the parts (1x)S, vla, vlne et b, fl, ob 1-2, cl 1-2, cor 2, clno 2, a- t-trb, top left: “Oratorio”; in the parts (2x)S, A, vl -2, fl, ob 1-2, cl 1-2, fag, cor 2, clno 2, top right: “Die sieben Worte von Haydn”. 3. Missing parts: clno 1, timp. 4. PL-KRZ XIII-5; cf. e.g. RISM ID no.: 1001043791 (PL-OPark), 300257674 (PL-BA), 300000456 (PL-CZ), 300000457 (PL-CZ) [instrumental version; the quartet] 5. RISM ID no.: 1001039883

376b [print] J. Haydn’s | Oratorium | Die Worte des Erlösers am Kreuze | Partitur, | Le sette ultime parole del Redentore al Croce. | Oratorio | de Giuseppe Haydn | in Partitura | Bey Breitkopf und Hartel in Leipzig 1801 || Eigenthum der Stadt- Pfarr | Kirche in Glatz

F: 38,5 × 26 cm p. 112

H-400 188. [Te Deum laudamus, C] Hob XXIIIc: 2

Te Deum | für | Vier Singstimmen | Zweÿ Violinen | Viola und Floete | Zweÿ Oboe und Horn | Zweÿ Trompeten, Pauken | Fagott […] | und | Orgel. | Von Jos. Haÿdn. | Mit unterlegtem deutschen Texte von Professor Clo- | dius. || gehört der Stadt Pfarr- | Kirche in Glatz.

Parts: (2x)S(2,2), A(2)T(2)B(2) tutti, (2x)vl 1(2,2)-2(2,2), a-vla (2), {b(2)}, fl(1), ob 1(1)-2(1), fag(2), cor in C 1(1)-2(1), clno in C 1(1)-2(1)-{3(1)} [!], timp(1), org =bc(2) F: 38 × 23,5 cm f. 35 + cover 1835, 1838

183 Katalog | The Catalogue

Comments 1. Fach XXII no 13; VII, 1 [1928] 2. In the parts, top left: “Fach XXII”, top right: “No 13 | v. Haydn”; at the end of parts vl 1-2, fl, ob 1-2, cor 1-2: “15.7. [18]35 | Inwich”; vla, b, fag, clno 1-2-3, timp: “Inwich”; at the end of 2nd copy of the vl 1 part: “13.4.[18]38 | Wachsmann”; b and clno 3 parts included (in a different hand) but not listed on title page; at the end of these parts: “Inwich”. 3. Provenance note on the cover. 4. Cf. e.g. RISM ID no.: 550270493 (CZ-Pnm), 450001356 (D-BAR) 5. RISM ID no.: 1001039853

H-400b [print] Te Deum | à 4 Voci | coll’accompagnamento dell’ Orchestra | composta | da | G. Haydn | Partitura || Te Deum | von J. Haydn | mit unterlegtem deutschen Texte | von | Prof. G. A. H. Clodius | Leipzig | bey Breitkopf und Härtel | [Eigenthum der Stadt-Pfarrkirche | in Glatz.]

Score F: 33,5 × 26 cm p. 44 + [2]

Comments 1. Fach XXV No 31 3. The provenance copied from the dust cover.

373 189. [Der Versöhnungstod, G] Hob XXIVa Anh. 1

Parts: C(4)A(4)T(4)B(4) solo, C(5)A(4)T(4)B(4) tutti, vl 1(5)-2(5), vla(4), vlne(3), vlc et b(3), fl trav.(3), ob 1(3)-2(3), fag 1(3)-2(2), cor 1(2)-2(2), a-t-b-trb(1,1,1), timp(1) + Directionstimme

184 I. Authorum nominibus signata

F: 40 × 24 cm f. 75 + cover + 19 wm [1840–1860]

Comments 4. RISM ID no.: 650004568 (I-BREd) [a compilation], 400014603 (CH-SO) [Anonymous; with text: Wahrheit und Güte vereinet mit Liebe] 5. RISM ID no.: 1001039884

HAYDN, Michael (1737–1806) P-407b11–18 190–197. [8 Graduals] in: [OTTO, Johann Franz]: Offertoria pro Adventum [...]

Manuscript score F: 37 × 23,5 cm p. 141

[11]. [Qui sedes Domine super cherubim, B] MH 444 [SATB, vl 1-2, org] p. 74–81

[12]. [Prope est Dominus omnibus, a] MH 445 [SATB, vl 1-2, org] p. 82–92

185 Katalog | The Catalogue

[13]. [Tollite portas principes vestras, C] MH 387 [SATB, vl 1-2, clno 1-2, timp, org] p. 93–97

[14]. [Ave Maria, gratia plena Dominus tecum, a] MH 388 [SATB, vl 1-2, clno 1-2, org] p. 98–105

[15]. [Ne timeas Maria invenisti enim gratiam, g] MH 409 [SATB, vl 1-2, clno 1-2, org] p. 106–111

[16]. [Ecce virgo concipiet, et pariet filium, Es] MH 408 [SATB, vl 1-2, cor 1-2, org] p. 112–121

[17]. [Ex Sion species decoris ejus, g] MH 443 [SATB, vl 1-2, org] p. 122–130

186 I. Authorum nominibus signata

[18]. [Universi qui te expectant, d] MH 442 [SATB, vl 1-2, org] p. 131–141

Comments 3. Cf. Catalogue no. 332–341 [Otto, Johann Franz] 4. Cf. e.g. RISM ID no.: [11]. 550031448 (CZ-LIT), [12]. 550265852 (CZ-OSm), [13]. 550031534 (CZ-LIT), [14]. 550031535 (CZ-LIT), [15]. 550031532 (CZ-LIT), [16]. 550265837 (CZ-OSm), [17]. 1001017874 (H-Sp), [18]. 550031446 (CZ-LIT) 5. RISM ID no.: 1001037950: [11]. 1001038129, [12]. 1001038138, [13].1001038144, [14]. 1001038152, [15]. 1001038157, [16]. 1001038161, [17]. 1001038168, [18]. 1001039114

M-120 198. [Missa, C; “Die deutsche Messe”] Hob XXII: B 4; MH 560

Parts: C(3)T(2), (2x)fl 1(2,1)-2(2,1), ob 1(1)-2(1), cl 1(2)-2(2), fag 1(2)-2(2), cor in C 1(1)-2(1), org =bc(2) + piano transcript F: 35,5 × 22,5; 24 × 18,5 cm f. 25 + p. 14 wm [1840–1860]

Sections [Kyrie] Hier liegt vor deiner Majestät: Langsam, C, ¢; [Gloria] Gott soll gepriesen werden: Freudig, G, ²¼; [Graduale] Herr du bist gebenedeiet: Langsam, F, ¡; [Credo] Allmächtiger vor dir im Staube: Langsam, C, ¢; [Offertorium] Nimm an o Herr die Gaben: Langsam, F, ²¼; [Sanctus] Singt heilig: Freudig nicht zu langsam, C, ¢; Post Elevationem [Bene- dictus] Sieh Vater von dem höchsten Throne: Ein wenig langsam, F, ³¼;

187 Katalog | The Catalogue

[Agnus Dei] Betrachtet ihn in Schmerzen: Traurig und langsam, a, ¢; [Communio] Freudig nicht zu langsam, F, ¢; Dona nobis: Nun ist das Lamm geschlachtet: Nicht zu langsam, C, ¢ Comments 1. Fach XIII No 32 2. In the parts, top left: “Fach XIII”, top right: “No 32”. 3. The manuscript compiled by two copyists; parts preserved separately. 4. Composer identification after RISM ID no.: 1001050482, 1001050479 (PL-Wb) [Haydn, Michael], 1001043123 (PL-OPsm), 301010008 (PL-WRu) 301005245 (PL-WRu) and 550270506 (CZ-Pnm), 230004114 (D-AG) [Haydn, Michael] 5. RISM ID no.: 1001039886

M-422 199. [Missa, G] Hob XXII: G1

Missa in G. | Canto, Alto, Tenore, Basso. | Violino primo et Secundo. | Oboe primo et secundo. | Corno primo et secundo. | Alto Viola, Benedictus Solo. | Auth: Michael Haÿden. || Eigenthum der Stadt Pfarr Kirche | in Glatz.

Parts: S(2)A(2)T(3)B(2) concertino, vl 1(5)-2(4),vla (1), ob 1(1)-2(1), cor in G 1(1)-2(1), org =bc(4) F: 27,5 × 22 cm f. 27 + cover [1780–1820]

Sections Kyrie: Allegretto, G, ¹¾; Gloria: Alla breve. Allegro moderato, C, ¢; Credo: Moderato, G, ³¼; Sanctus/Benedictus: Tardetto, G, ³¼ – Andantino, C, ¡; Agnus Dei: Tarde, g, ³¼ Comments 1. Fach XXXV No 21 4. Cf. e.g. RISM ID no.: 552001502 (CZ-PELmv), 570004286 (SK-BRnm), 455024077 (D-Mbs) 5. RISM ID no.: 1001039887

188 I. Authorum nominibus signata

M-48 200. [Missa, Es]

Parts: C(5)A(4)T(4)B(4), vl 1(7)-2(7), a-vla(5), vlne(7), ob 1(4)-2(3), fag(1), cor in Dis [Es] 1(2)-2(2), org(7) + {C(3)A(3)T(3)B(3), vl 1(3)-2(2), fag(1)} F: 27,5 × 20; 40,5 × 25,5 cm f. 62 + cover + {18} wm [1790–1810, {1800–1849}]

Sections Kyrie: Adagio, Es, ³¼; Gloria: Allegro moderato, Es, ¡; Credo: Allegro, Es, ¡; Sanctus/Benedictus: Allegro, Es, ³¼ – Andante, C, ¡; Agnus Dei: Adagio, Es, ³¼ Comments 1. Fach LIII No 22 2. In the parts, top left: “Fach LIII”, top right: “di Heyden | No 22”. 3. Original cover missing, parts preserved separately; the new dust cover added with the new part copies: “Missa in Es | Canto, Alto, Tenore, Bas- so | Violino Primo et Secundo | Oboe Primo et Secundo | Alto Viola | Fagotto ut Benedictus Solo | Cornu Primo et Secundo | Violon et Orga- no. | Del. Sige: Michael Haydn || Eigenthum der Stadt Pfarr= | Kirche in Glatz” – dubious attribution. 4. RISM Ø 5. RISM ID no.: 1001036305

P-287 201. [Tres sunt qui testimonium dant, C] MH 183

Parts: (2x)C(1,2), A(1)T(1)B(1), vl (2x)1(1,2)-2(1), vla(1), vlne et vlc(1), clno in C 1(1)-2(1), timp(1), org =bc(1)

189 Katalog | The Catalogue

F: 37,5 × 23 cm f. 16 + dust cover wm [1800–1849]

Comments 1. Fach XXXII No 35; X, 4 1928 2. In the parts, top left: “Fach XXXII”, top right: “No 35”. 3. Original cover missing. 4. PL-KRZ IX-1; cf. e.g. RISM ID no.: 1001045060 (PL-OPark), 303005633 (PL-OPsm), 552000078 (CZ-Pu), 550282453 (CZ-Pkřiž), 551002142 (CZ-BRE), 605000322 (A-LId) 5. RISM ID no.: 1001039888

Manuscript score F: 27 × 21 cm p. 31

HILLER, Johann Adam (1728–1804) A-2321–4 202–205. [1. Aria, F] [2. Aria, G] [3. Unius oda trinitas, Es] – contrafactum of Von sanften Pforten will ich singen from the opera Die Dichtkunst [4. Lauda Sion salvatorem, D]

III ARIEN et CORO {de Venerabilis} | a | Canto, Alto, Tenore, Basso | I Aria Tenore Solo, II et III Canto Solo, Coro Tutti | Violinis IIbus | Obois et Flautis IIbus | Corno IIbus | Alto Viola | ORGANO | Auth: Hiller || Eigenthum der StadtPfarrKirche [!] | in Glatz

190 I. Authorum nominibus signata

Parts: C(2)A(1)T(2)B(1), vl 1(4)-2(4), vla(3), ob et fl 1(2)-2(2), cor in F 1(1)-2(1), org =bc(4) F: 31 × 23 cm f. 27 + cover wm [1750–1799]

[1]. T solo(1r), vl 1(1r)-2(1r), vla(1r), ob 1(1r)-2(1r), cor in F (1r)-2(1r), org(1r) f. 9

[2]. C solo(1r), vl 1(1v-2r)-2(1v-2r), vla(1v), fl 1(1v)-2(1v), org(1v-2r) f. 10

[3]. C solo(1v-2r), vl 1(2v-3r)-2(2v-3r), vla(2r-v), org(2v-3r) f. 9

[4]. C(2r-v), A(1r), T(1v-2r), B(1r), vl 1(3r-4r)-2(3r-4r), vla(3r-v), ob 1(2r-v)-2(2r-v), cor in D 1(1r-v)-2(1r-v), org(3v-4r) f. 16

191 Katalog | The Catalogue

Comments 1. Fach XXXVIII No 32; XXVII, 35 1928 3. In the arias I and II missing text. 4. [1]. RISM Ø; [2]. RISM ID no.: 469158300 (D-Bsa) [with text: Volle Hymnen sanfte Lieder, [3]. 400012245 (CH-E) [with text: Von sanften Pforten will ich singen, [4]. Coro 469075800 (D-Bsa) [Anonymous; with text: Erschallt ihr Hymnen] 5. RISM ID no.: 1001034601: [1]. 1001034603, [2]. 1001034605, [3]. 1001034952, [4]. 1001034954

HOFFMANN (18.sc) 346 206. [Omnes confugite magnum die, C]

Motetto | de Sancta vel Sancta | Soprano Conc-to | Alto | Tenore | Basso in choro | Violinis 2bus | Clarinis 2bus | con | Organo | Del. Sig-re Hoffmann || Eigenthum der Stadt= Pfarr | Kirche in Glatz

Parts: S conc(2), A(1)T(1)B(1) coro, vl 1(2)-2(2), clno in C 1(1)-2(1), org =bc(2) F: 30,5 × 22 cm f. 13 + cover wm [1750–1799]

Comments 1. Fach XXVI No 5; XXVII, 8 1928 4. RISM Ø 5. RISM ID no.: 1001039885

192 I. Authorum nominibus signata

HOFFMANN, Wenzel (18.sc) Am-20320 207. [Salve regina, G] in: [Collection of 21 Salve…]

[20]. C(15v-16v), A(10v-11r), vl 1(22r-23r)-2(21v-22v), vla(2r-v), org(20r-v) f. 10

Comments 2. At the end of parts vl 1-2, org: “del Hoffmann”. 3. Cf. Catalogue no. 533; cf. Collections no. 2. 4. Composer identification after RISM ID no.: 550266661 (CZ-Pkřiž) [Hoffmann, Wenzel] 5. RISM ID no.: 1001014735: [20]. 1001030266

HOLÝ, Ondrej František (1747–1783) V-159 208. [Vesperae, F]

Parts: C(6)A(6)T(6)B(6), vl 1(8)-2(8), vla(8), cor 1(4)-2(4), org =bc(7) F: 30,5 × 22 cm f. 63 + cover wm [1750–1799]

193 Katalog | The Catalogue

Sections Dixit Dominus: Andante, F, ²¼; Confitebor tibi: Andante, B, ²¼; Beatus vir: Allegro non tanto, G, ³¼; Laudate pueri: Tempo giusto, C, ¢; Laudate Dominum: Allegro non tanto, A, ³¼; Credidi propter: Andante più grave, F, ¢; Magnificat: Adagio più grave, F,¡ Comments 1. Fach XXXVI No 23; XXX, 10 1928 4. RISM ID no.: 300512871 (PL-Wu) 5. RISM ID no.: 1001040159

HÖPLER, Simone (18/19.sc) P-3334 209. [Ecce sacerdos magnus, C] in: V Offertorien…

[4]. C(1v-2r), A(1v-2r), T(1v-2r), B(1v-2r), vl 1(1v-2r)-2(1v-2r), vla(1v-2r), cl et ob 1(1r-v)-2 (1r-v), cor in F 1(1r-v)-2(1r-v), clno princ. in C(1r-v), clno in C 1(1r-v), timp(1r-v), (2x)org(1v-2r, 1v-2r) f. 25

Comments 3. Cf. Catalogue no. 490 [Vogler, Georg Joseph]; cf. Collections no. 11 4. Composer identification after RISM ID no.: 300001552 (PL-CZ) [Höpler, Simone], 553002297 (CZ-NH), 550509260 (CZ-ROZdu), 550010031 (CZ-TCsm) 5. RISM ID no.: 1001034629: [4]. 1001034633

194 I. Authorum nominibus signata

HUMMEL, Johann Nepomuk (1778–1837) P-288 210. [Alma virgo mater Dei, F; op. 89] ZimH 89a

Offertorium | (Alma Virgo) | für | Sopran Solo und Chor, 2 Violinen, | Viola, 2 Floeten, 2 Oboe, 2 Fagott, | 2 Horn in F, 2 Horn in B (ad libitum), | 2 Trompeten, Pauken, Contrabass | und Orgel | von | J. N. Hummel. | Op. 89 || Eigenthum der Stadt= Pfarr= | Kirche in Glatz

Parts: S solo (1), S rip. (1), A (1), (2x)T(1,1), (2x)B(1,1), (2x)vl 1(1,1)-2(1,1), vla(1), vlc et b(1), fl 1+2(1), ob 1(1)-2(1), fag 1+2(1), cor in F 1+2(1), cor in B ad lib.1+2(1), tr 1+clno in C 2(1), timp (1), org =bc(1) + {(3x) S(1,1,1), A(1,1,1), T(1,1,1), B(1,1,1), (3x)vl 1(1,1,1)-2(1,1,1), (2x) vlc(1,1)} F: 39 × 24 cm f. 22 + fr. cover + {20} wm [1840–1860, {1850–1899}]

Comments 1. Fach XXXII No 84; XIV, 5 1928 2. In the parts, top left: “Fach XXXII”, top right: “No 84”. 3. The dust cover preserved in fragmentary form. 4. PL-GN V/65 (IdaK, p. 244); cf. e.g. RISM ID no.: 300000504 (PL-CZ), 551000520 (CZ-Pu), 550500305 (CZ-SE), 400108180 (CH-BM) 5. RISM ID no.: 1001040161

Manuscript score F: 39,5 × 24 cm p. 38

195 Katalog | The Catalogue

Comments 1. Fach IX No 81; XIV, 4 1928

M-50 211. [Missa, B] ZimH 77

Missa Solemnis in B No I | Canto, Alto, Tenore, Basso | Violino Imo et IIdo dupplo | Viola primo et Secundo | Oboe primo et Secundo | Fagotto Primo et Secundo | Clarino Primo et Secundo | Timpano in B. F. et G. D. | Violon et Violoncello | con Organo. | Werk 77. | Auth: J. N. Hummel || Gehört der Stadt= Pfarr= | Kirche in Glatz

Parts: (3x)C(4,4,4), (2x)A(4,4), (2x)T(4,2), (2x)B(4,2), vl 1(2x)(5,5)-2(5), vla 1+2(4), (2x)vlc et b(4, 4), ob 1(3)-2(3), cl in B 1(3)-2(3), fag 1(3)-2(2), cor in B 1(2)-2(2), clno in B 1(2)-2(2), timp(2), org(4) + “Direction- stimme” F: 37 × 23,5; 32 × 25; 40 × 25 cm f. 90 + cover + 31 + {dust cover} wm 1829

Sections Kyrie: Andante, B, ³¼; Gloria: Allegro con spirito, B, ¡; Credo: Alla breve, B, ¢; Sanctus/Benedictus: Adagio maestoso, B, ³¼ – Allegretto, G, þ¾; Ag- nus Dei/Dona nobis: Andante, Es, ¢ – Allegro moderato, B, ³¼ Comments 1. Fach I No 8; XIV, 12 1928 2. In the parts, top left: “Fach I”, top right: “No 8”; at the end of one of the T copies: “Finis revis | 1829”. 3. Manuscript made up of two sources bound together, M-50 and M-69; added part: “Directions=Stimme”, Fach XXV No 6, in later dust cover: “Pausewang”. 4. Cf. e.g. RISM ID no.: 300000505 (PL-CZ), 301004349 and 301009233 (PL-WRu), 300257156 (PL-Kd) [Anonymous], 550245546 (CZ-ND), 540003108 (SI-Ms) 5. RISM ID no.: 1001040162

196 I. Authorum nominibus signata

M-51 212. [Missa, Es] ZimH 80

Missa in Es No II. | a | Canto, Alto, Tenore, Basso Imo et IIdo | Violino Primo, Violino Secundo, Viola I et II. | II Fagotte, II Oboe, I Flauto, II Clarinetto, | II Cornu, II Clarino, Timpano, Violon, | Violoncello et Organo. | Auth: J. N. Hummel. | Geschenkt vom Herrn Kaufmann Grolms | von hier im Jahre 1820 || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: S(5)A(5)T(5)B(5) conc., (4x)S(4,4,4,4), (3x)A(4,4,4), (3x)T(4,4,4), (2x) B(4,4) rip., (2x)vl 1(7,8)-2(7,6), (2x)vla(6,7), vlc/cb(7), cb(4), fl(2), ob 1(4)-2(4), cl in B 1(3)-2(3), fag 1(4)-2(4), cor in Es 1(4)-2(3), tr in Es 1(2)-2(2), a-t-b-trb ad lib.(1,1,1), timp(2), org =bc(8) F: 39,5 × 25 cm f. 168 + cover wm 1820/1821

Sections Kyrie: Andante maestoso, Es, ¢; Gloria: Allegro, Es, ¡; Credo: Allegro moderato, Es, þ¼; Sanctus/Benedictus: Grave assai, Es, ¡ – Un poco allegretto, G, ²¼; Agnus Dei/Dona nobis: Adagio, Es, ³¼ – Allegro moderato, Es, ¢ Comments 1. Fach I No 9; XIV, 10 1928 2. In the parts, top left: “Fach I”, top right: “No 9”; at the end of A rip.: “J. Cebauer”; vl 1: “Wachsmann”; ob 1: “Finis Franz Sulzbacher: [1]820/ [1]821”; ob 2: „F: I: S: 820/821”; cl 1: “F: I: S: [1]820”; cl 2, fag: “F: I: S:”. 3. Ob 2 part, because of blot on 1st page part copied again in a different hand. 4. Cf. e.g. RISM ID no.: 550265872 (CZ-OSm), 570000873 (SK-BRnm), 400107012 (CH-SGd) 5. RISM ID no.: 1001040166

197 Katalog | The Catalogue

HUNKE, Josef František (1802–1883) M-52 213. [Missa, F]

Fest= Messe | Soprano, Alto, Tenore, Basso, | 2 Violinen, Viola, Flauto, | 2 Clarinetten, 2 Höerner, | 2 Fagotte, 2 Trompeten, | Pauken, Cello, Contrabass | und Orgel | componirt von | Josef Hunke. || Eigenthum | der Stadtpfarrkirche | in Glatz. {1864 vorgeschrieben} [in pencil]

Parts: (3x)S(4,4,4), A(4)T(4)B(4), vl (2x)1(5,5)-2(5), vla(4), vlc(5), vlne(4), fl(3), cl in C 1(3)-2(3), fag 1(3)-2(3), cor in F 1(2)-2(2), tr in C 1(2)-2(2), timp(2), org(6) F: 38 × 23 cm f. 83 + cover 1864

Sections Kyrie: Andante, F, ²¼; Gloria: Allegro, C, ¡; Credo: Allegro moderato, C, ³¼; Sanctus/Benedictus: Adagio, C, ¡ – Andantino, G, þ¾; Agnus Dei/ Dona nobis: Adagio, c, ¹¾ – Allegro, C, ¢ Comments 1. XXX, 12a 1928 4. RISM ID no.: 550280817 (CZ-Pk) 5. RISM ID no.: 1001034125

KALOUS, Václav [SIMONE a S. Bartholomeo] (1715–1786) P-314 214. [Desiderium animae eius, D]

Offertorium | De Confessore | à | C. A.T. B. | Violinis duobus | Clarinis duobus {fehlen} [in pencil] | con | Organo | Aut: P. Simone || Eigenthum der Stadt Pfarr= | Kirche | in Glatz.

198 I. Authorum nominibus signata

Parts: C(1)A(1)T(1)B(1), vl 1(2)-2(2), org =bc(1) F: 21 × 34 cm f. 9 + cover wm [1750–1799]

Comments 1. Fach XXVI No 11; XII, 18 1928 3. Missing parts cl 1-2. 4. RISM ID no.: 570002351 (SK-J) 5. RISM ID no.: 1001017898

P-312 215. [Gloria et honore, C]

S. Josepho Calasantio et Confessore | a | Canto, Alto, Tenore, Basso | Violino duobus | Oboe duobus | et | Organo. | Auth: P. Simone. || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: C(1)A(1)T(1)B(1), vl 1(2)-2(1), ob 1(1)-2(1), org =bc(1) F: 23 × 26 cm f. 10 + cover wm [1780–1820]

Comments 1. Fach XXVI No 18; XII, 20 1928 3. Org part entered on original cover: “Offertorium | de | S. Josepho Ca- lasanctio | {vel quocumque Confessore} | a | Canto Alto | Tenore Basso | Violinis duobus | Oboe duobus | et | Organo. | Authore P. Simone”; f. 2. 4. RISM Ø 5. RISM ID no.: 1001017899

199 Katalog | The Catalogue

P-313 216. [Laudemus virum gloriosum, C]

Offertorium | De Confessore | a | Canto Alto | Tenore Basso | Violinis duobus | Clarinis duobus | et | Organo. | Autore P. Simone. || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: C(1)A(1)T(2)B(2), vl 1(2)-2(2), clno 1(1)-2(1), org =bc(2) F: 21 × 24 cm f. 14 + cover wm [1750–1799]

Comments 1. Fach XXVI No 12; XII, 19 1928 2. At the end of vl 1-2 parts: “Descripsit Wenceslaus Benesch | Rhetor”. 4. RISM ID no.: 551001248 (CZ-Pnm) [Simone] 5. RISM ID no.: 1001017900

M-102 217. [Missa, G]

Missa In G | à | Canto, Alto, | Tenore, Basso | Violino Primo | Violino Secondo | Authore P. Simone || Eigenthum der Stadt Pfarr= | Kirche in Glatz

Parts: C(4)A(4)T(3)B(4), vl 1(4)-2(4), org =bc(4) F: 30 × 22 cm f. 27 + cover wm [1750–1799]

Sections Kyrie: Adagio, G, ¡; [Gloria] Et in terra: Allegro, G, ¡; [Credo] Patrem omnipotentem: Allegro, G, ³¼; Sanctus/Benedictus: Adagio, G, ¡ – An- dante, D, ¡; Agnus Dei/Dona nobis: Adagio, G, ¡ – Allegro, G, ²¼

200 I. Authorum nominibus signata

Comments 1. Fach XXXVIII No 12; XII, 17 1928 4. RISM ID no.: 1001009298 (SK-BRnm) 5. RISM ID no.: 1001017901

M-101 218. [Missa, D]

Missa In D | Sollennis | B: V: M: in Coelis Assumpta | à | Canto, Alto, Tenore, Basso, | Violino Primo | Violino Secundo | Hobois duobus | Clarinis duobus in D. | con | Organo | Authore R: P: Simone ad S: Bartholomaeum | Piarum Scholarum || Eigenthum der Stadt Pfarr | Kirche in Glatz

Parts: C(4)A(4)T(4)B(4), vl 1(5)-2(5), ob 1(3)-2(2), clno in D 1(2)-2(2), org =bc(5) F: 31 × 22 cm f. 40 + cover wm [1750–1799]

Sections Kyrie: Adagio, D, ¡; [Gloria] Et in terra: Allegro, D, ¡; [Credo] Patrem omnipotentem: Allegro, D, ³¼; Sanctus/Benedictus: Adagio, D, ¡ – An- dante, G, ²¼; Agnus Dei/Dona nobis: Adagio, D, ¡ – Allegro, D, ²¼ Comments 1. Fach XXXVII No 3; XII, 23a 1928 2. On title page: “Quoniam Alto Solo | Grad: in Fest: un: Martÿre”. 4. RISM ID no.: 300000556 (PL-CZ), 550282060 (CZ-OSm), 450007609 (D-OB) [Brixi, František Xaver] 5. RISM ID no.: 1001017902

201 Katalog | The Catalogue

KANNE, Friedrich August (1778–1833) P-289 219. [Haec dies quam fecit Dominus, D]

Offertorium in D | a | Canto Solo, Tenore Solo, Canto Alto, Tenore, Basso | Violino Principal, Violino Primo et Secundo | Viola Primo et Secundo | Fagotto Primo et Secundo, Oboe Primo et Secundo, | Cornu Primo et Secundo Clarino Primo et Secundo | Violoncello Solo, Violon, Timpano et Organo. | Auth: Kanne. || Eigenthum der Stadt= Pfarr Kirche in Glatz.

Parts: C(2)T(2) solo, C(1)A(1)T(1)B(1), vl solo(2), vl 1(1)-2(1), vla 1+2(1), vlc solo(2), vlne(2), ob 1(1)-2(1), fag 1+2(1), cor in D 1(1)-2(1), clno in D 1(1)-2(2), timp(1), org(2) F: 36,5 × 24; 18 × 24 cm f. 28 + dust cover wm [1800–1849]

Comments 1. Fach XXXII No 30; XX, 19 1928 2. Parts preceded by inscription: “Motetto”; in parts, top left: “Fach XXXII”, top right: “No 30”. 3. Original cover missing. 4. RISM Ø 5. RISM ID no.: 1001020125

KAYSER, Isfrid [Laurentius OPraem] (1712–1771) Am-265 220. [Alma redemptoris mater, F]

Parts: C(1), T solo (1), C(1)A(1)B(1), vl 1(1)-2(1), org =bc(2) F: 20,5 × 17 cm f. 9 wm [1750–1799]

202 I. Authorum nominibus signata

Comments 1. Fach XVI No 6; XXVII, 21 1928 4. Composer identification after RISM ID no.: 450058177 (D-Mbs) [Kayser, Isfrid] 5. RISM ID no.: 1001020128

V-160 221. [Vesperae, C; op. 7]

Vesperae breves de Beata | à | 4. Voci | Violino IIbus | Corni IIbus | Con Organo | Auth. Kayser | T. P. S. || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: (2x)C(4,3), A(3)T(3)B(3), vl 1(4)-2(3), lituo in C -2(1), timp(1), org =bc(3) F: 37 × 23 cm f. 28+ cover wm 1780

Sections Domine ad adjuvandum: Adagio. Allegro, C, ¡; Dixit Dominus: C, ¡; Laudate pueri: G, ¡; Laetatus sum: D, ¡; Nisi Dominus: E, ¡; Lauda Jeru- salem: B, ¡; Magnificat: Adagio, C,¡ Comments 1. Fach XXIX No 12; XX, 10 1928 2. At the end of A part: “Revisum 1780”; vl 1: “Finis 1780”. 3. Missing lituo 1 part. 4. RISM ID no.: 550269214 (CZ-BRE), 402008073 (CH-BM), 402013493 (CH-SAf) 5. RISM ID no.: 1001020131

203 Katalog | The Catalogue

KELLER (18/19.sc) R-152 222. [Requiem, Es]

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), cl 1(1)-2(1), cor in Dis [Es] 1(1)-2(1), org =bc(1) F: 37 × 23; 23,5 × 18,5 cm f. 11 + cover 1807

Sections Requiem aeternam: Adagio, Es, ²¼; Dies irae: Tarde, Es, ³¼; [Offertorium] In ictu oculi: Adagio, c, ²¼; Sanctus/Benedictus: Adagio, Es, ³¼ – Tarde, Es, ²¼; Agnus Dei: Adagio, Es, ³¼ Comments 1. Fach XI No 5; XVII, 29 1928 2. At the end of C part: “Finis [F. Z.] 1807”; at the end of other parts: “Finis F. Z.”. 4. Composer identification after RISM ID no.: 551000640 (CZ-Pu) [Keller] 5. RISM ID no.: 1001020136

KIRCHNER, Johann Michael (1752c–1802) 375 223. [In monte Oliveti, D]

Parts: C(4)A(2)T(2)B(4), vl 1(3)-2(3), vla(3), org =bc(4) F: 40 × 24 cm f. 25 + cover wm [1800–1849]

204 I. Authorum nominibus signata

Comments 1. Fach XXIV No 23 3. On title page in pencil: “Kaupert, Glatz”; manuscript compiled by se veral copyists. 4. RISM Ø 5. RISM ID no.: 1001020349

P-290 224. [O salutaris hostia, C]

Offertoria | seu | Stationes Quatuor | Pro Festo. | SS: Corporis Christi | ã | Canto Alto | Tenore Basso. | Violino Primo. | Violino Secundo. | Obois II. | Cornis II. | Con | Organo. | Del Sige: Kirchner Organista Frankensteinensi. | ad usum, | Joannis Josephi Kube Cantoris Levinensi [crossed out] || das Kirche Eigenthum

Parts: (3x)C(2,2,2), A(2)T(2)B(2), vl 1(2)-2(2), vlne(1), ob 1(2)-2(2), cor in C 1(2)-2(2), org =bc(2) F: 37 × 23,5 cm f. 27 + cover wm [1780–1820]

Comments 1. Fach XX No 6; 5 1928 2. On the org part, top right: “Auth: Kirchner”; on other parts, top left: “Fach XX”, top right: “No 6”; at the end of parts A, B, vl 1-2, org: “O. A. M. D. G. Kube”. 4. RISM Ø 5. RISM ID no.: 1001020355

205 Katalog | The Catalogue

R-130 225. [Requiem, Es]

Requiem in Dis | à | Canto, Alto, Tenore, Basso. | Violinis IIbus | Obois IIbus | Cornuis IIbus | con | Organo. | Auth: Kirchner. || Eigenthum der Stadt= | Pfarr Kirche in Glatz.

Parts: (2x)C(2,2), A(2)T(2)B(2), vl 1(3)-2(3), ob 1(1)-2(1), cor in Es 1(1)-2(1), org =bc(3) F: 34,5 × 21,5 cm f. 23 + cover wm [1750–1799]

Sections Requiem aeternam: Adagio, Es, ¡; Kyrie: Andante, Es, ³¼; Dies irae: Ada- gio, Es, ¡; [Offertorium] Judex ergo cum sedebit: Es,³¼ ; Sanctus/Bene- dictus: Adagio, Es, ¡ –Andante, B, ²¼; Agnus Dei: Adagio, Es, ¡ Comments 1. Fach XI No 10; 1, 1928 2. In the parts, top left: “Fach XI”, top right: “No 10”. 4. RISM Ø 5. RISM ID no.: 1001020356

V-161 226. [Psalmi ad Vesperas]

Vesper in C. | für 3 Singstimmen, 2 Violinen | und Organo | von | Kirchner. || Eigenthum der Stadt Pfarr= | Kirche in Glatz.

Parts: (3x)C(4,4,4), A(4)B(4), vl 1(3)-2(3), b(3), org =bc(3) F: 38 × 24 cm f. 32 + cover [1750–1799]

206 I. Authorum nominibus signata

Sections Dixit Dominus: Moderato, C, ¡; Confitebor tibi: Andante, F,³¼ ; Beatus vir: Andante, G, ²¼; Laudate pueri: Allegro, D, ¡; Laudate Dominum: Andante, C, ¢; Laetatus sum: Allegro, F, ³¼; Nisi Dominus: Andante, A, ²¼; Lauda Jerusalem: Moderato, D, ¢; Magnificat: Allegro, C,³¼ Comments 1. Fach XXIX 43; 2 1928 2. In the parts, top left: “Fach XXIX”, top right: “No 43”. 3. On title page in pencil: “Kaupert, Glatz”. 4. RISM Ø 5. RISM ID no.: 1001014495

V-174 227. [Vesperae, C]

Vesperae de B.V. M. | à | Canto, Alto. | Tenore, Basso. | Violino Primo. | Violino Secondo. | Cornuis II | con | Organo. | del Sige: Kirchner. || Gehört der Stadt= Pfarr= | Kirche in Glatz.

Parts: C(4)A(4)T(4)B(4), vl 1(8)-2(6), cor 1(2)-2(2), org =bc(6) F: 36 × 22 cm f. 40 + cover wm [1750–1799]

Sections 1. Dixit Dominus: Allegro moderato, C, ¡; 2. Laudate pueri: Moderato, G, ³¼; 3. Laetatus sum: Allegro, D, ³¼; 4. Nisi Dominus: Andante, F, ²¼; 5. Lauda Jerusalem: Moderato, D, ¢; 6. Magnificat: Allegro, C,³¼ Comments 1. Fach XXXVI No 31; 3, 1928 3. On title page in pencil: “Kaupert, Glatz”. 4. RISM Ø 5. RISM ID no.: 1001014493

207 Katalog | The Catalogue

KLEIN, Bernhard Josef (1793–1832) M-53 228. [Missa, d; op. 28]

Messe in D | für | Vier Singstimmen, | 2 Wiolinen[!], Bratsche und Orgel | 2 Klarinetten, 2 Hörner 2 Fagotten, | 2 Trompetten und Pauken | Komponirt | von | Bernhardt Klein. | 28tes Werk. || Eigenthum der Stadt= Pfarr= | Kirche in Glatz. | Geschenkt vom Baumeister und Bürger | Herrn Sprenger von hier:

Parts: (2x)S(3,4), A(3)T(3)B(3), vl 1(4)-2(3), vla(3), vlne(4), cl in C 1(2)-2(2), fag 1(2)-2(2), cor in D 1(2)-2(2), clno in D 1(1)-2(1), timp(2), org =bc(4) + {S(4)A(4)T(4)B(4), vl 1(5)-2(4), vla(3)} F: 38,5 × 24 cm f. 50 + cover + {28} wm 1840 {[1840–1860]}

Sections Kyrie: Andante molto, d, ¡; Gloria: Allegro, D, ³¼; Credo: Moderato, D, ¡; Sanctus/Benedictus: Adagio ma non troppo, D, ¡ – Andantino quasi allegretto, D, þ¾; Agnus Dei/Dona nobis: Andante. Grave, d, ³¼ – Poco più moto, D, ³¼ Comments 1. Fach LXIV No 127; [28] 15 1928 2. In the parts, top left: “Fach LXIV”, top right: “No 17”[!]; at the end of C part: “16/6 [18]40 | Elsner”. 4. Cf. e.g. RISM ID no.: 550245527 (CZ-ND), 455026144 (D-NBss), 452028497 (D-B) 5. RISM ID no.: 1001020359

M-53b

208 I. Authorum nominibus signata

Manuscript score F: 40 × 25 cm p. 121

Comments 1. Fach LXIV No 127; XXVIII, 14 [19] 1928

KLINGOHR, Joseph (1735–1829) R-131 229. [Requiem, Es]

Klingohr’s Seelenamt, | für | Diskant, Alt, Tenor, Bass, | 2 Violinen, Viola, 2 Klarinetten | 2 Fagotte, 2 Horner, Quart Posauen [!] | Orgel, Contra Bass und Violonzell | den Rector | Hannig gehörig [crossed out] {Der Text ist Deutsch und Latein} || Eigenthum der Stadt= Pfarr= | Kirche in Glatz

Parts: C(4)A(4)T(4)B(4), vl 1(3)-2(2), vla(3), cl in B 1(2)-2(2), fag 1(2)-2(1), cor in Es 1(1)-2(1), b-trb(2), timp(1), org(3) + {(2x)C(2,2), vl(2), b(2)} F: 35 × 22,5 cm f. 39 + cover + {8} wm 1825, {[1840–1860]}

Sections Requiem aeternam: Adagio, Es, ¡; Dies irae: Allegro, Es, ¡; [Offerto rium] Recordare Jesu pie: Andante, Es, ³¼; Sanctus/Benedictus: Adagio, Es, ¡ – Andante, B, ¡; Agnus Dei: Adagio, Es, ³¼ Comments 1. Fach XII No 16; XXX, 18 1928 2. At the end of vl 1 part: “den 29 | 1825 p: | revisum”. 4. PL-Lwówek Śląski 27 (mf PL-Wn 23271); cf. e.g. RISM ID no.: 550500084 (CZ-SE), 550032007 (CZ-Pnm); 301005245 (PL-WRu) [Haydn, Michael], 551000647 (CZ-Pu) [Schnabel, Joseph Ignatz]

209 Katalog | The Catalogue

5. RISM ID no.: 1001020360

R-131b

Requiem in Es | für | Discant, Alt, Tenor, Bass | 2 Violinen, Viola, 2 Clarinetten | 2 Fagotte, 2 Horn, Bass-Trombone | Contrabass, Violoncello, Timpano | und Orgel | von | Klingohr | Partitur || Eigenthum der Stadt- Pfarr- | Kirche in Glatz

Manuscript score F: 38 × 24,5 cm p. 88

Comments 1. Fach L No 42

KOBLITZ, Franz [Peter?] (1770c–1828) 347 230. [Stationes]

IV Stations | Canto, Alto, Tenore, Basso [?] | 2 Clarinett, [2 Oboen, Fagotti | Corni, Clarino ?] | et | Timpani | Del: Sige: Koblitz. | Dedicatum pro | Choro Minoritt. Fr. | in arena || Eigenthum der Stadt= PfarrKirche [!] in | Glatz.

Parts: (8x)C(2,2,2,2,2,2,2,2), (7x)A(2,2,2,2,2,2,2), (5x)T(2,2,2,2,2), (5x) B(2,2,2,2,2), ob 1(2)-2(2), cl in B 1(2)-2(2), fag 1(2)-2(2), cor in Es 1(2)-2(2), clno in Es (2x) 1(1,1)-2(1,1), (2x)b-trb(2,4), (2x)timp(1,1) F: 38 × 24 cm f. 78 + cover wm [1800–1849]

Comments 1. Fach XXXXVIII No 7; XXX, 21 [1928] 2. Title page illegible; in the parts, top left: “Fach XXXXVIII”, right: “No 7”. 3. Composer identification after SCHML, p. 383 and PośpiechŚ, 2004 [Koblitz, Franz Peter]; various copyists, different formats.

210 I. Authorum nominibus signata

4. RISM ID no.: 552010286 (CZ-Pr) 5. RISM ID no.: 1001020373

KOHL, František Xaver Krištof (1746–1832) Am-2631 231. [Salve regina, D]

Salve IIplex | I | à | C. A. T. B. | Violin IIbus | Cornibus in D IIbus | Viola di Alto | Organo | Auth. Franc. Kohl | II. | C. A. T. B. | Violinis II bus | Con | Organo | Auth. Franc. Xav. Brixi || Semin. S. Aloysii Glac. | 1776

Parts: C(2)A(2)T(1)B(1), vl 1(2)-2(2), vla(1), cor 1(1)-2(1), org =bc(1) F: 35 × 22,5 cm f. 14 + cover wm 1770, 1776

[1]. C(1r-v), A(1r-v), T(1r), B(1r), vl 1(1r-v)-2(1r-v), a-vla(1r-v), cor 1(1r)-2(1r), org =bc(1r) f. 10

Comments 1. [Inv.] 9; XVII, 27 1928 2. At the end of T part: “Descripsit Carolus | Hannig principista”; B: “Descripsit Carolus Hannig Principiorum Audiosus | Anno Milesimo Septimogen | tesimo Septuagesimo”; vl 1: “Descripsit Franciscus | Sep- pelt Rhetor pro | Seminario Scti Aloysii | Anno 1770”; vl 2: illegible mirror-image inscription. 3. Cf. Catalogue no. 31 [Brixi, František Xaver]; cf. Collections no. 7 4. RISM ID no.: 1001035723 (PL-Wb), 550032076 (CZ-Pnm), 300234372 (PL-Pa) [Pohl] 5. RISM ID no.: 1001014635: [1].1001020385

211 Katalog | The Catalogue

KOŽELUH, Leopold (1747–1818) M-54 232. [Missa, g] PosK XXV: g 1

Parts: C(4)A(4)T(4)B(4), vl 1(6)-2(6), vla(4), ob 1(2)-2(2), cor in G 1(2)-2(2), org =bc(6) F: 36 × 23 cm f. 46 + title page wm [1750–1799]

Sections Kyrie: Larghetto, g, ³¼; Gloria: Allegro molto, D, ¡; Credo: Allegro, D, ¡; Sanctus/Benedictus: Andante, g, ³¼ – Andante con moto, Es, ²¼; Agnus Dei/Dona nobis: Andante, B, ³¼ – Presto moderato, g, ¡ Comments 1. XXVII, 31 1928 3. Later dust cover Fach XXXVII No 1 and in bottom margin: “Eigen- thum der Stadt Pfarr | Kirche in Glatz”; only title page left of original cover. 4. RISM ID: 550032199 (CZ-LIT), 452028697 (D-B) 5. RISM ID no.: 1001020423

KRAUS, Lambert (1728–1790) H-3381–8 233–240. [8 Tantum ergo: C, D, A, D, C, F, C, D]

212 I. Authorum nominibus signata

Parts: C(2)A(2)T(2)B(2), vl 1(2)-2(1), cor 1(1)-2(1), timp(1), org =bc(3) F: 21,5 × 23,5 cm f. 17 + (2x)cover wm 1770

[1. Tantum ergo, C] C(1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), cor 1(1r)-2(1r), timp(1r), org =bc(1r) f. 10

[2. Tantum ergo, D] C(1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), cor 1(1r)-2(1r), timp(1r), org =bc(1r) f. 10

[3. Tantum ergo, A] C(1v), A(1v), T(1v), B(1v), vl 1(1v)-2(1v), cor 1(1r)-2(1r), timp(1r), org =bc(1r-v) f. 10

[4. Tantum ergo, D] C(1v), A(1v), T(1v), B(1v), vl 1(1v)-2(1v), cor 1(1r)-2(1r), timp(1r), org =bc(1v) f. 10

213 Katalog | The Catalogue

[5. Tantum ergo, C] C(2r), A(2r), T(2r), B(2r), vl 1(2r)-2(2r), clno 1(1v)-2(1v), org(2v) f. 9

[6. Tantum ergo, F] C(2r), A(2r), T(2r), B(2r), vl 1(2r)-2(2r), clno 1(1v)-2(1v), org(2v) f. 9

[7. Tantum ergo, C] C(2v), A(2v), T(2v), B(2v), vl 1(2v)-2(2v), cor 1(1v)-2(1v), timp(1v), org(2v) f. 10

[8. Tantum ergo, D] C(2v), A(2v), T(2v), B(2v), vl 1(2v)-2(2v), clno 1(1v)-2(1v), org(3r) f. 9

214 I. Authorum nominibus signata

Comments 1. Fach XX No 22; XII, 20 1928 in the 2nd cover 2. In the parts, top left: “Tantum ergo XVIII”, top right: “Authore Kraus”, at the end of A part: “Hanc Vocem Descripsit Franciscus K[les?]”, vl 2: “Descripsit Joannes Michäel | Kircher Syntaxeos | Alumnus An[n]o 1770 | quatro calendas | Aprilis”; timp: “Descripsit | Franciscus | Sep- pelt | citissime”. 4. Cf. RISM ID no.: 570001553 (SK-BRnm) [15 Tantum ergo], [1]. 300514459 (PL-Wu) [Magne Pater Augustine], 655000724 (A-Sfr); [2]. 400014854 (CH-FF) [Salve Regina]; [3]. 402008171 (CH-BM); [4]. 570002656 and 570002657 (SK-BRnm); [5]. 450042637 (D-FÜS); 400014853 (CH-FF) [Salve Regina]; [6]. 570002653 (SK-BRnm); [7.] 570002654 and 570000324 (SK-BRnm), 400193228 [Domine ad adjuvandum]; [8]. 550265613 (CZ-OSm) [Pange lingua] 5. RISM ID no.: 1001021597: [1]. 1001021599, [2]. 1001021739, [3]. 1001021740, [4]. 1001021741, [5]. 1001021742, [6]. 1001021743, [7]. 1001021744, [8]. 1001021745

LAMM (18.sc) L-181 241. [Litaniae, C]

Lytaniae de beat. [!] Virg: Mar. | a | Canto, Alto, Tenore, Basso | Violinis duobus | Cornibus duobus | et | Organo | Dal [!] Sige: Lamm. || Gehört der Stadt= Pfarr = | Kirche in Glatz

Parts: C(2)A(2)T(2)B(2), vl 1(4)-2(4), cor in C 1(1)-2(1), org =bc(3) F: 30,5 × 22 cm f. 21 + cover wm [1750–1799]

Sections Kyrie eleison: Allegro moderato, C, þ¾; Sancta Maria: Andante, G, þ¾; Mater amabilis: Allegro, G, ¡; Virgo prudentissima: Moderato, B, þ¾; Speculum

215 Katalog | The Catalogue

justitiae: Allegro, B, ¡; Rosa mystica: Andante, F, ³¼; Salus infirmorum: Adagio, d, ¡; Regina angelorum: Allegro, C, þ¾; Agnus Dei: Adagio, G, ¡ Comments 1. Fach XIII No 12; XXX, 19 1928 4. RISM ID no.: 570004193 (SK-BRnm) [Anonymous] 5. RISM ID no.: 1001020427

V-162 242. [Psalmi ad Vesperas]

Auth: Lamm

Parts: C(10)A(10)T(9)B(9), vl 1(14)-2(13), ob 1(9)-2(8), cor 1(5)-2(5), org =bc(12) F: 39 × 25,5 cm f. 104 + dust cover [1750–1799]

Sections I. Domine ad adjuvandum: Allegro, C, ¡; II. Dixit Dominus: Adagio, C, ¡: III. Confitebor tibi: Allegro moderato, D,³¼ ; IV. Beatus vir: Allegro, E, ¡; V. Laudate pueri: Allegro, G, ¡; VI. Laudate Dominum: Andante, F, ¡; VII. Laetatus sum: Allegro molto, B, ³½; VIII. Nisi Dominus: Alle- gro, A, ³¼; IX. Lauda Jerusalem: Allegro molto, D, ¡; X. Credidi propter: Moderato, C, ¡; XI. In convertendo Dominus: Allegro moderato, Es, ³¼; XII. Domine probasti me: Allegro, F, ¡; XIII. Magnificat: Tarde, C, ¡ Comments 1. Fach XXXVI No 32; XXIII, 22 1928 3. Parts preserved unbound in later dust cover. 4. RISM Ø 5. RISM ID no.: 1001020430

216 I. Authorum nominibus signata

LARISCH, Franz Aloys (18/19.sc) R-132 243. [Requiem, F]

Requiem | Canto, Alto, Basso | Violino Imo & IIdo | Cornibus IIbus | cum Organo | Auth: A. Larisch | Organ. Mittelw. [Mittelwalde] || Eigenthum der Stadt Pfarr | Kirche in Glatz. […] Parts: (3x)C(2, 2, 2), A(2)B(2), vl 1(2)-2(2), cor in F 1(1)-2(1), org =bc(2) F: 23 × 18 cm f. 18 + cover [1780–1820]

Sections Requiem aeternam: Adagio, F, ¡; Dies irae: Andante, d, ¡; [Offertorium] Domine Jesu Christe: Andante, C, ¡; Sanctus/Benedictus: Adagio, C, ³¼ – Andante, C, ¡; Agnus Dei: Adagio, F, ¡ Comments 1. Fach XI No 37; 33 17 XII, 1928 2. In the parts, top left: “Fach XI”, top right: “No 37”. 3. Owner’s name crossed out and illegible. 4. RISM Ø 5. RISM ID no.: 1001020853

R-133 244. [Requiem, d]

Requiem | e | 3bus Vocibus | 2bus Violinis | 2bus Cornibus | cum | Organo | Auth: F. A. Larisch | Joseph Prause [crossed out] || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: (3x)C(3,3,3), A(3)B(2), vl 1(2)-2(2), cor in F 1(1)-2(1), org =bc(2) F: 23,5 × 19 cm f. 22 + cover [1800–1849]

217 Katalog | The Catalogue

Sections Requiem aeternam: Adagio, d, ¡; Dies irae: Andante, d, ¡; [Offertorium] Domine Jesu Christe: Andante, d, ¡; Sanctus/Benedictus: Adagio, a, ³¼ – Andante, C, ¡; Agnus Dei: Adagio, g, ¡; Lux aeterna: Andante, g, ³¼ Comments 1. Fach XI No 36; 34 18 XII, 1928 2. In the parts, top left: “Fach XI”, top right: “No 36”. 4. RISM Ø 5. RISM ID no.: 1001020854

LATZEL, Joseph (1764–1827) Am-1971–2 245–246. [2 Alma redemptoris mater, C]

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), vla(1), ob 1(1)-2(1), cor in C 1(1)-2(1), org =bc(2) F: 40 × 28 cm f. 13 wm [1750–1799]

[1]. C(1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), vla(1r), ob 1(1r)-2(1r), cor 1(1r)-2(1r), org(1v) f. 12

[2]. C(1v), A(1v), T(1v), B(1v), vl 1(1v)-2(1v), vla(1v), ob 1(1v)-2(1v), cor 1(1v)-2(1v), org(2r) f. 12

218 I. Authorum nominibus signata

Comments 1. Fach XVI No 2 3. On title page in pencil: “Kaupert, Glatz”; 2nd text: “Regina coeli” in 1st aria added in different hand. 4. RISM ID no.: [1]. 303005277 (PL-OPsm); [2]. 303005278 (PL-OPsm) 5. RISM ID no.: 1001020870: [1]. 1001020872, [2]. 1001020873

LAUBE (18.sc) 348 247. [Beatus vir qui inventus est; Iste confessor Domini, G]

Motetto [!] | de Confessore | a | 4 Vocibus | 2 Violinis | 2 Clarinis | Viola | con | Organo | Sige: Laube || Eigenthum der Stadt Pfarr Kirche | in Glatz

Parts: C(2)A(1)T(1)B(1), vl 1(2)-2(2), vla(1), clno in D 1(1)-2(1), org =bc(2) F: 37 × 23 cm f. 14 + cover wm [1750–1799]

Comments 1. Fach XXVI No 13; XXVII, 17 1928 3. The nd2 text of the aria: Domine Rex Deus. 4. RISM Ø 5. RISM ID no.: 1001020875

219 Katalog | The Catalogue

LAUCHER, Joseph Anton (1737–1813) R-134 248. [Requiem, Es; op. 2]

Requiem in Es | Canto, Alto, Tenore, Basso | Violino Primo et Secundo | Alto Viola | Clarinetto e [!], Oboe Primo et Secundo | Cornu Primo et Secundo | cum | Organo | Auth: Laucheri | Jos. Prause [crossed out] | 1829 || Eigenthum der Stadt= Pfarr= Kirche | in Glatz.

Parts: (2x)C(2,2), A(2)T(2)B(2), vl 1(2)-2(2), vla(2), ob 1(1)-2(1), cor in Es 1(1)-2(1), org =bc(2) F: 39,5 × 25 cm f. 22 + cover wm 1829

Sections Requiem aeternam/Kyrie: Alla breve. Andante, Es, ¢; Dies irae: Andan- te sequentio, c, ³¼; [Offertorium] Domine Jesu Christe: Andante, Es,³¼ ; Sanctus/Benedictus: Andante, Es, ¢ – Andante, c, ³¼; Agnus Dei: Andan- tino, Es, ³¼ Comments 1. Fach XI No 31; XX, 9 1928 2. In the parts, top left: “Fach XI”, top right: “No 39”[!]. 3. Missing cl part. 4. Cf. e.g. RISM ID no.: 550270037 (CZ-OP), 455040267 (D-NATk), 1001019243 (A-LA) 5. RISM ID no.: 1001020879

LICKL, Johann Georg (1769–1843) P-291 249. [Cum ipso et misericordia, F]

220 I. Authorum nominibus signata

C. G. Lickl | Regens chori der Kathedrale Domkirche | zu Fünfkirchen | Jos. Prause [crossed out] || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), vla solo(1), vlc et vlne(1), org =bc(1) F: 24,5 × 38 cm f. 9 + cover wm [1840–1860]

Comments 1. Fach LXVI No 110; XXIII, 11 1928 2. In the parts C and vla, top right: “G. Lickl”. 4. RISM ID no.: 601000504 (A-GE) 5. RISM ID no.: 1001020902

M-55 250. [Missa, Es] SzkL 35

Missa in Es. | per | Soprano, Alto, Tenore, Basso | Violino Primo et Secundo | Clarinetto Primo et Secundo | Cornu Primo et Secundo | Fagotto Primo et Secundo | Violon et Violoncello | con | Organo. | Auth: Georg Lickl. || gehört der Kirche

Parts: (2x)S(3,3), A(3)T(3)B(3), vl 1(4)-2(4), vlc et vlne(3), cl in B 1(2)-2(2), fag 1(2)-2(2), cor in Es 1(1)-2(1), org(3) + {S(3)} F: 35,5 × 22 cm f. 39 + cover + {3} wm [1800–1810] {1839}

Sections Kyrie: Andante, Es, ¡; [Gloria] Et in terra: Allegro, Es, ¡; [Credo] Patrem omnipotentem: Allegro, Es, ¡; Sanctus/Benedictus: Andante, Es, ¡ – Al- legretto, Es, ¡; Agnus Dei: Adagio, Es, ¡

221 Katalog | The Catalogue

Comments 1. Fach VIII No 58; XXIII, 10 1928 2. In the parts, top right: “Sige. Lickl”; at the end of all parts: “Miggenda”; at the end of one of the C copies: “Finis 1839 W. Elsner”. 4. RISM ID no.: 455040274 (D-NATk), 601000503 (A-GE), 604000023 (A-HEE), 600066888 (A-Z), 530002619 (H-P) 5. RISM ID no.: 1001020903

M-39 b 251. [Missa, Es] SzkL 92

Messe in Es von R. C. Gluck [!] | a | Canto, Alto, Tenore, Basso. | Violino Primo et Secundo | Viola Primo et Secundo | Flauto Primo et Secundo | Clarinetto Primo et Secundo in B | Fagotto Primo et Secundo | Cornu Primo et Secundo. | Clarino Primo et Secundo | Clarino Principal, Timpano. | Alt= Tenor= et Bass= Trombone ad libit: | Violon, Violoncello et Organo | Partitur. || Eigenthum der Stadt= Pfarrkirche | in Glatz.

