Luigi Gatti and the Catalogus Musicalis in Ecclesia Metropolitana of the 1 Salzburg Cathedral (by Lars E. Laubhold and Eva Neumayr) Summary: Auf Luigi Gattis 1782 erfolgte Anstellung als Salzburger Hofkapellmeister geht auch die Erstellung des Catalogus Musicalis in Ecclesia Metropolitana, des ältesten noch erhaltene Bestandskatalogs der Salzburger Dommusik, zurück. Der Beitrag diskutiert die Bedeutung dieses Katalogs für die quellenkritische Einordnung erhaltener Musikalien − Datierungen, Autor- und Provenienzzuweisungen etc. Darüber hinaus gewährt der Catalogus Einblicke in Repertoiregestaltung und Musizierpraxis am Salzburger Dom unter sich wandelnden äußeren Bedingungen in den Jahrzehnten um 1800. When Luigi Gatti was appointed Kapellmeister of the Salzburg court in 1782, archbishop Hieronymus Colloredo ordered him to register all music manuscripts in an inventory «so that nothing of the music shall be withdrawn»2, as his decree of appointment says. Gatti assigned the main copyist at the Salzburg court, Joseph Richard Estlinger (1720−1791)3, who is an important figure for the transmission of Mozart’s Salzburg works, to the task. Subsequently Estlinger wrote an inventory of the music archive of the cathedral (Dommusikarchiv), which he designed as a thematic catalogue in two approximately equal volumes consisting of 196 respectively 188 pages, both entitled Catalogus Musicalis in Ecclesia Metropolitana4. Each volume has an additional inscription on the title tag indicating where or by whom the volume was used: one has the label «Archivium», the other the label «Gatti». So, apparently, one copy stayed in the archive, 1 An earlier version of this paper, which focused on methodological aspects, was published in 2010: LARS E. LAUBHOLD − EVA NEUMAYR, Der Catalogus Musicalis des Salzburger Doms. Anmerkungen zur systematischen Erschließung einer problematischen Quelle, in Jahrbuch des RISM-Österreich 2010, ed. by Michael Jahn and Klaus Petermayr, Der Apfel, Wien 2010 (Veröffentlichungen des rism-österreich, A/14), pp. 25−48. 2 «[…] auch die Inventarien richtig gefasset und verwahret werden, damit der Musique nichtes entzochen werde […]», decree of appointment: Salzburger Landesarchiv, Hofkammer, Generaleinnehmer- und Hofzahlamt (HZA) 1783/1/H., cf. ERNST HINTERMAIER, Die Salzburger Hofkapelle von 1700 bis 1806. Organisation und Personal, Salzburg (Phil. Diss) 1972, pp. 134−5. 3 Cf. HINTERMAIER, Die Salzburger Hofkapelle, pp. 91−3. 1 where the music manuscripts were kept, while the other was permanently at the Kapellmeister’s disposal.5 In the Catalogus Estlinger arranged the composers alphabetically and reserved different sections for different genres of works. So, for the long-standing Kapellmeister Johann Ernst Eberlin he provided sections for «Vesperae», «Litaniae», «Missae», «Requiem», «Offertoria», «Regina coeli» and «Miserere». The section containing the works by Gatti only comprises the rubrics «Lytaniae», «Vesperae», «Offertoria», «Missae» and «Te Deum Laudamus». Each entry consists of a successive number, the key, remarks on instrumentation, text incipit, liturgic classification of the feast’s rank and, sometimes, the name of the feast. On the right hand side of each entry is a musical incipit, occasionally including a tempo indication [Fig. 1]. 4 Archiv der Erzdiözese Salzburg (AES), without shelfmark. 5 WALTER SENN, Der Catalogus Musicalis des Salzburger Doms (1788), in «Mozart-Jahrbuch» 1971/72, pp. 182−96: 183. 2 Figure 1: Catalogus Musicalis, copy «Gatti», p. 61: Entries No. I to IV show the original design of the catalogue by J. R. Estlinger. Entries No. V and VI were added later by L. Gatti and Copyist of Salzburg 140 respectivly. All the following entries were made by J. J. Fuetsch who was responsible for most of the cataloguing after Gatti’s death. (Photo: Peter Rohrmoser, courtesy of AES) 3 However, Estlinger was not the only writer. In fact he created less than half of all entries in both volumes―in the copy meant for Gatti exactly 38 per cent. After his death in 1791 several copyists continued to keep records in the Catalogus. Two of them are known by name: the court cellist and later Kapellmeister of the cathedral Joachim Joseph Fuetsch (1766−1852)6 and Luigi Gatti himself. Their later entries document new aquisitions as well as supplementing older compositions that, partly, were not performed anymore. Changes of repertory in the early 19th century as well as constant additions, corrections, cancellations, commentaries made the two volumes quite confusing. When Luigi Gatti died in 1817 an inventory was ordered by the authorities, and, successively, Joachim Joseph Fuetsch finished the new catalogue in 1822, again in two volumes.7 In order to explore it’s full information and to estimate the reliability of entries, it was necessary to reconstruct the history of the Catalogus in some detail. There are four secure benchmarks in the chronology of