Commit b81fb48c authored by Reinhold Kainhofer's avatar Reinhold Kainhofer

Final Version (Layout, Shortened KritBer, ISMN numbers, etc)

parent c95da387
\version "2.14.0"
\include "Eybler_DomineDeus_HV42_Settings_Instrument.ily"
#(set-global-staff-size 18.5)
\header {
instrument = \ContinuoInstrumentName
scorenumber = \markup{\scoreNumber \ContinuoNumber}
arranger = "Generalbassaussetzung: R. Kainhofer"
}
\layout {
% \context { \Staff
% \override VerticalAxisGroup #'remove-empty = ##f
% }
% \context { \Score
% \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 16)
% \override SpacingSpanner #'common-shortest-duration = #(ly:make-moment 1 16)
% }
}
\paper {
systems-per-page = #7
% page-count = #3
page-count = #3
}
\layout {
\context {
\RemoveEmptyStaffContext
% To use the setting globally, uncomment the following line:
\context { \PianoStaff
\remove "Keep_alive_together_engraver"
}
\context { \Staff
\RemoveEmptyStaves
\override VerticalAxisGroup #'remove-first = ##t
\remove "Instrument_name_engraver"
}
}
% \paper { page-count = #8 }
% #(set-global-staff-size 19)
BCRealizationExtraSettings = \notemode { \override Staff.VerticalAxisGroup #'remove-empty = ##f }
ContinuoExtraSettings = \notemode { \override Staff.VerticalAxisGroup #'remove-empty = ##f }
\paper {
bookTitleMarkup = \titlePageMarkup
scoreTitleMarkup = \titleHeaderMarkup
#(define page-breaking ly:optimal-breaking)
evenHeaderMarkup = \markup \fill-line {
\on-the-fly #is-header-page \fromproperty #'page:page-number-string
\null
}
oddFooterMarkup = \markup \column { \fill-line {
\on-the-fly #is-footer-page \fromproperty #'header:scorenumber
} }
}
\allowPageTurn
\pageBreak
\createScore #"DomineDeus" #'("RealizedContinuo")
......@@ -6,5 +6,20 @@
scorenumber = \markup{\scoreNumber \VINumber}
}
\paper {
bookTitleMarkup = \titlePageMarkup
scoreTitleMarkup = \titleHeaderMarkup
#(define page-breaking ly:page-turn-breaking)
evenHeaderMarkup = \markup \fill-line {
\on-the-fly #is-header-page \fromproperty #'page:page-number-string
\null
}
oddFooterMarkup = \markup \column { \fill-line {
\on-the-fly #is-footer-page \fromproperty #'header:scorenumber
} }
}
\allowPageTurn
\pageBreak
\createScore #"DomineDeus" #'("VI")
......@@ -6,5 +6,20 @@
scorenumber = \markup{\scoreNumber \VIINumber}
}
\paper {
bookTitleMarkup = \titlePageMarkup
scoreTitleMarkup = \titleHeaderMarkup
#(define page-breaking ly:page-turn-breaking)
evenHeaderMarkup = \markup \fill-line {
\on-the-fly #is-header-page \fromproperty #'page:page-number-string
\null
}
oddFooterMarkup = \markup \column { \fill-line {
