Hide alternative languages

Johann Baptist Wanhal

Requiem in Eb Nokki 73 [Weinmann XX:Es2]

Wanhal ?
Nokki 73
Weinmann XX:Es2
WeiVo 1b.7
Hob. XXIIa:Es5
Kv deest
Sherman1984 6.61

Attributed names: Franz Ansperg, Franz Xaver Brixi, Franz Gleissner, Joseph Haydn, Michael Haydn, Eugen Pausch, Kajetán Vogl, Eder
Arranger: Franz Xaver Witt

Authenticity: Possibly Authentic

This work survives in a large amount of copies attributed to several composers. Already at the time of Hoboken1971 (p. 129) it was known to exist in a number of copies attributed to Joseph Haydn, and more recent research has revealed a number of attributions to Michael Haydn.

Taylor2019 regards the work as authentic, and sees the misattribution to Haydn as a possible cause for the work's popularity. This appears to be a likely solution. The attributions to the Haydn brothers can be written off, since our knowledge of their respective productions is fairly good. The attribution to Kajetán Vogl is plausible, but most factors seem to speak in favour of Wanhal's authorship. The work notably is known only in three copies in Vogl's name, whereas it is attributed to Wanhal in more. What is more, copies attributed to both Vogl and Joseph Haydn carry the inscription 'O: A: M: D: Gl:', signifying 'Omnia ad maiorem dei gloriam' ('All for the greater glory of God'). This was a Jesuit slogan that Vogl, a professional church musician, may well have used, but it is known from manuscripts in Wanhal's own hand, and may therefore with appropriate precaution suggest as a link between him and the manuscript.

There is also a purely musical reason to prefer Wanhal's authorship. A study of the manuscripts of Vogl's works that are conveniently available reveals that he prefers to let the melody voice end on the third of the tonic chord rather than on the root note, which was the strong preference for Viennese composers. The latter procedure is used consistently in this work.

Variants

There exists one version of this mass with a greatly expanded brass arrangement. This arrangement survives in a manuscript attributed to 'Haydn & Witt', the latter most likely being Franz Xaver Witt the founder of the Cecilian Movement. RISM lists several works by Witt for choir and wind instruments, and it is thus possible that he arranged the work, believing it to be a Requiem by Haydn. This variant naturally postdates Wanhal's life by several decades, as is also evident by the list of instruments.

Text

This is a short setting, and sections of the Requiem text has been omitted to accommodate this. Most conspicuously there is no Kyrie movement. The sequence only contains the two first verses, and thus breaks off after 'cuncta stricte discussurus?'. The Agnus Dei arguably omits the internal line repetition.

Some settings of the text allow for 'ei' to replace 'eis': some manuscripts offer the non-standard 'ei' reading only, some include both options. A reading with 'ei' renders the recipient of the text in singular rather than plural, perhaps allowing for a more personal prayer.

Possible Origins

If this is indeed one of the works written for Wanhal's parents, it seems most likely that it was written for his mother. Wanhal's father died in 1759, whilst Wanhal still lived in the Bohemian countryside. His mother, however, lived until 1782, when he was well established in Vienna. Taylor2019 (p. 172) suggests that the wind parts in this work was written for clarinets. This is an instrument that he is unlikely to have had access to in the Bohemian countryside in 1759, but which would have been available to him in Vienna two decades later. If the works were written at the time of his parents' deaths, it would also explain why the much later work was more widely distributed than what is otherwise a youth work that Wanhal may simply have held onto for sentimental reasons.

Taylor2019 (p. 174-5) has cautiously suggested that the use of the pronoun 'ei' instead of 'eis' suggests that this work was written to his father. For want of a signature or authoritative copy it is hard to tell whether this reflects Wanhal's intention or is merely an idiosyncracy that was picked up early in the work's lifespan. The suggestion that this points towards his father seems unlikely in either case. The Latin demonstrative pronoun (usually discussed as 'is', the nominative masculine singular form) can be declined as 'ei' in two cases, viz., in the dative singular for all genders and in the masculine nominantive plural. The latter option can simply be written off as ungrammatical, whereas the first is gender neutral. The change of pronoun only thus affects whether the prayer is singular or plural, and does not specify gender.

Regarding Hoboken1971

Hoboken1971 (p. 129) mentions a number of sources for the work, some that I have not found traces of elsewhere. These entries, which are reserved for further study and about which information would be appreciated, are as follows:

Bratislava (Slow.Akad.) … 'Sig. Siuseppe Haydn', m.Vm.: "Possidet Carolus Heninger Rector Ch.Ecclae.Prochialis Veibitzensis 1810"
KIEs 'di Sigr. Haydn 1831'
Lfd 'Del Sigre Giuseppe Haydn', m.Vm. Joannis Piringer. pro Choro Campilil'
Tulln (St. Stephan) St.m.Vm.: 'Johann Ullmayer, Regens-Chori'
Wien (Bibl. Wessely) 2 St.-Kop., eine früher in der Pfarrkirche Siernin, die andere aus dem Nachlass Cajetan Schwaiger, beide ohne Namen des Komponisten (frdl.Mitt.des Besitzers) [these are most likely in A-Wn today, but have as per today not been located]

