SLOVENSKA AKADEMIJA ZNANOSTI IN UMETNOSTI ACADEMIA SCIENTIARUM ET AR TIUM SLOVE NICA RAZRED ZA ZGODOVINSKE IN DRUZBENE VEDE CLASSIS I: HTSTORIA ET SOCIOLOGIA ZNANSTVENORAZISKOY ALNI CENTER SAZU Muzikoloski institut I AMANDUS IV ANCIC SONATE A TRE LJUBLJANA 1983 SLOVENSKA AKADEMIJA ZNANOSTI IN UMETNOSTI ACADEMIA SCIENTIARUM ET ARTIUM SLOVENICA RAZRED ZA ZGODOVINSKE IN DRUŽBENE VEDE C'LASSIS I: HISTORIA ET SOCIOLOGIA ZNANSTVENORAZISKOVALNI CENTER SAZU Muzikoloski institut MONUMENTA AR TIS MUSICAE SLOVENIAE I AMANDUS IV ANCIC SONATE A TRE LJUBLJANA 1983 MONUMENTA ARTIS MUSICAE SLOVENIAE I Amandus lvancič SONATE A TRE UREDNIK EDITOR AKADEMIK DRAGOTIN CVETKO MONUMENT A ARTIS MUSICAE SLOVENIAE I Amandus Ivancic SONATEA 1RE SPARTIRAL. REVIDIRAL IN UVOD NAPISAL RECONSTRUCTION, REVISION ANO INTRODUCTION BY DANILO POKORN GENERALNI BAS IZDELAL CONTINUO BY PAVEL SIVIC SPREJETO NA SEJI RAZREDA ZA ZGODOVINSKE IN DRUŽBENE VEDE SLOVENSKE AKADEMIJE ZNANOSTI IN UMETNOSTI DNE 13. MAJA 1983 IN NA SEJI PREDSEDSTVA DNE 19. MAJA 1983 Izid izdaje je podprla Kulturna skupnost Slovenije Predgovor / Preface .. . . . . .. . . .. . .. . .. . .. . .. .. . .. . .. .. . .. .. .. .. .. . .. .. . . . .. .. ... . .. . . .. .. . .. .. . . . .. ... .. .... .. ... .. .. . . . . . . ... . ... . . .. ... .. .... .. .. ... . ... IX / XV Uvod / Introduction .......................................................................................................... .. ...... .......... .. ....... X / XVI Revizijsko poroi:ilo / Revi si on Report ...... ................ ........... .. ....... .................. ... ............ .. .......... .. ................. XIII / XIX Faksimili / Facsimiles ......... .. .. .... ........... ......... .................. .. ... .. ... ................... ................. .... .... .. . . ...... ......... . .. XXI / XXI l. SONATA A TRE v G DURU rrn I u r y c , er tr· II. SONATA A TRE v C DURU ,~ r r r 17 Vsebina / Contents III. SONATA A TRE v C DURU ~ll lr IV. SONATA A TRE v G DURU V. SONATA A TRE v D DURU Predgovor Misel na izdajanje del skladateljev, ki so ustvarjali v daljni preteklosti in potekali s slovenskega prostora, tu bili rojeni in bili slovenskega, a v nekaterih primerih tudi neslovenskega porekla, na Slovenskem naturalizi­rani ali se kako drugace stikajoci s tem ozemljem, je vznikla ze pred casom. Prvic, toda osamljeno, se je konkretizirala v knjižnem programu Slovenske matice, ki je v 60-ih letih izdala izbor skladb J. Gallusa, G. Plavca in J. K. Dolarja (Gallus-Plautzius-Dolar in njihovo delo, 1963) in Gallusove posvetne zbore (Harmoniae morales, 1966; Moralia, 1968). V 70-ih letih in neposredno zatem se je ta misel nadaljevala. Privedla je do spoznanja, da bo lahko v polnem zaiivela le z dobro premišljenim in nacrtno vodenim konceptom ter v okviru institucije, ki je za take izdaje najbolj poklicana in je v navadi tudi drugod. To in ono se ravnokar zacenja realizirati z zbirko MONUMENT A ARTIS MUSICAE SLOVENIAE kot izdajo Slovenske akademije znanosti in umetnosti oziroma Muzikološkega instituta njenega Znanstvenoraziskovalnega centra. Koncept je jasen: v tej zbirki bodo zajeti vsi doslej znani avtorji od 16. do zacetka 19. stoletja. Tem se bodo morda scasoma pridruzili se drugi, o katerih se ne vemo dovolj ali jih sploh se ne poznamo. Raziskovalci se trudijo, da bi jih odkrili ali jih bolje spoznali in bi tudi njihovo storitev predstavili javnosti. Realizacije v zbirki Monumenta artis musicae Sloveniae bodo v skladu s splosnimi vidiki, ki so v mednarodni rabi za izdajanje starejše glasbene produkcije. Upostevajo zahteve sodobne izvajalne prakse, ki so ji v resnici namenjene. Pri tem pa v vsem ohranjajo izvirno podobo posameznih skladb in z revizijskimi porocili omogocajo njihovo rekonstrukcijo. Potemtakem so dvonamenske, gre jim historicna in sodobna funkcija. Služile bodo tako za preteklost zainteresiranemu raziskovalcu kot današnjemu izvajalcu. Ta in oni si bo mogel iz njih ustvariti podobo o stilni orientaciji in umetniski vrednosti nekdanjega, s slovenskimi tlemi tako ali drugače povezanega glasbenega ustvarjanja, in predstavo o tedanji situaciji slovenskega glasbenega prostora v primerjavi z ostalim srednje-in zahodnoevropskim. Zbirka Monumenta artis musicae Sloveniae, za katero si bomo prizadevali, da bo s svojimi zvezki pricujoca vsako leto, se ne bo vezala ·na strogo casovno zaporedje. S te strani se bo ravnala po gradivu, ki bo na voljo, v katero pa bo vkljuceno vse, kar je nastalo od Gallusa ali morda še pred njim pa nadalje. Monumenta stopajo v življenje s petimi sonatami a tre Amandusa lvancica, ki je deloval sredi 18. stoletja. Ceravno zanj narodnostni izvor sicer še ni nedvoumno razviden, je gotovo, da je bil južnoslovanskega rodu. Iz gradiva sodimo, da je bila njegova storitev navzoca tudi na Slovenskem. Dragotin Cvetko Uvod O zivljenju skladatelja Amandusa Ivancica (Ivanschiz. Ivanschitz, Ivancsics, Ivanschutz) nam je danes znanih samo nekaj drobcev. Iz naslovnih strani njegovih del je razvidno, da je bil redovnik (»P/adre/ Amando Ivan­schiz«. »P. Ivanczitz«). nekatere med njimi ga predstav­ljajo kot elana belo oblecenega mendikantskega reda pavlincev eremitov ( »A/dmodum/ R/everendo/ D/omino/ P/adre/ Amando Ivanschiz ord/inis/ S/ancti/ Pauli P/rimi/ Erem/itae/ « ) . Edini doslej znani arhivski vir. ki govori o njem in ga postavlja v doloceno okolje in cas. je cetrta od petih racunskih knjig graških jezuitov o upravi njihove cerkve sv. Egidija. današnje graske stolnice. Skladatelja omenjata v tej knjigi dva zapisa. Prvi pravi. da se je leta 1755 pripeljal v Gradec iz bliznjega pavlinskega samosta­na Maria Trost zaradi izvedbe svoje kompozicije ( » Pro curru, quo ex Mariae Consolatricis Monasterio ad proban­dam musicam vectus est VP. Compositor Amandus lvant­schiz .... 1.30« ), drugi pa. da je leta 1758 dobil honorar za nekaj kompozicij (»Pro 5 lytaniis et uno Sacro Cantato a VP. Amando Ivantschiz compositis .... 