Harmonica duodecatomeria ecclesiastica, op. 1

Printer: Jiří Ondřej Laboun
Dedicatee: Matthias Gildea von Altbach

Joseph Brentner’s first printed opus was published in Prague in 1716. The collection dedicated to a member of lower local nobility contains twelve sacred arias for soprano (10) and alto (2) with accompaniment for various instrument combinations.

Includes:

Plaude, exulta, cor meum, op. 1/1 Brk 68
Ubi, Jesu, quiescis, op. 1/2 Brk 76
Mariae, dum spiro, op. 1/3 Brk 61
Vos, caelitum favores, op. 1/4 Brk 81
Cor meum tibi dedo, op. 1/5 Brk 47
Hoste devicto, op. 1/6 Brk 56
Oderit me totus mundus, op. 1/7 Brk 65
Te, sub farre latens numen, op. 1/8 Brk 75
Quam suavis amor, op. 1/9 Brk 70
Desidero te, op. 1/10 Brk 48
Si quid est in corde meo, op. 1/11 Brk 71
O, Deus, ego amo te, op. 1/12 Brk 63

Composition: Not after 1716

Edition: Duchovní árie I / Sacred Arias I (Academus Edition 2)

Sources

First printed edition

[Classification: notated music, print, parts, first edition, complete]

Georg Labaun, Prag 1716

The dedicatee is addressed on the reverse of the cover (p. [2]), on pp. [3–4] follows the text of the dedication. Only two copies of the print are known (see below).

Academus Edition: Source P

Soprano

9 folios (A–E)

Violino primo

11 folios (A–F)

Violino II.

7 folios (A–D)

Viola Alto

4 folios (A–B2)

Partitura

11 folios (A–E2)

CZ-Bm A 24.298

29 × 19,5 cm
CZ-Bm (Moravské zemské muzeum, oddělení dějin hudby, Brno) A 24.298
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
PL-Wu (Biblioteka Uniwersytecka w Warszawie, Warsaw) St. Dr. Mus. 960
Provenance: Wroclaw

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]

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

CH-EN (Benediktinerkloster Engelberg, Engelberg) Ms A 743 (Ms. 5140) RISM record (collection) RISM record (item)

Manuscript score by E. Trolda

[Classification: notated music, manuscript, copy, score, complete]

1929

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.

CZ-Pnm (Národní muzeum – České muzeum hudby, Prague) XXVIII F 223

Lost transcripts from Rajhrad

[Classification: Inventory record]

Not after 1725

The arias no. 1 (Plaude, exulta cor meum), 2 (Ubi, Jesu, quiescis), 3 (Mariae, dum spiro), 4 (Vos, caelitum favores), 5 (Cor meum tibi dedo), 6 (Hoste devicto), 9 (Quam suavis amor), and 12 (O, Deus, ego amo te) are listed in the 1725 music inventory from the Benedictine monastery in Rajhrad (Consignatio Partium Musicalium Chori Rayhradensis A[nno] 1725, CZ-Bm G 297). The sources are probably lost.

Lost transcripts from Osek

[Classification: Inventory record]

Not after 1723

In the Catalogus Musicaliorum [music inventory no. 2, 1720/1733] of the music collection of the Cistercian monastery in Osek following arias are listed: fol 10r: Vos, caelitum favores; Ubi, Jesu, quiescis; Hoste devicto; Oderit me totus mundus; Te, sub farre latens nummen; fol. 10v: Cor meum tibi dedo; fol. 11r: Quam suavis amor; fol. 11v: Cor meum tibi dedo; Te, sub farre latens nummen; fol. 33r: Mariae, dum spiro.

Lost transcripts owned by P. Ignatius Müllner, SJ

[Classification: Inventory record]

All arias from op. 1 collection are listed in the music inventory by P. Ignatius Müllner: – p. 9 (Mottetta de Venerabili): 19. Plaude, exulta. C. S. 2. VV.i Viol. Org. Viol. | 20. Te sub farre. C. S. Violino S. Org. Viol. | 2 1. Quam suavis amor. C. S. Viol. S. Org. Viol. | 22. Desidero te. C. S. Violino S. Org. Viol. | 24. crossed out amd corrected to: Desidero te. C. S. V. S. Brentner. – p. 11 (Mottetta De B. V. Maria): 39. Mariae dum spiro. C.S. 2. VV. 1. Viola 3 Bassi Cont. Brendtner. – p. 17 (Mottetta De Confessoribus): 24. O Deus ego amo te. C.S. Violino, Oboe, Fagott. Brendtner. – p. 20 (Mottetta De Tempore): 26. Ubi Jesu quiescis? C.S. Violino ò Oboa. Org. Viol. Brendtner. | 27. Vos caelitum favores. A. S. 2 VV. Viola. Org. Viol. Idem | 28. Cor meum tibi dedo. C.S. 2. VV. Viola Org. Viol. Idem | 29. Hoste devicto. C.S. 2. VV. Org. Violone Idem | 30. Oderit me totus mundus. A.S. 2.VV. Viola. Org. Viol. Idem | 31. Si quid est in corde. C.S. 2.VV. Org. Violon. Idem.

Bibliography

Trolda, Emilián: 'Josef Antonín Plánický'. Cyril, 9–10/59, 1933, pp. 100–113. Dital copy

Straková, Theodora: 'Kvasický inventář z r. 1757'. Časopis moravského muzea, 38, 1953, pp. 105–194.

Straková, Theodora: 'Rajhradský hudební inventář z roku 1725'. Časopis moravského musea, 58, 1973, pp. 217–246.

Konečná, Helena: Josef Jan Brentner a jeho Hymnodia Divina , thesis, typescript, Univerzita Jana Evangelisty Purkyně: Brno 1967.

Pilková, Zdeňka: 'Instrumentace kantát autorů z Čech v první polovině 18. století'. Hudební věda, 2/14, 1977, pp. 146–159. Digital copy

Kapsa, Václav: 'Harmonica duodecatomeria ecclesiastica a Hymnodia divina. Dvě sbírky árií Jana Josefa Ignáce Brentnera'. Acta.musicologica.cz, 2/2006, 2006. Online Journal

Buchner, Alexander: Hudební sbírka Emiliána Troldy (Sborník Národního musea v Praze. Sv. 8. Ř. A, Historie, č. 1), Národní muzeum: Praha 1954.

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.

Last changed: 2021-01-26
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