Nürnberg: Wolfgang Moritz Endters seel. Tochter, Mayrin und Sohn, 1731. Oblong quarto. 2 volumes. Half mid-tan leather with raised bands on spine in decorative compartments gilt, leather title labels gilt, marbled edges. Vol. 1: 1f. (title with engraved vignette), 21ff. (preface dated Nuremberg, April 3, 1731), [i] ("Erstes Register" [table of contents]), [xvii] ("Anderes Register" [table of local variants of tunes]), 366 (music) pp.; Vol. 2: 1f. (title "Evangelisches Choral-Buch"), 367-776 (music), 777-880 (appendix to music) pp. Text and music typeset.
All hymn tunes printed on two staves with melody in soprano clef and figured bass in bass clef. Some tunes texted; most tunes without text underlay but with text incipits for all strophes. Numerous elaborate woodcut tailpieces. With the attractive 18th century engraved bookplate of the author Georg Adam Schaumann, Nuremberg (fl. 1780s) to upper pastedown of both volumes.
Contemporary paper slip (ca. 76 x36 mm.) inserted between two final leaves of "Anderes Register" with manuscript annotation in ink: "NB. Straf mich nicht in deinem Zorn quaere sub pagina 542 unter dem Lied Dich Herr Jesu Christ wo aliter dabey steht" (NB. "Straf mich nicht in deinem Zorn" see page 542 below the hymn "Dich Herr Jesu Christ," where the annotation "aliter" stands).
Binding slightly worn, rubbed and bumped. Small tear to pp. 47/48; some upper outer corners creased; page 368 misnumbered "168;" "Drittes Register" (12ff.) lacking.
Wolffheim I, 1307 (also lacking the "Drittes Register" but including the corrigenda). Eitner III, 253 (a defective copy lacking the appendix but including everything else, with "Drittes Register" after the music; now at Österreichische Nationalbibliothek). MGG I, vol. 3, col. 814. NDB IV, p. 114. RISM B/VIII/1 Das Deutsche Kirchenlied 1703/03. Warnecke: Die Deutschen Bucherzeichen 1873 (Schaumann bookplate).
Most copies are bound in one volume, with the part title (here, first leaf of vol. 2) inserted before p. 1. Later copies include a 1f. unpaginated "corrigenda" list at the end accounting for errors in the music and also for the mispagination of p. 368.
The paper slip with the manuscript annotation suggests that the "Drittes Register" was lacking from the present copy early on because it adds information otherwise provided by that index; this Register also notes that the respective hymn, "Straf mich nicht in deinem Zorn," was sung in Nuremberg and Bayreuth but not in Onoltzbach (now Ansbach), which affords insight into the present copy's history.
Cornelius Dretzel hails from a Nuremberg family of musicians (MGG I, vol. 3, cols. 807-8). He seems to have spent his entire life in Nuremberg, but it is possible that he studied with J.S. Bach in Weimar before 1717. He identifies himself on the title of the present publication as "Organ[ist] zu St. Æg[idien]" (organist at St. Egidien church), where he succeeded Wilhelm Pachelbel, Johann Pachelbel's son, in 1719. Later he served at St. Lorenz and St. Sebaldus. The preface ("Vorrede"), simply signed "Der Autor," is not by Dretzel but by Wilhelm Schmidt, a Lutheran clergyman in Nuremberg.
The publication draws on a variety of earlier printed and manuscript sources—among others, by Hans Leo Haßler, Johann Staden, and Sigmund Theophil Staden. It was intended for use in the Lutheran territories of Franconia. The table of the "Anderes Register" has columns for Nuremberg, Altdorf (a town under Nuremberg rule), Bayreuth, Onol[t]zbach (Ansbach), and "Hällisch" (free imperial city of Hall, now Schwäbisch Hall), providing a synopsis of their repertories.
"[Dretzel's edition] contains over 900 melodies with basso continuo, most of them appearing in print for the first time, in the various versions in which they were sung at Nuremberg, Bayreuth and Ansbach. For songs without a traditional melody Dretzel wrote new versions ‘in the traditional manner’ (‘auf ordinaire Art’). His preface, in which he presented his work ‘to the glory of God’ and for ‘the furtherance of true devotion’ and ‘the pleasure of gentlemen dilettantes’, is a comprehensive historical discussion of the origin and development of the chorale; as a practising musician he took up positions on many questions of liturgical interest and ended the discussion with detailed instructions about thoroughbass." Lini Hübsch-Pfleger in Grove online
An attractive copy of this notable example of the Nuremberg tradition of music printing from type. Item #23715
Price: $3,200.00 other currencies