A register of music performed in concert, Nazareth, Pennsylvania from 1796 to 1845: an annotated edition of an American Moravian document
Item Type text; Thesis-Reproduction (electronic)
Authors Strauss, Barbara Jo, 1947-
Publisher The University of Arizona.
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Link to Item http://hdl.handle.net/10150/347995 A REGISTER OF MUSIC PERFORMED IN CONCERT, NAZARETH.,
PENNSYLVANIA FROM 1796 TO 181+52 AN ANNOTATED EDITION OF AN AMERICAN.MORAVIAN DOCUMENT
by Barbara Jo Strauss
A Thesis Submitted to the Faculty of the SCHOOL OF MUSIC
In Partial Fulfillment of the Requirements For the Degree of
MASTER OF MUSIC WITH A MAJOR IN MUSIC HISTORY In the Graduate College
THE UNIVERSITY OF ARIZONA
1 9 7 6
Copyright 1976 Barbara Jo Strauss STATEMENT BY AUTHOR
This thesis has been submitted in partial fulfill ment of requirements for an advanced degree at The Univer sity of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate ac knowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu script in whole or in part may be granted by the copyright holder.
SIGNED:
APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below:
n i t “77 Date PREFACE
Among the various groups of settlers who molded this country in its infancy, the Moravians, or the members of the
Unitas Fratrum, played a unique role« The major Moravian settlements, now Bethlehem, Pennsylvania and Winston-Salem, ;
North Carolina, developed and flourished beginning in 17^1 and 1753s respectively» Their primary purpose was to prop agate the gospelo Their move to America was part of a world wide diaspora of Moravian missionaries => Yet, the Moravians remained closely tied to their German heritage and their mother church in Herrnhut, Germany,
The meticulous records kept by the American Moravians from those early days on have enabled modern scholars to reconstruct the development and activities of the Moravian communitieso Only in recent decades8has the historical study of this rich musical heritage gained momentum. This thesis is a contribution, a puzzle piece, added to the re search already completed on American Moravian music. The Register of Music Performed in Concert, Nazareth, lit. October 1796 is the document upon which this thesis is based, The document is, for the most part, a weekly record of the pieces played in concert by the Paedagogium Collegium
Musicum Nazareth, or later by the Musical Society of Nazareth, The record keepers listed 1093 compositions performed during that time period including symphonies, concertos, overtures, quartets, suites, marches, parthien, trios, duets, sonatas, oratorios, motets, glees, and solos by one hundred composers0
The objective of this study is to identify, when possible, the compositions listed in the Register* The scope of the identification has been limited to three sources (1) music scores from the Bethlehem, Lititz and Nazareth music collections located in the Archives of the Moravian
Church, Bethlehem? (2) sources listing music scores in the Moravian music archives at the Moravian Music Foundation,
Winston-Salem? and (3) general music reference works* Primary consideration was given to music scores in the Bethlehem Archives, since all historic documents of the
Northern Province of the Moravian Church in America are housed there* Attention then was given to music scores in the Winston-Salem music archives? compositions no longer extant in the northern music collections might have had a , duplicate score in one of the southern music collections*
Thirdly, some compositions, that could not be identified in any American Moravian music collection, are verified in gen eral music reference works* Finally, some compositions could not be identified at all due to a lack of sufficient information. V
The collection of music belonging to the Paedagogium Collegium Musicum Nazareth was dispersed at an unknown time and was probably absorbed into the collection of the Phil harmonic Society of Bethlehem and other private collections0
A few fragments of the Nazareth instrumental collection are found in boxes marked " N a z a r e t h ." in the Archives „ How ever, the Nazareth Congregation Collection [choral musicj
is much more complete„ The identification of the compositions in the
Register essentially recreates the Collegium Musicum collec tion « Since many of the entries in the Register are ambi guous, some speculation was. necessary in the identification of compositions»
The Register is an extraordinary record of the per formances of an amateur group at that time» Weekly concerts were scheduled during the concert seasons from 1796 to l8l0o ,
This fact alone shows the dedication of the Nazareth musi
cians, Teachers and pupils from Nazareth Hall, ministers, farmers and shop keepers were probably members of the
Collegium Musicurtu Indeed, music played an important role
in the daily lives of early American Moravians„
Through the detailed accounts of each concert, the musical taste of Nazareth musicians can be deduced* Their preference for and the availability of symphonies and large
vocal works by German composers is evident throughout the Vi
Registero The document is a valuable source in verifying the performance of such European works during those early years in America® The Register serves as an equally valuable source in compiling the lists of music written by Moravian composerss even if the music is no longer in existence„
This study does not attempt to provide a history of music in Nazareth® Rather the study provides a basis for the unfolding picture of the musical life in that Pennsyl vania community® •
This research project has been completed with the help of several individuals® I would like to express sin cere appreciation for the encouragement and assistance given by the following individuals during the preparation of this thesis % To Mr® Karl Kroeger, Director of the Moravian Music
Foundation, Winston-Salem, for bringing the document to my attention and providing valuable information; to Mr® Richard
Claypoole and Mr® Robert Steelman, Catalogers for the Mora vian Music Foundation, Bethlehem, for the use of the unpub lished catalogs, of music in the Archives of the Moravian
Church and for assistance in locating materials; to Rev®
Vernon Nelson, Archivist and Dr® Lothar Madeheim, Bethlehem, for their assistance while working in the Archives| to
Mr® Eschor Clewe11, Moravian Historical Society, Nazareth® ■ . vii
To my advisor, Dr„ James Anthony, University of Arizona, Tucson, for his guidance in musicological research „ and for his reassuring support of this project; to Dr„ Roy
Johnson and Professor Diran Akmajian, University of Arizona, for their support of my Moravian music studies5 to Mr* Charles King, Music Librarian, University of Arizona? to Professor David Mewaldt, University of Wisconsin— LaCrosse, for intro
ducing me to Moravian music, for serving as an off■= campus
advisor while working in absentia from The University of
Arizona, and for lending materials from his personal library«
To my typist, Mrs e Elizabeth Knapstein, for her patience and tolerance? and most of all to my husband,
Milton, for his understanding and total support0 TABLE OF CONTENTS
LIST OF ILLUSTRATIONS O O O O o O 0 .0 o o o
ABSTRACT 0,0 o o o o o o o o o o o o o o o
CHAPTER lo CONCERTED MUSIC AT NAZARETH .
Introduction d o o o o o o o p o o The Sources Verzeichniss derer Musicalien welche im Concert sind gemacht worden „ » » = ». = The Annotations » , = . * * « » = 0 Special Problems and Considerations Unique Entries 0 = » o o o o o.o 0 Paedagogium Collegium Musicum Nazareth o o o o oo oo o o o
IIo THE DOCUMENT o o o » . o » » » » o III. ANNOTATIONS TO THE REGISTER » = » »
IVo SUMMARY o o o o o o o o o o o o =
APPENDIX As FACSIMILES OF SELECTED REGISTER PAGES „ e ". , c o o o .ooo
Facsimile of the Title Page 0 « Facsimile, of the Initial Page Facsimile of Pages Dated 7 December 1798 to 25 January 1799 Facsimile of Pages Dated 29 November 1810 to 3 June 1811 o 000 o p APPENDIX Bs TEACHERS AT NAZARETH HALL APPENDIX Cs A LIST OF COMPOSITIONS BY MORAVIAN COMPOSERS RECORDED IN THE REG- IS TER p poo p o p p o p p.p o p p
APPENDIX Ds REPLICA OP A HANDBILL. 000 o o
viii TABLE OF COHTENTS— Continued
APPENDIX Eg A PERFORMANCE OF THE CREATION . 0
An Account of the Annual Festival in Bethlehem 1839 o o = = > 0 „ Facsimile of an Expense Sheet for the Musical Society of Nazareth 0 0 o
APPENDIX Fg MUSICAL SUPPLEMENT „ = 0 o = . „ APPENDIX Gg INDEX OF COMPOSERS LISTED IN THE REGISTER o « » = o.o . . « » o > o =
LIST OF ABBREVIATIONS „ , « . e 0 » <= o 0 .
SELECTED BIBLIOGRAPHY . . . o . o o » o . o /.
LIST OF ILLUSTRATIONS
Figure Page
lo Sample Annotation Utilizing Materials from Moravian Archiveso . * » . * „ „ . . . „ 7 2o Sample Annotation of an Unidentifiable Entry O OO O OOO O OOO OOO O O O OO O 7 3o SAmple Annotation Utilizing Materials from General Music Reference Works. . . 8 ifo Sample Annotation Providing a Multiple Oho ice. O O O "O o o o o o o o o o o o o o o o 9 5<> • Musical Supplement, "Der NachtwUchter,,l a String Trio by Johann Christian Be chi er . © © © © © © © © © © © © © © ( m pocket) 6 © Receipts of the Paedagogium Collegium Mu.s jL cum ooooooooooooo©ooo o o 28 7.0 Musical Supplement, "Nun erschallt vor deinem Throne," an Anthem by Christian Ignatius Latrobe© © © © © © (in pocket)
8 © Musical Supplement, "Come Joyful Hallelujahs, Raise," an Anthem by Peter Wolle© © © © © © © © © © © © (in pocket)
x ABSTRACT
The Register of Music Performed in Concert, Nazareth,.
Ill October 1796 is a record of the weekly concerts given in the Moravian community of Nazareth, Pennsylvania0 Composi tions performed by the Paedagqgium Collegium Musicum and later the Musical Society of Nazareth included symphonies, concertosj, overtures, quartets, suites, marches, parthien, trios, duets, sonatas, oratorios, motets, glees, and solos by one hundred.composerso Special concerts are mentioned! and in later years, performers are identified, and concert situa tions are described. The annotations to the 1093 entries in the Register provide identification of musical compositions when possible.
The music, as identified, is found in various Moravian music •collections in Bethlehem, Pennsylvania or Winston-Salem,, North
Carolina, or is verified in general music reference works.
The German heritage of the American Moravians is mani fested in their preference for works by such favored composers as Graun, Haydn, Mozart, and Rolle. The works of Moravian, composers received considerable exposure; a few compositions listed were heretofore unknown.
The Register, as a whole, provides a glimpse of a com munity whose sophisticated musical taste would have tempted the palate of any serious musician. CHAPTER I
CONCERTED MUSIC AT NAZARETH
Introduction
The Moravians, also known as the Unitas Fratrum,
Brilder-UnitSt, Brildergemeine, or United Brethren, are a
Christian denomination, whose roots are planted in the teachings of John Hus„ It was the Renewed Church in the early eighteenth century that sent their zealous mission aries from Herrnhut, Germany to wide geographic areas in the
Western World, In America, settlements were established in Georgia, then more successfully in Pennsylvania0 It is the settlement of Nazareth, Pennsylvania that flourished economically in the mid-eighteenth century, so that by the late eighteenth century it could flourish culturallyo Nazareth, in a side-stream of the Moravian ac tivities centered in Bethlehem, was able to produce a musical organization that performed the best and latest European music available. The musicians in Nazareth by no means • accomplished this task by themselves. The exchange of goods, people, ideas, and even music between the Moravian communi ties promoted a richer life for all. The Register of Music
Performed in Concert, Nazareth, llj. October 1796 shows just how rich the cultural life in Nazareth was. 2
The Sources Verzeichnlss derer Musicalien ’welche im Concert sind gemacht worderi”
Hans To David, in his article on the musical life in
Pennsylvania Moravian settlements, describes a musician who was to play a.vital role in the musical development of several Moravian communitiess
A new and final impulse came in 1795 with the arrival of David Moritz Michael« He was born at Kienhausen, near Erfurt, in 1795# [sic] and educated in Germanyo He is remembered as an accomplished player on the violin and on almost any wind instru ment! he is said to have amused friends by playing duets on two French horns simultaneouslye He was familiar with the latest developments of continental music, and he was apparently an excellent teacher and inspiring leader8 He went to Nazareth and almost immediately started the Collegium Musicum on a new . basis« The museum at Nazareth preserves a Verzeich- niss derer Musicalien welche im Concert sind gemacht worden, a 1 list of the musical pieces that have been done in concert,' This booklet contains an imposing series of programs, giving a full account of Michael's activity and the manner in which his example was followed in the years, after his departure„ 1
The Register of Music Performed in Concert, Naza
reth, llj. October 1796 was ignored or forgotten from 19^2 until 1974# when the document was f ound^ in the Moravian
1, Hans To David, "Musical Life in the Pennsylvania Settlements of the Unitas Fratrum," Transactions of the Mora vian .Historical Society, vol. 13# pts. 1, 2 (Bethlehem, Pa.T Times Publishing Co, for the Moravian Historical Society, 1942), p. 50o v
2, Richard Claypoole:and Robert Steelman, Catalog- ers, found the document while preparing the "Catalog of the Bethlehem Congregation Collection" and the "Catalog of the Collegium Musicum Bethlehem and Bethlehem Philharmonic Society Collections" under the direction of the Moravian Music Foundationo 3 Archives in Bethlehem in a box labeled ssMusic from the estate of Frederick B,, Hartman--01d Prints and Manuscripts„”3 The Register is a comprehensive record of music
performed by musical organizations in Nazareth from llj. Oct
ober 1796 to 30 January l81j.5>«, Although the Register does not contain the name of the first performing organization,
j ■ ' „ the Paedagogium Collegium Musicum or Paedagogium Collegium
Musicum Nazareth was the group that performed the concerts until the formation of the Musical Society of Nazareth in
1837«. The initials PCMN and PCM are found on two musical scores (see annotations.Nos„ 17 and 68)„ Occasionally, spe
cial concerts and performers are listed in the Register. In the later years concert situations and the formation of the
Musical Society are described. The Moravians were meticulous record keepers| daily
events in the communities were recorded in diaries kept by
members of the congregations. Therefore, the very existence
of the Register is in keeping with Moravian practice’. The
document, with respect to the development of American music
at that time, is unique. The regular attention given to the
3<>. Frederick Benjamin Hartman is listed on the Patron List of those 51 who have given of their substance, or in.whose name contributions have been made- for the follow ing publication: George M. Schultz, comp, et al., Two Centuries of Nazareth, 17^0-19^0 Nazareth, Pa.% Nazareth Item Publishing Co. for the Nazareth, Pennsylvania, Bi-' cenntenial. Inc., 1914-0 ), pp. 194, u.p. Patron List. Christian Frederick Hartman (possible ancestor) was a violin and guitar maker in Nazareth ca. 1867. C. F. Hartman is also on the Patron List. music of the European masters by those amateurs can hardly be matched outside the Moravian communities, especially dur ing the early years of the Register*
Several individuals were involved in the actual writ
ing of the document, as may.be seen by changes in handwrit ing 0 The Register was initiated by David Moritz Michael, in
1796| he was in Nazareth until l80^» Six or more people were involved in the record keeping after I80I4.0 Most of the document is written in eighteenth century German script0
The pages of the document measure- 16 cm x 20 cm0
The number of entries in the Register, that is, each com position mentioned in the Register, totals 1093V facsimiles of selected Register pages are found in Appendix A,
During the preparation of this modern edition, a conscientious attempt was made by this author to keep the visual form of the document as close as possible to the originalo The format of each page in the modern edition appears the same as that of the original manuscript, with the exception of the annotation numbers at the right hand margin.
The Annotations
Since the document contains so many individual entries (1093)» each entry has been numbered and a corre sponding annotation has been written. In that way, all entries can be classified ass (1) a new entry (the composition listed for the first time)| (2 ) a repeat- entry
(the composition played previously); or (3 ) an unidentifi able entryo The Register contains about 20% new entries, i|.2% repeat entries and 38% unidentifiable entries.
The identification of all entries was made by con
sulting several sources. The primary source is the Archives
of the Moravian Church in Bethlehem. As mentioned in the
Preface, the Nazareth collection Of music was dispersed; thus the task of reconstructing that collection centered around
finding the appropriate scores in the Bethlehem and Lititz
collections housed in the Archives. Any manuscript numbers
or locations refer to compositions in those collections.
Some of the manuscript numbers and locations should be up dated because the cataloging of the music collections in the
Bethlemen Archives is still in progress. The Archives at
the Moravian Music Foundation, Winston-Salem is another source for identifying entries. If certain compositions were not
found in the Northern Provincial Archives, the Southern Pro
vincial Archives sometimes contained the appropriate scores.
Entries which use information from the Southern Province are not as complete as those entries using information from the
North since the in-depth research was done in Bethlehem.^ The third source used was various music reference works,
Ij.. Sources consulted for the. identification of music in the Moravian..-Music Archives,' Winston-Salem, N. G., include; Marilyn Gombosi, ed.. Catalog of the Johannes , 6 including thematic catalogs, music encyclopedias and dic
tionaries e These reference works are important tools for any reader who wants detailed information about entries» The List of Abbreviations is essential in deciphering the annotations.
For the ease of the reader, several sample annota
tions will be explained. In figure 1, number l+O refers to the corresponding entry in the Register. The title of the
composition appears as in the Register. The composer's name
and dates appear next. BCG means Bethlehem Congregation
Collection (see Table of Abbreviations) manuscripts 512.1
and 661)..2. Title page information, "ij. voci in duplo," is
given next, along with the instrumentation. Any other
information is included at the end, such as the function of
$2 and T. When available from the Northern Archives, an
incipit is also included. Incipits from the Archives in
Winston-Salem are not included, nor are incipits from
thematic catalogs.
Herbst Collection (Chapel Hills University of North Carolina Press, 1970); correspondence with Karl Kroeger, Director, Moravian Music Foundation, Winston-Salem, N. C., 30 July 19755 Donald Macomber McCorkle, "Moravian Music in Salem: A German-American Heritage" (Ph. D. dissertation, Indiana University, 1958, Ann Arbor,- Mich.s University Microfilms, No. 59-333, 1959), pp. 229-292. 7
lj-0. "Lo, this is our God" John Antes (I7I4-O-I8 II) . BCC, MSS 512.1 and 66^.2 for Voci in duplo"; 2 hn, 2v, va, b, org. Actually, the vocal parts include SS^ATB, where So and T are inter changeable. S2 is also marked Chorus 2.
Grtuze ^ -- LU_ - r jg'P" 0 p O 0 T ~ 5 - . -H cy-j' it 0 aV S,
Figure 1. Sample Annotation Utilizing Materials from Moravian Archives
In figure 2 entry 49 shows a Parthie No. 3 by Stephani that could not be identified (not ident.). In fact, Stephani!s full name could not be identified, thereby necessitating the use of brackets. Brackets are used by this author for showing omissions or adding clarifying information.
49. Parthie No. 3; [?] Stephani (not ident.).
Figure 2. Sample Annotation of an Unidentifable Entry.
In figure 3 entry 1009 is the "Concerto Militaire" by Wtilf1 as identified in a major reference work. Some entries, which make use of music reference works, do not provide identification of obscure composers, as in annota tion No. 9. 8
■ 1009c Concerto Militaire in C, with full accompaniments Joseph Woelfl (1773-1812)c . See MGCP (xiv., 759)> "Grand Concerto Mili taire, Klavier Konzert» Co op, i{.3 (wahrscheinlich 1799), Offenbach, Andre,"
Figure 3c Sample Annotation Utilizing Materials from General Music Reference Works
In figure ^ entry 25 provides a multiple choice.
Since only part of the text was given in the Register and no composer was listed, positive identification cannot be made.
The choices given below are the only possible choices found in the Bethlehem Archives, The possibility exists that an other anthem by another composer was played rather than those listed below. Reconstruction of the Nazareth collection from existing sources does involve some speculation.
Special Problems and Considerations
Several special problems and considerations are called to the attention of the reader for the sake of clari fication. The use of language in the Register is sometimes inconsistent or ambiguous, and a combination of English and
German was used. The word "Sinfonie" is always translated in to the English, even if the possibility exists that an early
5, Friedrich Blume, ed,, Die Musik in Geschichte . und Gegenwart, Allegemeine Enzyklopadie der Musik, II4. Vols, (Kassel and Basels sMrenreiter, 19^9-68), ^ Hereafter abbre viated MGG. 9
25. "Herr ich habe lieb die [ statte deines Hans]": pos sibly by Johann Christian Geisler (1729-1815), Karl Heinrich Graun (1701-1759).
J. C. Geisler, BCG MSS 166.2, 703.1 for SATB; 2v, va, vc.
Mtivdcv
K. H. Graun, BCC MS 915.1 for SATB; 2v, va, vc.
E;«x wen'tg lelokaff
Another version found in NCC, is attributed to A. A. Mozart; one vocal part is dated 9 March 1862, which is beyond the scope of this study.
Figure [(.. Sample Annotation Providing a Multiple Choice 10 type of Sinfonie could have been played* The word "Clavier" is retained, as well as p 0f * (pianoforte) or fop* (forte- piano), even when the implication obviously means the use of the piano, as in a.Mozart Clavier concerto (it is not known when the piano was in regular use in Nazareth)* The spelling of names is also inconsistant* For example, the
Joseph Myslivecek is spelled Milivet, Misliveech, or Mis- livecht in the Register (check the Index of Composers for alternate spellings)* . -
The unusual phrase, "ij. stimmig geblassen," is found frequently in the Register* Translated literally, it means .
"if. parts blown*" In this edition, the phrase appears as "if part wind ensemble *" "Mind” is to be understood in the broad sense as any blown instrument, wood or brass* The intended meaning becomes clear in entry No* 928— "2 Marche geblasen und gespielt" ("2 Marches for wind and string ensemble”)*
The instrumentation of the ensembles was not speci fied, although various combinations of clarinets, flutes, bassoons, trumpets, horns, and trombones were sometimes indi cated* The type of music played usually was not specified, although some entries indicate that parthien and marches were favored* Parthien are suites composed of short pieces with different meters and tempos * The Parthie was a popular genre, listed 67 times by name in the Register* Several '■ 11 Moravian composers made use of this' genre, particularly
David Moritz Michael, whose parthieh were played with.some ; frequencyo Titles of anthems are retained in German to facili tate locating the anthems for further study,. This is particularly important with Moravian anthems, since most scores found in the Archives are unpublished,, Ellipsis points are used from time to time in the presentation of title page information0 The points were either included on the title page of the printed"edition or this author omitted insignificant information,, No pertinent information was eliminated (see annotation No0 6 ) „> Vocal texts are not included with the incipits* If an instrumental introduction is the same as the opening vocal line, only one incipit appears0 If the two lines are different, the instrumental and vocal incipits appear (see annotations Nos0 10 and 133)»
Attention has been given to the spatial line divi sion of title page information* The title page divisions were made only from scores found in the Bethlehem Archives,
(see annotation No* 6 )„
The reader's attention is drawn to omissions in the numbering of certain symphonies«, The scribes occasionally omitted such vital information (see annotation No* k-Sl)» Some references to manuscripts in the Nazareth Con gregation Collection are designated as being from the ’’new . boxoM The "new boxes” contain materials that were found in I960 behind the organ chamber in the Moravian Church at
Nazareth during a renovation project. These valuable manu
scripts were taken to the Archives in Bethlehem,&
Differences in instrumentation are pointed out when
such information is available (see annotations Nos, 67 and
. 91)o The causes for such differences might be the loss of parts or the lack of certain instruments at the time of
performance.
The vocal parts for Moravian anthems sometimes have
different designations. Often the soprano part is called
’’Canto”| in this edition all Canto parts are marked soprano, The statt tenor, meaning ”in lieu of ,,,,” is also used (see
annotation 237)° The part is identical to, and later marked*
as another vocal part, usually soprano 2, It was used
according to the availability of tenors.
Another curious notation used by some scribes is
the addition of a number or small case letter after the num
ber of a symphony, as in entry $24, "Symphony No, 94 b by
Haydn,” It is reasonable to suggest that the ”b” indicates that the familiar second movement was played,
6 , "Manuscripts Discovered in Nazareth Moravian Church,” News Bulletin of the Moravian Music Foundation 4 (Fall. I960), pp, 1, 4, r“ : " ' 1 3 Hhen identification was made from music reference
works, speculation was necessary in certain cases = For
example, in the annotation for entry 693, "Clavier Concerto, Oeuvre 15 by ¥= Ao Mozart," two editions published by Je Andre and J0 Jo Hummel are cited* Many other editions of
an Oeuvre 15 are listed in the Kochel Chronological~ thematisches Verzeichnis*,*Mozart7j but those two editions were probably more accessible to the Moravians in America*
A large percentage of the printed music found in the Bethle
hem Archives comes from the publishing houses of J* Andre and J* J* Hummel* The Bethlehem Archives contain two manuscript
copies of the Johann Adam Hiller collection. Four-part Motets and Arias by Various Composers* Since the copies do
not contain exactly the same compositions, some confusion .
exists when giving references to the volumes* The two
copies ares BCC 917 "Vierstiramige/Motetten und Arien/in Partitur/von/Johann Adam Hiller/volumes 1-5/lech Schwestern Bethlehem" for SATB
BPS 8? "Vierstimmige/Motetten itnd Arien/von verschiedeneii Componisten/zum/Gebrauche der Sehulen u* anderer Gesangliebhaben,/ gesammelt und herausgegeben/von/Johann Adam Hiller* Sig* M. Fetter," in 5.volumes for 2 choruses (SATB), 2v, va, b*
■: • . . . . • „ - : 7* Ludwig Ritter von Kochel, Chronological-. thematisches Verzeichnis samtlicher Tonwerke Wolfgang Amade y Mozart, 6th ed* (Wiesbaden: Breitkopf and Hartel,196d), P o 2lj-5 o , . • a Since the distribution of parts for each selection in the BPS 8? manuscript was not available at the time of re- search, no instrumentation is listed in the annotations»
The location of pieces in each collection is included in the annotations o
Unique Entries
The Register contains a number of interesting en tries, not all identifiable, that are worthy of notice0
The most important discovery is the string trio "Der Nacht- wachter" for two violins and violoncello by Johann Christian
Bechlero The score is found in the Collegium Musicum
Lititz Collection, box 17a 0rchestrao No name appears on any manuscript sheet5 thus, no identification had been made0
The Register provided the clues for identification0 ?! Entry 74-0 is the "Trio, der Nachtwachter by J0 B-r„" The
"Jo B-r" could only be Johann Christian Bechler» Bechler arrived in Nazareth on September 18, 1806 and began teach ing at Nazareth Hall and later at the Moravian Theological
Seminary in Nazareth. In his "Lebenslauf" (p. 552) we learn that Bechler "instructed his students in theology, classics, and music, and it was during his early years at Nazareth 8 that he first tried his hand at composing0"
S. Quoted by Tracey L. Reed, ”Johann Christian Bechler, Moravian Minister and Composers The American Years 1806=1836" (Master's thesis, Indiana University of Pennsyl vania, 1973)J p° 60 15 The Trio consists of a theme with nine variations5
the last variation is a chorale0 Unfortunately, the first '
violin part is not complete| only the theme and three vari
ations are extant0 The other two parts are complete (see appendix F, figure 5 in pocket for a partial score)„
Entry 752 assists the identification of the theme
on which the Trio is based* This entry includes the follow ing informations "Variations on ’Nun ruhen alle Walder’ s*
5 Jan* (e *)" A check at letter "e" performed on "5 Jan*” proves to be "Der Nactwachter" (see the placement of entry
7I4.O in the Register) * The "s*" could be an abbreviation for
sehen or streichinstrumenten* The choral, "Nun ruhen alle
Walder" has a more familiar title, "0 Welt, ich muss dich
lassen,the famous parody of Heinrich Isaac’s "0 Inns bruck, ich muss dich lassen*" Another interesting item is entry 207» "Symphony
No, 1 in A Major by Haydn," The A Major Sinfonie in the Ar
chives is actually the String Quartet No, 7° The parts were obviously covered by first and second violins, violas and celli. The question is raised: Does this set a precedent for other cases where parts were played by instruments other
than those designated?
9o The Moravian Church in America, Hymnal and Lit urgies of the Moravian Church (Chicago s Provincial Synods of the Moravian Church in America, 1969), pp. 315$ 801-2, 16
Entry 751 indicates that the "Battle of Prague" was to be played by wind instruments (geblasen)s although the two editions listed in the MGG indicate the piece was written for keyboard and strings„ Entry 678 lists the
"Battle of Maringo" by B„ Viguerie to be performed "as a symphony," whereas, in reality, this composition, origi nally for pianoforte, must have been arranged for a wind ensemble (see entry Ho,, 575) and later played by a string ensemble (see entry No0 678)0 The Moravians in those days were practical people« The entries in the Register obvious ly reflect the actual way pieces were performed« Die Schopfung by Haydn was a favorite with the
Moravianso Selections from the oratorio were performed at seven concerts between 182.1 and 1845o The musical score was copied by Johann Friedrich Peter and partially per formed by the Collegium Musicum Bethlehem in 1811*10 A ■- v- .. ■■ ' note written on the inner folder of the PSBo17 o1A score indicates that The Creation was performed in 18285 "it/was then performed with Orchestral accompt [sicj /which we believe is Earlier than performed/Elsewhere in the United
10o Rufus Ao Grider, Historical Notes on Music in Bethlehem, Pa. (From 17^1-1871), with a Foreword by Donald Mo McCorkle (Philadelphia: John L. Pile, 18735 reprint ed,, Moravian Music Foundation Publications, No. l\.9 Winston- Salem, N. CoS Moravian Music Foundation, 1957)» p. 6. 17 States oThe earliest performance mentioned in the Diarium der Gemeine zn Bethlehem is 19 May 1823 „-*-2 Ac- cording to the Register* the first partial performance of The Creation was on ll|_ February 1821a
Another xmusual item is the "Violin Quartet in G Major" by Johann Baptist Vanhal, entry 115$ which is not identifiable o The term "violin quartet” is uncommon*
Entries 185$189$196,202*206*214$ and 21? appear to be ensemble music that belonged in one set0 Each entry is for a six part wind ensemble0 The pieces are ordered in a consecutive sequence* With some exceptions0 The first entry is credited to Francesco Antonio' Rosetti* There is a total of twenty-two movements* which makes a lengthy suite indeed.
Paedagogium Collegium Musicum Nazareth
The Musical activities in Nazareth were not limited to those activities listed in the Register0 The Nazareth
Moravians carried on other musical traditions also. This chapter will summarize the development of the Paedagogium
Collegium Musicum Nazareth and later the Musical Society of
Nazareth* as documented in secondary sources.
11. Richard Claypoole, "Catalog of the Bethlehem Collegium Musicum and Bethlehem Philharmonic Society Col lections" (Bethlehem* Pa.: Moravian Music Foundation* w.i.p.)* BPS.1?[olA]. 12. Ibid. 18
The development of the Collegium Musicum in Nazareth was closely tied to the Paedagogium or Boarding School for BoySo Much of its success can be attributed directly to the
teaching staff at the sehoolo The Collegium Musicum activi= ties later declined, as witnessed in other Moravian Collegia* A more secular-oriented organization took its place in the late 1830so The suggestion has been made that the Nazareth
Collegium Musicum was formed ca0 1780 and operated more or less as an appendage of the Collegium Musicum Bethlehemo-*-^
The following summary proves that the Paedagogium Collegium
Musicum had its own identity and function, even though they probably shared music with the Bethlehem group» The existence of the Collegia Musica per se in America at that time was an imusual phenomenon0 In Europe, during the seventeenth and early eighteenth centu ries, the Collegia Musica were groups of amateur musicians, associated with a school; they provided music for their mem bers and guests* It seems incongruous that the Moravian
Collegia were flourishing at a time when the Collegia in
Europe were a thing of the past* As early as 1748 the ori ginal intent of the Collegium Musicum Bethlehem was to im prove the quality of music performed. But, with the arrival
13, McCorkle, "Moravian Music in Salem ,,1 p, 292, 19 of Moravians from Europe.* who were, familiar with orchestral works and orehestrally accompanied church music* the role
of the Collegium Musicum expanded0 Other successful
Collegia Musica were established in Lititz* Pennsylvania,(ea0
1.765)9 Salem--now Winston-Salem--(.ca0 1786)* and Nazareth
(ca0 late 1780s) The earliest evidence of a Collegium Musicum in Naz
areth appears in connection with Nazareth Hallo Nazareth Hall* originally called the Manor House* was intended for
the residence of Count Ludwig Zinzendorf and his aides =
When Zinzendorffs plans were changed* the building became
the home of a boys school from 1759 until & period of economic distress in 1779*^^
The Moravians, and general public were pleased with
the high quality of education provided at the school. They
requested the Moravian authorities to reopen the school* and
this took place in 1785°
The "REGULATIONS ADOPTED FOR THE PAEDAGOGIUM OR
BOARDING-SCHOOL* ABOUT TO BE ESTABLISHED BY THE UNITED
111. Harry Hobart Hall* "The Moravian Wind Ensembles Distinctive Chapter in America’s Music" (Ph. D. disserta tion* George Peabody College for Teachers* 1967 ? Ann Arbor * MichoS Xerox University Microfilms*. No. 67=15, 007* 1975)* pp. 80-91° 15° H. Ho Hacker» Nazareth Hall, an Historical Sketch and Roster of Principals* Teachers and Pupils "(Bethlehem* Pa.s Times Publishing Co. 1910)* pp~o2b-33o 20 BRETHERN AT NAZARETH'1 provide insight into the studies at the schoolo 7© Instruction will be given in this school in Reading, Writing, Arithmetic; the English, German Latin, French and Greek languages; History, Geography, Mathema tics, Music and Drawing®. 13. Besides the above[tuition], every scholar who comes to this school pays.at his entrance one guinea, for the use of the library, procuring musical instru ments, etc o John Ogden, during his visit to Nazareth Hall, also reports on the musical activities there. He describes the provisions made for the musicians in the chapel, and reports seeing pieces of music in every apartment used by the pupils.1?
Furthermore, James Henry describes the meetings of the Paedagogium Collegium Musicum Nazareth in a vivid style.
In the.chapel of Nazareth Hall, the teachers and citizens were wont to assemble in the evenings, and re hearse many of the symphonies of Haydn and other com- . posers, together with an excellent programme of chamber music, in trios, quartettes and quintettes, and when engaged in the symphony, they employed as full an or chestra as they could muster. Each virtuoso, on his own favorite instrument, from the violineello Csic 1 to the kettle-drum, gave his whole soul to the subject, and if the performers, as a tout-ensemb 1 e,. did not arrive at the proficiency of professed artists, they at least displayed' the feeling, which is one of the first requirements of music, and often redeems the deficien cies of skill.
16. Ibid., pp. 34-6.
17. John 0. Ogden, Excursion into Bethlehem & Naza reth in Pennsylvania in the Year 1799f""With a Succinct His-
Ftoravians™THnTaxIel^Eira5 Printed ^y^cEarles Cist, ItiOOj, 2 1 A favorite of these genial Haydn symphonies was the 'Farewell,' which was signalized by the successive dis appearance of the lights. One performer after another, each as he closed his part, successively extinguished his taper, the music grew fainter, the sounds fell grad ually into a pensive andante, another taper, was extin guished, until the last survivor of that gay symphony was left alone, playing in his solitary position; and as the notes of his violin melted insensibly into feebler tones, and died away, he seemed, in extinguishing his own taper, to close the scene, and to drop the'curtain on some fine dramatic act,. ° The "Farewell" Symphony was played on 8 April 1832; see annotation No, 1028, As Mr, Henry states, the teachers at the Paedagogium. were active in the Collegium Musicum, The list of teachers who have been identified as composers or whose names appears as musicians in the Register is significant (see Appendix B.) 0 Two musically talented teachers taught at the school before
1 7 9 5 s when David Moritz Michael "started the Collegium Mu sicum on a new basis"— George G, Mueller and John F,
Friiaff o1^
The arrival of David Moritz Michael in 1 7 9 5 was in deed the beginning of a new musical era. Fifty percent of
18. James Henry, Sketches of Moravian Life and - Character (Philadelphia: Lippencott, 1859), pp% 269-70, 19, Music composed by Mueller, and Frilaff is listed in Hans T, David and Albert G, Rau, A Catalogue of Music by American Moravians, 17^2-18^2, From the Archives of the Moravian Church at Bethlehem, PaJ (Bethlehem, 1938; reprint ed,, New York: AMS Press, 1970), pp. 58-60, 117= 2 2 the concerts listed in the Register were given while Michael was teaching at the Paedagogium,
After Michael left Nazareth in l80lj.s the combination of Jacob Van Vleek and Johann Christian Bechier kept the momentum of musical activities going. Another thirty per cent of the concerts were given while those two men were in
Nazareth (1805>-I8l2) „ Van Vleck, principal at Nazareth
Hall, was a violinist, keyboard player and c o m p o s e r , ^0 while
Bechier, a teacher at Nazareth Hall and the newly-formed.
Moravian Theological Seminary in Nazareth, taught theology, classics and music. Bechier first composed music while in
Nazareth, receiving some instruction from D. M. Michael, while Michael was in Bethl e h e m .
Bechier*s comments about his own compositions reveals the attitude that seems to sum up the general feelings of many Moravians concerning the composition and performance of music. 1
Bechier accompanied the anthem with a letter, written in German[to John Frederick Peter in l8l0J, in which he asked his friend to accept his newest piece of work with love and to judge it with forbearance. !iEverybody,he continued, "does as well as he can, and praises and glo rifies the Creator, who gave him his portion, however small it may be, by using it faithfully. I do not care .
20. Ibid., pp.. 21. Reed, 11 Johann Christian Bechier," p. 6. - 23 what the learned critic would say about- my blunderings if he had to judge them— far it is not for him that I write6 If the congregation, to whose enlivenment, stim ulation and edification I should like to contribute, actually derives some such fruits through my compositions, I shall, think I have accomplished more than if a critic praised me. and the congregation did not enjoy hearing me," 22 In 1812 the number of concerts was greatly reduced; five concerts were given compared to eleven in l8ll. A possible reason for the slow down in 1812 was the controver sy involving Professor Ernst Ludwig Hazelius.over disagree ments on outdated customs and policies at the Seminarye
Hazelius consequently left the church. Bechler remained under suspicion of heresy, but eventually cleared himself.
The controversy resulted in the closing of the Seminary. In April, 1812 Bechler received a call to the pastorate of the
Philadelphia Congregation. ^3 He returned to Nazareth in
1817 to undertake the duties of principal at Nazareth Hall. Even before Bechler left, Peter Wolle and Peter
Ricksecker, both talented performers and composers, joined the teaching staff at Nazareth Hall. Peter Ricksecker stayed in Nazareth until 1821. It was after the last concert in
1821 that the Paedagogium Collegium Musicum Nazareth ended its annual concert series. According to the Register, concerts began again in 1824, but on a sporadic schedule.
