First printed edition
[Classification: notated music, print, parts, first edition, complete]
Georg Labaun, Prag
Title page on cover:
Harmonica | duodecatomeria | ecclesiastica. | seu | Ariae | duodecim: | anno | millesimo septigentesi- | mo decimo sexto | in lucem editae | a | Josepho Joanne Ignatio | Brentner. | Opus primum. | Vetero-Pragae | in Magno Collegio Carolino, typis Georgii Labaun.
The dedicatee is addressed on the reverse of the cover (p. ), on pp. [3–4] follows the text of the dedication. Only two copies of the print are known (see below).
Academus Edition: Source P
11 folios (A–F)
7 folios (A–D)
4 folios (A–B2)
11 folios (A–E2)
CZ-Bm A 24.298
29 × 19,5 cm
(Moravské zemské muzeum, oddělení dějin hudby,
Provenance: Listed in the inventory of the Kvasice music collection at the beginning of the section “Cantata seu Ariae Diversae…”
The specimen originates from the music collection of the parish church in
Kvasice . The title page and the dedicatee's name on the reverse are missing. The dedication itself is bound in the Organo part. The leather cover of the Org part reads:
"Nro 3. | Organo | Hymnodia divina XII. | Authore Brentner | Pro Choro Quassicensi."
PL-Wu St. Dr. Mus. 960
34 × 21,5 cm
(Biblioteka Uniwersytecka w Warszawie,
St. Dr. Mus. 960
The copy previously belonged to the collection of Musikalisches Institut at Wrocław Wrocław University (the successor of the institution formerly known as Königliches Akademisches Institut für Kirchenmusik). The vocal part is missing, and the first violin part is incomplete (missing folios D–F [7–11]), on the other side the set does contain a portion of the second violin part (fol. C–D [5–7]) and the entire viola part twice. The title page and the foreword are found on separate sheets. The parts consisting of bifolios and unifolios are not bound, but they have only been provisionally sewn together with thread; they are not cropped, and they bear no traces of use. The copy represents the form of the printed edition in which it was distributed, while in this specific case, the set of parts was put together incorrectly.
Anonymous transcript, Organo part only
[Classification: notated music, manuscript, copy, parts, fair copy, incomplete]
Common title page of the volume:
Duorum operum à Voce | Sola con Violini: Auth: | Planizckio & Anonymo: | Opellae Duodecim sic dictae | à suo Authore Josepho Anto: | Planizcki: Descriptae pro Choro | Angelo=Montano A:o 1734.
1 part (bc)
The manuscript copy of Brentner's collection survived in a bundle of two collections, the first being the manuscript copy of the Opella ecclesiasica by Josef Antonín Plánický. The ordering of arias is somewhat different from that found in the printed edition: both alto arias (IV and VII) are placed at the end as numbers 11 (Oderit me totus mundus) and 12 (Vos, caelitum favores), but the sequence of the other arias was not changed. The information stated in the list of arias on p. 2 also indicates a slight change to the instrumentation (wind instruments are absent; the aria with solo violin is designated as con 2 VVni). The coinciding figuration of the bass line and some uncorrected errors show that the copy is dependent on the first printed edition, but the copy also contains a number of copying mistakes and garbling of the original text as well as sporadic alterations correcting – sometimes rather clumsily – some of the errors in print. The graphic design of the copy is carried out independently of the print, especially with regard to the beaming and the repeat signs (Da capo). Therefore, the copy was probably made indirectly through one or more copies made directly from the print, that have not been preserved.
Only the Organo part has been preserved, the other parts have been lost. The copy is dated at the end: Finis: 18: Sept: 1734.
Academus Edition: Source C
Lost transcript from Osek
[Classification: Inventory record ]
Not after 1720
Listed in the Catalogus Musicaliorum, music inventory from Cistercian monastery in Osek, fol. 10r (Gradualia de tempore): Ubi Jesu quiescis C: Item Lauda Sion C: VV 2. Prentner.
Lost transcript owned by P. Ignatius Müllner, SJ
[Classification: Inventory record]
Listed in the inventory of P. Ignatius Müllner on page 20 (Mottetta De Tempore): 26. Ubi Jesu quiescis? C.S. Violino ò Oboa. Org. Viol.
Lost transcript from Rajhrad
[Classification: Inventory record]
Not after 1725
Listed in 1725 music inventory from the Benedictine monastery in Rajhrad (De Nomine Jesu. Concertus): Ubi Jesu quiescis Brentner. The record could possibly represent also Brk 77. Source is presumably lost.
Arrangement of "Ubi, Jesu, quiescis" (Alma redemptoris mater)
[Classification: notated music, manuscript, copy, parts, complete]
Academus Edition: Source Arr1
212‚38 (Ms. 2990)
The anonymous arrangement with the text Alma redemptoris mater.
Arrangement of "Ubi, Jesu, quiescis"
[Classification: notated music, manuscript, copy, complete]
The arrangement for voice and basso continuo in a compilation of songs from the Franciscan monastery in Sümeg, in a minor. Solo violin part and instrumental ritornellos are deleted, new bass part incorporates motifs from the violin part, the another strophe (Dilecte Jesu veni) was added.
Academus Edition: Source Arr2
(Országos Széchényi Könyvtár,
Ms. Mus IV.784, fol. 54
Manuscript score by E. Trolda
[Classification: notated music, manuscript, copy, score, complete]
Using a Kvasice copy, Emilián Trolda wrote down a manuscript score of the collection in 1929. Since the original title page is missing in the Kvasice copy, Trolda misnamed the collection according to the title on its binding. However, the title "Hymnodia divina" actually belongs to Brentner’s second collection of arias (Brk Coll. 3). Trolda know the second collection too, but only as an anonymous work lacking its original title page too.
(Národní muzeum – České muzeum hudby,
XXVIII F 223