ZEILER, P[ater]

ZEILER, P[ater]

ZEILER, Gallus OB (b Kempten 1705–d Füssen 1755), Antiphonae. 4 Alma Redemptor.: No 1., III/Z/5/2

Mus. 3158-E-2

ZEILER, P[ater]

ZEILER, Gallus OB (b Kempten 1705–d Füssen 1755)

Antiphonae. 4 Alma Redemptor.: No 1.

Schranck III; Fach 5; Lage 2

III/Z/5/2

‘a Sopr. solo con stromti. ’

Partitura

Alma Redemptoris

Antiphons

‘1732’; publ. 1734

Score copy. Light brown cover.
Cover title (hand of ZS 2): g.# (upper left): No. 7 (upper right) deleted and replaced with No: 1. Alma Redemptoris | Mater | 2. Violin | 1. Viola | Canto | con | Organo | Zeiler.
Caption title: No: 1. Reworkings by Zelenka are not evident in this score.
See entry for Zeiler under III/Z/5/11: 16 Antiphonae (Mus. 3158-E-1) – a set of five manuscript parts for 16 Marian Antiphons for solo voices (SATB.), vn. 1, vn. 2; va.; b.c. These might have been copied from a source that preceded Zeiler’s publication titled: Cithara Mariana, sedecim Antiphonis sue totidem fidibus Virgineae Deiparentis laudes concinne resonantibus animata (1734: Augsburg). Horn (Hkm, 147) notes that the Marian antiphons of the Bavarian Benedictine Father, Zeiler, were obviously very popular at that time, and the earlier date ‘1732’ written of the cover of this set of parts (see Mus. 3158-E-1) indicates the circulation of these works before publication.
The settings are: Alma Redemptoris I (S solo); Alma Redemptoris II (A solo); Alma Redemptoris III (T solo); Alma Redemptoris IV (B solo); Ave Regina I: (S solo); Ave Regina II (A solo); Ave Regina III (T solo); Ave Regina IV (B solo); Regina Coeli I (S solo); Regina Coeli II (A solo); Regina Coeli III (T solo); Regina Coeli IV (B solo); Salve Regina I (S solo; misattributed to Rathgeber. See II/R/16/2); Salve Regina II (A solo); Salve Regina III (T solo); Salve Regina IV (B solo).
Of these sixteen settings, the following items were prepared for use in Dresden: Alma Redemptoris No 1 (this listing); Alma Redemptoris No 2; Alma Redemptoris No 3; Alma Redemptoris No 4; Ave Regina No 1; Ave Regina No 2; Ave Regina No 3; Ave Regina No 4; Regina Coeli Nos 1–4; Salve Regina (two settings: Mus. 3158-E-16,1, unlisted in the catalogues of 1765 and c1784).
In the later ‘Catalogo della Musica di Chiesa ...’ (c1784) a score only is listed for the antiphon ‘Alma Redemptoris’ No 1 by Zeiler (III/Z/ 7/2). The scoring is given as: ‘à Sopr. Solo co’ VVni Vla ed Org.’ In the later ‘Catalogo della Musica di Chiesa ...’ (c1784) parts only are listed ‘16 Antiphonae B. V. M.’ by Zeiler (III/Z/7/11). The scoring is given as: ‘à voce sola co’ VVni Vla ed Org.’ The earlier date ‘1732’ written of the cover of this set of ms parts (see Mus. 3158-E-1) preceded Zeiler’s publication of 16 settings of Marian Antiphons: Cithara Mariana, sedecim Antiphonis sue totidem fidibus Virgineae Deiparentis laudes concinne resonantibus animata (1734: Augsburg).
In the later ‘Catalogo della Musica di Chiesa ...’ (c1784) parts only are listed ‘16 Antiphonae B. V. M.’ by Zeiler (III/Z/7/11). The scoring is given as: ‘à voce sola co’ VVni Vla ed Org.’ The earlier date ‘1732’ written of the cover of this set of ms parts (see Mus. 3158-E-1) preceded Zeiler’s publication of 16 settings of Marian Antiphons: Cithara Mariana, sedecim Antiphonis sue totidem fidibus Virgineae Deiparentis laudes concinne resonantibus animata (1734: Augsburg). In the later ‘Catalogo della Musica di Chiesa ...’ (c1784) parts only are listed ‘16 Antiphonae B. V. M.’ by Zeiler (III/Z/7/11). The scoring is given as: ‘à voce sola co’ VVni Vla ed Org.’ The earlier date ‘1732’ written of the cover of this set of ms parts (see Mus. 3158-E-1) preceded Zeiler’s publication of 16 settings of Marian Antiphons: Cithara Mariana, sedecim Antiphonis sue totidem fidibus Virgineae Deiparentis laudes concinne resonantibus animata (1734: Augsburg).
These Marian antiphons were probably part of the ‘Ordinary’ repertoire performed by the Kapellknaben of Dresden’s Catholic court church during the era known as the ‘Interregnum’ (1729–1734)—the years when Zelenka held responsibility for the young music ensemble of the church following the death of Kapellmeister Heinichen (16.7.1729) and the arrival of Hasse as Kapellmeister (early 1734), who is mentioned in the Dresden Diarium Missionis as directing music in Dresden’s Catholic court church on the feast of St Joseph, 19.3.1734: ‘Cantatum ... Musicam elegantem produxit D. Hasse Capellae Magister.’

Sächs. Landesbibliothek. Depositum der Kath. Hofkirche

V. 19 (1904), 335: Zeiler, P. Gallus [...] Im Archiv der kathol. Kirche in Dresden befinden sich unter P. Zeiler (jedenfalls der obige) im Ms. P. u. Stb: 1. 4 Alma redemptoris für Solo, 2 V. Va. u.Bc. 2. 5 Ave regina, ebenso. 3. 5 Regina coeli, ebenso.

Zeiler, [Gallus]: Alma Redemptoris Mater [Canto con strom.], Nr. 1, G-dur. Part. 1 H. 4to <br />
Mus.-Mscr. Kath. Hofkirche. (umsigniert von 3158-E-5)

Score copy of Alma Redemptoris Nr. 1 by Zeiler (Mus. 3158-E-2) held by SLUB.

03/05/02