THE OFFERTORIES OF PETER VON WINTER: CRITICAL EDITIONS AND STUDIES OF SELECTED WORKS
BY
JENNY ELIZABETH BENT
DISSERTATION
Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Choral Music in the Graduate College of the University of Illinois at Urbana-Champaign, 2010
Urbana, Illinois
Doctoral Committee:
Professor Fred A. Stoltzfus, Chair Professor Charlotte Mattax Moersch, Director of Research Associate Professor Erik R. Lund Professor Emeritus Tom R. Ward
ABSTRACT
This is a comprehensive study of two offertories by Peter von Winter: Excelsus Super
Omnes Gentes and Non Mortui Laudabunt Te. The critical editions included in this study were created through the transcription of manuscripts discovered at St. Vincent Archabbey in Latrobe,
Pennsylvania and those found in the Noseda Collection at the Biblioteca Conservatorio Di
Musica Giuseppe Verdi in Milan.
ii To my mother,
Joanne Carrigan
iii ACKNOWLEDGMENTS
This project was made possible with the help and support of many people. Special thanks to my committee at the University of Illinois at Urbana-Champaign (in alphabetical order): Erik
Lund, Charlotte Mattax Moersch, Fred Stoltzfus, and Tom Ward. In particular, I wish to acknowledge my research adviser, Charlotte Mattax Moersch for her guidance and scholarship.
Thank you to Father Jerome J. Purta, O.S.B., whose catalogued Wimmer Collection made this project possible. Thanks to John Wagstaff of the University of Illinois library, for lending his handwriting expertise and to Licia Sirch and the Biblioteca Conservatorio Di Musica Giuseppe
Verdi in Milan for providing the MCS. Thanks to my dearest friend, Richard Robert Rossi, whose love, encouragement, and help cannot be measured. Thank you to my husband, Rob
Hranac, for embarking on this journey with me. Finally, a special thanks goes to my family, friends, colleagues, and students for their endless support.
iv TABLE OF CONTENTS
CHAPTER 1: INTRODUCTION ...... 1
CHAPTER 2: THE LIFE AND WORK OF PETER VON WINTER ...... 11
CHAPTER 3: THE OFFERTORY ...... 26
CHAPTER 4: SVS AND MCS: A COMPARISON ...... 37
CHAPTER 5: COMPOSITIONAL FEATURES IN THE OFFERTORIES OF
PETER VON WINTER ...... 64
CHAPTER 6: PERFORMANCE PRACTICE ISSUES ...... 98
CHAPTER 7: CONCLUSION ...... 143
APPENDIX A: CRITICAL EDITIONS ...... 145
APPENDIX B: EDITORIAL NOTES FOR CRITICAL EDITION OF
NON MORTUI LAUDABUNT TE ...... 146
APPENDIX C: EDITORIAL NOTES FOR CRITICAL EDITION OF
EXCELSUS SUPER OMNES GENTES ...... 178
APPENDIX D: SURVEY OF SHORT SACRED WORKS BY PETER VON WINTER ...... 198
BIBLIOGRAPHY ...... 201
v CHAPTER 1
INTRODUCTION
Peter von Winter (1754-1825) was a prolific composer whose works were very popular in his lifetime. Despite the fact that Winter was a master of bel canto technique, had a brilliant career alongside composers such as Mozart, Haydn, Spohr, Weber, and Meyerbeer, and had many honors bestowed upon him, his sacred music is relatively unknown today. Although some of his surviving instrumental music and operas have been recorded, his choral music has been virtually neglected by modern scholars. Before the recent discovery of a collection of his music in the
Boniface Wimmer Music Collection at St. Vincent Archabbey, choral works by Winter were thought to have been housed in only eight European libraries. Most of Winter’s choral music was composed late in his career, during his compositional maturity, making these recently discovered pieces of a high quality and worthy of publication. The purpose of this dissertation is to introduce Peter von Winter’s sacred music to today’s scholars, performers, and audiences through the creation of critical editions of his two offertories, Excelsus Super Omnes Gentes and
Non Mortui Laudabunt Te.
The process by which the critical editions included in this study were created involves the transcription of manuscripts from two locations. The first source consists of instrumental and vocal parts discovered in the Boniface Wimmer Music Library at St. Vincent Archabbey, the first
Benedictine Monastery in North America, in Latrobe Pennsylvania. The St. Vincent manuscripts will hereafter be abbreviated SVS. The second source is a full score collection of Winter’s choral works known as Canti Sacri, which is housed in the Noseda Collection at the Biblioteca del Conservatorio di Musica Giuseppe Verdi in Milan. The Milan Conservatory scores will
1 hereafter be abbreviated MCS. Both the SVS and MCS are in very good condition and are quite legible, which has made the project eminently feasible. Editorial decisions were determined after a comprehensive comparison between the two sources.
The Boniface Wimmer Music Library
The Wimmer Library is named for the founder of St. Vincent Archabbey, Boniface
Wimmer, O.S.B. Having spent his early years as a Benedictine monk at Metten Abbey in
Bavaria, Boniface Wimmer dedicated the last forty years of his life helping to “revitalize the ancient spirit of monastic missionary zeal” and introducing “the fourteen-hundred-year-old tradition of Benedictine Monachism to a new and alien land.”1 In 1846, Wimmer founded St.
Vincent Archabbey in fulfillment of his personal mission to train and provide a Roman Catholic religious order to serve the needs of German Catholics in the United States.
At St. Vincent, Wimmer emphasized the importance of his students’ cultural formation.
Wimmer wrote, “In a country like America, where Protestant services are so devoid of everything that elevates the mind and heart, religion and art must go hand in hand to give to religious services outward splendor, dignity, and loftiness.” He added, “I am absolutely persuaded, that a monastic school which does not give just as much attention to art as to knowledge and religion is a very imperfect one and that a deficiency in scholarship at the beginning can be more readily excused than a neglect of art.”2 Consequently, the music program at St.Vincent was considered “one of the best in the country.”3
1 Oetgen, Jerome. An American Abbot. Pennsylvania: The Archabbey Press, 1976, 3.
2 Oetgen, Jerome. An American Abbot. Pennsylvania: The Archabbey Press, 1976, 87. Translated from Annalen des Glaubens (Munich, 1853), 17.
3 Oetgen, Jerome. An American Abbot. Pennsylvania: The Archabbey Press, 1976, 87. Quoted from Annalen des Glaubens (Munich, 1853), 396.
2 Wimmer modeled the St. Vincent academic programs and musical traditions on those from his Bavarian heritage at Metten Abbey. These traditions included the performance of concerted sacred music for full orchestra and chorus by composers such as Mozart, Haydn, and
Weber, for liturgical services, such as Sunday High Mass, and non-liturgical ceremonies and secular concerts.
The orchestra, the large choir, the ceremony of the ‘Hochamt’ -- all were considered absolutely necessary to create this awesome spectacle of nineteenth century Liturgy, the basic principles of which can be traced back to Roman influences, Byzantine court life, and medieval rubrics. Wimmer had a great desire to re-create this experience of liturgical spectacle in his American monastery.4
Copies of Peter von Winter’s Excelsus Super Omnes Gentes and Non Mortui Laudabunt
Te are housed in the St. Vincent music library in the Bonafice Wimmer Music Collection,5 consisting of 2,675 works, 320 of which are choral. Much of the music found in this collection was included in the Schwab Catalogue, named for Professor Maurice Schwab, the director of the
St. Vincent department of music under Wimmer. The Schwab Catalogue lists St. Vincent’s music holdings before 1860, and, for many of the works, provides information on their date and means of acquisition. The Schwab Catalogue information for Non Mortui Laudabunt Te includes the date 1856. Although the catalogue does not specifically state the means by which the two
Offertories arrived at St. Vincent, it is known from the catalogue that Wimmer traveled to Europe in 1851 and 1855. Wimmer also maintained close ties with King Ludwig I in Bavaria, who was a generous Patron of the arts and great supporter of Wimmer’s mission. For example, St. Vincent
4 Fred Moleck, Nineteenth Century Musical Activity in St. Vincent Archabbey, Latrobe, Pennsylvania, Dissertation: University of Pittsburgh, 1970, 16-17.
5 Catalogued in the Boniface Wimmer Music Collection: Excelsus Super Omnes Gentes: SVS 2023; Non Mortui Laudabunt Te: SVS 2024
3 received nearly three-hundred oil paintings between 1847 and 1851 from King Ludwig I’s collection, as well as a wealth of books for the library. Entries in the Schwab Catalogue indicate that Wimmer acquired music and instruments during these visits, as well. One can surmise, given Peter von Winter’s history at the Bavarian Court, that it was through one of these journeys to Europe that Non Mortui Laudabunt Te and Excelsus Super Omnes Gentes arrived at St.
Vincent.
The SVS are written on browning, heavy manuscript paper with rough edges. John
Wagstaff, author and librarian at the Music and Performing Arts Library at the University of
Illinois at Urbana-Champaign, examined the authenticity of the SVS by comparing them to a reproduction of two autograph manuscripts by Peter von Winter. The first is a facsimile of Tafel
36 found in the Musikgeschichte und Gegenwart 1st edition, volume 14 between columns 672 and 673. The second is an online example of a Winter autograph score of an offertory housed at the Bayerische Staatsbibliothek.6 Wagstaff concludes that the title page Non Mortui Laudabunt
Te found in the Boniface Wimmer Music Collection is the work of a copyist. He noticed what appears to be “...52x(?)r” printed at the bottom left corner of the title page, which, according to
Wagstaff, may have been the price information. “If so, this copy was presumably a model to be used by an engraver when he engraved the title page for a printed edition. Winter himself wouldn’t -- I’d have thought -- have done such copying work himself, but again probably paid a professional copyist to lay out the title pages for the published edition.”7 Upon examining the
6 The Winter manuscript copy is found at http://daten.digitale-sammlungen.de/~db/bsb00001484/images/ index.html?id=00001484&fip=24.6.196.88&no=&seite=6
7 Quoted from an email dated “Wednesday, June 2, 2010, 2:46:42 PM.
4 SVS Canto part of Non Mortui Laudabunt Te, Wagstaff observes that the part is clear and consistent, “so here again, my guess is that here we have the work of a copyist.”
The vocal Bass part of Non Mortui Laudabunt Te reveals further evidence that the handwriting of the SVS is that of a copyist, rather than Winter. Here, the bottom right corner indicates a signature and a date.
Ex. 1a
Although the signature is not entirely legible, the card catalogue states the following: “Signatur of F. Meinulpti [?]” and “date ‘den 28 Maerz 1856.’” Since Winter died in 1825, it is quite certain that the SVS parts are copies, rather than originals. Furthermore, the “F” could quite possibly be the abbreviation for “Frater,” which would indicate that parts may have been copied by a brother or father at St. Vincent.
The Noseda Collection
A full hand-written score of the offertories Non Mortui Laudabunt Te and Excelsus Super
Omnes Gentes can be found in a collection known as Canti Sacri in the Noseda Collection at the
Biblioteca del Conservatorio di Musica Giuseppe Verdi in Milan. In his attempt to create the largest Italian archive, pianist and collector Gustavo Adolfo Noseda (1837-1866), accumulated a collection of twelve thousand items that included eight thousand manuscripts and five hundred books on music, much of which was purchased from Neapolitan nobility and French and
5 Swedish aristocrats. “His library, rich in 18th-century items, contained 10,253 works.”8
Noseda’s father donated the collection to the city of Milan in 1876. The collection was housed for many years in a warehouse in La Scala, but was finally unearthed and donated to the Milan
Conservatory Library in 1889.
How did Non Mortui Laudabunt Te and Excelsus Super Omnes Gentes Offertories arrive in Italy? Further research into the life of Winter reveals that he visited Naples between 1791 and
1794 and later toured and performed throughout Italy, including Milan, between 1816 and 1818.
Since Noseda was known to purchase many of the scores in his collection from Neapolitan families, perhaps Winter left these pieces in Italy during one of his visits.
In addition to Non Mortui Laudabunt Te and Excelsus Super Omnes Gentes, Canti Sacri consists of a Graduale and a Miserere. The score is 143 pages in length with the music printed on three different types of paper. The Non Mortui Laudabunt Te and Excelsus Super Omnes
Gentes are written on white-beige paper and contain a 9 cm width watermark of three anthropomorphic half moons. According to Licia Sirch, of the Biblioteca Conservatorio Di
Musica Giuseppe Verdi in Milan, the card catalogue record of the scores found in the Noseda collection indicates “copia di vari copisti,” or “copy by different copyists.” Upon examining the
Winter score found in the Noseda collection, John Wagstaff confirms that, based on the neatness and consistency of the score handwriting, it “has surely been made by a professional copyist.”
“The text underlay is very carefully done, and the note-heads are so standard in size that this must be the work of a professional.” He adds, “the clefs and beaming, as well as the instrument
8 Albrecht, Otto & Roe, Stephen. “Historical Collections.” Grove Music Online ed. L. Macy. (Accessed: 6/April/ 2010), http://www.grovemusic.com.
6 and voice names, are carefully and clearly written. The wording on the title page of the score is also very clear and consistent.” 9
Ex. 1b
9 Quoted from an email dated “Wednesday, June 2, 2010, 2:46:42 PM.
7 Ex. 1c MCS, Non Mortui Laudabunt Te, measures 1-6
Composition Date
Tracing the life and travels of this composer provides clues as to when Peter von Winter composed Non Mortui Laudabunt Te and Excelsus Super Omnes. According to several biographies of the composer, Winter wrote sacred music toward the end of his life. Based on this fact alone, one can easily surmise that Excelsus Super Omnes Gentes and Non Mortui Laudabunt
Te must have been composed in the years leading up to and including 1825. The fact that a copy of the full score of his offertories was found in the Milan Conservatory Library, which is located in the city where Winter toured in 1817-1818, supports this theory. The appearance of Winter’s
8 name on both the SVS and the MCS also provides evidence leading to this conclusion. In 1814, after fifty years of court service, Winter was granted the personal title of nobility, allowing him to use “von” in his name. The SVS includes “von” in Winter’s name, which would indicate that the scores were copied after 1814. Furthermore, the title pages of each piece within the MCS are signed, “Maestro Pietro di Winter.” The “di” within his name is the equivalent of the German
“von.”
However, examination of the MCS reveals another clue that dates the composition of
Excelsus Super Omnes Gentes and Non Mortui Laudabunt Te. On the bottom right corner of page 42 of the MCS, following the conclusion of Excelsus Super Omnes Gentes, appears the following:
Ex. 1d
This inscription challenges the commonly held belief that Winter only composed sacred choral music toward the end of his life. This date is evidence that Non Mortui Laudabunt Te and
Excelsus Super Omnes Gentes existed long before his final years. In addition, this inscription places the works in Munich, rather than Milan. Whether the scores found in the Noseda
Collection are autograph or copies, this inscription is powerful evidence to support the conclusion that Winter composed Excelsus Super Omnes Gentes and Non Mortui Laudabunt Te, and perhaps other sacred works, about thirty years earlier than previously believed. Based on the evidence provided by the scores and the chronology of Winter’s life, one can surmise that
Excelsus Super Omnes Gentes and Non Mortui Laudabunt Te were composed in Munich as early as 1787 and were copied in Italy, most likely during his tour, after 1814.
9 Conclusion
Most scholarly research on Peter von Winter deals with his operas and instrumental works. The discovery of the offertories Excelsus Super Omnes Gentes and Non Mortui
Laudabunt Te in the Boniface Wimmer Music Collection at St. Vincent Archabbey and Noseda
Collection at the Biblioteca Conservatorio Di Musica Giuseppe Verdi in Milan will shed light on the sacred compositional output of Peter von Winter. The resulting critical editions created through the comparison and transcription of these sources will make these works available to modern performers and scholars.
Chapter II provides a brief biography of Peter von Winter, as well as a survey of his compositional output. The historical context under which the offertories were composed and performed is provided in Chapter III. Chapter IV compares the SVS and MCS scores and discusses various editorial issues that arose during the transcription process. Chapter V provides structural analysis of the offertories and discusses Winter’s treatment of the offertory texts.
Relevant performance practice issues are examined in Chapter VI. The critical editions of
Excelsus Super Omnes Gentes and Non Mortui Laudabunt Te are provided in Appendix A.
Finally, a summary of editorial notes is listed in Appendices B and C.
10 CHAPTER 2
THE LIFE AND WORK OF PETER VON WINTER
Peter von Winter was born in Mannheim, Germany in 1754 and died in Munich in 1825.
Upon observing his son’s musical talent as a violinist, Winter’s father, a senior official in the palace guard, placed Winter under the tutelage of various Mannheim Court musicians, including the first violinist of the orchestra. Winter continued to work as a court musician for the remainder of his life, enjoying success as a prolific composer of instrumental music, ballets, operas, and choral works.
Mannheim
During the eighteenth century Enlightenment, the Mannheim Court was at the center of
European musical activity. Referred to by Leopold Mozart as, “that famous Court, whose rays, like those of the sun, illumine the whole of Germany, nay even the whole of Europe,”10
Mannheim’s musical establishment was home to the best composers and musicians in Germany.
Governed by “one of the four original secular electors of the Holy Roman Empire,”11 the aristocratic court at Mannheim was ruled by a prince, known as the Elector Palatine. The grand musical tradition was first established during the reign of the Catholic elector, Karl Philip
(1716-1742), who, after transferring his court from Heidelberg to Mannheim due to disputes with the town’s Protestant contingency, “began a lavish building programme, summoning many of the
10 Anderson, Emily. The Letters of Mozart & His Family. New York: WW Norton and Co, 1985. Letter of 13 November 1777 to Wolfgang.
11 Wolf, Eugene K.; Zaslaw, Neal, Editor. The Classical Era: from the 1740’s to the End of the 18th Century. Prentice Hall Inc: Englewood Cliffs, New Jersey, 1989, 213.
11 finest architects, sculptors, painters, and craftsmen in Europe to his court.”12 Once completed,
Karl Philip’s electoral palace was considered “the largest of the German Baroque.”13
Karl Philip’s musical establishment consisted of fifty musicians, including the Bohemian violinist, composer, and later Konzertmeister, Johann Stamitz. Under the directorship of Stamitz, the Mannheim Orchestra became famous for its virtuosity and would be credited with such musical achievements as its inventive use of dynamics. Charles Burney states:
Since the discovery which the genius of Stamitz first made, every effect has been tried which such an aggregate of sound can produce; It was [at Mannheim] that the Crescendo and Diminuendo had birth; and [there] the Piano, which was before chiefly used as an echo, with which it was generally synonymous, as well as the Forte, were found to be musical colors which had their shades, as much as red of blue in painting.14
Stamitz is considered the original director of what would become known as the Mannheim
School, a name given to the composers in residence at Mannheim who have been credited, not without debate, with a number of innovations to the pre-Classical symphony.
When Karl Philip died in 1742, his nephew and successor, Karl Theodor, “proved to be an administrator of genius” who “displayed an extreme sensibility of judgement.”15 Karl
Theodor further strengthened the Mannheim music establishment and increased the size of the
Kapelle to eighty members, a size considered very large for its time. Music historian and author
Charles Burney observed during a visit to the Mannheim Court, “Music seems to be the chief
12 Wolf, Eugene K.; Zaslaw, Neal, Editor. The Classical Era: from the 1740’s to the End of the 18th Century. Prentice Hall Inc: Englewood Cliffs, New Jersey, 1989, 215.
13 Wolf, Eugene K.; Zaslaw, Neal, Editor. The Classical Era: from the 1740’s to the End of the 18th Century. Prentice Hall Inc: Englewood Cliffs, New Jersey, 1989, 215.
14 Burney, Charles. An Eighteenth-Century Musical Tour. London: Oxford Univ. Press, 1959, 35. Edited Percy A. Scholes
15 Fairfax, Brian. “The Court of Mannheim.” The Musical Times 106/1472 (Oct, 1965), 758.
12 and most constant of his electoral highness’s amusements; and the operas, and concerts, to which all his subjects have admission, form the judgement, and establish a taste for music, throughout the electorate.16 Famously referred to by Burney as an “army of generals, equally fit to plan a battle, as to fight it,”17 the orchestra became renowned for its discipline.
The Mannheim orchestra with its precision of attack, uniformity of bowing and phrasing, careful balance and accurate intonation, supplanted the organ as the only efficient medium for the realization of instrumental music on the grand scale. The clarity with which music was therefore heard must have been quite startling, and there is little wonder that directly or indirectly the whole of European music was influenced...”18
Upon attending a concert in July of 1763, Leopold Mozart attests, “The orchestra is undeniably the best in Germany. It consists altogether of people who are young and of good character, not drunkards, gamblers or dissolute fellows, so that both their behavior and their playing are admirable.”19 It was at this renowned musical establishment that in 1764, at the age of ten, Peter von Winter played violin. Considered a prodigy, Winter received a permanent position at the
Mannheim Court by the age of twelve.
At Mannheim, music was part of daily court ritual where opera, concert, ballet, and sacred music were performed regularly. Performances included:
...music for the river excursions and water pageants popular at court, similar in function to music for the hunt; music for parades, processions and military exercises, featuring the elector’s corps of twelve
16 Burney, Charles. An Eighteenth-Century Musical Tour. London: Oxford Univ. Press, 1959, 36. Edited Percy A. Scholes
17 Burney, Charles. An Eighteenth-Century Musical Tour. London: Oxford Univ. Press, 1959, 35. Edited Percy A. Scholes
18 Fairfax, Brian. “The Court of Mannheim.” The Musical Times 106/1472 (Oct, 1965), 759.
19 Anderson, Emily. The Letters of Mozart & His Family. New York: WW Norton and Co, 1985. Letter of 19 July 1763 to Lorenz Hagenauer.
13 trumpeters and two drummers; music for receptions, banquets and dinner (Tafelmusik); music for the many court balls; music for ballets and pantomimes, which normally appeared as intermezzos between the acts of operas or as afterpieces in the theatre; smaller vocal works such as pastorales, serenatas and secular cantatas, either staged or unstaged; and many forms of sacred music.20
As a young musician, Winter received an extensive and invaluable music education.
This era at Mannheim was one of great compositional experimentation and innovation.
“In force and originality of utterance [Stamitz] was indeed an ‘avant garde’ composer. It is important to realize that when Stamitz was establishing his fame in a style which was destined to supersede the polyphonic era, Bach was to live and compose for another ten years and Handel likewise for almost twenty.21 While older composers continued to write in the Baroque polyphonic style, Stamitz’s “new vitality of melodic contrast, harmonic transparency, and clarity of sonata form are to be infinitely preferred to the long drudge of contrapuntal permutations which issued from the pens of lesser talents and which, by force of numbers, supplied the greater bulk of music.”22 Peter von Winter began composing music during a time that was “ripe for a change.”23
Although Winter claimed to have been a self-taught composer, he may have received compositional instruction from his friend and Mannheim vice-Kapellmeister Abbé Georg Joseph
Vogler, “one of the most celebrated musical theorists of his time.”24 It is reported that Winter
20 Wolf, Eugene K.; Zaslaw, Neal, Editor. The Classical Era: from the 1740’s to the End of the 18th Century. Prentice Hall Inc: Englewood Cliffs, New Jersey, 1989, 217.
21 Fairfax, Brian. “The Court of Mannheim.” The Musical Times 106/1472 (Oct, 1965), 758.
22 Fairfax, Brian. “The Court of Mannheim.” The Musical Times 106/1472 (Oct, 1965), 758.
23 Fairfax, Brian. “The Court of Mannheim.” The Musical Times 106/1472 (Oct, 1965), 758.
24 Simpson, J. Palgrave. Carl Maria von Weber: The Life of an Artist. Greenwood Press: New York, 1969, 48.
14 denied having studied with Vogler, but critiques of Winter’s Symphony in D Minor are found in a
Vogler manuscript: Betrachtungen der Mannheimer Tonschule (1778-1881), a series of essays, lectures, and analyses of student compositions. Vogler describes the ways in which Winter deviates from compositional practices of the time. Unlike the first movement of a traditional symphony that achieves its “mandatory brilliant and pomp” through a major mode and duple meter, Winter selected a minor key and triple meter for the first movement of his D Minor
Symphony. Vogler praises Winter for successfully affecting the listener, despite breaking with this convention.
In the process of transition from tonic minor to relative major, the combined effects of detached arpeggiation in the bass, scalar figuration in the first violin, and animated rustling in the inner parts excite the imagination. As the passage unfolds, the unexpected turn toward G minor causes astonishment -- redoubled by the sudden shift from G major as a temporary tonic to a dominant of the dominant that announces the turn to the secondary key, F Major.25
In his Betrachtungen der Mannheimer Tonschule, Vogler features Winter’s D Minor Symphony and “draws a connection between Winter’s achievement and the distinctively progressive quality of music at Mannheim.”26
Although Mannheim had for decades enjoyed a tradition of Italian opera seria, during the mid-1770‘s the Court fostered yet another important historical musical development: German serious opera. Inspired by an increasing interest in the German language and its literature, Karl
Theodor supported the early development of German opera by founding the Electoral German
25 Grave, Floyd K and Margaret G. In Praise of Harmony: The Teachings of Abbé Georg Joseph Vogler. University of Nebraska Press: Lincoln and London, 1987, 99.
26 Grave, Floyd K and Margaret G. In Praise of Harmony: The Teachings of Abbé Georg Joseph Vogler. University of Nebraska Press: Lincoln and London, 1987, 99.
15 Society (Churfürstliche deutsche Gesellschaft), which supported German-language theater,27 and hosting performances of German opera at the Court.28 Even Leopold Mozart took notice of Karl
Theodor’s efforts, which is evidenced in his letter to his son dated November 1, 1777.
I wish that you could get something to do in Mannheim. They constantly play German opera there. Perhaps you could get an order to compose one? Should this occur, you know without my telling you that I could never recommend you to do the the frivolous type of work which is popular because easily understood. Great matters should be met in a great and exalted spirit.29
The Mannheim court opera performed Anton Schweitzer’s Alceste in 1775 and commissioned
Ignatz Holzbauer’s opera Gunther von Schwarzburg in 1777.30 These performances profoundly impacted the work of Winter, and he began a long career composing for the stage. First, however, the glorious Mannheim Court would experience upheaval from which this musical establishment would never fully recover.
Munich
The death of Maximilian III Joseph, the Elector of Bavaria, in December of 1777 was an event that would have a significant impact on Peter von Winter’s career. Karl Theodor was obliged by a treaty obligation to succeed Maximilian III Joseph as the next Elector of Bavaria, and, upon doing so, he moved his court and approximately sixty percent of the musicians, including Winter, to Munich in 1778. Maximillian III Joseph, had been a composer and
27 http://www.schloss-mannheim.de/en/palace-mannheim/Famous-Persons/247508.html
28 Wolf, Eugene K.; Zaslaw, Neal, Editor. The Classical Era: from the 1740’s to the End of the 18th Century. Prentice Hall Inc: Englewood Cliffs, New Jersey, 1989, 223.
29 Mersmann, Hans. Letters of Wolfgang Amadeus Mozart. New York: Dover, 1972. Letter of 1 November 1777 to his son.
30 Wolf, Eugene K.; Zaslaw, Neal, Editor. The Classical Era: from the 1740’s to the End of the 18th Century. Prentice Hall Inc: Englewood Cliffs, New Jersey, 1989, 223.
16 musician, and, therefore, a generous patron of the arts. The Bavarian Court’s music tradition, although inconsistent in quality through the centuries, had been quite good during the reign of
Karl Theodor’s predecessor. The reorganization of the Kapelle, however, proved to be difficult as, “despite the presence of revered older [court] musicians like Cannabich and excellent young ones, like Franz Danzi and Peter Winter, music at Munich after the merger of 1778 never attained quite the splendor it had possessed at Mannheim.”31
Soon after the court moved to Munich, Winter was promoted to director of the court orchestra. During this time, it is likely that Winter first met Wolfgang Amadeus Mozart, who was attempting to gain a post with Elector Karl Theodor. Evidence of this includes a letter dated
September 10, 1778 in which Leopold Mozart includes a list of the Mannheim Court musicians that includes Winter on the violin roster. Leopold Mozart writes to his son, “In this list I have found neither a clavier player nor an organist nor a Kapellmeister! So you see that you can do a great deal on your way through Munich, where the Court is to arrive on the 25th.”32 For the purposes of self-promotion, Mozart would likely have sought out leaders of the orchestra, which included Peter von Winter.
In Munich, Winter began composing ballets and melodramas. During this time, the court in Munich reflected the growing national struggle between German and Italian opera. In the courts, Italian was the musical language of high society, but the German people did not connect with Italian opera, for reasons including: the language barrier, subject matter, and references that were foreign to them.
31 Wolf, Eugene K.; Zaslaw, Neal, Editor. The Classical Era: from the 1740’s to the End of the 18th Century. Prentice Hall Inc: Englewood Cliffs, New Jersey, 1989, 234.
32Anderson, Emily. The Letters of Mozart & His Family. New York: WW Norton and Co, 1985. Letter of 10 September 1778 to Wolfgang.
17 Opera as an art-form and a cultural phenomenon is fundamentally and inextricably associated with Italy. In Germany, until well into the 19th century, opera was hardly more than a Romantic product, strictly determined by its own peculiarities and formal rules, which had been adopted by the German princely courts -- a courtly, baroque institution.33
Many German composers, including Winter and Danzi, expressed a great desire to create a serious German opera form. Meanwhile, Karl Theodor continued his crusade to support the development of German serious opera. After his arrival at the Munich Court, where his predecessor had preferred Italian music and Neapolitan opera, Karl Theodor instituted a ban on
Italian opera in 1787. Nevertheless, German composers struggled to create a serious German opera form that broke out of the Italian mold.
Just as Winter had witnessed and participated in the symphonic innovation of Mannheim, so was he at the center of the push toward the creation of serious German opera that would eventually lead to the work of Weber.
More intensively than in any other city was [in Munich] the way prepared for Weber’s work and especially for his creative idea. An intellectual foundation was laid for the through-composed German opera, though with the limitation that composers still clung to the use of pseudo-Renaissance subject-matter.34
Winter’s quest led him to compose over 40 operas in a variety of genres, including opera seria, heroic opera, lyric tragedies, and Singspiel.
