Specifications Title: "Music from Dutch Libraries, Part III: Church Music, c.1750 - c.1820"
Order no.: M377
Size: 303 compositions on 541 microfiches
Polarity: positive, silver-halide film
Collection price: please inquire
Finding aids: printed guide and eye-legible headers on microfiches
Availability: available now
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E-mail: email@example.com Guide to MUSIC FROM DUTCH LIBRARIES PART III: CHURCH MUSIC, c.1750 - c.1820 on Microfiche Haags Gemeentemuseum, Music Department, The Hague, The Netherlands
MMF Publications, Lisse, The Netherlands
Haags Gemeentemuseum, Music Department, The Hague, The Netherlands
CONTENTS Preface 4
List of participating libraries and their contributions 7
Introduction: How to use this microfiche collection 9
Collection contents, Part III: Church music, c.1750 - c.1820 10
Introduction: Church music in the West Church music is among the best preserved repertoires in the history of Western music. Starting in the ninth century such compositions with their musical notation have come down to us in a steady stream.
The composers of the very earliest church music, the monophonic Gregorian repertoire, are unfortunately unknown. This tradition was fulfilled at an early date and like nearly all forms of theocentric medieval art was more concerned with the content than with the individuals doing the composing.
Church music is in this sense strictly functional, intended to support the liturgy, which in the West followed the Roman rite. Within the cycle of the ecclesiastical year, each day consisted of the "liturgical moments" of the Mass and the Office. The latter, which was celebrated in monasteries and cathedrals, was in turn made up of eight services of prayer and song spread over the course of the day: Matins, Lauds, Prime, Terce, Sext, None, Vespers and Compline. The Mass and each component of the Office have both regular (ordinarium) and variable chants (proprium).
Polyphony, whose earliest traces date from the ninth century and whose zenith came in the fifteenth-sixteenth centuries, was introduced into the liturgy as a more festive and resplendent style of composition for important ecclesiastical feast days. It is also quite possible that this polyphonic form of singing itself arose in liturgical music practice. As opposed to the Gregorian chants, most of the composers of such polyphonic music are known to us by name.
Each cultural period made its own specific contribution to church music characterized by the musical style and practice of the time. The Reformation, for example, was of crucial importance for Western culture in general and of course also for liturgy and church music. In addition to the Roman Catholic tradition, which was given a new direction by the Council of Trent in the mid-sixteenth century, Lutheranism and Anglicanism were significant for church music. In the Lutheran tradition works were composed based on choral melodies (no. 008 below), motets (nos. 007, 134, 295), and cantatas (nos. 027, 104, 105, 192). The Anglican contribution was the "Anglican motet", the Anthem (nos. 107, 116-131, 249). Calvinism, on the other hand, allowed music much less of a role in its services.
Thus in the course of time were composed numerous masses, motets, hymns, magnificats, psalms, anthems and cantatas, many of which have now been filmed on microfiche for this collection. Alongside church music strictly conceived arose a form of spiritual music with no liturgical function, in other words not meant for the church but rather for use as domestic music or for personal devotion (for example, nos. 004, 005, 011, 084 below). It was also composed to be performed in concert, for example, in the form of oratorios (see nos. 011, 084, 140-160).
Church music in the Mozes and Aaron Church in Amsterdam The main source for the compositions filmed here is the Toonkunst Library in Amsterdam, which since the 1960s has been the repository of the collection of mostly 18th and 19th century church music of the Mozes (Moses) and Aaron church in the same city. This Catholic church originated as a clandestine place of worship in the period when Roman Catholicism was officially not permitted (but practiced in private). With the consecration of the new Mozes and Aaron church in October 1841, it played an increasingly important role in the ecclesiastical musical life of the city.
Before this period of course church music was being composed and performed in Amsterdam. As early as 1691, for example, Father Aegidius Glabbais, the seventh pastor of the Mozes and Aaron church, had founded a "Music College", consisting of several vocalists and instrumentalists, with the name "Zelus pro Domo Dei", which was probably inspired by the psalm text (Ps. 68:10) "Zelus domus tuae comedit me" ["the zeal of thine house has eaten me up"] (King James version). A year later a "musical orchestra" is known to us. In the course of time the size of the choir grew and the orchestra also expanded into an ensemble that could fully provide the complements required by later eighteenth- and nineteenth-century scores.