22. David, "Musical Life in Settlements," pp. 34-5» 23c Reed, "Johann Christian Bechler," pp. 7-8. 2k The listing of the teachers1 names in the Register ; corresponds with their dates of tenure at Nazareth Hallo - Compositions by the composers mentioned above are found in Appendix Go
Several special concerts listed in the Register were of importance to Nazareth Hall and the Paedagogiumo
The "Grand Concert" given on II4. November 1806 was the fif tieth anniversary of the dedication of the chapel at Nazareth Hallo24 The concert on 3 October 1810 was the twenty-fifth anniversary of the Paedagogiumo
On October 3» 1810, was celebrated the twenty-fifth anniversary of the renewed school, into which up to that time two hundred and ninety-three pupils had been admitted, eighty-three of whom were of Moravian parent age, and forty-four teachers employed» The occasion was observed with impressive festivities0 The pupils ate for the first time in a common dining hall, the meals having theretofore been served in the apartments of the several divisions0 The exercises of the day were closed with a concert in the Chapel, which was handsomely decorated after the fashion of that time o 0 0 o 25. . Popularity of the wind ensemble is evident through out the Registero Subtle changes appeared in concert, pro gramming beginning about l8ll|.o Marches and other military and ceremonial music were performed with more regularity»
The growing popularity of military bands from the turn of the century to the 1830s was a general trend in
America that even touched the Moravians0 In Nazareth the
2ko Hacker, Nazareth Hall, p„ IpU
25>o Ibid., pp.. 1+1-2. 25 bandsmen were active also, although due to lack of hard evidence the total picture of bands in Nazareth .has not yet emergedo Harry Hall in his dissertation gives the follow ing lively description of a celebration, drawn in part from the Pennsylvania Herald and Easton Intelligencer (13 July
1815)8 As early as 1810 a contemporary newspaper report of the annual Independence Day celebration in Nazareth suggests the presence of a band perform ing appropriate military music0 A notice relating -the afternoon’s festivities calls special attention to a profusion of toasts drunk to the accompaniment of gunfire and patriotic airs including Hail Columbia, Washington’s March, Jefferson’s March, Madison’s March, Snyder’s March f Simon Snyder (1759-1819)a Governor of Pennsylvania (I808-I817)], and The Soldier’s Return, .
Although the account fails to identify the ensemble, there is reason to believe that it probably was composed of Nazareth musicians„ Most, if not all, of the latter were no doubt members of the community’s Collegium Musicum, 26
At a later date, and on a mucja more sophisticated level, the Military Band of Nazareth and the Musical Society of Nazareth combined their efforts for a concert at Black
Rock Springs, A replica of the handbill is reproduced as
Appendix D,
Monetary support of musical organizations always has- been a problem since early patronage times. It appears that the educational institutions in Nazareth provided some
26, Hall, “Moravian Wind Ensemble,” p, 209. ... . 2 6 support, perhaps even until 18210 In I82I4. when the concert series were resumed, receipts from the concerts were listed for the first time* The total receipts for various years between I82I4. and 1836 are provided in figure 6 6
Year Number of Concerts
1 8 2 4 Ip .. $ *97 1825 3 2*64 - 1831-2 2 2* 39 1835 2 19.00
1836 1 — ■ FigureL 6, Receipts of the Paedagogium Collegium Musicum
From the time the Musical Society of Nazareth.was formed, the admission, fee was twenty =>five cents* No other receiptsX...... are listed in the I.Registere-milI rr*.. . The PCMN did incur one expense for the concert on 6 February 1835? a note lightly written in the upper right hand corner of the page indicates "hand bills printed for the first time 0
With the formation of the Musical Society of Naza reth in 1837? musical life in Nazareth received a timely booste Frances F. Hagen, minister, musician, composer, taught at Nazareth Hall and was listed in the Register as a director of.the Society. Fifteen concerts were presented during the course of Hagen's stay in Nazareth (1837-18^-1)°
27. The handbill is not extant in the Archives of the Moravian Church, Bethlehem, Pennsylvania. 27 Although all of the compositions performed during these years are not recorded in the'Register, several of the compositions listed show another trend that swept Amer ica beginning in the early nineteenth century— the music festival* The music festivals became a popular activity, to which participants came from a wide geographic area to perform in choruses and orchestras* Over a period of years as the quantity of participants increased, the quality of music decreased* Instead of programs which featured pri marily the finest symphonies and oratorios, the festivals began to include many opera overtures and potpourris,28 secular choruses, and "a variety of pleasing and popular airs *”29
During the years i837"l81]-5j> the Musical Society performed works that had been given in many festivals* Com positions listed in the Society’s repertoire includes Per
Ostermorgen by Sigismund Neukqmmj Die Blinden zu Toledo by .
Etienne-Hicolas Mehulj Das Lied von der G-lbcke by Andreas
Romberg; Paulus by Felix Mendelssohn; and Die Schopfung by Joseph Haydn* The Society joined other musicians from Bethlehem,
Allentown and Easton in 1939 for what must have been the
28* David, "Musical Life in Settlements," pp. ^-8* 29o See Register, entry No* 1076* This concert is representative of the quality of music mentioned above* .28 best of the annual festivals given in Bethlehem; Die SchB-p- fung bv Haydn was p e r f o r m e d <> 30 in appendix E9 I have included a quote describing the Annual Festival in. Bethle hem and a facsimilie of the expense sheet prepared by the
Musical Society of Nazareth for the festival«, According to the description given in the Register on 30 January 181|.5$ the Musical Society of Nazareth was prepared to launch another series of concerts after the wait during the construction of the new church in Nazareth*
They had received good support for their efforts and had set January 30 as the date for the first public concert* The second public concert is not listed; the Register ends there * A void exists in the records of music performed in
Nazareth between IdljJ} and 1883$ when the Nazareth Choral
Society initiated activities * 31 perhaps a continuing register of concerted music in Nazareth will be discovered some day and will cast light on this period*
3P* Grider, Historical Notes, pp* 28-30*
31o Shultz, Two Centuries of Nazareth* pp* 161-2* CHAPTER II
THE DOCUMENT
This chapter is an English translation of the
Register of Music Performed'in Concert, Nazareth, lit.
October 1796° The format of each page in this modern edition appears the same as that of the original manuscript with.the exception of the annotation numbers at the right hand margin» Titles of anthems are retained in German to facili tate locating the anthems for further study. This is par ticularly important with Moravian anthems, since most scores found in the Archives are unpublished.
An Index of Composers, whose works are listed in this Register, is found in Appendix A, Compositions by each composer are listed by the annotation numbers, as found in the Register, which also correspond to the anno tations in Chapter III,
29 Register of Music Performed
in Concert
Nazareth
1 4 October 1 7 9 6 31 Winter Concert 1796 lo lij. October Symphony by Pleyel 1 Tod Abels, 1,6,8,10,12,1^. 2 4 part wind ensemble 3
20 21 October Symphony by Pleyel, first Allegro 4 Tod Abels, 16,18,19,21,22,24,2£ 5 Concerto for Flutes by Kl8ffler .6 4 part wind ensemble 7
3« 28 October
Symphony No.-I by Stamitz 8 Violin Concerto by Borghi 9 Motetsg Sieh 0 Mensch auf 10 Der Herr ist KBnig des Preue 11 Wir selig ist der Gott 12 Symphony by Pleyel, the remaining parts 13 4 part wind ensemble l4 32 1796 l+o Ij. November r; .
Symphony No».1 by Graaf 1$ Clarinet Quartet 16 Athalia, Acts I and II 17 4 part wind ensemble 18
5= 11 November Symphony No, 2 by Graaf 1.9 Clarinet Concerto by Rosetti 20 Athalia, Acts III and IV 21 2 Clarinets$, 2 Horns in ensemble 22
6o 18 November
Symphony No. 3 by Graaf 23 Violin Concerto by Piehl ?i] Motets?; Herr ich habe lieb die . 25 Ich erhebe mein Gem#the 26 Der Herr behiite dich 27 ZauberflBte, the first half, (quartet) 28
7 o 25 November Symphony by Gyrowetz 29 Clarinet Concerto by Stamitz , 30 • Te Deum Laudamus, 1-6 31 4 part wind ensemble 32 1796
80 2 December Symphony by Vanhal Quintet by Liedel . Te Deum Laudamuss 7-11 Ij, part wind ensemble
9 December Symphony No,0 1 by Lachnith Chorusess Comfort ye ray people Every valley shall be exalted Lop this is our God I will greatly rejoice in the Lord Du bist wiirdig zu nehmen Lob Clarinet Duet Symphony, the little No. 1, by Haydn
10. 16 December Symphony No. 1 by Eichner Clavier Concert^ Der Hirten bey der Krippe Quartet in A by Stamitz Parthie No. 3, for wind ensemble, by Stephani
11. 30 December
Symphony No. 2 by Lachnith Violin Concerto by Kislivet Clarinet Quartet by Pichi Parthie No. 3$ for wind ensemble, by Pichi 311
1797
12? 6 January Symphony III by Bichner Violin Concerto by G-iornovichi Motetsg Lass sich freuen alle I Singt neue Ges&nge dem Herr 57 Hun danket alle Gott 58 ij. part wind ensemble 59
13o 13 January Symphony No0 5 by Pleyel 60 ■Messiahs Lift up your heads 61 The Lord gave the word 62 Their sound is gone 63 And the glory of the Lord 64 Hallelujah 65 Parthie I by Pichl 66
14o. 20 January Symphony'0eo XXIVs No. 1 by Haydn Thirza, the first part il Quartet Noo 4 by Stamitz 69 Parthie No» 2 by Pichl 70
15o 27 January
Symphony Oe6 XXV, No0 1 by Haydn 71 Thirza, the second part 72 Parthie No, 4 6y Pichl 73 35 1797
16o 3 February
Symphony No0 1 by Stamitz Thirza, the third part i},. part wind ensemble ?i76
17o 10 February
Symphony Noe 2 by Stamitz 77 Stabat Mater9 1-7s by Haydn 78 Zauberfl8te (Quartet), 9-1^. 79
180 17 February Symphony .Noo 3 by Stamitz 80 Stabat Mater, 8-13, by Haydn 81 Quartet No, 1 by Stamitz 82 if. part wind ensemble. No0 lj.0 83
19o 2 4 February Symphony No. 4 by Stamitz Tod Jesu, 1-7» by Graun 4 part wind ensemble I
20o 3 March
Symphony No® 1 by Sterkel 87 Tod Jesu, 8-l4» by Graun 88 Clarinet Duet 1,2 by Grenser: 89 Zauberfltite (Quartet), 15-18 90 36
1797
21 o 10 March *
Symphony, from 1789, by Haydn . 91 Clavier Concerto by Beckmann 92 Tod Jesu, l5“20s by Graun 93 Parthie No0 8 by Pichi %
220 17 March Symphony Oe, XXVs 2 by Haydn 95 Clavier Variations by Haydn 96 Clarinet Duet l±9S by Grenser 97 Tod JesUp 21-25$ by Graun 98 ij. part wind ensemble . 99
23o 24 March Symphony No0 5 by Stamitz 100 Leiden Jesu$ I$2$5$6,8$9$10,l4$l6$ by Rolle 101. Quartet in Bb by Stamitz 102 4 part wind ensemble 103
24o 31 March Symphony No, 6 by Stamitz 104 Leiden Jesu, 18$ 19$20$23$25$27j>28s30 105 Quartet Ho» 2 by Stamitz 106 4 part wind ensemble 107
25$ 7 April Symphony No0 2 by Sterkel 108 Clarinet Duet 1$2 by Pleyel 109 Quartet No0 3 by Stamitz 110 Leiden Jesu, 32-40 111 4 part wind ensemble 112 37 1797 Summer Concerts
lo 28 May
Symphony No. 2 by Sterkel 113 Clarinet Concerto by M. 11^ Violin Quartet in G major by Vanhal 115 Psalm 65 by Reichhard 116 ij. part wind ensemble 117
2. 2 July Symphony by Pichi 118 Concerto for 2 Flutes by KlBffler 119 Psalm llj.6 by Himmel 120 4- part wind ensemble 121
3o 30 July Symphony No. 5 by Pleyel 122 Clarinet Concerto No. 3 by Latrobe 123 Kyrie Eleison, 1-5 124 Symphony No. 1 by Stamitz 125
4® 27 August Symphony in A by Vanhal » 126 Violin Concerto by Leeder 127 Kyrie Eleisdn, 6-9 128 4 part wind ensemble 129 38 1797
So 2k. September Symphony No,-3'by Lachnith 130 Clarinet Duet by Pleyel 131 Motets: Der Herr 1st KBnig 132 Brhebt den Herrn 133 Ich erhebe mein Gemiithe 13^. Der Herr behilte dich vor allem 135 Symphony No« 2 by Stamitz 136 ij. part wind ensemble 137
Winter Concerts
20 October
10 Symphony in D minor by Vanhal 138 Oster-Cantate, Part !„ by Wolf 139 Symphony No, 1 by Eichner ll+O
20 27 October
Symphony Opo Vp 2, by Pleyel lip. Oster-Cantate, Part IIS by Wolf llj.2 Quartet in Bb by Vanhal II4.3 i|. part wind ensemble lip.
3o 3 November Symphony by Gyrowetz ' lip Israeliten in der Wilstes 1=11, by Bach llj.6 Parthie No, 3 by Pichl lip 39 1797
IK 10 November Symphony No® 2 by Sterkel llj.8 Clarinet Concerto by Rosetti lii-9 Israeliten in der Wilste, 11 to 2 in the 2nd part 1$0
5= 17 November Symphony Op. Vs 1 by Pleyel . 1^1 Israeliten in der Wtiste, to the end, by Bach 1^2 Parthie in 7 parts by Zimmermann l£3
6. 2i|. November
Symphony No. 2 by Gyrowetz . 15U Quartet in A by Stamitz 155 Motets s Sieh 0 Mensch auf 156 Die Gtite des Herrn ist 157 Nun danket alle Gott 158 ij. part wind ensemble 159
7. 1 December Davids Sieg im Eichthale by Rolle 160 Parthie No. 1 in 7 parts by Pichi 161
8. 8 December
Symphony No. 1 by Gyrowetz 162 Davids Sieg, to the end 163 Quartet by Pleyel l6lj. 6 part wind ensemble 165 krO 15 December 1797
9o Symphony No0 1 by Graaf 166 Weynachts Cantilena by Reichhard I67 4 part wind ensemble 168
10„ 29 December
Symphony No0 1 by Schwindel 169 Die Hirten bey der Krippe by Tflrk 170 ' i}. part wind ensemble 171
1798
11o 5 January Symphony No, 3 by Eichner 172 Quartet No„ 1 with 2 Flutes by Bach 173 sung: 0 du zu meinem Trost (Duet) m Preisses ErlSste (Chorus) 175 I will mention (Duet) 176 Give thanks unto the Lord (Chorus) 177 ij. part wind ensemble 178
12o 12 January
Symphony in A, 2 by Haydn 179 Athalia, Acts I and II 180 . Parthie in 7 parts by Zimmermann 181
13o 19 January Symphony No„ 2 by Graaf 182 Athalia, Acts III and IV 183 Quartet No0 1 by Stamitz • 181}. Parthie 1=3 in 6 parts by Rosetti 185 1798 llj.o 2 6 January
Symphony No* 2 in Bb by Haydn 186 Viola solo Noo 1 by Koczwara 18? Tod Abels, 1^10 188 6 part wind ensemble, 4^5*6 189 l5o 2 February Symphony Ho. 3 by Sohwindel 190 Concerto for 2 Flutes by KlSffler . 191 Tod Abels, 11-18 192 6 part wind ensemble, 8,9,10 193
16. 9 February
Symphony Ho. 6 by Pleyel 19l|. Tod Abels, to the end 195» 6 part wind ensemble, 11 196
17. 16 February
Symphony Ho. 3 by Graaf - 197 Leiden Jesu, l-ll}., by Rolle 198 6 part wind ensemble, 7,9,13 199
18= 23 February Symphony Ho. 1 by Sterkel 200 Leiden Jesu, 1 3 - 2 8 , by Rolle 201 6 part wind ensemble, 12,1^,13 202 '■ . ‘ k z 1798
19o 2 March
Symphony by Hennig •- 203 Leiden Jesup to the end . 201}. Quartet No0 2 by Stamitz 205 6,part wind ensembles 16,17,18 206
20o 9 March Symphony Ho0 1 in A by Haydn 207 Passion Music, 1-10, by Homilius 208
21o 16 March Symphony in A by Vanhal ' 209 Passion Music, 11-18, by Homilius 210 Clarinet Duet No0 3 by Michael 211
22= 23 March Symphony No= 1 in Bb by Haydn 212 Passion Music, to the end, by Homilius 213 6 part wind ensemble, 19,20 21k.
23= 30 March Clarinet Concerto in A by Stamitz 215 Stabat Mater by Pergolesi, according to 216 Hiller*s German parody 6 part wind ensemble, 21,22 217
c=3 e o cs» esa cat ee» o e a ea$ esa e a e a c o e s s c a «se» csa ecac a ts a e a e d esa eaa esa ess e » Co tso czd ess> c a «=» e a e s esa <=> c=a e=» e a e=» ess c o eea cs» e a c o <=a eat «s» eat c a c o csa e o cs»cs» 1798 . Slimmer Concerts lo 3 June
Symphony No* 1 by Gyrowetz 218" Te Deum Laudamus, 1-6 219 6 part wind ensemble, 12,13,18,19 220
20 1 July
Clarinet Concerto in Bb by Stamitz 221 Te Deum Laudamus, 7s9,10,11 222 4 part wind ensemble, 38,35s31}- 223
3o Symphony No. 1 by Graaf 22^ sung § The Trumpet shall sound 225 I know that my Redeemer 226 Worthy is the Lamb 227 Amen. 228 1|. part wind ensemble 229
4. 26 August Symphony No. 1 by Rosetti 230 Motets: Erhebt den Herrn 231 1 Wir selig ist der Gott 232 Nun danket alle Gott 233 Clarinet 4,5 by Pleyel 234 Overture by Mozart 235 # 1798
23 September
Symphony Oe. IV, 1 by Pleyel ' 236 sungs Nun erschallt vor deinem 237 Throne by Latrobe Clarinet Quartet Noo 1 by Pichi 238
Winter Concerts beginning 19 October 1798 lo Symphony No, 1 by Gyrowetz 239 Thirza, Part I 2I4.O Parthie No. 3 by Pi chi 2lj.l
2. 26 October
Symphony No. 6 , the first Allegro, by Pleyel 21+2 Thirza, Part II 2^3 Parthie No. if by Pi chi 2ljlj.
3« 2 November
Symphony No. 6 , the remaining parts of the '■ 2if5 symphony listed above, by Pleyel Thirza, Part III 2if6 1798 ij.o 9 November
Symphony No0 2 by Stamltz 2I4.7 Messiahs 2$ 3s>ki>5t&s>7 2lj.8 Quartet in P by Cambini 2ij.9 h part wind ensemble for 2 clarinets and 250 2 horns, 1,2,3,4*6
5o 16 November
Symphony 0e6 83, Liv0 2 by Haydn 251 Tod Abels, 1-10 252 Parthie No« 5 by Pichl 253
6 0 23 November
Symphony Liv0 II by Rosetti 254 Tod Abels, 11-18 ' 255 Quartet in A by Stamitz 256 2 clarinets and 2 horns in ensemble, 7,8,9 257
30 November
Symphony No, 1 by Meder 258 Clarinet Duet No® ,3 by Michael 259 Tod Abels, to the end 260 Overture by Mozart 261 1798
8, 7 December Symphony II by Meder . 262 Violin Concerto by Giornovichi 263 Choruss Auf der Liifte Heilgen Meben by Wolf 261^ Symphony I by Lachnith 265 2 clarinets and 2 horns in ensemble, 19*18, 266 17,26
9® Extra Concert 11 December Symphony Mo. 2 by Gyrowetz 267 Clarinet Duet 1,2,5 by Grenser 268 Chorus: .Auf der m f t e by Wolf 269 Parthie in 7 parts by Zimmermann 270
10. llj. December
Symphony III by Meder 271 Clarinet Concerto No. 3 by Latrobe 272 Messiahs 9,3^,35,57 273 Symphony III by Lachnith 27i|.
I!.® 28 December
Symphony No. 5 by Pleyel 275 Die Hirten bey der Krippe by Tiirk , 276 Parthie No. 3 by Pichl 277 47
1799
12o 4 January Symphony II by Bichner 278 Chorusg 2 Choruses from the Weynachts. 279 Cantilene by Reichhart Symphony Oe. V, No, 1 by Pleyel 280 4 part wind ensemble for 2 clarinets and 281 2 horns
13o 11 January • Symphony Liv® 1 by Gyrowetz 282 Clavier Sonate by Hofmeister 283 Psalm lLj-3 by Doles 284 Wind ensemble from the ZauberflSte* 1«3 285
14o 18 January Davids Sieg im Eichthate by Rolle 286 Symphony No® 1 by Sterkel 287
15. 25 January Symphony Oe® XXIX, 2 by Haydn 288 Davids Sieg, to the end 289 Wind ensemble % 3 Marches by Bach 290 lj.8 1799
16 o 1 February
Symphony Oe. XXIV, 3 by Haydn 291 Cantata by Latrobe 292 Wind ensembles 1,2,3,7$ selected pieces ___ 293
17o 8 February
Symphony Oe. IV, 3 by Pleyel 29i{. Passion Music, 1-12, by Graun 295 Wind ensemble from the ZauberflSte, 1^-6 29 6
18. 15 February
Symphony No. 3 by Eichner 297 Passion Music, 13-23, by Graun 298 Wind ensemble in 5 parts s Short Parthien 299
19« 22 February
Symphony Op. 83, Liv. 1 by Haydn 300 Passion Music, to the end, by Graun - 301 Parthie by Noak 302 1799
20o 1■March Symphony by Hennlg • 303 Tod Jesus 1-9# by Graim . 30^. Parthie Noo 1 by Collauf 305
2 1 c , 8 March
Symphony by Wolf 306 Tod Jesu, 10-17, by Graun 307 Quartet Noo 1 by Stamitz 308
22o 15 March .. . Symphony in A, 2 by Haydn 309 Tod Jesuj to the end 310 Parthi-e ■•■No. 2 by Collauf 311 50
1799 Summer Concerts beginning 23 June
lo Athalia, Acts I and II 312 Parthie Ho0 7 by Collauf 313
20 21 July
Athalia,: Acts III and IV 3lA Symphony No» 11 by Haydn 315
3o 18 August
Symphony Noo 7» a by Haydn 316 Oster-Cantata by Wolf 317
I4.0 15 September Symphony 0e= 23$ Liv 3 by Gyrowetz, 318 borrowed from Bethlehem Oster-”Cantata$ to the end, by Wolf 319. Parthie No* 1 by Pichl 320 1799 Winter Concerts beginning 1 November
lo ,Symphony Oe. 80, Liv0 2 by Haydn, 321 borrowed from Bethlehem Psalm 1}.6 by Doles, also from Bethlehem 322 Parthie No0 1 by Collauf 323
20 8 November Symphony No* 20 by Vanhal 32lj. Clarinet Duet No, 5 by Michael 325 Psalm lij.6, Noe llj., by Himmel 326 Parthie No, 2 by Collauf • 32?
3o 15 November Symphony Noo 1? by Rosetti 328 Thirza, Act: I 329 Parthie No, 3 by Collauf 330 ij.o 22 November
Symphony by Haydn, borrowed from Bethlehem 3.31 Thirza, Act II 332 Parthie No, 4, the first half, by Collauf 333 » 52. 1799
, 29 November
Thirzap Act III 33k Parthie No,.4 by Collauf 335
> 6 December
Symphony No. 18, a by Eichner 336 Quartet in Bb by Vanhal 337 Tod Abels, 1-10, by Rolle 338 Parthie No. 5 by Maschek 339
> 13 December
Symphony No. 5 by. Pleyel 3ko Clarinet Duet No. 3 by Grenser 341 Tod Abels, 11-18 342 Parthie No. 1 by Pichi 343
8. 20 December
Symphony in A by Stamitz 344 Tod Abels, to the end 345 Symphony No. 2 by Gyrowetz 346
I i8oo 10 January
9o Symphony No„ 19 by Vanhal Gedor by Rolle
10o 17 January Symphony 0eo XXIV, 2 by Haydn $e Deum Laudamus, 1=6, by Graun Concerto for 2 Flutes No, 2 by KlSffler
11o 24 January Symphony No
120 31 January Symphony No, 12,II4. by Graaf Clarinet Concerto in Bb by Stamitz Quartet in A by Stamitz Parthie by Rosetti l8oo
13. 7 February Symphony No* 10 by Haydn 359 Quartet with Clarinet 360 Motets? Lass sich freuen alle 361 Der Herr ist KSnig des 362
34. 14. February
Symphony Mo* 4# a® by Pleyel 363 Stabat Materf the first half from 1-7$ 364 by Haydn, and Hillers German parody
15. 21 February Symphony No* 15$ 0 by Lachnith 365 Stabat Mater, to the end ' 366
16* 28 February
Symphony No* 4$ b by Pleyel 367 Leiden Jesu, 1-14 by Rolle 368 55 1800
17® 7 March Symphony No. 18$, b by Eichner 369 Leiden Jesu$, 15-28$, by Rolle 370
18 o II4. March Symphony No. l8s c by Eichner 371 Leiden Jesu$, to the end, by Rolle 372
19= 21 March Symphony. No. 21$, a by Schwindel , 373 Tod Jesu, 1-10,by Graun ' 374
20. 28 March
Symphony No. 12, c by Graaf 375 Tpd Jesu, 11-20, by Graun 376
21. 4 April Symphony No. 8, a by Haydn 377 Tod Jesu, 21-25, by Graun 378 Symphony No. 15, a by Lachnith 379 1800 Instead of the summer concerts in the big church# every I4. weeks motets and parthien were sung and played alternately from the balcony.
Winter Concerts .beginning 21 November
1. Davids Sieg im Eichthale, to the aria Es schreck euch der brflllende Kringer & l|, part wind ensemble
2. 28 November Symphony No. 1 by Sterkel Davids Sieg* to the end 57 i8oo
3o 5 December Symphony 0e6 XXIVs 2. by Haydn . 384 Die Befreyung Israels by Rolle 385 Parthie in 5 parts by Gyrowetz 386
4® 12 December Symphony No* 2 by Sterkel 387 Die Befreyung Israels, to the end, by Rolle 388
5® 19 December
Symphony No® 1 by Stamitz 389 Weynachts Cantilene by Reichhard 390 2 .Marches for wind ensemble 391 58 1801
6o 9 January
Symphony No,, ks> 1® by Pleyel 392 Clavier Sonate by Hofmeister 393 "Symphony No. 2lj. by Abel 394
7 o 16 January
' Auferstehung und Himmelfahrt Jesu, 395 Part I, by Bach Parthie No. 1, asb by Pichl 396
80 23 January Auferstehung und Himmelfahrt Jesu, 397 Part II to the end, by Bach
9o 30 January
Lazarus, es der Beyer- der Auf erst ehung, 398 Part I, by Rolle 1801
10, 6 February Symphony No„- 12# c, by Graaf 399 ■Lazarus, ■ Part; II ifOO lie 20 February
Lazarus, Part III to the end, by Rolle . I4.OI
12, 27 February
Symphony No.; 8, a by Haydn ij.02 Passion Music, 1=10, by Homilius . li03 Part hie No, 3 by Pichl I4.04
13, 6 March
Symphony No# 7s b by Haydn k-OB Passion Music, from 10 to the end of ij.06 Part I, by Homilius 1801 l k ° 13 March Symphony No, 3 by Gyrovretz Passion Music# Part II to the end# by Homilius
15, 20 March Stabat Mater# according to the German textg Weint ihr Augen heisse Thrlinen# by Haydn Clavier Sonate with violin and bass accompaniment by Hofmeister
16, 27 March Symphony No, .17 by Rosetti Stabat Mater, to the end, by Haydn 61 1801 Instead of the summer concerts, every lij. days or I4. weeks Brothers? Miller. Schmidt Co Michael and D 0M 0 Michael played trombones from the balcony« The sonatas, along with some variations of chorales, were first arranged for this purpose.
/ > 1801 Winter Concerts beginning 30 October lo Symphony No. 1 by Gyrovretz Athalia, Parts I and II
2o 6 November
Symphony No, 5 by Pleyel Athalia, Parts III and IV
13 November— -cancelled 20 November=°also cancelled, since the boys had gone to the lake to gather moss for Christ mas C for the Putz3 =
3o 2? November Symphony Oeuvre V, specifically the first Allegro from the 2nd, by Pleyel Gedor, Oder das Erwachen zum bessern Leben by Rolle 1 8 0 1 o I4. December Symphony Ho„ 10 by Haydn Clavier Senate Psalm 23 by Knecht o 11 December
The last Allegro from Symphony Oeuvre V by Pleyel Psalm lij.6 by Himmel Parthie No0 ij. for wind ensemble by Collauf
0 18 December
Symphony Oeuvre XXIV, 2 by Haydn sungs Comfort ye my People Every valley shall be exaulted And the Glory of the Lord Their sound is gone Lift up your heads Hallelujah 1802
7 o 1 5 January Overture Ho0 13 by Mozart Befreyung Israels by Rolle Parthie No0 5 by Mascheck
80 22 January
Symphony No0 15» c by Lachnith. Befreyung Israels, to the end
9 o 29 January Auferstehung und Himmelfahrt Jesu Part I, by Bach Parthie No0 7 by Gollauf
10o 5 February Auferstehung und Himmelfahrt Jesu Part II to the end, by Bach 65 1802
11o 12 February
Symphony Ho.. 18, a by Eiehner I4J4.O , Chorus g Selections from Hermann I441 Violin Concerto by Misliveeeh ljl).2
12o 19 February Symphony No. 2l\. by Abel 443 Leiden Jesu, 1-14» hy Rolle 444
13„ 26 February
Symphony No. 18, c by Eiehner 445 Leiden Jesu, 15-28, by Rolle 446
14. 5 March
Symphony, b, by Sterkel 447 Leiden Jesu, to the end ' 448 Parthie No* 8 by Noak 449 1802 l5o - 12 March Symphony, a, by Stamitz Tod Jesu, 1-10, by Graxm
16» 19 March Symphony Eo, 19 by Vanhal Tod.Jesu, 11-20, by Graun
17- 26 March Symphony Hoe 8, a by Haydn Violin Concerto by Stamitz Tod Jesu, to the end 1802 Winter Concerts beginning 26 November lo Symphony No, a by Vanhal Tod Abels, 1-10, by Rolle Clavier Concerto by Beckman
2, 3 December Symphony No, c by Vanhal Tod Abels, 11-18 Violin Concerto by Mislivecht Parthie No, 3 by Pichi
3e 10 December Symphony No. d by Vanhal Tod Abels, to the end Parthie by Zimmermann
J4.0 17 December Concerto for 2 Flutes Die Hirten bey der Krippen by Tilrk 1803
5 o 7 January Clavier Concerto by Hofmeister Gedor, oder das Erwachen zum bessern Leben
6 0 Ik January Symphony by Haydn Psalm 23 by Knecht Violin Concerto by Vanhal
7 e 22 January
Symphony 0ec XXIVP 2 by Haydn Thirza, Part I
8 0 29 January Symphony by Vanhal Clavier Sonate for I4. Hands Thirza, Part II
The concert was cancelled because 3 Brothers went to the burial of the Richteous Brother Heckew&lder in Hopes Vo Vleckj, Miller, and DoM* Michael. 69 1803
9o 11 February
Thirza, Part III 479
10 o 18 February
Symphony Hoo 8 , a by Haydn I4.S0 Psalm llj.6 by Himmel 48l Parthie in 6 parts by D 0MeM0 482
11o 25 February Clarinet Concerto in A by Stamitz 483 Stabat Mater# 1-7$ by Haydn 484
12e 4 March
Symphony Ho® 19 by Vanhal 485 Stabat Mater, to the end 486
13o 11 March Symphony Ho, 7# a by Haydn 487 Clarinet Duet by Grenser 488 Clavier Concerto by Beckman 489
14° 18 March Maria und Johannes by Schulz, the text 490 by Ewald.
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1. Violin Concerto by Mislivecht Two arias from Maria xmd Johannes sung by Sister Fetter Parthie No. 3 for wind ensemble by Pichi
2. 28 October
Symphony No. 1 by Gyrowetz Oster-Cantata, Part I, by Wolf
3® 1}. November Symphony No. 18, a by Eichner Oster-Cantata, to the end, by Wolf A Sonata that had been played before, by Pleyel h® 11 November Lazarus, oder die Feyer der Auferstehung. Part I, by Nolle
5. 18 November
Lazarus, Part II - The first Allegro from a Haydn Symphony. 1603
60 25> November
Parthie No* 7 by Gollauf Lazarus, Part III to the end
7 » 2 December
Symphony No* 7, b by Haydn Quartet in Bb Major b y .Vanhal Meynachts Cantilene, the first half, by Reichhard
8o 9 December Symphony No, 7» a by Haydn Clavier Concerto by Giordani Meynachts Cantilene, to the end
9o 16 December Symphony No„ 6 by Pleyel Comfort ye my people Every valley shall be Lift up your heads Hallelujah! For the. Lord God Omnipotent reigneth 6 January I80I4.
10. First Allegro from Symphony No. Ij., a by Pleyel Auferstehung und. Himmelfahrts Part Is by Bach
11. 13 January Auferstehung und Himmelfahrt Jesu, Part by Bach
12. 20 January
Parthie No. 1 by Collauf Violin Concerto in Bb Major by Pichi Psalm ll|.6 by Bimmel
13. 27 January Symphony No. 31, a by Stamitz Clavier Concerto by Beckmann Te . Duem Laudamus? 1-6 lij.o 3 February Symphony No. 94., b by Haydn Te. Deum Laudamus, to the end Parthie for wind ensemble9 by Rosetti
15. 10 February Symphony No. 5 by Pleyel Motets? Die (Mite des Herr ist dass wir Mir selig ist der Gott vertraut l 8 o k
Singt neue GesSngen dem Herrn Erhebt den Herrn 1st weiten Himmels Kreise A Piece for 3 trumpets The Battle of. Dunkirk 2 Marches for wind ensemble
16» 17 February
Symphony Ho, 31? b by Stamitz Clavier Sonate by Kotswara Leiden Jesu? 1»8P by Rolle
1?o 24 February Symphony No, 29? b by Pichi Leiden Jesu? 9=19
18? 2 March
Symphony No, 20 by Vanahl Leiden Jesu? 19=25 Parthie by Pichl
19 o 9 March Symphony No, 32? c by Sterkel Leiden Jesu? 25 to the end? by Rolle
20, 16 March Symphony No. 12? b by Graaf Violin Concerto in G Major by Pichl Quartet for Clavier? Violin? Viola and Bass by Hofmeister, 18014- Winter Concerts beginning 30 November
10 Symphony Noe 31}.# a by Haydn Athalia, Acts I and II
2® Symphony No® 12p a by Graaf Athalia, Acts III and IV
3« Symphony No® 7s a by Haydn 0 Thou that tellest good Tidings Let all the Angels of God, The Lord gave the Word And the glory of the Lord Their sound is gone out HallelujahI For the Lord God
Ij.® January 11, 1805
Symphony No® 7s b by Haydn Thirza, Part I Allegro, from a Clavier Sonata by PIeye1 3 Marches for wind ensemble
5o January 18
Symphony No® 7s a by Bichner Thirza, Part II
6® January 25 Thirza, Part III Parthie for wind ensemble by DoMoM® 1805
7® February 1
Symphony No® 15$ c by Lachnith Psalm by Himmel Parthie No® 3 by Pichi
8® February 8 Symphony No® 8, b by Haydn Auferstehung und Hiimnelfahrt# Part I, by Bach Clavier Senate by Eichner
9o February 15 , Auferstehung und Himmelfahrt, Part II to the end
10® February 22
Symphony No® 1?^ f. by Rosetti Bataille of Maringo for wind ensemble Violin Concerto in Bb by Pichi
11® March 1
Symphony No. 15, b by Lachnith Tod Jesu, 1-10, by Graun
12® March 8
Symphony by Haydn Tod Jesu, continued 76
13° Symphony No, 6 by Pleyel 581 Clavier Concerto by Pleyel . 582 Tod Jesu, to the end 583
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Winter Concerts 1805 beginning November 8
1, Symphony in G by Vanhal 58I4. Psalm 103 by D.M.M. 585 Symphony by Schwindel 586
2, November 15 Symphony No, 36# 1 by Haydn 587 Violin Concerto by Grochi 588 Die Befreyung Israels^ to No, 589
3° . November 21 Symphony by Haydn 590 Clavier Concerto by Giordani 591 Die Befreyung Israels# to the end 592
!)., November 28 Davids Sieg. im Eichthale 593 Symphony by Neubauer 594
5° December 6
Symphony by Gyrowetz 595 Davids Sieg# to the end 596 77
6 0 December 13
Symphony by Pleyel 597 Die Hirten bey der Krippe by Ttlrk 598
7o January 17» 1806 Symphony by Eichner 599 Clavier Sonate for 4 Hands by Just 600 Psalm by Reichardt 601
8 » January 2l|
Symphony by Wranizky— Bethlehem 602 G-edor, oder das Erwachen zum bessern Leben 603 3 Concertos omitted-^— »"■= 6OI4.
