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Music manuscripts from the seventeenth to the twentieth centuries in Stams, Bressanone, Salzburg, and from "Vipiteno".

The RISM office in Innsbruck is active in the states of Tyrol (Austria) and South Tyrol (Italy, Austrian until 1918) and also in the Franciscan Province of Austria, which includes the Franciscan monasteries in all of Austria and South Tyrol. An overview of the activities of this RISM office can be found on the website of the Institut fur Tiroler Musikforschung (Institute for Tyrolean Music Research) in Innsbruck at What follows here is an insight into the latest working progress of our RISM cataloging of one representative music archive per named region.

The music holdings of the Cistercian Monastery of Stams, Tyrol, the Diocesan Archives Bressanone in South Tyrol and the Franciscan Monastery of Salzburg are our main focus currently. They are not only well-known as being comprehensive, but are also extremely valuable sources with regard to their content. A considerable part has already been cataloged scientifically and in many ways evaluated in part. So with the publication of new contributions on alternating musical and historical issues with new insights, in addition, manifold in definitive works identification of international relevance, in systematically designed and conducted concerts with programs from our inventoried sources, and accompanied by CD and music editions or in supplying selected objects for exhibitions. (2) The further use of findings from the basic research, as is practiced at our RISM office, is carried out on the one hand within the team, and on the other by external parties. This circle has continually expanded since the publication of our acquired title recordings in RISM-OPAC (, both in terms of numbers and in relation to their regional or professional provenance and also their intentions.

In spite of the long-existing publicity of the extraordinary consistency of the musical stocks in Stams, Bressanone and the Franciscan Monastery in Salzburg, it seems appropriate once more to dedicate public attention to them, because their already impressive image has just recently again experienced a very specific enrichment. As a result, selected outstanding sources from these locations will be presented here briefly and representatively, that have now been catalogued in detail for the first time. Quite a few of them which came to light only recently, were a complete surprise. However, all contain qualities that allow us to gain new insights into the regional and international music history and to revise the current standard of knowledge.

In the late summer of 2010 by lucky coincidence, a collective manuscript of keyboard music with a remarkable content, was found in a private home in the Tyrolean Lech Valley. It appears to come from "Vipiteno"/South Tyrol, where a "servant" of the local parish dean seems to have written its essential components around 1780. Apparently, it was stashed in an inconspicuous pile of several hundred other manuscripts and prints; its existence entirely unknown. (3) The presentation of this not-so-everyday discovery ought to serve as an outstanding exemple, that we have by no means reached the end of our task. With the proper documentation of first-rate music sources, despite what has been achieved so far, a continuous intensification is still required, and it would be irresponsible to not fully commit to an enduring indexing of music history sources. To forego this, would continue to cause gaps in knowledge and false interpretations, and disrepute, which is not conducive to any science.

