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Johann Baptist Wanhal

Missa in C Nokki 11 [Weinmann XIX:C2]

Wanhal ?
Nokki 11
Weinmann XIX:C2
Hoboken XXII:C2

Associated name: Joseph Alois Holzmann
Arranger: Vincent Novello

Authenticity: Probably authentic

Whilst this work has been attributed to a few different names, Wanhal's is the only one to stand out as likely. Not only is the sheer amount of copies attributed to him suggestive of his authorship, but the setting of 'Domine Deus, Agnus Dei' as a separate movement and the final 'Amen' in the Gloria as a movement by itself are typical of Wanhal's largest settings. The work fits firmly within the stylistic boundaries of his other 'Domine Deus' masses, even if this setting is somewhat unconventional by only having one fugal movement.

The occasional attributions to Joseph Haydn are obviously incorrect. MacIntyre1982 (p. 45) claims that a copy of this piece can be found in the Lambach catalogue under the name 'Monsching'. Whilst the bass incipit differs significantly from the mass, however, even if it fits the melody. (Obermayr1768, p. 28) The manuscript is lost (ibid, p. 318), and there seems to be little reason to believe it contained the mass in question.

Variants

This work exists in several shortened variants, none of whom are likely to have been sanctioned by Wanhal. Nokki 11b is the longest of these:
* Only the first movement of the three-movement Kyrie is used; the middle section of the movement is retexted 'Christe eleison';
* The Gloria is set to the music from the Domine Deus of Nokki 09;
* The Laudamus is of unknown origin;
* The Domine Deus (which in this version also sets the three 'Agnus Dei' calls) is a retexting of the Domine Deus Agnus Dei;
* The Quoniam is rescored for soprano solo rather than tenor solo;
* The Et resurrexit is of unknown origin, but is possibly a reworking, as both versions use the same opening motive;
* The Pleni sunt coeli, Benedictus and Agnus Dei are of unknown origin;
* The Dona nobis is a reworking of the Cum Sancto Spiritu rather than a separate movement.

This is almost certainly a local variant. This is obvious from the very unusual style of the mass, but in particular the fact that the 'gratias agimus tibi' line is omitted from the Gloria. Even though it uses a movement from another mass by Wanhal there is little reason to suspect the composer's involvement, as this movement is stylistically very different from his authentic settings of the Gloria.

Vincent Novello published an abbreviated version of the mass as 'Mass no. 12 by Haydn' in the 1850s (Nokki 11c). This setting reduces the orchestra to an organ accompaniment, and the number of movements is greatly reduced through retexting:

* 'Christe eleison' is set in the middle section of the opening Kyrie. Whilst this procedure is the same as in the example discussed above, the way the text is set is quite different, and this seems to speak against a direct relationship between the two;
* The entire Gloria text is set to the first movement of the original;
* The Credo is greatly abbreviated, and parts of the text is omitted;
* The Et incarnatus is of unknown origin;
* The Et resurrexit is greatly abbreviated, and the end re-texted to accommodate the Cum Sancte Spiritu text;
* The Benedictus and following Osanna are of unknown origin. The former was may have been replaced because it was the only soloist movement in the work that could not be easily done away with:
* The Agnus Dei has significant rewriting of the vocal parts in it, but is not abbreviated;
* The Dona nobis is a re-texting of the Kyrie.

These changes have yet to be found in any full manuscript, and may well represent an adaptation from other works. If so, these have yet to be identified.

Nokki 11d is easily the strangest variant of any mass by Wanhal. This reduction for SA choir and organ is attributed to Joseph Alois Holzmann. The similarity to any other edition ends after the first three phrases of the Kyrie (after which no music known from other sources is used), but the degree to which even the alto part is maintained up to this leaves little doubt that this must have originated as an adaptation of Wanhal's idea. It is included here primarily for completion

A Wanhal riddle: a copy in A-Wgm?

Weinmann1987 indicated that a copy of this work existed in the Gesellshaft der Musikfreunde in Vienna. This work could not be found in their present card catalogue, and the lack of a shelf mark suggests that it has never existed.

1779 Copy in Rahjrad catalogued (original manuscript not seen)
1784 Copy in Osek dated
16 Sept. 1798 Holzmann version (Nokki 10d) manuscript dated
1855 Published in London and New York by Vincent Novello under Joseph Haydn's name

Original version

Instrumentation:
Orchestra: 2 ob.oboe , 2 tr.tromba (trumpet) , timp.timpani , 2 vl.violino , va.viola , b.c.
Choir: S.soprano , A.alto , T.tenore (tenor) , B.basso (bass)
Soloists: S.soprano , A.alto , T.tenore (tenor) , B.basso (bass) , vl.violino

Extent: 1724 bars

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Modified version

Nokki 11b

Instrumentation:
Orchestra: 2 ob./fl.flauto (flute) , 2 tr./cor.corno (horn) , timp.timpani , 2 vl.violino , va.viola , b.c.
Choir: S.soprano , A.alto , T.tenore (tenor) , B.basso (bass)
Soloists: S.soprano , A.alto , T.tenore (tenor) , B.basso (bass) , 2 fl.flauto (flute) , 2 vl.violino , org.organo (organ)

Extent: 1370 bars

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Novello arrangement for keyboard and SATBsoprano, alto, tenore, basso (mixed choir) voices

Nokki 11c
Hoboken1971 XXII:C2

Arranger: Vincent Novello

Instrumentation:
Accompaniment: org.organo (organ)
Choir: S.soprano , A.alto , T.tenore (tenor) , B.basso (bass)
Soloists: S.soprano , A.alto , T.tenore (tenor) , B.basso (bass)

Extent: 765 bars

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Holzmann arrangement for keyboard and SA voices

Composer: Joseph Alois Holzmann
Performer: Joseph Branböck

Instrumentation:
Choir: S.soprano , A.alto
Accompaniment: org.organo (organ)

Extent: 155 bars

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File title:

Missa in C Nokki 11 [Weinmann XIX:C2]

File publication:

Editor: Halvor K Hosar


Last changed 2020-11-21 by Halvor K Hosar

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