Timeline

1794 Several parts in Tübingen manuscript dated (performance?). (Haydn)
1794 Trenčín copy dated.
1799 Bratislava manuscript dated. (Haydn)
1803 Cr parts and T in Teplice manuscript dated. (Michael Haydn)
1809 Marktheidenfeld copy dated. (Joseph Haydn)
1809 Sennfeld copies dated. (Joseph Haydn)
15 September 1814 Sandomierz manuscript dated. (Haydn)
1816 Salzburg copy dated. (Gleisner)
19 October 1820 Řetová title page dated (creation?). (anonymous)
1821 Org part from Rahjrad manuscript dated.
November 1823 Performance of Limbach material. (Haydn)
1824 Landsberg copy dated (change of ownership?). (Haydn)
1824 Freising copy dated (change of ownership?). (Haydn)
20 March 1827 Vn1 part in Rahjrad manuscript dated (performance?).
1834 Title page of Teplice manuscript dated (new wrapper?). (Michael Haydn)
1836 Loukov copy dated. (Joseph Haydn)
1842 Baunach copy dated. (Joseph Haydn)
2 May 1844 Performance of the Spitz an der Donau manuscript.
1845 Greußenheim copy dated. (Joseph Haydn)
1846 Augsburg copy dated (change of ownership?). (Joseph Haydn)
4 November 1847 Performance of the Spitz an der Donau manuscript.
1847 Augsburg copy dated (change of ownership?). (Joseph Haydn)
30 December 1850 Performance of the Spitz an der Donau manuscript.
1850 Lucerne copy dated. (Joseph Haydn)
30 August 1851 Performance of the Spitz an der Donau manuscript.
1851 Bautzen copy dated. (Joseph Haydn)
1851 Landsberg copy dated (change of ownership?). (Haydn)
2 October 1854 Oberndorf S part dated (performance?). (Mozart)
24 February 1855 Oberndorf S part dated (performance?). (Mozart)
11 February 1856 Performance of the Spitz an der Donau manuscript.
21 July 1856 Performance of the Spitz an der Donau manuscript.
1 February 1857 Spitz an der Donau performance recorded on A part.
6 October 1862 S in Ottobeuren manuscript dated. (Haydn)
13 September 1864 St. Laurenz am Schottenfeld copy dated. (Eder)
29 March 1872 Spitz an der Donau performance recorded on A part.
1 July 1872 Spitz an der Donau performance recorded on B part.
25 December 1878 Spitz an der Donau performance recorded on B part.
17 August 1879 Spitz an der Donau performance recorded on B part.
12 September 1881 Spitz an der Donau performance recorded on B part.
5 June 1882 Spitz an der Donau performance recorded on T and B parts.
2 November 1886 Performance of the Ochsenfurt manuscript.
15 November 1886 Performance of the Ochsenfurt manuscript.
29 May 1887 Spitz an der Donau performance recorded on A part.

Original

Wanhal ?
Nokki xx
Weinmann XX:Es2

Extent: 381 bars

+ Music

+ Sources

Witt version with extended wind section

Wanhal ?
Nokki xxb

Extent: 381 bars

+ Music

+ Sources


- Bibliography

Manuscripts:

Catalogus / Musicorum / pro Choro Bartenstein / 1797. Haltenbergstetten D-BARFürst zu Hohenlohe-Bartensteinsches Archiv, Bartenstein . 1797.

Consignatio Musicalium id est. Missarum: Offertorium Ariar Vesperanum & Antiphonarum Symphoniorum. & requiarum Parthitarum etc. pro Monasterio Rayhradensis OSB Moravia. Rahjrad 1771-?.

Themata Von jenen Musicalien, Welche vom Jahre 1789 bis 1796 inclusive theils neu angekauft, theils darzu hergeschenkt, auch einige wenige Nro., son vor=^handen gewesene diesem Cathalogo einverleibt worden, und ebenfalls im Musicalien Kasten auf den Dom Chor, stundig sind.. Kreisarchiv München. 1789-96.

Günther, Georg: Musikalien aus dem Schwäbischen Landesmusikarchiv. Tübingen

Souborný hudební katalog. CZ-PuNárodní knihovna České republiky, Praha (National Library, Prague). 1965-. Card catalogue and manuscript.

Other:

Bárdos, Kornél and Veronika Vavrinecz: Sopron zenéje a 16-18. században. A művek tematikus jegyzékét összeállította Vavrinecz Veronika. Akadémiai Kiadó: Budapest 1984.

ccm:: Ansperg, Franz Xaver (Franciscus Xaverius) Link

Dennerlein, Hanns: 'Der Musikalienbestand Heidenfeld/Wipfeld. Kirchenmusik zwischen 1750 und 1850'. Bericht des Historischen Vereins für die Pflege der Geschichte des ehemaligen Fürstbistums Bamberg, 109, 1973, p. 285-312.

