Pojasnilo

Namen nove spletne po-izdaje zbirke Monumenta artis musicae Sloveniae je dvojen: že obstoječe izdaje objavljamo v prostem dostopu in hkrati pripravljamo platformo za nove povsem digitalne notne izdaje v tej zbirki.

Najprej bodo za uporabo muzikologov in/oz. izvajalcev objavljeni obstoječi sadovi skoraj štiridesetih let raziskav nacionalne glasbene dediščine, ki so potekale pod okriljem Muzikološkega inštituta. Najstarejše izdaje segajo nazaj v zgodnja osemdeseta leta prejšnjega stoletja in zato je pri teh potrebno opozoriti na dejstvo, da so v nekaterih primerih nove raziskave ter stalno naraščajoča količina podatkov o virih po vsem svetu (tudi vedno več digitaliziranih izvirnikov itd.) že bistveno spremenile naše vedenje o v zbirki objavljenih avtorjih, njihovih delih, izvajalski praksi, ipd., tako da so danes, v 2020ih, nova pojasnila ter dopolnila oziroma popravki nujno potrebni. Zato sta po-izdaji (v obliki skenirane prvotne izdaje) dodana Novi uvod in Corrigenda, ki morebitnega uporabnika vsaj opozorita na nove raziskave in vire, ki so sedaj na voljo.

Drugi namen zbirke e-MAMS pa je ureditev platforme, ki jo nameravamo razviti za nove povsem digitalne izdaje naše glasbene dediščine. Ti bodo predvidoma sledili dosedanji zasnovi, s tem da bo glasbeni del izkoriščal nove hitro razvijajoče se tehnološke možnosti vizualnega prikaza.

Januar 2020 Metoda Kokole (Glavna in odgovorna urednica)

Foreword

The intention of this new on-line presentation of Monumenta artis musicae Sloveniae is twofold: to offer open access to existing editions and to prepare a platform for new, completely digital volumes in the series.

We are starting by opening up to any interested musicologist and/or performer the fruits of nearly forty years of past research into the national musical heritage undertaken under the auspices of the Institute of Musicology. The earliest of the existing volumes date back to the early 1980s, and it should be noted here that in some cases recent research and the constant increase in data regarding sources worldwide (including ever more digitized originals etc.) have already appreciably transformed our knowledge of the published authors, their works, performance practice etc., so that new textual commentaries and corrigenda are called for in the 2020s. This is why we are adding New Introductions and Corrigenda to the original scanned editions, in order, at least, to draw the attention of the various users towards the new research and data that are available today.

Second, the e-MAMS series is to become a platform to be developed over time into new, completely digital volumes containing our early musical heritage following the traditional scheme, but using modern technological support for the visual presentation of music.

January 2020, Metoda Kokole (General Editor)

Novi uvod (2020)

Prve raziskave življenja in dela Amadusa IvanschizaV vseh virih, avtografih in drugih, je priimek ohranjen zgolj v tej obliki; vse ostalo so sodobne slovanske oblike, ki se pojavljajo le v sekundarni literaturi (Ivančić, Ivančič, Ivanšič itd.). Gl. Maciej Jochymczyk, Amandus Ivanschiz – His Life and Music: With a Thematic Catalog of Works (Krakov: Musica Iagellonica, 2016), 23–24, 26–46. (v dosedanji slovenski literaturi imenovan Amandus Ivančič), ki segajo v dvajseta leta 20. stoletja, so močno zaznamovali slovenski avtorji. Med prvimi je njegovo ime omenil Stanko Premrl, duhovnik, skladatelj in glasbenik, ki je leta 1922 poročal o glasbenih rokopisih najdenih v ljubljanski stolnici, med katerimi je bila tudi Missa Pastoritia brata Amandusa. Premrl je v skladu s tedanjo prakso skladateljevo ime iz »Ivantschitsch« poslovenil v Ivančič, saj je bil prepričan, da gre za slovenskega skladatelja.Stanko Premrl, »Iz glasbenega arhiva ljubljanske stolnice«, Cerkveni glasbenik 45, št. 1–2 (1922): 20. Zapisal je takole: »Po imenu smemo s precejšnjo verjetnostjo, če ne z gotovostjo sklepati, da je bil domačin, Slovenec«. Njegovo sklepanje je bilo pozneje ovrženo. Več kot petdeset let poznejše raziskave Danila Pokorna predstavljajo novo poglavje v poznavanju Ivanschiza. Pokorn se je v svoji doktorski disertaciji iz leta 1977 osredotočil predvsem na skladateljeva inštrumentalna dela.Danilo Pokorn, »Amandus Ivančič in njegovo posvetno skladateljsko delo« (Doktorska disertacija, Univerza v Ljubljani, 1977). Sad njegovega dela sta notni izdaji v zbirki Monumenta artis musicae Sloveniae (zvezek 1 leta 1983 – tu ponatisnjen – in zvezek 3 leta 1984) ter izdaja v antologiji The Symphony 1720–1840.Amandus Ivančič, Sonate a tre, ur. Danilo Pokorn, Monumenta artis musicae Sloveniae 1 (Ljubljana: SAZU, 1983); Amandus Ivančič, Simfonije za dve violini in bas / Symphonies for Two Violins and Bass, ur. Danilo Pokorn, Monumenta artis musicae Sloveniae 3 (Ljubljana: SAZU, 1984); in Amandus Ivančič, Two Symphonies: Them. Index F1, D9 […], ur. Danilo Pokorn, The Symphony 1720–1840, Series B, 14 (New York: Garland, 1985). V zadnjih letih so bile opravljene poglobljene nove študije o življenju in delu Amandusa Ivanschiza, ki so pomembno spremenile naše poznavanje tega skladatelja. Zato so ob ponovni izdaji starejših del nujno potrebna nekatera opozorila. Spodnje besedilo podaja dopolnila in popravke k obstoječim besedilom sedaj že pokojnega Danila Pokorna.

Amandus Ivanschiz je bil krščen 24. decembra 1727 v dunajskem Novem mestu (Wiener Neustadt) v Avstriji kot Matthias Leopold.Posodobljeni življenjepis je tu povzet po: Jochymczyk, Amandus Ivanschiz, 21–48. Verjetno se je rodil istega dne ali kak dan prej. Njegov oče (Matthias Joseph), poročen v Wiener Neustadtu, je izhajal iz vasi Baumgarten na avstrijskem Gradiščanskem (danes pokrajina Burgenland, Avstrija), kjer je takrat živela hrvaška manjšina. Mladi Matthias Leopold je verjetno proti koncu leta 1742 vstopil v red Pavlincev in si nadel ime Amandus. Po opravljenem noviciatu v samostanu Ranna je pri 16. letih, 25. decembra 1743, sprejel redovne zaobljube. Medtem ko se je skupaj z ostalimi brati pripravljal na posvetitev, se je posvetil študiju v samostanih Maria Trost in Wiener Neustadt. V zadnjem je bil 30. maja 1744 posvečen v štiri nižje redovne nazive in bil pozneje posvečen v subdiakona (1. marca 1749) in diakona (21. februarja 1750). Triindvajsetletni brat Amandus je moral biti takrat že cenjeni glasbenik, saj mu je bila 5. avgusta 1750 zaupana posvetitev novozgrajenih orgel v stolni cerkvi v Wiener Neustadtu. Ivanschiz je bil v duhovnika posvečen 15. novembra 1750 in deset dni pozneje (25. novembra) je že maševal v pavlinskem samostanu svojega rodnega kraja. Ohranil se je tiskani izvod pridige, ki jo je takrat držal kapucin Fulgentius Neostadiensis.Faksimile tega tiska je objavljen v: Jochymczyk, Amandus Ivanschiz, 477–498. Leta 1751 je bil Ivanschiz poslan v Rim, kjer je delal kot pomočnik (socius) glavnega prokuratorja pavlinskega reda do leta 1754, ko se je za kratek čas vrnil v Wiener Neustadt. Kmalu nato so ga prestavili v Maria Trost, kjer je njegova prisotnost zabeležena do leta 1755. Njegovo ime dvakrat najdemo tudi v računskih knjigah jezuitske cerkve sv. Egidija v Gradcu (danes graška stolnica): leta 1755 (“Pro curru, quo ex Mariae Consolatricis Monasterio ad probandam musicam vectus est V. P. Compositor Amandus Ivantschiz”) in leta 1758 (“Pro 5 lytaniis et uno Sacro Cantato a V. P. Amando Ivantschiz compositis”).Ta podatek je poznal že Danilo Pokorn. Gl. Ivančič, Sonate a tre, x. Na podlagi teh dokumentov lahko sklepamo, da ni bil le skladatelj del, ki so jih naročili jezuiti, temveč je sodeloval tudi pri izvedbah. Eno najpomembnejših odkritij v zadnjih letih pa je datum skladateljeve smrti. Redovni vpis in nekrolog potrjujeta, da je Amandus Ivanschiz umrl leta 1758 star le 31 let. Kaže, da je vse do konca svojih dni ostal v samostanu Maria Trost, saj je zadnja navedena beležka iz jezuitskih knjig prav iz tega leta.

Vse do takrat so nekateri raziskovalci konec skladateljevih aktivnosti postavljali v osemdeseta ali celo devetdeseta leta 18. stoletja,Gl. na primer Ivančič, Sonate a tre, x; in Lovro Županović, Stoljeća hrvatske glazbe (Zagreb: Školska knjiga, 1980), 104. čeprav so videli Ivanschiza kot znanilca novega glasbenega sloga. Presenetljivo zgodnje leto Ivanschizeve smrti postavlja njegov znani glasbeni opus, ki jasno pripada zgodnjemu klasicizmu, v povsem novo luč ter terja spremenjen pogled na slogovne spremembe glasbenega jezika okoli sredine osemnajstega stoletja.

Kljub zgodnji smrti je Ivanschiz zapustil presenetljivo visoko število glasbenih del: okoli 20 simfonij, 15 godalnih triov, 17 maš, 13 litanij, 7 krajših kantat (vse imenuje Oratorium), 9 uglasbitev marijanskih antifon, 8 arij in duetov na neliturgična besedila, večernice in Te Deum.Več o skladatelju in njegovih skladbah ter tematski katalog gl. v: Jochymczyk, Amandus Ivanschiz. Danilo Pokorn navaja več skladb, saj je vključil tudi dela nepreverjenega izvora in tiska, katerih avtorstvo je bilo pozneje popravljeno. Nekatera od teh del so preživela v več, celo po ducat prepisih, ki se danes nahajajo v številnih predvsem srednjeevropskih nahajališčih v Avstriji, na Hrvaškem, v Češki republiki, v Nemčiji, na Madžarskem, Poljskem, Slovaškem, pa tudi v Belgiji, na Švedskem in v Švici. Iz tega sledi, da je bila glasba očeta Amandusa znana zelo širokemu občinstvu in ga umešča med najbolj priljubljene skladatelje-redovnike osemnajstega stoletja.

