CALDARA, Ant[oni]o
Title
CALDARA, Ant[oni]o
Description
CALDARA, Antonio (b Venice c1671–d Vienna 1736), [Messe] No 8. Gloria e Credo [sic], I/C/6/8
D-Dl
Mus. 2170-D-13
Composer
CALDARA, Ant[oni]o
Uniform Composer
CALDARA, Antonio (b Venice c1671–d Vienna 1736)
Title (Catalogo)
[Messe] No 8. Gloria e Credo [sic]
Location (1765)
Schranck I; Fach 6; Lage 8
SFL_combination
I/C/6/8
Scoring (1765)
‘a 4 voci coVVni Viola Trombe e Timp.’
Materials (1765)
Partitura; Parti
Title Partitura
Missa vix orimur, morimur
Uniform Title
Masses
RISM Links
Remarks
Score copy of a Missa tota with grey-blue wrapper. Parts are missing from Dresden.
Cover title (hand of Zelenka): D# No: 1 (23 ) | Missa Vix orimur=morimur | à 4 | C: A: T: B: | Violin 2 | Viola | Trombe 2 | Timpani (Trombe 2 and Timpani are bracketed with the instruction ‘ad libitu’) | e | Basso Continuo | di S: | Caldara.
Despite the title ‘Gloria e Credo’ given in the Catalogo (1765), this is a Missa tota. The incipit of the Catalogo (1765) is of the Kyrie from Missa vix orimur, morimur.
Zelenka’s alterations were made before early 1729. Horn identifies the copyist of Mus. 2170-D-13 as ZS O (Die wichtigsten Schreiber, 172) and Zelenka (Die wichtigsten Schreiber, 164).
The title given to this work in the Catalogo begins ‘Missa Brevis’, to which Zelenka later added ‘Vix orimur, morimur’. Of this complete mass setting Horn (Hkm,162) writes: ‘Vix orimur, morimur’ (as soon as born, we die), No. 23, is one of the shortest Masses in the Dresden repertoire [...] Incipits are given in Zelenka-Dokumentation, 50, Nr. 67.
To this work Zelenka added solemn instrumentation to the Kyrie, Gloria, and Credo. A facsimile edition of the work (with Foreword by Brian Pritchard) shows that although the Kyrie, Gloria, and Credo are heavily reworked by Zelenka, little (if any) alteration occurs in the remaining sections. This has led to my suggestion (given in ‘Bach’s Missa BWV 232/I’, 42) that a solemn Missa (Kyrie-Gloria) performed by members of the Dresden Hofkapelle might conclude with ‘Ordinary’ or a cappella settings of the Sanctus and Agnus performed by the Kapellknaben/Juvenes of Dresden’s Catholic court church.
Zelenka’s remark ‘Oss.’ suggests his copy came from a source held at the Cistercian monastery at Osek.
Concordances:
1. CZ-Pak, 216. Štefan, ([225] Sign. 216), prov. J. V. Fischer (Osek Regens Chori c.1733). RISM ID no. 5502672562.
2. CZ-Pkřiž, XXXVI A 99. Six parts from the Kreuzherren collection Prague. Provenance Chr. Gayer, pre-1734. RISM ID no. 550282631.
Cover title (hand of Zelenka): D# No: 1 (23 ) | Missa Vix orimur=morimur | à 4 | C: A: T: B: | Violin 2 | Viola | Trombe 2 | Timpani (Trombe 2 and Timpani are bracketed with the instruction ‘ad libitu’) | e | Basso Continuo | di S: | Caldara.
Despite the title ‘Gloria e Credo’ given in the Catalogo (1765), this is a Missa tota. The incipit of the Catalogo (1765) is of the Kyrie from Missa vix orimur, morimur.
Zelenka’s alterations were made before early 1729. Horn identifies the copyist of Mus. 2170-D-13 as ZS O (Die wichtigsten Schreiber, 172) and Zelenka (Die wichtigsten Schreiber, 164).
The title given to this work in the Catalogo begins ‘Missa Brevis’, to which Zelenka later added ‘Vix orimur, morimur’. Of this complete mass setting Horn (Hkm,162) writes: ‘Vix orimur, morimur’ (as soon as born, we die), No. 23, is one of the shortest Masses in the Dresden repertoire [...] Incipits are given in Zelenka-Dokumentation, 50, Nr. 67.
To this work Zelenka added solemn instrumentation to the Kyrie, Gloria, and Credo. A facsimile edition of the work (with Foreword by Brian Pritchard) shows that although the Kyrie, Gloria, and Credo are heavily reworked by Zelenka, little (if any) alteration occurs in the remaining sections. This has led to my suggestion (given in ‘Bach’s Missa BWV 232/I’, 42) that a solemn Missa (Kyrie-Gloria) performed by members of the Dresden Hofkapelle might conclude with ‘Ordinary’ or a cappella settings of the Sanctus and Agnus performed by the Kapellknaben/Juvenes of Dresden’s Catholic court church.
Zelenka’s remark ‘Oss.’ suggests his copy came from a source held at the Cistercian monastery at Osek.
Concordances:
1. CZ-Pak, 216. Štefan, ([225] Sign. 216), prov. J. V. Fischer (Osek Regens Chori c.1733). RISM ID no. 5502672562.
2. CZ-Pkřiž, XXXVI A 99. Six parts from the Kreuzherren collection Prague. Provenance Chr. Gayer, pre-1734. RISM ID no. 550282631.
Stamps
Sächs.Landes.Bibl.
Eitner
V. 2 (1900), 275: Caldara, Antonio [...] Mss. Dresden kath. Kirche: [...] 6 Messelteile f. Chor u. Orch.
SLB Card Catalog
Caldera [sic], Antonio: Missa Vix orimur, morimur. a 4 [con Strom.] [mit Einfügungen von Zelenka’s Hand] Part. Mus.-Mscr. o.J. 1 H m. 55 St. Stimmen stehen gesondert 4to .
Status
Score copy of Missa vix orimur, morimur by Caldara (Mus. 2170-D-13) held by SLUB; 55 parts missing from Dresden.
Sort Order
01-06-08
Collection
Citation
“CALDARA, Ant[oni]o,” Catalogue of the Music Collection of the Dresden Catholic Court Church 1765, accessed July 28, 2024, http://omeka.cloud.unimelb.edu.au/hofkirchecatalogo1765/items/show/3605.