In 1780-81, despite his recent appointment as Kapellmeister, Winter was granted an extended leave of absence during which time he traveled to Vienna with clarinetist, Franz
33 Engländer, Richard. “The Struggle Between German and Italian Opera at the Time of Weber.” The Musical Quarterly 31/4 (Oct. 1945), 479.
34 Engländer, Richard. “The Struggle Between German and Italian Opera at the Time of Weber.” The Musical Quarterly 31/4 (Oct. 1945), 483.
18 Tausch. Winter had recently witnessed the success of Mozart’s 1781 Munich production of
Idomeneo, and evidence suggests that the two composers had an intense dislike of one another.
The same year, while producing three of his ballets in Mozart’s home city of Vienna, Winter entangled himself in Mozart’s private life. In a letter to his father dated December 22, 1781,
Mozart laments that Winter had lied about him to the guardian of his future wife, Constanze, thus delaying Mozart’s ability to obtain permission to marry her. Mozart states, “I am still full of rage and fury at the disgraceful lies of that arch-villain Winter...” In this same letter, Mozart adds:
Certain busybodies and impudent gentlemen like Herr Winter must have shouted in the ears of this person [Constanze’s guardian] (who doesn’t know me at all) all sorts of stories about me - as, for example, that he should beware of me - that I have not settled income - that I was far too intimate with her - that I should probably jilt her - and that the girl will be ruined, and so forth. All this made me smell a rat - for the mother who knows me and knows that I am honourable, let things take their course and said nothing to him about the matter.
In a final attempt to convince his father of Winter’s questionable character, Mozart concludes:
There is one more thing I must tell you about Herr Winter. Among other things he once said to me: ‘You are a fool to get married. Keep a mistress. You are earning enough money, you can afford it. What prevents you from doing so? Some damned religious scruple?’ Believe now what you will.35
This encounter, the details of which were recounted and recorded by Mozart, is commonly biographers’ sole testament of Winter’s character. In his autobiography, Louis Spohr includes a sketch of Peter von Winter that provides additional insight into the composer’s personality and level of professionalism. After Winter conducted one of his works in a concert,
Spohr explains that he was “delighted with the precision and spirited execution of my
35 Anderson, Emily. The Letters of Mozart & His Family. New York: WW Norton and Co, 1985. Letter of 22 December 1791 to Leopold.
19 compositions, and thought it very natural that it should please, played in such a manner. But it was of special satisfaction to me that the composer of the Opferfest assured me also in his candid and straightforward way, of his full approval.”36 Despite the fact that, according to Spohr, certain idiosyncrasies, such as his fear of ghosts, subjected him to pranks and practical jokes by junior members of the Royal orchestra, Winter very much enjoyed their company, and sometimes invited them to dinner.37 Spohr also states that he was:
greatly amused by his [Winter’s] original character, which united the most singular contradictions. Of a colossal build, and gifted with the strength of a giant, Winter was withal timid as a hare. Readily excited to the most violent rage, he nevertheless allowed himself to be let like a child. His housekeeper had soon observed this, and tyrannized over him in a cruel manner. As an example of this, he took great pleasure in dressing up the little images for the Christmas tree, on the Eve of that Festival, and would assume himself in this way, by the hour. But ill befell him if the housekeeper caught him at it. She would then immediately drive him away from then, and call out: “Must you then be eternally at play?! Sit down directly to the Pianoforte, and get your song ready!”38
Although few accounts of Peter von Winter’s personal character exist, evidence of his musical talent has been well documented from his own time to the present day. He worked closely with eminent contemporary musicians, such as clarinetist Franz Tausch and librettist
Lorenzo da Ponte. He has received praise by modern-day scholars, as well, having been referred to as an “illustrious” composer of opera, “whose stage works for Munich, Prague, and Vienna earned him recognition as a leading theater composer of his generation.”39
36 Spohr, Louis. Autobiography. New York: Da Capo Press, 1969, 105.
37 An additional amusing story about Peter von Winter’s character is found on page 106 of Spohr’s autobiography.
38 Spohr, Louis. Autobiography. New York: Da Capo Press, 1969, 105.
39 Grave, Floyd K. and Margaret G. In Praise of Harmony: The Teaching of Abbé Georg Joseph Vogler. Nebraska: University of Nebraska Press, 271.
20 After his unfortunate encounter with Mozart, Peter von Winter remained in Vienna to study the art of bel canto, “a style whose flowing cantabile he mastered to perfection,” 40 with
Antonio Salieri. Upon his 1782 return to Munich, Winter continued composing operas. Among his most notable operas are his heroic-comedies Das unterbrochene Opferfest (1796), Babylons
Pyramiden (1797) , and Das Labyrinth, oder Der Kampf mit den Elementen (1798), which was a sequel to Mozart’s opera, Die Zauberflöte.41 He worked with leaders in the operatic field, such as the Venetian librettist, Lorenzo Da Ponte, who had written librettos for operas such as
Mozart’s Le Nozze di Figaro and Cosi fan tutte. For Winter, Da Ponte wrote the libretti for La
Grotte di Calipso (1803), Il Trionfo dell’amor fraterno (1804), and Il Ratto di Proserpina (1804), which were premiered and well-received in London. His travels took him to the heart of the
Classical music world, including Naples, Venice, Prague and Vienna.
In 1814, in recognition of his fifty years of court service, Winter was granted the title of nobility, thus allowing him to add “von” to his name. Winter dedicated the final years of his life to the composition of sacred works, teaching voice lessons, and publishing his teaching methods,
Vollständige Singschule.42 He died on October 17th, 1825. Study of his offertories, Excelsus
Super Omnes Gentes and Non Mortui Laudabunt Te, his substantial compositional output, the professional position in which he occupied, his musical influences during the overall development of music during the late 18th and early 19th centuries, and the praise he received
40 Abert, Anna Amalie & Cornelison, Paul, Grove Music Online ed. L. Macy. (Accessed: 4/July/2009), http:// www.grovemusic.com.
41 Abert, Anna Amalie & Cornelison, Paul, Grove Music Online ed. L. Macy. (Accessed: 4/July/2009), http:// www.grovemusic.com.
42 Vollständige Singschule was published in 1825.
21 over the course of his lifetime prove the work of Peter von Winter worthy of consideration by contemporary music scholars and musicians.
Timeline of Winter’s Life
1754 (August 28): Born in Mannheim
1764: Begins playing violin in the Mannheim Court
1766: Assigned a permanent post in the Mannheim court as a violinist
1778: Moves with the Electoral Court and its musicians to Munich and becomes the director of the orchestra.
1781: Meets Mozart, who was performing Idomeneo in Munich
1780-81: Tours Vienna with clarinetist Franz Tausch; learned bel canto singing style from Salieri
1782: Returns to Munich; opera Helena und Paris debut (unsuccessful)
1785: debuts Opera Bellerophon (unsuccessful)
1787: Appointed vice-Kapellmeister
1791-1794: Takes leave and visits Naples and Venice to compose operas
1794-1798: Visits Prague and Vienna to compose operas
1796-1798: Premieres operas Das unterbrochene Opferfest and Das Labyrinth
1798: Becomes court Kapellmeister
1799: Karl Theodor dies; succeeded by Maximilian I Joseph
1803-1805: Premieres three new operas La Grotta di Calypso, Il Ratto di Proserpina, and Zaire
1809: Premieres Heroic opera, Colmal
1814: Granted personal title of nobility
1816: Tours northern Germany and Italy
22 1817 & 1818: Directs three of his operas in Milan, including Maometto
1820: Premieres his final opera for Munich, Der Sänger und der Schneider
1820-1825: Continues to compose church music
1825: Records his teaching methods in Vollständige Singschule
1825 (October 17): Dies in Munich
Survey of Compositions
Table 2a
Composition Type Quantity
Works for the Stage
Opera 40
Ballet 8 (5 others doubtful)
Instrumental
Symphony 4
Concerti for various 1 flute instruments 2 oboe 1 violin 1 bassoon 1 clarinet
Sinfoniae Concertante 3
Divertimento 13
Sonata 3
Various Chamber Works at least 17
Vocal Music
Duets, Lieder, Canzonets numerous
Choral Works
Mass 24
23 Table 2a (cont.)
Composition Type Quantity
Requiem 2 (one for Joseph II)
offertories, motets, hymns see Appendix D
Many of Winter’s surviving sacred works were published in the mid- or late nineteenth century by firms such as Falter und Sohn, Lonsdale & Mills, Breitkopf & Härtel, and Anton
Diabelli & Company. The European libraries that house the majority of Winter’s published and unpublished works include the following:
-- Biblioteca musicale Opera Pia Greggiati - Ostiglia
-- Bayerische StaatsBibliothek
-- Biblioteca del Conservatorio di Musica Giuseppe Verdi - Milan
-- Biblioteca del Conservartorio di Musica S. Pietro a Majella - Napoli
-- Bibliotheca musicale governativa del Conservatorio di musica S. Cecilia - Roma
-- Biblioteca Comunale Labronica Francesco Domenico Guerrazzi - Livorno
-- Biblioteca Civita Angelo Mai - Bergamo
-- Biblioteca Palatina Sezione Musicale - Parma.
One American library, The Newberry Library in Chicago, Illinois, houses Winter’s Offertory,
Domus Israel Spiravit in Domino, which was published by Anton Diabelli and Company, ca.
1836. The only sacred work by Winter that is of recent publication is his Sanctus in F, which was published in 2004 by Colla Voce and edited by Martin Banner.
24 Conclusion
Peter von Winter earned a favorable reputation throughout Europe, especially as a composer of opera, and was appreciated so much that the Court eventually bestowed upon him the title of nobility. He was at the forefront of German musical innovation both at Mannheim and in Munich. His early years spent in Mannheim offered him the opportunity to experiment in the shadow of composers who would go down in history as great innovators, such as Johann
Stamitz. Later in Munich, among the composers considered the “most passionate advocates of
German opera,”43 Winter helped pave the path for German opera composers such as Weber.
“Winter’s operatic output provides an accurate reflection of the situation around the turn of the
19th century, when German opera constituted a meeting-point of all current operatic genres, either in original forms or intermingled.44 Although Winter struggled to find his own voice during a time of great musical transition, Winter’s lifework is a copious collection of music born from experimentation, cosmopolitan influence, and the quest to revolutionize German opera. As will be examined in Chapters III and V, Winter’s offertories provide a snapshot of forces that shaped aspects of his compositional style within a genre that was influenced by the enlightened time in which he lived.
43 Engländer, Richard. “The Struggle Between German and Italian Opera at the Time of Weber.” The Musical Quarterly 31/4 (Oct. 1945), 481.
44 Abert, Anna Amalie & Cornelison, Paul, Grove Music Online ed. L. Macy. (Accessed: 4/July/2009), http:// www.grovemusic.com.
25 CHAPTER 3
THE OFFERTORY
In the Western Mass, the offertory was originally a chant sung by the cantor during the offering, which was traditionally made during the Eucharist as the bread and wine were prepared for Communion.
Offertory chants used to be among the most elaborate chants of the Mass, but as the rituals of the offering (a procession, incensation of the altar, washing of hands, preparation of the bread and wine) were shortened, the chant became simpler. Originally.... the Offertory was in the form of an antiphon with psalm verse. In the later Middle Ages the verses were dropped, and only the antiphon remained. The music of many Offertory chants is wide ranging and melismatic.45
Later in the 18th century, Charles Burney defines the offertory as, “an anthem sung, or voluntary played, at the time the people are making an offering.”46 Musically, the offertory would undergo dramatic changes over the centuries. In order to fully understand the influences behind this evolution and the musical form it took during Peter von Winter’s time, it is important to understand its historical roots.
The Enlightenment and the Catholic Church
The historical development of church music has often mirrored various social and political forces. During the eighteenth and early nineteenth century, the Enlightenment was afoot and would heavily influence the evolution and betterment of sacred choral music. For example, composers such as Joseph Haydn neglected mass composition in the last decades of the eighteenth century (1772-1796) due to the artistically stifling policies of political rulers governed
45 Yudkin, Jeremy. Music in Medieval Europe. New Jersey: Prentice Hall, 1989, 118-119.
46 Burney, Charles. An Eighteenth-Century Musical Tour in France and Italy. Oxford: London, 1959, xxxiv. ed. Percy A Scholes
26 by Enlightenment ideals. The Enlightenment was “a movement in 18th-century thought dedicated to raising the level of general education by combating superstition and inherited prejudices, and by placing human betterment above preoccupation with the supernatural.”47
According to these principles, the purpose of worship was to “serve a mainly educational function, helping to inculcate morality and virtue in the people.”48
Religion was to be purified from superstition and meaningless ritual; religion instruction was to enlighten and generally improve the Christian citizen. Economic purposes were coupled with spiritual ones; for instance, a reduction in the number of holidays was intended to increase productivity. The dissolving of many monastic orders, mainly those of a contemplative character, was brought about in order to provide parish priests for unmanned parsonages and to make the monasteries’ wealth available to the state.49
The age of the Enlightenment “everywhere produced a new and frequently hostile attitude towards organized religion and towards the Catholic Church in particular.”50
After years of expansion following the end of Thirty Years’ War in 1648, the Catholic
Church had become deeply established in Bavarian society. A great deal of land had fallen into the hands of the Church by various means, including purchase from noble families. Through the
Regensburg Congregation of 1684, the monasteries joined and formed various cloister congregations, thus freeing them from rule of the local Bishop and allowing them to answer directly to the Holy See. This independence allowed the Church to create an environment where
47 Heartz, Daniel. “Enlightenment.” Grove Music Online ed. L. Macy. (Accessed: 16/June/2010), http:// www.grovemusic.com.
48 Schenbeck, Lawrence. Joseph Haydn and the Classical Choral Tradition. Chapel Hill, NC: Hinshaw, 1996, 150.
49 Pauly, Reinhard G. “The Reforms of Church Music Under Joseph II.” The Musical Quarterly 43/3 (Jul, 1957), 373-374.
50 Pauly, Reinhard G. “The Reforms of Church Music Under Joseph II.” The Musical Quarterly 43/3 (Jul, 1957), 372.
27 the teaching of science, history, philosophy, and the arts could flourish. Over time, however, the power of the Catholic Church had gradually encroached upon that of the secular government.
The enlightened and secularist views of German princelings resulted in policies aimed at diminishing the power of the Catholic Church and would have disastrous effects on the institution. One example, the policy known as the “Enactment of the Imperial Delegates,” which was passed February 25, 1803, allowed princes to confiscate all properties belonging to cathedral chapels and various dignitaries. Under this order,
... all goods and properties of institutions, abbeys and monasteries... are placed at the free and complete disposition of the respective princes of these territories, to be used to meet the expenses of divine services, education and other purposes of the common good, as well as to ease their own financial burdens; with the condition that they provide for the proper care of the cathedral churches... and for the pensions of the dispossessed clergy.”51
During this time, the German Catholic church lost 1700 square miles of property, including eighty abbeys and two hundred monasteries. Churches were torn down, left to decay, or converted to military barracks, prisons, or insane asylums. This secularization was to last until
June 5, 1817 when King Maximilian I Joseph negotiated a concordat with Pope Pius VII that reversed the ecclesiastical policy and eventually restored power to the clergy.
Josephinism
During the reign of Austrian Emperor Joseph II (1780-1790), drastic modifications to the
Catholic church service were instituted. Historically known as Josephinism, these changes had widespread effects on sacred music throughout Europe, including Catholic Southern Germany.
Musically, these policies reacted against Baroque sacred music practice, the aim of which “had
51 Oetgen, Jerome. An American Abbot: Boniface Wimmer, OSB, 1809-1887. Washington D.C.: The Catholic University of America Press, 1997, 9-10.
28 been to awaken in the beholder an emotional reaction to, and a sense of mystery and awe about, the central rituals of Christian belief.”52 This goal was accomplished through various means, including the insertion of instrumental music during the Mass.
The practice of performing concerted instrumental music during the Mass (not to be confused with the use of music for solo organ, which is considerably older) goes back at least to the middle of the 17th century. Especially in Italy, sonatas, symphonies, and even concertos were written expressly for use in church. In the 18th century the practice of incorporating instrumental music into the public worship became widespread in other Catholic regions also..... In thematic content, form, and style these 18th century sonatas, symphonies and concertos are almost indistinguishable from secular works bearing similar titles.53
In Southern Germany, especially, “this sort of churchly entertainment was valued for its decorative function, much as were the exuberant architectures and decorations characteristic of
Catholic Baroque style.”54
One example of the insertion of instrumental music took place between the Epistle and the Gospel. “While in the early 18th century these ‘Epistle Sonatas’ were normally written for the purpose (as, for instance, Fux’s sonate a tre), during Joseph’s time any available instrumental piece may have been inserted, movements of concertos being quite popular.”55 In a letter to his wife dated August 12, 1773, Leopold Mozart describes such a church service in which Mozart played a concerto.
52 Schenbeck, Lawrence. Joseph Haydn and the Classical Choral Tradition. Chapel Hill, NC: Hinshaw, 1996, 150.
53 Tangeman, Robert S. “Mozart’s Seventeen Epistle Sonatas.” The Musical Quarterly 32/4 (Oct, 1946), 589-590.
54 Kauper, Russell Lane. The Sacred Works of Augustin Holler (1744-1814: Little Known Aspects of Religious Music in Eighteenth-Century Munich. Dissertation: Univ. of Southern California, 1979, 51.
55 Pauly, Reinhard G. “The Reforms of Church Music Under Joseph II.” The Musical Quarterly 43/3 (Jul, 1957), 377.
29 On the feast of St. Cajetan, the Fathers invited us to luncheon and to the service; and because the organ was not good enough for an organ concerto, Wolfgang borrowed from Herr Teiber a violin and a concerto which he was impudent enough to play.56
The offertory also incorporated elaborate instrumental music, including movements from symphonies or cantatas. Joseph’s reforms aimed to cease the custom at parish churches of incorporating purely instrumental music during Mass (other than at Sunday High Mass and holidays) for the purpose of fiscal frugality, as well as to purge the service of secular elements.
Another reform enacted under Joseph II was the furtherance of congregational participation. To achieve this goal, a hymnal written in the German vernacular was published in
1777 that consisted of German translations of the Kyrie, Gloria, Gospel (i.e. Gradual), Credo,
Offertory, Sanctus, Benedictus, Agnus Dei, Communio, and Ite missa est. These hymns would be sung by the congregation, thus replacing the Latin texted music that was being performed during the service. Enlightened clergy such as Prince-Archbishop Hieronymous, Graf von
Colloredo-Waldsee responded to these reforms by addressing his subjects with a 111-page pastoral letter of support (Hirtenbrief). In this letter, Colloredo voices his approval of the steps taken by Joseph II to musically simplify the Mass. In addition, Colloredo laments the poor quality of instrumental and vocal music that was often performed in local churches. Colloredo states:
56 Anderson, Emily. The Letters of Mozart & His Family. New York: WW Norton and Co, 1985. Letter of 12 August 1773 to his wife.
30 If church music that is proper, well-appointed, and performed according to all artistic requirements merits such censure... what would they say then about the music in our common city and country churches? There every good thought is driven out of the heart of the common people by the miserable fiddling; and horrible howling only invites stupidity and inattention.57
Colloredo believed that congregational singing of the Mass in German would be much more pleasing (and less distracting) to the ear than the instrumental and vocal music that had been performed.
Thus was the political and ecclesiastical climate in Bavaria during Peter von Winter’s first two decades in Munich. Josephinian restrictions were modified for larger churches, such as
Salzburg Cathedral, where musical performances were of a higher quality “due to the greater skill of the larger-salaried court musicians.”58 Rather than eliminate instrumental music altogether, Colloredo “directed that the words of the Offertory and Gradual should be set to choral music to supplant the ‘epistle sonata’ which was in general use.”59 The resulting instrumentally accompanied four-part mixed choral Offertories and Graduale, most notably those by Michael Haydn, were very well received by the clergy. Consequently, composition of these choral genres became customary in Austrian and South German churches during the late eighteenth and early nineteenth centuries.
57 Colloredo, 1782, p. 70, cited in Pauly, Reinhard G. “The Reforms of Church Music Under Joseph II.” The Musical Quarterly 43/3 (Jul, 1957), 381.
58 Miller, Dale. The Graduals of Johann Michael Haydn: Performance Editions and Studies of Selected Works. Dissertation: Texas Tech University, 1998, 8.
59 Miller, Dale. The Graduals of Johann Michael Haydn: Performance Editions and Studies of Selected Works. Dissertation: Texas Tech University, 1998, 8.
31 Musical Features of the Offertory
An abundance of church music is born out of practicality. Many small sacred works, including the offertories of Peter von Winter’s, reflect limitations that were the result of their functional purpose, which was to provide music during a church service. One such limitation was the overall length of the Mass. In a letter to Padre Martini dated September 4, 1776, Mozart writes from Salzburg:
Our church music is very different from that of Italy, since the mass with the whole Kyrie, the Gloria, the Credo, the Epistle Sonata, the Offertory or Motet, the Sanctus and the Agnus Dei must not last longer than three quarters of an hour. This applies even to the most Solemn Mass said by the Archbishop himself. So you see that a special study is required for this kind of composition. At the same time, the mass must have all the instruments -- trumpets, drums and so forth.60
As Mozart testifies in this letter, choral works composed for the Mass, including the offertory, needed to be brief and in proportion with the rest of the service. In order to accommodate the time limit to which composers were forced to adhere, homophonic chordal writing, rather than sections of extended counterpoint, were often employed. Form was compact, with little, if any, repetition. This was especially true of pieces with longer texts. Soloists were used with great economy. For example, Excelsus Super Omnes Gentes and Non Mortui Laudabunt Te each incorporate soloists. However, they are integrated into the melodic fabric of the piece, rather than given extensive separate portions of the work.
The highly traditional history of the Catholic Church did not allow for a great deal of compositional experimentation, thus creating another limitation for composers.
60 Anderson, Emily. The Letters of Mozart & His Family. New York: WW Norton and Co, 1985. Letter of 4 September 1776 to Padre Martini.
32 In most periods, the Church has not encouraged stylistic innovation: it dislikes the heavily chromatic music of many Renaissance composers... There are many works even of Palestrina that would not pass the church’s test for orthodoxy in music style. A conservative taste is not illogical in an institution that relies so fundamentally on continuity of tradition.61
Consequently, “the conservative, traditional force of the church induced composers to maintain a thin veneer of the ‘old style‘ in their modern works. These anachronisms were often of a superficial and external nature, as, for example, the unnecessary presence of the figured bass.”62
Reinhard Pauly also discusses the conservative nature of church music, stating that “some style features of Classicism were slow to find their way into the sacred field while certain aspects of
Baroque style, particularly the inclusion of figured bass, maintained themselves longer in this field than in other kinds of music.”63 The presence of the Baroque-style basso continuo in
Winter’s Excelsus Super Omnes Gentes and Non Mortui Laudabunt Te are examples of an anachronistic compositional technique. Additional features of the offertory as they apply to
Excelsus Super Omnes Gentes and Non Mortui Laudabunt Te will be discussed in Chapter V.
Performance Circumstances
Although the exact performance circumstances under which Peter von Winter’s offertories Excelsus Super Omnes Gentes and Non Mortui Laudabunt Te were originally performed are not known, the works were most likely composed to meet the liturgical needs of the time. The texts of such offertories provide valuable clues as to when they may have been
61 Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. New York: WW Norton and Co, 1972, 366.
62 Kauper, Russell Lane. The Sacred Works of Augustin Holler (1744-1814: Little Known Aspects of Religious Music in Eighteenth-Century Munich. Dissertation: Univ. of Southern California, 1979, 57.
63 Pauly, Reinhard. Music in the Classic Period. New Jersy: Prentice Hall, 1973, 177.
33 performed during the year. The offertory is part of the Mass Proper, which consists of the texts that change according to the church calendar. Both Excelsus Super Omnes Gentes and Non
Mortui Laudabunt Te take their texts from psalm verses. Non Mortui Laudabunt Te sets Psalm
113 (114+115) verses 25-26. The text and translation are as follows:
Non mortui laudabunt te Domine neque omnes qui descendunt in infernum. The dead shall not praise thee, O Lord: nor any of them that go down to hell.
Sed nos qui vivimus benedicimus Domino ex hoc nunc et usque in saeculum. But we that live bless the Lord: from this time now and forever.
Excelsus Super Omnes Gentes is a setting of verses 4-6 from the Vesper Psalm 112 (113),
“Laudate pueri.”
Excelsus super omnes gentes Dominus, et super coelos gloria ejus. The Lord is high above all nations; and his glory is above the heavens.
Quis sicut Dominus Deus noster, qui in altis habitat. Who is as the Lord our God, who dwelleth on high.
Et humilia respicit in coelo et in terra? And yet he considers the lowly in heaven and on earth?
Both Psalms 112 (113) and 113 (114+115) are listed in the Appendix of the Liber Usualis as being options for texts that could have been used during the Liturgy of the Hours on November
2, which is “All Soul’s Day.” One can conclude that Peter von Winter composed Excelsus Super
Omnes Gentes and Non Mortui Laudabunt as offertories for the Mass in celebration of All Soul’s
Day or a similarly themed Mass that commemorates the faithful departed, such as a funeral.
Father Jerome J. Purta, O.S.B., Benedictine monk at St. Vincent Archabbey, confirms that Psalm
113 (114+115) would be a most appropriate text for a funeral Mass.64 Finally, according to the
64 Information obtained in an email dated “Tuesday, August 10, 2010, 10:30:29 AM.
34 Liber Usualis, Psalm 112 (113), “Laudate Pueri,” was also used for the blessing of a deceased child.
Perhaps the most obvious performance location of Winter’s offertories would have been in the chapel at the Bavarian Court or the Theatinerkirche (later St. Kajetan), the principle church of the court. It is known that sacred music was an important aspect of court life, especially in that of Karl Theodor. In a letter to her husband, Leopold, Maria Anna Mozart discusses her visit during the Mannheim court’s gala days and attests to the pomp and splendor she observed during a Mass. “The gala days are over now. On the first there was a service at eleven o’clock, during which cannons and rockets were fired off.”65 The scoring of the Winter’s offertories is also consistent with what is known of court tradition. “At Mannheim, as at most Catholic courts, settings were normally for choir, orchestra, and (often) vocal soloists.”66
Based on Peter von Winter’s life and the nature of his career, one can surmise that
Winter’s offertories may also have been performed during Mass at local churches that maintained high musical standards. As stated previously, Reinhard Pauly notes that these larger churches employed professional court musicians. St. Michaelskirche in Munich is one such church.
Based on the contents of Die Musikhandschriften der St. Michaelskirche in München, which is a thematic catalogue of the music holdings at the church, it is very likely that Winter’s music was performed here. Although Non Mortui Laudabunt Te and Excelsus Super Omnes Gentes are not specifically listed as contents of the library, the catalogue does include other choral works by
65 Anderson, Emily. The Letters of Mozart & His Family. New York: WW Norton and Co, 1985. Letter of 8 November 1777 to her husband.
66 Zaslaw, Neal, Editor. The Classical Era: from the 1740’s to the End of the 18th Century. Prentice Hall Inc: Englewood Cliffs, New Jersey, 1989, 224.
35 Winter.67 This is evidence that Winter’s sacred music was disseminated to churches and may have been performed in religious ceremonies outside of the Court setting.
Conclusion
The offertories of Peter von Winter were composed during a time of great transition in the
Catholic Church. The results of the Enlightenment and Josephinism would, in many respects, have a stagnating effect on the development of the musical Mass settings. However, new musical forms of sacred text settings, including the Gradual and the Offertory, were born. Many of these works have since been forgotten. As many are gradually rediscovered and examined, they continue to shed new light on sacred music practices of the Classical era.
67 St. Michaelskirche in München houses the following works by Peter von Winter: Missa Solemnis in D-Dur and Veni Sancte Spiritus in D-Dur.
36 CHAPTER 4
SVS AND MCS: A COMPARISON
The current project began with the transcription of the instrumental and vocal parts of
Peter von Winter’s offertories Non Mortui Laudabunt Te and Excelsus Super Omnes Gentes found in the Boniface Wimmer Music Collection St. Vincent Archabbey. Due to ambiguous performance indications and various notational discrepancies found in parts, the initial transcription necessitated many editorial decisions. Upon discovery of the full handwritten scores of Non Mortui Laudabunt Te and Excelsus Super Omnes Gentes in the Noseda Collection at Milan Conservatory Library, a detailed comparison between these two sources made possible a more accurate transcription and provided greater justification for the editorial markings in the critical score. This chapter summarizes the major differences between the St. Vincent score
(SVS) and the full score found in the Noseda Collection in the Milan Conservatory Library
(MCS).
Instrumentation
Perhaps the most obvious discrepancies that exist between the MCS and SVS are those involving differences in instrumentation. The woodwind parts present a few points of interest.
First, the Excelsus Super Omnes Gentes SVS includes an oboe part that is not found in the MCS.
This additional oboe part is similar to that of the flutes. For much of the piece, the Oboe II doubles the Flute I at the interval of an octave, and the Oboe I plays in octaves or unison with the
Flute II, as follows:
37 Ex. 4a SVS, Excelsus Super Omnes, Oboes and Flutes, measures 1-8
This doubling remains consistent until measure 79, after which point the oboes rest, while the flutes play an independent part. The doubling pattern resumes in measure 103 with the entrance of the oboes. Until the end of the piece, whenever they play, the oboes double the flutes either at the unison or interval of octave. Orchestration of this kind was not uncommon in the Classical era, as the pairing the oboe and flute parts was considered a “common doubling.”68
Another orchestration discrepancy between the SVS and MCS is found in Non Mortui
Laudabunt Te. The SVS is scored for Oboe in B, whereas the MCS assigns this part to Clarinet in B. This discrepancy in instrumentation presents the question as to whether Peter von Winter performed Non Mortui Laudabunt Te with the oboe, clarinet, or both. As will be discussed in
Chapter VI, the use of the clarinet in orchestras was not consistent until the at the end of the 18th century. It is also possible that Winter may have used both oboe and clarinet, as “The clarinet was originally a doubling instrument for oboists, and in the late 18th and early 19th centuries it gradually supplanted many of the oboe’s traditional functions.”69 Knowledge of Peter von
Winter’s orchestral roster can provide valuable clues to the instrumentation of Winter’s
68 Zaslaw, Neal. “Toward the Revival of the Classical Orchestra. Proceedings of the Royal Musical Association. Vol. 103 (1976-1977), 180.