9o February 21 Symphony by Gyrowetz 605 Stabat Mater? according to the German 606 texts Weint ihr Augen heisse ThrEnen? . by Haydn
10o February 28 Symphony by Pleyel 607 Stabat Mater? to the end 608
lie March 8 . Symphony by Gyrowetz 609 Passion Music? 1-10? by Homilius 610 78
12, March II4. Symphony by Gyrowetz 611 Violin Solo by Ditters ■ 613 Passion Music by Homilius 613
13 o =» = = ==
1806
Winter.Concerts beginning 30 October
I, a. Symphony in D Major No, 3 by Meder 6II4. b. Quartet in G Minor with F,P0 by Mozart 615 : Co Mozart's Hymn die Gottheit— -on the F,Po 616
2, '*jr Nov. 6 a. Symphony in G Minor by Haydn 617 bo Auf der Liifte heiligem Weben 6l8 by Wolf Co Quintet by Liedel 619 do Selections from Hermann und die Filrsten 620
^ Nov, II4-0 Grand Concert
a. Symphony by 621 bo Mozart's Hymn Die Gottheit 622 Co Violin Concerto by Misliveeck 623 do 2 Songs by Reichardt* with organ . 624
lo German manuscript symbol for Thursday, 2= German manuscript symbol for Friday, 79 l+o 4* 20 Nov* Lazarus-— First Act 625
5» 4 2 7 Nov* a0 Overture to the ZauberfiSte^-Mozart 626 be LazaruS"-=2nd Act . 627
6o 41+ DeCo LazaruS""3rd Act ' 628
7o 411 Dec* Co Die Hirten bey der Krippe="by Tiirk 629 be Variations for F.P* by Mozart 630 Co Symphony in G Major by Haydn borrowed 631 from Bethlehem
8o 4 1 8 Dec, a* Symphony by Brandi 632 be From the Messiahs Thus saith the Lord 633 And the Glory 63I+ For behold. Darkness 635 The people, that walked 636 For unto us a child 637 Lift up your heads ■ 638 80 1807
9o 4 8 Jan,■ Bo Symphony No, 1 by Reinwald 639 b. The Last Judgment by Latrobe 6i|0
10, 4 1 5 Jan, a. Symphony by Gyrowetz 61j.l b. Variations for F»P, by K, J, 6lj.2 c. The Dawn of Glory--First Half 643
11, 4 22 Jan, a, . Symphony No, 2 by Reinwald 644 b. The Dawn of Glory, to the end 645
12, 4 29 Jan, a. Symphony in Bb by Pleyel . 646 ' b. F,P, Concerto Oeuv, 21 by Mozart 6.47 c. Tod Abels— First Section 648
13, 4 5 Feb, a. Symphony by Pleyel 649 b. Violin Concerto by Pleyel 650. c. Tod Abels— Second Section 651
14, 4 1 2 Feb,
a. Symphony Op, 13 by Rosetti 652 b. . Double Sonata in [0 or Dl by Mozart 653 (played by 2 boys) . c. Tod Abels, to the end 654 81
1807
15« 4 19 Feb. a. Symphony Oe. 83, Live 2 by Haydn 655 b«, Violin Concerto by Stamitz 656 ce Maria und Johannes, 1-5 657
16« 4 2 6 Feb. ae Symphony 0eo 25, No.-'2 by Haydn 658 b 0 Maria und Johannes, to the end 659
17» . 4 £ M a r c h a. Symphony 0eo 83, Liv. 1 by Haydn 660 be Tod Jesu tog Ich will von meiner 661 Missethat by Graun
18. 4 1 2 March a. Symphony Oe. 2lj_, No. — Bethlehem by Haydn 662 be Tod Jesu tos ¥ie Herrlich ist die neue Welt 663
19 c 419 March a. F.Pe Concerto Oe. 20 by Mozart 664. b e Violin Solo by D.M. Michael 665 Ce Tod Jesu, to the end 666
0 ^ 25 October Grand Concert '
a. ' Allegro from a Symphony by Pleyel ■ 667 be Violin Concerto in C by Pleyel 668 Co Hymn by Schulz 669
3. German manuscript symbol for Sunday„ 82
1807 Winter Concerts
ae Symphony No. 2 by Gyrowetz 670 b. Concerto Oe. ij. by Mozart 671 Co Thirza—-First Act 672
2. 2). 12 Nov.
a. Symphony No. 3 by Gyrowetz 673 be Thirza# 2nd Act 6 %
3o af.19 Nov. Thirza# 3rd Act 675
4. 4-26 Nov.
a» Symphony by Pleyel " 676 be Judas Maccabaeus"-First Part 677
5. 4-3 Dec, Battle of Maringo=— as a Symphony 678 Judas Maccabaeus--Second Part , 679
a. Symphony No. 6 by Pleyel 680 bo Judas Maccabaeus--Third Part 68l
7> 4-17 Dec. a. Symphony $ the little one in G Major 682 by Haydn b. Caprica for F.P. by Vanhal 683 Co Weihnachts Cantilene by Reichard 68I4. 83 1808
80 ^ 7 Jan., a=, Symphony by Haydn 685 bo Variations for F SP«, by Ge line ok 686 Co Psalm by Himmel 687
9* ae Symphony No® 15» 2 by Lachnith 688 b 0 Athalia«=— 1st and 2nd Acts 689
10. # 2 1 Jan. .
a» Symphony No0 15# 1 by Lachnith 690 bo Athalia— 3rd and j+th Acts 691 Co 2 Marches for full orchstra 692
llo # 2 8 Jano
a6 Clavier Concerto Oho .15 by Mozart . 693 bo Auferstehung und Himmelfahrt, Part I9 691}- by Bach
120 #Ij. Febo
a. Symphony Noo 15# 3 by Lachnith 695 be Auferstehung und Himmelfahrt—'Part 2 696
13® # 1 1 Feb. a. Symphony by Eder 697 bo Violin Concerto by Stamitz 698 Co Befreiung Israels to the chorusg Lass 699 uns dem Herr lobsingenj er hat lij.= ' #11 1 8rilTTH-.i. Febo a 0 Symphony by Eder 700 bo Double Sonata in C by Mozart 701 Co Quartet by Vanhal " 702 do Befreiung Israels* to the end 703 1808
a® Symphony by 70ij. be Quartet by Vanhal 70S e0 Leiden Jesu9 1=8, by Rolle 706
16 e 2j- 3 March
a* Symphony by Bder .707 bo Sonate for ?*?. byGelineck' 708 Co Leiden Jesu$ 9-20 709
17e 4 10 March
ae Symphony by Haydn (Hans und Grete) 710 b«, Allegro and Gaccia for BoP* by Gampioni 711 Co Leiden Jesu, 21-28 712
18, 4 2L March a. Symphony in D Minor by Vanhal 713 be Quartet in G by Vanhal 71i+ Co Leiden Jesup 29 to the end 715 85 1808
Winter Concerts beginning le % 3 Nov. ae F ePo Concerto 0po I4.6 by Mozart 716 b 0 Arrangement of the Hymn by Schulz 717
2 0 OTT>ark. 4 10 iiy?irifrmgwixjumiu»Nov. Bo Symphony 0pe 7# Ho, 2 by Vanhal 718 bo Psalm 103 by D 0M 0 Michael. 719 Co Selections from Hermann und die 720
«Bs3siai«ssas»ttFiirsten
3o cuiiuar^f 4 rswHgai17ne k Nov. 'x^ w aa a® Symphony in Eb by Lachnith 721 bo Psalm llj.6 by Himmel 722
ij-o1 4 it. - r2k wEov» "WU*,* Bo Symphony in D by Lachnith 723 bo Clavier Senate with violin and bass 724 by Mozart Co Psalm 23 by Knecht 725
5, 4 1 Deep
a. Symphony by Haydn 726 bo Tod Abelss 1-12 by Bolle 727
60 4 8 Dec, Bo Symphony in F by Rosetti 728 be Tod Abels to8 Seht, dort steigt 729 Co 4 Marches for wind ensembles 2 Clarinets 730 2 Horns 2 Trumpets 1 Bassoon 86 1808
7. 4 IS Dec, ae« Symphony with 2 Clarinets by Pichi 731 b 6 Tod Abels,'to the end 732 .ce Marches for 7 part wind ensemble 733
1 8 0 9
a« Symphony in C by Pleyel 734 b e Fortepiano Concerto by Giordani, played 735 by George Frick Ce From the Messiahs Hoch thut euch auf 736 Es waren Hirten 737 Ehren sey Gott 738 do 3 Chorales for 5 part wind ensemble 739 ee Trio, der NachtwS.ch.ter by JeB-r 740
a. Symphony in G by Pleyel 741 be Athalia— First-'Act. 742 Ce Parthie by Stamitz 743
10e 4 19 Jane
a. Symphony in Eb with Klavier by Gyrowetz 744 be Trio in G (for FoPe—=-Violin”~Violone) 745 by Haydn Ce Athalia-”-Second Act 748 de Parthie by Rosetti 747 87 1809
11 o ^ 26 Jan.
a. Symphony in 0 by Gyrowetz 714.8 b<, Variations for P 0P 0 in C by Gelineck 7I4.9 Co Athalia^-Third Act 750 do Battle of Prague, for wind ensemble 751 eo Variations ons Nun ruhen alle WElder, 752 s. 5 Jane (e,)
12, ■ 4 2 Febo ae Symphony in G for wind ensemble by Pleyel 753 bo Athalia™-Fourth Act 7514. Co Parthie by Stamitz (see 9, above) 755
13. 4 9 Febo a„ Symphony written in G by Vanhall 756 bo Davids Sieg im Eiehthale""Half 757 Co Parthie by Pichl 758 ili-o 4 23 Febo ae Symphony in D Minor by Vanhal 759 bo Davids Sieg, to the end 760 Co Parthie by Pichl 76I
15. 11 4 1 Tii mfi in in 2iiri 1 iinf * nr >11March ■!< 1 ,, „ , i n, ao Symphony by RBhner 762 bo Quartet with obbligato Horn, played 763 by Brc He Go Mtiller Co Parthie by Pichl 76I4.
16 * 4 9 March
a0 Symphony 765 bo Gedor by Rolle"-First Half 766 Co Parthie blown 767 88 1809
17= 4 16 March
a0 Symphony by 768 bo Gedor, to the end 769 . Co I4. Marches for wind ensemble 770
Winter Concert (in the Congregation Hall)
1809
1= 4 16 Nov. a e Symphony 771 bo Hymn, Gottheit— Mozart 772 Co Clarinet Concerto by Fodor, played 773 by Wra. Frick do 4 Marches for wind ensemble 774
2„ 4 30 Novo
a» Symphony ' 775 bo Lazarus—-First Act " 776
3= 4 28 Deco
a= Symphony 777 bo Die Hirten bey der Krippe 778 89 1810 k» a. Symphony by Pleyel 779 b» Lazarus— 2nd Act 780
a. Symphony in 0 by Mozart 781 b. Lazarus--Third Act 782
8 Feb,
a. Symphony by Haydn 783 b e Te Deum— Graun— First Half 784 ce 2 Italian Duets 785 90 1810
7° 4 22 Feb. a„ Symphony in C by Stamitz 786 b 6 Te Deum$. to the end 78? Co Symphony in D Major by Haydn 788 do 4 Marches for wind ensemble 789
8 o 4 8 March
&o Symphony . " . 790 b e Thirza— 2nd Act 791 Co Two Italian Duets 792
9o 4 22 March
a0 Symphony 793 bo Thirza“«=lst Act 794 Co Variations on: Freut auch das Lebens 795 for FePo by Jo Go B--r
10o 4 5 Apre a. Symphony 796 b e Thirza^=3rd Act 797 Co Marches for wind ensemble— Clarinet-- 798 Bassoon— Horn— Trumpet
a cat ci> e t a « xs «s» Extra Concert on 3 Octo— Evening For the 25th Anniversary of the PSdagogii a0 . Clavier Concerto Ope 20 by Mozart 799 bo Psalm 146 by Himmel 800 tssGe>c»c$fe»«y»cs>«s3» Winter Concerts 1810 ae Symphony by Stamitz 801 b<, Judas Maccabaeuss Part I 802 Co Variations on Hun ruhen alle Wilder 803 by Jo Co Bo 2o $ 1L Dec. ae Battle of Maringo— Symphony 804. bo Judas Maccabaeus$ Part II . 805 3= 4 10 Jan, 1811 a. Symphony in C Major by Vanhal 806 bo Judas Maccabaeuss Part III 80? ko 4 2k Jan. a. Symphony 808 b. Tod Abels, 1-12 809 c. Battle of the Nile— on the F.Po-- . 810 Jo Co B e 5o 4 7 Feb. ' a. Symphony - 811 bo Tod Abels to the chorus g Seht, dort • 812 Steigt der Opferraueh-. 92 1811 6 . 4- 21 Feb, a. Symphony by R8hner 813 bo Violin Solo—=played by P» Wolle Slij. Co Duet on the FoPo--Der Sommer und Winter 8l5 ?<> 4* 7 March a» Symphony in D Minor by Vanhal 8l6 bo Tod Abels, to the end • 817 8o 4-21 March a. Symphony Op, 7# Ho, 1 by Vanhal 8l8 bo Turkish Overture on the FoPo with violin 819 accompaniment by Steibelt Co Selections from Maria und Johannes-"Nos» 1, . 820 2,5,9,11, and 13 Summer Concert on Pfreigstmontag 3 June a» Symphony No= 1 in C by Gyrowetz 821 be Quartet in G by Vanhal (D.M.Mo--lst Violin) 822 Co NoSo 1,2,3,4,5,8,12,13, from Schulz’s Hymn 823 93 Winter Concerts 1811— 12 1811 1° 4 ...31 Oct. ae Symphony by Vanhal . 82I4. bo 3 English Hymns by J0 Ce B==r 825 Co Clavier Senate with violin and violoncello 826 by Haydn 2„ 4 Ik Hove ac Symphony by Vanhal 827 b 0 Selections from Knecht1s Te Denm . 828 Co Five Marches for 6 part wind ensemble 829 3 o 4 2 8 H o y o a0 Symphony by Gyrowetz 830 bo Die Befreiung Israels— 1st half 831 I4.0 4- 12 Nov, ae Symphony by PIeye1 832 bo Befreiung Israels, to the end 833 94 1812 5e 4" 9 Jan* &„ Symphony— P Major by Rosetti 834 b 0 Lazarus— First Aet 835 6e 4 20 Febo a0 Symphony in G by Pleyel 836 be Lazarus— Second Act 837 Summer Concerts 1812 lo Qii. i"y 23111111 n 1 iiiii[i~niifimAugust 1111 th miii n a„ Symphony in D by Haydn 838 b 0 The first chorus from Athalia 839 Co 3 English Songs by Je Co. B-«»r 840 do Parthie by Pichl 84l a6 Symphony in G by Pleyel 842 be 2 English Pieces? I® The Lord shall ever reign 843 2e Jesus Jehovah^ adorable Savior 844 Co Die Wasserfahrt, Part I, by D.MoM* 845 1 8 1 2 ^ 15 November a. Symphony in C by Gyrowetz bo TJnsre Seel soil dich erheben, (J0C0B 0) Lobe den Herrn, meine Seele (from Psalm 103 by ) Co Die Wasserfahrt by D.MoMe (a Selection from Part I) 1813 ® 13 June a. Symphony by Beethoveno J0 G „ bo A Selection froms Gedor by Rolle Co Several Marches for wind ensemble Q k July a o Symphony in D Minor by Vanhal bo First Chorus from Graun's Te Deums Heil„ Heil dir glilcklich Laud Co Parthia with flute by D.M.M, O 1 August a0 Symphony (C Major) by Pleyel bo Trio fori Clavier, Flute, Violoncello by Pleyel Co Chorus 1 Bringt her dem Herrn 96 1813 O 29 August <- sl0 Symphony by Eder 859 .b„ Parthia No0 3 by Pichi 860 c0 Symphony No0 2 in Eb by Gyrowetz 861 1811+. O 2 January a0 Herr unser Gott sey hochgepreist 862 bo Quartet in (G Major) by Vanhal 863 Co Sing ye Heavens by Antes 861}. My heart shall rejoice in his salvation 865 by Antes do Symphony III in C Major by Vanhal 866 ©23. January a. Symphony "La Chasse" by Wrantisky 86? bo Der NachtwSchter 868 Co Several Marches for wind ensemble 869 O 22 May a« Clavier Concerto by Eodor, played by P 0Wo 870 bo Der Machtw&chter, by DoMoMo9 P.Mo» and S„Re 871 c„ Symphony in Eb by Gyrowetz 872 Symphony in G Major by Haydn 873 Athalia^-First Act 87l|_ Siege of Tripoli. P.W. 875 26 December a. Symphony (C Major) by Pleyel 876 b0 Weihnachts Cantilene by Reichard 877 a. 3 Marches for wind ensemble 878 a0 Symphony (G Major) by Lachnith 879 b 0 Gott hatt unter uns aufgerichtet 880 by I. Herbst Lob sey Christo in der H8he 88l by Gebhard Co First 2 and last pieces from Die 882 Wasserfahrt by M. Michael 3 Marches for wind ensemble . 883 a. Symphony in Eb by Gyrowetz QQl\. b. Athalia, first act and an arrangement 885 of the remaining acts„ Co General Brown’s and Gen® Harrison’s March 886-887 for 6 part wind ensemble by Peter Ricksecker 98 Winter Concerts 1 November 1615 Symphony in Eb Major by Lachnith 888 Sing ye heavens by Antes 889 Sing and rejoice 0 daughter 890 Unser Seel soil dich erheben 891 by Bechler Parthie with 1 Trumpet by D 0M0 Michael 892 November IS, 1815 Symphony (D Major) by Haydn . 893 First and last chorus from Psalm 103 891). by Me Michael 5 Marches for wind ensemble 895 November 30„ 1815- . Symphony.'(D Major) Op* 83 by Haydn 896 Die Befreyung Israels by Rolle, an arrangement 897 Suiten? Bey einer Quelle zu blasen for 898 wind ensemble ' 1st Parthie by DoM® Michael 899 99 December 13 Symphony by R8hner; 900 Die Hirten bey der Krippe by Tiirks 901 a selection Trio for P ePe under Flute and Violoncello 902 by Kuzeloch 2k January 1816 Symphony (Eb Major) by Pleyel, 903 borrowed from Bethlehem Battle of New Orleans for Piano' Forte 90I4. by P»Ro sungg Lob sey der Herr aller dinge 905 by Beehler Bringet her dem Herrn Lob, Preis 906 und Ehre by P« Molle . 3 pieces for wind, ensemble from Die Masserfahrt 90? by D 0M 0 Michael 17 February Symphony by Mozart, borrowed from Bethlehem 908 Choruss Hallelujah, by Beehler 909 Some marches for wind ensemble 910 Der Nachtw&chter 911 22 February Symphony by Haydn (borrowed from Bethlehem) 912 I), part Chorus with Clavier 913 3 marches for wind ensemble 914- 100 Symphony (in D Major), the middle piece 915 in A Major, by Haydn Chorusg (The Trumpet) with Clavier accompaniment 916 A Piece from a Clavier Sonata with accompanying 917 Violin and Bass by Haydn A Parthie, called Das Hlihner geschrey . 918 October 27 Symphony (in 0 Major) by Gyrowetz ‘ 919 A Piece by P e Whiles Come joyful Hallelujahs 920 raisee Several Marches for wind ensemble, 921 (borrowed from Bethlehem) November 29 Symphony in(Bb Major) by Witt 922 Hymn by Schulz 923 Clavier Concerto by Smith (played, by'CeVVv,) 921}. 2 Marches for wind ensemble 925 December 13 Symphony (in D Major) by Vanhal 926 Die Hirten bey der. Krippe (by Tilrk) s 927 a selection® 2 Marches for wind and string ensemble 928 101 29 January 181? Symphony in C Major by Gyrowetz, 929 (borrowed from Bethlehem) Lobet den Herr, preiset ihn, und riihmet 930 by Kunzen. A Piece from a Sonata for Clavier, 931: Violin, and Bass by Haydn Parthie by Michael 932 26 February Symphony in D,Major by Mozart, ' 933 (borrowed from Bethlehem) 2 choral pieces from the Hymn by Schulz 934 Parthie in C Major with Clarinet by Michael 935 2 pieces from a Quartet by Pley.el 936 6 March Symphony (D Major, Andante with Variations) 937 by Haydn Chorus 1 The dying Christian 938 2 pieces from a Quartet by Pleyel 939 4 Marches for wind ensemble 940 20 March Symphony (in 0 Major) by Vanhal 941 Some pieces from Homilius1 Passion Cantata 942 Some pieces from Pleyelfs Quartets 94-3 3 Marches for wind ensemble 944 15 June Echo, from a Parthie (by Pi chi) Symphony (in Eb) by Gyrowetz Come let us join our cheerful songs Ij. pieces for the grand piano-forte A duet for 2 Violins 2 Marches for wind ensemble The concluding part of Der Nachtwfichter 3 November Symphony (in C Major) by, Pleyel' Chorus: from Athalia Symphony (in D Major), Andante in A, by Haydn Psalm (by DeMeM») The first 3 pieces from the Wasserfahrt for wind ensemble Feb« h . Symphony (D Major) by Vanhal Chorus: The first part from Thirza From Der Wasserfahrt, Nos,.1^ and 15 March 11 Symphony (in Eb Major) by Gyrowetz A selection from Tod Jesu by Graun N. Be: Once again concerts are given on a Sunday afternoon in the month of September, 103 1819 2 Febo Symphony D Major by Haydn 962 Die Befreyung Israels by Holies 963 a selection. Symphony (Eb Major) by Gyrowetz 964 Motet by Schulz 965 Clavier Concerto by Dussek played by 966 Br. Hflffel During Advent-time a. Symphony in .Eb by Pleyel (borrowed 967 from Lititz) bo Weihnachts Cantilene by Reichart 968 1820 19 January a. Symphony in D Major by Gyrowetz 969 (borrowed from Lititz) bo Athalias first part and 2 choruses 970 from the remaining part Ho Bo After the symphony, 4 four-handed marches 971 were played on the Po Forte by Brothers .Schropp and Benzien, lolj. 16 February a0 Clavier Concerto played by Mr* 972 Ce V e Vleckj, composed by Gyrowetz (property of P, R„) b 0 Some choruses from Judas Macabaeus 973 Co 4 Marches for wind ensemble 974 15 March Symphony (in G Major) by Gyrowetz 975 (borrowed from Lititz) A Trio for Flute, Violin, and Violoncello 976 by Pleyel, played by P.R,, M e Christ, Jacobson Arrangement from Tod Jesu by Graun 977 16 August ae Symphony in Bb Major by Gyrowetz 978 (borrowed from Lititz) Directed by Mr, Naninger from Baltimore« bo Sonata for Clavier and Violin by Gyrowetz 979 Co A Quartet by Haydn - 980 do The last chorus from The Dawn of Glory 981 13 December a. Symphony (Bataille) by Neubauer bo Weihnachts Cantilene by Reiohardt. 1? January 1821 ae Symphony (D Major) by Gyrowetz bo Clavier Sonata (ij. hands) by Clement! played by Brs« Schropp & Benzien Co Chorus % Vor- dir-, 0 Ewiger, by Schulz do Andante with variations from a Flute Quartet by Eler, played by P0R«, Mo Cho, C0R 0S 0, and Ch. T« e. Chorus? Lobet den Herrn from Kunzen* s Herrmann li). February a. Symphony (G Major) by Gyrowetz bo Clavier Sonata by Gelineck, played by Bro Van Vleck Co Der Sch8pfung, the first part to No. 12, by Haydn Symphony (Eb Major) by Gyrowetz Clavier Sonata and Variations: played by Mr, Oh, R, Schropp, The Sonata by Kotzeluck and the variations by Dusseck, ’ Choruss Nos, 8,9*10 from The Dawn of Glory Rondo for Flute, Violin, Viola, Violoncello, played by M. Ch,, L, Bn,, Oh, J~n, P, R=r, 3 pieces for 2 Clarinets, 2 Horns, Bassoon, Bass and Trumpet, 10? 1 8 2 4 1st Public Winter Concert Symphony in C by Pleyel 998 From Athalia* Act I (45 cts») 999 2nd Concert Symphony in Eb by Pleyel 10Q0 Athalia, Act II 1001 Parthia with Flute accompaniment,by 1002 Moritz Michael, (17 cts,) 3rd Concert Quartet in G by Gyrowetz 1003 Bassoon Concerto in F by Linder 1004 Athalia, Acts III & IV (9 cts.) 1005 Symphony in Eb by Haydn 1006 Weinacht1s Cantilene by Riechardt 1007 (26 cts.) 1825 16 January 1. Motet by Schulzs Vor dir, 0 Ewiger . 1008 2. Concerto Militaire in C with full , 1009 accompaniment, by Moetf 1 3. Chorus in G by Rinks J'ehova, deinem It amen, 1010 No. 259 from the Congregation Pieces. 1011 (8 cts.) 1825 28 August 1. Symphony in C by Beethoven 1012 2,, Rondo from a Violoncello Concerto 1013 in C by PIeye1 (Jacobson) 3o Psalm lifS by Himmel. ($1*50) IOII4. 2 October I* Overture to Don Juan by Mozart 1015 2* Heiliges Land $ ¥0 scriede ruft 1016 in I4. parts with organ0 ■ 3o Duet for Violin and Viola by Fiorillo 1017 (Zorn and F e Bleck) I4.0 3 Choruses from Haydn’s Sch8pfung, 1018 Eos® 11 and II4. in Part I, and No» 6 in . Part H e 5c Rondo from a Symphony in Bb by Pleyel 1019 60 Motet by Tag: Erhebt den Herrn ($1,06) 1020 109 1 8 3 1 1st Public Winter Concert Symphony in Eb by Gyrowetzs the Finale 1021 Harmonie 1022 From Der Schopfung, No. llj. in Part I and 1023 Nos. 10 and 11 in Part II. Ehre sey Gott, from Die Hirten bey der Krippe, 102i+ borrowed from Bethlehem Symphony» Finale, by Gyrowetz (6I4. cts.) 1025 1832 2nd Concert Symphony in D by Gyrowetz 1026 Parthia by Michael : ..... 102? Adagio by Haydn 1028 Symphony, Finale, by Gyrowetz ($1.75) 1029 n o 1835 Concert I ruar Part I 1© Synptiony 1030 2© Chorus (Osterraorgen)-<»-“”“=»“>'=«»“»»““*»“'S® Heukomm 1031 3» Variations for Flute/Miller— =•'«-•—»-»-J, Amon 1032 A© Men's Chorus (Schaefer!s 1033 Sontagslied) *=«“~““““*““>Kreutzer 5® Menuetto and. F i n a l e —Gyrowetz 103l(- Part II G© Symphony--— *— >—— — — Gyrowetz 1035 7© Chorus— Neukoium 1038 8 © Men's Chorus/Forschen. nach Gott---Kreutzer 1037 9© Concerto da camera for the Pianoforte 1038 (played by F ©F© Hagen)————————————J© Woelfl 10© Overture (Tancredi)———————————————Rossini 1039 11© Glee (Gute H a c h t ——Ri’cter 10lj.0 from Manheim $10©00 Admittance Gratis ill 1835 Concert II, 3 April Part I 10 Grand Military Symphony•=”"--=-~=»""-'""Haydn IOI4.I 2 o Solo (0steritiorgen) “■“Neukoinni 1042 3c Glee/3 SchBnsten Lebensblumen— — -"Kreutzer 1043 1044 5« Hymnus/3 parts without 1045 accompaniment — “Neukoxnra 8 O P A r t h T A*»<=3«s»«»cae»»caBgBg>qMca«3>mcnBnoCTC&aapea 7 o Overture (Don Juan) =.=»=«.==.=--»«=«.«=-~~Mozart 1047 8 c Solo (Bass/Jahrzeiten, 1048 ^ ® Z(ordz?ian23^ 9c Glee (Lordly Gallants) =■«=«••=«=•«•=«=•—«='=”>Callcott 1049 10© ^3-1 © §3^ 6i3*boB!Q<,®es,cae!c“5a,<£®a!a'e£®Gs,s:aiesi<,sae,®eme,ac::>o::,*!iaeoca"«-Kreutzer 1051 1 2 © P 3,3^ 'tfjfl. 16«®c=B, $9*00 112 1 8 3 6 Part I 2 o * Chorus (Seht or korniut) «=»*»«==>«=»«=•=»«»HSjici6l 1055 3o Solo (SchSpfungs Completion)-— -Haydn 1056 i|-© Terzetto™— 105*7 5o Minuett and Pznale™— —R5hner 1058 Part II 6 © Rarthia™———— —luok 1059 7e Solo (Pilgersmann)——————————— Hope 1060 8 © Chorus (Olocke)———————————— Romberg 1061 9 © Allegro------eub aue r 106 2 10© Qhorus————————————————————— —————jyiozart 1063 11 © Overture (Tancredi)—-————————^————Rossini 1061j, 113 During the years 1837"1838-1839 concerts were given more frequently. The local musicians organized themselves in a private society under the name "Musical Society of Nazareth1'„ They adopted a constitution, signed on 10 May, l839v They have given ij. concerts yearly, attended partly by the honorary members, who numbered 70, and partly by local and out of town people, who paid a 25 cent admission fee. Beginning in the year l81j.0. Sisters and girls, 16 in number, were admitted to the society; and therefore, the entire music personnel consisted of 60 practicing members, including the members from Sch8neck, During this time the directors were: F,F, Hagen, R, Clewell, J, Hamanj, Edm. Ricksecker was Treasurer, On 20 April, I8I4.O, the cantata Per Ostermorgen 1065 by Neukomm,' text by Tiedge, was performed. As a prelude, the Overture to Blinden by. 1066 Mehul was played. The various parts for the performance, of the Cantata were distributed in the following way: / Piano-Forte— CoDo Sensemann Soprano Alto Angelica Miksch Emma Beitel Cornelia Ronthaler Cecilia Brunner Clementine Ricksecker Lucinda Brunner Emilie Christ Caroline Miksch Araminta Clewe11 Miss Beitel Mrs# Ricksecker Miss.Clewell Aurelia Glewell along with 5 boys and 2 Sisters Beitel from the school Adelaid Miksch along with 6 boys from the school Tenor Bass B0 Clewell Es Rondthaler Br® Traeger So Wolle Mr® Schatz Jo Clewell Th0 Clewell Fo Steiner Co Kluge Ro Henry Ho Seidel I Violin II Violin FoFo Hagen Com® Sensemann Mr® Hartman Ao Kern A Clewell Viola Cello Co Bass Ho Van Vleck . Ro Clewell Jo Haman Wo Kern Oboes and Clarinets Flutes Jo -Clewell--— '“Ob. I L'oFo Kampmann I To Glewell— — Ob, II The Clewell II Eo Ricksecker— Clar, I Go Bauer———————Olar, II 115 Horn Trurooet JosV Clewell P 0 Miller Oh. Miller Go Michael Bassoon Alto Trombone B0 Clewell P 0 Clewell Tenor Trombone Bass Trombone Jo Clewell Go Michael At this performance a stage was made in', the church between the pillars and the west sides and a curtain was hung in front„ A dress rehersal took place at 3 o'clock in the afternoon, which was attended by many5 and a public performance took place at 7 s 30 in the evening; there was a full housee Admission fee«-25 cts* On 2 October of that same year (iSi^O) Schiller's Lied von der Glocke, music by 1067 Andreas Romberg, was performed. As a prelude the Overture to the Italian -in • 1068 Algiers by Rossini was played, and afterwards S~1nen6s songs for I), voices, and a chorus, 1069 "Sternal God" by Beethoven were performed , 1070 which pieces made up the first part. The second part of the concert consisted of the Lied von der Glocke, The solo parthien 1 0 7 1 were performed by"Miss Angelica Mitsch, Br, CeD, Sensemann, and Br, Edw, Rondthaler, The choir and the orchestra consisted of almost the same members as were in the previous concert on 20 April, 116 isia Public Concert on March 31 Part I 10 Symphony in C ' 1072 20 Festival song for Men’s Chorus 1073 by Felix Mendelssohn Bartholdy 3® Chorus from nPauTusT by F.M0 Bartholdy 1074 4® Sommerlied/Men's Chorus by F®M« Bartholdy 107$ 54 A variety of pleasing and,popular airs® 1076 Part II 6 ® Symphony in F 1077 7© Jaeger Abschied® F®MS Bartholdy 1078 8 . Duet and Chorus from "Paulus" 1079 F eMo Bartholdy 9© Menuetto and Trio in C 1080 10® Gute Kacht ihr lieben Gaeste® 1081 117 : Jan, 30, 1814-5 There were no concerts given between 31 March I8I4.I and 30 January l81j.5o The main reason for this long silence was that there was no decent place for the performance» Because during the construction of the new church everything in the Hall was taken over by the school; and, they did not permit concerts to be performed in their chapel. Beginning in January the church council and afterwards the tAufseersl Collegium^- were asked to allow the per formance of privateand™public concerts in the basement hall in the church, which was allowed by both authorities„ Consequently immediate arrangements were made in order to give public concerts; the 30th January was chosen for the first public |“concertJ e Honorary members were solicited; and we promised to give them 2 concerts for 25 cts„ They were permitted to bring all members of their families under 16 yearse Also the families of the musicians were allowed to go to the dress rehersals for Cno charge]. We maintained very good support through the active assistance of both the Gemeinhelfer,5 gr, Jacobson and the preacher Br» Reichelt, ij., Auf seers Collegium was the Board of Supervision for external matters. By lolj.5 their basic concern was care of church property, Joseph Mortimer Levering, A History of Bethlehem, Pennsylvania, 17^1-1892 (Bethlehem, Pa,s Times Publishing Co., 1903), pp, 421,fe8l , 5® Gemeinhelfer is a head pastor of a certain con gregation, Ibid7y~p7 619. 118 The following 30 are the names of the musicians in l8i|.5 s FeO. Beitel I Violin Joe Hamen Flute And® Kern Caloni Beitel F» Hartman II Violin Ro Clewell Oboe I Co Senseman Edm. Ricksecker Clar, I Co Trebish Viola Joe Clewell Oboe II Wo Kern Tom Clewell Clar, II Benjo Clewell Jo Kern Violoncello Bassoon Augo Clewell Co Mill Horn Br«, Jacobson Contrabass Joe Clewell David Michael Trumpet And, Kern— -Piano Forte Anjo Miksch Em, Christ Clem Ricksecker Matilda Kern Alto Sop, Cor, Rondthaler Sarah Clewell Ad, Miksch Bro RicheIt Jos, Heillman A, Wolle Bass Benjo Clewell Tenor H, V, Vleck Ren, Clewell Part I Program for Jan, 30/14-5 I, Symphony by Wranitzky 1082 2= Tenor Solo & Chorus—=Sch8pfung und eine 1083 Neue Welt 3, Bass Solo Aria from Der SchBpfung— Wasser Aria 10814. I4.0 Minuett & Trios Piano, Flute, Horn, Bassoon 1085 Beethoven 5, Men's Choruss Die Kappelen 1086 6 , Chorus from Der Sch8pfung"-Die Himmel erzehlen IO87 Part II 7® Symphony, Die Jagtt, finale— Wranitzky 1088 80 Men's Choruss Des Lebens Freude 1089 9« Romances Piano, Flute, & Bassoon 1090 10o Overture/Die Blinden zu Toledo— Mehul 1091 11, Men's Chorus: Uber alle Wipfeln 1092 12o Chorus: Grand Hallelujahs 1093 Beethoven, CHAPTER III ■ ANNOTATIONS-TO THE REGISTER Chapter III consists of a numerical listing of the annotations to the Register of Music Performed in Concert, Nazareth, 1U. October 1796, The annotation numbers along the left hand margin correspond to entries in the Register (Chapter II)„ Information provided in the annotations includess title of the composition as listed in the Register; com poser's name and dates; location of manuscripts in the Moravian Archives; title page data (with original spellings) instrumentation; incipits for musical scores found in the Bethlehem Archives; appropriate published editions as listed in general reference works; earlier references to the same composition; and, basic information about some obscure com posers „ The Table of Abbreviations, found after Appendix G-, is essential in deciphering the annotations„ Various musin reference works, including thematic catalogs, music encyclo pedias and dictionaries are important tools for any reader who wants detailed information about certain entries„ 119 120 1. Symphony: Ignacs Pleyel (1757-1831) (not ident.). 2. Tod Abels 1,6,8,10,12,1^: Johann Heinrich Rolle [1718-1785). NGG box VII, Tod Abels for SATB; 2 fl, 2 ob, 2 ob d ’a, 2 bn, 2 hn. Ip cor, timp, 2 v, va, b, org. The score is stamped CMB, although found with Nazareth material. 3. ip part wind ensemble: (not ident.). ip. Symphony: I. Pleyel (not ident.). 5. Tod Abels 16,18,19,21,22,2^,25: J. H. Rolle. See No. 2. 6. Concerto for Flutes: Johann Friedrich Kl8ffler (d. ca. 1792). CMLC box 27b Symphonies L26b, "Six concerts/ Trois a flutes traversiere solo/Trois a deux flutes traversiere/avec 11accompagnement des/Deux violons, taille, et basse,/Deux cornes [sic] de chasse ad Libitum/Composes par/J. F. Kltiffler,/.../Oeuvre premiere/a Amsterdam, chez J. J. Hummel,/.../No. 85.” The only Kltiffler flute concertos extant in the Bethlehem Archives. Incipits for Concertos IV, V, VI follow: 121 AUegfo No. 5 5^v/ ft X No. 6 7 . i|. part wind ensemble: (not ident. ). 8. Symphony No. 1: Carl Philipp Stamitz (I7I4.6-I8OI). CMBC 1371.1, "Trois Simphonies/a grand orchestre/Deux violons taille, et basse/Deux hautbois ou flutes et clarinetes [sic],/Deux cors de chasse, trompettes & tymballes/(ad Libitum)/Composees/par/ Charles Stamitz/Oeuvre XV/chez J. J. Hummel/a Berlin .../No. 1102." CMLC box 17b Orchestra, "Six/Symphonies/a deux violons, taille & basso [sic]/Deux hautbois & 122 deux corns de chasse/Composees par/Charles Stamitz/ Oeuvre IX.M FVesib a»sai vl 9. Violin Concerto: Luigi Borghi (fl. late 18th Century). A well-known Italian violinist and composer. Student of Pugnani. An extensive list of his compo sitions for violin are verified in RISM^ (Ser. A. i, Pt. 1, 377-9). 10. uSieh, 0 Mensch auf11: possibly by Gottfried August Homilius (171^-178$). BCC HS MS 917.3 for SATB, HP MS 87. Appears as Aria I in Part H I in both cases. 7— 11. "Der Her ist Konig des Freue”: possibly by J. H. Rolle. BCC HS MS 915.3 for SATB, HP MS 87. Appears as Motet IV in part I. 1. International Association of Music Libraries, International Musicological Society, Karlheinz Schlager, ed.. International Inventory of Musical Sources, ser. A, pt. 1, 4 voIs! (Kasse1: B&renreiter, 1971-2,4). Here after referred to as RISM. 123 12. "Wie selig 1st der Gott": possibly by Christian Friedrich Penzel (1737-1805). BC HS MS 87. Appears as Aria III in Part IV. 13. Symphony: I. Pleyel (not ident.). "The remaining partsM refers to the parts of the symphony from entry 4 that had not been performed. 