Manuscript score + Parts: C(6), vl 1(6)-2(6) F: 41 × 26 cm p. 153 + f. 18 [1800–1849]

Sections Kyrie: Largo, Es, ³¼; Gloria: Allegro maestoso, Es, ¡; Credo: Allegro vivace, Es, ³¼; Sanctus/Benedictus: Adagio, Es, ³¼ – Allegretto, As, ¡; Agnus Dei/Dona nobis: Adagio, Es, ³¼ – Allegretto, Es, ²¼ Comments 1. Fach LI No 51; IV, 9 1928 2. In the parts, top right: “Fach 51 von Gluck”. 3. Title page from the score; attribution on title page – erroneous. 4. Composer identification after RISM ID no.: 551001080, 550270646 and 550032391 (CZ-Pnm) [Lickl, Johann Georg] 5. RISM ID no.: 1001020905

222 I. Authorum nominibus signata

LIEBL, Joseph (1776–1838) R-135 252. [Requiem, F]

Requiem in F | für | Canto, Alto, Basso | Violino Primo et Secundo | Cornu Primo et Secundo | Organo | von | Joseph Liebl || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: (3x)C(2,2,2), A(2)B(2), vl 1(2)-2(2), {b(2)}, cor in F 1(1)-2(1), org =bc(2) F: 40,5 × 25,5 cm f. 20 + cover wm [1800–1849]

Sections Requiem aeternam: Adagio, F, ¡; Dies irae: Adagio, F, ¢; [Offertorium] Domine Jesu Christe: Adagio, F, ³¼; Sanctus/Benedictus: Adagio, F, ¢ – Andante, B, ³¼; Agnus Dei: Adagio, F, ³¼ Comments 1. Fach XI No 43; XXX, 16 1928 2. In the parts, top left: “Fach XI”, top right: “No 42”. 3. Part b included but not listed on title page. 4. RISM ID no.: 455035078 (D-LAfk), 455012273 (D-Tl), 550500080 (CZ-SE) [Libil] 5. RISM ID no.: 1001020916

LINECK (18.sc) L-182 253. [Litaniae, B]

Parts: C(2)A(2)T(2)B(1), vl 1(3)-2(2), org =bc(2) F: 37,5 × 23 cm f. 14 + cover wm 1776

223 Katalog | The Catalogue

LOHELIUS, Joannes (1724–1788) A-2331–2 254–255. [Mens secura non pavescit, D]; [Non flectend meum animum, G]

[org:] Duetto Ex D# Imo | a | Canto et Basso | Violino II-e | Viola | con | Organo | Terzetto Ex D# N. II.| a | Cantis IIplici | Basso | Violinis 2bus | Viola | con | Organo | Dell [!] Sige: Lohelio | Joseph Larisch [crossed out] || Eigenthum der Stadt Pfarr Kirche | in Glatz

Parts: C 1(2)-2(1), B(2), vl 1(1)-2(1), vla(1), org(2) F: 23 × 13 cm f. 10 wm [1800–1849]

224 I. Authorum nominibus signata

[1]. C(1r-v-2r), B(1r-v-2r), vl 1(1r)-2(1r), vla(1r), org(1r-v) f. 8

[2]. C 1(2v)-2(1r-v), B(2v), vl 1(1v)-2(2v), vla(1v), org(2r-v) f. 7

Comments 1. Fach XXXVIII No 51; XXX, 9 1928 4. RISM ID no.: [1]. 550402323 (CZ-Pu) [Caelo tonate terra tremescit], [2]. 551000993 (CZ-Pnm) [Cruces rotae partibulum] 5. RISM ID no.: 1001020871: [1]. 1001021051, [2]. 1001021052

LOOS, Karel (1724c–1772) V-349 256. [Psalmi ad Vesperas]

Parts: C(4)A(3)T(3)B(4), vl 1(4)-2(3), vla(2), ob 1(2)-2(2), cor in G 1(2)-2(2), org =bc(4) F: 36,5 × 23 cm f. 35 + cover wm 1766

225 Katalog | The Catalogue

Sections Confitebor tibi: Moderato, e,¡ ; Beatus vir: Andante, B, ¡; Laudate pueri: Allegro, G, ³¼; Laudate Dominum: Allegro, C, ³¾ Comments 1. Fach XXXVI No 27; XIX, 12 1928 2. At the end of C part: “Descripsit Franciscus | Seppelt Parvista Anno | 1766 die 24 Juni”; T: “Describere Vocem | Ant. Adler | Syntax= Prae- fect. | Musicae | die 23 Junii [17]66”; B: “Descripsit | Antonius Kuschel | Poëta”; vl 2: “Haec vox descripta est a Josepho | Kuschel Grammaticus Studioso | Anno 1766”; vla: “Descripsit | Antonius Bhoris | Syntaxeos Studiosus | A[nn]o 1766”; ob 1: “Joannus Feige Princ[ipista]”; ob 2: “De- scripserunt | Joannes Feige et Ignatius | Rupprich Principisti | 1766”; cor 1: “descripsit Franciscus Ulrich | Poëta die 24 Juni An[n]o 1766”; org: “descripsit Ignatius Rupprich | Principista 1766”. 4. RISM ID no.: 300514153 (PL-Wu) 5. RISM ID no.: 1001021053

MANFREDINI (18.sc) A-2341–2 257–258. [In expectatione, Es]; [Flamma ardoris in caelum, F]

[vla:] Ariae Duae | I. | De Adventu | a | Tenore Solo | Violinis 2 | Cornibus 2 | Obois 2 | Viola et Basso | 2. | Te [!] Tempore et Apostolis | a | Tenore Solo | Violinis 2 | Viola | et | Basso | Authore Manfredini | Fr. Xav. S. [crossed out] || Eigenthum der Stadt Pfarr Kirche | in Glatz

Parts: T(1), vl 1(2)-2(2), vla(2), b(2), ob 1(1)-2(1), cor inglese 1(1)-2(1) F: 36,5 × 24; 19,5 × 23 cm f. 13 wm [1750–1799]

[1]. T(1r), vl 1(1v-2r)-2(1v-2r), vla(1v), b(1v-2r), ob 1(1r)-2(1r), cor inglese 1(1r)-2(1r) f. 12

226 I. Authorum nominibus signata

[2]. T(1v), vl 1(2v-1r)-2(2v-1r), vla(1v-2r), b(2v-1r) f. 9

Comments 1. Fach XXXVIII No 9; XXVII, 25 1928 3. The nd2 text: [1]. Lauda Sion salvatorem, [2]. In omnem terram exivit. 4. RISM Ø 5. RISM ID no.: 1001021134: [1]. 1001021140, [2]. 1001021141

MANŠINGER, Vojtĕch František (18.sc) L-183 259. [Litaniae, C]

Parts: C(2)A(2)T(2)B(2), vl 1(3)-2(3), clno in C 1(1)-2(1), org =bc(3) F: 36 × 22,5 cm f. 19 wm [1750–1799]

Sections Kyrie: Allegro, C, ³¼; Sancta Maria: Andante, F, ¡; Mater Christi: Allegro, C, ¢; Virgo prudentissima: Andante, G, ²¼; Speculum justitiae: Tarde,

227 Katalog | The Catalogue

C, ³¼; Salus infirmorum: Tarde, g,¡ ; Regina angelorum: Allegro, C, ³¾; Agnus Dei: Andante, a, ²¼ Comments 1. Fach XIII No 27; XVII, 3 1928 4. RISM ID no.: 1001036092 (CZ-Psj), 553001586 (CZ-PELmv) [Ano nymous] 5. RISM ID no.: 1001021147

L-184 260. [Litaniae, Es]

Parts: S(2)A(2)T(2)B(2), vl 1(2)-2(2), org =bc(2) F: 37 × 23,5 cm f. 14 + cover wm 1773

Sections Kyrie: Allegro moderato, Es, ¡; Mater Christi: Andante, B, ²¼; Virgo prudentissima: F, ¹¾; Causa nostrae letitiae: Andante, C, ³¼; Salus infirmorum: Adagio, B, ¡; Regina angelorum: Alla breve, Es, ¢; Agnus Dei: Tarde, c, ³¼ – Allegro, Es, ¡ Comments 1. Fach XIII No 35; XVII [?], 1928 2. At the end of C part: “Hanc Vocem descripsit | D. F, [B.F.] Gram[m]a- tices | Alumnus | Discantista in | Seminario Ad Sanctum | Aloysium”; A: “Josephus Bittner Hanc | vocem Descripsit Gram[m]atices”; T: “Hanc vocem descripsit sucividu [Udivicus] sselk [Kless] | Anno 1773 | Die 9 Junii” [mirror-image]; B: “Hanc vocem paravit Suhpesoi [Iosephus] yobmal [Lamboy?] [mirror-image] | Gram[m]atices Studiosus Septimo 1dus | Junii. Glacensis: An[n]o millesimo septi: | gentisimo septuage simo tertio” ; vl 1: “Descripsit Ioannes | Seppelt Die | 6 Junii 1773”; org: “Descripsit Carolus Hannig | Syntaxeos Studiosus | Anno 1773.”.

228 I. Authorum nominibus signata

4. RISM ID no.: 300257656 (PL-BA) [Anonymous], 550269168 (CZ-BRE), 550032540 (CZ-OP), 1001013631 (CZ-Psj) [Müller] 5. RISM ID no.: 1001021150

MARTIN y SOLER, Vicente (1754–1806) A-235 261. [Lauda Sion salvatorem, B] – contrafactum of the aria Ah perché formar non lice from the opera Una cosa rara

[cl 1-2:] Aria in B, pro Festo Corporis Xsti | Canto Solo | Violino primo et secundo | Alto Viola | Clarinetto primo et secundo | con | Violone | Auth. Do. Martini [!] | [...] Mallig | Ignac Posses. [crossed out] || Eigenthum der Stadt Pfarr | Kirche in Glatz

Parts: C solo (1), vl 1(1)-2(1), vla(1), vlne(1), cl in B 1(1)-2(1) F: 35,5 × 22,5 cm f. 7 wm [1800–1849]

Comments 1. Fach [?] No 67 2. In the top right corner in the parts: “No 17”. 4. Identification after RISM ID no.: 303000110; 303000113 (PL-OPsm) [Martin y Soler, Vicente – Una est amica mea], 190018386 (S-Skma) [Paisiello, Giovanni – Ah perché formar non lice] and 000118523 (US-SFsc) [Anfossi, Pasquale – Ah perché…] 5. RISM ID no.: 1001031472

229 Katalog | The Catalogue

MAŠEK, Vincenc (1755–1831) P-293 262. [Laudate Dominum in sanctis ejus, C]

Mascheck. | Offertorium | für alle Zeiten, | für vier Singstimmen, 2 Wiolinen, Bratsche, | zweÿ Flöten, 2 Klarinetten, 2 Horn, | zweÿ Trompeten, eine prinzipal Trompete | Kontra Bass nebst Wiolonzell, Orgel und | Pauken | Maschek | Hannig [crossed out] || Eigenthum der Stadt= Pfarr= Kirche | in Glatz.

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), vla(1), vlc(1), fl 1(1)-2(1), cl in C 1(1)-2(1), cor in C 1(1)-2(1), principal in C (1), clno in C 1(1)-2(1), timp(1), org =bc(2) F: 21 × 35 cm f. 20 + cover wm [1800–1849]

Comments 1. Fach XXXII No 20; VI, 5 1928 2. In the parts, top left: “Offertorium”, top right: “Mascheck” (except for C part). 3. On title page, crossed out: “Schiedermaÿer’s”. 4. Cf. e.g. RISM ID no.: 605000418 (A-LIglisic), 550032680 (CZ-LO), 550032681 (CZ-TEP) 5. RISM ID no.: 1001031479

M-56 263. [Missa, C; op. 20]

Mascheks grosse Messe aus C | für | Discant, Alt, Tenor, Bass | 2 Violinen, 1 Bratsche, 2 Klarinetten | 2 Flöten, 2 Fagotte, 2 Hörner | 2 Trompeten, 1 Principal Trompete | Violon, Violonzell, Pauken und Orgel || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: C(3)A(4)T(3), (2x)B(3,3), vl 1(5)-2(4), vla(4), vlc(4), b(4), fl 1(2)-2(2), cl in B 1(3)-2(3), fag 1(3)-2(3), cor 1(2)-2(2), clno principal in C (1), clno in C 1(1)-2(1), timp(1), org(2)

230 I. Authorum nominibus signata

F: 37,5 × 24 cm f. 63 + cover wm [1800–1849]

Sections Kyrie: Andante, C, ²¼; Gloria: Allegro risoluto, C, ³¼, Credo: Allegro ma non troppo, C, ¢; Sanctus/Benedictus: Poco adagio, C, ¢ – Andante movibile [?], F, ¡; Agnus Dei: Andante quasi adagio, C, Ý¾ Comments 1. Fach VII No 20; VI, 1 1928 2. In the parts, top left: “Fach II”, top right: “No VII di Mascheck | No 20”. 4. PL-GD, PL-WRk; cf. e.g. RISM ID no.: 550032576 (CZ-NYd), 453450115 (D-KNd) 540000231 (SI-Ls) 5. RISM ID no.: 1001031487

M-57 264. [Missa, G]

Missa pastorale solenne | di | Authore Mascheck

Parts: C(3)A(3)T(3)B(3), vl 1(3)-2(3), vla 1(3)-2(2), vlc(2), fl 1(2)-2(2), fag(2), cor in G 1(1)-2(1), org =bc(4) F: 37 × 23,5 cm f. 37 + dust cover wm [1800–1849]

Sections Kyrie: Poco Andante, G, þ¾; Gloria: Allegro molto vivace, D, ¡; Credo: Allegro vivace, A, ²¼; Sanctus/Benedictus: Andante poco adagio, D, ¢ – Andante cantabile, G, ³¾; Agnus Dei/Dona nobis: Andante, G, ¡ – Mo derato, G, þ¾

231 Katalog | The Catalogue

Comments 1. Fach X No 90; VI, 8 1928 2. In the parts, top left: “Fach X”, top right: “No 90”; in the parts: T, B, vl 1-2, vla 1-2, fl 1-2, fag, org: “Maschek”. 3. Original cover missing. 4. Cf. e.g. RISM ID no.: 550010055 (CZ-TCsm), 550270654 (CZ-Pnm) 5. RISM ID no.: 1001031539

M-115 265. [Missa, A]

Parts: C(2)A(2)T(2)B(2), vl 1(2)-2(2), vla(2), cb(2), fl trav. (2), fag(2), cor in A 1(1)-2(1) F: 38 × 24 cm f. 22 wm [1800–1849]

Sections Kyrie: Poco Allegretto, A, þ¾; Gloria: Allegro con brio, D, ²¼, Credo: Al- legro vivace, A, ²¼; Sanctus/Benedictus: Poco adagio, A, ²¼ – Allegretto, A, ²¼; Agnus Dei: Adagio, a, ²¼ – A, þ¾ Comments 3. Title page missing; parts preserved separately, incomplete. 4. Composer identification after RISM ID no.: 551000317 (CZ-Psj) [Mašek, Vincenc] 5. RISM ID no.: 1001031559

M-58 266. [Missa, B]

Missa in B. | a | Canto, Alto, Tenore, Basso | Violino Primo et Secundo, Viola | Clarinetto Primo et Secundo. | Fagotto, Cornu Primo et Secundo | Clarino Primo et Secundo, Principal, | Timpano, Violon et Organo. | Author Maschek. || Eigenthum der Stadt Pfarr= | Kirche in Glatz.

232 I. Authorum nominibus signata

Parts: C(3)A(2), (2x)T(3,2), (3x)B(3,2,2), vl (2x)1(4,6)-2(3), vla 1+2(3), cb(3), cl in B 1(3)-2(3), fag(2), cor in B basso 1(1)-2(1), clno principal in B (1), clno in B 1(1)-2(1), timp(1), org =bc(3) F: 37 × 24 cm f. 53 + cover wm [1800–1849]

Sections Kyrie: Moderato, B, ¡; Gloria: Allegro brillante, B, ¢; Credo: Allegro co- modo, B, ¢; Sanctus/Benedictus: Adagio, Es, ¢ – Andante, Es, ¢; Agnus Dei/Dona nobis: Poco Adagio, c, ¢ – Allegro assai, B, ¢ Comments 1. Fach LXIV No 126; VI, 10 1928 4. Cf. e.g. RISM ID no.: 551003080 (CZ-Pu), 552000208 (CZ-Pu) 5. RISM ID no.: 1001031564

M-116 267. [Missa, B]

Mascheks grosse Messe | aus Hes dur [!] | für 4 Singstimmen, | Discant, Alt, Tenor, Bass, | ferner | 2. Violinen, 2 Bratschen, | 2 Flöten, 2 Klarinetten, 2 Hörn | 2 Faggotte [!], Pauken, | Violon, Zello und Orgel. || Eigenthum der Kathol: Stadt= | Pfarr= Kirche in Glatz.

Parts: S(5)A(5)T(5)B(5), vl 1(6)-2(5), vla 1+2(5), vlc et vlne(5), fl 1(2)-2(2), cl 1 in B 1(2)- 2(2), fag 1(3)-2(3), cor in B 1(2)-2(2), org =bc(6) F: 36 × 23 cm f. 65 + cover wm [1800–1849]

233 Katalog | The Catalogue

Sections Kyrie: Poco adagio, B, ¡; Gloria: Allegro vivace, B, ¡; Credo: Allegro, B, ³¼; Sanctus/Benedictus: Adagio, B, ¢ – Poco adagio, Es, ¢; Agnus Dei/ Dona nobis: Poco adagio, B, ³¼ – Allegro vivace, B, ¡ Comments 1. Fach II No 19; VI, 2 1928 2. In the parts, top left: “Fach II”, top right: “Maschek | No 19”; at the end of parts CATB: “Joh: Miggenda Musicus”; vl 1-2, vla, cl 1-2, cor 1-2, org: “Miggenda”. 4. Cf. RISM ID no.: 551000871 (CZ-Pnm), 600177015 (A-KR) 5. RISM ID no.: 1001014318

M-59 268. [Missa, Es]

Missa No IV in Es | a | Canto, Alto, Tenore, Basso. | Violino Primo et Secundo in dupplo | Viola Primo et Secundo. | Oboe Primo et Secundo | Clarinetto Primo et Secundo | Flauto Primo et Secundo | Fagotto Primo et Secundo | Cornu Primo et Secundo | Clarino Prinicipal, Marcia [!], | Timpano, Violon Violoncello | et Organo. | Auth: Vinc: Mascheck || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: (2x)C(5,5), A(3)T(5)B(3), (2x)vl 1(4,5)-2(5,5), vla 1(4)-2(4), vlne et vlc(4), fl trav. 1(2)-2(2), ob 1(2)-2(2), cl in B 1(4)-2(4), fag 1(3)-2(2), cor in Es 1(2)-2(2), principal in Es(1), marcia in Es(1), clno in Es 1(1)-2(1), timp(1), org =bc(3) F: 37 × 24 cm f. 85 + cover wm [1800–1849]

Sections Kyrie: Andante sostenuto, Es, ¡; Gloria: Allegro molto, Es, ¡, Credo: Al- legro vivace, Es, ¡; Sanctus/Benedictus: Adagio, Es, ²¼ – Andante, As, ¢; Agnus Dei: Poco adagio, Es, ¡

234 I. Authorum nominibus signata

Comments 1. Fach II No 18; VI, 3 1928 2. In the parts, top left: “Fach II”, top right: “No 18”; in the parts vla 1-2, cl 1-2, org: “Missa No. IV di Vincenzo Mascheck”; vlne et vlc: “di Vin: Maschek”. 4. Cf. e.g. RISM ID no.: 300513011 (PL-KAMKp), 540001364 (SI-Ls) 5. RISM ID no.: 1001031404

P-294 269. [Nostras mentes, C]

Offertorium in C | a | Canto, Alto, | Tenore, Basso, | Violino moI et IIdo | Viola Imo et IIdo | Clarinetto Imo et IIdo | Flauto Imo et IIdo | Fagotto Imo et IIdo | Cornu Imo et IIdo | Clarino Imo et IIdo | Clarino Principale | Tympanis | et | Organo | Auth: D. Vincenzo Maschek | Franz Leifer [crossed out] || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: C(1)A(1)T(1)B(1), vl 1(2)-2(2), vla 1+2(2), fl 1(1)-2(1), cl in C 1(1)-2(1), fag 1(1)-2(1), cor in C 1(1)-2(1), clno princ. in C(1), clno in C 1(1)-2(1), timp(1), org =bc(2) + {(2x)C(1,1), A(1), vl 1(2)-2(2), vla 2(2), (2x) org(2,2)} F: 18,5 × 23 cm f. 24 + cover + {13} wm [1800–1849, {1840–1860}]

Comments 1. Fach XXXII No 23; VI, 7 1928 2. In the parts, top left: “Offertorium”, top right: “di Maschek”. 4. RISM ID no.: 552000214 (CZ-Pu), 551003102 (CZ-Pu) 5. RISM ID no.: 1001031572

P-3361 270. [Omnes de Saba, D]

Grad. = Omnes de Saba | Offert. = Orbem terrarum | […] || Eigenthum der Stadt Pfarr-kirche | in Glatz [in pencil]

235 Katalog | The Catalogue

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), vla 1+2(1), fl solo(1), fl 1(1)-2(1), cl in A 1+2(1), fag(1), cor in D 1(1)-2(1), clno in D 1+2(1), org(1) F: 27,5 × 40 cm f. 16 + dust cover wm [1800–1849]

[1]. S(1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), vla(1r), fl(1r), cl 1+2(1r), clno 1(1r)-2(1r), org =bc(1r) f. 12

Comments 1. Fach XXXVIII No 37; XXX, 12 1928 2. In the parts, top left: “Graduale”, besides, in vl 1 part, top right: “Pro Epiphania Domini”. 3. Title entered in pencil (except for provenance); comments about scoring on dust cover – inconsistent; cf. Catalogue no. 526 [Anonymous]; cf. also Collections no. 12. 4. Composer identification after RISM ID no.: 552010298 (CZ-Pr) [Mašek, Vincenc – another vl 1] 5. RISM ID no.: 1001031641: [1]. 1001031642

350 271. [Stationes]

Stationis | pro Festo | Corporis Christo [!] | a | Canto. Alto, Tenore, Basso | Violino Primo et Secundo | Viola, Flauto | Oboe Primo et Secundo | Clarinetto Primo et Secundo | Fagotto Primo et Secundo | Cornu Primo et Secundo | Clarino Primo et Secundo | Timpano, Violon et | Organo | Auth: Vincenzo Maschek. | Prause [crossed out] || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: (3x)C(2,2,2), A(2)T(2)B(2), (2x)vl 1(2,2)-2(2,2), vla(2), vlne(2), fl(1), ob 1(1)-2(1), cl in A 1(1)-2(1), fag 1(2)-2(2), cor in D 1(1)-2(1), clno in D 1(1)-2(1), timp(1), org =bc(2) F: 38 × 24 cm f. 40 + cover wm 1839

236 I. Authorum nominibus signata

Comments 1. Fach XX No 30 | übertragen in des Fach 42 des neuen Schrankes [?]; VI, 12 1928 2. In the parts, top left: “Fach XX”, top right: “No 30”; at the end of T part: “Finis | 1839 | W. Elsn.[er]”; B: “Finis 1839”. 4. RISM ID no.: 552010288 (CZ-Pr) 5. RISM ID no.: 1001031650

H-207 272. [Te Deum laudamus, D]

Te Deum in D. | Canto, Alto, Tenore, Basso | 2 Violini | 2 Viola | 2 Clarinetti in A | Flauto et Fagotti obl: | 2 Clarino, Clarino Principale, | Timpano, Violone et Violoncello | con Organo | Auth: Maschek || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: (3x)C(1,2,2), A(1)T(1)B(1), (2x)vl 1(1,2)-2(1,2), vla 1+2(1), vlc et vlne(1), fl obl.(1), cl in A 1(1)-2(1), fag obl.(1), clno princ. in D (1), clno in D 1(1)-2(1), timp(1), org =bc(1) F: 40 × 28; 21,5 × 27 cm f. 25 + cover wm [1800–1849]

Comments 1. Fach XXII No 7; VI, 11 1928 2. In the parts, top left: “Te Deum. Fach XXII”, top right: “No 7”. 4. RISM ID no.: 551003203 (CZ-Pu), 553004964 (CZ-Bm) 5. RISM ID no.: 1001031677

237 Katalog | The Catalogue

P-292 273. [Virgo Maria, Es]

Offertorio | de M. et F D [!] | a | Canto, Alto, Tenor, Basso | Violino Primo | Violino Secundo | Alto Viola | Flauto Solo | Clarinetto Primo | Clarinetto Secundo in B | Cornu Primo | Cornu Secundo in Es | Violon et Organo | D. Vinc: Maschek | Joseph Prause | 1827 [crossed out] || Eigenthum der Stadt= | PfarrKirche in Glatz.

Parts: (3x)C(1,1,1), A(1)T(1)B(1), (2x)vl 1(1,1)-2(1,1), vla(1), vlne(1), fl(1), cl in B 1(1)-2(1), cor in Es 1(1)-2(1), org =bc(1) F: 39,5 × 25 cm f. 18 + cover wm 1827

Comments 1. Fach LXVI No 111; VI, 7 1928 2. In the parts, top left: “Offertorio”, top right: “No 26”; at the end of C part: “1827”. 4. RISM Ø 5. RISM ID no.: 1001031694

MATTAUSCH (18.sc) P-295 274. [Laudate Dominum in sanctis eius, B]

Offertorium {de Tempore | et Pro Fest: | Epiphania} | à | Canto, Alto. | Tenore, Basso. | Violino Primo. | Violino Secondo. | Clarinetto Primo. | Clarinetto Secondo. | Cornu Primo. | Cornu Secondo. | Alto Viola. | con | Organo. | Auth: D: Mattausch || Eigenthum der Stadt= Pfarr= Kirche | in Glatz.

Parts: C(1)A(1)T(1)B(1), vl 1(2)-2(1), vla(1), cl in B 1(1)-2(1), cor in B 1(1)- -2(1), org =bc(1) F: 37 × 23 cm f. 13 + cover wm [1750–1799]

238 I. Authorum nominibus signata

Comments 1. Fach XXXII No 42; XX, 16 1928 3. The nd2 text: Reges Tharsis et insulae offerent. 4. RISM ID no.: 300000835 (PL-CZ); 553006146 (CZ-BY) [Pleyel] 5. RISM ID no.: 1001031701

MOLIQUE, Wilhelm Bernhardt (1802–1869) M-60 275. [Missa, f; op. 22]

Messe in F moll | für | Sopran, Alt, Tenor, Bass, | 2 Violinen, Viola, 2 Clarinetten | 1 Floete, 2 Fagott, 2 Horn, | 2 Trompeten, Pauken, Violon | Violoncello und Orgel. | von | B. Molique. | 22t Werk. | Mit Partitur Fach. L No. 43 || Eigenthum der Stadt= | Pfarrkirche in Glatz. | 1851.

Parts: (3x)S(6,5,5), (3x)A(5,5,4), (3x)T(5,5,4), (4x)B(5,5,4,5), (2x)vl 1(5,5)- -2(5,5), (2x)vla(5,5), vlc(5), fl(3), cl in B 1(3)-2(3), fag 1(3)-2(3), cor 1(2)-2(2), tr in C 1(1)-2(1), timp(1), org(5) F: 40 × 24,5 cm f. 125 + cover + {piano transcript, p. 19} 1851, [{1900–1920}]

Sections Kyrie: Andante, f, ¡; Gloria: Allegro, C, ¢; Credo: Allegro, F, ¡; Sanctus/ Benedictus: Adagio, C, ¡ – Andante, As, ²¼; Agnus Dei/Dona nobis: An- dante, f, ³¼ – Moderato assai, F, ¡ Comments 1. Fach LXIV No 129

239 Katalog | The Catalogue

2. In the parts, top left: “Fach LXIV | Messe von Molique”, in the right: “No 129”. 4. RISM ID no.: 455026147 (D-NBss), 600502211 (A-Wsjm), 600501408 (A-Wdp) 5. RISM ID no.: 1001035250

M-60b [print] Messe | (in F moll) | für | 4 Singstimmen und Orchester | Componirt | und | Seiner hochfürstlichen Durchlaucht | Friedrich Wilhelm Constantin | Fürst von Hochenzollern-Hechingen | ehrfurchtsvoll gewidmet | von | B. Molique | 22tes Werk. || Eigenthum der | No. 10.020 Eingetragen in das Archiv der Musikalien- Verlager | Wien. | bei Tobias Haslinger’s Witwe und Sohn. | k. k. Hof-u. Priv. Kunst-u. Musikalienhändler | Leipzig, bei B. Hermann

Score F: 40 × 25 cm p. 123

Comments 1. Fach L No 43

MOZART, Wolfgang Amadeus (1756–1791) P-3335 276. [In te Domine speravi, C] – contrafactum of the finaleTu è ver m’assolvi Augusto from the opera La Clemenza di Tito, KV 621/26 in: V Offertorien ...

[5]. C(2v), A(2v), T(2v), B(2v), vl 1(2r-v), vla(2r-v), cl in B 1(1r-v)-2(1r), fag 1(1r-v)-2(1r-v), clno princ. in C(1v), clno 1(1v), timp(1v), (2x)org(2r-v, 2r) f. 15

240 I. Authorum nominibus signata

Comments 3. Cf. Catalogue no. 490 [Vogler, Georg Joseph]; Collections no. 11 4. Identification after RISM ID no.: 1001036128 (D-DEat) [Mozart, Wolfgang Amadeus, finaleTu è ver m’assolvi Augusto from the opera La Clemenza di Tito]; cf. 1001044946 (PL-OPsm) [In te Domine speravi], 552000136 (CZ-Pu) [Du vergibst mir meinem Erlöser], 550502243 (CZ-Pu) [In te Domine speravi] 5. RISM ID no.: 1001034629: [5]. 1001034634

A-237 277. [Jesu, cum tanta tua sit dignitas, C] – contrafactum of scene and ron- deau Non più, tutto ascoltai… Non temer, amato bene, KV 490

Eine Arie für die Discantstimme | mit Accomp. | einer Concertanten Violin. | 2 Violinen | 2. Clarinetten | 2 Hörnen | 2 Faggotte [!] | 1 Bratsche nebst | Contra Bass | Vom Herrn Mozart || Eigenthum der Stadt Pfarr= Kirche | in Glatz.

Parts: C(2), vl principal(2), vl 1(1)-2(1), vla(1), b(1) F: 35 × 21,5 cm f. 8 + cover wm [1800–1849]

Comments 1. Fach XXXVIII No 14 2. In C part, top right: “No 12 del Signore Mozart”. 3. The 2nd text: Genug ich bin entschlossen; Laß o Freund uns standhaft scheiden; cover incorporates bc part of an unidentified piece: Regina caeli: Presto, C, ³¾

241 Katalog | The Catalogue

4. RISM ID no.: 1001012401 (CZ-Pu) [Non temer amato bene], 250013692 (D-GOl) [Genug ich bin entschlossen] 5. RISM ID no.: 1001034678

M-409 278. [Missa, C] KV 337

Parts: C(3)A(2)T(2)B(2), vl 1(3)-2(3), vlc(1), ob 1(2)-2(2), cl in C 1(2)-2(2), fag 1+2(2), clno in C 1(1)-2(1), org =bc(3) + {(2x)C(3,3), T(2)B(2), vl 1(3)-2(3), vlne et vlc(2) timp(2)} F: 37,5 × 23,5 cm f. 31 + cover + {20} wm [1800–1849, {1840–1860}]

Sections Kyrie: Moderato, C, ³¼; Gloria: Allegro molto, C, ¡; Credo: Vivace, C, ³¼; Sanctus/Benedictus: Adagio, C, ¡ – Allegro non troppo, C, ¡; Agnus Dei/Dona nobis: Andante, c, ¡ – Allegro assai, C, ³¼ Comments 1. Fach II No 21; IX, 11 1928 2. In the parts, top left: “Fach II”, top right: “No 21”; in the parts C and vlne: “Mozart”. 4. Cf. e.g. RISM ID no.: 551010032 (CZ-RO), 550503411 (CZ-Pu), 230007988 (D-LEm) 5. RISM ID no.: 1001034671

M-409b Missa in C | Canto, Alto, Tenore, Basso. | Violino Primo et Secundo | Clarinetto Primo et Secundo | Oboe Primo et Secundo | Fagotto Primo et Secundo | Clarino Primo et Secundo | Violoncello, Violone et Organo. | Auth: W: Mozart. | Partitur.] || Eigenthum der Stadt Pfarr | Kirche in Glatz.

242 I. Authorum nominibus signata

Manuscript score F: 40 × 24,5 cm p. 89

Comments 1. Fach LI No 54; IV, 11 1928

M-417 279. [Missa, B] KV C1.06; KV Anh. 233

[timp:] Missa in B | Canto, Alto, Tenore, Basso. | Violino Primo et Secundo. | Viola, Clarinetto Primo et Secundo | Fagotto Primo et Secundo | Cornu Primo et Secundo | Violon et Organo. | Auth. Mozart. || Eignthum der Stadt= | Pfarrkirche in Glatz.

Parts: (3x)C(3,3,3), A(3)T(3)B(3), (2x)vl 1(4,4)-2(3,3), (2x)vla(3,2), vlne(3), cl in B 1(2)-2(2), fag 1(2)-2(2), cor in B 1(2)-2(2), timp(2), org =bc(3) F: 39,5 × 25 cm f. 57 wm [1800–1849]

Sections Kyrie: Andante, B, ³¼; Gloria: Allegro, B, ¢; Credo: Allegro, B, ³¼; Sanctus/ Benedictus: Adagio, B, ²¼ – Adagio, Es, ¢; Agnus Dei: Andante, B, ³¼ Comments 1. Fach VI No 118; IV, 10 1928 2. In the parts, top left: “Fach VI”, top right: “No 118”; in the parts B, vl 1-2, org: “Mozart”. 4. Cf. e.g. RISM ID no.: 550255090 (CZ-Pkřiž), 570004337 (SK-BRnm), 600500649 (A-Wlic) 5. RISM ID no.: 1001032037

M-417b Messe in B. | fūr | Sopran, Alt, Tenor, Bass | Violin Primo et Secundo, | Viola, Clarinett. Primo et Secundo, | Fagott Primo et Secundo | Cornu Primo et Secundo und | Orgel. | von | W. Mozart. | Partitur. || Von der Frau Rector

243 Katalog | The Catalogue

Prause | gekauft für der hiesigen Stadt= | Pfarrkirche geschenkt | Rector | Schöpler

Manuscript score F: 36,5 × 24 cm p. 137

Comments 1. IV, 14 1928

A-238 280. [Nefandum scelus Jesus, F; Pervicit in justitia, C] – contrafactum of the scene Bella mia fiamma… Resta, o cara, KV 528

[T:] Aria in C | â | Tenore Solo | Violino Primo et Secondo | Hoboa Prima et Secunda [!] | Cornu Primo et Secundo | Faggotto [!] Primo et Secundo | Flauto Traverso | Alto Viola | et | Basso | Mozart | Hannig || Eigenthum der Stadt Pfarr | Kirche in Glatz

Parts: T(2), vl 1(1)-2(1), vla(1), b(1) F: 39 × 29 cm f. 6 wm [1800–1849]

Comments 1. Fach XXXVIII No 8 3. Missing parts: fl, fag 1-2, cor 1-2. 4. Cf. RISM ID no.: 455005955 (D-FUl) [Resta oh cara], 659400006 (A-Sm) 5. RISM ID no.: 1001034668

244 I. Authorum nominibus signata

MÜLLER, Donat (1806–1879) P-2961–2 281–282. [Ecce Maria genuit, B]; [Alleluia. Angelus ad pastores, C] op. 137

1ter | Grad. und Offert. | zur | lateinischen Messe | für die | heilige | Weihnachtszeit | v. | Donat Müller | Op. 137. | Schöpler [crossed out] || Eigenthum der Stadt= | Pfarrkirche zu Glatz.

Parts: (3x)S(1,1,1), A(1)T(1)B(1), vl principale (1), vl 1(1)-2(1), vla(1), fl (1), cl in C 1(1)-2(1), cor 1(1)-2(1), clno in C 1(1)-2(1), b-trb(1), timp(1), (2x) org et vlne(1,1) F: 38 × 23 cm f. 21 + cover [1800–1849]

[1]. (3x)S(1r,1r,1r), A(1r)T(1r)B(1r), vl principale (1r), vl 1(1r)-2(1r), vla(1r), fl(1r), cl in C 1(1r)-2(1r), cor in B 1(1r)-2(1r), (2x)vlne et org(1r,1r) f. 17

[2]. (3x)S(1v,1v,1v), A(1v)T(1v)B(1r-v), vl 1(1v)-2(1v), vla(1v), fl(1v), cl in C 1(1v)-2(1v), cor in F 1(1v)-2(1v), clno in C 1(1v)-2(1v), b-trb(1v), timp(1v), vlne et org(1v,1r-v) f. 20

Comments 1. No 31 3. In RISM op. 137 attributed to different compositions. 4. [1]. RISM ID no.: 702005833 (B-Asj); [2]. RISM Ø 5. RISM ID no.: 1001031920: [1]. 1001031922, [2]. 1001031925

245 Katalog | The Catalogue

M-61 283. [Missa, F; op. 138]

1te | lateinische Messe | für die | heilige | Weihnachtszeit | v. | Donat Müller. | Op. 138 || Schöpler [crossed out] | Eigenthum der Stadt=Pfarr= | Kirche zu Glatz.

Parts: (3x)C(2,2,2), A(2)T(2)B(2), vl 1(2)-2(2), vla(1), fl(2), cl in C 1(1)-2(1), cor in F 1(1)-2(1), (2x)org(2,1) F: 38 × 24,5 cm f. 26 + cover [1800–1849]

Sections Kyrie: Andante, F, ¡; Gloria: Allegro, C, ¡; Credo: Andante con moto, C, ³¼; Sanctus/Benedictus: Adagio, C, ³¼ – Andante, F, ¡; Agnus Dei: Ada- gio, C, ³¼ Comments 1. No 172 2. In the parts, top left: „D. Müller, Messe Ite | für die hl-Weihnachtszeit”. 3. In RISM op. 138 unconfirmed. 4. RISM ID no.: 450020524 (D-BB), 651004425 (A-HALn) [different vl 1 part] 5. RISM ID no.: 1001031934

MÜLLER, Wenzel (1758–1835) A-194 284. [Ad hoc festum convolate, C] – contrafactum of the aria Grauenvolle Sorge naget immer neu in meiner Brust from the opera Kaspar der Fa- gottist]

Arie [!] | Basso Solo | Violin Duos | Viola | Clarinett Duobus | Cornu Duobus | Organo | Joseph Prause | 18[2]34 [crossed out] || Eigenthum der Stadt Pfarr= | Kirche in Glatz.

246 I. Authorum nominibus signata

Parts: B(1), vl 1(1)-2(1), vla(1), cl in C 1(1)-2(1), {fag(1)}, cor in C 1(1)-2(1), org(1) F: 39,5 × 25,5 cm f. 10 + cover wm 1834 [1824?]

Comments 1. Fach XXXVIII No 16; XXVII, 7 1928 2. In the parts, top right: “No 16”. 4. Identification after RISM ID no.: 1001021167 (D-DEat) [Müller, Wenzel: Aria no. 10 Grauenvolle Sorge naget immer neu in meiner Brust from the opera Kaspar der Fagottist], 220020030 (D-WKSk) [another vl 1; with text: Geist der Geister erste Quelle], 600177181 (A-KR); cf. 553001655 (CZ-PELmv) [Pichl, Ad festum properate] 5. RISM ID no.: 1001031891

MYSLIVEČEK, Josef (1737–1781) A-239 285. [Dal adorato oggetto, C; Almen se non posso io, B]

Recitativo et Aria | à | Soprano | Violini 2 | Viola | e | Basso | Del Sig. Misliweczek [the monogram illegible] || Eigenthum der Stadt Pfarr Kirche | in Glatz

Parts: S(2),C(1), vl 1(2)-2(2), vla(1), b(2) F: 37 × 24 cm f. 10 + cover wm [1780–1820]

247 Katalog | The Catalogue

Comments 1. Fach XXXVIII No 64; XIX, 26 1928 3. Additional copy of C: f. 1, only Aria [!] with text: In omnem terram. 4. RISM Ø 5. RISM ID no.: 100103170

A-2262 = A-241 286. [Deus magne sed velate, E] – contrafactum of the aria Giusti dei che ben vedete from the opera Il Bellerofonte

Aria duae […] Altera in E | a | Canto Solo | Violinis 2 | Obois 2 | Cornibus 2 in E | Alto Viola | et Basso | Authore Misliveczek | Antoni Weigank || Eigenthum der Stadt-PfarrKirche in Glatz

[2]. C solo(2v-1r), vl 1(2v-1r)-2(2v-1r), vla(2r), b(2v-1r), ob 1(1r)-2(1r), cor in E 1(1r)-2(1r) f. 13

Comments 3. Cf. Catalogue no. 95 [Dittersdorf, Carl Ditters von]; cf. Collections no. 5 4. RISM ID no.: 858000500 (I-Rdp) 850032573 (I-Rama) [Giusti dei che vedete from the opera Il Bellerofonte]; cf. 300234484 (PL-Wu), 300000904 (PL-CZ) [Sol splendesce amoeno nitore] 5. RISM ID no.: 1001030842

A-241 = A-2262 287. [Giusti dei che ben vedete, E]

Aria in E# | Soprano | Violino Primo | Violino Secondo | Oboe Primo | Oboe Secondo | Corno Primo | Corno Secondo | Viola | et | Basso | di Missliweczek || Eigenthum der Stadt Pfarr Kirche | in Glatz.

248 I. Authorum nominibus signata

Parts: S(1), vl 1(1)-2(1), vla(1), b(1), ob 1(1)-2(1), cor in E 1(1)-2(1) F: 38 × 24 cm f. 9 + cover wm [1750–1799]

Comments 1. Fach XXXVIII No 1; XIX, 27 1928 2. Cf. Catalogue no. 286; cf. Collections no. 5 4. RISM ID no.: 300234487 (PL-Wu) 5. RISM ID no.: 1001040313

A-259 288. [Iste confessor Domini, B]

Aria Ex B {de Confessore} | a | Canto Solo | Violino Primo | Violino Secundo | Oboe Primo | Oboe Secundo | Cornu Primo | Cornu Secundo ex B | con | Basso || Seminarii ad Sctum | Aloysium Gla: [crossed out] || Eigenthum der Stadt Pfarr Kirche | in Glatz

Parts: C solo(1), vl 1(1)-2(1), vla(1), ob 1(1)-2(1), cor 1(1)-2(1), org =bc(1) F: 36 × 23; 18,5 × 23 cm f. 9 + cover wm 1773

Comments 1. Fach XXXVIII No 23; XX, 26 1928 2. At the end of vl 1 part: “Ignatius Mann Poeseos. Auditor die 12 [Apri lis] | A[nn]o 1773”, vl 2: “Ignatius Mann Poesseos. Studiosus”. 4. Identification after RISM ID no.: 300234490 (PL-Wu)Plausus [ sparate Deo], 550248540 (CZ-Pkřiž) [Jesu dulcissime], 550248855 (CZ-Pkřiž) [Huc piae mentes], 553001600 (CZ-PELmv) [Amati quaeso mentes] 5. RISM ID no.: 1001031711

249 Katalog | The Catalogue

A-2401–2 289–290. [Prometti ognor la calma dolce speranza, F] – aria from the opera Il Bellerofonte [Di due pupille amabili, C] – aria from the opera Il Bellerofonte

No. I Favore | Aria in F | a | Soprano | Violino Primo | Violino Secondo | Oboe Primo | Oboe Secondo | Corno Primo | Corno Secondo | Viola | et | Basso | No. II | Aria in C | a | Soprano | Violino Primo | Violino Secondo | Flauto Primo | Flauto Secondo | Corno Primo | Corno Secondo | Viola Prima | Viola Secondo | Fagotto Primo | Fagotto Secondo | et | Basso | di Missliweczek || Eigenthum der Stadt Pfarr | Kirche in Glatz

Parts: S(2), vl 1(2)-2(2), vla 1(2)-2(1), b(2), fl 1(1)-2(1), ob 1(1)-2(1), fag 1(1)-2(1), cor in C/F 1(1)-2(1) F: 37 × 23 cm f. 17 + cover wm [1750–1799]

[1]. S(2v-1r), vl 1(2v-1r)-2(2v-1r), vla (2v-1r), b(2v-1r), ob 1(1v)-2(1v), cor in F 1(1r)-2(1r) f. 14

[2]. S(1v-2r), vl 1(1v-2r)-2(1v-2r), vla 1(1v-2r)-2(1r-v), b(1v-2r), fl 1(1r)- -2(1r), fag 1(1r-v)-2(1r-v), cor in C 1(1v)-2(1v) f. 17

Comments 1. Fach XXXVIII No 68 3. The nd2 text in aria [2].: Adoro te devote.

250 I. Authorum nominibus signata

4. [1]. RISM ID no.: 858000500 (I-Rdp) [from the opera Bellerofon- te] [2]. RISM ID no.: 858000500 (I-Rdp) [from the opera Bellerofonte]; 550505065 (CZ-Pu), [Di due pupille amabili], 551001118 (CZ-Pnm) [Non solum venerari] 5. RISM ID no.: 1001031765: [1]. 1001031767, [2]. 1001031769

Am-198 291. [Salve regina, Es]

Parts: C 1(1)-2(1), T(1), vl 1(1)-2(1), vla(1), ob 1(1)-2(1), cor in Dis [Es] 1(1)- -2(1), org =bc(1) F: 31 × 22,5 cm f. 11 + cover wm [1780–1820]

Comments 1. Fach XVII No 4; XXX, 15 1928 2. In the parts, top right: “Auth. Misliweczeck”. 4. RISM ID no.: 550270720 (CZ-Pnm) 5. RISM ID no.: 1001031266

A-2182 292. [Tu es gloria, Es] – contrafactum of the aria Palesar vorrei col pianto from the opera Il Bellerofonte in: [Aria I in D [...] | II in Es | a | Canto Solo | Violino Primo | Violino Secundo | Oboe Primo | Oboe Secundo | Corno Concerto in Es | Fagotto Oblig. | Alto Viola | Cornibus in Es | con | Basso | Authore Missliveczek | Weigank [crossed out] || Eigenthum der Stadt-PfarrKirche in Glatz

[2]. C solo (2r-1r), vl 1(2v-1r)-2(2v-1r), vla(2r), b(1v-2r), ob 1(1r-v)-2(1r-v), fag vel vlc obl.(1v-2r), cor conc. in Es (1r-v), cor in Es 1(1r-v)-2(1r-v) f. 16

251 Katalog | The Catalogue

Comments 2. On C solo part, bottom right, a note in Fraktur [?]. 3. Cf. Catalogue no. 25 [Boroni]; cf. Also Collections no. 3; entered under notes as 2nd original text of this aria. 4. RISM ID no.: 400110579 (CH-BEl) [aria Palesar vorrei col pianto from the opera Il Bellerofonte] 5. RISM ID no.: 1001014634: [2]. 1001014637

NAPOLITANO (18.sc) Am-431 293. [Salve regina, d]

[t-vla:] Salve Regina | Longe […] | a | 4 Vocibus | Violis IIItio | con | Organo. | Sige. Napolitano. | Joseph Larisch. || Eigenthum der StadtPfarr | Kirche in Glatz.

Parts: C(2)A(2)T(2)B(2), vla 1(2)-2(2), t-vla(2), org =bc(2) F: 33 × 20,5 cm f. 16 wm 1731

Comments 1. Fach XXXVIII No 34; XXVII, 34 1928 2. At the end of vla 1 part: “O: ad M:D:G: et B:M:V: 1731 ...”. 4. RISM Ø 5. RISM ID no.: 1001036468

252 I. Authorum nominibus signata

NAUMANN, Johann Gottlieb (1741–1801) P-297 294. [Lauda Sion salvatorem, B] BemN VII 19

Parts: S(1)A(1)T(1)B(1), vl 1(1)-2(1), vla(1), vlc(1), fl 1(1)-2(1), ob 1(1)-2(1), cl in B 1(1)-2(1), fag 1(1)-2(1), cor in B 1(1)-2(1), org =bc(1) F: 21 × 34 cm f. 19 + cover wm 1812

Comments 1. Fach XX No 17; XXVIII, 7 1928 2. In the parts, top right: “Naumann”; at the end of C part: “Miggenda Musicus, 1812”; on the org part: “M: M: 1812”; vl 1: “M: M:”; vlc, fl 1-2, ob 1-2, cl 1-2, fag 1-2: “H.”. 4. RISM ID no.: 550248629 (CZ-Pkřiž), 550033020 (CZ-NYd), 450042436 (D-SCHN), 600055475 (A-VOR) 5. RISM ID no.: 1001031183

M-63 295. [Missa, As] BemN I 7; ForN 1.2/19

Parts: (2x)C(3,3), A(4)T(3)B(3), vl 1(3)-2(3), vla(2), vlne et vlc(4), vlne(2), fl 1(3)-2(3), ob 1(3)-2(2), cl in B 1(3)-2(3), fag 1(3)-2(2), cor in Es 1(1)-2(1), clno in Es 1(1)-2(1), timp(1), org =bc(3) F: 38 × 24,5 cm f. 60 wm [1800–1849]

253 Katalog | The Catalogue

Sections Kyrie: Larghetto, As, ³¼; Gloria: Con spirito, Es, ¡; Credo: Allegro, B, ¡; Sanctus: Maestoso, Es, ¡; Agnus Dei: Un poco lento, As, ¢ Comments 1. Fach III No 23 2. In the parts, top left: “Fach III”, top right: “No 23 | Naumann” [in the most parts]; at the end of parts C, A, B, vl 1, vla, vlne et vlc, fl 1, ob 1, org: “Edmund Hoffmann in Ebersdorf”; in the parts vl 2, vlne, fag 2, cor 1-2, clno 1-2, timp: “C. Müller”; fag 1: “Franz Goebel”. 3. Parts preserved separately. 4. RISM ID no.: 190025145 (S-Uu) 5. RISM ID no.: 1001031187

Manuscript score F: 38 × 24,5 cm p. 176

Comments 1. XXVIII, 9 1928

NEUMANN (18.sc) M-62 296. [Missa, D]

Missa | S: Caeciliae. | à | Canto, Alto, Tenore, Basso. | Violino Primo, et Secondo. | Oboe Primo, et Secondo. | Cornu Primo, et Secondo. | con | Organo. | Auth: Dno Neumann | Seminarii Glacenii [crossed out] || Eigenthum der Stadt Pfarr Kirche | in Glatz.

254 I. Authorum nominibus signata

Parts: C(2)A(2)T(2)B(2), vl 1(4)-2(4), ob 1(2)-2(2), cor in D 1(1)-2(1), org =bc(4) F: 33 × 21 cm f. 26 + cover wm [1750–1799]

Sections Kyrie: Adagio, D, ¡; Gloria: Allegro, D, ¡; Credo: Allegro, D, ³¼; Sanctus/ Benedictus: Adagio, D, ¡ – Andante, G, ²¼; Agnus Dei/Dona nobis: Ada- gio, A, ¡ – D, ²¼ Comments 2. Fach XXXVII No 10; XXVIII, 29 1928 4. RISM ID no.: 553005493 (CZ-HE), 550033040 (CZ-KU) [another vl 1] 5. RISM ID no.: 1001031175

NIEDENFÜHR, Anton (18/19.sc) P-298 297. [Jubilate Deo omnis terra, B]

Offertorium in B | a | Canto, Alto, Tenore, Basso | Violin Principal. Violin moI et IIdo | Viola, Flauto, Clarinetto Imo et IIdo | Cornu Primo et Secundo. Violon | et Organo | Clarino I et II, Timp. ad lib: | Auth: Anton Niedenführ || Eigenthum der Stadtpfarrkirche | in Glatz.

Parts: (3x)S(1,1,1) solo, C(1)A(1)T(1)B(1) tutti, vl solo (1), vl 1(1)-2(1), (2x) vla(1,1), vlne(1), fl(1), cl in B 1(1)-2(1), cor in B 1(1)-2(1), clno in B ad lib. 1(1)-2(1), timp(1), org =bc(1) F: 38,5 × 24,5 cm f. 22 + cover wm [1800–1849]

255 Katalog | The Catalogue

Comments 1. XXIV, 12 1928 2. In the parts, top left: “Offertorium”. 3. Surname appearing in 2 forms: NIEDENFÜHR / NÜDENFÜHR. 4. RISM Ø 5. RISM ID no.: 1001005457

M-64 298. [Missa, C]

Missa solemnis | für | Vier Singstimmen | Zwei Violinen | Viola | Zwei Clarinetten | Flöte | Zwei Fagotts | Zwei Horn | Zwei Trompeten | Pauken | Bass-Posaune (ad libitum) | Violon, Violoncello | und | Organo. | componirt | und | Sr. Hochwürden dem Stadtpffarrer, Kreis= Schulen= | Inspector u. Ritter hoher Orden | Herrn Ignatz Herzig | Hochwohl geboren in Glatz | ehrfurchtsvoll gewidmet | von | Anton Niedenführ | ersten Choralisten an der Katholischen Pfarrkirche | zu | Neisse || Eigenthum der Stadt= Pfarrkirche in Glatz. | Geschenkt von Sr Hochwürden dem Stadt- | Pfarrer und Kreis-Schulen Inspector Herrn | Herzig in Glatz.

Parts: (3x)S(4,4,4), A(4)T(4)B(4), (2x)vl 1(4,4)-2(4,4), vla(3), vlc(3), cb(3), fl(2), cl in C 1(2)-2(2), fag 1(2)-2(2), cor in C 1(2)-2(2), clno in C 1(2)- -2(2), b-trb(2), timp(2), org et vlc(2), org =bc(3) F: 37 × 24 cm f. 76 + cover 1857

Comments 2. In the parts, top left: “Fach X”, top right: “No 155”. 3. Printed dust cover for handwritten parts entered in several different hands; dated after the score. 4. RISM Ø 5. RISM ID no.: 1001022044

256 I. Authorum nominibus signata

M-64b Missa solemnis | für | Vier Singstimmen, | Zwei Violinen, Viola | Zwei Clarinetten, Floete | Zwei Fagotts, | Zwei Horn, zwei Trompeten | Pauken, | Bass-Posaune (ad libitum) | Violon, Violoncello | und Organo. | componirt und | Sr. Hochwürden dem Stadtpffarrer, Kreis-Schulen. | Inspector und Ritter hoher Orden | Herrn Ignatz Herzig | Hochwahl [!] geboren in Glatz | ehrfurchtsvoll gewidmet | von | Anton Niedenführ | ersten Choralisten an der Kathol: Pfarrkirche | in Neisse | 1857 | Partitur || der Frau Rector Prause | abgekauft in der hiesigen | Pfarrkirche geschenkt. | Schöpler

Manuscript score F: 38,5 × 25 cm p. 115

Comments 1. XVIII, 12 1928 3. Added note on score cover: “Der Frau Rector Prause | abgekauft in der hiesigen | Pfarrkirche geschenkt | Schössler | 1857.”

OHNEWALD, Joseph (1781–1856) H-2131–12 299–310. [12 Pange lingua]

[timp:] 12 | Figural Pangelingua [!] | Auth. Ohnewald || Schöpler

Parts: (2x)C(3,4), A(3)T(3)B(3), vl 1(2)-2(1), vla(1), fl(1), cl 1(1)-2(1), cor 1(1)-2(1), clno 1(1)-2(1), timp(1), org =bc(2) F: 36,5 × 23; 23,5 × 18,5 cm f. 30 wm [1840–1860]

[1]. C(1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), vla(1r), cl in C 1(1r)-2(1r), cor in C 1(1r)-2(1r), clno in C 1(1r)-2(1r), timp ad lib.(1r), org et vlne obl (1r) f. 15

257 Katalog | The Catalogue

[2]. C(1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), vla(1r), cl in B 1(1r)-2(1r), cor in F 1(1r)-2(1r), org et vlne obl.(1r) f. 12

[3]. C(1v), A(1v), T(1r-v), B(1r-v), vl 1(1r)-2(1r), vla(1r), cl in C 1(1r)-2(1r), cor in F ad lib. 1(1r)-2(1r), org et vlne obl.(1r) f. 12

[4]. C(1v), A(1v), T(1v), B(1v), vl 1(1r-v)-2(1r), vla(1r), cl in B 1(1r)-2(1r), cor in B (basso) ad lib. 1(1r)-2(1r), org et vlne obl.(1v) f. 12

[5]. C(2r), A(2r), T(2r), B(1v-2), vl 1(1v)-2(1r-v), vla(1r-v), cl in B 1(1v)-2(1v), cor in Es 1(1v)-2(1v), clno in Es 1(1v)-2(1v), timp ad lib. (1r), org et vlne obl.(1v) f. 16

258 I. Authorum nominibus signata

[6]. C(2r), A(2r), T(2r), B(2r), vl 1(1v)-2(1v), vla(1v), cl in C 1(1v)-2(1v), cor in D 1(1v)-2(1v), clno in D ad lib. 1(1v)-2(1v), timp ad lib.(1r), org ad lib.(1v) f. 15

[7]. C(2r), A(2r-v), T(2v), B(2v), vl 1(2v)-2(1v), vla(1v), cl in B 1(1v)-2(1v), cor in Es 1(1v)-2(1v), clno in Es 1(1v)-2(1v), timp ad lib.(1v), org obl (2r) f. 15

[8]. C(2v), A(2v), T(2v), B(2v), cl in C 1(1v)-2(1v), cor in C 1(1v)-2(1v), fag obl. =org(2r) f. 9

[9]. C(2v), A(2v), T(3r), B(2v), vl 1(2r)-2(1v), vla(1v), fl(1r), cl in B 1(1v)- -2(1v), cor in Es 1(1v)-2(1v), clno in Es ad lib. 1(1v)-2(1v), timp ad lib. (1r), org et vlne obl.(2r) f. 16

259 Katalog | The Catalogue

[10]. C(2v-3r), A(3r), T(3r-v), B(3r), vl 1(2r-v)-2(1v), vla(1v), fl(1v), cl in D 1(1v)-2(1v), cor in D 1(1v)-2(1v), clno in D ad lib. 1(1v)-2(1v), timp ad lib.(1v), org obl.(2v) f. 17

[11]. C(3r), A(3r-v), T(3v), B(3r-v), vl 1(2v)-2(1v), vla(1v), cl in C ad lib. 1(1v)-2(1v), cor in A ad lib. 1(1v)-2(1v), org et vlne obl.(2v) f. 12

[12]. C(3r-v), A(3v), T(3v), B(3v), vl 1(2v)-2(1v), vla(1v), fl(1v), cl in C 1(1v)-2(1v), cor in D 1(1v)-2(1v), clno in D ad lib. 1(1v)-2(1v), timp ad lib.(1v), org obl.(2v) f. 16

Comments 1. [Inv.] 6,1928 3. The nd2 text: Tantum ergo. 4. [1]. RISM ID no.: 702005291 (B-Asj) [Anonymous]; [2]. 650001642 (A-Imf), 702005800 (B-Asj); [3]. 702005801 (B-Asj); [4]. 550040401(CZ-OP), 450029789 (D-OB), 702005803 (B-Asj) [Tantum ergo] [5]. 303000145 (PL- -OPsm) [Tantum ergo], 702005802 (B-Asj) [Tantum ergo]; [6]. 702005805 (B-Asj) [Tantum ergo]; [7]. 303000147 (PL-OPsm) [Tantum ergo]; 702005806

260 I. Authorum nominibus signata

(B-Asj) [Tantum ergo]; 550040407 (CZ-OP) [Pange lingua]; [8]. 454006653 (D-MT); [9]. 702005807 (B-Ajs) [Tantum ergo]; [10]. 702005808 (B-Asj) [Tantum ergo]; [11]. 702005810 (B-Asj) [Tantum ergo]; [12]. 303000150 (PL-OPsm) [Tantum ergo], 550040437 (CZ-OP) [Pange lingua], 454006654 (D-MT) 5. RISM ID no.: 1001034616: [1-12].1001034617-1001034628

OPPITZ, Johannes (1825–1860) M-65 311. [Missa, d]

Missa quadragesimalis | für | 4 Singstimmen, 4 Posaunen, Contrabass | und Orgel | von | Johann Oppitz. || Eigenthum der Stadt= Pfarrkirche | in Glatz. Geschenkt S-r Hochwürden der Königs: Kreis Schulen= Inspector | und Stadt= Pfarren Herr Herzig.

Parts: (3x)S(2,2,2), (2x)A(3,3), (2x)T(3,3), (2x)B(3,3), vlne(2), tromba in F (1), s-a-t-b-trb(1,1,1,1), org(4) [=Directionstimme] F: 37 × 24 cm f. 35 + cover [1800–1849]

Sections Kyrie: Larghetto, d, ¡; Credo: Moderato, F, ¢; Sanctus/Benedictus: Ada- gio, F, ¡ –Andante, B, ¢; Agnus Dei/Dona nobis: Adagio, d, ¡ – Mode rato, D, ¢ Comments 1. Fach XXIV No 42 2. In the parts, top left: “Fach XXIV”, top right: “No 42”. 3. Mass without Gloria section. 4. RISM Ø 5. RISM ID no.: 1001031389

261 Katalog | The Catalogue

Parts: C(1)A(1)T(1)B(1), c-a-t-b-trb(1,1,1,1), org =bc(1+2) + {(2x)C(1,1), a-trb(1)} F: 34,5 × 21,5 cm f. 9 [2] + cover + {3} wm [1750–1799, {1800–1849}]

Comments 1. Fach XXIV No 13; XII, 2 1928 2. In the parts, top left: “Graduale Fach XXIV”, top right: “pro Domini- ca I | Quadragesimae | No.13”. 3. Surname “Otto” added in pencil on title page with question mark: “?”; organ part with added plainchant notation of psalms: In manibus portabunt and Dixit Domino. 4. RISM Ø 5. RISM ID no.: 1001036462

P-3341–2 313–314. [Christus factus est pro nobis, c]; [Dextera Domini fecit virtutem, Es]

Graduale et Offertorium | in Coena Domini | Canto, Alto, Tenore, Basso | con Organo et Alto, Te: Basso Tromb:

Parts: C(1)A(1)T(1)B(1), a-t-b-trb(1,1,1), org =bc(1) + {(2x)C(1,1), a-t-trb(1,1), (2x)b-trb(1,1)} F: 35,5 × 23,5; 16,5 × 20 cm f. 8 + cover + {6} wm [1750–1799, {1800–1849}]

[1]. C(1r), A(1r), T(1r), B(1r), a-t-b-trb(1r,1r,1r), org(1r) f. 8

262 I. Authorum nominibus signata

[2]. C(1v), A(1v), T(1v), B(1v), a-t-b-trb(1v,1v,1r-v), org(1r-v) f. 8.