20«). In to je vse. Ena izmed listin konventa Maria Trost sicer leta 1776 še omenja nekega patra Amandusa, vendar brez priimka in zato ni jasno, ali gre za skladatelja. sedem let pozneje v seznamu redovnikov tega samostana ni naveden. Za trdi­tev hrvatskega muzikologa A. Vidakovica. da je bil Ivan­cič po razpustu samostana Maria Trost v jozefinskih refor­mah leta 1786 nekaj casa organist katedrale v Gradcu. v izvirnem arhivskem gradivu ni podlage. Ne vemo, ali je razen na Štajerskem deloval se kje drugje. Sprico številnih prepisov njegovih del na Ceskem. Moravskem in Slo­vaškem se poraja vprasanje o njegovih zvezah s temi de:ielami, vendar za zdaj ni dokazov, da je tam kdaj zivel ali pa bil, kot meni ceska muzikologinja Th. Strakova. celo rojen. Noben dokument tudi ne sporoca, kaksno je bilo njegovo krstno ime (ime Amandus je nedvomno dobil in nosil kot redovnik), prav tako tudi ne. kje in kdaj se je rodil ter kje in kdaj je umrl. O tem so mogoce samo domneve. Ce je bil leta 1755, ko z zapisom graških jezui­tov prvic stopi iz teme. ki zagrinja njegov rod in mladost. star okrog trideset let. se je moral roditi nekje v letih 1720/25, umrl pa je, ce upostevamo listine samostana Maria Trost in povprecno zivljenjsko dobo v tistem casu, morda okrog leta 1780. Skladateljev priimek in nekaj (sicer redkih) s slovensko in hrvatsko folkloro obarvanih mest v njegovi glasbi kazejo povsem nedvoumno. da gre za cloveka iz juznoslovanskega narodnostnega sveta. Toda priimek je razširjen po precej sirokem obmocju, tako na Hrvatskem kot v Sloveniji (najbolj sklenjeno ozemlje z Ivancici je tu na Štajerskem in prek novomeskega okraja in okolice Ljubljane sega na Primorsko). zato skladatelje­ ve narodnostne pripadnosti ni mogoce natancneje dolociti brez podatka o kraju njegovega rojstva. ta pa za zdaj ni znan. Bolj kot zivljenje Amandusa Ivancica nam je znano nje­govo skladateljsko delo. Ocitno je bil plodovit in v svojem času priljubljen skladatelj. kajti doslej zbrani podatki kazejo. da je ustvaril blizu sto kompozicij. ki so razsejane po dokaj obseznem prostoru v Srednji Evropi, najvec v Avstriji in Ceskoslovaski. pa tudi v Nemciji. na Mad­zarskem, v Belgiji in Jugoslaviji, tu v Sloveniji (Ljubljana. Novo mesto) in na Hrvatskem (Zagreb). V razvidu je petdeset nahajalisc. a to stevilo se mocno poveca. ce upo­stevamo še provenienco tistih skladb, ki jih danes hranijo drzavni arhivi. knjiznice in muzeji. Med duhovnimi deli je dvajset maš (pri enaindvajseti, ki se tudi pripisuje Ivanci­ču, je njegovo avtorstvo dvomljivo), dvajset lavretanskih litanij. sedem kratkih oratorijev. posvecenih svetnikom jezuitskega reda Alojziju Gonzaga. Ignaciju Loyola in Frančisku Ksaverskemu, kantata »Gemitus Crucifixi Jesu Nazareni«, »Motetto de beata Virgine Maria« in še nekaj manjših skladb, med posvetnimi pa dv:aindvajset simfonij, dober ducat komornih kompozicij in dve za sam cembalo, toda ti sta vprasljivi. Vsa ta dela so se ohranila v prepisih instrumentalnih in vokalnih glasov v cerkvenih, samostan­skih in aristokratskih glasbenih zbirkah. Znan ni noben natis kakšne lvančiceve kompozicije, toda nekaj komornih imata v svojih katalogih dva sodobna nemska zaloznika, Breitkopf, o katerem vemo, da je v svoji delavnici nare­jene prepise. slovece po zanesljivosti, lepi obliki in trpez­nem papirju, prodajal za štiri grose polo, in Ringmacher. Amandus Ivancic je osebnost prehodnega razdobja v glasbeni umetnosti 18. stoletja, razdobja; v katerem so se stilni ostanki baroka prepletali s prvinami galantnega in obcutljivega sloga. sirše receno zgodnjega klasicizma. Kaze, da je bilo obdobje njegove najvecje skladateljske dejavnosti poldrugo desetletje med letoma 1755 in 1770. Pretezna vecina njegovih del je nedatirana, a tudi vred­nost letnic pri datiranih je le relativna, ker gre za prepise in ne za izvirnike. Najstarejša med datiranimi skladbami je maša v C iz leta 1757 v samostanu Gottweig. najvec datiranih rokopisov pa je iz razdobja 1762-1772. Prepisi nekaterih litanij so na Českem in Slovaskem nastajali se v zacetku 19. stoletja. zaznamki na dveh masah iz premon­stratenskega samostana na Strahovu pa pricajo. da so ju izvajali vse do srede tega stoletja. V novem casu je skla­datelj prvic omenjen leta 1901 v leksikonu Roberta Eit­nerja. Pravo znanstveno zanimanje zanj se je prebudilo nekaj let pred drugo svetovno vojno, in sicer na Morav­skem, kjer je prvi preuceval njegova dela muzikolog Vla­dimir Helfert. Pri nas je ie dokaj prej prvi opozoril na Ivancica Stanko Premrl in v svojem resda kratkem zapisu leta 1922 v Cerkvenem glasbeniku pripomnil, da »smemo s precejšnjo verjetnostjo, ce ne z gotovostjo sklepati. da je bil domacin. Slovenec«. Pisava skladateljevega priimka v rokopisih iz 18. stoletja in v znanstveni literaturi je neenotna. Viri navajajo nic manj kot štirideset variant, pac zaradi razlicnih narodnosti prepisovalcev. ki so ime prilagajali domaci ortografiji, gotovo pa tudi zaradi različnih stopenj njihove natancnosti in izobrazbe. Dalec najpogostejsi sta obliki lvanschiz in lvanschitz. Vsako od njiju srecamo priblizno petdesetkrat. Že precej bolj redke so variante lvancsics, lvanschiitz in lvanschicz, a posamič naletimo se na vec kot trideset drugih oblik. V vseh primerih gre seveda za isti priimek juznoslovanskega izvora, ki je izpeljan iz moskega krst­nega imena Ivan ter doma v Sloveniji in na Hrvatskem: lvancic, lvancic. Toda ce upostevamo tisti dve obliki, ki se v izvirnih rokopisih iz 18. stoletja pojavljata dalec najbolj pogosto, bi bilo treba skladateljevo rodbinsko ime pisati in brati lvansic ali lvanjsic. To sta variantni pisavi priimka iste korenine, sicer veliko bolj redki in znani samo v severnovzhodnem delu slovenske Stajerske, v ptujsko­ljutomerskem obmocju. vendar v tem primeru pravilnejsi. Tudi to pa je seveda le domneva. * * * Komorne kompozicije so v primerjavi s simfonijami. ma­sami in litanijami nekoliko manjša skupina lvancicevih del. Znanih je sestnajst in sicer dve v C. dve v D, ena v Es. tri v F. stiri v G, dve v A in dve v B duru (v nekaj primerih se kopije istih skladb razlikujejo v tonaliteti, navadno za sekundo). Hranijo jih knjižnice in arhivi v Nemciji (Karlsruhe, Miinchen, Miinster, Donaueschingen), Avstriji (Dunaj, Lambach). Ceskoslovaski (Praga, Z:am­berk, Brno, Martin) in na Madzarskem (Keszthely). V pretežni vecini to niso njihova prvotna nahajalisca. Naj­bogatejsi hranišci sta Badenska dezelna biblioteka v Karls­ruhe in Univerzitetna knjiznica v Brnu. Prva ima deset skladateljevih komornih del, ki izvirajo iz glasbene zbirke badenskih mejnih grofov, druga stiri; rokopisi le-teh so nekdaj pripadali glasbeni zbirki grofov \\' aldsteinov na gradu Doksy na severnem Ceskem, bili pa so v novejšem casu uniceni in so ohranjeni samo na mikrofilmskih po­snetkih. Nekaj neohranjenih in deloma neidentificiranih skladb omenjajo inventarji glasbenih zbirk princev Hohen­zollernov v Sigmaringnu ( 1766 ), knezov \\' aldburgov v Zeilu ( 176 7) ter samostanov Rajhrad ( 1771) in Nova Rise (1825) na Moravskem . Polovica skladateljevih ohranjenih komornih kompozicij so po doslej zbranih podatkih uni­kati, druge so znane v vec. tudi sestih primerkih. Vsega skupaj je v razvidu triintrideset rokopisov in fragment štiriintridesetega. Datirana sta med njimi samo dva in