[Hasse, Johann Adolf.]

the score, in the hand of Johann Adam Hiller, comprising parts for two violins, viola, continuo bass and alto voice, written in brown ink on up to two five-stave systems, with ornamentations to the solo part written out on the mostly blank viola stave, and containing some cancellations, a four-part chorale harmonization (in A) following the end of the aria, possibly also in Hiller's hand?, 4 pages, oblong 4to (24.2 x 31.7cm), the name 'Hasse' in a contemporary hand in pencil towards the upper right-hand corner of the first page, no place or date [Leipzig, 1770s-1790s?], light browning, small mark on first page of score left by now no longer present strip of translucent adhesive tape 



the parts comprising those for violin I, violin II, viola and bass in the hand of Johann Adam Hiller, and parts for alto solo (with an additional fully written-out ornamented version of the vocal line), violin I, violin II, basso, organ (a tone lower than the other parts) and bassoons in two other, unidentified, scribal hands, these other parts also containing entries by Hiller, as well as the music of a different chorale (in B flat) to that notated on the score, 9 pages, plus blanks, mostly oblong 4to (23.3 x 32.5cm), the score and parts loose in a printed programme for the dedication of an organ in Hohenheyda in 1765 ("Musik, welche bey Einweyhung einer neuen Orgel in der Kirche derer einer löbl. Universität Leipzig zugehörigen alten Dorfschaften, zu Hohenweyda am 21sten April 1765. aufgeführt wurde, von Johann Gottlieb Görnern...Leipzig, gedruckt bey Friedrich Gotthold Jacobäern"), the wrapper numbered '242' in red crayon (replacing the original ink number '236') and containing the contemporary inscription, possibly in Hiller's hand, 'Ad Commun: Aria: Herr, wer wird ans Ziel gelungen...Hasse'), together with a wrapper consisting of a proof sheet for an unidentified eighteenth-century philosophical work (?) in the form of a dialogue between two characters ('Ewald' and 'Eldine'), the upper cover of the wrapper bearing the number '241' in red crayon (replacing the original ink number '238') and other contemporary inscriptions ("Hasse...Herrn Capelmeistr Hiller Leipzig..."), no place or date [Leipzig, 1770s-1790s?], wrapper browned and torn 

Condition is described in the main body of the cataloguing where appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

A remarkable manuscript linking Hasse, the great master of eighteenth-century vocal writing, with his indefatigable contemporary champion, the Leipzig composer, writer on music and (from 1789) Thomaskirche Kantor Johann Adam Hiller. As with the previous lot, it would appear that Hiller has provided an original (unidentified) aria by Hasse with new German words. A striking feature of the score is Hiller's added ornamentation to parts of the solo part, providing a valuable insight in to the art of eighteenth-century vocal embellishment; equally remarkable the divergent ornamentation for the whole of the solo part, written out by an unidentified scribe.