Comments 1. Fach XXIV No 22; XII, 5 1928 2. In the parts – folio recto –, top left: “Graduale | Fach XXIV”, top right: “No 22”. 3. The name “Otto” on title page in pencil. 4. RISM Ø 5. RISM ID no.: 1001036518: [1].1001036520, [2]. 1001036521

P-411 = P-330b4 315. [Confitebor tibi Domine, C]

Parts: C(1)A(1)T(1)B(1), org =bc(1) F: 36,5 × 23 cm f. 5 + cover wm [1750–1799]

Comments 1. No V [?] Fach XXIV No 20; Glatz, 1929 2. In the parts, top left: “Offertorium”. 3. On title page in pencil: “Kaupert, Glatz”. 4. RISM Ø 5. RISM ID no.: 1001036613

263 Katalog | The Catalogue

Parts: C(1)A(1)T(1)B(1), {a-t-trb (1,1)}, org =bc(1) F: 35 × 21,5; 21,5 × 17,5 cm f. 7 + cover wm [1750–1799]

Comments 1. Fach XXIV No 12; XII, 15 1928 2. In the parts, top left: “Introitus”. 3. A-t-trb part added to the manuscript but not listed on the title page. 5. RISM ID no.: 1001036461

Parts: C(1)A(1)T(1)B(1), a-t-b-trb(1,1,1), org =bc(1) + {(3x)C(1,1,1), (3x) A(1,1,1), (3x)T(1,1,1), (3x)B(1,1,1)} F: 35 × 22; 22 × 17 cm f. 8 + cover + {12} wm [1750–1799, {1880–1920}]

Comments 1. Fach XXIV No 15; XII, 8 1928 2. In the parts, top left: “Graduale | Fach XXIV”, top right: “No 18”. 4. RISM Ø 5. RISM ID no.: 1001036509

P-410 318. [Hodie scietis quia veniet, D]

Offertorium | in Vigilia Nativitatis Domine [!] | Canto, Alto | Tenore, Basso | Violino Primo | Violino Secundo | et | Organo. | Auth: Otto || Fr. Leifer

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), org =bc(1) + {(2x)C(1,1), b(1)} F: 39 × 25 cm f. 7 + cover + {3} wm [1780–1820, {1840–1860}]

264 I. Authorum nominibus signata

Comments 1. Fach XIX No 24 2. In the parts, top left: “Fach XIX | Offertorium | Pastorale”, in the right: “No 24”; in the parts T, vl 1-2, org: “In Vigilia Nativitatis | Domini”. 3. On title page in pencil: “Kaupert, Glatz” and illegible inscription in pencil. 4. RISM Ø 5. RISM ID no.: 1001038204

413 319. [Homo quidam fecit, C]

Homo quid[am…] | von | Otto

Parts: (4x)C(1,1,1,1), (3x)A(1,1,1), (3x)T(1,1,1), (4x)B(1,1,1,1), a-t-b-trb transposito (1,1,1) F: 18,5 × 23,5 cm f. 16 + cover wm [1750–1799]

Comments 1. Fach XX No 4; 35 20 XII, 1928 3. On title page in pencil: “Kaupert, Glatz”, dust cover added. Manu- script contains parts only for 1st section of “Stationes”, shelf mark 413b; cf. Catalogue no. 343. 4. RISM Ø 5. RISM ID no.: 1001039280

265 Katalog | The Catalogue

Parts: C(1)A(1)T(1)B(1), a-t-b-trb(1,1,1), org =bc(1) + {(2x)C(1,1), a-t-b- trb(1,1,1)} F: 35 × 22; 21,5 x17,5 cm f. 8 + cover + {5} wm [1750–1799, {1800–1849}]

Comments 1. Fach XXIV No 21; XII, 8 1928 2. In the parts CATB and org, top left: “Fach XXIIV”, top right: “Pro Dominica | Palmarum | No. 21”; in the parts a-t-b-trb:, top left: “Offer- torium”. 3. The name „Otto” on title page with question mark: “?”. Cf. Catalogue no. 328. 4. RISM Ø 5. RISM ID no.: 1001036515

Parts: C(1)A(1)T(1)B(1), c-a-t-b-trb(1,1,1,1), org =bc(1) F: 34,5 × 21,5 cm f. 9 + cover wm [1750–1799]

Comments 1. Fach XXIV No 8; XII, 9 1928 2. In the parts (except for C), top left: “Introitus”, top right: “pro Domi- nica I ma | Quadragesimae”.

266 I. Authorum nominibus signata

3. The name “Otto” on title page in pencil with question mark: “?”. 4. RISM Ø 5. RISM ID no.:1001036449

Parts: C(1)A(1)T(1)B(1), a-t-b-trb(1,1,1), org =bc(1) + {(2x)C(1,1), (2x)A(1,1), (2x)T(1,1), (2x)B(1,1)} F: 35 × 21,5; 22,5 × 17,5 cm f. 8 + cover + {8} wm [1750–1799, {1800–1840}]

Comments 1. Fach XXIV No 18; XII, 12 1928 2. In the parts, top left: “Offertorium Fach XXIV”, top right: “pro Domi nica III | No 18”. 3. Surname “Otto” added in pencil on title page with question mark: “?”. Part a-t-trb added to manuscript but not listed. 4. RISM Ø 5. RISM ID no.: 1001036517

Parts: C(1)A(1)T(1)B(1), a-b-trb(1,1), org =bc(1) F: 35 × 22; 21 × 16,5 cm f. 7 + cover wm [1750–1799]

267 Katalog | The Catalogue

Comments 1. Fach XXIV No 11; XII, 14 1928 2. In the parts, top left: “Introitus”. 3. Surname “Otto” added in pencil on title page with question mark: “?” 4. RISM Ø 5. RISM ID no.: 1001036459

Parts: C(1)A(1)T(1)B(1), a-t-b-trb(1,1,1), org =bc(1) + {(2x)C(1,1)} F: 34,5 × 21,5; 21,5 × 13,5 cm f. 8 + cover + {2} wm [1750–1799, {1800–1849}]

Comments 1. Fach XXIV No 16; XII, 16 1928 2. In the parts, top left: “Graduale Fach XXIV”, top right: “16”. 3. Manuscript compiled with similar ones – author per analogiam. 4. RISM Ø 5. RISM ID no.: 1001036505

Parts: C(1)A(1)T(1)B(1), org =bc(1) + {(2x)C(1,1)} F: 35 × 21 cm f. 5 + cover + {2} wm [1750–1799, {1800–1849}]

268 I. Authorum nominibus signata

Comments 1. Fach XXIV No 19; XII, 11 1928 2. In the parts, top left: “Fach XXIV”, top right: “No 19”. 4. RISM Ø 5. RISM ID no.: 1001036514

L-414b 326. [Litaniae, a]

Litaniae lauretanae | a | Canto, Alto, Tenore, Basso | Violinis 2bus et [?] | con Organo | a me | Francisco Otto, Organista glacense | pro Choro Ecclesiae parochialis Soc: Jesu | compositae || Eigenthum der Stadt Pfarrkirche | in Glatz.

Manuscript score F: 37 × 23 cm p. 67 wm [1750–1799]

Sections Kyrie eleison: a, ¡; Sancta Maria: Allegro, G, ³¼; Mater Christi: Allegro, C, ¡; Mater admirabilis: Largo, F, ³¼; Virgo prudentissima: C, ¢; Rosa mystica: a, ¢; Salus infirmorum: F, ¡; Regina angelorum: a, ¡; Agnus Dei: a, ³¼ Comments 1. Glatz, 1928/1929 3. On title page in pencil: „Kaupert, Glatz”; autograph [?]. 4. RISM Ø 5. RISM ID no.: 1001036616

Parts: C 1(1)-2(1)A(1)T(1)B(1), org =bc(1) + {C(1)} F: 35 × 22 cm f. 6 + cover + {1} wm [1750–1799, {1800–1849}]

269 Katalog | The Catalogue

Comments 1. Fach XXIV No 17; XII, 4 1928 2. In the parts, top left: “Fach XXIV”, top right: “No 17”. 3. Surname “Otto” added in pencil on title page with question mark: “?”. Added C 2 part, missing trb parts. 4. RISM Ø 5. RISM ID no.: 1001036516

P-330b 328. [6 Offertories]

Manuscript score F: 38 × 24 cm p. 45 [1800–1849]

Comments 1. Fach LV No 50; Glatz, 1928/29 3. On title page in pencil: “Kaupert, Glatz”; score of six “Offertories” cor- responds to 6 individual manuscripts by Johann Franz Otto: [1]. Medi tabor = P-330. Iustitiae Domini = P-331; [3]. Laudate Dominum = P-328; [4]. Confitebor tibi = P-411; [5]. Improperium expectavit = P-329; [6]. Dextera Domini = P-3342. 4. RISM Ø 5. RISM ID no: 1001036604: [1]. 1001036605, [2]. 1001036606, [3]. 1001036607, [4]. 1001036608, [5]. 1001036609, [6]. 1001036611

M-415 329. [Missa, F]

Choral Messe | No II. | Canto, Alto, Tenore, Basso | Alt, Tenor, Bass Trombone | et Organo. | Auth: Otto. || Der Stadt= Pfarr= | Kirche in Glatz | gehörig.

270 I. Authorum nominibus signata

Parts: C solo(4), C tutti(3), A(4),T(3),B(3), a-t-b-trb(1,1,1), org =bc(3) + {C solo (3), (2x)a-t-b-trb(1,1,1,1,1,1)} F: 37 × 22,5 cm f. 23 + dust cover + {9} wm [1750–1799, {1800–1849}]

Sections Kyrie: Adagio, F, ¡; [Credo] Patrem omnipotenem: F, ¡; Sanctus/Bene- dictus: F, ³¼ – d, ³¼; Agnus Dei: F, ¡ Comments 2. In the parts, top left: “Fach XXIV”, top right: “No 2”. 3. On title page in pencil: “Kaupert, Glatz”; dust cover added later, pos- sibly together with added parts. Mass without Gloria section. 4. RISM Ø 5. RISM ID no.: 1001036612

M-415b Choral Messe | No II. | Canto, Alto, Tenore, Basso | Alt, Tenor et Bass Trombone | et Organo. | Auth: Fr: Otto. || Eigenthum der Stadt Pfarr= | Kirche in Glatz.

Manuscript score F: 38 × 24 cm p. 45 wm [1760–1820]

Comments 1. Fach LV No 49; Glatz, 1928/29 3. Original cover missing. On title page in pencil: “Kaupert, Glatz”.

M-416 330. [Missa, g]

Missa choralis | à | Canto, Alto, Tenore, Basso | Trombon: Alto, Tenore, Basso. Ad libitum | con | Organo. | {No. 1} Francisco Otto | organistus [!]

Parts: C solo(2), A(2)T(2)B(2), a-t-b-trb(1,1,1), org =bc(2) + {(2x)C(2,2)} F: 36,5 × 23 cm f. 13 + cover + {4} [1750–1799, {1800–1849}]

271 Katalog | The Catalogue

Sections Kyrie: Adagio, g, ¢; Credo: Andante, g, ¢; Sanctus/Benedictus: Adagio, g, ¢ –Adagio, g, ³¼; Agnus Dei/Dona nobis: Adagio, g, ¢ – Allegretto, g, ¢ Comments 1. Fach XXIV No 1; 7, 1928 2. In the parts, top left: “Fach XXIV”, top right: “No 1”. 3. Mass without Gloria section. 4. RISM Ø 5. RISM ID no.: 1001036614

Manuscript score F: 38 × 24 cm p. 35 + dust cover [1800–1849]

Comments 1. Fach LV No 48; Glatz, 1928/29 3. Original cover missing. On dust cover: “Eigenthum der Stadt= Pfar- rkirche | in Glatz” and in pencil: “Kaupert, Glatz”, key indication corrected: “(g-moll)”.

Parts: C(1)A(1)T(1)B(1), a-t-b-trb(1,1,1), org =bc(1) F: 35 × 22; 22 × 17 cm f. 8 + cover wm [1750–1799]

Comments 1. Fach XXIV No 10; XII, 13 1928 2. In the parts, top left: “Introitus”. 3. The name “Otto” on title page in pencil added with the remark “?”.

272 I. Authorum nominibus signata

4. RISM Ø 5. RISM ID no.: 1001036456

P-407b1–10 332–341. [10 Offertories]

Offertoria pro Adventum [!] | a | Canto, Alto, Tenore, Basso | Violino moI et IIdo | con | Organo. | Partitur. || Eigenthum der Stad= Pfarrkirche | in Glatz.

Manuscript score [SATB, vl 1-2, org] F: 37 × 23,5 cm p. 141

[1]. O sapientia, quae ex ore altissimi prodisti, D p. 1–10

[2]. O Adonai, et dux domus Israel, A p. 11–19

[3]. O radix Jesse, B p. 20–25

273 Katalog | The Catalogue

[4]. O clavis David, et sceptrum domus Israel, Es p. 26–29

[5]. O oriens splendor lucis aeternae, F p. 30–38

[6]. O rex gentium et desideratus earum, G p. 39–47

[7]. O Emanuel rex et legifer noster, C p. 48–56

[8]. Ne timeas Maria, F p. 57–61

274 I. Authorum nominibus signata

[9]. Virga Jesse spes oppressae, D p. 62–68

[10]. Leva Jerusalem oculos tuos, D p. 69–71

Comments 3. On title page in pencil: “Offertorien von Otto”; dust cover: “Offerto- rium u. Graduale | für | den Advent | von Fr. Otto und Mich. Haydn. | Partitur. || Eigenthum der Stadt= Pfarrkirche | in Glatz”; cf. Catalogue no. 190–197 [Haydn, Michael]. 4. RISM Ø 5. RISM ID no.: 1001037950: [1]. 1001037951, [2]. 1001037952, [3]. 1001037953, [4]. 1001037954, [5]. 1001037955, [6]. 1001037957, [7]. 1001037958, [8]. 1001037959, [9]. 1001038023, [10]. 1001038028

Parts: C(1)A(1)T(1)B(1), a-t-b-trb(1,1,1), org =bc(1) F: 35 × 22 cm f. 8 + cover wm [1750–1799]

275 Katalog | The Catalogue

Comments 1. Fach XXIV No 9; XII, 10 1928 2. In the parts, top left: “Introitus”, top right: “Pro Dominica II | Quadra- gesimae”. 3. Surname “Otto” added in pencil on title page with question mark: “?” 4. RISM Ø 5. RISM ID no.: 1001036455 413b 343. [Stationes]

Compositio | pro Theophoria N: 2 | Homo quidam. | Stationes IV. | Canto, Alto, Tenore, Basso, Voces | Alto, Tenore, Basso Trombon: | Con Violone et Organo. | Fr[anz] Otto || Eigenthum der Stadt Pfarrkirche in Glatz | Gehört zu No. 4 Fach. 20.

Manuscript score F: 23,5 × 36,5 cm p. 21

Comments 1. Glatz, 1929 4. RISM Ø 5. RISM ID no.: 1001039283

276 I. Authorum nominibus signata

H-384 344. [Te Deum laudamus, D]

Te Deum laudamus | chorale

Parts: C(2)A(2)T(2)B(2), a-t-b-trb transposito (1,1,1), org =bc(2) +{(4x) C(2,2,2,2), (3x)A(2,2,2), (2x)T(2,2), (2x)B(2,2), a-t-trb(1,1)} F: 23 × 18,5; 34 × 23 cm f. 13 + cover + {25} wm [1750–1799], {1823}

Comments 1. Fach XX No 2; XII, 25 1928 2. In a-t-trb parts, top left, an illegible note in German [?] 3. On title page in pencil: “Otto ?”; at the end of one of the C copies: “Augustus Kügler. 1823”. 4. RISM Ø 5. RISM ID no.: 1001061260

P-412b 345. [Tota pulchra es amica mea, C] Offertorium | De Beata Virgine sine labe concepta | Frantz Otto || Eigenthum der Stadt Pfarrkirche in Glatz.

Manuscript score [CATB, vl 1-2, 2 wind instruments, bc] F: 21,5 × 37 cm p. 10 [1780–1820]

Comments: 1. Glatz, 1929 3. On title page in pencil: “Kaupert, Glatz”; “Offertorium” text entered on title page; unspecified wind instruments [tromboni?] 4. RISM Ø 5. RISM ID no.: 1001038205

277 Katalog | The Catalogue

Parts: S(1)A(1)T(1)B(1), a-t-b-trb(1,1,1), org =bc(1) + {(2x)C(1,1)} F: 35 × 22 cm f. 8 + cover + {2} wm [1750–1799, {1800–1849}]

Comments 1. Fach XXIV No 14; XII, 3 1928 2. In the parts, top left: “Graduale | Fach XXIV”, top right: “pro Domini- ca II | Quadragesimae | No 14”. 3. Surname “Otto” added in pencil on title page with question mark: “?”. 4. RISM Ø 5. RISM ID no.: 1001036512

PALESTRINA, Giovanni Pierluigi da (1525–1594) [TŮMA, František Ignác (1704–1774)] M-109 347. [Missa, d] = [Missa secunda sine nomine]

Messa Romana | in | Canone | a | 6 Voci: | con | Fondamento | Del Sige. Thuma || Eigenthum der Stadt= Pfarrkirche | in Glatz. Geschenkt vom Schulrector [?] Hernn Seidelmann | aus Rengersdorf

Parts: C(6), A 1(7)-2(6)-3(1), T(6), B(6), org =bc(7) F: 30 × 24 cm f. 39 + cover wm [1750–1799]

Sections Kyrie: d, ¢; [Gloria] Et in terra: d, ¢; [Credo] Patrem omnipotentem: d, ¢; Sanctus: d, ¢; Agnus Dei: d, ¢

278 I. Authorum nominibus signata

Comments 1. Fach LXI No 52; V, III 1928 3. A 3 part only for Agnus Dei; org. part [arrang.] by Tůma [?]. 4. Identification after RISM ID no.: 301010415 (PL-WRu), 550282570 (CZ-Pkřiž), and 212006682 (D-Dl) [Palestrina, Giovanni Pierluigi da]. 5. RISM ID no.: 1001036522

PAŘÍZEK, Alexius (1748–1822) M-68 348. [Missa solemnis, G/D]

Missa Solemnis in D [!] | Canto, Alto, Tenore, Basso. | Violinis, Clarinettis, Fagottis, | Cornuis, Clarinis, duobus obligatis, | Flautis duobus ad libitum | Alto Viola, Timpano et Organo. | Authore Alexio Parzizek [!] | Caes. reg: Schol: Norm: Pragensis Directore etc. | Pragae | Sumptibus Josephi Polt Musicopole | No. 6. | [illegible] || Dem Chöre der Königl. und PfarrKirche zu Glatz | [...]

Parts: C(4)A(3)T(3)B(3), vl -2(4), vla(3), fl 1(1)-2(1), cl in B 1(2)-2(2), cl 2 in C(1), fag 1(2)-2(2), cor in G et clno 1(2)-2(2), org =bc(4) F: 36 × 26 cm f. 39 + title page wm 1800–1849

Sections Kyrie: Andante, G, ¡; Gloria: Allegro moderato, D, ¡; Credo: Andante, D, ³¼; Sanctus/Benedictus: Andante, D, ¢ – Andante, G, ²¼; Agnus Dei/ Dona nobis: Adagio, D, ³¼ – Allegro, D, þ¾ Comments: 1. Fach XXXVII No 8 4. PL-STAb 29a; RISM ID no.: 300000956 (PL-CZ), 601000541 (A-GE) 5. RISM ID no.: 1001031115

279 Katalog | The Catalogue

PAUSEWANG, Johann Georg (1738–1812) M-377 349. [Missa, G]

Parts: C(6)A(6)T(6)B(6), vl 1(9)-2(8), vla(7), ob 1(4)-2(4), cl 1(1)-2(1), fag 1(6)-2(4), cor in G 1(2)-2(2), clno in C 1(2)-2(2), timp(2), org =bc(6) F: 35 × 22 cm f. 84 + cover wm 1809

Sections [Kyrie] Anfang des Hohamtes: Adagio, G, ³¼; [Gloria] Gottes Lob: Al- legro con spirito, C, ³¼; [Graduale] Ich werde itzt dein gottlich Wort: Andante, Es, ¡; [Credo] Nur einen Gott allein: Allegro moderato, C, ³¼; [Sanctus/Benedictus] Ihn unsere Herr und Gott/Ruft all ihr’ Wessen: Grave, C, ¢ – Andante amoroso, F, ³¾; [Agnus Dei/Dona nobis] Das Lamb vertligt/Voll ist alles deiner Ehre: Adagio maestoso, F, ³¼ – Allegro moderato, C, ¢ Comments 1. Fach III No 29 2. In the parts, top left: “Fach III”, top right: “No 29”. 4. RISM ID no.: 550500390 (CZ-SE) 5. RISM ID no.: 1001031130

280 I. Authorum nominibus signata

429 350. [O magne Deus parvule, D]

[org:] Pastorella | a | Canto, Alto, | Violino I | Violino II | Oboe Sola | Cornu Pastoritio oblig. | Alto Viola | con | Organo. | Authore Domino Organista Pausewang | Mittelwalde. | Possessore Francisco | Aloysio Larisch. [crossed out] || Eigenthum der Stadt Pfarrkirche | in Glatz.

Parts: C(1)A(1), vl 1(1)-2(1), vla(1), ob solo(1), cor pastoritio (1), org(2) F: 36,5 × 23 cm f. 9 wm [1750–1799]

Comments 1. XXXVIII No 60 2. In the parts, top right; “No 38”. 3. On title page in pencil: “Kaupert, Glatz”. 4. RISM Ø 5. RISM ID no.: 1001031138

353 351. [O Vater ein von mir, C]

Die Aufopferung | Canto, Alto, Tenore, Basso. | Violino Primo et Secundo | Viola | Oboe Primo et Secundo | Cornu Primo et Secundo | et | Organo. | Auth. C. [!] Pausewang. || Eigenthum der Stadt= Pfarr= Kirche | in Glatz.

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), vla(1), ob 1(1)-2(1), cor 1(1)-2(1), org(1) F: 22 × 34,5 cm f. 12 + cover wm [1800–1849]

281 Katalog | The Catalogue

Comments 1. Fach XXXII No 17 2. In the parts, top left: “Die Aufopferung. Fach XXXII”, top right: “No 17”. 2. On title page in pencil: “Kaupert, Glatz”. 4. RISM Ø 5. RISM ID no.: 1001031139

H-3511–2 352–353. [Pange lingua, D] [Te Deum laudamus, D]

Pange lingua et Te Deum in D. | für Fest Corporis Christi. | für 4 Singstimmen 2 Clarinetten 2 Cornu | 2 Clarin, Principal, Fagotto et Timpano | Von Georg Pausewang || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: (2x)C(6,6), (2x)A(6,6), (2x)T(6,6), (2x)B(6,6), fl 1(1)-2(1), cl in A 1(1)-2(1), fag(1), cor in D 1(1)-2(1), clno princ. in D(1), clno in D 1(1)-2(1), timp(1) + {(2x)C(2,2), cl in C 1(1)-2(1)} F: 19 × 23,5 cm f. 59 + cover + {6} wm [1780-1820], {1828}

[1.] (2x)C(1r-6r, 1r-6r), (2x)A(1r-6r, 1r-6r), (2x)T(1r-6r, 1r-6r), (2x)B(1r-6r, 1r-6r), fl 1(1r)-2(1r), cl in A 1(1r)-2(1r), fag(1r), cor in D 1(1r)-2(1r), clno princ. in D(1r), clno in D 1(1r)-2(1r), timp(1r) f. 59

[2.] (2x)C(1v-6v, 1v-6v), (2x)A(1v-6v, 1v-6v), (2x)T(1v-6v, 1v-6v), (2x) B(1v-6v, 1v-6v), fl 1(1v)-2(1v), cl in A 1(1v)-2(1v), fag(1v), cor in D 1(1v)-2(1v), clno princ. in D (1v), clno in D 1(1v)-2(1v), timp(1v) f. 59

282 I. Authorum nominibus signata

Comments 1. Fach XX No 27 2. At the end of one of the C copies: “Alois Scholz geschrieben von Wil- helm Wolf 1828”; on the 2nd copy of C part, top right: “Anton Grüger”. 3. Te Deum and Pange lingua – set to the same music; later copies from 1828 with text Pange lingua; added fl 1-2 parts. 4. RISM Ø 5. RISM ID no.: 1001031143: [1]. 1001031144, [2]. 1001031147

A-192 354. [Quod sensuum mancipia, A]

Aria de Passione | Tenor Solo. | Violino Duo | Viola | Cornu Imo et IIdo | et | Organo. | Auth: Pausewang. || Eigenthum der Stadt-Pfarr | Kirche in Glatz.

Parts: T(1), vl 1(1)-2(1), vla(1), b(1), cor in A 1+2(1) F: 38 × 24 cm f. 6 + cover [1780–1820]

Comments 1. Fach XXIV No 27 2. In the parts, top left: “Fach XXIV”, top right: “No 27”. 4. RISM Ø 5. RISM ID no.: 1001031161

352 355. [Stationes]

STATIONES IV. | Pro festo SS. Corporis Christi | 4 Vocibus | 1 Flöte | 2 Clarinetten | 2 Horn | 1 Fagott | Principal und | 3 Posaunen. | von Pausewang. || Eigenthum der Stadt= | Pfarr Kirche in Glatz.

283 Katalog | The Catalogue

Parts: (2x)C(2,2), (2x)A(2,2), (2x)T(2,2), (2x)B(2,2), fl(1), cl in B 1(1)-2(1), fag(1), principal in Es(1), cor in Es 1(1)-2(1), a-t-b-trb(1,1,1) F: 25 × 20 cm f. 26 + cover wm [1800–1849]

Comments 1. Fach XX No 26 3. On title page in pencil: “Kaupert, Glatz”. 4. RISM Ø 5. RISM ID no.: 1001031169

PEREZ, Davide (1711–1778) A-242 356. [Veni sancte Spiritus, C] – contrafactum of the aria Ti parli in seno amore from the opera Il Farnace

Aria ex C {Veni Sancte Spiritus} | a | Soprano Solo | Violino Primo | Violino Secondo | con | Basso | Del Sige: Davido Perez || Eigenthum der Stadt Pfarr Kirche | in Glatz

Parts: S solo(1), vl 1(2)-2(2), b(1) F: 35,5 × 22,5 cm f. 6 + cover wm [1750–1799]

Comments 1. Fach XXXVIII No 21; XXVII, 20 1928 3. Text added later, in a different hand. 4. Cf. e.g. RISM ID no.: 450029182 (D-Hs) [aria Ti parli in seno amore from the opera Il Farnace], 1001040311 (CZ-Psj) [with text: Aurora quando bella] 5. RISM ID no.: 1001021592

284 I. Authorum nominibus signata

PERNSTEINER, Matthias (1795–1836) M-70 357. [Missa, C; op. 4/2]

Missa in C. | Canto, Alto, Basso, 2 Violin, | et Organo obligato. | Tenor, 2 Flauto, 2 Clarino, 2 Cornu, | Timpano et Violon non obligatis. | Auth: Mathia Pernsteiner | No 2. Solenne in C | Opus: IV | Franz Leifer [crossed out] || Eigenthum der Stadt Pfarrkirche | in Glatz.

Parts: (2x)C(4,4), A(4), T ad lib.(2), B(3), (2x)vl 1(3,3)-2(3,3), vlne(2), ob vel cl ad lib. 1(2)-2(2), cor in C 1(1)-2(1), clno in C 1(1)-2(1), timp ad lib.(1), org =bc(4) F: 39 × 24,5 cm f. 44 + cover wm [1800–1849]

Sections Kyrie: Adagio molto maiestoso [!], C, ¡; Gloria: Allegro moderato, C, ¡; Credo: Allegro moderato, C, ³¼; Sanctus/Benedictus: Un poco adagio, C, ¢ – Adagio cantabile, G, ¡; Agnus Dei: Adagio, C, ³¼ Comments 1. Fach X No 119; XXIII, 9 1928 2. In the parts, top right: “Missa von Persteiner No 2”. 4. Cf. e.g. RISM ID no.: 455038914 (D-WS), 605001158 (A-WIL) 5. RISM ID no.: 1001021586

M-69 [print] 358. [Missa, A; op. 4/1]

285 Katalog | The Catalogue

MONACHII | apud Falterum et filium reg. Bavar. Aulic chartarum et Instrument: | musical. negotiatores. | Proprium tabernae Falterianae | No 223-228.

Parts: (3x)C(3,4,4), A(3)T(2)B(3), vl 1(3)-2(3), vlne et vlc (ad lib.) (3), fl ad lib. 1(1)-2(1), cor ad lib. 1(1)-2(1), trb ad lib. 1(1)-2(1), timp(1), org =bc(4) + {(2x)C(4,4)} F: 35,5 × 27 cm f. 39 {+ 8 + dust cover} [1840], {[1840–1860]}

Sections Kyrie: Un poco adagio, A, ¡; Gloria: Allegro moderato, A, ³¼; Credo: Allegro ma non troppo, C, ¢; Sanctus/Benedictus: Andante, A, ¢ – An- dante cantabile, E, ¡; Agnus Dei/Dona nobis: Adagio agitato, C, ³¼ – A, ³¼ Comments 1. Fach VII No 52; XVIII 8, 1928 3. Two handwritten copies of C part added along with dust cover, on which provenance is entered in hand: “gehört der | Kirche”. Print dated after RISM. 4. Cf. e.g. RISM ID no.: 550040423 (CZ-ND) [MS], 603001653 (A-LA) [print] 5. RISM ID no.: 1001036388

R-139 359. [Requiem, f]

Requiem brevis in F moll. | für | Sopran, Alto, Basso | Violini Primo et Secundo | Cornu Primo et Secundo | et | Organo | Auth. M. Pernsteiner || Eigenthum der Stadt Pfarr= | Kirche in Glatz.

Parts: (3x)C(1,1,1), A(1)B(1), vl 1(1)-2(1), {b(1)}, cor in F 1+2(1), org =bc(1) F: 40 × 24 cm f. 10 + cover [after 1840]

286 I. Authorum nominibus signata

Sections Requiem aeternam: Adagio, f, ¢; Dies irae: Largo, f, ³¼; [Offertorium] Domine Jesu Christe: Adagio, F, ²¼; Sanctus/Benedictus: Adagio, F, ²¼ – Andante cantabile, F, ³¼; Agnus Dei: Grave, f, ¢; Lux aeterna: Andante, F, ¢; [Requiem da capo] Comments 1. Fach XI No 38 2. In the parts, top left: “Fach XI”, top right: “No 38”. 3. Part b included but not listed on title page. Dated after print publica- tion (RISM). 4. RISM ID no.: 605001184 (A-WIL) [print], 605018772 (A-ROB) [MS] 5. RISM ID no.: 1001021589

PETER, Johann Friedrich (1746–1813) Am-202 360. [Salve regina, B]

Parts: C solo(1), vl 1(1)-2(1), org(1) F: 35,5 × 23 cm f. 4 wm [1750–1799]

Comments 2. At the end of vl 1 part: “Desc. Pełny N:” [?]. 3. Parts preserved separately. 4. Composer identification after RISM ID no: 300000987 (PL-CZ) [Pe- ter, Johann Friedrich], cf. PL-KRZ XI-15 [Lohelius, Johannes] 5. RISM ID no.: 1001036502

287 Katalog | The Catalogue

PFEIFFER, Joseph Anton (1776–1859) P-299 361. [Assumpta es Maria in caelum, D]

Offertorium in D. | a | Canto, Alto, Tenore, Basso. | Violino Primo et Secundo. | Alto Viola | Flauto | Fagotto | Clarinetto Primo et Secundo. | Cornu Primo et Secundo. | Clarino Principale | Tympano | con | Organo. | Auth: Jos: Pfeiffer. | Franz Leifer [crossed out] || Eigenthum der Stadt Pfarrkirche | der Glatz.

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), vla(1), fl(1), cl in A 1(1)-2(1), fag(1), cor in D 1(1)-2(1), clno principal in D (1), timp(1), org(1) F: 36,5 × 23,5; 23 × 18,5 cm f. 16 + cover wm [1800–1849]

Comments 1. XXXII No 88; XX, 18 1928 2. In the parts, top left: “Offertorium”; on title page following composer’s surname added: “Braun[?]”; On inside cover: “Herrn Hannig der Obern Classe Stadtkapele | Musicalie | Glatz”. 3. The nd2 text: Suscepimus Deus ita et laus tua. 4. RISM ID no.: 551003236 (CZ-Pu), 550040443 (CZ-OP) [with text: Assumptus est Christus] 5. RISM ID no.: 1001021584

PIAZZO (18.sc) A-260 362. [Ah quanta vis amoris, G]

[fondamento:] Aria Ex G {pro tempore Paschae} | a | Soprano Solo | Violino Primo | Violino Secondo | Oboe Prima | Oboe Seconda | Cornu Primo | Cornu Secondo | Viola | Con | Fondamento || Eigenthum der Stadt Pfarr Kirche | in Glatz

288 I. Authorum nominibus signata

Parts: S solo (2), vl 1(1)-2(1), ob 1(1)-2(1), cor 1(1)-2(1), fondamento(2) F: 23,5 × 30 cm f. 10 1770

Comments 1. Fach XXXVIII No 4; XXVII, 19 1928 2. On title page barely legible note added in pencil: “pro die 16 April 1770.” 3. The nd2 text: Surrexit Christus hodie. 4. Composer identification after RISM ID no.: 551000168 (CZ-Psj) [Piazzo], 550269320 (CZ-BRE) [with text: Lauda Sion salvatorem] 5. RISM ID no.: 1001021574

PICHL, Václav (1741–1805) P-2812

363. [Huc fideles properate, F] in: II Offertorio Motetto In D et F [...]

2. C(2v-1r), A(1v), T(1v), B(1v), vl 1(2v-1r)-2(2v-1r), vla(1), ob 1(1v)-2(1v), cor in F 1(1v)-2(1v), org(1v) f. 15

Comments 1. Fach XXVI No 4 3. Cf. Catalogue no. 92 [Dittersdorf, Carl Ditters von]; cf. Collections no. 10

289 Katalog | The Catalogue

4. Composer identification after RISM ID no.: 300257858 (PL-Wu) [Pichl, Václav] 5. RISM ID no.: 1001029426: [2].1001029428

354 364. [Laetentur caeli, D]

Motetto ex D | Canto, Alto, Tenore, Basso | Violino Primo | Violino Secondo | Oboa Prima et Secondo [!] | Clarino Primo et Secondo | Alto Viola obl: | et | Organo | Author Pichel || Eigenthum der Stadt=Pfarr= | Kirche in Glatz

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), vla(1), ob 1(1)-2(1), clno in D 1(1)-2(1), org =bc(1) F: 28,5 × 22 cm f. 12 + cover wm [1800–1849]

Comments 1. Fach XXVI No 9 4. RISM ID no.: 550500699 (CZ-Pu), 551000555 (CZ-Pu) and 553005396 (CZ-Bm) [with text: Clientes petentes] 5. RISM ID no.: 1001021582

POHL (18.sc) A-1931–2 365–366. [O Deus ego amo te, B]; [Laudate Dominum, D]

Aria et Chor | Pohl || der Kirchen gehörig

Parts: C(1)A(1)T(1)B(1), vl 1(2)-2(2), vla(1), ob 1(1)-2(1), cor in F 1(1)-2(1) F: 34,5 × 23 cm f. 13 + cover wm [1800–1849]

290 I. Authorum nominibus signata

[1]. C solo (1), vl 1(1v-2r)-2(1v-2r), vla(1), ob 1(1)-2(1), cor 1(1)-2(1) f. 10

[2]. C(1v), A(1r), T(1r), B(1r), vl 1(2v-1r)-2(2v-1r), vla(1v), cor 1(1v)-2(1v) f. 11

cover:

Comments 1. Fach XXXVIII No 17; XXVII, 24 1928 3. C part of another work is used as cover here. 4. [1]. RISM Ø; [2]. RISM ID no.: 1001018843 (PL-OPsm) [with texts: Alma redemptoris mater and Salve regina]; aria entered on cover identified as RISM ID no.: 454009286 (D-MT) [Martin y Soler, Vicente – Sento che dea son io from the opera L’arbore di Diana, with text: Surrexit Christus tumulo], 702004835 (B-D), 402008295 (CH-BM) 5. RISM ID no.: 1001021158: [1]. 1001021169, [2].100102163

M-71 367. [Missa, D]

Missa Solem. in D | a | Canto, Alto, Tenore, Basso. | Violinis II. | Obois II. | Cornu II. | Clarino II. | Tÿmpano | Alto Viola | con | Organo. | Pohl || Gehört der Stadt= | Pfarrkirche in Glatz.

291 Katalog | The Catalogue

Parts: C(4)A(4)T(3)B(3), vl 1(6)-2(6), vla obl.(4), ob 1(2)-2(2), cor in D 1(1)-2(1), clno in D 1(1)-2(1), timp(1), org =bc(5) F: 31 × 23 cm f. 44 + dust cover wm [1750–1799]

Sections Kyrie: Andante, D, ³¼; Gloria: Allegro vivace, D, ³¼; Credo: Vivace molto, D, ¡; Sanctus/Benedictus: Grave, D, ¡ – Andantino, G, ¢; Agnus Dei: Andantino, G, ³¼ Comments 1. Fach VII No 51; XX, 20 1928 3. Original cover missing. 4. PL-WRk olim 65; cf. RISM ID no.: 553001649 (CZ-PELmv) 5. RISM ID no.: 1001014319

PRACHEŃSKI (18.sc) L-178 368. [Litaniae, B]

Litaniae Lauretanae | à | 4. Vocibus | 2. Violinis | Con Organo | Auth: D. Prachensky || Semin. ad S. Aloysium | Glacii

Parts: C(2)A(2)T(2)B(2), vl 1(4), org =bc(2) F: 30,5 × 21,5 cm f. 14 + cover wm [1750–1799]

Sections Kyrie: Allegro moderato, B, ¡; Mater Christi: Andante, Es, ²¼; Virgo prudentissima: Presto, C, ¹¾; Speculum justitiae: Andante, F, ²¼; Rosa mysti-

292 I. Authorum nominibus signata

ca: Andante, D, ³¼; Salus infirmorum: Andante, B, ¡; Regina angelorum: B, ²¼; Agnus Dei: Andante, B, ¡ Comments 1. Fach XIII No 21; XVII, 6 1928 3. Missing vl 2 part. 4. RISM ID no.: 550040594 (CZ-KU) 5. RISM ID no.: 1001021195

PREINDL, Joseph (1756–1823) M-72 369. [Missa, C; op. 7/1]

Missa Solennis in C. | Canto, Alto, Tenore, Basso. | Canto Imo Canto IIdo ad Agnus | Violino Primo et Secundo. | Oboe Primo et Secundo. | Cornu Primo et Secundo. | Clarino Primo et Secundo. | Alto et Tenor Trombone. | Violon et Cello. Timpano. | et Organo Concerto | Auth. D. Jos: Preindl. Organist | ad Sct Peter a Wienne. || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: S(5)A(5)T(5)B(5) conc., vl 1(7)-2(7), vlne obl.(5), ob 1(3)-2(3), cor et clno in C 1(2)-2(2), trb 1(3)-2(3), timp(2), org conc.(7) + {(2x)S(5,5), A(5)T(5)B(5), vl 1(6)-2(5)} F: 36,5 × 24 cm f. 64 + cover + {36} wm [1800–1849, {1840–1860}]

Sections Kyrie: Andante, C, ¡; Gloria: Presto, C, ¡; Credo: Allegro, C, ³¼; Sanc- tus/Benedictus: Adagio, C, ¡ – Allegretto, G, ¡; Agnus Dei/Dona nobis: Adagio, F, ¡ – Allegro, C, ³¼ Comments 1. Fach LXIV No 122; XXVIII, 3 1928 2. In the parts, top left: “Fach LXIV”, top right: “Preindl | No 122”; at the end of parts: “Miggenda”.

293 Katalog | The Catalogue

4. Cf. e.g. RISM ID no.: 300514170 (PL-Wu), 550270794 (CZ-Pnm), 600177907 (A-KR) 5. RISM ID no.: 1001021202

M-74 370. [Missa, D; op. 11]

Missa in D | Canto, Alto, Tenore, Basso | Violino I et II. (1 Floeten, 2 Clarinett. | 2 Horn, 2 Trompeten und Timpano ad libitum) | Organo et Violone | Opus 11. | Preindl. || Gehört der Stadt= | Pfarrkirche in Glatz.

Parts: S(2)A(2)T(2)B(2), vl 1(2)-2(2), vlne(2), {fl ad lib.(1), cl in C ad lib. 1(1)-2(1), cor in D ad lib. 1(1)-2(1), clno in D ad lib. 1(1)-2(1), timp ad lib.(1)}, (2x)org(3,2) + {(2x)S(2,2)} F: 39,5 × 24 cm f. 19 + 8 ad lib. + cover + {4} wm [1800–1849, {1840–1860}]

Sections Kyrie: Andante, D, ²¼; Gloria: Allegro, D, ³¼; Credo: Allegro, D, ¡; Sanc- tus/Benedictus: Adagio, D, ²¼ – Andante, G, ²¼; Agnus Dei: Adagio, g, ²¼ Comments 1. Fach VIII No 78; XXVIII, 12 1928 2. In the parts, top left: “Fach VIII”, top right: “No 78”. 3. Ad libitum parts entered in a different hand. 4. Cf. e.g. RISM ID no.: 550503409 (CZ-Pu), 550040605 (CZ-Pnm) 5. RISM ID no.: 1001021205

M-75 371. [Missa, Es; op. 8/2]

Missa in Es | a | Soprano, Alto, Tenore, Basso | Violino I et II | Oboe I et II | Trombone I et II. | Violone et Organo. | Preindl || Gehört der Stadt= | PfarrKirche zu Glatz.

294 I. Authorum nominibus signata

Parts: S(2)A(2)T(2)B(2), vl 1(2)-2(2), vlne(2), ob 1(1)-2(1), trb 1(1)-2(1), org(4) + {(2x)S(2,2), A(2)T(2)B(2), vl 1(2)-2(2), ob 1(1)-2(1), trb 1(1)-2(1), (2x)org(3,3)} F: 40 × 24,5 cm f. 22 + cover + {24} wm [1800–1849, {1840–1860}]

Sections Kyrie: Andante, Es, ²¼; Gloria: Allegro, Es, ³¼; Credo: Allegro, Es, ¡; Sanc- tus/Benedictus: Adagio, Es, ¡ – Andante C, ¡; Agnus Dei: Adagio, C, ¡ Comments 1. Fach VIII No. 77; XXVIII, 1a [1928] 2. In the parts, top left: “Fach VIII”, top right: “No 77”. 4. Cf. e.g. RISM ID no.: 300001026 (PL-CZ), 550269977 (CZ-LIT), 570004595 (SK-BRnm), 601000548 (A-GE) 5. RISM ID no.: 1001021371

M-73 372. [Missa, c; op. 12/6]

Parts: S(4)A(4)T(4)B(4), vl 1(5)-2(5), vlne(4), ob 1(3)-2(3), clno in G 1(2)-2(2), trb 1(3)-2(3), timp(2), org =bc(6) + {S(4), vl 1(6)-2(6)} F: 39,5 × 24 cm f. 54 + cover + {16} wm [1800–1849, {1840–1860}]

Sections Kyrie: Andante, c, ²¼; Gloria: Presto, C, ¡; Credo: Allegro, C, ³¼; Sanctus/ Benedictus: Andante, C, ¡ – Andante, Es, ¡; Agnus Dei: Adagio, C, ¡

295 Katalog | The Catalogue

Comments 1. Fach III No 24 (In das Fach No 54 des einen Schranks übertragen); XXVIII, 4 1928 2. In the parts, top left: “Fach III”, top right: “No 24”. 4. RISM ID no.: 1001043931 (PL-OPsm), 550040631 (CZ-Pnm), 550450020 (CZ-Pu), 603001663 (A-LA) 5. RISM ID no.: 1001021372

RATHGEBER, Johann Valentin (1682–1750) Am-2681 373. [Ave regina, g]

Parts: C(2)A(2)T(2)B(2), vl 1(2)-2(2), vla(1), org =bc(2v) F: 36,5 × 23,5 cm f. 15 + cover wm [1750–1799]

[1]. C(1r), A(1r), T(1r), B(1r), vl 1(1v)-2(1v), org =bc(1r) f. 7

Comments 1. Fach XVI No 2; XVII, 18 1928 3. Cf. Catalogue no. 511–513 [Anonymous]; cf. Collections no. 8 4. Composer identification after RISM ID no.: 703000830 (B-MAR) [Rathgeber, Johann Valentin] 5. RISM ID no.: 1001035243: [1]. 1001035244

Am-2691, 2, 4 374–376. [3 Ave regina: F, E, f]

296 I. Authorum nominibus signata

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), org =bc(1) F: 36 × 23,5 cm f. 7 + cover wm [1750–1799]

[1]. C(1r), A(1r), T (1r), B(1r), vl 1(1r)-2(1r), org =bc(1r) f. 7

[2]. C(1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), org =bc(1r) f. 7

[4]. (1v), A(1v), T(1v), B(1v), vl 1(1v)-2(1v), org =bc(1v) f. 7

Comments 1. Fach XVI/3; XVII, 19 1928 3. Cf. Catalogue no. 151 [Graun, Carl Heinrich]; cf. Collections, no. 9. 4. Composer identification after RISM ID no.: [1]. 703000831 (B-MAR) [Rathgeber, Johann Valentin], [2]. 703000829 (B-MAR) [Rathgeber, Jo- hann Valentin], [4]. 703000832 (B-MAR) [Rathgeber, Johann Valentin] 5. RISM ID no.: 1001035366: [1]. 1001035368, [2]. 1001035373, [4]. 1001035376

297 Katalog | The Catalogue

355 377. [Completorium, C; op. 9/5] HelR 89

Parts: C(4)A(3)T(4)B(3), vl 1(3)-2(4), clno in C 1(1)-2(1), org =bc(4) F: 37 × 23 cm f. 27 + cover wm [1750–1799]

Sections Iube Domine: C, ¡; Cum invocarem: C, ¡; In te Domine speravi: An- dante, F, ²¼; Qui habitat: G, ¡; Ecce nunc: B, ²¼; Hymnus: Te lucis ante terminum: Andante, g, ²½; In manus tuas: Andante, a, ¡; Nunc dimittis: Andante, C, ³¼ Comments 1. Fach XXIII No 4; IV, 1 1928 4. RISM ID no.: 570002079 (SK-J) 5. RISM ID no.: 1001014620

REIM, Anton (18/19.sc) M-76 378. [Missa, Es]

Missa in Es | a | Canto. Alto. Tenore. Basso. | Violino Imo et IIdo | Viola Obl: | Clarinetto Imo et IIdo in B. | Cornuo Imo et IIdo in Es. | Fagotto. | con | Organo. | Domino Reim. || Joanne 1827 Miggenda. [crossed out] Kaulig [crossed out] || Eigenthum der Stadtpfarrkirche | in Glatz.

Parts: C(5)A(5)T(5)B(5), vl 1(4)-2(3), vla obl.(3), cl in B 1(2)-2(2), fag(2), cor in Es 1(2)-2(2), org =bc(4) + {(2x)C(4,4)} F: 35,5 × 23,5 cm f. 44 + cover + {8} wm 1827, {[1840–1860]}

298 I. Authorum nominibus signata

Sections Kyrie: Adagio, Es, ³¼; Gloria: Moderato, Es, ¡; Credo: Andante, Es, ³¼; Sanctus/Benedictus: Andante, Es, þ¾ – Andante, c, ¢; Agnus Dei: Adagio, Es, ³¼ Comments 1. [Inv.] 159; XX, 13 1928 2. In the parts, top right: “Reim”; at the end of parts: “J: 1827 M: | [...] 8 Junij”. 3. Inventory no. added later; “M” noted in parts interpreted as “M[ig- genda]”. 4. RISM ID no.: 550040685 (CZ-Pnm) 5. RISM ID no.: 1001033643

REIMANN, Ignaz (1820–1885) M-77b 379. [Missa, Es]

Manuscript score F: 39 × 25 cm p. 83 [1840–1860]

Sections Kyrie: Adagio, Es, ¡; Gloria: Allegro, Es, ¡; Credo: Andante con moto, As, ¡; Sanctus/Benedcitus: Adagio, Es, ¡ – Andantino, B, þ¾; Agnus Dei/ Dona nobis: Largo, C, ¡ – Moderato, Es, ¡

299 Katalog | The Catalogue

Comments 4. RISM Ø 5. RISM ID no.: 1001036318

V-163 380. [Vesperae, G-D]

Parts: (3x)S(3,3,3), A(3)T(3)B(3), vl 1(4)-2(4), vla(3), vlne(3), fl(1), cl in C 1(2)-2(2), cor in G 1+2(2), clno in D 1+2(1), timp(1), org =bc(3) F: 40,5 × 25 cm f. 44 + cover [1840–1860]

Sections Dixit Dominus: Andante, G, þ¾; Confitebor tibi: Moderato, G, ¡; Beatus vir: Andante, G, ¡; Laudate pueri: Moderato, A, þ¾; Laudate Dominum: Allegro moderato, G, ¡; Magnificat: Maestoso, D, ¡ Comments 4. RISM Ø 5. RISM ID no.: 1001036378

REISSIGER, Carl Gottlieb (1798–1859) 356 381. [Deus misereatur nostri, D; op. 82]

Psalm 66 | für 8 Vocal = Stimmen | von | Reissiger | Op. 82. || Eigenthum der Stadtpfarr= | Kirche in Glatz.

Parts: S 1(1)-2(1), A 1(1)-2(1), T 1(1)-2(1), B 1(1)-2 (1) + {S1(1)-2(1), A1(1)-2(1), T1(1)-2(1), B1(1)-2(1)}

300 I. Authorum nominibus signata

F: 38 × 23,5 cm f. 8 + cover + {8} wm 1838, {[1850–1899]}

Comments 1. No 118 2. In the parts, top right: “Psalm 66 Reisiger | Op. 82”; at the end of parts C, A: “1838”. 4. RISM ID no.: 456004216 (D-NEhz) 5. RISM ID no.: 1001033716

356b No. 86 | Psalm 66 | für 8 Vocal= Stimmen | von | Reisiger | Op. 82 || Eigenthum der Stadtpfarrkirche in Glatz. | [crossed out] Fr. Leifer and Schõpler

Manuscript score F: 36,5 × 23,5 cm p. 12

Comments 1. XVIII, 11 1928 5. RISM ID no.: 1001033718

M-78 382. [Missa, Es] FenR 1. 04

Messe in Es. | für 4 Singstimmen (vierfach) | 2 Violinen | (die 1st 3. die 2st zweifach) | Viola (2 fach) 2 Floeten. 2 Oboen. | 2 Clarinetten. 2 Fagotte. 2 Horn, | 2 Trompeten, Pauken, Violoncello, | Violon (zweifach) und Organo. | componirt | von | C. G. Reissiger | Partitur dabei fach 25. No 3 || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: (4x)C(4,4,4,3), (4x)A(4,4,3,3), (4x)T(4,4,3,3), (4x)B(4,4,3,3), (3x)vl 1(4,4,4)- -(2x)2(4,4), vla(4), vlc(4), (2x)vlne(4,3), fl 1(3)-2(3), ob 1(2)-2(2), cl in B 1(2)-2(3), fag 1(3)-2(3), cor in Es 1(2)-2(2), clno in Es 1(1)-2(1), timp(1), org =bc(5) F: 38 × 24,5 cm f. 125 + cover 1840

301 Katalog | The Catalogue

Sections Kyrie: Andante, Es, ¡; Gloria: Allegro moderato, Es, ¡; Credo: Moderato, Es, ³¼; Sanctus/Benedictus: Allegro con moto, Es, ³¼ – Andantino con moto, As, ²¼; Agnus Dei: Andantino, Es, ³¼ Comments 1. Fach LX No 142; XXVIII, 13 1928 2. In the parts, top left: “Fach LX”, top right: “No 142”; in C part: “Brück- ner”; at the end of C part: “Glacii 27/6 [18]40”; A: “Glacii 11/7 [18]40”; T: “Glacii 18/7 40”; B: “Glacii 6/8 40”. 3. One copy of vla part missing; org part – in a different hand and later (missing from printed score). 4. Cf. e.g. RISM ID no.: 300001073 (PL-CZ), 455026146 (D-NBss), 220000698 (D-BAUd) 5. RISM ID no.: 1001033720

Score F: 33,5 × 26,5 cm p. 116

Comments: 1. Fach XXV No 3; XXVIII, 10 1928 3. On dust cover handwritten dedication: “Eigenthum der Stadt= Pfarr= Kirche in Glatz. | Geschenkt vom Kaufmann Herrn Grolms in Junii 1840.”

302 I. Authorum nominibus signata

RIEDER, Ambros (1771–1855) M-79 383. [Missa, Es] BenRi 35 B

Missa in Es | a | Canto, Alto, Tenore, Basso. | Violino Imo et IIdo | Clarinetto Imo et IIdo | Clarino Imo et IIdo | Cornu Imo et IIdo | Viola, Violoncello | Timpano | con | Organo. | Auth: Ambros: Rieder. || Gehört der Kirche | in Glatz.

Parts: (3x)C(3,3,3), A(3)T(3)B(3), vl (2x)1(4,4)-2(3), vla(2), vlc et vlne(2), cl in B 1(2)-2(2), cor in Es 1(1)-2(1), clno in Es 1(2)-2(2), timp(1), org =bc(3) F: 39 × 23,5 cm f. 47 + cover wm [1800–1849]

Sections Kyrie: Andante, Es, ¡; [Gloria] Et in terra: Allegro, Es, ³¼; [Credo] Patrem omnipotentem: Con moto, Es, ¡; Sanctus/Benedictus: Andante, Es, ³¼ – Con moto, Es, ³¼; Agnus Dei/Dona nobis: Adagio, c, ³¼ – Andante, Es, ³¼ Comments 1. Fach VIII No 79; XX, 11 1928 2. In the parts, top left: “Fach VIII”, top right: “No 79”. 4. RISM ID no.: 550267994 (CZ-OSm) 5. RISM ID no.: 1001034058

3661 384. [Tantum ergo, C] BenRi 85

Tantum Ergo. | in C. | für | 4 Singstimmen, 2 Violinen | 2 Oboen, 2 Trompeten, Pauken | Orgel und Violon. | Componirt von | Ambros Rieder. | Werke 85, | Graduale | (O mi Deus amor meus) | für | 4 Singstimmen, 2 Violinen | Viola, Orgel und Violon | von | Ignatz Ritter von Seyfried. Prause [crossed out] || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

303 Katalog | The Catalogue

Parts: (3x)C(1,1,1), A(1)T(1)B(1), vl 1(1)-2(1), vla(1), vlne(1), ob vel cl in C 1+2(1), clno in C 1+2(1), timp(1), org =bc(1) F: 21 × 34 cm f. 14 + cover wm [1800–1849]

[1]. (3x)C(1r,1r,1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), vlne(1r), ob vel cl 1+2(1r), clno 1+2(1r), timp(1r), org =bc(1r) f. 13

Comments 1. Fach XX No 9; XXV, 12 1928 2. In the parts, top left: “Fach XX”, top right: “No 9”. 3. Cf. Catalogue no. 462 [Seyfried, Ignaz Ritter von]; cf. Collections no. 13. 4. RISM ID no.: 601000579 (A-GE), 601000853 (A-Wpp), 553004592 (CZ-NAČ) [Anonymous] 5. RISM ID no.: 1001024135: [1]. 1001034134

RINCK, Johann Christian Heinrich (1770–1846) M-80 385. [Missa, d; op. 91]

Missa | pro | Soprano, Alto, Tenore et Basso | Cum obligato | Organorum Comitatu | composita a | C: H: Rinck. | Opus 91. || Eigenthum der Stadt= Pfarr= |Kirche in Glatz.

