Music in Monasteries

and convents

The oldest known polyphonic religious songs of Austria can be found in medieval manuscripts from the religious foundations of Neustift (Augustinian Canons) and Marienberg (Benedictines).[1] For centuries both monasteries, particularly Neustift, which is near Brixen, were the sites of an outstanding cultivation of plainsong. In 1483 the widely traveled and generally rather critical Dominican Felix Faber of Ulm noted after his stay in Neustift: “[...] I have never heard more precise and better choral singing than in this monastery”.[2] Choral manuscripts were produced up to the18th century in the monastery’s own scriptorium that had been in operation since its foundation. From 1524 to 1526 Canon Stefan Stetner wrote a missal for Provost Augustin Posch that is considered the most precious illuminated manuscript of the 16th-century Tyrolean school today. Provost Christoph Niedermayr (1504-1519) copied several books of choral music and played the organ himself.[3] After Prelate Kaspar Aigner (1449-1467) had already set up two organs in the abbey church, he had another one built in the presbytery on the left side of the chancel. Organ music resounded for the Augustinian canons at Neustift in both sacred and secular domains. Besides the multiple instruments available in their church and Lady Chapel, a positive was kept for music at mealtimes, e.g. at the end of the 16th century, and an instrument was probably kept in the library in the mid-17th century.[4] Lay organists had been employed since the mid-16th century; some of them came from Bavaria and also taught, with special attention to music, at the monastic school. After the dissolution of the monastery in 1807 and its restoration in 1816, the canon and convent organist Wilhelm Lechleitner (1779-1827) took over the musical direction of the re-established monastery school, now run as an institute for choirboys. The pupils served in the monastery as altar boys and, as in the past, singers at the divine service.[5] The “iuvenes cantantes” were indispensable for sacred and secular drama, oratorios and various festivities into the 18th century. Canon Josef Holzeisen (1654-1694) composed a great many choral pieces for the theatrical performances put on in the convent. Figural music came to full bloom at Neustift in his day; the convention had many able musicians, and continued to have them in the 18th century.[6]
The Benedictine abbey of Marienberg (Mals township in the Vinschgau region) also had monks that were expert musicians at its disposal in the 17th century. In addition to the lay musicians, they were active not only within the monastery as choirmasters (“Regentes chori”) and organists but also in neighboring parish churches, partly joined by choirboys from the monastery school. In 1493 a monk from Marienberg was asked by the Salzburg archbishop to go to Göß and teach the nuns there to sing (“Psallieren”), probably because of his particular talents. After the overall cultural decline of the monastery in the 16th century, music revived again in the 17th. A list of manuscript and printed music dated 1666 names sacred pieces by the Tyrolean composers Johann Stadlmayr, Ambrosius Reiner, and Christoph Sätzl, who were highly commended far and wide, as well as by important Italians such as Giovanni Legrenzi, Francesco Cavalli, Casparo Casati, and others. Visiting musicians came to Marienberg from Meran, Bormio, and Tirano. In the course of the dissolution of the monastery in 1807 some of the monks, including the composer P. Sebastian Steinberger OSB (1782-1836), went to Fiecht.[7] P. Marian Stecher OSB (1754-1832), born in St Valentin auf der Haide, had taught music to the pupils at Marienberg. He did not return after the restoration of the monastery in 1816 but stayed on in Trent as the organist at San Pietro (from 1809 on) and Santa Maria Maggiore (until 1819) as well as the director of music at the cathedral (1813-1822) until he moved to Meran in 1822.[8]
Although the Benedictine monastery in Fiecht (near Schwaz) was placed under Bavarian administration in 1807, which was tantamount to dissolution, music was not silenced entirely. The convent’s musical instruments had to be handed over to the royal Bavarian general commissioner’s department in Innsbruck in 1812 but a few did stay behind. Losses in the monastery fire in 1868 must have been much greater: among the instruments destroyed were bowed string instruments by Jakob Stainer and from Italy. In the 18th century the monastery owned bowed string instruments made by violin makers in the immediate vicinity, e.g. Simon Gföller and Kaspar Kiblpöck of Schwaz and Christoph Klingler of Rattenberg. Besides the sheet music, the fire also destroyed some of the unique documentary evidence of musical life in the monastery: many works by the composers P. Edmund Angerer OSB (1740-1794) and P. Martin Goller OSB (1764-1846), for instance, have been irretrievably lost. P. Edmund Angerer was also a music teacher in Fiecht and he turned it into the most sought-after music school in the Tyrol of his time. Research has now succeeded in identifying him as the true composer of the so-called “Toy” or “Children’s Symphony” (“Kindersinfonie”) formerly attributed either to the brothers Josef and Michael Haydn or Leopold Mozart.[9]