V svoji doktorski disertaciji Danilo Pokorn Ivanschizeva komorna dela deli v štiri skupine: sonate, trie, divertimente in simfonije.Pokorn, »Amandus Ivančič«, 134–143. Zadnja dva izraza se pojavljata tudi kot oznaki orkestralnih del. Ta delitev na štiri skupine, ki temelji na izvirnih oznakah na ohranjenih rokopisih, se je ohranila tudi v izdajah, ki sta jih pripravila Pokorn samIvančič, Sonate a tre; Ivančič, Simfonije. in Paul M. Douglas.Amandus Ivanschiz, Six sonatas a tre for flute, viola, and basso continuo, zv. 1, Nos. 1–3, ur. Paul M. Douglas (London: Nova Music, 1982). A poglobljena primerjalna analiza vseh virov (številnih Pokorn še ni poznal) je pozneje pripeljala do precej drugačne slike. Ne glede na izvirne oznake na rokopisih prav vse Ivanschizeve komorne skladbe sodijo v zvrst godalnega tria, zvrst, ki je bila v osemnajstem stoletju izjemno priljubljena, čeprav se danes zdi zanemarjena.Na pomen te zvrsti na primer kaže dejstvo, da je število godalnih triov, napisanih v letih med 1750 in 1780 občutno prekašalo število takrat nastalih godalnih kvartetov. Gl. Barry S. Brook, »Haydn’s String Trios: A Misunderstood Genre«, Current Musicology 36 (1983): 61–77. Vsekakor ni razloga, da bi ta dela označevali kot tista, ki sodijo »v baročno zvrst triosonate«, kot je presodil Pokorn (Ivančič, Sonate a tre, xi). Najpogostejše oznake, ki jih najdemo na sprednjih straneh ovojev rokopisov so: »Trio«, »A tre«, »Divertimento« in »Sonata«. Redkeje so skladbe označene kot »Simfonia« (ali »Sinfonia«) in samo v enem primeru »Sonatina«. Kaže, da so izrazi uporabljeni naključno, nepovezano z dejansko obliko in slogom samih kompozicij. Ena in ista skladba ima včasih drugačen naslov v prepisih različnega izvora. Nekatere skladbe so celo drugače naslovljene v rokopisnih prepisih različnega izvora. Trio in C (T.C.1)Kataložne številke se nanašajo na Ivanschizeva dela, kot so navedena v: Jochymczyk, Amandus Ivanschiz. je, na primer, naslovljen kot »Trio«,D-B, Mus.ms. 20375; D-RH, Ms 437, Ms 867. »Divertimento«,CZ-Bu, Skř 17-525.714. »Sonata«,D-KA, Mus. Hs. 230. »Sonatina«D-WÜd, KBD/KES K7 Ms091. in »A tre«.A-LA, 254. Na podlagi podrobnejše analize ohranjenih prepisov Ivanschizevih del lahko sklepamo, da je bila uporaba enega ali drugega naslova povezana predvsem z lokalnim okoljem in tradicijo. Prepisi triov, ki so bili naslovljeni »Simfonia« (ali »Sinfonia«) so na primer deli istega kopista.A-Wgm, XIII 1325, XIII 8549, XIII 8550; in A-M, V 1429, V 1430, V 1431, V 1432. Gl. tudi »Novi uvod« v spletni poizdaji Monumenta artis musicae Sloveniae 3. Da je bila taka terminološka svoboda glede uporabe terminov za nove zvrsti v 18. stoletju povsem običajna, beremo tudi v muzikološki literaturi.Gl. na primer James Webster, »Towards a History of Viennese Chamber Music in the Early Classical Period«, Journal of the American Musicological Society 27, št. 2 (1974): 213.

Vsa Ivanschizeva avtentična komorna dela so si podobna, predvsem glede zasedb in oblike. Vsa (z eno izjemo: Trio in F T.F.1) so tridelna in sledijo modelu: (1) počasni stavek – (2) menuet s triom – (3) hitri stavek. Vedno nastopajo trije glasovi za solo glasbila: najvišji part je namenjen violini, srednji violini ali violi ter spodnji, v virih imenovan »basso« ali »violoncello«, godalu nizkega registra.Ivanschiz je bil očitno eden prvih skladateljev, ki so uporabljali zasedbo, značilno za visoko klasičen godalni trio (violina, viola in čelo). Gl. Maciej Jochymczyk, »Some Remarks on the Formation of the Classical Style: Instrumental Music by Amandus Ivanschiz«, Musicology Today 10 (2013).

Komorni godalni trii, ki jih je objavil Danilo Pokorn v prvem zvezku zbirke Monumenta artis musicae Sloveniae, izhajajo iz zbirke badenskih mejnih grofov, ki jo danes hrani Badenska deželna knjižnica v mestu Karlsruhe (D-KA).Ivančič, Sonate a tre. Leto pred tem je dve od teh sonat (iz istih virov) objavil Paul M. Douglas: Ivanschiz, Six sonatas. Izbira tega vira ni bila najbolj posrečena, saj so bili prepisi v zbirki badenskih grofov že izvirno precej modificirani. V večini je violinski part namenjen prečni flavti in prilagojen obsegu in zmožnostim tega glasbila. Spremembe vključujejo oktavne transpozicije pasaž, ki se spustijo pod noto d¹ in opustitev akordov. V nekaj osamljenih primerih pa so zaznavne tudi druge spremembe, kot na primer transpozicija celotnega dela za sekundo višje (T.F.1, T.B.1) ali menjava glasbenega gradiva med zgornjima glasovoma.Gl. Jochymczyk, Amandus Ivanschiz, 119. Zanimivo je, da lahko s precejšnjo verjetnostjo identificiramo celo osebo, ki je bila odgovorna za te spremembe. Johann Reusch (1715–1787) je bil član dvornega ansambla badenskega mejnega grofa Karla Friedricha (ta je tudi sam igral prečno flavto) in je bil priznan flavtist, ki je igral tudi klarinet in oboo. Čeprav sam ni bil skladatelj, Reuscha iz zgodovine Badenske glasbene zbirke poznamo kot marljivega kopista in avtorja številnih prepisov za flavto.Klaus Häfner, »'... gnädigst Befohlener maaßen, Zur Fürstl. Biebliothec geliefert'. Die Musikaliensammlung«, in: Buch – Leser – Bibliothek: Festschrift der Badischen Landesbibliothek zum Neubau, ed. Gerhard Römer (Karlsruhe: Badische Landesbibliothek, 1992), 161–170. Poleg tega sta dve skladbi, ki ju je Pokorn transkribiral za svojo izdajo, Ivanschizu napačno pripisani, saj je njun dejanski avtor Franz Asplmayr (št. IV in V; gl. spodaj).Na nezanesljivost virov v Badenski zbirki je opozoril že Hubert Unverricht, ki je celo izpostavil napačno avtorstvo Asplmayerjevega tria v priredbi za flavto in s pripisanim Ivanschizevim imenom. Gl. Hubert Unverricht, Geschichte des Streichtrios, Mainzer Studien zur Musikwissenschaft 2 (Tutzing: Schneider, 1969), 71. Ti dve deli se od drugih triov patra Amandusa med drugim razlikujeta po razporeditvi stavkov (počasni – hitri – menuet), po glasbeni obliki in nagnjenju do bolj razgibane basovske linije v dialogu z ostalima glasovoma.Gl. Jochymczyk, Amandus Ivanschiz, 268–269. Kot že rečeno je najnižji glas v Ivanschizevih triih namenjen nizkim godalom (tj. čelu ali violonu). Ta glas v nobenem od znanih rokopisov nima številk in skladbe se zato navadno izvajajo brez generalnega basa.Ivanschizeve skladbe topogledno niso izjeme. Po mnenju Jamesa Websterja »so dokazi o tem, da so kontinuo v avstrijski posvetni komorni glasbi ok. 1750 opuščali, prepričljivi.« Webster, »Towards a History«, 243–244. Gl. tudi Unverricht, Geschichte des Streichtrios, 189–191. Pri morebitni izvedbi sklad v Pokornovi redakciji se zato svetuje izpust uredniško predlagane realizacije za “cembalo”.

Maciej Jochymczyk Poslovenila Metoda Kokole

New Introduction (2020)

The research on Amandus IvanschizOther spellings of the composer’s surname adopted in Slavic musicological literature (“Ivančić”, “Ivančič”, “Ivanšič” etc.) are not encountered in the historical accounts. In his known autograph documents he consistently used the form “Ivanschiz”. See Maciej Jochymczyk, Amandus Ivanschiz – His Life and Music: With a Thematic Catalog of Works (Kraków: Musica Iagellonica, 2016), 23–24, 26–46. undertaken in the twentieth century has been strongly influenced by Slovenian writers. One of the first to mention his name was Stanko Premrl, a priest, composer and musician, who in 1922 reported on manuscripts found in the Ljubljana Cathedral that contained, among other works, a Missa Pastoritia by Fr. Amandus. Following the general practice of the time Premrl chose to spell the composer’s name as “Ivančič” (Slovenized version) rather than “Ivantschitsch” as written in the source itself, for he was convinced that the author must have been a local composer.Stanko Premrl, “Iz glasbenega arhiva ljubljanske stolnice”, Cerkveni glasbenik 45, no. 1–2 (1922): 20. He wrote: “Po imenu smemo s precejšnjo verjetnostjo, če ne z gotovostjo sklepati, da je bil domačin, Slovenec.” [“His name suggests that he was most probably if not rather surely a native, a Slovenian.”]. This hypothesis was later proven to be wrong. Over fifty years later, studies carried out by the Slovenian musicologist Danilo Pokorn marked a turning point in the process of acquiring knowledge about Ivanschiz. Pokorn’s doctoral dissertation, which he defended in Ljubljana in 1977, focused on the composer’s instrumental music.Danilo Pokorn, “Amandus Ivančič in njegovo posvetno skladateljsko delo” (PhD diss., Univerza v Ljubljani, 1977). Tangible fruits of his efforts were editions of Ivanschiz’s works which later appeared in the series Monumenta artis musicae Sloveniae (volume 1 in 1983 – here republished – and volume 3 in 1984) and in The Symphony 1720–1840.Amandus Ivančič, Sonate a tre, ed. Danilo Pokorn, Monumenta artis musicae Sloveniae 1 (Ljubljana: SAZU, 1983); Amandus Ivančič, Simfonije za dve violini in bas / Symphonies for Two Violins and Bass, ed. Danilo Pokorn, Monumenta artis musicae Sloveniae 3 (Ljubljana: SAZU, 1984); and Amandus Ivančič, Two Symphonies: Them. Index F1, D9 […], ed. Danilo Pokorn, The Symphony 1720–1840, Series B, 14 (New York: Garland, 1985). However, a thorough research in the recent years changed significantly our knowledge about the life and compositions of Amandus Ivanschiz therefore some amendments are needed for the re-publication of earlier works. The text here below brings necessary additions and corrections to the original Introduction and the Critical Report by the deceased Danilo Pokorn.