Parts: C(6)A(6)T(6)B(5), org conc.(13) F: 37 × 25,5 cm f. 36 + cover wm [1840–1860]

304 I. Authorum nominibus signata

Sections Kyrie: Andante sostenuto, d, ³½; Gloria: Allegro, D, ¡; Credo: Allegro moderato, D, ¡; Sanctus/Benedictus: Maestoso, D, ¡ – Larghetto, A, ²¼; Agnus Dei: Andante, d, ¡ Comments 1. Fach LXI No 55; XX, 3 1928 2. In the parts, top left: “Fach LXI”, top right: “No 55”; on B part, top right: “von Rinck”. 4. RISM ID no.: 455012319 (D-Tl), 702005405 (B-Asj), 400100123 (CH-ZGm) 5. RISM ID no.: 1001034059

RÖDER, Georg Valentin (1776–1848) V-164 386. [Psalmi ad Vesperas]

Parts: (3x)S(9,9,8), A(9)T(9)B(8), vl 1(9)-2(8), vla(7), vlne(9), fl(2), cl in A 1(3)-2(2), cor 1(2)-2(2), tr in D 1(2)-2(2), timp(2), vlc et vlne et org =bc(12) F: 40 × 24,5 cm f. 114 + cover 1833

Sections 1. Dixit Dominus: Allegro maestoso, D, ¢; 2. Dixit Dominus: Andante, D, ³¼; 3. Confitebor tibi: Andante con moto, G, ¡; 4. Beatus vir: Andante, B, ¢; 5. Laudate pueri: Allegro vivace, D, ¢; 6. In exitu Israel: Moderato, e, ¡; 7. Laudate Dominum: Allegro, D, ³¼; 8. Magnificat 1: Andante maestoso, D, ¡; 9. Magnificat 2: Andante maestoso, D, ¡; 10. Laetatus sum:

305 Katalog | The Catalogue

Andante, C, ³¼; 11. Nisi Dominus: Poco adagio, C, ¢; 12. Lauda Jerusa- lem: Andante, G, ¡; 13. Psalmi de Apostolis: Credidi propter: Andante, B, ¡; 14. In convertendo: Andante, A, ¡; 15. Domine probasti me: Poco adagio, F, ¡; 16. Beati omnes: Andante, G, ¡; 17. Alma redemptoris mater: Adagio, G, ³¼; 18. Ave regina: Adagio, As, ³¼; 19. Regina caeli: Allegro, D, ³¼; 20. Salve regina: G, ²¼ Comments 1. Fach XXIX No 15; 29 [z 26], XI 1928 2. In the parts, top left: “Fach XXIX”, top right: “No 15 | Graf v. Röder”; on all the parts: “Psalmi ad Vesperas de Dominica”; at the end of A part: “Fine 30/11/[18]33 Innwich”; B: “8.12.33 Innwich”, vlne: “Fine […] Inn wich | 1833”; on several others, only the date: “1833”. 3. On title page in pencil: “Kaupert, Glatz”. 4. Composer identification e.g. after RISM ID no.: 454502371 (D-SCHO) and 300001100 (PL-CZ) [Röder, Georg Valentin] 5. RISM ID no.: 1001037219

ROSETTI (18.sc) A-243 387. [Lauda Sion salvatorem, C]

[org:] Aria in C | a | Canto Solo | Violino Solo | Violinis Duobus | Viola | Cornu due in C | con | Orga[no] | Auth: Rosetti | A. Haertel [crossed out] || Eigenthum der Stadt Pfarr Kirche | in Glatz

Parts: (2x)C solo, vl conc.(1), vl 1(1)-2(1), vla(1), cor in C 1(1)-2(1), org =bc(2) F: 31,5 × 23 cm f. 10 wm [1750–1799]

Comments 1. Fach XXXVIII No 11; XXVII, 23 1928 2. Top left of C part: “de Venerabili Sacra”. 4. RISM Ø 5. RISM ID no.: 1001034326

306 I. Authorum nominibus signata

ROTTER, Ludwig (1810–1895) M-81 388. [Missa, C; op. 15]

Parts: (3x)S(4,3,3), A(3)T(3)B(3), vl (2x)1(3,4)-2(3), vla(2), vlc(3), vlne(3), cl vel ob 1(2)-2(2), cor in C 1(2)-2(2)-3(2), tr in C 1(1)-2(1), a-t-b- trb(1,1,1), timp(1),org =bc(3) + [score of vocal parts] F: 38,5 × 24 cm f. 56 + cover + 25 1862

Sections Kyrie: Maestoso sostenuto, C, ³¼; Gloria: Allegro, C, ³¼; Credo: Allegro ma non troppo, C, ¡; Sanctus/Benedictus: Andante sostenuto, C, ³¼ – Moderato, F, ¡; Agnus Dei/Dona nobis: Poco adagio, C, ³¼ – Andante un poco di molto, C, ¡ Comments 1. XXIII, 1 1928 2. In the parts, top left: “Messe von Rotter”; at the end of S part: “20. 3.[18]62”. 4. RISM ID no.: 550402305 (CZ-Pu), 605001673 (A-HAR) 5. RISM ID no.: 1001034136

307 Katalog | The Catalogue

RYCHLOWSKY, Ignatius (18.sc) Am-200 389. [Salve regina, E]

Parts: C(1)A(1)T(1)B(1) solo, vl 1(1)-2(1), fl trav. 1(1)-2(1), cor 1(1)-2(1), org =bc(1) F: 20 × 27 cm f. 11 wm [1750–1799]

Comments 1. Fach XVII No 5; XVII, 15 1928 4. RISM ID no.: 300512633 (PL-Wu) 5. RISM ID no.: 1001033913

[2]. C solo (2v-1r), vl 1(2v-1r)-2(2v-1r), vla(2v-1r), ob 1(1v)-2(1v), clno vel cor in F (1v)-2(1v), org(2r) f. 13

308 I. Authorum nominibus signata

Comments 3. Cf. Catalogue no. 135 [Fechner, Valentin]; cf. Collections no. 1 4. Composer identification after RISM ID no.: 550282820 (CZ-Pkřiž) [Sacchini, Antonio] 5. RISM ID no.: 1001038718: [2].1001038722

SALIERI, Antonio (1750–1825) M-82 391. [Missa, D]

Parts: (3x)S(3,3,4), A(3)T(3)B(3), (2x)vl 1(3,4)-2(3,4), vla(3), vlc(3), vlne(3), ob 1(2)-2(2), cl(1), fag 1+2(2), tr 1-4(1,1,1,1), a-t-trb(2,2), timp(1), org =bc(6) F: 40,5 × 24,5 cm f. 64 + cover wm [1800–1849]

Sections Kyrie: Andante con moto, D, ³¼; Gloria: Allegro maestoso, D, ¢; Credo: Allegro, D, ³¼; Sanctus/Benedictus: Andante maestoso, D, ¢ – Andanti- no, A, ²¼; Agnus Dei/Dona nobis: Un poco lento, d, ¢ – Allegretto, D, ¢ Comments 1. Fach III No 25 2. In the parts, top left: “Fach III”, top right: “No 25”. 3. Added cl part for Benedictus section. 4. RISM ID no.: 530001263 (H-VEs), 900007685 (US-NH) 5. RISM ID no.: 1001034327

309 Katalog | The Catalogue

A-245 392. [Quae caeli luce radias, B] – contrafactum of the aria Come oh ciel come il crudele from the opera Palmira regina di Persia, AngS 135

Parts: C(2), vl 1(1)-2(1), vla 1(1)-2(1,1), (2)vlc et vlne(1,1), ob 1(1)-2(1), fag 1+2(1), cor in Es 1(1)-2(1) F: 25 × 18,5 cm f. 13 wm [1800–1849]

Comments 1. XXVII, 3 1928 4. RISM ID no.: 550280515 (CZ-Pk) [aria Come oh ciel come il crudele from the opera Palmira regina di Persia] 5. RISM ID no.: 1001034328

A-244 393. [Quanta perniciosa hic mundus, D]

Aria in D | Basso Solo | Violino Imo et IIdo | Viola Imo et II do| Clarinetto Imo et IIdo in A | Cornu Imo et IIdo | con | Organo | Auth. Salieri | Joseph Prause | 1828 || Eigenthum der Stadt= | PfarrKirche in Glatz

Parts: B solo(1), vl 1(1)-2(1), vla 1(1)-2(1), cl in A 1+2(1), cor in D 1+2(1), org con b(1) F: 36,5 × 23,5 cm f. 8 + cover wm 1828

310 I. Authorum nominibus signata

Comments 1. Fach XXXVIII No 62; XXVII, 2 1928 2. At the end of cor part: “Finis 26ten August | 1828 revisum”; org: “Finis 26 Aug: 1828”. 4. RISM ID no.: 550269438 (CZ-BRE), 550270266 (CZ-Pnm) [Ditters- dorf, Carl Ditters von] 5. RISM ID no.: 1001034474

SCHIEDERMAYR, Johann Baptist (1779–1840) P-301 394. [Cantate Domino canticum novum, C]

Offertorium sol: | pro omni tempore, in C. | Basso, et Violoncello concertatibus, | Canton [!], Alto, Tenore. | Violino Primo et Secundo | Clarinetto Primo et Secundo | Cornu Primo et Secundo | Clarino Primo et Secundo | Timpano, Viola, Violon | et Organo. | Auth: Schiedermaÿr || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: B solo (1), S(1)A(1)T(1) tutti, vl 1(1)-2(1), vla(1), vlc conc.(1), cl 1(1)-2(1), cor in C 1(1)-2(1), clno in C 1(1)-2(1), timp(1), (2x)org =bc(1,1) F: 39 × 24,5; 19,5 × 24,5 cm f. 17 + cover wm [1800–1849]

Comments 1. Fach XXXII No 31; XVIII, 26 1928 2. In the parts, top left: “Fach XXXII”; in the right: “No 31”. 4. Cf. e.g. RISM ID no.: 553006253 (CZ-VA), 551001284 (CZ-Pnm) 5. RISM ID no.: 1001026745

P-300 395. [Haec dies quam fecit Dominus, F; op. 68]

Parts: C(1) solo, (2x)C(1,1), A(1)T(1)B(1) tutti, vl (2x)1(1,1)-2(1), vlc et b(1), ob + cl in C 1(1)-2(1), cor in F 1(1)-2(1), org =bc(1) F: 23,5 × 28 cm f. 15 + cover wm [1800–1849]

Comments 1. Fach XXIV No 39; XVIII, 27 1928 2. In the parts, top left: “Fach XXIV | Offertorium”, top right: “No 39”. 4. PL-KRZ III-91-92; cf. RISM ID no.: 300001149 (PL-CZ), 303005223 (PL-OPsm), 551000400 (CZ-Pu) 5. RISM ID no.: 1001030262

M-84 396. [Missa, C]

Missa in C. | Canto, Alto, Tenore, Basso | Violino Primo et Secundo | Clarinetto Primo et Secundo | Clarino Primo et Secundo | Timpano, Organo et Violon | Auth: Schidermaier [!] || Gehört der Kirche

Parts: S(3)A(3)T(3)B(3), vl 1(4)-2(3), vlc et b(4), cl in C 1(2)-2(2), clno in C 1(1)-2(1), timp(1), org =bc(3) + {(2x)S(3,3), org(4)} F: 35 × 25 cm f. 33 + cover + {10} wm [1800–1820, {1840–1860}]

Sections Kyrie: Adagio, C, ³¼; Gloria: Allegro vivace, C, ³¼; [Graduale] Cantate Domino canticum novum: Allegro spirituoso, C, ¡; Credo: Allegro ma

312 I. Authorum nominibus signata

non tanto, C, ³¼; [Offertorium] Domine exaudi orationem meam: An- dante cantabile, A, ²¼; Sanctus/Benedictus: Largo, C, ¢ – Andante con moto, F, ¢; Agnus Dei: Adagio maestoso, c, ¢ Comments 1. Fach VIII No 54; XVIII, 18 1928 2. In the parts, top left: “Fach VIII”, top right: “No 54”. 4. PL-Wb olim ŚL A. I. Nr 66; cf. RISM ID no.: 300257080 (PL-Kd), 300001159 (PL-CZ), 570004678 (SK-BRnm) 5. RISM ID no.: 1001028671

M-88 397. [Missa, C]

Messe v. Schiedermeier | aus der dritten Lieferung der Kirchen = | Musickalien für das Land | für | Discant, Alt, Tenor, Bass | 2 Violinen, 2 Horn, Orgel und | Contrabass nebst Violoncello || Eigenthum der Stadt= | Pfarr= Kirche in Glatz.

Parts: (2x)C(2,2), A(1)T(1)B(1), vl 1(2)-2(2), cor in C 1(1)-2(1), org(2) F: 35,5 × 21,5 cm f. 15 + cover wm 1839, [1800–1849]

Sections Kyrie: Andantino, C, ³¼; Gloria: Allegro vivace, C, ¡; Credo: Allegro, C, ¡; Sanctus/Benedictus: Adagio, C, ³¼ – Andante, F, ²¼; Agnus Dei: Poco adagio, C, ³¼ Comments 1. Fach IX No 82; XVIII, 25 1928 2. In the parts, top left: “Fach IX”, top right: “No 82”; at the end of one of the C copies: “in November 1839 Elsner | revisum”. 4. PL-KRZ I-86; cf. RISM ID no.: 300257162 (PL-Kd) [Anonymous], 551001391 (CZ-Pnm), 552000177 (CZ-Pu) 5. RISM ID no.: 1001028808

313 Katalog | The Catalogue

M-85 398. [Missa, C]

Messe in C | Canto, Alto, Tenore, Basso, | Violino Duobus | Clarinetto Duobus | Cornu Duobus | Clarino Duobus | Timpano et Organo | Auth: Schiedermeyer || Der Pfarrkirche in | Glatz gehörig

Parts: C(2)A(2)T(2)B(2), vl 1(2)-2(2), cl in C 1(1)-2(1), cor in C 1(1)-2(1), clno in C 1(1)-2(1), timp(1), org(1) + {(2x)S(2,2), org(2)} F: 37 × 23,5 cm f. 20 + cover + {6} wm [1800–1849, {1840–1860}]

Sections Kyrie: Allegro, C, ¡; Gloria: Allegro spirituoso, C, ¡; Credo: Moderato, C, ³¼; Sanctus/Benedictus: Poco adagio, C, ¡ – Allegretto, F, ²¼; Agnus Dei: Poco adagio, g, ³¼ Comments 1. Fach VIII No 55; XVIII, 19 1928 2. In the parts, top left: “Fach VIII”, top right: “No 55”; at the end of timp part: “finis Blumstock”. 4. PL-WRk XXXVIIIa 555; PL-KRZ I-90; cf. RISM ID no.: 300001158 (PL-CZ), 300257136 (PL-Kd), 300257087 (PL-Kd), 550500916 (CZ-Pu), 1001022110 (CZ-RO) 5. RISM ID no.: 1001028810

M-86 399. [Missa, G]

Messe in G | Canto, Alto, Tenore, Basso | Violino Primo et Secundo | Cornu Primo et Secundo | Contrabass, Violoncello et Organo | Auth: Schiedermayer || Eigenthum der Stadt- Pfarr= | Kirche in Glatz

Parts: (2x)S(2,2), T(2)B(2), vl 1(2)-2(2), vlc et b(2), cor in G 1(1)-2(1), org(3) F: 38 × 24 cm f. 19 + cover wm 1839

314 I. Authorum nominibus signata

Sections Kyrie: Moderato, G, ¢; Gloria: Allegro molto, G, ¡; [Graduale] Salvum me fac: Allegro moderato, C, ³¼; Credo: Allegro, G, ³¼; [Offertorium] Conserva me Domine: Andante sostenuto, C, ²¼; Sanctus/Benedictus: Adagio, G, ¡ – Allegretto, C, ²¼; Agnus Dei: Adagio molto, G, ¡ Comments 1. Fach IX No 80; XVIII, 21 1928 2. In the parts, top left: “Fach IX”, top right: “No 80”, an the end of S part: “den 5 November 1839 Elsner”. 3. Missing A part. 4. PL-Wb olim ŚL A. I. Nr 64, PL-WRk XXXVIII a 559, PL-KRZ I-87; cf. e.g. RISM ID no.: 300257089 (PL-Kd), 300001162 (PL-CZ), 301050649 (PL-STAb), 301050651 (PL-STAb), 550270870 (CZ-Pnm) 5. RISM ID no.: 1001029269

M-83 400. [Missa, F]

Missa Solennis | Canto, Alto, Tenore, Basso. | Violino Primo et Secundo. | Duo Clarinetti in B. | Duo Cornu in F. | Duo Clarini in C. | Timpano | Fagotto, Violone et Organo. | Joh: B: Schiedermaier || Eigenthum der | Stadt= Pfarr= Kirche | in Glatz.

Parts: (2x)C(2,2), A(2), (2x)T(2,2), B(2), vl 1(3)-2(3), vlc et vlne(3), cl in B 1(2)-2(2), fag(2), cor in F 1(1)-2(1), clno in F 1(1)-2(1), timp(1), org(4) F: 39 × 25 cm f. 36 + cover wm [1800–1849]

315 Katalog | The Catalogue

Sections Kyrie: Adagio con moto, F, ³¼; Gloria: Allegro con spirito, F, ¡; Credo: Allegro non tanto, F, ³¼; Sanctus/Benedictus: Adagio, F, ³¼ – Andante, B, ²¼; Agnus Dei: Adagio maestoso, F, ¢ Comments 1. Fach VII No 50; XVIII, 20 1928 2. In the parts, top left: “Fach VII”, top right: “No 50”. 4. PL-KRZ I-89; cf. RISM ID no.: 1001004014 (PL-CZ), 303005363 (PL-OPsm) 553002432 (CZ-NH), 550503668 (CZ-Pu), 550270022 (CZ-OP) 5. RISM ID no.: 1001029280

M-87 401. [Missa, F; op. 31]

Messe von Schiedermaier | für das Land aus der ersten Lieferung | der Kirchenmusickalien | für | Canto, Alto, Tenore, Bass | 2 Violinen, Orgel, Contrabass | und Violoncello || Eigenthum der Stadt= Pfarr | Kirche in Glatz

Parts: (2x)S(2,2), A(2)T(2)B(2), vl 1(2)-2(2), vlne et vlc(2), org(2) F: 38,5 × 24 cm f. 18 + cover wm 1839

Sections Kyrie: Andante con moto, F, ¢; Gloria: Allegro spirituo[so], F, ¢; [Gra duale] Lauda anima mea: Moderato, B, ²¼; Credo: Allegro ma non tanto, F, ³¼; [Offertorium] Deus misereatur nostri: Adagio, F,³¼ ; Sanctus/Be nedictus: Adagio, F, ³¼ – Andantino, C, ¢; Agnus Dei/Dona nobis: Poco adagio, F, ³¼ – Alla breve, c, ¢ Comments 1. Fach IX No 81; XVIII, 24 1928 2. In the parts, top left: “Fach IX”, top right: “No 81”; at the end of one of the C copies: “Glatz 4/11/[18]39 | Olbrich”.

316 I. Authorum nominibus signata

4. PL-WRk XXXVIIIa 558; cf. RISM ID no.: 300257115 (PL-Kd), 303005326 (PL-OPsm), 300001169 (PL-CZ), 300033307 (PL-Pa), 550269447 (CZ-BRE) 5. RISM ID no.: 1001030408

R-138 402. [Requiem, Es; op. 46]

Requiem in Es. | Canto, Alto, Tenore, Basso. | Violino Primo et Secundo. | Cornu Primo et Secundo. | Violoncello et Basso cum Organo. | Auth. Joh: Bapt: Schiedermayr | No. 2. || Gehört der Stadt= Pfarr= | Kirche in Glatz.

Parts: S(2)A(2)T(2)B(2), vl 1(2)-2(2), vlc et b(2), cor in Es 1(1)-2(1), org =bc(2) + {S(2)A(2)T(2)B(2), vl 2(2), vlc et b(2)} F: 38,5 × 24 cm f. 18 + cover + {12} wm 1828/29, {[1840–1860]}

Sections Requiem aeternam: Adagio con moto, Es, ¡; Dies irae: Andante, c, ¡; [Offertorium] Domine Jesu Christe: Andante, Es,¡ ; Sanctus/Benedic- tus: Adagio sotto voce, As, ¡ – Moderato, Es, ³¼; Agnus Dei: Adagio, Es, ¡; Lux aeterna: Adagio con moto, Es, ¡; Cum sanctis tuis: Alla capella. Moderato, Es, ¡ Comments 1. Fach XI No 14; XVIII, 14 1928 2. In the parts, top left: “Fach XI”, top right: “No 14”; at the end of parts S, A: “Finis Dec.[ember] 1828”; T: “1829”. 4. PL-KRZ II-16; cf. RISM ID no.: 300001174 (PL-CZ), 300257189 (PL-Kd), 552010284 (CZ-Pr) 5. RISM ID no.: 1001030983

317 Katalog | The Catalogue

R-137 403. [Requiem, c]

Requiem in C moll [!] | Canto, Alto, Tenore, Basso. | Violino Primo | Violino Secundo | Cornu Primo. | Cornu Secundo. | con | Organo | No. 1 | Auth. Joh: Bapt: Schiedermair || Gehört der Stadt= Pfarr= | Kirche in Glatz.

Parts: (2x)C(2, 2), A(2)T(2)B(2), vl 1(2)-2(2), {b(1)}, cor in Es 1(1)-2(1), org =bc(1) F: 35 × 21,5 cm f. 18 + cover wm 1822

Sections Requiem aeternam: Adagio, c, ¢; Dies irae: Largo, c, ¢; [Offertorium] Domine Jesu Christe: Andante, C, ¢; Sanctus/Benedictus: Larghetto, c, ³¼ – Andante, B, ²¼; Agnus Dei: Adagio, c, ¢ Comments 1. Fach XI No 13; XVIII, 15 1928 2. In the parts, top left: “Nro 1, Fach XI”, top right: “No 13”; in the parts C, A: “Schiedermayr”; at the end of C part: “den 30 November 1822”; T: “Finis | 1822”; vl 1: “Fine | den 27 Nov. 1822”. 3. Part b included but not listed on title page. 4. PL-KRZ II-17; cf. RISM ID no.: 300257190 (PL-Kd), 300001175 (PL-CZ), 551000550 (CZ-Pu) 5. RISM ID no.: 1001030984

V-165 404. [Vesperae, C; op. 42]

Vespere [!] Dominica | Canto, Alto, Tenore, Basso, | Violino Primo et Secundo. | Clarinetto primo [!] et Secundo | Clarino Primo et Secundo | Tÿmpani, | Contrabass et Organo. | Auth: Joh: Bapt: Schiedermayer | Prause [crossed out] || gehören der Kirche

318 I. Authorum nominibus signata

Parts: (3x)C(3,3,3), A(3)T(3)B(3), vl 1(3)-2(3), vlc et b(3), cl in C 1(1)-2(1), clno in C 1(1)-2(1), timp(1), org =bc(3) F: 38,5 × 24,5 cm f. 35 + cover wm [1800–1849]

Sections Dixit Dominus: Allegro ma non tanto, C, ¡; Confitebor tibi: Andante, F, ³¼; Beatus vir: Moderato, a, ²¼; Laudate pueri: Allegro, C, ¡; Laudate Dominum: Andante, G, ³¼; Magnificat: Adagio maestoso, C,¡ Comments 1. Fach XXIX No 13; XVIII, 23 1928 2. In the parts, top left: “Fach XXIX”, top right: “No 13”. 4. PL-WRk XXXVIIIa 564; cf. RISM ID no.: 300257680 (PL-BA) [Anony mous], 550161989 (CZ-NYd), 550270014 (CZ-OP), 550503620 (CZ-Pu) 5. RISM ID no.: 1001031384

SCHIMPKE, Christoph (1725–1780) M-89 405. [Missa, C]

Missa in C | à | Canto, Alto, Tenore, Basso | Violinis IIbus | Obois IIbus | Violis IIbus | Clarinis IIbus | con | Organo | Auth. D. Christopher Schimpke || Eigenthum der Stadt | Pfarr-Kirche in Glatz

Parts: C(3)A(3)T(3)B(3), vl 1(7)-2(7), vla 1(4)-2(4), ob 1(3)-2(3), clno in C 1(2)-2(2), org(5) F: 31 × 22,5 cm f. 49 + cover wm [1750–1799]

319 Katalog | The Catalogue

Sections Kyrie: Largo, C, ¡; Gloria: Allegro, C, ¡; Credo: Allegro assai, C, ³¼; Sanc- tus/Benedictus: Largo, C, ³¼ – Andante, G, ²¼; Agnus Dei/Dona nobis: Larghetto, c, ³¼ – Allegretto, C, ¢ Comments 1. Fach XXXVII No 11; XXVII, 32 1928 4. PL-KRZ I-110; cf. RISM ID no.: 300511903 (PL-Wu), 300511497 (PL-Wu), 570002046 (SK-J) [Anonymous] 5. RISM ID no.: 1001031385

SCHMID, Franz Xaver [(1797–1865c)?] R-141 406. [Requiem, Es]

Deutsche | Seelen = Messe | mit | Canto Alto Tenore nicht obligat. | Basso et Organo. | von | Franz Xav. Schmid | Chor= Regens Staufen | im Breisgau || Eigenthum der Stadt Pfarr- | Kirche in Glatz

Parts: (2x)C(2,2), A(2)T(1)B(1) + {org=Directionstimme} F: 38 × 24,5 cm f. 8 + cover+ {4} [1800–1849, {1850–1899}]

Sections [Requiem aeternam] Gott verleihe deinen Frieden: Adagio, Es, ³¼; [Dies irae]: Allegro moderato, Es, ³¼; [Offertorium] Herr Jesum Christum: Andante, B, ³¼; [Sanctus/Benedictus]: Moderato, Es, ³¼ – Andante, B, ³¼; [Agnus Dei]: Adagio, As, ¢; [Lux aeterna]: Andante, Es, ³¼ Comments 1. Fach XI No 29; XXIII, 4 1928 2. In the parts, top left: “Fach XI”, top right: “No 29”. 3. Org part written later as a “Directionsstimme”. 4. RISM Ø 5. RISM ID no.: 1001031468

320 I. Authorum nominibus signata

SCHMID, Johann (18.sc) R-140 407. [Requiem, Es]

Parts: C(2), A(2)T(3)B(2), vl 1(2), vla 1(2)-2(2), cor in Dis 1(1)-2(1), org =bc(2) F: 33 × 21,5cm f. 19 + title page wm 1770

Sections Requiem aeternam: Adagio, Es, ¡; [Graduale] Te decet hymnus: Largo, Es, ³¼; Kyrie: Andante, Es, ¡; Dies irae: Adagio, Es, ¡; [Offertorium] Do- mine Jesu Christe: Es, ¡; Sanctus/Benedictus: Adagio, Es, ¡ – Largo, c, ¡; Agnus Dei: Largo, Es, ³¼; Lux aeterna: Largo, Es, ³¼ Comments 1. Fach XI 7 2. At the end of C part: “Descripsit Joannes | Seppelt Grammatices | Alumnus 1770 | paravit in festo Nativita | tis B: Virginis Mariae. | Die 8 Septembris”; A: “Hanc vocem descripsit seu Paravit | Franciscus Kles in Festo Beatissime | Virginis Mariae Nativitatis ante | Vesperas post mens- am”; T: “Voce a me momento ultimo Scripta gratias egi: | Sexto 9bus Septembris”; B: “revisum | Hanc voces paravit Ioannes Michäel | Kirch- ner Syntaxeos studiosus [cum] una | cum Ignatio Strauch dispensatore uterq[is] in Seminario sancti Aloysis [!] | Septimo Septembris | An[n]o 1770”; vla 2: “Hanc vocem Descripsit | Franciscus Klose Gram[m]atis- ta | dum deberet ire ad vacatione | Anno 1770 die 8 Septembris”; cor 1: “Ignatius Mann”; cor 2: “Ignatius Mann | Principista”. 3. On title page entered number: “19”. 4. RISM Ø 5. RISM ID no.: 1001031469

321 Katalog | The Catalogue

SCHMIDT, Ferdinand (1693c–1756) Am-2032 408. [Salve regina, Es] in: [Collection of 21 Salve...]

[2]. C(2v-3r), A(1v), T(1v-2r), B(1v), vl 1(2v-3r-v)-2(2v-3r-v), vla 1(1r)-2(1r), org =bc(2v-3r) f. 14

Comments 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2 4. Composer identification after RISM ID no.: 550268417 (CZ-Pak) [Schmidt, Ferdinand – with trb parts], 456003155 (D-Po), 600178371 (A-KR) 5. RISM ID no.: 10001014735: [2]. 1001014738

Am-2034 409. [Salve regina, B] in: [Collection of 21 Salve...]

[4]. C(3v-4r-v), A(2r-v), T(2v-3r), B(2v-3r), vl 1(5r-v-6r)-2(5r-v), org(4v-5r) f. 12

Comments 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2 4. Composer identification after RISM ID no.: 553004043(CZ-Bm) [Schmidt, Ferdinand], 530003360 (H-PH)

322 I. Authorum nominibus signata

5. RISM ID no.: 10001014735: [4]. 1001014741

Am-2036 410. [Salve regina, C] in: [Collection of 21 Salve…]

[6]. C(5r-v), C rip. (1r), A(3v), T(4r-v), B(4r), vl 1(7r-v)-2(7r-v), org(6v-7v) f. 9

Comments 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2 4. Composer identification after RISM ID no.: 603002240 (A-LA), [Schmidt, Ferdinand – with clno ad libitum part], 500078330 (HR-Vu) 5. RISM ID no.: 10001014735: [6]. 1001014744

Am-2037 411. [Salve regina, G] in: [Collection of 21 Salve...]

[7]. C(6r-v), A(4r), T(4v), B(4v), vl 1(7v-8r)-2(7v-8r), org(8r-v) f. 10

Comments 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2 4. Composer identification after RISM ID no.: 553004047 (CZ-Bm) [Schmidt, Ferdinand]

323 Katalog | The Catalogue

5. RISM ID no.: 10001014735: [7]. 1001014747

Am-20310 412. [Salve regina, A] in: [Collection of 21 Salve...]

[10]. C(7v-8r-v), C rip. (1v-2r), A(5v-6r), T(6v), B(6v), vl 1(10v-11v)-2(10v-11v), org(9v-10v) f. 14

Comments 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2 4. Composer identification after RISM ID no.: 550270898 (CZ-Pnm) [Schmidt, Ferdinand – with trb parts] 5. RISM ID no.: 10001014735: [10]. 1001014753

Am-20311 413. [Salve regina, D] in: [Collection of 21 Salve…]

[11]. C(8v-9r), A(6v), T(6v-7r), B(6v-7r), vl 1(11v-12v)-2(11v-12v), org(10v- -11v) f. 13

324 I. Authorum nominibus signata

Comments 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2 4. Composer identification after RISM ID no.: 550271091 (CZ-Pak), 600038577 (A-Ed) 5. RISM ID no.: 10001014735: [11]. 1001014759

Am-20313 414. [Salve regina, C] in: [Collection of 21 Salve...]

[13]. C(10r-v), A(7v), T(7v-8r), B(7v-8r), vl 1(14r-v)-2(14r-v), org(12v-13r) f. 10

Comments 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2 4. Composer identification after RISM ID no.: 550266832 (CZ-Pkřiž) [Schmidt, Ferdinand – with clno parts], 550270886 (CZ-Pnm) [without clno parts] 5. RISM ID no.: 10001014735: [13]. 1001014761

Am-20314 415. [Salve regina, G] in: [Collection of 21 Salve...]

[14]. C(10v-11r-v), A(7v-8r), T(8r-v), B(8r-v), vl 1(15r-v)-2(14v-15r-v), org(13r-v) f. 10

325 Katalog | The Catalogue

Comments 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2 4. Composer identification after RISM ID no.: 600038579 (A-Ed) [Schmidt, Ferdinand] 5. RISM ID no.: 1001014735: [14]. 1001014762

Am-20318 416. [Salve regina, C] in: [Collection of 21 Salve...]

[18]. C(14v-15r), A(9v), T(10v), B(10v), vl 1(19v-20v)-2(19v-20r), org(17v-18r) f. 11

Comments 2. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2 4. Composer identification after RISM ID no.: 456003154 (D-Po) 5. RISM ID no.: 1001014735: [18].1001030265

SCHNABEL, Joseph Ignaz (1767–1831) 358 417. [Alleluia. Haec dies quam fecit Dominus, C]

Chorus Solennis: | Canto, Alto, Tenor Solo et Tenore Tutt: | Basso Solo et Tutt: Violino Primo et Secundo. | Violin Principal. Viola, Oboe Primo et Secundo. | Cornu Primo et Secundo, Clarino Primo et Secundo. | Timpano, Violoncello et Organo. | Auth: Jos: Schnabel || Eigenthum der Stadt= | PfarrKirche in Glatz.

Parts: T(1)B(1) solo, (3x)C(1,1,1), A(1)T(1)B(1) tutti, vl principal (1), vl 1(1)-2(1), vla(1), vlc et vlne(1), ob 1(1)-2(1), cor in C 1+2(1), clno in C 1+2(1), timp(1), org =bc(1) + {Directionstimme} F: 21,5 × 35,5 cm f. 19 + cover + {2} wm 1830

326 I. Authorum nominibus signata

Comments 1. Fach LXVI No 102; VIII, 11 1928 2. At the end of timp part: “4/1 1830 | Wil: Wagner”. 3. On back inside cover, crossed out: “Niedenführ, Prausse”. 4. RISM ID no.: 303005002 (PL-OPsm) 5. RISM ID no.: 1001027057

Am-402b 418. [Alma redemptoris mater, F]

Alma in F. | Canto, Alto, Tenore, Basso | 2 Violin, Viola, 2 Hoboe | 2 Horn Orgel und Violoncello. | Auth: Jos: Schnabel. | Partitur. | Schöpler [crossed out] || Eigenthum der Stadtpfarr= | Kirche in Glatz.

Manuscript score F: 21 × 18 cm p. 14 [1800–1849]

Comments 1. VIII, 20 1928 4. Cf. e.g. RISM ID no.: 450105599 (D-AIC), 453004212 (D-KFm), 701001301 (B-Br) 5. RISM ID no.: 1001031537

P-304 419. [Ave maris stella, F]

327 Katalog | The Catalogue et Secundo | Alt et Tenor Trombone | Timpano, Violon et Organo | Auth: Jos: Schnabel | Prause [crossed out] || Eigenthum der Stadt Pfarr | Kirche in Glatz

Parts: C(1)A(1)T(1)B(1) [solo], C(1)A(1)T(1)B(1) tutti, vl 1(1)-2(1), vl 1(1)-2(1) tutti, vla(1), vlne(1), ob 1(1)-2(1), cor in F 1(1)-2(1), clno in B 1+2(1), a-t-trb(1,1), timp(1), org =bc(1) + {vlc(1)} F: 19,5 × 23,5; 38 × 24 cm f. 23 + cover + {1} [1800–1849, {1840–1860}]

Comments 1. Fach LXVI No 105; VIII, 17 1928 3. Vlc part added later, in a different hand. 4. RISM ID no.: 550248905 (CZ-NYd) 5. RISM ID no.: 1001031538

P-304b Offertorium in F. | De Beata. | Canto, Alto, Tenore, Basso, | Violino Primo et Secundo, Viola, | Oboe Primo et Secundo. | Cornu Primo et Secundo | Clarino Primo et Secundo. | Alto et Tenor= Trombone. | Timpano, Violoncello, Violon | et Organo. | Auth: Joseph Schnabel. | Schöpler [crossed out] | {Partitur}|| Eigenthum der Stadt Pfarr= | Kirche in Glatz

Manuscript score F: 28 × 24,5 cm p. 21 [1800–1849]

Comments 1. [Inv.] No 75; VIII, 13 1928 5. RISM ID no.: 1001032425

P-3332 420. [Benedicite Dominum, C] in: V Offertorien [cf. P-3331]

328 I. Authorum nominibus signata

[2]. C(1r-v), A(1r-v), T(1r-v), B(1r-v), vl 1(1r)-2(1r), vla(1r), cl et ob 1(1r)-2(1r), cor in F 1(1r)-2(1r), (2x)org(1r-v,1r) f. 13

Comments 3. Cf. Catalogue no. 490 [Vogler, Georg Joseph]; cf. Collections no. 11 4. Composer identification after RISM ID no.: 303005217 (PL-OPsm) and 450064122 (D-BNu) [Schnabel, Joseph Ignaz] 5. RISM ID no.: 1001034629: [2]. 1001034631

P-3061–2 421–422. [Confitebor tibi Domine, A]; [Levavi oculos meos, A]

2 | Graduale | {No. 1 pro Festis S. S. Angelorum} [added in pencil] | für | Violino primo et secundo | Oboe primo et secundo | Cornu primo et secondo | Canto, Alto, Tenore, Basso | Violon | con | Organo | par | Joseph Schnabel | Ig. Prause [crossed out] || Eigenthum der Stadt Pfarr= | Kirche in Glatz

Parts: (3x)C(1,1,1), A(1)T(1)B(1), (2x)vl 1(1,1)-2(1,1), vlne(1), ob 1(1)-2(1), cor 1(1)-2(1), org =bc(1) F: 24 × 39 cm f. 16 + cover wm [1800–1849]

[1]. C(1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), vlne(1r), cor 1(1r)-2(1r), org(1r) f. 10

329 Katalog | The Catalogue

[2]. C(1v), A(1v), T(1v), B(1v), vl 1(1r-v)-2(1r-v), vlne(1r), ob 1(1r)-2(1r), cor in A 1(1r)-2(1r), org(1r) f. 12

Comments 1. Fach XXXI No 27; VIII, 6 1928 2. In the parts, top left: “Fach XXXI”, top right: “No 27”. 4. [1]. RISM Ø; [2]. RISM ID no.: 552000262 (CZ-Pu) 5. RISM ID no.: 1001024136: [1]. 1001032933, [2]. 1001032934

P-3333 423. [Decora lux aeternitatis, E] in: V Offertorien [cf. P-3331]

[3]. C(1v), A(1), T(1v), B(1v), vl (1r-v)-2(1v-2r), vla(1r-v), (2x)org(1v, 1r-v) f. 10

Comments 3. Cf. Catalogue no. 490 [Vogler, Georg Joseph]; cf. Collections no. 11 4. Composer identification after PL-KRZ XIV-26 [Schnabel, Joseph Ig- naz]; cf. RISM ID no.: 1001044962 (PL-OPark) [Schnabel, Joseph Ignaz] 5. RISM ID no.: 1001034629: [3]. 1001034632

330 I. Authorum nominibus signata

359 424. [Herr unser Gott wie gross bist du, E]

Parts: T 1(2)-2(2), B 1(2)-2() solo, T 1(1)-2(1), B 1(1)-2(1) coro F: 37 × 24 cm f. 12 + cover wm [1800–1849]

Comments 1. VIII, 17 1928 4. PL-WRk XXXVIII 550b 18; cf. e.g. RISM ID no.: 550041015 (CZ-Pnm), 220018075 (D-HER), 1001018899 (D-WRha) 5. RISM ID no.: 1001034479

P-303

425. [In omnem terram exivit, C]

Offertorium in C | de Apostolis | Canto, Alto, Tenore, Basso | Violino Primo et Secundo in duplo | Alto Viola | Oboe Primo et Secundo | Clarino Primo et Secundo | Cornu Primo et Secundo | Timpano | Violone et Organo | Authore Joseph Schnabel | Prause [crossed out] || Eigenthum der Stadt | Pfarr Kirche in Glatz.

Parts: C(1)A(1)T(1)B(1), (2x)vl 1(2+2)-2(1+2), vla(1), vlc et vlne(1), ob 1(1)-2(1), cor in C 1(1)-2(1), clno in C 1(1)-2(1), timp(1), org =bc(1) + {(3x)C(1,1,1), (2x)A(1,1)T(1,1)B(1,1), (2x)vla(1,1), (3x)vlc(1,1,1)} F: 19,5 × 24 cm f. 21 + cover + {14} [1800–1849, {1850–1899}]

331 Katalog | The Catalogue

Comments 1. Fach LXVI No 104 2. In the parts, top left: “Fach LXVI”, top right: “No 104”. 4. PL-KRZ III-87; cf. e.g. RISM ID no.: 1001043845 (PL-OPark), 303005220 (PL-OPsm), 1001043127 (PL-Wb), 300511748 (PL-Wu), 300257725 (PL-BA), 550500885 (CZ-Pu) 5. RISM ID no.: 1001027061

H-360 426. [Jesu redemptor omnium, Es]

Hymnus in Es. | (Jesu Redemptor etc:) | a | Canto, Alto, Tenore, Basso, | Violinis 2, Alto Viola, | Violoncello oblig: | Flautis 2. Clarinettis 2. | Cornuis 2. Clarinis 2. | Timpano, Violon et Organo. | Auth: Jos: Schnabel. || Eigenthum der Stadt= Pfarr= Kirche | in Glatz.

Parts: (3x)C(1,1,1), (2x)A(1,1), (2x)T(1,1), (2x)B(1,1), (2x)vl 1(1,1)- 2(1,1), vla(1), vlc(1), vlne(1), fl 1(1)-2(1), cl in B 1(1)-2(1), cor in Es 1(1)-2(1), clno in Es 1+2(1), timp(1), vlc et org =bc(1) F: 24 × 39,5 cm f. 25 + cover wm [1800–1849]

Comments 1. Fach LXVI No 91; VIII, 14 1928 2. In the parts, top left: “Fach LXVI”, top right: “No 91”. 4. RISM Ø 5. RISM ID no.: 1001033152

332 I. Authorum nominibus signata

P-305 427. [Jubilate Deo omnis terra, E]

Offertorium in E | 3 Canto, Alto, Tenore, Basso | II Violinen 1. Viola | II Oboe, II Horn | II Clarinen, Timpano | Violoncello, Violon et Organo | Auth: Joseph Schnabel || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: C 1(1)-2(1) solo, T(1) solo, C(1)A(1)T(1)B(1), (2x)vl 1(1,1)-2(1,1), vla(1), vlc(1), vlne(1), ob 1(1)-2(1), cor in E 1(1)-2(1), clno in E 1+2(1), timp(1), org(1) + {(5x)C(1,1,1,1,1), (5x)A(1,1,1,1,1), (4x)T(1,1,1,1), (4x)B(1,1,1,1)} F: 19,5 × 24 cm f. 21 + cover + {18} [1800–1849, {1850–1899}]

Comments 1. Fach XXXII No 85 2. In the parts, top left: “Fach XXXII”, top right: “No 85”. 4. PL-KRZ III-89; cf. e.g. RISM ID no.: 550270900 (CZ-Pnm) 5. RISM ID no.: 1001027073

M-90 428. [Missa, C]

Missa solennis in C. | a | Canto 1mo et 2do Alto 1mo et 2do | Tenore 1mo et 2do Basso 1mo et 2do | Duplo Violino 1mo et 2do Alto Viola | Oboe 1mo et 2do Cornu 1mo et 2do | Clarino 1mo et 2do Tÿmpano Trombone Alto solo | et | Organo Contrabasso et Cello. | componirt von | Joseph Schnabel || Gehört der Stadt= Pfarr= | Kirche in Glatz.

Parts: S 1(4)-2(4), A 1(4)-2(4), T 1(4)-2(4), B 1(4)-2(4), (2x)vl 1(4,4)-2(4,4), vla(4), cb(4), ob 1(2)-2(2), cor in C 1(2)-2(2), clno in C 1(2)-2(2), a-trb solo(2), timp(2), org et vlc =bc(4) + {S 1(4), (2x)S 2(4,4), tr in F (1), b-trb(2)} F: 39 × 25 cm f. 76 + cover + {15} wm 1836, {1868}

333 Katalog | The Catalogue

Sections Kyrie: Adagio, C, ¡; Gloria: Allegro, C, ¡; Credo: Allegro, C, ¢; Sanctus/ Benedictus: Adagio, C, ¡ – Larghetto, F, ¡; Agnus Dei/Dona nobis: Ada- gio, Es, ¢ – Allegro, C, ¢ Comments 1. Fach III No 28 (In das Fach No.54 neuen [?] schrank übertragen) 2. In the parts, top left: “Fach III”, top right: “No 28”; at the end of parts clno 1-2: “Innwich”; a-trb: “Innwich 28/4 [18]36”. 3. On one of the later copies of S 2: “Heinze 26.10.[18]68”. 4. PL-KRZ I-187; cf. RISM ID no.: 301000449 (PL-WRu), 303005149 (PL-OPark), 552000254 (CZ-Pu) 5. RISM ID no.: 1001031864

M-90b Missa Sol: in C. | a | Canto 1mo et 2do, Alto, Tenore, Basso | Violino Primo et Secundo, Viola | Oboe Primo et Secundo, | Cornu Primo et Secundo | Clarino Primo et Secundo, | Trombone Alto solo, Timpano | Contrabass, Violoncello et Organo. | Componirt von | Joseph Schnabel. || Eigenthum der | Stadtpfarrkirche in Glatz.

Manuscript score = Directions-Stimme F: 37 × 25 cm p. 143

Comments 1. [seal] 8/25 1928 5. RISM ID no.: 1001031866

M-91 429. [Missa, C]

Fest= Messe | in C-dur | v. Jos. Schnabel | vom [...]ker meister Herrn Otto der hiesigen || Stadtpfarrkirche geschenkt

334 I. Authorum nominibus signata

Parts: (3x)C(5,5,5), T(5) B(5), (2x)vl 1(6,6)-2(6,6), vla(4), vlc et vlne(4), ob 1(3)-2(3), fag 1(4)-2(4), cor in C 1(2)-2(2), clno in C 1(2)-2(2), a-t-b- trb(1,1,1), timp(2), org =bc(6) + {C(5)A(5)} + Directionstimme F: 37 × 23 cm f. 85 + cover + {10} + p. 53 wm 1848, {1863}

Comments 2. In the parts: a-t-b-trb: “Rudolph Franke 14/10 [18]48”, CA: “5/2 [18]63 C.W.”. 3. Score of vocal parts: “Directions=Stimme | zur C dur Messe | v. Jos. Schnabel || der Kathol. Stadtpfarrkirche in Glatz geschenkt | von | Schöpler”. 4. RISM ID no.: 1001045200 (PL-OPakr), 550041037 (CZ-NYd) 5. RISM ID no.: 1001036315

M-401b 430. [Missa, E-A]

Messe in E und A dur | für | vier Singstimmen, 2 Violinen, | Viola, 2 Oboen, 3 Horn oblig: | (2 Trompeten und Pauken ad libitum) | Orgel mit Bass und Violoncello, | componirt und | S-r Hochwohlgeboren dem Herrn | von Montmarin, | General Vicarius und Canonicus | beim hohen Domstift zu Breslau | Hochwürden und Gnaden. | ehrerbietigst gewidmet von | Joseph Schnabel. | Capellmeister. | Schöpler [crossed out] || Eigenthum der Stadtpfarrkirche | in Glatz.

Manuscript score F: 35 × 23,5 cm p. 131 1842

335 Katalog | The Catalogue

Sections Kyrie: Adagio, E, ¡; Gloria: Allegro, A, ¡; Credo: Allegro, A, ¢; Sanctus/ Benedictus: Allegro maestoso, A, ¢ – Allegretto, D, ¢; Agnus Dei/Dona nobis: Adagio, C, ¡ –Allegretto, A, ¢ Comments 3. On cover data: “1842”. 4. Cf. e.g. RISM ID no.: 1001044998 (PL-OPark), 550402309 (CZ-Pu) 5. RISM ID no.: 1001027602

M-432 [print] 431. [Missa, F]

Parts: C solo, C [Corus 2dus], vl 2, vla, vlc, vlne, fl 1-2, ob 1-2, cl in B 1-2, fag 1-2, cor in F 1-2, clno in D 1-2, a-t-b-trb, timp, org =bc + (2x)C(4,4) solo, (2x)C 2(3,3), vl 1(5)-2(5), vla(3)

Manuscript score F: 37,5 × 23,5 cm f. 27 [after 1823]

Comments 1. Fach III No 26 2. In the parts, top left: “Fach III”, top right: “No 2”. 3. Dated on the basis of the dating of C.G. Förster’s artistic activity. 4. RISM ID no.: 300001207 (PL-CZ), 452508557 (D-B) 5. RISM ID no.: 1001039948

M-432b Directions-Stimme | zur Solen: Messe aus F. | von | Jos: Schnabel. || Eigenthum der Stadt= Pfarr= Kirche in Glatz.

Manuscript score F: 37,5 × 23,5 cm p. 54

336 I. Authorum nominibus signata

M-92 432. [Missa, F]

Missa | quadragesimalis | a | Canto, Alto, Tenore, Basso. | et Organo obligato. | Cornu de Bassetti, Fagotto, | Corni et 3 Trombony | ad libitum. | Auth: Joseph Schnabel. | J. Joseph Prause | 1828 [crossed out] || Von der Frau Rect. Prause gekauft 1860 der hiesigen StadtPfarrKirche [!] geschenkt i. J. 1878 Schöpler

Parts: C(2)A(2)T(2)B(2) solo, C(2)A(2)T(2)B(2) tutti, cl in B 1(2)-2(2), fag 1(2)-2(2), cor in F 1(1)-2(1), a-t-b-trb(1,1,1), org =bc(2) F: 38 × 23,5 cm f. 31 + cover 1828, 1860, 1878

Sections Kyrie: Largo, F, ; Credo: Alla breve, F, ¢; Sanctus/Benedictus: Larghetto, F, ³¼ – Andante, B, þ¾; Agnus Dei/Dona nobis: Larghetto, d, ¢ – D, ¢ Comments 1. [Inv.] No. 9 3. Print with organ part added: “Vratislaviae, apud F. E. C. Leuckart”; 4 pages. 4. Cf. e.g. RISM ID no.: 550041038 (CZ-NYd), 220000979 (D-BAUd), 651004082 (A-HALn) 5. RISM ID no.: 1001031540

Manuscript score F: 33,5 × 21 cm p. 76 1878

Comments 2. On cover: “Von der Frau Rector Pr. | gekauft 18 | des hiesigen Stadt pfarrkirche geschenkt [1878] Schöpler”. 3. On title page in pencil performance dates entered: “1901–1902”. 5. RISM ID no.: 1001032141

337 Katalog | The Catalogue

M-93 433. [Missa, f]

Parts: C(2)A(2)T(2)B(2), vl 1(2)-2(2), vla(2), vlne(2), cl in B 1(2)-2(2), cor in Es 1(1), in F 2(1), clno in F 1(1)-2(1), org =bc(3) + {C(3), C(3) tutti, vl 1(2)-2(2), timp(2)} F: 38,5 × 25 cm f. 27 + cover + {12} wm [1840–1860, {1850–1899]}

Sections Kyrie: Adagio, f, ³¼; Gloria: Allegro, F, ¡; Credo: Alla breve, F, ¢; Sanctus/ Benedictus: Adagio, B, ¡ – Allegretto, Es, ¢; Agnus Dei/Dona nobis: Lar- ghetto, f, ¡ – F, ¡ Comments 1. Fach VIII No 57 2. In the parts, top left: “Fach VIII”, top right: “No 57 | Schnabel”. 4. RISM ID no.: 550041021 (CZ-LIT), 450040321 (D-WS), 651004817 (A-HALn), 540003339 (SI-Ms) 5. RISM ID no.: 1001032142

M-93b Messe in F moll | für | vier Singstimmen | 2 Violinen, Viola, 2 Clarinetten, | 2 Horn, und Orgel | componirt | von | Joseph Schnabel. | Capellmeister in Breslau. | Partitur. | Schöpler [crossed out] || Eigenthum der Stadtpfarrkirche | in Glatz.

Manuscript score F: 38,5 × 25 cm p. 77 [1840–1860]

338 I. Authorum nominibus signata

Comments 1. No 71; VIII, 23 1928 5. RISM ID no.: 1001032188

361 434. [Plaude turba angelica, C]

Parts: (3x)C(1,1,1), A(1)T(1)B(1), vl 1(3x)(1,1,1)-2(1), vla(1), b(1), cb(1), fl(1), ob 1(1)-2(1), fag 1+2(1), clno in C 1(1)-2(1), timp(1), org =bc(1) F: 24,5 × 19 cm f. 21 + cover wm [1800–1849]

Comments 1. Fach XXXII No 40; VIII, 2 1928 2. In the parts, top right: “Schnabel”. 4. RISM ID no.: 303005004 (PL-OPsm), 300234462 (PL-Pa), 551002157 (CZ-BRE) 5. RISM ID no.: 1001027911

P-403b 435. [Portanda et si gravia portavi pater omnia, F]

Offertorium in F. | a | quatuor Vocibus, 2 Violinis, | Viola, 2 Obois, 2 Fagottis, 2 Cornibus, | Violono et Organo | Authore | Jos: Schnabel. | Partitur | Schöpler [crossed out] || Eigenthum der Stadtpfarr= | Kirche in Glatz.

Manuscript score F: 32 × 20,5 cm p. 24 [1800–1849]

339 Katalog | The Catalogue

Comments 1. VIII, 21 1928 4. PL-KRZ III-88; cf. e.g. RISM ID no.: 1001043128 (PL-Wb), 300001210 (PL-CZ), 553002339 (CZ-NH), 550041019 (CZ-ND), 540003367 (SI-Ms) 5. RISM ID no.: 1001033046

A-246 436. [Quod tu vis Deus, G]

Duetto | a | Canto primo [!] et Secundo | Violino primo et secondo [!] | Viola Primo et Secundo | Flauto primo et secundo | Cornu primo et secundo | con Organo et Violon | Auth. Jos. Schnabel || Eigenthum der Stadt- | Pfarrkirche in Glatz

Parts: C 1(1), C 2 vel T(1), T(1), vl 1(1)-2(1), vla 1(1)-2(1), vlne(1), fl 1(1)-2(1), cor in G 1(1)-2(1), org =bc(1) + Directionstimme F: 22,5 × 19,5; 41 × 26 cm f. 13 + cover + 1 wm [1800–1849]

Comments 1. Fach LXVI No 106; VIII, 3 1928 4. RISM Ø 5. RISM ID no.: 1001034480

R-142 437. [Requiem, B]

Requiem in B. | Canto, Alto, Tenore Basso | Violino Imo et IIdo Viola | Clarinetto Imo et IIdo | Clarinetto Tertio ad Lux aeterna | Clarino primo et secundo con Sordino. | con Organo. | Auth: Jos: Schnabel || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

340 I. Authorum nominibus signata

Parts: C(2)A(2)T(2)B(2), vl 1(2)-2(2), vla(2), cl in B 1(1)-2(1)-3(1), clno in B 1(1)-2(1), org =bc(2) + {C(3), A(2)T(2)B(2), vl 1(2)-2(2), vla(2), cl in B 1(1)-2(1)-3(1), clno in B 1(1)-2(1), (2x)org(2,2)} F: 37 × 23,5 cm f. 21 + cover + {24} wm [1800–1849, {1840–1860}]

Sections Requiem aeternam: Tardissime, B, ³¼; Kyrie: Alla breve, B, ¢; [Dies irae] Iudex ergo cum sedebit: Adagio, B, ¢; [Offertorium] Parce mihi Do- mine: Tarde, B, ¢; Sanctus: Adagio, B, ³¼; Agnus Dei: Adagio, B, ¡; Lux aeterna: Tarde, F, ³¼; [Requiem da capo] Comments 1. Fach XI No 9; VIII, 5 1928 4. RISM Ø 5. RISM ID no: 1001033047

362 438. [Stationes]

Parts: C(4)A(4)T(4)B(4), fl 1(2)-2(2), ob 1(2)-2(2), cl in B 1(2)-2(2), fag 1(2)-2(2), cor in Es 1(2)-2(2), bassethorn 1(1)-2(1), clno in Es 1(2)-2(2), a-t- -trb(1+1), quart-tuba(2), timbales(1) + {(6x)C(3,3,3,2), (3x)A(2,2,2), (4x) T(2,2,1,1), (3x)B(2,2,1), fl picc. 1(1)-2(1), fl 1(1)-2(1), cl in B 1(2)-2(2), cl in C 1(1)-2(1), fag 1(2)-2(2), cor in Es 1(2)-2(2), clno in Es 1(2)-2(2), a-t- -trb(1,1), quarttuba(1), timp(1)} F: 25 × 20; 12 × 20 cm f. 47 + cover + {54} wm [1800–1849, {1840-1860}]

341 Katalog | The Catalogue

Sections 1. Pange lingua: Tarde, Es, ³¼; 2. Statio Ima. Caro mea: Adagio, B, ¡; 3. Sta- tio IIdo. Ego sum: Adagio, Es, ³¼; 4. Statio III. O quam suavis: Adagio, Es, ²¼; 5. Statio IV. O sacrum convivium: Adagio, B, ³¼; 6. Te Deum laudamus: Tarde, Es, ³¼ Comments 1. Fach XX No 10; VIII, 6 1928 3. Differences in scoring in the nd2 later set of Stationes. 4. RISM Ø 5. RISM ID no.: 1001027900

H-208 439. [Te Deum laudamus, D]

Parts: vl 1(2)-2(2), vla obl.(1), fl vel ob 1(1)-2(1), cl in A 1(1)-2(1), cor in D 1(1)-2(1), principal in D (1), clno in D 1(1)-2(1), timp(1), org =bc(2) F: 35,5 × 22 cm f. 18 + cover wm [1800–1849]

Comments 1. XII, 17 1928 3. Missing vocal parts; on title page musical incipit. 4. RISM ID no.: 550041035 (CZ-NYd) 5. RISM ID no.: 1001033151

342 I. Authorum nominibus signata

P-302 = P-3332 440. [Veni sancte Spiritus, C / Benedicite Dominum, C]

Veni Sancte Spiritus | Offertorium | Benedicite Dominum etc. | Gradual | a | 4 Singstimmen, 2 Violinen | Viola 2 Oboen, 2 Horn, 2 Clarin. | 3 Pausaunen [!], Timpano, Violon | und Organo | Componirt | von | Joseph Schnabel || Eigenthum der Stadt | Pfarr Kirche in Glatz

Parts: C(2)A(2)T(2)B(2), vl 1(1)-2(1), vla(1), vlne(1), ob 1+2(1), cor in Es 1+2(1), clno in C 1+2(1), a+t-trb(1), b-trb(1), timp(1), org =bc(1) + {(2x)C(2,2), A(1),T(1),B(1), vl 1(1)-2(1), vla(1), vlne(1)} F: 21,5 × 35 cm f. 19 + cover + {11} wm [1800–1849, {1840–1860}]

Comments 1. Fach LXVI No 3; VIII, 13 1928 2. In parts, top left: “Fach LXVI”, top right: “No 103”; at the end of A part, illegible note in Fraktur – containing the name: “Maria Griesner”. 3. Texts of Offertorium and Graduale set to the same music. 4. Identification after RISM ID no.: 303005217 (PL-OPsm) [Schnabel, Joseph Ignaz; with text: Benedicite Dominum], also 552010388 (CZ-Pr) and 450064122 (D-BNu) 5. RISM ID no.: 1001033193

SCHNEIDER, Friedrich (1786–1853) M-97 441. [Missa, C; op. 55]

Missa | Canto, Alto, Tenore, Basso in duppl: | Violino 1mo et 2do in dupplo | Viola dupl. Flauto | Oboe 1mo et 2do | Clarinetto 1mo et 2do | Fagotto 1mo et 2do | Cornu 1mo et 2do | Clarino 1mo, 2do | Alto, Tenore, Bass Posaunen | Tÿmpano Contrabasso et Violoncello. | von Fr. Schneider. || {Partitur Fach. XXV No. 15} || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

343 Katalog | The Catalogue

Parts: (2x)S(4,4), A(4)T(4)B(4) solo, S(4)A(4)T(4)B(4) tutti, (2x)vl 1(5,5)- -2(5,5), (2x)vla(4,4), vlc(4), cb(4), fl(3), ob 1(3)-2(3), cl in C 1(3)-2(2), fag 1(4)-2(3), cor in C 1(2)-2(2), clno in C 1(1)-2(1), a-t-b-trb(2,2,2), timp(1), org =bc(8) F: 36 × 26 cm f. 114 + cover 1837

Sections Kyrie: Andante con moto, C, ³¼; Gloria: Allegro vivace, C, ¡; Credo: An- dante con moto, F, ³¼; Sanctus: Adagio, C, ¡; Agnus Dei: Andantino, C, þ¾ Comments 1. Fach III No 32; XXVIII, 6 1928 2. In the parts, top left: “Fach III”, top right: “No 32”; at the end of parts: “Fine / [18] 37 Innwich”. 4. PL-KRZ I-101; cf. RISM ID no.: 455026145 (D-NBss), 400100138 (CH-ZGm), 550041050 (CZ-NYd) [Schneider, Franz] 5. RISM ID no.: 1001033195

Score F: 25 × 32 cm p. 71 [after 1810]

344 I. Authorum nominibus signata

SCHNEIDER, Wilhelm (1783–1843) M-95 442. [Missa, c]

Parts: (3x)C(1,1,1), (2x)A(1,1), (2x)T(1,1), (2x)B(1,1), a-t-b-trb(1,1,1) + Di- rectionstimme F: 24 × 38; 33 × 26 cm f. 12 + p. 12 wm [1800–1849]

Sections Kyrie: Langsam, c, ¢; [Credo] Patrem omnipotentem: Andante, C, ¢; Sanctus: Adagio, c, ¢; Agnus Dei: Langsam, Es, ¡ Comments 1. Fach XXIV No 46, XX, 8 1928 2. In the parts, top left: “Fach XXIV”, top right: “No 46”. 3. Handwritten part: “Directionsstimme” + separate parts. Mass without Gloria section. 4. RISM Ø 5. RISM ID no.: 1001036466

SCHOBACHER, Caspar Paul (1782–1852) M-96 443. [Missa, G; op. 9]

Parts: (3x)C(2,2,2), A(2)T(2)B(2), vl 1(2)-2(2), vla(2), vlc et b(2), fl(1), cl in C 1(1)-2(1), cor et clno 1(1)-2(1), timp(1), org =bc(2)

345 Katalog | The Catalogue

F: 37,5 × 23 cm f. 28 + cover wm 1833

Sections Kyrie: Andante, G, ³¼; Gloria: Allegro vivace, D, ¡; Credo: Andante, D, ³¼; Sanctus/Benedictus: Adagio majestoso [!], d, ¡ – Andante gratioso, A, ¢; Agnus Dei/Dona nobis: Larghetto, D, ³¼ – Allegretto, D, ³¼ Comments 1. Fach VIII No 76; XXIII, 5 1928 2. In the parts, top left: “Fach VIII”, top right: “No 76”; at the end of parts S, B, vlc et b, fl: “J: Innwich”; vl 1: “1833”. 4. RISM ID no.: 570003044 (SK-BRnm), 454007715 (D-MT), 659002431 (A-Sd) 5. RISM ID no.: 1001032923

V-166 444. [Psalmi ad Vesperas, d; op. 10]

Vespern de Dominica [crossed out] | Confessore. | Canto, Alto, Basso, | Violino Primo et Secundo | Clarinetto Primo et Secundo. | Cornu et Clarino Primo et Secundo | et | Organo. | Opus 10. | Auth: C. P. Schobacher | Jos: Prause [crossed out] || Eigenthum der Stadt= Pfarr= || Kirche in Glatz.

