(‘di G. K.’)
Title
(‘di G. K.’)
Description
Attributed (tentative) to Cajetan Kolberer by RISM and Zelenka-Dokumentation. See Remarks., Miserere: No 1, I/K/36/3
D-Dl
Mus. 2251-E-1
Composer
(‘di G. K.’)
Uniform Composer
Attributed (tentative) to Cajetan Kolberer by RISM and Zelenka-Dokumentation. See Remarks.
Title (Catalogo)
Miserere: No 1
Location (1765)
Schranck I; Fach 36; Lage 3
SFL_combination
I/K/36/3
Scoring (1765)
‘a 4 voci con Strom.’
Materials (1765)
Partitura; Parti
Title Partitura
Miserere Mei Deus
Uniform Title
Psalms (ps 50)
RISM Links
Remarks
Score copy. Blue-grey part cover (front). The binding has come apart. Parts are missing from Dresden.
Cover title (hand of Zelenka): D (upper right) Nro (no number given); upper right: Miserere Mei Deus | à 4 | Violini 2 | Viola | e Organo | di S: G: K:
Zelenka’s hand (post late-1728/early 1729) is seen throughout this score copy.
Wolfgang Horn (Hkm, 139) notes that Zelenka reworked these three settings of ‘G. K.’ so drastically that it’s difficult to recognise what was required for the copying of parts. He also finds it to be astonishing that Zelenka put so much effort into such mediocre works, noting that the extent of Zelenka’s revision almost equals a new composition. See also Horn’s discussion ‘Mus. 2251–E–1 bis E–3: Kolberer (?), drei “Miserere” ’ in Zelenka-Studien I, 182–3.
Although the three Miserere entries by ‘G. K.’ are tentatively attributed to Kolberer in RISM and in the Zelenka-Dokumentation (33), I propose these settings to be the work of a composition student of Zelenka. See also the Miserere settings of Harrer (I/H/30/2), Uhlig (Ulich: III/U/3/3), and Villicus (III/V/4/7).
Incipit of Miserere (d) attributed to Kolberer are given in Zelenka-Dokumentation, 57, Nr. 121a.
Cover title (hand of Zelenka): D (upper right) Nro (no number given); upper right: Miserere Mei Deus | à 4 | Violini 2 | Viola | e Organo | di S: G: K:
Zelenka’s hand (post late-1728/early 1729) is seen throughout this score copy.
Wolfgang Horn (Hkm, 139) notes that Zelenka reworked these three settings of ‘G. K.’ so drastically that it’s difficult to recognise what was required for the copying of parts. He also finds it to be astonishing that Zelenka put so much effort into such mediocre works, noting that the extent of Zelenka’s revision almost equals a new composition. See also Horn’s discussion ‘Mus. 2251–E–1 bis E–3: Kolberer (?), drei “Miserere” ’ in Zelenka-Studien I, 182–3.
Although the three Miserere entries by ‘G. K.’ are tentatively attributed to Kolberer in RISM and in the Zelenka-Dokumentation (33), I propose these settings to be the work of a composition student of Zelenka. See also the Miserere settings of Harrer (I/H/30/2), Uhlig (Ulich: III/U/3/3), and Villicus (III/V/4/7).
Incipit of Miserere (d) attributed to Kolberer are given in Zelenka-Dokumentation, 57, Nr. 121a.
Stamps
Sächs. Landesbibliothek Depositum der Kath. Hofkirche.
Eitner
Not listed
SLB Card Catalog
Kolberer, Cajetan: Miserere a 4 voci con violini, viola ed organo. [Ps. 50] D-moll. Part. u. St. 1 Bd. mit 31 St. quer-4to u. 4to . Mus.-Mscr. Harrer, ca. 1731. Kath. Hofkirche. Stimmen stehen gesondert.
Status
Score copy [partly in hand of Zelenka] of Miserere Nr. 1 attr. to Kolberer (Mus. 2251-E-1) held by SLUB; 31 parts missing from Dresden.
Sort Order
01-36-03
Collection
Citation
“(‘di G. K.’),” Catalogue of the Music Collection of the Dresden Catholic Court Church 1765, accessed September 1, 2024, http://omeka.cloud.unimelb.edu.au/hofkirchecatalogo1765/items/show/3840.