THE MANUSCRIPT BOOK OF MUSIC SCORES D-W COD. GUELF. 34.7 AUG. 2O AS THE SOURCE OF INSTRUMENTAL MUSIC BY FRANCISCUS LILIUS AND OTHER COMPOSERS WITH LINKS TO THE 17TH-CENTURY COMMONWEALTH OF POLAND & LITHUANIA (Polish title - below)
(Title in Polish - 'Rekopismienna ksiega partytur D-W Cod. Guelf. 34.7 Aug. 2o jako zrodlo muzyki instrumentalnej Franciszka Liliusa oraz innych tworcow zwiazanych w XVII wieku z Rzeczpospolita'). The Herzog-August-Bibliothek in Wolfenbüttel holds a manuscript with the reference number Cod. Guelf. 34.7 Aug. 2o - 'Partitur-Buch voll Sonaten, Canzonen, Arien, Allemanden, Couranten, Sarabanden, Chiquen etc. mitt 188.8.131.52.184.108.40.206 Instrumenten (...) Gotha, 1662', now available online. This is an anthology comprising about 100 instrumental compositions, mainly by artists working in central Germany, compiled by Jakob Ludwig (1623-1698). Ulrich Konrad was most probably the first to cite this work in musicologial literature. 'Partitur-Buch'- includes works by musicians who at some stage of their life had links to the Commonwealth of Both Nations. These are: Giovanni Valentini, who had worked as an organist at the court of Sigismund III during the years 1604-14, but who, by the time the collection was being compiled, was famous as an imperial musician and chapel master of many years' standing; Adam Drese, who was a pupil of Marco Scacchi, the chapel master of King Ladislaus IV and who, after his return from Poland, became himself a chapel master at the ducal court of Weimar; and Nathanael Schnittelbach, born in Gdansk, a violin virtuoso who from 1655 was employed as a musician by the city of Lübeck (the 'Sonata' for solo violin and basso continuo, preserved in the scorebook, is one of Schnittelbach's compositions known to us). 'Aria a 3. 2 Violin(i) e Gamba Francisci Lilii', included in the collection, is of particular interest to scholars researching music in the Polish-Lithuanian Commonwealth. According to the current state of our knowledge, this is the only extant composition for an instrumental ensemble by this artist, who initially had been one of the musicians at the court of Sigismund III, and who from 1630 until his death (in 1657) was the chapel master of the vocal-instrumental ensemble at Wawel Cathedral. The composition is particularly important in providing comparative material for research into the works of this genre by Lilius' pupil, Marcin Mielczewski. 'Partitur-Buch' also contains single works, signed with names which are undoubtedly misspelt; this might suggest that the composers were of Polish origin. The items in question are another 'aria', by a composer whose name was 'Mometschki' or 'Mometski', and a sonata with the inscription 'cujusdam Zunucki'. At the present stage of research it would be premature to put forward any hypotheses as to what the actual names of these musicians might possibly be.
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