Parts: (2x)C(2,2), A(2)B(2), vl 1(2)-2(2), cl in C 1(1)-2(1), cor et clno in D 1(1)-2(1), org =bc(2) + {vlne(2)} F: 38,5 × 23,5 cm f. 18 + cover + {2} wm [1800–1849], {1867}

346 I. Authorum nominibus signata

Sections Domine ad adjuvandum: Allegro moderato, d, ¡; Dixit Dominus: Alle- gro moderato, D, ¡; Confitebor tibi: Andante, F, ¢; Beatus vir: Andante, A, ¢; Laudate pueri: Allegro moderato, D, ¡; Laudate Dominum: Alle- gretto, B, ¡; Magnificat: Adagio maestoso, D,³¼ Comments 1. Fach XXIX No 36; XX, 2 1928 2. In the parts, top left: “Fach XXIX”, top right: “No 36”. 3. Later copy of added vlne part, with this note at the end of the part: “W. Rather d. 17.1. [18]67.” 4. Cf. e.g. RISM ID no.: 301003106 (PL-WRu), 550269424 (CZ-BRE), 570002364 (SK-J), 450041908 (D-BG) 5. RISM ID no.: 1001032924

SCHREIER, Josef (b. 1718) P-307 445. [Vos celestes musici pulsate, D]

[org:] Offertorium | de omni Festo | Canto Alto Tenore Basso | 2 Violini | 2 Clarini | Viola | Organo. | Del Sige: Giuseppe Schreier. | est Josephi Hannig [crossed out] || Eigenthum der Stadt= Pfarr= Kirche | in Glatz.

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), vla(1), clno in D 1(1)-2(1), org =bc(1) F: 22,5 × 18 cm f. 10 wm [1750–1799]

Comments 1. Fach XXVI No 8 2. In org part, top right: “Schreier”. 4. RISM Ø 5. RISM ID no.: 1001032925

347 Katalog | The Catalogue

SCHREYER, Gregor (1719–1767) V-167 446. [Vesperae, D]

Vespere [!] de B. Virgine | a | Canto, Alto, Tenore, Basso | Violino Imo et IIdo | Cornibus I et IIdo | con | Organo. | Auth: P. D. Gregorius Schreier | Ord: S. Benedicti. || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: C(4)A(4)T(4)B(3), vl 1(4)-2(4), clno + cor in D 1(2)-2(1), org =bc(6) F: 37 × 23 cm f. 32 + dust cover wm 1768

Sections Dixit Dominus: Allegro, D, ¡; Laudate pueri: Moderato, A, þ¾; Laetatus sum: Allegro, D, ¡; Nisi Dominus: Allegro, D, ³¼; Lauda Jerusalem: Alla breve, G, ¢; Magnificat: D,¡ Comments 1. Fach XXXVI No 24; XXVIII, 1 1928 2. In the parts, top left: “Vesp: B:V: Maria”, top right: “Author R. P. Gre- gor: Schreyer”; at the end of C part: “Katz Rhetor Anno 1768”; A: “De- scripsit Antonius Stamitz | Ex Comitatu Glacenzi | p. T. […]”; vl 2: “descripsit […]”. 3. Original cover missing. 4. RISM ID no.: 300001232 (PL-CZ), 300257256 (PL-Kd), 300514597 (PL-Wu), 530005520 (H-VEs) [only Dixit and Magnificat] 5. RISM ID no.: 1001034636

V-168 447. [Vesperae, B]

Vesperae de Apostolis. | à | C. A. T. B. | Violinis IIbus | Cornibus o Tubis IIbus è diversis tonis. | Con Organo | Auth: A. P. Gregorio Schreyer Ord. S. Benedicti | Seminarii ad S. Aloysium Glacii [crossed out] || Eigenthum der Stadt= Pfarr= Kirche | in Glatz.

348 I. Authorum nominibus signata

Parts: C(4)A(4)T(4)B(4), vl 1(4)-2(4), clno in B 1(2)-2(2), org =bc(4) F: 37 × 22,5 cm f. 32 + cover [1750–1799]

Sections Dixit Dominus: Moderato, B, ³¼; Laudate pueri: Tempo giusto, Es, ³¼; Credidi propter: Allegro, F, ¡; In convertendo: Allegro non molto, Es, ¡; Domine probasti me: Andante, G, ¡; Magnificat: Allegro, B,³¼ Comments 1. Fach XXXVI No 20; XXVII, 4 1928 2. In the parts, top left: “Vsp: de Apostolis”, top right: “Auth: R. P. Gregor Schreÿer”. 4. RISM ID no.: 300001229 (PL-CZ), 300514598 (PL-Wu), 530005521 (H-VEs) [only Dixit and Magnificat] 5. RISM ID no.: 1001034637

SCHUSTER, Joseph (1748–1812) L-404b1–2 448–449. [Litaniae, A]; [Sub tuum praesidium, A]

Litaniae | B: Mariae V: | di Giuseppe Schuster

Manuscript score [SATB, vl 1-2, vla, ob 1-2, org =bc] F: 23 × 31 cm p. 33 [1800–1849]

349 Katalog | The Catalogue

[2]. [Sub tuum praesidium, A]

Comments 1. XX, 6 1928 3. The Litany undivided into sections; manuscript also containsSub tuum praesidium . 4. RISM Ø 5. RISM ID no.: 1001039418: [1]. 1001039420, [2]. 1001039422

SEGER, Josef Ferdinand Norbert (1716–1782) M-424 450. [Missa, F]

Missa Quadragesimalis | a | Canto Alto | Tenore Basso | con | Organo. | {fellt Organo und das Kantus [!]}| Del Sige: Seger | Cellebre Suonatore […] Organo | di Crocigeri Capellae Dellarossa | in Praga. || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: A(2)T(2)B(2) F: 36,5 × 23,4 cm f. 6 + cover [1780–1820]

Sections Kyrie: F, ¢; [Credo] Patrem omnipotentem: F, ¢; Sanctus: F, ¢; Agnus Dei: F, ¢ Comments 1. Fach XXIV No 43; V, 5 1928 3. Incomplete; mass without Gloria section. 4. RISM ID no.: 550041120 (CZ-LIT), 550255509 (CZ-Pkřiž) 5. RISM ID no.: 1001039488

350 I. Authorum nominibus signata

SEIDELMANN, Eugen (1806–1864) M-405b 451. [Missa, C]

Solenne Messe | von | Seidelmann

Manuscript score F: 37 × 24 cm p. 182 [1840–1860]

Sections Kyrie: Adagio ma non troppo, C, ¡; Gloria: Allegro con brio, C, ¡; Cre- do: Allegro moderato, F, ¢; Sanctus/Benedictus: Maestoso, C, ¢ – An- dantino, F, ²¼; Agnus Dei/Dona nobis: Largo, c, ¹¾ – Allegretto, C, ¢ Comments 1. Fach XXV No 24; VIII, 26 1928 3. No scoring details; in the cover provenance: “Rengensdorf”. 4. RISM Ø 5. RISM ID no.: 1001036603

SEYFRIED, Ignaz Ritter von (1776–1841) 367 452. [Dextera Domini, Es] SeyS XIV/2

Mottetto in Es | für | Sopran Concertant. | Canto, Alto, Tenore, Basso | Violino Primo et Secundo | Oboe Primo et Secundo | Cornu Primo et Secundo | Clarino Primo et Secundo | Violon, Violoncello et Organo | Auth: Ignatz Ritter v. Seyfried | Schöpler [crossed out] || Eigenthum der Stadtpfarrkirche | in Glatz.

Parts: S solo(1), (3x)C(1,1,1), A(1)T(1)B(1), vl 1(1)-2(1), vlne(1), ob 1(1)-2(1), cor in Es 1(1)-2(1), clno in B 1+2(1), org =bc(1) + [Directionstimme] F: 35,5 × 22,5; 39,5 × 25 cm f. 16 + cover + p. 26 wm [1800–1849]

351 Katalog | The Catalogue

Comments 1. [Inv.] No 119; XXV, 3 1928 2. In the parts, top left: “Motetto”; on S solo: “v. Seÿfried”. 4. RISM ID no.: 1001045017 (PL-OPsm), 550500130 and 550500383 (CZ-SE) 5. RISM ID no.: 1001031630

H-363 453. [Domine judicium tuum, C] SeyS XVI 2/1

1.= Fest = Chor. | Canto, Alto, Tenore, Basso in duplo | Violino Imo = IIdo, Viola in dupplo. | Clarinetto Primo et Secundo. | Oboe Primo et Secundo. | Flauto | Fagotto Primo et Secundo. | Cornu Primo et Secundo | Clarino Primo et Secundo | Alt= Tenore= et Bass Trombone | Timpani, Violon, Violoncello | et | Organo. | Auth: Ritter von Seyfried. || Eigenthum der Stadt= | Pfarr= Kirche in Glatz.

Parts: (2x)C(1,1), (2x)A(1,1), (2x)T(1,1), (2x)B(1,1), (2x)vl 1(1,1)-2(1,1), (2x)vla(1,1), vlc(1), vlne(1), fl(1), ob 1(1)-2(1), cl in B 1(1)-2(1), fag 1(1)-2(1), cor in C 1(1)-2(1), clno in C 1+2(1), a+t-trb(1), b-trb(1), timp(1), org = bc(1) + {(3x)S(1,1,1), (2x)A(1,1), (2x)T(1,1), (2x)B(1,1), vl 1(1)} F: 23 × 28,5 cm f. 30 + cover + {10} wm [1800–1849, {1840–1860}]

Comments 1. Fach XXXII No 33; XXV, 11 1928 2. In the parts, top left: “Fach XXXXII”, top right: “No 33”.

352 I. Authorum nominibus signata

3. On back inside cover: “No. I | Fest= Chor | (Hymnus) | Domine judicium tuum Imperatori da | für 4 Singstimmen | mit voller Orches- ter= Begleitung. {Violin in duplo} | Zur glorreichen allerhoechsten Geburts= | und Namensfeier | Sr Majestaet | Franz I | Kaiser von Oester reich. | von Ignatz Ritter von Seyfried”; incipit text starts with: “Domine refugium”. 4. RISM ID no.: 600243049 (A-Whk), 600178481 (A-KR) 5. RISM ID no.: 1001031634

365 454. [Halleluia. Lob sei dem Herrn, C] SeyS XVII 2/9

Halleluja | v. | Ign. Ritter v. Seyfried | a | vierstimm. Chor | mit starker [!] Orchester Begleitung. || Eigenthum der Stadtpfarr | Kirche in Glatz

Parts: S(1)A(1)T(1)B(1), vl 1(2)-2(2), vla(2), vlc(2), b(1), fl 1(1)-2(1), ob 1(1)-2(1), cl in B 1(1)-2(1), fag 1(1)-2(1), cor in C 1(1)-2(1), cor in Es et C 1(1)-2(1), clno in C 1(1)-2(1), clno in Es et C 1(1)-2(1), a-t-b-trb (1,1,1), timp (1) + {(5x)S(1,1,1,1,1), (5x)A(1,1,1,1,1), (5x)T(1,1,1,1,1), (5x)B(1,1,1,1,1), vl 1(2)} F: 38,5 × 23,5 cm f. 33 + {dust cover + 22} wm [1800–1849, {1840–1860}]

Comments 1. [Inv.] No 123; XXV, 27 1928 2. In the parts, top left: “Halleluja | von Seyfried”. 3. In the parts, misquoted text incipit: “Lob sie dem Herrn”. 4. RISM ID no.: 301009386 (PL-WRu) and 1001013836 (D-Dl), [with text: Lob sei dem Herrn, Halleluia], 250006151 (D-WRha), 201002946 (D-SCHBk) 5. RISM ID no.: 1001033196

353 Katalog | The Catalogue

P-309 455. [Hora dies et vita fugit, F] SeyS XIII/7

Viertes | Graduale in F | (Hora, dies, et vita fugit manet unica) | In Musik gesetzt | für Solo und Chor= Stimmen mit Orchester | Begleitung und dem loeblichen | Steyermaerkischen Musik= Verein | hochachtungvoll zugeeignet. | von Ignaz Ritter v. Seyfried | 2 Canto, 2 Alto, 2 Tenore, 2 Basso. | Violino Primo et Secundo, Viola | Oboe Primo et Secundo, Flauto, | Fagotto Primo et Secundo | Cornu Primo et Secundo | Clarino Primo et Secundo, | Alto, Tenore et Bass Trombone | Timpano, Violon et Organo. | Prause [crossed out] || Eigenthum der Stadtpfarrkirche in Glatz

Parts: (2x)S 1(1,1)-2(1,1), (2x)A 1(1,1)-2(1,1), (2x)T 1(1,1)-2(1,1), (2x)B 1(1,1)-2(1,1), (2x)vl 1(1,1)-2(1,1), (2x)vla(1,1), vlc(1), vlne et b(1), fl(1), ob 1(1)-2(1), fag 1(1)-2(1), cor in F 1(1)-2(1), clno in F 1+2(1), a+t- -trb(1), b-trb obl.(1), timp(1), org =bc(1) F: 24,5 × 39,5 cm f. 36 + cover wm [1800–1849]

Comments 1. Fach XXXI No 33 2. In the parts, top left: “Fach XXXI”, top right: “No 33”. 4. PL-KRZ III-89; cf. RISM ID no.: 806350654 (GB-Lbl) 5. RISM ID no.: 1001031863

P-309b Viertes Graduale in F. | (Hora, dies, vita fugit manet unica) | In Musik gesetzt für Solo und Chor | Stimmen mit Orchester Begleitung und dem | loeblichen S[t]eyermaerkischen Musik= Verein | hochachtungsvoll zugeeignet von | Ignatz Ritter von Seyfried. | 2 Canto, 2 Alto, 2 Tenor, 2 Basso, 2 Violin., Viola | 2 Oboe, 2 Fagott, Flauto, 2 Corni, 2 Clarin | 3 Trombone Violon, Violoncello Timpano et Organo. | Partitur. || Eigenthum der Stadt Pfarr | Kirche in Glatz.

354 I. Authorum nominibus signata

Manuscript score F: 39,5 × 24,5 cm p. 15 [1800–1849]

Comments 2. Fach XXXI No 33; XXV, 10 1928

M-98 456. [Missa, C] SeyS XI/5

Messe in C | für | 4 Singstimmen. | 2 Violinen, Viola | 2 Oboen ad: Clarinetten | 2 Horn, 2 Trompeten. | Pauken. Violon und Orgel. | von | Ignatz Ritter v. Seyfried | No. 1 | zwanzigste Lieferung der Kirchen= Musicalien || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: S(3)A(3)T(3)B(3), vl 1(3)-2(3), vla(2), vlc et b(3), ob vel cl in C 1(2)-2(2), cor in C ad lib. 1(1)-2(1), clno in C 1(1)-2(1), timp(1), org =bc(3) + {C tutti (3), S(3)A(3)T(3)B(3), vl 1(3)-2(3), vla(2), vlc(3), b(3), org(3)} F: 40,5 × 25,5 cm f. 35 + cover + {32} wm [1800–1849, {1840–1860}]

Sections Kyrie: Andante, C, þ¾; Gloria: Allegro, C, ¡; Credo: Allegro moderato, C, ¢; Sanctus/Benedictus: Adagio, F, ³¼ – Poco larghetto, As, ³¼; Agnus Dei/ Dona nobis: Grave, c, ¢ – Andante, C, þ¾ Comments 1. Fach VII No 47; XXV, 32 1928 2. In the parts, top left: “Fach VII”, top right: “No 47”. 3. Later copies of parts entered in different hands at different times. 4. PL-KRZ I-107; cf. RISM ID no.: 1001006626 (PL-OPark), 450043496 (D-SPlb), 600077607 (A-WIL) 5. RISM ID no.: 1001031637

355 Katalog | The Catalogue

Manuscript score F: 40 × 25 cm p. 110 [1800–1849]

Comments 1. Partitur zu Fach VII No 47; XXV 24, 1928 5. RISM ID no.: 1001031859

M-106b 457. [Missa, a] SeyS XI/1

Manuscript score F: 38 × 24 cm p. 64 [1800–1849]

Sections Kyrie: Andante, a, ³¼; Gloria: Allegro, D, ¡; Credo: Allegro, D, ¡; Sanctus/ Benedictus: Adagio, C, ¡ – Andante cantabile, F, ³¼; Agnus Dei: Larghet- to, a, ¹¾ Comments 1. Fach XXV No 30 (In das Fach No 50 des neuen Schranks übertragen); XXV, 7 1928

356 I. Authorum nominibus signata

3. On cover: “Missa Solenn: in A moll. | Auth: | Ignatz Ritter von Sey- fried. | Directions Stimme zu | No 31 Fach III || Eigenthum der Stadt Pfarr= | Kirche in Glatz”. 4. RISM ID no.: 201001499 (D-LEm) 5. RISM ID no.: 1001034639

M-99 458. [Missa, D]

Missa | solenni in D | Canto Solo et Tutti, Alto Solo et Tutti | Tenore Solo et Tutti, Basso Solo et Tutti | Violino I et IIdo, Viola et Flauto | Oboe I et IIdo, et Clarinetto I et II | Fagotto I et IIdo, et Cornu I et IIdo | Alto-Tenore et Basso | Trombone | Violon et Violoncello | Clarini Tÿmpano con Organo | Auth: Seyfried. || Gehört der Stadtpfarr Kirche | in Glatz.

Parts: C(4)A(4)T(5)B(4) solo, (2x)C(4,4), A(4)T(4)B(4) tutti, (2x)vl 1(6,6)- -2(6,6), vla(5), vlc(5), vlne (4), vlne et org(4), fl(3), ob 1(3)-2(3), cl in A 1(3)-2(3), fag 1(3)-2(3), cor in D 1+2(2), clno in D 1+2(2), a-t-b- -trb(2,2,2), timp(2) + Orgelstimme =bc + {cl in C 1(3)-2(2)} F: 38 × 24 cm f. 112 + cover + 3 + {5} wm 1834, {[1840–1860]}

Sections Kyrie: Grave, D, ¡; Gloria: Allegro pomposo, D, ¢; Credo: Allegro pro- fante, D, ³¼, Sanctus/Benedictus: Lento assai, h, þ¾ – Andantino, G, þ¾; Agnus Dei/Dona nobis: Andante, h, ³¼ – Allegretto cantabile, H, ²¼ Comments 1. [Fach III No 30]; XXV, 20 1928 [Orgelstimme] 2. In the parts, top left: “Fach III”, top right: “No 30”; at the end of C part: “Innwich 24/10 [18]34”; A: “1834”; vl 1: “Inwich [...] 22/11 [18]34”. 4. RISM ID no.: 600077608 (A-WIL) 5. RISM ID no.: 1001033545

357 Katalog | The Catalogue

M-100b 459. [Missa, Es] SeyS XI/8

Manuscript score F: 40 × 24,5 cm p. 103 wm [1800–1849]

Sections Kyrie: Adagio ma non troppo, Es, ¡; Gloria: Allegro giubiloso, B, ¡; Cre- do: Grandioso, et assai determinato, Es, ³¼; Sanctus/Benedictus: Largo assai, B ¡ – Andante tenero, G, ²¼; Agnus Dei: Poco lento, g, ³¼ Comments 1. XXV, 23 1928 4. Cf. e.g. RISM ID no.: 550245656 (CZ-NYd), 570001347 (SK-KRE), 454007832 (D-MT), 453004363 (D-KFm) 5. RISM ID no.: 1001033547

P-308b 460. [Nocte surgentes, a] SeyS XIV/3; SeyS XVII 1/6

Offertorium in C [!] | für | Discant, Alt, Tenor, Bass | 2 Violinen, Viola | 2 Oboen, 2 Horn | Violoncello od.[er] Fagott | Timpano, Contra= Bass | und Orgel | von | Ignatz Ritter v. Seyfried | Partitur || Eigenthum der Stadt Pfarr= | Kirche in Glatz

Manuscript score F: 27,5 × 21,5 cm p. 26 [1800–1849]

358 I. Authorum nominibus signata

Comments 1. Fach XXXIII No 71; Fach LV No 60 4. Cf. e.g. RISM ID no.: 550500433 and 550500129 (CZ-SE) [in C], 220000633 (D-ABGa) [in a] 5. RISM ID no.: 1001033548

P-311 [print] 461. [Nudus eram, et operuistis me, e]

5-tes | Graduale | (Nudus eram, et operuistis me) | für | Basso solo, | den 4 stimmigen Chor, | mit Begleitung des ganzen Orchesters. | Componirt, und | dem löblichen | Kirchen- Musik-Verein | in Pressburg | hochachtungsvoll zugeeignet | von | Ignaz Ritter von Seyfried. || Eigenthum des Verlegers. | No 7345. | Wien, bei Tobias Haslinger, | k. k. Hof- u. priv. Kunst-und Musikalienhändler. am Graben, im Edlen von Trattnern‘schen Freihofe No 618 || [provenance entered in pencil:] Eigenthum der Stadtpfarr | Kirche in Glatz

Manuscipt parts: (3x)S(1,1,1), (3x)A(1,1,1), (3x)T(1,1,1), (3x)B coro(1,1,1), vl 1(2)-2(2), vla(1), vlc et b(2) Print parts: B solo(1), vl 1(2)-2(2), vla(1), vlc et b(2), fl(1), cl in A 1(1)-2(1), fag 1(1)-2(1), cor in E 1(1)-2(1), tr 1(1)-2(1), a-t-b-tr(1,1,1), timp(1), org =bc(1) F: 34,5 × 26 cm f. 19 MS + 22 print [1840–1860]

Comments 1. Fach XXXI No 17 4. RISM ID no.: 654000358 (I-BREd), 1001031021 (SK-BRnm) [only org] 5. RISM ID no.: 1001039520

359 Katalog | The Catalogue

P-311b “Fünftes | Graduale in E moll | (Nudus eram), et cooperuistis me) | für | Basso solo | den 4 stimmigen Chor, | mit Begleitung des ganzen Orchesters: | Componirt, und | dem loeblichen | Kirchen Musick-Verein | in Presburg | hochachtungsvoll zugeeignet | von | Ignatz Ritter von Seyfried | Schöpler [crossed out] || Eigenthum der Stadtpfarr | Kirche in Glatz”

Manuscript score F: 38 × 24,5 cm p. 40 [1840–1860]

Comments 1. [Inv.] No 80; XXV, 13 1928

3662 462. [O mi Deus amor meus, Es] SeyS XIV/7

[…] Graduale | O mi Deus amor meus | für 4 Singstimmen, 2 Violinen | Viola Orgel und Violon | von Ignatz Ritter von Seyfried | Prause [crossed out] || Eigenthum der Stadt= Pfarr= || Kirche in Glatz

[2]. (3x)C(1v,1v,1v), A(1v), T(1v), B(1v), vl 1(1v)-2(1v), vla(1v), vlne(1v), org =bc(1v) + {C(1r), A(1r), T(1r), (2x)B(1r,1r), vl 1(1r)-2(1r), vla(1r)} {1840–1860} f. 11 + {8}

Comments 3. Cf. Catalogue no. 384 [Rieder, Ambros]; cf. Collections no. 13. 4. Cf. e.g. RISM ID no.: 550161101 (CZ-NYd), 550270917 (CZ-Pnm) 5. RISM ID no.: 1001024135: [2]. 1001034135

360 I. Authorum nominibus signata

R-143 463. [Requiem, e] SeyS XII/3

Requiem | samt Libera | für 4 Chorstimmen, 2 Violinen | Viola, 2 Hoerner, Violoncello, Contrabass | und Orgel. (2 Oboen, Fagott, Trompeten und Pauken | ad libitum) | in Musick gesetzt | und seinem verehrten Kunstgenossen | Herrn Adolph Hesse | Ober= Organisten an der Kirche zu St. Bernhar- | din in Breslau | freundschaftlich gewidmet | von | Ign: Ritter v. Seyfried. || Eigenthum der Stadt= Pfarr= Kirche | in Glatz

Parts: (2x)C(3,3), A(3)T(3)B(3), vl 1(3)-2(3), vla(3), vlc et vlne(3), ob 1(2)- -2,(2), fag(2), cor in E 1(1)-2(1), clno in C 1(1)-2(1), timp(1), org =bc(3) F: 38 × 24 cm f. 41 + cover [1800–1849]

Sections Requiem: Lento, e, ¢; Dies irae: Allegro moderato, e, ³¼; [Offertorium] De profundis clamavi: Alla breve, a, ¢; Sanctus/Benedictus: Molto maestoso, E, ¡ – Poco allegro, e, ³¾; Agnus Dei: Andantino cantabile, e, ³¼; Libera me: a, ³¼ Comments 1. Fach XII No 23; XXV, 15 1928 2. In the parts, top left: “Fach XII”, top right: “No 23”. 4. Cf. e.g. RISM ID no.: 550245555 (CZ-ND), 550500085 (CZ-SE), 450040362 (D-WS) 600263183 (A-RZ) 5. RISM ID no.: 1001031672

R-143b Requiem samt Libera | für 4 Chorstimmen, 2 Violinen, Viola, | 2 Horn, Violoncello, Contrabass und Orgel | (2 Oboen, Fagott, Trompeten und Pauken | ad libitum) in Musick gesetzt | und seinem Freunde Kunstgenossen | Herrn Adolph Hesse | Ober= Organisten an der Kirche zu | St. Bernhardin in Breslau | freundschaftlich gewidmet | von | Ign: Ritter v. Seyfried. | Partitur || Eigenthum der Stadt Pfarr | Kirche | in Glatz.

361 Katalog | The Catalogue

Manuscript score F: 38,5 × 24,5 cm p. 97 [1800–1849]

Comments 1. Fach LV No 61; XXV, 8 1928 5. RISM ID no.: 1001032196

364 464. [Salvum fac imperatorem nostrum, F] SeyS XVI 2/2

Fest= Chor No II | für 4 Singstimmen, mit voller | Orchester Begleitung | Zurglorreichen [!] allerhoechsten Geburts= | und Namensfeier | S-r Mayestaet | Franz I | Kaiser von Oest[e]reich | Sr Excellenz dem Hochgebornen | Herrn Grafen Moritz von Dietrichstein | k. k. wirklicher geheim: Rath und k. k. Kaemmerer, | Praefecten k. k. Hofbibliothek etc: | ehrfurchtsvoll zugeeignet | von | Ignaz Ritter von Seyfried. || Eigenthum der Stadt= Pfarrkirche | zu Glatz.

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), vla(1), vlc(1), vlne(1), fl(1), ob 1(1)-2(1), cl in B 1(1)-2(1), fag 1(1)-2(1), cor in F 1+2(1), tr in F(1), a+t-trb(1), b-trb(1), timp(1), org(1) + {(3x)C(1,1,1), (3x)A(1,1,1), (3x)T(1,1,1), (3x)B(1,1,1), vl 1(1)-2(1), vla(1)} F: 40 × 24,5 cm f. 22 + cover + {15} wm [1840–1860, {1850–1899}]

Comments 1. Fach LXVI No 92; XXV, 26 1928 2. In the parts, top left: “Fach LXVI”, top right: “No 92”. 4. RISM ID no.: 600178483 (A-KR), 605201791 (A-EF), 1001026746 (A-LA) 5. RISM ID no.: 1001031673

362 I. Authorum nominibus signata

P-310 465. [Te decet hymnus, B] SeyS XIV/4

Offertorium in B. | a | Canto, Alto, Tenore, Basso. | Violino Primo et Secundo | Viola, Flauto, | Oboe Primo et Secundo | Fagotto Primo et Secundo | Cornu Primo et Secundo | Clarino Primo et Secundo | Alt= Tenor= und Bass Trombone ad libitum. | Timpano, Violon, Violoncello et | Organo. | Auth: Ign: Ritter v. Seyfried || Eigenthum der Stadt= Pfarr= Kirche in Glatz.

Parts: (2x)S(1,1), (2x)A(1,1), (2x)T(1,1), B(1), B conc. (1), (2x)vl 1(1,1)-2(1,1), (2x)vla(1,1), (2x)vlc et b(1,1), fl(1), ob 1(1)-2(1), fag 1(1)-2(1), cor in B 1(1)-2(1), clno in B 1(1)-2(1), a-t-b-trb ad lib.(1,1,1), timp(1), org =bc(1) F: 38 × 24; 19 × 24 cm f. 30 + cover [1800–1849]

Comments 1. Fach XXXII No 32; XXV, 22 1928 2. In the parts, top left: “Offertorium. Fach XXXII”, top right “No 32”. 4. RISM ID no.: 303005152 (PL-OPsm), 540003369 (SI-Ms), 402006586 (CH-SGd) 400056315 (CH-ZGm) 5. RISM ID no.: 1001039521

P-310b Offertorium in B. | a | Canto, Alto, Tenore, Basso. | Violino Primo et Secundo. | Viola, Flauto, | Oboe Primo et Secundo. | Fagotto Primo et Secundo. | Cornu Primo et Secundo. | Clarino Primo et Secundo. | Alt, Tenore et Bass Trombone ad libitum. | Timpano, Violon, Violoncello et Organo. | Auth: Ignatz Ritter v. Seyfried. | Partitur zu No. 32. Fach XXXII || Eigenthum der Stadt= | PfarrKirche in Glatz.

Manuscript score F: 40 × 25,5 cm p. 20

363 Katalog | The Catalogue

Comments 1. XXV, 14 1928

SONNLEITHNER, Christoph (1734–1786) M-118 466. [Missa, C] MacM 57

Missa In C Dur | à | Canto, Alto, Tenore, Basso. | Violinis IIbus | Alto Trombono | Tenor Trombono | Clarinis IIbus | con | Organo. || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: C(3)A(3)T(3)B(3) conc., vl 1(4)-2(4), clno in C 1(1)-2(1), a-trb (2), t-trb(2), org =bc(4) F: 31 × 22,5 cm f. 30 + cover wm [1750–1799]

Sections Kyrie: Adagio, C, ¡; [Gloria] Et in terra: Allegro, C, ¡; [Credo] Patrem omnipotentem: Allegro: ¡; Sanctus/Benedictus: Adagio, C, ¡ – Andante, F, ¡; Agnus Dei/Dona nobis: Adagio, C, ¡ – Allegro, C, ¡ Comments 1. Fach XXXVII No 2; XXVII, 30 1928 4. Composer identification after RISM ID no.: 300512660 (PL-Wu) [Sonnleithner, Christoph], 550270935 (CZ-Pnm), 550268551 (CZ-Pak), 600066855 (A-Z) 5. RISM ID no.: 1001034640

SPERMALOGI, G. (18/19.sc) M-423 467. [Missa, D]

364 I. Authorum nominibus signata

Missa St. Petri et Pauli in D dur | ã v. | Canto, Alto, | Tenore, Basso, | Violino Primo et Secondo, | Cornu Primo et Secondo, | Alto Viola obl: ad quoniam IIbus | con ORGANO. | Authore D: Spermalogi || Josephi Gellbück 1800 [crossed out] Gehört der Stadt= Pfarr= Kirche | in Glatz.

Parts: C(3)A(2)T(2)B(2), vl 1(3)-2(3), a-vla obl.(2), a-vla 2(1), ob 1(1)-2(1), cor in D 1(1)-2(1), org =bc(2) F: 35,5 × 22,5 cm f. 24 + cover 1785, 1800

Sections Kyrie: Majestoso [!], D, ³¼; Gloria: Allegro molto, D, ¡; Credo: Mo derato, G, ¡; Sanctus/Benedictus: Adagio, D, ³¼ – Andante, A, ²¼; Agnus Dei/Dona nobis: Andante, D, ³¼ – Allegro, D, ²¼ Comments 1. Fach XXXVII No 19; XXVII, 36 1928 2. At the end of vla part: “Hannig descripsit die 6 Aprilij | Anno Domini 1785 […]”. 4. RISM ID no.: 300033359 (PL-Pa) [Pokorny, Franz Xaver], 450109623 (D-Mbs) [Sojka, Matĕj], 530002861 (H-P) [Sojka, Matĕj] 5. RISM ID no.: 1001021869

SPILLER, Joseph (18.sc) P-315 468. [In hoc festivo gaudio, D]

Offertorium ex D# | ã | Quatuor Vocibus | Violinis 2bus | Clarinis 2bus | Obois 2bus | con | Organo | Del Sige: Jos. Spiller || Eigenthum der Stadt= Pfarr= Kirche | in Glatz.

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), ob 1(1)-2(1), clno in D 1(1)-2(1), org =bc(1) F: 23 × 31 cm f. 11 + cover wm [1750–1799]

365 Katalog | The Catalogue

Comments 1. Fach XXV No 6; XXVII, 12 1928 3. The nd2 text: Maria Mater gratiae. 4. RISM ID no.: 300257220 (PL-Kd) [preserved only org part] 5. RISM ID no.: 1001034873

SPOHR, Louis (1784–1859) P-316 469. [Jubilate Deo omnis terra, C] GötS WoO 65

Offertorium in C | Canto Solo, Canto Rip.[ieno] Alto | Tenore Basso | Violin Principal | Violino Primo | Violino Secundo {in duplo}| Viola | Oboe Primo et Secundo | Corno Primo et Secundo | Clarino Primo et Secundo | Timpano, Basso | et | Organo | Auth: Spohr | Jos. Prause | Schöpler [crossed out] || Eigenthum der Stadtpfarrkirche | in Glatz.

Parts: S solo(1), (3x)C(1,1,1), A(1)T(1)B(1), vl solo(2), (2x)vl 1(1,1)-2(1,1), vla(1), (2x)vlne et b(1,1), ob 1(1)-2(1), cor in C 1(1)-2(1), tr in C 1(1), timp(1), org(2) F: 23 × 39 cm f. 24 + cover wm [1840–1860]

Comments 2. In the parts, top right: “No 120”. 3. Missing tr 2 part. 4. PL-KRZ III-100; cf. RISM ID no.: 220000629 (D-ABGa), 600178563 (A-KR)

366 I. Authorum nominibus signata

5. RISM ID no.: 1001034874

STADLER, Maximilian (1748–1833) M-103 470. [Missa, G]

Missa in G | für 4 Singstimmen | 2 Violinen, 2 Hoerner | Contrabass und Orgel | von | Abbe Maxmilian [!] Stadler | No 1. | Joseph Prause | 1830 [crossed out] || Eigenthum der Stadt Pfarr= | Kirche in Glatz.

Parts: (2x)C(2,2), A(2)T(2)B(2), vl 1(2)-2(2), vlne(2), cor in G 1(1)-2(1), org =bc(2) + {(2x)C(2,2)} F: 38,5 × 24 cm f. 20 + cover +{4} wm 1830, {1860}

Sections Kyrie: Moderato, G, ¡; Gloria: Moderato, G, ³¼; Credo: Moderato, G, ¡; Sanctus/Benedictus: Maestoso, G, ³¼ – Allegretto, C, ¡; Agnus Dei: An- dante, G, ³¼ Comments 1. Fach IX No 146; XXIII, 17 1928 2. In the parts, top right: “No 146”; at the end of later [1860?] copies of C part: “1. Heinze” [cf. M-91 – Schnabel, Joseph]. 4. Cf. e.g. RISM ID no.: 550041222 (CZ-Pnm), 553007118 (CZ-TAS), 605001919 (A-WIL) 5. RISM ID no.: 1001035152

V-169 471. [Psalmi ad Vesperas]

367 Katalog | The Catalogue

10. Credidi | 11. In exitu | In Musik gesetzt | für 4 Sinsgstimmen und Orgel | von | Abbe Max. Stadler || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: S(6)A(6)T(6)B(6), org =bc(6) F: 40 × 24,5 cm f. 30 + cover wm [1800–1849]

Sections Dixit Dominus: Moderato, G, ¡; Confitebor tibi: Moderato, C, ³¼; Beatus vir: Allegretto, F, ¡; Laudate pueri: Andantino, D, ³¼; Laudate Dominum: Moderato, G, ¡; Magnificat: Allegro, C, ¡; Laetatus sum: Moderato, A, ¡; Nisi Dominus: Allegretto, B, ³¼; Lauda Jerusalem: Allegro, c, ¡; Credidi propter: Andantino, E, ³¼; In exitu Israel: G, ¢ Comments 1. Fach XXIX No 38; XXIII, 7 1928 3. On title page, psalm incipits in 2 columns; fragm. copy of S part: f. 3. 4. RISM ID no.: 456013819 (D-Mbs) [only Dixit Dominus], 605000759 (A-LId) [print, 10 Psalms] 5. RISM ID no.: 1001035153

STARKE, Friedrich (1774–1835) M-104 472. [Missa, C; op. 126]

Messe in C. | leicht ausführbar für | 4 Singstimmen, 2 Wiolinen, Wiola, Bass, | Orgel, 1 Oboe (oder Clarinet) Fagott (oder Wiolonzell) oblig: | (2 Horn, 2 Trompeten und Paucken ad libitum) | Componirt und | Seiner Kais: Königl. Hochheit u. Eminenz. | dem Durchlauchtigsten Hochwürdigsten | Herrn Herrn Erzherzog | Rudolph von Oesterreich | Cardinal und Erz | =bischoff von Olmütz | in tiefster Ehrfurcht gewidmet von Kapellmeister | F. R. Starke. || Gehört der Stadt= Pfarr= | Kirche in Glatz 1835

Parts: C(3)A(3)T(4)B(3), (2x)vl 1(4,4)-2(4,4), vla(4), vlne et vlc(3), ob vel cl in C(3), fag vel vlc obl.(3), cor in F 1+2(2), clno in C 1+2(2), timp(2), org =bc(4)

368 I. Authorum nominibus signata

F: 38 × 23,5 cm f. 52 + cover wm 1835

Sections Kyrie: Andante, C, ¡; Gloria: Allegro, C ¡; Credo: Allegro ma non troppo, C, ³¼; Sanctus/Benedictus: Adagio maestoso, C, ¢ – Andante soave- mente, F, ²¼; Agnus Dei/ Dona nobis: Poco adagio con tenerezza, g, ³¼ – Amorevole, C, ³¼ Comments 1. Fach VIII No 67; XXIII, 12 1928 2. In the vocal parts, top right: “Missa von Starke”, on vl 1 also: “No. 2”; at the end of T: “Innwich 6/5 [18]35”. 4. PL-CZ no. 2354 (print); cf. RISM ID no.: 455039743 (D-NATk), 601000787 (A-Wpp) 5. RISM ID no.: 1001035154

M-105 473. [Missa, G; op. 121]

Messe in G | leicht ausführbar. | für 4 Singstimmen | 2 Violinen, Viola, Flöte, Bass und Orgel. | (2 Horn, 2 Trompeten und Paucken ad libitum.) | Verfasst. | und den Hoch= und Wohgebohr. Herrn Herrn | Carl Maria v: Albert, | k: k: n: o: Apellations= Gerichts= Sekretär des Ortes | Ober Döbling gewichtlich aufgestellten Oberschulaufse= | her und Patron der St. Johannes Kappelle daselbst, | Ehrfurchtsvoll zugeeignet von | Kapellmeister | F. R. Starke || Gehört der Stadt= Pfarr= | Kirche in Glatz

Parts: (3x)C(3,3,3), A(3)T(4)B(3), (2x)vl 1(4,4)-2(4,4), vla(4), vlne et vlc(3), ob vel cl in C(3), fag vel vlc obl.(3), cor in F 1+2(2), clno in C 1+2(2), timp(2), org =bc(4) F: 38 × 23,5 cm f. 58 + cover wm 1835

369 Katalog | The Catalogue

Sections Kyrie: Andante, G, ¡; Gloria: Allegro vivace, C, ¡; Credo: Andante quasi allegretto, G, ³¼; Sanctus/Benedictus: Maestoso, C, ¡ – Andantino, G, ¡; Agnus Dei: Poco adagio, G, ¡ Comments 1. Fach VIII No 68 2. In the parts, top left: “Fach VIII”, top right: “No 68 | Missa von Starke”; at the end of T part: “Inwich 6/5 [18]35”. 4. PL-CZ no. 2355 (print); cf. RISM ID no.: 570004594 (SK-BRnm), 455040431 (D-NATk) 5. RISM ID no.: 1001035155

SÜSSMAYR, Franz Xaver (1766–1803) M-107b 474. [Missa, D] SmWV 106

Missa Solennis in D | Canto, Alto, Tenore, Basso | Violino Primo et Secundo, Viola, | Oboe Primo et Secundo | Fagotto Primo et Secundo | Trombonis in Duobus | Cornu Primo et Secundo. | Clarino Primo et Secundo. | Timpano, Violon, Violoncello | et Organo. | Auth: Fr. Xav. Süssmaier. | Partitur || Eigenthum der Stadt= Pfarrkirche | in Glatz.

Manuscript score F: 39 × 24 cm p. 145 wm [1800–1849]

Sections Kyrie: Andante con moto, D, ³¼; Gloria: Allegro, D, ¡; Credo: Allegro moderato, D, ¡; Sanctus/Benedictus: Andante, D, ¡ – Andante, A, ²¼; Agnus Dei/Dona nobis: Un poco adagio, D, ¡ – Allegro, D, ³¼

370 I. Authorum nominibus signata

Comments 1. Fach L No 46; XVIII, 19 1928 4. RISM ID no.: 455040384 and 455040439 (D-NATk), 600243238 (A-Wh) 5. RISM ID no.: 1001035156

TAUWITZ, Eduard (1812–1894) M-108 475. [Missa, g]

Zweite Messe in G moll. | für | Discant, Alt, Tenor, Basso | 2 Violinen, Viola, 1 Floete | 2 Clarinetten, 2 Fagott, 2 Horn. | 2 Trompeten, 3 Posaunen, Pauken, | Violoncello, Violon und Organo. | von | Eduard Tauwitz | Partitur Fach. 51 No. 53 || Eigenthum der Stadt Pfarr= | Kirche in Glatz | Geschenkt vom Herrn Kreis= | Schule= Inspektor und Stadt= | Pfarrer Herzig

Parts: S(6)A(6)T(7)B(7) solo vel coro, vl 1(6)-2(6), vla(6), vlc(5), b(5), fl(5), cl 1(5)-2(5), fag 1(6)-2(5), cor 1(4)-2(4), tr 1+2(2), a-t-b-trb(2,2,2), timp(2) + {(2x)S(6,6), vl 1(6)-2(6), b et vlc(3)} F: 33 × 25,5 cm f. 98 + cover +{27} [1840–1860, {1850–1899}]

Sections Kyrie: Poco andante, g, ³¼; Gloria: Allegro moderato, G, ¡; Credo: Alle- gro moderato, G, ³¼; Sanctus/Benedictus: Poco andante, G, ³¼ – Andante amabile, G, ³¼; Agnus Dei: Poco andante, g, ³¼ Comments 1. Fach LX No 147 2. In the parts, top left: “Fach LX”, top right: “No 147” at the end of later copies of vl 1-2: “Wachsmann”. 4. RISM Ø 5. RISM ID no.: 1001035475

371 Katalog | The Catalogue

THENY, Jan (1749–1828) Am-201 476. [Salve regina, Es]

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), cor in Dis 1(1)-2(1), org =bc(1) F: 37 × 23 cm f. 9 + cover wm [1750–1799]

Comments 1. Fach XVII No 2; XVII, 17 1928 (only on more recent dust cover). 4. RISM ID no.: 550245517 (CZ-OP) [Vanhal, Johann Baptist] 5. RISM ID no.: 1001035476

TOMÁŠEK, Václav Jan (1774–1850) M-121 477. [Missa, Es; op. 46]

Parts: C(4)A(4)T(4)B(4), vl 1(7)-2(6), vla(5), vlc et b(6), fl(2), ob 1(2)-2(2), fag 1(3)-2(3), cor in Es 1(2)-2(2), clno in Es 1(1)-2(1), timp(1), org =bc(7) F: 38 × 24 cm f. 66 1822

Sections Kyrie: Andante, Es, ³¼; Gloria: Allegro, Es, ¡; [Graduale] Domine Do- minus noster: Andante grazioso, G, ³¼; Credo: Allegro moderato, Es, ¡;

372 I. Authorum nominibus signata

[Offertorium] Sperent in te omnes: Andantino espressivo, c, þ¾; Sanc- tus/Benedictus: Andante maestoso, C, ¡ – Andante, G, ³¼; Agnus Dei: Quasi adagio, Es, ¡ Comments 2. At the end of parts: “Wenzel”; org: “12/3 1822”; cor 2: “1822”. 3. Parts preserved separately. 4. Composer identification after RISM ID no.: 201008592 (D-Zsch) [Tomášek, Václav Jan]; cf. 551000648 (CZ-Pu), 456013832 (D-Mbs), 600263626 (A-HA) 5. RISM ID no.: 1001036376

TŮMA, František Ignác (1704–1774) Am-20315 478. [Salve regina, Es] in: [Collection of 21 Salve...]

XV. C(11v-12v), A(8r-v), T(8v-9r), B(8v-9r), vl 1(16r-17r)-2(15v-16v), org(14r-15r) f. 13

Comments 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2. 4. Composer identification after RISM ID no.: 550266976 (CZ-Pkřiž) [Tůma, František Ignaz] 5. RISM ID no.: 1001014735: [15]. 1001026743

373 Katalog | The Catalogue

URBAN (18/19.sc) 394 479. [Pange lingua, C]

Pange lingua in C | et Tedeum [!] | a | Canto, Alto | Tenore, Basso | Clarinett Duobus in C | Flauto Duobus | Fagotto Duobus | Clarino Duobus in C | Clarino Principal In C | Cornu Duobus | Canto, Alto, Tenore, Basso Trombo. | et | Timpano | Auth: Urban | Joseph Prause [crossed out] 1827 || Gehört der Pfarrkirche | in Glatz.

Parts: fl 1(1)-2(1), ob ad lib. 1(1)-2(1), cl in C 1(1)-2(1), fag 1(1)-2(1), cor in C 1(1)-2(1), principale in C(1), clno in C 1(1)-2(1), a-t-trb-trb(1,1), (4x) b-trb(1,1,1,1,1), (2x)timp(1,1) F: 19 × 25 cm f. 21 + cover wm 1827

Comments 1. Fach XX No 8; XXX, 20 1928 2. At the end of parts: “A.R. [?]”. 3. Missing vocal parts. 4. RISM Ø 5. RISM ID no.: 1001039425

R-144 480. [Requiem, Es]

[cor 1-2:] Requiem | à | Canto, Alto, | Tenore, Basso, | Violino primo | Violin Secundo | Clarinetto Primo | Clarinetto Secundo | Cornu Duobus | et | Organo | Auth: Urban | Ignatz Prause [crossed out] | 1826 || Eigenthum der Stadt= Pfarr | Kirche in Glatz.

Parts: (2x)C(1,1), A(1)T(1)B(1), vl 1(1)-2(1), b(1), cl 1+2(1), fag(1), cor in Es 1(1)-2(1), org =bc(1) F: 37 × 23 cm f. 13 wm 1826

374 I. Authorum nominibus signata

Sections Requiem aeternam: Adagio, Es, ¡; Dies irae: Andante, Es, þ¾; [Offerto- rium] In ictu oculi: Adagio, c, ¢; Sanctus/Benedictus: Andante, Es, ³¼ – Andante, B, ²¼; Agnus Dei: Andante, Es, ³¼ Comments 1. Fach XI No 4 4. RISM Ø 5. RISM ID no.: 1001036380

VANHAL, Johann Baptist (1739–1813) M-110 481. [Missa, F] WeiV 19. F3, MacM 66

Missa in F | à | Canto, Alto, | Tenore, Basso, | Violino 2bus | Obois, Flautraversus 2 | Viola | col Cornis et Clarinis in C | è | Organo | Del. Sige: Wannhall | Seminarii Glaceni | ad S. Aloysium [crossed out] || Eigenthum der Stadt Pfarr Kirche | in Glatz.

Parts: C(4)A(4)T(4)B(3), vl 1(4)-2(4), vla(4), fl trav. 1(2), fl trav. 2 vel ob(2) [!], cor in F 1(2)-2(2), org =bc(4) F: 30,5 × 21 cm f. 39 + cover wm [1750–1799]

Sections Kyrie: Andante, F, ³¼; Gloria: Allegro molto, C, ¡; Credo: C, ³¼; Sanctus/ Benedictus: Andante, C, ³¼ – Andante, F, ²¼; Agnus Dei: Andantino, F, ³¼

375 Katalog | The Catalogue

Comments 1. Fach XXXVII No 6; XXVII, 27 1928 4. RISM ID no.: 550041358 (CZ-Pnm), 450021988 (D-TEGha) [Schlecht, Franz] 450008284 (D-OB) [Schlecht, Franz] 5. RISM ID no.: 1001035477

VEIT, Václav (1806–1864) M-111 482. [Missa, D; op. 44]

Fest= Messe | v. | W. H. Veit | a | 4 Singstimmen, | {(Solo et Turri)}| Violino I et II, | Viola, | Clarinetto I et II, | Flauto, | Fagotto I et II, | Cornu I et II, | Tromba I et II, | Trombone Alt, Tenor et Basso, | Tympani, | Violoncello, Violon | et | Organo. | den hiesigen Stadtpfarrkirche | geschenkt v. Instrumentenbauer | Herr Veith – i. J. 1862

Parts: (3x)S(6,5,5), A(5), (2x)T(5,5), (2x)B(4,5), vl (2x)1(6,6)-2(6), vla(6), vlc(5), b(4), fl (4), cl in A 1(4)-2(4), fag 1(4)-2(4), cor in D 1(3)-2(3), tr 1(2)-2(2), a-t-b-trb (2,2,2), timp(2), org(11) + Directionstimme F: 38 × 23 cm f. 122 + 2 cover + p. 27 1860, 1862

Sections Kyrie: Moderato con moto, D, ¡; Gloria: Allegro ma non troppo, D, ³¼; Credo: Andante maestoso, A, ¢; Sanctus/Benedictus: Adagio, D, ¡ – An- dante con moto, G, ³¼; Agnus Dei: Andante poco sostenuto, D, ¹¾ Comments 2. In the parts, top right: “W. H. Veit”; at the end of vl 1 part: “Diese Messe ist der Stadtpfarrkirche zu Glatz von Alois Veiths | Instrumenten- bauern in Glatz 1860. zum geschenkt”. 3. 2nd cover with abbr[eviated] title form: „Fest= Messe in D | für Solo Stimmen, | Chor und Orchester mit Orgel | componirt | von |

376 I. Authorum nominibus signata

W. H. Veit. | 44.tes.Werk | Der hiesigen Stadtpfarrkirche | geschenkt 9 v. Instrumenten-Bauer | Herrn Veith – i. J. 1862”. 4. Cf. e.g. RISM ID no.: 551002728 (CZ-Pu) 5. RISM ID no.: 1001035627

VITÁŠEK, Jan Matyáš Nepomuk August (1770–1839) R-147 483. [Requiem, Es]

Wittašek’s Requiem | für | Discant, Alt, Tenor und Bass, | zweÿ Wiolinen, zweÿ Bratschen, | zweÿ Hörner, Violon nebst Violonzell, | und Orgel || dem Chor der Stadt= | pfarrkirche gehörig.

Parts: (2x)C(2,2), A(2)T(2)B(2), vl 1(2)-2(2), vla 1(2)-2(2), vlc et vlne(2), cor in Es 1(1)-2(1), org =bc(2) F: 35,5 × 21,5 cm f. 24 + cover wm [1800–1849]

Sections Requiem aeternam: Adagio, Es, ¡; Dies irae: Andante, c, ³¼; [Offerto rium] Domine Jesu Christe: Adagio, Es, ¡; Sanctus: Adagio, Es, ²¼; Agnus Dei: Adagio, Es, ³¼ Comments 1. Fach XI No 12; XXX, 14 1928 2. In the parts, top left: “Fach XI”, top right: “No 12”. 3. On title page: “den Königshain eigenthum”. 4. PL-Świdnica 57 (mf PL-Wn 23746); cf. RISM ID no.: 300033314 (PL-Pa) 550402239 and 550503537 (CZ-Pu) 5. RISM ID no.: 1001035727

377 Katalog | The Catalogue

VOCET, Jan Nepomuk Václav (1777–1843) M-117 484. [Missa, C]

Parts: C(3)A(3)T(3)B(3), vl 1(4)-2(3), vlne et vlc(3), cor basso in C 1(1)-2(1), org =bc(4) F: 35,5 × 21,5 cm f. 28 wm [1750–1799]

Sections Kyrie: Andante, C, ²¼; [Gloria] Et in terra: Allegro, C, ³¼; [Graduale] Lau- date Dominum omnes gentes: Moderato, C, ²¼; Credo: Allegretto, C, ¡; [Offertorium] Custodi me, Domine: Allegro moderato, C, ¡; Sanctus/ Benedictus: Andante, C, ³¼ – Allegretto, C, ¢; Agnus Dei/Dona nobis: Andante, a, ³¼ – Assai [!], C, ¡ Comments 1. Fach IX No 84 2. In the parts, top left: “Fach IX”, top right: “No 84”. 3. Parts preserved separately. 4. Composer identification after RISM ID no.: 300216024 (PL-Pa), 300001354 (PL-CZ) and 552001002 (CZ-TAS) [Vocet, Jan Nepomuk Václav] 5. RISM ID no.: 1001036319

M-112 485. [Missa, G]

Joh: Nep: Wozet’s | Kurze Messe aus G-dur, mit Gradual | und Offertorium de Tempore | für | Discant, Alt, Tenor, Bass | 2. Violinen, 2. Hörner, Orgel | Contrabass und Wiolonzell. || dem Chor der Stadtpfarr- | Kirche gehörig

Parts: (2x)C(2,2), A(2)T(2)B(2), vl 1(3)-2(3), vlne et vlc(3), cor in G 1(1)-2(1), org =bc(2) F: 38,5 × 25 cm f. 23 + cover wm [1800–1849]

378 I. Authorum nominibus signata

Sections Kyrie: Moderato, G, ¢; [Gloria] Et in terra: Allegro moderato, G, ³¼; [Graduale] Cantate Domino canticum novum: Andante, G, ²¼; Credo: Moderato, G, ¢; [Offertorium] Magnus Dominus et laudabilis: Vivace, G, ³¼; Sanctus/Benedictus: Adagio, G, ³¼ – Allegro, G, ¢; Agnus Dei/Dona nobis: Andante, G, ²¼ – Allegretto, G, ²¼ Comments 1. Fach IX, 86; XIX, 21 1928 2. In the parts, top left: “Fach IX”, top right: “No 86”. 4. RISM ID no.: 300001355 (PL-CZ), 300216004 and 300216022 (PL-Pa) 5. RISM ID no.: 1001035629

M-113 486. [Missa, D]

Joh: Nep: Wozet’s | Kurze Messe aus D dur, mit Gradual und | Offertorium de Tempore | für | Discant, Alt, Tenor, Bass. | 2 Wiolinen, 2 Hörner, Orgel, | Contrabass und Wiolonzell. || dem Chor der Stadtpfarrkirche | gehörig.

Parts: C(2)A(2)T(2)B(2), vl 1(3)-2(2), cor in D 1(1)-2(1), org =bc(2) F: 38,5 × 24 cm f. 17 + cover wm [1800–1849]

Sections Kyrie: Moderato, D, ¡; Gloria: Allegro molto, D, ¡; [Graduale] Jubilate Deo omnis terra: Moderato, D, ²¼; Credo: Tempo giusto, D, ³¼; [Offerto rium] Benedicite gentes Deum: Allegro moderato, D, ¡; Sanctus/Bene-

379 Katalog | The Catalogue

dictus: Andante, D, ³¼ – Allegretto, D, ¢; Agnus Dei/Dona nobis: Andan- te, D, ³¼ – Allegro, D, ²¼ Comments 1. Fach IX No 85; XIX, 22 1928 2. In the parts, top left: “Fach IX”, top right: “No 85”. 3. Missing parts: vlc and b. 4. Cf. e.g. RISM ID no.: 300001356 (PL-CZ), 300216005 and 300216023 (PL-Pa) 5. RISM ID no.: 1001035817

Parts: C(3)A(3)T(3)B(3), vl 1(4)-2(3), vlne (2), cor in D 1(1)-2(1), org =bc(3) F: 37,5 × 23 cm f. 26 + cover [1800–1849]

Comments 2. In the parts vl 1, vlne, top left: “Fach IX”, top right: “No 85”.

M-114 487. [Missa, F]

Parts: C(4)A(4)T(4)B(3), vl solo(1), vl 1(4)-2(3), vla(3), vlc et vlne(2), cor in F 1(1)-2(1), org = bc(4) F: 34,5 × 21,5 cm f. 34 + cover wm [1800–1849]

380 I. Authorum nominibus signata

Sections Kyrie: Andante, F, ³¼; Gloria: Allegro, F, ¡; [Graduale] Beatus vir qui timet: Moderato, F, ¢; Credo: Andante, F, ¡; [Offertorium] Confitebor tibi: F, ³¼; Sanctus/Benedictus: Allegretto, F, þ¾ – Andante, F, ¢; Agnus Dei: Adagio, F, ¡ Comments 1. Fach IX No 87; XIX, 24 1928 2. In the parts, top left: “Fach IX”, top right: “No 87”. 4. Cf. e.g. RISM ID no.: 300001357 (PL-CZ), 300216021 and 300216003 (PL-Pa), 570001578 (SK-BRnm), 540003182 (SI-Ms) 5. RISM ID no.: 1001035818

VOGEL, Kajetán (1759–1794) R-145 488. [Requiem, d] WeiVo 1b.2

Requiem in D moll [!] | Canto, Alto, Tenore, Basso, | Violino Primo et Secundo | Alto Viola. | Clarinettis II in C. | Cornis II in F. | con | Organo. | Auth: R. P. Cajet. Vogl: || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: (2x)C(2,2), A(2)T(2)B(2), vl 1(2)-2(2), vla(2), cl in C 1(1)-2(1), cor in F 1(1)-2(1), org =bc (2) F: 37,5 × 24 cm f. 22 + cover [1750–1799]

Sections Requiem aeternam: Adagio, d, ³¾; Dies irae: Adagio, d, ²¼; [Offertorium] Miseremini mei: Andante amoroso, F, ³¼; Sanctus/Benedictus: Andante, F, ¢ – Andante moderato, B, ²¼; Agnus Dei: Adagio, d, ³¾ Comments 1. Fach XI No 15; XXIII, 9 1928; on vl 1: seal from no. XXIII, 6 1928 2. In the parts, top left: “Fach XI”, top right: “di Vogl. | No 15”. 4. Cf. e.g. RISM ID no.: 552000058 (CZ-Pu), 450008390 (D-OB) 5. RISM ID no.: 1001036009

381 Katalog | The Catalogue

VOGLER, Georg Joseph (1749–1814) 385 489. [Benigne fac, Domine, B] SchV 207.7

Parts: C(1)B(1), vl 1(1)-2(1), vla(1), cl in B(1) F: 23 × 37 cm f. 6 wm [1800–1849]

Comments 3. Parts preserved separately; incomplete; missing parts: A, T, clno 2, fag solo, vlne et org. 4. Composer identification after RISM ID no.: 550041501 and 550270360 (CZ-Pnm) [Vogler, Georg Joseph] 5. RISM ID no.: 1001038383

P-3331 490. [Date sonus, B] SchV 236

Parts: C(2)A(2)T(2)B(2), vl 1(2)-2(2), vla(2), cl et ob 1(1)-2(1), cl in B 1(1)-2(1), fag 1(1)-2(1), cor in F 1(1)-2(1), cor in B 1+2(1), clno principal (1), clno in C 1(1), timp(1), (2x)org =bc(2,2) F: 25,5 × 40 cm f. 30 wm [1800–1849]

[1]. C(1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), vla(1r), cl et ob 1(1r)-2(1r), fag 1(1r)-2(1r), cor in F 1(1r)-2(1r), (2x)org(1r,1r) f. 15

382 I. Authorum nominibus signata

Comments 1. Fach XXXII No 39; XX, 24 1928 3. Original cover missing; contrafactum of the offertoriumVeni sancte Spiritus by Vogler. 4. Identification after PL-KRZ IV-36; cf. e.g. RISM ID no.: 550248993 and 550041499 (CZ-Pnm) [Vogler, Georg Joseph; with text: Veni Sancte Spiritus] 5. RISM ID no.: 1001034629: [1]. 1001034630

M-406b 491. [Missa, E] SchV 19a

Missa Pastoritia | vom | Abt Vogler. | No 2. | Partitur. | Nach dem hinterlassenen Original | Manuscript herausgegeben. | No 4770. | Offenbach a/m [!] bei J. Andre | Preis: 7 fl. 30 xs: | Schöpler [crossed out] || Eigenthum der Stadtpfarr Kirche | in Glatz.