Manuscripts from the Stams Monastery Music Archives (A-ST) from around 1700

Among the special aspects of the handed down music of Stams, is that much of the sacred and especially the secular works like symphonies, etc. from the second half of the 18th century, were preserved, including many universally one-of-a-kind pieces. We did not think that Stams would have a noteworthy source transmission for the time prior to this, apart from some church music printed around 1730. Recently however, a striking advance has developed: there appeared two bundles of hand-written music fragments, with an estimate total of one hundred loose, mostly disarranged and invariably trimmed sheets, washed out, the ink strongly faded, with adhesive and solvent traces, and hence partially lost text. The Innsbruck musicologist Prof. Dr. Walter Senn (1904-1981), undertook a large-scale ordering and cataloging of the music archives of Stams Monastery in 1933/34, according to what was then possible. He had attached a note for these two fascicles that this was material which had served "as a binding cover" for the printing of the "Philomela Cisterciensis" by Albericus Hirschberger, Burghausen 1743 (RISM A/I H 5645), a collection of six masses including offertories and church sonatas by the renowned composer and Cistercian in the Bavarian Monastery Raitenhaslach. Whether all of these detached sheet music with colorful content belonged to the erstwhile protective cover, which was acquired by Stams Abbot Rogerius Sailer OCist (reigned 1742-1766), and today is a still completely present edition with eleven voices, remains perhaps questionable. What is certain is that today, by means of this respectable "waste paper", we have before us, entirely new evidence for the musical practices in Stams for the period around 1700. Although it deals primarily with fragments of parts, once again it reinforces the reputation of Stams as a musical treasury: it even contains singular treasures in the once discarded scrap paper. Three examples to suggest this. Out of the scrap paper from the Stams rubbish bin, two complete masses for four voices and three violins respectively two violins and viola as well as basso continuo from around 1670, written by the same (anonymous) copyist, could be indexed. According to the current state of research, they could be unique. The one with the string accompaniment of three violins bears an author's information of questionable reading, the other is delivered anonymously. For neither has it yet been possible to determine the author, or find a parallel transmission. (4) A substantially complete Aria for Violin (with scordatura) and basso continuo of the composer "R. P. Miller", in a manuscript around 1720, could perhaps be assigned to the Innsbruck Court violinist Philipp Anton Miller (f 1731) and would possibly be a first composition by him, which again testifies to the musical relationship between Stams Monastery and the Innsbruck Court. (5) Separately it should be mentioned--though incomplete--is a collective manuscript from circa 1715 with two Sonatas for two Violins, Viola and (explicitly) Organ by Gottfried Finger, who worked as Concertmaster and Director of the Innsbruck Court music from 1707 to 1717, then at the legendary Mannheim Court orchestra. Both sonatas composed by the successful musician and composer at the London Court under King James II, point to some first evidence, probably a work from his time in Innsbruck. (6)

Choir-books in the Diocesan Archives Bressanone (I-BREd) from the environment of the Innsbruck Court music around 1610

As particularly striking examples of high-quality sources in the Diocesan Archives of Bressanone, three handwritten choir-books from the years around 1610 are highlighted; that due to their origins and their content, are to be regarded as rarities. The following facts may shed light on this: all three choir-books, behoove in their provenance, by ownership notation, to the Bressanone Cathedral Church. In part extreme traces of usage attest to the fact that the contained works were extensively practiced, and we therefore could exactly denote the liturgical music repertoire at the beginning of the 17th Century in Bressanone by leading composers of the time based on a section in this source. We also run into a very remarkable case in Bressanone, that date the handwritten choir-books, no doubt, a few years prior to the printed part books. Also that they, with regard to the contained pieces, which are also elsewhere delivered in manuscript, additionally represent the oldest source. This opens up new aspects of dating compositions, for example. Highest authenticity manifests itself in the Bressanone choir-books especially if they are in the immediate setting of their foremost represented composer Johann Stadlmayr (ca. 1575-1648), court music director in Innsbruck from 1607 to 1648. They were written during his tenure, by bass singers of the Innsbruck Court music, hence his subordinates. It is inconceivable that the court music director and main author of the included musical works would not accompany these in person on site, on top of that, if these were likely to be determined specifically for the venerable Bressanone Cathedral, the Diocesan center of Tyrol under reign of a prince bishop with court, which included court and cathedral music, right in close proximity.

Georg Burkhart (f 1643 Innsbruck), bass singer of the Innsbruck Court music from 1603 to 1618, wrote a choir-book for Bressanone around 1615 titled Musica super cantum gregorianum [...], which he dedicated to the Suffragan Bishop of Bressanone Simon Feuerstein and Bressanone-General Vicar Hieronymus Otto Agricola in the preface. (7) The 17 sacred works included therein are introits by Johann Stadlmayr, published partly in 1626 in Part 2 of his Musica super cantum gregorianum (Ravensburg: Johann Schroter, RISM A/I S 4290), some probably furthermore unpublished, moreover anonymus. But also two, yet not otherwise determined masses, which include a six-parts by Rudolph di Lasso (1563c-1625), the other five parts, with the author information clearly written, "Andreas Hagen". The identification of this composer stands out clearly, hence the question: why we do not know of a composer who was present in such a prestigious cathedral like Bressanone within an obviously illustrious circle? It is exactly these two primary examples which gives this source an exquisite value.