69 Haynes, Bruce. “Mozart and the Oboe.” Early Music 20/1 (Feb. 1992), 47.
38 performances of Non Mortui Laudabunt Te. In his article Toward the Revival of the Classical
Orchestra, Neal Zaslaw provides an extensive chart that includes the rosters of many European orchestras between 1774 and 1796. Although many of the orchestras listed in this chart do not include clarinets, the instrument does appear on both the Mannheim and Munich rosters.
Personal accounts of these instruments’ use also exist. During his 1772 visit to the Mannheim
Court, Charles Burney lists the various instruments he observed at the elector’s suite at
Schwetzingen. Among these instruments are both the oboe and clarinet.
To a stranger walking through the streets of Schwetzingen, during summer, this place must seem to be inhabitated only by a colony of musicians, who are constantly exercising their profession: at one house a fine player on the violin is heard; at another, a German flute; here an excellent hautbois70; there a bassoon, a clarinet, a violincello, or a concert of several instruments together.71
In addition, in a 1778 letter from Mannheim to his father in Salzburg, Mozart writes, “Ah, if only we had clarinets too! You cannot imagine to glorious effect of a symphony with flutes, oboes and clarinets.”72 According to its court almanac, clarinets were in use in Mannheim as early as
175873. Finally, the fact that Peter von Winter toured Vienna with clarinetist Franz Tausch and wrote a virtuosic Clarinet Concerto in “E” flat Major is further evidence that Peter von Winter could have performed Non Mortui Laudabunt Te with clarinet. The precise instrument Winter
70 Oboe
71 Scholes, Percy A., Edited. An Eighteenth-Century Musical Tour In Central Europe and The Netherlands by Charles Burney. London: Oxford Univ. Press, 1959. 36.
72 Anderson, Emily. The Letters of Mozart & His Family. New York: WW Norton and Co, 1985. Letter of 3 December 1778 to Leopold.
73 Zaslaw, Neal, Editor. The Classical Era: from the 1740’s to the End of the 18th Century. Prentice Hall Inc: Englewood Cliffs, New Jersey, 1989, 228. Zaslaw refers to this primary source.
39 included in his performances of Non Mortui Laudabunt Te remains a mystery. Evidence suggests, however, that the use of either or both instruments was possible.
Another difference between the orchestration of the SVS and MCS is the existence of a viola part in the MCS. It is certain that in Mannheim and Munich, where “there was sometimes
80, 90, or more musicians on the payroll,”74 Peter von Winter would not have lacked violas.
Perhaps the most significant clue in revealing the original orchestration, however, is revealed on the cover page of the SVS Non Mortui Laudabunt Te, where the viola is listed in the instrumentation. One can assume that the SVS viola part was lost over time. Thanks to the discovery of the MCS, this lost viola part will be included in the critical edition of Non Mortui
Laudabunt Te.
Finally, the SVS clarifies the type of flute that was scored in each offertory. According to
New Grove Dictionary,75 before the late 18th century, the term flauto meant recorder. If the flute was intended, composers indicated a modifier, such as transverse flute or German flute. In the
MCS, the flute parts are indicated jointly as Flauti. Only the Flute II part of the Excelsus Super
Omnes Gentes SVS indicates Flauto Traverso. Given the later time period, as well as the fact that Winter does indicate the instrument as tranverse flute once, one can assume that the transverse flute is the instrument for which Winter scored the part. Further evidence can be found in Burney’s earlier account of the instruments he observed at Mannheim where he includes the German flute, which was the same as the transverse flute.
74 Zaslaw, Neal. “Mozart’s Orchestras: Applying Historical Knowledge to Modern Performance.” Early Music 20/2 (May, 1992), 204.
75 Sadie, Stanley (Ed.). The New Grove Dictionary of Music and Musicians 2nd Edition. New York: Macmillan, 2000.
40 Ornaments
A number of discrepancies exists between the ornament notation found in the SVS and those found in the MCS. Overall, the ornaments found in the MCS are clearer and more consistent than those found in the SVS. Inconsistencies in notating ornaments are not uncommon for the time period, the topic of which will be discussed in Chapter VI. Although in many cases the ornaments found in the MCS and SVS indicate the rhythmic length in which they were to be played, the notation of these ornaments found in the two scores was not necessarily consistent with one another. For example, in measure 1 of Non Mortui Laudabunt Te, the appoggiatura appears in the Violin I part as an eighth note with a flag in the MCS and a sixteenth note in the SVS:
Ex. 4b MCS, Violin I, Non Mortui Laudabunt Te, measure 1
Ex. 4c SVS, Violin I, Non Mortui Laudabunt Te, measure 1
In cases such as this first example, the determination as to which ornament was to be included in the critical edition was made based on comparison with the other voice and orchestral parts. In this instance, since the clarinet part of the MCS and the oboe part of the SVS also indicate an eighth note with a flag, this was the rhythmic value assigned to this appoggiatura in the critical edition.
41 Upon comparing the two scores, missing ornaments were also common. For example, in measure 48, the soprano line of the SVS Non Mortui Laudabunt Te, does not include an appoggiatura.
Ex. 4d SVS, Soprano, Non Mortui Laudabunt Te, measure 48
One can assume that the scribe neglected to include this appoggiatura, as one is included in introduction of this musical material first heard in measure 12. The fact that an appoggiatura also appears in the MCS score is further proof that the inclusion of this ornament was indeed
Winter’s intent:
Ex. 4e MCS, soprano, Non Mortui Laudabunt Te, measure 48
The trill is another ornament that appears inconsistently in both scores. As discussed in more detail in Chapter VI, the SVS occasionally indicates the “tr” symbol for trill, however, the
MCS omits it completely. In addition, a very common inconsistency between the scores is the inclusion or exclusion of starting note before the trill. The SVS includes this abbreviation once in measure 105.
42 Ex. 4f SVS, Violin II, Non Mortui Laudabunt Te, measure 105
The MCS, which does not indicate “tr,” does often indicate the starting note.
Ex. 4g MCS, ViolinII, Non Mortui Laudabunt Te, measure 106
Excelsus Super Omnes Gentes presents a similar situation. Measures 91-93 and 95-101 in the
SVS Violin II part clearly write out the “tr” indication, whereas the MCS simply includes the starting note:
Ex. 4h SVS, Violin II, Excelsus Super Omnes, measures 91-101
43 Ex. 4i MCS, Violin II, Excelsus Super Omnes, measures 91-101
The various, albeit inconsistent, starting notes provided in both scores, the “tr” occasionally provided in the SVS, and the thirty-second note suffix provided in both scores are combined in the critical editions to form more complete and consistent passages of music.
Notes
As mentioned previously, although the scores are legible, the fact that they are handwritten leaves them subject to smudges, human error, and deterioration brought on by the passage of time. Inevitably, the SVS and the MCS contain measures with illegible notes.
Usually, when a pitch in unclear or incorrect in one score, the other will provide a clear note and, thus, a solution. For example, in measure 119 of Non Mortui Laudabunt Te, the half note in the
Flute I appears as follows:
Ex. 4j MCS, Flute I, Non Mortui Laudabunt Te, measure 119
44 Ex. 4k SVS, Flute I, Non Mortui Laudabunt Te, measure 119
In this instance, the MCS pitch is chosen for the critical edition, as it matches the harmony.
Another example of pitch discrepancy is found in measure 43 in the Trumpet II of
Excelsus Super Omnes Gentes. The MCS indicates that the Trumpet II remains on “C,” while the SVS Trumpet II doubles the Trumpet I:
Ex. 4l MCS, Trumpet I & II, Excelsus Super Omnes Gentes, measure 43
Ex. 4m SVS, Trumpet I, Excelsus Super Omnes Gentes, measure 43
Ex. 4n SVS, Trumpet II, Excelsus Super Omnes Gentes, measure 43
In this instance, even though either option will work within the context of the music, the SVS pitches were chosen for the critical edition, as the line in question is the main thematic material
45 and also matches the tenors and violas. Discrepancies such as this are noted in Appendices B and C in order to inform the conductor that in cases such as this one, there exists an additional performance option.
Another example of score discrepancy occurs in measures 76-77 of the viola parts in
Excelsus Super Omnes Gentes. The SVS indicates the following:
Ex. 4o SVS, Viola I and II, Excelsus Super Omnes Gentes, measures 76-77
A slight difference in rhythm and pitch is found in these measures in the MCS:
Ex. 4p MCS, Viola I and II, Excelsus Super Omnes Gentes, measures 76-77
In this instance, the MCS pitches and rhythms were included in the critical edition. However, the discrepancy was noted in Appendix C. Although measure 76 in the SVS indicates a rhythmic pattern that appears numerous times throughout the piece, the clarity with which the eighth- quarter-eighth note figure appears in the MCS, as well as the fact that that the SVS includes this pattern in measure 77, increases the likelihood that this pattern was the intent of the composer.
The flute parts in measures 36-43 of Non Mortui Laudabunt Te required pitch clarification. These measures appear as follows in the MCS:
46 Ex. 4q MCS, Flute I & II, Non Mortui Laudabunt Te measures 36-43
Clearly, this passage is an imitative 4-bar phrase. The “F” and “A” natural written in measure 36 of the Flute II should be the beginning of the phrase for the Flute I. The SVS score provides the following, pitches for measures 36-43:
Ex. 4r SVS, Flute I & II, Non Mortui Laudabunt Te, measures 36-43
In this instance, Example 4p was included in the critical edition, as the two parts now begin the passage in imitation, and the Flute II is provided a complete 4-bar phrase.
In other cases, the pitch discrepancies are more significant. The flutes provide another example in measures 91-99 of Non Mortui Laudabunt Te. The differences are as follows:
Ex. 4s SVS, Flute I & II, Non Mortui Laudabunt Te, measures 91-99
47 Ex. 4t MCS, Flute I & II, Non Mortui Laudabunt Te, measures 91-99
Likewise, this similar passage in the clarinet/oboe I and II lines in measures 100-108 is different:
Ex. 4u SVS, Oboe I & II, Non Mortui Laudabunt Te, measures 100-108
Ex. 4v MCS, Clarinet in B I & II, Non Mortui Laudabunt Te, measures 100-108
In each instance, the overall effect of the suspension/release phrasing is preserved, however, the pitches with which this effect is achieved are slightly different.
A significant difference between the MCS and SVS pitches occurs in the soprano and tenor duet in measures 47-55 of Non Mortui Laudabunt Te. The tenor and soprano lines are switched between the two scores. The SVS score is written as follows:
48 Ex. 4w SVS, SATB, Non Mortui Laudabunt Te, measures 47-55
The MCS score appears as follows:
Ex. 4x MCS, SATB, Non Mortui Laudabunt Te, measures 47-55
The critical edition includes the pitches found in the MCS, however, the conductor may choose to use the SVS pitches, as there is not enough evidence to indicate the specific version used by
Winter. One can assume that these parts were switched accidentally due to scribal error, or purposefully, based on the range of the singers. Note also the pitch difference between the SVS tenor line in measure 52 and its equivalent soprano line in the MCS.
Perhaps the most obvious scribal variation in the SVS and MCS is found in the bassoon parts. It has been well documented that Classical bassoon is often used to double the continuo.
49 “In discussing the balance between the string section as a whole and the rest of the orchestra, it is important to note that when any wind instruments were employed one or more bassoons customarily doubled the bass line whenever no part was specifically provided for them.”76 In describing Haydn’s use of the bassoon, H.C Robbins Landon states, “the early symphonies of
Haydn require a bassoon to play with the bass line, whether specifically called for by the score of not.”77 Of Haydn’s later symphonies composed between 1761 and 1765, Robbins Landon describes the evolution of the bassoon’s role. “Of particular significance is the declaration of independence made by the bassoon, which, though still expected to reinforce the bass line when not engaged in other business, is given solo passages like the other woodwind instruments.”78 In
Non Mortui Laudabunt Te, the bassoons are provided a part independent from that of the continuo. However, one will notice that they are provided a significantly greater number of notes in the SVS. For example, during the second half of Non Mortui Laudabunt Te, the bassoons in the MCS do not enter until measure 81. The bassoons in the SVS, however, enter in measure 65, with the following:
Ex. 4y SVS, Bassoons, Non Mortui Laudabunt Te, measure 65
76 Zaslaw, Neal. “Toward the Revival of the Classical Orchestra. Proceedings of the Royal Musical Association. Vol. 103 (1976-1977), 181.
77 Robbins Landon, HC. The Symphonies of Joseph Haydn. Great Britain: Universal & Rockliff, 117.
78 Robbins Landon, HC. The Symphonies of Joseph Haydn. Great Britain: Universal & Rockliff, 240.
50 The extra measures included in the SVS contain the notes of the continuo. During these same measures, the MCS indicates the following:
Ex. 4z
Without the benefit of comparison with the SVS, one can surmise that perhaps these slashes indicate measures of rest. However, the upper woodwinds, who also do not play during many of these measures, are provided whole rests. The MCS of Excelsus Super Omnes Gentes provides a valuable clue as to the meaning of these doubles slashes. In measures 115-118, the following is found in the Flute I and II parts of the MCS:
Ex. 4aa MCS, Flute I and II, Excelsus Super Omnes Gentes, measures 115-188
In this instance, the addition of the abbreviation, “unis,” to the double slash symbols that appear over the bar lines indicates that the Flute II’s are to play in unison with the Flute I’s. Further proof of this intent is provided in the SVS, which, rather than write out the abbreviation for unison, actually provides the unison notes in the Flute II part. Based on the information provided in the Excelsus Super Omnes Gentes MCS and SVS, as well as what is known of the era’s common practice, one can deduce that the bassoons should double the continuo during the measures in which this double slash appears through the bar line.
51 A complete list of additional pitch modifications and edits is found in Appendices B and
C.
Text
Subtle text inconsistencies in the SVS, most likely due to scribal error, are often clarified or corrected by the MCS. For example, in the SVS Non Mortui Laudabunt Te the Canto sings the text, “Dominus” in measure 23, while the Alto, Tenor, and Bass sing the text, “Domino.”
The MCS confirms that the text is indeed, “Domino.” Another example of a textual inconsistency occurs in this same piece in measure 49 of the tenor. The St. Vincent score writes,
“descendit.” The MCS confirms what is already written in the soprano line of the SVS, which is that the text is “descendunt.” The MCS score also includes small subtleties to the text, such as commas surrounding the the text, “nunc” and “omnes” in Non Mortui Laudabunt Te and after
“habitat” in Excelsus Super Omnes Gentes. The MCS also includes a “?” after the text, “quis” in measures 48 and 49 of Excelsus Super Omnes Gentes. Another obvious text discrepancy occurs in measure 53 of Non Mortui Laudabunt Te. Here, the MCS omits the word, “non,” which, in turn, affects the rhythm. The two sixteenth notes that are found in the SVS are written as eighth notes in the MCS to accommodate one less word. The following example illustrates the difference between the two scores found in measure 52.
52 Ex. 4bb SVS, Non Mortui Laudabunt Te, measure 52-54
Ex. 4cc MCS, Non Mortui Laudabunt Te, measure 52-54
Notice that the rhythm in the pickup to measure 53 of this example appears to be two sixteenth notes in the soprano line of both the SVS and MCS. The alto and tenor pickups are clearly eighth notes in the MCS, however, and since the word, “non,” does not occur before “laudabunt”
53 neither in this case nor in the original text, the rhythm and text of the MCS alto and tenor lines were chosen for critical score. (The quarter note pickup that appears in the bass line of the MCS is clearly missing a flag, as there would be too many beats in the measure, otherwise.)
Another instance of inconsistent text underlay begins in the tenor’s measure 148. The
MCS sets the text as follows:
Ex. 4dd MCS, Tenor, Excelsus Super Omnes Gentes, measures 148-154
The SVS is scored as follows:
Ex. 4ee SVS, Tenor, Excelsus Super Omnes Gentes, measures 148-154
Likewise, the soprano exhibits a similar discrepancy in text underlay. The MCS soprano is written as follows:
54 Ex. 4ff MCS, Soprano, Excelsus Super Omnes Gentes, measures 147-153
The SVS soprano is composed as follows:
Ex. 4gg SVS, Soprano, Excelsus Super Omnes Gentes, measure 148-153
Despite the discrepancies in text underlay found between the MCS and SVS soprano and tenor parts, the alto and bass parts are consistent between the two scores. In this instance, the SVS pitches were included in the critical edition so that all four voices are sustaining measures
149-152 on the same word, “habitat.” However, the conductor may choose to perform the MCS text underlay, as one does not know which option was truly Winter’s original intent.
Finally, although the figured bass was fairly consistent between the SVS and MCS, a number of errors and omissions were discovered, all of which are noted in Appendices B and C.
Corrections and additions to and clarification of the figured bass are notated in parentheses in the critical editions. All other figured bass notation is left as it appears in the SVS and MCS.
55 Dynamics and Articulation
The dynamic indications in the MCS are more legible and numerous than those found in the SVS. However, the SVS does occasionally include dynamics that are missing in the MCS.
These instances are listed in Appendices B and C. A notable dynamic discrepancy occurs in the final measures of Non Mortui Laudabunt Te, beginning in measure 111. This final section contains this offertory’s most drastic dynamic contrasts. Measures 111 and 115 of the SVS do not contain dynamics, whereas, the MCS specifically indicates forte in the instruments and forte and fortissimo in the voices of measures 111 and 115, respectively. The next obvious discrepancy is the SVS’s omission of the rinforzando found in the violins and oboes/clarinets in measures 120 and 122 of the MCS. The rinforzando, when used in this manner, is “an additional emphasis or accentuation on a single note or chord.”79 Various instrumental parts of the SVS, including the bass, horns, and violins, are marked fortissimo on these measures. Due to the inconsistency with which the SVS dynamic markings are presented in this measure, the critical edition includes the MCS rinforzando. The final difference between the two scores during this final section of Non Mortui Laudabunt Te involves the violin and horn dynamics that appear in measures 111 and 117. The SVS indicates fortissimo in each of these parts, whereas the MCS indicates forte. Since the voices and instruments in the MCS are marked forte, for the purpose of orchestral balance, the violins and horns were marked forte in the critical edition.
The MCS includes various symbols, such as the following: .
79 Rosenblum, Sandra. Performance Practices in Classic Piano Music. Bloomington & Indianapolis: Indiana Univ. Press, 1988, 89.
56 Ex. 4hh MCS, Non Mortui Laudabunt Te, measure, 73
This sign also occurs in the oboe/clarinet part in measure 25, while the other parts are assigned a rinforzando:
Ex. 4ii MCS, Non Mortui Laudabunt Te, measure 25
57 Judging from the contexts in which with symbol occurs, one can deduce that Winter uses this symbol to mean rinforzando and that the player should place an additional emphasis on the chords on which this symbol appear.
Overall, the beginnings and ends of crescendi and decrescendi in the SVS are not consistently identifiable. In many cases, the MCS was very helpful in this regard. The following closed “hairpin” symbol indicates crescendo in the MCS:
Ex. 4jj
This closed “hairpin” sign was used by composers during the 18th century. In other examples, most of which occurred in Excelsus Super Omnes Gentes, the crescendi are not as clearly defined. For example, in measures 51-53 of the Violin II part of this same piece, the SVS score indicates the following:
Ex. 4kk SVS, Violin II Excelsus Super Omnes, measures 51-54
58 In these measures, the MCS score indicates the following:
Ex. 4ll MCS, Violin II Excelsus Super Omnes, measures, 51-54
Note also the forte dynamic included in the MCS, which is absent from the SVS. Such discrepancies necessitate detailed comparison with other instances of this musical material.
When a clear consistency is not revealed, the editor must rely on elements of performance practice.
Overall, in comparison with the MCS, the carelessness with which the articulations were written in the SVS made them less reliable. In many cases, the MCS offered answers to questions of articulation. The following is an example of an articulation found in measures
32-33 the violin I and II parts SVS.
Ex. 4mm SVS, Violin I, Non Mortui Laudabunt Te, measures 32-33
Ex. 4nn SVS, Violin II, Non Mortui Laudabunt Te, measures 32-33
59 Measures 32 and 33 appear as follows in the MCS:
Ex. 4oo MCS, Violin I and II, Non Mortui Laudabunt Te, measures 32-34
In these three measures, the flutes and oboes of the MCS adhere to these articulation, as do the flutes and oboe/clarinet I of the SVS. Therefore, the articulation shown in the MCS example was chosen for the critical edition.
The articulations of Excelsus Super Omnes Gentes presented greater editorial challenges.
First, the slurs are very inconsistent in both scores. The following is an example that occurs in measures 120-128.
Ex. 4pp MCS, Violins Excelsus Super Omnes, measures 120-128
60 Ex. 4qq SVS, Violin I Excelsus Super Omnes, measures 120-128
Ex. 4rr SVS, Violin II Excelsus Super Omnes, measures 120-128
Due to the consistency with which the articulation of measures 120 occurs in the MCS, this articulation is included in the critical edition. This particular example offers an additional dilemma, however, as measure 34 in the MCS appears to include a wedge on beat 4.
61 Ex. 4ss MCS, Flute II & Violins Excelsus Super Omnes, measure 34
This wedge is an indication that beat 4 should be played accented and detached. Despite the fact that this is the only measure that contains this articulation on beat 4, the clarity with which it appears in measure 34 of the MCS, warrants its inclusion as an editorial marking in the critical edition.
Conclusion
In addition to the discrepancies presented in this chapter, a number of editorial decisions were more easily determined upon comparing the MCS and the SVS. For example, solo and tutti sections are more explicit in the MCS. Additional expression indications, such as con espressione, are also provided in the MCS.
In the critical editions of Non Mortui Laudabunt Te and Excelsus Super Omnes Gentes, all pitches, ornaments, accidentals, articulations, dynamics, and text appear as they were in one or both of the scores (SVS and MCS). In cases where one of the afore listed indications is included in only one scores, a note is made in Appendices B or C. If a discrepancy exists between the two scores, the editorial decision was made based on the musical context. Editorial pitches are placed in parenthesis ( ). Dashed (- - - - - ) slurs and ties are provided in instances where they appear in other vocal and/or instrumental parts, yet are missing from both the MCS
62 and SVS. Dynamics provided in the original scores are written in italics (f, p), whereas those provided by the editor are not italicized (f, p). See my editorial notes in Appendices B and C for a listing of variants between the two sources, along with my editorial decisions.
63 CHAPTER 5
COMPOSITIONAL FEATURES IN THE OFFERTORIES OF PETER VON WINTER
When analyzing the musical features that collectively constitute the fabric of a Non
Mortui Laudabunt Te and Excelsus Super Omnes Gentes, an awareness of the historical and functional circumstances under which the offertories were composed provides a richer and more comprehensive understanding of the works. Text is a component that must be examined, as its structure is often revelatory of the overall musical form of a work. Winter often musically reflects the text’s meaning through the incorporation of various and clever compositional devices. As Charles Rosen states, “The classical style... was in all essentials an instrumental one.”80 Is the structure of the offertory determined by that of the text, or does it assume the guise of one found more commonly in a Classical symphony? If the latter is the case, how does the presence of text influence a structure that had its origins in instrumental music? This chapter examines such issues, provides structural analysis of the offertories, and encapsulates various compositional devices that cohesively combine to express Winter’s style in Excelsus Super
Omnes Gentes and Non Mortui Laudabunt Te .
As Chapter III discussed, the offertories of Peter von Winter served a practical function within the context of the Catholic Mass. The time constraint created by the Mass required that offertories be brief. Winter accommodated this limitation through various means. For example, a great deal of the writing in both offertories is homophonic and chordal. Winter does include brief sections of imitative counterpoint; however, these instances are neither texturally dense nor
80 Rosen, Charles. The Classical Style. New York: WW Norton, 1972, 366.
64 harmonically complex. The following example from Non Mortui Laudabunt Te is a typical example of Winter’s use of counterpoint in his offertories:
Ex. 5a SATB, Non Mortui Laudabunt Te, measures 34-45
In this example, imitation primarily occurs at the unison or octave with regular one-measure entrances. Winter’s incorporation of vocal and instrumental soloists in Excelsus Super Omnes
Gentes and Non Mortui Laudabunt Te are integrated into the overall fabric of the piece, rather than given extensive separate portions of the work. Although the orchestral forces are substantial, they are employed with great economy. The following table provides the orchestration of the offertories:
Table 5a
Non Mortui Laudabunt Te Excelsus Super Omnes
Flute I and II Flute I and II Oboe/Clarinet I and II Oboe/Clarinet I and II Bassoon I and II Horn in C I and II Trumpet in B I and II Trumpet in C I and II Violin I and II Timpani Viola Violin I and II SATB/soli SATB Chorus Continuo Continuo
65 Instrumental introductions, interludes, and codas are brief and transitional or cadential in function. The full compliment of strings and winds contributes to the praiseful nature of the works, often doubling the voices or adding harmonic color or decorative flourishes to the choral material.
Chapter III discussed the traditional, and often conservative, nature of sacred music in the
Classical era. Harmonically, Winter’s offertories are not experimental. With the exception of two cadential extensions employed for the sake of musically conveying the meaning of the text, cadences are rather predictable. Key areas of the offertories do not stray far from the tonic or dominant. Winter’s inclusion of the basso continuo is an obvious outdated carry-over from the
Baroque era, but is an example of one of the anachronistic trends sometimes found in church music. Winter also nods to the contrapuntal style of the Renaissance, especially in the second half of Non Mortui Laudabunt Te, which will be discussed in greater detail later in the chapter.
The genre of the offertory in Winter’s time was certainly a limited creative outlet, as composers were hindered by an insubstantial amount of time within the Mass to imaginatively set each line of text and deeply delve into the development of musical ideas. Despite this challenge, Winter does create interest and achieve contrast within this compact musical framework through a variety of means. For example, Winter often varies color and texture through such means as changing voicings and instrumentation during repeated sections. The following is the first presentation of the text, “Neque omens qui descendunt in infernum” from
Non Mortui Laudabunt Te beginning in measure 12.
66 Ex. 5b Non Mortui Laudabunt Te, measures 12-17
67 During this passage, the altos and basses are doubled by the flutes and violas, and the sopranos and tenors are doubled by the oboes/clarinets and the bassoons and horns, thus creating a color contrast in the second presentation of text beginning in measure 15. The next presentation of this thematic material begins in measure 47 as follows:
Ex. 5c Non Mortui Laudabunt Te, measures 48-53
68 In this later presentation, Winter voices the thematic material entirely for the sopranos and tenors. The instrumental doubling remains the same, with the flutes doubling the first half of the phrase and the oboes/clarinets and bassoons doubling the second half. However, now Winter provides additional depth and color to the end of each four-measure phrase through the harmonic emphasis provided by the altos and basses on “in infernum,” which is reinforced by the violins, horns, and continuo. This variation of voicing strengthens the anticipation of the the half cadence in measure 55.
Winter also varies the texture through the use of soloists. In addition to the contrast in sound between the soloists and the choir, virtuosic elements of the soloists’ passages, such as the extended range and faster triplet rhythm juxtaposed with the homophonic texture of the choir is striking. The following example is a passage for soloists beginning on beat 4 of measure 113 of
Non Mortui Laudabunt Te.
69 Ex. 5d Non Mortui Laudabunt Te, measure 114-119
In this example, contrast is further achieved through a substantial reduction in the orchestration during the soprano and tenor duet. Upon the entrance of the choir, the orchestra rejoins the
70 violins in full homophonic and fortissimo force, thus adding power and finality to the closing cadence, as well as additional interest and surprise for the listener.
As was also the case in the previous example, Winter regularly employs sudden contrasts as a means of creating variation within his offertories. Peter von Winter’s experience as a
Mannheim musician is evident in his offertories, Excelsus Super Omnes Gentes and Non Mortui
Laudabunt Te, as he draws from this style in order to achieve contrast. Chapter II discussed various aspects of the Mannheim style, particularly its treatment of dynamics. Winter drastically changes dynamics over a very short span of time, which is characteristic of the Mannheim style.
One example of such a passage occurs in Excelsus Super Omnes Gentes. Measures 51-58 contain two such examples. Here, the violins ascend two octaves over the course of a few measures, while executing a crescendo that extends from piano to forte. In addition, the gradual ascent of the melodic line executed over a bass pedal point is a feature of a classic device known as the Mannheim Walze,81 or roller.
81 According to Groves Music Online, “Mannheim symphonies often incorporate an extended, thematically independent crescendo passage or Walze...” The article adds, “Such passages, most of which contain a rising melodic line over a pedal point or oscillating bass pattern, typically reappear at important junctures within the movement, contributing a sense of profile to the form.”
71 Ex. 5e Excelsus Super Omnes, Measures 51-58
72 Ex. 5e (cont.)
As will be outlined in Table 5b, the thematic material in the previous example is presented during important periods of transition in Excelsus Super Omnes. Non Mortui Laudabunt Te also contains an example of a swift-moving crescendo. The following example occurs at the opening of the B section beginning in measure 56.
73 Ex. 5f Non Mortui Laudabunt Te, Measures 56-64
In this example, the entire dynamic texture of this passage builds from piano to fortissimo over the course of seven measures. Adding to the contrast is the sudden change in texture in measure
63. The initial counterpoint, set to longer rhythmic values and a quieter dynamic, sets the tone for a certain musical calm that is quickly interrupted by the sudden driving sixteenth notes in measure 63-64’s fortissimo full-orchestral interlude. Winter also juxtaposes contrasting dynamics. The final measures of Non Mortui Laudabunt Te provide an example of this technique, found commonly in the works of Mannheim composers, such as Johann Stamitz.
74 Ex. 5g Non Mortui Laudabunt Te, measures 120-125
75 Winter’s use of dynamics, such as the sudden contrast between the piano and fortissimo, as well as the added rinforzando in these final measures of Non Mortui Laudabunt Te, combine to play with the ear of the listener.
Formal Elements
Upon analyzing any vocal work, it is crucial that there be an understanding of both the structure and meaning of the text. The degree to which the text of a vocal work shapes its structure and influences its musical expression has varied throughout music history. A great deal of Classical vocal music adheres to forms that are traditionally instrumental, such as sonata- allegro form. The late masses of Franz Joseph Haydn, commonly referred to as his “vocal symphonies,” are examples of this practice. As a result, conveyance of the textual meaning and adherence to its structure in Classical vocal music was sometimes secondary to the musical form.