P. Martin Goller became one of the first teachers in the Musikverein (Musical Society) in Innsbruck and choir director at the Jesuit church. How much of the copied music burnt in Fiecht had comprised unique exemplars or merely duplicates of existing compositions by Wolfgang Amadé Mozart or Josef and Michael Haydn and of old choir-books can no longer be determined today. In the 17th century, when the entire convent was in St Georgenberg (in the Stallental at 895 metres above sea level), it had close connections to Tegernsee monastery in Bavaria: Georgenberg conventuals were taught music there and the music archive contained works by the Tegernsee composer “P. Hieronymus” OSB. In 1617 Abbot Christoph Obinger brought a positive from Tegernsee to Georgenberg.[10]
In St Magdalena in the Hall valley (Absam township) there was a convent of Augustinian hermit nuns until 1522. Their chaplain Caspar Haberstörfer wrote an illuminated antiphonary for them in 1492, from which they sang plainchant at mass and the divine office.[11]
The Benedictine nuns in Säben (Klausen township) would have obtained their first books for liturgical singing after the foundation of their convent in 1685 from the motherhouse at the Nonnberg in Salzburg. P. Kolumban von Zeillern (16□-1□) came to Säben from the Benedictine monastery in Füssen in March 1685 and taught the sisters music. Superior P. Christoph Jäger OSB demanded that music lessons be discontinued in 1686 and finally wanted to allow nothing but the plainsong in Säben; however, he was not able to prevail. In 1691 P. Romanus Weichlein OSB (1652-1706) of Lambach Monastery, hitherto music prefect and composer in residence at the Nonnberg, moved to Säben to work in the same capacity. He gave musical life a new impetus, had musical instruments brought from Lambach for the sisters, and arranged theatrical performances.[12]
The nuns of Sonnenburg (St Lorenzen township in the Pustertal) had able musicians in their convent; “foreign” (Italian) Benedictine nuns there in the mid-18th century were “able to play the organ and sing” and one of them “sang an incomparable bass.” One of the postulants was unable to read music, “but she played preludes well.” They had an organ at their disposal made by Johann Kaspar Humpel in 1714, later repaired by Ignaz Franz Wörle and others. The schoolmaster of St Lorenzen with his pupils and church singers, the trumpeters of the prince-bishop of Brixen or fromNeustift (the monastery of Augustinian canons) and other musicians documented as performers in Säben had a comprehensive musical repertoire in the widest variety of genres.[13]
In the second half of the 19th century the Benedictines of St Karl near Volders distinguished themselves through their intensive revival of plainsong, so that they were known in professional musical circles at the time as “New Beuron.”[14]
The music archive of the Cistercian monastery of Stams in the upper Inn valley, which still preserves over three thousand compositions mainly from the second half of the 18th century, provides unique documentation on the distinctive role of music played not only in the spiritual and religious life but also the social life there. Besides church music, the collection of manuscript and printed music comprises hundreds of works of chamber and symphonic music, and vocal music for concerts and theater. Among them are many unique copies, not the least of which is the manuscript that finally permitted the identification of the Fiecht Benedictine, Edmund Angerer as the true composer of the so-called “Toy” or “Children’s Symphony” (“Kindersinfonie”). The origins of the composers still represented in the archive extend from Italy through Austria and southern Germany up to the Low Countries. The former director of music at the Mainz prince-bishop’s court, Johann Zach (1699-1773) was a guest at the monastery several times around 1770. Highly respected by the abbot and the convent, he left many of his compositions in autograph form and in copies, so that Stams Monastery houses the most comprehensive surviving collection of Zach’s oeuvre in the world. One of the abbey’s own outstanding musicians was P. Stefan Paluselli (1748-1805). As a Kantor (or precentor, who makes sure the monks sing plainsong), Chorregent (choirmaster, who conducts the multi-part voices and orchestra), instrumentalist, composer, music pedagogue and music archivist, he devoted himself almost exclusively to musical matters in the monastery. At especially festive occasions in Stams, Innsbruck court musicians would also join the performers.[15]
A similarly worldly representative style, especially in the Baroque era, characterized musical life at the monastery of Premonstratensian canons of