Another important Bressanone choir-book from around 1620 was written by Georg Moser (pre-1600 Schwaz/Tyrol--Vienna 1654), who was official Ingrossist (copyist of choir-books) from 1616 to 1622 at the Domkapitel (Cathedral Chapter) in Bressanone. It includes 68 anonymous sacred songs, mostly introits. Johann Stadlmayr is clearly the composer for 65 of these pieces; they finally appear printed in 1625 in Part 1 of Musica super cantum gregorianum (Ravensburg: Johann Schroter, RISM A/I S 4289). The author of the other three works in this Bressanone tome is, with reasonable certainty but without ulitmate proof, also Stadlmayr. (8) After betaking his services for Salzburg from Bressanone in 1622, Georg Moser inscribed a choir-book in 1626, which bears a dedication to Prince-Archbishop Paris von Lodron (reigned 1619-1653). This is relevant within the Bressanone context insofar as it contains, with three exceptions (two "Asperges me" and a "Haec dies"), the same pieces as are in the Bressanone-produced choir-book about five years earlier, and additionally has the almost 30 other works by Stadlmayr. In contrast to his anonymous work in Bressanone, Georg Moser calls himself the writer by name in Salzburg in 1626. He also mentions Stadlmayr as the composer, and makes reference to the by now already published Musica of 1625. Bressanone has a considerable part of Stadlmayr's Pars Prima of his Musica at its disposal; clearly the earlier evidence or the oldest ever, but the explanation for its anonymity still remains unresolved. (9)

Furthermore, clear traces of the Innsbruck Court music to Bressanone are shown in a choir-book with five Magnificats by Johann Stadlmayr. The bass singer Jakob Brandt inscribed it between 16 December 1606 and 28 May 1607, at the time of the commencement of Stadlmayr's service in Innsbruck as Hofkapellmeister. The source therefore might have been the printed Sacrum beatissimae virginis Mariae canticum (Munich: Adam Berg & Nicolaus Heinrich 1603, RISM A/I S 4282) from Stadlmayr's time as archiepiscopal musician in Salzburg, but it stands to reason that Stadlmayr himself yet again accompanied the making of this choir-book. After all, its leather cover has a coat of arms on front and back which is from the previous reigning Tyrolean Archduke Ferdinand II. (10)

A fascinating part of the music stock in the Domkapitelarchiv (Cathedral Chapter Archives) of Bressanone is its enormous multiplicity of genres. Elitist church music at the height of its time is as important as a locked-away holding of some 100 manuscripts for brass music bands from the 19th Century, which are relatively more rare as primary evidence of the history of the ever-present and dominant brass music in Tyrol. On this topic I have published a comprehensive article in the South Tyrolean culture magazine Der Schlern (The Sciliar) in 2010, and thus have provided the basis, through the indexed sources of RISM, for an essential contribution to the study of brass music in Tyrol. (11) Here again the general public was the beneficiary of our basic scientific research and in August 2010 had at last acoustically encountered, at a concert by the Bressanone Burgerkapelle (citizens' band), repertoires of historic Tyrolean brass band culture from the Bressanone Domkapitelarchiv. One can read about how we managed all the challenges during this project in detail.

As a secondary outcome of our work for RISM with a popular public effect presented here, is an arranged piece for brass band from the opera Adelaide di Franconia by Pietro Combi (1808 Venice-Milano 1853), first performed in Trieste in 1838. Its interpretation by the Burgerkapelle Bressanone in 2010 is based on a score, hand-written in Bressanone around 1850 and handed-down in Bressanone. The piece described in the Bressanone source as a Cavatina, is not yet rendered more precisely, because sources for this opera have only been scarcely handed down. In the RISM Database both, the composer Combi and the opera Adelaide, can now be found here for the first time. (12)

Significant unique sources in the Music Archives of the Franciscan Monastery Salzburg (A-Sfr): Musical tradition of the order in the 19th Century and modern classics