Amandus Ivanschiz was baptized on 24 December 1727 in Wiener Neustadt (Austria) and given the names Matthias Leopold.The updated biography is based on: Jochymczyk, Amandus Ivanschiz, 21–48. He was most probably born on the same day or shortly before. His father (Matthias Joseph) came from the village of Baumgarten (today in the Burgenland, Austria) inhabited by the Croatian minority and got married in Wiener Neustadt. Presumably by the end of 1742 young Matthias Leopold entered the Pauline Order and took the name of Amandus. After spending his novitiate at the monastery of Ranna he took his monastic vows at the age of 16 (25 December 1743). Then, together with other brothers preparing for the priesthood, he underwent studies in Maria Trost and Wiener Neustadt. In Wiener Neustadt he received the four lower orders (30 May 1744) and subsequently progressed to subdeacon (1 March 1749) and deacon (21 February 1750). The 23-year-old Fr. Amandus must have already been a respected musician, since he was entrusted with the inauguration of a new organ built in the Wiener Neustadt Cathedral on 5 August 1750. Ivanschiz received ordination as a priest on 15 November 1750 and ten days later (25 November) presided over his first mass at the Pauline monastery in his home town. A printed copy of the sermon preached at this service by the Capuchin Fulgentius Neostadiensis has survived.A facsimile of this print is published in: Jochymczyk, Amandus Ivanschiz, 477–498. In 1751 Ivanschiz was sent to Rome, where he stayed until 1754, working as an assistant (socius) to the Procurator General of the Pauline Order. In 1754 he returned to Wiener Neustadt, only to be sent back, shortly thereafter, to Maria Trost, where his presence from at least 1755 has been documented. His name appears twice in account books of the Jesuit Church of St. Ägydius (today Grazer Dom): in 1755 (“Pro curru, quo ex Mariae Consolatricis Monasterio ad probandam musicam vectus est V. P. Compositor Amandus Ivantschiz”) and in 1758 (“Pro 5 lytaniis et uno Sacro Cantato a V. P. Amando Ivantschiz compositis”).This fact was already known to Danilo Pokorn; see Ivančič, Sonate a tre, xvi. On this evidence, he not only wrote works commissioned by the Jesuits, but evidently also participated in their performances. One of the most important discoveries made in the last few years regarding the composer’s biography is that of the date of his death. As confirmed by monastic records and obituaries, Amandus Ivanschiz died in 1758 at the young age of 31. It appears that until the end of his days he remained in Maria Trost, since the last of the afore-mentioned entries in the Jesuit account books in Graz is from that same year.

Previously, the end of the composer’s activity had been hypothetically situated by some scholars in the 1780s or the 1790s.See, for instance, Ivančič, Sonate a tre, xvi; Lovro Županović, Stoljeća hrvatske glazbe (Zagreb: Školska knjiga, 1980), 104; Lovro Županović, Centuries of Croatian Music, vol. 1, translated by Vladimir Ivir (Zagreb: Muzički informativni centar, 1984), 141–152. Even those authors who accepted these late dates nevertheless viewed Ivanschiz as one of the forerunners of the new style. The surprisingly early date of his death places his sizeable output, clearly belonging to the early Classical style, in a new light, transforming our knowledge about the changes of musical language occurring in the middle of the eighteenth century.

Despite his early death, Ivanschiz left behind a remarkable number of compositions. His output comprises around 20 symphonies, 15 string trios, 17 masses, 13 litanies, 7 short cantatas (each named Oratorium), 9 settings of Marian antiphons, 8 arias and duets on non-liturgical texts, vespers and a Te Deum.For more information on the composer’s output and a thematic catalogue of his works, see Jochymczyk, Amandus Ivanschiz. The number of compositions given by Danilo Pokorn is higher, as it includes pieces of doubtful or erroneous attribution. Some of these works have survived in a few, or even a dozen or so, copies, today located in several, predominantly Central European, countries, which include Austria, Croatia, the Czech Republic, Germany, Hungary, Poland, Slovakia, Slovenia, but also Belgium, Sweden and Switzerland. This proves that Father Amandus’ music was known to a wide audience and places him among the most popular monk-composers of the 18th century.

In his doctoral dissertation Danilo Pokorn divides Ivanschiz’s chamber music into four groups: sonatas, trios, divertimentos and symphonies.Pokorn, “Amandus Ivančič”, 134–143. Additionally, the last two terms appear equally as designations for orchestral works. Such a division, based on the titles appearing in the extant manuscripts, was upheld by the editions made under the supervision of Pokorn himselfIvančič, Sonate a tre; Ivančič, Simfonije and Paul M. Douglas,Amandus Ivanschiz, Six sonatas a tre for flute, viola, and basso continuo, vol. 1, Nos. 1–3, ed. Paul M. Douglas (London: Nova Music, 1982). suggesting that Ivanschiz’s chamber music consists of four distinct genres. However, a comprehensive comparative examination of all extant sources (many of which were yet unknown to Pokorn) later led to quite different conclusions. Regardless of the titles occurring in manuscripts, all of Ivanschiz’s chamber works fall within the genre of the string trio, which was extremely popular during the eighteenth century, though today is somewhat neglected.The importance of this genre is confirmed, for instance, by the fact that the number of string trios composed during 1750–1780 significantly exceeded that of quartets. See Barry S. Brook, “Haydn’s String Trios: A Misunderstood Genre”, Current Musicology 36 (1983): 61–77. There is no reason to define the works under discussion as “belonging to the baroque genre of the trio sonata”, as Pokorn did (Ivančič, Sonate a tre, xvii). The most common titles found on the front covers of manuscripts are: “Trio”, “A tre”, “Divertimento” and “Sonata”. Less frequently, these pieces are labelled “Simfonia” (or “Sinfonia”) and on a single occasion as a “Sonatina”. However, these terms are applied interchangeably, without any relation to the form and style of the compositions. Moreover, one and the same piece may appear under different titles in manuscripts of different provenance. For example, the Trio in C (T.C.1)Catalogue numbers of works by Ivanschiz after Jochymczyk, Amandus Ivanschiz. is referred to variously as a “Trio”,D-B, Mus.ms. 20375; and D-RH, Ms 437, Ms 867. “Divertimento”,CZ-Bu, Skř 17-525.714. “Sonata”,D-KA, Mus. Hs. 230. “Sonatina”D-WÜd, KBD/KES K7 Ms091. and “A tre”.A-LA, 254. In the light of an analysis of extant copies of Ivanschiz’s works, one may conclude that the use of one or another title was mainly connected with local traditions. For instance, the title pages of trios labelled “Simfonia” (or “Sinfonia”) were all prepared by the same copyist.A-Wgm, XIII 1325, XIII 8549, XIII 8550; and A-M, V 1429, V 1430, V 1431, V 1432. See also the “New Introduction” to re-published online edition of Monumenta artis musicae Sloveniae 3. Such terminological freedom relating to new genres within eighteenth-century instrumental music is well recognized in musicological literature.See, for example, James Webster, “Towards a History of Viennese Chamber Music in the Early Classical Period”, Journal of the American Musicological Society 27, no. 2 (1974): 213.

All Ivanschiz’s authenticated chamber works display clear similarities, especially with regard to scoring and musical form. They are all (with one exception: the Trio in F T.F.1) tripartite compositions constructed on the following model: (1) a slow movement – (2) a minuet with trio – (3) a fast movement. The texture invariably comprises three voices, for performance by solo instruments: the highest part is played by the violin and the middle part by a violin or a viola, while the lowest part, named “basso” or “violoncello” in the sources, calls for a low-pitched stringed instrument.Ivanschiz was apparently one of the first composers to employ the characteristic scoring of the High Classical string trio (violin, viola, cello). See Maciej Jochymczyk, “Some Remarks on the Formation of the Classical Style: Instrumental Music by Amandus Ivanschiz”, Musicology Today 10 (2013).