\on-the-fly #is-footer-page \fromproperty #'header:scorenumber
} }
}
\allowPageTurn
\pageBreak
\createScore #"DomineDeus" #'("VII")
......@@ -6,5 +6,20 @@
scorenumber = \markup{\scoreNumber \VaNumber}
}
\paper {
bookTitleMarkup = \titlePageMarkup
scoreTitleMarkup = \titleHeaderMarkup
#(define page-breaking ly:page-turn-breaking)
evenHeaderMarkup = \markup \fill-line {
\on-the-fly #is-header-page \fromproperty #'page:page-number-string
\null
}
oddFooterMarkup = \markup \column { \fill-line {
\on-the-fly #is-footer-page \fromproperty #'header:scorenumber
} }
}
\allowPageTurn
\pageBreak
\createScore #"DomineDeus" #'("Va")
\version "2.14.0"
\include "Eybler_DomineDeus_HV42_Settings_Instrument.ily"
VcBInstrumentName = "Violoncello e Contrabbasso"
\header {
instrument = \VcBInstrumentName
scorenumber = \markup{\scoreNumber \VcBNumber}
}
\paper {
bookTitleMarkup = \titlePageMarkup
scoreTitleMarkup = \titleHeaderMarkup
#(define page-breaking ly:page-turn-breaking)
evenHeaderMarkup = \markup \fill-line {
\on-the-fly #is-header-page \fromproperty #'page:page-number-string
\null
}
oddFooterMarkup = \markup \column { \fill-line {
\on-the-fly #is-footer-page \fromproperty #'header:scorenumber
} }
}
\allowPageTurn
\pageBreak
\createScore #"DomineDeus" #'("VcB")
......@@ -53,7 +53,8 @@ DomineDeusObIMusic = \relative c'' {
cis1-> | % 42
d4 a\decresc a a | % 43
b\! r r2 | % 44
R1*2 | % 46
R1 | % 45
\namedCueDuringWithClef #"DomineDeusFagIMusic" #UP "Fg.1" "bass" "" {R1} | % 46
e2.(\solo c8[ a]) | % 47
fis4. a8 c4 r | % 48
g'2~ g8[ h,( c d]) | % 49
......@@ -103,7 +104,7 @@ DomineDeusObIMusic = \relative c'' {
\partcombineApartOnce c4 r r2 | % 101
R1*5 \bar "|."
}
\addQuote "DomineDeusObIMusic" { \DomineDeusObIMusic }
\addQuote "DomineDeusObIMusic" { \removeWithTag #'cued \DomineDeusObIMusic }
DomineDeusObIIMusic = \relative c'' {
g2\f g4 g | % 2
......@@ -148,8 +149,10 @@ DomineDeusObIIMusic = \relative c'' {
e1-> | % 42
fis4 fis\decresc fis fis | % 43
g\! r r2 | % 44
R1*4 | % 48
r2 r8 g[(\p a h]) | % 49
R1*2 | % 46
\namedCueDuring #"DomineDeusObIMusic" #UP "Ob.1" "" {R1*2 | r2 r8 } %\tag #'cued \context Voice="cue" {s1*0] }
% r2 r8
g8[(\p a h]) | % 49
c4 r r2 | \barNumberCheck #50
R1*2 | % 52
r4 g2\f a4 | % 53
......@@ -422,7 +425,9 @@ DomineDeusTrbIMusic = \relative c' {
g r8 g g4 g | % 31
g4 r8 g g4 g | % 32
g r r2 | % 33
R1*20 | % 53
R1*12 | % 45
\namedCueDuring #"DomineDeusFagIMusic" #UP "Fg.1" "" {R1}
\namedCueDuringWithClef #"DomineDeusObIMusic" #UP "Ob.1" "treble" "" {\expandFullBarRests R1*7 \compressFullBarRests }
