(Statement of Responsibility) von G. E. Stehle, (Ownership) Provenience: Diec. Cyrilská Jednota CZ-CbJVK, and (Version Identification) bez značek CZ-CbJVK
Studie Karla Veverky se zabývá mešními díly hudebního skladatele Antonia Caldary, jejichž opisy se dochovaly v hudebních sbírkách v Praze, se zaměřením na významnou sbérku hudebnin z kůru pražských křižovníků., This study deals with individual aspects and problems of research on the Masses by Antonio Caldara with source materials held in Prague. Representing the basic material are two copies from the collection of the Knights of the Cross with the Red Star along with concordant sources amassed from Czech and foreign archives. The effectiveness of the standard methods used for studying musical sources is put to the test on a selected sampling of material. The comparison of individual copies helps answer questions not only about provenience or filial relationships between materials, but also about period performance practice. The goal of the study is to make at least a partial contribution towards systematic research on the musical life of Prague in the first half of the 18th century, when Caldara’s Masses were significantly represented in church music collections., Karel Veverka., Rubrika: Studie, and Anglické resumé na s. 93, anglický abstrakt 81.
Studie Vojtěcha Kyase se analyticky zabývá originálním zpracováním částí mešního textu Gloria, konkrétně Domine Deus a Agnus Dei, v mši Es dur, D 950, hudebního skladatele Franze Schuberta, This study focuses on the question of Schubert’s handling of the Mass text in the Gloria of his Mass in E-Flat Major, D 950. Schubert adapts the text of the Mass to his compositional and conceptual intent. Contrary to usual practice during that period, he joins the section Domine Deus, Agnus Dei together with the qui tollis peccata mundi into a single unit, attempts to make it sound as dramatic as possible, and understands it as a breaking point. This extensive musical passage of 86 measures differs from the surrounding music with its own tempo, meter, and tonal center. At the conclusion of the article, the author also makes reference to the importance of so-called historical concerts held at the home of the music historian R. G. Kiesewetter, which Schubert appears to have attended already before the year 1820., Vojtěch Kyas., Rubrika: Studie, and České resumé na s. 138, anglický abstrakt 131.
(Statement of Responsibility) von Anton Diabelli, (Ownership) Provenience: Biskupský seminář (České Budějovice, Česko), varhanní part - opis Joa. Kubjcek, 1829, ostatní party mědirytina, and (Version Identification) Md 2