In the Franciscan monastery in Salzburg, along with the richness of unique sources of music at the Salzburg Court and in its circle, the tradition of Franciscan music tradition is the focal point. The 200th Birthday of Franciscan Father Peter Singer (1810 Haselgehr/ Tyrol--Salzburg 1882) was on the 18th of July 2010. He worked from 1840 until the end of his life in Salzburg. Fr. Peter Singer was a legend in his time as a musician, composer, instrument builder, religious man of the order, and surprisingly, a strong attraction for tourists in Salzburg, even appreciated by the generally critical and notorious Viennese music critic Eduard Hanslick (1825-1904). For the anniversary year, we have integrated a small proportion of Singer's works, including autographs, into the catalog inventory at the Franciscan Monastery Salzburg, which are listed in the works catalog by Wolfgang Hoffmann, 1990, as "missing" or pieces that do not even turn up, for example those for the famous Pansymphonicon (a harmonium-like instrument with a multitude of orchestral sound capability), invented and built by him. (13) Since the sounds that Fr. Peter Singer drew out of this instrument could only be supposed from contemporary verbal descriptions, now were added, for the first time, autographic notations that were found and made available through our RISM catalog. (14) On 3 October 2010, during the liturgy in the Franciscan Church in Salzburg, two motets and a mass by Fr. Peter Singer from the new catalog entries were performed for the first time, and furthermore were made into first editions. (15)

The process, from a declaration of loss to the discovery of musical scores, and up to the first edition, is also taking place at the moment for a Proper of the Mass (four pieces) by Egon Wellesz, thanks to our RISM cataloging in the Franciscan Monastery of Salzburg. On the website of the Egon-Wellesz-Fonds der Gesellschaft der Musikfreunde in Vienna, there is currently, under "News", a report on the collective manuscript in the Franciscan Monastery in Salzburg, which contains the Proper of the Mass op 71 to Wellesz's Missa Laetare op 51. (16) The autograph of Opus 71 is considered lost. So far, on the working of a manuscript, only autographic sketches and drafts are known and stored in the Music Department of the Austrian National Library. Among the music in the Franciscan Monastery in Salzburg a manuscript was now found, which Carena Sangl, in cooperation with Egon-Wellesz-Fond, identified as a conductor's copy of the world premiere in Linz in 1953. (17) Through the work of RISM in the Franciscan Monastery in Salzburg, new and essential knowledge regarding the work of composers of region-specific and international importance could be gained. Furthermore, RISM also took a step towards a not so common documentation of a source from the 20th century.

Partitas and Praeambula in "Vipiteno"/South Tyrol, 1780: an impressive compendium of contemporary piano literature

In the above-mentioned "Vipiteno" collective manuscript, the range from regional international within a single source, stands out considerably right at first glance. (18) Through a notation of ownership and usage reference, which also provides the basis for identifying the main writer, these composers are listed for the pieces: "Mozart: Heyden: Dagen: Mansarini: [recte: Manfredini?] Alb[er]ti I Santelli: Adlgasser. Paris. Wagen Sail Kobrich I Eberlin. Terzi". Of the issues that arose during the partial entries of the included 130 pieces, some particular ones ought to be hierinafter addressed, in order to make clear the high value of the manuscript with regard to the knowledge of the composer's works, in particular from the Austrian-Southern German region, and for the repertoires of keyboard music quintessential for a small Tyrolean trading town in the late 18th century. This, despite the restriction that currently 66 of the pieces, consequently the half, had to remain anonymous.


For Tyrol, the manuscript is a rarity, as it contains 14 piano pieces where the author mentioned is Fr. Magnus Dagn (1747-1792), Benedictine and organist in the Tyrolean Fiecht Monastery. While contemporary reports repeatedly praise Magnus Dagn's virtuoso skills at playing the organ, and he was certainly the first authority for organ and music lessons in the land, we hardly had a composition available from him. Now, solid impressions are unfolding, although based on small pieces, which probably also were used for instructional purposes. Magnus Dagn is twice named in the title with Fiecht being his working sphere. (19) Could this be an intonation that this really is the legendary figure? Otherwise, only one further place on composers is mentioned in the volume (Adlgasser/ Salzburg). (20)