g2\f g | % 54
R1*2 | % 56
g2\f g | % 57
......@@ -443,7 +448,9 @@ DomineDeusTrbIMusic = \relative c' {
g r8 g8 g4 g | % 77
g1 | % 78
\partcombineApartOnce c,4 r r2 | \barNumberCheck #79
R1*15 | % 94
R1*8 | \barNumberCheck #87
\namedCueDuringWithClef #"DomineDeusObIMusic" #UP "Ob.1" "treble" "" { R1*2 }
\namedCueDuring #"DomineDeusFagIMusic" #UP "Fg.1" "" {\expandFullBarRests R1*5 \compressFullBarRests}
r4 g'2\f g4 | % 95
a2 r | % 96
R1 | % 97
......@@ -479,7 +486,9 @@ DomineDeusTrbIIMusic = \relative c' {
g4 r8 g g4 g | % 31
g r8 g g4 g | % 32
g r r2 | % 33
R1*20 | % 53
R1*12 | % 45
\namedCueDuring #"DomineDeusFagIMusic" #UP "Fg.1" "" {R1}
\namedCueDuringWithClef #"DomineDeusObIMusic" #UP "Ob.1" "treble" "" {\expandFullBarRests R1*7 \compressFullBarRests }
g2\f g | % 54
R1*2 | % 56
g2\f g | % 57
......@@ -500,7 +509,9 @@ DomineDeusTrbIIMusic = \relative c' {
g r8 g g4 g | % 77
d'1 | % 78
c4 r r2 | \barNumberCheck #79
R1*15 | % 94
R1*8 | \barNumberCheck #87
\namedCueDuringWithClef #"DomineDeusObIMusic" #UP "Ob.1" "treble" "" { R1*2 }
\namedCueDuring #"DomineDeusFagIMusic" #UP "Fg.1" "" {\expandFullBarRests R1*5 \compressFullBarRests}
r4 e2\f e4 | % 95
f2 r | % 96
R1 | % 97
......@@ -516,7 +527,7 @@ DomineDeusTbeIMusic = \relative c'' {
c2\f c4 c | % 2
d2 e4 r | % 3
R1 | % 4
r4 g,8.[\f g16] g4 g | % 5
r4 \tag #'non-cued \dynamicsX #-3 g,8.[\f g16] g4 g | % 5
g r r2 | % 6
R1*6 | % 12
c2\f c4 c | % 13
......@@ -535,7 +546,9 @@ DomineDeusTbeIMusic = \relative c'' {
g' r8 g16[ g] g4 g | % 31
g r8 g16[ g] g4 g | % 32
g r r2 | % 33
R1*20 | % 53
R1*12 | % 45
\namedCueDuring #"DomineDeusFagIMusic" #DOWN "Fg.1" "" {R1}
\namedCueDuring #"DomineDeusObIMusic" #UP "Ob.1" "" {\expandFullBarRests R1*7 \compressFullBarRests }
g4\f r r2 | % 54
R1*2 | % 56
g4\f r r2 | % 57
......@@ -556,7 +569,9 @@ DomineDeusTbeIMusic = \relative c'' {
g4 r8 g16[ g] g4 g | % 77
d'1 | % 78
e4 r r2 | % 79
R1*15 | \barNumberCheck #94
R1*8 | \barNumberCheck #87
\namedCueDuring #"DomineDeusObIMusic" #UP "Ob.1" "" { R1*2 }
\namedCueDuring #"DomineDeusFagIMusic" #DOWN "Fg.1" "" {\expandFullBarRests R1*5 \compressFullBarRests}
r4 c8.\f[ c16] c4 c | % 95
c r r2 | % 96
R1 | \barNumberCheck #97
......@@ -590,7 +605,9 @@ DomineDeusTbeIIMusic = \relative c' {
g r8 g16[ g] g4 g | % 31
g r8 g16[ g] g4 g | % 32
g r r2 | % 33
R1*20 | % 53
R1*12 | % 45
\namedCueDuring #"DomineDeusFagIMusic" #DOWN "Fg.1" "" {R1}
\namedCueDuring #"DomineDeusObIMusic" #UP "Ob.1" "" {\expandFullBarRests R1*7 \compressFullBarRests }
g4\f r r2 | % 54
R1*2 | % 56
g4\f r r2 | % 57