The chamber string trios published by Danilo Pokorn in the first volume of the Monumenta artis musicae Sloveniae series were based on sources found in the collection of the Margraves of Baden held by the Badische Landesbibliothek in Karlsruhe.Ivančič, Sonate a tre. One year previously, two of these pieces had been published (on the basis of the same sources) in an edition by Paul M. Douglas: Ivanschiz, Six sonatas. This was an unfortunate choice since in the Baden manuscripts Ivanschiz’s works have been subjected to significant modifications. In most of them the violin part is entrusted to the transverse flute and adapted to suit the compass and abilities of that instrument. The alterations mainly entail octave-transpositions of passages dipping below the note d¹ and the omission of chords. A few isolated cases reveal further interventions, such as the transposition of an entire work a second higher (T.F.1, T.B.1) or the exchange of material between the two upper parts.See Jochymczyk, Amandus Ivanschiz, 119. Interestingly, we can probably identify the person responsible for these arrangements. Johann Reusch (1715–1787), a member of the ensemble at the court of the Margrave Karl Friedrich of Baden (who himself played the transverse flute), was a renowned flautist who played the clarinet and oboe as well. Although he was not a composer himself, Reusch emerges from the history of the musical collection in Baden as a diligent copyist and the author of a number of transcriptions for flute.Klaus Häfner, “‘... gnädigst Befohlener maaßen, Zur Fürstl. Biebliothec geliefert’. Die Musikaliensammlung”, in: Buch – Leser – Bibliothek: Festschrift der Badischen Landesbibliothek zum Neubau, ed. Gerhard Römer, (Karlsruhe: Badische Landesbibliothek, 1992), 161–170. Moreover, the manuscripts used by Pokorn as a basis for his edition contain two pieces incorrectly attributed to Ivanschiz, which were in reality composed by Franz Asplmayr (nos. IV and V; see below).Already Hubert Unverricht had drawn attention to the unreliability of sources in the Baden collection and even pointed out the incorrect attribution of the trio by Asplmayr arranged for flutes and bearing Ivanschiz’s name. See Hubert Unverricht, Geschichte des Streichtrios, Mainzer Studien zur Musikwissenschaft 2 (Tutzing: Schneider, 1969), 71. These two works differ from Fr. Amandus’ trios, inter alia, in their movement plan (slow movement – fast movement – minuet), treatment of musical form and preference for a much more active bass line that dialogues with the other instruments.See Jochymczyk, Amandus Ivanschiz, 268–269. As already mentioned, the lowest part in Ivanschiz’s trios calls for a low-pitched melodic stringed instrument (cello or violone). This part is not figured in any known manuscript; according to the sources, these compositions were normally performed without any basso continuo accompaniment.Ivanschiz’s works are not exceptional in this regard. According to James Webster, “the evidence that the continuo had been abandoned in secular Austrian chamber music by 1750 is overwhelming”. Webster, “Towards a History”, 243–244; see also Unverricht, Geschichte des Streichtrios, 189–191. Therefore, omission of the editorially added “cembalo” part in Pokorn’s edition is recommended.

Maciej Jochymczyk

Predgovor

Misel na izdajanje del skladateljev, ki so ustvarjali v daljni preteklosti in potekali s slovenskega prostora, tu bili rojeni in bili slovenskega, a v nekaterih primerih tudi neslovenskega porekla, na Slovenskem naturalizirani ali se kako drugače stikajoči s tem ozemljem, je vznikla že pred časom. Prvič, toda osamljeno, se je konkretizirala v knjižnem programu Slovenske matice, ki je v 60-ih letih izdala izbor skladb J. Gallusa, G. Plavca in J. K. Dolarja (Gallus-Plautzius-Dolar in njihovo delo, 1963) in Gallusove posvetne zbore (Harmoniae morales, 1966; Moralia, 1968).

V 70-ih letih in neposredno zatem se je ta misel nadaljevala. Privedla je do spoznanja, da bo lahko v polnem zaživela le z dobro premišljenim in načrtno vodenim konceptom ter v okviru institucije, ki je za take izdaje najbolj poklicana in je v navadi tudi drugod. To in ono se ravnokar začenja realizirati z zbirko MONUMENTA ARTIS MUSICAE SLOVENIAE kot izdajo Slovenske akademije znanosti in umetnosti oziroma Muzikološkega inštituta njenega Znanstvenoraziskovalnega centra.

Koncept je jasen: v tej zbirki bodo zajeti vsi doslej znani avtorji od 16. do začetka 19. stoletja. Tem se bodo morda sčasoma pridružili še drugi, o katerih še ne vemo dovolj ali jih sploh še ne poznamo. Raziskovalci se trudijo, da bi jih odkrili ali jih bolje spoznali in bi tudi njihovo storitev predstavili javnosti.

Realizacije v zbirki Monumenta artis musicae Sloveniae bodo v skladu s splošnimi vidiki, ki so v mednarodni rabi za izdajanje starejše glasbene produkcije. Upoštevajo zahteve sodobne izvajalne prakse, ki so ji v resnici namenjene. Pri tem pa v vsem ohranjajo izvirno podobo posameznih skladb in z revizijskimi poročili omogočajo njihovo rekonstrukcijo. Potemtakem so dvonamenske, gre jim historična in sodobna funkcija. Služile bodo tako za preteklost zainteresiranemu raziskovalcu kot današnjemu izvajalcu. Ta in oni si bo mogel iz njih ustvariti podobo o stilni orientaciji in umetniški vrednosti nekdanjega, s slovenskimi tlemi tako ali drugače povezanega glasbenega ustvarjanja, in predstavo o tedanji situaciji slovenskega glasbenega prostora v primerjavi z ostalim srednje- in zahodnoevropskim.

Zbirka Monumenta artis musicae Sloveniae, za katero si bomo prizadevali, da bo s svojimi zvezki pričujoca vsako leto, se ne bo vezala na strogo časovno zaporedje. S te strani se bo ravnala po gradivu, ki bo na voljo, v katero pa bo vključeno vse, kar je nastalo od Gallusa ali morda še pred njim pa nadalje.

Monumenta stopajo v življenje s petimi sonatami a tre Amandusa Ivančiča, ki je deloval sredi 18. stoletja. Čeravno zanj narodnostni izvor sicer se ni nedvoumno razviden, je gotovo, da je bil južnoslovanskega rodu. Iz gradiva sodimo, da je bila njegova storitev navzoča tudi na Slovenskem.

Dragotin Cvetko

Preface

The idea about the issuing of works of composers who were creating in the distant past and came from the Slovene area — were born here and were of Slovene, and in some cases also of non-Slovene origin, naturalized inhabitants of Slovenia, or in some other way connected with this territory — had sprung up quite some time ago. For the first time it was being realized, but not on a broader basis, in the publishing programme of the Slovenska matica, in the 1960s with the publishing of selections of compositions by J. Gallus, G. Plavec and J. K. Dolar (Gallus-Plautzius-Dolar and Their Work, 1963) and of Gallus' secular choral works (Harmoniae morales, 1966; Moralia, 1968).

In the 1970s and immediately afterwards this idea was continued. It led to the conclusion that it could be adequately realized only by a carefully designed and consistently directed project and within the framework of an institution which is fully competent for bringing out such editions — what is common practice also in other countries. The first fruits of these endeavours are at this moment coming forth with the collection MONUMENTA ARTIS MUSICAE SLOVENIAE as an edition of the Slovene Academy of Sciences and Arts, specifically of the Musicological Institute within its Scientific Research Centre.

The concept is clear: the collection will comprise all the authors from the 16th until the beginning of the 19th cent. so far known. Later on these will be possibly joined by others about whom we as yet do not know enough or are not known to us at all. The researchers are endeavouring to discover them or to learn more about them so that they might present their creative work to the musical public.

The realizations in the collection Monumenta artis musicae Sloveniae will follow the general principles as observed in international editions of older musical production. But the realizations will also take into account the demands of the contemporary performing practice — for which indeed they are intended. As such the original of the composer's individual works is preserved and with the help of the revision reports their reconstruction is made possible. Their purpose is thus twofold: the historical and the modern function. They will be truly useful to the researcher interested in the musical past as well as to the modern performer. The one or the other will hence be enabled on this basis to form an adequate judgement about the stylistic orientation and of the artistic value of the older, in one way or another with Slovenia associated, musical creativity as well as of the then current situation in the musical field in Slovenia as compared to that in the rest of the Central European and in Western Europe.

We shall do our best that the collection Monumenta will be present with its volumes every year, but the volumes will not be appearing in a strict chronological sequence. As regards this, the volumes will be coming out according to the material available, but will eventually cover everything known to have been written from Gallus onwards (or a little earlier) until the beginning of the 19th cent.

The Monumenta series begins with the present volume which contains five sonatas a tre by Amandus Ivančič, whose compositional output stems from the middle of the 18th cent. Although his national provenience is as yet not perfectly clear, it is certain that he was of-South Slavic origin. From his material it is evident that his work was present also in Slovenia.

Dragotin Cvetko

Uvod

O življenju skladatelja Amandusa Ivančiča (Ivanschiz, Ivanschitz, Ivancsics, Ivanschütz) nam je danes znanih samo nekaj drobcev. Iz naslovnih strani njegovih del je razvidno, da je bil redovnik (»P/adre/ Amando Ivanschiz«, »P. Ivanczitz«), nekatere med njimi ga predstavljajo kot člana belo oblečenega mendikantskega reda pavlincev eremitov (»A/dmodum/ R/everendo/ D/omino/ P/adre/ Amando Ivanschiz ord/inis/ S/ancti/ Pauli P/rimi/ Erem/itae/«). Edini doslej znani arhivski vir, ki govori o njem in ga postavlja v določeno okolje in čas, je četrta od petih računskih knjig graških jezuitov o upravi njihove cerkve sv. Egidija, današnje graške stolnice. Skladatelja omenjata v tej knjigi dva zapisa. Prvi pravi, da se je leta 1755 pripeljal v Gradec iz bližnjega pavlinskega samostana Maria Trost zaradi izvedbe svoje kompozicije (»Pro curru, quo ex Mariae Consolatricis Monasterio ad probandam musicam vectus est VP. Compositor Amandus Ivantschiz .... 1.30«), drugi pa, da je leta 1758 dobil honorar za nekaj kompozicij (»Pro 5 lytaniis et uno Sacro Cantato a VP. Amando Ivantschiz compositis .... 20«). In to je vse. Ena izmed listin konventa Maria Trost sicer leta 1776 še omenja nekega patra Amandusa, vendar brez priimka in zato ni jasno, ali gre za skladatelja, sedem let pozneje v seznamu redovnikov tega samostana ni naveden. Za trditev hrvatskega muzikologa A. Vidakovića, da je bil Ivančič po razpustu samostana Maria Trost v jožefinskih reformah leta 1786 nekaj časa organist katedrale v Gradcu, v izvirnem arhivskem gradivu ni podlage. Ne vemo, ali je razen na Štajerskem delovai še kje drugje. Spričo stevilnih prepisov njegovih del na Českem, Moravskem in Slovaškem se poraja vprašanje o njegovih zvezah s temi deželami, vendar za zdaj ni dokazov, da je tam kdaj živel ali pa bil, kot meni češka muzikologinja Th. Strakova, celo rojen. Noben dokument tudi ne sporoča, kakšno je bilo njegovo krstno ime (ime Amandus je nedvomno dobil in nosil kot redovnik), prav tako tudi ne, kje in kdaj se je rodil ter kje in kdaj je umrl. O tem so mogoče samo domneve. Če je bil leta 1755, ko z zapisom graških jezuitov prvič stopi iz teme, ki zagrinja njegov rod in mladost, star okrog trideset let, se je moral roditi nekje v letih 1720/25, umrl pa je, če upoštevamo listine samostana Maria Trost in povprečno življenjsko dobo v tistem casu, morda okrog leta 1780. Skladateljev priimek in nekaj (sicer redkih) s slovensko in hrvatsko folkloro obarvanih mest v njegovi glasbi kažejo povsem nedvoumno, da gre za človeka iz južnoslovanskega narodnostnega sveta. Toda priimek je razširjen po precej širokem območju, tako na Hrvatskem kot v Sloveniji (najbolj sklenjeno ozemlje z Ivančiči je tu na Štajerskem in prek novomeškega okraja in okolice Ljubljane sega na Primorsko), zato skladateljeve narodnostne pripadnosti ni mogoče natančneje določiti brez podatka o kraju njegovega rojstva, ta pa za zdaj ni znan.