Manuscript score [Solo: SATB, Coro: SATB, vl 1-2, vla, fl 1-2, ob 1-2, cl in A 1-2, fag conc. et rip., cor in A, cor in E 1-2, clno in E et timp, clno et cor in H [!], a-t-b-trb, b et org] F: 38,5 × 25,5 cm p. (1) + 135 + (2) [1800–1849]

Sections Kyrie: Andante, E, þ¾; Gloria: Allegretto, E, ¢; [Graduale] De profundis clamavi: Adagio, a, ¡; Credo: Allegro moderato, D, ¡; [Offertorium] Christus natus est: Allegretto, A, ¡; Sanctus/Benedictus: Allegro mode rato, E, þ¾ – Andante maestoso, C, ¡; Agnus Dei/Dona nobis: Adagio, cis, ¡ – Andante, E, ¢

383 Katalog | The Catalogue

Comments 3. On cover: “No. 87”. 4. RISM ID no.: 300042385 (PL-Wu), 540003102 (SI-Ms) 5. RISM ID no.: 1001038382

R-146 492. [Requiem, c] SchV 218

Requiem in c’ moll | Canto, Alto, Tenore, Basso. | Violino Primo et Secundo. | Viola Primo et Secundo | Flauto | Cornu Primo et Secundo | Violon et Organo. | Auth: Abbe Vogler | Joseph Prause | 1831 [crossed out] || Eigenthum der Stadt Pfarr= | Kirche in Glatz.

Parts: C(3)A(2)T(2)B(3), vl 1(3)-2(3), vla 1+2(2), {b(2)}, fl(1), cor 1+2(1), org =bc(3) F: 40 × 25 cm f. 25 + cover wm [1800–1849]

Sections Requiem aeternam: Adagio, c, ¢; Kyrie: Andante, c, ³¼; Dies irae: Presto, c, ¢; Qui Mariam absolvisti: Andante, C, ³¼; Dona eis requiem: Mode rato, c, ³¼; Parce mihi: Larghetto, c, ¢; Miseremini: Largo, Es, ³¼; Sanctus/ Benedictus: Andante, c, ³¼ – Andante, G, ¢; Agnus Dei: Adagio, c, ³¼ Comments 1. Fach XXXIX No 33; XXIV, 4 1928 2. In the parts, top left: “Fach XXXIX”, top right: “No 33”, on org, top right: “Abbe Vogler”. 3. Part b included but not listed on title page. 4. RISM ID no.: 450021996 (D-TEGha), 459000008 (D-OF) 5. RISM ID no.: 1001036010

384 I. Authorum nominibus signata

V-170 493. [Psalmi ad Vesperas] SchV 72, 72a

Vesper Psalme[n] | für das ganze Jahr | Canto, Alto, Tenor, Basso | Violino Imo et IIdo, Viola | Flauto Imo et IIdo | Cornu Imo et IIdo | Clarino Imo, IIdo | Violon et Organo, | Auth: Abbe Vogler. || Eigenthum der | Stadt= Pfarr= Kirche | in Glatz.

Parts: (2x)S et cA(6,7), (2x)A(6,6), (3x)T et B(7,7,6), vl 1(6)-2(5), vla(6), fl trav. 1(1)-2(1), cor in C 1(1)-2(1), tr in C 1(1)-2(1), timp(1), cb et basso ge nerale =bc(6) + org solo(15) + {S et cA(6), T et B(6), vl 1(5)-2(5), vla et b(6), tr 2(1)} F: 37,5 × 23,5 cm f. 75 + cover + 15 + {29} wm [1780–1820, {1800–1849}]

Sections 1. Dixit Dominus: G, ¢; 2. Confitebor tibi: G, ¢; 3. Beatus vir: G, ¢; 4. Lae tatus sum: G, ¢; 5. Laudate pueri: G, ¢; 6. Beati omnes: G, ¢; 7. Credidi: As, ¢; 8. De profundis: As, ¢; 9. Nisi Dominus: As, ¢; 10. In exitu Israel: G, ¢; 11. Memento Domine: G, ¢; 12. Domine probasti me: G, ¢; 13. Laudate Dominum: A, ¢; 14. Magnificat: C, ¢; 15. Confitebor tibi: G, ¢ Comments 1. Fach XXIV No 10; XXIV, 3 1928 2. In the parts, top left: “Fach XXIX”, top right “No 10”. 4. RISM ID no.: 450066808 (D-ASm), 650002536 (A-ST), 600178748 (A-KR) 5. RISM ID no.: 1001036383

WEIGANG, Anton (1751–1829) R-151 494. [Requiem, Es]

385 Katalog | The Catalogue

Parts: C(3)A(3)T(3)B(3), vl 1(4)-2(4), clno in Es con sord. 1(1)-2(1), org =bc(4) F: 31 × 23 cm f. 26 + cover wm [1770–1780]

Sections Requiem aeternam: Adagio, Es, ¡; Te decet hymnus: Andante, f, ³¾; Ky- rie: Adagio molto, Es, ¡; Dies irae: Adagio, c, ³¼; Quid sum: Molto con sordini, f, ²¼; Rex tremende: Adagio, g, ¡; Lacrimosa: Adagio, Es, ³¼; [Of- fertorium] Domine Jesu Christe: Adagio, c, ¡; Quam olim: Moderato, c, ¢; Hostias et preces: Andante, c, ¡; Sanctus/Benedictus: Adagio, c, ¡ – Andante, B, ²¼; Agnus Dei: Adagio, c, ¢; Lux aeterna: Andante, Es, ³¾ Comments 1. Fach XI No 11 3. On title page in pencil: “Kaupert, Glatz”. 4. RISM Ø 5. RISM ID no.: 1001036131

WRANITZKY, Paul (1756–1808) A-250 = A-251 495. [Mater Dei gratiosa, A] – contrafactum of the duetto Ach Bellestra welch Entzücken from the opera Das marokkanische Reich

Duetto, aus A-dur | für | Discant und Tenor | mit Accompagnement | von 2 Violinen, Alt Bratsche | 2 Flöten, 2 Clarinettern, 2 Waldhörner, nebst Bass und Violonzell | von Herrn Wranitzkÿ || Eigenthum der Stadt Pfarr | Kirche in Glatz

Parts: C(2),T(2), vl 1(2)-2(2), vla(2), vlc et vlne(2), fl 1(1)-2(1), cl in A 1(1)-2(1), cor in A 1(1)-2(1) F: 24,5 × 19 cm f. 18 + dust cover wm [1750–1799]

386 I. Authorum nominibus signata

Comments 1. Fach XXXVIII No 58; XIX, 18 1928 3. Original cover missing. 4. RISM ID no.: 450302425 (D-Eu) [aria Ach Bellestra welch Entzücken from the opera Das marokkanische Reich], 450000629 (D-BFb) 5. RISM ID no.: 1001012639

A-251 = A-250 496. [Mater Dei gratiosa, A] – contrafactum of the duetto Ach Bellestra welch Entzücken from the opera Das marokkanische Reich

[vl 1:] Duetto, aus A-dur | für | Discant und Tenor | mit Accompagnement | von 2 Violinen, Alt Bratsche | 2 Flöten, 2 Clarinetten, 2 Waldhörner, nebst Bass und Violonzell | von Herrn Wranitzkÿ || Eigenthum der Stadt Pfarr Kirche | in Glatz.

Parts: C(1),T(1), vl 1(2)-2(1), vla(1), vlc et vlne(1), fl 1(1)-2(1), cl in A 1(1)-2(1), cor in A 1(1)-2(1) F: 37 × 23 cm f. 13 [1750–1799]

Comments 1. Fach XXXVIII No 13; XIX, 16 1928 2. In the parts, top left: “Duetto”. 4. RISM ID no.: 450302425 (D-Eu) [aria Ach Bellestra welch Entzücken from the opera Das marokkanische Reich], 450000629 (D-BFb) 5. RISM ID no.: 1001012827

A-247 497. [Recede Orci furor, G]

[vl 1:] Aria | für Tenor | mit Begleitung von | 2 Violinen | 2 Hoboen | 2 Faggotto | 2 Horner | 1. Bratsche | 1. Violonzell und Contra Violon | von Herrn Wranitzkÿ || Eigenthum der Stadt | Pfarrkirche in Glatz.

Parts: T(1), vl 1(2)-2(1), vla(1), b(1), ob 1(1)-2(1), fag 1+2(1), cor in G 1(1)-2(1) F: 24,5 × 19; 37,5 × 24,5 cm [T] f. 11 [1780–1820]

387 Katalog | The Catalogue

Comments 1. Fach XXXVIII No 57; XIX, 19 1928 4. RISM Ø 5. RISM ID no.: 1001013429

A-248 = A-249 498. [Totus sum ergo tuus, C]

[org:] de Tempore | Duett für | Discant und Tenor | mit Accompag: | von | 2 Violinen | 2 Bratschen | 2 Klarinetten | 2 Faggotti | 2 Waldhörner | Violonzell und Bass | von Paul Wranitzky || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: C(2), vl 1(1)-2(1), vla(1), b(1), cl in C 1(1)-2(1), fag 1+2(1), [org](2) F: 23 × 19 cm f. 11 wm [1780–1820]

Comments 1. Fach XXXVIII No 40; XIX, 20 1928 2. On title page: “Tenor fehlt”. 3. Missing T part. 4. RISM Ø 5. RISM ID no.: 1001013438

A-249 = A-248 499. [Totus sum ergo tuus, C]

Duett für | Discant und Tenor | mit Accompag. | von | 2 Violinen | 2 Bratschen | 2 Klarinetten | 2 Faggotti | 2 Waldhörner | Violonzell und Bass | von Paul Wranitzky || Eigenthum der | Stadt Pfarr Kirche in Glatz.

388 I. Authorum nominibus signata

Parts: C(2), T(2), vl 1(1)-2(1), vla(1), b(1), cl in C 1(1)-2(1), fag 1+2(1), org(5) F: 23 × 19 cm f. 16 + cover wm [1750–1799]

Comments 1. Fach XXXVIII No 59; XIX, 17 1928 2. On org part: “Hans Haertel”. 4. RISM Ø 5. RISM ID no.: 1001013441

ZACH, Jan (1713–1773) V-171 500. [Vesperae, D] KomZ B 28

Parts: C(5)A(5)T(4)B(5), vl 1(5)-2(5), vla(4), clno in D 1(1)-2(1), org =bc(6) F: 35 × 22,5 cm f. 41 + cover wm 1800

389 Katalog | The Catalogue

3. On the title page note: “sine ultimo Psalmos”. 4. RISM ID no.: 551003942 (CZ-Pu), 550255393 (CZ-Pkřiž), 550268632 (CZ-Pak) 5. RISM ID no.: 1001036132

ZECHNER, Johann Georg (1716–1778) M-66 501. [Missa, a]

Fasten-Messe | v. | Zechner

Parts: S(2)A(2)T(2)B(2) conc., (2x)violetta(2,2), vlne(2), a-t-trb(2,2,2), org(2) F: 34 × 23,5 cm f. 22 + dust cover wm [1750–1799]

Sections Kyrie: Andante, a, ¡; [Gloria] Et in terra: a, ¡; [Credo] Patrem omnipotentem: a, ¡; Sanctus/Benedictus: Adagio, a, ¡ – a, ³½; Agnus Dei: a, ¡ Comments 1. Fach XXIV No 7; V, 9 1928 2. On inside cover, in a different hand, added: “F. Otto | Missa choralis”. 4. RISM ID no.: 450008472 (D-OB), 603001144 (A-LA) [Caldara, An- tonio] 5. RISM ID no.: 1001036134

M-67 502. [Missa, B]

Fasten Messe von | Zechner

Parts: S(2)A(2)T(2)B(2) conc., (2x)violetta(1,1), a-t-trb(1,1), {b-trb(1)}, org =bc(2) F: 34 × 23 cm f. 15 wm [1750–1799]

390 I. Authorum nominibus signata

Sections Kyrie: B, ¡; Gloria: B, ¡; [Credo] Patrem omnipotentem: B ¡; Sanctus/ Benedictus: Adagio, Es, ¢ – c ³½; Agnus Dei/Dona nobis: Adagio, Es, ¡ – Es, þ¾ Comments 1. Fach XXIV No 6; V, 6 1928 2. On b-trb part, top left: “Missa III”. 3. Parts not bound together; b-trb part – in a different hand; on dust cover: “Fasten Messe von | Zechner”; next to this, in a different hand, handwritten note, probably entered by Rudolf Walter, identifying composer as: “Franz Otto” 4. RISM ID no.: 600090487 (A-HE), 600251204 (A-Wps) [Tůma, Fran- tišek Ignác] 5. RISM ID no.: 1001036382

V-172 503. [Vesperae, C]

Parts: C(6)A(6)T(6)B(6), vl 1(6)-2(6), org =bc(6) F: 35,5 × 22 cm f. 42 + cover wm [1750–1799]

Sections Dixit Dominus: Allegro, C, ¡; Confitebor tibi: Andante, A,¡ ; Beatus vir: Allegro, A, ³¼; Laudate pueri: Allegro, D, ¡; Laudate Dominum: Andante, G, ¡; Magnificat: Adagio, C,¡

391 Katalog | The Catalogue

Comments 1. Fach XXXVI No 26; V, 7 1928 4. RISM ID no.: 1001011425 (PL-CZ), 303000887 (PL-Wu), 570000580 (SK-Msnk), 603002335 (A-LA), 550268090 (CZ-Pak) [Münster], 550073270 (CZ-Pnm) [Anonymous] 5. RISM ID no.: 1001036248

ZIEGENHEIM, Franz (18.sc) H-209 504. [Te Deum laudamus, D]

[org:] Te Deum Laudamus | â | Canto Alto | Tenore, Basso | Violinio Primo. | Violino Secundo | Clarino Primo | Clarino Secundo | In D | Tympanis | Con | Organo | Authore Patre Francisco Ziegenheim | Ex Rebus | Ignatii Pichler [crossed out] || Eigenthum der Stadt Pfarr Kirche in Glatz.

Parts: C(2), A(1), T(1), (2x)B(1,1), vl 1(2)-2(2), clno in D 1(1)-2(1), timp(1), org =bc(2) F: 36 × 22 cm f. 15 wm [1750–1799]

Comments 1. Fach XXXVII No 23; XXVII, 38 1928 2. At the end of A part: “Descripsit hanc vocem Joannes Piasza Prin- cipista pro Seminario Sancti Josephi | Anno 1774”; clno 1-2, timp: “De- scripsit Joannes Piasza Principiorum Alumnus Anno 1774”. 3. In timp verso part, fragment of cor 2 in G part from another piece (“Symphonia”). 4. RISM Ø 5. RISM ID no.: 1001036253

392 I. Authorum nominibus signata

ZOPPIS, Francesco (1715c–1781p) A-252 505. [Fideles huc advolate, D] – contrafactum of the aria Leon nella foresta from the opera Il Vologeso

[vla:] Aria de Confessore | a | Canto Solo | Violino Due | Oboe due | Corni due | Violetta | Con | Basso | Del Sige: Zoppis | F. G. [crossed out] | Semin. S. Aloysii Glacii || Eigenthum der Stadt Pfarr | Kirche in Glatz

Parts: C(1), vl 1(2)-2(2), vla(2), ob 1(1)-2(1), tr in D vel cor 1(1)-2(1), fondamento(1) F: 36 × 22 cm f. 12 wm [1750–1799]

Comments 1. Fach XXXVIII No 39; XXVII, 9 1928 3. The nd2 text in a different hand:Iste confessor Domini. 4. RISM ID no.: 1001024122 (CZ-Psj) and 212007169 (D-Dl) [aria Leon nella foresta from the opera Il Vologeso] 5. RISM ID no.: 1001036446

393 II. Opera anonyma

Am-264 506. [Alma redemptoris mater, D]

Alma Redemptoris | à | C. A. T. B. | Violinis 2bus | con Organo. || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), org =bc(1) F: 33,5 × 21 cm f. 7 + cover wm [1750–1799]

Comments 1. Fach XXXVIII No 46; XXX, 4 1928 4. RISM Ø 5. RISM ID no.: 1001032178

Am-2661–3 507–509. [Alma redemptoris mater, g] [Alma redemptoris mater, c] [Alma redemptoris mater, B]

Parts: C(1)A(1), vl 1(1)-2(1), vla(1), ob 1(1)-2(1), org =bc(1) F: 35 × 23,5 cm f. 8 wm [1750–1799]

[1]. C(1r), A(1r), vl 1(1r)-2(1r), vla(1r), org(1r) f. 6

394 II. Opera anonyma

[2]. C(1r-v), A(1r), vl 1(1r-v)-2(1r-v), vla(1r), org(1r-v) f. 6

[3]. A solo (1v), vl 1(1v)-2(1v), vla(1v), ob 1(1r)-2(1r), org(1v) f. 7

Comments 1. Fach XVI [No] 3; XVII, 26 1928 4. [1].-[3]. RISM Ø; [2]. cf. RISM ID no.: 240003072 (D-SWl) [Mahaut, Antoine – Largo from Triosonata] and 000125909 (US-AAu) [Graun, Carl Heinrich – Sonata a tre, GraunWV Cv. XV. 94] 5. RISM ID no.: 1001032180: [1]. 1001032182, [2]. 1001032183, [3]. 1001032185

388 510. [Attollite portas, C]

Parts: C(1)A(1)T(1)B(1) F: 23 × 19 cm f. 4 + cover wm [1750–1799]

395 Katalog | The Catalogue

Comments 4. RISM Ø 5. RISM ID no.: 1001032181

[2]. C(1v), A(1v), T(1r-v), B(1r-v), vl 1(2v)-2(2v), vla(1r), org(2v-1r) f. 9

[3]. C(2r), A(2r), T(1v-2r), B(1v-2r), vl 1(1v-2r)-2(1v-2r), org =bc(1v) f. 11

[4]. C(2v), A(2v), B(2r), vl 1(1r)-2(1r), org =bc(2r) f. 6

396 II. Opera anonyma

Comments 1. Fach XVI No 2; XVII, 18 1928 3. Cf. Catalogue no. 373 [Rathgeber, Johann Valentin]; cf. Collections no. 8. 4. RISM Ø 5. RISM ID no.: 1001035243: [2].1001035245, [3].1001035248, [4].1001035249

M-123 514. [Credo, D]

[org:] Credo in D | a | Vocibus Quatuor. | Violinis Duob. | Clarinis Duob. | et | Organo. | Joseph Larisch [crossed out] || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: C(2)A(2)T(2)B(2), vl (2x)1(2,2)-2(2), cl in D 1(1)-2(1), org =bc(4) F: 36,5 × 21,5 cm f. 20 wm 1775

Comments 1. Fach XXXVII No 15; XXX, 1 1928 2. At the end of cl 2 part: “J[oseph] L[arisch] [?] 1775”. 4. RISM Ø 5. RISM ID no.: 1001035236

387 515. [Dies irae, g]

[org:] Organo. | Dies irae {deutsch übersetzt} | mit 4 Singstimmen | 2 Violinen | 2 Clarinetten | 2 Hörner | und | Orgel || Eigenthum der Stadt Pfarr= | Kirche in Glatz.

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), cl in B 1(1)-2(1), cor in Es 1(1)-2(1), org =bc(2)

397 Katalog | The Catalogue

F: 36,5 × 26,5 cm f. 12 wm [1800–1849]

Comments 1. Fach XXXVIII No 61; XXX, 2 1928 4. RISM Ø 5. RISM ID no.: 1001031868

379 516. [Domine ad adjuvandum, C]

[org:] Domine ad adjuvandum | con 4 vocibus | et | Organo

Parts: C(1)A(1)T(1)B(1), org(2) F: 23 × 18,5 cm f. 6 wm [1800–1849]

A-258 = A-257 517. [Et panis fragmine, A]

Duetto ex A. {pro tempore Passionis | Domini} | a | Canto et Tenore. | Violino Primo | Violino Secundo | Viola Primo | Viola Secundo | Oboe Primo | Oboe Secundo | Cornu Primo | Cornu Secundo | et | Organo. | Seminarii Glaceni | ad S. Aloysium [crossed out] || Gehört der Stadt=Pfarr= | Kirche in Glatz.

Parts: C(1), T(1), vl 1(1)-2(1), vla 1+2(1), ob 1(1)-2(1), cor in A 1(1)-2(1), org(1) F: 36,5 × 23,5; 18 × 23 cm f. 10 + cover [1750–1799]

398 II. Opera anonyma

Comments 3. The nd2 text: Pugillo hardei. 4. RISM Ø 5. RISM ID no.: 1001035238

A-257 = A-258 518. [Et panis fragmine, A]

Duetto, ex A {pro tempore | Passionis Domini} | a | Canto Imo Canto IIdo oder Tenor | Violino 1mo et 2do | Oboe 1mo et 2do | Cornu 1mo et 2do | et | Organo | Joseph Preusse [?] [crossed out] | 1830 || Gehört der Stadt= Pfarr= | Kirche in Glatz

Parts: C 1(1), C 2 vel T(1), vl 1(1)-2(1), vla 1(1+2), ob 1+2(1), cor in A 1+2(1), org(1) F: 38 × 25 cm f. 8 + cover wm 1830

Comments 1. Fach XXIV No 26; XII, 6 1928 2. In the parts, top left: “Fach XXIV | Duetto”, top right: “No 26”. 3. The nd2 text: Pugillo hardei. 4. RISM Ø 5. RISM ID no.: 1001035239

A-2551–2 519–520. [In vivos nunc de fluite, Es]; [Te splendor gloriae, Es]

[org et vlne:] No. 1 Aria ex Es pro Dom: Palmarum | a | Canto | Violinis Duobus | Alto Viola | Cornibus Duobus | et | Organo || No. II. Aria in Es de

399 Katalog | The Catalogue

Parts: C(1)A(1), vl 1(1)-2(1), vla(1), cor in Es 1+2(1), org =bc(1), vlne vel org (1) F: 38 × 24 cm f. 7 wm 1830

[1]. C(1r), vl 1(1r)-2(1r), vla(1r), cor 1+2(1r), vlne vel org(1v) f. 6

[2]. A(1v), vl 1(1v)-2(1v), vla(1v), vlne vel org(1r) f. 5

Comments 1. Fach XXIV No 24 [crossed out] XII/22 [added in pencil] XII, 22 1928 4. RISM Ø 5. RISM ID no.: 1001035868: [1]. 1001035869, [2]. 1001035870

A-236 521. [Jesu dulcis memoria/Ave Jesu summe bonus, B]

[b:] Aria in B {Jesu dulcis memoria} | a | Tenore Concerto | Violino Primo | Violino Secondo | Fagotto Primo | Fagotto Secondo | Flauto Primo | Flauto Secondo | Cornu Primo | Cornu Secondo | Viola di Alto | con | Basso | Rerum [Floriani Meyer ? obliterated] || Eigenthum der Stadt Pfarr Kirche | in Glatz

Parts: T(2), vl 1(1)-2(1), vla(1), b(2), fl 1(1)-2(1), fag 1(1)-2(1), cor in F 1(1)-2(1) F: 30 × 22 cm f. 13 wm [1750–1799]

400 II. Opera anonyma

Comments 1. Fach XXXVIII No 20; XXVII, 12a 1928 3. The 2nd text: Ave Jesu summe bonus; the name: “Meyer” added on title page in pencil. 4. RISM Ø 5. RISM ID no.: 1001034685

L-185 522. [Litaniae, D]

Parts: A(2)T(2)B(1), vl 1(3)-2(3), org =bc(2) F: 35,5 × 22,5 cm f. 13 + cover wm 1788

Sections Kyrie: Allegro, D, ¡; Sancta Maria: Andante, G, ¢; Virgo prudentissima: Allegro moderato, C, ¡; Rosa mystica: Andante, A, ²¼; Regina angelorum: Allegro, D, ¡; Agnus Dei: Adagio, d, ¢ – D, ¡ Comments 1. Fach XIII 64; XVII, 17 1928 2. At the end of T part: “Descripsit Antonius | Richter Grammatices Studiosus | 1788”. 3. Missing parts: C, clno 1-2. 4. RISM Ø 5. RISM ID no.: 1001035815

401 Katalog | The Catalogue

L-186 523. [Litaniae, D] Litanei Lauretane | gehört der Kirche | in Glatz

Parts: C(2)A(2)T(2)B(2), vl 1(3)-2(3), clno in D 1(1)-2(1), org =bc(4) F: 36,5 × 23,5 cm f. 20 + dust cover wm 1789

Sections Kyrie: Allegro moderato, D, ¡; Sancta Maria: Andante, G, ²¼; Virgo prudentissima: Allegro moderato, D, ³¼; Salus infirmorum: Andante, d, ¡; Regina angelorum: Presto, D, ³¾; Agnus Dei: Andante, G, ¡ – Allabreve, D, ¢ Comments 1. Fach XIII No 22; XVII, 33 1928 2. At the end of vl 1 part: “Hanc vocem descripsit | Josephus Strauch | Poëseos | Alumnus.| Anno 1789”; vl 2: “Josephus Strauch Poëseos | Alumnus hanc vocem de= | scripsit Anno 1789”; clno 1-2: “Hanc vocem descripsit Ignatius | Monse Poëseos alumnus 1789”. 4. RISM Ø 5. RISM ID no.: 1001035813

M-119 524. [Missa, C]

Parts: C(4)A(4)T(3)B(3), vl 1(5)-2(4), a-vla(1), clno 1(2)-2(2), org =bc(4) F: 20 × 29 cm f. 32 wm 1780

402 II. Opera anonyma

Sections Kyrie: Tarde, C, ³¼; Gloria: Allegro, C, ¡; Credo: Allegro, C, ³¼; Sanctus/ Benedictus: Adagio, C, ¡ – Andante, F, ³¼; Agnus Dei/Dona nobis: Tarde, C, ¡ – Allegro, C, ²¼ Comments 2. At the end of parts: C, T, B, vl 1-2, clno 1-2, org: “La Fine A: K.”; A: “1780”. 3. Parts preserved separately; in vla part, section Benedictus remark: “ E c h o”. 4. RISM Ø 5. RISM ID no.: 1001014320

H-214 525. [Omni die dic Mariae, D]

Parts: (2x)C(1,1), (2x)A(1,1), (2x)T(1,1), (3x)B(1,1,1), a-t-b-trb(1,1,1,) +{(4x) C(1,1,1,1), A(1), (2x)T(1,1), B(1)} F: 24 × 39; 12 × 18,5 cm f. 12 + cover + {8} [1780–1820, {1800–1849}]

Comments 1. Fach XX No 13; XVII, 31 1928 3. Parts preserved separately. 4. RISM Ø 5. RISM ID no.: 1001030824

P-3362 526. [Orbem terrarum et plenitudinem, D] in: Grad. = Omnes de Saba | Offer. = Orbem terrarum

[2]. C(1v), A(1v), T(1v), B(1v), vl 1(1v)-2(1v), vla 1+2(1v), fl 1(1v)-2(1v), fag(1v), cor in D 1(1v)-2(1v), org =bc(1v) f.13

403 Katalog | The Catalogue

Comments 1. Fach XXXVIII No 37; XXX, 12 1928 3. Cf. Catalogue no. 270 [Mašek, Vincenc]; cf. Collections no. 12 4. RISM Ø 5. RISM ID no.: 1001031641: [2]. 1001031643

392 527. [Pange lingua/Te Deum laudamus, D]

Pange lingua | et | Te Deum | Canto, Alto, Tenore, Basso, | Clarinetto duae, Flauto duae | Cornu duae, Clarino duae, | Principali, Fagotti | et | Timpano | Prause [crossed out] || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: (2x)C(2,2), (2x)A(2,2), (2x)T(2,2), (2x)B(2,2), fl 1(1)-2(1), cl in A 1+2(1), cl in C 1(1)-2(1), fag(1), cor in D 1(1)-2(1), principal in D(1), clno in D 1(1)-2(1), timp(1) F: 19 × 24 cm f. 28 + cover [1840–1860]

Comments 1. Fach XX No 2 3. Separate vocal parts for each text; different texts set to the same music. 4. RISM Ø 5. RISM ID no.: 1001040032

R-175 528. [Requiem, F]

Requiem Choral in F | a | Quatuor Vocibus.

Parts: (2x)C(2,3), A(2)T(2)B(2), org(2) F: 22 × 17,5 cm f. 13 + cover [1780–1820]

404 II. Opera anonyma

Sections Requiem aeternam: Adagio, F, ¢; [Graduale] Requiem aeternam: F ¢; [Offertorium] Rex gloriae libera: F,¡ ; Sanctus/Benedictus: F, ¡ – B, ³¼; Agnus Dei: F, ¡; Lux aeterna: F, ¢ Comments 1. Fach XI No 25; XVII, 22 1928 2. In the parts top left: “Fach XI”, top right: “No 25”. 4. RISM Ø 5. RISM ID no.: 1001030311

R-148 529. [Requiem, g]

Requiem Choral: in G | a | Quatuor Vocibus.

Parts: (2x)C(2,2), (2x)A(3,2), T(2)B(2), org =bc(2) + {Directionstimme} F: 23 × 18 cm f. 15 + cover + {4} [1780–1820]

Sections Requiem aeternam: Tardissime, g, ¡; [Graduale] Requiem aeternam: Poco adagio, G, ³¼; [Offertorium] Domine Jesu Christe: Tarde, B, ¡; Sanctus/Benedictus: Adagio, g, ¡ – Andante, Es, ²¼; Agnus Dei: Poco adagio, g, ¡ Comments 1. Fach XI No 26; XVII, 23 1928 2. In the parts, top left: “Fach XI”, top right: “No 26”. 4. RISM Ø 5. RISM ID no.: 1001036390

405 Katalog | The Catalogue

R-150 530. [Requiem, Es]

Requiem ex Es | ã | Canto, Alto, Tenor, Basso | Violino Primo & Secundo | Oboe Primo & Secundo | Fagotto vel Alto Viola | Primo & Secundo | Cornu Primo & Secundo | Con | Organo | Ad usum | Joannis Josephi Kabe | Cantoris Levinensis [crossed out] || Eigenthum der Stadt= Pfarr= | Kirche in Glatz. Parts: C(2)A(2)T(2)B(2), vl 1(2)-2(2), vla 1(2)-2 vel fag(2), ob 1(1)-2(1), (2x) cor in Dis 1(1,1)-2(1,1), org =bc(2) F: 37 × 23 cm f. 24 + cover wm [1750–1799]

Sections Requiem aeternam: Adagio, Es, ¡; Dies irae: Adagio, Es, ¡; [Offerto rium] Domine Jesu Christe: Adagio Es ³¼; Sanctus/Benedictus: Adagio, Es, ¡ – Andante, B, ¡; Agnus Dei: Adagio, Es, ³¼; Lux aeterna: Andante, Es, ¡ Comments 1. Fach XXXIX No 32; XVII, 30 1928 2. In the parts, top left: “Fach XXXIX”, top right “No 32”; at the end of org part: “O: A: M: D: G; [...] K”. 4. RISM Ø 5. RISM ID no.: 1001028105

393 531. [Responsoria]

Responsoria | pro | Hebdomada Sacra | Seminarii S. Aloysii | Glacii

Parts: C(4)A(4)T(4)B(3), vl 1(4)-2(4), a-t-b-trb(2,2,2), org =bc(4) F: 33 × 21,5 cm f. 33 + cover wm [1750–1799]

406 II. Opera anonyma

Comments 1. Fach XXIV No 30; XVII, 32 1928 4. RISM Ø 5. RISM ID no.: 1001038997

Am-270 532. [Salve regina, D]

[org:] Salve || Eigenthum der StadtPfarr | Kirche in Glatz.

Parts: C(1)A(1), cor in D 1(1)-2(1), cor basso in D(1), org =bc(2) F: 29,5 × 22 cm f. 7 wm [1800–1849]

Comments 1. Fach XXXVIII No 70 3. Incomplete [?]. 4. RISM Ø 5. RISM ID no.: 1001036467

407 Katalog | The Catalogue

Am-2031 533. [Salve regina, B]

[A set of 21 “Salve Regina” settings numbered from I to XXI, in part books, by various authors]

Parts: C(17), C rip.(3), A(11), T(11), B(11), vl 1(24)-2(23), a-vla 1(2)-2(2), clno 1(1)-2(1), org =bc(21) F: 24 × 31cm f. 127 + cover with part titles wm [1750–1799]

[1]. C(1r-2r), A(1r-v), T(1r-v), B(1r), vl 1(1r-2r)-2(1r-2r), org(1r-2r) f. 11

Comments 1. Fach XVII No 1 3. Cf. Collections no. 2. a-vla part separate. 4. RISM Ø 5. RISM ID no.: 1001014735: [1.] 1001014737

Am-2033 534. [Salve regina, B] in: [Collection of 21 Salve...]

[3]. C(3r-v), A(2r), T(2r-v), B(2r), vl 1(4r-v)-2(3v-4v), org =bc(3v-4r) f. 9

408 II. Opera anonyma

Comments 1. Fach XVII No 1 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2. 4. RISM Ø 5. RISM ID no.: 1001014735: [3.] 1001014740

Am-2035 535. [Salve regina, B] in: [Collection of 21 Salve...]

[5]. C(4v-5r), (A(3r-v), T(3v-4r), B(3r-v), vl 1(6r-v)-2(5v-6v), org(5v-6v) f. 11

Comments 1. Fach XVII No 1 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2. 4. RISM Ø 5. RISM ID no.: 1001014735: [5] 1001014742

Am-2038 536. [Salve regina, D] in: [Collection of 21 Salve...]

[8]. C(6v-7r), A(4r-v), T(4v-5r), B(5r-6r), vl 1(8v-9v) -2(8v-9v), org(8v-9r) f. 13

409 Katalog | The Catalogue

Comments 1. Fach XVII No 1 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2. 4. RISM Ø 5. RISM ID no.: 1001014735: [8]. 1001014748

Am-2039 537. [Salve regina, D] in: [Collection of 21 Salve...]

[9]. C(7v), C rip. (1v), A(5r), T(6r), B(6r), vl 1(9v-10r)-2(9v-10r), org(9r-v) f. 10

Comments 1. Fach XVII No 1 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2. 4. RISM Ø 5. RISM ID no.: 1001014735: [9]. 1001014750

Am-20312 538. [Salve regina, C] in: [Collection of 21 Salve...]

[12]. C(9v-10r), C rip. (2v-3r), A(6v-7r), T(7r-v), B(7r-v), vl 1(13r-14r)-2(12v- -13v), org (11v-12v) f. 14

410 II. Opera anonyma

Comments 1. Fach XVII No 1 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2. 4. RISM Ø 5. RISM ID no.: 1001014735: [12]. 1001014760

Am-20316 539. [Salve regina, C] in: [Collection of 21 Salve...]

[16]. C(12v-13v), A(8v-9r), T(9v-10r), B(9r-v), vl 1(17v-18r)-2(16v-17v), vla(1v-2r), clno 1(1r)-2(1r) org(15v-17r) f. 18

Comments 1. Fach XVII No 1 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2. 4. RISM Ø 5. RISM ID no.: 1001014735: [16]. 1011030263

Am-20317 540. [Salve regina, G] in: [Collection of 21 Salve...]

[17]. C(13v-14v), vl 1(18v-19v)-2(18r-19r), org(17r-v) f. 7

411 Katalog | The Catalogue

Comments 1. Fach XVII No 1 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2. 4. RISM Ø 5. RISM ID no.: 1001014735: [17]. 1001030264

Am-20319 541. [Salve regina, B] in: [Collection of 21 Salve...]

[19]. C(15r-v), A(9v-10r), T(10v-11r), B(10v-11r), vl 1(20v-21v)-2(20v-21r), org(18v-19v) f. 13

Comments 1. Fach XVII No 1 3. Cf. Catalogue no. 533 [Anonymous]; cf. Collections no. 2. 4. RISM Ø 5. RISM ID no.: 1001014735: [19]. 1001030267

A-4282 542. [Se mai turbo il tuo riposo, B] in: Ariae 3 {de Confessore} | à | Voce Solo […]

[2]. C solo(1v-2r), vl 1(1v)-2(2v), vla(2v), fondamento(1v) f. 6

412 II. Opera anonyma

Comments 3. Cf. Catalogue no. 159 [Graun, Carl Heinrich]; cf. Collections no. 14; the 2nd text: Iste confessor Domini. 4. RISM Ø 5. RISM ID no.: 1001022083: [2]. 1001022085

378 543. [Surrexit Dominus, C]

[Invitatorium | für den Ostersonnabend | Eigenthum der Stadt Pfarr | Kirche in Glatz]

Parts: (2x)C 1(2,2)-2(2,2), A(2)T(2)B(2), vl 1(1)-2(1), vlne(1), a-t-b-trb(1,1,1), org=bc(2) F: 30 × 22 cm f. 22 + dust cover wm [1800–1849]

Comments 1. Fach XXIV No 34; XXX, 25 1928 2. In the parts, top left: “Fach XXIV”, top right: “No 34”. 3. Copy of title page from score. Added remark: “Observanda, dum ce lebratur Resurrectio Domini”, 2 p. 4. RISM Ø 5. RISM ID no.: 1001035871

378b Invitatorium | für den Ostersonnabend | Eigenthum der Stadt Pfarr | Kirche in Glatz

413 Katalog | The Catalogue

Manuscript score F: 38 × 24 cm p. 46

Comments 1. Fach LXI No 34

H-425 544. [Veni sancte Spiritus, G]

Veni Sancte | Spiritus | à | Violino 1mo | 2do | Discant: Alto | Tenor: Basso | Organo | Cornu 1mo et 2do | Authore N.N. | A. Franc. Hoffer S. J. Dono abrevit Seminarii S. Aloysii | Glacii 1764 10 April || Eigenthum der StadtPfarrKirche in Glatz.

Parts: C(1)A(1)B(1), vl 1(1)-2(1), cor in G 1(1)-2(1), org =bc(2) F: 34 × 21,5; 17 × 21,5 cm f. 9 + cover wm 1764

Comments 1. Fach XXXVIII No 36; XXVII, 33 1928 3. Missing T part. 4. RISM Ø 5. RISM ID no.: 1001014051

H-2101–2 545–546. [Veni sancte Spiritus, C]; [Magnificat, C]

Veni Sancte Spiritus | & | Magnificat | à | 9 Vocibus | Canto Alto | Tenore Basso | Violino 1mo Violino 2do | Clarino Primo, Clarino 2do | Con Organo | Seminarii | ad S. Aloysium | Glac: [crossed out] || Eigenthum der Stadt Pfarr Kirche in | Glatz

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), clno in C 1(1)-2(1), org =bc(1)

414 II. Opera anonyma

F: 36,5 × 23; 23,5 × 18,5 cm f. 9 + cover wm [1750–1799]

[1.] C(1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), clno in C 1(1r)-2(1r), org =bc(1r) f. 9

[2.] C(1v), A(1v), T(1v), B(1v), vl 1(1v)-2(1v), clno in C 1(1v)-2(1v), org =bc(1v) f. 9

Comments 1. Fach XXXVIII No 38; XXVII, 6 1928 2. At the end of C part: “Has notas sCrIpsIt | AntonIVs Adler | In- gLorIaM beatI | AloIJsII”; A: “Notas Stephanus Han[n]ig Poeta: | [in a different hand] Carolus Franz revidebat”; T: “Franz Rhetor | Sem: Praefectus”; B: “hanc vocem paravit | Antonius Kirchner | syntaxista | Reviderat Franz | Rhetor, Praef. Sem.”; vl 1: “Scripsit Ignatius | Tschöcke Poëta”; vl 2: “Descripsit Ignatius | Tschöcke Poëta”; clno 1: “Descripsit Primarius Discantist. | J: F: R”; org: “Describsit [!] Antonius Adler | Grammaticus”. 4. RISM Ø 5. RISM ID no.: 1001021747: [1]. 1001021748, [2]. 1001021749

381 547. [Vexilla regis, D]

Kirchen Gesang | beÿ des Procession | in der Oster Nacht

Parts: C(1)A(1)T(1)B(1)

415 Katalog | The Catalogue

F: 21 × 34,5 cm f. 4 + cover wm [1780–1820]

Comments 1. Fach XXIV No 36; XXX, 22 1928 3. Manuscript contains two later copies of parts (f. 8) Fach XXIV No 40 as well as handwritten t-b-trb in D parts for another unidentified composition (F: 11 × 13,5 cm; f. 2) 4. RISM Ø 5. RISM ID no.: 1001034684

416 III. Collections

1. A-1891–2 [org:] Aria I Ex D # | de | Qualibet Festivitate | à | Canto Solo | Violinis et Cornis 2plici | Viola | et | Organo. | Authore Sige: Val: Fechner | Aria IIda Ex F. | de Tempore. | a | Soprano Solo. | Violinis Duobus | Oboe IIbus | Cornibus IIbus | et | Basso. | Joseph Larisch | Schulmeister in | Oberschwedeldorf || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: C solo(2), vl 1(2)-2(2), vla(2), clno vel cor in D + ob 1(1)-2(1), org(2) F: 31 × 21 cm f. 12 wm [1750–1799]

[1.] Fechner, Valentin – Huc gentes properate, D [Catalogue no. 135] C solo(1v-2r), vl 1(1v-2r)-2(1v-2r), vla(1v-2r), clno vel cor in D 1(1r)-2(1r), org(1v) f. 11

[2.] Sacchini, Antonio – Amati quaeso montes, F [Catalogue no. 390] C solo (2v-1r), vl 1(2v-1r)-2(2v-1r), vla(2v-1r), ob 1(1v)-2(1v), clno vel cor in F (1v)-2(1v), org(2r) f. 13

2. Am-2031–21

[Collection of 21 Salve Regina, numbered from I to XXI, in parts, of different authors]

Parts: C(17), C rip.(3), A(11), T(11), B(11), vl 1(24)-2(23), a-vla 1(2)-2(2), clno 1(1)-2(1), org =bc(21)

[1.] Anonymous – Salve regina, B [Catalogue no. 533] C(1r-2r), A(1r-v), T(1r-v), B(1r), vl 1(1r-2r)-2(1r-2r), org =bc(1r-2r) f. 11

417 Katalog | The Catalogue

[2.] [Schmidt, Ferdinand] – Salve regina, Es [Catalogue no. 408] C(2v-3r), A(1v), T(1v-2r), B(1v), vl 1(2v-3v)-2(2v-3v), vla 1(1r)-2(1r), org =bc(2v-3r) f. 14

[3.] Anonymous – Salve regina, B [Catalogue no. 534] C(3r-v), A(2r), T(2r-v), B(2r), vl 1(4r-v)-2(3v-4v), org =bc(3v-4r) f. 9

[4.] [Schmidt, Ferdinand] – Salve regina, d [Catalogue no. 409] C(3v-4r-v), A(2r-v), T(2v-3r), B(2v-3r), vl 1(5r-6r)-2(5r-v), org =bc(4v-5r) f. 12

[5.] Anonymous – Salve regina, B [Catalogue no. 535] C(4v-5r), A(3r-v), T(3v-4r), B(3r-v), vl 1(6r-v)-2(5v-6v), org =bc(5v-6v) f. 11

[6.] [Schmidt, Ferdinand] – Salve regina, C [Catalogue no. 410] C(5r-v), C rip.(1r), A(3v), T(4r-v), B(4r), vl 1(7r-v)-2(7r-v), org =bc(6v-7v) f. 9

[7.] [Schmidt, Ferdinand] – Salve regina, G [Catalogue no. 411] C(6r-v), A(4r), T(4v), B(4v), vl 1(7v-8r)-2(7v-8r), org =bc(8r-v) f. 10

[8.] Anonymous – Salve regina, D [Catalogue no. 536] C(6v-7r), A(4r-v), T(4v-5r), B(5r-v-6r), vl 1(8v-9v)-2(8v-9v), org =bc(8v-9r) f. 13

[9.] Anonymous – Salve regina, D [Catalogue no. 537] C(7v), C rip. (1v), A(5r), T(6r), B(6r), vl 1(9v-10r)-2(9v-10r), org =bc(9r-v) f. 10

418 III. Collections

[10.] [Schmidt, Ferdinand] – Salve regina, A [Catalogue no. 412] C(7v-8v), C rip. (1v-2r), A(5v-6r), T(6v), B(6v), vl 1(10v-11v)-2(10v-11v), org =bc(9v-10v) f. 14

[11.] [Schmidt, Ferdinand] – Salve regina, D [Catalogue no. 413] C(8v-9r), A(6v), T(6v-7r), B(6v-7r), vl 1(11v-12v)-2(11v-12v) org =bc(10v-11v) f. 13

[12.] Anonymous – Salve regina, C [Catalogue no. 538] C(9v-10r), C rip.(2v-3r), A(6v-7r), T(7r-v), B(7r-v), vl 1(13r-14r)-2(12v-13v), org (11v-12v) f. 14

[13.] [Schmidt, Ferdinand] – Salve regina, C [Catalogue no. 414] C(10r-v), A(7v), T(7v-8r), B(7v-8r), vl 1(14r-v)-2(14r-v), org=bc(13r) f. 10

[14.] [Schmidt, Ferdinand] – Salve regina, G [Catalogue no. 415] C(10v-11v), A(7v-8r), T(8r-v), B(8r-v), vl 1(15r-v)-2(14v-15v), org=b- c(13r-v) f. 10

[15.] [Tůma, František Ignac] – Salve regina, Es [Catalogue no. 478] C(11v-12v), A(8r-v), T(8v-9r), B(8v-9r), vl 1(16r-17r)-2(15v-16v), org(14r-15r) f. 13

[16.] Anonymous – Salve regina, C [Catalogue no. 539] C(12v-13r-v), A(8v-9r), T(9v-10r), B(9r-v), vl 1(17v-18r)-2(16v-17v), vla(1v-2r), clno 1(1r)-2(1r), org=bc(15v-17r) f. 18

[17.] Anonymous – Salve regina, G [Catalogue no. 540] C(13v-14v), vl 1(18v-19v)-2(18r-19r), org =bc(17r-v) f. 7

419 Katalog | The Catalogue

[18.] [Schmidt, Ferdinand] – Salve regina, C [Catalogue no. 416] C(14v-15r), A(9v), T(10v), B(10v), vl 1(19v-20v)-2(19v-20r), org(17v-18r) f. 11

[19.] Anonymous – Salve regina, B [Catalogue no. 541] C(15r-v), A(9v-10r), T(10v-11r), B(10v-11r), vl 1(20v-21v)-2(20v-21r), org(18v-19v) f. 13

[20.] [Hoffmann, Wenzel] – Salve regina, B [Catalogue no. 207] C(15v-16v), A(10v-11r), vl 1(22r-23r)-2(21v-22v), vla(2r-v), org= bc(20r-v) f. 10

[21.] [Brixi, František Xaver] – Salve regina, C [Catalogue no. 32] C(16v-17r), A(11r-v), T(11r-v), B(11r-v), vl 1(23v-24r)-2(23r-v), org=bc(21r-v) f. 10

3. A-2181–2 [vla:] Aria I in D | a | Canto Solo | Violino Primo | Violino Secundo | Oboe Primo | Oboe Secundo | Cornu Primo | Cornu Secundo in D | Alto Viola | et | Basso | Authore Boroni | II in Es | a | Canto Solo | Violino Primo | Violino Secundo | Oboe Primo | Oboe Secundo | Corno Concerto in Es | Fagotto Oblig. | Alto Viola | Cornibus in Es | con | Basso | Authore Missliveczek | Weigank [crossed out] || Eigenthum der Stadt | Pfarrkirche in Glatz

Parts: C solo(2), vl 1(2)-2(2), vla(2), b(2), ob 1(1)-2(1), fag vel vlc obl.(2), cor conc. in Es(1), cor in D 1(1)-2(1) F: 34 × 21 cm f. 17 wm [1750–1799]

[1]. Boroni, Antonio – Ad festum mortales huc properate, D [Catalogue no. 25] C (1v-2r), vl 1(1v-2r)-2(1v-2r), vla(1v), b(1v-2r), ob 1(1r)-2(1r), cor in D 1(1r)-2(1r) f. 13

420 III. Collections

[2]. Mysliveček, Josef – Tu es gloria, Es [Catalogue no. 292] C solo (2r-1r), vl 1(2v-1r)-2(2v-1r), vla(2r), b(1v-2r), ob 1(1r-v)-2(1r-v), fag vel vlc obl.(1v-2r), cor conc. in Es (1r-v), cor in Es 1(1r-v)-2(1r-v) f. 16

4. A-2201–2 Aria II De tempore | Canto Solo. | Violinis Duobus | Viola Obligato | Fagotto | Organo | Alto Solo. De Tempore Cummu. [!] | Violino Imo | Violino IIdo | Organo | Authore Domo. I. Ditters | II. Fechner | Ex rebus [crossed out] | Joseph Kapst [crossed out] || Eigenthum der Stadt Pfarr Kirche in | Glatz

Parts: C solo(1), vl 1(1)-2(1), vla(1), fag obl.(1), org =bc(1) F: 37 × 23 cm f. 6 + cover wm [1750–1799]

[1]. Dittersdorf, Carl Ditters von – Jesu veni ubi es, A [Catalogue no. 91] C(1r), vl 1(1r)-2 (1r), vla(1r), fag obl.(1r), org =bc(1r) f. 6

[2]. Fechner, Valentin – Amo te Jesu, C [Catalogue no. 134] A(1v), vl 1(1v)-2(1v), org(1v) f. 4

5. A-2261–2 [vla:] Ariae duae | 1ma | a | Canto Solo | Violino Primo | Violino Secundo | Alto Viola | et | Basso | Del Sige. Ditters | Altera in E | a | Canto Solo | Violinis 2 | Obois 2 | Cornibus 2 in E | Alto Viola | et | Basso | Authore Misliveczek | Antoni Weigank || Eigenthum der Stadt Pfarr | Kirche in Glatz.

Parts: C solo(2), vl 1(2)-2(2), vla(2), b =bc(2), ob 1(1)-2(1), cor in G 1(1)-2(1), cor in E 1(1)-2(1) F: 35 × 21,5 cm f. 16 wm [1750–1799]

[1]. Dittersdorf, Carl Ditters von – O gloriosa virginum, G [Catalogue no. 95] C solo(1v-2r), vl 1(1v-2r)-2(1v-2r), vla (1v), b =bc(1v-2r), cor in G 1(1r)-2(1r) f. 11

421 Katalog | The Catalogue

[2]. Mysliveček, Josef – Deus magne sed velate, E; contrafactum of the aria Giusti dei che ben vedete from the opera Bellerofonte [Catalogue no. 286] C solo(2v-1r), vl 1(2v-1r)-2(2v-1r), vla(2r), b(2v-1r), ob 1(1r)-2(1r), cor in E 1(1r)-2(1r) f. 13

Parts: A solo(2), vl 1(2)-2(2), vla(2), cor in F vel Es 1(1)-2(1), fondamento(2) F: 32 × 21 cm f. 12 [1750–1799]

[1]. [Graun, Carl Heinrich] – Beatam me dicent, B [Catalogue no. 152] A(1v), vl 1(2r-v)-2(2r-v), vla(1v-2r), cor 1(1r)-2(1r), fondamento(1r) f. 8

[2]. [Hasse, Johann Adolf] – In me si tremant poena, Es; contrafactum of the aria Digli ch’io son fedele from the opera Cleofide [Catalogue no. 169] A(2v-1r), vl 1(2v-1r)-2(2v-1r), vla(2r-v), fondamento =bc(1v) f. 8

[3]. [Hasse, Johann Adolf] – Omni die dic Mariae, F; contrafactum of the aria Quanto mai felici siete from the opera Cleofide [Catalogue no. 170] A(2r-v), vl 1(1v)-2(1r-v), vla(2v-1r), cor 1(1v)-2(1v), fondamento(2r-v) f. 8

7. Am-2631–2 Salve IIplex | I | à | C. A. T. B. | Violin IIbus | Cornibus in D IIbus | Viola di Alto | Organo | Auth. Franc. Kohl | II. | C. A. T. B. | Violinis II bus | Con | Organo | Auth. Franc. Xav. Brixi || Semin. S. Aloysii Glac. | 1776

Parts: C(2)A(2)T(1)B(1), vl 1(2)-2(2), vla(1), cor 1(1)-2(1), org =bc(1) F: 35 × 22,5 cm f. 14 + cover wm 1776

[1]. Kohl, František Xaver Krištof – Salve regina, D [Catalogue no. 231] C(1r-v), A(1r-v), T(1r), B(1r), vl 1(1r-v)-2(1r-v), a-vla(1r-v), cor 1(1r)-2(1r), org =bc(1r) f. 10

422 III. Collections

[2]. Brixi, František Xaver – Salve regina, C [Catalogue no. 31] C(1v-2r), A(1v-2r), T(1r-v), B(1r-v), vl 1(2r-v)-2(1v-2r), org =bc(1v) f. 10

8. Am-2681–4

Parts: C(2)A(2)T(2)B(2), vl 1(2)-2(2), vla(1), org =bc(2v) F: 36,5 × 23,5 cm f. 15 + cover wm [1750–1799]

[1]. [Rathgeber, Johann Valentin] – Ave regina, F [Catalogue no. 373] C(1r), A(1r), T(1r), B(1r), vl 1(1v)-2(1v), org -bc(1r) f. 7

[2]. Anonymous – Ave regina, D [Catalogue no. 511] C(1v), A(1v), T(1r-v), B(1r-v), vl 1(2v)-2(2v), vla(1r), org =bc(2v-1r) f. 9

[3]. Anonymous – Ave regina, D [Catalogue no. 512] C(2r), A(2r), T(1v-2r), B(1v-2r), vl 1(1v-2r)-2(1v-2r), org =bc(1v) f. 11

[4]. Anonymous – Ave regina, D [Catalogue no. 513] C(2v), A(2v), B(2r), vl 1(1r)-2(1r), org =bc(2r) f. 6

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), org =bc(1) F: 36 × 23,5 cm f. 7 + cover wm [1750–1799]

[1]. [Rathgeber, Johann Valentin] – Ave regina, F [Catalogue no. 374] C(1r), A(1r),T(1r), B(1r), vl 1(1r)-2(1r), org =bc(1r) f. 7

423 Katalog | The Catalogue

[2]. [Rathgeber, Johann Valentin] – Ave regina, E [Catalogue no. 375] C(1r), A(1r),T(1r), B(1r), vl 1(1r)-2(1r), org =bc(1r) f. 7

[3]. [Graun, Carl Heinrich] – Ave regina, a; contrafactum of the aria Quis desiderio sit pudor aut modus from: Cantata in obitum Friderici Guiliel- mi Regis Borussorum beati defuncti [Catalogue no. 151] C(1v), A(1v), T(1v), B(1v), vl 1(1v)-2(1v), org =bc(1v) f. 7

[4]. [Rathgeber, Johann Valentin] – Ave regina, f [Catalogue no. 376] C(1v), A(1v), T(1v), B(1v), vl 1(1v)-2(1v), org =bc(1v) f. 7

Parts: C 1(2)-2(1), A(1)T(1)B(1), vl 1(2)-2(2), vla(1), ob 1(1)-2(1), cor in D/F 1(1)-2(1), org =bc(1) F: 22,5 × 31 cm f. 16 + title page [1750–1799]

[1.] Dittersdorf, Carl Ditters von – Maria gustum sentio, D; contrafactum of chorus section from cantata Anbetend fallet nieder verehret Gottes Güte [Catalogue no. 92] C(1v-2r)-2(1r), A(1r), T(1r), B(1r), vl 1(1v-2r)-2(1v-2r), ob 1(1r)-2(1r), cor in D 1(1r)-2(1r), org =bc(1r) f. 15

[2]. Pichl, Václav – Huc fideles properate, F [Catalogue no. 363] C(2v-1r), A(1v), T(1v), B(1v), vl 1(2v-1r)-2(2v-1r), vla(1r), ob 1(1v)-2(1v), cor in F 1(1v)-2(1v), org =bc(1v) f. 15

424 III. Collections und Violonzell, nebst Paucken | Von verschiedenen Verfassern. | Dem Chore der Stadt Pfarr Kirche | gehörig.

[1]. [Vogler, Georg Joseph] – Date sonus, B [Catalogue no. 490] C(1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), vla(1r), cl et ob 1(1r)-2(1r), fag 1(1r)-2(1r), cor in F 1(1r)-2(1r), (2x)org(1r,1r) f. 15

[2]. [Schnabel, Joseph Ignaz] – Benedicite Dominum, C [Catalogue no. 420] C(1r-v), A(1r-v), T(1r-v), B(1r-v), vl 1(1r)-2(1r), vla(1r), cl et ob 1(1r)-2(1r), cor in F 1(1r)-2(1r), (2x)org(1r-v,1r) f. 13

[3]. [Schnabel, Joseph Ignaz] – Decora lux aeternitatis, E [Catalogue no. 423] C(1v), A(1v), T(1v), B(1v), vl 1(r-v)-2(1v-2r), vla(1r-v), (2x)org(1v, 1r-v) f. 10

[4]. [Höpler, Simone] – Ecce sacerdos magnus, C [Catalogue no. 209] C(1v-2r), A(1v-2r), T(1v-2r), B(1v-2r), vl 1(1v-2r)-2(1v-2r), vla(1v-2r), cl et ob 1(1r-v)-2 (1r-v), cor in F 1(1r-v)-2(1r-v), clno princ. in C(1r-v), clno in C 1(1r-v), timp(1r-v), (2x)org(1v-2r, 1v-2r) f. 25

[5]. [Mozart, Wolfgang Amadeus] – In te Domine speravi, C; contrafactum of the finale Tu è ver m’assolvi Augusto from the opera La Clemenza di Tito [Catalogue no. 276] C(2v), A(2v), T(2v), B(2v), vl 1(2r-v), vla(2r-v), cl in B 1(1r-v)-2(1r), fag 1(1r-v)-2(1r-v), clno princ. in C(1v), clno 1(1v), timp(1v), (2x) org(2r-v, 2r) f. 15

12. P-3361–2 Grad. = Omnes de Saba | Offert. = Orbem terrarum | […] || Eigenthum der Stadt Pfarr-kirche | in Glatz [in pencil]

425 Katalog | The Catalogue

Parts: C(1)A(1)T(1)B(1), vl 1(1)-2(1), vla 1+2(1), fl solo(1), fl 1(1)-2(1), cl in A 1+2(1), fag(1), cor in D 1(1)-2(1), clno in D 1+2(1), org(1) F: 27,5 × 40 cm f. 16 + dust cover wm [1800–1849]

[1]. [Mašek, Václav Vincenc] – Omnes de Saba, D [Catalogue no. 270] S(1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), vla(1r), fl(1r), cl 1+2(1r), clno 1(1r)-2(1r), org =bc(1r) f. 12

[2]. Anonymous – Orbem terrarum et plenitudinem, D [Catalogue no. 526] C(1v), A(1v), T(1v), B(1v), vl 1(1v)-2(1v), vla 1+2(1v), fl 1(1v)-2(1r), fag(1r), cor in D 1(1r)-2(1r), org =bc(1v) f. 13

13. 3661–2 Tantum Ergo. | in C. | für | 4 Singstimmen, 2 Violinen | 2 Oboen, 2 Trompeten, Pauken | Orgel und Violon. | Componirt von | Ambros Rieder. | Werke 85, | Graduale | (O mi Deus amor meus) | für | 4 Singstimmen, 2 Violinen | Viola, Orgel und Violon | von | Ignatz Ritter von Seyfried. Prause [crossed out] || Eigenthum der Stadt= Pfarr= | Kirche in Glatz.