Wilten (Innsbruck). Celebrations hosted in honor of the abbot and distinguished guests of religious or secular status were always accompanied by music. Playing the music at table and at concerts were virtuosos traveling on their way through, e.g.“welsche Spielleute” (Italian minstrels) in 1561, as well as local instrumentalists, e.g. the pianist Caroline Perthaler (1810-1873) in the 19th century or the Nationalsänger (national folksingers) Geschwister Meister, a family of brothers and sisters. Members of the Innsbruck Musical Society would perform there, as did the monastery’s musicians, who could also provide “Turkish music.” When the “upper nobility” visited in the first half of the 18th century there was even dancing in the monastery; the Haller Binder (coopers) and the Höttinger Schwerttänzer (sword dancers) performed their dances there during carnival. The Schwazer Knappen (miners) and Wilthau pupils showed up for Neujahransingen (singing in the New Year) in the 16th century. Besides the choirboys of the monastery school documented since the second half of the 16th century, local schoolboys and the schoolmaster of Innsbruck often provided figured music for the sung mass in Wilten. Prominent Tyrolean composers such as Johann Stadlmayr, Johann Heinrich Hörmann, Johann Baptist Gänsbacher and P. Martin Goller OSB wrote sacred and secular compositions for Wilten Abbey, as did members of the convent. The tradition of plainchant still active in Wilten can be traced back to around 1300 in documentary sources.[16]
In the Servite monastery in Innsbruck plainchant had been cultivated ever since the foundation of the monastery in 1614, particularly with the assistance of the “plainsong instructor.” “Music masters” and “Regentes Chori” came from the convent’s own ranks as far as possible. In the 18th and 19th centuries oratorios could be heard during Holy Week. Their texts were sometimes published by the Servites’ own publishing house.[17] Well-known musicians were often guest performers with the Servite choir, among them Johann Baptist Gänsbacher, who “played on the violoncello[...]in the most extreme cold [...] a concert by [Johann Michael?] Malzat during mass” on St Stephen’s day in 1797.[18] That same year Gänsbacher had already spent “the Easter holidays very pleasantly while making music” at the Servite fathers’ convent in Maria Luggau in Upper Carinthia right on the border to eastern Tyrol.[19]
The Servites at Maria Waldrast did great service as music pedagogues during this period: about six boys from Fulpmes were always allowed to live in the monastery with their keep fully provided for. They had lessons in singing and organ playing, in return for which they served as altar boys and in the choir.[20] From 1875 to 1885 a Servite from Maria Weissenstein in Petersberg taught boys to play organ, and also taught girls to sing so that they could be used in the church choir. “A sweet gentle concert played on musical instruments” was heard on the occasion of a bishop’s visit in 1767. Besides the organ there were a few bowed string instruments, trumpets and kettledrums available for the music-making monks. Pilgrimage songs from Maria Weissenstein have been handed down since 1722.[21]
Musical life in the Tyrolean Franciscan monasteries in Innsbruck, Hall, Schwaz, Telfs, Reutte, Lienz, Innichen, Brixen, Kaltern and Bozen was very varied, seeing as how the members of the order traveled around a lot. It depended on who could serve as the organist or “Cantus instructor” at the time. The Franciscan church in Innsbruck was in a special position because it was also the court church and the court musicians were responsible for the music; court scribes also had to copy choir-books for it. The Franciscan monastery of Schwaz saw talented singers and even organ builders from time to time, such as the lay brothers Marianus Köck (1666-1721) and Gaudenz Köck (1691-1744). “Brother Marinus” OFM of Telfs took over an organ from the monastery in Hall in 1711 and set it up himself in Telfs. The Franciscan monastery in Bozen was a center for performances of works by monastic composers of the Tyrolean Franciscan province in the 18th century and attracted excellent voice pupils in the 19th.[22]
Until 1785 Carmelites lived in today’s Franciscan monastery in Lienz. Working there in 1703 and 1721 was the composer, organist and music theorist Father Justinus Will OCarm. (“P. Justinus a Desponsatione Beatae Virginis Mariae,” 1675-1747).[23]
The Poor Clares in Meran acquired their first church organ at the instigation of the abbess in 1603, so that the practice of music that had hitherto consisted of plainsong was given a new impetus. When the Poor Clares of Santissima Trinità in Trent joined their fellow nuns of Santa Chiara in Trent in 1785, they brought along their organ to Santa Chiara. Plainsong and figured music were practiced at Santa Chiara in the 18th century.[24]