Furthermore, church music faced an additional challenge as “there was an important conflict of musical ideology. Was the music there to glorify the mass or to illustrate the words? Is the function of music expressive of celebrative?”82 The conflict presented in these questions is evident within the offertories of Peter von Winter. The following portions of the chapter will provide a detailed examination of the text and structure of Excelsus Super Omnes Gentes and
Non Mortui Laudabunt Te.
Excelsus Super Omnes
As discussed in Chapter III, the text and translation of Excelsus Super Omnes is as follows:
82 Rosen, Charles. The Classical Style. New York: WW Norton, 1972, 366.
76 Excelsus super omnes gentes Dominus, et super coelos gloria ejus. The Lord is high above all nations; and his glory is above the heavens.
Quis sicut Dominus Deus noster, qui in altis habitat. Who is as the Lord our God, who dwelleth on high.
Et humilia respicit in coelo et in terra? And yet he considers the lowly in heaven and on earth?
Structurally, the offertory, Excelsus Super Omnes Gentes, follows the symphonic sonata- allegro form. Rosen provides a the standard melodic mold by which sonata-allegro form has assumed.
...the exposition starts with a theme or groups of themes in the tonic, followed by a modulation to the dominant and a second group of themes; after a repetition of the exposition comes the development, in which the themes are fragmented and combined in various keys ending with a return to the tonic and a recapitulation of the exposition, this time with the second group of themes in the tonic, and an optional coda.83
The structure of Excelsus Super Omnes Gentes very closely adheres to this outline provided by
Rosen. However, the offertory does contain slight deviations from this form, which is not surprising, since the sonata-allegro form was “not defined until it was dead” and “only gradually acquired a more specific, but always flexible sense.”84 Rosen argues:
The [sonata-allegro] definitions generally given are far too limited even for the latter part of the eighteenth century, and apply only to the romantic sonata. In any case, the ‘sonata’ is not a definite form like a minuet, a da capo aria, or a French overture: it is, like the fugue, a way of writing, a feeling for proportion, direction, and texture rather than a pattern.85
83 Rosen, Charles. The Classical Style. New York: WW Norton, 1972, 30.
84 Rosen, Charles. The Classical Style. New York: WW Norton, 1972, 30.
85 Rosen, Charles. The Classical Style. New York: WW Norton, 1972, 30.
77 The description of the sonata-allegro from provided by Rosen applies to the structure of Excelsus
Super Omnes Gentes. The following Table 5b provides a structural outline of Excelsus Super
Omnes Gentes.
78 Table 5b Structural Analysis Excelsus Super Omnes Gentes
Section Key Area
Exposition (meas. 1-79) Principal Theme Group (meas. 1-27) CM Meas. 1-4, P1 Question Excelsus super omnes gentes Dominus Meas. 5-12, P1 Answer CM et super coelos gloria ejus, Meas, 13-16, P2 CM quis sicut Dominus Deus noster, Meas, 17-20, P2 CM qui in altis habitat, Meas. 21-27, P2 CM - GM et humilia respicit in coelo et in terra?
Transitional Theme Meas. 27-33, T V/GM qui in altis habitat
Secondary Theme Group (meas. 34-50) Meas. 34-41, S1 (2x’s) GM et humilia respicit in coelo et in in terra? Meas. 42-50, S2 GM qui in altis habitat et humilia respicit in terra? quis?
Transitional Theme Group (meas. 51-76) Meas. 51-61, T GM qui in altis habitat et humilia respicit in coelo et in terra? Meas. 62-76, S2 GM qui in altis habitat et humilia respicit in coelo et in terra? Meas. 76-79, Extension
79 Table 5b (cont.)
Section Key Area
Development (meas. 80-101) Meas. 80-84, P1 variant “E” 8ves to Excelsus super omnes gentes Dominus CM Meas. 85-88, P2 variant et super coelos gloria ejus CM to am Meas. 89-91, P2 variant et gloria ejus am Meas. 92-96, P2 variant excelsus super omnes gentes am - FM - dm Meas. 97-101, P2 variant circle of 4ths - et super coelos gloria ejus am
Recapitulation (meas. 102-136) Principle Theme Group (meas. 102-113) Meas. 102-105, P1 CM Excelsus super omnes gentes Dominus Meas. 106-109, P2 CM et super coelos gloria ejus Meas. 110-113, P2 CM super coelos gloria ejus
Transitional Theme Group (meas. 113-119) Meas. 113-119, T CM quis in sicut Dominus Deus noster/qui in altis habitat
Secondary Theme Group (meas. 120-135) Meas, 113-126, S1 (2x’s) CM et humila respicit in coelo et in terra Meas. 127-136, S2 CM qui in altis habitat et humila respicit in coelo et in terra? quis?
Coda (meas. 136-162) Meas. 136-144, T2 CM qui in altis habitat et humilia respicit in coelo et in terra? Meas. 145-159, S2 CM qui in altis habitat et humilia respicit in coelo et in terra? Meas. 160-162, Extension CM
80 The first twelve measures present the primary theme (P) in C Major, which is a question and answer phrase. The full orchestra and chorus boldly introduce the question in the first four measures of the offertory, which strongly expresses the encompassing sense of the text,
“Excelsus super omnes gentes Dominus.” The octaves divide into harmony by measure 3 and lead to a half cadence in measure 4. Measures 5-12 twice provide two repetitions of the phrase’s answer, first ending in a deceptive cadence in measure 8 and then concluded with an authentic cadence in measure 12. Each repetition of the answers contains the second half of the first phrase of text, “et super coelos gloria ejus.”
Measures 13 to the downbeat of measure 27, which is labeled P2 in Table 5b presents an analytical dilemma, partly due to the flexible nature of sonata-allegro form previously described by Rosen. The dilemma is whether these measures should be considered a second theme group of the primary material or as part of the transition to the secondary theme. Strong cases can be made for both arguments. Labeling these measures as P2 gives greater consideration to the importance of the text. While providing formal balance to the first half of the primary theme of the exposition (P1), measures 13-27 also serves an important textual function. Here, Winter introduces the remainder of the text in a straightforward, syllabic manner. These measures are a series of three four-measure groupings of the same thematic material, each of which contain a phrase of the remainder of text (“quis sicut Dominus Deus noster;” “qui in altis habitat;” “et humilia respicit in coelo et in terra”). Although this section maintains the opening key of the offertory, C Major, the tonality tinkers with the dominant key, G Major. The final measure of each of the four-bar phrases cadences in G Major; however, this chord quickly assumes a
81 dominant function, as the first measure for the next four-bar phrase re-establishes C Major.
Despite the fleeting appearance of the secondary dominant, it remains rooted in C Major, which is another arguments to support the labeling of these measures are a second portion of primary thematic material (P2).
The snapshots of G Major that appear in measures 13-27 also argue for its transitional function. In addition, analysis of the entire offertory reveals that the musical material contained in measures 13-27 does not re-appear in the recapitulation. However, it should be noted that this is an instance where the presence of text requires a modification of the standard sonata-allegro mold. It makes more sense, from a textual standpoint, that the first presentation of the psalm text in its entirety be presented strongly in the primary theme of the exposition, rather than during the harmonically shakier modulatory transition. In addition, as Rosen indicates, the exposition starts with “a theme or groups of themes in the tonic.”86 An obvious arrival of the dominant pedal does not arrive until measure 27 and a repeat of text, “qui in altis habitat, et humilia respicit in coelo et in terra.” The constancy of this pedal through measure 33 provides a true feeling of transition and creates much anticipation of the dominant key of G Major, which is firmly established in measure 34. In short, arguments can be made for the classification of the section containing measures 13-27 as both P2 or transitional. In this case, the text is the ultimate guide for determining the analytical structure for this section outlined in Table 5b, and has, therefore, been labeled P2.
The arrival of the secondary theme (S) begins in measure 34 with the text, “et humilia respicit in coelo et in terra.” This is an example of form taking precedence over text. This
86 Rosen, Charles. The Classical Style. New York: WW Norton, 1972, 30.
82 opening portion of the secondary material consists of two phrases of the same thematic material, each of which ends with an authentic cadence. (The repeat of this phrase in measures 38-42 is slightly modified and extended one measure due to the addition of a “C#” full diminished seventh chord in measure 40 leading to the cadential 6/4-5/3 of G Major in the following measure.) Measure 42, still firmly in the key of G Major, contains the strong arrival of the second portion of the thematic material that was foreshadowed in the transitional section of measure 27-34, and begins an imitative section that repeats the text, “Qui in altis habitat et humilia respicit in coelo et in terra” and continues through the fermatas in measures 49 and 50.
The chords of these fermatas borrow the word, “Quis” from the beginning of this phrase of text.
This is yet another example of the liberties in which Classical composers took with the text in order to accommodate the form of the music. An extended variation of the transitional section of measures 27-34 is presented again beginning in measure 51 over dominant pedal in the key of G
Major and continues to measure 62. This transition leads to a repetition of the second half of the secondary theme in measure 62 which is extended to a cadence in G Major in measure 76. The orchestra provides a four measure cadential extension to finish the exposition in measure 79.
The development begins with the a unison presentation of the primary theme and initial first phrase of text, “Excelsus super omnes gentes Dominus,” similar to that found in the opening measures of the exposition. Its function, however, is to quickly modulate back to the original key of C Major. The development continues with a variation of the P2 answer phrase.
Interestingly, the choir is of secondary melodic interest to the violins. The function of the voices here is to present the text, rather than perform elaborate melodies. Alternative keys are explored through this process, including A Minor, F Major, and D Minor. Winter navigates back to C
83 Major for the recapitulation via sequence of fourths leading to a cadence in A Minor in measure
102. This A Minor cadence quickly becomes the sixth scale degree of C Major, thus providing a seamless transition to the recapitulation.
The recapitulation begins in measure 102 with the same 4+4+4 structure and text that appeared in the beginning of the exposition (P1). This time, however, the cadences that conclude the phrases of the answers are altered. Instead of a deceptive cadence after the first answer,
Winter concludes this phrase in the recapitulation with an authentic cadence. This is in order to accommodate the modification of the key centers found of the recapitulation. The repeat of “et super coelos gloria ejus” cadences on G Major via a V6/5 of V chord. This facilitates the tonality of the following transition to the secondary theme beginning measure 113(T). The earlier transitional material first heard over a dominant pedal in D Major is now performed over a dominant pedal in C Major and continues to the first half of the secondary theme (S1) in measure
120 now heard in C Major. After a complete presentation of the secondary material in the tonic key, a coda begins with in measure 136 with the same transitional material heard in measures
27-33 and 113-119. This leads to a repeat of the S2 beginning in measure 145 in C Major. The final measures of the phrase are extended to the final cadence in C Major followed by a short extension from measures 160-162.
Although Winter rearranges the textual structure of Excelsus Super Omnes Gentes through various instances of repetition to best adhere to sonata-allegro form, the framework of the words is not ignored. For example, the text is presented in its entirety in both the exposition and recapitulation, thus providing clear seams between musical sections and a balanced formal structure. He also utilizes a number of compositional techniques in order to convey the text,
84 some of which were discussed earlier in the chapter. For example, the opening theme of the offertory is presented in fortissimo octaves scored for full chorus and orchestra, providing a very strong opening for the text which translates, “The Lord is high above all nations.” In addition, this phrase ends with a half cadence, thus reflecting the fact that the text is in mid-sentence by the end of this four-measure phrase. Winter also utilizes dynamics to convey the text, such as the pianissimo given in measure 33 beat four through measure 41 while the chorus sings of the lowly ones in heaven and earth.
Ex. 5h SATB, Excelsus Super Omnes Gentes, measures 33-37
The sequential climb that occurs in measure 149-153 uses tone painting to convey the text, “qui in altis habitat,” or, “he that dwelleth on high.”
85 Ex. 5i SATB, Excelsus Super Omnes Gentes, measures 147-153
A number of instances occur in Excelsus Super Omnes Gentes where the text takes a secondary function to the form. For example, Winter shows very little musical distinction of textual meanings from measures 13-27. The four-measure phrase containing the text,“Quis sicut
Dominus Deus noster” is repeated in measures 17-20 for the text “qui in altis habitat.” “Et humilia respicit in coelo et in terra,” which begins in measure 20 continues with this identical music idea, however, is extended two measures in order to facilitate the cadence in measure 27.
The functional nature of the offertory may have also influenced such a text decision, as this is a section where Winter is seemingly simply “rolling out” the text clearly and in its entirety for the sake of the church service.
Non Mortui Laudabunt Te
Like Excelsus Super Omnes Gentes, the text of Non Mortui Laudabunt Te is brief, thus allowing Winter a certain amount of freedom for the employment of repetition.
Non mortui laudabunt te Domine neque omnes qui descendunt in infernum. The dead shall not praise thee, O Lord: nor any of them that go down to hell.
86 Sed nos qui vivimus benedicimus Domino ex hoc nunc et usque in saeculum. But we that live bless the Lord: from this time now and forever.
A change in time signature and tempo clearly divides the the musical structure of Non Mortui
Laudabunt Te into two large sections, A and B. Overall, the work does not adhere to the Rosen’s definition of sonata-allegro form as closely as Excelsus Super Omnes Gentes. Winter nevertheless achieves a balanced form by nodding to this form, as well as using the text as a formal guide. The A section, measures 1-55, contains the text in its entirety, as well as the initial presentation of the work’s main thematic material. The B section, the pickup to measure 57 to the end, and is comprised of two subsections, each of which contains the text, “Sed nos qui vivimus benedicimus Domino ex hoc nunc et usque in saeculum.”
87 Table 5c Structural Analysis Non Mortui Laudabunt Te
Section Key Area
Section A (meas. 1-55) Principle Theme Group (meas. 34) Meas. 1-4, P1 E-flat M Introductory Meas. 5-12, P1 (2x’s) E-flat M Non mortui laudabunt te Domine Meas. 12-18, P2 (2x’s) E-flat M neque omnes qui descendunt in infernum
Transition (meas. 18-23) E-flat M to B- Sed nos qui vivimus benedicimus te flat M
Secondary Theme Group Meas. 24-27, S B-flat M benedicimus Meas. 28-32, S B-flat M ex hoc nunc et usque in saeculum Meas. 32-34, S B-flat M Extension
Principle Theme Group (Developmental) B-flat M to g Meas, 35-47, P1 m to E-flat M Non mortui laudabunt te Domine E-flat M Secondary Theme Group (Recapitulatory) Meas. 47-55, P2 neque omnes qui descendunt in infernum
88 Table 5c (cont.)
Section Key Area
Section B (meas. 56-130)
Subsection A (meas. 56-82) Meas. 56-63, SubA1 (P1 variant) E-flat M Sed nos qui vivimus benedicimus Domino Meas. 63-67, SubA1 (second half) E-flat M benedicimus Domino Meas. 67-71, SubA1 (second half) E-flat M benedicimus Domino Meas, 71-75, SubA2 (S variant) E-flat M benedicimus Meas. 76-82, SubA1 E-flat M ex hoc, nunc, et usque in saeculum
Subsection B (meas. 82-130) Meas. 82-83 E-flat M Introductory Meas. 84-92, SubB1 (P1 variant 2x’s) E-flat M Sed nos qui vivimus, benedicimus Domino Meas. 92-100, SubB2 (P1 variant) E-flat M Ex hoc, nunc, et usque in saeculum Meas. 100-108, SubB2 E-flat M Ex hoc, nunc, et usque in saeculum Meas. 108-114, SubB3 E-flat M in saeculum ex hoc, nunc, et usque Meas, 114-124, SubB3 E-flat M in saeculum ex hoc, nunc, et usque in saeculum. Meas, 124-130 E-flat M Extension
89 As Table 5c illustrates, the A section contains elements of sonata-allegro form presented in a very compact manner. Measures 1-55 includes features of an exposition. The A section opens with thematic material (P1) repeated three times to create a 4+4+4 measure grouping. The initial theme is presented first in the short 4-measure orchestral introduction and is then repeated by the alto soloist and again by the soprano soloist. Although measure 12 cadences in Bflat major, the key of Eflat major is re-established in measure 13 by entrance of the second set of primary material (P2), set to the text, “neque omnes qui descendunt in infernum.” This section of text is divided into a 4+4 bar grouping. The second half of this phrase, which begins with the pickup to measure 20 and sets to the text, “Sed nos qui vivimus benedicimus te,” doubles as a transition to the brief second theme in Bflat Major found on the text “benedicimus.” This brief thematic material is quickly swept up by the second half of the phrase beginning at the pickup to measure 28 and the containing text “Ex hoc nunc et usque in saeculum” and is driven to a strong cadence in Bflat major in measure 32. This is followed by a brief orchestral conclusion to this subsection in measures 32-34.
Measures 35-47 contain a brief development of the P1 theme in an imitative and sequential pattern that gradually modulates back to Eflat major in measure 47. Upon arrival at measure 47, Winter quickly concludes the A section by recapitulating only the P2 melodic material first heard in measure 13 to the text “neque omnes qui descendunt in infernum,” thus abandoning the traditional sonata-allegro form. This leads to a half cadence to conclude the first section of the offertory in measure 55, which adds anticipation for the beginning of the B section.
The half cadence that ends the first section resolves to Eflat major in the beginning of the
B section. The first subsection, labeled “Subsection A” in Table 5c begins imitatively with the
90 text, “Sed nos qui vivimus benedicimus Domino.” The melodic material assumed by the imitative voices and instruments can be considered a loose variation of the P1 material that opened the offertory. Both melodies begin with the interval of an ascending perfect fourth from the dominant to tonic scale degrees. This leads to an ascent to the fourth degree of the scale to the middle of the phrase before a descent and settling on the tonic.
Ex. 5j Non Mortui Laudabunt Te, measures 4-8
Ex. 5k Non Mortui Laudabunt Te, measures 57-62
From measure 64 through 75, Winter takes liberties with the text by twice setting “benedicimus domino” followed by a similar repetition of the text, “benedicimus” utilizing the rhythmic pattern reminiscent of the presentation of the passage heard previously in measures 24-27 (S).
91 Ex. 5l Non Mortui Laudabunt Te, measures 24-27
Ex. 5m Non Mortui Laudabunt Te, measures 72-75
92 The quarter note pickup to measure 76 rounds out and concludes Subsection A by re-establishing the opening imitative theme, first heard beginning in measure beat 4 of measure 56, setting the final phrase of text, “ex hoc nunc et usque in saeculum.”
Subsection B begins in measure 82 with the introduction of a new musical character through the use of short eighth note arpeggios in the violins against churning repetitive eighth notes, also outlining the harmony, in the continuo.
Ex. 5n Non Mortui Laudabunt Te, measures 82-91
The text also begins again with “Sed nos qui vivimus” in the soprano and alto voices answered imitatively by the tenors and basses singing, “benedicimus Domino.” This “call and answer” sequence occurs twice, and leads to a stunning 8-measure phrase comprised of a series of suspensions and resolutions beginning with the alto voice’s pickup to measure 92. The section beginning in measure 92 sets the text, “ex hoc nunc et usque in saeculum” which translates,
“from this time now and forever.” This is a section where Winter’s musical expression of the
93 offertory’s text truly shines. In addition to the sheer beauty of the series of suspensions and resolutions, the undulating tonic pedal in the continuo and horns provides a robust and ever- present foundation for this section emphasizing the “now and forever” aspect of the text translation. In addition, the imitation and long note values are reminiscent of Renaissance counterpoint, which further emphasizes the timeless character of the text’s meaning.
94 Ex. 5o Non Mortui Laudabunt Te, measures 90-95
95 Winter follows this eight measure phrase with another eight measures of suspension and resolution, this time employing the oboes and bassoons, rather than the flutes. The voices are also placed in a higher tessitura, thus further emphasizing the text and providing a significant amount of anticipation for the Eflat major cadence and conclusion of the phrase in measure 108.
Winter re-introduces the soprano and tenor soloists with melismatic, descending triplets to the text, “saeculum.” The choir rejoins the soloists at the text, “nunc et usque in saeculum.”
In keeping with the meaning of the word, “saeculum,” which means “forever,” a series of repetitions designed to delay the final cadence ensues. Winter repeats this phrase of soprano and tenor soloist material, followed by the choral entrance. Winter then repeats the text, “in saeculum” three times before finally cadencing in Eflat major in measure 124. The orchestra provides a 7 measure conclusion leading to the final Eflat major cadence in measure 130.
As in Excelsus Super Omnes Gentes, Winter considers the musical need to adhere to a balanced formal structure in Non Mortui Laudabunt Te. Nevertheless, Winter infuses the offertory with elements of musical expression for the sake of conveying the meaning of the text.
In addition to the examples already discussed, the thematic material provided in the A section’s measures 12-18 (example 5b) for the text, “neque omnes qui descendunt in infernum” is a two part sequence that descends by step, which is appropriate for describing those that “go down to hell.” Winter also places special emphasis on the word, “benedicimus,” or “bless,” through its musical repetition. In other instances, however, the text assumes a secondary role to the musical function. This is the case in measures 35-47, where the purpose of this section is clearly to modulate back to the tonic key.
96 Conclusion
The offertory during Winter’s time was a genre that posed challenges for composers due to the limitations imposed upon them by the structure of the Catholic Mass. Unlike Winter’s operas and symphonies, they were not an outlet for unbridled musical expression. The restrictions imposed upon composers of these works by the church necessitated that they be brief and clearly state the text. In addition, the conservative tradition of church music often resulted in works that were not necessarily revolutionary in style or technique. As Excelsus Super Omnes
Gentes and Non Mortui Laudabunt Te each illustrate, however, these limitations by no means prevented musical expression. Composers, such as Winter, simply found strategies to express the text with greater efficiency. Although they are brief, the offertories are composed in a thoughtful manner with great consideration given to text, formal elements, voicing, and instrumentation. He drew upon Classical forms, such as sonata-allegro, however, he did so in a fluid manner so as not to sacrifice elements of the text. This fact indicates an understanding of the text, as well as a desire to convey its meaning. The offertories of Peter von Winter are part of the repertoire of Catholic church music that is often neglected, due to the impact and effects of
Josephinism. Just as much of Michael Haydn’s legacy lies with his collection of Graduale, Peter von Winter’s offertories are thoughtfully crafted examples of practical sacred choral music of the late Classical era.
97 CHAPTER 6
PERFORMANCE PRACTICE ISSUES
Vocal Technique
Considered an expert in the technique of bel canto singing, Peter von Winter studied this vocal skill extensively with Antonio Salieri and outlined his vocal methods in a treatise entitled
Vollständige Singschule. It is very likely that Peter von Winter expected the singers in his choirs and his soloists to employ this technique. Bel canto, Italian for “beautiful singing,” “a style whose flowing cantabiles he [Winter] mastered to perfection”87 refers to the Italian vocal technique carried over from the Baroque era. The art of bel canto is one that “evolved from generation to generation.”88 For this reason, in addition to information Winter includes in his vocal treatise, Vollständige Singschule, this portion of the chapter will heavily rely on treatises and accounts from the Classical period, such as those by Domenico Corri, Gaimbattista
Mancini89, Johann Hiller, and Charles Burney. In addition, Baroque scholars on the subject, such as Pier Francesco Tosi, will be referenced when relevant and applicable.
The following aspects of bel canto technique were of utmost importance: tone quality, flexibility, the ability to use various graces of singing, and the portamento di voce90.
87 Abert, Anna Amalie and Paul Corneilson, “Winter [von Winter], Peter,” Grove Music Online ed. L. Macy. (Accessed: 20/June/2008), http://www.grovemusic.com.
88 Brown, Howard Mayer & Stanley Sadie. Performance Practice: Music After 1600. Macmillan: London, 1989, 213.
89 In An Eighteenth Century Musical Tour, Charles Burney states on page 115, “Signor Mancini speaks with much intelligence of his art, and I was greatly pleased with his conversation. He has for some time been writing a book upon the art of singing, which is in great forwardness; and it is hoped that a person of such consummate knowledge, and long experience, will not keep from the world a work so much wanted, as a well-written, profound, and, at the same time, practical treatise on the art of singing.”
90 Portamento di Voce translates “carriage of the voice” and will be discussed later in the chapter.
98 Tone Quality
The attainment of a beautiful tone quality, as described in the following passage by
Daniel Gottieb Türk, was the goal of all bel canto singers and instrumentalists:
A beautiful tone must be clear, full, supple, bright, and above all, agreeable; It follows that it should not be harsh at even the highest degree of loudness or unclear at a pianissimo. But since it is the purpose of music to express feelings of various types, then to these qualities of a beautiful tone must be added the expression of the music’s character.91
In singing, the ideal bel canto tone quality has been frequently described as “sweet.” Upon attending a 1772 concert in Munich, Charles Burney described the singer, Signor Rauzzini as possessing, “... a sweet and extensive voice, a rapid brilliancy of execution, great expression, and an exquisite and judicious taste.”92
Scholars describe a clear distinction between registers in bel canto singing. “The voice in its natural state is ordinarily divided into two registers, one of which is called the chest, the other the head or falsetto.”93 A lighter tone is utilized in the higher registers, and “the chest is used for raw colouring low down, and carried as high as possible into the head voice, with the registers fully contrasted though smoothly joined.”94 Tosi states:
A diligent master, knowing that a Soprano without the Falsetto, is constrained to sing within the narrow Compass of a few Notes, ought not only to endeavour to help him to it, but also to leave no Means untried, so to unite the feigned
91 Haggh, Raymond H., Translated. School of Clavier Playing by Daniel Gottlieb Türk. Lincoln: University of Nebraska Press, 1982, 354.
92 Burney, Charles. from The Present State of Music in Germany, the Netherlands and the United Provinces. Quoted in MacClintock, Carol. Reading in the History of Music in Performance. USA: Indiana University Press, 1979. 369.
93 Mancini, Giovanni Battista. Practical Reflections on figured Singing. Vienna: 1774, 20.
94 Donington, Robert. Baroque Music Style and Performance: A Handbook. New York: WW Norton & Co., 1982, 168.
99 and the natural Voice, that they may not be distinguished; for if they do not perfectly unite, the Voice will be of divers Registers, and must consequently lose its Beauty.95
The ability to blend registers is very important. “By uniting both registers, the voice can be expanded to cover a considerable range.”96 Quantz adds, “[the singer] must know how to moderate the tone quality of his voice from the low register to the high and, in so doing, how to distinguish between the theatre and the chamber, and between a strong a weak accompaniment, so that the singing of the high notes does not degenerate into screaming.”97 He also adds:
The chief requirements of a good singer are that he have a good, clear, and pure voice, of uniform quality from top to bottom, a voice which has none of those major defects originating from the nose and throat, and which is neither hoarse nor muffled.... In addition, the singer must know how to join the falsetto to the chest voice in such a way that one does not perceive where the latter ends and the former begins.98
The evenness of registers is most important in creating the “sweet tone” of bel canto singing.
Flexibility
Tho’ Divisions have not Power sufficient to touch the Soul, but the most they can do is to raise our Admiration of the Singer for the happy Flexibility of his Voice; it is, however, of very great Moment, that the Master instruct the Scholar in them, that he may be Master of them with with an easy Velocity and true Intonation; for when they are well executed in their proper Place, they deserve Applause, and make a Singer more universal; that is to say, capable to
95 Galliard, Translated. Observations on the Florid Song by Pier Tosi. London: Minkoff, 1978, 23.
96 Beicken, Suzanne J., Edited. Treatise on Vocal Performance and Ornamentation by Johann Adam Hiller. Cambridge: Cambridge Univ. Press, 2001, 54
97 Reilly, Edward R. On Playing the Flute by Johann Joachim Quantz. New York: Schirmer, 1985, 301.
98 Reilly, Edward R. On Playing the Flute by Johann Joachim Quantz. New York: Schirmer, 1985, 300.
100 sing in any Stile.99
“Divisions” refer to the transformation of long notes in the melody into a larger number of shorter notes, or what is known today as coloratura singing. The following excerpt from
Winter’s Vollständige Singschule is taken from the third section, Exercise #44.
Ex. 6a
In order to successfully execute such rapid, floral passagework, the voice must be agile and flexible. Inclusion of this and similar exercises in his treatise suggests the importance Winter placed on vocal flexibility. Of the dramatic soprano, Faustina, Charles Burney comments:
...her execution was articulate and brilliant. She had a fluent tongue for pronouncing words rapidly and distinctly, and a flexible throat for divisions, with so beautiful and quick a shake, that she could put it in motion upon short notice, just when she would. The passages might be smooth, or by leaps, or consist of iterations of the same tone, their execution was equally easy to her, as to any instrument whatever.100
99 Galliard, Translated. Observations on the Florid Song by Pier Tosi. London: Minkoff, 1978, 51.
100 Burney, Charles. Present State of Music in Germany. London: 1773, 189.
101 Mancini states of this “unusual gift of nature,” that “the agility of the voice cannot be perfect if it is not natural; and if it is not perfect, instead of bringing pleasure and delight to the listener, it will bring annoyance and boredom.”101
Related to tone, Quantz states, “[the singer] must produce the passage-work roundly, neither attacking it too harshly nor slurring it in a lame and lazy manner.”102 Technically, in order to execute such rapid passage-work, Jean-Phillippe Rameau adds, “The larynx, the windpipe, and the glottis are not at our disposal, we cannot see their different positions, transformations, to each sound we wish to give; but we do at least know that they must not be constricted in these differences, that they must be left at liberty to follow their natural movement...”103 Additional factors that contribute to a flexible tone include breath support and a free head voice. Rameau emphasizes the connection between proper breath support and vocal flexibility.
Immediately the breath is given with more force than the sound demands, the glottis closes, as when the reed of an oboe is pressed too much; if this excess of force is further given too precipitately, it stiffens the walls of the glottis, and robs it of all its flexibility.”104
According to Marin Marsenne, “A singer [who uses his chest voice to perform runs] is hardly able to perform them as rapidly as one who [uses his head voice].”105 Winter includes thirty-five exercises in Vollständige Singschule designed to develop “Reinheit und Leichtigkeit,”106 or
101 Mancini, Giovanni Battista. Practical Reflections on figured Singing. Vienna: 1774, 58.
102 Reilly, Edward R. On Playing the Flute by Johann Joachim Quantz. New York: Schirmer, 1985, 301.
103 Quoted and translated in Donington Interpretation, 519.
104 Quoted and translated in Donington Interpretation, 519.
105 Quoted and translated in Donington Interpretation, 518.
106 Winter, Peter von. Vollständige Singschule. Munich: 1825, 59.
102 “purity and lightness,” in the voice’s tone. A flexible tone adds to the sweet and elegant performance to which the bel canto singer would strive.