sicer z letnicama 1762 in 1765. posredno pa govore o casu nastanka teh del omenjeni inventarji in to. da jih sedem navaja leta 176 7 v Supplementu II svojega kataloga znani leipziski zaloznik J. G. I. Breitkopf in dve od njih sest let pozneje berlinski zaloinik C. U. Ringmacher. Naslovne strani oznacujejo I vanciceve komorne skladbe razlicno kot »Sonata«. »Divertimento«. »Trio«, »Simfo­nia«, »Nocturno«, inventarji kot »Parthia«. Isto kompozi­cijo najdemo tudi pod stirimi razlicnimi naslovi. V bistvu pa so to dela istega kompozicijskega tipa. Vsa so pisana »a tre« za dva solisticna instrumenta in bas in sodijo torej v barocno zvrst triosonate, ki pa je v vrsti kompozicijskih elementov prilagojena casu in kaze poleg barocnih usedlin poteze zgodnjeklasicisticnega sloga. V ciklicni konstrukciji skoraj povsem prevladuje model s tremi stavki, tak, kot je razviden iz prvih treh sonat za to izdajo pripravljenega iz­bora: na prvem mestu je stavek v pocasnem ali zmernem tempu z oznako Largo, Adagio, Andante ali Andantino, na drugem menuet s triom, na zadnjem Allegro. Oba ob­robna stavka sta v sonatni obliki. V dveh triosonatah z opaznimi prvinami obcutljivega sloga -to sta cetrta in peta sonata nasega izbora -je vrstni red zadnjih dveh stavkov tega vzorca zamenjan: Allegro je v njih srednji, a menuet, obakrat brez tria. sklepni stavek. Ostali nizi so grajeni različno. Eden se priblizuje oblikovnemu obrazcu skladateljevih tristavcnih simfonij (Affettuoso. Largo. Tempo di minuetto ), drugi izdaja ciklicno zasnovo diverti­menta s petimi stavki (Andante, Allegro. Menuet-Trio, Andante, Allegro), zadnji, morda najstarejši od vseh, pa se zgleduje po stiristavcni obliki barocne sonate da chiesa in jo hkrati variira: obicajni uvodni Grave je zamenjan z Affetuosom in tradicionalna giga na koncu s polonezo, docela v duhu izrocila pa sta oblikovana srednja dva stavka -drugi kot fugiran Allegro, tretji kot Siciliano v vzporedni molski tonaliteti. Vsi stavki ciklov stoje pravilo­ma v istem tonskem nacinu in to je ena starinskih potez skladateljevega komornega opusa. Sonatna oblika, ki jo uporablja lvi:incic. je rudimentarna zgodnjeklasicna sonata, tridelna s popolno reprizo. kot je znacilna za njegove simfonije. ali pa_ dvodelna z nepopol­no reprizo. Glasbene misli so lapidarne. a tematski kontrast je izražen dovolj jasno. dasi naletimo tudi na pri­mere monotematičnosti in take, kjer je razlikovanje med primarnim in sekundarnim gradivom teiavno in dajejo vtis politematicnosti. Drugo temo postavlja skladatelj veckrat v dominanto dominante in to bi utegnila biti njegova posebnost. Najmanj razvit del oblike je izpeljava, vendar je treba pripomniti, da ima Ivančič v nekaterih delih, po vsej verjetnosti v poznih, tudi razmeroma ob­seine in z dobrim tematicnim delom grajene izpeljave. Izvajalski sestavi variirajo. a ne mocno. Najdemo nasled- nje: violina, viola in bas, flavta, viola in bas, dve violini in bas, dve flavti in bas, flavta, violina in bas. Dalec najpo­gostejsa je prva zasedba, zadnje tri so redke, tako rekoc izjemne. Značilno je predvsem to, da se kot drugi solistic­ni instrument zelo izrazito pojavlja viola, torej ne več so­pranski, ampak instrument srednje lege. Najnizji glas, oznacen kot »basso« ali »violoncello«, izjemoma kot »fondamento«, ni oštevilcen v nobenem rokopisu in po­gosto tudi ni vzor generalnega basa, kljub temu pa so ga po vsej verjetnosti se zmerom izvajali s sodelovanjem akordicnega glasbila. Kot s svojim slogom predstavljajo komorne skladbe Amandusa Ivancica tudi z instrumenta­cijo prehodno stopnjo v razvoju baročne sonate a tre v klasicne komorne zvrsti. in sicer v godalni trio ali v klavir­ski kvartet -odvisno od usode instrumenta s tipkami, ki je skupaj z violoncelom igral v teh delih basovski part. Skladateljev kompozicijski stavek je jedrnat. v glavnem preprost. v posameznostih celo neuglajen. Njegova najmoc­ncjsa sestavina je melodika. Ceprav je zaznamovana z manirizmi dobe, je vendar tako v hitrih kot v počasnih ~t,1vkih dovolj sveza in prikupna in kaze avtorja kot ljube­znivo muzikalno naravo, ki zmore pritegniti poslusalcevo puzornost se danes. Revizijsko poročilo Komorne skladbe A . Ivancica v nasprotju z njegovimi simfonijami doslej se niso bile objavljene. Izbor, ki ga prinasa pricujoča izdaja, predstavlja ta del skladatdjevega opusa s petimi sonatami a tre za precno flavto (ali violi­no), violo in bas. Kot predloge so pri vseh skladbah sluzili rokopisi iz glasbene zbirke v Badische Landesbibliothek Karlsruhe, o njih je bilo ze omenjeno, da izvirajo iz gla­sbenega arhiva badenskih mejnih grofov. Rokopisi izbra­nih triosonat so delo treh neznanih kopistov: prva sonata izdaja eno, druga, četrta in peta sonata drugo, tretja sonata tretjo roko. I. Triosonata v G Predloga je bil rokopis Ms. 235 z napisom na naslov­ni strani: »Trio ex G/ Flauto Traverso/ Viola Obli­gato/ e/ Basso/ Del Sigr lvanschiz«. Znani so še stirje primerki te kompozicije: eden je v Glasbenem oddelku Moravskega muzeja v Brnu (A 12.614), dva v Univerzitetni knjiznici prav tam (Skr 17-525.708 M 266, Skr 17-525.718 M 262), eden pa v muzeju Helikon v Keszthelyju na Mad:i:arskem (No. 2077). Vsi štirje so za violino, violo in bas. Prvi od teh rokopisov, rajhradske provenience, zal, nepopoln, ker mu manjka basovski part, ima letnico 1762. Ta rokopis je bil uporabljen kot subsidiarna predloga glede dinamicnih znamenj, ki jih v badenski kopiji ni. Skladbo navajata tudi kataloga Breitkopf (1767, Suppl. II, str. 23) in \hldburg-Zeil (1767, str. 40). II. Triosonata v C Predloga je bil rokopis Ms. 227, njegov naslov se glasi: »Sonata/ a/ Flauto/ Viola/ col Basso/ Del Sig0 r Ivanschiz«. Drugi primerek te triosonate ima benediktinska opatija Lambach (No. 388), na notra­ njih straneh platnic rokopisa skladateljevih Litanij v D, ki jih hrani Glasbeni oddelek Narodnega muzeja v Pragi (XI A 163 ), pa se je našel 21apis sopranskega glasu vseh njenih treh stavkov. Triosonato omenjajo katalogi Sigmaringen ( 1 766, str. 31 ), Breitkopf in \\>aldburg-Zeil. Prvi instrument je v vseh teh prime­rih violina, tonaliteta kompozicije pa B. III. Triosonata v C Predloga: rokopis Ms. 230 z naslovom: »Sonata/ a/ Traverso o Violino/ Alto Viola/ e Violoncello/ Del Sige. Ivanczicz«. To bi utegnila biti skladateljeva najbolj priljubljena komorna kompozicija. V razvidu je namrec se pet drugih primerkov, prvi v opatiji Lambach (No. 254), drugi v Univerzitetni knjižnici v Brnu (Skr 17-525.714 M 254), tretji v Literarnem arhivu Slovaške Matice v Martinu (D 1-352) in dva v Univerzitetni knjiznici v Miinstru (Ms. 437, Ms. 867). Skladbo navajajo katalogi