......@@ -611,7 +628,9 @@ DomineDeusTbeIIMusic = \relative c' {
g4 r8 g16[ g] g4 g | % 77
g'1 | % 78
c4 r r2 | % 79
R1*15 | \barNumberCheck #94
R1*8 | \barNumberCheck #87
\namedCueDuring #"DomineDeusObIMusic" #UP "Ob.1" "" { R1*2 }
\namedCueDuring #"DomineDeusFagIMusic" #DOWN "Fg.1" "" {\expandFullBarRests R1*5 \compressFullBarRests}
r4 c,8.\f[ c16] c4 c | % 95
c r r2 | % 96
R1 | \barNumberCheck #97
......@@ -645,7 +664,9 @@ DomineDeusTimMusic = \relative c {
g4 r8 \times 2/3 {g16[ g g]} c4 c | % 31
g4 r8 \times 2/3 {g16[ g g]} c4 c | % 32
g r r2 | % 33
R1*20 | % 53
R1*12 | % 45
\namedCueDuring #"DomineDeusFagIMusic" #UP "Fg.1" "" {R1}
\namedCueDuringWithClef #"DomineDeusObIMusic" #UP "Ob.1" "treble" "" {\expandFullBarRests R1*7 \compressFullBarRests }
g4\f r r2 | % 54
R1*2 | % 56
g4\f r r2 | % 57
......@@ -665,7 +686,9 @@ DomineDeusTimMusic = \relative c {
g4 r8 \times 2/3 {g16[ g g]} g4 g | % 77
g1\startTrillSpan | % 78
c4\stopTrillSpan r r2 | \barNumberCheck #79
R1*15 | % 94
R1*8 | \barNumberCheck #87
\namedCueDuringWithClef #"DomineDeusObIMusic" #UP "Ob.1" "treble" "" { R1*2 }
\namedCueDuringWithClef #"DomineDeusFagIMusic" #UP "Fg.1" "tenor" "" {\expandFullBarRests R1*5 \compressFullBarRests}
r4 c8.[\f c16] c4 c | % 95
c r r2 | % 96
R1 | \barNumberCheck #97
......@@ -1039,7 +1062,8 @@ DomineDeusVaMusic = \relative c {
DomineDeusSMusic = \relative c'' {
R1*11 | % 12
R1*8 | % 9
\namedCueDuring #"DomineDeusVIMusic" #UP "Vl." "" { R1*3 } | \barNumberCheck #12
c2\f c4 c | % 13
d2 e | % 14
f4. e8 d4 c | % 15
......@@ -1060,7 +1084,8 @@ DomineDeusSMusic = \relative c'' {
e'2 r4 c | \barNumberCheck #30
g'1~ | % 31
g2 g, | % 32
R1*2 | % 34
R1 | % 33
\namedCueDuring #"DomineDeusVIMusic" #UP "Vl." "" { R1 } | \barNumberCheck #34
d'4.\p h8 g4 r | % 35
a4 h d( c8) c | % 36
h4 r r d,4 | % 37
......@@ -1104,7 +1129,8 @@ DomineDeusSMusic = \relative c'' {
g1~ | % 75
g1~ | % 76
g2 g, | % 77
R1*3 | \barNumberCheck #80
R1*2 | % 79
\namedCueDuring #"DomineDeusVIMusic" #UP "Vl." "" { R1 } | \barNumberCheck #80
e'4.\p c8 g4 r | % 81
h c e( d8) d | % 82
c4 r r g | % 83
......@@ -1484,9 +1510,9 @@ DomineDeusBMusic = \relative c {
DomineDeusBLyrics = \DomineDeusSLyrics
DomineDeusBCFbMusic = \figuremode {
DomineDeusBCFbMusic = \figuremode {\bassFigureStaffAlignmentDown
\bassFigureExtendersOn
s1\solo | % 2
s1\ts | % 2
s1*10 | % 12
s1\tutti | % 13
s1 | % 14
......@@ -1494,31 +1520,31 @@ DomineDeusBCFbMusic = \figuremode {
s1 | % 16
<4 2> | % 17
<6> | % 18
s1\solo | % 19
s1\ts | % 19
s1 | \barNumberCheck #20
<6 5>8.\tutti s16 s4 s2 | % 21
s1\solo | % 22
s1\ts | % 22