Graces of Singing
The graces of singing, which are those ornaments without which every song remains weak and tasteless are: the appoggiatura, the messa di voce, the trill and the mordent.107
The three graces that appear in the three pieces by Winter are the appoggiatura, the messa di voce, and the trill. The appoggiatura and trill will be discussed later in the chapter.
The messa di voce, which translates, “placing of the voice,” is the term given to the gradual dynamic increase to forte followed by a decrescendo back to piano. It is the technique whereupon the singer “holds upon a long note... in an agreeable manner.”108
It is certain that the messa di voce lends great excellence to singing, as it renders it more pleasing to the ear, and if it be executed with perfection, and with the union of a trill, is enough to make a cadenza perfect, and I dare say also make a singer perfect in the sense that it enables him to sustain and graduate without any defect, and with facility his own voice, then he can hope to have come into possession of the secret no less than the art.109
Referred to by Domenico Corri as, “the soul of music,” the messa di voce was a technique commonly used in bel canto singing.
There are differing opinions as to when the messa di voce should be applied, depending on the time period. Castrato Pier Tosi wrote in the Baroque era, “A beautiful Messa di Voce, from a Singer that uses it sparingly, and only on the open Vowels, can never fail of having an
107 Mancini, Giovanni Battista. Practical Reflections on figured Singing. Vienna: 1774, 44.
108 Reilly, Edward R. On Playing the Flute by Johann Joachim Quantz. New York: Schirmer, 1985, 300.
109 Mancini, Giovanni Battista. Practical Reflections on figured Singing. Vienna: 1774, 44.
103 exquisite Effect.”110 Giovanni Battista Mancini stated in his Classical era treatise, “Ordinarily this messa di voce should be used at the beginning of an aria, and on notes with hold signs; similarly it is necessary at the beginning of a cadenza: but a true and worthy professor will use it on every long note...”111 In his treatise of 1847, Manuel Garcia II, a singer linked to the bel canto tradition of Porpora, explains, “One should fit them [messa di voce and other phrasing techniques] by their harmony, their character, and their performance, to the harmony and the character of the piece, as well as to the meaning of the words.”112 Regardless of artistic opinion, the importance of the messa di voce in bel canto singing is evidenced by the extent to which this technique is addressed in various treatises. In their writings, experts such as Corri and Mancini, include extensive vocal exercises and pedagogical instruction intended to help singers and vocal teachers learn how to execute the messa di voce.
Portamento di Voce
The Portamento di Voce has been described by many Classical vocal experts as an
“essential feature”113 in bel canto singing. Hiller states that the technique:
... lies in the fact that while progressing from one tone to the next without a gap or break, no unpleasant slur or pull through smaller intervals should be detected. In the first case one says: the singer pushes; in the latter, he howls. In the first case the fault lies in the fact that the singer attacks the tones too strongly and also pushes them forward as his chest is too weak to sustain the tones evenly; in the second case semitones can be heard which do not have harmonic
110 Galliard, Translated. Observations on the Florid Song by Pier Tosi. London: Minkoff, 1978, 27-28.
111 Mancini, Giovanni Battista. Practical Reflections on figured Singing. Vienna: 1774, 44.
112 Garcia, Manuel. A Complete Treatise on the Art of Singing: Pt. II. 1847, 1872, 193.
113 Beicken, Suzanne J., Edited. Treatise on Vocal Performance and Ornamentation by Johann Adam Hiller. Cambridge: Cambridge Univ. Press, 2001, 56.
104 relationship to either one of the other tones.114
According to Mancini, the portamento of the voice is defined as, “a passing, tying the voice, from one note to the next with perfect proportion and union, as much in ascending as descending.”115 Corri explains, “it consists in the swell of the voice, the sliding and blending of one note into another with delicacy and expression...” Corri adds, “the Portamento di voce may justly be compared to the highest degree of refinement in elegant pronunciation in speaking.”116
According to Quantz, the singer “must know how to produce the the portamento (portamento di voce).”117 The portamento di voce refers to the legato technique to which modern day singers aspire.
In order to achieve a portamento di voce, Peter von Winter suggests the singer practice using the syllable [a]. The singer may use text only when the notes are connected. Part II of
Vollständige Singschule includes sixteen vocal exercises devoted to the development of portamento di voce. Additional exercises in the treatise, such as the following example found on page 130, indicate con portamento, which is further evidence that Winter intended his singers to use this technique.
114 Beicken, Suzanne J., Edited. Treatise on Vocal Performance and Ornamentation by Johann Adam Hiller. Cambridge: Cambridge Univ. Press, 2001, 56.
115 Mancini, Giovanni Battista. Practical Reflections on figured Singing. Vienna: 1774, 40.
116 Corri, Domenico. The Singer’s Preceptor. London: 1810/R 1968 in E. Foremann, ed., The Porpora Tradition, 3-4.
117 Reilly, Edward R. On Playing the Flute by Johann Joachim Quantz. New York: Schirmer, 1985, 300.
105 Ex. 6b
Peter von Winter’s Works and Bel Canto
Upon studying Excelsus Super Omnes Gentes and Non Mortui Laudabund Te, one can see where the application of bel canto technique would be necessary. Soloists, especially, could very well have been expected to adhere to the technical aspects of bel canto technique, as these passages were often times more rhythmically difficult and expansive in range. The following passage in Non Mortui Laudabunt Te is given to a soprano and tenor soloists.
106 Ex. 6c Soprano & Tenor, Non Mortui Laudabunt Te, measures 113-117
Measures 30 and 31 of Non Mortui Laudabunt Te contain another example of rapid passage work for soprano and tenor soloists.
107 Ex. 6d Soprano & Tenor, Non Mortui Laudabunt Te, measures 30-31
In order to execute these phrases, a singer would need to have vocal flexibility, a clear and supported tone, a relaxed throat, and a clean portamento di voce.
Winter adds a number of “essential graces” to the solo and choral passages, which would also require refined bel canto technique.
Ex. 6e Alto, Non Mortui Laudabunt Te, measure 4-8
Measures 92-98 and 98-104 are sections where the messa di voce could have been appropriately employed. Singers would crescendo to the dissonance, and the decrescendo from the resolution.
108 Ex. 6f SATB, Non Mortui Laudabunt Te, measures 91-97
Ex. 6g SATB, Non Mortui Laudabunt Te, measures 99-106
Winter also includes the appoggiatura and trill in both Non Mortui Laudabunt Te and Excelsus
Super Omnes Gentes. The large number of instances in which these “essential grace” is further evidence that Winter most likely had singers at his disposal that were able to execute these ornaments with ease. Further discussion of the appoggiatura and trill is found later in this chapter under during the section entitled, Ornaments.
Vibrato
Early use and and meaning of the term, “vibrato,” are not necessarily consistent with its present day meaning and application. In the eighteenth century, vibrato was interchangeable
109 with a number of different terms. According to Robin Stowell, “vibrato” is often times referred to as tremolo, ondulazione, tremolio, Bebung, Schwebung, tremblement serré, balancement, ondulation, flatté, and close shake.118 Leopold Mozart describes the tremolo as “an ornamentation which arises from Nature herself and which can be used charmingly on a long note, not only by good instrumentalists but also by clever singers.”119 Although some eighteenth century musicians, such as Geminiani, recommended a vibrato, to which he calls a “close shake,” be used “as often as possible,”120 most eighteenth century treatises on both instrumental and vocal music considered vibrato an ornament to be used sparingly. This portion of the chapter will explore the use of instrumental and vocal vibrato as it may have been performed during
Winter’s time.
A number of early treatises warn against the overuse of vibrato. One reason is its effects on intonation. In his Early Music article, “The Compleat Orchestral Musician,” Neil Zaslaw quotes Robert Bremner (d. 1789), ironically a student of Geminiani, and the author of an unfinished treatise on the eighteenth century performance practice. Zaslaw states that “It appears to be unquestioned by many present-day performers of 18th century music that one may use continuous or frequent vibrato.”121 Zaslaw states that Bremner “dethrones vibrato” and its use during the eighteenth century because of its effects on tuning, as “in varying the pitch, it
118 Stowell, Robin. Violin Technique and Performance Practice in the Late 18th and Early 19th Century. Cambridge: Cambridge University Press, 1985, 203.
119 Knocker, Editha. A Treatise on the Fundamental Principles of Violin Playing by Leopold Mozart. New York: Oxford Univ. Press, 1967, 203.
120 Geminiani, Francesco. An Abstract of Geminiani’s Art of Playing on the Violin. Boston: Boyles, 1769, 9.
121 Zaslaw, Neal. “The Compleat Orchestral Musician.” Early Music 7/1 (1979), 46.
110 destroyed the timbre of a musical ensemble by causing beating (wave interference between two almost identical pitches sounding together).”122 Bremner adds:
Many gentlemen players on bow instruments are so exceeding fond of the tremolo, that they apply it wherever they possibly can. This grace has a resemblance to that wavering found given by two of the unisons of an organ, a little out of tune; or to the voice of one who is paralytic; a song from whom would be one continued tremolo from beginning to end. Though the application of it may, for the sake of variety, be admitted, at times, on a long note in simple melody; yet, if it be introduced into harmony, where the beauty and energy of performance depend upon the united effect of all the parts being exactly in tune with each other, it becomes harmful. The proper stop is a fixed point, from which the least deviation is erroneous: consequently the tremolo, which is a departure from that point, will not only confuse the harmony to the hearers who are near the band, but also enfeeble it to those at a distance; for to these last, the performance of him who is applying tremolo is lost.123
In his Treatise on the Fundamental Principles of Violin Playing (1756), Mozart, also using the term, tremolo, to indicate vibrato, encourages players to use this technique sparingly, due to the pitch variations it can create.
Now because the tremolo is not purely on one note but sounds undulating, so would it be an error if every note were played with the tremolo. Performers there are who tremble consistently on each note as if they had the palsy. The tremolo must only be used in places where nature herself would produce it; namely as if the note taken were the striking of an open string. For the close of of pieces, or even at the end of a passage which closes with a long note, that last note would inevitably, if struck for instance on a pianoforte, continue to hum for a considerable tine afterwards. Therefore a closing note or any other sustained note may be decorated with a tremolo [tremoleto].124
122 Quoted from Zaslaw, Neal. “The Compleat Orchestral Musician.” Early Music 7/1 (1979), 46.
123 Quoted from Zaslaw, Neal. “The Compleat Orchestral Musician.” Early Music 7/1 (1979), 48.
124 Knocker, Editha. A Treatise on the Fundamental Principles of Violin Playing by Leopold Mozart. New York: Oxford Univ. Press, 1967, 203-204.
111 In Classical and Romantic Performing Practice 1750-1900, Clive Brown discusses observations made by Classical cellist, Bernhard Romberg, of vibrato he witnessed in his experience. Romberg attests to a change in trend regarding vibrato. Brown states that Romberg,
...referred retrospectively to an earlier period (probably the 1780s and 1790s, when his career began) as one in which cellists employed left-hand vibrato very frequently, but identified himself with a younger generation that rejected this approach. He observed: “Formerly the close shake was in such repute that it was applied indiscriminately to every note of whatever duration. This produced a most disagreeable and whining effect and we cannot be too thankful that an improved taste has at length exploded the abuse of this embellishment125
Louis Spohr states, “the deviation from the perfect intonation of the note, should hardly be perceptible to the ear... Avoid however its frequent use, or in improper places.”126 An ample amount of evidence supports the argument that vibrato was used in moderation by singers during the eighteenth and nineteenth centuries.
The employment of continuous vibrato was a trend of the Romantic era, although “by the mid-18th century vibrato was gradually identified with some of its more positive connections, especially the sweetness of sound quality.127 However, as with instrumentalists, during the
Classical era, evidence suggests that singers used vibrato sparingly. Of the singer Meisner,
Mozart states in a letter to his father that he:
has the bad habit of making his voice tremble at times, turning a note that should be sustained into distinct crotchets,
125 Quoted from Brown, Clive. Classical and Romantic Performance Practice 1750-1900. New York: Oxford Univ.. Press, 1999, 528.
126 Quoted from Donington, The Interpretation of Early Music, 234.
127 Moens-Haenen, G.,“Vibrato” Grove Music Online ed. L. Macy. (Accessed: 20/June/2008), http:// www.grovemusic.com.
112 or even quavers -- and this I never could endure in him. And really it is a detestable habit and one which is quite contrary to nature.”128
Mozart does not condemn vibrato completely, however, as he then states:
The human voice trembles naturally -- but in its own way -- and only to such a degree that the effect is beautiful.... But the moment the proper limit is overstepped, it is no longer beautiful -- because it is contrary to nature.129
Christoph Bernhard, a teacher of choir boys in Dresden, discusses “the maintenance of a steady voice”130 in his treatise, Die Singe-Kunst Oder Manier. Bernhard regards the tremolo as a defect.
“Elderly singers feature the tremolo, but not as an artifice. Rather it creeps in by itself, as they no longer are able to hold their voices steady.”131 While evidence exists that vibrato was indeed employed by singers and instrumentalists during the Classical era, most accounts agree that the technique be used in moderation and as a ornament. In addition, vibrato should be used even more judiciously within the context of an ensemble, for the sake of the intonation. These guidelines should be followed when performing Peter von Winter’s Excelsus Super Omnes and
Non Mortui Laudabunt Te.
Intonation
Pure intonation is probably one of the most eminent characteristics of a good voice, contrasted by the horrid defect of singing out of tune (Distonieren). “There is
128 Anderson, Emily. The Letters of Mozart & His Family. New York: WW Norton and Co, 1985. Letter of 12 June 1778 to Leopold.
129 Anderson, Emily. The Letters of Mozart & His Family. New York: WW Norton and Co, 1985. Letter of 12 June 1778 to Leopold.
130 Walter Hilse, translator “The Treatises of Christoph Bernhard” from The Music Forum, Volume III, William J. Mitchell & Felix Salzer, editors (Columbia, New York & London: Columbia University Press, 1973), 14.
131 Walter Hilse, translator “The Treatises of Christoph Bernhard” from The Music Forum, Volume III, William J. Mitchell & Felix Salzer, editors (Columbia, New York & London: Columbia University Press, 1973), 14.
113 nothing worse,” says Mancini, “than a singer who sings our of tune; it would be better if he were to sing from his throat or from his nose.”132
This statement made by Johann Adam Hiller expresses the importance singers must place on good intonation. Hiller continues:
A person is certainly not gifted for singing if he believes he is producing the correct tone when a note is sung or whistled to him for hours and he always responds to it with another note which often does not have the slightest harmonic relationship to the given tone. If, however, he is able to produce something close to the given pitch, three or four notes of passable purity, then chances are favorable that, with effort and diligence, singing in tune can be attained in time.
In his preface for parents and teachers, violin pedagogue Louis Spohr, states:
The greatest patience and perseverance must be bestowed on the 4th Section, in which the foundation for a perfect intonation should be laid. The teacher will also save himself much trouble hereafter, if, in the pupil’s first attempts, he rigorously insist on perfect purity of intonation.133
Good intonation is a goal to which musicians have aspired for centuries, however, the system by which they have adhered has changed over time. This portion of the chapter will explore intonation and temperament during the time of Peter von Winter and the ways in which they specifically apply to Excelsus Super Omnes Gentes and Non Mortui Laudabunt Te.
132 Beicken, Suzanne J., Edited. Treatise on Vocal Performance and Ornamentation by Johann Adam Hiller. Cambridge: Cambridge Univ. Press, 2001, 51-52.
133 Spohr, Louis. Violinschule (Violin School). London: Gould & Co., 3.
114 In music, the term “temperament” is defined as, “any system of tuning in which the intervals deviate from the acoustically ‘pure’ intervals,”134 or intervals that do not beat.135 In other words, it is tuning a scale in which “some or all of the concords are made slightly impure in order that few or none will be left distastefully so.”136 It is a system “designed to help make the intonation of instruments with immovable pitch (like the organ and harpsichord) convincing.”137
Modern musicians are accustomed to equal temperament, which is how keyboards are tuned today. Equal temperament is defined as, “a tuning of the scale based on a cycle of twelve identical fifths and with the octave divided into twelve equal semitones, and consequently with thirds and sixths tempered, uniformly, much more than fifths and fourths.”138 Musicians were
“won over to equal temperament only gradually during the course of the 18th century.”139
Various systems of tuning can be traced back as early as the 14th and 15th centuries. In
Pythagorean tuning all fifths were tuned pure, with the exception of B to F#. During the
Renaissance, thirds and sixths were introduced as imperfect consonances. Pythagorean tuning left the major third wider than pure. In order for these intervals to be pure, the system of meantone temperament developed, where this was made possible be narrowing the fifths by 1/4
134 Randall, Don Michael. Harvard Concise Dictionary of Music. Massachusetts: Belknap Press, 1978, 503.
135 The Harvard Concise Dictionary of Music defines beat as an acoustical phenomenon resulting from interference of two sound waves of slightly different frequencies. It is heard as minute yet clearly audible intensifications of the sound at regular intervals. The number per second of these intensifications, or beats, is equal to the difference in frequency of the two tones.
136 Lindley, Mark. “Temperament.” Grove Music Online ed. L. Macy. (Accessed: 19/June/2010), http:// www.grovemusic.com.
137 Haynes, Bruce. “Beyond temperament: non-keyboard intonation in the 17th and 18th centuries.” Early Music 19/3 (1991), 357.
138 Lindley, Mark. “Equal Temperament.” Grove Music Online ed. L. Macy. (Accessed: 19/June/2010), http:// www.grovemusic.com.
139 Brown, Howard Mayer & Stanley Sadie. Performance Practice: Music After 1600. Macmillian: London, 1989, 176.
115 of a syntonic comma. Meantone temperament, which was common by the middle of the 15th century, is further defined as:
In its most restricted sense the term refers, like its German equivalent mitteltönige Temperatur, to a tuning with the pure major 3rds (frequency ratio 5:4) divided into two equal whole tones (whereas in just intonation there are two sizes of whole tone corresponding to the rations 9:8 and 10:9); to achieve this the tuner must temper the 5ths and the 4ths, making the 5ths smaller and the 4ths larger than pure by a quarter of the syntonic comma140, hence the label “1/4-comma mean-tone,” a more specific name for the same kind of tuning.141
Gioseffo Zarlino published the first mathematical model of meantone temperament in 1571. Due to the limitations this tuning system placed on the performer,142 a number of variations of meantone temperament developed. “There is a wealth of documentary and musical evidence... that players and organ builders converted for the most part from meantone to some irregular temperament -- that is, with different fifths tempered by different amounts.”143 In these irregular temperaments, the thirds of triads were tempered the least in the diatonic keys and gradually more so in those that were more chromatic. In addition, the fifths of the diatonic keys were tuned “more or less as in some form of meantone temperament, while those among the chromatic
140 A syntonic comma is the ratio of a Pythagorean third to pure third
141 Lindley, Mark. “Mean-Tone.” Grove Music Online ed. L. Macy. (Accessed: 19/June/2010), http:// www.grovemusic.com.
142 With meantone temperament, performers primarily performed in diatonic keys, or “white note” keys. In these keys, the thirds and semitones needed to be tempered the least in order to be pure. The more chromatic the keys, the the more temperament was required.
143 Brown, Howard Mayer & Stanley Sadie. Performance Practice: Music After 1600. Macmillian: London, 1989, 176.
116 notes were larger.”144 Irregular temperaments were favored during the 18th century, as they allowed for the use of more keys.
Bruce Haynes suggests that for non-keyboard instruments, “‘temperament’ is not even possible. Without a fixed tuning, intonation is influenced by technical situations, subjective perceptions, even differences in dynamics. Players of such instruments are incapable (even if they wanted it) of the level of consistency in intonation implied by a temperament.”145 During the Baroque era and into the Classical, the tuning system known as just intonation was common in, and usually preferred by, ensembles such as as strings and a vibrato-less cappella choirs, as they had the ability to adjust their pitch. Just intonation refers to:
the consistent use of harmonic intervals tuned so pure that they do not beat, and of melodic intervals derived from such an arrangement, including more than one size of whole tone. On normal keyboard instruments, however, the term refers to a system of tuning in which sone 5ths (often including D-A or else G-D) are left distastefully smaller than pure in order that the other 5ths and most of the 3rds will not beat (it being impossible for all the concords on a normal keyboard instrument to be tuned pure.146
Intonation problems would inevitably arise when instruments or voices accustomed to just intonation, such as strings and voices, played with fixed pitched instruments tuned to some kind of meantone temperament, such as a keyboard. Players and singers needed to adjust their intonation to match the temperament of the fixed instrument. Therefore a compromise resulted between mean-tone temperament, equal temperament, and just intonation.
144 Brown, Howard Mayer & Stanley Sadie. Performance Practice: Music After 1600. Macmillian: London, 1989, 176.
145 Haynes, Bruce. “Beyond temperament: non-keyboard intonation in the 17th and 18th centuries.” Early Music 19/3 (1991), 358.
146 Lindley, Mark. “Just Intonation.” Grove Music Online ed. L. Macy. (Accessed: 19/June/2010), http:// www.grovemusic.com.
117 Performers during Peter von Winter’s time would have used an irregular, or some form of meantone temperament, where pure thirds are preferred. The amount in which the thirds are tempered depends upon where the key of the piece falls on the diatonic spectrum. Keys that are more diatonic, such as C Major and G Major, are tempered the least. The direction in which the third of the chord is adjusted depends on the quality of the chord. If the chord is major, the third is lowered in order to achieve purity, whereas, if the chord is minor, the third is slightly raised.
An example of the application of these tuning adjustments is found in Excelsus Super
Omnes Gentes. This piece is in the diatonic key of C Major. Therefore, the 3rd of the major triads would have been tempered less than any other major key. Measure 4 contains an example of the way the performers need to tune a major chord. Here, the alto sings an “E” on beat 1, which is the third of the C major chord. The altos would tune this note lower to maintain the purity of the chord. On beat 2, which is the resolution of the 4-3 suspension, the sopranos would do the same, as they are singing “B,” which is the third of the G Major chord. An example of the way an ensemble would tune a minor chord occurs in the previous measure beginning with the soprano line on beat 1. In this case, the sopranos “F” would need to be tuned higher, as they are singing the third of a D minor triad. To tune this chord, one would first tune the perfect fifth that occurs between the tenor and bass. Once this fifth is pure, the soprano “F” can be added. Next, keeping the tenor common tone “A”, the “E” passing tones that occur in octaves between the soprano and bass lines on the upbeat of 2 would need to be carefully tuned. Then, the “F” that occurs on beat 3 in the bass line would need to be tuned higher, as well, since it is the third of a
D minor triad.
118 Ex. 6h Excelsus Super Omnes Gentes, measures 1-4
119 When performing Non Mortui Laudabunt Te, performers would need to make similar adjustments. Figure 6g presents a number of potential intonation hazards. The altos on the upbeat of two in measure 58, who are singing the third of a Bflat major chord, would need to sing their “D” natural low in order to maintain a pure interval with the basses. On the final quarter note of measure 58, the altos again sing the third of a major triad, this time of the Eflat
Major chord, and, would therefore need to tune this pitch low, as well. Complicating this process is the melodic tritone the altos sing from the “D” to the “"A" flat” between measures 57 and 58.
As this portion of the piece is imitative, the sopranos have a similar passage soon thereafter beginning on the upbeat of 2 in measure 59. The sopranos now have the third of the B-flat major chord (now in inversion), ascend a tritone and then resolve down to “G,” the third of the Eflat major chord. In both cases where the soprano has the third of the triad, as the altos did previously, they would need to be tuned low, however, the tritone that occurs between these two chords would necessitate special attention to the process.
120 Ex. 6i Non Mortui Laudabunt Te, measures, 56-63
As was the case during Winter’s time, although the choir would have used just intonation, the keyboard would have been tuned using meantone or modified meantone. Inevitably, tuning conflicts will arise, to which the keyboard player, orchestra, and choir needed to be sensitive and make the appropriate adjustments. In his article, Beyond Temperament, Bruce Haynes outlines a number of possible solutions. Quantz states, “Should, perchance, the violins be tuned higher than the harpsichord, which may easily happen if their fifths are tuned a little high instead of a little low (as care must be taken to do with the keyboard), so that a considerable difference is
121 apparent between the four strings tuned in fifths, then the flautist must necessarily adjust to the violins, since they are heard more than the harpsichord.”147
Ornaments
This portion of the chapter will address two ornaments found in Peter von Winter’s Non
Mortui Laudabunt Te and Excelsus Super Omnes Gentes: the appoggiatura and the trill.
Appoggiatura
Classical composers often indicated ornaments by including additional “small notes,” such as the appoggiatura. Leopold Mozart defines appoggiaturas as “little notes which stand between the ordinary notes but are not reckoned as part of the bar-time.”148 Described by Quantz as “both ornamental and essential,” appoggiaturas introduce and resolve dissonance and prevent a melody from sounding “meagre and plain.”149 CPE Bach states:
They render the melody agreeable, for they form a smooth connection between one note and another; they serve to shorten notes which might otherwise seem too long; at times they assist in satisfying the ear by the repetition of a preceding note -- and it is a matter of common experience in music that judicious repetition is a source of pleasure. They give variety to the harmony, which without Vorschläge150 might seem too plain. All suspensions and dissonances can be traced back to Vorschläge -- and what would harmony be without harmony and dissonance?151
147 Reilly, Edward R. On Playing the Flute by Johann Joachim Quantz. New York: Schirmer, 1985, 197.
148 Knocker, Editha. A Treatise on the Fundamental Principles of Violin Playing by Leopold Mozart. New York: Oxford Univ. Press, 1967, 166.
149 Reilly, Edward R. On Playing the Flute by Johann Joachim Quantz. New York: Schirmer, 1985, 91.
150 Appoggiatura is commonly referred to as Vorschlag, meaning small notes associated with the note they precede.
151 Dannreuther, Edward. Musical Ornamentation. New York: Kalmus; Bach, CPE. Versuch (2) found in Part 2, pg. 8.
122 Türk states, “Unquestionably appoggiaturas are for the most part a product of taste; for this reason general rules concerning them can be established only with the greatest difficulty, because taste, as is well known, at least in matters of secondary importance, is very diverse.”152
He adds, “I know of no ornament which is at present treated in a greater variety of ways, and which requires more rules and limitations than the appoggiatura.”153 Thankfully, the rules to which Türk alludes, as well as examples of their application, are provided in various 18th century treatises by authors including C.P.E. Bach, Quantz, Leopold Mozart, and Türk. Such primary sources can be of infinite help to the modern musician wishing to perform this ornament in accordance with Classical performance practice.
The practice of notating musical ornamentation was in a transitional stage during the
Classic era. In the Baroque era, performers freely employed elaborate and virtuosic embellishments to melodies, such as during the repeated material of a da capo aria.
Unfortunately, as Quantz lamented, “Some persons greatly abuse the use of the extempore embellishments as well as the appoggiatura and the other essential graces” and “they allow hardly a single note to be heard without some addition, wherever the time or their fingers permit it.”154 Türk also warned “against their overladen and indiscriminate use,” stating that “too many ornaments have a very distasteful effect.”155 During the second half of the 18th century,
152 Haggh, Raymond H., Translated. School of Clavier Playing by Daniel Gottlieb Türk. Lincoln: University of Nebraska Press, 1982, 193.
153 Haggh, Raymond H., Translated. School of Clavier Playing by Daniel Gottlieb Türk. Lincoln: University of Nebraska Press, 1982, 193.
154 Reilly, Edward R. On Playing the Flute by Johann Joachim Quantz. New York: Schirmer, 1985, 99.
155 Haggh, Raymond H., Translated. School of Clavier Playing by Daniel Gottlieb Türk. Lincoln: University of Nebraska Press, 1982, 230.
123 composers began to recognize the need for a more specific notation of ornaments, both for the sake of preserving their musical intent, as well as providing a guide for amateur musicians.
Despite this growing trend, many 18th century composers did not adhere to a standard notation. Ornaments “were frequently marked in a very casual manner. Different notations were employed in close proximity for what appears to be envisaged as the same ornament, or the same sign was used with obviously different meanings.”156 For example, Sandra Rosenblum states that a small note in the value of a sixteenth (either written as a sixteenth note or an eighth note with a flag) could, depending on the musical circumstance, represent either a short or long appoggiatura. According to Brown, the attempts made by 18th and 19th century theorists to link notation with a specific function, thus clarifying their intent, failed due to the “haste and negligence of copyists and composers.”157 Examples of this type of inconsistency, which is without a doubt due to scribal haste, are found in both the SVS and MCS. In the following instance, the Soprano and Violin I ornaments are found in measure 11 of the Non Mortui
Laudabunt Te SVS:
Ex. 6j SVS, Soprano, Non Mortui Laudabunt Te, measure 11-12
156 Brown, Clive. Classical and Romantic Performance Practice: 1750-1900. New York: Oxford University Press, 1999, 456.
157 Brown, Clive. Classical and Romantic Performance Practice: 1750-1900. New York: Oxford University Press, 1999, 459.
124 Ex. 6k SVS, Violin I, Non Mortui Laudabunt Te, measure 11-12
Note that the appoggiatura that appears in the violin part is given the rhythm of a sixteenth note, versus the soprano who is given a cancelled eighth. Another example is found in violins in measure 3 of the Non Mortui Laudabunt Te MCS.
Ex. 6l MCS, Violin I & II, Non Mortui Laudabunt Te, measure 3
In each example, the ornaments indicate the same rhythmic value, as a sixteenth note appoggiatura was synonymous with an eighth note with a flag during this time period,158 and would be performed in the same manner. However, these examples illustrate the scribal inconsistency common during this time. A complete list of similar scribal inconsistencies found in the SVS and MCS is found in Appendices B and C.
During the second half of the 18th century, in an effort to create a standardized notation, composers such as C.P.E. Bach encouraged composers to notate appoggiaturas with their true rhythmic values. In Versuch, he indicates that his examples are “found written according to their
158 Only later in the 19th century did the composers begin to use the cancelled eighth note as a symbol of the Nachschlag, or grace note.