Sigmaringen, Breitkopf. Ringmacher (1773, str. 96) in glasbeni inventar sa­mostana Rajh rad ( 1771 ). Sopranski instrument je v vseh teh primerih violina. IV. Triosonata v G Predloga: rokopis Ms. 225, njegov naslov: »Sonata a Tre/ Flauto/ Viola/ Col Violoncello/ Del Sig0 r lvan­schiz«. To triosonato navaja kot Ivančičevo tudi ka­talog \\> aldburg-Zeil in sicer kot skladbo za dve violini in bas v F duru. Ta rokopis ni ohranjen. V tej tonaliteti in zasedbi se je skladba ohranila v samo­stanu Seitenstetten v Spodnji Avstriji kot »Diverti­mento Notturno« Josepha Haydna (gl. Hoboken I, str. 500). Katalog Breitkopf (1767, Suppl. II, str. 16) jo ima med trii Franza Aspelmayra (1728-1786), vendar je med doslej znanimi deli tega dunajskega skladatelja ni najti. V. Triosonata v D Za predlogo je bil rokopis Ms. 229, napis na njegovi naslovni strani: »Sonata a Tre/ Flauto/ Viola/ Col Violoncello/ Del Sig0 r Ivanschiz«. Primerek je po doslej znanih podatkih unikat. Katalog Breitkopf (1766, Suppl. 1, str. 28; 1767, Suppl. II, str. 16) na­vaja to kompozicijo kot Trio za dve violini in bas v B duru F. Aspelmayra, a doslej se med njegovimi deli ni našla . Urednik se je pri rekonstrukciji partitur ravnal po nacelih, ki so obicajna za izdaje, namenjene tako znanstveni kot prakticni izvajalski rabi. Pisava, vstevsi kratice za dina- mika, znake za ponavljanja, appoggiature in akcidence. je predlogi notirane oktavo nize. modernizirana, a izvirni notni tekst je dosledno spoštovan. t. 57. bas: v predlogi Kar je posegov vanj, so naznaceni z oglatimi oklepaji. bodisi da gre za popravke napak. ki so jih ocitno zagresili kopisti. bodisi za uredniške dodatke, kot so -v virih po­manjkljivi, nedosledni, veckrat tudi nejasni -znaki za artikulacijo. dinamiko, okraske in opozorilna znamenja. Nekaj primerov je podrobneje obravnavanih v zadnjem delu tega porocila. Posebno vprašanje so appoggiature. V predlogah. kot je to znacilno za rokopise iz 18. stoletja. so pisane nedosledno in z ne vselej jasnim razlikovanjem med kratkimi in dolgi-mi appoggiaturami. To je pri izdelavi generalnega bas:i vcasih oteževalo pravilno ritmično razporeditev akordov v cembalistovi desni roki. Navzlic temu urednik v appoggia­ture ni posegal več kot toliko, da je poenotil njihovo pisavo na identičnih mestih. Ostevilcenj in oznak za generalni bas ni v predlogah ni­kjer, razen tega part violoncela pogosto tudi ni zgled zanj. Pri izdelavi generalnega basa je bil ta part dosledno pre­nesen v cembalistovo levo roko, razen v primerih gene­ralnemu basu tujih repeticij ali drobnih pavz na prvo dobo. Akordi niso vneseni v part cembala na mestih, kjer gre za enoglasje ali oktave. Pomanjkljivo gibanje v glaso­vih flavte in viole v prvih triosonatah je narekovalo giha­nje v spremljavi, le-to pa v realizaciji generalnega basa seže proti obicajem 18. stoletja ponekod cez flavtin diskant. V četrti triosonati je continuo za levo roko reduciran. ker tu ne gre vec za figurirani bas. ampak za izrazite pasaze v violoncelu. I. T riosona ta v G Adagio: t. 1, flavta: v nekaterih primerkih je ta takt pisan s punktirano drugo četr­tinko in triolami na koncu. Menuet-Trio: t. 60. viola: zadnja osminka v predlo­gi pomotoma c·. t. 64, bas: tretja nota v izvirniku h. popravljena v g po analogiji s t. 66. Allegro: t. 2 in 45, bas: v predlogi • E;) :,:1, te 1. pri tem vzporedne oktave z violo. Ker verjetno ne gre za napako kopi­sta, je popravek šteti kot predlog. t. 11, flavta: tretja osminka v izvirni­ku d", popravek v h · glede na t. 15 in 54; tako tudi v rokopisu rajhradske provenience. t. 11, viola: zadnja osminka fis'. t. 50, flavta: prve stiri sestnajstinke v nedvomno pogresek prepisovalca. t. 60. flavta: izvirnik ima na prvo dobo a · v vrednosti cetrtinke; uskla­jeno s t. 1 7. II. T riosona ta v C Andante: t. 9, bas: v predlogi t>= r r J s tem vzporedne oktave s flavto in vzporedne kvinte z violo; popravek po analogiji s t. 43. t. 12. flavta: zadnja osminka v izvir­niku gis"; t. 14, flavta: prva osminka na tretjo dobo f' (z razveznikom!) in tako se v t. 15; popravljeno glede na ustrezna mesta v reprizi (t. 46. 48 in 49). Allegro malto: t. l. flavta: cetrta nota v celotonskem odnosu s predhodno in naslednjo. tako tudi v vseh identicnih taktih (t. 2. 29. 30. 33. 34) v tem glasu ali violi: boljsi bi bil poltonski odnos: ~nf@9 III. Triosonata v C Allegro: t. 28. viola: v predlogi zadnja osmin­ka e·. IV. Triosonata v G Largo: t. In. 17. bas: v izvirniku 9:!iitU 1v transponirano oktavo niže. kot ima predloga na tem mestu v reprizi (t. 42. 43). v. T riosona ta v D Adagio: t. 8, viola: v rokopisu prva sestna_istin­ka gis; enako na identičnem mestu v t. 26 cis'. t. 11. bas: polovinka na tretjo in četrto dobo v predlogi g (z razvezni­kom!); popravek glede na ustrezno mesto v t. 30. Preface The idea about the issuing of works of composers who were creating in the distant past and came from the Slovene area -were bom here and were of Slovene, and in some cases also of non-Slovene origin, na­turalized inhabitants of Slovenia, or in some other way connected with this territory -had sprung up quite some tirne ago. For the first tirne it was being realized, but not on a broader basis, in the publishing program me of the Slovenska matica, in the l 960s with the publishing of selections of compositions by J. Gallus, G . Plavec and J. K. Dolar (Gallus-Plautzius-Dolar and Their \\iork, 1963) and of Gallus· secular choral works (Harmoniae morales, 1966; Moralia, 1968 ). In the 1970s and immediately afterwards this idea was continued. It led to the conclusion that it could be adequately realized only by a carefully designed and consistently directed project and within the framework of an institution which is fully competent for bringing out such editions -what is common practice also in other countries. The first fruits of these endeavours are at this moment coming forth with the collection MONUMENT A ARTIS MUSICAE SLOYENIAE as an edition of the Slovene Academy of Sciences and Arts, specifically of the Musicological Institute within its Scientific Research Centre. The concept is clear: the collection will comprise ali the authors from the 16th until the beginning of the \ 9th cent. so far known. Later on these will be possibly joined by others about whom we as yet do not know enough or are not known to us at ali. The researchers are endeavouring to discover them or to leam more about them so that they might present their creative work to the musical public. The realizations in the collection Monumenta artis musicae Sloveniae will follow the general principles as observed in intemational editions