Another emphasis in the testimony of the manuscript concerns Salzburg composers. The Salzburg Court organists Anton Cajetan Adlgasser (1729-1777) and Anton Ferdinand Paris (1744-1809) are each represented by four pieces by name, whereas with Adlgasser three are missing in the works catalog (21), and from Paris all four are primary evidence. It is striking that two actual pieces by Leopold Mozart are labeled only "Mozart" as author, whereas for an "Allegro molto" in C major (3/4) "Giovane Wolfgango Mozart", thus the young junior Mozart, is named and is consequently Wolfgang Amade. This "Allegro molto" is not in the K[ochel] Verzeichnis] and could be detected only once by me thus far, namely in a copy from the 18th century in Mustair Monastery (Switzerland, 1728-1762 in the reign of Habsburg dynasty) under "Brixi". (22) To clarify this issue of authorship it would be useful to have, among many other things, information about the sources for copying the manuscript, as well as the biography of the copyist. A study with full details is in preparation. Franz Xaver Murschhauser and Johann Christian Bach, for example, at least are named for the exclusive content of the manuscript. (23) Especially the Sonata in A flat major by Johann Christian Bach composed in 1762 and, in general, survived only in manuscript form, would probably still have been a welcome addition to the recently published catalog of the "Bach-Quellen in Wien und Alt-Osterreich" (Bach Sources in Vienna and Old Austria), 2011. (24) Previously we had catalogued collective manuscripts of organ music for liturgical use in Tyrol from the 18th century, for example, from around 1760 in the Franciscan Monastery Bolzano and around 1770 in the Diocesan Archives of Bressanone. (25) The Partitas and Praeambula from "Vipiteno" in 1780 include pieces for organ and piano for church and home, whereas the domestic-private Divertissement are in the majority, and thus influence the source's value.

Towards a Future Vision

In the remarks just made, at least an idea could be passed on of how we contribute to the enrichment of fundamental knowledge of music history through our current RISM work, and also how we aim to reach a broad audience outside of experts and how we go about this. Especially for the last group, there would still be much to report on, like the Tiroler Weihnachtskonzert (Tyrolean Christmas Concert) 2010, in which once again, after the Tyrolean Christmas Concert in 2008, "new" Tyrolean Christmas music from the music archives of the Franciscan Monastery in Reutte, catalogued by Fr. Oliver Ruggenthaler OFM, was performed. Or from the Tiroler Tage fur Kirchenmusik (Tyrolean Days of Church Music), Stams in 2010, where a selection of 20 motets from the collective print Sacrae Nymphae Op 4 by the Tyrolean Benedictine Leopold von Plawenn (ca. 1620-1682), published in Ulm in 1679, in RISM A/I, P 2606, was heard in concert and at the liturgy. Live recordings of all these concerts of the Institut fur Tiroler Musikforschung (Institute for Tyrolean Music Research), all premieres, appear as lasting documentation on CD. (26) Especially through the frequent broadcasts by the ORF (Austrian Radio) and RAI (Radio Televisione Italiana, Bolzano Station), we contribute to the public awareness of music from Tyrolean composers and our archival work in progress. All this would not be possible without the precedent work of RISM. (27)

Both in North and also in South Tyrol, hundreds of historical music collections exist, some cursory sighted, some not even elicited. Even though sightings have been made, new discoveries can follow, like the current example from Vipiteno makes clear: In February 2004, a review of the music in the archives of the parish church in Vipiteno there had not been the slightest clue as to the possibility of the existence of such an extraordinary source. The subsequent dispersal of music from an institution or person is an own complex, and is difficult to get a grasp on. Often only by fortunate coincidence as in "Vipiteno" and the Tyrolean Ausserfern can this be depicted. Thus, RISM should be alloted "a never-ending story".

Addendum, 10 February 2012

The study in preparation on the "Vipiteno" collective manuscript, mentioned above on p. 22, has now been completed. As a result, "Das Allegro molto in C 'del Signore Giovane Wolfgango Mozart' im Klavierbuch 'Sterzing' 1780", in: Mozart-Jahrbuch 2011 (2012), will be published by the author, which is in print.

Hildegard Herrmann-Schneider (1)

(1) Hildegard Herrmann-Schneider is head of RISM Tyrol-South Tyrol & OFM Austria at the Institute for Tyrolean Music research in Innsbruck. This paper was read at the 2011 IAML Conference in Dublin (title: RISM Tyrol-South Tyrol and OFM Austria: Current Summary and Visions for the Future). I would like to thank Silvia Skelac for her English translation of my paper and to Geraldine Duffour for her translation of the abstract into French.

