10 pages, plus final blank leaf, folio (c.33.8 x 22.5cm), 12-stave paper, hand-drawn staves, paginated by Aloys Fuchs in red ink ("38"-"47"), no place or date [Eisenstadt, December 1764], the additions probably early nineteenth century, nineteenth-century cream wrappers, bearing Fuchs's elaborate note of authentication ("...Für die vollkommne Aechtheit dieser Handschrift bürgt Aloys Fuchs. Mitglied der K.K. Hofkapelle in Wien. 6/1 1851."), horizontal and vertical fold, light browning to outer leaves
Until its emergence at Sotheby's in 1990, this manuscript had been lost and inaccessible to Haydn scholarship for over a century. In the nineteenth-century, it belonged to the celebrated English collector Julian Marshall, much of whose music ended up in the British Library. It did not appear at Marshall's sales at Sotheby's in 1889; instead it was sold privately to the American industrialist and philanthropist William Howard Doane, after which it disappeared from view and resisted several attempts by scholars to track it down.
The rest of the cantata (consisting of a fine long soprano aria with harpsichord obbligato and recitatives), survives in the Whittall Collection at the Library of Congress, Washington DC. However, this final chorus was known to scholars such as Hoboken only through a copy by the celebrated early collector Aloys Fuchs (1799-1853). The whole cantata remained in manuscript until 1982, when it was finally published from Fuchs's copy (now at Eisenstadt), then thought to be the only source. Unfortunately that edition contained significant errors, due to defects in Fuchs's transcription. This autograph is therefore the sole correct original source for this movement
The Cantata Qual dubbio ormai was written by the thirty-two year-old Haydn for Prince Nicolaus Esterházy's nameday (6 December) in 1764, only a short time after he had entered the Prince's service. As with Haydn's other two surviving "Esterházy Cantatas" in Italian, it remained unpublished in his lifetime and was instead pressed into service as a sacred work with Latin words: a contrafactum. The chorus 'Scenda propizio un raggio' is written in da capo form, with a middle section using only two singers and with reduced orchestration, without woodwind. Including the indicated repeat of the first section, the movement is one hundred and fifty-eight bars in all.
It is in the brief middle section "De’ sudditi e del mondo" that parts for tenor and bass were added when an early nineteenth-century musician created the Latin contrafactum. Fuchs apparently deleted the Latin himself, but failed to notice that the admittedly small notes were not by Haydn either, so his copy in Eisenstadt still contains these redundant parts. As Fuchs's copy was then the only known source for this movement, the first edition of 1982 also contains tenor and bass parts in the middle section, which a number of recorded performances follow. We can say that the Latin contrafactum was probably added before it came into the hands of Fuchs, as he apparently deleted much of it, and Haydn’s original version was finally published in the new Complete Edition in 2000.
Please call 1-800-555-5555 to order a print catalog for this sale.
Online Registration to Bid is Closed for this Sale. Would you like to watch the live sale?Watch Live Sale