By the early nineteenth century the choir was widely feted under the directorship of Johannes Bernardus van Bree (1801-1857), many of whose compositions are included in the microfiche edition. When in 1865 the church authorities decided to discontinue masses with orchestral accompaniment and disband the women's choir, the "zeal" abated somewhat. The choir was henceforth known simply as the "Pro Domo Dei". This was the dawn of the era of male choral masses accompanied solely by organ, the so-called Regensburg tradition. Later a boys choir was added and this situation lasted into the 1960s.
Church music is deeply rooted in tradition, both in form and content and is conservative in the true sense of the word. In this spirit the present microfiche collection has delved into the treasure trove of eighteenth and nineteenth century compositions to preserve the most valuable held by the participating libraries.
Some highlights of the microfiche collection In addition to many works by the composer J.B. van Bree cited above the Mozes and Aaron church acquired a great many other compositions by European composers to be performed in Amsterdam. Mention should be made here not only of composers still renowned to this day such as Haydn, Mozart, Cherubini, Hummel, Pergolesi, A. Scarlatti and C.M. von Weber, but also of such in their time celebrated Italian artists as Bartholdi, M. Caldarera, F. Durante, Grimo, P. Guglielmi, N. Jomelli, V. Righini, A. Sacchini, N. Santurini and N. Zingarelli. As a matter of fact, the work of Bartholdi and Grimo is only known to us from the compositions presented in this collection. In addition to the Italians, music by composers from Germany and the Austro-Habsburg Monarchy was also performed, including work by A. André, F.X. and S. Brixi, J. Dreyer, J. Eybler, M. Haydn, L. Kozeluch, J. Myslivecek, J. Naumann, J. Rauscher, F. Roesler, A. Romberg, I. Ritter von Seyfried, J. Vitacek, G. Vogler and P. von Winter.
Of the other participating libraries in this project, particular mention should be made of the important contribution in the form of French church music made by the Faculty of Letters Library of the University of Utrecht which holds work by, among others, L. Bordèse, J. de Bournonville and A. Campra. These compositions are mainly solo motets (with an occasional example for two or three voices), such as were in use in the French liturgy. The Music Department of the Haags Gemeentemuseum provided the important editions of Händel's church music filmed here.
Conclusion The present microfiche collection thus makes available to musicologists, historians of music, performers and conductors and other interested researchers an excellent cross-section of European church music from the mid-eighteenth to the mid-nineteenth century. It also provides a clear insight into the music in the repertoire of an important church — the Mozes and Aaron of Amsterdam.
6, 8, 11, 13, 60, 61, 62, 63, 64, 67, 69, 79, 82, 83, 104, 105, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 131, 133, 134, 161, 164, 170, 174, 175, 176, 177, 183, 188, 190, 191, 205, 206, 207, 221, 229, 233, 234, 235, 236, 238, 241, 243, 248, 249, 270, 295, 296
INTRODUCTION: HOW TO USE THIS MICROFICHE COLLECTION In the following list of contents the first column gives the number assigned to the composition. The provenance of each composition is given in the "List of Participating Libraries..." above. These numbers are found in the upper right-hand corner of the microfiche headers.
The second column lists the name of the composer.
The third column lists (a part of) the title, and a reference, if possible, to a thematic catalogue, place and year of edition or manuscript and the RISM (Répertoire International des Sources Musicales) number.
In some cases "score" is added to the title where the special music format is not in "parts". Also in a number of works remarks about additional material or imperfections are made.
[179-] indicates that the year is between 1790 and 1799.
[c. 1791] indicates that the year is between 1790 and 1792.
The fourth column lists the number of microfiche. The microfiche are numbered consecutively by title, " 1-" [minus sign] indicating that there is only one microfiche for that title; "1+" that more fiche follow. A minus sign [-] indicates the last fiche in a series.
Thematic catalogues BWV Bach-Werke-Verzeichnis
H Helm (C.Ph.E. Bach)
Hob Hoboken (Haydn)
KV Köchel-Verzeichnis (Mozart)
COLLECTION CONTENTS, PART III: CHURCH MUSIC, c.1750 - c.1820