s1*5 | % 27
s2 s2\tutti | % 28
s1*2 | \barNumberCheck #30
s2 <6>8. s16 s4 | % 31
<3>2 <6> | % 32
<3> s | % 33
s1\solo | % 34
s1\ts | % 34
s1*18 | % 52
s2 s4\tutti <6> | % 53
<5> s <6> s | % 54
s1\solo | % 55
s1\ts | % 55
s2 s4\tutti <6> | % 56
<5> s <6> s | % 57
s1\solo | % 58
s1\ts | % 58
s1*2 | \barNumberCheck #60
<_+>4\tutti s4 s2 | % 61
s <6> | % 62
<_!>4 s s2 | % 63
<6 5>4 s s s | % 64
s s <6> s | % 65
s1\solo | % 66
s1\ts | % 66
s1*5 | % 71
s1\tutti | % 72
s1 | % 73
......@@ -1528,15 +1554,15 @@ DomineDeusBCFbMusic = \figuremode {
<6 4 3>2 <6 4 3> | % 77
<6 4 3> <6 4 3>8. <6 4 3>16 <6 4 3>8. <6 4 3>16 | % 78
s1 | % 79
s1\solo | \barNumberCheck #80
s1\ts | \barNumberCheck #80
s1*14 | % 94
s4 <6>\tutti <6> <6> | % 95
<6\!> s s s | % 96
s1\solo | \barNumberCheck #97
s1\ts | \barNumberCheck #97
s4 <6 4>\tutti <6 4> <6 4> | % 98
s1 | % 99
<6 4>4 s <5 3> s | \barNumberCheck #100
s1\solo | % 101
s1\ts | % 101
s1*5 \bar"|."
}
......@@ -1559,14 +1585,14 @@ DomineDeusBCRealizationMusic = \relative c' {
<g h d>2 <g c e> | % 32
<g h d>4 <g h d> r2 | % 33
R1*19 | % 52
r4 <g h>2 <fis a d>4 | % 53
r2 <g h>4 <fis a d>4 | % 53
<g h e>2 <g h d> | % 54
R1 | % 55
r4 <g h>2 <fis a d>4 | % 56
r2 <g h>4 <fis a d>4 | % 56
<g h e>2 <g h d> | % 57
R1*3 | \barNumberCheck #60
<cis, e a>2 <e a cis>4 <e a cis> | % 61
<a cis e>2 <a cis e>^"TODO" | % 62
<a cis e>2 <a cis e> | % 62
<a d f>2 <f a d> | % 63
<g h d f>2 <g c e> | % 64
<a c f>2 <g c e> | % 65
......@@ -1574,7 +1600,7 @@ DomineDeusBCRealizationMusic = \relative c' {
<d g h>1 | % 72
<e g c~>1 | % 73
<d fis a c>1 | % 74
\twoVoice { g'1~ | g1 } { <g, h>2 <a c> | <h d> <c e> } | % 76
\twoVoice { <g h>2 <a c> | <h d> <c e> } { g1~ | g1 } | % 76
<g h d f>1~ | % 77
<g h d f> | % 78
<g c e>4 r r2 | % 79
......@@ -1701,12 +1727,3 @@ DomineDeusVcBMusic = \relative c {
DomineDeusBCMusic = \DomineDeusVcBMusic
\addQuote "DomineDeusBCMusic" { \DomineDeusBCMusic }
DomineDeusPIMusic = \relative c'' {
% TODO
\repeat unfold 105 { s1 } \barNumberCheck #106
}
DomineDeusPIIMusic = \relative c {
% TODO
\repeat unfold 105 { s1 } \barNumberCheck #106
}
\version "2.13.1"
DomineDeusTempo = "Allegro maestoso"
DomineDeusKey = \key c \major
DomineDeusTimeSignature = \time 2/2
DomineDeusSettings = \notemode {
\set Score.tempoHideNote = ##t
\tempo \DomineDeusTempo 4=120
}
DomineDeusPIMusic = \relative c'' {
% TODO
\repeat unfold 105 { s1 } \barNumberCheck #106
}
DomineDeusPIIMusic = \relative c {
% TODO
\repeat unfold 105 { s1 } \barNumberCheck #106
}
......@@ -6,6 +6,10 @@
\header {
scoretype = \ChoralScoreTitle