The Bozen Dominicans had a shed-like theater at their disposal in the churchyard in the 17th century. The plays staged on it, certainly accompanied by music, presented death and the last judgment to the faithful in admonishing fashion. In 1782 The Dominican nuns in Mariathal/Kramsach had a collection of instruments consisting of a positive organ and nothing else but bowed string instruments, including five of the tromba marina type that were evidently used in place of trumpets. In the nunnery in Lienz (Lienzer “Klösterle”) music resounded mainly in praise of God. The majority of the works performed there in the 19th century were adapted to the limited possibilities by being arranged for choir and organ. Boys from the monastery school came to sing at the Dominican monastery of Innichen.[25]
Pupils were trained as choirboys at the Innichen Collegiate Abbey, particularly since the establishment of a choirboy school in 1580. Besides the canons, they were the main providers of liturgical music in the collegiate church and, with their director, or “Ludimoderator,” indispensable for singing in processions. In 1614 the schoolmaster and Junkmeister (teacher lower in rank, responsible for teaching singing) were directed by the dean of the abbey to teach the boys to sing “in figurali,”“lenta voce” and “expressa pronuntiatione” (figured music, slowly, with clear pronunciation). The musical repertory of the period has survived in choir-books written by, among others, the school- and choirmaster Georg Heyzerer (†1629) of Bavaria and his student, the former choirboy and monastery organist Matthäus Prinster (1590-1620) after 1613. They contain both Latin songs and German hymns. Also performed in the collegiate church in the second half of the 18th century were orchestral masses in the Viennese classical style. The works composed by the parish organist of Hall, Josef Alois Holzmann (1762-1815) are impressively documented in about 160 surviving manuscripts in the music archive of Innichen Abbey.[26]
At about the same time as the Innichen Collegiate Abbey, the Damenstift Hall (religious institution for ladies of rank), founded in 1570, established a choirboy school in 1590. The first abbess (“Obristin”) Archduchess Magdalena, a sister of Archduke Ferdinand II, decreed that music should be “perpetual” at the convent. The convent community, consisting of the daughters of the highest nobility, kept its own orchestra as though in a ducal residence, with first-class singers who in the 16th century of course also came from the Low Countries. The first famous director of music in Hall, Franz Sales (about 1545-1599) of Belgium, in office from 1587 to 1590, was a former singer with the court music ensemble in Innsbruck, as was his successor Simon Kolb (in office 1592-1614). The director of music Christoph Sätzl (in office 1632-1655) had distinguished himself earlier as director of the cathedral music in Brixen. The director of music Johann Jakob Walther (about 1658-1706) also came from Brixen to Hall, where he worked from 1696 to 1702. He also wrote theater music for the convent. In 1747 the convent hired its own composer in residence, Vigilius Blasius Faitelli (1710-1768), who had made a name for himself earlier as a parish church musician and singer in Bozen.[27]
Meanwhile the Servite nuns in Innsbruck had composers in their own ranks, such as Sisters Aloisia Fischer (†1725) and Peregrina Daisser (1710-1757). The director of music, Sister “Maria Juliana” (†1681) wrote music herself. Last but not least, the daughter of the Innsbruck director of court music Severin Schwaighofer, Sister Maria Juliana Schwaighofer (1674-1758), was able to develop her creativity in the cloistered nunnery as a soprano singer, violinist and organist.
The convent had an ensemble of singers and instrumentalists for the first decade of its existence (1612-1621), for in those years the widowed Archduchess Anna Katharina of Gonzaga and her daughter Maria lived in the nunnery (“Regelhaus”) as tertiaries with their personal possessions and were free to come and go. After the death of Anna Katharina (†1621, her monastic name was Anna Juliana) the sisters of the cloistered nunnery took over the cultivation of music themselves. Abraham Megerle (1607-1680), the director of the cathedral music in Konstanz from 1634 on, was a choirboy in 1617 and a music teacher of the Servite nuns in Innsbruck before 1633. In 1765 the Servite nuns commissioned a positive organ from the organ builder Andreas Jäger of Füssen. The provenance of a recently discovered anonymous manuscript miscellany dating from the same period was proven by Hildegard Herrmann-Schneider to be the cloistered nunnery. The manuscript provides information on the sisters’ choral singing of the divine office accompanied by the organ, which probably continued unchanged until the dissolution of the convent in 1783.[28]
Of the smaller Augustinian monasteries in the Tyrol those in Gries near Bozen, Seefeld (hermits), Schwaz (nuns) and Rattenberg had a predilection for music. The Rattenberg
Augustinians initiated a Passion play in their town in the 16th century and took part in Shrovetide plays (Mardi Gras).[29]