14. 4 part wind ensemble: (not ident.). 15. Symphony No. 1: Christian Ernst Graaf [Graf] (1723- ca. 1802-4). CMLC box 17a Orchestra, "Simphonie/a grand orchestre/2 Violini/Viola/Basso/2 Oboi/2 Corni e Clarini/e Timpani/Composee par C. E. Graff. Op. 20” fun-numbered]. AllegVb 16. Clarinet Quartet: (not ident.). 17. Athalia, Acts I and II: Johann Abraham Peter Schulz (1747-1800). A tragedy (Trauerspiel), CMBC MS 4.1 and NCC box VII, for S(solo)SAT(solo)TB; chorus I-S; chorus II-SATB; 2 f1, 2 ob, 2 bn, 2 tpt, 2 hn, timp, 2 v, va, vc, db. The keyboard score from Bethlehem is dated 23 May 1796; the bound score from Nazareth is dated April 1799 and is initialed P.C.M.N., [Paedagogium Collegium Musicum Nazareth]. 18. 4 part wind ensemble: (not ident.). 12k 19o Symphony No» 2s G «, E„ Graaf <, See No. 15 for only symphony extant in Northern Archives. 20. Clarinet Concertos £Francesco AntonioJ Rosetti (Franz Anton RBssler] (1746-1792). "Concerto § clarinette, princip. av. 2v. A et B. 2 Haub.. .Druckort tlberklebt mit Schott’s Firma*" E i t n e r ^ (vii-viil, 317). 21. Athalia, Act III and IVs J.« A. P. Schulz. See No. 17. 22. 2 Clarinet, 2 Horns blown: (not ident.). 23. Symphony No. 3% C. E. Graaf. See No. 15 f o r only symphony extant in Northern Archives. 24. Violin Concertos Wenzel Pichi (174l~l805) (not ident.). • See No. 519« 25. "Herr ich habe lieb die £ statte deines Haus]"s pos sibly by Johann Christian Geisler (1729-1815)? Karl Heinrich Graun (1701-1759). J. C. Geisler, BCC MSS 166.2, 703.1 for SATBs 2v, va, vc. 2. Robert Eitner, Biographisch-bibliosraphische Quellen-Lexikon der Musiker und Musikgelehrten,der christlichen Zeitrechung bis zur Mitte .des 19. Jahrhunderts, 10 vols. (Leipzig's Breitkopf & H&rtel% 1898-19041 reprint ed., Wiesbaden: Breitkopf & HSrtel, 1959-60). 125 Muwter K. H. Graun, BCG MS 915*1 for SATB; 2v, va, vc. E«a werv\g kkWPt - 4 % ' , . r. f f/' V r J y:l.|-FW S Another version found in NOG, is attributed to A. A. Mozart; one vocal part is dated 9 March 1862, which is beyond the scope of this study. 26. "Ich erhebe mein Gemiithe”: Johann Adam Hiller (1728- 180^). BC HP MS 8?. Appears as Aria IV in Part III. 27* uDer Herr behtite dich fvor allem Uebel]": J. H. Rolle. BCG HP MS 87 and HS MS 917*2 for SATB. Ap pears as Motet III of Part III. 28. ZauberflBte, the first half (quartet): possibly by Wolfgang Amadeus Mozart (1758-1791). BC 1352.1 and 1352.1, -'Pieces d 1 harmonie/ 126 pour/Deux clarinettes, deux cors et deux bassons,/ Arrangees par/J. Stumpf/Premier recueil,/Tire de I 1 opera; Die Zauberflflthe/No. 737/.../A Offenbach sur le Mein, chez Jean Andre,n Scores are stamped with the sellers stamp— "John Appel/No. 208/Broadway/ N. Y./Musical Repository." See K8chel, K620, Anhang B (pp. 800-1) under Abschriften. 29. Symphony: Adalbert Gyrowetz (1763-1850) (not ident.). 30. Clarinet Concerto: [?] Stamitz (not ident.). 31. Te Deum Laudamus 1-6: possibly by K. H. Graun. CMBC 70, "Te Deum Laudamus/a/Jj Voci/Corns I & II/Due fagotti/Due oboi/Due flauti/Due violini/ Viola/Violoncello/e/Organo/di Enrico Graun." 32. I4. part wind ensemble? (not ident.). 33. Symphony: Johann Baptist Vanhal (1739-1813) (not ident.). 3I4.. Quintet: Anton Liedel £ Andreas Lidl] (d. ca. 1789). CMBC 1326, "Trois/Quintettos f sic]/pour/ z Flute, violon/Deux alto violes/et/Violoncelle/Composes/ par/A. Lidel/Oeuvre V/No. I4I4.I.../chez J. J. Hummel/a Berlin...." No. 1 127 La Me^era^o 35• Te Deum Laudamus 7-11: K. H, Graun. See No. 31. 36. l\. part wind ensemble : (not ident.). 37• Symphony No. Is Ludwig Wenzel Lachnith (17^6-1820). LCMC box 26A Symphonies L 16b, ’’Trois/ Simphonies/^/Grand orchestre,/Composees par/M. Lachnith/l* aine,/Musicien de la chambre de S.A.S. Monseigneur/le Due Regnant de deux Pont./Oeuvre troisime./ches J. J. Hummel, a Berlin.../.../No. 567.M 128 38. "Comfort ye my people: (Messiah): George Frederick Handel (1685-175971 CMBC 15, "Messiah/an/Oratorio/in score/as it was originally performed/Composed by Mr. Handel/to which are added/His additional alterations/London.1’, for [vocal parts?]; 2v, v, b, org. A note on the score wrapper states— "N.B. ... As originally composed— & as left until Mozart added the instru mental/accompaniments which now/in use were not invented— or at any rate not used in Orchestre--Put into new covers Feb. 18, l8?3/by R. A. Grider." Listed alphabetically, selections found in this Re gister include: "Amen", "And the glory of the Lord", "Comfort ye my people", "Every valley shall be ex- aulted", "For behold, darkness shall cover the earth", "For unto us a child is born", "Hallelujah", "Let all the angels of God", "Lift up your heads", "The Lord gave the word", "0 Thou that tellest good tidings", "The people that walked in darkness", "The trumpet shall sound", "Their sound is gone", "Thus saith the Lord." 39. "Every valley shall be exalted": G. F. Handel See No. 38. i|0. "Lo, this is our God" John Antes (1740-1811). BCC, MSS 512.1 and 66i|.2 for ” 1|. Voci in duplo"; 2 hn, 2v, va, b, org. Actually, the vocal parts include SS2 ATB, where S2 and T are interchange able. S2 is also marked Chorus 2, (a-rove S, L|-l. "I will greatly rejoice in the Lord": J. Antes. BCC, MSS 507 and 663.1 for "...Due corni/Due 129 violini, viola/Soprano/Alto/Tenore/Basso/Violoncello e/Organo.” lj.2. "Du bist wtirdig zu nehmen Lob [und PreisJ”: Johann Friedrich Reichardt (17$2-l8l^). BCG MSS I441 and ^7^.2, an aria from the Weinacht's Cantilene. See No. 167• For "voci"; 2 f1, 2 bn, 2 hn, 2 v, va, vc, org. - to/ fll 43. Clarinet Duet: (not ident.). 44* Symphony, from the little No. 1: Franz Joseph Haydn (1732-1809). (not ident.). 45* Symphony No. Is Ernst Eichner (1740-1777) (not ident.). Possibly CMSC MS 133 in collection of three symphonies: Op. 10, No. 5; Op. 7, No. 3; Op. 10, No. 1. 46. Clavier Concerto: (not ident.). 130 4?• Per Hirten bey der Krippe: Daniel Gottlob Ttirk U756-iai3). JHC, "Die Hirten/bey der Krippe zu Bethlehem/ in Musik gesetzt/von Daniel Gottlob Ttirk, MS score. Published by Ttirk in 1782 in Leipzig and Halle. 48. Quartet in A: [?] Stamitz (not ident.). 49. Parthie No. 3: [?] Stephani (not ident.). 50. Symphony No. 2: L. W. Lachnith. LCMC box 26A Symphonies Ll6b, "Trois/Sym- phonies/a/Grand orchestre,/Composees par/M. Lachnith/ I 1 aine,/Musicien de la chambre de S.A.S. Monseigneur/ le Due Regnant de deux Pont./Oeuvre Troisieme./Ches J. J. Hummel, a Berlin.../.../No. $67...." No. 2 51. Violin Concertos ^ ] Mislivecht (not ident.). 52. Clarinet Quartets W. Pichl. According to Eitner (vii-viii, 439) Pichl wrote "3 Quartetti per Clarinetto, V. Va. e Vcl. Op. 16. Berlin, Hummel." 53* Parthie No. 3: W. Pichl A Parthia in A Major mentioned in Eitner (vii-viii, 439). 54* Symphony No. Ills E. Eichner (not ident.). Possibly CMSC MS 133 in a collection of three symphoniess Op. 10, No. 5; Op. 7, No. 3; Op. 10, No. 1. 131 55. Violin Concerto: Giovanni Mane Giornovichi [Jarnowic h] (ca. 1740-1804). An Italian violinist and composer of the late l8th Century. Wrote 16 violin concertos and number- ous chamber works. See Mendel3 (vi, 248-9), 56. "Lass sich freuen alle": possibly by Johann Adam Hiller (l?28-l804). BC MS HF 87. Appears as Motet VI in Part I. 57. "Singt neue Ges&nge dem Herr": possibly by C. F. Penzel. BC MS HF 87. Appears as Aria IV in Part IV. 58. "Nun danket alle Gott": possibly by J. C. Geisler or J. H. Rolle. J. C. Geisler, BCC MS 315 for SSAB; 2v, va, b, org. vX J. H. Rolle, BC HF MS 87 and BC MSS 823.2, 918.2 (parts incomplete). 3. Herman Mendel, Musikalisches Conversations- Lexikon. Encykloo&die der gesammten musikalischen wTssenschaften. Filr Gebildete aller Stdnde, unter Mitwirkung der Literarischen Commission des Berliner Tonkunstlervereins, 11 vols. (Berlin: L. Heimann, 1870-9; New York: J. Schubarth, 1870-9; reprint of 2d ed., Hildeschelm: Olmes, 1969). 132 S 59. i| part wind ensemble: (not ident.). 60. Symphony No. 5: I. Pleyel See No. llj.1. Possibly No. 5 in that set. 61- .65. ’’Lift up your heads," "The Lord gave the word," "Their sound is gone," "And the glory of the Lord," "Hallelujah" (Messiah): G. F. Handel. See No. 38. 66. Parthie I: W. Pichl (not ident.). 6?. Symphony Oeuvre XXIV No. 1: J. F. Haydn x CMLC box l?a Orchestra. "Trois/Simphonies/ a grand orchestre/Composees/par/Joseph Haydn/Oeuvre XXIV," for f1, ob hn, 2 v, 2 va, b. In Hoboken^ (1:79, 126-7) 2 ob, 2 bn, 2 hn indicated. 68. Thirza, first part: J. H. Rolle BC 10, "Thirza/und/Ihre S8hne,/Musicalisches Drama...die/Poesie 1st von/Herrn Professor Niemeyer," for SATB; 2 f 1, 2 ob, 2 bn, 2 cl, 2 hn, timp, 2 v, va, vc. The keyboard score was originally owned by the Paedagogium in Nazareth. The initials "PCM/1800" are scratched into the upper right corner of the title page [Paedagogium Collegium Musicum/lSOOj. 4. Anthony van Hoboken, Joseph Haydn; Thematisch- bibliographisches Werkverzeichnisl 2 vols. (Mainz: Bl Schott's S8hne, 1957T. 133 69. Quartet No. 1|.: [?] Stamitz (not ident.). 70. Parthie No. 2: W. Pichl (not ident.). 71. Symphony Oeuvre XXV. No. Is F. J. Haydn. "Trois/Simphonies/a- deux violons, alto, et basse/Cors, et hautbois/Compos^s/par/J. Haydn/...a' Paris/Chez Le Sr. Sieber.../Ov. 2 $ , " Hoboken (i:^3, 48-50). 72. Thirza, second part: J. H. Rolle. See No. 68. 73* Parthie No. l\.: W. Pichl (not ident.). 74* Symphony No. 1; possibly by C. P. Stamitz. See No. 68. 75* Thirza, third part: J. H. Rolle. See No. 68. 76. 4 part wind ensemble: (not ident.). 77* Symphony No. 2: possibly by G. P. Stamitz. CMLC box 17b Orchestra, "Six/Symphonies/a deux violons, taille & basso/Deux hautbois & deux corns de chasse/Composees par/Charles Stamitz/ Oeuvre IX.” No. 2 vl 13k ?8 . Stabat Mater 1-7: F. J. Haydn. BC I4.O, "Joseph Haydens [ sic]/Passions Music/ zum/Stabat Mater/mit einer/Deutschen Parodie," for 2 choruses— SATB; 2 fl or 2 ob, 2 cl, 2 v, va, vc, org. See Hoboken (ii:XX bis, 10-18). This MS is probably a copy of the following edition: "Des Herrn Joseph Haydn/Passions musik/des/Stabat Mater,/mit einer deutschen parodie,/in einem Klaviermfissigen Auszuge/Herausgegeben von/Johann Adam Hiller/Leipzig, ira Schwickertschen Verlage" [1782], MGG (vi, I1.IJ4.) . 79. ZauberflBte (Quartet) 9-14$ possibly by W. A. Mozart. See No. 28. 80. Symphony No. 3$ possibly by C. P. Stamitz. CMLC box 17b Orchestra, "Six/Symphonies/a deux violons, taille & basso/Deux hautbois & deux corns de chasse/Composees par/Charles Stamitz/Oeuvre IX." Also found in BC, MS 1398 with incomplete parts. 8l. Stabat Mater 8-13$ F. J. Haydn. See No. 78. 82. Quartet No. 1: [?] Stamitz (not ident.). 83. 4 part wind ensemble No. 40i (not ident.). 84* Symphony No. 4$ possibly by C. P. Stamitz. CMLC box 17b Orchestra, "Six/Symphonies/a deux violons, taille & basso/deux hautbois & deux corns de chasse/Composees par/Charles Stamitz/ Oeuvre IX." 135 AllegVo a-ssat vl 85. Tod Jesu 1-7: K. H. Graun. CMBC MS 5.1a and MS 5.1c, "Der/Tod Jesu/ Kantate/in Musik gesetzt/von C. H. Graun/Partitur/ Neue Ausgabe/bey Breitkopf & K&rtel in Leipzig,” for SATB; 2 f1, 2 ob, 2 bn, 2 v, va, vc, db, org. 86. I}, part wind ensemble: (not ident.). 8?. Symphony No. 1: Johann Franz Xavier Sterkel (1750- 1817). CMBC 1290, "Trois simphonies/a/Deux violons/ Taille & basse/Deux hautbois,/Deux cors de chasse/et timbales/Composes/par/Mr. Sterkel/Oeuvre I/No. 551.../ chez J. J. Hummel, a Berlin....” No. 1 v X 88. Tod Jesu 8-II4.: K. H. Graun. See No. 85. 89. Clarinet Duet 1-2: Johann Friedrich Grenser (1726— 1780). CMSC, "Six Duos pour deux clarinettes composes par Mr. Jean Fredr. Grenser Musicien de la Chambre de Sa Majeste Le Roi de Suede.” 136 906 Zauberfl8te (Quartet) 13-18$ possibly by ¥« A. Mozart, See.No. 28. 91. Symphony from 1789$ F.. J, Haydn, BO 1370,13? 51 A/Grand Symphony/in all its parts/Performed at the/Professional Concert/Hanover Square/1789/Composed by Joseph Haydn/of Vienna/No. 1 Entered at Stationers Hall.../London/Printed by Longman and Broderip...!l? for fl, 2 ob? 2 bn? 2 cl? 2 hn? timp, 2 v, 2 va? vc? db. In Hoboken (is88? 159-61) no. clarinet parts? rather 2 trumpets. 92. Clavier Concertos possibly by [Johann Friedrich Gottlieb] Beckmann (I?37-1792). Wrote numerous keyboard compositions. Or ganist at Celle and "considered to be the greatest keyboard player of his century?" Mendel (i? 505). See RISM (Ser A? i? pt. 1? 247). 93. Tod Jesu 15-20$ K. H. Graun. See No. 85. 9l|_. Parthie No. 8 s W. Pi chi (not ident.). 95. Symphony Oeuvre XXV.2s F. J. Haydn. s See No. 71. "Trois/simphonies/a deux violons? alto? et basse/Cors? et hautbois/Composes/par/J. Haydn/.. ./s? Paris/chez Le Sr. Sieber.. ,/0v. 25"? Hoboken (is52? 65-6). 96. Clavier Variationss F. J. Haydn (not ident.). 97. Clarinet Duet 4.5= $. J. F. Grenser, See No. 89. 98. Tod Jesu 21-25$ K. H. Graun. See No? 85. 99. 4 part wind ensembles (not ident.). 137 100. Symphony No. 5$ possibly by C. P. Stamitz. CMLC box l?b Orchestra, "Six/Symphonies/a deux violons, taille basso/Deux hautbois & deux corns de chasse/Gomposees par/Charles Stamitz/ Oeuvre IX.“ Allege A6«a\ No. 5 101. Leiden Jesu 1,2,$,6,8,9,10,lb,16: J. H. Rolle. PSB 77, ’’Das/Leiden Jesu/eine/Passions- Cantate./Componirt von/Kerrn Johann Heinrich Rolle. Die Poesie ist/von/Herrn Johann Samuel Pazke.11 In strumentation in CMSC 60 for 2 fl, 2 ob, 2 bn, 2 hn, 2 vn, va, vcl, copy by J. F. Peter. 102. Quartet in Bb Major: ][? ] Stamitz (not ident.). 103. 4 part wind ensemble: (not ident.). 104. Symphony No. 6: possibly by 0. P. Stamitz. CMLC box 17b Orchestra, ”Six/Symphonies/a deux violons, taille & basso/Deux hautbois & deux corns de chasse/Composees par/Charles Stamitz/Oeuvre IX." 138 105. Leiden Jesu 18,19,20,23,2?,28,30: J. H. Rolle. See No. 101. 106. Quartet No. 2: Stamitz (not ident.). 107. i|. part wind ensemble; (not ident.). 108. Symphony No. 2: J. F. X. Sterkel. CMBC 1290, "Trois Simphonies/a/Deux violons/ Taille & basse/Deux hautbois/Deux cors de chasse/et timbales/Composes/par/Mr. Sterkel/0euvre I/No. 551.../ chex J. J. Hummel, a Berlin...." 109. Clarinet Duet 1,2: I. Pleyel. See Eitner (vii-viii, l|.8l), "3 Solo pour la clarinette avec basse. Paris." Opperman^ lists "Duos for two clarinets, Op. Ilf., #1,2,3, E.B. Marks, N. Y." and "Six Little Duets, Carl Fischer, N. Y." 110. Quartet No. 3: tStamitz (not ident.). 111. Leiden Jesu 32-^0: J. H. Rolle. See No. 101 112. I4. part wind ensemble: (not ident.). 5. Kalmen Opperman, Repertory of the Clarinet (New York: G. Ricordi & Co., i960), p. 57. 139 113o Symphony No, 2$ J® P® X, Sterkel, See No, 108, 111)., Clarinet Concertos m £?*| (not ident,), 115® Violin Quartet in G Majors J, B. Vanhal (not ident,), .1160 Psalm 63s J, P, Reichardt, CMBC 58? "Der 65ste Psalm/in Musik gesetzt/ von/Johann Friedrich Reichardt”, for SATBj 2 fls 2 ob, 2 bn, 2 hn$ 2 vs vas vcs org. 117® 4. part wind ensembles (not ident,) 118, Symphonys W, Pichi (not ident,). 119, Concerto for 2 Flutes s . : J, F,, KlSffler, See No, 6 , 120, Psalm 146: Friedrich Heinrich Himmel (1765-1814)® CMBC 63# ”Der l46te Psalm/von Himmel”, for SATB(solo) B| 2 fl, 2 ob, 2 bn, 2 tpt, 2 hn, 2 v, va, b, org. 121, 4 part wind ensembles (not ident,). 122, Symphony,No, 5s I® Pleyel, See No,.141® Possibly No, 5 in that set. 123, Clarinet Concerto No, 3s Christian Ignatius Latrobe (1758-1836) (not ident,). 124® Kyrie Eleison 1-5% possibly by W, A, Mozart. BC 99# ”Kyrie/von/M. A. Mozart/Partitur Mit beygefilgtem Klavierauszug/Nach dem hinterlassenen Original Manuscript herausgegeben/No. 4851®®./ Offenbach S/M bey J. Andre”s for SATBj 2 fl# 2 ob, 2 cl, bn, 2 clni, 2 hn, tirap, 2 v, va, vc, db® In KSchel K368a (p. 376) 2 bn, 4 hn, org. are indicated^ 125. Symphony No. Is possibly by C. P. Stamitz. See No. 8. 126. Symphony in A: J. B. Vanhal (not ident.). 127. Violin Concerto: [Johann Wilhelm] Leeder (d. 178I4.) . Concertmaster at Hildesheim, who, according to Fetis° (v, 250), composed "six concertos for violin and some symphonies." 128. Kyrie Eleison 6-9: possibly by W. A. Mozart. See No. 124. 129. 4 part wind ensemble: (not ident.). 130. Symphony No. 3: L. W. Lachnith. LCMC box 26A Symphonies Ll6b, "Trois/Sim- phonies/a/Grand orchestre,/Composees par/M. Lachnith/ l f aine,/Musicien de la chambre de S.A.S. Monseigneur/ le Due Regnant^de deux Pont./Oeuvre Troisieme./Ches J. J. Hummel, a Berlin.../.../No. 567...." No. 3 vX4m 131. Clarinet Duet: I. Pleyel (not ident.). See No. 109. 132. "Der Herr 1st K5nig": possibly by J. C. Geisler, J. H. Rolle, or Johann Rudolph Zumsteeg. 6. Francois J. Fetis, Biograohie universelle des musiciens et bibliographic gengrale de la musique, 2d ed., 8 vols. (Paris: Firmin Didot Freres, 1856-70). llj-l J• C. Geisler— BCC MS 292.2 for 2 identical choruses-- SSAB; 2 hn, 2 v, va, vc, org. J. H. Rolle— see No. 11. J. R. Zumsteeg— BCC MS 208.3 for S*? SATB; fl or ob, hn, 2 v, va, b, org. Other motets sung during the performance are found in the Hiller Collections; therefore, the Rolle motet is the most likely selection. 133. ’’Erhebt den Herrn [ist weiten Himmels KreiseJ”: pos sibly by J. A. P. Schulz or Christian Gotthilf Tag (1735-1811). J. A. P. Schulz— NCC new box II, MS for SATB; 2 v, va, vc, db. Another motet, "Herr unser Gott 7. * denotes identical parts. 342 sey hochgepreist”, is on the reverse side of the MS page; the two motets closely resemble each other, ex cept for a change of meter (3/4 to C). In fact, later copies apply the text of "Erhebt den Herrn" to "Herr unser Gott". Also see No. 862. — 7 4 — - H - f m —— r— a a v4-"* — - - :f:r; b C. G. Tag— BCG MS HS 917.U- for SATB. Appears as Hymn II of Part III. A lleyo modex’alo \.A _ _ __ I3I4-. "Ich erhebe mein Gemuthe: possibly by J. A. Hiller. BC MS HF 87 as Aria IV of Part III. 143 135® "Der Herr behtite dich vor allem [jJebel^s possibly by J0 Ho Rolle0 BCG MS HS 917.2 for SATB. Appears as Motet III of Part IIIo 136e Symphony No, 2% possibly by Co P, Stamitz, See Noo 77. 137. 4 part wind ensembles (not ident.K 1380 Symphony in D Minors Jo B, Vanhal (not idento). 139. Oster-Cantate, Part Is Ernst Wilhelm Wolf (1735- — — 17927e OMBC 78# "Oster-Kantate/von/Ernst Wilhelm Wolf", for SSTB| ob5 3 tpt or 3 hn# 2 h, trbn, 2 2 va, VC, cemb. 140. Symphony No, Is E c Eichner (not identoK See Ho, 45. 141= Symphony Op, V, 2,s I, Pleyel, CMSC; "Deux Simphonies a grand orchestra domposees par Mr, I, Pleyel, Oeuvre V", Eitner (vii-viii, 479) lists this edition as "2 Simphonie, Oeuvre 5= Hr, 5. 8, Berlin, Hummel," The "2" in the entry probably indicates the second symphony (Ho, 6) was played. Other entries in this Register indicate symphonies Ho, 5 or Ho, 8 were played; they are probably the two symphonies of Opus V, 142, Oster-Cantate, Part IIs E, W, Wolf, See Ho, 139. 143. Quartet_in Bb Majors J, B, Vanhal (not ident,). 144. 4 part wind ensemble (not ident,). 145= Symphony: A, Gyrowetz (not ident,). 1 # lii.6* „ Israelite# u*i.iiiriii 1111,1 iffl -hi-i iii’ecBtaaaa*! in ir"rn, ilbi.der h Wiistet y . irrcm 1-11 s Carl Phillip Emmanuel Bach (ITii-l^TTBBTe JHC II5 “Die/Israeliten in der Wilste/ein/ Oratorium/in Musik gesezt/von/Carl Philipp Emanuel Bach” for SATB? 2 fl, 2 ohs 3 trpt, 2 hn, timp, 2 v, va$ bo lI}.7o Parthie No,, 3s W» Pichl (not ident.)» I48e Symphony No» 2s J0 F® X s Sterkel* . See No. 108 149® Clarinet Concertos fF® A®! Rosetti® See No® 20® ISO® Israelite# in der Wilste 11-2 in Part IIs C® P® E« . Bach® See Mo® 146® 151® Symphony Op® V® Is I® Pleyel® . s ^ CMSCj, "Deux Simphonies a grand orchestre composees par Mr® I® Pleyel® Oeuvre V®" See No® 141® 152® Israelite# in der Wtiste, to the ends C® P® E® Bach® ——— 8^=337 ’1 W ~ 153* Parthie, 7 partss Anton Zimmerman# (1741-1781)® MQG (xiv, 1293) lists "Partie filr BlSser in GdMF WienT^ 154® Symphony No® 2s A® Gyrowetz® ^ CMBC 1370®17$ "Sinfonie/a/Grand orchestre/ Composes par/A® Gyrowetz/Oeuvre 8, Livre 2, 2e edition/® ® ®/a Offenbach S/M/chez Jean Andre/No® 2412," for 2 pb, 2 hn, 2 v, 2 va, vc, db® i k 5 AUegt'o mode<*o.+o —ip—a_rgi— Hffizns . y— — ----- ^ . 4 :. W t / CMBC 1368.8, "Sinfonle/a' grand orchestra/ Composee par/Mr. Gyrowetz/Oeuvre 9mc Livre 2/Nos. 416. • l|l8/a Offenbach.. . chez Jean Andre, M for fl(solo), 2 ob, 2 cl, 2 hn, 2 v, va, b. Allegro L^iav 155* Quartet in A Major: Stamitz (not ident.). 156. nSieh, 0 Mensch auf”: possibly by G. A. Homilius. See No. 10. 157• ’’Die Gilte des Herrn ist [dass wir nicht gar]”: pos' sibly by J. H. Rolle. BCG, MSS 266.2 and 9 1 6 . If. for SATB; 2 v, va, vc, org. 158. ’’Nun danket alle Gott”: possibly by J. 0. Geisler or J. H. Rolle. See No. 58. 159. 4 part wind ensemble: (not ident.). 146 160o Davids Sleg im Eichthales 161. Parthis No, 1, 7 instrumental partss W. Pichi (not ident,). 162, Symphony No. Is A. G-yrowetz (not ident.). 163. Davids Sieg9 to the ends J, H. Rolls. See No, 160, 164® Quartets I. Pleyel (not ident.). 165. 6 part wind ensembles (not ident.). 166, Symphony No. Is G. E, G-raaf, See No. 15 for only symphony extant in Northern Archives. 167. . Weynachts Cantilenes J,_F, _Reichardt. ”~~l3MBC 5l.l^s> "Weinachts Cantilene von Matthias Claudias/in Music gesetzt von Johann Friedrich Reichhardt/KSniglich Pressischen Capellmeister,11 for SATB, SATB| 2 fl, 2 bn, 2 h, trmb, 2 v, va, b, org. 168. 4 part wind ensembles (not ident.). 169, Symphony No. Is Friedrich Schwindel (d. 1786), CMLC box 17b Orchestra, ’’Trois/Sinfonies/a/ Deux violons, taille & basse/Deux flutes & deux cors de chasse/(Ad Libitum)/Oomposees/par/F, Schwindel/ Oeuvre Neuvi§me." The score was signed "j£ohannJ F[riedrich] Peter 1793.” 170, Die Hirten bey der Krippe: D. G, Ttirk. See No. I4.7 . 171• U part wind ensemble; (not ident.). 172. Symphony No. 3; E. Eichner (not ident.). See No. 54-• 173. Quartet No. 1, with 2 Flutes: John Christian Bach (1735-1782). Charles S. Terry lists among Bach’s works "Four Quartettas, two for Two Flutes, a Tenor and Violoncello, one for Two Flutes, a Violin and Violoncello, and one for a Flute and Hoboy, or Two Flutes, a Tenor and Violoncello. Composed by the late John Christian Bach. Opera XIX." (Pub. London: Preston, 1785). 8. Charles Sanford Terry, Johann Christian Bach (London: Oxford University Press, 1929), p. 307• ll|8 17k* n0 du zu meinem Trost" (Duet): possibly by J. H. Grimm (b. late 18th century). BCG, MSS 6I+I4-.5 and 713.10 for SS; 2 v, va, vc. MS 5 is in a collection of pieces: "Partitur/ einiger stticke/...John Fr. Peter [Copyist] d. 2 Dec. 1774." vX MS 713.10, with the same text but found in another collection— "k instr./i| Voci vielfach/Organo unvoll- komenen/Die beyde Stucke...M, is musically different. This second piece is also found in Anthems for One or more voices Sung in the Church of the United Brethern, Collected and the instrumental parts Adapted for the Organ or piano forte by C. I. LaTrobe. Composed by various authors, London...1811 with an English text-- "0 Jesusl Show Thy great compassion" for s, s; 2 v, va, b. 175. "Preisses ErlSste, [ preist den Geliebtenl": possibly by J. Reichardt. BCG MSS 752.1a and 335 for SSTB; 2 cl, 2 v, va, b, org. The alternate text is: ’’Lasst uns mit Danken und Jauchzen.” 149 e Grcx.'Jc F+-f- }- AV 176. "I will mention [the loving kindness]": possibly by J. Antes.x NCC box I, "A/Due violini/Due soprani/Viola/ Violoncello/e/Organo/di John Antes/Gemeine zu Nazareth/ 1796," for 2 s; 2 v, va, vc, org. MS copy by J. F. Peter. bvxett'o. Allegro * S ± 1 J l j • vl i5o 177. "Give Thanks unto the Lord": possibly by J. Antes. BCC MS 666.1 for SSATB [S and T interchange able]; fl, 2 v, va, b, org. AV vl S 178. l\. part wind ensemble: (not ident.). 179. Symphony in A, 2: F. J. Haydn (not ident.). 180. Athalia, Acts I and II: J. A. P. Schulz. See No. 17. 181. Parthie, 7 parts: A. Zimmermann. See No. 153. 182. Symphony No. 2: G. E. Graaf (not ident.). See No. 15 for only extant symphony in Northern Archives. 183. Athalia, Acts III and IV: J. A. P. Schulz. See No. 17. 184. Quartet No. 1: [ ?] Stamitz (not ident.). 185. Parthie 1-3, 6 parts: F. A. Rosetti (not ident.). 186. Symphony No. 2 in Bb: F. J. Haydn. CMBC 1367.12, nSinfonie/a/Grand orchestre... Oeuvre SOme/Livre 2/No. 857.911.../a Offenbach sur le Mein, chez J. Andre,” for fl, 2 ob, 2 bn, 2 clni. 151 2 hn, timp, 2 v, va, vc, db. See Hoboken (i:98, 198- 201). 187. Viola solo No. Is Franz Koczwara fKotzwaral (ca. 1750-1791). MGG (vii, 1305-6) lists "Three solos or sonatas for a tenor (=Va) and bass, ca. 1790, Bland." 188. Tod Abels 1-10: J. H. Rolle. See No. 2. 189. 6 part wind ensemble i|.. 5* 6.: (not ident.). 190. Symphony No. 3: F. Schwindel. CMLC box 17b Orchestra, "Trois/Sinfonies/a/ Deux violons, taille & basse,/Deux flOtes & deux cors de chasse/(ad Libitum)/Composees/par/F. Schwindel/ Oeuvre Neuvi&me." The score is signed 11 J. F. Peter, 1793." vX 191. Concerto for 2 Flutes: J. F. KlSffler. See No. 6. 192. Tod Abels 11-18: J. H. Rolle. See No. 2. 193. 6 part wind ensemble 8,9,10: (not ident.). 194. Symphony No. 6: I. Pleyel. See No. ll^l. Possibly No. 6 in that set. 152 195» Tod Abels9 to the ends J e Ho Rolle„ See No0 2e 196o 6 part wind ensemble 11? (not idente)„ 197® Symphony Noe 3? Co E e Graaf (not ident,)a See Noe 15 for only symphony extant in Northern Archivese 1980 Leiden Jesu l“ll|.s Jo H* Rolle* See No e 101e 199® 6 part wind ensemble 7,9,13% • (not ident*)» 200o Symphony No o 1: J« F , X » Sterkel. See No. 87= 201o Leiden Jesu 15-28? J0 H* Rolle* See No® 101® 202® 6 part wind ensemble 12,1^,15% (not ident*)® 203® Symphonys [ Hennig (not ident®)® 20lj.e Leiden Jesu, to the ends J® H® Rolle* See No* 101* 205® Quartet No* 2s £ Stamitz (not ident*)* 206® 6 part wind ensemble 16#17,18s (not ident*)® 207® Symphony No* 1 in A Majors F® J® Haydn® CMBC 1308®8? ’’Sinfonie e A dur/a 4 voci/ Viollno primo/Violino s.eeondo /Viola/e/Basso, * */ J* F® Peter 23 August 1767®" The above "Sinfonie" is actually the string quartet Hoboken (iiis7, 368-9)® This A Major work is the only extant A Major "Sinfonie" in the Bethlehem Archives® 153 208o Passion Music l-10s Or® A® Homilius. CMBC 80, “Passions Cantate/von/Gottfried August Homilius/Cantor und Music-Director an der Kreuz-Kirche zu Dresden,/nach der Poesie/der Herrn Buschmann," for SATBj 2 fl, 2 ob, 2 bn, 2 v, va, vc, org® 209® Symphony in A Majors J® B® Vanhal (hot ident®)® 210® Passion Music 11-18% G® A® Homilius® See No® 208® 211® Clarinet Duet No® 3s David Moritz Michael (1751- 1827)® “There is a set of five duets for two clari nets in a manuscript by Michael that may well be his own compositions but no composer attribution or signa ture appears on the manuscript®“9 212. Symphony No® 1 in Bb Majors F® J« Haydn (not ident®)® 213. Passion Music, to the ends G® A. Homilius® See No® 208® 211j.e 6 part wind ensemble 19,20s (not ident®)® 215® Clarinet Concerto in A Majors [?J Stamitz (not ident®)® 216. Stabat Mater, according to Hiller1s German parodys Giovanni Battista Pergolesi (1710-1736)® SCO, "Vollst&ndige Passion musik zum Stabat Mater mit der Klopstockschen Parodie, in der Harmonie verbessert, mit Oboe und FlSte verst&rkt, und auf vier Singstimmen gebracht, Leipzig 1776, Dyk®“ Ac cording to the MGG (vi, I4.II+) Hiller’s parody of the Pergolesi Stabat Mater is based on the earlier parody by Klopstock® ' . 9® Correspondance with Richard Claypoole, Moravian Music Foundation, Bethlehem, Pennsylvania, 6 August 1975® 15k. 217 e .6 part wind ensemble 21,22s (not ident.) 218 „ Symphony No. Is A. Oyrowetz"(not ident.), 219. Te De-urn Laudamus 1-6s possibly by K. H. Graun. See No. 31. 2 2 0. 6 part wind ensemble 12s13jl8s19s (not ident.). 221. Clarinet Concerto in Bb Majors [?] Stamitz (not ident.). 222. Te Deurn Laudamus 7,9,10,11s possibly by K. H. Graun. See No. 31. 223. Ij. part wind ensemble 36,35,34$ (not ident.). 22lj.. Symphony No. Is C. E. Graaf. See No. 15 for only extant symphony in Northern Archives. 225“ 228. "The trumpet shall sound","I know that my Redeemer", "Worthy is the Lamb", "Amen" (Messiah)s G. P. Handel. See No. 38. 229. ij. part wind ensembles (not ident.). 230. Symphony No. Is [ P. A.] Rosetti (not ident.). 231. "Erhebt den Herrn"s possibly by J. A. P. Schulz or C. G. Tag. See No. 133. 232. "Wie selig ist der Gott"s possibly by C. P. Penzel, See No. 12® 155 233. 11 Nun danket alle Gott": possibly by J. C. Geisler or J . H* Rolle. See No. 58. 23k» Clarinet (Duet) ^,5: I. Pleyel (not ident.). See No. 109. 235. Ouverture: W. A. Mozart (not ident.). 236. Symphony Oeuvre IV. Is I. Pleyel. The only mention of Oeuvre IV in the Eitner (vii-viii, i|80) is found with the quartets; "In Paris Nats Oeuvre I-I4.. 7-9. 6 livres Quatuors. Paris, Naderman. Paris, Pleyel." The possibility exists that the quartet could have been played as a symphony, as in entry 207. 237. "Nun erschallet vor deinem Throne"s C. I. Latrobe. NCC new box I, for 2 choruses, solo; org. BC MS 72 for chorus I— SATB, chorus II— SIT fStatt tenor! ATB [IT and A interchangeable]; 2 tpt, 2 hn, 2 v, va, vc, erg. The word statt in this case means— in lieu of. Here the statt tenor and alto voices are inter changeable, depending apparently on the availability of tenors. See Appendix F, figure 7 (in pocket). An j&wte. •t-r <£L_ ^ . ka/~-— ------b (Efd kb a. k. i- S 238. Clarinet Quartet No. Is W. Pichl. See No. 52. 239. Symphony No. Is A. Gyrowetz (not ident.). 156 2k.0o Thirza,. Part Is J. H. Rolle0 See Eoe 68® 2J4.I ® Parthie No® 3s M® Pi chi (not ident®) ® 2ij.2® Symphony No® 6 , first Allegros I®. Pleyel® See No® lij.1®. Possibly No® 6 in that set® 21+3« Thirza® Part IIs J® H® Rolle® See No® 68® 241+0 Parthie No® 4» W® Pi chi (not ident®)® 245® Symphony No® 6# remaining parts®®®? I® Pleyel® See No® 141® Possibly No® 6 in that set® "remaining parts" refers to No. 242. 246® Thirza* Part Ills J® H. Rolle® See No® 68® 247® Symphony No® 2s possibly by G®. P® Stamitz® See No® 71° 248® Messiah 2,3*4*546*7* G-® F® Handel® . See No® 38, main entry* for Messiah® See No® 273 concerning the numbering® 249® Quartet in Fs [ Giovanni GiuseppeJ Cambini (1746™ 1825) (not ident®)® 250o 4 part wind ensemble* 2 clarinets and 2 horns 1,2,3* 4 ,6 s. (not ident®)® 251® Symphony Oeuvre 83, L® 2s F® J® Haydn® ^ "Sinfonie/ei/grand orchestre/Composee par/ Joseph Haydn/Oeuvre 83/Livre II/No® 934/®®./a Offenbach sur le Mein, chez J® Andre" [pub® 1796] for 2 f1, 2 ob, 2 bn, 2 hn, 2 tpt, timp, 2 v, va, vc, db® See Hoboken (is93, 179-182)® 157 252. Tod Abels 1-10: J. H. Rolle. See No. 2. 253* Parthie No. 5: W. Pichl (not ident.). 25k* Symphony, Liv. II: F. A. Rosetti. See No. 652. Probably the same work. 255. Tod Abels 11-18: J. H. Rolle. See No. 2. 256. Quartet in A Major: [ ?] Stamitz (not ident.). 257• Ensemble for 2 clarinet and 2 horns 7,8,9: (not ident.). 