scorenumber = \markup{\scoreNumber \ChoralScoreNumber}
ismn = "979-0-50217-020-2"
copyright = \markup \abs-fontsize #9 \column{
\line { 2011, \with-url #"http://www.edition-kainhofer.com/" {Edition Kainhofer, Vienna,} \concat{\fromproperty #'header:scorenumber .} Alle Rechte vorbehalten / All rights reserved. ISMN \fromproperty #'header:ismn }
}
}
\createScore #"DomineDeus" #'("ChoralScore")
......@@ -7,5 +7,24 @@
scoretype = \FullScoreTitle
scorenumber = \markup{\scoreNumber \FullScoreNumber}
}
\paper {
footnote-footer-padding = 0.4\cm
page-count=#17
}
\paper {
top-markup-spacing #'minimum-distance = #1
top-system-spacing #'minimum-distance = #0
top-system-spacing #'padding = #1
markup-system-spacing #'minimum-distance = #2
markup-system-spacing #'padding = #1
system-system-spacing #'minimum-distance = #0
system-system-spacing #'padding = #4
last-bottom-spacing #'padding = #1
}
ContinuoInstrumentName = \markup{\center-column{"Cello, Violone" "Organo"}}
ContinuoShortInstrumentName = \markup{\center-column{"Vc./Cb." "Org"}}
\createNoCuesScore #"DomineDeus" #'("FullScore")
\version "2.14.0"
\include "orchestrallily/oly_settings_fullscore.ily"
\include "Eybler_DomineDeus_HV42_Settings.ily"
#(set-global-staff-size 14)
DomineDeusTrbISettings = {
\set Staff.fontSize = #-4
\override Staff.StaffSymbol #'staff-space = #(magstep -4)
\DomineDeusSettings
DomineDeusTrbStaffModifications = \with {
fontSize = #-4
\override StaffSymbol #'staff-space = #(magstep -4)
}
DomineDeusTrbIISettings = {
\set Staff.fontSize = #-4
\override Staff.StaffSymbol #'staff-space = #(magstep -4)
\DomineDeusSettings
}
DomineDeusTrbSettings = {
\set Staff.fontSize = #-4
\override Staff.StaffSymbol #'staff-space = #(magstep -4)
\DomineDeusSettings
% Ugly workaround: Can't use \footnote in Instrument name. Also can't use
% \footnoteGrob in a part-combined staff as that will print either two or
% four identical footnotes!
% So we attach the footnote to a completely unrelated staff (violins)!
DomineDeusVIExtraSettings = {
\footnoteGrob #'Stem #'(0 . 0) \markup{\null} \markup{\char ##x2020 Tromboni-Stimmen nicht im Autograph enthalten, jedoch im Orchestermaterial der Hofkapelle und höchstwahrscheinlich auch von Eybler.}
}
TrbInstrumentName = \markup \override #'(baseline-skip . 2) \center-column {\concat { Tromboni \large \char ##x2020 } "(ad lib.)"}
......@@ -17,6 +17,7 @@ scorenumber="EK-1042"
}
%% Possibly adjust the \orchestralScoreStructure here...
#(oly:modify_score_structure '("BassGroup" "StaffGroup" ("Continuo")))
%% Add custom keys here, e.g.