Music was also heard by the Hieronymites in Josefsberg near Meran, although their collection of musical instruments was rather modest.[30]
The Jesuits opened a secondary school in Innsbruck in 1562 and founded the St Nicholas seminary there in 1572, both the sites of intense musical practice. The secondary school pupils soon performed comedies on the last day of school. These were also called Singspiel at the end of the 16th century and “musical comedy” in the 18th. The seminarians had daily music lessons, at first from P. Wilhelm Pfeffer, whose pupils included future professional musicians in the Innsbruck and Viennese court music ensembles and in several cathedrals. An equally able teacher was his successor, the Munich Jesuit and music theorist, P. Wolfgang Schonsleder (1570-1651), who had published his musical treatise Architectonice Musices universalis under the pseudonym Volupius Decorus in Ingolstadt in 1631. After 1648 he worked as a Greek teacher at the Jesuit college in Hall, where he died in 1651. Secondary school pupils and students often performed plays with musical interludes and dances in the presence of the court, such as a comedy “all’italiano” at the wedding of Archduke Leopold V in 1626. In 1646 there was a performance on the occasion of the marriage festivities of Archduke Ferdinand Karl and Anna de Medici at which even the Florentine princes present applauded enthusiastically because of the impressive singing. Compositions for the plays in the secondary school and in the convent, sometimes also played at the court theater and generally promoted at court, were provided mainly by local musicians such as the directors of the court music at Innsbruck, Johann Stadlmayr, Severin Schwaighofer and Pietro Nicolò Sorosina, the Innsbruck parish church organist Georg Paul Falk (1713-1778), the Brixen cathedral organist and director of music of the Hall monastery Johann Jakob Walther, and the director of music of Trent cathedral Giovanni Battista Runcher (1714-1791). Around the middle of the 16th century, and later revived by Andreas Brunner SJ (1589-1650) in the 17th, religious dramas with music called “dialogues” were performed during Lent. After 1691 the Innsbruck court composer Carlo Agostino Badia wrote the music for “Sepolcri” (oratorios for Holy Week) for the Jesuit church that the court liked to attend. From 1764 until about 1774 oratorios were heard during Holy Week.[31]
In Hall the Jesuits ran a secondary school from 1573 on and a school in Sankt-Veit-Haus from 1621, later called Sankt-Borgias-Haus, where musically gifted choirboys were trained for services in the local Jesuit church as well as the adjacent Damenstift. The dramas, for which the music was written by, among others, the Hall parish organist Barthlmä Kogler (1661-1725) in 1682 and 1695 and by the director of music of the ladies’ institution, Balthasar Kleinschroth (about 1651-after 1689) in 1685, found favor among the upper-class guests visiting in Hall.[32] While the Jesuit dramas in Innsbruck began around 1575, they did not start in Trent until after 1600. They lasted until about 1770, continuing into the period of the dissolution of the order, and were models for school plays at the secondary school in Brixen.[33]
The Jesuits in the Tyrol made music serve the catechism in many ways besides in their plays with religious content. In the course of the Counter-Reformation they strove for divine services with selected music and they adapted texts and songs from plays for processions. They contributed considerably to the distribution of broadsheets with religious songs for processions and pilgrimages.[34] In their efforts at popular religious revival they issued a mission booklet in the early 18th century with prayers and “sacred songs.” The penitential and Passion songs, the songs in praise of God and the saints were so impressed upon the memory of the people that as late as around 1840 they could still be heard in the taverns in place of the often rambunctious songs common earlier. During the Jesuit mission in Hall in 1719 the missionaries themselves, the clerics, and townspeople as well as an “amazing crowd of children” participated in singing the Litany of the Blessed Virgin; the singers of the Damenstift brilliantly performed a Stabat Mater. Count Spaur, the president of the administrative district, offered his services to the mission in Innsbruck in 1732 as a principal singer (Vorsänger, who strikes up the singing) for the mission songs and also taught the songs to the country folk of the surrounding area. Count Taxis did the same after the third Jesuit mission in Innsbruck in 1749.[35] Above all, the idea was to encourage the young people to lead morally upright lives, which is why the Jesuits saw to the abolition of public dances in many places in the Tyrol. Sometimes they had the support of the government so that often there was not even any dancing at marriages and country fairs (on church dedication days).[36]