(2.) See, the various areas of Forschung (Research, with references), Konzerte, CD-Editionen, Musikedition Tirol. Exhibition objects i.e.: For Salzburg personlich in the Salzburg-Museum the Libretto Le fatali felicita di Plutone (Dramma musicale), Salzburg 1690 (worldwide unicum), music by Georg Muffat (1653-1704), Database RISM A/II (RISM-OPAC, RISM Title no. 653.005.669, com. Salzburg Museum (Barbara Walther), p. 246, October 2008, vol. 21., Die Personlichkeit des Monats. Georg Muffat (1653-1704), p. [4], with image; for Lo Spirito Nobile della Gente Anaune in Palazzo Assessorile Cles (Italy/ Trentino) by Wolfgang Amade Mozart the Spaur-Messe KV 257 from I-BREd, Database RISM A/II Title no. 650.004.848, com. Hildegard Herrmann-Schneider, La Spaur-Messe Messa KV 257 [di] Wolfgang Amade Mozart. In: Lo Spirito Nobile della Gente Anaune. Percorsi espositivi e narrativi. Cles--Palazzo Assessorile 16 Aprile-4 Settembre 2011, Cles 2011, p. 114-117 (Translation: Giulia Gabrielli).

(3.) Reinhold Schrettl, Vils/Tirol, discovered this music collection and asked me to inspect it. He deserves great thanks for his constant commitment to the preservation of the cultural possessions of the Tyrolean Ausserfern, especially with regard to primary sources of Tyrolean music history.

(4.) Database RISM A/II (RISM-OPAC, Title no. 650.012.508 (anonymous Mass for 4 Voices, 2 Violins, Basso continuo) and Title no. 650.012.510 (Missa A 4 Voc et 3 Violini. Authore Paulo Khi[...?]er), reading of surname perhaps "Khirchberger", "Khinheimer" or "Khinsteiner" etc.

(5.) Database RISM A/II, Title no. 650.012.260.

(6.) Database RISM A/II, Title no. 650.012.726-650.012.728.

(7.) Shelfmark: ChB 3. Title: MVSICA | SVPER CANTVM GRE- | GORIANVM | INTROITVS MISSARVM, | CVM DVABVS MISSIS ET | alijs cantionibus, quae in omnibus die- | bus solemnitatibus B[eatae] M[ariae] semper virginis iuxta ritum Ecclesiae Ro- | manae celebrentur, quatuor | quinque, et sex vocibus I decantando. | A | Diuersis bonisque auctoribus compo- | sitae, et a me Georgio Burckhardo | Serenissimi ac Illustrissimi Principis | et Domini domini Maximiliani Archi- | ducis Austriae etc. Capellae Mu- | sico Bassista collectae et | scriptae. See Database RISM A/II, Title no. 650.012.300-650.012.317. For a biography of Georg Burkhart see Walter Senn, Musik und Theater am Hof zu Innsbruck. Geschichte der Hofkapelle vom 15. Jahrhundert bis zu deren Auflosung im Jahre 1748 (Innsbruck, 1954), 189 foll. and Peter Tschmuk, Die hofische Musikpflege in Tirol im 16. und 17. Jahrhundert. Eine soziookonomische Untersuchung (= Bibliotheca Musicologica University of Innsbruck, 5) (Innsbruck etc, 2001), 198foll.--For the printed edition of 1626 (RISM A/I S 4290) no acknowledgment is expressed by Rafael Mitjana, Catalogue critique et descriptif des Imprimes de musique des XVIe et XVIIe siecles Conserves a la Bibliotheque de l'Universite Royale d'Upsala, vol. 1, Upsala 1911, which lists the content of this print on clm. 454foll.