125 true value.”159 This trend became more consistent during the last quarter of the 18th century.
“From the 1780’s on, and in some works composed earlier, Haydn and Mozart gradually notated more long appoggiaturas in large notes and wrote the great majority of small notes representing long or one-quarter length appoggiaturas in the rhythmic values in which they wanted them played.160 For example, the long appoggiaturas found in sacred choral works of the Neue Mozart
Ausgabe are written as the rhythmic value they are to receive. Performance scores edited in this manner, as well as having knowledge of the historical trends and habits of various composers, can be of great help to modern performers. This next portion of the chapter will address the appoggiaturas found in Excelsus Super Omnes Gentes and Non Mortui Laudabunt Te.
The appoggiatura is played on the beat and takes its time from the main note it precedes.
The length of the appoggiatura is determined by whether the appoggiatura is deemed long or short. Leopold Mozart and Quantz summarizes the convention to determine the length of the long appoggiatura:
1) The appoggiatura takes half the value of the main note, if it stands before a crotchet, quaver,
or semiquaver.
2) If the appoggiatura is placed before a dotted note, it takes two thirds of its value.
3) In compound time, if an appoggiatura precedes a dotted note that is tied to a note that is not
dotted, the appoggiatura takes the value of the dotted pitch.
Stylistically, Leopold Mozart adds that the long appoggiatura must be slurred smoothly onto the main note and that “the accent must, in the long and longer appoggiature161, always be on the
159 Versuch found in Dannreuther, Edward. Musical Ornamentation, Part II page 6.
160 Rosenblum, Sandra. Performance Practices in Classic Piano Music. Bloomington & Indianapolis: Indiana Univ. Press, 1988, 225.
161 Leopold Mozart refers to the long appoggiatura following a dotted rhythm a “longer” appoggiatura.
126 appoggiatura itself, the softer tone falling on the melody note.”162 Schenbeck adds that “dynamic enhancement of this phrasing (i.e., f - p) is also part of the proper style.”163 The short appoggiatura is an ornament “with which the stress falls not on the appoggiatura but on the principal note.”164 According to Leopold Mozart, “The short appoggiatura is made as rapidly as possible and is not attacked strongly, but quite softly.”165 Türk adds that the short appoggiatura
“receives only a very small and scarcely perceptible part of the value of the following note, so that the latter loses only very little of its original worth.”166 The specific rules for the employment of the long and short appoggiatura will be addressed as they apply to those examples found in Winter’s Excelsus Super Omnes Gentes and Non Mortui Laudabunt Te.
The following example is the opening Violin I line of Non Mortui Laudabunt Te.
Ex. 6m SVS, Violin I, Non Mortui Laudabunt Te, measures 1-4
162 Knocker, Editha. A Treatise on the Fundamental Principles of Violin Playing by Leopold Mozart. New York: Oxford Univ. Press, 1967, 171.
163 Schenbeck, Lawrence. Joseph Haydn and the Classical Choral Tradition. Chapel Hill, NC: Hinshaw, 1996, 385.
164 Knocker, Editha. A Treatise on the Fundamental Principles of Violin Playing by Leopold Mozart. New York: Oxford Univ. Press, 1967, 171.
165 Knocker, Editha. A Treatise on the Fundamental Principles of Violin Playing by Leopold Mozart. New York: Oxford Univ. Press, 1967, 171.
166 Haggh, Raymond H., Translated. School of Clavier Playing by Daniel Gottlieb Türk. Lincoln: University of Nebraska Press, 1982, 200.
127 In this instance, the cancelled eighth note appoggiatura is synonymous with a sixteenth note.167
Sandra Rosenblum states that the rhythmic figure found on beat 2 of the first full measure was frequently used by Haydn and “nearly always meant four 32nd notes.”168 Therefore, one should play this figure as a long appoggiatura, as follows:
Ex. 6n Violin I, Non Mortui Laudabunt Te, measures 1-4
Why would Peter von Winter have so consistently indicated the first half of the this musical phrase with an ornament, when he could have written out four 32nd notes, as he did in measure
2? Perhaps he wanted an extra accent on the “E” flat on the upbeat of 2, which would have been achieved through the employment of an appoggiatura.
Peter von Winter includes additional examples of the long appoggiatura in his music. As mentioned previously, beginning in 1780, composers increasingly assigned the appoggiatura the rhythmic value in which it was to be performed. Here, Winter indicates the length of the appoggiatura in the rhythmic value of the ornament.
167 The cancelled eighth note is a symbol that can create confusion for the modern performer, as this symbol was used later in the 19th century to indicate a grace note.
168 Rosenblum, Sandra. Performance Practices in Classic Piano Music. Bloomington & Indianapolis: Indiana Univ. Press, 1988, 225.
128 Ex. 6o Violin I and II, Excelsus Super Omnes, measure 105
played as:
Ex. 6p
Ex.6q Soprano, Non Mortui Laudabunt Te, measure 89
played as
129 Ex. 6r
Some examples found in Winter’s music can be justified as either long or short. The following example presents such an instance:
Ex. 6s Non Mortui Laudabunt Te, measure 11
According to the rules applied thus far, it would appear that Winter has again indicated the value of the appoggiatura to be a sixteenth note. Therefore, if played long, the violins and sopranos would perform this measure as follows:
130 Ex. 6t Non Mortui Laudabunt Te, measure 11
This particular example presents a dilemma. In accordance to the rule outlined by Türk,169 the appoggiaturas in measure 11 can be played short because the melody “ascends one step and then immediately returns to the preceding tone.” Thus, the sopranos and violins could play this appoggiatura quickly, unaccented, and on the upbeat of 2. The appoggiatura found in the altos and basses lines in measure 12 in Non Mortui Laudabunt Te could also be considered short, for this same reason.
169 Haggh, Raymond H., Translated. School of Clavier Playing by Daniel Gottlieb Türk. Lincoln: University of Nebraska Press, 1982, 213.
131 Ex. 6u Non Mortui Laudabunt Te, measure 12
The rhythmic value of the appoggiatura in Example 6s further supports the possibility that it can be played short. Here, the appoggiatura cannot possibly indicate the actual length it would be if it were performed long, as the measure would then contain too many beats. In this example, observe also the notational inconsistency between the two appoggiaturas. This is further proof that notational inconsistency existed during this time. In this case, however, the eighth note with a flag can be considered synonymous with a sixteenth note.
Thus far, the appoggiaturas utilized by Winter have been those that descend to the principal note, which are described by Leopold Mozart as “the most natural, for according to the most correct rules of composition they possess the true nature of an appoggiatura.”170 Winter does include one example of an ascending appoggiatura, which occurs in measure 94 of the violin II part in Non Mortui Laudabunt Te.
170 Knocker, Editha. A Treatise on the Fundamental Principles of Violin Playing by Leopold Mozart. New York: Oxford Univ. Press, 1967, 167.
132 Ex. 6v Violin II, Non Mortui Laudabunt Te, Measure 93-95
According to Türk, an appoggiatura is short “When freely entering appoggiaturas are more than a step removed from the main note, or approach it by skip.”171
Trill
Among the most necessary qualities, and beautiful embellishments of the art, with which every singer should be furnished, there is, it seems to me, no quality more interesting, nor embellishment sweeter than that which is commonly called the trill: when done this produces in the ears and in the souls of the audience the increase and the summit of tenderness of pleasure and of love. Let a singer have a beautiful voice, let him have facile execution, and let him have good taste; nonetheless his singing, if not united to the sweet grace of a trill, will ever be imperfect, arid and dry.172
Mancini explains that the trill is comprised of a “true note” with the addition of a “false” one above. The two pitches should be “equally vibrated.”173 Türk states that the trill “consists of repeated alternation of two tones at the same rate of speed, which are in the relationship of a major or a minor second to each other depending of the key signature or added accidentals.”174
Domenico Corri outlines the following rules for trill execution in The Singers Preceptor.
171 Haggh, Raymond H., Translated. School of Clavier Playing by Daniel Gottlieb Türk. Lincoln: University of Nebraska Press, 1982, 218.
172 Mancini, Giovanni Battista. Practical Reflections on figured Singing. Vienna: 1774, 49.
173 Mancini, Giovanni Battista. Practical Reflections on figured Singing. Vienna: 1774, 49.
174 Haggh, Raymond H., Translated. School of Clavier Playing by Daniel Gottlieb Türk. Lincoln: University of Nebraska Press, 1982, 245.
133 1) The note belonging to the melody is predominant; if the auxiliary note is too closely blended,
the principal note cannot be distinguished. Thus, the melody suffers.
2) The long shake175 should begin with the note on which the shake is to be made.
3) The short shake should begin on the upper note.
Although Corri acknowledges the varying opinions and preferences exist as to how the trill should be properly executed, he states, “I find the qualifications necessary to form a perfect shake are EQUALITY OF NOTES DISTINCTLY MARKED EASY AND MODERATELY
QUICK.”176 In addition, Schenbeck notes, “If possible, short trills (those lasting one beat or less) should be played with an afterbeat; otherwise they lack fire and grace.”177
There is one instance in Excelsus Super Omnes Gentes in which a trill may be employed.
This occurs in both Violin parts during measures 13-24 and 91-101. Any ambiguity in this instance is due to scribal inconsistency between the SVS and the MCS. The MCS indicates these passages without a trill, as follows:
Ex. 6w MCS, Violin I & II, Excelsus Super Omnes Gentes, measures 91-94
175 Here, the word, “shake” is synonymous with “trill”
176 Corri, Domenico. The Singer’s Preceptor. London: 1810/R 1968 in E. Foremann, ed., The Porpora Tradition, 30.
177 Schenbeck, Lawrence. Joseph Haydn and the Classical Choral Tradition. Chapel Hill, NC: Hinshaw, 1996, 390
134 Interestingly, only the Violin II part of the SVS indicates a trill in measures 91-101.
Ex. 6x SVS, Violin II, Excelsus Super Omnes Gentes, measures 91-101
During these passages, the players need to decide whether or not to insert a trill. One can already see the inconsistency between the notation of the short note. (The MCS indicates an eighth note with a flag, whereas the SVS notates a sixteenth note.) In this instance, Winter practically writes out the trill that can be employed. In accordance with Corri’s rule, the short trill, would begin with the upper note, which is already written out by Winter. In addition, Winter includes a suffix, or after note. The trill would, thus, be played as follows:
Ex. 6y
Instruments
The Classical period was an era of great transition in the development of musical instruments. In order to gain a greater knowledge of how earlier music was performed, it is
135 important to understand the mechanics and sound produced by these earlier instruments and the effects these factors have on articulation, tone, and phrasing.
The Violin
Since the violin’s invention in the early 16th century, the bow has been redesigned and modified in order to facilitate the evolving and increasing musical demands of each time period.
Bearing names such as Mersenne, Kircher, Castrovillari, Bassani, Corelli, Tartine, Cramer, and
Viotti, the bow would eventually take the form of the modern Tourte design first standardized by
François Tourte c1785. The late 18th and early 19th century was a transitional period in the bow’s design. Therefore, during performances of Peter von Winter’s music, it is quite feasible that violinists may have played with an earlier bow design than the Tourte. “Today we know from surviving bows that they [early bows] are superior in some respects to the modern bow when used for playing music of their own time.”178 Knowledge of the construction and musical characteristics of the bows that may have been used by violinists in Winter’s orchestras can aid modern conductors as they determine various aspects of performance practice, such as tone, phrasing, and articulation.
During the the early 18th century, violinists used bows such as the Corelli or Tartini, sometimes called the sonata bow. The Tartini bow “would appear to be the bow-type illustrated in the violin treatises of Leopold Mozart.”179 These Italian bows were slightly lighter and shorter than modern bows, measuring between 24” and 28”, and had a pike’s head and a straight or slightly convex stick. Unlike modern bows, where the hair is tighter thus giving the player the ability to produce a more immediate tone, the earlier bows had a more flexible ribbon of hairs.
178 Boyden, David D. “The Violin Bow in the 18th century.” Early Music 8/2 (Apr. 1980), 200.
179 Stowell, Robin. The Early Violin and Viola. New York: Cambridge Univ. Press, 2001, 44.
136 Leopold Mozart describes the result of this characteristic. “Every tone, even the strongest attack, has a small, even if barely audible, softness at the beginning of the stroke; for it would otherwise be no tone but only an unpleasant and unintelligible noise. This same softness must be heard also at the end of each stroke.”180 Boyden provides the following summary of features of the early 18th century bow:
In my view the additional advantages of the early 18th-century bow are that it produces -- rather more easily and naturally than its modern counterparts -- clear, short, unaccented strokes in the middle of the bow and especially in the upper third; and it produces a light, clear, beautiful non legato in the middle. Further, the old bow brings out more clearly repeated notes, broken chords, and string crossings at speed. Finally, and again because of the yielding hair, it is easier for the old bow to produce double stops that minimize scratch and are clearer in sequence.181
As the music of the Classical era evolved to demand an increased range of dynamics and repertoire of articulations, the bow underwent a period of transition to accommodate these developments. One of the transitional bows used during the second half of the 18th century was the Cramer bow, named after violinist Wilhelm Cramer (1745-1799). The Cramer bow was popular in Mannheim between 1750 and 1785, during the time in which Peter von Winter played at the court. In fact, it is feasible that this is the type of bow with which Winter played. The
Cramer bow was longer than the Italian models, yet shorter than the Tourte’s later design.
Boyden states:
In construction and playing qualities the Cramer is closer to the Tourte than to the earlier Corelli-Tartini model. More specifically, the Cramer still exhibits a natural softness of
180 Knocker, Editha. A Treatise on the Fundamental Principles of Violin Playing by Leopold Mozart. New York: Oxford Univ. Press, 1967, 97.
181 Boyden, David D. “The Violin Bow in the 18th century.” Early Music 8/2 (Apr. 1980), 203.
137 articulation (although not as great as the old bow), but being capable of precise attacks of the modern bow.”182
Its concave curvature also had less “give” to the hair, which provided a more immediate tone.
“As a product of the period 1750-85 this bow is ideal to play music of the Mannheim School and the violin concertos of Mozart, among others.”183 Some violinists continued to use this bow well into the nineteenth century.
Françoise Tourte standardized the transitional bow types of the late 18th century in order to create an instrument capable of creating an even wider range of dynamics and more powerful tone. The cantabile phrases characteristic of newer music was achieved by the model’s longer bow and wider ribbon of hair. The concave bow stick permitted a quicker response to the stroke.
The transition to full use of the Tourte bow by orchestras was gradual, however. If, as David
Boyden suggests, the transition to the use of the Tourte bow did not fully occur until the 1830’s, it is quite possible that players may have used transitional bows, such as the Cramer bow, during the first performances of Winter’s offertories.
Woodwinds
As with the violin, the Classical era was also an evolutionary period for woodwind instruments. For example, the rise of the clarinet has been considered “the single most important development in the history of Classical woodwinds.”184 The consistent use of the clarinet in orchestras did not take hold until the invention of the five-key clarinet at the end of the 18th century. Changes to the design of the oboe, such as smaller tone-holes, bore, and reed “combine
182 Boyden, David D. “The Violin Bow in the 18th century.” Early Music 8/2 (Apr. 1980), 207.
183 Boyden, David D. “The Violin Bow in the 18th century.” Early Music 8/2 (Apr. 1980), 206.
184 Haynes, Bruce. “Mozart and the Oboe.” Early Music 20/1 (Feb. 1992), 47.
138 to make the high notes respond more easily than on the Baroque oboe; they are also easier to hold, even at piano and pianissimo.”185 These changes were necessary for the instrument to meet the demands of new repertoire. In comparison with the Baroque oboe:
the Classical oboe is softer, especially in the upper register. The tone is also narrower and more focused..... It is extremely sensitive to intonation corrections and requires a more refined use of fingering techniques. While it flourished in a period in which the upper range was significantly extended and upward slurs became more general, it did not yet possess the characteristic feature of the 20th century oboe, octave speaker keys.”186
The ideal tone for the oboe has been described as “even and clear.”187 Mozart criticizes the oboist Johann Christian Fischer in a letter to his father, stating, “His tone is entirely nasal, and his held notes like the tremulant on the organ. Would you ever have thought that his playing is like this?”188 Additional keys were gradually added to the oboe in order to make extreme tonalities technically easier for players. Until 1800, the two-keyed oboe was standard, but “eight new keys were sporadically added to the oboe to c.1825.”189
Experimental modifications were made to one-keyed flute, which remained in use during the Classical era. Quantz explains his reasoning behind one of his early experiments:
As yet the flute had only one key. When I gradually learned to understand the peculiarities of the instrument, however, I found that there remained a slight impurity in certain tones,
185 Haynes, Bruce. “Mozart and the Oboe.” Early Music 20/1 (Feb. 1992), 59.
186 Haynes, Bruce. “Mozart and the Oboe.” Early Music 20/1 (Feb. 1992), 43.
187 Brown, Howard Mayer & Sadie, Stanley. Performance Practice: Music After 1600. New York: WW Norton, 1989. 255.
188 Anderson, Emily. The Letters of Mozart & His Family. New York: WW Norton and Co, 1985. Letter of 4 April 1787 to Leopold.
189 Brown, Howard Mayer & Sadie, Stanley. Performance Practice: Music After 1600. New York: WW Norton, 1989. 254.
139 which could be remedied only by the addition of a second key, I added this second key in the year 1726. And in this fashion the transverse flute..... came into being.”190
Additional keys extended the instrument’s range and addressed problems with intonation.
Quantz states that although many flutes from this period were “fashioned out of different kinds of hard wood... Boxwood is the most common and durable wood for flutes. Ebony, however produces the clearest and most beautiful tone.” Quantz adds:
In general, the most pleasing tone quality (sonus) on the flute is that which more nearly resembles a contralto than a soprano, or which imitates the chest tones of the human voice. You must strive as much as possible to acquire the tone quality of those flute players who know how to produce a clear, penetrating, thick, round, masculine, and withal pleasing sound from the instrument.”191
Tromlitz states that evenness of tone, in all keys and from note to note, with a ‘bright and singing quality,’ was chiefly desirable.”192
Whether playing Peter von Winter’s music on modern or period instruments, it is of utmost importance that attention be paid to phrasing and articulation. Woodwind players “should be expected to match string phrasing and articulation by using combinations of slurring and tonguing.”193 Quantz describes the use of the tongue when playing the flute:
Since some notes must be tipped firmly and others gently, it is important to remember that ti is used for short, equal, lively, and quick notes. Di, on the contrary, must be used when the
190 Reilly, Edward R. On Playing the Flute by Johann Joachim Quantz. New York: Schirmer, 1985, 31.
191 Reilly, Edward R. On Playing the Flute by Johann Joachim Quantz. New York: Schirmer, 1985, 50.
192 Information provided in Brown, Howard Mayer & Sadie, Stanley. Performance Practice: Music After 1600. New York: WW Norton, 1989. 252 taken from J.G. Tromlitz, Ausführlicher und gründlicher Unterricht die Flötz zu spielen. Leipzig, 1791/R1973.
193 Schenbeck, Lawrence. Joseph Haydn and the Classical Choral Tradition. Chapel Hill, NC: Hinshaw, 1996, 357.
140 melody is slow, and even when it is gay, provided that it is still pleasing and sustained. In the Adagio di is always used, except in dotted notes, which require ti.194
Quantz also states that “ordinarily, di rather than ti is used for slurred notes.”195 The following example is extracted from Non Mortui Laudabunt Te.
Ex. 6z Non Mortui Laudabunt Te, measures 32-34
194 Reilly, Edward R. On Playing the Flute by Johann Joachim Quantz. New York: Schirmer, 1985, 71-72.
195 Reilly, Edward R. On Playing the Flute by Johann Joachim Quantz. New York: Schirmer, 1985, 74.
141 This example illustrates the way in which the Flutes and Clarinets/Oboes match the articulation of the strings. In addition, in accordance with Quantz’s rules for the articulation of slurred notes, the winds would begin the the first note of each slur with the syllable “di.”
Conclusion
When performing early music, the modern musician’s list of performance practice considerations is extensive. Researching primary sources, including historical narratives and performance treatises, is important to maintaining the historical integrity of a performance.
Although few accounts exist surrounding the performances of Peter von Winter’s choral music, a great deal is known about the time in which he lived, as well as the musical establishments in which he thrived. Such information can be of great guidance when performing Excelsus Super
Omnes Gentes and Non Mortui Laudabunt Te.
142 CHAPTER 7
CONCLUSION
During his lifetime, Peter von Winter was held in high esteem by his employers and colleagues. This is evidenced by the honors bestowed upon him, an illustrious career working alongside many of Europe’s finest musicians, and accounts by contemporaries such as Louis
Spohr and Abbé Georg Joseph Vogler. Winter’s compositional output is substantial; however, his offertories have long been overlooked in the standard choral repertory. This research seeks to introduce Winter’s sacred compositions Excelsus Super Omnes Gentes and Non Mortui
Laudabunt Te to contemporary scholars, audiences, and conductors.
Like Michael Haydn’s Graduals, the significance of Peter von Winter’s offertories lies in the historical function they served. Excelsus Super Omnes Gentes and Non Mortui Laudabunt Te exemplify practical sacred music performed during the Enlightenment, a time when drastic modifications were made to musical practices within the Catholic church service. As a court musician, Winter would not have been subject to restrictions as strict as those required of those working in local parishes. However, the functional purpose of the offertory limited the composer’s means of musical expression. Therefore, the thoughtful construction of Excelsus
Super Omnes and Non Mortui Laudabunt Te is another reason the offertories of Peter von Winter deserve attention. Peter von Winter employs characteristics of Mannheim style, such as his use of dynamics, as well as virtuosic solo vocal lines that require elements of bel canto technique.
Winter creates structural balance through his use of elements of sonata-allegro form, while carefully considering the role and meaning of the text. Despite their brevity, Excelsus Super
Omnes and Non Mortui Laudabunt Te each provide instances of effective text painting through
143 the use of orchestral color, rhythm, soloists, cadential extension, and range. Historically, however, the presence of anachronisms, such as the basso continuo, reminds contemporary musicians of the conservative nature of sacred music during Winter’s lifetime.
The scores of Non Mortui Laudabunt Te and Excelsus Super Omnes Gentes found in
Appendices B and C, respectively, are the result of a detailed comparison between two hand- written manuscripts. Although the SVS instrumental and vocal parts are legible, the MCS provides additional insight into the intentions of the composer and, thus, makes possible a more detailed and accurate transcription. Appendix C lists additional information contained within the SVS and MCS, such as pitch and rhythm discrepancies and variances in instrumentation.
Such findings are included in this document to help conductors make informed decisions related to the study, preparation, and performance of Excelsus Super Omnes and Non Mortui Laudabunt
Te. Finally, in order to further preserve the intent of the composer and the musical aesthetic of the time period, conductors wishing to perform these works should consider a variety of performance practice issues, such as those listed in Chapter VI.
It is hoped that the research contained in this study of the offertories, Excelsus Super
Omnes Gentes and Non Mortui Laudabunt Te will inspire additional study of similar sacred works by Peter von Winter, such as those listed in Appendix D. Excelsus Super Omnes and Non
Mortui Laudabunt Te provide a glimpse into a choral tradition that emerged as a result of
Josephinism and, today, would be refreshing additions to appropriate concert and worship settings. Publication is required in order to make these works more readily available to today’s musicians. This research is the first step in that process.
144 APPENDIX A
CRITICAL EDITIONS
Appendix A contains the critical editions of Peter von Winter’s offertories, Non Mortui Laudabunt Te and Excelsus Super Omnes Gentes. This material may be found in a supplemental file named, Critical Editions.
145 APPENDIX B
Editorial Notes For Critical Edition of Non Mortui Laudabunt Te by Peter von Winter
INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Fl I M 3 pianissimo The SVS indicates pianissimo during measure 1 of rest and at measure 3 in the Fl II.
Fl I M 4 Slur Included in MCS
Fl I M 15 Slur Included in MCS
Fl I M 12 Cancelled eighth note Included in MCS appoggiatura
Fl I M 12 Solo Included in MCS
Fl I M 12-13 con espressione Included in MCS
Fl I M 14 “B” flat on final sixteenth Included in SVS note
Fl I M 15 Slur Included in MCS
Fl I M 18 Slur Included in MCS
Fl I M 25, 27 rinforzando Included in MCS
Fl I M 32 piano Included in MCS
Fl I M 32-34 Slurs unclear in SVS Slurs more clear in MCS
146 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Fl I M 36-43 Slurs In the MCS, the slur does not extend to the “E” flat in measure 43. Since the slur does extend to this note in the SVS, and the slur in the FLII extends over the bar line between measures 42 and 43, the slur was extended in the Fl I
Fl I M 36 Pitches This measure does not exist in the MCS
Fl I M 47 Solo Included in MCS
Fl I M 47 con espressione Included in MCS
Fl I M 49 “B” flat in final sixteenth Included in in SVS
Fl I M 55 Rest; The SVS indicates an Chose quarter rest so that the eighth rest; the MCS measure adds up to correct indicates a quarter rest number of beats
Fl I M 63 Dynamic discrepancy; SVS Marked as fortissimo, as the indicates fortissimo; MCS other parts in the SVS and MCS indicates forte are also marked fortissimo
Fl I M 67 fortissimo Changed from MCS forte to match other parts and SVS measure 63, of which this measure is repeating
Fl I M 72 piano Included in MCS
Fl I M 73 Slur Included in MCS
Fl I M 74 piano Included in MCS
Fl I M 77 piano Included in MCS
Fl I M 77-78 Additional notes MCS includes additional tied “B” flats leading into the measure
147 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Fl I M 78-79 Tie Included in MCS
Fl I M 78-80 crescendo Included in MCS
Fl I M 80 Slur Included in MCS
Fl I M 85, 89 Appoggiatura Indicated appoggiatura as eighth inconsistency; SVS note; As a long appoggiatura, the indicates cancelled eighth eighth note is in keeping with the note; MCS indicates eighth custom of writing the note appoggiatura as the actual rhythmic value. Here, the appoggiatura would be played on the beat as an eighth note.
Fl I M 95 Notes; MCS extends “A” Chose the MCS, as this matches flat into next measure for a the SVS and MCS Violin I and half note, and ties it to the Soprano. previous measure. The SVS has an “A” flat whole note in measure 95 and a “G” whole note in measure 96
Fl I M 97-98 crescendo Included in MCS
Fl I M 106 Pitch discrepancy; MCS has Chose the “E” flat to match the a “D” on beat 4; SVS had other parts in the score an “E” flat
Fl I M 111 forte Included in MCS
Fl I M 112 Slur Included in MCS
Fl I M 113 MCS adds eighth notes to Chose eighth notes; this matches beat one; SVS has quarter the Soprano and Violin I note “F”
Fl I M 117 forte Included in MCS
148 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Fl I M 118 Pitch discrepancy on final Chose the “F”, as it matches the eighth note. MCS is an harmony and the Soprano and “F”; SVS is a “G” Violin I
Fl I M 118 Slur indicated in the MCS Extended slur through the fourth only extends through the eighth note third eighth note
Fl I M 119 Pitch discrepancy; half note Chose the “E” flat, as it matches is an “E” flat in MCS and the Soprano and Violin I an “F” in SVS
Fl I M 121 piano Included in MCS
Fl I M 123 piano Included in MCS
Fl I M 128 pianissimo Included in MCS
Fl II M 3 pianissimo Included in SVS
Fl II M 3 Slur SVS has an additional slur on measure 3. I added an editorial slur to this measure. The MCS does not slur this measure, but the SVS includes one in the Horn parts.
Fl II M 12 Solo Included in MCS
Fl II M 12-13 con espressione Included in MCS
Fl II M 15 Slur Included in MCS
Fl II M 17 Pitch discrepancy; MCS Chose “F#” to match Clarinet/ indicates “F#” on first Obie II, Bassoon II, and Soprano sixteenth note; SVS indicates “F” natural
Fl II M 25, 27 rinforzando Included in MCS
Fl II M 25 Tie Included in SVS; Matches tie found in MCS continuo in each instance of this figure
149 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Fl II M 32-34 Slurs Slurs more clear in MCS. SVS parts slur four sixteenths together under one slur. Changed this to match the MCS score. This now also matches the slurs in the other parts
Fl II M 36-43 Pitch discrepancy; Fl II part Adjusted according to the SVS, slightly different between the FlII will then have one extra MCS and SVS. The MCS measure of the phrase, and and give the first measure of the the MCS will have one less FlI part to the FlII.
Fl II M 36-38 Slurs; Do not appear in Slurs are modified from those SVS found in MCS in accommodate pitch discrepancy and adjustment; Slurs included match Fl I
Fl II M 41-43 Slur Included in MCS
Fl II M 47 Solo Included in MCS
Fl II M 55 The SVS indicates an Chose quarter rest so that the eighth rest; the MCS measure adds up to correct indicates a quarter rest number of beats
Fl II M 75 decrescendo Included in MCS
Fl II M 77-80 crescendo Included in MCS
Fl II M 77-78 Tie over bar line Included in MCS
Fl II M 80 Pitch inconsistency between Wrote as a C to match harmony scores; the half note of the MCS is a “C”; the SVS is an “E” flat
Fl II M 84 MCS score missing a dot Included the dot
150 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Fl II M 88-99 Pitch discrepancies in the Included MCS parts. section. MCS slightly extends this section
Fl II M 92-94 crescendi Added match phrasing of Fl I
Fl II M 96-98 Ties over the bar lines Added to match other parts
Fl II M 97 crescendo Included in MCS
Fl II M 111 forte Included in MCS
Fl II M 112 Rhythmic and rest Included MCS rhythm, as it discrepancy; SVS writes matches the Clarinet/Oboe II “A” flat as a dotted half rhythm in both scores note; MCS writes it as a half note followed by a quarter rest
Fl II M 117-end Dynamics; none in SVS Added them as they appear in MCS
Cl/Ob I M 2 Slur Included in SVS
Cl/Ob I M 8 Slur Included in MCS
Cl/Ob I M 15 con espressione and solo Included in MCS
Cl/Ob I M 15-18 Slurs Consistent with the Cl/Ob II of the MCS and the Oboe parts if the SVS
Cl/Ob I M 25 Slur discrepancy on beat 2. Slur omitted to match MCS does include slur; articulation of other parts found SVS includes slur; in both scores
Cl/Ob I M 26 Slur discrepancy; SVS Included slur, as this matches includes slur; MCS does not articulation of bassoon part found in MCS
151 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Cl/Ob I M 28 Slur discrepancy; SVS has Omitted slur, as the Clarinet/ slur; MCS does not Oboe II part does not slur this measure in the SVS either score
Cl/Ob I M 35 Solo Included in MCS
Cl/Ob I M 37-38 Slur does not extend to the Extended slur to downbeat of downbeat of measure 38 in measure 38 to match the other either score parts.