Fellerer, Karl Gustav: 'Thematische Verzeichnisse der fürstbischöflichen Freisingischen Hofmusik von 1796', in: Festschrift Otto Erich Deutsch – zum 80 Geburtstag am 5. September 1963 (Bärenreiter Verlag: Kassel 1963).

Freemanová-Kopecká, Michaela: Collectio Fratrum Misericordiae Kukussiensis. Pars prima: Albrechtsberger - Labler, Pars secunda: Lickl - Zimmermann & Anonymus (= Artis Musicae Antiquioris Catalogorum Series, vol. 6). Editio Supraphon: Prague 1998.

Haberkamp, Gertraut: Die Musikhandschriften der Benediktiner-Abtei Ottobeuren – Thematischer Katalog (= Kataloge Bayerischer Musiksammlungen, vol. 12). G. Henle Verlag: Munich 1986.

Haberkamp, Gertraut, Martin Seelkopf: Musikhandschriften katholischer Pfarreien in Franken Bistum Würzburg (= Kataloge Bayerischer Musiksammlungen, vol. 17). G. Henle Verlag: Munich 1990.

Hoboken, Antony van: Joseph Haydn – Thematisch-bibliographisches Verzeichnis. Mainz: B. Schott's Söhne 1971: vol. 2.

Idaszak, Danuta: Grodzisk Wielkopolski – Katalog tematyczny muzykaliów (= Studia et dissertationes instituti musicologiae universitatis Varsoviensis, vol. A). Musica Iagellonica: Kraków 1993.

Konik, Marcin: Monografia zespołu muzycznego oraz katalog muzykaliów klasztoru ss. Benedyktynek w Staniątkach. Kraków: Musica Iagellonica 2016. Digital copy

Köchel, Ludwig Ritter von, Franz Giegling, Gerd Sievers, Alexander Weinmann: Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amade Mozarts. Nebst Angabe der verloren gegangenen, angefangenen, übertragenen, zweifelhaften und unterschobenen Compositionen desselben. Breitkopf & Härtel: Wiesbaden 1983. 8th print

Maciejewski, Tadeusz: Papiery Muzyczne po kapeli klasztoru panien benedyktynek w Staniątkach (= Silva medii et recentioris aevi, vol. 10). Instytut Wydawniczy Pax: Warsaw 1984.

Münster, Robert, Robert Machold, Ursula Bockholdt, Lisbeth Thew: Benediktinerinnenabtei Frauenwörth und Pfarrkirchen Indersdorf, Wasserburg am Inn und Bad Tölz (= Catalogues of Music Collections in Bavaria (KBM), vol. 2). G. Henle Verlag: Munich 1975.

Podejko, Paweł: Katalog tematyczny rękopisów i druków muzycznych kapeli wokalno-instrumentalnej na Jasnej Górze. Wydawn. OO Paulinów: Jasno Góra 1992.

Pulkert, Oldřich: Domus Lauretana Pragensis – Catalogus operum artis musicae (= Catalogus artis musicae in Bohemia et Moravia cultae, vol. 1). Prague: Supraphon 1971-2.

Riedel, Friedrich Wilhelm: Der Göttweiger Thematische Katalog von 1830 (= Studien zur Landes- und Sozialgeschichte der Musik). Musikverlag Emil Katzbichler: Munich 1979.

Sehnal, Jiří: 'Hudba v klášteře a městě Žďáru nad Sázavou od 13. do počátku 19. století', in: Dějiny Žďáru nad Sázavou III. 1784-1974 (Krajské nakladatelství (Havlíčkův Brod): 1974).

Sherman, Charles H.: The Lambach Thematic Catalogue (1768) – A Facsimile Edition with Annotation and Commentary. Pendragon Press: Hillsdale, NY 2001.

Sherman, Charles H.: The Masses of Johann Michael Haydn – A Critical Survey of Sources. Universal Microfilms International: Ann Arbor 1984.

Świerczek, Wendelin: 'Katalog rękopiśmiennych zabytków muzycznych Biblioteki Seminarium Duchownego w Sandomierzu'. Archiwa, Biblioteki i Muzea Kościelne, 10, 1965, p. 223-78.

Taylor, Marie-Claire: The Viennese Requiem 1742-1821 – Context, Structure and Style. Auckland: University of Auckland 2019. PhD thesis. Digital copy

Weinmann, Alexander: Themen-Verzeichnis der Kompositionen von Johann Baptiste Wanhal. Musikverlag Ludwig Krenn: Vienna 1987.

Weiss, Franz M.: 'Thematisches Verzeichnis der Werke des böhmischen Komponisten Cajetan Vogel O.S.M. (vor 1750-1794)'. Kirchenmusikalisches Jahrbuch, 61/62, 1966, p. 107-130.

Zuman, František: České filigrány XVIII. století. Česká akademide věd a umění: Prague 1932.


 

File title:

Requiem in Eb Nokki 73 [Weinmann XX:Es2]


Last changed 2022-12-14 by Halvor K. Hosar

+ Revision history