(8.) Shefmark: ChB 4. Title: Introitus [... ?] an[n]i I de Tempore. See Database RISM A/II, Title no. 650.012.318-650.012.469. For a biography on Georg Moser see Katalog des liturgischen Buch- und Musikalienbestandes am Dom zu Salzburg. Teil 1. Die gedruckten und handschriftlichen liturgischen Bucher, bearbeitet von Franz Wasner unter Mitarbeit von Stefan Engels und Ernst Hintermaier. Teil 2: Die Musikhandschriften und Musikdrucke in Chorbuch-Notierung, bearbeitet von Ernst Hintermaier (= Publikationen zur Salzburger Musikgeschichte, 3) (Salzburg, 1992), Part 2, p. 32foll. In the title entries of I-BREd CHB 4 the concordances are given A-Sd resp. the Katalog des liturgischen Buch- und Musikalienbestandes am Dom zu Salzburg, see RISMOPAC, like note 3. In the Brixen Cammerguts-Raitungen of the years 1621 and 1622 (resp. Rubric "Bezahltes Hauptgut, Orgel und Chorbucher"/modern spelling) Georg Moser is listed by name as "Ingrossist der Chorbucher" (copyist of the choir-books) with a compensation of 145 Gulden (1621) resp. 182 Gulden (1622). According to Katalog [...] he was in the service of the Brixen Domkapitel as Ingrossist from 16 April 1616 until 28 September 1622.

(9.) Unlike Georg Moser's Salzburg inscription from 1626, the print version of Part 1 Musica super cantum gregorianum (1625, RISM S 4289) is dedicated to Abt Anton [Wolfradt] of Kremsmunster, Wording see by Mitjana, Catalogue critique, like note 7, p. 451.

(10.) Shelfmark: ChB 1. Without Title. See Database RISM A/II, Title Nr. 650.012.275-650.012.280. I am grateful to Prof. Dr. Franz-Heinz von Hye, Innsbruck, for identifying Archduke Ferdinand's coat of arms. For a biography of Jakob Brandt (Jacob Prandt) see Senn, Musik und Theater, like note 7, p. 131. Jakob Brandt was until now verified (by Senn) from 1591 to 1596, as bass singer of the Innsbruck Hofkapelle under Hofkapellmeister Jakob Regnart (served from 1585 to 1596, the year of the dissolution of the entire court complete with the Hofkapelle in Innsbruck after the death of Archduke Ferdinand II. of Tyrol 1595). The Bressanone source allows us to conclude, that Brandt in the very least was again active in Innsbruck at the time of service entry of Stadlmayr--there was a Hofkapelle again since 1602, before he moved over as Moser did later, 1608 to Salzburg.

(11.) Die "Stadtische Musikkapelle Brixen". Tiroler Blasmusik im 19. Jahrhundert--mit Know-How der Militarmusik (The "Stadtische Musikkapelle Brixen". Tyrolean Brass Music in the 19th C.,--with Know-How from the Military Music), in: Der Schlern 84 (2010), Issue 8, pp. 4-66.

(12.) See Database RISM A/II, Title no. 650.010.696. Until now are known only a printed piano score (Milano: F. Lucca 1838) and the Libretto of the world premiere (Trieste: Michele Weis 1838). As sound clip to the presentation in Dublin a not yet published recording of the Burgerkapelle Brixen under the direction of Kapellmeister Sigisbert Mutschlechner from the year 2010.

(13.) Wolfgang Maria Hoffmann, Pater Peter Singer OFM (1810-1882). Ein Beitrag zur franziskanischen Musiktheorie und Kompositionspraxis im 19. Jahrhundert im Raum Salzburg-Tirol (= Musikwissenschaftliche Schriften, 24) (Munich, Salzburg, 1990). Inventory work in A-Sfr by Musicologist Dr. Carena Sangl. Assistant P. Mag. Oliver Ruggenthaler OFM, till May 2011 Provincial Archivist, since then Provincial of the Franciscan Province Austria.

(14.) Of course they can only give a point of reference, because the components of Fr. Peter Singer's own improvisations forever eludes a reconstruction.

(15.) The works, performed on 3 Oktober 2010, by Fr. Peter Singer from A-Sfr, all autographed: Missa solem nis (Nr. 99) for 6-part Choir and Organ, A-Sfr 324, Database RISM A/II Title no. 655.000.578 (after Hoffmann, Fr. Peter Singer no autograph named); Qui habitat, Motet for Soprano and Tenor Solo and Organ, A-Sfr 322, RISM A/II Title no. 655.000.576 (from Hoffmann as "lost"); Si observaveris, Motet for Soprano and Tenor Solo and Organ, A-Sfr 321, RISM A/II Title no. 655.000.575 (from Hoffmann as "lost"). The performers: Silvia Steiner-Span, Soprano, Barbara Malkus, Alto, Sung Kyu Lim, Tenor, Latchezar Spasov, Bass, Choir of the Franciscan Church, Michaela Aigner, Organ, Direction: Bernhard Gfrerer. First edition of these (and further) works of Singer from autographs in A-Sfr by Hildegard Herrmann-Schneider with co-work by Michael Steiner-Schweissgut in the Musikedition Tirol, on the internet under As sound clip to the presentation in Dublin here Fr. Peter Singer OFM, Si observaveris, private live cut from 3 October 2010.