the Catalogus: 1) the instruction given to Luigi Gatti to redesign the music inventories in 1782 2) the death of the first main writer J. R. Estlinger in 1791 3) the order to carry out an inventory in 1817 4) and the new catalog by J. J. Fuetsch, dated 1822 With 55,8 per cent of all entries Joachim Joseph Fuetsch can be considered the real main copyist of the Catalogus, copy «Gatti». His handwriting was easily identified, since it is documented in his new Catalogus from 1822, which is signed and dated. Until recently, the second main writer of the copy labelled «Archivium» was enigmatic. It seemed especially unusual, that his handwriting was hardly found in the music manuscripts of the Salzburg Dommusikarchiv, while the amount of entries made by him in the Catalogus bore witness to the fact that he at some time between 1791 and 1822 belonged to the inner circle of persons that organized the archive of music manuscripts. 6 Cf. HINTERMAIER, Die Salzburger Hofkapelle, pp. 128−30. 7 «CATALOGUS / MUSICALIS in ECCLE= / =SIA METROPOLITANA / conscriptus 13 Julij anno / MDCCCXXII [later added above the date:] ab Joachimo Fuetsch [Manu propria] Chori dirigente [beneath 4 Figure 2: Catalogus Musicalis, copy «Archivium», p. 177 (detail): Second main writer of the Catalogus identified as Copyist of Salzburg 67a. (Photo: Peter Rohrmoser, courtesy of AES) A first key to unravel the mystery was the shape of the quarter break, which is not at all typical for Salzburg manuscripts [Fig. 2]. Nevertheless there was one handwriting with such a break documented in the Salzburg copyist’s catalog8, labeled as Copyist of Salzburg 679. Another handwriting, that was found during the cataloging for RISM, is, in some respects, similar but not identical to the before mentioned Copyist of Salzburg 67 and was labeled Copyist of Salzburg 67a. However, within approximately 1500 the title the owner’s mark of the Domcustodie, i.e. the bureau of the cathedral’s curators:] D:C:», AES, without shelfmark. 8 The identification of writers is based on the Salzburg Copyist’s Catalogue, which was started by Manfred Hermann Schmid in 1970 and continued by P. Petrus Eder (OSB) at the music library at the abbey St. Peter and by Ernst Hintermaier at the Archiv der Erzdiözese Salzburg. Cf. MANFRED HERMANN SCHMID, Die Musikaliensammlung der Erzabtei St. Peter in Salzburg. Katalog. Erster Teil: Leopold und Wolfgang Amadeus Mozart Joseph und Michael Haydn. Mit einer Einführung in die Geschichte der Sammlung, [Internationale Stiftung Mozarteum], Salzburg 1970 (Schriftenreihe der Internationalen Stiftung Mozarteum, 3/4; also: Publikationen des Instituts für Musikwissenschaft der Universität Salzburg, 1) Today this Catalogue is permanently amended by the RISM Salzburg working group and consists currently of about 500 samples. Copyists, whose names are unknown, are entered in the RISM data base as «Copyist of Salzburg [number]». 9 A handwriting documented in the old Copyist’s Catalogue as Nr. 137 is, actually, identical to Copyist of Salzburg 67. 5 signatures in the Dommusikarchiv only 20 parts within nine manuscripts were written by one of these copyists [Chart 1].10 In the cataloged part of the music at the music archive at St. Peter’s Abbey in Salzburg Copyist of Salzburg 67 is found with only one (but at least complete) set of parts of Michael Haydn’s Notturno MH 187.11 Shelf mark, composer, and short title Copyist 67 Copyist 67a A 560, M. Haydn: «Dixit Dominus» and «Magnificat» in C (MH vl 1, vl 2 321) A 623, L. Gatti: Mass in Bb ob 1, ob 2, Coro B A 626, L. Gatti: Mass in Bb vl 2 A 650, L. Gatti: Offertory «Inveni David» vlne, org vl 1, vl 2 A 661, L. Gatti: Offertory «Ave Maris stella» (GehG 221.4) vl 1, vl 2, vlne A 704, L. Gatti: «Te deum» in C vl 1 A 1127, W. A. Mozart: Litany in Bb (KV 125) T, B A 1165, J. Haydn: Die Schöpfung (Hob XXI:2) Coro B (2x) A 1349, W. A. Mozart: Requiem (KV 626) cl (=ob) 1, cl (=ob) 2 Chart 1: Manuscripts written by Copyists of Salzburg 67 and 67a within the holdings of the Dommusikarchiv. However, while examining the manuscripts of sacred music of Salzburg provenance in the stock of Fondo Pitti at the Biblioteca del Conservatorio di Musica di Firenze12 the RISM Working Group Salzburg found large quantities of manuscripts by these copyists. They belong to a group of copies made for Ferdinand III, Grand Duke of Tuscany (1769−1824). Due to the Napoleonic wars, he reigned Salzburg from 1803 to 1805. After that short period he became Grand Duke of Würzburg and finally returned to Florence in 1814. After examining the largest part of all Salzburg music manuscripts in the Fondo Pitti, 94 materials were identified that were written partly or completely by one of these 10 A-Sd A 661 was recently newly identified. Cf. LAUBHOLD − NEUMAYR, Der Catalogus Musicalis des Salzburger Doms, p. 33. 11 A-Ssp Hay 1920.1: vl 1, vl 2, vla 1, vla 2, vlc. Cf. SCHMID, Die Musikaliensammlung der Erzabtei St.