MANZINI

MANZINI

MANCINI, Francesco (b Naples 1672–d Naples 1737), Messa senza Credo, II/M/5/2

Mus. 2203-D-2

MANZINI

MANCINI, Francesco (b Naples 1672–d Naples 1737)

Messa senza Credo

Schranck II; Fach 5; Lage 2

II/M/5/2

‘a 4 voci co’ VVni Viola Basso Trombe e Timpani’

Partitura

Missa Temperantiae

Masses

1718?

Bound score copy with alterations in the hand of Zelenka.
Blue-grey cover with title (hand of Zelenka): D # (upper left) No 12 (upper right) | Missa Temperantiae | Kyrie | Gloria Sanctus et | Agnus | à 4 | C: A: T: B | Violin 2 Viola | Trombe 2 e | Basso Continuo | di | S: Mancini.
This mass is written on paper whose watermark bears the Imperial eagle, a paper type produced in Silesia or Bohemia. The watermark is reproduced in Illustration 7 in Bacciagaluppi & Stockigt, ‘Italian Manuscripts of Sacred Music in Dresden’, 174.
Zelenka’s notation throughout the score indicates at least two revisions. The first took place c1727–28 (including a newly composed Sanctus), with further revision after that time. On the reworking see Horn (Hkm, 177). Incipits of this setting are given in Zekenka-Dokumentation, 57–8, Nr. 125.
In circa 1727 Zelenka acquired six mass settings by Italian and Imperial composers. He entered these into his Inventarium immediately after listings of masses he composed in 1726 (No. 7: Missa Paschalis ZWV 7; No. 8: Missa Nativitatis Domini ZWV 8) and circa 1727 (No. 9: Missa Corporis Domini[ci]). Immediately following the listings of these six masses Zelenka entered his own Missa Charitatis ZWV 10, also from circa 1727.
This group of six masses was entered into the Inventarium (p. 5) as
No. 10, Antonio Caldara, Missa Providentiae (D-Dl, Mus 2170-D-7);
No. 11, Francesco Durante, Missa Modestiae (D-Dl, Mus. 2397-D–10);
No. 12, Francesco Mancini, Missa Temperantiae (D-Dl, Mus. 2203-D–2);
No. 13, Alessandro Scarlatti, Missa Magnanimitatis (now missing);
No. 14 (p. 6), Johann Joseph Fux, Missa Fiduciae (D-Dl, Mus. 2130-D-1), and
No. 15, Johann Georg Reinhard, Missa Vita hominis brevis est (D-Dl, Mus. 2793-D-2).
Each mass was ‘stretched’, and each was adapted to accommodate the musical conditions of the Dresden Hofkirche. Each mass entry is accompanied by the letter ‘P’. (A concordance for each mass is found today in Prague).
See Bacciagaluppi & Stockigt, ‘Italian Manuscripts of Sacred Music in Dresden’, 147–8, and Stockigt ‘From Italy to Zerbst via Prague and Dresden: The transmission and transformation of a Missa attributed to Alessandro Scarlatti’ (forthcoming).
Concordances:
1. CZ-Pak, 867. Štefan, ([912] Sign. 867). 16? parts (including two organ parts), partly in the hand of Chr. Gayer. The incipit for this version doesn’t correspond with the incipit of the Catalogo (1765) because Zelenka altered the rhythm of the opening bar in all parts. RISM ID no. 550268059.
2. CZ-Pnm 65/52, Non-thematic catalogues 1720, 1733. A ‘Missa à Kyrie et Gloria ex d. S. Martino Sacra. Mancini’ is listed in the Index Musicaliorum (1723–33) of Florian Burian (Osek), and in the later thematic catalogue of 1753/4 as the first lisiting under ‘Missae Solennes’ (with the same incipit as the vn 1 parts given in the Dresden Catalogo of 1765, that is, with Zelenka’s rhythmic alteration).
3. CZ-Pkřiž, XXXV D 39 (score, 1726–1750) and CZ-Pkřiž, XXXV D 182 (set of 14 + 2 parts for the Kyrie and Gloria of this setting with the title: Missa | Ut non Confundar | à 4 Voci | con | Violini 2 |Tromba | Organo è Tiorba | 1718. | Del | Sigr Manczini).

A 221a

V. 6 (1902), 293. Mancini, Francesco [...] Missa temperantiae à 4 voci c. strom. Ms. 221a Kopie von Zelenka. P. [Dresd. Mus.]

Mancini, Fr., (Autogr. 173b). Missa Temperantiae à [4 voci con strom.] [Tit. v. Zelenka’s Hs., ebenso Correcturen von ders. Hand.] 4to Orig.-Mus.-Mscr.

Score of Missa Temperantiae by Mancini (Mus. 2203-D-2) held by SLUB.

02-05-02