Bolj kot življenje Amandusa Ivančiča nam je znano njegovo skladateljsko delo. Očitno je bil plodovit in v svojem času priljubljen skladatelj, kajti doslej zbrani podatki kažejo, da je ustvaril blizu sto kompozicij, ki so razsejane po dokaj obsežnem prostoru v Srednji Evropi, največ v Avstriji in Češkoslovaški, pa tudi v Nemčiji, na Madžarskem, v Belgiji in Jugoslaviji, tu v Sloveniji (Ljubljana, Novo mesto) in na Hrvatskem (Zagreb). V razvidu je petdeset nahajališč, a to število se močno poveča, če upoštevamo še provenienco tistih skladb, ki jih danes hranijo državni arhivi, knjižnice in muzeji. Med duhovnimi deli je dvajset maš (pri enaindvajseti, ki se tudi pripisuje Ivančiču, je njegovo avtorstvo dvomljivo), dvajset lavretanskih litanij, sedem kratkih oratorijev, posvečenih svetnikom jezuitskega reda Alojziju Gonzaga, Ignaciju Loyola in Francisku Ksaverskemu, kantata »Gemitus Crucifixi Jesu Nazareni«, »Motetto de beata Virgine Maria« in se nekaj manjših skladb, med posvetnimi pa dvaindvajset simfonij, dober ducat komornih kompozicij in dve za sam čembalo, toda ti sta vprašljivi. Vsa ta dela so se ohranila v prepisih instrumentalnih in vokalnih glasov v cerkvenih, samostanskih in aristokratskih glasbenih zbirkah. Znan ni noben natis kakšne Ivančičeve kompozicije, toda nekaj komornih imata v svojih katalogih dva sodobna nemška založnika, Breitkopf, o katerem vemo, da je v svoji delavnici narejene prepise, sloveče po zanesljivosti, lepi obliki in trpežnem papirju, prodajal za štiri groše polo, in Ringmacher.

Amandus Ivančič je osebnost prehodnega razdobja v glasbeni umetnosti 18. stoletja, razdobja, v katerem so se stilni ostanki baroka prepletali s prvinami galantnega in občutljivega sloga, širše rečeno zgodnjega klasicizma. Kaže, da je bilo obdobje njegove največje skladateljske dejavnosti poldrugo desetletje med letoma 1755 in 1770. Pretežna večina njegovih del je nedatirana, a tudi vrednost letnic pri datiranih je le relativna, ker gre za prepise in ne za izvirnike. Najstarejša med datiranimi skladbami je maša v C iz leta 1757 v samostanu Gottweig, največ datiranih rokopisov pa je iz razdobja 1762—1772. Prepisi nekaterih litanij so na Češkem in Slovaškem nastajali še v začetku 19. stoletja, zaznamki na dveh mašah iz premonstratenskega samostana na Strahovu pa pričajo, da so ju izvajali vse do srede tega stoletja. V novem času je skladatelj prvič omenjen leta 1901 v leksikonu Roberta Eitnerja. Pravo znanstveno zanimanje zanj se je prebudilo nekaj let pred drugo svetovno vojno, in sicer na Moravskem, kjer je prvi preučeval njegova dela muzikolog Vladimir Helfert. Pri nas je že dokaj prej prvi opozoril na Ivančiča Stanko Premrl in v svojem resda kratkem zapisu leta 1922 v Cerkvenem glasbeniku pripomnil, da »smemo s precejšnjo verjetnostjo, če ne z gotovostjo sklepati, da je bil domačin, Slovenec«.

Pisava skladateljevega priimka v rokopisih iz 18. stoletja in v znanstveni literaturi je neenotna. Viri navajajo nič manj kot štirideset variant, pač zaradi različnih narodnosti prepisovalcev, ki so ime prilagajali domači ortografiji, gotovo pa tudi zaradi različnih stopenj njihove natančnosti in izobrazbe. Daleč najpogostejši sta obliki Ivanschiz in Ivanschitz. Vsako od njiju srečamo približno petdesetkrat. Že precej bolj redke so variante Ivancsics, Ivanschütz in Ivanschicz, a posamič naletimo še na več kot trideset drugih oblik. V vseh primerih gre seveda za isti priimek južnoslovanskega izvora, ki je izpeljan iz moškega krstnega imena Ivan ter doma v Sloveniji in na Hrvatskem: Ivančič, Ivančić. Toda če upoštevamo tisti dve obliki, ki se v izvirnih rokopisih iz 18. stoletja pojavljata daleč najbolj pogosto, bi bilo treba skladateljevo rodbinsko ime pisati in brati Ivanšic ali Ivanjšic. To sta variantni pisavi priimka iste korenine, sicer veliko bolj redki in znani samo v severnovzhodnem delu slovenske Štajerske, v ptujsko-ljutomerskem območju, vendar v tem primeru pravilnejši. Tudi to pa je seveda le domneva.

Komorne kompozicije so v primerjavi s simfonijami, mašami in litanijami nekoliko manjša skupina Ivančičevih del. Znanih je šestnajst in sicer dve v C, dve v D, ena v Es, tri v F, štiri v G, dve v A in dve v B duru (v nekaj primerih se kopije istih skladb razlikujejo v tonaliteti, navadno za sekundo). Hranijo jih knjižnice in arhivi v Nemčiji (Karlsruhe, München, Münster, Donaueschingen), Avstriji (Dunaj, Lambach), Českošlovaški (Praga, Zamberk, Brno, Martin) in na Madžarskem (Keszthely). V pretežni večini to niso njihova prvotna nahajališča. Najbogatejši hranišči sta Badenska deželna biblioteka v Karlsruhe in Univerzitetna knjižnica v Brnu. Prva ima deset skladateljevih komornih del, ki izvirajo iz glasbene zbirke badenskih mejnih grofov, druga štiri; rokopisi le-teh so nekdaj pripadali glasbeni zbirki grofov Waldsteinov na gradu Doksy na severnem Češkem, bili pa so v novejšem času uničeni in so ohranjeni samo na mikrofilmskih posnetkih. Nekaj neohranjenih in deloma neidentificiranih skladb omenjajo inventarji glasbenih zbirk princev Hohenzollernov v Sigmaringnu (1766), knezov Waldburgov v Zeilu (1767) ter samostanov Rajhrad (1 771) in Nova Rise (1825) na Moravskem. Polovica skladateljevih ohranjenih komornih kompozicij so po doslej zbranih podatkih unikati, druge so znane v več, tudi šestih primerkih. Vsega skupaj je v razvidu triintrideset rokopisov in fragment štiriintridesetega. Datirana sta med njimi samo dva in sicer z letnicama 1762 in 1765, posredno pa govore o času nastanka teh del omenjeni inventarji in to, da jih sedem navaja leta 1767 v Supplementu II svojega kataloga znani leipziski založnik J. G. I. Breitkopf in dve od njih šest let pozneje berlinski založnik C. U. Ringmacher.

Naslovne strani označujejo Ivančičeve komorne skladbe različno kot »Sonata«, »Divertimento«, »Trio«, »Simfonia«, »Nocturno«, inventarji kot »Parthia«. Isto kompozicijo najdemo tudi pod štirimi različnimi naslovi. V bistvu pa so to dela istega kompozicijskega tipa. Vsa so pisana »a tre« za dva solistična instrumenta in bas in sodijo torej v baročno zvrst triosonate, ki pa je v vrsti kompozicijskih elementov prilagojenega času in kaže poleg baročnih usedlin poteze zgodnjeklasicističnega sloga. V ciklični konstrukciji skoraj povsem prevladuje model s tremi stavki, tak, kot je razviden iz prvih treh sonat za to izdajo pripravljenega izbora: na prvem mestu je stavek v počasnem ali zmernem tempu z oznako Largo, Adagio, Andante ali Andantino, na drugem menuet s triom, na zadnjem Allegro. Oba obrobna stavka sta v sonatni obliki. V dveh triosonatah z opaznimi prvinami občutljivega sloga — to sta četrta in peta sonata našega izbora — je vrstni red zadnjih dveh stavkov tega vzorca zamenjan: Allegro je v njih srednji, a menuet, obakrat brez tria, sklepni stavek. Ostali nizi so grajeni različno. Eden se približuje oblikovnemu obrazcu skladateljevih tristavčnih simfonij (Affettuoso, Largo, Tempo di minuetto), drugi izdaja ciklično zasnovo divertimenta s petimi stavki (Andante, Allegro, Menuet-Trio, Andante, Allegro), zadnji, morda najstarejši od vseh, pa se zgleduje po štiristavcni obliki baročne sonate da chiesa in jo hkrati variira: običajni uvodni Grave je zamenjan z Affetuosom in tradicionalna giga na koncu s polonezo, docela v duhu izročila pa sta oblikovana srednja dva stavka — drugi kot fugiran Allegro, tretji kot Siciliano v vzporedni molski tonaliteti. Vsi stavki ciklov stoje praviloma v istem tonskem načinu in to je ena starinskih potez skladateljevega komornega opusa.

Sonatna oblika, ki jo uporablja Ivančič, je rudimentarna zgodnjeklasična sonata, tridelna s popolno reprizo, kot je značilna za njegove simfonije, ali pa dvodelna z nepopolno reprizo. Glasbene misli so lapidarne, a tematski kontrast je izrazen dovolj jasno, dasi naletimo tudi na primere monotematičnosti in take, kjer je razlikovanje med primarnim in sekundarnim gradivom težavno in dajejo vtis politematičnosti. Drugo temo postavlja skladatelj večkrat v dominanto dominante in to bi utegnila biti njegova posebnost. Najmanj razvit del oblike je izpeljava, vendar je treba pripomniti, da ima Ivančič v nekaterih delih, po vsej verjetnosti v poznih, tudi razmeroma obsežne in z dobrim tematičnim delom grajene izpeljave.