Cl/Ob I M 39-42 No slur These measures are clearly not slurred in both scores
Cl/Ob I M 42 Rhythmic discrepancy; SVS Chose eighth note to match has a quarter on beat 1; measure 43 of the Fl I & II, MCS has an eighth note which is very clearly written in the MCS.
Cl/Ob I M 43-44 Slur Included in MCS
Cl/Ob I M 45-46 Slurs Included in SVS
Cl/Ob I M 50-51 Slur discrepancy: MCS Included SVS slurs does not include slurs; SVS includes slurs
Cl/Ob I M 53 Slur Included in MCS
Cl/Ob I M65; 66 Slurs Included in MCS
Cl/Ob I M 65 piano Included in MCS
Cl/Ob I M 72 piano Included in MCS
Cl/Ob I M 73-75 decrescendo Included in MCS
Cl/Ob I M 77-78; Ties Included in MCS 78-79
Cl/Ob I M 81 pianissimo Included in MCS
152 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Cl/Ob I M 83, 87, 91 Ornament inconsistency; Included MCS ornament. MCS indicates eighth note Ornament would be played long; ornament; SVS is cancelled indicating an eighth not eighth slash ornament keeps with the trend of writing the actual rhythmic value of the ornament
Cl/Ob I M 88 Pitch discrepancy; MCS has Left as “G”, as it does not clash a “G”; SVS has a “B” flat. with the harmony. Player may The “B” flat is in keeping choose to play “B” Flat with the pattern of that phrase in both scores
Cl/Ob I M103-104 Pitch discrepancy This edition includes MCS pitches Include in paper
Cl/Ob I M 101-106 crescendo Included in MCS; Crescendo extends one measure past that of the strings. This is clearly marked as so in the MCS
Cl/Ob I M 117-end Dynamics Included in MCS
Cl/Ob I M 119 Slur Included in MCS
Cl/Ob I 120, 122 rinforzando Included in MCS
Cl/Ob I M 128 Solo Included in MCS
Cl/Ob II M 8 Slur Included MCS slur pattern, as it is clearer and more consistent between both Cl/Ob parts. The SVS includes the four sixteenth notes under the same slur. The SVS Cl/Ob I does not have a slur.
Cl/Ob II M 15 con espressione Included in MCS
153 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Cl/Ob II M 17 Pitch discrepancy on final Chose the “F”, as it following the sixteenth note; SVS has a melodic pattern and matches the “G”; MCS has an “F” Fl II
Cl/Ob II M 24 Slur Included in MCS
Cl/Ob II M 25 descrescendo Included in MCS
Cl/Ob II M 25, 27 rinforzando Included in MCS
Cl/Ob II M 33 Slur Included in MCS
Cl/Ob II M 45 Slur Included in SVS
Cl/Ob II M 53 Slur Included in MCS
Cl/Ob II M 65 piano Included in MCS
Cl/Ob II M 65-66 Slurs Included in MCS
Cl/Ob II M 76-78 crescendo Included in MCS
Cl/Ob II M 77-78 Pitch discrepancy from Chose SVS, as this matches the measure 77 beat 4 to Alto measure 78 beat 1; SVS resolves measure 77’s half note “A” flat to “G”. MCS descends to a “B” flat on measure 77 beat 4
Cl/Ob II M 82 pianissimo Included in MCS
Cl/Ob II M 90-92 Pitch discrepancy; Whole Included the SVS pitches, as rests in the MCS; the SVS these two measures are similar to has pitches 86-88. The rhythm is slightly altered
Cl/Ob II M 100-101 Tie over bar line Included in MCS
Cl/Ob II M 100-106 crescendo Included in MCS; Crescendo extends one measure past that of the strings. This is clearly marked as so in the MCS
154 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Cl/Ob II M 101-102 Tie Included in MCS
Cl/Ob II M 103-104 Pitch discrepancies Included MCS pitches; Include in paper
Cl/Ob II M 111-end dynamics; none in SVS Added
Cl/Ob II M 120, 122 rinforzando Included in MCS
Cl/Ob II M 128 Solo Included in MCS
Cl/Ob II M 129 pianissimo Included in MCS
Bassoons M 1 Pitch discrepancy on Chose “F”, as this matches the downbeat of 2; MCS harmony indicates “F”; SVS indicates “E” flat
Bassoons M 5-7, These are measures of rest Included pitches in SVS. 10-14 in the MCS. Appears that these pitches may be optional, as they simply double the continuo. Measure 14 is especially awkward if played, as the notes do not lead anywhere.
Bassoon I M 9 Added “D” to first beat of Included in MCS measure
Bassoons M 15 Soli and con espressione Included in MCS
Bassoons M 15 Slur Included in MCS; Consistent with other parts
Bassoon II M 16 Pitch discrepancy on final Wrote as an “F”, as this matches sixteenth note; SVS the harmony and is more indicates “G”; MCS has an consistent with the pitch pattern “F”
155 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Bassoon II M 25 Rhythmic discrepancy; SVS Applied MCS rhythm, as it indicates dotted quarter- matches the even rhythm of the eighth; MCS indicates two other parts quarter notes
Bassoons M 24, 26 Slurs Included in MCS
Bassoons M 27 Tie Included in SVS
Bassoons M 28-29 These are measures of rest Included pitches in SVS. in the MCS. Appears that these pitches may be optional, as they simply double the continuo. Measure 14 is especially awkward if played, as the notes do not lead anywhere.
Bassoons M 30 Solo Included in MCS
Bassoons M 34 Slur Included in MCS
Bassoons M 35-36 These are measures of rest Included pitches in SVS. in the MCS. Appears that these pitches may be optional, as they simply double the continuo. Measure 14 is especially awkward if played, as the notes do not lead anywhere.
Bassoons M 37 Rhythmic discrepancy; SVS Wrote as eighth notes to match has eighth notes; MCS has Violins quarter notes
Bassoons M 38 Slur Included in MCS
Bassoons M 42 Pitch discrepancy on Chose “D” to match harmony downbeat of 2; SVS indicates “D”; MCS indicates “E”
Bassoon I M 44-45 Slur shortened in MCS Left editorial slur that matches the slurs of the Clarinet/Oboe
156 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Bassoons M 49 This is a measure of rest in Included pitches in SVS. the MCS. Appears that these pitches may be optional, as they simply double the continuo. Measure 14 is especially awkward if played, as the notes do not lead anywhere.
Bassoons M 53 Slur Included in MCS
Bassoons M 65-81 These are a measures of rest Included pitches in SVS. in the MCS. Appears that these pitches may be optional, as they simply double the continuo. Measure 14 is especially awkward if played, as the notes do not lead anywhere.
Bassoons M 68 Incorrect pitch Changed from “E” flat to “F” to match continuo
Bassoons M 72-75 Slurs Included in SVS
Bassoons M 76-78 crescendo Included in SVS
Bassoon I M 85 Ornament inconsistency; Changed to SVS eighth note; MCS has cancelled eighth Appoggiatura would be played note; SVS has an eighth long; indicating an eighth note note ornament keeps with the trend of writing the actual rhythmic value of the ornament. This is also consistent with the MCS appoggiaturas in measures 87 & 91, each of which are written as eighth notes
Bassoons M 100 This is a measure of rest in Included SVS pitches that are the MCS. doubling the continuo
Bassoon II M 101-104 Added Bassoon II an octave Included in MCS lower
157 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Bassoons M 105-108 These are measures of rest Included SVS pitches that are in the MCS. doubling the continuo
Bassoons M 105 Slur Included in SVS
Bassoons M 111 Dynamic discrepancy; forte Chose forte to match other parts in MCS; fortissimo in SVS of MCS
Bassoons M 111 Slur Eliminated SVS slur, as MCS score does not include a slur in any of the parts
Bassoons M 117 forte SVS indicates fortissimo; changed to forte to match other MCS parts
Bassoons M 117-127 These are measures of rest Included pitches in SVS. in the MCS. Appears that these pitches may be optional, as they simply double the continuo. Measure 14 is especially awkward if played, as the notes do not lead anywhere.
Bassoons M 128 pianissimo Included in MCS
Bassoons M 128-130 Pitch discrepancy; SVS Added MCS solo pitches score continues to double the continuo; MCS adds a solo
Horn I M 3 Slur Included in SVS
Horn I M 17 piano Included in MCS
Horn I M 23 Staccati Included in MCS
Horn I M 25, 27 rinforzando Included in MCS
Horn I M 44 piano Included in MCS
158 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Horn I M 45 SVS and MCS indicate a Changed to a decrescendo based crescendo. on the SVS Horn II part, which indicates this. Other instances, such as measure 25, of this figure also indicate decrescendo
Horn I M 63 fortissimo; The MCS Included in SVS fortissimo to indicates forte; the SVS match Violin fortissimo marked indicates fortissimo in the MCS; fortissimo indicated in MCS in measure 67, which is a repeat of this material
Horn I M 66 fortissimo Included in MCS
Horn I M 71 pianissimo Included in MCS
Horn I M 75-76 crescendo discrepancy; Began crescendo in measure 76; crescendo begins in to match that of the Bassoons measure 75 in MCS and 76 and Oboes; Beginning the in SVS crescendo in measure 75 works against the decrescendo written in the other parts
Horn I M 92 pianissimo Included in MCS
Horn I M 94-95 crescendo Included in MCS
Horn I M 97 crescendo Included in MCS
Horn I M 110 Tutti Not included in either score; implied by texture
Horn I M 111 forte Included in MCS
Horn I M 117-end dynamics Added them
Horn I M 117 Dynamic discrepancy; SVS Included MCS dynamics fortissimo; MCS forte
Horn I M 120, 122 Rinforzando Included in MCS
Horn II M 3 Slur Included in SVS
159 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Horn II M 17 piano Included in MCS
Horn II M 23 staccati Included in MCS
Horn II M 25, 27 rinforzando Included in MCS
Horn II M 43 piano Included in SVS
Horn II M 45 Dynamic discrepancy; SVS Chose SVS H2 decrescendo; indicates decrescendo; Makes more sense for the line MCS marks crescendo
Horn II M 67 fortissimo Included in MCS
Horn II M 68 Pitch inconsistency on beat Chose “F” to match harmony on the first half note; SVS is an “E” flat; MCS is an ”F”
Horn II M 71 pianissimo Included in MCS
Horn II M 75-76 crescendo discrepancy; Began crescendo in measure 76; crescendo begins in to match that of the Bassoons measure 75 in MCS and 76 and Oboes; Beginning the in SVS crescendo in measure 75 works against the decrescendo written in the other parts
Horn II M 92 pianissimo Included in MCS
Horn II M 94, 97 crescendo Included in MCS
Horn II M 111 Tutti Not included in the MCS; implied by texture
Horn II M 111 forte Included in MCS
Horn II M 112 Rhythmic inconsistency; Included in MCS; Fl II and Cl/ MCS indicates dotted half Ob II also have quarter notes on and a quarter; SVS beat 4; SVS Horn I also matches indicates a whole note this MCS rhythm
Horn II M 117-end dynamics Added them
160 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Horn II M 121 Pitch discrepancy between Included MCS pitches in this scores; H II is unison with edition. May choose SVS H I in this measure in MCS; pitches. SVS score has H II on a half note “E” flat, jumping down to a “B” flat on beat 4, and jumping further down to an “E” flat on the dotted quarter of measure 122
Horn II M 122 Pitch discrepancy; Dotted Included MCS pitches half note is an octave higher in MCS
Vln I pickup M1 slur Included in MCS
Vln I M 1 con sordino Included in MCS & Vln II SVS
Vln I M 1 piano Included in SVS
Vln I M 1 Discrepancy in ornament Chose MCS cancelled eighth. rhythm; MCS cancelled This is consistent with the Canto eighth note; SVS sixteenth and Alto parts of the SVS note
Vln I M 1 Slur Included in MCS
M 2 Slur Included in MCS and SVS
Vln I M 3 Slur Included in MCS
Vln I M 3 Discrepancy in ornament Both rhythms indicate a sixteenth rhythm; MCS cancelled note; Chose the MCS for eighth note; SVS sixteenth notational consistency note
Vln I M 4 Slur Included in MCS
161 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Vln I M 7 Discrepancy in ornament Chose the MCS, as this matches rhythm; MCS cancelled the Soprano of both scores eighth note; SVS sixteenth note
Vln I M 7 Slur Included in MCS
Vln I M 11 Slur Included in MCS
Vln I M 11 Discrepancy in ornament Chose the MCS, as this matches rhythm; MCS cancelled the Soprano in both scores eighth note; SVS sixteenth note
Vln I M 25, 27 rinforzando included in MCS
Vln I M 27 Slur Included in MCS
Vln I M 32-34 Slurs unclear in SVS Chose those from the MCS, as they are clear and stylistically correct
Vln I M 45 Slur Included in MCS
Vln I M 46 Slur Included in MCS
Vln I M 46 Discrepancy in ornament Chose the MCS, as this matches rhythm; MCS cancelled the bass of both scores eighth note; SVS sixteenth note
Vln I M 46 Slur Included in MCS
Vln I M 58-62 Crescendo discrepancy; Chose MCS, as the score is MCS begins crescendo in clearer and more consistent measure 58; SVS begins in among the other parts measure 61.
Vln I M 62 Slur Included in MCS
Vln I M 65 decrescendo Included in MCS
162 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Vln I M 72-75 Slurs unclear is SVS Chose MCS slurs, as they are more clear and match the bassoons
Vln I M 73, 75 decrescendo Included in MCS
Vln I M 77 Tie Included in MCS
Vln I M 77-78; Tie over bar line missing Included in MCS; consistent with 78-79 from SVS other parts
Vln I M 97 Trill Included in SVS
Vln I M 97 crescendo Included in MCS
Vln I M 100 pianissimo Included in MCS
Vln I M 101-104 Crescendo discrepancy; Chose MCS, as the score is crescendo begins in clearer and more consistent measure 101 in MCS and among the other parts 104 in SVS
Vln I M 103 Slur Included in MCS
Vln I M 105 Ornament discrepancy; The MCS is not consistent with MCS eighth note; SVS the trend of writing the sixteenth note appoggiatura as the rhythmic value to will be performed. The SVS does. Wrote it as a cancelled eighth, which is consistent with the Violin II, and is equivalent to a sixteenth note appoggiatura
Vln I M 106 MCS includes eighth note Changed to cancelled eighth appoggiatura; none found in appoggiatura for consistency SVS with other parts; eighth note not consistent with trend of writing out rhythmic value in which appoggiatura will be performed
163 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Vln I M 111 Dynamic discrepancy; forte Chose forte to match other parts in MCS; fortissimo in SVS of MCS
Vln I M 119 Slur Included in SVS
Vln I M 120, 122 rinforznado in MCS; forte Added rinforzando for in SVS consistency with other parts
Vln I M 124 fortissimo Included in MCS
Vln I M 128-129 Pitch discrepancy in Chose SVS “B” flats, as this measure 128 beat 4 and 129 matches the measure 128 beat 1; SVS indicates “B” harmony; “G” can work for flat on bottom pitch; MCS measure 129, if the conductor so indicates “G” chooses, as this is consistent with measure 129 V II and measure 130 VI
Vln I M 128-129 Dynamics Included in SVS and consistent with other MCS parts
Vln II M 1 con sordino Included in MCS
Vln II M 1 Slur Included in MCS
Vln II M 2 Ornament inconsistency; Chose cancelled eighth, which is SVS written as eighth note consistent with the VI appoggiatura; MCS written as a sixteenth note
Vln II M 1, 3, 4 Slur Included in MCS
Vln II M 6 Slur Included in SVS
Vln II M 7 Slur Included in MCS
Vln II M 7 Ornament inconsistency; Chose cancelled eighth, which is difficult to read in both very clearly marked in the alto scores line of the MCS
Vln II M 7 Slur Included in MCS
Vln II M 10-11 Slurs Included in MCS
164 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Vln II M 11 Ornament inconsistency; Chose MCS cancelled eighth. SVS indicates sixteenth This is consistent with the note ornament; MCS is soprano and violin II cancelled eighth
Vln II M 20 Slur Included in MCS
Vln II M 25, 27 rinforzando included in MCS
Vln II M 32-34 Slurs Included in MCS
Vln II M 46 Slur Included in MCS
Vln II M 56-57 Tie over bar line missing in Included in MCS; included for SVS consistency with other occurrences of this line & Alto entrance
Vln II M 58-62 Crescendo discrepancy; Chose MCS, as the score is MCS begins crescendo in clearer and more consistent measure 58; SVS begins in among the other parts measure 61.
Vln II M 65 Pitch discrepancy on top Chost “D” flat for consistency half note; SVS indicates with Tenor “E” flat; MCS indicates “D” flat
Vln II M 65 decrescendo Included in MCS
Vln II M 73, 75 decrescendi Included in MCS
Vln II M 74 piano Included in MCS
Vln II M 95 Slur Included in SVS
Vln II M 97 crescendo Included in MCS
Vln II M 98 crescendo Not included in either score, but added based on previous measure
165 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Vln II M 99 SVS indicates a pianissimo Removed pp from this measure, as not consistent with other parts. MCS clearly marks a pp in measure 100 in other parts. Moved the pp to measure 100
Vln II M 101-105 crescendo discrepancy; Chose MCS, as the score is MCS begins crescendo in clearer and more consistent measure 101; SVS only among the other parts crescendos in measure 103
Vln II M 105 Trill Included in SVS
Vln II M 111 Dynamic discrepancy; forte Chose forte to match other parts in MCS; fortissimo in SVS of MCS
Vln II M 111 Rhythmic discrepancy; SVS Chose MCS rhythm, as this is is dotted half quarter; MCS consistent with the other parts of is quarter-half-quarter both scores
Vln II M 117 Dynamic discrepancy; forte Chose forte in MCS; fortissimo in SVS
Vln II M 120-124 dynamics added Included in MCS
Vln II 120, 122 rinforzando Included in MCS
Vla I & II M 12 Extra sixteenth rest after the Omitted quarter note
Vla I & II M 32 MCS pitch in final eighth Changed to “F” to match note is an “E” flat harmony and continuo
SATB Throughout Missing punctuation Added punctuation, and incorporated Winter’s punctuation, such as commas around the word, “nunc”
Soprano Beginning MCS indicates Soprano; Both appear in this edition SVS indicates Canto
166 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Soprano M 23 Incorrect text in SVS “Domino” is correct, as indicated in the MCS
Soprano M 29 Appoggiatura Chose SVS value for consistency inconsistency; SVS with other ornaments of this type indicates a cancelled eighth; MCS indicates an eighth
Soprano M 35, 39 Appoggiatura discrepancy; Included these appoggiaturas, as Additional cancelled eighth they match this melodic figure note ornaments in MCS that occurs throughout piece. It is included in the SVS in measure 43
Soprano M 47 Ornament Included in MCS
Soprano M 47-53 The soprano and tenor lines Chose to use the MCS soprano are switched between the and tenor; these match the two scores. voicing of the previous soprano/ bass duet
Soprano M 49 Final “B” natural does not Corrected the accidental correct itself on the final sixteenth note in the MCS or the SVS
Soprano M 58-59 Tie over bar line Included in MCS
Soprano M 58 piano Included in SVS
Soprano M 59 Discrepancy in text Left according to MCS due to underlay; SVS puts “nos” clarity of the score; This is also on beat one; MCS puts consistent with the SVS and “nos” on beat 2 half note MCS underlay for the Tenor entrance in measure 59
Soprano M 59-63 crescendo Included in MCS
Soprano M 62 Slur Included in SVS; matches other articulations in similar lines
167 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Soprano M 64, 68 forte Included in MCS
Soprano M 72 pianissimo Included in MCS
Soprano M 73 decrescendo Included in MCS
Soprano M 74 piano Included in MCS
Soprano M 75 decrescendo Included in MCS
Soprano M 77 piano Included in MCS
Soprano M 80 Slur on beat 3 Included in SVS
Soprano M 83 piano Included in MCS
Soprano M 85, 89 Ornament inconsistency; Chose the MCS rhythmic value, MCS indicates eighth note as this is a long appoggiatura and rhythmic value of the eighth note is the value in appoggiatura; SVS has which it would be performed cancelled eighth note
Soprano M 85 Beat 4 slur Included in SVS
Soprano M 97 crescendo Included in MCS
Soprano M 99 Eliminated slur that appears Consistent with other parts in SVS
Soprano M 100 pianissimo Included in MCS
Soprano M 102 Slurs Included in MCS
Soprano M 103-104 Tie over the bar line Included in MCS
Soprano M 102-104 crescendo Included in MCS
Soprano M 111 tutti Included in MCS
Soprano M 111 forte Included in MCS
Soprano M 117 tutti Included in MCS
168 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Soprano M 118 Pitch discrepancy on final Chose “F”, as this matches other eighth note; MCS indicates parts and instances of this an “F”; SVS indicates “G” material
Soprano M 119 Slur Included in SVS and consistent with Violin I slur
Soprano M 122 Slur Included in MCS
Alto M4 Solo Included in MCS
Alto M 12 Ornament discrepancy; Changed to cancelled eighth MCS includes a sixteenth appoggiatura for consistency note appoggiatura; SVS with other parts includes an ornament with the value of a quarter note
Alto M 12 Slur Included in MCS
Alto M 37 Ornament Included in MCS
Alto M 41 Missing “A” natural in both Added “A” natural to match scores harmony
Alto M 53 Pitch discrepancy: first two Chose “E” flat to resolve leading eighth notes in SVS are “B” tone from previous measure flats; MCS are “E” flats
Alto M 56 Tutti Included in MCS
Alto M 57 Discrepancy in text Left according to MCS due to underlay; SVS puts “nos” clarity of the score; the Tenor on beat one; MCS puts follows the MCS underlay in the “nos” on beat 2 half note SVS
Alto M 56-57 Tie over bar line Included in MCS
Alto M 56 piano Included in MCS
Alto M 58 crescendo Included in MCS
Alto M 64 forte Included in MCS
169 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Alto M 66 Slur Included in SVS; matches Clarinets/Oboes
Alto M 68 forte Included in MCS
Alto M 72 pianissimo Included in MCS
Alto M 73 decrescendo Included in MCS
Alto M 74 piano Included in MCS
Alto M 75 decrescendo Included in MCS
Alto M 83 piano Included in MCS
Alto M 94-97 Text underlay slightly Chose MCS underlay to match different between scores the other parts
Alto M 105 Comma surrounding “nunc” Included in MCS
Alto M 106 Pitch discrepancy on beat 3; Chose “G” to match harmony MCS is a “G”; SVS is an “A” flat
Alto M 111 forte Included in MCS
Alto M 112 The MCS adds a tie Left out, as is unnecessary and between beats 3 and 4 inconsistent with other parts
Alto M 117 fortissimo Included in MCS
Alto M 122, 123 Slur Included in MCS
Tenor M 15 Solo indication omitted Added Solo indication, as other from MCS three voices are soli
Tenor M 19 Slur Included in MCS
Tenor M 19 Final to pitches of MCS not Used pitches from SVS very legible.
Tenor M 20 First sixteenth note of the Used pitch from SVS measure is unclear.
170 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Tenor M 25 Pitch discrepancy; First Chose “A” natural; matches pitch is an “A” natural in harmony, Vla, and Bassoon I MCS and “G” in SVS
Tenor M 31 Text underlay is different; Chose MCS underlay; matches MCS puts “cu” on upbeat the bass and soprano of 2; SVS puts “cu” on penultimate thirty-second note
Tenor M 36 Ornament inconsistency; Maintained MCS, as this is a SVS indicates eighth note long appoggiatura that appears appoggiatura; MCS has many times throughout the piece. cancelled eighth note
Tenor M 47 No appoggiatura in either Added appoggiatura in match score measure 12
Tenor M 47-53 The soprano and tenor lines Chose to use the MCS soprano are switched between the and tenor; these match the two scores. voicing of the previous soprano/ bass duet
Tenor M 48-49 Text discrepancy; MCS is Changed to “descendunt” “descendunt”; SVS “descendit” in SV parts
Tenor M 51 Pitch discrepancy: fourth Kept “E” flat found in SVS, as sixteenth note in an “E” matches harmony natural in MCS
Tenor M 53 Textual and Rhythmic Chose SVS rhythm, as the text, discrepancy: Final upbeat “non” does not precede of SVS score indicates two “laudabunt” sixteenth notes with the text, “Non lau-.” MCS indicates one eighth note with only the syllable “Lau-”, omitting the “non.”
171 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Tenor M 65 Pitch discrepancy; final Maintained the pitch “C” to eighth note moves to “D” match harmony flat in SVS
Tenor M 68 forte Included in MCS
Tenor M 72 pianissimo Included in MCS
Tenor M 74 piano Included in MCS
Tenor M 73, 75 MCS indicates Included decrescendo to match decrescendo, rather than other parts crescendo that appears in the SVS parts
Tenor M 78 piano Included in MCS
Tenor M 85 pianissimo Included in MCS
Tenor M 87, 89 Appoggiatura discrepancy; Chose MCS rhythm; long SVS is a cancelled eighth appoggiatura and this indicates note; MCS is an eighth note its rhythmic value
Tenor M 94-95 Tie over bar line Included in MCS, and consistent with surrounding ties
Tenor M 97 crescendo Included in MCS
Tenor M 100-101 Tie over bar line Included in MCS
Tenor M 102 Slur Included in MCS
Tenor M 108 Solo Included in MCS
Tenor M 111 Tutti Included in MCS
Tenor M 114 Solo Included in MCS
Tenor M 117 Tutti Matches soprano and the previous measure 111 tutti entrance
Tenor M 117 MCS indicates forte Changed to fortissimo to match dynamics in other parts
172 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Tenor M 118 Pitch discrepancy on half Chose “C” as it matches note; SVS indicates “D”; harmony MCS indicates “C”
Tenor M 120 Pitch discrepancy on last Chose C to match harmony and quarter note; MCS indicates repeat of this material in measure “B” flat; SVS indicates C 122 where both scores indicate C
Tenor M 122 forte Included in MCS
Bass M 12 Ornament Included in MCS
Bass M 12 Solo Included in MCS
Bass M 13 Slur Included in SVS
Bass M 22 Both sixteenth notes are Left first sixteenth note as an “E” “E” naturals in MCS flat, as this is consistent with the other parts of both scores
Bass M 28 Rhythmic discrepancy; SVS Wrote part with dotted eighth/ score has an eighth note on sixteenth rhythm for consistency beat 2 followed by a with other parts. This is also the sixteenth rest rhythm found in the MCS
Bass M 28 Commas surrounding Included in MCS “nunc”
Bass M 30-31 Tie over bar lines Included in SVS
Bass M 42 Pitch discrepancy on Wrote D for sake of harmony, as sixteenth note; MCS has well as fact that the other voices “D”; SVS has “F” do not move during that beat
Bass M 53 Textual and rhythmic This score sets the MCS text and discrepancy. Rhythm is an rhythm. eighth note in MCS to accommodate different text. MCS omits the “non” before the “laudabunt”
173 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Bass M 58-59 Tie Included in MCS; matches the articulation of the other parts
Bass M 58 Discrepancy in text Left according to MCS due to underlay; SVS puts “nos” clarity of the score; SVS Tenor on beat one; MCS puts entrance in measure 59 is “nos” on beat 2 half note consistent with the MCS underlay
Bass M 59 Slur in SVS Omitted, as it is not found in any other voices or parts in either score; no longer needed for MCS text underlay
Bass M 59 Textual underlay “vi” moved to half note from inconsistent between scores beat 1for consistency with the other parts
Bass M 64 forte Included in MCS
Bass M 68 forte Included in MCS
Bass M 72 pianissimo Included in MCS
Bass M 76 pianissimo Included in MCS
Bass M 77, 79 comma surrounding “nunc” Included in MCS
Bass M 81-82 Pitch discrepancy. SVS Chose the SVS pitches, as they score indicates “B” flats for match the continuo and provide a both pitches resolving to an stronger cadence “E” flat in measure 82; MCS indicates “A” flats for both pitches of 81 resolving to a “G” in measure 82
Bass M 85 pianissimo Included in MCS
Bass M 91 Pitch discrepancy on beat 4; Chose “A” flat, which also SVS is a “G”; MCS is an occurs in measure 87 SVS and “A” flat MCS
174 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Bass M 97 crescendo Included in MCS
Bass M 101, 103 Slurs Included in SVS
Bass M 103 Text is different between Included SVS text, as it is less the two scores; SVS repeats awkward, and matches the “ex hoc, nunc, et usque”; soprano MCS repeats “in saeculum”
Bass M 105 Slur Included in MCS
Bass M 111 Dynamic discrepancy; forte Included forte in MCS; fortissimo in SVS
Continuo M 1 pianissimo Included in MCS and SVS
Continuo M 7 Incomplete figured bass on Provided complete figured bass upbeat of 2; Both scores indicated “5”
Continuo M 8 Figured bass on upbeat of 2 Changed continuo indicates raised 7, rather than a raised 3
Continuo M 11 Incomplete figured bass Provided complete figured bass
Continuo M 17 added flat 7 to figured bass Included in MCS
Continuo M 19 Discrepancy in figured bass Both were incorrect. Added between two scores; MCS correct figured bass indicates 6/4/2; SVS indicates natural 7/3
Continuo M 25 Incomplete figured bass Provided complete figured bass
Continuo M 25, 27 Ties Included in MCS
Continuo M 25, 27 rinforzando Included in MCS
Continuo M 28 Incomplete figured bass Completed figured bass
Continuo M 29 Incorrect figured bass on Corrected figured bass beat 2
175 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Continuo M 29 Incorrect figured bass on Corrected figured bass downbeat of 1
Continuo M 35-38 Added 7 to figured bass Included in SVS
Continuo M 41 Incomplete figured bass Completed figured bass
Continuo M 42 Incomplete figured bass Completed figured bass
Continuo M 43 Omitted flat after 3 in SVS Not necessary, and not found in figured bass MCS
Continuo M 52 Scores include a flat in Left in the score, as it is most front of the 7 in the figured likely a courtesy accidental that bass; Not necessary, as the corrects the “A” natural key signature already previously indicated in that includes an “A” flat measures. Player should know to play an “A” flat, not an “A” double flat
Continuo M 57 piano Included in MCS
Continuo M 57-62 crescendo Included in MCS
Continuo M58-59; Ties over the bar lines Included in MCS M59-60
Continuo M 64 Both scores indicated flat 7 Changed to 7, as seventh scale for beat 2 figured bass degree is already flat, per the key signature
Continuo M 65 Discrepancy in scores; Chose SVS, as this matches MCS has 5/3 on beat 3; harmony SVS has it on beat 4.