258. Symphony No. 1: Johann Gabriel Meder (fl. 1750- 1782). CMBC 1377.1, "Trois/Simphonies/a grand orchestre/Dediees a" Monsieur Jean George Matthes/ Agent Electoral.../par/Jean Gabriel Meder/Oeuvre troisieme/chez J. J. Hummel, a Berlin.../No. I4.36,u for 2 ob, 2 tpt, 2 hn, timp, 2 v, 2 va [l oblig], b [fig]. Allegro *** No. 1 1 259. Clarinet Duet No. 3: D. M. Michael (not ident.). See No. 211. 260. Tod Abels, to the end: J. H. Rolle. See No. 2. 158 261. Ouverture: W. A. Mozart (not ident.) 262. Symphony II: J. G. Meder CMBC^137£.2, nTrois/Simphonies/a grand or- chestre/Dediees a Monsieur Jean George Matthes/Agent Electoral.../par/Jean Gabriel Meder/Oeuvre troisieme/ chez J. J. Hummel, a Berlin.../No. 14.36", for 2 ob, 2 cl, 2 hn, 2 v, 2 va [l oblig], b [fig]. No. 2 263. Violin Concerto: G. M. Giornovichi (not ident.). See No. 55 26I4.. "Auf der Ltifte Heiligen Weben [sic ]": E. W. Wolf. JHC XLIII, from the Oster Kantate for SSTB; f1, 2 hn, strg. This anthem was omitted from copies of the Oster Kantate extant in the Bethlehem Archives. 26$. Symphony No. 1: L. W. Lachnith. See No. 37 266. Ensemble for 2 clarinet and 2 horns 19,18,17,26: (not ident.) 267. Symphony No. 2: A. Gyrowetz See No. 1$^. 268. Clarinet Duet 1,2,$: J. F. Grenser See No. 89. 269. "Auf der Ltifte: E. W. Wolf. See No. 26I4.. 159 270. Parthie, 7 parts; A. Zimmermann. See No. 153. 271. Symphony III: J. G. Meder. x CMBG 1377.3, nTrois/Simphonies/a grand or- chestre/Dedi'ees k Monsieur/Jean George Matthes/Agent Electoral.../par/Jean Gabriel Meder/Oeuvre troisieme/ chez J. J. Hummel, a* Berlin.. ./No. ^36" for 2 ob, 2 tpt, 2 hn, timp, 2 v, 2 v [l obligj, b [fig]. Allegro No. 3 272. Clarinet Concerto No. 3: C . I. Latrobe (not ident.). 273. Messiah 9,34,35,57: G. F. Handel. The numbering must refer to their own scores of Messiah. See No. 38 for main entry. 274. Symphony III: L. W. Lachnith. See No. 130. 275. Symphony No. 5: I. Pleyel. See No. 141. Possibly No. 5 in that set. 276. Die Hirten bey der Kripoe: D. G. Ttirk. See No. 47. 277* Parthie No. 3: W. Pichl (not ident.). 278. Symphonic II: E. Eichner. See No. 50. 160 279» 2 choruses- from Weynachts Cantllene; J„ P 0 Rei.chardt, See Noo 280» Symphony Oeuvre V e No® Is I, Pleyel, CMSC, "Deux Simphonies a grand orchestra composees par Mr, I, Pleyel, Oeuvre V,11 Eitner (vii- viii, k-79) lists this edition as "2 Simphonie, Oeuvre 5e Hr, i), 6, Berlinp Hummel,!f The "No, 1" in the entry probably indicates the first symphony (Ho, 5) was played. 281, !(. part wind ensemble# 2 clarinets and 2 hornss (not ident,), 282, Symphony Libr, Is A, Gyrowetz (not ident,). 283, Clavier Sonatas £ Franz Anton] Hofmeister (1754“ 1812) (not ident,). 284, Psalm 143: Johann Friedrich Doles (1715-1797)c ^Psalra 143, ’Herr# erhSre mein G-ebet’"# MS listed in MGG (iii# 632), 285= ZauberflBte 1-3® possibly by W, A, Mozart, See No, 28, 286, Davids Sieg im Eichthales J, H, Rolle, See No, 160, 287, Symphony No, Is J, F, X, Sterkel, See No, 8?, 288, Symphony Oeuvre XXIX, 2s F, J, Haydn, Hoboken lists three publishers who published a Symphony Oeuvre XXIX, See under Ausgabeng Simrock# Hoboken (is53s 86-73)I Le Due and Hummel# Hoboken (is 75s 113-116)„ Also see No, 788# BO MS 1374,3, Hoboken (1 :53 ). 289, Davids Sieg, to the ends J, H, Rolle, See No, 160, 161 290o Mind ensemble* 3 Marchess fc0 P«, E.l Bach (not idente), 291o Symphony Oeuvre XXIVe 3s F. J» Haydn* "Trois/Simphonies/a grand orchestre/Composees/ ■ par/Mr. Joseph Haydn/Oeuvre XXIV/.../chez J. J. Hummel /§. Berlin.../a* Amsterdam.. ./No. 593” for f 1* 2 ob* 2 bn* 2 hn* strg. See Hoboken (ii80* 128=130). 292. Cantatas C. I. Latrobe. See Nos® 61|.0 and 6)4.3 ® Possibly The Dawn of Glory or The Last Judgement. Only The Dawn of Glory is extant in Bethlehem. 293® Wind ensembles 1*2,3,7s (not ident.). 29I4. Symphony Oeuvre IV. 3s I. Pleyel. See No. 236. 295® Passion Music 1=12s K. H. Graun. CMBC 79®1* ”Ein LSmmlein geht und tr> die Schuld,,r for SSATB| 2 fl, 2 ob, 2 v, va, b (fig). 296. ZauberfljBte ip-6 s See No. 28. 297« Symphony No. 3s E. Eichner (not ident.). . See No. 54® 298. Passion Music 13-23% K. H. Graun. See No. 295® 299® Short Parthien in 5 partss f F. A.j Rosetti (not ident.). > 300. Symphony Op. 83 L. ,3.1 F. J. Haydn. ^ “Sinfonie/a/Grand orchestre/Composee par/ Joseph Haydn/Oeuvre 83/Livre 1 /No. 933® ®./si Offenbach sur le Mein, chez d. Andre11 £pub. 1796J for 2 fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, 2 v, va, vc, db» See Hoboken (is97, 194-198). 162 301. Passion Music, to the end: K. H. Graun. See No. 295- 302. Parthie: Christian Frederick Noack (f1. 1782). CMLC box 8 woodwinds, "Parthie III" for 2 cl, bn, 2 hn. Movements include: Allegro, Adagio, Menuet and Trio, Allegro, and Angloise. Noack was the director of education in Leipzig, according to Fetis (vi, 326). Atla^Vc 303. Symphony: [?] Hennig (not ident.). 301+. Tod Jesu 1-9: K. H. Graun. See No. 85. 305. Parthie No. 1: [ ?] Collauf. CMLC box 8 woodwinds, "Parthie I/Parthie II" for 2 cl, 2 bn, 2 hn. Movements include: Allegro, Adagio, Menuet & Trio, Finale. Alle.gv'c No. 1 - L t o p - L ~Az 48V cl X CMLC box 8 woodwinds, "No. 1/Parthia/a/Due clarinetto [sic] in Bb/Due corne in Eb/e fagatto/des 163 Sigl. Collauf. Movements include: Allegro, Allemante & Trio, Andante, Menuet & Tio, Largo. A l\e 306. Symphony: £ ?] Wolf (not ident.). 307. Tod Jesu 10-17: K. H. Graun. See No. 85. 308. Quartet No. 1: Stamitz (not ident.). 309. Symphony in A Major, 2: P. J. Haydn. See No. 207. Perhaps the 11211 indicates that the second movement was played. 310. Tod Jesu, to the end: K. H. Graun. See No. 85. 311. Parthie No. 2: [ Collauf. CMLC box 8 woodwinds, "Parthie I/Parthie II" for 2 cl, bn, 2 hn. Movements include Allegro, Lento, Menuet & Trio, Presto. No. 2 -Tr £ Cl X CMLC box 8 woodwinds, "No. 2/Parthie/a due clarinetto in Bb/Due corni in Eb/e fagotto /par del sigl. Collauf." Movements include Allegro, Adagio, Menuet & Trio, Presto. r r ! % - cl X 312. Athalia, Acts I and II: J. A. P. Schulz. See No. 1?. 313. Parthie No. 7'• [ *] Collauf (not ident. ). 3II4-. Athalia, Acts III and IV: J. A. P. Schulz. See No. 1?. 31$. Symphony No. 11: F. J. Haydn (not ident.). 316. Symphony No. 7. a: F. J. Haydn (not ident.). 317• Oster-Cantata: E. W. Wolf. See No. 139. 318. Symphony Oeuvre 23. L. 3 (borrowed from Bethlehem): A.Gyrowetz. z CMBC 1368.12, "Sinfonie/a grand orchestre/ Composee par/Mr. Gyrowetz/Oeuvre 23e/Livre 3/si Offenbach sur le Mein, chez J. Andre/No. 89i|. 89$. 896,M for f1, 2 ob, 2 bn, cl, 2 hn, timp, 2 v, 2 va, b. RISM (ser. A, i, Pt 3, 4^0) indicates 1 bn, 2 clni, 1 va, [no cl]. 165 319. Oster-Cantata, to the end; E. W. Wolf. See No. 139. 320. Parthie No. 1: W. Pichl (not ident.). 321. Symphony Oeuvre 80. L. 2 (borrowed from Bethlehem): P. J. Haydn. See No. 186. 322. Psalm I4.6 (also from Bethlehem): J. P. Doles. CMBC MS 57, "Der sechs und vierzigste Psalm/ a clarino primo/Clarino secondo/Timpani/Oboe primo/ Oboe secondo/Violino primo/Violino secondo/Viola, SATB, violoncello o violono/Organo/Direzione von Johann Friedrich Doles/Cantor... St. Thomasschule... Leipzig/Gedruckt und verlegt von Johann Gottlob Immanuel Breitkopf/175&." 323. Parthie No. 1: £?3 Collauf. See No. 305. 32I4.. Symphonic No. 20: J. B. Vanhal (not ident.). 325. Clarinet Duet No. 5$ D. M. Michael (not ident.). See No. 211. 326. Psalm 11x6 W. II4.: P. H. Himmel. See No. 120. 327. Parthie No. 2: [.?] Collauf. See No. 311. 166 328. Symphony No. 1?: [?. A."] Rosetti (not ident. ). 329. Thirza. Act 1: J. H. Rolle. See No. 68. 330. Parthie No. 3: [ ?1 Collauf. CMLC box 8 woodwinds, "No. 3/Parthie/a due clarinetto in Bb/Due corni in Eb/et fagotto/Del. Sigl. Collauf." Movements include: Allegro, Adagio, Menuet & Trio, Finale. cl I 331. Symphony, borrowed from Bethlehem: P. J. Haydn (not ident.). 332. Thirza, Act 11: J. H. Rolle. See No. 68. 333. Parthie No. I4., first half: [?] Collauf. CMLC box 8 woodwinds, "No. IjVParthia/a due clarinetto in Bb/e due corni in Eb/Pagotto/del Sigl. Collauf." Movements include: Allegro, Menuet & Trio, Adagio, Angloise, Allemante, Menuetto & Trio, Aria, Variaz, Allemante. Jh-jp-fc— (fnlrfr p i clX 16? 3>3>k* Thirza, Act Ills J. H. Rolle, See Noo 680 335® Parthie No, I4.S [ ?] Collauf, See No, 333- 336, Symphony No, l8as E, Eichner (not ident.), 337® Quartet in Bb Majors J, B, Vanhal (not ident,). 338. Tod Abels 1-10: J, H. Rolle, S©g No o 2© 339® Parthie No, 5: Vincenz Masckek [MasekJ (1755-1831)® Maschekj, a Prague composer, teacher, music dealer and church musician, composed 16 Parthien for various instruments. See MG.G- (viii, 1752-3) ® 3i|-0, Symphony No, 5® I® Pleyel* See No, llj.1. Possibly No, 5 in that set. 34-1 ® Clarinet Duet No, 3i J. F, Grenser, See No, 89® 34-2. Tod Abels 11-18: J. H, Rolle. See No© 2© 34-3® Parthie No. Is M, Pichl (not ident.). 34-4-® Symphony in As {.*1 Stamitz (not ident,). 34-5® Tod Abels, to the ends J. H, Rolle, See No. 2. 346® Symphony No. 2s A. Gyrowetz. See No. 154-® 34-7- Symphony No. 19s J. B. Vanhal (not ident,). 168 3I4.80 Gedorg J, H e Rolle„ BC MSS 596$ 88^ e 2$ 93? “Gedor,/oder/Das Erwachen zum bessern Leben/von/Herrosee/Prediger in Berlin9/in Musik gesetzt von/Johann.Heinrich Rolle/ Ehemaligem Musikdirector in Magdeburg,/«, e 0/1787? ” for SA.TB; 2 fl, 2 cl, 2 hn, 2 v, va, vca 34-9» Symphony Oeuvre XXIV0 2$ F, Je Haydn,' nTrois/simphonies/a grand orchestre/Composees/ par Mr, Joseph Haydn/Oeuvre XXIV/*'* /chez J, J, Hummel/ a Berlin,,,/a Amsterdam,,,/No, 593” for fl, 2 ob, 2 bn, 2 hn, strg. See Hoboken (i$8l, 130-2), Entry 67 identifies a MS copy of this Hummel edition, of which this entry is a part. 350, Te Deum Laudamus 1-6: K,.-H6 Graun, See No, 31= 351= Concerto for 2 Flutes, No, 2; J, F, KlSffler, See No, 6 , 352, Symphony No, 6 g I, Pleyel, See No, lij-l» Possibly No, 6 in that set. 353= Te Deum Laudamus, to the end: K, H, Graun, See No, 31= 354-® Parthie in 8 parts: A, Zimmermann (not ident,). 355= Symphony No, 12, 14.1 C, E, Graaf (not ident,). 356, Clarinet Concerto in Bbs £ ?3 Stamitz (not ident,). 357= Quartet in As Stamitz (not ident.). 358= Parthie: £f . A,] Rose-tti (not ident.). 359, Symphony No. 10s F. J. Haydn (not ident.). 169 360» Quartet with clarinets (not ident„)o 361 o "'Lass sich freuen alle”s. possibly by Jo A„ Hiller* See No* 56» 362* "Der Herr ist K8nig des11 s possibly by J* H* Rolle* See Ho* 11. 363= Symphony No* ij.. as I* Pleyel (not ident») * 361].o Stabat Maters P* J„ Haydn* . See No* 78c 365* Symphony No * 15® cs L* ¥* Lachnith (not ident *)* 366 * Stabat Mater* to the ends F* J. Haydn * See No. 78® 367® Symphony No. 1].. b: I". Pleyel (not ident *) * 368* Leiden Jesu 1-llj.s J* H* Rolle. See No. 101. 369® Symphony No® l8*b: E. Eichner (not ident®)* 370® Leiden Jesu 15-28s J® H* Rolle. See No* 101. 371. Symphony No. 18* cs E. Eichner (not ident®). 372* Leiden Jesus to the ends J® H® Rolle. See No. 101. 373* Symphony No. 21® as P. Schwindel (not ident®)® 3 7 ko Tod Jesu 1-10$ K® H. Graun* See No® 85® 375° Symphony Noo 12. cs C* E 0 Graaf (not Ident0)» 376. Tod Jesu 11-20: K. H. Graun. See No. 85° 377° Symphony No. 8 . a: P. J. Haydn, (not ident.). 378. Tod Jesu 21-25s K. H. Graun. See No. 85° 379° Symphony No. 15° as. L. W. Lachnith (not ident.). 380. Davids Si eg im Eichthale to the aria. "Es schrek " euch... "T J.' hT Rolle. See No. 160. 381. !(. part wind ensembles (not ident.). 382. Symphony No. Is J. P. X. Sterkel. See No. 87. 383° Davids Sieg. to the ends J. H. Rolle. See No. 160. 381|_. Symphony Oeuvre XXIV. 2s P. J. Haydn. See No. 3^9. 385° Die Befreyung Israelss J. H. Rolle. ~ "JHOX^TT"; ^Die Befreyung Israels/ein musi- calishes Drama/in Musik gesezet/von/Joh. Heinr. Rolle” for SATE* kybd-vocal score. 386. Parthie, 5 partss A. Gyrowetz (not ident.). 387. Symphony No. 2s J. P. X. Sterkel. See No. 108. 171 388o Die Befre:fim^ Israels, to the ends Je H e Rolle, - See NoT 35^7” 389* Symphony No. Is possibly by C. P. Stamitz, See No. 8« 390o Weyn'achts Gantilenes J. P. Reichardt, ga.ii irrmrj* l,m itnyw.TapwtTii fi' 391. 2 Marches for wind ensembles. (not ident.)„ 392. Symphony No. I4.. Is I. Pleyel (not ident.). 393° Clavier Sonateg [p. A.3Hofmeister (not ident.). 39li-. Symphony No. 2i;s (.Karl Friedrich] Abel (1723-1787) (not ident.). 395° • Auferstehung und Himmelfahrt Jesu, Part Is C. P. E« Bach. "Carl Wilhelm Rummlers Auferstehung und Himmelfahrt.Jesu* in Musik gesetzt von 1 Karl Philipp Emanuel Bach. (Hamburg* 1777-1778)* Leipzig* im Breitkofischen Verlage 1787," listed in Wotquenne.10 396. Parthie No. 1. a.b.s W. Pichi (not ident.) 397° Auferstehung und Himmelfahrt Jesu, Part II to the . ends C. P. E. Bach. See No. 395° 398= Lazarus, es der Peyer der.Auferstehung. Part Is J. H. Rolle. "Lazarus (Niemeyerj 1778),. Leipzig 1779, Breitkopf," MGG (xi, 655)= No copy extant in 10. Alfred Wotquenne, Thematisches Verzeichnis der Werke von Carl Philipp Emanuel Bach°%171^-i7Bn") (Wiesbaden's" Breitkopf &~Hfirtel, l%Ij.), p. 20. 172 Pennsylvaniae JHC XXXIII and XXXIV contain selected choruses with orchestral accompaniment. 399. Symphony No. 12. c: G. E. G-raaf (not ident.). 1|.00. Lazaruss Part II? J. H. Rolle. See No. 398. lj.01. Lazaruss Part III to the ends J. H. Rolle. See No. 398. 1|.02. Symphony No. 8 . as P. J. Haydn (not ident.). ij.03. Passion Music 1 to 10s G. A. Homilius. See No. 208. I4.OI4.. Parthie No. 3s ¥. Pi chi (not ident.). J4.05. Symphony No. 7. bs P. J. Haydn (not ident.). lj.06. Passion Music 10 to the end of Part Is G. A. Homilius. See No. 208.- I4.O7 . Symphony No. 3% A. Gyrowetz (not ident.). See No. 318. Possibly "N." has been sub- situted for "Livre51. 408. Passion Music, Part II to the ends G. A. Homilius. See No. 208. . 409. Stabat.Maters P. J. Haydn. See No. 78. 410. Clavier Sonate with a violin and bass accompaniments [p. A.] Hofmeister (not ident.). 411. Symphony No. 17s P. A. Rosetti (not ident.). 173 lj.12. Stabat Mater, to the ends P„ Je Haydno See No. 78. ij.13. Symphony No. Is A. Gyrowetz (not ident „). ij-ljj.. Athalia, Parts I and II% J. A. P. Schulz. See No. 17. 14.15= Symphony No. 5® I» Pleyel. See No. II4.I. Possibly No. 5 in that set. 14-16. Athalia* Parts III and IVs J. A. P. Schulz. See No. 17« 14.17. Symphony Oeuvre V* first Allegro from the Ilnd No. 6 s I. Pleyel. See No. II4I. 14.18. Gedor* oder das Erwachen zum besseyn Lebens J. H. Rolle.. 14-19. Symphony No. 10s P. J. Haydn (not ident.). 14-20. Clavier Senates (not ident.). I42I. Psalm 23s Justin Heinrich Knecht (1752-1817). CMBC 514s "Der' 23te Psalm/von/Justin Heinrich Knecht," for SATB| 2 fl, 2 bn, 2 hn, 2 v, va, vc, org. I422. Symphony,Oeuvre V, last Allegros. I. Pleyel. • See Nos. II4.I and I4I7 . 423« Psalm II4.6.2 P. H. Himmel. See No. 120. I4.2I4. Parthie No. I4.® L -1 Collauf. See No. 333. 174 U25» Symphony Oeuvre XXIV. 2s F. J. Haydn. .See No. 349. 4.26 - 431. "Comfort ye my people"* "Every valley shall be exalted", "And the glory of the Lord", "Their sound is gone", "Lift up your heads", "Hallelujah" (Messiah)s G„ F. Handel. See No. 38. 432. Overture No. 13s W. A. Mozart (not ident.). • NCC box VII contains "Overture Mozart .No. 15"# first horn part only. Perhaps it was part of a col lection no longer extant. 433. Die Befreyung Israels: J. H. Rolle, See No. 3857™ 434» Parthie No. 5s V. Maschek. See No. 339. 435. Symphony No. 15.. cs L. ¥. Lachnith (not ident.). 436. Befreyung Israels, to the ends J. H. Rolle. See No. 385. 437. Auferstehung und Himmelfahrt Jesu, Part Is C. P. E. Bach. See No. 395. 438. Parthie No. 7 s Coll auf (not ident.). 439. Auferstehung und Himmelfahrt Jesu, Part II to the ends C. P. E. Bach. . See No. 395. 440. Symphony No. 18. as E. Eichner (not ident.). 441. Selections from Herrmann[sic]: Friedrich Ludwig Aemilius Kunzen (fl.-'1760-1796). 175 BPS 7s "Hermann und die Fiirsten/von Klopstok/ di Kunzen," for SATB| keyboard. In Eitner (v-vi, 479) > "ChBre und GesEnge z u. Klopstock.1 s Hermann und die Fiirsten. Kl.-A, von C. F. Cramer. Kiel u. Altona 1790 Kaven (Polyhymnia VIII, Theil)..»" 442, Violin Concertos Joseph Misliveech [Mislivecht, Mislivet, Myslivecek] (1737-1781), Bohemian born composer of Ilalian opera. According to Fetis (vi, 272), there are some concer tos for violin and flute in MSS. 443. Symphony No. 24$ ^K. F.J Abel (not ident.). 444° Leiden Jesu 1-14: J. H. Rolle. See No. 101, 445° Symphony No, 18. cs E. Eichner (not ident.). 446. Leiden Jesu 15-28: J. H. Rolle, See No. 101, 447® Symphony b.s J. F. X. Sterkel (not ident.). 448. Leiden Jesu, to the ends J, H, Rolle. See No. 101. 449. Parthie No. 8 s C. F. Noack (not ident.). 450= Symphony a.s [?] Stamitz (not ident.). 451° Tod Jesu 1-10s K. H. Graun. See No. 85® 452. Symphony No. 19: J. B. Vanhal (not ident.). 453° Tod Jesu 11-20: K. H. Graun. See No. 85° 176 454o .Symphony No, 8 « as F» J» Haydn (not ident.) 455« Violin Concertos [_ ? j Stamitz (not ident») e 456. Tod Jesu, to the ends K. H. Graun. See No. 85. 4 5 7 » Symphony No.[ 3 as J. B. Vanhal (not ident.) 458. Tod Abels 1-10s J. H. .Rolle, See No. 2. 459. Clavier Concertos J. F. G. Beckmann. See No. 92. 460. Symphony No.£ ] cs J. B. Vanhal (not ident.) 461. Tod Abels 11-18:■ J. H. Rolle, See No, 2. 462. Violin Concertos J. Mislivecht. See No. 442.- 463. Parthie No. 3s W. Pichl (not ident.). . 464» Symphony No, "2 ds J. B. Vanhal (not ident.) 465. Tod Abels, to the ends J. H. Rolle. See No. 2. 466. Parthies A. Zimmerman (not ident.). 467« Concerto for 2 Flutess possibly by J. F. KlSffler« See No. 6 . 468. Die Hirten bey der Krinpes' D. G. Tilr.k. ■ Se"TNo'."" 4 7 "^. 177 i|.69e Clavier Concertos [?. A j Hofmeister (not ident,) 0 j+70o Gedor, oder das Erwachen znm bessern Lebens J, H. Rolle„ See Ho, 314-8® I4.7I0 Symphonys F, J® Haydn (not ident®) „ I(-72 ® Psalm 23s J. H® Knecht® See No® 4.21® I4.73® Violin Concertos J® B, Vanhal (not ident,) „ 474® Symphony Oeuvre XXIV®2s P® J® Haydn. See No® 349® 475® Thirza, Part Is J® H® Rolle, See No. 68. 476. Symphonys J. B. Vanhal (not ident®)® 477o Clavier Sonata for 4 Handss (not ident®) 478® Thirza, Part IIs J® H® Rolle, See No® 68® 479® Thirza* Part Ills J® H® Rolle® See No® 68® 480. Symphony No® 8® as F® J® Haydn (not ident.) 481® Psalm 146 s F® H® Himmel. See No. 120. 482® Parthie* in 6 partss D. M® Michael® Parthien IV* V, XI (all in Eb Major) have six instrumental parts, including various combinations for clarinets, horns, bassoons, and trumpet (clarino]< 178 ij.83o Clarinet Concerto in A Majors [ ?] Stamitz (not ident»). . Stabat Mater 1-7s F« Jo Haydn. See No. 78. ij.85o Symphony No. 19s J® B e Vanhal (not ident.). lj.86. Stabat Mater, to the ends F. J. Haydn. See No. 78 . 4.87o Symphony No. 7* as F. J. Haydn (not ident.). 488. Clarinet Duets J. F. Grenser. See No. 89. 489. Clavier Concertos F. G.”| Beckmann. See No. 92. 490. Maria und Johannes, text by Ewald: J. A. P. Schulz. CMBC 3> llPolyhymnia/II Theil/Maria und Johannes/Ein Passionsoratorium/von/Johannes Ewald for SSTB| 2 fls 2 bb, 2 bn, 2 hn, 2 y, ■ va, vc [1 oblig.], org. 491. Violin Concertos J. Mislivecht. See No. 44-2. 492. Two arias from Maria und Johanness J. A. P. Schulz. See N o .^4907- ™ " 493. Parthie No. 3$ W. Pichl (not ident.). 494° Symphony No. Is A. Gyrowetz (not ident.). 495® Oster-Cantata. Part Is E. W. Wolf. See No.,139. 179 14.960 Symphony No0 18e as E* Eichner (not ident,)* 14-97 o Os ter-^Cantata, to the ends E,-W. Wolf* See No. 139. 1(98* Sonata, that had been played befores I* Pleyel (not ident*). . No sonata listed previously in Register. 14.99. Lazarus, oder die Feyer der Aufergtehung Part Is Jo Ho Rolle„ See No* 398* . $00* Lazarus, Part IIs J. H* Rolle* See No. 398, $01. Symphony, first Allegros F. J* Haydn (not ident*). $02* Parthie No* 7s Gollauf (not ident.)* $03, Lazarus, Part III to the ends J* H* Rolle. See No. 398* $014.* Symphony No. 7* bs F. J, Haydn (not ident.). $0$. Quartet in Bb Majors J* B. Vanhal (not ident.). $06* Weynachts Cantllene, the first halfs J. F. Reichardt . See No* 167. . $07* Symphony No. 7« a: F. J. Haydn (not ident.). $08* Clavier Concertos £ TommasoJ Giordani (1730-1806). See RISM (Ser. A, 1, Pt. '3, 2$3-4) for ex tensive list of concertos for pianoforte and harpsichord. 180 509. Weynachts Cantilene, to the end; J„ P. Reichardt, See No. 167. 510o Symphony No. 6 ; I„ Pleyel„ See No., II4.I0 Possibly No» 6 in that sete 511“ 514° "Comfort ye my people", "Every valley shall be exalted"s "Lift up your heads", "Hallelujah" (Messiah); G. F» Handel«, See No... 38. 5l5. Symphony No. 4. a, first allegros I. Pleyel (not ident.). 516- 517• Auferstehung und Himmelfahrt Jesu, Part I and Part II: C. P« E. Bach. See No. 395. 5l8. Parthie No. Is [ ?} Collauf. See No. 305» 519. Violin Concerto in Bb Majors W. Pichl (not ident.). "3 Concerti a V. princip., 2 Vln, Via et B, 2 Ob, 2 Hn= Oeuvre 3 . Berlin. Hummel”, see Eitner (vii-viii, ^39). 520. Psalm 114.6 1 P. H. Himmel. See No. 120. 521. Symphony No. 31. as [?] Stamitz (not ident.). 522. Clavier Concertos £j. P. G.j Beckmann. See No. 92. 523. Te Deum 1=6: possibly by K. H. Graun. See No. 31. Symphony No. 94« bs P. J„ Haydn. GMBC' 1367«H$ "Sinfonie/O’/Grand orchestra e oeuvre SOmc/Livre I/No, 857-911,,,/a Offenbach sur le Mein, chez J. Andre,,,", for 2 fl, .2 ob, 2 bn, 2 cl, 2 hn, timp, 2 v, va, vc, db. See Hoboken (1:94, 182-8), Te Deum, to the end: possibly by K, H„ Graun, See No, 31, Part-hieg F, A, Rosetti (not ident,) Symphony No, 5? I. Pleyel, See No, lip.- Possibly No. 5 in that set, "Die Gtite des Herr 1st dass wir": possibly by J. H. Rolle, See No. 1^7. "Wir selig 1st der Gott vertraut": possibly by C. P. Penzel. See No. 12. "Singt neue GesSnge dem Herrn": possibly by C, F, Penzel. See No. 57« "Erhebt den Herrn ist weiten Himmels Kreise": possibly by J. A. P. Schulz or G. G. Tag. See No. 133. A Piece for 3 trumpets: (not ident.). Dunkirchner Battaille: (not ident,). 2 Marches: (not ident.). Symphony No. 31. b: Stamitz (not ident.). 182 536» Clavier Sonatas- P. Kotzwara (not ident.). See MGG (vii, 1305) for the list of clavier sonatas op® .35735«36,'38» 537® Leiden Jesu 1-8s J® H® Rolle, See No® 101® 538= Symphony No® 29= bs ¥. Pichi (not ident®) 539® Leiden Jesu 9-19% J® H. Rolle, See No® 101® 5I4.O0 Symphony No® 20s J® B® Vanhal (not ident®) 514-1. Leiden Jesu 19-25: J- H. Rolle, See No® 101. 514.2® Parthies ¥®. Pi chi (not ident®)® 51].3o Symphony No. 32® cs J® P. X® Sterkel (not ident®) 514-1)-. Leiden Jesus, 25 to the ends J. H. Rolle. See No® 101= 514-5. Symphony No. 12® bs C. E« Graaf (not ident.)® 514.6= Violin Concerto in G Majors J. B® Vanhal (not ident.) See No. 519. 514.7® Quartet for Clavier, Violin, Viola and Bass"s F® A. Hofmeister. "3 Quartette f. K l . , V®, Va. und Vc", MGG (vi, 550)® 5I48® Symphony No. 3I4. F® J. Haydn (not ident®)® 5149. Athalia, Acts I and IIs J. A. P. Schulz. See No. 17® 183 550. Symphony No. 12. as C. E. Graaf (not ident.). 551. Athalias Acts III and IVs J. A. P. Schulz. See No. 17. 552. Symphony No. ?. as P. J. Haydn (not ident.). 553- 558. ”0 Thou that tellest good tidings". Let all the angels of God", "The Lord gave the word", "And the glory of the Lord", "Their sound is gone out", "Hallelujah" (Messiah)s G. P. Handel. See No. 38. 559. Symphony No. 7. bs P. J. Haydn (not ident.). 560. Thirza, Part Is J. H. Rolle. See No. 68. 561. Clavier Sonata, Allegros I. Pleyel (not ident.). 562. 3 Marches for wind ensembles (not ident.). 563. Symphony No. 7. as E. Eichneh (not ident.). 56]+“ 565. Thirza, Part II and Part Ills J. H. Rolle. See No. 68. 566. Parthieg D. M. Michael (not ident.). 567. Symphony No. 15. cs L. W. Lachnith (not ident.). 568. Psalms P. H. Himmel. Probably Psalm ll|_6 . See No. 120. 569. . Parthie No. 3« W= Pichi (not ident.). 184 570. Symphony No. 8. b: P. J. Haydn (not ident.). 571. Auferstehung; und Himmelfahrt, Part Is C. P. E. Bach. See No. 395- 572. Clavier Sonata: E. Eichner (not ident.). Eitner (iii-iv, 325) lists f,6 Sonatas p. le clavecin. Oe. 6. Berlin, Hummel" and "6 Sonate per il clavicemb. Op. 7. Francf. 1776.u 573. Auferstehung und Himmelfahrt, Part II to the end: C. P. E. Bach. See No. 395* 574- Symphony No. 17. f: P. A. Rosetti (not ident.). 575. "Battle of Maringo": Bernhard Viguerie (1761-1819). CMLC box 8 woodwinds, "Menuett militaire di Bocherini [sic]/Madison* s March di P. Wolle/Battle of Maringo di Viguerie/2 clarinetto/2 horns/2 fagotto to the 2 first/2 clarinetts/2 horns/1 fagotto to Battle of Maringo/John Levering." Sections of the work include Clarino Solo (5 meas.), March, Fanfare (5 meas.). Rondo I, Rondo II. npSV ± = Also see No. 678. 576. Violin Concerto in Bb: W. Pichl. See No. 519. 577. Symphony No. 15. b: L. W. Lachnith (not ident.). 185 578. Tod Jesu l-10s K. H. Graun. See No. 85* 579. Symphonyg F. J. Haydn (not Ident.) 580. Tod Jesu, continued: K. H. Graun. See No. 85= 581. Symphony No. 6s I. Pleyel. See No. lifl. Possibly No. 6 in that set. 582. Clavier Concerto: I. Pleyel (not ident.). . 583=. Tod Jesu, to the ends K. H. Graun. See No. 85= 584= Symphony In Gs J. B. Vanhal (not ident.). 585= Psalm 103s D.-M. Michael. , CMBC 60, "Der 103te Psaim/von/David Moritz Michael”# for SATB-j 2 f 1, 2 cl, bn, 2 clni, 2 v, va, vc, org. First modern performance of this work-- Moravian Music Festival 1976. 586. Symphonys F. Schwindel (not ident.). 587. Symphony No. 36® Is F. J. Haydn (not ident.). 588. Violin Concertos £?] Gro.chi (not ident.). 589® Die Befreyung Israels? to No.f 1 s ■ J. H. Rolle. See No. 3857" 590. Symphonys F. J. Haydn (not ident.). 591. Clavier Concertos £T.] Giordani (not ident.). See No. 508. 1 8 6 5920 Die Befreyung Israels* to the ends U» H. Rolle, See No» 385« 593® Davids Sieg; im Eichthaleg J® H e Rolle, See Roo 594.e Symphony? Franz Christoph Neubauer (1760-1795) See No® 982= Possibly the same work. 595= Symphony $ A, G-yrowetz (not ident,) 596, Davids Sieg, to the ends J, H, Rolle, See No, 160, 597= Symphony $ I, Pleyel (hot ident,) 598, Die Hirten bey der Krippes D, G, Tilrk, See No. 1;7. 599= Symphony $ E. Eichner (not ident.). 600. Clavier Sonata for 4_ Handss . Johann August Just, (1750-ca. 1780). Eitner (v-vi, 313) lists fl Son a ten zu 4. HSnden filr Klavier, MS 189,11 601. Psalms J. P. Reichardt. See No, 116, probably Psalm 65. 602. Symphony borrowed from Bethlehems Paul Wranitzky (1756- 1808). See No. 867, probably Symphony "La Chasse.” 603= Gedor, oder das Erwachen zum bessern Lebens J. H. Rolle. See No, 348= 604.6 3 Concertos omitted: (not ident.) 18? 605« Symphony's A, Gyrowetz (not ident „) <» 606«, Stabat Mater, according to the German text— "Weint ihr Augen heisse Thr&nen"s P» Je Haydne See No, 78c 607« Symphonys !„ Pleyel (not ident.). 608e Stabat Mater, to the ends F e Jo Haydn * "See Ho. 78* 609o Symphonys A. Gyrowetz (not ident.). 6l0o Passion Music 1-10s G. A. Homilius. See No. 208. 611. Symphonys A. Gyrowetz (not ident.). 612. Violin Solos Karl-Bitters von Dittersdorf (1739=* 1799), MGG (iii, 59k) lists "8 Soli ftir Violin und Bass $ 1 7 ^ 9 ^ and "6 Soli filr Violin und Bass, 1771°" 613. Passion Musics G. A. Homilius. See Ho. 208. 6llj-o Symphony Ho. 3 in D Majors J. G. Meder. See Ho. 271, 615. Quartet in G Minor with P£orte3 P [ianoJs ¥. A. Mozart. See Kdchel Kli.78 (p. 317-8) for y, va, vc, pf. 6l6. Hymn die Gottheit, on the P. P.s ¥. A. Mozart. BG 51,13a and 51.136, ’’HYMHE/Gottheit I dir sey Preiss und Ehrel/mit vier Singstimmen/Olavier- auszug/von/C. Zulehner/Musick von ¥. A. Mozart/H.3/ Ho. 1175®,®/Bonn und C8ln«..", see KSchel K336a (p. 778), Anhang B. The chorus "Gottheit, Gottheit fiber Alle MEchtig" from Thamos, K8nig in Aegypten, 188 was revised with the above text and published by Breitkopf und H&rtel in 1805» 617 <= Symphony in G e Minor 1 Fe J. Haydn» CMBC 1388s "Simphonie/a/Grand orchestre/ Goraposee/par/Mr. Geuseppe Haydn/Oeuvre XXVIII/Libro II/No. 633®»$/chez J0 Jo Hummel/a Berlin,00"s for fl, 2. Ob,, 2 hn, 2 vs va, b e See Hoboken (i$83» 1^0-^), "La Poule," 6l8o "Auf der Lilfte heiligem Weben": E 0 W. .Wolf* See No*. 261+» . 619® Quintets A* Lidl* See Ho* 34® 620* Selections from Hermann und die Bilrstens F, Lo .A* Kunzen* See No* kbl* 621* Symphonys (not ident*), 622* Hymn die Gottheits W. A* Mozart* See No. 616* 623® Violin Concertos' J. Myslivecek* See No* 442® 624® 2 Songs with the organs J® F® Reichardt® Possibly from Psalm 65 or. Weynacht1 a Cantilene® See Nos* 116 and I67® 625® Lazarus, first Acts J* H® Rolle* See No* 398* 6260 Overture to Die Zauberfl8tes W* A* Mozart* CMBC 1365>®l6, "Overture/de 1* opera/Die ZauberfIfithe,/a grand orchestre/Compos^e par/Mr* Mozart/Oeuvre 4l> No* 658® * */a Offenbach sur le Mein, chez Jean Andre* * * *" A MS copy of another edition is found in CMLC box 27b Orchestre L2j?b* 189 627“ 628. Lazarus, 2nd Act and 3rd Act: J. H. Rolle. See No. 398. 629. Die Hirten bey der Krippe: D. G. Ttirk. See No. lj-7. 630. Variations for P. P.: W. A. Mozart (not ident.). 631. Symphony in G Major from Bethlehem: P. J. Haydn. See No. 91. See No. 521}.. CMBC 1389, "Simphonia militaere/a/Grand orchestre/a/2 violins, due viole/Violoncello & basso contra/Flauto, deux oboi/Due corn! & clarini/Due clarinetti in C/Tamburo, triangle, & timpani & piatti/2 fagotti/Gomposees par/G. Haydn.H See Hoboken (i:100, 205-9). 632. Symphony: Johann Evangelist Brandi (1760-1837). CMLC box 26b Orchestra L156, "Sinfonie/a grand orchestre/Composee par/J. Brandl/Directeur de la Chapelle/de S. A. Mgr. le Prince Eveque de Spire/ Oeuvre 12mc/No. 988...a Offenbach S/M, chez Jean An dr .11 i s v X 633- 638. "Thus saith the Lord", "And the glory", "For behold, darkness", "The people that walked", "For unto us a child", "Lift up your heads" (Messiah): G. F. Handel. See No. 38. 639. Symphony No. 1: Louis Reinwald (f1. late 18th Century). CMLC box 27c Symphonies L26a, "Deux 190 Symphonies/a/Plusieurs instruments/Dediees/a Son Excellence Monsjeur ["sic]/le Comte de Westphalen/. . . / Composees par L. Reinwald 1' aine/Musicien de Chambre a la Cour de Hildesheim/Oeuvre Premier/chez J. J. Hummel.../No. 807...." Atkgvo vwol+o No. 1 6i|.0. The Last Judgement: C. I. Latrobe. The Moravian Archives in Winston-Salem, North Carolina contains three settings of the Dies Irae by LaTrobe: "Dies Irae, & c./an Ancient Hymn on the/Last Judgement/ Translated from the Latin by the Rt. Honble the Earl of Roscommon,...(London, 1799 )." "Dies Irae (An Ancient Latin Hymn on the Last Judgement)11, (composed in 1823% "Dies Irae, A Hymn on the Last Judgement, translated from the Latin by the Earl of Roscommon. For one voice."11 6i|l. Symphony: A. Gyrowetz (not ident. ). 6i|.2. Variations for F. P.: K. £?] J. (not ident.). 