Izvajalski sestavi variirajo, a ne močno. Najdemo naslednje: violina, viola in bas, flavta, viola in bas, dve violini in bas, dve flavti in bas, flavta, violina in bas. Daleč najpogostejša je prva zasedba, zadnje tri so redke, tako rekoč izjemne. Značilno je predvsem to, da se kot drugi solistični instrument zelo izrazito pojavlja viola, torej ne več sopranski, ampak instrument srednje lege. Najnižji glas, označen kot »basso« ali »violoncello«, izjemoma kot »fondamento«, ni oštevilčen v nobenem rokopisu in pogosto tudi ni vzor generalnega basa, kljub temu pa so ga po vsej verjetnosti se zmerom izvajali s sodelovanjem akordičnega glasbila. Kot s svojim slogom predstavljajo komorne skladbe Amandusa Ivančiča tudi z instrumentacijo prehodno stopnjo v razvoju baročne sonate a tre v klasične komorne zvrsti, in sicer v godalni trio ali v klavirski kvartet — odvisno od usode instrumenta s tipkami, ki je skupaj z violončelom igral v teh delih basovski part.

Skladateljev kompozicijski stavek je jedrnat, v glavnern preprost, v posameznostih celo neuglajen. Njegova najmočnejsa sestavina je melodika. Čeprav je zaznamovana z manirizmi dobe, je vendar tako v hitrih kot v počasnih stavkih dovolj sveža in prikupna in kaže avtorja kot ljubeznivo muzikalno naravo, ki zmore pritegniti poslusalčevo pozornost še danes.

Introduction

About the life of Amandus Ivančič (Ivanschiz, Ivanschitz, Ivancsics, Ivanschütz) only fragmentary information is available so far. From the title pages of the composer's works it is evident that he was a friar (»P/adre/ Amando Ivanschiz«, »P. Ivanczitz«), in some of them he is more fully named as a member of the white-clad mendicant order of Paulines (»A/dmodum/ R/everendo/ D/omino/ P/adre/ Amando Ivanschiz ord/inis/ S/ancti/ Pauli P/rimi/ Erem/itae/«). The only so far known archival source which refers to him and places him into a given environment at a particular time is the fourth of the five bookkeeping annual records by Jesuits in Graz. Austria, concerning the administration of the St. Aegidius’church, today the Cathedral in this town. This source mentions the composer twice. The first entry states that he came to Graz in 1755 from the nearby Maria Trost Pauline monastery to overlook the performance of a composition of his (»Pro curru, quo ex Mariae Consolatricis Monasterio ad probandam mušicam vectus est VP. Compositor Amandus Ivantschiz .... 1.30«); according to the second entry he received in 1758 a fee for some of his compositions (»Pro 5 lytaniis et uno Sacro Cantato a VP. Amando Ivantschiz compositis .... 20«), And this is all. Otherwise, another document from the Maria Trost monastery, from the year 1776, also mentions a certain friar Amandus, but not his surname, and so it is not clear whether this mention refers to the composer. On the list of monks in this monastery, from seven years later, he is not entered at all. The Croatian musicologist A. Vidakovic’s hypothesis that after the dissolution of the Maria Trost monastery during the Josephine reforms in 1786 Ivancic was for a period of time organist at the Graz Cathedral has no support in the original archival materials. It is unknown whether he worked elsewhere than in Styria. Numerous copies of his works existing in Bohemia, Moravia and Slovakia certainly raise the question of his possible connections with these countries, yet so far no evidence that he ever lived there has been found, neither that he — as the Czech musicologist Th. Strakova believes — was even born there. No document, again, discloses his Christian name (the name Amandus was undoubtedly given to him, and subsequently used, when he had become a monk), neither it is known where and when he was born nor where and when he died. Conjecture only is possible in this matter. If we assume that in 1755, when an entry made by the Graz Jesuits first bring him out of obscurity enveloping his origin and youth, he was about thirty years old, then he must have been born sometime during the years 1720—25; and he died, if we take into consideration the documents from the Maria Trost monastery as well as the life expectancy at his time, possibly around 1780. The surname and a few rare places in his output coloured by either the Slovene or the Croatian folkloristic idiom permit the conclusion that he was of South Slavic extraction. The surname in question is to be found over a fairly wide territory, both in Croatia and in Slovenia (the most uniform area of people bearing the surname of Ivancic being here Styria and via the Novo mesto district and the surroundings of Ljubljana extending over to Primorsko /Slovene Littoral Area/), and for this reason the composer's national provenience cannot be more reliably determined until his place of birth is known.

Much more than about Ivancic's life is known about his compositional output. He was clearly a prolific composer much enjoyed in his time. According to evidence gathered so far he wrote about one hundred compositions, scattered in copies over a fairly vast area in Central Europe, mostly in Austria and Czechoslovakia, but also in Germa- ny, Hungary, in Belgium, and in Yugoslavia, here in Slovenia (Ljubljana, Novo mesto) and Croatia (Zagreb). Fifty places have so far been identified where his works are to be found, but this number significantly increases if we include also the provenience of his compositions currently kept in state archives, libraries and museums. Ivancic's sacral works include twenty Masses (the twenty-first, sometimes ascribed to him, may in fact not be his), twenty Litanies of the Blessed Virgin, seven short oratorios dedicated to the Saints of the Jesuit order Aloysius Gonza- ga, Ignatius Loyola, Franciscus Xaverius, the cantata »Gemitus Crucifixi Jesu Nazareni«, »Motetto de beata Virgine Maria«, and a few minor compositions. His non- religious music includes twenty-two symphonies, a dozenodd chamber works and two written for harpshicord. but the latter are questionable. All these works have been preserved in copies of instrumental and vocal parts in various churches and monasteries as well as in collections kept by aristocratic music lovers. No print of a composition by Ivancic is known, but a few of his chamber works are listed in the catalogues of two German publishers at his time, Breitkopf, known to have produced in his workshop manuscript copies famous for reliable version, beautiful form, and good paper (these copies were sold at four groschen for sheet), and Ringmacher.

Amandus Ivancic is a personality from the transitional period in the 18th century musical art, from the period in which the stylistic remnants of the Baroque were interwoven with the elements of the gallant and sensitive style, in broader terms, of the early Classicism. It appears that the most productive period of our composer extended between 1755 and 1770. Most of his works are undated, but even the reliability of years as given is relative as we have at disposal copies and not originals. The oldest among the dated compositions is Mass in C, from 1757, found in the Gotweig monastery. Most of the dated manuscripts, however, come from the period 1762—1772, Copies of some Litanies preserved in Bohemia and Slovakia were made still at the beginning of the 19th century and notes on two Masses discovered in the premonstratensian monastery at Strahov are proof that they were being performed throughout the first half of the 19th century. In the more recent period Ivancic is first mentioned in 1901 in Robert Eitner’s Quellen-Lexicon. True scholarly interest in his work started a few years before the second War, in Moravia, where Ivancic's compositions were studied by the musicologist Vladimir Helfert. Quite earlier on, in Slovenia, it was Stanko Premrl who first called attention to Ivancic; it was in a short note in Cerkveni glasbenik (1922) observing that »we may, with a considerable degree of probability if not with certitude, conclude that he was a native, a Slovene«.

The spelling of the composer’s name is in the 18th century manuscripts and in scholarly literature all but uniform. In the sources as many as forty variants are to be found, something certainly due to the different nationalities of the copyists who suited the spelling to their individual national orthography and also to their different education and sense of precision. By far the most frequent forms are Ivanschiz and Ivanschitz. Each of them comes up approximately fifty times. Rather more rare variants are Ivancsics, Ivanschütz and Ivanschicz. The number of spellings that occur once only is over thirty. In all these cases we have naturally to do with the same surname of South Slavic origin, derived from the male Christian name Ivan and used in Slovenia and Croatia; Ivancic, Ivancic. But if we consider the two forms ocurring in the original manuscripts from the 18th century most frequently, the composer's name should perhaps be spelled and pronounced to-day Ivansic or Ivanjsic. These are two variant spellings of the same origin, otherwise rather less common and found only in the north-eastern part of the Slovene Styria, in the Ptuj and Ljutomer region, but in this case more adequate. This again is but another hypothesis.

In comparison with his Symphonies, Masses and Litanies, the chamber works form a somewhat smaller part of Ivancic's compositional output. On record there are sixteen: two in C, two in D. one in E flat, three in F, four in G. two in A and two in B flat major (in several cases the copies of the same compositions differ in tonality, mostly tor a second). They are kept in the libraries and archives in Germany (Karlsruhe. München, Munster. Donaueschingen). Austria (Vienna. Lambach), Czechoslovakia (Prague, Zambcrk. Brno. Martin), and Hungary (Keszthely). In most cases these are not the places where they were originally kept. The richest in this respect are the Baden District Library in Karlsruhe and the University Library in Brno. In the first there are ten of the composer’s chamber works, originally from the musical collection of the Margraves of Baden, in the second four: these manuscripts used to be a part of the musical collection of the Counts of Waldstein at the Doksv Castle in North Bohemia, they were in recent time destroyed but have survived on microfilm. Some unpreserved and in part unidentified compositions are listed in the musical inventories of Princes Hohenzollern at Sigmaringen (1766). Princes Waldburg at Zeil (1767) and of the monasteries at Rajhrad (1771) and at Nova Rise (1825) in Moravia. A half of the composer's works of this genre are according to the evidence gathered so far preserved in only one copy, others have survived in more, even six copies. Altogether there are on evidence thirty-three manuscripts and a fragment of the thirty-fourth. Only two of them are dated: with the years 1762 and 1765. But indirectly the time of the origin of these works is to be inferred from the above-mentioned inventories and from the fact that seven of them are listed in the year 1767 by J. G. I. Breitkopf, the widely known publisher from Leipzig, in the Supplement II to his Catalogue, and two of them six years later by the Berlin publisher C. U. Ringmacher.