Parts: (3x)C(1,1,1), A(1)T(1)B(1), vl 1(1)-2(1), vla(1), vlne(1), ob vel cl in C 1+2(1), clno in C 1+2(1), timp(1), org =bc(1) F: 21 × 34 cm f. 14 + cover wm [1800–1849]

[1]. Rieder, Ambros – Tantum ergo, C [Catalogue no. 384] (3x)C(1r,1r,1r), A(1r), T(1r), B(1r), vl 1(1r)-2(1r), vlne(1r), ob vel cl 1+2(1r), clno 1+2(1r), timp(1r), org =bc(1r) f. 13

[2]. Seyfried, Ignatz Ritter von – O mi Deus amor meus, Es [Catalogue no. 462] (3x)C(1v,1v,1v), A(1v), T(1v), B(1v), vl 1(1v)-2(1v), vla(1v), vlne(1v), org =bc(1v) + {C(1r), A(1r), T(1r), (2x)B(1r,1r), vl 1(1r)-2(1r), vla(1r)} {1840–1860} f. 11 + {8}

426 III. Collections

14. A-4281–3 [vla:] Ariae 3 {de Confessore} | à | Voce Solo. | Due Violini. | Viola, con | Fondamento. | Sige: Graun. et Hasse[!]. | Posessor [crossed out] | Kles. [crossed out] || Eigenthum der StadtPfarrKirche in | Glatz.

Parts: C(2), vl 1(2)-2(2), vla(2), fondamento =bc(2) F: 36,5 × 23 cm f. 10 wm [1750–1799]

[1.] [Graun, Carl Heinrich] – Quest’oh dio lugubre aspetto, D; aria from the opera Rodelinda regina de’ Longobardi [Catalogue no. 159] C(1r), vl 1(2v)-2(2v-1r), vla(1v-2r), fondamento =bc(2v-1r) f. 8

[2.] Anonymous – Se mai turbo il tuo riposo, B [Catalogue no. 542] C solo(1v-2r), vl 1(1v)-2(2v), vla (2v), fondamento(1v) f. 6

[3]. [Agricola, Johann Friedrich] – Non sarei si sventurata, e; Aria from the opera Cleofide [Catalogue no. 3] C(2r-v), vl 1(1v-2r)-2(2r), vla(2v), fondamento =bc(2r-v) f. 6

427 Katalog | The Catalogue

Single-Composer Collections

A-2151–2 AGRICOLA, Johann Friedrich (1720–1774) Cf. Catalogue no. 1–2 P-2801–2 BROSMANN, Damasus [à Sancto Hieronymo, SchP] (1731–1798) Cf. Catalogue no. 35–36 V-153[1–9] V-154[1–3] BÜHLER, Franz (1760–1823) Cf. Catalogue no. 44–52, 53–55 P-3351–2 3401–3 DIABELLI, Anton (1781–1858) Cf. Catalogue no. 80–81, 82–84 A-2251-2 DITTERSDORF, Carl Ditters von (1739–1799) Cf. Catalogue no. 96–97 H-2121–12 DREYER, Johann Mathias (1747–1824) Cf. Catalogue no. 101–112 A-2281–2 GALUPPI, Baldassare (1706–1785) Cf. Catalogue no.: 144–145 A-1911–2 GRASEL (18/19.sc) Cf. Catalogue no.: 147–148 A-4261–2 A-4271–3 H-4301–2 GRAUN, Carl Heinrich (1703c–1759) Cf. Catalogue no.: 149–150, 153–155, 156–157 3961–2 HAHN, Bernard (1780–1852) Cf. Catalogue no. 165–166 P-407b11–18 HAYDN, Michael (1737–1806)

428 III. Collections

Cf. Catalogue no. 190–197 A-2321–4 HILLER, Johann Adam (1728–1804) Cf. Catalogue no. 202–205 3381–8 KRAUS, Lambert (1728–1790) Cf. Catalogue no. 233–240 Am-1971–2 LATZEL, Joseph (1764–1827) Cf. Catalogue no. 245–246 A-2331–2 LOHELIUS, Joannes (1724–1788) Cf. Catalogue no. 254–255 A-2341–2 MANFREDINI (18.sc) Cf. Catalogue no. 257–258 P-2961–2 MÜLLER, Donat (1806–1879) Cf. Catalogue no. 281–282 A-2401–2 MYSLIVEČEK, Josef (1737–1781) Cf. Catalogue no. 289–290 H-2131–12 OHNEWALD, Joseph (1781–1856) Cf. Catalogue no. 299–310 P-3341–2 P-407b1–10 OTTO, Johann Franz (1732–1805) Cf. Catalogue no. 313–314, 332–341 3511–2 PAUSEWANG, Johann Georg (1738–1812) Cf. Catalogue no. 352–353 A-1931–2 POHL, 18.sc Cf. Catalogue no.: 363-364

429 Katalog | The Catalogue

P-3061–2 SCHNABEL, Joseph Ignaz (1767–1831) Cf. Catalogue no. 421–422 L-404b1–2 SCHUSTER, Joseph (1748–1812) Cf. Catalogue no. 448–449 A-2551–2 H-2101–2 ANONYMOUS cf. Catalogue no: 519–520, 545–546

430 IV. Fragments

THAMM, Julius (mid. 19.sc [?]) P-317 [Missa?, Es]

Parts: (2x)a-trb(1,1), t-trb(1), (2x)b-trb(1,1) F: 36 × 23cm f. 5 wm [1800–1849]

Comments 3. B-trb part served as cover; on title page in pencil, top left: “Kaupert G l a t z ”.

M-49 [Missa, C]

Parts: CATB F: 35 × 23 cm f. 4

Comments 3. Missing other mass sections.

431 Katalog | The Catalogue

R-136 [Requiem, F]

Parts: vl 1(3)-2(3), vla(2), tr 1(1), org(4) F: 36 × 22,5cm f. 13 [1750–1799]

Sections Requiem aeternam: Largo, F, ¡; Graduale [?]: d, ¡; Dies irae: Largo, c, ¡; Pie Jesu: Alla breve, c, ¢; [Offertorium] Domine Jesu: Largo, B, ¡; Libera me: Largo, c, ¡ Comments 1. In vl 1 part, top left: “Sige: Batti[st]a Pergolese” [!]. 3. Parts preserved separately. 4. RISM Ø

[cover] Salve | a | Canto Alto, Tenore, Basso | Violinis IIbus | con | Organo | Authore Sige: Vogl | Seminarii Glaceni [crossed out] || Eigenthum der Stadt Pfarr Kirche | in Glatz

A-229 [title card] Aria 13 | et … 22 | a | Canto Solo | Violinis 2bus | Alto Viola | et | Basso Continuo | Sig. Graun | Eur. Gal. Heintze [crossed out] || Eigenthum der Stadt-PfarrKirche in Glatz

F: 35,5 × 22,5 cm f. 2

432 V. Prints

Parts: CATB, vl 1-2, vla, vlc et b, fl, cl 1-2, fag 1-2, cor 1-2, clno 1-2, org

RISM ID no.: 402008388

Parts: CATB, vl 1-2, a-vla, vlc, fl 1-2, ob 1-2, cor 1-2, org [13 parts]

RISM ID no.: 00000990014910 KŁ Dr. 1 [printed title, org:] XXVIII ARIAE | SELECTISSIMAE PRAECLARORUM VIVORUM | sunt nominati: | MOZART, MARTIN, SALIERI, WRANIZKI, PLEYEL, SACCHINI, | PAESELLO, ANFOSSI, CIMAROSA, & C. | AD PROMOVENDUM CULTUM DIVINUM LATINIS TEXTIBUS |

433 Katalog | The Catalogue

Parts: CATB, vl 1-2, a-vla, vlc, ob 1-2, cor 1-2, org

Parts: CATB, vl 1-2, org (obl.), cor 1-2 et vlc ad lib.

KŁ Dr. 4 Principalis Ecclesiae elvacensis ... | VI | Missae Breves | ac | Rurales OP. XI Augustae Vindelicorum, Sumptibus Joannis Jacobi Lotter & Filii | 1796

Parts: CATB, vl 1-2, vlne, cl 1-2, org KŁ Dr. 7 ... SEX Missae | BREVES | … OP. XVIII | Augustae Vindelicorum, Sumptibus Joannis Jacobi Lotter & Filii | 1792

Parts: CTB, vl 1-2, vlne, fl et cl 1-2, cor 1-2, org

434 V. Prints

Parts: CATB, vl 1-2, vlc, vla, ob 1-2, timp, org

Parts: CATB, vl 1-2, vla, vlc, cor 1-2, org

Augsburg, Matthäus Rieger, Söhne 1767 {2?}

Parts: CATB, vl 1-2, vla, vlc, clno 1-2 (missing timp and org?)

435 Katalog | The Catalogue

Parts: CATB, vl 1-2, vlc, cl 1-2, org

Parts: CATB, vl 1-2, vlne, cor 1-2, org

Parts: CATB, vl 1-2, vla, fl 1-2, ob 1-2, fag 1-2, cor 1-2, clno 1-2, org

436 V. Prints

Parts: CATB, vl 1-2, vla obl., vlne, ob 1-2, cl 1-2, cor 1-2, clno 1-2, timp, org

Parts: CATB, vl 1-2, vlc, lituo 1-2, a-t-b-trb, org Handwritten note “Seminarii S. Aloysij S. J. Glatz 1732”

Parts: CATB, vl 1-2, vlc, org

Comments: 2. Fach. XXVII No. 4 3. [13 parts] ?

437

Wykaz skrótów | List of Abbreviations

440 Sigla biblioteczne przytaczane w tekście (za RISM) | Library Sigla Quoted in the Catalogue (after RISM)

Austria

A-Ed = Eisenstadt, Stadtpfarrkirche St. Martin (2 konkordancje | concordances) A-EF = Eferding, Stadtpfarrkirche zum Hl. Hippolyt (1) A-FB = Fischbach, Pfarrkirche (1) A-FKdk = Feldkirch, Dominikanerinnenkloster, Musikarchiv (1) A-GE = Geras, Prämonstratenserstift, Bibliothek (5) A-GR = Gramastetten, Musikarchiv der Pfarre Gramastetten (1) A-HA = Haitzendorf, Pfarre (1) A-HALn = Hall in Tirol, Pfarrkirche St. Nikolaus (4) A-HAR = Hartkirchen, Pfarre Hartkirchen, Archiv (2) A-HE = Heiligenkreuz im Wienerwald, Musikarchiv des Zisterzien- serstiftes (1) A-HEE = Heiligeneich, Pfarrarchiv (2) A-Imf = Innsbruck, Tiroler Landesmuseum Ferdinandeum, Musik- sammlung (1) A-KN = Klosterneuburg, Augustiner-Chorherrenstift, Bibliothek A-KR = Kremsmünster, Benediktinerstift, Musikarchiv (8) A-LA = Lambach, Benediktinerstift, Musikarchiv (11) A-LId = Linz, Domchorarchiv (4) A-LIglisic = Linz, Privatbibliothek Dr. Renate Glisic (1) A-MS = Mattsee, Stiftsarchiv (1) A-MT = Maria Taferl (1) A-ROB = Rohrbach, Stadtpfarre Rohrbach, Pfarrarchiv (1) A-RZ = Retz, Pfarrarchiv (2) A-SCH = Schlägl, Prämonstratenser-Stift, Musiksammlung (1) A-Sd = Salzburg, Dom-Musikarchiv (1)

441 Sigla biblioteczne | Library sigla

A-Sfr = Salzburg, Franziskanerkloster, Musikarchiv (1) A-Sm = Salzburg, Internationale Stiftung Mozarteum, Bibliotheca Mozartiana A-ST = Stams, Zisterzienserstift, Bibliothek und Musikarchiv (2) A-VOR = Vorau, Chorherrenstift (5) A-Wa = Wien, St. Augustin, Pfarrarchiv (2) A-Wdp = Wien, Bibliothek der Dominikanerprovinz (1) A-Whk = Wien, Hofburgkapelle (3) A-WILL = Wilhering, Zisterzienserstift, Musikarchiv (5) A-Wlic = Wien, Pfarrkirche Wien-Lichtental (1) A-Wm = Wien, Minoritenkonvent, Klosterbibliothek und Archiv (1) A-Wdp = Wien, Bibliothek der Dominikanerprovinz (1) A-Wpp = Wien, Pfarre Erdberg St. Peter und Paul (3) A-Wps = Wien, Erzbischöfliches Priesterseminar (1) A-Ws = Wien, Schottenstift, Musikarchiv (1) A-Wsjm = Wien, St. Josef zu Margareten, Pfarrarchiv (3) A-Z = Zwettl, Zisterzienserstift, Bibliothek und Musikarchiv (2)

Belgia | Belgium

B-Asj = Antwerpen, De Collegiale en Parochiale Sint-Jacobskerk, Bi- bliotheek en Archief (13) B-MAR = Denée, Abbaye de Maredsous, Bibliothèque (4) B-Nimep = Namur, Institut Supérieur de Musique et de Pédagogie (4) B-Bc = Bruxelles, Conservatoire royal de Bruxelles, Bibliothèque – Koninklijk Conservatorium Brussel, Bibliotheek (1) B-Br = Bruxelles, Bibliothèque royale de Belgique (3)

Szwajcaria | Switzerland (Confoederatio Helvetica)

CH-BEl = Bern, Schweizerische Nationalbibliothek (1) CH-BM = Beromünster, Musikbibliothek des Kollegiatstiftes St. Micha- el (11) CH-E = Einsiedeln, Kloster Einsiedeln, Musikbibliothek (2) CH-FF = Frauenfeld, Thurgauische Kantonsbibliothek (1) CH-SAf = Sarnen, Benediktinerinnen-Abtei St. Andreas [Sarnen] (1) CH-SGd = St. Gallen, Domchorarchiv (3) CH-SO = Solothurn, Zentralbibliothek, Historische Musiksammlung (1) CH-ZGm = Zug, Pfarrarchiv St. Michael (4)

442 Sigla biblioteczne | Library sigla

Czechy | Czech Republic

CZ-Bm = Brno, Moravské zemské muzeum, oddělení dějin hudby (6) CZ-BRE = Březnice, Římskokatolická farnost Březnice, Kostel sv. Ignáce (9) CZ-BY = Bystré u Poličky, Kůr kostela sv. Jana Křtitele (1) CZ-CH = Cheb, Státní okresní archiv (1) CZ-HE = Heraltice, Knihovna farního kostela (1) CZ-KLm = Klatovy, Vlastivědné muzeum Dr. Hostaše v Klatovech (3) CZ-KU = Kutná Hora, Oblastní muzeum (3) CZ-LIT = Litoměřice, Státní oblástní archiv v Litoměřicích (10) CZ-LO = Loukov (Háje nad Jizerou), Římskokatolická farnost Loukov u Semil (1) CZ-NAČ = Načeratice, Farní kostel (1) CZ-ND = Nové Dvory, Farní úřad, kostel sv. Anny (12) CZ-NH = Nové Hvězdlice, Farní kostel svatého Jakuba (7) CZ-NYd = Nymburk, Děkanský úřad římskokatolický v Nymburce (8) CZ-OP = Opava, Slezské zemské muzeum (9) CZ-OSm = Ostrava, Ostravské muzeum, hudebně historické oddělení (11) CZ-Pak = Praha, Archiv Pražského hradu (6) CZ-PELmv = Pelhřimov, Muzeum Vysočiny Pelhřimov (4) CZ-Pk = Praha, Knihovna Pražské konzervatoře, specializovaná knihovna (2) CZ-Pkřiž = Praha, Rytířský řád křižovníků s červenou hvězdou, hudební sbírka (16) CZ-Pnm = Praha, Národní muzeum – České muzeum hudby, hudebně -historické Oddělení (43) CZ-Pr = Praha, Český rozhlas, Fond hudebnin (6) CZ-Psj = Praha, Konvent minoritů v Praze (6) CZ-Pu = Praha, Národní knihovna České republiky (40) CZ-RO = Rokycany, Muzeum Dr. Bohuslava Horáka v Rokycanech (2) CZ-ROZdu = Roždalovice, Děkanský úřad (2) CZ-SE = Semily, Státní okresní archiv Semily (8) CZ-TAS = Tasovice, Farní knihovna (3) CZ-TCsm = Třebíč, Hudební archiv chrámu sv. Martina (2) CZ-TEP = Teplice nad Metují, Kostel sv. Vavřince (1) CZ-VA = Valtrovice, Farní kostel (1)

443 Sigla biblioteczne | Library sigla

Niemcy | Germany

D-ABGa = Annaberg-Bucholz, Evangelisch-Lutherische Kirchgemeinde, Kantoreiarchiv St. Annen (3) D-AG = Augustusburg, Evangelisch-Lutherische Kirchgemeinde St. Petri, Musiksammlung (1) D-AIC = Aichach, Stadtpfarrkirche Mariä Himmelfahrt (1) D-AÖhk = Altötting, Heilige Kapelle (1) D-ASm = Aschaffenburg, Städtische Musikschule, Musikbibliothek (1) D-B = Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Musikabteilung (13) D-BAR = Bartenstein, Fürst zu Hohenlohe-Bartensteinsches Archiv (1) D-BAUd = Bautzen, Domstift und Bischöfliches Ordinariat, Bibliothek und Archiv (2) D-BB = Benediktbeuern, Pfarrkirche, Bibliothek (1) D-BFb = Steinfurt, Fürst zu Bentheimsche Musikaliensammlung Burg- steinfurt (1) D-BG = Beuerberg (Eurasburg), Katholische Pfarrkirche St. Peter und Paul (2) D-BNu = Bonn, Universitäts- und Landesbibliothek (2) D-Bsa = Berlin, Sing-Akademie zu Berlin, Notenarchiv (3) D-Cl = Coburg, Landesbibliothek (2) D-Cm = Coburg, Morizkirche, Pfarrbibliothek (1) D-DEat = Dessau-Roßlau, Anhaltisches Theater Dessau (1) D-DT = Detmold, Lippische Landesbibliothek – Theologische Bi- bliothek und Mediothek (1) D-Dl = Dresden, Sächsische Landesbibliothek – Staats- und Univer- sitätsbibliothek (SLUB) (13) D-Eu = Eichstätt, Universitätbibliothek Eichstätt-Inglostadt (1) D-FUl = Fulda, Hochschul- und Landesbibliothek D-FÜS = Füssen, Katholisches Stadtpfarramt St. Marig (1) D-GOl = Gotha, Forschungsbibliothek Gotha der Universität Erfurt (2) D-GRH = Gerolzhofen, Katholische Pfarrei (1) D-GRO = Großeibstadt, Katholische Pfarrei (2) D-HER = Herrnhut, Unitätsarchiv der Evangelischen Brüder-Unität (1) D-HMB = Hammelburg, Katholische Pfarrei (1) D-Hs = Hamburg, Staats- und Universitätsbibliothek Carl von Ossietzky, Musiksammlung (2) D-KBD = Kleinbardorf, Katholische Pfarrei (1)

444 Sigla biblioteczne | Library sigla

D-KFm = Kaufbeuren, Stadtpfarrkirche St. Martin (2) D-KNd = Köln, Erzbischöfliche Diözesan- und Dombibliothek (1) D-LAfk = Landshut, Franziskanerkonvent bei Maria Loreto, Bi- bliothek (1) D-LEm = Leipzig, Leipziger Stadtbibliothek – Musikbibliothek (4) D-LEu = Leipzig, Universitätsbibliotek, „Bibliotheca Albertina” (1) D-LDN = Landau an der Isar – Pfarrkirchenstiftung St. Maria (1) D-LUC = Luckau (Brandenburg) – Stadtkirche St. Nikolai, Kantoreibi- bliothek (1) D-Mbs = München, Bayerische Staatsbibliothek (6) D-MEIr = Meininger, Meininger Museen, Sammlung Musikgeschichte, Max-Reger-Archiv(1) D-MHjk = Mannheim, Pfarr- und Dekanatsbüro an der Jesuitenkirche (1) D-Msjb = München-Haidhausen, Pfarrkirche St. Johann Baptist (1) D-MT = Metten, Benediktinerabtei Metten, Bibliothek (6) D-NATk = Niederalteich, Benediktinerabtei Niederaltaich – St. Mau- ritius (6) D-NBss = Neuburg an der Donau, Studienseminar, Bibliothek (5) D-NEhz = Neuenstein, Hohenlohe-Zentralarchiv, Landesarchiv Baden -Württemberg (1) D-OB = Ottobeuren, Benediktinerabtei, Bibliothek (9) D-OF = Offenbach a/M, Verlagsarchiv André (1) D-Po = Passau, Archiv des Bistums Passau (1) D-RF = Rothenfels, Katholische Pfarrei (1) D-SCHBk = Schwarzenberg (Erzgebirge), Evangelisch-Lutherische St.-Geor gengemeinde, Kantoreiarchiv (1) D-SCHO = Schondra, Pfarrkirche St. Anna (1) D-SCHN = Schnaitsee, Katholische Pfarrkirche (1) D-SPlb = Speyer, Landesbibliothekszentrum Rheinland-Pfalz – Pfälzi- sche Landesbibliothek, Musiksammlung (1) D-SWl = Schwerin, Landesbibliothek Mecklenburg-Vorpommern Gün- ther Uecker, Musikaliensammlung (3) D-TEGha = Tegernsee, Schloss Tegernsee, Herzogliches Archiv (3) D-Tl = Tübingen, Schwäbisches Landesmusikarchiv (3) D-TRb = Trier, Bistumsarchiv (2) D-W = Wolfenbüttel, Herzog August Bibliothek (1) D-WKSk = Wolkenstein, St.-Bartholomäus-Kirchgemeinde D-WRha = Weimar, Hochschule für Musik Franz Liszt, Hochschular- chiv (2)

445 Sigla biblioteczne | Library sigla

D-WRgs = Weimar, Klassik Stiftung Weimar, Goethe- und Schiller-Ar- chiv (1) D-WS = Wasserburg am Inn, Chorarchiv St. Jakob, Pfarramt (4) D-Zsch = Zwickau, Robert-Schumann-Haus Zwickau, Bibliothek (2)

Zjednoczone Królestwo Wielkiej Brytanii i Irlandii | United Kingdom

GB-Lbl = London, The British Library (1)

Węgry | Hungary

H-Bn = Budapest, Országos Széchényi Könyvtár (2) H-EGb = Eger, Bazilika Kottatára (1) H-Gk = Győr, Székesegyházi Kottatár (1) H-P = Pécs, Pécsi Egyházmegye, Pécsi Püsköpi Levéltár, Székesegy- házi Kottatár (2) H-PH = Pannonhalma, Szent Benedek Rend Központi Főkönyvtára (1) H-Sp = Sopron, Szentlélekről és Szent Mihályról nevezett Város plébánia Kottatára (1) H-VEs = Veszprém, Székesegyházi Kottatár (4)

Chorwacja | Croatia

HR-Vu = Varaždin, Uršulinski samostan (1)

Włochy | Italy

I-BREd = Bressanone, Archivio diocesano (3) I-Rama = Roma, Bibliomediateca dell’Accademia nazionale di S. Cecilia (3) I-Rdp = Roma, Archivio Doria Pamphilj (1)

Polska | Poland

(gwiazdką oznaczono skróty instytucji nieposiadających siglum RISM | an asterisk * marks the sigla of institutions not listed in RISM)

PL-BA = Barczewo, Zbiory Muzyczne Kościoła Farnego p.w. św. Anny (5) PL-CZ = Częstochowa, Klasztor OO. Paulinów Jasna Góra – Biblioteka – Archiwum OO. Paulinów na Jasnej Górze (61)

446 Sigla biblioteczne | Library sigla

PL-Dzierżoniów* = Dzierżoniów, Kościół pw. Wniebowzięcia NMP (1) PL-GD = Gdańsk, Biblioteka Gdańska Polskiej Akademii Nauk (2) PL-GDap = Gdańsk, Archiwum Państwowe (1) PL-GN = Gniezno, Archiwum (1) PL-Henryków* = Henryków, Kościół parafialny pw. św. Jerzego (1) PL-KAM = Kamieniec Ząbkowicki, Kamieniecka Izba Pamiątek przy To- warzystwie Miłośników Ziemi Kamienieckiej (3) PL-KAMkp = Kamieniec Ząbkowicki, Kościół parafialny Wniebowzięcia Najświętszej Maryi Panny i św. Jakuba Starszego (2) PL-Kd = Kraków, Biblioteka Studium OO. Dominikanów. Archiwum Prowincji OO. Dominikanów (17) PL-Kk = Kraków, Archiwum i Biblioteka Krakowskiej Kapituły Kate- dralnej (3) PL-KRZ = Krzeszów Kamiennogórski, Opactwo Benedyktynek – Cy- sterski Kościół Parafialny (32) PL-Lwówek Śląski* = Lwówek Śląski, Kościół pw. Wniebowzięcia NMP (1) PL-OPark = Opole, Archiwum Religijnej Kultury Muzycznej Śląska (8) PL-OPsm = Opole, Uniwersytet Opolski. Wydział Teologiczny – Studium Muzyki Kościelnej (29) PL-Pa = Poznań, Archiwum Archidiecezjalne – Biblioteka Metropoli- talnego Seminarium Duchownego (16) PL-PIk = Pilica, Biblioteka Kościelna w Pilicy (1) PL-SA = Sandomierz, Biblioteka Diecezjalna w Sandomierzu (1) PL-STAb = Staniątki, Biblioteka Opactwa Sióstr Benedyktynek p. w. św. Woj- ciecha (7) PL-Świdnica* = Świdnica, Kościół Pokoju (2) PL-Wb = Warszawa, Biblioteka Bobolanum przy Kolegium Księży Je- zuitów [olim Święta Lipka] (7) PL-WRu = Wrocław, Biblioteka Uniwersytecka – Oddział Zbiorów Mu- zycznych (9) PL-WRk = Wrocław, Archiwum Archidiecezjalne i Biblioteka Kapitulna (7) PL-Wu = Warszawa, Biblioteka Uniwersytecka – Gabinet Zbiorów Mu- zycznych (35)

Szwecja | Sweden

S-Skma = Stockholm, Musik- och teaterbiblioteket (2) S-Uu = Uppsala, Universitetsbibliotek, Carolina Rediviva (1)

447 Sigla biblioteczne | Library sigla

Słowenia | Slovenia

SI-Ls = Ljubljana, Stolnica, Arhiv stolnega kora (3) SI-Ms = Maribor, Stolnica, glasbeni arhiv (11) SI-Nf = Novo mesto, Frančiškanski samostan, Knjižnica (1)

Słowacja | Slovakia

SK-BRnm = Bratislava, Slovenské národné múzeum – Hudobné muzeum (18) SK-J = Bratislava, Okresný archív-vidiek, Svätý Jur (5) SK-KRE = Kremnica, Štátny okresný archív Žiar nad Hronom (2) SK-Msnk = Martin, Slovenská národná knižnica – Literárny archív – Hudobné fondy a Zbierky (1) SK-NM = Nové Mesto nad Váhom, Rímskokatolícky farský kostol (1)

Stany Zjednoczone Ameryki | United States of America

US-BEm = Berkeley, CA, Jean Gray Hargrove Music Library – University of California (1) US-Bp = Boston, MA, Boston Public Library, Music Department (1) US-FAy = Farmington, CT, Yale University, Lewis Walpole Library (1) US-NH = New Haven, CT, Yale University, Music Library (1) US-SFsc = San Francisco, CA, San Francisco State University, Col. Frank V. de Bellis Collection (1)

448 Wykaz skrótów dla literatury przedmiotu (przyjęty za RISM) | The Symbols of Secondary Literature (after RISM)

AngS = Angermüller Rudolph, Antonio Salieri. Sein Leben und seine weltlichen Werke unter besonderer Berücksichtigung seiner „großen“ Opern, Teil 1, München: Emil Katzbichler 1971. BemN = Bemmann Katrin, Die katholische Kirchenmusik Johann Gott- lieb Naumanns (1741-1801): Ein Beitrag zur Überlieferungs- und Rezeptionsgeschichte, Hamburg: Kovac 2008. BenRi = Beneshac Gertrude, Ambros Rieder. Sein Leben und seine Or- gelwerke. Nebst einem thematischen Verzeichnis seiner Werke (Diss., Wien, typescript), Wien 1967. BreB = Breugst Michael, Christian Gottlob August Bergt. Studien zu Leben und Schaffen mit einem Werkverzeichnis, Hildesheim – New York: Georg Olms Verlag 2001 (Studien und Materialien zur Musikwissenschaft, 24). FenR = Fensterer Manfred, Thematisches Verzeichnis der geistlichen Werke von Carl Gottlieb Reissiger (1798–1859), Offenbach: Edition mf 1999. GötS = Göthel Folker, Thematisch-bibliographisches Verzeichnis der Werke von Louis Spohr, Tutzing: Hans Schneider 1981. GraunWV = Henzel Christoph, Graun-Werkverzeichnis (GraunWV): Ver- zeichnis der Werke der Brüder Johann Gottlieb und Carl Hein- rich Graun (2 vol.), Beeskow: Ortus Musikverlag, 2006. GruG = Grubbs John W., The sacred vocal music of the Graun brothers: A bio-bibliographical study, vol. 2 (Diss., University of Cali- fornia), Los Angeles 1972. HaeD = Haertle-Dedler Clemens, Rochus Dedler, der Komponist der Passionsmusik zu Oberammergau, Oberammergau: Gemein- de Oberammergau 1979. Wykaz skrótów dla literatury | The Symbols of Literature

HelR = Hellmuth Max, Johann Valentin Rathgeber. Ein mainfränki- scher Barockkomponist 1682-1750. Leben und Werkverzeich- nis (diss.), Erlangen 1943. HerEb = Herbort Heinz Josef, Die Messen des Johann Ernst Eberlin (diss., typescript), Münster 1961. HerEy = Herrmann-Schneider Hildegard, Thematisches Verzeichnis der Werke von Joseph Eybler, München – Salzburg: Emil Katzbich- ler 1976. Hob = Hoboken Anthony van, Joseph Haydn. Thematisch-bibliographisches Werkverzeichnis (vol. 1: Instrumentalwerke, vol. 2: Vokalwerke, vol. 3: Register, Addenda und Corrigenda), Mainz: B. Schott’s Söhne, 1957–1978. HoffmannTK = Hoffmann Carl Julius Adolph,Die Tonkünstler Schlesiens, Breslau: G. P. Aderholz 1830 IdaK = Idaszak Danuta, Źródła muzyczne Gniezna. Katalog tema- tyczny, słownik muzyków, Kraków: Musica Iagellonica 2001 KinB = Kinsky Georg Ludwig, Das Werk Beethovens. Thematisch -bibliographisches Verzeichnis seiner sämtlichen vollendeten Kompositionen, München: G. Henle 1955. KolF = Kolowrat-Krakowský-Liebsteinský Bohuslav, Robert Führer: jeho žvot a dílo, Praha 1912. KreD = Krebs Carl, Dittersdorfiana, Berlin: Paetel 1900. KV = Köchel Ludwig von, Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts (6th ed., bearbeitet von F. Giegling, A. Weinmann u. G. Sievers), Wiesba- den: Breitkopf & Härtel 1964. LvBWV = Dorfmüller Kurt, Gertsch Norbert, Ronge Julia [red.], Lud- wig van Beethoven. Thematisch-bibliographisches Werkver- zeichnis, München: Günter-Henle-Verlag 2014. MacM = Mac Intyre, Bruce C., The Viennese concerted mass of the early classic period, Ann Arbor: UMI Research Press 1986. MH = Sherman Charles H., Thomas T. Donley,Johann Michael Haydn (1737–1806). A chronological thematic catalogue of his works, Stuyvesant (NY): Pendragon Press 1993. PecD = Pechstaedt Volkmar von, Thematisches Verzeichnis der Kom- positionen von Franz Danzi (1763–1826), Tutzing: Hans Schneider 1996.

450 Wykaz skrótów dla literatury | The Symbols of Literature

PosK = Poštolka Milan, Leopold Koželuh, Život a dílo (=Leopold Koželuh, his life and works), Praha: Státní hudební vydavatel- ství 1964. PośpiechŚ = Pośpiech Remigiusz, Muzyka wielogłosowa w celebracji eucharystycznej na Śląsku w XVII i XVIII wieku, Opole: Redak- cja Wydawnictw WT UO 2004 (Z dziejow kultury chrzescijanskiej na Slasku, 29). SCHML = Schlesisches Musiklexikon, red. | ed. Lothar Hoffmann- -Erbrecht, Augsburg: Wißner 2001. SchAl = Schröder Dorothea, Die geistlichen Vokalkompositionen Jo- hann Georg Albrechtsbergers. Thematischer Katalog, Ham- burg: Verlag der Musikalienhandlung Karl Dieter Wagner 1987 (Hamburger Beiträge zur Musikwissenschaft, 34). SchV = Schafhäutl Karl Emil von,Abt Georg Joseph Vogler. Sein Le- ben, Charakter und musikalisches System; seine Werke, seine Schule, Bildnisse etc., Augsburg: Verlag des Literarischen In- stituts von Dr. M. Huttler 1888 SeyS = Seyfried Bettina von, Ignaz Ritter von Seyfried. Thematisch -Bibliographisches Verzeichnis. Aspekte der Biographie und des Werkes, Frankfurt am Main – New York: Peter Lang 1990. SmWV = Duda Erich, Das musikalische Werk Franz Xaver Süßmayrs. Thematisches Werkverzeichnis (SmWV), Kassel – New York: Bärenreiter 2000. SzkL = Szkladányi Peter, Lickl György, a pécsi székesegyház zenesze- rzóje és karnagya (= György Lickl, Komponist und regens chori der Kathedrale von Pécs), Pécs 1979. WAD = Kantner Leopold M., Holzer Irene, Anton Diabelli (1781– 1858): thematisch-systematisches Werkverzeichnis (WAD), München: Strube Verlag 2006. WeiV = Weinmann Alexander, Themen-Verzeichnis der Kompositio- nen von Johann Baptiste Wanhal (2 vol.), Wien: Musikverlag L. Krenn 1987 (Wiener Archivstudien, 11). WeiVo = Weiss Franz M., Thematisches Verzeichnis der Werke des böh- mischen Komponisten Cajetan Vogel O.S.M. (vor 1750–1794), „Kirchenmusikalisches Jahrbuch” 61/62 (1977), s. 107–130. ZimH = Zimmerschied Dieter, Thematisches Verzeichnis der Werke von Johann Nepomuk Hummel, Hofheim am Taunus: F.Hof - meister 1971.

451 Aneks: zestawienie dawnych sygnatur z zachowanych muzykaliów | Appendix: A List of Old Shelf Marks in the Preserved Collection

OLIM Fach I No 1-3? I No 4 [Eybler, M-32] pieczęć | stamp: XXI, 10 1928 I No 5? I No 6 [Eybler, M-34] XXI, 8 1928 I No 7 [Eybler, M-28] XXI, 4 1928 I No 8 [Hummel, M-50] XIV, 12 1928 I No 9 [Hummel, M-51] XIV, 10 1928 No 10? II No 11 [Haydn J., M-42] II No 12 [Haydn J., M-45] X, 8 1928 [dla | for M-45b] II No 13 [Haydn J., M-44] II No 14 [Haydn J., M-421] II No 15 [Haydn J., M-43] VII, 3 1928 II No 16 [Haydn J., M-399] VII, 8 1928 No 17? II No 18 [Mašek, M-59] VI, 3 1928 II No 19 [Mašek, M-116] VI, 2 1928 zob. | see: VII No 20 Mašek II No 21 [Mozart, M-409] IX, 11 1928 No 22? II No 23 [Naumann, M-63] XXVIII, 9 1928 dla | for M-63b III No 24 (przeniesiona z | moved from No 54) [Preindl, M-73] XXVIII, 4 1928 III No 25 [Salieri, M-82] III No 26 [Schnabel, M-432 druk | print]

452 Zestawienie dawnych sygnatur | A List of Old Shelf Marks

No 27? III No 28 [Schnabel, M-90] III No 29 [Pausewang, M-377] III No 30 [Seyfried, M-99] XXV, 20 1928 No 31? III No 32 [Schneider, M-97] XXVIII, 6 1928 No 33-45? Fach IV-V ? VI No 117 [Hahn, M-41] XVII, 8 1928; IV, 14 1928 dla | for M-417b VI No 118 [Mozart, M-417] IV, 10 1928 VII No 20 [Masek, M-56] VI, 1 1928 VII No 46 [Danzi, M-7] XIX, 8 1928 VII No 47 [Seyfried, M-98] XXV, 32 1928 [Seyfried, M-98b] XXV, 24 1928 No 48-49? VII No 50 [Schiedermayr, M-83] XVIII, 20 1928 VII No 51 [Pohl, M-71] XX, 20 1928 VII No 52 [Pernsteiner, M-69] XVIII, 8 1928 No 53? VII No 100 [Drobisch, M-26] VII No 101 [Diabelli, M-397b] VIII No 54 [Schiedermayr, M-84] XVIII, 18 1928 VIII No 55 [Schiedermayr, M-85] XVIII, 19 1928 No 56? VIII No 57 [Schnabel, M-93] VIII No 58 [Lickl, M-55] XXIII, 10 1928 No 59-60? VIII No 61 [Drobisch, M-20] VIII No 62 [Drobisch, M-21] VIII No 63 [Drobisch, M-22] VIII No 64 [Drobisch, M-23] VIII No 65 [Drobisch, M-24] VIII No 66 [Drobisch, M-25] VIII No 67 [Starke, M-104] XXIII, 12 1928 VIII No 68 [Starke, M-105] No 69? VIII No 70 [Diabelli, M-18] XV, 4 1928 VIII No 71 [Diabelli, M-19]

453 Aneks | Appendix

VIII No 72 [Diabelli, M-14] XV, 5 1928 VIII No 73 [Diabelli, M-15] XV, 3 1928 VIII No 74 [Haydn J., M-47] VIII No 75 [Haydn J., M-418] VII, 9 1928 VIII No 76 [Schobacher, M-96] XXIII, 5 1928 VIII No 77 [Preindl, M-75] XVII, 1 a VIII No 78 [Preindl, M-74] XXVIII, 12 1928 VIII No 79 [Rieder, M-79] XX, 11 1928 IX No 80 [Schiedermayr, M-86] XVIII, 21 1928 IX No 81 [Schiedermayr, M-87] XVIII, 24 1928 IX No 81 [Hummel, P-288b] XIV, 4 1928 [!] IX No 82 [Schiedermayr, M-88] XVIII, 25 1928 IX No 83 [Diabelli, M-122] IX No 84 [Vocet, M-117] IX No 85 [Vocet, M-113] XIX, 22 1928 IX No 86 [Vocet, M-112] XIX, 21 1928 IX No 87 [Vocet, M-114] XIX, 24 1928 No 88-89 zob. | see No 90-91 Mašek, No 100 Drobisch, No 101 Diabelli 102-110? IX No 111 [Dedler, M-9] XIX, 5 1928 IX No 112 [Dedler, M-11] XIX, 3 1928 IX No 113 [Dedler, M-13] XIX, 2 1928 IX No 114 [Dedler, M-10] XIX, 4 1928 IX No 115 [Dedler, M-12] XIX, 1 1928 No 116? zob. | see No 117 Hahn, No 118 Mozart, No 119 Pernsteiner, No 120-135? IX No 136 [Führer, M-37] IX No 137 [Führer, M-36] No 138-142? IX No 143 [Albrechtsberger, M-2] XVIII, 17 1928 No 144-145? IX No 146 [Stadler, M-103] XXIII, 17 1928 X No 6 [Kirchner, P-290] 5, 1928 [!] X No 90 [Mašek, M-57] VI, 8 1928 X No 91 [Diabelli, M-17] XV, 1 1928 X No 119 [Pernsteiner, M-70] XXIII, 9 1928 XI No 1? XI No 2+5 [R-175] XVII, 22 1928 No 3? XI No 4 [Urban, R-144] XI No 5 [Keller, R-152] XVII, 29 1928

454 Zestawienie dawnych sygnatur | A List of Old Shelf Marks

XI No 6 [Bolehovský, R-124] XIX, 13 1928 XI No 7 [Schmid, R-140] XI No 8 [Haydn J., R-129] VII, 2 1928 XI No 9 [Schnabel, R-142] VIII, 5 1928 XI No 10 [Kirchner, R-130] 1, 1928 [!] XI No 11 [Weigang, R-151] XI No 12 [Vitášek, R-147] XXX, 14 1928 XI No 13 [Schiedermayr, R-137] XVIII, 15 1928 XI No 14 [Schiedermayr, R-138] XVIII, 14 1928 No 15? XI No 16 [Vogel, R-145] XXIII, 8 1928 No 17-25? XI No 26 [R-148] XVII, 23 1928 No 27-28? XI No 29 [Schmid, R-141] XXIII, 4 1928 No 30? XI No 31 [Laucher, R-134] XX, 9 1928 No 32-35 XI No 36 [Larisch, R-133] 34 18 XII 1928 [!] XI No 37 [Larisch, R-132] 33 17 XII 1928 [!] XI No 38 [Pernsteiner, R-139] No 39-42 XI No 43 [Liebl, R-135] XXX, 16 1928 No 44? XI No 45 [Gellert, R-128] XII No 1-15? XII No 16 [Klingohr, R-131] XXX, 18 1928 No 17? XII No 18 [Drobisch, R-125] XII No 19 [Drobisch, R-127] XII No 20 [Drobisch, R-126] XII No 23 [Seyfried, R-143] XXV, 15 1928 No 24-32? XII No 33 [Brixi, L-180] V, 2 1928 XII No 34 [Brixi, L-179] V, 1 1928 XIII No 1-11? XIII No 12 [Lamm, L-181] XXX, 19 1928

455 Aneks | Appendix

No 13-20? XIII No 21 [Prachensky, L-178] XVII, 6 1928 XIII No 22 [L-186] XVII, 33 1928 XIII No 23 [L-177] XVII, 4 1928 No 24-26? XIII No 27 [Manšinger, L-183] XVII, 3 1928 XIII No 28 [L-178] XVII, 5 1928 No 39-31? XIII No 32 [Haydn M., M-120] No 33-34? XIII No 35 [Manšinger, L-184] XVII, [?] 1928 No 36-62? XII No 63 [Lineck, L-182] XVII, 11 1928 XIII No 64 [L-185] XVII, 17 1928 Fach XIV-XV? XVI No 1 [Emmert, Am-267] XVII, 20 1928 XVI No 2 [Rathgeber, Am-268] XVII, 18 1928 XVI No 2 [Latzel, Am-197] [!] XVI [No] 3 [Rathgeber, Am-269] XVII, 19 1928 XVI 3 [Am-266] XVII, 26 1929[!] No 4? XVI No 5 [Hoffman, -346] XXVII, 8 1928 XVI No 6 [Kayser, Am-265] XXVII, 21 1928 XVII No 1 [Am-203 !] XVII No 1 [Bolehovský, Am-262] XVII, 7 1928 XVII No 2 [Thenny, Am-201] XVII, 17 19128 No 3? XVII No 4 [Mysliveček, Am 198] XXX, 15 1928 XVII No 5 [Rychlowski, Am-200] XVII, 15 1928 XVII No 6 [Gulitz, Am-199] XVII, 12 1928 XVII No 7 [Haydn J., Am-196] XVII No 8 [Brixi, Am-271] XVII, 28 1928 XVII No 8 [Dittersdorf, Am-195 !]] Fach XVIII? XIX No 1-19? XIX No 20 [Czerny, P-276] XIX, 14 1928 XIX No 21 [Czerny, P-277] XIX, 15 1928 No 22-23? XIX No 24 [Otto, P-410]

456 Zestawienie dawnych sygnatur | A List of Old Shelf Marks

Fach XX 1? XX No 2 [-392] [!] XX No 2 [Otto, H-384] XII, 25 1928 No 3? XX No 4 [Otto, -413] 35 20 1928 [!] XX No 5 38 1928 [!] No 6-7? XX No 8 [Urban, -394] XXX, 20 1928 XX No 9 [Rieder, -366] XXV, 12 1928 XX No 10 [Schnabel, -362] VIII, 6 1928 No 11-12? XX No 13 [H-214] XVII, 31 1928 No 14-15? XX No 16 [Grüger, P-286] XII, 37 20 1928 [!] XX No 17 [Naumann, P-297] XXVIII, 7 1928 No 18? XX No 19 [Berner, P-272] XVIII, 9 1928 XX No 20 [Ender, A-227] XX, 7 1928 XX No 21 [Diabelli, P-340] XV, 2 1928 XX No 22 [Kraus, H-338] XII, 20 1928 No 23? XX No 24 [Bach Al., -369] 36 1928 No 25? XX No 26 [Pausewang, -352] XX No 27 [Pausewang, H-351] XX No 28 [Bach Al., -368] No 29? XX No 30 [Mašek, -350] Fach XXI? Fach XXII No 1 [Bergt, H-205] XXX, 13 1928 No 2-6? XXII No 7 [Mašek, H-207] VI, 11 1928 No 8-12? XXII No 13 [Haydn J., H-400] VII, 1 1928 No 14-18? XXII [No] 19 [Groetzebauch, -344] Fach XXIII 1-3? XXIII No 4 [Rathgeber, -355] IV, 1 1928

457 Aneks | Appendix

No 5-6? XXIII No 7 [Seyfried, P-308b] zob. też | see also LV Fach XXIV No 1 [Otto, M-416] No 2-5? XXIV No 6 [Zechner, M-67] V, 6 1928 XXIV No 7 [Zechner, M-66] V, 9 1928 XXIV No 8 [Otto, P-319] XII, 9 1928 XXIV No 9 [Otto, P-320] XII, 10 1928 XXIV No 10 [Otto, P-321] XII, 13 1928 XXIV No 11 [Otto, P-322[ XII, 14 1928 XXIV No 12 [Otto, P-323] XII, 15 1928 XXIV No 13 [Otto, P-324] XII, 2 1928 XXIV No 14 [Otto, P-327] XII, 3 1928 XXIV No 15 [Otto, P-326] XII, 8 1928 XXIV No 16 [Otto, P-325] XII, 15 1928 XXIV No 17 [Otto, P-330] XII, 4 1928 XXIV No 18 [Otto, P-331] XII, 12 1928 XXIV No 19 [Otto, P-328] XII, 11 1928 XXIV No 20 [Otto, P-411] Glatz, 1928 XXIV No 21 [Otto, P-329] XII, 8 1928 [sic!] XXIV No 22 [Otto, P-334] XII, 5 1928 XXIV No 23 [Kirchner, 375] XXIV No 24 [A-255] XII, 22 128 No 25? XXIV No 26 [A-257] XII, 6 1928 XXIV No 27 [Pausewang, A-192] No 28-29? XXIV No 30 [-393] XVII, 32 1928 No 31-33? XXIV No 34 [-378] XXX, 25 1928 No 35? XXIV No 36 [-381] XXX, 22 1928 No 37-38? XXIV No 39 [Schiedermayr, P-300] XVIII, 27 1928 No 40-41 XXIV No 42 [Oppitz, M-65] XXIV No 43 [Seger, M-424] V, 5 1928 XXIV No 44 [Eberlin, M-27] XX, 1 1928

458 Zestawienie dawnych sygnatur | A List of Old Shelf Marks

XXIV No 45? XXIV No 46 [Schneider, M-95] XX, 8 1928 Fach XXV No 1-2? XXV No 3 [Reissiger, M-78b] XXVIII, 10 1928 No 4-5? XXV No 6 [Spiller, P-315] XXVII, 12 1928 No 7-16? XXV No 17 [Brosmann, P-278] XVIII, 9 1928 No 18-23? XXV No 24 [Seydelmann, M-405b] VIII, 26 1928 No 25-26? XXV No 27 [Eybler, M-30b] XXI, 4 1928 XXV No 28 [Eybler, M-35b] XXI, 2 1928 XXV No 29 [Eybler, M-34b] XXI, 8 1928 XXV No 30 [Seyfried, M-106b] XXV, 7 1928 XXV No 31 [Haydn J., H-400b] Fach XXVI 1-3? XXVI No 4 [Pichl/Dittersdorf, P-281] No 5-6? XXVI No 7 [Dittersdorf, -341] XXVI No 8 [Schreier, P-307] XXVI No 9 [Pichl, -354] No 10? XXVI No 11 [Kalous, P-314] XII, 18 1928 XXVI No 12 [Kalous, P-313] XII, 19 1928 XXVI No 13 [Laube, -348] XXVII, 17 1928 No No 14? XXVI No 15 [Brosmann, P-280] XVIII, 6 1928 XXVI No 18 [Kalous, P-312] XII, 12 1928 No 19-21? XXVI No 22 [Černy, V-156] XXVII, 2 1928 Fach XXVII? XXVIII No 1-17? XXVIII No 18 [Dreyer, H-212] XXVII, 73 1928 XXIX No 1-8? XXIX No 9 [Brosmann, V-158] XVIII, 3 1928 XXIX No 10 [Vogler, V-170] XXIV, 3 1928 No 11? XXIX No 12 [Kayser, V-160] XX, 10 1928

459 Aneks | Appendix

XXIX No 13 [Schiedermayr, V-165] XVIII, 23 1928 XXIX No 14 [Bühler, V-153] XXIX No 15 [Röder, V-164] 26/9, X 1928 No 16-35? XXIX No 36 [Schobacher, V-166] XX, 2 1928 No 37? XXIX No 38 [Stadler, V-169] XXIII, 7 1928 XXIX No 39 [Bühler, V-154] XXII, 3 1928 No 40-42? XXIX No 43 [Kirchner, V-161] 2, 1928[!] Fach XXX ? Fach XXXI 1-6? XXXI No 7 [Seyfried, P-311] No 8-26? XXXI No 27 [Schnabel, P-306] VIII, 6 1928 No 28-29? XXXI No 30 [Führer, P-285] No 31-32? XXXI No 33 [Seyfried, P-309] XXV, 10 1928 Fach XXXII 1-16? XXXII No 17 [Pausewang, -353] No 18? XXXII No 19 [Beroch, P-273] XX, 17 1928 XXXII No 20 [Mašek, P-293] VI, 5 1928 No 21-22? XXXII No 23 [Mašek, P-294] VI, 7 1928 XXXII No 24? XXXII No 25 [Haydn J., -357] XXVII [!] No 26-29? XXXII No 30 [Kanne, P-289] XX, 19 1928 XXXII No 31 [Schiedermayr, P-301] XVIII, 26 1928 XXXII No 32 [Seyfried, P-310] XXV, 22 1928 XXXII No 33 [Seyfried, -363] XXV, 11 1928 XXXII No 34 [Buchwieser, P-274] XXXII No 35 [Haydn M., P-287] X, 4 1928 No 35-38? XXXII No 39 [Vogler et al., P-333] XX, 24 1928 XXXII No 40 [Schnabel, P-361] VIII, 2 1928

460 Zestawienie dawnych sygnatur | A List of Old Shelf Marks

No 41? XXXII No 42 [Mattausch, P-295] XX, 16 1928 No 43-83? XXXII No 84 [Hummel, P-288] tu | here: XIV, 5 1928 XXXII No 85 [Schnabel, P-305] No 86-87? XXXII No 88 [Pfeiffer, P-299] tu | here: XX, 18 1928 Fach XXXIII-XXXIV? Fach XXXV No 1-21? XXXV No 21 [Haydn M., M-422] Fach XXXVI 1-3? XXXVI No 4 [Schreyer, V-167] XXVIII, 1 1928 No 5-19? XXXVI No 20 [Schreyer, V-168] XXVII, 4 1928 No 21-22? XXXVI No 23 [Holy, V-159] XXX, 10 1928 No 24? XXXVI No 25 [Zach, V-171] XIX, 11 1928 XXXVI No 26 [Zechner, V-172] V, 7 1928 XXXVI No 27 [Loos, V-349] XIX, 12 1928 XXXVI No 28 [Brixi, V-173] XXVII, 3 1928 XXXVI No 29 [Černy, V-155] XXVII, 5 1928 No 30? XXXVI No 31 [Kirchner, V-174] 3, 1928 [!] XXXVI No 32 [Lamm, V-164] XXIII, 22 1928 Fach XXXVII No 1? XXXVII No 2 [Sonnleithner, M-118] XXVII, 3 19 XXXVII No 3 [Kalous, M-101] XII, 23a 1928 No 4-5? XXXVII No 6 [Vanhal, M-111] XXVII, 27 1928 XXXVII No 7 [Brosmann, M-5] XXVII, 28 1928 No 8? XXXVII No 9 [Habergger, M-40] XXX, 3 1928 XXXVII No 10 [Neumann, M-62] XXVIII, 29 1928 XXXVII No 11 [Schimpke, M-89] XXVII, 32 1928 XXXVII No 12 [Kalous, M-102] XII, 17 1928 No 13? XXXVII No 14 [Brixi, M-295] V, 16 1928 XXXVII No 15 [M-123] XXX, 1 1928

461 Aneks | Appendix

No 16-17? XXXVII No 18 [Bolehovský, M-3] XXVII, 37 1928 XXXVII No 19 [Spermalogi, M-423] XXVII, 36 1928 No 20-22? XXXVII No 23 [Ziegenheim, H-209] XXVII, 38 1928 No 24-43? XXXVII No 44 [Brosmann, V-157] XVIII, 4 1928 XXXVIII No 1 [Mysliveček, A-241] XIX, 27 1928 No 2? XXXVIII No 3 [Dittersdorf, -342] XXXVIII No 4 [Piazzo, A-260] XVII, 19 1928 XXXVIII No 5 [Graun, A-426] IV, 7 1928 XXXVIII No 6 [Dittersdorf, A-225] XXXVIII No 7 [Förster, A-190] XXVII, 21 1928 XXXVIII No 8 [Mozart, A-238] XXXVIII No 9 [Manfredini, A-234] XXVII, 25 1928 XXXVIII No 10 [Fechner, A-189] XXVIII, 15a 1928 XXXVIII No 11 [Rosetti, A-243] XXVII, 23 1928 XXXVIII No 12 [Kalous, M-102; sic!] XII, 17 1928 XXXVIII No 13 [Wranitzky, A-251] XIX, 16 1928 XXXVIII No 14 [Mozart, A-237] XXXVIII No 15 [Cimarosa, -339] IV, 2 1928 XXXVIII No 16 [Brunetti, -337] XXVII, 16 1928 XXXVIII No 16 [Müller, A-194] XXVII, 7 1928 [!] XXXVIII No 17 [Pohl, A-193] XXVII, 24 1928 XXXVIII No 18 [Alessandri, A-232] XX, 27 1928 No 19? XXXVIII No 20 [A-236] XXVII, 12a, 1928 XXXVIII No 21 [Perez, A-242] XXVII, 20 1928 XXXVIII No 22 [Dittersdorf, A-221] XXXVIII No 23 [Mysliveček, A-259] XX, 26 1928 XXXVIII No 24 [Hasse, A-254] XX, 25 1928 No 25? XXXVIII No 26 [Dittersdorf, A-226] XXXVIII No 27 [Dittersdorf, A-222] XXXVIII No 28 [Galuppi, A-228] XXVII, 18 1928 XXXVIII No 29 [Benda, A-217] XXX, 11 1928 XXXVIII No 30 [Dittersdorf, A-220] XXXVIII No 31 [Dittersdorf, A-256] XX, 28 1928

462 Zestawienie dawnych sygnatur | A List of Old Shelf Marks

XXXVIII No 32 [Hiller, A-232] XVII, 35 1928 No 33? XXXVIII No 34 [Napolitano, Am-431] XXVII, 34 1928 XXXVIII No 35 [Dittersdorf, A-188] XXXVIII No 36 [H-425] XXVII, 33 1928 XXXVIII No 37 [{Mašek}, P-336] XXX, 12 1928 XXXVIII No 38 [H-210] XXVII, 6 1928 XXXVIII No 39 [Zoppis, A-252] XXVII, 9 1928 XXXVIII No 40 [Wranitzky, A-248] XIX, 20 1928 XXXVIII N0 41 [Graun, A-428] IV, 4 1928 XXXVIII No 42 [Dittersdorf, A-224] [!] XXXVIII No 42 [Haydn J., A-231] VII, 5 1928 No 43? XXXVIII No 44 [Boroni, A-219] No 45? XXXVIII No 46 [Am-264] XXX, 4 1928 No 47? XXXVIII No 48 [Graun, A-427] IV, 3 1928 XXXVIII No 49 [Dittersdorf, A-187] XXXVIII No 50 [Graun, A-230] IV, 5 1928 XXXVIII No 51 [Lohelius, A-233] XXX, 9 1928 XXXVIII No 52 [Avanzini, A-216] XXX, 7 1928 XXXVIII No 53 [Agricola, A-215] XXX, 8 1928 XXXVIII No 54 [Graun, H-430] XXX, 6 1928 No 55? XXXVIII No 56 [Boroni, A-218] XIX, 25 1928 XXXVIII No 57 [Wranitzky, A-247] XIX, 19 1928 XXXVIII No 58 [Wranitzky, M-250] XIX, 18 1928 XXXVIII No 59 [Wranitzky, A-249] XIX, 17 1928 XXXVIII No 60 [Pausewang, -429] XXXVIII No 61 [-387] XXX, 2 1928 XXXVIII No 62 [Salieri, A-244] XXVII, 2 1928 XXXVIII No 63 [z 43] [Grasel, A-191] XXVII, 15 1928 XXXVIII No 64 [Mysliveček, A-239] XIX, 26 1928 No 65-67? XXXVIII No 68 [Mysliveček, A-240] Fach XXXIX No 1-32? XXXIX No 33 [Vogler, R-146] XXIV, 4 1928

463 Aneks | Appendix

No 34-41? XXXIX No 42 [R-150] XVII, 30 1928 Fach XL-XLVII? XXXXVIII No 7 [!] [Koblitz, -347] XXX, 21 [1928] [?] L No 34 [Diabelli, M-16b] XV, 11 1928 L No 35 [Diabelli, M-17b] XV, 10 1928 L No 42 [Klingohr, R-131b] L No 43 [Molique, M-60b] L No 44 [Haydn J., M-419b] X, 10 1928 L No 46 [Süssmayr, M-107] XVIII, 19 1928 L No 134 [Beethoven, M-408] LI No 51 [Lickl, M-39b] IV, 9 1928 [błędna atrybucja na k. tyt. | wrong attribution on title page] LI No 52 [Haydn J. M-420b] X, 11 1928 LI No 54 [Mozart, M-409b] IV, 11 1928 LIII No 22 [Haydn M., M-48] LV No 48 [Otto, M-416b[ Glatz, 1928/29 LV No 49 [Otto, M-415b] Glatz, 1928/29 LV No 50 [Otto, P-330b] Glatz 1928/29 LV No 55 [Eybler, P-282b] XXI, 15 1928 LV No 57 [Berner, P-278b] VIII, 12 1928 LV No 60 [Seyfried, P-308b] LV No 61 [Seyfried, R-143b] LVII No 62 [Bergt, H-208b] LX No 140 [Bree, M-4] też | also LV XXIV, 1 1928 LX No 142 [Reissiger, M-78] XXVIII, 13 1928 LX No 147 [Tauwitz, M-108] LXI No 34 [-378b] LXI No 51 [Caldara, M-6] V, 4 1928 LXI No 52 [Palestrina, M-109] V, III 1928 LXI No 54 [Aigner, M-1] XX, 4 1928 LXI No 55 [Rinck, M-80] XX, 3 1928 LXI No 56 [Danzi, M-7] XIX, 6 1928 LXIV No 22 [Preindl, M-72] XXVIII, 3 1928 LXIV No 126 [Mašek, M-58] VI, 10 1928 LXIV No 127 [Klein, M-53] [28] 15 1928 XXVIII, 14(19) 1928 dla | for M-53b LXIV No 129 [Molique, M-60]