Fussnoten

[1] Rudolf FLOTZINGER, “Geistliche Kultur im Mittelalter,” Musikgeschichte Österreichs, vol. 1, ed. Rudolf Flotzinger and Gernot Gruber, Graz etc. 1977, p. 82.
 
[2] Quoted as in Anselm SPARBER, “Aus der inneren Geschichte unseres Klosters,” Festschrift zum 800jährigen Jubiläum des Stiftes Novacella, ed. Ambros Giner et al., Brixen 1942, p. 76;
Bruno MAHLKNECHT, “Kleine Musikgeschichte Südtirols,” Südtiroler Sängerbund, Festschrift zum VIII. Bundessingen, Bozen 1969, p. 92.
 
[3] Martin PEINTNER, “Neustift: Pflegestätte der Musikerziehung,” Singende Kirche 14 (1967) p. 170f;
Martin PEINTNER, Neustifter Buchmalerei: Klosterschule und Schreibschule des Augustiner-Chorherrenstiftes, Bozen 1984, p. 28f, illustrations p. 93-115;
Benno RUTZ, “Illuminierte Choralhandschriften zu Neustift,” Kirchenmusikalisches Jahrbuch 22 (1909) p. 90ff;
Lambert STREITER, “Die Pflege der Musik in Südtirol,” Süd-Tirol: Land und Leute vom Brenner bis zur Salurner Klause, ed. Karl von Grabmayr, Berlin 1919, p. 169;
Anselm SPARBER, “Aus der inneren Geschichte unseres Klosters,” Festschrift zum 800jährigen Jubiläum des Stiftes Novacella, ed. Ambros Giner et al., Brixen 1942, p. 76, 109;
Helene FIEGL, “Eine Prachthandschrift aus dem Kloster Neustift in Südtirol,” Der Schlern 73 (1999) p. 747ff.
 
[4] Martin PEINTNER, “Neustift: Pflegestätte der Musikerziehung,” Singende Kirche 14 (1967) p. 170ff;
Hermann PEINTNER, “Geschichte der Orgel in der Stiftskirche zu Neustift,” St. Kassian-Kalender 1984, p. 69ff;
Anselm SPARBER, “Aus der inneren Geschichte unseres Klosters,” Festschrift zum 800jährigen Jubiläum des Stiftes Novacella, ed. Ambros Giner et al., Brixen 1942, p. 76;
Alfred REICHLING and Istvan GOLARITS, Orgellandschaft Südtirol, Bozen 1982, p. 88.
 
[5] Anselm SPARBER, “Aus der inneren Geschichte unseres Klosters,” Festschrift zum 800jährigen Jubiläum des Stiftes Novacella, ed. Ambros Giner et al., Brixen 1942, p. 106, 120;
Martin PEINTNER, “Neustift: Pflegestätte der Musikerziehung,” Singende Kirche 14 (1967) p. 172f;
Benno RUTZ, Die Chorknaben zu Neustift, Innsbruck 1911, p. 81ff;
Martin PEINTNER, “Musikgeschichte des Stiftes,” 850 Jahre Chorherrenstift Neustift, exh. cat. 1st Südtiroler Landesausstellung Stift Neustift, 30 May - 31 October 1992,Neustift, Vahrn 1992, p. 99.
 
[6] Martin PEINTNER, “Neustift: Pflegestätte der Musikerziehung,” Singende Kirche 14 (1967) p. 172f;
Anselm SPARBER, “Aus der inneren Geschichte unseres Klosters,” Festschrift zum 800jährigen Jubiläum des Stiftes Novacella, ed. Ambros Giner et al., Brixen 1942, p. 76, 111f;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 265;
Anton DÖRRER, Tirol in Sterzing: Volkskultur und Persönlichkeitsbilder, preprint (Schlern-Schriften 232), Innsbruck 1964, p. 7, 12;
Anton DÖRRER, Bozner Bürgerspiele (Bibliothek des Literarischen Vereins in Stuttgart 291), Leipzig 1941, p. 250;
Oswald SAILER, “Chor und Choralgesang in der Geschichte Südtirols bis 1876,” Der Schlern 50 (1976) p. 193;
Cf. Walter SENN, “Aus dem Musikleben in Neustift,” Stifte und Klöster: Entwicklung und Bedeutung im Kulturleben Südtirols (Jahrbuch des Südtiroler Kulturinstituts 2), Bozen 1962, p. 426.
 