of older musical production. But the realizations will also take into account the demands of the contemporary performing practice -for which indeed they are intended. As such the original of the composer's individual works is preserved and with the help of the revision reports their reconstruction is made possible. Their purpose is thus twofold: the historical and the modem function. They will be truly useful to the researcher interested in the musical past as well as to the modem performer. The one or the other will hence be enabled on this basis to form an adequate judgement about the stylistic orientation and of the artistic value of the older, in one way or another with Slovenia associated, musical creativity as well as of the then current situation in the musical field in Slovenia as compared to that in the rest of the Central European and in \\iestem Europe. \\ie shall do our best that the collection Monumenta will be present with its volumes every year, but the volumes will not be appearing in a strict chronological sequence. As regards this, the volumes will be coming out according to the material available, but will eventually cover everything known to have been written from Gallus onwards (or a little earlier) until the beginning of the 19th cent. The Monumenta series begins with the present volume which contains five sonatas a tre by Amandus lvancič, whose compositional output stems from the middle of the 18th cent. Although his national pro­venience is as yet not perfectly clear, it is certain that he was of .South Slavic origin. From his material it is evident that his work was present also in Slovenia. Dragotin Cvetko In trod uction About the life of Amandus Ivancic (Ivanschiz, Ivanschitz, Ivancsics, Ivanschutz) only fragmentary information 1s available so far. Fram the title pages of the composer's works it is evident that he was a friar (»P/adre/ Amando Ivanschiz«, »P. Ivanczitz«), in some of them he is more _fully named as a member of the white-clad mendicant order of Paulines (»A/dmodum/ R/everendo/ D/omino/ P/adre/ Amando Ivanschiz ord/inis/ S/ancti/ Pauli P/rimi/ Erem/itae/«). The only so far known archival source which refers to him and places him into a given environ­ment at a particular tirne is the fourth of the five book­keeping annual records by Jesuits in Graz. Austria. con­cerning the administration of the St. Aegidius'church. today the Cathedral in this town. This source mentions the composer twice. The first entry states that he came to Graz in 1755 from the nearby Maria Trost Pauline mona­stery to overlook the performance of a composition of his (»Pro curru, quo ex Mariae Consolatricis Monasterio ad probandam musicam vectus est VP. Compositor Aman­dus Ivantschiz .... 1.30«); according to the second entry he received in 1758 a fee far some of his compositions ( »Pro 5 lytaniis et uno Sacro Cantato a VP. Amando Ivantschiz compositis .... 20« ). And this is ali. Otherwise, another document from the Maria Trost monastery, from the year 1776, also mentions a certain friar Amandus, but not his surname, and so it is not clear whether this menti­on refers to the composer. On the list of monks in this monastery, from seven years later. he is not entered at ali. The Croatian musicologist A. Vidakovic's hypothesis that after the dissolution of the Maria Trost monastery during the Josephine reforms in 1786 lvancic was fara period of tirne organist at the Graz Cathedral has no support in the original archival materials. It is unknown whether he worked elsewhere than in Styria. Numerous copies of his works existing in Bohemia, Moravia and Slovakia certain­ly raise the question of his possible connections with these countries, yet so far no evidence that he ever lived there has been found, neither that he -as the Czech musico­logist Th. Strakova believes -was even bom there. No document, again, discloses his Christian name (the name Amandus was undoubtedly given to him, and subsequent­ly used. when he had become a monk). neither it is known where and when he was bom nor where and when he died. Conjecture only is possible in this matter. If we assume that in 1755, when an entry made by the Graz Jesuits first bring him out of obscurity enveloping his origin and youth, he was about thirty years old, then he must have been bom sometime during the years 1720-25; and he died. if we take into consideration the documents from the Maria Trost monastery as well as the life expectancy at his tirne, possibly around 1780. The sumame and a few rare places in his output coloured by either the Slovene or the Croatian folkloristic idiom permit the conclusion that he was of South Slavic extrac­tion. The surname in question is to be found over a fairly wide territory. both in Croatia and in Slovenia (the most uniform area of people bearing the surname of Ivancic being here Styria and via the Novo mesto district and the surroundings of Ljubljana extending over to Primorsko /Slovene Littoral Area/), and far this reason the compo­ser·s national provenience cannot be more reliably deter­mined until his place of birth is known. Much more than about lvančic's life is known about his compositional output. He was clearly a prolific composer much enjoyed in his tirne. According to evidence gathered so far he wrote about one hundred compositions. scatter­ed in copies over a fairly vast area in Central Europe. mostly in Austria and Czechoslovakia, but also in Germa­ny, Hungary, in Belgium, and in Yugoslavia. here in Slove­nia (Ljubljana, Novo mesto) and Croatia (Zagreb). Fifty places have so far been identified where his works are to be found, but this number significantly increases if we include also the provenience of his compositions currcntly kept in state archives, libraries and museums. lvancic's sacral works include twenty Masses (the twenty-first, sometimes ascribed to him, may in fact not be his), twenty Litanies of the Blessed Virgin, seven short oratorios de­dicated to the Saints of the Jesuit order Aloysius Gonza­ga, lgnatius Loyola, Franciscus Xaverius, the cantata »Gemitus Crucifixi Jesu Nazareni«, »Motetto de beata Virgine Maria«, and a few minor compositions. His non­religious music includes twenty-two symphonies, a dozen­odd chamber works and two written ·for harpshicord. but the latter are questionable. Ali these works have been preserved in copies of instrumenta! and vocal parts in various churches and monasteries as well as in collections kept by aristocratic music lovers. No print of a compo­sition by Ivancič is known. buta few of his chamber works are listed in the catalogues