Continuo M 70 Added a 6 to the figured Included in SVS bass
Continuo M 72-75 Slurs Included in MCS
Continuo M 76 piano Included in MCS
Continuo M 82 pianissimo Included in MCS
176 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR EDITORIAL SATB BE ADDRESSED MARKING OR HOW PROBLEM WAS SOLVED
Continuo M 92 pianissimo Included in MCS
Continuo M 94 crescendo Included in MCS
Continuo M 98 Changed fourth beat figured This original figured bass found bass from 6 in the MCS did not include the 7th of the chord sung by the sopranos
Continuo M 111 forte Included in MCS
Continuo M 111, 117, Added 7 to figured bass Included in MCS 125 half note
Continuo M 117 fortissimo Included in MCS
Continuo M 120, 122 forte Included in MCS
Continuo M 124 rinforzando Included in MCS
Continuo M 126 pianissimo Included in MCS
177 APPENDIX C
Editorial Notes For Critical Edition of Excelsus Super Omnes Gentes by Peter von Winter
INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED Fl I Pickup M 1 forte Included in SVS
Fl I M 112 No ornament in SVS; MCS Changed to cancelled eighth, indicates an eighth note as the Fl II SVS has this value, appoggiatura as do the Violins in the MCS. This is also the rhythmic value in which this long appoggiatura will be played.
Fl I M 117-118 SVS omits 2 measures I added two measure repeat of the previous 2 measures, based on the other parts. Two extra measures also included in MCS
Fl I M 129 Slur Included in SVS
Fl I M 130 Slur inconsistency; MCS Changed slur to match SVS only slurs eighth notes Oboe I slur
Fl I M 130 MCS missing sixteenth note Added beams; Included in SVS beams on upbeat of two Fl I M 147 Slur Included in SVS
Fl II M 38 Slur Included in MCS
Fl II M 56 crescendo Included in MCS
Fl II M 58 Three beats in the measure Added a dot to half note. of SVS Included in MCS.
178 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED Fl II M 97 The letter “f” is written in Determined this to be an “f” over these measures in the that clarifies the pitch, rather SVS. than a forte dynamic. A similar instance occurs in this part two measures later, only with the letter “e” Fl II M 99 Unclear marking over Determined to be an “e” and was measure written to clarify the pitch. This also matches he harmony Fl II M 112 Appoggiatura given Changed ornament notation to sixteenth note value in SVS cancelled eighth to match the and eighth note in MCS. MCS violins. Fl II M 115-118 MCS writes “unis” with Wrote out the notes double slashes through the bar line. The SVS writes out the notes. Fl II M 132 Missing measure in the SVS Pitch provided in the MCS Fl II M 145 forte Included in SVS Ob I Pickup to M 1 Written as a “C” Changed to G to match other parts
Ob I M 1 forte Included in SVS
Ob I M 32 No stem on half note. Added one to match Fl II and to make measure add up to 4 beats
Ob I M 49-50 Large smudge at beginning Added bar line according to of measure 49; no bar line to other parts separate first fermata and half note “G” Ob I M 127 SVS indicates forte. Changed to fortissimo, which is the dynamic of the V I in the SVS and MCS; Since the Oboe part is not included in the MCS, I chose this score as a more reliable source for this dynamic
179 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS Ob I M 140 Original score has two half Changed rhythmSOLVED to a whole note notes tied to match other parts, especially Flute II, which is identical Ob II M 50 Missing stem Added stem Ob II M 135-136 “F#” does not resolve to “G” Changed beat 1 of measure 136 in SVS measure 136; Beat to “G” for a smoother resolution; one of 136 is a “B” this matches the Fl II resolution Ob II M 137 Eliminated forte found in Does not appear in any of the SVS other woodwinds, and is out of context with the dynamic texture of the section H I M 15 Changed pitch from “D” Matches harmony and Oboe II found in both scores to “C” H I M 136-149 Score discrepancy. Only one Upon comparing this with the measure of rest is indicated MCS and the scribbles found in after measure 136 in the the SVS Horn II, it is clear that SVS. this is a mistake. Included MCS pitches throughout this section, as they are more reliable. H I M 146 Smudge in SVS makes it Repeated the measure based on unclear as to whether or not MCS and SVS Horn II this measure repeats H I M 159 Two notes (“C” and “E”) Chose “E”, as this is the indicated in SVS on beat 1. pattern in the next few measures of the part. The MCS also indicates “E” for this pitch. The “C” is the Horn II part. Perhaps the scribe began writing the HII part accidentally
H I, II M 2 The only parts that are not Left as is. written in octaves.
180 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED H I, II M127-134 Measure discrepancy Determined that the original between Horns and other score of HI and II had an extra parts; pitch discrepancy measure 5 measures after 127. between SVS and MCS Omitted this measure, and used the MCS pitches, as they are more reliable in this case
H II M 21 Pitch discrepancy on second Could be either pitch; included half note: SVS is a C and them both MCS is an E H II M 72 MCS includes additional Included this in score pitch of an E H II M 76, 77 SVS score writes quarter Chose “D” to match harmony notes as “D”; MCS writes quarter notes as “G” H II M 136-149 Score discrepancies due to MCS is much more clear. scribbles in SVS. Measure Scribble in SVS contains the 136 of the SVS is unclear as number 3, and may indicate about how many measures that there should be 3 measures receive rest after measure of rest after 135. This is 136. confirmed by the MCS.
Tr I M 20 Rhythm discrepancy; “D” is Chose MCS half note, as it written as a half note in the matches rhythm of the Oboes, MCS and a quarter in the Flutes, and Voices SVS Tr I M 133 Eliminated half note “C” that Does not match the harmony. is found in both scores in the Clashes with the “B.” first half of the measure Tr I M 153-154 Rhythm discrepancy: the Left as SVS rhythm, as it is second beat of each measure clearly this rhythm in the SVS is a dotted eighth-sixteenth Trumpet II in the SVS and two eighth notes in the MCS
181 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED Tr I, II M 107 Rhythmic discrepancy in Tr I rhythm chosen, as it is SVS trumpet parts. SVS Tr I more clearly written in score, clearly has dotted eight and makes more sense, as the sixteenth on beat 2. Tr II has two trumpet parts consistently 2 sixteenth notes with a dot line up rhythmically. What after the first. looks like a beam that indicates 2 sixteenths notes can be a sloppy dotted eighth-sixteenth beam. The dotted-eighth- sixteenth note rhythm also is consistent with the rhythm of the preceding and following measures of the part. The MCS also agrees with the Tr I rhythm of the SVS
Tr I, II M 151 Changed pitch from “D” Matches harmony and Horns found in both scores to “E” Tr II M 16 Missing beam in SVS Beamed in consistency with SVS Tr I and MCS parts
Tr II M 20 Rhythm discrepancy: “G” is Chose MVS half note, as it written as a half note in the matches rhythm of the Oboes, MCS and a quarter in the Flutes, and Voices SVS Tr II M 43 Pitch discrepancy on beat 3; Left as an E; Very clear in the SVS is an “E”; MCS is a “C” SVS, and this matches the Violas, as well.
Tr II M 85 Pitch discrepancy; SVS is a Left as a “C”; this matches the “C”; MCS is an “E” timpani; SVS is clear.
Timp M 14-15 Missing bar line in SVS Added the bar line
Timp M 43-44, 46 Missing pitches in MCS Included pitches found in SVS
Timp M 107 Rhythmic discrepancy on Changed to MCS rhythm, as beat 2; SVS has eight notes; this also matches the SVS MCS has dotted eighth- Trumpet rhythms sixteenth
182 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED Timp M 110 Rhythmic discrepancy; SVS Included the SVS rhythm, as has a dotted quarter and two this matches measure 106 sixteenths; MCS has quarter and two eighths Timp M 153-154 Inconsistent rhythm with Left as is because timpani part beat 2 with trumpets is clear in both MCS and SVS
V I M 6 Slur unclear in SVS Chose MCS slur, as this also matches SVS slur in measure 10. MCS part is also very clear in this measure
V I M 11 Slurs Included in SVS; consistent with MCS M 6 slurs
V I M 13-26 Appoggiatura discrepancies: Chose cancelled eighths, as MCS cancelled eighths; SVS this is consistent with Non sixteenth notes Mortui.
V I M 13-26 Trills Added “tr” based on context
V I M 26 Both scores indicate “F” Changed to “F#” as this has a natural leading function between the “G”’s and it leads more smoothly to the “F#” on the downbeat of measure 27
V I M 32-33 crescendo Included in MCS V I 31, 38 Articulations Included in MCS; Slurs found in SVS, as well V I M 45 Slur inconsistency; MCS Chose MCS slur, as this is the slurs entire measure; SVS articulation seen most often for begins slur with sixteenth this figure in both scores notes V I M 55 Missing eighth note rest on Included in SVS; consistent with beat 1 of MCS previous entrances of this material V I M 55-58 Dynamics Included in MCS V I M 68 “F” natural on beat 1 in both Changed to F# to be consistent scores with harmony
183 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED V I M 77 Neither score indicates “F#” Added an “F#” to fit harmony in sixteenth not run. and to match material in previous measure.
V I M 87 Appoggiatura Included in MCS
V I M 88 Neither score corrects the Changed the “D#” to “D” “D#” accidental on beat 4 natural on downbeat of 4
V I M 91-95 Trills Added “tr” based on context
V I M 91-95 Appoggiaturas in MCS are Changed to cancelled eighth eighth notes that appear to be note to match MCS Violin II; missing the slash through the this is the same value as the stem appoggiaturas in the SVS that are written as sixteenth notes
V I M 111 “G#”’s Included in MCS and other occurrences of this material
V I M 118 Neither score corrects the F# Changed “F#” to “F” natural accidental on beat 4 on beat 4 because it leads better with the descending line. Also, the F# accidental does correct itself on beat 4 of measure 119
V I M 124 Slur discrepancy; MCS slurs Included SVS slur, as this one quarter notes is consistent with the other instances of this melodic material
V I M 125-126 Slurs in MCS Omitted - they do not appear in the SVS or any other instance of this melodic material in either score
V I M 140-145 Dynamics poco a poco indicated in both scores; Used MCS placement, as it is clearer
184 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED V I M 141 Neither score corrects Changed “F#” to “F” natural “F#” accidental on beat 4 because of the descending line. The “F#” accidental does correct itself on beat 4 of measure 119
V I M 144 ff Included in MCS
V I M 145 Dynamic discrepancy; Chose f, as this matches other MCS ff; SVS f parts
V II pickup to M forte Included in SVS 1 V II M 5 Slurring inconsistent in SVS Chose the MCS slurring as they are more clear and consistent V II M 9 Slur; missing in MCS; Included in MCS slurs used in unclear in SVS surrounding measures V II M 13-24 Appoggiatura discrepancy; Chose cancelled eighths for cancelled eighths in MCS; consistency sixteenths in SVS V II M 13-24 Trills Added “tr” based on context V II M 27 Inconsistent placement of p; Placed on beat 1 to match VI in SVS is on beat 1; MCS is on MCS beat 2 V II M 34 Articulations Included in MCS V II M 43 fortissimo Included in MCS V II M 48 “F” natural indicated in Changed to “F#” to match both scores on beat 1 harmony
V II M 51-53 crescendo discrepancy Chose MCS, as it is more clear
V II M 61 Slur discrepancy: SVS Chose not to slur, as this is includes unclear slurs; MCS most consistent with other does not include slurs in this instances of this material section or others to which it is similar V II M 66 Should beat 1 be a “G”? Left as is, as both scores indicate “B”
185 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED V II M 68 Neither score indicates “F#” Changed to “F#” to match in sixteenth not run. harmony
V II M 75, 76 Slur discrepancy; SVS Omitted slurs based on MCS; includes unclear slurs; MCS consistent with Violin I of SVS does not have slurs V II M 91-101 Ornament discrepancy; SVS Indicated MCS canceled eighth sixteenth note; MCS value for consistency cancelled eighth note V II M 112 Ornament discrepancy; SVS Indicated MCS canceled eighth sixteenth note; MCS value for consistency cancelled eighth note V II M 124 Slur discrepancy; SVS slurs Chose MCS articulation, which entire measure; MCS ties is consistent with previous half note to quarter occurrences of this material V II M 137-138 crescendo Included in MCS Vla pickup M 1 forte Included in SVS
Vla M 1-2 SVS in octaves; MCS only Included SVS octaves indicates higher octave Vla M 4 SVS slur unclear Included MCS slur, as it is more clear. This articulation also matches the Violin I and II slurs that follow
Vla M 8 Slur inconsistency; SVS Chose MCS slur, as this is appears to slur entire more clear and consistent with measure; MCS slurs other occurrences of this sixteenth notes on beats 3 material and 4 Vla M 12 Articulations added Included in SVS
Vla M 13 Rhythm discrepancy: MCS Included SVS rhythm, as it is is two eighths and three clearly written and matches the quarters rhythm of measure 14, which is syncopated in both scores
Vla M 25-26 Articulations added Included in SVS
186 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED Vla M 27 “F” natural on beat 1 in SVS Changed it “F#” to match other parts and as indicated in MCS
Vla M 28-30 crescendo Included in MCS
Vla M 43 fortissimo Included in SVS
Vla M 44 Extra half note in MCS Followed SVS
Vla M 54 forte Included in SVS
Vla M 76 Pitch discrepancy Included MCS; see Chapter III for alternative SVS pitches
Vla M 77 Mistake in SVS, but hand Changed accordingly written “B” Vla M 89 SVS and MCS indicate “G” Changed beat 4 to “G#” and natural on beat 4 and “F#” the upbeat of 4 to “F”, as this on the upbeat of 4 matches continuo
Vla M 108 Additional VLA II pitches in Included MCS Vla M 113 piano Included in SVS
Vla M 115-116 crescendo Included in MCS
Vla I M 121, 125 Pitch inconsistency on Changed to “E” natural to downbeat of 4; SVS match harmony and MCS indicates “E#”’ MCS indicates “E” natural Vla M 122 Additional VLA II pitches in Included in MCS MCS; SVS does not include Viola II pitches Vla M 123 Solo and pitch discrepancy: Changed according to MCS MCS indicates solo, and therefore, omits pitches that are a third lower written in the SVS Vla M 126-127 Additional VLA II pitches a Included third below in MCS
Vla M 145 forte Included in SVS
187 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED SATB Throughout Very little punctuation in Punctuation added throughout original parts based on MCS, as well as that of the text
S M 10 Incorrect syllable in SVS; Changed to “coelos” “coelus” S M 45 SVS has 2 wedges on beat 4 Determined those are there to for purposes of clarifying the text underlay, rather than for purposes of articulation.
S M 48, 68 Incorrect pitch; first quarter Changed to “F#” to be note is an “F” natural in both consistent with other parts scores S M 65 Inconsistent slur; no slur in Chose SVS articulation, as this MCS; slurred according to matches the text and is clearly text in SVS marked in the score
S M 79 fortissimo Included in MCS
S M 105 SVS rhythm unclear One extra quarter rest in SVS. Followed rhythms of Alto and Tenor in SVS and MCS
S M 116 “Do” does not appear to Included a dot have a dot in SVS S M 129 forte Included in MCS S M 130 Missing dot on first quarter Added a dot to first quarter note note of measure in SVS to match rhythms of other parts S M 131-133 Slurs Included in SVS
S M 146-155 Text underlay discrepancy Followed SVS, as this matches other parts S M149-153 Slur Included in SVS S M 153 Dots over upbeat of 2 and Determined to be there for text beat 3 in SVS clarification, as it is not in any other part
188 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED A M 8 Chord consistency with Changed alto to “E” orchestra parts (CM vs. am). SVS and MCS indicate “G” on half note. A M 15 Rhythmic inconsistency; Changed to MCS rhythm to SVS is two half notes; MCS match soprano and alto is dotted half and a quarter measure 19 in both scores
A M 21 Pitch discrepancy on final Chose SVS “A” to fit harmony two quarter notes. MCS indicates two “G”’s. SVS indicates two “A”’s A M 29 pianissimo Included in MCS
A M 29 Unclear marking in SVS Determine to be poco, based on over measure MCS
A M 34 Missing “F#” Changed to “F#” to match Violin II and measure 38
A M 39 Scribble in SVS over Determined to be a “G” to measure clarify pitch
A M 48 Missing “F#” in SVS Added F# to match SVS winds and MCS score
A M 58 Pitch inconsistency on half Chose “B,” this matches note; MCS is “B”; SVS is harmony “C” A M 68 Missing “F#” in SVS and Changed to “F#” to match MCS harmony
A M 79 SVS indicates that beat 4 is Changed beat 4 pitch to a “B” an “G” flat, based on the fact that the other voices are unison “B” flat. “B” flat is included in MCS in this measure
A M 92 Unclear pitch in SVS. Looks Chose “B”flat as it matches like a “B”flat or “C” flat harmony and is indicated in MCS
189 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED A M 100 SVS rhythm is 2 half notes Changed to whole note to match text and MCS
A M 108 Slur Included in MCS A M 115 Text is “qui” in SVS Changed to “quis” A M 116 Missing text in SVS Added the word, “Dominus” A M116 SVS unclear dynamic Placed according to MCS, as it placement is a clearer score
A M 117 Pitch discrepancy on dotted Chose MCS “F” as it matches half note; SVS indicates harmony “E”; MCS indicates “F” A M 119 SVS missing beat Added a quarter rest according to MCS
A M 126 Text line is incomplete in Left the text incomplete, as SVS. Appears as if copyist written, and began the new may have anticipated the “et musical phrase with the next in terra” by beginning to text. This matches MCS write it out and then scribbled it out. A M 127 Moved SVS forte dynamic Aligns with the entrance, and from measure 128 to 127. matches the dynamic of the other voices that enter in imitation
A M 148 Slur inconsistency; SVS Chose the slur employed for slurs the sixteenths, the two every other instance of this eighth notes of beat 3, and material, as it is the most the two eighth notes of beat consistent among each 4 separately; the MCS only occurence slurs the two sixteenth notes T M 7 Slur Included in MCS
T M 11 Slur Included in MCS T M 7, 11 SVS has “e” of ejus syllable Changed underlay to match on beat 4 other voices
190 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED T M 13 First note in the measure is a Changed the pitch to “C”, to “D” in the SVS, but this match the harmony. The note disagrees with the harmony is a “C” at the thematic repeat in measure 17 and the MCS
T M 24 SVS text underlay unclear. Matched MCS Is “lia” all on the first half note, or are the syllables split between the two half notes. The score looks as if both syllables are on the first half T M 25-26 Tie Included in MCS
T M 29 crescendo Included in MCS
T M 34 SVS beat 4 indicates an “E” Changed to a “D”. The “E” did not match the harmony. The “D” leads better. This is also the line in measure 38, which is the repeat of this thematic material. “D” is also found in the MCS
T M52 Beat 3 pitch unclear in SVS B, based on MCS
T M 52 pianissimo Included in MCS
T M 57 Missing dot after half note in Added a dot SVS T M 60 forte Included in MCS
T M 68 SVS indicates a rhythm that Aligned with other parts after does not align with the text. comparing with MCS
T M 108 Slur Included in MCS
T M 123 pianissimo Included in MCS
T M 128 forte Included in MCS
T M 146 forte Included in MCS
191 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED T M 148 Text underlay discrepancy Left as SVS
B M 29 pianissimo Included in MCS
B M 38 SVS appears as if pitches Change made; this also were changed to go up scale matches the SVS continuo (“G”,”A”,”B”,”C”) instead parts and the MCS of “G”, “G”, “A”, “C”. This is also the way it is written in measure 34. B M 46, 47, 48 Text underlay very unclear in Added one text syllable per SVS half note. It lines up rhythmically and is indicated MCS B M 58 pianissimo Included in MCS B M 73 Missing a dot on SVS half Added dot note B M 86, 89 Placement of the “los” is Put on beat 4 as indicated in unclear MCS and matches other voices B M 96 Dotted rhythm different from Left as is because it is clearly other voices marked in the score B M 99 SVS has 2 half notes, which Chose MCS, as this one is more does not match text clear (although does not match underlay; MCS has dotted the rhythm of the upper voices) quarter-eighth, which does not match the other voices B M 104 SVS eighth note pitch Chose “E” as indicated in MCS appears to be an “F” and is matched in the continuo
B M 119, 123 pianissimo Included in MCS
B M 145 SVS includes fermata on this Omitted fermata. It does not measure occur in any other parts
B M 153-154 SVS text underlay unclear Matched text underlay to Soprano and Alto, which also matches the bass measure in the MCS
192 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED B M 158 SVS rhythm and text Chose MCS, as this matches inconsistent; SVS has a text and other voices; the SVS dotted half quarter; MCS has rhythm does not line up with a whole note the text
Continuo M 3 Figured bass has a “6” for Changed figured bass beat one and a “#6” for the upbeat of 2 in both scores Continuo M 3 Incorrect figured bass Changed beat 4 figured bass from “6/5” to “7”
Continuo M 6 SVS includes a marking Determined to be a “C” to above the final eighth note of clarify the pitch the Contrabasso Continuo M 7 Beat 4 missing figured bass Added figured bass
Continuo M9 SVS includes a marking Determined to be a “C” to above the first eighth note of clarify the pitch the Contrabasso Continuo M 10 Added “5” to figured bass Included in SVS M 11 Missing figured bass Added figured bass Continuo M 13 SVS includes a marking Determined to be a “C” to above the final eighth note of clarify the pitch the Contrabasso Continuo M 15, 19 SVS and MCS indicate “#7” Clarified figured base. on beat 3 figured bass. Continuo M 17 SVS includes a marking Determined to be a “C” to above the final eighth note of clarify the pitch the Contrabasso Continuo M 18 SVS includes a marking Determined to be a “B” to above final eighth note of the clarify the pitch Contrabasso Continuo M 22 Missing “F#” on upbeat of 2 Added sharp to “F” to match and 3 in SVS and MCS harmony and other parts
Continuo M 22 Missing figured bass on beat Added figured bass 1 Continuo M 23 Figured bass marked as “7” Changed figured bass to reflect raised third
193 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED Continuo M 27-33 Added “tasto” No figured bass provided during these measures in SVS and MCS. Similar to M in where SVS and MCS indicated “tasto.”
Continuo M 27 piano Included in MCS and SVS Organ part
Continuo M 34 Divisi in SVS Contrabasso Determined to be a mistake. score on quarter notes Chose the notes that match the SVS and MCS organ part
Continuo M 34 Added sharp to beat 2 of Included in MCS figured bass Continuo M 35 Dotted half note figured bass Changed to “6” is “6-4-2” in MCS and SVS Continuo M 36 Incomplete figured bass on Clarified figured bass beat 4 Continuo M 39 Missing figured bass Added figured bass
Continuo M 40 MCS and SVS indicated Changed figured bass flat 5, but should be a flat 7
Continuo M 46 Second half note pitch is “E” is indicated in the organ unclear in Contrabasso part. There is a little scribble/ note written above pitch that appears to say “E”. “E” also matches the harmony and the vocal bass line
Continuo M 48 Missing figured bass Added figured bass
Continuo M 50 Incomplete figured bass Added sharp
Continuo M 50-61 Added “tasto” No figured bass provided during these measures in SVS and MCS. Similar to M in where SVS and MCS indicated “tasto.”
194 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED Continuo M 65, 66, 68 Missing figured bass Added figured bass
Continuo M 66-68 decrescendi Included in SVS
Continuo M 70 Added 7 to figured bass Included in SVS
Continuo M 75-77 Missing figured bass Added figured bass
Continuo M 86 Missing figured bass Added figured bass
Continuo M 87 Figured bass incorrectly Moved figured bass from placed in measure. MCS and second half to first half of SVS placed “7” over beat 3 measure
Continuo M 89 Missing “G#” on beat 4 in Added sharp to match the both MCS and SVS harmony.
Continuo M 94 Missing “C#” on beat 4 in Added sharp to match harmony both MCS and SVS Continuo M 95 Incomplete figured bass Added raised 3 to figured bass
Continuo M 96-101 Eighth note ornaments in Chose cancelled eighths, as SVS Organ and Contrabasso this is consistent with the parts; MCS indicates eighth strings note appoggiatura in measures 96 and 100. The remaining ornaments in this section are give the value of a cancelled eighth Continuo M 101 Incomplete figured bass Changed figured bass to include raised third
Continuo M 104 Incorrect figured bass Changed figured bass on upbeat of 2 from “6”
Continuo M 104 Incorrect figured bass Changed beat 4 figured bass from 6/5 to 7
Continuo M 105 Missing figured bass Added figured bass
Continuo M 108 Incomplete figured bass Changed beat 4 figured bass from 5/3
195 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS SOLVED Continuo M 112 Added figured bass Included in SVS
Continuo M 122 Unnecessary figured bass for Eliminated beat 1 figured bass root position chord
Continuo M 122 Missing figured bass in SVS Added beat three figured bass Included in MCS
Continuo M 122 Missing figured bass on Added figured bass beat 4
Continuo M 125-126 Missing figured bass Added figured bass
Continuo M 129-130 Figured bass written one Included the SVS figured bass, measure later in MCS as this matches harmony
Continuo M 134, 135 Missing figured bass Added figured bass
Continuo M 136-144 Added “tasto” No figured bass provided during these measures; similar to measure 113 in SVS and MCS indicated “tasto.”
Continuo M 143-146 Discrepancy in dynamic Chose SVS, as this is clearly placement; SVS marks f on written in both Organ and beat one quarter note of Contrabasso parts; also lines up measure 145 and ff on with melodic material downbeat of measure 146; MCS marks f on beat 3 of measure 143 and ff downbeat of 145. Continuo M 147-148 Missing figured bass Added figured bass
Continuo M 155 Incorrect figured bass in Provided correct figured bass MCS in SVS
Continuo M 156 Figured bass indicates only a Changed figured bass flat “7” Continuo M 158 Figured bass includes only a Changed figured bass natural “3”
196 INSTR/ MEASURE PROBLEM/ISSUE TO REASON FOR SATB BE ADDRESSED EDITORIAL MARKING OR HOW PROBLEM WAS Continuo M158-159 Contrabasso missing a Upon comparisonSOLVED with the organ measure part, repetition of M 159 omitted in Contrabasso Continuo M 159, 160 Figured bass inconsistency; Chose MCS placement, as this SVS is on beat 4; MCS in on is consistent with harmony. beat 3
197 APPENDIX D
Survey of Short Sacred Works by Peter von Winter
Compositions Voicing/Instruments Location Publisher/Collection
Ave Maria STB Trio Biblioteca Comunale Peregally, A & Parvy (1825) Labronica Francesco fils, editor Domenico Guerrazzi - Livorno
Ave Regina SATB, Organ Bayerische Falter und Sohn Coelorum StaatsBibliothek; St. Vincent Archabbey, Latrobe, PA
Excelsus Super SATB Chorus, Biblioteca Canti Sacri; Noseda Omnes Gentes Orchestra Conservatorio di Musica Giuseppe Verdi - Milano; St. Vincent Archabbey, Latrobe, PA
Graduale: Victimae SATB Chorus, Biblioteca Canti Sacri; paschali laudes Orchestra Conservatorio di Noseda Giuseppe Verdi - Milano
Lucis Creator SSTB, Organ St. Vincent Peters Archabbey, Latrobe, PA
Miserere SATB Chorus, Biblioteca del Canti Sacri; Orchestra Conservatorio di Noseda Musica Giuseppe Verdi - Milan
198 Compositions Voicing/Instruments Location Publisher/Collection
Non mortui SATB Chorus, Biblioteca del Canti Sacri; laudabunt te Domine Orchestra Conservatorio di Noseda Musica Giuseppe Verdi - Milan; St. Vincent Archabbey, Latrobe, PA
Numi la Vittima SST Chorus, Biblioteca Civita Belongs to Raccolta (c. 1790) Orchestra Angelo Mai - de Vari Pezzi Bergamo
O Jesu Fili Mari SSTB, Organ St. Vincent Peters Archabbey, Latrobe, PA
O Pescator dell’onda SATB Biblioteca del Noseda Conservatorio di Musica Giuseppe Verdi - Milan
Domus Israel SATB Chorus, Biblioteca Musicale Anton Diableei & Speravit in Domino Orchestra Opera Pia Greggiati - Co., Austria (Offertorium) Ostiglia; ed. ca. 1836 The Newberry Library, Chicago, IL
Regina Coeli SATB Chorus, Bayerische from Zwei Regina Strings, Organ StaatsBibliothek Coeli
Sanctus in F SATB, piano Bayerische ed. Martin Banner; Orchestra parts StaatsBibliothek Colla Voce, 2004 available
Tantum Ergo SATB, Orchestra Bayerische from Sechs Tantum StaatsBibliothek Ergo
Te Deum SATB Chorus, Biblioteca Musicale Falter und Sohn, Orchestra Opera Pia Greggiati - Munich Ostiglia
199 Compositions Voicing/Instruments Location Publisher/Collection
Tu es Deus; D-Dur SATB Chorus, Bayerische Wermund 1985 (Offertorium) Orchestra StaatsBibliothek
Salve Regina SATB Chorus, Bayerische from Sechs Sale Orchestra StaatsBibliothek Regina; Falter
Veni Sancte Spiritus SATB Chorus, Bayerische Falter, ca 1810 Orchestra StaatsBibliothek
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