Item #38336 Kantate für vier Singstimmen mit Begleitung des Orchesters ... Partitur No. I. [6, 7,12, 13, 14, 15, 16, plus one out of series]. [Collection of full scores]. Johann Rudolf ZUMSTEEG.

Kantate für vier Singstimmen mit Begleitung des Orchesters ... Partitur No. I. [6, 7,12, 13, 14, 15, 16, plus one out of series]. [Collection of full scores]

Leipzig: Breitkopf und Härtel, 1801-1805.

9 volumes. Oblong folio. Unbound as issued.

Titles and pagination as follows:

No. 1: Wer ist dir gleich, du Einziger. [1] (title), 2-28 pp. RISM A/I/9 Z 409
No. 6: Das Ewigen ist die Erde. [1] (title), 2-28 pp. RISM A/I/9 Z 396
No. 7: Die Himmel entstanden durch des Ew'gen Wort. [1] (title), 2-26 pp. RISM A/I/9 Z 397
No. 12: Brüder, Schwestern, die ihr stille. [1] (title), 2-16 pp. RISM A/I/9 Z 394
No. 13: Preis sei dem Gotte Zebaothe! [1] (title), 2-38 pp. RISM A/I/ Z 407
No. 14: Unendlicher! Gott, unser Herr! [1] (title), 2-18 pp. RISM A/I/9 Z 408
No. 15: Heilig, heilig, heilig ist Er. [1] (title), 2-26 pp. RISM A/I/9 Z 401
No. 16: Kyrie, eleison, väterlich sieh vom Thron.[i] (title), [i] (blank), 3-9, [i] (blank) pp. RISM A/I/9 Z 402
Out of series: Trauer Kantate. [i] (title), [i] (blank), 3-31, [i] (blank) pp. [PN 82] "Gestochen von Kupfer" to title. RISM A/I/9 Z 418

Typeset throughout except for the out of series volume, which is engraved. Small circular publisher's stamp to titles together with the oval stamp of T. Boosey & Co.

From the collection of the American musicologist William A. Little (1929-2019).

Edges frayed and soiled; heavy soiling to title of first volume; minor browning to two volumes. In very good condition overall.

First Editions. Breitkopf and Härtel published 18 volumes in the present series. Eitner X, p. 366.

"The change from the "de tempore" cantata, for specific occasions, to the hymn and psalm cantata (using recent, classicistic translations) is well demonstrated by the writing of Johann Rudolf Zumsteeg, Court Kapellmeister in Stuttgart. Fourteen cantatas of his, composed for the Stuttgart Schlosskirche and originally intended as part of an entire year's cycle, were published in 1801-05, along with four parodies (older works with new texts), and were widely disseminated." Feder: Decline and Restoration. Protestant Church Music Part III, edited by Friedrich Blume, p. 354.

"Zumsteeg’s contemporaries regarded his works as models of interpretative word-setting. His aim was to reflect in the melodic line both the overall mood and the individual words, without thereby neglecting a true cantabile ... Zumsteeg’s lieder and ballads had a particular influence on the young Schubert, who, according to his friend Josef von Spaun, could ‘revel in these songs for days on end’. Schubert’s ballad settings from the years 1811–16 reveal striking similarities to those of Zumsteeg: the rhapsodic form, the vivid depiction of mood and the use of recitative are characteristic. Several lieder show close affinities even in melodic structure or other matters of detail. In particular six of Schubert’s songs are directly modelled on Zumsteeg’s settings of the same texts: Hagars Klage (D5), Lied der Liebe (D109), Nachtgesang (D314), Ritter Toggenburg (D397), Die Erwartung (D159) and Skolie (D507). Besides some instances of melodic correspondence, the close connection is traceable in their formal similarities and the choice of key and metre." Gunter Meier in Grove Music Online.

Item #38336

Price: $1,150.00  other currencies

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