643. The Dawn of Glory, first half: C. I. Latrobe. BC 98a and 98b, "The/Dawn of Glory/a hymn/on the bliss of the/Redeemed/at the last day/Set to 11. Charles Edgar Stevens, "The Musical Works of Christian Ignatius Latrobe" (Ph. D. dissertation. University of North Carolina, Chapel Kill, 1971), p. 197 • 191 music by C. I. Latrobe/Adapted for the piano forte. Sig: J. C. Till", for SSTB; 2 ob, 2 tpt, 2 hn, 2 v, 2 va, vc. 6i|.i(.. Symphony No. 2: L. Reinwald. CMLC box 2?c Symphonies L26a, "Deux Sym- phonies/a/Plusieurs instruments/Dedfees/a Son Excellence Monsjeur/le Comte de Westphalen/.../ Compos'ees par L. Reinwald 1 ’ aine/Musicien de Chambre & la Cour de Hildesheim/Oeuvre premier/chez J. J. Hummel.../No. 807...." Ada.^vo Allege presto r . _ M - ML-- z*/ ^ .... -*w~ i v l 614-5* The Dawn of Glory, to the end: C. I. Latrobe. See No. o^J. 6I4.6 . Symphony in Bb Major: I. Pleyel. CMBC 1367.6 , "Grande/Sinfonie/Pour deux/ Violons, alto et basse/Cors et hautbois etc, ad Libitum/Compos^e par/I. Pleyel, oeuvre 12, seconde Edition, liv. 3/.../& Offenbach.../chez Jean Andre/ No. 2326." Allegro flu934,\ 192 CMBC 1367.8, "Sinfonie/a/Deux violons, deux hautbois/Deux cors/Alto, et basse/Gomposee/par/ Mr. Pleyel/Oeuvre i|.Omc/Livre 2/No. 6i|.9.6 5 0 .../k Offenbach..., chez J. Andre.” A CO ... ...... 5 ' 1 w - J h ------vX 6^7. F. P. Concerto, Oeuvre 21: W. A. Mozart. First edition, "Offenbach, J. Andre, Concerto, Oeuvre 21; v.— Nr. 479 (1792)", Ktichel K456 (pp.494-6), for f1, 2 ob, 2 bn, 2 hn, 2 v, va, b, pf. 648. Tod Abels, first section: J. H. Rolle. See No. 2. 649. Symphony: I. Pleyel (not ident.). 650. Violin Concerto: I. Pleyel. See No. 668. Possibly the same work. 651. Tod Abels, second section: J. H. Rolle. See No. 2. 652. Symphonic Op. 13— F. A. Rosetti. ^ BC MS 1374.4; "Sinfonie/a grand orchestra/ Composee par/Mr. Rosetti/Oeuvre 13— Livre 2", for f 1, 2 ob, bn, 2 hn, 2 v, 2 va, vc, db. MS also in CMLC box 17b Orchestra, signed J. C. T. [Johann Christian Till]. 193 vX 653. Double Sonata [Duet] in [c or d ], played by two boys: W. A. Mozart. The handwriting does not clearly indicate whether the key is C or D. The easier sonata in G Major, Ktichel K19d (pp. 33-l|), was probably within the performance level of two boys. Probable edi tion used: "London, R. Birchall: ’A/Duet/for Two Performers/on one Pianoforte/or/Harpsichord/by/A. Mozart/...' (Herbst 1789)." 654• Tod Abels, to the end: J. H. Rolle. See No. 2. 655. Symphony Oeuvre 83. L.2: P. J. Haydn. See No. 251. 656. Violin Concerto: [ ?] Stamitz (not ident.). 657• Maria und Johannes 1-5: J. A. P. Schulz. See No7 490. 658. Symphony Oeuvre 25. N.2: P. J. Haydn. See No. 95. 659. Maria und Johannes, to the end: J. A. P. Schulz. See No. 490. 660. Symphony Oeuvre 83. L.l: P. J."Haydn. See No. 300. 194 661. Tod Jesu to ”lch will von meiner Missethat”; K. H. Graun. See No. 85. 662. Symphony Oeuvre 2i+. N. [] from Bethlehem: P. J. Haydn. See Nos. 67,291, or 349. 663. Tod Jesu to flWie Herrlich 1st die neue Welt": K. H. Graun. See No. 85. 664. P. P. Concerto, Oeuvre 20: W. A. Mozart. "Offenbach, J. Andre, Concerto Oeuvre 20; V.— Nr. 4?6 (1792)", KBchel K451 (p. 485-7) for fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, 2 v, va, b, pf. 665. Violin Solo: D. M. Michael (not ident.). 666. Tod Jesu, to the end: K. H. Graun. See No. 85. 667. Symphony, an Allegro: I. Pleyel (not ident.). 668. Violin Concerto in C: I. Pleyel, Louis Massonneau (1766-1848) . CMBC 1293, "Concerto/pour le violon/Tire d ’un Quatuor de/Mr. Pleyel/et dedie a/Mr. le Baron de Billow/ .../par Massoneau [sic]/Oeuvre 6 me/a Offenbach.../ chez J. Andre/No. 749...” for 2 ob, 2 hn, 2 v, va, vc [pblig.3, db, [1794]. A\\c3 < 0 CXSYl S^Vflio 195 669o Hymns JV A» P. Schulze CMBC 50j “Hymne/Nach dem DSnlschen des Hrn0 Thaarup/von/Johann Heinrich Voss*/im Clavierauszuge/ von/Je A. Po Schulz/Ktiniglich DEnischen Gapellmeister" for S(solo) SAT(solo) TB(solo) B; fl, 2 cl, 2 hn, trbn, tirap, 2 v# vas vc, db« On 'the folder, 11 Among the early vocal music performed in Beth[lehemJ-~ Concerts by mixed voices", signed H. M e Christ in l808e On the keyboard score, "sigo J e F 0 Peter ■ 12 Aug. 1808." Notes Nazareth performance date, 25 October 1807. 670. Symphony No. 2s A» Gyrowetz. See. No. 154° 671. Clavier Concerto, Oeuvre 4°^ W. A. Mozart. "Offenbach, J. Andre, Konzert filr Pianoforte, Op. 4, Livre III; v.— Nr. 1545/46 1802", Kftchel K387a (pp. 432=3) for 2 ob, 2 bn, 2 hn, 2 v, va, b. 672. Thirza, first Acts J. H. Rolle. See No. 68. 673° Symphony No. 3s A. Gyrowetz. See No. 318. Possibly "No." has been sub stituted for "Livre." 674- 675, Thirza, 2nd Act and 3rd Acts J. H. Rolle, See No. 68. 676. Symphonys I. Pleyel (not ident.) 677° Judas Maccabaeus, first parts G. F. Handel. CMBC 13, "Auswahl/aus/Judas Maccabaeus/von Haendel und Tuerk, for SSTB'i 2 ob, 2 fl, 2 hn, 2 clni, 2 v, va, vc, db„ [The oboes and flutes double, as do the horns and trumpets.] Although no editions of Handel’s works bear Tiirk’s name, Tilrk was influencial in creating a Handel-Renaissance in Halle during the early 19th Century. See MGG (xiii, 950). 196 678. Battle of Maringo, as a symphony? B. Viguerie. See No. 575. ^ See MGG Cxiii, 1621), "Bataille de Marengo, piece militaire pour le Pianoforte, dediee a" 1’ Armee de Reserve op. 8, ange Ktindigt in Journal de Paris.” No mention of a symphony based on this work. "As a symphony" probably means that strings played the instrumental parts, as arranged in No. 575« 679. Judas Maccabaeus, second parts G. P. Handel. See No. 677. 680. Symphony No. 6s I. Pleyel. See No. lij.1. Possibly No. 6 in that set. 68l. Judas Maccabaeus, third parts G. P. Handel. See No, 677. 682. Symphony, the little one in G Majors P. J. Haydn (not ident.). 683. Gaprica for P. P.s J. B. Vanhal. See MGG (xiii,1260), "Trois Caprices op. 36, Speyer (urn iTEH)), Bassler." 684. Weinachts Cantilenes J. P. Reichardt. See No. 16?.. ' 685. ■ Symphonys P. J. Haydn (not ident.). 686. Variations for P. P.: Joseph Gelineck (1758-1825). See RISM (Ser. A, i, pt. 3, 182-203) for extensive list of variations for pianoforte. 687. Psalms P. H. Himmel. Probably Psalm II4-6. See No. 120. 688. Symphony No. 15. 2s L. ¥. Lachnith (not ident.). 197 689o Athalia - 1st and 2d Actss Jo A, P, Schulz« See No. I?. 690. Symphony No. l5» Is L. W. Lachnith (hot ident.). 691o Athalia, 3d and l+th Acts $ J. A. P. Schulz. See No« 17. 692. 2 Marches for full orchestras (not ident.). 693° Clavier Concerto, Oeuvre 15s ¥. A. Mozart. KBchel Kl(.53 (pp. ^89-90), "Offenbach, J. Andre, Concerto Oeuvre l^j V »--Nr. 375 (1793)" for fl, 2 ob, 2 bn, 2 hn, 2 v, va, b, pf. KBchel K238 (pp. 2^5-6), first edition, ,'Berlin~«-Amsterdam, Hummel, Oeuvre XV, Lib. IV, wenn die V.— Nr. 815 stimmt u. damit 1792 das Erscheinungs jahr w&re" for 2 ob Ifl] , 2 hn, 2 v, va, b, pf. 69il. Auferstehung und Himmelfahrt, Part Is C. P. E. Bach. SeeNo. 39^. 695. ' Symphony No. 15. 3s L. W. Lachnith (not ident.). 6 ' 6960 Auferstehung und Himmelfahrt, Part 2s C. P. E. Bach. — 3 9 5 . :— 697. Symphonys Carl Caspar Eder (fl. late l8th~early 19th Centuries). CMLC•box 17a Orchestra, "Simphonie et [sic]/ Deux violons, viola & basso/Deux hautbois, cor, clarino/and timpani/Composees par/Mr. C. Eder/Oeuvre V." 198 Atie^fo mae5*to5» m 3 8 vl 698. Violin Concerto: |_?3 Stamitz (not ident.). 699. Befreiung Israels to the last chorus: "Lass uns dem Herr lobsingen": J. H. Rolle. See No. 38$. 700. Symphony: C. C. Eder. See No. 697. 701. Double Sonata in C: W. A. Mozart. See No. 653* 702. Quartet: J. B. Vanhal (not ident.). 703. Befreiung Israels, to the end: J. H. Rolle. See No. 385. 70i(.. Symphony: (not ident.). 705. Quartet: J. B. Vanhal (not ident.). 706. Leiden Jesu 1-8: J. H. Rolle. See No. 101. 707. Symphony: C. C. Eder. See No. 697. 199 708o Sonata for F a P„s J« Gelineck, RISM (Ser« A s i, pt0 3, 20^-^) lists several sonatas for pianoforte„ 709* Leiden Jesu 9-20: Je H* Rolle* See No* 101* 710* Symphony (Hans and Grete): F* J* Haydn (not ident*)« 711* Allegro and Caccia for F« P*s [? 3 Campioni (not ident*)* 712* Leiden Jesu 21-28: J* H* Rolle* See No* 101* 713* Symphony in D Minors J* B* Vanhal (not ident*)* 714* Quartet in Cs J* B* Vanhal (not ident *)* 715* Leiden Jesu* 29 to the ends J* H* Rolle* See No* 101* 716* F* P* Concerto, Op* 1+6's ¥» A* Mozart* KSchel K537 (p* 609-10),. “KrSnungs Konzert’1, first edition, "Offenbach, J* AndrS, Op* I4.61 V*--Nr* 715 (179W " for fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, 2 v, va, b, pf» 717° Arrangement of Hymns J* A* P* Schulz* See No* 669* 718* Symphony Op. 7* N*2s J* B* Vanhal* CMLC box 17c Orchestra, "Six Simphonies/a^ grand orchestre/ComposSes par/G* Vanhal*/Oeuvre VII," for 2 fl, 2 ob, 2 hn, 2 v, va, b* 200 Alleg No. 2 Z2Z m a i v L 719. Psalm 103: D. M. Michael. See No. 585. 720. Selections from Herrmann und die Ptirsten: F. L. A. Kunzen. See No. 1|1|-1. 721. Symphony in Eb: L. W. Lachnith. LCMC box 26a Symphonies L. 16b, "Trois/ Simphonies/^/Grand orchestre,/Gomposees par/M. Lachnith/1* aine,/Musicien de la chambre de S.A.S. Monseigneur/le Due Regnant de deux Pont etc./Oeuvre troisieme./ches J. J. Hummel, a Berlin. ."771? Amsterdam .../No. 567___ " Alkyto mo e»4-est) No. 3 nI 722. Psalm II4-6 : F. K. Himmel. See No. 120. 723. Symphony in D: L. W. Lachnith. CMBC 1378.1 and 1378.3, "Trois/Sinf onies/a1 grand orchestre/ComposS'es/par/Lachnith 1 1 aine/ 201 Musicien de la Chambre de S.A.S./Mgr. le Due Regant/ de Deux Fonts.../Oeuvre II/chez J. J. Hummel/a Berlin .../No. 178,,l for 2 f 1, 2 hn, 2 v, va, b(f ig. ). vl 72lj.. Clavier Sonata with violin and bass: W. A. Mozart (not ident.). 725. Psalm 23: J. H. Knecht. See No. lj.21. 726. Symphony: F. J. Haydn (not ident.). 727. Tod Abels 1-12: J. H. Rolle. See No. 2. 728. Symphony in F: F. A. Rosetti. See No. 652. 729. Tod Abels to "Seht, dort steigt: J. H. Rolle. See No. 2. 730. i| Marches for 2 clarinets, 2 horns, 2 trumpets, 1 bassoon: (not ident.). 731. Symphony with 2 clarinets: W. Pichl. See Eitner (vii-viii, lj.39), "Grand Symphony- a 2 Vln, Via, Vcl, B, FI, 2 Ob, 2 Clfarinetsj, Fag, 2 Hn 2 Trombe et Timp. Op. 1 7 " 202 732. Tod Abels, to the end: J. H. Rolle. See No. 2. 733. Marches for 7 parts: (not ident.). 734* Symphony in C: I. Pleyel (not ident.). 73$. Fortepiano Concerto: [T.l Giordani. See No. $08. 736- 738. ’’Hoch thut euch aufM £?J, ,fUns fsic*] waren Hirten” [."There were shepherdsnj , "hhre sey Gott" ["Glory to God"] (Messiah): G. F. Handel. See No. 38. 739. 3 Chorales for $ part wind ensemble: (not ident.). 740. Trio, "Der Nachtw&chter": J. C. Bechler. CMLC, box 17a Orchestra, theme and 9 varia tions, for 2 v, vc. See Unique Entries and Appen dix F, figure 5 (in pocket). Tfoenwe. Allegretto ptEjEjS 741• Symphony in G: I. Pleyel. CMBC 1367.7, "Grand Sinfonie/a/2 violons, alto, basse,/Hautbois, Cors,/Composes par/Mr. Pleyel/ No. 371.../Oeuvre 33 me, Livre 2/a Offenbach..., chez Jean Andr£." 2 0 3 AUegfo Ml 7i|2. Athalia, first Act: J. A. P. Schulz. See No. 1?• 743* Parthie: [?] Stamitz (not ident.). 744" Symphony in Eb with Clavier: A. Gyrowetz. RISM (Ser. A, i, pt. 3, 421) lists "Symphonie concertante pour harpe et piano avec accompagnement de violon ou flute et violoncello ou basson oblige, avec deux violons, alto et basso ad libitum, arrange par Mme. Clery... Paris, Mme. Duhan & Co., No. 325." 745" Trio in G (for F. P.— Violin— Violone): F. J. Haydn^ Trios in G Major published by Hummel or Andre include: Andre and Hummel, Hoboken (xv:5, 682-6); Andre and Hummel, Hoboken (xv:25, 707-10); Andre, Hoboken (xv:32, 717-8). See under Ausgaben. 746. Athalia, second Act: J. A. P. Schulz. See No. 17. 747• Parthie: F. A. Rosetti (not ident.). 748. Symphony in G: A. Gyrowetz. CMBC 1368^9, "Sinfonie/Periodique/Divers instrumens/Composee/par/Mr. Adalberto Gyrowetz/.../a Paris/chez Imbault...No. 627, for f1[soloj, 2 ob, bn, 2 hn, 2 v, va, b. 204 Allegfc vl GMBC 1380, “Sinfonia/a grand orchestra/ Cornposee/par/Mr. A. Gyrowetz/Oeuvre 23/Livre I/a deux violons, viole & violoncello/2 flutes, 2 oboi, fagotti/ 2 corni, 2 clarini, bass contra.M Also found in MS, CMLC box 26c Symphonies Ll6a. Ltvrgkctto— A llcgto — ‘ r™ V t 749. Variations for F. P. in 0: J. Gelineck (not ident.). See No. 686. 750. Athalia, third Act: J. A. P. Schulz. See No. 17. 751. "Battle of Prague" for wind ensemble: F. Koczwara. MGG (vii, 1305) lists two editions: "The Battle of Prague, a favourite sonata f. kl. oder Cemb. m. V. und Vc, Op. 13 (oder 25), Dublin, c. 1788, Lee"; "Grande Battaille...imittee sur le clavecin ou piano forte avec accompagnement de violon, violoncelle et tambour. Bln u. Amsterdam ca. 1800, Hummel." Neither edition suggests the use of wind instruments. 752. Variations on "Nun ruhen alle WMlder" s. 5 Jan. e): J. C. Bechler. 205 See No. 7^0, [5 Jan. e) in the Register!. "Der NachtwSchter" is based on the Moravian chorale ’’Nun ruhen alle WMlder, ” of which the melody is the lied "Innsbruck, ich muss dich lassen” by Heinrich Isaac. The "s." is possibly an abbreviation for sehen or streichinstrumenten. 753. Symphony written in C: I. Pleyel (not ident.). 754- Athalia, fourth Acts J. A. P. Schulz. See No. 17. 755* Parthie, under the 9 [th concert in series!s [?] Stamitz (not ident.). See No. 743 in the Register. This is the same Parthie as was played on 12 Jan. 1809. 756. Symphony in C: J. B. Vanhal. CMLG box 17a Orchestra, "Six/Simphonies/a* grand orchestre/Gomposees par/G. Vanhal./Oeuvre VII", for 2 f1, 2 ob, 2 hn, 2 v, va, b. AUe^t'o moH'o A t w - AVAa/ l ? 4 v X AUc5 N o . 6 206 757. Davids Sieg im Eichthale, half: J. H. Rolle. See No. l6o. 758. Parthie: V/. Pi chi (not ident. ). 759. Symphony in D Minor: J. B. Vanhal (not ident.). 760. Davids Sieg, to the end: J. H. Rolle. See No. 160. 761. Parthie: W. Pichl (not ident.). 762. Symphony: J. C. RShner (?— ?). CMBC 1375.1, "Simphonie/a/Grand orchestre/ Composee par/Mr. J. C. Rtihner/Oeuvre III,11 for f 1 [pblig.], 2 ob, 2 cl, 2 hn, bass trbn, timp, v[princ], 2 v, va, vc, db. AJo-jio Allegro f| VX 763. Quartet with obbligato horn: (not ident.) 764. Parthie: W. Pichl (not ident.) 765. Symphony: (not ident.). 766. Gedor, first half: J. H. Rolle See No. 348. 767. Parthie for wind ensemble: (not ident.). 20? 7680 Symphonys (not ident„)= 769® Gedor, to the end: J, H 0 Rolle« See NOo 3^8® 770o k- Marches for wind ensembles (not ident ®) e 771= Symphony: (not ident*)® 772® Hymn, Gottheits W. A® Mozart® See No * 616 ® 773® Clarinet Concertos t *1 Podor (not ident®)® 774-® 4- Marches for wind ensembles (not ident®)® 775® Symphonys (not ident®) 7760 Lazarus, first Acts J® H.'Rolle® See No® 398® 777o Symphonys (not ident®)® 778® Die Hirten bey der Krippes D. G® Ttirk. — — ’^S'ee No® 4-7® 779® Symphony: I. Pleyel .(not ident®)® 780® Lazarus, 2d Acts J® H® Rolle® See No® 398. 781® Symphony in Cs W® A. Mozart. CMBC 1367 ®3s "Grand Sinfonie/a/Plusieurs instruments.. ®oeuvre 34^ie/No® 594-® ® ®/S Offenbach® - chez J® Andre®.®®" "Linz" Symphony, KBchel K4-25 (p® 4-64-“5 )j> for 2 ob, 2 bn, 2 clni, 2 hn, timp, 2 v, va, b® MS also in CMLC, box 27b Orchestra L® 25b® 208 CMBC 1370 •16, ,,Grande/Sinfonie/pour/2 violons ©v CD alto, basse, 2 hautbols, 2 cors/2 bassons, 2 trompett et timbales/par/Wo Ao Mozart/Oeuvre 57/Seconde Edition /Ho® 2737«■ • • /£ Offenbach*,o/chez Jean Andre", KBchel K338 (pp. 359-60). The first symphony, Klf.25^ is probably the best solution, since the publication date was 1793, This edition of symphony K338 was published in 1809* 782, Lazarus, third Acts J, H. Rolle. See No, 398, 783, Symphony: F, J, Haydn (not ident,), 78^, Te Deum, first halfs K. H, Graun, See No, 31. 785o 2 Italian Duetss (not ident,). 786, Symphony in Cs possibly by G, P, Stamitz, See No, 8, CMBC 1371.1. See No, 80, 787, Te Deum, to the ends K. H, Graun, See No, 31® 788, Symphony in D Majors F. J, Haydn, See No, 251$ Hoboken (is93)® CMBC 1367®l6, "Collection de/Sinfonies/de divers auteurs/Arrangees pour deux violons, deux altos, basse/2 hautbois ou 2 clarinettes & 2 cors,/ ' par/C, F, Ebers/No, 2/de Haydn/Ho, 2673-78, D dur,,, /it Offenbach sur le Mein/chez Jean Andre,,,," See Hoboken (1:101, 210-3),' "The Clock.11 BC I374°3f "Sinfonia ,di J, Haydn", parts incomplete. See Hoboken (is53$ 66-73)s "L1 Imperiale," 789® it- Marches for wind ensembles (not ident.). 790, Symphony; (not ident,), 791® Thirzas 2d Acts J, H, Rolle, See No, 68, 792, Two Italian Duetss (not ident,). 793, Symphonys (not ident,). 79I4.G Thirza, 1st Acts J, H, Rolle, See No, 68, 795, Variations on “Preut auch das Lebens” for P, P,s J, C, Bechler (not ident,). 796, Symphonys (not ident,), 797» Thirza* 3<3- Acts J, H, Rolle, See No, 68, . 798, Marches for clarinet, bassoon, horn* trumpets (not ident,), 799, Clavier Concerto# Op, 20s M, A. Mozart, See No, 661j_, 800. Psalm 1L6s P, H, Himmel, See No, 120, 801, Symphonys [ Stamitz (not ident,). 802, Judas Maccabaeus# Part Is G, F, Handel, See No, 677, 803, Variations on "Nun ruhen alle M&lder"s. J, C, Bechler, See No, 752, 210 804o Battle of Maringo--Symphonys B, Viguerie. See Hos» 575 and 678. 805= Judas MaccabaeuSj, Part IIg G, F„ Handel» See No.. 677. 8060 Symphony in 0 Majors J« B, Vanhal. See Noe 756, 807. Judas MaccabaeuSj Part Ills G. F. Handel, See No, 677, 808; Symphonys (not ident,), 809. Tod Abels 1-12: J, H. Rolle, See No, 2, ... 810, Battle of the Nile, on the F, P,s J. C. Bechler (not ident,). 811. Symphony: (not ident,). 812, Tod Abels to the chorus "Seht, dort Steigt der Opferrauch”g J, H, Rolle, See No, 2, 813, Symphonys J, 0, RBhner, See No, 762. 814. Violin Solo played by Peter Wolles (not ident.). 815, Duet on the F. P.— "Der Sommer und Winter"g (not ident.), 8l6. Symphony in D Minors J, B. Vanhal (not ident,). 817. Tod Abels, to the ends J, H. Rolle. See No. 2. 211 818. Symphony Op. 7• N.l; J. B. Vanhal. CMLC box 17c Orchestra, "Six Simphonies/a grand orchestre/Compos6es par/G. Vanhal./Oeuvre VII", for 2 f1, 2 ob, 2 hn, 2 v, va, b. A llegro atsai No. 1 N = f | f- 1 r __ ar~. — J.J. J vl 819. Turkish Overture, F. P. with violin accompaniment: Daniel Gottlieb Steibelt (1765-1823). See HGG (xii, 1224)> "Ouv. turque f. kl., V. et Vcl. oeuv. 17. Offenbach, Andre.M 820. Selections from Maria und Johannes 1,2,5,9,11,13: J. A. P. Schulz. See No. 490. 821. Symphony No. 1 in C: A. Gyrowetz (not ident.). CMSC contains two of the three symphonies in Op. 8. Symphony No. 1 is in C Major. 822. Quartet in G (D[avid] M JpritzJ MCichael]--1st violin): J. B. Vanhal (not ident.). 823. Hymn 1,2,3,4,5,6,12,13: J. A. P. Schulz. See No. 669. 824. Symphony: J. B. Vanhal (not ident.). 825. 3 English Hymns: J. C. Bechler (not ident.). 826. Clavier Sonata with violin and violoncello: F. J. Haydn (not ident.). 212 82?» ;Symphonys J0 B0 Vanhal (not identc)0 828» Selections from Te Deumi J0 H e Knecht* CMBG 71# ''Auszug/aus/Knechts/Te Deum”, for SATB| 2 clni, 2 v# va# vc, orge 829« Five Marches for 6 part wind ensembles (not ident.). 830* Symphonys A, Gyrowetz (not ident,). 83I0 Die Befreiung Israels, 1st.halfs Je H, Rolle, See Noe 3‘55V 832, Symphony: I, Pleyel (not ident«)» 833® Die Befreiung Israels, to the ends J. H 0 Rolle, " -— ~ Qee 834® Symphony in F Majors F e A, Rosetti, See Noo 632* 83S« Lazaruss First Acts Je H«, Rolle, See No. 398. 838. Symphony in Gs I. Pleyel. See No. 741. 837. Lazarus, Second Acts J. H. Rolle See No, 398. 838. Symphony in Ds F. J. Haydn. See No. 788. 839. Athalia, first choruss J, A, P. Schulz. See No. 17® 81}.0. 3 English Songs: J. 0. Bechler (not ident.). 213 841. Parthie: W. Pichl (not ident.). 842. Symphony in G: I. Pleyel. See No. 74l. 843. 2 English Pieces, ’’The Lord shall ever reign’’: J. H. Rolle. BCG 473.1 for 4 voices; 2 h, 2 v, va, vc, org. Alternate texts: ”Der Herr wird K8nig seyn... verktindet die thaten”; ”Der Herr wird KBnig seyn... Frohlocket.” t ___ __ •« » ------A ---- ^.L — + . 1 — i h - — j ) a V : .. - 4 - w r r f a 844. 2 English Pieces, ’’Jesus Jehovah, adorable Savior: (not ident.). 84$. Die Wasserfahrt. Part I; D. M. Michael. MS no longer in Bethlehem, although listed in Rau and David. 12 ’’SUITEN fflr 2 Clarinetten, 2 Hdrner u. 2 Fagotts Bestimmt zu einer Wasserfahrt auf der Lecha ^Lehigh River] auf gesetzt und zugeeignet seinem Freunde Johan Samuel Krause von David Moritz 12. Hans T. David and Albert G. Rau, A Catalogue of Music by American Moravians, 17k2-l842, From the Archives of the Moravian Church at Bethlehem, Pa. (Bethlehem, 1930; reprint ed.. New York: AMS Press, 1970), pp. 103-4. 214 Michael. Bethlm. d. 21ten April 1809.” Movements include: March; Andantino; Menuett; Allegro; Adagio; Presto; Echo Allegretto; Menuett Allegretto; Retour March, Vivace; Polonese; Rondo Vivace; Adagio; Menuett Allegretto and Trio; Andante, Allegro, Presto, Andante; Finale, The MS is in the SGC, "Die Wasserfahrt [auf der Lechal] [Bethlehem, 1809]. [ Mr 2 Glarinetten, 2 HSrner, u, 2 FagottsJ. [Copied by C. F. Schaaf, c. 1810]."13 8I4.6. Symphony in C: A. Gyrowetz. See No. 318. 847. "Unsre Seel soil dich erheben": J. C. Bechler. BCC 444*1 for 4 voices in duplo; 2 f1, 2 clni, 2 hn, 2 v, va, vc, org. 5 848. "Lobe den Herrn, meine Seele" from Psalm 103: D. M. Michael. PSB 60 for C(I)ATB; 2 fl, 2 cl, bn, 2 trpt, 2 v, va, vc, org, [parts incomplete]. 13. McCorkle, "Moravian Music in Salem", p. 292. 215 81|_9. Die Wasserfahrt, selections from Part Is D, M. Michael. See No. 8I4.5. 850. Symphony J. [ij C.s Ludwig van Beethoven (1770-182?). In loth Century German script upper case "I” may resemble ” J, ” depending on the hand. If nIfl is interperted to mean "in", the result is the identi fication of Symphony No. 1 in C Major; See No. 1012. 851. Selection from Gedor: • J. H. Rolle. See No. . 852. Several Marches for wind ensemble: (not ident.). 853. Symphony in D Minor; J. B. Vanhal (not ident.). 85U« First chorus from Te Deum, "Heil, Heil dir glilcklich Laud"; K. H. Graun. See No. 31. 855. Parthia with flute: D. M. Michael. See David and Rau (p. 101), Parthie II in Eb Major for f1, 2 cl, bn, hn. Movements are: Allegro, Andante, Menuetto and Trio, Allegro, Presto. 856. Symphony in C Major: I. Pleyel (not ident.). 857• Trio for clavier flute, violoncello: I. Pleyel. L0 [miscellaneous collection], "Grand Trio pour Piano Forte avec Flute et Violoncello par I. Pleyel." Only piano part extant in a notebook bear ing the name "Julius T. Beckler" and "Nazareth Seminary" on the front cover. (April) Sonata 216 858. ’’Bringt her dem Herrn": (not ident.). See No. 906. 859. Symphony: C. C. Eder. See No. 697. 860. Parthie No. 3: W. Pichl (not ident.). 86l. Symphony No. 2, Eb: A. Gyrowetz. See No. 154, CMBC 1370.17. 862. "Herr unser Gott sey hochgepreist": J. A. P. Schulz. NCC new box II, "Aus Reichardt's Caecilia 1. Sttick p. 22/zum 13ten Nov. 1793/Frohlocket und jauchzet dem Bischofe dem A[illeg]/a 2 corni/Violino 1 & 11/viola/Glarino 1 & 11/ Clarinetto 1 & 11/fagotto 1 & 11/Basso/di J. F. Reichardt/Aus Schulz aus Hymne das Ite und 3te chor/1. Herr unser Gott, sey hochge preist 1/2. Erhebt den Herrn mit froher Stimm", for SATB; f1, hn, clni, 2 v, va, vc, org. A jjNazzj: 863. Quartet in G Major: J. B. Vanhal (not ident.). 864. "Sing ye Heavens": J. Antes. NCC new box II, "Sing ye Heavens & be joyful, 0 Earth; break forth into singing, ye Mountains, ye Forest & each Tree therein; For the Lord hath redeemed Jacob & glorified himself in Israel. A due corni, due violini, viola & violoncello, 4 voci e organo. di John Antes--Gemein zu Nazareth 1796. " 217 Atkgt'o ______ Y » ^ v ■ — a V /W -}—4- § A4/ 865. “My heart shall rejoice in his salvation": J. Antes. BCC 450, "My heart shall rejoice in his salvation/a/Due corni/Due violini/viola e violon cello/4 voci/e/Organo.” 866. Symphony No. Ill in C Major: J. B. Vanhal. See No. 756. 86?. Symphony "La Chasse": P. Wrantizky. CMBC 1^68.4, "LA CHASSE/Sinfonie a grand or- chestre/Composee par/Paul Wranitzky/Oeuvre 25me/ No. 611.. ./a* Offenbach. .., chez J. Andr€...", for f 1, 2 ob, 2 bn, 2 hn, timp, 2 v, 2 va, vc, db. Also found in CMLC, box 17c Orchestra Allege maesto&o 0V- ‘ j:--- - £ i r j r vl 218 868. "Der* NachtwMchter" : J. C. Bechler. See No. 7I4.O. 869. Several marches for wind ensemble: (not ident.). 870. Clavier Concerto played by P[eter] W [olle]: [?] Fodor (not ident.). 871. "Der NachtwMchter", D[avid] Mforitz) Mfichael} , P[6ter] W(plle], S[?]. R[?J . : J. C. Bechler. See No. 7U0* 872. Symphony in Eb: A. Gyrowetz. See No. 154, CMBC 1370.17. CMBC 1368^11, ”Sinfonie/Periodique/Divers instrumens/Composee/par/Mr. Adalberto Gyrowetz/.../a Paris/chez imbault.../No. 627, for 2 cl, 2 hn, 2 v, va, b. Alla^v'o c V h l - — 1— -I— ---- AA 2L v X 873. Symphony in G Major: F. J. Haydn. See No. 631. 874" Athalia, First Act: J. A. P. Schulz. See No. 17. 875. Siege of Tripoli: Peter Wolle (not ident.). 876. Symphony in C Major: I. Pleyel (not ident.). 219 877• Weinachts Cantilene: J. P. Reichardt. See No. 167• 878. 3 Marches for wind ensemble: (not ident.). 879. Symphony in G Major: L. W. Lachnith. ^ BG 1378.3, MTrois/Sinfonies/a grand orchestre/ Composees/par/Lachnith l f aine/Musicien de la Chambre de S.A.S./Mgr. le Due Regnant/de Deux Fonts.../Oeuvre Il/chez J. J. Hummel/a Berlin.../No. 178", for 2 f1, 2 hn, 2 v, va, b[fig.] . Allegro — 0 - ^ — -C --- :— tSn No. 3 'r-n J. - ^ W - T ... x r - 6 v X LCMC box 26a Symphonies L. 16b, "Trois/ Simphonies/a/Grand orchestre,/Composees par/M. Lachnith/1’ aine,/Musicien de la chambre de S.A.S. Monseigneur/le Due Regnant de deux Pont etc./Oeuvre troisieme./ches J. J. Hummel, a Berlin.../a Amsterdam .../No. 567___ " No. 2 vI 880. ”Gott hatt unter uns aufgerichtet": Johannes Herbst (1735- 1812). BCG 198.1 and 78^, uGott hatt unter uns 220 aufgerichtet/Due violini/Viola/Violoncello/Due flauti/ Due corni/ij. voci/e/Organo. ” 0 V * ^ - - 1 — /vV 4-tvV B - 881. "Lob sey Christo in der Htihe"; Johann Gottfried Gebhard (b. l?55-fl. 1780's). BCC 331, "Lob sey Christo in der Htihe/2 yiolini, 2 clarinetti/2 flauti, 2 corni & clarinetti in Bb, 2 clarini/Viola & violoncello, organo/^ voci in duplo/di Gebhardt." vl 5 1 882. First 2 and last pieces from Die Wasserfahrt: D. M. Michael. See No. 8^5. 883. 3 Marches for wind ensemble: (not ident.). 221 884. Symphony in Ebs A. Gyrowetz, See No. 8?2. 885. Athalia. first act and an arrangement of the re maining actss J. A. P. Schulz. See No. 17. 886 = 887. "General Brown's March" and "General Harrison’s March"s- P. Ricksecker. BC, only Clarinet I parts are available for both marches. CMSC 554.7, several incomplete parts extant for both marches, including one keyboard copy of "General Brown's March." 888. Symphony in Eb Majors L. ¥. Lachnith (not ident.) 889. "Sing ye Heavens"s J. Antes, See No. 864. 890. "Sing and rejoice 0 daughter"s (not ident,). 891. "Unser Seel soil dich erheben"s J. 0. Bechler, See No. 847. 892. Parthie with. 1 Trumpets D. M. Michael. See David and Rau (pp. 101-3), Parthie I in Eb Major for 2 cl, bn, hn, tpt. Movements ares Allegro, Andante, Presto, Parthie XI in Eb Major for 2 cl, 2 bn, hn, clni. Movements ares Allegro, Andante, Menuett with Trio, Presto. 893. Symphony in D Majors F. J. Haydn, See No. 788. 894. First and last chorus f r \ f from gsn^fSawBwrrrfiPsalm 1* ,imi, - 103s D. M. Michael, See No. 585. ’ 222 895* 5 Marches for wind ensemble: (not ident.). 896. Symphony Op. 83 in D Major: F. J. Haydn. See No. 25>1. 897♦ Die Befreyung, Israels, an arrangement: J. H. Rolle. See No. 385. 898. Suiten. Bey einer Quelle zu blasen: D. M. Michael. BC 1351.6, "Suite, To be Played by a Stream, N.B. These pieces should be played 3 times: 1) with the horns alone, 2) with horns and bassoon, 3) with horns, bassoon and clarinets.11 See David and Rau (p. IOI4.). Part I. vneicfA'to J % aix 223 Andcuvta ^ :r l c —^ —M— •— " A f a " ' —- T T c l I M enuctt •J T~r ,■ “ ...... , cl X Prcato —h—&—u—-g— r-—r=n-T _lt-/-rP--p— f - — \ -\ — -1 -- ...... - — 7 — := ^ :v_ _ ;f_jvy/'"._7 . ------< *------Ukx X Part II. Pastorala —#— tV\/ clX t'W.vtuett Avioao Presto cl X Part III. Alkyo vvxoA«a’io c lX 225 Kehuett _ . r - —J------“ - — -- ^ -y.- ""j AV; --- cl I A % aV" b el x cl X AV- 4 ^rji-^vvzr £ e s cl X 899. 1st Parthie: D. M. Michael. Parthie I in 2b Major for 2cl, bn, hn, tpt 226 Movements are: Allegro, Andante, Presto. See David and Rau (p. 101). 900. Symphony: J. G. RBhner. See No. 762. 901. Die Hirten bey der Kripoe, a selection: D. G. Tilrk. See No . I4.7. 902. Trio for P. P. under [accomparing*] Flute and Violoncello: [Johann Anton Kozeluch] Kozeloch (1738-1814). Prolific Bohemian composer. Choirmaster at Church of the Knights of the Cross in Prague, 1784- 1814. See Grove's (iv:832). 903. Symphony in Eb Major: I. Pleyel. CMBC 1367.5, "Sinfonie/Periodique/a deux violons, alto et basse/Cors et hautbois, ad Libitum/ Composee par/Mr. Ignace Pleyel/.../a Paris/chez Imbault...No. 627." Ada.3'0 mae-steso 904. Battle of New Orleans for Piano Forte: P. Ricksecker. BC, MS copy, although not an autograph copy. 14. Eric Blorn, ed., Grove's Dictionary of Music and Musicians, 5th ed., 9 volsl (New York: St'. Martin's Press, 1954). Hereafter referred to as Grove's. 22? u’Battle of New Orleans’ published by G. Willig in Philadelphia in l8l6 for piano."^5 "TYk Aw\c< ico^r\» 905. "Lob sey der Herr aller dinge"; J. C. Bechler. BCG 276.2, "Lob sey der Herr aller dinge/i| voci/Violini, viola, violoncello, organo,/2 clarinetti (in Bb), 2 corni, 2 clarini." Incomplete set of parts also found in NCC, box I. 906. "Bringt her dem Herrn Lob, Preis und Ehr": P. Wolle. StC, "Partitur,/zu/Bringt her dem Herrn, Lob, Preis u. Ehr/Es loben ihn die Seraphim/.../di P. Wolle" for SATB; 2 trpt^D], 2 v, va, b [fig.*]. 15. Richard J. Wolfe, Secular Music in America, 1801-1825. A Bibliography, with an Introduction by Carleton Sprague Smith, 3 vols. (New York: Astor, Lenox and Tilden Foundations, New York Public Library, 196^), ii:735. 2 2 8 907. 3 Pieces from Die Wasserfahrt; D. M. Michael. See No” 8I4.5 • 908. Symfonie borrowed from Bethlehem: W. A. Mozart (not ident.). 909. "Hallelujah": J. C. Bechler. BCG 333.1, "Hallelujah/^ voci, 2 violini, viola, violoncello/2 flauti, 2 clarinetti, 2 fagotti, 2 corni/2 clarini, e organo." vX S Also in HOC new box I, "Hallelujah, Praise ye the Lord" for SATB. 910. Several Marches for wind ensemble: (not ident.). 911. Per NachtwMchter: J. C. Bechler. See No. 740. 912. Symphony borrowed from Bethlehem: P. J. Haydn (not ident.). 229 913. k- Part vocal composition with clavier: (not ident.). 914. 3 Marches for wind ensemble: (not ident.). 915. Symphony in D Major, middle piece in A Major: F. J. Haydn. See No. 788, Hoboken (1:53). 916. The Trumpet [shall sound] with clavier accompaniment (Messiah): G. F. Handel. See No. 38. 917. Piece from a piano sonata, with accompanying violin and bass: F. J. Haydn (not ident.). 918. Parthie, "das Htihnergeschrey genannt": (not ident.). Translated, the shrieks of the chickens. 919. Symphony in G Major: A. Gyrowetz. See No. 318. 