In the title pages Ivancic's chamber compositions are variously designated as »Sonata«. »Divertimento«, »Trio«, »Simfonia«, »Nocturno«, in inventories as »Parthia«. The same work is occasionally found under four different titles, nevertheless, these compositions are essentially of the same compositional genre. All of them are written »a tre« for two solo instruments and bass, thus belonging to the baroque genre of the trio sonata, which, however, is in a number of its compositional elements adapted to its time and thus shows besides the residues of Baroque also the early classicist features. In the cyclical construction it is the three-movement model that is well-nigh prevalent, a model exemplified by first three Sonatas in the present selection: first comes a movement in a slow or moderate tempo, designated Largo, Adagio, Andante or Andantino; this is followed by a Minuet with Trio; and finally comes an Allegro. The two movements at either end are in a sonata form. In the two trio sonatas with marked features of the sensitive style — the fourth and the fifth Sonatas in the present selection — the sequence of the last two movements in this model is reversed: Allegro comes as second, while the Minuet, each time without Trio, forms the concluding movement. The remaining sequences are constructed differently. The first of them comes close to the form of the composer’s three-movement symphonies (Affettuoso, Largo, Tempo di menuetto), the seconddisplays a cyclical conception of Divertimento in five movements (Andante, Allegro, Menuet-Trio, Andante, Allegro), and the last — possibly the oldest of them all — is modelled after a four movement form of the baroque Sonata da chiesa and is variation thereof: the usual introductional Grave is replaced by Affettuoso and the traditional Gigue at the end by a Polonaise, while wholly written in the traditional spirit are the two movements in the middle — the second as fugai Allegro, the third as Siciliano in parallel minor. All the movements of the cycles are as a rule in the same key and this is one of the antique features of the composer’s chamber output.

The sonata form as used by Ivancic is a rudimentary early classical sonata form, either in three parts with complete recapitulation or in two parts with incomplete recapitulation. Musical ideas have a lapidary character, but the thematic contrast is sufficiently clearly brought out, even if there are instances of mono-thematic and occacionally also of poly-thematic movements, in which it is difficult to distinguish the primary from the secondary material. The second theme is frequently put in the dominant’s dominant and this might be a special characteristic of this composer. The least developed part of the form is the middle section; it should, however, be added that in some of his, most probably, later works Ivancic has also compa- ratively rich and with good thematic work constructed developments.

The combinations of instruments he uses vary but not significantly. The following are to be found: violin, viola and bass, flute, viola and bass, two violins and bas, two flutes and bass, flute, violin and bass. By far the most frequent is the first combination, the last three are rare, almost exceptional. What stands out is the fact that as the second solo instrument predominates the viola, thus no longer a soprano instrument but an instrument of the middle register. The lowest part, designated as »basso« or »violoncello«, exceptionally as »fondamento« is not figured in any manuscript and is also no longer a model of basso continuo; nevertheless, this part in all probability continued to be performed by means of a keyboard instrument. Amandus Ivancic's chamber compositions represent both with their style and instrumentation a transitional phase in the development of the baroque Sonata a tre into the classical chamber works: either into the trio for strings or into the piano quartet — depending on the fate of the keyboard instrument which played in these works together with violoncello the bass part.

Ivancic's compositional style is compact, mostly straightforward, in some particulars even unpolished. The most powerful element in his music is undoubtedly its melodics. Though marked by some mannerisms of the time it is nevertheless, both in quick and in slow movements, fresh and appealing. It reveals our composer as a lovable musical nature capable of arousing the listener’s interest to this very day.

Revizijsko poročilo

Komorne skladbe A. Ivančiča v nasprotju z njegovimi simfonijami doslej se niso bile objavljene. Izbor, ki ga prinaša pričujoča izdaja, predstavlja ta del skladateljevega opusa s petimi sonatami a tre za prečno flavto (ali violino), violo in bas. Kot predloge so pri vseh skladbah služili rokopisi iz glasbene zbirke v Badische Landesbibliothek Karlsruhe, o njih je bilo ze omenjeno, da izvirajo iz glasbenega arhiva badenskih mejnih grofov. Rokopisi izbranih triosonat so delo treh neznanih kopistov: prva sonata izdaja eno, druga, četrta in peta sonata drugo, tretja sonata tretjo roko.

I. Triosonata v G Predloga je bil rokopis Ms. 235 z napisom na naslovni strani: »Trio ex G/ Flauto Traverso/ Viola Obligato/ e/ Basso/ Del Sigr Ivanschiz«. Znani so se štirje primerki te kompozicije: eden je v Glasbenem oddelku Moravskega muzeja v Brnu (A 12.614), dva v Univerzitetni knjižnici prav tam (Skr 17-525.708 M 266, Skr 17-525.718 M 262), eden pa v muzeju Helikon v Keszthelyju na Madžarskem (No. 2077). Vsi štirje so za violino, violo in bas. Prvi od teh rokopisov, rajhradske provenience, žal, nepopoln, ker mu manjka basovski part, ima letnico 1762. Ta rokopis je bil uporabljen kot subsidiarna predloga glede dinamičnih znamenj, ki jih v badenski kopiji ni. Skladbo navajata tudi kataloga Breitkopf (1767, Suppl. II, str. 23) in Waldburg-Zeil (1767, str. 40). II. Triosonata v C Predloga je bil rokopis Ms. 227, njegov naslov se glasi: »Sonata/ a/ Flauto/ Viola/ col Basso/ Del Sigor Ivanschiz«. Drugi primerek te triosonate ima benediktinska opatija Lambach (No. 388), na notranjih straneh platnic rokopisa skladateljevih Litanij v D, ki jih hrani Glasbeni oddelek Narodnega muzeja v Pragi (XI A 163), pa se je našel zapis sopranskega glasu vseh njenih treh stavkov. Triosonato omenjajo katalogi Sigmaringen (1766, str. 31), Breitkopf in Waldburg-Zeil. Prvi instrument je v vseh teh primerih violina, tonaliteta kompozicije pa B. III. Triosonata v C Predloga: rokopis Ms. 230 z naslovom: »Sonata/ a/ Traverso o Violino/ Alto Viola/ e Violoncello/ Del Sige. Ivanczicz«. To bi utegnila biti skladateljeva najbolj priljubljena komorna kompozicija. V razvidu je namreč se pet drugih primerkov, prvi v opatiji Lambach (No. 254), drugi v Univerzitetni knjižnici v Brnu (Skr 17-525.714 M 254), tretji v Literarnem arhivu Slovaške Matice v Martinu (D 1-352) in dva v Univerzitetni knjižnici v Münstru (Ms. 437, Ms. 867). Skladbo navajajo katalogi Sigmaringen, Breitkopf, Ringmacher (1773, str. 96) in glasbeni inventar samostana Rajhrad (1771). Sopranski instrument je v vseh teh primerih violina. IV. Triosonata v G Predloga: rokopis Ms. 225, njegov naslov: »Sonata a Tre/ Flauto/ Viola/ Col Violoncello/ Del Sigor Ivanschiz«. To triosonato navaja kot Ivančičevo tudi katalog Waldburg-Zeil in sicer kot skladbo za dve violini in bas v F duru. Ta rokopis ni ohranjen. V tej tonaliteti in zasedbi se je skladba ohranila v samostanu Seitenstetten v Spodnji Avstriji kot »Divertimento Notturno« Josepha Haydna (gl. Hoboken I, str. 500). Katalog Breitkopf (1767, Suppl. II, str. 16) jo ima med trii Franza Aspelmayra (1728—1786), vendar je med doslej znanimi deli tega dunajskega skladatelja ni najti. V. Triosonata v D Za predlogo je bil rokopis Ms. 229, napis na njegovi naslovni strani: »Sonata a Tre/ Flauto/ Viola/ Col Violoncello/ Del Sigor Ivanschiz«. Primerek je po doslej znanih podatkih unikat. Katalog Breitkopf (1766, Suppl. I, str. 28; 1767, Suppl. II, str. 16) navaja to kompozicijo kot Trio za dve violini in bas v B duru F. Aspelmayra, a doslej se med njegovimi deli ni našla.

Urednik se je pri rekonstrukciji partitur ravnal po načelih, ki so običajna za izdaje, namenjene tako znanstveni kot praktični izvajalski rabi. Pisava, vstevši kratice za dinamiko, znake za ponavljanja, appoggiature in akcidence, je modernizirana, a izvirni notni tekst je dosledno spoštovan. Kar je posegov vanj, so naznačeni z oglatimi oklepaji, bodisi da gre za popravke napak, ki so jih očitno zagrešili kopisti, bodisi za uredniške dodatke, kot so — v virih pomanjkljivi, nedosledni, večkrat tudi nejasni — znaki za artikulacijo, dinamiko, okraske in opozorilna znamenja. Nekaj primerov je podrobneje obravnavanih v zadnjem delu tega poročila.

Posebno vprašanje so appoggiature. V predlogah, kot je to značilno za rokopise iz 18. stoletja, so pisane nedosledno in z ne vselej jasnim razlikovanjem med kratkimi in dolgimi appoggiaturami. To je pri izdelavi generalnega basa včasih oteževalo pravilno ritmično razporeditev akordov v čembalistovi desni roki. Navzlic temu urednik v appoggiature ni posegal več kot toliko, da je poenotil njihovo pisavo na identičnih mestih.

Oštevilčenj in oznak za generalni bas ni v predlogah nikjer, razen tega part violončela pogosto tudi ni zgled zanj. Pri izdelavi generalnega basa je bil ta part dosledno prenesen v čembalistovo levo roko, razen v primerih generalnemu basu tujih repeticij ali drobnih pavz na prvo dobo. Akordi niso vneseni v part čembala na mestih, kjer gre za enoglasje ali oktave. Pomanjkljivo gibanje v glasovih flavte in viole v prvih triosonatah je narekovalo gibanje v spremljavi, le-to pa v realizaciji generalnega basa seže proti običajem 18. stoletja ponekod čez flavtin diskant. V četrti triosonati je continuo za levo roko reduciran, ker tu ne gre vec za figurirani bas, ampak za izrazite pasaže v violončelu.

