Venite ad me omnes
The work has survived uniquely in a source kept in the music collection of the Göttweig Abbey. In many respects, the appearance of the title page and of the musical text (spacing, plentiful use of capital letters, characteristic style of musical notation) is similar to the autograph manuscripts by Brentner (Brk 1, Brk 2, Brk 4, Brk 85, Brk 86, Brk 89), but at the same time, they differ from them strikingly in certain individual details (shapes of clefs, some majuscules etc.). The manuscript of another Brentner aria preserved in the same collection, “O, Deus, ego amo te” Brk 64, was written by the same hand. In both cases it seems that these are the composer’s autograph manuscripts written at a time far removed from when the already known manuscripts were written (perhaps in the middle of 1720s?) or else they are copies that are closely tied to the autograph manuscript and that imitate its basic features. With regard to its content, the manuscript is very consistent and reliable, and that likewise points towards its closeness to the composerAccording to the numeral in the title page, at least 4 similar “concertos” were written. Today only No. 3 is known apart from the present composition, see Brk 64.
Riedel, Friedrich W.: Der Göttweiger Thematische Katalog von 1830 (Studien zur Landes- und Sozialgeschichte der Musik 2, 3), Katzbichler: München 1979, pp. 168.
Kapsa, Václav: 'Inwieweit die Wörter von Wichtigkeit waren? Zum Wort-Ton-Verhältnis in Arien von Joseph Brentner und anderen mitteleuropäischen Komponisten des ersten Drittels des 18. Jahrhunderts'. Musikalische und literarische Kontexte des Barocks in Mitteleuropa / in der Slowakei, Konferenzbericht (Bratislava, 22.–24. 10. 2014), Bratislava 2015, pp. 145–162.
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