%% CorKey = \key g \major
......@@ -31,3 +32,8 @@ VaInstrumentName = "Viole"
TrbIInstrumentName = \markup \center-column {"Trombone I" "(ad lib.)"}
TrbIIInstrumentName = \markup \center-column {"Trombone II" "(ad lib.)"}
TrbInstrumentName = \markup \center-column {"Tromboni" "(ad lib.)"}
% ContinuoInstrumentName = \markup{\center-column{"Violoncello" "Violone"}}
% ContinuoInstrumentName = \markup{\center-column{"Cello, Violone"}}
% ContinuoShortInstrumentName = \markup{\center-column{"Vc./Cb."}}
......@@ -2,7 +2,7 @@ OUT=out
base = Eybler_DomineDeus_HV42
SRCS = $(base)_Music_DomineDeus.ily $(base)_Settings_Global.ily $(base)_Settings.ily $(base)_Settings_VocalScore.ily $(base)_Settings_ChoralScore.ily $(base)_Settings_VocalVoice.ily $(base)_Settings_FullScore.ily $(base)_Settings_Instrument.ily
instruments = ObI ObII FagI FagII TbeI TbeII TrbI TrbII Tim VI VII Va S A T B Continuo VcB
instruments = ObI ObII FagI FagII TbeI TbeII TrbI TrbII Tim VI VII Va Continuo VcB
scores = Full Vocal Choral
pdfs = $(instruments:%=$(OUT)/$(base)_Instrument_%.pdf) \
$(scores:%=$(OUT)/$(base)_Score_%.pdf)
......@@ -54,7 +54,7 @@ VocalScore: $(OUT)/$(base)_Score_Vocal.pdf $(OUT)/TeX_$(base)_Score_Vocal.pdf $(
$(OUT)/TeX_%.pdf : TeX_%.tex
TEXINPUTS=$(OUT):orchestrallily/:.//: pdflatex --output-directory=$(OUT)/ $<
TEXINPUTS=$(OUT):orchestrallily/:.//: pdflatex -interaction=batchmode --output-directory=$(OUT)/ $<
zipdir = $(base)_Final
dist: $(distfiles)
......
\addcontentsline{toc}{section}{Vorwort / Preface}
\phantomsection\addcontentsline{toc}{section}{Vorwort / Preface}
\begin{multicols}{2}\raggedcolumns
\prefacesection{Vorwort}
Dieses vom Wiener Hofkapellmeister Josef Eybler im Jahr 1826 komponierte Graduale,
war ursprünglich gemeinsam mit der Missa St. Mauritii in C für die
Dieses vom Wiener Hofkapellmeister Josef Eybler im Jahr 1826 komponierte Graduale
war ursprünglich gemeinsam mit der Missa St. Mauritii für die
Geburtstagsgala des Kaisers Franz I. und der Kaiserin Karoline Auguste
bestimmt, die beide am 7. Februar geboren waren. Anlässlich dieser Gala komponierte
bestimmt, die beide am 8. Februar geboren waren. Anlässlich dieser Gala komponierte
Eybler jedes Jahr eine Messe mit dem zugehörigen Graduale and tw. auch dem Offertorium.
Aufgrund einer \q{Unpässlichkeit} der Majestäten wurde die Gala 1826 jedoch -- wie auch
im Jahr davor -- nicht abgehalten und die neue Missa St. Mauritii mit dem
vorliegenden Graduale zum Fest Maria Lichtmess am Donnerstag, dem 2. Februar
1826, in der Wiener Hofburgkapelle
vorliegenden Graduale bereits zum Fest Maria Lichtmess am 2. Februar
1826 in der Wiener Hofburgkapelle
uraufgeführt.\footnote{Laut den Bemerkungen im Aufführungsspiegel der Wr. Hofburgkapelle,
siehe R. Steurer: {\em Das Repertoire des Wiener Hofmusikkapelle im neunzehnten Jahrhundert},
verlegt bei Hans Scheider, Tutzing, 1998.}
......@@ -25,9 +25,9 @@ Zeit rezensiert.
Nach einer relativ langen Instrumentaleinleitung wechselt dieses sehr erhabene
Graduale häufig zwischen forte- und piano-Passagen, wobei die kurzen forte-Teile
(zu den majestätischen und kraftvollen Texten \q{justus}, \q{omnipotens}, \q{aeternus}, etc.)
zu den majestätischen und kraftvollen Texten \q{justus}, \q{omnipotens}, \q{aeternus}, etc.
geprägt sind vom punktierten Rhythmus der Streicher und majestätisch stark erklingen,
während die leisen Abschnitte (zum Text \q{et misericors} -- und barmherzig, \q{sanctifica}, etc.)
während die leisen Abschnitte zum Text \q{et misericors} (und barmherzig), \q{sanctifica}, etc.
durch gebundene Achtelläufe in den Streichern umso ausdruckstärker demütig klingen.