I. Triosonata v G Adagio t. 1, flavta v nekaterih primerkih je ta takt pisan s punktirano drugo četrtinko in triolami na koncu. Menuet-Trio t. 60, viola zadnja osminka v predlogi pomotoma c'. t. 64, bas tretja nota v izvirniku h, popravljena v g po analogiji s t. 66. Allegro t. 2 in 45, bas v predlogi

pri tem vzporedne oktave z violo. Ker verjetno ne gre za napako kopista, je popravek šteti kot predlog, t. 11, flavta tretja osminka v izvirniku d”, popravek v h’ glede na t. 15 in 54; tako tudi v rokopisu rajhradske provenience. t. 11, viola zadnja osminka fis'. t. 50, flavta prve štiri šestnajstinke v predlogi notirane oktavo nize. t. 57, bas v predlogi

nedvomno pogrešek prepisovalca, t. 60. flavta izvirnik ima na prvo dobo a' v vrednosti cetrtinke; usklajeno st. 17. II. Triosonata v C Andante t. 9, bas v predlogi

s tem vzporedne oktave s flavto in vzporedne kvinte z violo; popravek po analogiji s t. 43. t. 12, flavta zadnja osminka v izvirniku gis”; t. 14, flavta prva osminka na tretjo dobo f” (z razveznikom!) in tako se v t. 15; popravljeno glede na ustrezna mesta v reprizi (t. 46, 48 in 49). Allegro molto t. 1, flavta četrta nota v celotonskem odnosu s predhodno in naslednjo, tako tudi v vseh identičnih taktih (t. 2. 29, 30, 33. 34) v tem glasu ali violi; boljši bi bil poltonski odnos:

III. Triosonata v C Allegro t. 28, viola v predlogi zadnja osminka e'. IV. Triosonata v G Largo t. 16, 1 7, bas v izvirniku

transponirano oktavo nize, kot ima predloga na tem mestu v reprizi (t. 42, 43). V. Triosonata v D Adagio t. 8, viola v rokopisu prva šestnajstinka gis; enako na identičnem mestu v t. 26 cis’. t. 11, bas polovinka na tretjo in četrto dobo v predlogi g (z razveznikom!); popravek glede na ustrezno mesto v t. 30.

Revision report

The chamber works of A. Ivancic — unlike his symphonies — have not been published so far. The selection prepared for the present edition presents this part of the composer's output with five sonatas a tre for transverse flute (or violin), viola and bass. The presentation of the sonatas here is based on manuscripts kept in the musical collection of the Badische Landesbibliothek Karlsruhe; as already mentioned, they come originally from the musical archives of the Margraves of Baden. The manuscripts of the selected trio sonatas were made by three different copyists: the first sonata was copied by one hand; the second, the fourth and the fifth by another; and the third sonata by a third hand.

I. Trio Sonata in G As basic text served Manuscript 235 which bears on the title page the following inscription: »Trio ex G/ Flauto Traverso/ Viola Obligato/ e/ Basso/ Del Sigr Ivanschiz«. This composition is extant in another four copies: one in the Musical Department of the Moravian Museum in Brno (A 12.614), two at the University Library, also in Brno (Skr 17-525.708 M 266, Skr 17-525.718 M 262), and one in the Helikon Museum at Keszthely in Hungary (No. 2077). All four are for violin, viola and bass. The first of them, of Rajhrad provenience, unfortunately incomplete (the bass part is missing) bears the year 1762. This manuscript has been used as subsidiary material concerning dynamic indications lacking in the Baden copy. The work is listed also in the Breitkopf catalogue (1767, Suppl II, p. 23) and in Waldburg-Zeil catalogue (1767, p. 40). II. Trio Sonata in C As source was used Manuscript 227 entitled: »Sonata/ a/ Flauto/ Viola/ col Basso/ Del Sigor Ivanschiz«. Another copy of this trio sonata is kept at the Benedictine Abbey at Lambach (No. 388), while on the inner sides of the covers of a manuscript of the composer’s Litanies in D kept in the Musical Department of the National Museum in Prague (XI A 163) the soprano part of all of the sonata's three movements is written down. It is to be found also in the Sigmaringen (1766, p. 31), Breitkopf and Waldburg-Zeil catalogues. In all these cases the first instrument is violin, and the composition is written in B flat. III. Trio Sonata in C Presentation based on Manuscript 230 bearing the title: »Sonata/ a/ Traverso o Violino/ Alto Viola/ e Violoncello/ Del Sige. Ivanczicz«. This might have been the composer’s most popular chamber composition. There are namely another five copies of it on record, the first at the Abbey at Lambach (No. 254), the second in the University Library in Brno (Skr 17-525.714 M 254), the third in the Literary Archives of Matica Slovenska at Martin (Dl-352), and two in the University Library in Münster (Ms. 437, Ms. 867). It is also mentioned in the Sigmaringen, Breitkopf and Ringmacher (1773, p. 96) catalogues, as well as in the musical inventory of the Rajhrad monastery (1771). In all these cases the soprano instru- ment is violin. IV. Trio Sonata in G Source: Manuscript 225, its title: »Sonata a Tre/ Flauto/ Viola/ Col Violoncello/ Del Sigor Ivanschiz«. This trio sonata is entered also in the Waldburg-Zeil catalogue as a work by Ivancic for two violins and bass in F. This manuscript did not survive. In this key and scoring the composition has been preserved in the Seitenstetten monastery in Lower Austria as »Divertimento Notturno« of Joseph Haydn (see Hoboken I, p. 500). The Breitkopf catalogue (1767, Suppl. II, P-16) lists it among trios by Franz Aspelmayr (1728—1786), but it is not on record among the so far known works of this Viennese composer. V. Trio Sonata in D As basic text was used Manuscript 229 bearing on its title page the inscription: »Sonata a Tre/ Flauto/ Viola/ Col Violoncello/ Del Sigor Ivanschiz«. As far as it is known this is the only extant copy. In the Breitkopf catalogue (1766, Suppl. I, p. 28; 1767, Suppl. II, p. 16) this composition is entered as Trio for two violins and bass in B flat by Franz Aspelmayr, nevertheless, it has not been found among his works.

In the reconstruction of the scores the editor has followed the principles generally applied in editions intended for study as well as performance. The notation, including the abbreviations for dynamics, signs for reiteration, appoggiaturas and placing the accidences, has been modernized, but the original text has been consistently preserved. Inasmuch as there are any changes they are indicated by square brackets, either these are corrections of errors made by copyists or editorial additions like signs for articulation, dynamics, ornamentation and cautionary accidences, given in the sources incompletely, inconsistently, in places unclearly. A few cases are discussed in detail at the end of the present report.

A special question represent appoggiaturas. As it is characteristic of the 18th century manuscripts, they are written in the sources inconsistently and with lacking distinction between short and long appoggiaturas. In preparing the basso continuo part this led sometimes to difficulties in the correct rhythmic distribution of chords for the cembalist’s right hand. Nevertheless, the editor has not touched appoggiaturas more than it was necessary to make the notation on identical places uniform.

Figures and other signs for basso continuo are not given in the sources at all, additionally the violoncello part is often not a model for it. In preparing the basso continuo this part has been consistently transferred into the cembalist’s left hand, except in the case of repetitions not characteristic of basso continuo or short pauses on the first beat. Chords have not been marked in the cembalo part in places written for unison or octaves. Insufficient motion in the flute and viola parts in the first trio sonatas called for a motion in the accompaniment, and in the realization of basso continuo this extends contrary to the practice of the 18th century in some places over the treble flute. In the fourth trio sonata the continuo for left hand is reduced since here there is no longer a case of the figured bass but rather of marked passages in the violoncello.

I. Trio Sonata in G Adagio b. 1, flute in some copies this bar is written with a dotted second quarter and with triplet at the end. Minuet-Trio b. 60, viola the last eight in the source by mistake c". b. 64, bass the third note in the source b; corrected into g by analogy with b. 66. Allegro b. 2 and 45 bass in the source

hence parallel octaves with viola. Probably not a mistake by copyist, on that account the correction merely a suggestion. b. 1, flute third eight in the source d", correction to b' considering b. 15 and 54: same in the manuscript of the Rajhrad provenience. b. 11, viola the last eight f sharp, b. 50, flute: the first four sixteenths written in the manuscript one octave lower. b. 57. bass in the source

undoubtedly a mistake by the copyist, b. 60, flute: the basic text has on the first beat a' in the value of a fourth: adjusted to b. 17. II. Trio Sonata in C Allegro b. 9, bass in the source

and so parallel octaves with flute and parallel fifths with viola: correction by analogy with b. 43. b. 12. flute the last eight in the source g" sharp. b. 14, flute the first eight on the third beat f” (with natural!), same also in b. 15; corrected with regard to corresponding points in the reca- pitulation (b. 46, 48, and 49). Allegro molto b. I flute the fourth note in a fulltone relation with the preceding and the following one. so also in all identical bars (b. 2, 29, 30, 33, 34) in this part or in viola; a better relation would be a semitone one:

III. Trio Sonata in C Allegro b. 28, viola in the source last eight e’. IV. Trio Sonata in G Largo: b. 16, 17, bass in the basic text

transposed for an octave lower, as the basic text shows at this point in the recapitulation (b. 42, 43). V. Trio Sonata in D Adagio: b. 8, viola in the manuscript the first sixteenth g sharp; same at the corresponding point in b. 26 c' sharp, b. 11, bass: the half on the third and the fourth beat in the source g (with natural!); correction with regard to the corresponding point in b. 30.

Faksimili

Naslovna stran Sonate a tre v G duru (IV). Badische Landesbibliothek Karlsruhe, Ms. 225.

Sonata a tre v D duru (V), prva stran parta flavte. Badische Landesbibliothek Karlsruhe, Ms. 229.

Fascimiles

Title page of the Sonata a tre in G major (IV). Badische Landesbibliothek Karlsruhe, Ms. 225.

Sonata a tre in D major (V), first page of the flute part. Badische Landesbibliothek Karlsruhe, Ms. 229.

Corrigenda (2020) Zadnji skladbi (št. IV in V) sta bili napačno pripisani Ivanschizu. Najverjetneje ju je napisal skladatelj Franz Asplmayr (1728–1786). Vse izbrane skladbe so priredbe godalnih triov za flavto, violo in čelo, ki datirajo v 18. stoletje. Pripravljene so bile za potrebe dvornega ansambla badenskega mejnega grofa Karla Friedricha. Part za “Cembalo” je bil uredniško dodan leta 1983 in ga je treba pri izvedbi opustiti. Maciej Jochymczyk poslovenila Metoda Kokole

Corrigenda (2020) The last two pieces (nos. IV and V) had been erroneously attributed to Ivanschiz. They were most likely composed by Franz Asplmayr (1728–1786). All the works in this volume are actually eighteenth-century arrangements of string trios for flute, viola and cello, prepared for the needs of the court ensemble of Margrave Karl Friedrich of Baden. The part for “Cembalo” was editorially added in 1983 and should be omitted in performance. Maciej Jochymczyk