of two German publishers at his tirne. Breitkopf. known to have produced in his work­shop manuscript copies famous for reliable version. beauti­ful form , and good paper (these copies were sold at four groschen for sheet). and Ringmacher. Amandus lvancič is a personality from the transitional period in the 18th century musical ari. from the period in which the stylistic remnants of the Baroque were inter­woven with the elements of the gallant and sensitive style. in broader terms, of the early Classicism. It appears that the most productive period of our composer extended between 1755 and 1770. Most of his works are undated, bul even the reliability of years as given is relative as we have at disposal copies and not originals. The oldest among the dated compositions is Mass in C, from 1757, found in the Gotweig monastery. Most of the dated manuscripts, however. come from the period 1762-1772. Copies of some Litanies preserved in Bohemia and Slovakia were made stili at the beginning of the 19th century and notes on two Masses discovered in the premonstratensian monastery at Strahov are proof that they were being per­formed throughout the first half of the 19th century. In the more recent period lvancič is first mentioned in 1901 in Robert Eitner's Quellen-Lexicon. True scholarly inte­rest in his work started a few years before the second \var, in Moravia, where lvančic·s compositions were studied by the musicologist Vladimir Helfert. Quite earlier on. in Slovenia. it was Stanko Premrl who first called attention to lvancic; it was in a short note in Cerkveni glasbenik (1922) observing that »we may. with a considerable degree of probability if not with certitude. coru,i,lude that he was a nalive, a Slovene«. The spelling of the composer's name is in the 18th century manuscripts and in scholarly literature ali but uniform. In the sources as many as forty variants are to be found. something certainly due to the different nationalities of the copyists who suited the spelling to their individual national orthography and also to their different education and sense of precision. By far the most frequent forms qre lvanschiz and lvanschitz. Each of them comes up approxi­mately fifty limes. Rather more rare variants are lvan­csics. lvanschiitz and lvanschicz. The number of spellings that occur once only is over thirty. In ali these cases we have naturally to do with the same surname of South Slavic origin, derived from the male Christian' name Ivan and used in Slovenia and Croatia: lvancic, lvancic. But if we consider the two forms ocurring in the original manu­scripts from the 18th century most frequently, the compo­ser·s name should perhaps be spelled and pronounced to-day Ivansic or Ivanjsic. These are two variant spellings of the same origin. otherwise rather less common and found only in the north-eastern pari of the Slovenc Styria, in the Ptuj and Ljutomer region, but in this case more adequate. This again is but another hypothesis. In comparison with his Symphonies, Masses and Litanies, the chamber works form a somewhat smaller pari of lvancic·s compositional output. On record there are sixteen: two in C t\.\.0 in D. one in E fiat. three in F. four in G. two in A and I\.\.O in B fiat major (in severa! cases the copies of the same compositions differ in tonality. mostly tora sccond). They ;;ire kcpt in the libraries and archivcs in Gcrmany ( Karlsruhe. Munchen. Munster. Donauc~chingcn). Austria (Yienna. Lambach). Czccho­slm akia ( Prag:uc. Za111hc·rk. Brno. Martm ). and Hungary ( Keszthely ). In most cases these are not the places >Nhere they were originally kept. The richest in this respect are the Baden District Library in Karlsruhe and the Univer­sity Library in Brno. In the first there are ten of the composer·s chamber works. originally from the musical collection of the Margraves of Baden. in the second four: these manuscripts used to be a part of the musical collec­tion of the Counts of Waldstein at the Doksy Castle in North Bohemia. they were in recent tirne destroyed but have survived on microfilm. Some unpreserved and in part unidentified compositions are listed in the musical inventories of Princes Hohenzollern at Sig!Tiaringen (1766). Princes Waldburg at Zeil (1767) and of the monasteries at Rajhrad ( 1 771) and at Nova Rise ( 1825) in Moravia. A half of the composer"s works of this genre are according to the evidence gathered so far preserved in only one copy. others have survived in more. even six copies. Altogether there are on evidence thirty-three ma­nuscripts and a fragment of the thirtv-fourth. Only two of them are dated: \.\. ith the years 1762 and 1765. But in­directly the tirne of the origin of these works is to be inferred from the above-mentioned inventories and from the fact that seven of them are listed in the year 1 7n 7 by J. G. I. Breitkopf, the widely known publisher from Leip­zig. in the Supplement II to his Catalogue. and two of them six years later by the Berlin publisher C. U. Ring­macher. In the title pages lvancic·s chamber compositions are variously designated as »Sonata«. »Divertimento«, »Trio«. »Simfonia«. »Nocturno«. in inventories as »Parthia«. The same work is occasionally found under four different titles. nevertheless, these compositions are essentially of the same compositional genre. Ali of them are written »a tre« for two solo instruments and bass, thus belonging to the baroque genre of the trio sonata, which. however. is in a number of its compositional elements adapted to its tirne and thus shows besides the residues of Baroque also the early classicist features. In the cyclical construction it is the three-movement model that i_s well-nigh prevalent, a model exemplified by first three Sonatas in the present selection: first comes a movement in a slow or moderate tempo, designated Largo, Adagio. Andante or Andantino; this is followed by a Minuet with Trio; and finally comes an Allegro. The two movements at either end are in a sonata form . In the two trio sonatas with marked features of the sensitive style -the fourth and the fifth Sonatas in the present se lection -the sequence of the last two movements in this model is reversed: Allegro comes as second, while the Minuet, each tirne without Trio, forms the concluding movement. The remaining sequences are constructed differently. The first of them comes close to the form of the composer's three-movement symphonies (Affettuoso, Largo, Tempo di menuetto), the second displays a cyclical conception of Divertimento in five movements (Andante, Allegro, Menuet-Trio, Andante, Allegro ), and the last -possibly