Besonders hervorstechend sind im Mittelteil die drei Läufe der Streicher,
welche die Hauptphrase \q{Domine Deus omnium creator} vorbereiten bzw.
......@@ -43,13 +43,13 @@ endet.
This gradual was composed by the
Austrian Hofkapellmeister Josef Eybler in 1826 for the birthday
gala of both the emperor Franz I. and the emperess Karoline Auguste (both were
gala of both Emperor Franz I. and Emperess Karoline Auguste (both were
born on February 8). Since 1823, Eybler had composed a new mass for this occasion
every year,
mostly together with a new gradual and a new offertory. However, due to some
\q{indisposition} (as the chronicles of the Hofburgkapelle states), the gala
\q{indisposition} (as the chronicles of the Hofburgkapelle state), the gala
was cancelled in 1826, like the year before. Instead, the premiere of the
Missa St. Mauritii in C (HV 4) together with this gradual \q{Domine Deus,
Missa St. Mauritii (HV 4) together with this gradual \q{Domine Deus,
omnium creator} (HV 42) and the offertory \q{Magna et mirabilia} (HV 108)
took place on Thursday, February 2, 1826 -- the feast of
Candlemas -- in the Hofburgkapelle (the chapel of the imperial palace) in Vienna.
......@@ -65,7 +65,7 @@ Following a rather long instrumental introduction, the gradual frequently switch
between piano and forte parts. The (relatively short) forte phrases appearing with
majestic and powerful lyrics like \q{justus}, \q{omnipotens} or \q{aeternus}
are marked by a dotted rhythm in the strings, resulting in imperial power.
The piano phrases on the other hand with lyrics \q{et misericors} -- and merciful,
The piano phrases on the other hand with lyrics \q{et misericors} (and merciful),
\q{sanctifica}, etc. are accompanied with runs of legato quavers, increasing
the expressive humbleness of the lyrics even further.
......
\makeatletter
\copyrightbox{© \@year, \@publisher. 1. Auflage / 1st Printing \@year\newline
\copyrightbox{© \@year, \@publisher, \@publisherurl. 1. Auflage / 1st Printing \@year\newline
\ifx\@scorenumber\@empty\else\@scorenumber\ifx\@ismn\@empty\else, \fi\fi\ifx\@ismn\@empty\else%
ISMN \@ismn\fi\newline
Computersatz mit \@software\newline
......
\todos{
\chapter*{Offene Fragen}
\begin{itemize}
\item Trb: Kleinerer Abstand zwischen den Notenzeilen
\item Trb: Fussnote, dass nicht in Autograph, aber von Eybler
\end{itemize}
\section*{Handschrift [HS1]:}
\begin{itemize}
\item 27 Fg1: In der Handschrift \cite{HS1} kein Bogen (?!?)
\item 43 V1: In Handschrift \cite{HS1} kein $\flat$. Überhaupt kein b oder nur nicht mehr nach Oktavsprung wiederholt?
\item 86 Va: Bg in HS1 ab 1. oder 2. Viertel?
\item 100-103 Va: Bogen in HS1?
\end{itemize}
\section*{Generalbass:}
\begin{itemize}
\item 14: slashed 6 auf 16tel oder achtel davor?
\item 52/55: Halbe Pause und tutti auf 3, oder Viertel Pause und Tutti auf 2 wie Bläser?
\item 61: 2. Takthälfte: konstanter Akkord? Oder Ausschmücken???
\item 74/75: Welches g in Akkord aufnehmen?
\item 76/77: G7 akkord so in Ordnung?
<