920. "Gome joyful Hallelujah raise": P. Wolle. NCC, MS in new box I and in BCG MS 439 for SATB; fl, 2 cl, 2 hn, 2 clni, 2 v, va, vc. The tenor part was originally marked "canto secondo." The text ends on a patriotic note— "Oh, tune thy harp and strike thy lay, America, Columbia I". SCC 237.1, "Come joyful Hallelujahs raise etc./composed for the 4th July l8l5/by P. Wolle", for SSAB; 2 fl, clni, 2 v, vc, b, org. See Appendix F, figure 8 (in pocket). Alley's ty\eJaxft.to 2 3 0 921. Several Marches for wind ensemble, borrowed from Bethlehem: (not ident.). 922. Symphony in Bb Major: Friedrich Witt (1770-1836). CMBC 1369.1, "Sinfonie/aVGrand orchestre/ Composee par/F. Witt/Maitre de Chapelle a Wtirzburg/ No. 1/No. 1887/.../Offenbach S/M/chez Jean Andre", for f1, ob, 2 cl, 2 bn, 2 hn, 2 clni, timp, 2 v, va, vc, db. A^'io Ay vX 923. Hymn: J. A. P. Schulz. See No. 669. 921+. Clavier Concerto played by c[harles] V [an] V [leek] : f?"] Smith, (not ident.). 925. 2 Marches for wind ensemble: (not ident.). 926. Symphony in D Major: J. B. Vanhal (not ident.). 92?. Die Hirten bey der Krippe, a selection: D. G. Ttirk. See No. 57. 928. 2 Marches for wind and string ensemble: (not ident.). See Special Problems and Considerations. 929. Symphony in C Major, borrowed from Bethlehem: A. Gyrowetz. See No. 318. 231 930. “Lobet den Herr, Preist ihn, und riihmet: P. L. A. Kunzen. Chorus from Hermann und die Ftirsten. See No^ l|l|.l. BCG f ’’Lobet den Herrn (aus Kunzenf s Hermann)", for SS2#ATB; 2 fl, 2 ob, 2 bn, 2 v, va, vc, org. A note on the cover indicates; "Arranged from Hermann und die Fdrsten, "Kommt, wir sterben wie ihr," second incipit below. Poc© a 11 eg Afiz: a Hag Vo 9 3 1 . Piece from a sonata for clavier, violin, and bass; F. J. Haydn (not ident.). 932. Parthie: D. M. Michael (not ident.). 9 3 3 . Symphony in D Major, borrowed from Bethlehem; W. A. Mozart. CMBC 1370.15> "Symphonies/pour/Deux violons, alto, basse/2 flutes, 2 hautbois, 2 clarinettes, 2 bassons/2 cors, 2 trompettes et timbales/ComposSe par/W. A. Mozart/No. 10/Mo. 2178/.../£ Offenbach.../ chez Jean Andre", Ktichel K385 (pp. i|.l5~8), "Kaffner" Symphony. 232 934® Hymn, 2 vocal compositionss Jo A e P 0 Schulz0 See Ho,. 669® 935® Parthie in 0 Major, with clarinet! D„ M®'Michael, Ran (102), Parthia VII for 2 cl, bn, 2 hn® Movements are: March; Andante; Menuetto and Trio; Prestoo ' Parthia VIII for 2.cl, bn, 2 hn® Movements are: Allegro; Andante; Menuetto and Trio; Allegro assai with Majore® 936® Quartet, 2 pieces: I® Pleyel (not ident®)® 937® Symphony in D Major, Andante with variations: P® J„ Haydn® See No® 788, Hoboken (i:53) or Hoboken (islOl)® 938® "The dying Christian”: (not ident)® 939® Quartet, 2 pieces: I® Pleyel (not ident®)® 940® 4 Marches for wind ensemble: (not ident®)® 941® Symphony in C Major: J® B. Vanhal® See No® 75>&» 942® Selected pieces from the Passion Cantata: G® A® Homilius® See.No® 208® 943® Selected pieces from Quartets: I® Pleyel (not ident®)® 944® 3 Marches for wind ensemble: (not ident®)® 945® Echo from a Parthie: W® Pichl® See Eitner (vii-viii, 439), "Parthie in Ad® a 2 ob, 2 clarin® 2 Hn e Fag. in Cd® Ms®" 233 91+6. Symphony in Eb: A. Gyrowetz. See No. 8?2. 947• "Come let us join our cheerful songs": possibly by Henri Madin (1698-1748)• BCG, 57.2 and 298.2 with incomplete parts. Found in Choral Harmony A Selection of Anthems, Odes, Choruses From the Works of the Host Celebrated Composers. Published by J. C. Klemm, Philadelphia, pp. 46-52. V/ivace. 948. 4 pieces for the grand piano-forte: (not ident.). 949. A duet for 2 violins; (not ident.). 950. 2 Marches for wind ensemble; (not ident.). 951. The concluding part of Per NachtwMchter: J. C. Bechler. See No. 740. 952. Symphony in C Major; I. Pleyel (not ident.). 953. Athalia; J. A. P. Schulz. See No. 17. 954* Symphony in D Major, Andante in A; F. J. Haydn See No. 788, Hoboken (i;53)• 234 955 o Psalms D„ M. Michael. Psalm. 103. See Wo. 585< 956. First three pieces from Die Wasserfahrts D. M« Michael. See No. 845. y 957. Symphony in D Majors J. B. Vanhal (not ident.) 958. Thirza. first parts J. H. Rolle, See No. 68. 959. Die Wasserfahrt. No. 14 and 15: D. M. Michael, See No. 845. 960. Symphony in Eb Majors A. Gyrowetz.. See No. 872. 961. A selection from Tod Jesus K. H. Graun, See No. 8*5. 962. Symphony in D Majors F._ J. Haydn< See No. 788. . 963. Die Befreyung Israels, a selections J. H. Rolle. See No. 3#5. ' - 96I4.0 Symphony in Eb Majors A. Gyrowetz. See No. 8?2. 965. Motets J. A. P. Schulz (not ident.) 966. Clavier Concerto, played by Brfotherl Htiffels Johann Ludwig Dussek (1760-1812). See MGG (iii, 1009), "15 kl. Konzerte", Bohemian pianist and composer. ■ , 235 96?. Symphony in Eb, borrowed from Lititzs I. Pleyel. Not extant in CMLC. See No. 903. 968. Weinachts Gantilene: J. F. Reichardt. See NoT 167. 969. Symphony in D Major, borrowed from Lititzs A. Gyrowetz. Not extant in CMLC. CMBC 1382, "Sinfonie/Concertante/pour/Deux violons et alto obliges/Avec accompagnement/de grand orchestre/Composee par/A. Gyrowetz/Oeuvre 33/No. 1109 .../st Offenbach S/M, chez Jean Andre”, for 2 cl, 2 ob, 2 bn, 2 cl, 2 hn, timp, 2 v, va, vc, db. cov\ sptrito V pf'Tte, 970. Athalia, first part and 2 choruses from the remain ing parts J. A. P. Schulz. See No. 17. 971. I4. Four-hand marches for the P. Forte, played by Brothers [Christian R.] Schropp and [William L.J Benziens (not ident.). 972. Clavier Concerto played by c[harles] V [an] Vleck, property of P[eter] R[icksecker]s A. Gyrowetz. An appropriate concerto listed in MGG (v, 1152), ”Klavier Concerto Nr. 1, Op. 26, Offenbach (Herbst 1796), Andre.” 973* Some choruses from Judas Maccabaeuss G. F. Handel. See No. 677• 2 3 6 974. 4 Marches for wind ensemble: (not ident.). 9 7 5 • Symphony in G Major, borrowed from Lititz: A. Gyrowetz. See No. 748, CMBC 1380. 976. Trio for flute, violin and violoncello, played by P [eterj R [’icksecker'], M [atthew) Christ, [John C.J Jacobson: I. Pleyel (not ident.). 9 7 7 • Arrangement from Tod Jesu: K. H. Graun. See No. 85. 978. Symphony in Bb Major, borrowed from Lititz: A. Gyrowetz. CMLC box 26c Symphonies L. 16a, a MS copy of CMBC 1368.8, "Sinfonie/sT grand orchestre/Compos£e par/Mr. Gyrowetz/Oeuvre 9, Livre 2/No. 416,417,418/ 5 Offenbach S/M chez Jean Andre” for f1(solo), 2 ob, 2 cl, 2 hn, 2 v, va, b. Allegro 979. Sonata for clavier and violin: A. Gyrowetz. RISM (Ser. A, i, pt. 3, 4 3 3 ) lists three such sonatas: ”Deux grandes senates (Eb, F) pour le piano-f orte avec f iLtte ou violon... oeuvre 22me. -- Offenbach, Johann Andre, No. 862”; ”Sonate ftir das Piano-Forte (D) mit Begleitung einer violine oder Fl8te...6ltes Werk— Wien, S. A. Steiner, No. 2301.” 980. Quartet: F. J. Haydn (not ident.). 237 981. Last chorus from The Dawn of Glory: C. I. Latrobe. See No. 6)4.3. 982. Symphony (Bataille): Franz Christoph Neubauer (1760- 1795). CMBC 1368.5, "La Bataille/Sinfonie/a grand orchestre/Composee par/F. Neubauer/Oeuvre lime/No. 713.../a Offenbach S/M, chez Jean Andre”, for 2 f1, 2 ob, bn, cl, 2 hn, timp, tarn., 2 v, va, b. Movement 5* v X 983. Weinachts Cantilene: J. H. Reichardt. See No. 167. 98i|. Symphony in D Major: A. Gyrowetz. See No. 969. 985. Clavier Sonata, played by Brs. [Christian R.] Schropp and [William L.] Benzien: fMuziol Clementi (1752-1832) (not ident.). 986. ”Vor dir, 0 Ewiger”: J. A. P. Schulz. BCG 256a and 256b, ”Yor dir, 0 Ewiger (tritt unsre Schaar)/2 violini, viola, violoncello, flauto, corni in D/Trombone, basso, voci in pi. [, ?] organo/ arr. by J. C. Till”, with alternate texts: ”Vor dir, 0 Ewiger tritt unser chor”; ”Vor dir, 0 Ewiger tretten unser Geist.” 238 Fc»e 3 'iz\~ z|%=AW: aW: ps' 987• Andante with variations from a Flute Quartet; [Andre-Frederick Eler (1764-1821). MGG (iii, 1268) list three sets of flute quartets; "Trois Quatuors pour flute, clarinette, cor et basson. Op. 6, Paris, Pleyel”; "Trois Quatuors pour fl&te, violon, alto et basse. Op. 7, Paris, Pleyel"; "Trois Quatuors pour fl&te, clarinette, cor et basson. Op. 11, Paris, Pleyel." 988. "Lobet den Herrn" from Hermann: F. L. A. Kunzen. See No. 930. 989. Symphony in G Major: A. Gyrowetz. See No. 748. 990. Clavier Sonata, played by Br. [Charles] Van Vleck: J. Gelineck. See No. 708. 991. Die SchBpfung, the first part to No. 12: F. J. Haydn. PSB MS 17.1A, "Die Sch8pfung/Ein Oratorium/In Musik gesetzt/von/Joseph Haydn,/Doctor der Tonkunst, der Ktinigl. Schwedischen Academic der/Musik Mitglied, und Kapellmeister in wirklichen Diensten/seiner Durchlauchst des Herrn Filrsten von Esterhazy. /Organo. " The flyleaf indicates that this was Peter’s copy brought to the United States in l8ll. Fragments of vocal and instrumental parts are in NCC Box VII. See Hoboken (xvi:2, 30-52). See Unique Entries. 992. Symphony in Eb Major: A. Gyrowetz. See No. 872. 239 993<> Clavier Sonata, played by Mr, Ch^ristian] R. Schropps. J„ A, Kotzeluch-. (not ident) e See No. 902. 99lf. Variations, played by Mr. ChXristianJ R. Schropps J, L® Dusseck (not ident.). See No. 966. 995= The Dawn of Glory, Nos.'8,9,10: C. I. Latrobe. Se© No. 6L|-3® 996. Rondo for flute, violin, viola, violoncello, played by M^atthew] Ch[rist], William L. B[enzie]n, Ch. J^acobsojn, P£eterj R^ickseckejr$ (not ident.). 997e 3 Pieces for 2 clarinets, 2 horns, bassoon, bass and trumpets (not ident.). 998. Symphony in Cs I. Pleyel (not ident.). 999® Athalia, Act Is J. A. P. Schulz. See No. 17® 1000. Symphony in Ebs I. Pleyel. See No. 903® 1001. Athalia, Act IIs J. A. P. Schulz. See No. 17® 1002. 'Parthia, with Flute accompaniments D. M, Michael. See No. 855® 1003® Quartet in Cs A. Gyrowetz. BC 1312.1, "Six/Quatuors/Concert ans/Pour deux violons, alto et basse/...2e Livre de Quatuors .../li Paris/chez Imbault/... (pi® No. 189) ”, for 2 v, v, vc. All instrumental parts are marked Allegro con brio, except violin I. /Wl«.3to mae.%tc &o yl 100i|. Bassoon Concerto in F: [ Linder (not ident.). 1005. Athalia, Acts III & IV: J, A. P. Schulz. See No. 1?. 1006. Symphony in Eb: F. J. Haydn. CMBC 1367.5, "Collection de/Sinfonies/de divers auteurs/Arranges pour deux violons, deux altos, basse/2 hautbois ou 2 clarinettes & 2 cors/ par/C. F. Ebers/No. I de Haydn No. 2673-78.../a* Offenbach sur le Mein, chez Jean Andre.11 See Hoboken (i:99, 201-205). 1007. Weinacht's Cantilene: J. H. Reichardt. See No. 167. 1008. Motet, "Vor dir, 0 Ewiger”: J. A. P. Schulz. See No. 986. 1009. Concerto Militaire in C, with full accompaniment: Joseph Woelfl (1773-1812). See MGG (xiv, 759), "Grand Concerto Militaire, Klavier Konzert. C. op. 1+3 (wahrscheinlich 1799), Offenbach, Andre." 1010. Chorus in C, "Jehova, deinem Namen": Johann Christian Heinrich Rink [ Rinck] (1770-181^6). NCC new box II, 11 Jehova, deinem Namen sey Ehre, Mficht u. Ruhm. Amen!.../2 violini, viola, violoncello, trombone basso/2 corni or clarini in C/I+ voci & organo/di J. Ch. Rink." 214-1 Hacs'Vsso vl 1011. No. 259 from the Congregation Pieces: (not ident.). 1012. Symphony in C: L. Beethoven. BC 1394.1 and 13914-.2, "Collection de/Sinfonies/ de divers auteurs/Arrangees pour/Deux violons, deux altos, basse/2 hautbois ou 2 clarinettes & 2 cors/et fl&te/par C . P. Ebers/No. l+/&e Beethoven/C dur”, Kinsky,1^ Op. 21 (pp. 52-5) as a "Nonett.” BC 1391.1a, "Collection Litolff/Symphonies/ par/Beethoven/Partitions d f Orchestre/Braunschweig, New York/Henry Litolff Verlag." 1013. Rondo from a Violoncello Concerto in C (^John Christian] Jacobson)-^: I. Pleyel. 16. George Kinsky, Das Werk Beethovens; thematisch- bibliographisches Verzeichnis seiner sdmtlichen vollendeten (Munich: G. Henle Verlag, 1955') • 17. Interview with David Mewaldt, University of Wisconsin-LaCrosse, LaCrosse, Wisconsin, 26 January 1976. Mr. Mewaldt confirmed that his great-grandfather was a cellist and a teacher at Nazareth Hall from 1816-26. 21+2 -BC 1297, "Concerto/Pour violoncello princi- pale/Deux violons, alto, basse, deux oboes [sicl /et deux cors/Composee s/par I. Pleyel/Oeuvre 1+e pour Violoncello/.../a Paris/chez Pleyel,.../No. 728.../ En registre a la Bibliotheque Nationale/168....n Movement 3* Atiegvo rrr iJ-zr' y a a / v l 1011+. Psalm 11+6: P. H. Himmel. See No. 120. 101$. Overture to Don Juan: W. A. Mozart. CMLC 27b Orchestra L. 2$b, "Ouverture/a grand orchestre/de I 1 Opera Don Juan/Composee/par/Mr. Mozart/ Oeuvre $2”, for 2 f1, 2 ob, 2 bn, 2 cl, 2 tpt, 2 hn, timp, strg. KSchel K$27 (pp. 591-600); see under Ausgaben-stimmen. MS copy of "Offenbach, Andre, Op. $2, V. — Nr . 661 (1796).,r 1016. "Heiliges Landl Wo scriede ruft" in 1+ parts with organ: (not ident.). 1017• Duet for Violin and Viola ([Jacob] Zorn and [Ernest] P. Bleck): ^Federigo] Fiorillo (b. 1755)• See RISM (Ser. A, 2, pt. 3, 54-5) for pub lished duets. 1018. 3 Choruses from Per SchBpfung, Nos. 11 and 11+ in Part I, and No. 6 in Part II: P. J. Haydn. See No. 991. 243 1019. Rondo from a Symphony in Bb: I. Pleyel. See No. 646, CMBC 1367.8. The last movement of that symphony is marked Rondo Allegro assai, ex cept Vln I. /lilegtto rtipltp \ "V.—V- T#-| ^ LI —4— Y?J I -L: vl 1020. Motet, ’’Erhebt den Herrn1': C. 0. Tag. See No. 133. The Hiller Collection lists this chorus as "Hymnus.u 1021. Symphony in Eb, Finale: A. Gyrowetz. See No. 8?2. 1022. Harmonie: (not ident.). 1023. Per Sch8pfung, No. 14 in Part I and Nos. 10 and 11 in Part II: F. J. Haydn. See No. 991. 1024. "Ehre sey Gott: from Die Hirten bey der Kriope from Bethlehem: D. g 7 Tiirk. NCC new box I, "Coro/Ehre sey Gott in der HtiheI Frinde auf Erden/und den Menschen ein Wohlgefallenl/a 8 voci/Violino Primo/Violino secondo/ Due corni/Viola/e/Violoneello/Compos€es par/Daniel Gottlieb Tuerk/ftir die Gemeinde auf Nazareth.11 Parts also include org, 2 f1, db. 21* 1025. Symphony, Finale: A. Gyrowetz (not ident.). 1026. Symphony in D: A. Gyrowetz. See No. 969. 102?. Parthie: D. M. Michael (not ident.). 1028. Adagio: F. J. Haydn. BO 1370. li|-, "Abschieds Sinf onie/ftir/2 Violin en, Bratsche, Violoncell/Bass, FlSte, 2 Hoboen, 2 Htirner/und Fagott/von/J. Haydn/No. 3200.../Offenbach sur le mein bey J. Andre,” [l8l3 J . See Hoboken i*5, 52-6). This edition contains only the fourth movement (Presto-Adagio), transposed to E Minor. The Adagio in the Register is possibly from that portion of the fourth movement in the Andre edition. 1029. Symphony. Finale: A. Gyrowetz (not ident.). 1030. Symphony (D): A. Gyrowetz. See No. 969. 1031. Chorus (Ostermorgen): Sigismund Ritter von Neukomm (1776-1556). CMBC 22, ”Orchester-Stimmen/zur/Cantate der Ostermorgan/von Tiedge/Musik von Sigmand f sicJ Neukomm/Leinzig/Bey Breitkopf & HErtel/...(No. 3929) 1824 ”, for S(solo) SAT(solo) TB(solo) B, 2 fl, 2 ob, 2 cl, 2 bn, 2 tpt, 2 hn, Trbn ATB, 2 v, va, vc, b. 245 1032© . Variations for Flute/Millers £Johann Andreas] Amon (1763-1825) (not i d e n t ) „ 1033«. Men's Chorus "Schaefer's Sontagslled"s Konradn Kreutzer (17§0™l849) o. In PazdirekJ-8 (viii, 384) s. "Sammlung von vlerstimmigen GesSngen und ch8ren filr Mannerstimmen 00022 volo e e sSchotto ».6Schaefer5s Sonntagslied, „ „ Das Schifflein0«, «Dle Kapelle (Droben stehet) 0«0Die . Kapelle0 6,Die drei schSnsten Lebensblumen, Porschen nach Gott o ®-Die Kapelle (Was schirmnert )„«,<> e ” Pos sibly this edition was used* It contains all the , Kreutzer songs mentioned in the Register. 1034® Menuetto and Finale: A.. Gyrowetz (not ident.). 1035® Symphony: A. Gyrowetz (not ident.). 1036. Chorus: S. Neukomm (not ident.). 1037® Men's Chorus "Porschen nach Gott": K. Kreutzer, See No. 1033® 1038. Concerto da camera for the Pianoforte (played by P^rances] P[lorentine] Hagen): J. Woelfl. See MGG (xiv, 759)? "Concerto da Camera fdr klavier mit Begleitung von 2 V*., FI? Va und Vcl? Offenbach. Andre." 1039® Overture (Tancredi): Gioacchino Antonio Rossini (i755=IB55). CMBC 1365®14? "Ouverture/de 1» operas/TANCRED [sic]/Pour deux violons? alto? basse?/2 flutes? 2 tiautbois? 2 clarinettes?/2 bassons? 2 cors & trompettes/par/J. Rossini/No. 3711»../a Offenbach s/M? chez J. AndrS." A doubling for piccolo is added. 18. Franz Pazdirek, 'Universal-Handbuch der iMusikliterature aller Zeiten und vBlker. Als Nachschlagewerk uhd''?tu3Tenqire%%e™^ar WFT^musiklitepa^ure^eTngeruuhbetT™ 1A vols (Wiens Tazirek & Go./ 2ij.6 10lj.0e Glee MGute Kachf's Fetter Ritter von Manheim (1765“ l8l|_6) (not ident)» Composer and Cellist in the Mannheim Theater Orchestra. See Grove1s (vii, l85)« lOij-1. Grand Military Symphony? P. J. Haydn. See Ho. 631$ Hoboken (is 100). 10l|.2. Solo from Ostermorgens S. Neukomm. See No. 1031. 1043« Glee$ ’'3 Schttnsten Lebenblumen1's K. Kreutzer. See No. 1033. 1044. Quartets J. Amon (not ident.). 1045® Hymnus$. 3 parts without accompaniments S. Neukomm. BC 165$ "Hymne de la nuit$ Op. 60. Hochgesang von der Nacht/Hymne de la nuit/von/Lamartine/Musik von/S. Neukomm/Op. 60/.../Eigenthum der Verleger Eingetragen in das Archiv der Union/Mainz/Antwerpen und Brtissel/bei B. Schott's SBhnen/VollstSndige Auslieferungs lagen unserer Verlags werke in Leipzig, bei C. P. Leede in Wien, Bei H. P. Mflller/2918, ' 3027... =,! A note on the keyboard score states s "N. 13.— obtained 1872 when Prof. Graber was in Europe," Other scores were used before 1872. Publisher Lamartini published this Op. 60 in 1832 and 1856. See MGG (ix$ 1395)® 1046. Parthies P. J. Haydn (not ident.). Parthien included in the listing of "Divertimenti zu vier und mehr stimmen"; Hoboken • (ii$ 299“357)c 1047o Overture (Don Juan)s W. A. Mozart. See No. 1015° . 1048. Solo (Bass/Jahrzeiten, "A. Kordmann"): P. J. Haydn. BC TB7^Clavier Auszugs Die Jahreszeiten/von/ Joseph Haydn/Clavier Auszug.” Parts for S(solo) Bj 2 fl$ 2 ob$ 2 cl$ 2 bn$ 2 clni$ 2 hn$ 3 trbn, timp$ 2l|7 2 vs vas vc, db. Which bass solo was sung cannot be determined. See Hoboken (xxis3» 53a68). lOlj.9. Glee, “Lordly Gallants"; John Wall Callcott (1766- 1821)o See RISM (Ser. A, i, pt. 2,10), "Lordly Gallants (Glee for three voices)...1797," English organist and composer of glees and catches. 1050 0 Allegretto; P. J. Haydn (not ident.). 1051. Men’s Chorus, "Das Schifflein"s K. Kreutzer. See No. 1033. 1052 o Parthies D. M. Michael (not ident.). 1053 o "Gute Nacht"; P. Ritter (not ident.) io5i]. o Symphony; J. C. Rtihner. See No. 762. 1055.O Chorus, "Seht er kommt"; G. P. Handel. Probably the familiar chorus in Part III of Judas Maccabeaus. See No. 677. 1056. Solo (SchSpfung; Completion); P. J. Haydn. See No. 991. 1057 0 Terzetto; S. Neukomm (not ident.). 1058. Minuet and Finale; J. C. RShner (not ident.). 1059. Parthies £ Tuck (not ident.). 1060. Solo, "Pilgersmann"; £ ?J Hope (not ident.). 248 1061o Chorus (Glocke)s Andreas Jacob Romberg (1767-1821), EC 20a, "Das Lied von der Glocke/von Schiller/ (Canonic setting of ’Vivos voco. Morutos plango. Pulgura frangOo1)/In Musick gesetzt/von/Andreas Romberg/Doktor der freyen Ktinste, in ebesondre der Musik/Op, 25# 7tes Werk der .Gesangstticke/,®,/In Bonn bey N. Simrock/681", for SATE? 2 fl, 2 ob, 2 cl, 2 bn, 2 clni, 2 hn, timp, 2 v, va, vc, db„ EC 20b is a later keyboard-vocal score in English, which includes only the choruses and accompaniment for piano or organ« 1062. Allegros P. C. Heubauer (not ident.). 1063. Choruss W. A. Mozart (not ident.). 1064.» Overture (Tancredi) s G. A. Rossini. See No. 1039. 1065. Der Ostermorgens S. Neukomm. See No. 1031. 1066. Overture to Blindens Eitienne-Nicolas M^hul (1763- 1817)o CMBC 1365*11* Overture/pour/2 violons, alto, basse, 2 flutes, 2 hautbois,/2 clarinettes, 2 bassons, 2 cors,/2 trompettes & timbales/de 1* op'era/les Deux aveugles de Tol§de/par/M§hul/N'o„ 3453* *»/Offenbach sur le mein/chez J. Andre." EC 1365* Ha, "Ouverturen/filr das/Pianoforte/ ...No. 31*/Mehul (2. O p e n ) Die beiden Blinden.../ No. 31 P n gr./Braunschweig bei GM Meyer, jr. (PI. No. 407)," NCC box VII, fragments for violin, bassoon and timpani. 214.9 AHq^ o ryvfedcCerVo 106?. Lied von der Glocke: A. Romberg. See No. 106l. 1068. Overture to Italian in Algiers: G. A. Rossini. BC 13^6 .~21a, rT0uverture/de I 1 opSra: /Italiana in Algiere/a grand orchestre/par/J. Rossini/a Leipsic/ chez Breitkopf & HMrtel/...(PI. No. 35790)", for 2 ob, 2 cl, 2 bn, 2 tpt, timp, 2 v, va, vc, db. Avvctotvta 1069. 2 Men’s songs for 4 voices: (not ident.). 1070. Chorus, "Eternal God": L. Beethoven. NCC new box I, "Eternal God, Almighty pow’r we praise thee now and evermore. Before thy throne the Nations fall...," for SATB; org. See Pazderik (ii,377), "Eternal God. SATB— 6n Church £ John Church Company, CincinnatiJ ." 2 5 0 Adcvyo ssLrj^L - "i AA/ E E f B E 1071. Solo parthien, performed by Miss Angelica Mitsch, Brs. C[hristianJ D. Sensemann and Edw[ardj Rondthaler: (not ident.). 1072. Symphony in C: (not ident.). 1073• Festival Song for Men's Chorus: Felix Mendelssohn-- Bartholdy (l809-l8^7)* See Thematisches Verzeichnisl9 (p. 1|_2) "Festgesang. 'An die Kilns tier nach Schiller' s Gedicht ftir Mtinnerchor und Blechinstrumente...Berlin, bei N . Simrock." Festgesang zur Ertiffnung...ftir M&nnerchor und Orchester. Klavier--Auszug. Leipzig, bei Breitkopf & HMrtel," Thematisches Verzeichnis (p. 75). 1074. Chorus from Paulus: F. M endelssohn Bartholdy. BC 2£~, ,rPaulus/Oratorium/nach Worten der heiligen Schrift/componirt von/Felix Mendelssohn-- Bartholdy/Op. 38/Eigenthum des Verlegers/Bonn, Bey W. Simrock/London. I. Alfred Novello (PI. No. 3320) 1836 ,11 full score. Which chorus was sung cannot be determined. 19. Thematisches Verzeichnis der im Druck erschienenen Compositionen von Felix Mendelssohn— Bartholdy, 3d ed. (Leipzig: Breitkopf & hSrtel, l8o2; reprint ed7, London: H. Baron, 1966). 251 1075« Men's Chorus „ 11 Sommer lied" g F 0 M^endelssohnJ Bartholdy. See Thematiches Verzeichnis (p, 30) in "pp050, No. Sechs Lieder ftir vier Mannerstimmen# Leipzig, bei Fr. Kistner." IO760 A variety of pleasing & popular airs: (not ident.). 1077e Symphony in F: (not ident.). 1078. Jaeger Abschieds F. M endelssohn Bartholdy. See Pazderik (xxii, 1|_30), "Sechs Lieder, TTBB: ... 2. Der JSger Abschieds "Wer hat dich, du schtiner Wald...." 1079. Duet and Chorus from Pauluss F. M[ende1ssohnj Bartholdy. See No. 1074. 1080„ Menuetto and Trio in Cs (not ident.). 108l. "Gute Nacht ihr lieben Gaeste": P. Ritter (not ident«). 1082. Symphonys P. Wranitzky. Possibly Symphony "La Chasse.” See No. 867. 1083. Tenor Solo [ "Nun schwanden vor'dem heiligen..."J and chorus C^Verzweiflung, Wut und Schrecken... "J and "Bine neue Welts from Die Sch8pfungs F. J. Haydn. See No. 991, 1084, Bass Solo Aria £ "Rollend in Schumende Wellen"]from Die SchSpfung-^Wasser Aria": F. J. Haydn. See No. 991. 1085. Minuett & Trio for Piano, Flute, Horn Bassoons L. Beethoven (not ident.). 10866 Men's Chorus# "Die Kappelen"s Possibly by K n Kreutzer» See No. 1033» IO87. Chorus from Die Sch8pfunK«»«"Die Himmel erzehlen"; P. J. Haydn, See No. 991, 1088. Die Jagtt [sic]# finale from the symphony: P. Wranitzky, ; ' Symphony "La Chasse"# see No. 867= 1089° Men's Chorus# "Des Lebens Freude": (not ident.). 1090. Romance for Piano# Flute & Bassoons (not ident.). 1091. Overture to Die Blinden zu Toledos E. N. Mehul. See Not 1066. 1092. Men's Chorus# "Uber alle Wipfeln": (not ident.). 1093* Chorus# "Grand Hallelujahs": L. Beethoven. NCC new box II# "Grand Chorus/Hallelujah to the Father/from the/Oratorio of the Mount of Olives/Ludwig van Beethoven/composed 1810" for SATB fl# 2 ob, 2 bn# 2 hn# bass trbn# 2 v# v# vc# db# Kinskey Op. 85 (pp. 232-7). See Pazdirek (i# 363) for several publications of the "Hallelujah Chorus. CHAPTER IV SUMMARY This thesis has centered, around the Register of Music Performed in Concert in Nazareth, Pennsylvania from llj. October 1796 to 30 January 181|_3. This document' reveals in detail the sophisticated musical activities of the Paedagogium Collegium Musicum and later the Musical Soceity of Nazareth. The high quality and large quantity of music performed during these years is further proof that the Moravians were a unique group who, although rooted in their European heritage, functioned as a part of the America of their times. In terms of the history of Moravian .music in America, the most important revelation of this study is that the Paeda gogium Collegium Musicum:Nazareth did exist, and did contribute substantially to the maintenance of a rich cultural heritage. The teachers of Nazareth Hall played an integral part in the development and activities of the. Collegium Musicum there as directors, performers and composers. In terms of the music performed in Nazareth, the most, important find is. the identification of the string trip, nDer Nachtw&chter," by Johann Christian Bechler. So few pieces of non-choral music were written by American Moravian composers 253 251+ that the identification of another instrumental composition is of significance, even if the parts are at present incom plete „ 1 . . This study, in common with other studies in American Moravian music, documents the fact that the Moravians showed increasing, although subtle, signs of Americanization after the beginning of the nineteenth century. In the Register the increased use of popular military-type music, such as "The Battle of Prague" by Kotzwara, shows this change of emphasis. A new era of musical activities in Nazareth occurred with the formation of the Musical Society of Nazareth and its sub sequent participation in the burgeoning music festivals. The Moravian musicians of Nazareth preferred composi tions by German composers, including a wide selection of large vocal works, symphonies, and chamber music. Of the one hundred composers listed, eleven composers received consid erably more attention than others. The frequency with which music by these composers was performed is distributed as follows, according to the number of specific entries in the Registers Rolle (96 entries); Haydn (92); Pleyel (63)$ Graun (58); Gyrowetz (50); Stamitz (39); Vandal (39)$ Handel (37)$ Pichl (31+) I Michael (26); Mozart (26). The figures refer to specific entries, not necessarily whole compositions. Approx imately thirty compositions by Haydn are listed, while only two oratorios by Handel were included. Many oratorios and 255 symphonies were played several times on a periodic schedule. For example, the four large vocal works by Graun and six oratorios by Rolle received such treatment. With respect to genre, symphonies were the most pop ular, represented by 29% of the entries, A further break down of entries by genre is as follows: oratorios (17%)5 . choruses or motets (11%); other large vocal works (9%); undesignated wind ensemble music (8%); parthien (6%); con certos (6%); quartets (3%)j keyboard music in various forms (3%); miscellaneous chamber music (8%), The general format for concerts throughout most of the years included at least one symphony, part of a large vocal work or several motets, a piece of chamber music, and ■ selections for wind ensemble. The musicians in Nazareth seemed to thrive on the performance of oratorios. They often spread the performance of a single work over several concerts. For example, C, P, E, Bach’s The Israelites in the Desert was performed in part on November 3, November 10, and November 17 in 1797. Further more, during the winter concert series 1799-1900, only two of the season’s twenty-one concerts were without the perfor mance of part of a large vocal work. The vocal repertoire for that season included: Psalm ij.6 by Doles; Psalm llj.6 by Himmel; Thirza und Ihre S8hne by Graun; Tod Abels by Rolle; Gedor, oder der Erwachsen zum bessern Leben by Rolle; the Te Deum Laudaraus by Grauni Stabat Mater by Haydnj Leiden Jesu by Rollej Per Tod Jesu by Graunj plus several motets„ The impressive repertoire found in the Register is representative of the standard of musical activities among the Moravianso As such, it is further evidence of the advanced cultural life in the Moravian settlements of early America. APPENDIX A . FACSIMILES OF SELECTED REGISTER PAGES 257 Facsimile of the Title Page tr- r •>, • :.^r- yZV t tv / ' * j *-/£-• * ///^* * / ,/ y / /• /■ o: / i , I ^ /Y'c/fsi s v, , . , Lr , . Location, Moravian Archives, Moravian Historical Society, Bethlehem, Pennsylvania Facsimile of the Initial Page v/ / ' fn z ** i - ov/ r"^ /> V : ' ♦ (jj<+ d ^d/r /■ <9 • /0- /% - J+yQ ""^yyy* (/. V \ f / >y/ 9/c/I s•••• — ^* <5 ^ j^C f f - Z cZ/Z / y>.j.2sd-Y^. ' j * . ■ £ » / + V. z. ] 2, '’yfd ft 'r,&> ’ C<--T- / •-'- Z . j V _P^.V fj A.v'O tS » < ,*^A y O . /vil* yC Zy x-r/^ ^ & +4'{ y> I ^ y ^ ~ y y y ^ -'t ^ ' Location, Moravian Archives, Moravian Historical Society, Bethlehem, Pennsylvania 260 Facsimile of Pages Dated 7 December 1798 to 25 January 1799 / Z f y - . ^ ''^pf n s - * A .* ct the i* '/'t?t- us ^ ’ '& r #./ : ^ ^ £»*( . * /A/c n ^ -P - *-*- < ** ^<**A , Z Z *♦. Jt 'f f . ±A?/,/<* *1AJ t> - A ^ / c y * f Zv'zz^y. /i ^v*- /. t /<9iioO *>- c/rt tA'n*Z” ^ y^\A>i iy ty* X Xzirr'. ^ X^i/^z . I q / c S < ^ - /?-/#.//. 2 6 . I v dZ. /X j7*i /i*c**rc2 ^ <^r /z» cc// / / ■ v. - '^'y? y ' y}‘ n^f&/£.~: 3 /lU -J>.L /^ A ~ <£, •< ^-;/7- • * * • ■ /&sss/i , J Location, Moravian Archives, Moravian Historical Society Bethlehem, Pennsylvania 261 Facsimile of Pages Dated 29 November l8l0 to 3 June l6 ll /6Y0— /(fpy. / ^ / / ^ - , L — - / r < f / ( / ' _y} ‘i.,'yZ'&£^ rn c><^ zr*//'' <’* ^ os v » - x 4 .) /)o _ rr" A? ^ f _ ^ 'T.Vy o « c r a^- a e, £-“ y '■^^-*--1 —v ,. y^-z^-<<- •/. V- *-*^ /^ y , ^2- -vLv \ / y — S- A . O , m yry r- ^ ^ '?, V -jL^ £ / s 'Z CL^) a i £L C^C. /ts^Q.fLLL.^ — ^ <5/ >, / t w ^ v, u^o y J). . .x/W ' ' ^:y» 62, /-v^ . y s: ;ZL.u/;tVL__ (2^ C ., C & i x^<2* c/^fca-ta. A^y- '<■<- <*- <> — iJ is/ta c.ca^£G- tuj- \ — xJ>^ J :.c - ^ , / / 4 . I ! ' 5 { 4 ^ X . z ------/ tz v- ^v-VA-t-.t. /• f L f u ^ - j Y / - r t - K .« - ^'. /Z' -^2 I I 7 Cy . Vi, 3,,!/ /J A /' v5*L'K^- -T-Vt C./^--- - £ n S — -z,.r^a».- z. fcZJ j Location, Moravian Archives, Moravian Historical Society Bethlehem, Pennsylvania APPENDIX B TEACHERS AT NAZARETH HALL1 - : ■ . . . • The following teachers at Nazareth Hall are listed in the Register, with the exception of George G c Mueller and John F. Frflauff, who taught at Nazareth Hall before the Register was begun. The dates following the. names indicate the years of teaching service at Nazareth Hall. Those dates preceded by "P" indicate the term of service as principal at Nazareth Hall. One asterisk (-*) indicates that the in dividual is today considered an early American Moravian composer. Two asterisks (*-*) indicate that the individual at that time was identified as a musician or Professor of Music. George G. Mueller 1785-1788 John P.. Frilauf f. 1788-1791 Henry Christian Mueller 1794-1795 David Moritz Michael * -x--x- 1795-1804 Jacob Van Vleck * Pl802-l809 Johann Christian Bechler * 1806-1812; P1817-1822 Samuel Reinke 1810-1816 Peter Molle -x- 1810-1814 Peter Ricksecker -x- 1811-1821 Charles A. Van Vleck 1813-1823? P1827-1849 John Christian Jacobson 1816-1826; P1844-1849 1. Hacker, Nazareth Hall, pp. 79“85» 2, Compositions written by the composers marked (-X-) are found in David and Rau, Catalogue of Music. 