464 Zestawienie dawnych sygnatur | A List of Old Shelf Marks

LXIV No 131 [Haydn J., M-419] zob. | see Fach L dla | for 419b LXVI No 3 [Schnabel, P-302] VIII, 13 1928 LXVI No 82 [Berner, P-278] LXVI No 91 [Schnabel, H-360] VIII, 14 1928 LXVI No 92 [Seyfried, -364] XXV, 26 1928 LXVI No 94 [Führer, P-284] LXVI No 97 [Führer, P-283] LXVI No 102 [Schnabel, -358] VIII, 11 1928 LXVI No 104 [Schnabel, P-303] LXVI No 105 [Schnabel, P-304] VIII, 17 1928 LXVI No 106 [Schnabel, A-246] VIII, 3 1928 LXVI No 110 [Lickl, P-291] XXII, 11 1928 LXVI No 111 [Mašek, P-292] VI, 7 1928 LXVI No 132 [Haydn J, M-46] LXVI No 156 [Ellguth, M-35] XII, 23 1928 Tylko z numerem | Only number given [No] 9 [Kohl, Am-263] XVII, 27 1928 No 9 [Schnabel, M-92] No 30 [Graun, H-407] IV, 8 1928 No 31 [Müller, P-296] No 71 [Schnabel, M-93b] VIII, 23 1928 No 75 [Schnabel, P-304b] VIII, 13 1928; No 80 [Seyfried, P-311b] XXV, 13 1928 No 87 [Vogler, M-406b] No 116 [Cherubini, P-275] XXVII, 10 1928 No 118 [Reissiger, -356] XVIII, 11 1928 dla | for 356b; No 119 [Seyfried, -367] XXV, 3 1928 No 120 [Spohr, P-316] No 122 [Diabelli, P-335] XV, 13 1928 No 123 [Seyfried, -365] XXV, 27 1928 No 125 [Danzi, H-211] XIX, 7 1928 No 126 [Berner, -371] No 159 [Reim, M-76] XX, 13 1928 No 172 [Müller, M-61] [Ohnewald, H-213] 6, 1928 [Schnabel, P-403b] VIII, 21 1928 [Schnabel, M-90b] 8/25 1928 [Schnabel, -359] VIII, 17 1928 [Schnabel, Am-402b] VIII, 20 1928

465 Aneks | Appendix

[Schnabel, H-208] XII, 17 1928 [Diabelli, P-335b] XV, 7 1928 [Niedenführ, M-64b] XVIII, 12 1928 [Schuster, L-404b] XX, 6 1928 [Eybler, M-28b] XXI, 5 1928 [Eybler, M-33b] XXI, 17 1928 [Rotter, M-81] XXIII, 1 1928 [Niedenführ, P-297] XXIV, 12 1928 [Seyfried, P-310b] XXV, 14 1928 [Seyfried, M-100b] XXV, 23 1928 [Salieri, A-245] XXVII, 3 1928 [Graun, A-251] XXVII, 22 1928 [Koželuh, M-53] XXVII, 31 1928 [Hunke, M-52] XXX, 12a 1928 [Benelli, Am-261] XXX, 26 1928 Bez dawnych sygn. | Without old shelf marks: M-38 [Führer], M-64 [Nieden- führ], M-77b [Reimann], M-99 [Schnabel], M-115 [Mašek], M-119 [Anonim], V-163 [Reimann], Am-202 [Peter], Am-204 [Dittersdorf], A-226 [Dittersdorf], A-235 [Martin y Soler nieczytelne | illegible], -345 [Haydn], -373 [Haydn J.], -376 [Haydn J.], -385 [Vogler], M-398b [Diabelli], -396 [Hahn], M-401b [Schnabel], P-407b [Otto/Haydn M.], -412b [Otto], L-414b [Otto], M-415 [Otto], A-428 [Anonim] Wg numerów z pieczęci – 1928 | After the numbers on the seals stamped in 1928 IV, 1 1928 [Rathgeber, -355, XXIII No 4] IV, 2 1928 [Cimarosa, -339, XXXVIII No 15] IV, 3 1928 [Graun, A-427, XXXVIII No 48] IV, 4 1928 [Graun, A-428, XXXVIII No 41 IV, 5 1928 [Graun, A-230, XXXVIII No 50] IV, 7 1928 [Graun, A-426, XXXVIII No 5] IV, 8 1928 [Graun, H-407, No 30] IV, 9 1928 [Lickl, M-39b, LI No 51; błędna atrybucja na k. tyt. | wrong attribution on title page] IV, 10 1928 [Mozart, M-417, VI No 118] IV, 11 1928 [Mozart, M-409b, LI No 54] IV, 14 1928 [Mozart, M-417b, bez | without Fach] V, 1 1928 [Brixi, L-179, XII No 34] V, 2 1928 [Brixi, L-180, XII No 33] V, III 1928 [Palestrina, M-109, LXI No 52] V, 4 1928 [Caldara, M-6, LXI No 51]

466 Zestawienie dawnych sygnatur | A List of Old Shelf Marks

V, 5 1928 [Seger, M-424, XXIV No 43] V, 6 1928 [Zechner, M-67 XXIV, No 6] V, 7 1928 [Zechner, V-172, XXXVI No 26] V, 9 1928 [Zechner, M-66, XXIV No 7] V, 16 1928 [Brixi, M-295, XXXVII No 14] VI, 1 1928 [Mašek, M-56, VII No 20] VI, 2 1928 [Mašek, M-116, II No 19] VI, 3 1928 [Mašek, M-59, II No 18] VI, 5 1928 [Mašek, P-293, XXXII No 20] VI, 7 1928 [Mašek, P-294, XXXII No 23] VI, 7 1928 [Mašek, P-292, LXVI No 111] [!] VI, 8 1928 [Mašek, M-57, X No 90] VI, 10 1928 [Mašek, M-58, LXIV No 126] VI, 11 1928 [Mašek, H-207, XXII No 7] VII, 1 1928 [Haydn J., H-400, XXII No 13] VII, 2 1928 [Haydn J., R-129, XI No 8] VII, 3 1928 [Haydn J., M-43, II No 15] VII, 5 1928 [Haydn J., A-231, XXXVIII No 42] VII, 8 1928 [Haydn J., M-399, II No 16] VII, 9 1928 [Haydn J., M-418, VIII No 75] VIII, 2 1928 [Schnabel, P-361, XXXII No 40] VIII, 3 1928 [Schnabel, A-246, LXVI No 106] VIII, 5 1928 [Schnabel, R-142, XI No 9] VIII, 6 1928 [Schnabel, -362,XX No 10] VIII, 6 1928 [Schnabel, P-306, XXXI No 27] [!] VIII, 11 1928 [Schnabel, -358, LXVI No 102] VIII, 12 1928 [Berner, P-278b, LV No 57] VIII, 13 1928 [Schnabel, P-302, LXVI No 3] VIII, 13 1928 [Schnabel, P-304b, No 75] VIII, 14 1928 [Schnabel, H-360, LXVI No 91] VIII, 17 1928 [Schnabel, P-304, LXVI No 105] VIII, 17 1928 [Schnabel, -359] VIII, 20 1928 [Schnabel, Am-402b] VIII, 21 1928 [Schnabel, P-403b] VIII, 23 1928 [Schnabel, M-93b, No 71] 8/25 1928 [Schnabel, M-90b] VIII, 26 1928 [Seydelmann, M-405b, XXV No 24] IX, 11 1928 [Mozart, M-409, II No 21] X, 4 1928 [Haydn M., P-287, XXXII No 35]

467 Aneks | Appendix

X, 8 1928 [Haydn J., M-45b, bez | without Fach] X, 10 1928 [Haydn J., M-419b, L No 44] X, 11 1928 [Haydn J. M-420b, LI No 52] XII, 2 1928 [Otto, P-324, XXIV No 13] XII, 3 1928 [Otto, P-327, XXIV No 14] XII, 4 1928 [Otto, P-330, XXIV No 17] XII, 5 1928 [Otto, P-334, XXIV No 22] XII, 6 1928 [A-257, XXIV No 26] XII, 8 1928 [Otto, P-326, XXIV No 15] XII, 8 1928 [sic] [Otto, P-329, XXIV No 21] XII, 9 1928 [Otto, P-319, XXIV No 8] XII, 10 1928 [Otto, P-320, XXIV No 9] XII, 11 1928 [Otto, P-328, XXIV No 19] XII, 12 1928 [Otto, P-331, XXIV No 18] XII, 13 1928 [Otto, P-321, XXIV No 10] XII, 14 1928 [Otto, P-322, XXIV No 11] XII, 15 1928 [Otto, P-323, XXIV No 12] XII, 16 1928 [Otto, P-325, XXIV No 16] XII, 17 1928 [Kalous, M-102, XXXVIII No 12] XII, 17 1928 [Schnabel, H-208] [!] XII, 18 1928 [Kalous, P-314, XXVI No 11] XII, 19 1928 [Kalous, P-313, XXVI No 12] XII, 20 1928 [Kalous, P-312, XXVI No 18] XII, 20 1928 [wtórna okł. | later cover] [Kraus, H-338, XX No 22] XII, 22 128 [A-255, XXIV No 24] XII, 23 1928 [Ellguth, M-35, LXVI No 156] XII, 23a 1928 [Kalous, M-101, XXXVII No 3] XII, 25 1928 [Otto, H-384, XX No 2] Glatz, 1928 [Otto, P-411, XXIV No 20] XIV, 4 1928 [Hummel, P-288b, IX No 81] XIV, 5 1928 [Hummel, P-288, XXXII No 84] XIV, 10 1928 [Hummel, M-51, I No 9 ] XIV, 12 1928 [Hummel, M-50, I No 8] XV, 1 1928 [Diabelli, M-17, X No 91] XV, 2 1928 [Diabelli, P-340 XX No 21] XV, 3 1928 [Diabelli, M-15, VIII No 73] XV, 4 1928 [Diabelli, M-18, VIII No 70] XV, 5 1928 [Diabelli, M-14, VIII No 72

468 Zestawienie dawnych sygnatur | A List of Old Shelf Marks

XV, 7 1928 [Diabelli, P-335b] XV, 10 1928 [Diabelli, M-17b, L No 35] XV, 11 1928 [Diabelli, M-16b, L No 34] XV, 12 1928 [Rieder, -366, XX No 9] XV, 13 1928 [Diabelli, P-335, No 122] XVII, [?] 1928 [Manšinger, L-184, XIII No 35] XVII, 3 1928 [Manšinger, L-183, XIII No 27] XVII, 4 1928 [L-177, XIII No 23] XVII, 5 1928 [L-178 XIII No28] XVII, 6 1928 [Prachensky, L-178, XIII No 21] XVII, 7 1928 [Bolehovský, Am-262, XVII No 1] XVII, 8 1928 [Hahn, M-41, VI No 117] XVII, 11 1928 [Lineck, L-182, XII No 63] XVII, 12 1928 [Gulitz, Am-199, XVII No 6] XVII, 15 1928 [Rychlowsky, Am-200, XVII No 5] XVII, 17 1928 [L-185, XIII No 64] XVII, 17 1928 [Thenny, Am-201, XVII No 2] [!] XVII, 18 1928 [Rathgeber, Am-268, XVI No 2] XVII, 19 1928 [Rathgeber, Am-269, XVI [No] 3] XVII, 19 1928 [Piazzo, A-260, XXXVIII No 4] ]!] XVII, 20 1928 [Emmert, Am-267, XVI No 1] XVII, 22 1928 [R-175, XI No 2+5] XVII, 23 1928 [R-148, XI No 26] XVII, 26 1928 [Am-266, XVI 3] XVII, 27 1928 [Kohl, Am-263[No] 9] XVII, 28 1928 [Brixi, Am-271, XVII No 8] XVII, 29 1928 [Keller, R-152, XI No 5] XVII, 30 1928 [R-150, XXXIX No 42] XVII, 31 1928 [H-214, XX No 13] XVII, 32 1928 [-393, XXIV No 30] XVII, 33 1928 [L-186, XIII No 22] XVII, 35 1928 [Hiller, A-232, XXXVIII No 32] XVIII, 3 1928 [Brosmann, V-158, XXIX No 9] XVIII, 4 1928 [Brosmann, V-157, XXXVII No 44] XVIII, 6 1928 [Brosmann, P-280, XXVI No 15] XVIII, 7 1928 [Brosmann, P-278, XXV No 17] XVIII, 8 1928 [Pernsteiner, M-69, VII No 52] XVIII, 9 1928 [Berner, P-272, XX No 19] XVIII, 11 1928 [Reissiger, -356b, No 118]

469 Aneks | Appendix

XVIII, 12 1928 [Niedenführ, M-64b] XVIII, 14 1928 [Schiedermayr, R-138 XI No 14] XVIII, 15 1928 [Schiedermayr, R-137 XI No 13] XVIII, 17 1928 [Albrechtsberger, M-2, IX No 143] XVIII, 18 1928 [Schiedermayr, M-84, VIII No 54] XVIII, 19 1928 [Süssmayr, M-107, L No 46] XVIII, 19 1928 [Schiedermayr, M-85, VIII No 55] [!] XVIII, 20 1928 [Schiedermayr, M-83, VII No 50] XVIII, 21 1928 [Schiedermayr, M-86, IX No 80] XVIII, 23 1928 [Schiedermayr], V-165, XXIX No 13] XVIII, 24 1928 [Schiedermayr, M-87, IX No 81] XVIII, 25 1928 [Schiedermayr, M-88, IX No 82] XVIII, 26 1928 [Schiedermayr, P-301, XXXII No 31] XVIII, 27 1928 [Schiedermayr, P-300, XXIV No 39] XIX, 1 1928 [Dedler, M-12, IX No 115] XIX, 2 1928 [Dedler, M-13, IX No 113] XIX, 3 1928 [Dedler, M-11, IX No 112] XIX, 4 1928 [Dedler, M-10, IX No 114] XIX, 5 1928 [Dedler, M-9 IX No 111] XIX, 7 1928 [Danzi, H-211, No 125] XIX, 8 1928 [Danzi, M-7, VII No 46] XIX, 11 1928 [Zach, V-171, XXXVI No 25] XIX, 12 1928 [Loos, V-349, XXXVI No 27] XIX, 13 1928 [Bolehovský, R-124, XI No 6] XIX, 14 1928 [Czerny, P-276, XIX No 20] XIX, 15 1928 [Czerny, P-277, XIX No 21] XIX, 16 1928 [Wranitzky, A-251, XXXVIII No 13] XIX, 17 1928 [Wranitzky, A-249, XXXVIII No 59] XIX, 18 1928 [Wranitzky, M-250, XXXVIII No 58] XIX, 19 1928 [Wranitzky, A-247, XXXVIII No 57] XIX, 20 1928 [Wranitzky, A-248, XXXVIII No 40] XIX, 21 1928 [Vocet, M-11, IX No 86] XIX, 22 1928 [Vocet, M-113, IX No 85] XIX, 24 1928 [Vocet, M-114, IX No 87] XIX, 25 1928 [Boroni, A-218, XXXVIII No 56] XIX, 26 1928 [Mysliveček, A-239, XXXVIII No 64] XIX, 27 1928 [Mysliveček, A-241, XXXVIII No 1] XX, 1 1928 [Eberlin, M-27, XXIV No 44] XX, 2 1928 [Schobacher, V-166, XXIX No 36]

470 Zestawienie dawnych sygnatur | A List of Old Shelf Marks

XX, 3 1928 [Rinck, M-80, LXI No 55] XX, 4 1928 [Aigner, M-1, LXI No 54] XX, 6 1928 [Schuster, L-404b] XX, 7 1928 [Ender, A-227, XX No 20] XX, 8 1928 [Schneider, M -95, XXIV No 46] XX, 9 1928 [Laucher, R-134, XI No 31] XX, 10 1928 [Kayser, V-160, XXIX No 12 XX, 11 1928 [Rieder, M-79, VIII No 79] XX, 13 1928 [Reim, M-76, No 159] XX, 16 1928 [Mattausch, P-295, XXXII No 42] XX, 17 1928 [Beroch, P-273, XXXII No 19] XX, 19 1928 [Kanne, P-289, XXXII No 30] XX, 20 1928 [Pohl, M-71, VII No 51] XX, 24 1928 [Vogler et al., P-333, XXXII No 39] XX, 25 1928 [Hasse, A-254, XXXVIII No 24] XX, 26 1928 [Mysliveček, A-259, XXXVIII No 23] XX, 27 1928 [Alessandri, A-232, XXXVIII No 18] XX, 28 1928 [Dittersdorf, A-256, XXXVIII No 31] XXI, 2 1928 [Eybler, M-35b, XXV No 28] XXI, 4 1928 [Eybler, M-30b, XXV No 27] XXI, 4 1928 [Eybler, M-28, I No 7] XXI, 5 1928 [Eybler, M-28b] XXI, 8 1928 [Eybler, M-34, I No 6] XXI, 8 1928 [Eybler, M-34b, XXV No 29] XXI, 10 1928 [Eybler, M-32, I No 4] XXI, 15 1928 [Eybler, P-282b, LV No 55] XXI, 17 1928 [Eybler, M-33b] XXII, 3 1928 [Bühler, V-154, XXIX No 39] XXII, 11 1928 [Lickl, P-291, LXVI No 110] XXIII, 1 1928 [Rotter, M-81] XXIII, 4 1928 [Schmid, R-141, XI No 29] XXIII, 5 1928 [Schobacher, M-96, VIII No 76] XXIII, 7 1928 [Stadler, V-169, XXIX No 38] XXIII, 8 1928 [Vogel, R-145, XI No 16] XXIII, 9 1928 [Pernsteiner, M-70, X No 119] XXIII, 10 1928 [Lickl, M-55, VIII No 58] XXIII, 12 1928 [Starke, M-104, VIII No 67] XXIII, 17 1928 [Stadler, M-103, IX No 146] XXIII, 22 1928 [Lamm, V-164. XXXVI No 32]

471 Aneks | Appendix

XXIV, 1 1928 [Bree, M-4 LX też | also LV No 140] XXIV, 3 1928 [Vogler, V-170, XXIX No 10] XXIV, 4 1928 [Vogler, R-146, XXXIX No 33] XXIV, 12 1928 [Niedenführ, P-297] XXV, 3 1928 [Seyfried, -367, No 119] XXV, 7 1928 [Seyfried, M-106b, XXV No 30] XXV, 10 1928 [Seyfried, P-309, XXXI No 33] XXV, 11 1928 [Seyfried, -363, XXXII No 33] XXV, 13 1928 [Seyfried, P-311b, No 80] XXV, 14 1928 [Seyfried, P-310b] XXV, 15 1928 [Seyfried, R-143, XII No 23] XXV, 20 1928 [Seyfried, M-99, III No 30] XXV, 22 1928 [Seyfried, P-310, XXXII No 32] XXV, 23 1928 [Seyfried, M-100b] XXV, 24 1928 [Seyfried, M-98b, bez | without Fach]] XXV, 26 1928 [Seyfried, -364, LXVI No 92] XXV, 27 1928 [Seyfried, -365, No 123] XXV, 32 1928 [Seyfried, M-98, VII No 47] 26/9, X 1928 [Röder, V-164, XXIX No 15] XXVII, 2 1928 [Černy, V-156, XXVI No 22] XXVII, 2 1928 [Salieri, A-244, XXXVIII No 62] XXVII, 3 1928 [Brixi, V-173, XXXVI No 28] XXVII, 3 1928 [Sonnleithner, M-118, XXXVII No 2] XXVII, 3 1928 [Salieri, A-245] XXVII, 4 1928 [Schreyer, V-168, XXXVI No 20] XXVII, 5 1928 [Černy, V-155, XXXVI No 29] XXVII, 6 1928 [H-210, XXXVIII No 38] XXVII, 7 1928 [Müller, A-194, XXXVIII No 16] XXVII, 8 1928 [Hoffman, -346, XVI No 5] XXVII, 8 1928 [Haydn J., -357, XXXII No 25] [!] XXVII, 9 1928 [Zoppis, A-252, XXXVIII No 39] XXVII, 10 1928 [Cherubini, P-275, No 116] XXVII, 12 1928 [Spiller, P-315, XXV No 6] XXVII, 12a, 1928 [A-236, XXXVIII No 20] XXVII, 15 1928 [Grasel, A-191, XXXVIII No 63 [z 43]] XXVII, 16 1928 [Brunetti, -337, XXXVIII No 16] XXVII, 17 1928 [Laube, -348, XXVI No 13] XXVII, 18 1928 [Galuppi, A-228, XXXVIII No 28] XXVII, 20 1928 [Perez, A-242, XXXVIII No 21]

472 Zestawienie dawnych sygnatur | A List of Old Shelf Marks

XXVII, 21 1928 [Kayser, Am-265, XVI No 6] XXVII, 22 1928 [Graun, A-251] XXVII, 23 1928 [Rosetti, A-243, XXXVIII No 11] XXVII, 24 1928 [Pohl, A-193, XXXVIII No 17] XXVII, 25 1928 [Manfredini, A-234, XXXVIII No 9] XXVII, 27 1928 [Vanhal, M-111, XXXVII No 6] XXVII, 28 1928 [Brosmann, M-5, XXXVII No 7] XXVII, 31 1928 [Koželuh, M-53] XXVII, 32 1928 [Schimpke, M-89, XXXVII No 11] XXVII, 33 1928 [H-425, XXXVIII No 36] XXVII, 34 1928 [Napolitano, Am-431, XXXVIII No 34] XXVII, 36 1928 [Spermalogi, M-423,XXXVII No 19] XXVII, 37 1928 [Bolehovský, M-3, XXXVII No 18] XXVII, 38 1928 [Ziegenheim, H-209, XXXVII No 23] XXVII, 73 1928 [Dreyer, H-212, XXVIII No 18] XXVIII, 1 1928 [Schreyer, V-167,XXXVI No 4] XXVIII 1 a [Preindl, M-75, VIII No 77] XXVIII, 3 1928 [Preindl, M-72, LXIV No 22] XXVIII, 4 1928 [Preindl, M-73, III No 24 (z przeniesienia z | moved from No 54] XXVIII, 6 1928 [Schneider, M-97, III No 32] XXVIII, 7 1928 [Naumann, P-297, XX No 17] XXVIII, 9 1928 [Naumann, dla | for M-63b] XXVIII, 10 1928 [Reissiger, M-78b, XXV No 3] XXVIII, 12 1928 [Preindl, M-74, VIII No 78] XXVIII, 13 1928 [Reissiger, M-78, LX No 142] XXVIII, 14(19) 1928 [Klein, M-53b] [28] 15 1928 [Klein, M-53, LXIV No 127] XXVIII, 15a 1928 [Fechner, A-189, XXXVIII No 10] XXVIII, 29 1928 [Neumann, M-62, XXXVII No 10] XXX, 1 1928 [M-123, XXXVII No 15] XXX, 2 1928 [-387, XXXVIII No 61] XXX, 3 1928 [Habergger, M-40, XXXVII No 9] XXX, 4 1928 [Am-264, XXXVIII No 46] XXX, 6 1928 [Graun, H-430, XXXVIII No 54] XXX, 7 1928 [Avanzini, A-216, XXXVIII No 52] XXX, 8 1928 [Agricola, A-215, XXXVIII No 53] XXX, 9 1928 [Lohelius, A-233, XXXVIII No 51] XXX, 10 1928 [Holý, V-159, XXXVI No 23]

473 Aneks | Appendix

XXX, 11 1928 [Benda, A-217, XXXVIII No 29] XXX, 12 1928 [{Mašek}, P-336 XXXVIII No 37] XXX, 12a 1928 [Hunke, M-52] XXX, 13 1928 [Bergt, H-205, XXII No 1] XXX, 14 1928 [Vitášek, R-147, XI No 12] XXX, 15 1928 [Mysliveček, Am 198, XVII No 4] XXX, 16 1928 [Liebl, R-135, XI No 43] XXX, 18 1928 [Klingohr, R-131, XII No 16] XXX, 19 1928 [Lamm, L-181, XIII No 12] XXX, 20 1928 [Urban, -394, XX No 8 XXX, 21 1928 [Koblitz, -347, XXXXVIII No 7] XXX, 22 1928 [-381, XXIV No 36] XXX, 25 1928 [-378, XXIV No 34] XXX, 26 1928 [Benelli, Am-261] LV [Seyfried, P-308b, XXIII No 7] 1, 1928 [Kirchner, R-130, XI No 10] 2, 1928[!] [Kirchner, V-161, XXIX No 43] 3, 1928[!] No 31 [Kirchner, V-174, XXXVI] 5, 1928 [Kirchner, P-290, X No 6] 6, 1928 [Ohnewald, H-213] 33 17 XII 1928 [!] [Larisch, R-132, XI No 37] 34 18 XII 1928 [!] [Larisch, R-133, XI No 36] 35 20 1928 [Otto, -413, XX No 4] 36 1928 [Bach, -369, XX No 24] 37 20 XII, 1928 [!] [Grüger, P-286, XX No 16] 38 1928 XX No 5 Glatz, 1928/29 [Otto, M-416b, LV No 48] Glatz, 1928/29 [Otto, M-415b, LV No 49] Glatz, 1928/29 [Otto, P-330b, LV No 50]

474 Indeks tytułów i incipitów tekstowych | Index of Titles and Text Incipits

* ujęto tytuły utworów, incipity utworów, incipity arii oryginalnych oraz ty- tuły dzieł oryginalnych w przypadku kontrafaktur / the index comprises titles of works, incipits of works, incipits of the original arias, and the titles of the original works in the case of contrafacta; * utwory cykliczne (msze, nieszpory, stacje, responsoria itp.) ujęto pod tytułem gatunkowym, bez rozpisywania poszczególnych części / cyclic compositions (such as masses, vespers, stations, responsories) have been entered under their generic name, without listing all the sections; * nie ujęto incipitów konkordancji / incipits of concordances have not been included; * odsyłacze odnoszą się do numerów katalogowych / the numbers given are those of the catalogue items.

Ach Bellestra welch Entzücken 495, 496 Ave regina caelorum 52 (44–52), 125, 151, 373, Ad festas volate 150 (149–150) 374–376, 386, 511–513 Ad festum mortales huc properate 25 Ad hoc festum convolate 284 Beatam me dicent 152 Ad laudes properate 85 Beati omnes 50 (44–52), 386, 493 Adjuva nos, o virgo 60 Beatus vir qui inventus est 247 Adoro te devote 149 (149–150), 290 (289–290) Beatus vir qui timet 34, 40, 44 (44–52), 45 Ah perché formar non lice 261 (44–52), 54 (53–55), 55 (53–55), 57, 208, Ah quanta vis amoris 362 226, 242, 256, 380, 386, 404, 444, 471, 487, Ah quid reddam tibi 277 493, 500, 503 Alleluia. Angelus ad pastores 282 (281–282) Bella mia fiamma… Resta, o cara 280 Alleluia. Haec dies quam fecit Dominus 417 Benedic anima mea Domino 14 Allmächtiger vor dir im Staube 198 Benedicite Dominum 420, 440 Alma redemptoris mater 52 (44–52), 148 Benedicite gentes Deum 486 (147–148), 220, 245–246, 386, 418, 506, Benedicta et venerabilis 138, 144 (144–145) 507–509 Benigne fac, Domine 489 Alma virgo mater Dei 210 Betrachtet ihn in Schmerzen 198 Almen se non posso io 285 Amati quaeso montes 390 Cantabo Domino 66 Amo te Jesu 134 Cantata in obitum Friderici Guilielmi Regis Anbetend fallet nieder verehret Gottes Güte Borussorum 151 92 Cantate Domino canticum novum 394, 396, Angelis suis 312 485 Angelus ad pastores 81 (80–81) Christi resurgentis neonati 89 Artemisia 168 Christus factus est pro nobis 313 (313–314) Assumpta est Maria 137, 361 Christus im Leiden und im Tode 139 Attollite portas 510 Christus natus est 491 Ave Jesu summe bonus 521 Cinna 149–150 Ave Maria gratia plena 193 (190–197) Cleofide 3, 169–170 Ave maris stella 1, 86, 101, 102, 103, 109, 419 Come oh ciel come il crudele 392

475 Indeks tytułów i incipitów | Index of Titles and Text Incipits

Completorium 377 Domine Dominus noster 477 Confitebor tibi Domine34, 40, 44 (44–52), 45 Domine exaudi orationem meam 396 (44–52), 49 (44–52), 54 (53–55), 55 (53– Domine in auxilium 36 55), 57, 208, 226, 242, 256, 315, 328, 380, Domine Jesu Christe 120, 121, 122, 243, 244, 386, 404, 421 (421–422), 444, 471, 487, 248, 252, 359, 402, 403, 407, 483, 494, 529, 493, 500, 503, 530 Conserva me Domine 399 Domine judicium tuum 453 Credidi propter 47 (44–52), 50 (44–52), 208, Domine ne longe facias 316 242, 386, 447, 471, 493, Domine probasti me 47 (44–52), 242, 386, 447, Credo 514 493 Cum ipso et misericordia 249 Domine rex Deus 247 Custodi me Domine 484 Ecce Maria genuit 281 (281–282) Dal adorato oggetto 285 Ecce panis angelorum 16, 343 Das Lamb vertligt 349 Ecce sacerdos magnus 209 Das marokkanische Reich 495, 496 Ecce virgo concipiet, et pariet filium 195 (190– Date sonus 490 197) De profundis clamavi 51 (44–52), 463, 491, Eja omnes convolate 89 493 Eja plausus hilares 2 Decora lux aeternitatis 423 Et panis fragmine 517, 518 Demetrio 145 (144–145) Et terribilibus 531 Demofoonte 153 (153–155) Ex Sion species decoris ejus 196 (190–197) Der Apotheker und der Doktor 93 Exspectans exspectavi Dominum 35 Der Betrug durch Aberglauben 90 Exsulta filia Sion 61 Der Herr ist Gott 18 Exsultate fideles gentes42 Der Versöhnungstod 189 Exsultet orbis gaudiis 365–366 Desiderium animae eius 214 Exsurge Domine 317 Deus magne sed velate 286 Deus misereatur nostri 381, 401 Felix namque es 26, 168 Deus noster refugium 69 Fideles huc advolate 505 Deus tuorum militum 87 Figurati eclissati mirar 149 (149–150) Dextera Domini fecit virtutem 314 (313–314), Flamma ardoris in caelum 258 (257–258) 328, 452 Flamma sancta surge oneste 136 Di due pupille amabili 290 (289–290) Die Dichtkunst 204 (202–205) Gaude virgo gloriosa 162 Die Himmel erzählen die Ehre Gottes 171 Genug ich bin entschlossen 277 Die sieben Worte des Erlösers am Kreuze 187 Giusti dei che ben vedete 286, 287 Dies irae 515 Gloria et honore 166 (165–166), 215 Diffusa est gratia165 (165–166) Godi l’amabile presente istante 157 (156–157) Digli ch’io son fedele 169 (169–170) Gott soll gepriesen werden 198 Dimmi amore 100 Gott verleihe deinen Frieden 406 Dimmi Clori costei 88 Gottes Lob 349 Dixit Dominus 34, 40, 41, 44 (44–52), 45 (44– Grauenvolle Sorge naget immer neu in meiner 52), 46 (44–52), 53 (53–55), 54 (53–55), Brust 284 55 (53–55), 57, 58, 208, 221, 226, 227, 242, 380, 386, 404, 444, 446, 447, 471, 493, 500, Haec dies quam fecit Dominus 219, 395 503 Halleluia. Lob sei dem Herrn 454 Domine ad adjuvandum 44 (44–52), 45 (44– Halleluja lobet den Herrn 17 52), 46 (44–52), 53 (53–55), 54 (53–55), Herr du bist gebenedeiet 198 55 (53–55), 221, 242, 444, 516 Herr Jesum Christum 406

476 Indeks tytułów i incipitów | Index of Titles and Text Incipits

Herr unser Gott wie gross bist du 424 Justitiae Domini 322, 328 Hier liegt vor deiner Majestät 198 Justorum animae 94 Hodie Christus natus est 62 Hodie scietis quia veniet 318 Kaspar der Fagottist 284 Homo quidam fecit 319, 343 Kyrie eleison zob. | see Litaniae, Missa Hora, dies et vita fugit 455 Hospes Jesus 184 L’isola disabitata 172 Hostias et preces 146 L’Olimpiade 60 Hostis Herodes 107 La clemenza di Tito 276 Huc adeste huc advolate 147 (147–148) La dolce compagna vedersi 153 (153–155) Huc fideles properate363 Laeta surgit aurora 6 Huc gentes properate 135 Laetamini in Domino 43 Laetare Jerusalem 323 Ich werde itzt dein gottlich Wort 349 Laetatus sum 41, 46 (44–52), 53 (53–55), 58, Ifigenia in Aulide 158 221, 226, 227, 242, 324, 386, 446, 471, 493, Ihn unsere Herr und Gott 349 Laetentur caeli 364 Il Barone di Rocca Antica 100 Laß o Freund uns standhaft scheiden277 Il Bellerofonte 286, 289–290, 292 Lauda anima mea 59, 401 Il Farnace 356 Lauda Jerusalem 41, 46 (44–52), 53 (53–55), Il Vologeso 505 221, 226, 227, 242, 386, 446, 471 Immittet angelus Domini 37 Lauda Sion salvatorem 14, 126, 144–145, 157 Improperium expectavit 320, 328 (156–157), 162, 205 (202–205), 230, 257 In conspectu angelorum 95 (257–258), 261, 271, 294, 343, 387 In convertendo 47 (44–52), 242, 386, 447, Laudate Dominum 34, 40, 44 (44–52), 45 (44– In die tam solenni 172 52), 54 (53–55), 55 (53–55), 208, 226, 242, In exitu Israel 44 (44–52), 45 (44–52), 54 (53– 256, 325, 328, 366 (365–366), 380, 386, 55), 386, 471, 493 404, 444, 471, 484, 493, 503 In expectatione 257 (257–258) Laudate Dominum in sanctis ejus 262, 274 In hoc festivo gaudio 468 Laudate pueri 34, 40, 41, 44 (44–52), 45 (44– In ictu oculi 185, 222, 480 52), 46 (44–52), 53–55, 57, 58, 208, 221, In me si tremant poena 169 (169–170) 226, 227, 242, 256, 380, 386, 404, 444, 446, In monte Oliveti 223, 531 447, 471, 493, 500, 503 In omnem terram 258 (257–258), 285, 425 Laudemus virum gloriosum 216 In te Domine speravi 276 Le furie al nodo 155 (153–155) In te speravi Domine 38 Leon nella foresta 505 In virtute tua 140 Leva Jerusalem oculos tuos 341 (332–341) In vivos nunc de fluite519 (519–520) Levavi oculos meos 422 (421–422) Invocabit me 321 Libera me 463 Iste confessor 3, 104, 105, 106, 108, 247, 288, Litaniae 20, 21, 28, 29, 241, 253, 259, 260, 326, 505, 542 368, 448 (448–449), 522, 523

Ja, du hast den Sieg gesiegt 90 Magnificat 34, 40, 41, 44 (44–52), 45 (44–52), Jesu cum tanta tua sit tua dignitas 277 46 (44–52), 53 (53–55), 54 (53–55), 55 Jesu dulcis memoria 521 (53–55), 57, 58, 208, 221, 226, 227, 242, Jesu pastor panis vere 343 380, 386, 404, 444, 446, 447, 471, 493, 500, Jesu redemptor omnium 426 503, 546 (545–546) Jesu veni ubi es 91 Magnus Dominus et laudabilis 485 Joseph ab ortu regio 86 Maria gustum sentio 92 Jubilate Deo omnis terra 68, 297, 427, 469, 486 Maria Mater gratiae 93, 468 Judex ergo cum sedebit 225, 437 Mater Dei gratiosa 495, 496

477 Indeks tytułów i incipitów | Index of Titles and Text Incipits

Meditabor in mandatis tuis 327, 328 O clavis David 335 (332–341) Memento Domine David 48 (44–52), 51 (44– O Deus ego amo te 365 (365–366) 52), 57, 493, O Emanuel rex 338 (332–341) Mens secura non pavescit 244 (244–245) O gloriosa Virginum 95 Miseramini amici 24 O magne Deus parvule 350 Miseremini mei 488 O mi Deus amor meus 462 Miserere mei Domine 70 O mi Jesu 96 (96–97) Misero me che veggo 60 O numi consiglio 150 (149–150) Missa 4, 5, 11, 12, 22, 27, 30, 39, 56, 63, 64, 66, O oriens splendor 336 (332–341) 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, O plus amoris ignibus 148 (147–148) 79, 113, 114, 115, 116, 117, 118, 119, 123, O radix Jesse 334 (332–341) 124, 127, 128, 129, 130, 131, 132, 141, 142, O rex gentium 337 (332–341) 143, 164, 167, 173, 174, 175, 176, 177, 178, O salutaris hostia 158, 224 179, 180, 181, 182, 183, 198, 199, 200, 211, O sapientia, quae ex ore 332 (332–341) 212, 213, 217, 218, 228, 232, 250, 251, 263, O Vater ein von mir 351 264, 265, 266, 267, 268, 275, 278, 279, 283, Oculi mei 331 295, 296, 298, 311, 329, 330, 347, 348, 349, Omnes confugite magnum die 206 357, 358, 367, 369, 370, 371, 372, 378, 379, Omnes de Saba 270 382, 383, 385, 388, 391, 396, 397, 398, 399, Omni die dic Mariae 126, 156 (156–157), 170 400, 401, 405, 428, 429, 430, 431, 432, 433, (169–170), 525 441, 442, 443, 450, 451, 456, 457, 458, 459, Orbem terrarum et plenitudinem 526 466, 467, 470, 472, 473, 474, 475, 477, 481, 482, 484, 485, 486, 487, 491, 501, 502, 524, Palesar vorrei col pianto 292 (fragm.) Palmira regina di Persia 392 Montezuma 156–157 Pange lingua 8, 9, 82 (82–84), 161, 299–310, 352 (352–353), 438, 479, 527, Ne timeas Maria 194 (190–197), 339 (332– Parce mihi Domine 437 341) Pelli mea consumptis 24 Nefandum scelus Jesus 280 Per lei quest’ anima 154 (153–155) Nel seno mio, ch’è agitato 6 Per sonando iam tuba canora 87 Nepomuc invicte heros 94 Pervicit in justitia 280 Nimm an o Herr die Gaben 198 Plaude turba angelica 434 Nisi Dominus 41, 46 (44–52), 53 (53–55), 58, Portanda et si gravia portavi pater omnia 435 221, 226, 227, 242, 386, 446, 471, 493, Princeps gloriosissime sancte Michael 98 Nisi Dominus custodierit civitatem 159 Prometti ognor la calma dolce speranza 289 Nocte surgentes vigilemus omnes 460 (289–290) Non flectend meum animum245 (244–245) Prope est Dominus omnibus 191 (190–197) Non han calma le mie pene 156 (156–157) Puer natus est nobis 80 (80–81) Non piú, tutto ascoltai… Non temer, amato Pugillo hardei 517, 518 bene 277 Non sarei si sventurata 3 Quae caeli luce radias 392 Non so frenare il pianto 145 (144–145) Quam dilecta tabernacula tua 67 Nostras mentes 269 Quando divido il regno 168 Nudus eram, et operuistis me 461 Quanta perniciosa hic mundus 393 Nun ist das Lamm geschlachtet 198 Quanto mai felici siete 170 (169–170) Nur einen Gott allein 349 Quest’oh dio lugubre aspetto 159

O admirabile coeli 184 Qui sedes Domine super cherubim 190 (190– O Adonai et dux domus Israel 333 (332–341) 197) O aeternae pater in honorem 98 Quicumque Christum quaeritis 112

478 Indeks tytułów i incipitów | Index of Titles and Text Incipits

Quis desiderio sit pudor aut modus 151 Te decet hymnus 407, 465 Quod sensuum mancipia 354 Te Deum laudamus 15, 160, 188, 272, 344, 353 Quod tu vis Deus 436 (352–353), 439, 504, 527 Te splendor gloriae 520 (519–520) Recede Orci furor 497 Ti parli in seno amore 356 Recordare Jesu pie 229 Tibi Christe splendor 111 Reges Tharsis et insulae oferent 274 Tief erschütert bebt aus innern Klüften 139 Regina caeli 23, 52 (44–52), 99, 163, 245 (245– Tollite portas principes vestras 192 (190–197) 246), 277, 386 Tota pulchra es amica mea 345 Reminiscere miserationum tuorum 342 Totus sum ergo tuus 498, 499 Requiem 24, 120, 121, 122, 146, 185, 222, 225, Tres sunt qui testimonium dant 201 229, 243, 244, 248, 252, 359, 402, 403, 406, Tribulationes cordis mei 346 407, 437, 463, 480, 483, 488, 492, 494, 528, Tristes erant apostoli 110 529, 530, (fragm.) Tu è ver m’assolvi Augusto 276 Responsoria 531 Tu es gloria 292 Rex gloriae libera 528 Tu trinitatis unitas 19 Rodelinda regina de’ Longobardi 159 Ruft all ihr’ Wessen 349 Una cosa rara 261 Unius oda trinitas 204 (202–205) Salve pater salvatoris 7 Universi qui te expectant 197 (190–197) Salve regina 13, 31, 32, 33, 52 (44–52), 60, 100, 186, 207, 231, 291, 293, 360, 386, 389, 408, Valles deserte non disserte 7 409, 410, 411, 412, 413, 414, 415, 416, 476, Vater im Himmel 187 478, 532, 533, 534, 535, 536, 537, 538, 539, Veni creator 153 (153–155) 540, 541 Veni sancte Spiritus 184, 356, 440, 544, 545 Salvum fac imperatorem nostrum 464 (545–546) Salvum me fac 399 Veni sponsa Christi 154 (153–155) Se mai turbo il tuo riposo 542 Vesperae 9, 34, 40, 41, 44–52, 53–55, 57, 58, Se mi volesti o dei 158 208, 221, 226, 227, 242, 256, 380, 386, 404, Semiramide 154–155 (153–155) 444, 446, 447, 471, 493, 500, 503 Si consistant adversum 133 Vexilla regis 547 Sicut ovis ad occisionem 531 Virga Jesse spes oppressae 340 (332–341) Sieh Vater von dem höchsten Throne 198 Virgo Maria 273 Singt heilig 198 Voll ist alles deiner Ehre 349 Singt Lob dem Herrn 65 Von sanften Pforten will ich singen204 (202– Sit laus plena sit sonora 343 205) Sono contenta appieno 172 Vos celestes musici pulsate 445 Sperent in te omnes 477 Stationes 10, 230, 271, 319, 343, 355, 438 Wahrheit und Güte vereinet 189 Sub tuum praesidium 449 (448–449) Surrexit Christus hodie 362 Zu das grossen Abendmahl 355 Surrexit Dominus 543 Zu welcher unser Freunde 10 Suscepimus Deus ita et laus tua 361 Zufriedenheit gilt mehr als Kronen 93 Symphonia 504

Tantum ergo 73, 78, 83–84, 233–240, 299–310, 384

479 Indeks osób | Index of Persons

* podano pisownię źródłową, bez identyfikacji osób / spelling as in the source, without person identification; * ze względu na alfabetyczny układ katalogu nie uwzględniono autorów kompozycji / since the catalogue is alphabetical, the names of music composers have not been included in this index; * odsyłacze odnoszą się do numerów katalogowych / the numbers given are those of the catalogue items.

A. K. 524 Fabian, Alfred 140 A. R. 479 Falter 358 Adler, Antonius 256, 545–546 Feige, Joannes 256 Albert, Carl Maria von 473 Ferdinand, Kronprinz von Oesterreich, König Albertus, Abbas ad S. Petrum Salisburgi 358 von Ungarn 128 André, Johann 441, 491 Förster, C. G. 431 Anfossi, Pasquale 261 Fr. Xav. S. 257–258 Franke, J. 161 Benda 5 Franke, Rudolph 53–55, 429 Benesch, Wenceslaus 216 Franz I, Kaiser von Oesterreich 453, 464 Bhoris, Antonius 256 Franz, Carolus 545–546 Bittner, Josephus 260 Friedrich August, König von Sachsen 382 Blumstock 398 Friedrich Wilhelm Constantin, Fürst von Braun 361 Hohenzollern-Hechingen 275 Breitkopf & Härtel 176, 187, 188 Breitkopf, Giov. Gottl. Imman. 160 Gellbück, Joseph 467 Brixi 9 Geschwind, Dominicus 228 Brixi, František Xaver 218 Gluck, R. C. 251 Brückner 382 Goebel, Franz 295 Graun (fragm.) C. W. 429 Graun, Carl Heinrich 508 Caldara, Antonio 501 Griesner, Maria 440 Cebauer, J. 212 Grolms 140, 212, 382 Clodius, G. A. H. 188 Grosmann 182 Grossmann, A. 17 D. F. 260 Grüger, Anton 352–353 Dedler, Florian Johann 66 Diabelli, Anton 382 H. 294 Dietrichstein, Moritz von 464 Haertel 185 Dinter, Josephus 85 Haertel, A. 387 Dittersdorf, Carl Ditters von 393 Haertel, Hans 499 Hallmann, Josephus 500 Eixner, Carolus 253 Hannig 71, 77, 79, 136, 229, 262, 280, 294, 361, Elsner 72, 79, 117, 118, 161, 228, 397, 399 391, 392, 433, 467, 487 Elsner, W. 250, 271 Hannig, Carolus 96–97, 231, 260 Hannig, Joseph 445 F. I. S. 212 Hannig, Stephanus 545–546 F. Z. 222 Haslinger, Tobias 130, 275, 461

480 Indeks osób | Index of Persons

Hasse 159 Kube, Joannes Josephus 224 Haydn, Michael 184, 229 Kügler, Augustus 344 Heimann, Franciscus 253 Kunze, Aug. 424 Heinze 428, 470, (fragm.) Kuschel 11, 137 Heinze, Gotthold 424 Kuschel, Antonius 256 Henzel, Peregrinus 500 Kuschel, Josephus 186, 256 Hermann, B. 275 Kÿnel 30 Herzig 311, 475 Herzig, Franciscus 253 L. K. 232 Herzig, Ignatz 298 Lamboy, Josephus 260 Hesse, Adolph 463 Larisch, Carl 26 Hoetzel 60 Larisch, Franciscus Aloysius 350 Hoffer, Franciscus 544 Larisch, Joseph 26, 135, 254–255, 259, 293, Hoffmann, Edmund 295 514 Hötzel, Joannes Josephus 149–150 Latzel 126 Hötzel, Josephus 28, 30 Leifer 69 Hummel (fragm.) Leifer, Franz 167, 269, 318, 357, 361, 381, 486 Leuckart, F. E. 424, 432 Innwich 16, 386, 428, 441, 458, 472 Liebig, Franciscus Carolus 500 Innwich, J. 443 Lohelius 60 Inwich 177, 188, 473 Lohelius, Johannes 360 Inwich, F. 69 Loske 18, 65 Ising, Franciscus 253 Lotter, Joannes Jacobus 44–52

J. F. R. 545–546 M. M. 294 J. K. 494 Maader, Ludwik 19 J. L. 514 Mahaut, Antoine 508 J. R. 28 Mallig, Ignac 261 Jung, Franciscus 29 Mann, Bonaventura 86 Mann, Ignatius 163, 288, 407 K. R. 28 Martin y Soler, Vicente 365–366 Kabe, Joannes Josephus 530 Masso 349 Kaeger, Antonius 253 Mattern 27 Kahler, A. 94 Maximilian Joseph von Somerau-Beeskh 73 Kapst, Joseph 91, 134 Meyer, Florianus 521 Katz 446 Miggenda 63, 173, 250, 267, 294, 369 Kaulig 378 Miggenda, Johannes 267, 378 Kaupert 10, 223, 227, 245–246, 315, 318, 319, Milan, Franz Xaver 349 326, 328, 329, 330, 345, 350, 351, 355, 386, Milstein, Josephus 500 494, (fragm.) Mompour, F. J. 228 Kinsky 11 Monse, Ignatius 523 Kirchner, Antonius 545–546 Montmarin 430 Kirchner, Joannes Michael 233–240, 407 Müller 260 Klant, A. 124 Müller, C. 295 Kles 1–2, 3, 159, Münster 503 Kles, Franciscus 163, 233–240, 407 Kless 153–155, 260 Niedenführ 417 Klose, Franciscus 407 Nüdenführ, Antonius 29 Koer[…]ig, Joseph 126 Nüdenführ, Franciscus 58, 86 Kohl, Franciscus 500

481 Indeks osób | Index of Persons

Olbrich 401 Schneider, Franz 441 Otto 429 Scholz, Alois 352–353 Otto, F. 501 Schöpler 80–81, 132, 139, 141, 146, 173, 179, Otto, Franz 502 181, 189, 210, 279, 281–282, 283, 298, Otto, Johann Franz 190–197 299–310, 379, 380, 381, 388, 418, 419, 429, 430, 432, 433, 435, 452, 461, 469, 491 Paisiello, Giovanni 261 Schössler 298 Pausewang 211 Schott 12 Pełny 360 Schürer, Johann Georg 34 Pfitzner 185 Schwarzer, Josephus 184 Piasza, Joannes 504 Sedlnitzky, Leopold von 167 Pichl 284 Seidelmann 56, 347 Pichler, Ignatius 504 Seppelt, Franciscus 231, 233–240, 256 Pleyel 274 Seppelt, Joannes 163, 260, 407 Pohl 231 Seppelt, Josephus 30 Pokorny, Franz Xaver 467 Sojka, Matĕj 467 Polt, Josephus 348 Spohr, Louis 19 Prause 8, 59, 80–81, 161, 174, 180, 185, 187, Sprenger 228 271, 273, 279, 298, 379, 380, 384, 395, 404, Stamitz, Antonius 446 419, 425, 432, 455, 462, 527 Strauch, Ignatius 407 Prause, Ignatz 421–422, 480 Strauch, Josephus 523 Prause, Joseph 10, 61, 116, 147–148, 171, 244, Strecker 5 248, 249, 284, 393, 432, 444, 469, 470, 479, Sulzbacher, Franz 212 492, 519–520 Prausse 417 T. P. S. 221 Preusse, Joseph 518 T. S. 152 Thamm, Julius (fragm.) Rather, W. 444 Tschöcke, Ignatius 545–546 Reutter, Georg 56 Tůma, František Ignác 502 Richter, Antonius 522 Righini 172 Ulrich, Franciscus 256 Righini, Vincenzo 183 Rudolph Joanni 12 Vanhal, Johann Baptist 476 Rudolph von Oesterreich, Cardinal 472 Veith, Alois 482 Rupprecht, Michael Raphael 23 Verkenius, Erich Heinrich 441 Rupprich, Ignatius 30, 256 Ryba, Jakub Šimon Jan 183 Wachsmann 53–55, 188, 212, 475 Rygall, Ignacy 97 Wagner, Wil. 417 Weigang, Bonaventura 500 Sances, Giovanni Felice 56 Weigank 25, 292 Schiedermaÿer 262 Weigank, Antoni 95, 286 Schimonski, Emmanuel Schimoni de 431 Wenzel 477 Schlecht, Franz 481 Werner, Carolus 30 Schnabel 62 Wolf, Wilhelm 352–353 Schnabel, Joseph Ignaz 229

482 Źródła | Sources

Archiwalia | Archival Records

Kraków, Archiwum Prowincji Południowej Towarzystwa Jezusowego | Kraków, Archive of the Southern Province of the Society of Jesus KATJ 2606. Instrumentum Fundationis Herberstenianae pro praemiis erectum anno 1690. KATJ 2607. Fundatio Annabergicae (1630). KATJ 2754. Catalogi scholarum Glacensium Anni 1687, 1688, 1690, 1691, 1692, 1730, 1733, 1735, 1737, 1738, 1739, 1743, 1755. KATJ 2787. Instrumentum pro Fundatione Litaniarum etc. ad Statuam Forensem Glacii in Perpetuum Cantandarum Fundatio Pachyana Anno 1686, die 4 Martii. KATJ 3299. Instructio Musicorum Glacensium (1670).

Praha, Národní Knihovna, Oddělení rukopisů a starých tisků D 168. Excerpta ex Historia Collegij Glacensis Societatis Jesu (1597–1690).

Rzym | Rome, Archivum Romanum Societatis Iesu ARSI Boh. 11. Catalogi triennales provinciae Bohemiae SJ (1625, 1628, 1633). ARSI Boh. 97 I. Historiae Litterae Annuae (1651). ARSI Boh. 98. Historiae Litterae Annuae (1661–1664). ARSI Boh. 116. Historiae Litterae Annuae (1704). ARSI Boh. 123. Historiae Litterae Annuae (1711). ARSI Boh. 143. Historiae Litterae Annuae (1727). ARSI Boh. 144. Historiae Litterae Annuae (1728). ARSI Boh. 196 I–II. Fundationes I, m.in. | i.a. Glacense, Hirschbergensis, Nissense.

Warszawa, Muzeum Narodowe | Warsaw, The National Museum 1100. Sacrum votivum de Beata Virgine… [1692].

483 Bibliografia | Bibliography

Česko-slovenský hudební slovník osob a institucí, t. | vol. 1–2, red. | eds Zdenko No- váek, Bohumir Štedroň, Gracian Cernušk, Praha: Statni Hu- debni Vydavatelstvi 1965. Drożdżewska Agnieszka, Życie muzyczne na Uniwersytecie Wrocławskim w XIX i w I połowie XX wieku: edukacja muzyczna – działalność naukowa – ruch koncertowy, Wrocław: Wydawnictwo Uniwersy- tetu Wrocławskiego 2012. Feldmann Fritz, Ein unbekanntes Denkmal der Neisser und Glatzer Musikpflege aus der Zeit des dreißigjährigen Krieges, „Der Oberschlesier” 15 (1933), s. | pp. 145–148. Gancarczyk Paweł, Nieznane rękopisy liturgiczno-muzyczne XIII–XVII wieku w zbiorach Muzeum Narodowego w Warszawie, „Muzyka” 52/2 (2007), s. | pp. 21–35. Hahnel Paul, Geschichte des königlichen Konvikts zu Glatz. Programm des Kgl. kathol. Gymnasiums zu Glatz, Glatz: Schirmer 1899. Hoffmann Carl Julius Adolph,Die Tonkünstler Schlesiens, Breslau: G. P. Aderholz 1830 Jeż Tomasz, Kultura muzyczna jezuitów na Śląsku i ziemi kłodzkiej (1581–1776), War- szawa: Wydawnictwo Naukowe Sub Lupa 2013. Jeż Tomasz, The Musical Culture of the Jesuits in Silesia and the Kłodzko County (1581– 1776), Berlin – Bern – Bruxelles – New York – Oxford – War- szawa – Wien: Peter Lang 2019 (Eastern European Studies in Musicology, 11). Jeż Tomasz, Muzykalia kościoła Wniebowzięcia NMP w Kłodzku: unikatowa kolekcja repertuaru proweniencji jezuickiej na Śląsku, w: | in: Muzy- kolog wobec świadectw źródłowych i dokumentów. Księga pa- miątkowa dedykowana profesorowi Piotrowi Poźniakowi w 70. rocznicę urodzin, red. | eds Zofia Fabiańska, Jakub Kubieniec, Andrzej Sitarz, Piotr Wilk, Kraków: Musica Iagellonica 2009, s. | pp. 241–260. Jeż Tomasz, „Salve Regina” z jezuickiego Kłodzka – o rekonstruowaniu tradycji muzycznej, w: | in: Tradycje Śląskiej Kultury Muzycznej, t. | vol. 14/I, red. | eds Anna Granat-Janki i zespół | et al., Wrocław: Akade- mia Muzyczna im. Karola Lipińskiego 2017, s. | pp. 185–197. Kroess Alois, Geschichte der böhmischen Provinz der Gesellschaft Jesu. Nach den Quel- len bearbeitet, t. | vol. 1: Geschichte der ersten Kollegien in Böh- men, Mähren und Glatz von ihrer Gründung bis zu ihrer Auf- lösung durch die böhmischem Stände 1556–1619, Wien: Mayer

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485 Spis treści | Table of Contents

Wstęp ...... 5 Historia zbioru ...... 5 Dokumentacja ...... 12 Repertuar ...... 17 Podziękowania ...... 27

Zasady opracowania katalogu ...... 28

Introduction ...... 33 History of the Collection ...... 33 Documentation ...... 40 Repertoire ...... 45 Acknowledgements ...... 55

Cataloguing Principles ...... 56

Katalog | The Catalogue ...... 61 I. Authorum nominibus signata ...... 62 II. Opera anonyma ...... 394 III. Collections ...... 417 IV. Fragments ...... 431 V. Prints ...... 433

Wykaz skrótów | List of Abbreviations ...... 439 Sigla biblioteczne przytaczane w tekście (za RISM) | Library Sigla Quoted in the Catalogue (after RISM)...... 441 Wykaz skrótów dla literatury przedmiotu (przyjęty za RISM) | The Symbols of Secondary Literature (after RISM) ...... 449 Aneks: zestawienie dawnych sygnatur z zachowanych muzykaliów | Appendix: A List of Old Shelf Marks in the Preserved Collection ...... 452 Indeks tytułów i incipitów tekstowych | Index of Titles and Text Incipits ...... 475 Indeks osób | Index of Persons ...... 480 Źródła | Sources ...... 483 Fontes Musicae in Polonia series A: Catalogi A/I Tomasz Jeż, Danielis Sartorii Musicalia Wratislaviensia (2017). A/II Sonia Rzepka, Tabulatura Organi ex Bibliotheca Fraustadiensi ad Praesepe Christi (2018). A/III Marta Pielech, Iwona Januszkiewicz-Rębowska, Musicalia Collegii Glacensis Societatis Jesu (2019). series B: Facsimilia et Studia B/I Sigismundus Lauxmin (1596–1670). Ars et praxis musica, Graduale pro exercitatione studentium, Antiphonale ad psalmos, ed. facs. Jūratė Trilupaitienė (2016). B/II Liber organistarum Collegii Crosensis Societatis Jesu, ed. facs. Laima Budzinauskienė, Rasa Murauskaitė (2017). B/III Universalia et particularia. Ars et praxis Societatis Jesu in Polonia, eds Bogna Bohdanowicz, Tomasz Jeż (2018). B/IV Simon Maychrowicz (1717–1783). Nauka zbawienna na missyi Societa- tis Jesu zwyczayna (Lwów 1767), ed. facs. Oksana Shkurgan (2018). B/V Georgius Elger (1585–1672). Geistliche Catholische Gesänge… (Branie- wo / Braunsberg 1621), ed. facs. Māra Grudule, Justyna Prusinowska, Mateusz Solarz (2018). series C: Editiones C/I Martinus Kretzmer (1631–1696). Sacerdotes Dei benedicite Dominum, Memorare o piissima virgo, Aeterne rerum omnium effector Deus, Lau- dem te Dominum, eds Tomasz Jeż, Maciej Jochymczyk (2017). C/II Georgius Braun (1658–1709). In nomine Jesu, O caelitum Dux, ed. To- masz Jeż (2017). C/III Anonim (I poł. XVIII w.). Completorium a 9. Chori Collegii Sandomi- riensis Societatis Jesu, ed. Irena Bieńkowska, introd. Magdalena Wal- ter-Mazur, Irena Bieńkowska (2017). C/IV Nicolaus Franciscus Frölich († 1708). Viaticum mortuorum, O Maria Virgo pia, Salve Regina, ed. Tomasz Jeż (2018). C/V Hyacinthus Szczurowski (1716? – po 1774). Caeli cives occurrite, Domi- ne non sum dignus; Litaniae in C, ed. Maciej Jochymczyk (2018). C/VI Motecta scripta in Collegio Braunsbergensis Societatis Jesu (S-Uu Utl. vok.mus.tr. 394–399), ed. Jacek Iwaszko (2018). C/VII Joannes Faber (1599–1667). Litaniae de omnibus Sanctis pro diebus Ro- gationum a 10, ed. Tomasz Jeż (2018). C/VIII Hyacinthus Szczurowski (1716? – po 1774). Missa Emmanuelis, ed. Ma- ciej Jochymczyk (2018). C/IX Nicolaus Dylecki (ca. 1630–1690). Vesperae, Liturgia, Concerti quatuor vocum, ed. Irina Gerasimowa (2018). C/X Gabriel Götzl (I poł. XVII w.). Missa S. Andreae, ed. Maciej Jochym- czyk (2019). C/XI Johann Thamm / Anton Weigang (?). Opella de Passione Domini, ed. Tomasz Jeż (2019).

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