(16.) (13 July 2011). Score edition in progess through the Egon-Wellesz-Fonds.

(17.) Database RISM A/II Title no. 655.000.764, 655.000778-655.000.781.

(18.) Database RISM A/II Title no. 650.012.511-650.012.641. The manuscripts along with other new-found music (see above, p. 16) which belonged to estate of the teacher, organist and choirmaster Ignaz Dreier, (1908-1981) of Elbigenalp, are stored since July 2011 in the nearby museum of local history, Grunes Haus, in Reutte/ Tyrol (A-RTgh).

(19.) Database RISM A/II Title no. 655.012.550 and 655.012.569.

(20.) In part, the author's signature for Magnus Dagn are found in the initials "MD". Since these are pithily denoted, a relationship of the copyist to Magnus Dagn could eventually be reflected here, but at least expressed as reverence.

(21.) Christine D. de Catanzaro--Werner Rainer, Anton Cajetan Adlgasser (1729-1777). A Thematic Catalogue of His Works (= Thematic catalogue series, 22) (Hillsdale, N.Y., 2000).

(22.) By Leopold Mozart: "Fur den Herbstmonat" and "Fur den Mai" from his published Der Morgen und der Abend [...], Augsburg 1759 (RISM A/I M 4032). "Fur den Mai" in manuscript erroneously placed under "Eberlin", for this see Cliff Eisen, Leopold-Mozart-Werkverzeichnis (LMV) (=Beitrage zur Leopold-Mozart-Forschung, 4) (Augsburg, 2010), no. XIII:5/5. Database RISM A/II Title no. 655.012.521 and 655.012.542. "Allegro molto" by W. A. Mozart (?) in the manuscript see Database RISM A/II Title no. 655.012.520, the same piece in CH-MU see Database RISM A/II Title no. 400.219.201 (with dating and not unfounded attribution to Franz Xaver Brixi). The evidence of the work in the "Vipiteno" manuscript are not yet taken into account in the LMV.

(23.) Murschhauser: "Vers[ett]" from his Prototypon longo-breve organicum [...], Pars 1, Nurnberg 1703 (RISM A/I M 8204), in print as "Fuga".

(24.) In the catalog of Ernest Warburton (New York-London, 1999) no. A 14. comp. Christine Blanken, Die Bach-Quellen in Wien und Alt-Osterreich: Katalog, Vol. 1 (= Leipziger Beitrage zur Bachforschung, 10) (Hildesheim, 2011).

(25.) I-BZf: Database RISM A/II Title no. 651.001.800ff.; I-BREd: Database RISM A/II Title no. 650.009.283-650.009.357.

(26.) Concert program conception, design and CD-Editions: Prof. h. c. Dr. Manfred Schneider, Head of the Institute for Tyrolean Music Research Innsbruck. Details incl. references see See the Tiroler Weihnachtskonzert 2010 on CD Klingende Kostbarkeiten aus Tirol 76 (Innsbruck: Institute for Tyrolean Music Research, 2011), the Tiroler Weihnachtskonzert 2008 on CD Klingende Kostbarkeiten aus Tirol 60 (Innsbruck: ITMf, 2009).

(27.) As sound clip to the presentation here: Leopold von Plawenn OSB (ca. 1620-1682), Sacrae Nymphae op. 4, Ulm 1679 (RISM A/I P 2606), excerpt "O dulcissima virgo", from CD Klingende Kostbarkeiten aus Tirol 75 (Innsbruck: ITMf, 2010).
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Author:Herrmann-Schneider, Hildegard
Publication:Fontes Artis Musicae
Article Type:Report
Geographic Code:4EUAU
Date:Jan 1, 2011
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