262 William L 0 Benzien 1818-I82I Matthew Christ 1819-1822 Christian R 0 Schropp 1819-1821 Charles F 0 Kluge 1821-1828; PI839-I8I4J4. Jacob Zorn I823-I826 Ernest F , Bleck 1825-1831 Sylvester Wolle 1835-1839 Edward Rondthaler 1835-1841; P1853-1854 Lewis F o . Kampmann 1835-1840 Christian D 0 Senseman -x-x- 1835-1842 Francis F n Hagen -x- 1837-1841 Henry A 0 Seidel I839-I840 Reuben Ao Henry 1839-1841 Henry Jo Van Vleck 1841-I845 Andrew G-0 Kern 1842-1847 Julius Kern -x--x- 1845-1848 . Jacob Jo Haman -x-x- 1850-1855 APPENDIX C A LIST OF COMPOSITIONS BY MORAVIAN COMPOSERS RECORDED IN THE REGISTER COMPOSER TITLE OF WORK ENTRY NO, Antess John "Give thanks to the Lord" 177 "I will greatly rejoice in the Lord" "I will mention" & "Lo, this is our God" k-0 "My heart shall rejoice" 865 "Sing ye Heavens" 864 Bechler, Johann C "Battle of the Nile" 810 "Freut auch das Lebens" 795 "Hallelujah" 909 "Lob sey Herr aller Dinge" 905 Per Nachtw&chter 740 Three English Hymns (Songs) 825®840 "Nnser Seel soil dich" 847 Gebhardo Johann G, ’Lob sey Christo in der HShe" 88l Geislero Johann C, "Herr ich habe lieb" 25 "Der Herr ist K8nig 132 81Nun Danket alle Gott" 58 Herbsto Johannes "Gott hat unter uns aufge- 880 richtet" Latrobe, Christian I, Clarinet Concerto No,. 3 123 The Dawn of Glory 643 Dies Irae (Last Judgment) 640 "Nun erschallt vor demem 237 Throne" 2 6 5 Michaels David Mo Clarinet Duet No 0 3 211 Clarinet Duet No 0 5 325 Parthie Roo 1 892,899 Parthie No= 2 855 Parthie N o 0 I4. 482 Parthie N o 0 5 482 Parthie Ho = 7 935 Parthie No. 8 935 Parthie No. 11 482,892 Psalm 103 585 Suiten bey der Quelle zu 898 blasen Violin Solo 665 Die Wasserfahrt 845 RickseckePs Peter "Battle of New Orleans" 904 "General Brown’s March" 886 "General Harrison’s March" 887 Wolles Peter "Bringt her era Herrn Lob, 906 Preis und Ehr" "Come joyful Hallelujah 920 raise" "Siege of Tripoli" 875 APPENDIX D REPLICA OF A HANDBILL 266 26? GRAND CONCERT AT THE . BLACK ROCK SPRINGS, NEAR NAZARETH On the 4th of July, 1839 A Concert of Vocal and Instrumental Music will be given on the 4th of July next, by the Musical Society of Nazareth, and the Military Band, at the Black Rock Spring, for the benefit of the improvements lately made at that beautiful spot. PROGRAMME. PART I. . 1. Overture— Caliph of Bagdad. Boieldieii. 2. National Chorus— Our Country 1tis of thee 3. Gallopade. F. Weiland. 4« Hunterf s Chorus Weber. 5. Grand March, (Military Band) Walch. 6. Marr- Hymn of Liberty PART II. 7. A New Gallopade F. Weiland. 8. Song, for 4 voices. Weber. 9. Pieces d1 Harmonie, from the Zauberfloet.,f Mozart. 10. Quickstep, (Military Band) Walch. 11. Terzetto—*nHolde Liebe.” Eisenhofer. 12. National Chorus. 13*. Quickstep, (Military Band) Walch. ' PART III. 14* Gallopade. F. Weiland. 15* Glee-wLuetsow?s wilde Jagd.u Weber. 16. Grand Waltz-*-Alpensaenger. ' 17* Chorus, for male voices Loewe, 18. March, (Military Band) Walch. 19* Finale— March and Presto . Walch. The Concert will commence at 2 o 1clock P. M.--There will be an interval of 20 mi nutes between the parts, for promenade and refreshments. Opportunities to contribute for the bene fit of Black Rock, will be afforded to such as may have had none previous to the Concert. Nazareth, June 28, 1839. 3 p This handbill could not be located for the pur pose of facsimilie reproduction for this thesis» This rep lica has been taken from Hall, ’’Moravian Wind Ensemble," p. 237e It was reproduced for Dr* Hall courtesy of the Moravian Music Foundation» APPENDIX E A PERFORMANCE OF THE CREATION An Account of the Annual Festival "" ~' ' in Bethlehem 1839 ’ ’ "It is believed that the society attained its high est point of prosperity about the year 1839s in that year ’The Creation' was again performed, and on a larger scale than ever before or since in Bethlehem, Great efforts were made, performers were drilled, not only here, but in the neighboring places of Allentown, Nazareth and Easton, Every instrument was represented as written, with the exception of oboes, for which clarinets were substituted. The perfor mance took place in the large church, A platform was erect ed for the performers at the west end, decorations of evergreens and flowers graced the sides and front of the rostrum, and wreaths and bouquets the stands of the instru mental performers, The performances commenced at 2 o'clock, P ,M„, conducted by Charles F, Beckel; the two brothers Jedidiah and Timothy Weiss, sang the principal bass and tenor solos. On that occasion one of the most noted soprano's that the town had ever produced, sung her last lay for the society. It was Miss Lizette Bleck, then a teacher in the Female Boarding School, she was married shortly, thereafter to the society's best flutest, Mr, Israel Ricksecker, and moved with him to Canal Dover, Ohio, She has also 'gone home,' The writer was present as a visitor to the town when the concert was given; he still retains the programme used by him, with remarks noted, and the effects produced upon him. One hundred and twenty-five performers participated. When the full power of all were exerted, as after 'And there was Light,' even the loudest tones of the large organ were not recognized by the audience, except in the general effect, I quote the closing portion of a notice which appeared in the U, S„ Gazette, of Philadelphia, written by an auditor from that city, giving an extended description of the con cert, It was clipped from a copy of that newspaper after my return home to Litiz, [ sic Q Pa,, and has been preserved as a memento. Referring to the effect produced after the words, 'And there was Light,' it closes thus, 'It hung like a spell upon those who had heard it before, as well as those 2 6 8 269 who had not, they hung upon it as though entranced. It was well performed, and they who had the enterprise to get it up on this occasion, may be proud of the success they have met with. It is gratifying to the lover of music to see such attempts as this made so far from what is called the musical world. It speaks well for the state of society where they are found, for £ musical people must needs be a refined one. They cannot fail to enjoy more of the real pleasures of life than those who care not for those things, ‘In a few years. I, and I trust many others will look back to that hour, as one of the brightest and most pleasant spots in our lives, and hold in remembrance the music of the strains we then heard, until they are blended with those that are “Hymned on High, “ ‘ “4- I4., Grider, Historical Notes, pp, 29-30, Facsimile of an Expense Sheet for the Musical Society of Nazareth Location, Moravian Archives, Moravian Historical Society. Bethlehem, Pennsylvania APPENDIX F MUSICAL SUPPLEMENT The Musical Supplement consists of two .anthems and a string trio by Moravian, composers„ All three compositions are found in the pocket inside the back cover of this thesis0 Figure 5 of the Musical Supplement is a partial score of the string trio "Der Nachtw&chter" by Johann Chris tian Bechler (the first violin part is incomplete)„ A dis cussion of the trio is found in Unique Entries (Chapter I) and annotation 740= Figure 7 is a transcription of "Nun erschallt vor deinem Throne„" an anthem by Christian Ignatius Latrobe„ The anthem was originally written for two (SATB) choruses, two trumpets, two horns, two violins,»viola, violoncello, and organ $ this transcription has been prepared for the two choruses with piano accompaniment. Annotation 237 and Special Problems and Considerations (Chapter I) provide more information about this anthem.. Figure 8 is a transcription of the anthem "Come Joy ful Hallelujahs Raise" by Peter Wolle. -The anthem, .origi nally for SATB chorus, flute, two clarinets, two horns, two clarini (trumpets), two violins, viola, and violoncello, is transcribed for SATB chorus and piano (see annotation 920). APPENDIX G INDEX OP COMPOSERS LISTED IN THE REGISTER • Abel, [Karl Friedrich J , 39k$ 443» Araon, [Johann Andreasj, 1032, 1044» Antes, John, 40-I9176-7#864-5#889 = Bach, Carl Philipp Emanuel, 146,1^0,1^2,290,395,397,437,439, 516-7,571,573,694,696. Bach, [Johann ChristianJ , 173* ' Bechler, Johann Christian, 74°,752,795,803,810,825,840,847, 868,871,891,905,909,911,951- Beckman, jjJohann Prederich Gottlieb ] , 92,459,489,522. Beethoven, Ludwig van, 850,1012,1070,1085,1093® Borghi, [ Luigi], 9. Brandi, Johann Evangelist, 632. Callcott, John Wall, 1049. Cambini, [Giovanni Guiseppe], 249. Campioni, [ ?], 711. dementi, [Muzio], 985. Collauf, [?], 305,311,313,323,327,330,333,335,424,438,502,518. Ditters, [Karl von DittersdorfJ, 612. Doles, Johann Friedrich, 284, 322. Dussek, Johann Ludwig, 966,994 1. Refers to a corresponding number in the Register and annotations. ' 2 7 2 . r ■ ■ ; .. 273 Eder^ Carl Caspar, 697,700,859c ' Eichner, Ernst, 45,54,lij-0,172,278,297,336,269,371,^0,445, 496,563,572,599. Eler, [Andre-Fr£dericJ, 987« Piorillo, [FederigoJ,1017 Podor, [?], 773,870. ' Gebhard, Johann Gottfried, 88l. Geisler, Johann Christian, 25,58,132,158,233 Gelineck, Joseph, 686,708,749,990. Giordani, [TommasoJ, 508 ,591 ,735® Giornovichi, Giovanni Mane [jarnowichj, 55,263® Graff, Christian Ernst, 15,19,23,166,182,197,224,355,375 399,545,550® Graun, Karl Heinrich, 25,31,35,85,88,93,98,219,222,295,298, 301,304,307,310,350,353,374,376,378,451,453,456,523,525, 578,580,583,661,663,666,784,787,854,958,961,977® Grenser, Johann Friedrich, 89,97,268,341,488. Grimm, J. H., 174® Grochi, [?], 588. Gyrowetz, . Adalbert, 29,145,154,162,218,239,267,282,318,346, 386,407,413,494,595,605,609,611,641,670,673,744,748,821,830, 846,861,872,884,919,929,946,960,964,969,972,975,978-9,984, 989,992,1003,1021,1025-6,1029-30,1034-5® Handel George Frederick, 38-9,61-5,225-8,248,273,426-31, 511-4, 553-8,633-8,677,679,681,736-8,802,805,807,916,973,1055. Haydn, Franz Joseph, 44,67,71,78,81,91,95-6,179,186,207,212, 251,288,291,300,309>315-6,321,331,349,359,364,366,377,384, 402,405,409,412,419,425,454,471,474,480,484,486-7,501,504,507, 524,548,552,559,570,579,587,590,606,608,617,631,655,658,660, 662,682,685,710,726,745,783,788,826,8.38,873,893 ,896,912,915,' 917,931,937 ,954 ,962,980,991,1006^1018,1023,1028,1041,1046, 1048,1050,1056,1083-4 ,1087. Hennig, [?], 203,303® Herbstj, Johannes, 880o Hiller, Johann Adam, 26,56,134$ 361» Himmel, Friedrich Heinrich, 120,326,423$48l,520,568,687,722, 800,1014. . Hofmeister, £ Franz Anton], 283,393$410$489,547 <• Homilius, Gottfried August, 10,156,208,210,213$403,406,408, 610,613,942. Hope, [?], 1060. Just, Johann August, 600. KlSffler, Johann Friedrich, 6,199,191,351,46-7 = Knecht, Justin Heinrich, 421,472,725,828. Koczwara, Franz jjKotzwara], 187,536,751« Kozeloch, Johann Anton j^Kozeluch], 902,993° Kreutzer, Konradin, 1033,1037,1043,1051,1086. Kunzen, Friedrich Ludwig Aemilius, 441,820,720,930,988. Laehnith, Ludwig Wenzel, 37,50,130,265,274,365,379,435,567, 577,688,690,695,721,723,879,888. Latrobe, Christian Ignatius,. 123,237,272,292^640,643,645, 981,995° - ' Leeder, ^Johann Wilhelm], 127° Lidl, Andreas ^Anton Liedel], 34,619° Linder, [ ?], 1004° Madin, Henri,- 947° Maschek, Vincenz f^Masek], 339,434° Meder, Johann Gabriel, 258,262,271,614. Mehtil, Etienne-Nicolas, 1066,1091° Mendelssohn-Bartholdy, Felix, 1073=5,1078-9° ' : ' ■ 275 Michaels David Moritz, 211,259,325,j+82,566,585,665*719,845, 8^8-9,855 ,882,892,891+, 898-9,907 ,932 ,935 ,955 -6 ,959 ,1002,102?, 1052. Mislivecht, Joseph f" Misliveech, Mislivet, Myslivecekl, 51, 1+1+2,1+62,1+91,623 o Mozart, Wolfgang Amadeus, 12l+, 128,235,261,1+32,615-6,622,626, 630,61+7,653,661+, 671,693 j 701,716,721+., 772,781,7 99,908,933, 1015,101+7,1063 o Keubauer, Franz Christoph, 591+,982,1062. Neukomm, Sigismund, 1031,1036,101+2,101+5,1057,1065° Noack, Christian Frederick, 302,1+1+9° Penzel, Christian Friedrich, 12,57,232,529-30<, Pergolesi, Giovanni Battista, 216* Pichl, Wenzel, 2l+,52-3,66,70,73,91+, 118,li+7,161,238,2i+l,21+1+, 253,277,320,31+3,396, j+Oi+,1+63,1+93,519,538,51+2,569,576,731,758, 761,761+, 81+1,860,91+5° Pleyel, Ignacs, 1,1+, 13,60,109,122,131,ll+l, 151,161+, 19i+,231+, 236,21+2,21+5,275, 280,291+, 31+0,352,363,367, 392,1+15,1+17,1+22, • 1+98,510,515,527,561,581-2,597,607,61+6 ,61+9-50,667-8,676,680, 731+, 71+1,753,779,832,836,81+2,856-7,876,903,936,939,91+3,952, 967,976,998,1000,1013,1019° Reichardt, Johann Friedrich, 1+2,116,167,175,279,390,506,509, 601,621+, 6 81+, 877,968 ,983,1007 ° * Reinwald, ^Louis], 639,61+1+. Ricksecker, Peter, 886-7,901+. Rink, Johann Christian Heinrich [Rinck], 1010. Ritter, Peter, 101+0,1053,1081. Rohner, J. C., 762,813,900,1051+, 1058. Rolle, Johann Heinrich, 2,5,11,27,58,68,72,75,101,105,111, 132,135,157-8,160,163,188,192,195,198,201,201+, 233,2l+0,21+3, 21+6,252,255,260,286,289,329,332,331+, 338,31+2,31+5,31+8,362,368, 370,372,380,383,385,388,398,1+00-1,1+18,1+33,1+36,1+1+1+, 1+1+6,1+1+8, 1+58,1+61,1+65,1+70,1+75,1+78,1+79,1+99,500,503,528,537,539,51+1,51+1+, 560,561+-5 ,589 ,592 -3,596 ,603,625,627-8 ,61+8 ,651,651+, 672,671+-5 , ' ' . 2?6 699 ,703,706,709 ,712,715,727,729 ,732,757,760,766,769 ,776,780 , 782,791,794,797,809,812,817,831,833,835,837,843,851,897,963. Romberg, Andreas, 1061,1067. . Rosetti, Francesco Antonio ["Franz Anton RSssler^, 20,149, 185,230,254s299,328,358,411,526,574s 652,728,747,834. Rossini, Gioacchino Antonio, 1039,1064,1068„ Schulz, Johann Abraham Peter, 17,21,133,180,183,231,312,314s 414,416,490,492,531,549,551s657,659,669,689,691,717s742,746, 750,754,820,823,839,862,874,885,923,934,953,965,970,986,999, 1001,1005,1008. Schwindel, Friedrich, 169,190,373,586. Smith, [?],'924. Stamitz, [?], 8,30,48,69,74,77,80,82,84,100,102,104,106,110, 125,136,155,184,205,215,221,247,256,308,344,356-7,389,450, 455,483,521,535,656,698,743,755,786,801. Steibelt, Daniel Gottlieb, 819. Stephani, £?], 49= Sterkel, Johann Franz Xavier, 87,108,113,148,200,287,382, 387,447,543. Tag, Christian Gottheit, 133,231,1020. Tuck, [?], 1059. • Ttirk, Daniel Gottlob, 47,170,276,468,598,629,778,901,927, 1024. Vanhal, Johann Baptist, 33,115,126,138,143,209,324,337,347, 452,457,460,464,473,476,485,505,540,546,584,683,702,705, 713“4s718,756,759,806,816,818,822,824,827,853,863,866,926, 941,957. Viguerie, Bernhard, 575,678,804= Witt, Friedrich, 922. Woelfl, Joseph, 1009,1038. Wolf, Ernst Wilhelm, 139,142,264,269,306,317,319,495,497,618. .277 Wolle, Peter, 858,875,906,920. Wranitzky, Paul, 602,867,1082,1088. Zimmermann, Anton, 153,l8l,270,354s486. Zumsteeg, Johann Rudolph, 132. LIST OF ABBREVIATIONS A alto B vocal bass b bass (.violoncello or double bass) BO Bethlehem Collection, miscellaneous BCG Bethlehem Congregation Collection bn bassoon BPS Bethlehem Philharmonic Society cemb cembalo el clarinet clni , clarini OMBO Collegium Musicum Bethlehem Collection CMLC Collegium Musicum Lititz Collection CMSC Collegium Musicum Salem Collection cor cornet db double bass figo figured (bass) fl flute HF Hiller Collection of Motets and Arias- Fetter copy hn horn HS Hiller Collection of Motets and Arias- Sister ’ s copy JHC Johann Herbst Collection Li Vo Livre 278 MS ( S) manuscript(s) HOC Nazareth Congregation Collection not ident. not identifiable ob oboe obligo obbligato ob d ’a oboe d* amore . Oe o Oeuvre Op o Opus org organ pf pianoforte S soprano 800 Salem Congregation Collection 800 Salem General Collection StG Stocking Collection str strings T tenor tarn tamburro . timp timpani f tpt trumpet trbn trombone vClpII) violin (I,II) va viola vc violoncello SELECTED BIBLIOGRAPHY Moravian Sources Beck, Clara A. "The Single Brethren of the Moravian Church in the Barony of Nazareth, Pa." Trans- actions of the Moravian Historical Society, vol. 11, pt„ 2.. Bethlehem, Pa.; Bethlehem Printing Co. for the Moravian Historical Society, 1934° Beck, Clara A. "The Single Sisters of the Moravian Church in Nazareth, Pa." Transactions of the Moravian Historical Society, vol. 11, pt. 2 Bethlehem, Pa.s Bethlehem Printing Co., for the Moravian Historical Society, 1934° Chastellux, Marquis de. Travels in North America, in the Years 1780, 1731, and 1732, 2d ed., 2 vols, tr. from the French by an English Gentleman who resided in America at that period. With notes by the translator. London: Printed for G. G. J. and J. Robinson, Ijd?I reprint ed., New York: Arno Press, 1968. • • Claypoole, Richard, Ed. "Catalog of the Bethlehem Collegium Musicum and Bethlehem Philharmonic Society Collections." Bethlehem, Pa.: Mora vian Music Foundation, w.i.p. Claypoole, Richard. Moravian Music Foundation, Beth lehem, Pa. Corresp ndence, 6 August 1975° David, Hans T. "Musical Life in the Pennsylvania Set- . tlements of the Unit as Fratrurtn" Transactions of the Moravian Historical Society, vol. .13, pts„ 1, 2. Bethlehem, Pa.: Times Publishing Co, for the Moravian Historical Society, 1942. David, Hans T o , and Ran, Albert G., comps. A Catalogue of Music by American Moravians, 1742"!842, From the Archives of the Moravian Church at Bethlehem, PaT Bethlehem, 1936; reprint ed.. New York: •'SMS Tress, 1970* . • 280 2 8 1 Fries, Adelaide» "Moravian Customs| Our Inheritanceo" Transactions of the Moravian Historical Society, vol* 11, pto 3® Bethlehem, Pa„i Bethlehem Printing Go* for the Moravian Historical Society, 1936o Gombosi, Marilyn,.ed» Catalog of the Johannes Herbst Collection. Chapel Hills University of North , Carolina Press, 1970. Grider, Rufus A. Historical Notes on Music in Bethlehem, Pa. (From iylt-l-lb?!) ° Foreword )by Donald M. McCorkle. Philadelphias John L« Pile, 1873? reprint ed., Moravian Music .Foundation Publications, No„ 1|-, Winston-Salem, NeC0 $ Moravian Music Foundation, 1.957 o Hacker, H. H. Nazareth Hall, an Historical Sketch and Roster of. Principals, Teachers and Pupils* Beth lehem, Pa.s : Times Publishing Co., 1910* Hall, Harry Hobart. "The Moravian Wind Ensembles Dis tinctive Chapter in America’s Music." Ph. D 0 dissertation, George Peabody College for Teachers, 1967? Ann Arbor, Mich.s Xerox University Micro films, No. 67-15, 007, 1975- Haller, Mabel. "Early Moravian Education in Pennsylvania." Ph. D. dissertation. University of Pennsylvania, 19531 Transactions of the Moravian Historical Society,- vol. l3T Bethlehem, PaTT" Times Pub- lishing Co. for the Moravian Historical Society, 1953c ' . Hamilton, John Taylor. A History of the Church Known as the Moravian Church, or Unitas Pratrum, or the Unity of the Brethren, During the Eighteenth and Nineteenth Centuries. Bethlehem, Pa.s Times Pub lishing Co., 1900? reprint ed., New Yorks AMS Press, 1970. . . : Henry, James. Sketches of Moravian Life and Character. Phi 1 adeiphia": Lippencott, T85VT" ~~~ ™ Jacobson, Henry A. "The Moravian Sisters’ House at Naz areth, Pennsylvania." Transactions of the Mora vian Historical Society, vol. 11, pt. 1. Beth lehem, Pa.: Bethlehem Printing Co. for the Mora vian Historical Society, 1931= 282 Jacobson* Henry A, ’’Single Brethren's House at Naz areth, Pennsylvaniao” Transactions of the Mora vian Historical Society, vol. 11, pt. 2. Beth lehem, Pa.i Bethlehem Printing Go. for the Mora vian . Historical Society, 1934« Kroeger, Karl. Director, Moravian Music Foundation, Winston-Salem, N.C. Correspondence 30 July 1975= Levering, Joseph Mortimer. A History of Bethlehem, Penn sylvania 1741-1892 with Some Accounts of Its Founders and Their Activities in America. Beth lehem, Pa.i Times Publishing Co., 1903» McGorkle, Donald Macomber. "The Collegium Musicum Salem: Its Music, Musicians and Importance. ’’ North Caro lina-Historical Review 33 (October 195671 re- print ed. ,■ Moravian ■-•Music Foundation Publications, No. 3, Winston-Salem, N.C.s Moravian Music Founda tion, 1956. . ■ ’’John Antes, ’American Dilettante’.’’ The Musical Quarterly 42 (October 1956)5 reprint ed., Moravian ;ion Publication, No. 2, Winston-Salem, N.C.s Moravian Music Foundation, 1956. "The Moravian,Contribution to American Music.” "Notes 13 (December 1956); reprint ed., Moravian Music Foundation Publications, No. 1, Winston- Salem, N.C.s Moravian Music Foundation, 1956, _____ - . "Moravian Music in Salem? A German American Heritage." Ph. D. dissertation, Indiana Univer sity, 1958? Ann Arbor, Mich.s University Microfilms Publication, No. 59-333, 1959. "Manuscripts Discovered in Nazareth Moravian Church." News Bulletin of the Moravian Music Foundation. No. 3, 4 (Fall I960) 1,4. ~ ‘ ” Maurer, Joseph A. "Central Moravian Church? Center of Moravian Music o" American Organist 41 (November .1958) 407-18. ' Mewaldt, David. University of Wisconsin— LaCrosse. Interview, 26 January 1976. The Moravian Church in America. ,-Hymnal arid Liturgies' of the Moravian.Church. Chicago? Provincial Synods of the Moravian Church in America, 1969. 283 Nolte, Ewald V« "Early Moravian Music in America." Journal of Church Music 8 (2 April 1966)j re print ed.j, Sacred Music in the Early American Moravian Communities;. An Introduction. Winstdn- ' Salem, N0G«s Moravian Music Foundation, 1971 = Norton, M.D. Herter. "Haydn in America (before 1820)." The Musical Quarterly 18 (April 1932) 319-28. Ogden, John C. Excursion into Bethlehem & Nazareth in Pennsylvania in the Year 1799; With a Succinct History of the Society of United Brethren, Com monly Called Moravians. Philadelphia: Printed by Charles Cist, lb00. Pennsylvania Society of the Colonial Dames. "The Mora vian Contribution to Pennsylvania Music." In Church Music and Musical Life in Pennsylvania in the 18th Century, 2:116-278. Philadelphia: Pennsylvania Society of the Colonial Dames, I926-J4.7 « Reed, Tracey L. "Johann Christian Bechler, Moravian Minister and Composers The American Years I806- 1936." Master’s thesis, Indiana University of Pennsylvania, 1973® Reichel, William G. "Historical Sketch of Nazareth Hall, A Moravian Boarding School for Boys, lo cated at Nazareth, Northampton Co., Pa. founded in 1785®n Transactions of the Moravian Historical Society, vol. 1, pt. 10. Nazareth, Pa.1 Printed for the Moravian Historical Society, 1876. Scott, Ruth Holmes. "Music among the Moravians, Beth lehem, Pennsylvania, 17li-l-l8l6." Master’s thesis, Eastman School of Music, University of Rochester, New York, 1938? Rochester: Sibley Music Library Microprint Service, 1956. Shultz, George M., comp, and various contributors. Two Centuries of Nazareth, 17^0-19^0® Nazareth, Pa.: Nazareth Item Publishing Co* for the Nazareth, Pennsylvania Bicentennial, Inc., 19i|0. Steelman, Robert, ed. "Catalog of the Bethlehem Congrega tion Collection." Bethlehem, Pa,: Moravian Music Foundation, w.i.p. 2Qk Stevens, Charles Edgar» "The Musical Works of Christian Latrobeo". Ph.* D» dissertation. University of North Carolina, Chapel Hill, 1971c General Reference Sources Blom, Eric, ed, Grovers Dictionary of Music and Musicians, 5th ed, 9 volSo Hew Yorks St„ Martin1s. Press, 1954c Blume, Friedrich, ede Die Musik in Geschichte und Gegen- wart, Allegemeine Enzyklop&die der Musik. li|. vols Kassel and Basels Bflrenreiter, 1949-60c Chase, Gilbert* America's Musice Rev0 2d ed. Hew Yorks McGraw-Hill Book Co o 1966 , Eitner, Robert o Biographisch-bibliographlsch.es Quellen- Lexikon der Musiker und Muslkgelehrten.der Christ- lichen Zeitrechung bis zur Mitte der 10. Jahr- hundertsl 10 volsl Leipzigs Breitkopf, ■& R&rtel, . 1898-1904; Heueauflage, Wiesbaden: Breitkopf & Hlrtel, 195^ 07™^""^ Fetis, Francois J» Biographic universelle des musiciens et bibliographie ge'nerale- de la musiquel b vols „ ParxsT Firmin Didot Freres, l866-70o Hitchcock, H. Wiley, Music in the United States: A Historical Introduction, 2d ed, Englewood Cliffs, HoJ,s Prentice-Hall, 1974° Hoboken, Anthony van. m, Thematisch-biblio- isches Werkverzeichnis, 2 vols, Mainz s B, Schott’sSBhne, 19371 " International.Association of Music Libraries, International Musicological Society, Sehlager, Karlheinz, ed. International Inventory of Musical Sources, ser. A, "vels, Kassels B&renreiter, 1971-2, 4° Kinsky, George, Das Werk Beethovens; thematisch-biblio- graphisches Verzeichnls seiner s&mtlichen vollende" ten KompositionenT Munich: G, Henle Verlag, 1955' KSchel, Ludwig Ritter von, "thematisches Verzeichnls sSmtlicher Tonwerke Wolfgang Amade Mozart, " Breitkopf & H^rtel, 1964° ' “ 285 Mendel, Hermann. Musikalisches Conversations-Lexikon. Eine Encyklopddie der ^esammten musikalischen Wissenschaften. Fdr Gebildete aller StKnde, unter Mitwirkung der Literarischen Commission der Berliner Tonkiinstlervereins. 11 vols. Berlin: L. Heimann; New York; J. Schuberth, 1870-79; reprint of 2d ed., Olmes: Hildescheim, 1969. Opperman, Kalmen. Repertory of the Clarinet. New York: G. Ricordi & Co., I960. Pazdirek, Franz. Universal-Handbuch der Musikliterature Aller Zeiten und Vdlker. Als Nachschlagewerk und Studienquelle der Weltmusikliteratur ein- gerichtet. llj. vols. Wien: Pazdirek & Co., 1904.-10. Pfeffer, J. Alan. Essentials of German Script. Ithaca, N.Y.: Lithoprinted by Thrift Press, 1914-9. Sadie, Stanley. Notes for Contributors to the Sixth Edition of Grove's Dictionary of Music and Musi cians . London and Basingstoke: Macmillan International, 1971. Terry, Charles Sanford. Johann Christian Bach. London: Oxford University Press, 1929. Thematisches Verzeichnis der im Druck erschienenen Compo- sitionen von Felix Mendelssohn-Barthody. 3d ed. Leipzig: Breitkopf & H&rtel, lbd2; reprint ed., London: H. Baron, 1966. Wolfe, Richard J. Secular Music in America, 1801-182$. A Bibliography. Introduction by Carleton Sprague Smith. 3 vols. New York: Astor, Lenox and Tilden Foundations, New York Public Library, I96I4.. Wotquenne, Alfred. Thematisches Verzeichnis der Werke von Carl Philipp Emanuel Bach (I71I4--I76O). Weisbaden: Breitkopf & HMrtel, I96I4.. Ill Der Noucktwoekter TVxevna,. MlegrcWo Jolrtoihn Clrwi^tiarv B ech ler na Vtoltvx X — 1*— J J . k H - r r r 1 r : i ? r | f n ± f r t CO 1 - ... r —1------— -m-----g H ( 7 1 4—f —7 4—I—4— —(— P —A — —t------Z"---- NXoUTL i-L i * i • r j — e— Z — M * _ J 1 —#—J-a f---- €r------6 ---- ^ T f J vP 1 i ------#------^ - - - ,J | Violo*x««Uo t f < Jr---- fC,—fit— <---- Ji—7-----6------i----:---2---- — h— t — f " i J ...* ^ J t if i - fc' *1 — J _ 4 = i i v ; . r f —f ---- s----*------— P—#- — r — + - j- !■ - i : - - - p - p-l- p p ^ r r : r ~ I B ^ ^ ~ p j ■ f ' P-----at—4.— —m—r-—£— f ■ 4 - r - L f - j - f U % i ■j/ * __ : C , t ___ , - f -----1- C— " — 1 r {3 = ^ 2 ~ g g t r r rf ^ r g ~ 7 r r T t r r r ? col OL f * J r f i J coi arco i s £ f & r(* - ^ rr coi ULfcO - f _aA- y ,p -^ (f Aft Az A ft J \g ------** ------P-----P- =f~, -v-~r~r ------U------U----- u~ ----- 12— - V — 1?——K------12—-42-——12-----12----- 12— T p'«- ^ r . J J = j_ . ------#— -----■ - f ------ft—f ---- - 4L- r cjL#- N ^ = M = j t f - r - -1------M—— 4 K ^ 1 r ir=:: - C1 T t i . T p - Figure 5* "Der NachtwSchter,V a String Trio by Johann Christian Bechler, MUSICAL SUPPLEMENT, (Appendix F). 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"Come Joyful Halleluiahs Raise," an Anthem by Peter Wolle, MUSICAL SUPPLEMENT, (Appendix F, sheet 1). z. ex tel He tde*-jv»us 4. - Weue I ex- el+/ ex- -tel wevt-Aveui a- euy Stveet- -«#f «*>»g5 an A aw - BKT^ 'tke.wi ft beKW+ — C01XS caU c a ll, r-p------p — _ p ------e — i-jL'rX ' f ------P - f q —P ------#— —? ------r . — I | ------— 1— V ------1------— 1----- — 1— =i— — — — 1--- — — — 1— 7 IS ouv awA du< Dt- f*MSt, He. >s ou< 6«J “ euv' De — irt, - - - ==J J — ---- — I— ■ I— 1-- , ' ... -j' — y ------m--- d ... ^ j - = H l „ J > i j j : T T ^ Vn ( L a l4 z — ' , V g -- i J --T---J--ff'" '" — fl--- j --- 1---- — j— j — g ' - I p = \ -' j » f ~ 4 ■ u 31 3 * i — i ^ r .... -- i :i ' ' ' -A! 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"Come Joyful . . .11 continued, sheet 3« ----- = ------i hv y . ----- — up-f—IsV- «j--y------2—e— . «•! I ' m f t , - f ------e- — r ---- p— $— r U # = — = J -jg- ®i4»— U ------M r i? - r i? - r* ■ ■ - - r -1---- >-p— f — i- > ^ V f - i f j r l rl ------ y------— s -Sv y------ ^S' r t k > ,T^ ---- 6— 6— = e^------k £ — ■■■P r ■p -:-v :=;;' .... ^ - f - ..4 AliAtt ersdaaAlt: ___ vov I. I^Tv-eVie. (‘I56 ~'est°l £A. a*A A'CV. lovj 3a.vVcL An^vxt’e scUa\It ^eivN-enri 'TV Hufv er-acWllT VeV 3ckw*r-Tten5 \»Vl-vie. e<- «tW»ltt vcr - e*T IVuk. Du -at< W eu>3 )iuA ^V-^thaUTvey delvx- e«n TkVou e - aer frtuvxa niiurui . «'»V uir xer- *tWU»1 durcU 31 ut , DiV i wV ^ey # # 4urtk uirtk 3*ik Sfux, 5uTtk 31 wt utvuvu^) axA Dixr Vcr- nunwfX’V. ju<&k 4ei*\ iUiFJ Fve - licVi StiwxnV -Cuf Wo - \<-V> -Cur De»y\ V Wo - VcV SV^*\r» eiy> Ver-Sbku-evx Fvb -VeV Stlrwu'n -^uy 11 ev\xtU is*‘>4 «»v\. auaVs iwt* evvx n r a — Figure 7. "Nun erschallt vor deinem Throne," an Anthem by Christian Ignatius Latrobe, MUSICAL SUPPLEMENT, (Appendix F, sheet 1). 2. Mor 1 /Oun *<- eokalll Uer Uuvx er- vfey B a m Id-v»il A n * Dank- V»W i n * jam 'M M- 5=m f r f r m Un-eer avl-e< l»w- eawg nw-»er Dank., Du UX\-StV Traund Vt)>\ uni deln-em Sekmev-ycus l»k-n€, l \""J ■f-T-T- p e U w - s a r all-Ct* TiJl-i- LeW -$e- sarxg uw - sat' Qu wy> - %af fftunj Vet\ wn% A*«tx-Cin 3*mer-ge*s iTK-wc £ f LTI t k IJxrir ; Un- se-r oH-tv •Mng ux- *«r DanK , D m itn- lev’ Wleuv>d Vcn u f f J ' >' i jCcc ff fr j^sCyf j r r-f 3 do' duft^ jtWA «U*, *'*■ Div «C<- WtVnwrt. dufck deln filiil) mlt ve^iMwwt, duvtVi <4fci>\ D*Y ve<- nivwmt. UW — Dir ver — vtlvnwA. H er iw flixL-deA P»r -VtV- nlwtk-^. Uv\ —— vtf — W<>w*v*. H^r ivx d«a- \t>oV\ — 3 6 — 4a.U-«v\ d*S '»ev> S un-dtfH OiV er- 4»U— Cvv 3#i% Ne>. 5uw-ck <1a.» ve>s Suw-der^ Dir er- ■f*k*"V*, "TTivTS 5« "V0V1 Su«k-A#** -B'r e<- ^ie du 1 — f& U -ev\ d a ^ \kv\ Suvt -deos D*«r e r- , dte duTd*5 BlwV 4aU- ex da% V6>\ S uh - dcrif, Dir tr— 3e - alut <|C - ■6m l- tx das vow 3kr e r - t^WKt, 4ie M'fckl ? /// '~r ' .... Figure 7. "Nun erschallt ..." continued, sheet 2. »/ . 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SVrav-e» • tv\ le t * ge*«f ^e«M- e>x rrccVd-«rt $ U M - kc- im 1 ^e»A. 4&t vlvV **yA, v»*e<*\V«A uvv— be- ^••kA u»i ve»v\, de.% voW 5Vvu?« «*> ^e.*U4- tv\ lee- ge-eptocU-cw $eyw , w*ek*-ev\ > -i J0 . jj I % T' J M f 7 lo» - I-t3L US- <*e- sfoxU jv loS - g e -tp'Teci,- ev) '‘p ...... — 5^----- iJ '' - ■ h Du — ( 1 Q l U----^ #---- at----- iVip— ^ —4 — _i_t-.-^.f...... f f ‘f f-. — f ----- f •<■— (■— . i |— £ — - i f f — G — * —^C— 1 \ \... ± = 1 t a f c ^ d I Aev un% auck des deu dev Slick.. Z ftio-t* I ftO’ J f rJT i my i ZUW\ !5cw\ — «- u m - v c v " H f c v - i e v \ Sb — u><<^ V >. id m ^ I ev- A\*\ot a* 4s n*U-C siut ge - w iwv\ P ^ ^ Figure 7• ’’Nun erschallt . • >.M continued, sheet l\., \to|l- WatU-t- i»* volt- Wr«ev,*, *tl J>r veil- UvacVii it? 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