the oldest of them all ­is modelled after a four movement form of the baroque Sonata da chiesa and is variation thereof: the usual intro­ductional Grave is replaced by Affettuoso and the tradi­tional Gigue at the end by a Polonaise, while wholly writ­ten in the traditional spirit are the two movements in the middle -the second as fuga! Allegro, the third as Siciliano in parallel minor. Ali the movements of the cycles are asa rule in the same key and this is one of the antique fea­tures of the composer's chamber output. The sonata form as used by Ivančic is a rudimentary early classical sonata form, either in three parts with complete recapitulation or in two parts with incomplete recapitula­tion. Musical ideas have a lapidary character, but the thematic contrast is sufficiently clearly brought out, even if there are instances of mono-thematic and occacionally also of poly-thematic movements, in which it is difficult to distinguish the primary from the secondary material. The second theme is frequently put in the dominant's domi­nant and this might be a special characteristic of this composer. The least developed part of the form is the middle section; it should, however, be added that in some of his, most probably. later works Ivančic has also compa­ratively rich and with good thematic work constructed developments. The combinations of instruments he uses vary but not significantly. The following are to be found: violin, viola and bass, flute. viola and bass, two violins and bas. two flutes and bass, flute, violin and bass. By far the most frequent is the first combination. the last three are rare, almost exceptional. \\, hat stands out is the fact that as the second solo instrument predominates the viola, thus no longer a soprana instrument but an instrument of the middle register. The lowest part. designated as »basso« or »violoncello«, exceptionally as »fondamento« is not figu­red in any manuscript and is also no longer a model of basso continuo; nevertheless. this part in ali probability cuntinued to be performed by means of a keyboard instrument. Amandus Ivančič's chamber compositions represent both with their style and instrumentation a transitional phase in the development of the baroque Sonata a tre into the classical chamber works: either into the trio for strings or into the piano quartet -depending on the fate of the keyboard instrument which played in these works together with violoncello the bass part. lvančič's compositional style is compact, mostly straightfor­ward, in some particulars even unpolished. The most powerful element in his music is undoubtedly its melodics. Though marked by some mannerisms of the tirne it is nevertheless, both in quick and in slow movements, fresh and appealing. It reveals our composer as a lovable musi­cal nature capable of arousing the listener's interest to this very day. Revision report The chamber works of A. lvancic -unlike his sympho­nies -have not been published so far. The selection pre­pared for the present edition prcsents this part of the composer's output with five sonatas a tre for transverse flute (or violin), viola and bass. The presentation of the sonatas here is based on manuscripts kept in the musical collection of the Badische Landesbibliothek Karlsruhe: as already mentioned, they come originally from the musical archives of the Margraves of Baden. The manuscripts of the selected trio sonatas were made by three different copyists: the first sonata was copied by one hand: the second, the fourth and the fifth by another: and the third sonata by a third hand. I. Trio Sonata in G As basic text served Manuscript 235 which bears on the title page the following inscription: »Trio ex G/ Flauto Traverso/ Viola Obligato/ e/ Basso/ Del Sigr lvanschiz«. This composition is extant in another four copies: one in the Musical Department of the Moravian Museum in Brno (A 12.614), two at the University Library, also · in Brno (Skr 17-525.708 M 266, Skr 17-525.718 M 262), and one in the Heli­kon Museum at Keszthely in Hungary (No. 2077). Ali four are for violin, viola and bass. The first of them, of Rajhrad provenience, unfortunately in­complete (the bass part is missing) bears the year 1762. This manuscript has been used as subsidiary material concerning dynamic indications lacking in the Baden copy. The work is listed also in the Breit­kopf catalogue (1767, Suppl II, p. 23) and in \\ald­burg-Zeil catalogue ( 1767, p. 40). II. Trio Sonata in C As source was used Manuscript 227 entitled: »Sonata/ a/ Flauto/ Viola/ col Basso/ Del Sigor Ivanschiz«. Another copy of this trio sonata is kept at the Benedictine Abbey at Lambach (No. 388), while on the inner sides of the covers of a manuscript of the composer's Litanies in D kept in the Musical Department of the National Museum in Prague (XI A 163) the so prano part of ali of the sonata ·s three movements is written down. It is to be found also in the Sigmaringen ( 1766, p. 31 ), Breitkopf and \\ ald­burg-Zcil catalogues. In ali these cases the first in­strument is violin, and the composition is written in B fiat . III. Trio S ona ta in C Presentation based on Manuscript 230 bearing the title: »Sonata/ a/ Traverso o Violino/ Alto Viola/ e Violoncello/ Del Sige. lvanczicz«. This might have been the composer's most popular chamber compo­sition. There are namely another five copies of it on record, the first at the Abbey at Lambach (No. 254 ). the second in the University Library in Brno (Skr 17-525.714 M 254), the third in the Literary Archi­ves of Matica Slovenska at Martin (Dl-352), and two in the University Library in Munster (Ms. 437, Ms. 867). It is also mentioned in the Sigmaringen, Breit­kopf and Ringmacher (1773, p. 96) catalogues, as well as in the musical inventory of the Rajhrad mo­nastery (1771 ). In ali these cases the soprano instru­ment is violin. IV. Trio Sonata in G Source: Manuscript 225, its title: »Sonata a Tre/ Flauto/ Viola/ Col Violoncello/-Oel Sig0 r lvanschiz«. This trio sonata is entered also in the \\ aldburg-Zeil catalogue as a work by Ivancic for two violins and bass in F. This manuscript did not survive. In this key and scoring the composition has been preserved in the Seitenstetten monastery in Lower Austria as »Divertimento Notturno« of Joseph Haydn (see Hoboken I, p. 500). The Breitkopf catalogue (1767, Suppl. II, p. 16) lists it among trios by Franz Aspel­mayr (1728-1786 ), but it is not on record among the so far known works of this Viennese composer. V. Trio Sonata in D As basic text was used Manuscript 229 bearing on its title page the inscription: »Sonata a Tre/ Flauto/ Viola/ Col Violoncello/ Del Sig0 r Ivanschiz«. As far as it is known this is the only extant copy. In the Breitkopf catalogue (1766, Suppl. I, p. 28: 1767. Suppl. II, p. 16) this composition is entered as Trio for two violins and bass in B fiat by Franz Aspel­mayr, nevertheless, it has not been found among his works. In the reconstruction of the scores the editor has followed the principles generally applied in editions intl:ndcd for study as well as performance. The notation. including the abbreviations for dynamics. signs for reiteration. appog­giaturas and placing the accidences. has been modernized. but the original text has been consistently preserved. Inasmuch as there are any changes they are indicated by square brackets. either these are corrections of errors made by copyists or editorial additions like signs for arti­culation. dynamics. ornamentation and cautionary accidences, given in the sources incomplctely. inconsist­ently. in places unclearly. A few cases are discussed in detail at the end of the present report. A special question represent appoggiaturas. As it is cha­racteristic of the 18th century manuscripts, they are writ­ten in the sources inconsistently and with lacking distinction between short and long appoggiaturas. In preparing the basso continuo part this led sometimes to difficulties in the correct rhythmic distribution of chords for the cemba­list's right hand. Nevertheless. the editor has not touched appoggiaturas more than it was necessary to make the notation on identical places uniform. Figures and other signs for basso continuo are not given in the sources at ali, additionally the violoncello part is often not a model for it. In preparing the basso continuo this part has been consistently transferred into the cemba­list's left hand. except in the case of repetitions not cha­racteristic of basso continuo or short pauses on the first beat. Chords have not been marked in the cembalo part in places written for unison or octaves. lnsufficient motion in the flute and viola parts in the first trio sonatas called for a motion in the accompaniment. and in the realization of basso continuo this extends contrary to the practice of the 18th century in some places over thc treble flute. In the fourth trio sonata the continuo for left hand is reduced since herc therc is no longer a case of the figured bass but rather of marked passages in the violon­cello. I. Trio Sonata in G Adagio: b. l. flute: in some copies this bar is \\ rit ten with a dotted second quarter and with triplet at the end. Minuet-Trio: b. 60. viola: the last eight in the sour­ce by mistake c·. b. 64. bass: the third note in the source b; corrected into g by analogy with b. 66. Allegro: b. 2 and 45: bass: in the source t>1•, JR hence parallcl octaves with viola. Probably not a mistake by copyist, on that account the correction merely a suggestion. b. 11. flute: third eight in the source u··. correction to b" considering b. 15 and 5-L same in the manuscript of thc Rajhrad provenience. h. 1 1. viola: the last eight f sharp. b. 50, flute: the first four sixteenths written in the manuscript one octave lower. b. 57. bass: in the source !):ir,rr undoubtedly a mistake by the copyist. b. 60, flute: the basic tcxt has on the first beat a· in the valuc of a fourth: adjusted to b. 1 7. II. Trio Sonata in C Allegro: b. 9. bass: in the source :>= r r J and so parallel octavcs with flute and parallel fifths with viola : correction by analogy with b. 43. b. 12. flute: the last eight in the sour­ce g·· sharp. b. 14. flute: thc first eight on the third beat f" (with natura!!). same also in b. 15; corrected with regard to corresponding points in the reca­pitulation (b. 46, 48, and 49). Allegro molto: b. 1 flute: the fourth note in a full­tone relation with the prcccding and the following one. so also in ali identical bars (b. 2. 29. 30, 33, 3-1) in this pari or in viola: a better relation would be a semi-tone one: tr ' .g J.aJj III. Trio Sonata in C Allegro: b. 28, viola: in the source last eight e·. IV. Trio Sonata in G Largo: b. 16, 17, bass: in the basic text !>:I LJ LJ' 1 ~ transposed for an octave lower, as the basic text shows at this point in the recapitulation ( b. 42. 43 ). V. Trio Sonata in D Adagio: b. 8, viola: in the manuscript the first sixteenth g sharp; same at the cor­responding point in b. 26 c· sharp. b. 11, bass: the half on the third and the fourth beat in the source g (with natura!!); correction with regard to the corresponding point in b. 30. Naslovna stran Sonate a tre v G duru ( IV) -Title page of the Sonata a tre in G major ( IV). Badische Landesbibliothek Karlsruhe, Ms. 225. - - Sonata a tre v D duru (V), prva stran parta flavte -Sonata a tre in D major (V), first page of the flute part. Badische Landesbibliothek Karlsruhe. Ms. 229. Adagio ti „ -.. - Flauto o violino t.) [f J u ~ ~ Viola . ' Violoncello ,., u 1 ~ t.) 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' "' ~· • r• --..:. --. . ., ­ -~ [.{] ­ . , ­ --r -.. ·-.... .. _, . ­ -. J V.J ­ --. ~ -r, ~ ~ ,.. -­ r - ,,. • _, . . '. _r • - -~ ­ - -,- • --­ .... - - r ~9 ® l'l .. :1. u i+J:­ --~-- ­ Menuetto grazioso tr tr· ..,, .... t: ~ " -· ·---" tr --+-= --f -· :_f--­ t·-~:-~ --·---­ . ---·---------­ u ,._ ,.. J') . • ·--.---T , ·­ ~: . -­ ~t:.·:::-~ :--~ 1 1 fl.-.... P­ -· ---......... --­ - - ---f=-----­ 1 1 .... 1 1 J 1 1 1 1 1 tJ ~ 1 ..(2 • i11. ' ' ' 1 11 ® .,._. .._tr ---· -htr . -­ -- fl-~ A II --. . . --. -. ·­ ,,,u ·- tJ 1 1 [!'] ., VJ . " . . r ·­ - ;;;;, ~ - ., .. · ­ ~ " ­ - - ,, •• 1 L. ' [· -: l [f] ~ [PJ ­ .:. . - ~--­ - - - " ­ 1 - p -1 f. A II 1 1 . . M / . - M -· - --· -­ - \ " ­ • -" ~ .,._ - e, tJ 1 1 . -/1­ -. , --.. ... ' ­ -. ··-u ~ ' ---[ ] „ u ~· J~r -. .. ­ -. , - - ­ r w ~ . ' ' t.! 1 [P] f_] [, .. . -~ . . . w ~ - - -~ - - - 1 L • J [P,] [fJ .Q • ­ - -. ' - - ' -.. - - . ~ - p ,...., f, ,. .. 1 1 1 r-i ­ -w =-~ ,_ . ' -. -~ , ,. -· -1 -~­ - ,~ -• - J - -·­ - r;;,, - - It.! ­ 1 _Q ~ + • -­ • w r •• .w,, --' - - ~ - - ® _, . • [._ ...:,~ J'>tr· 1A „ " .. --· -r -w ­ . -~ " "' . r . . . . - --• -· ~ ·­ - ,, - . " ' - t) --------.. ~ - . . 1 -­ ·­ .,. -J - ~ - 1 '# . . ·J ... ­ IL - - 1r "'• 1.1 .. -. ·-­ ·­ - u -· . ' - - - 1 1 r-, 1 -1 ­ 1 1 I •• -~ --.... " ~ • ... -.. ·-­ -· - - 1 t) -~~ • -~ --' --,., ~ . -.. - 1 1:..1 ,._ JI.. - - • u -­ 1 •• w -­ . ­ . ­ ·­ --· - t ' MONUMENTA ARTIS MUSICAE SLOVENIAE Amandus lvancic SONATE A TRE Izdala Slovenska akademija znanosti in umetnosti v Ljubljani Notografija Marina Polanc Angleski prevod Franc Slivnik Razmnozevanje Plesko Ljubljana 1984 Naklada 800 izvodov