[7] Josef JOOS OSB, “Kirchenmusik in Marienberg,” Singende Kirche 14 (1967) p. 175ff;
Josef JOOS OSB, “Erlebnisse eines Studenten der alten Marienberger Klosterschule um das Jahr 1780 herum,” Der Schlern 37 (1963) p. 303ff;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 243, 265;
Peter WALDNER, “Musik und Musikpflege des 17. Jahrhunderts im Benediktinerkloster Marienberg,”
 900 Jahre Benediktinerabtei Marienberg 1096-1996, Festschrift zur 900 Jahrfeier des Klosters St. Maria (Schuls-Marienberg), ed. Südtiroler Kulturinstitut, Lana 1996, p. 347ff;
Cf. Peter WALDNER, “Vier Musikdrucke des 16. und 17. Jahrhunderts im Oberen Vinschgau,” Musica vocalis: Singen in Südtirol einst und jetzt, ed. Südtiroler Sängerbund, Bozen 1989, p. 21ff.
 
[8] Franz ANGERER and Othmar PIDER, 100 Jahre F[reiwillige] F[euerwehr] St. Valentin a[uf] d[er] Haide 1888-1988, St. Valentin auf der Haide 1988, p. 128f;
Franz ANGERER and Othmar PIDER, Musikkapelle St. Valentin auf der Haide 1894-1994, St. Valentin auf der Haide 1994, p. 126ff;
Danilo CURTI, “La Cappella musicale del Duomo di Trento,” Ottocento musicale nel Trentino, ed. Antonio Carlini et al., Trento 1985, p. 109ff;
Clemente Lunelli, “Musicisti nell’Ottocento trentino,” Ottocento musicale nel Trentino, ed. Antonio Carlini et al., Trento 1985, p. 241f;
Antonio CARLINI and Clemente LUNELLI, Dizionario dei musicisti nel Trentino, Trento, 1992, p. 293 ff.
Manfred SCHNEIDER, Marian Stecher (1754-1832) Klavierwerke, CD booklet , Tiroler Landesmuseum Ferdinandeum, Innsbruck 2002.
 
[9] Hildegard HERRMANN-SCHNEIDER, “Edmund Angerer OSB (1740-1794) aus Stift Fiecht/Tirol: der Komponist der ‘Kindersinfonie’?” Mozart-Jahrbuch 1996, Salzburg 1997, p. 23-38;
For the first edition of the symphony, see: Edmund ANGERER, Berchtoldsgaden Musick ‘Kindersinfonie’ Erstdruck, ed. Hildegard Herrmann-Schneider (Beiträge zur Musikforschung in Tirol 3), Innsbruck 1997;
The following CD recordings are available: Musik aus Stift Stams XI and Klingende Kostbarkeiten aus Tirol 2, both Innsbruck: Institut für Tiroler Musikforschung, 1996. -
Edmund Angerer is not related to the Angerer family to which the specialists in organ repair Josef Matthäus Angerer (1783-1826) and Gregor Josef Angerer (1826-1910) belonged, see Alfred REICHLING, “Bildhauer - Schulmeister - ‘Orgelmacher’ - ‘Tausendkünstler’: Beiträge zur Geschichte der Tiroler Familie Angerer im 18. und 19. Jahrhundert,” Der Schlern 50 (1976) p. 685ff.
 
[10] Maurus KRAMER OSB, “Zur Musikgeschichte der Benediktinerabtei St. Georgenberg-Fiecht im späten Mittelalter bis zum Barock mit Einschluß der Aigner-Orgel von 1870,” 850 Jahre Benediktinerabtei St. Georgenberg-Fiecht 1138-1988 (Studien und Mitteilungen zur Geschichte des Beneditkinerordens und seiner Zweige, Suppl. 31), St. Ottilien 1988, p. 294ff;
Thomas NAUPP OSB, “Die Pflege der Musik in St. Georgenberg-Fiecht vom Spätbarock bis ins 20. Jahrhundert,” 850 Jahre Benediktinerabtei St. Georgenberg-Fiecht 1138-1988 (Studien und Mitteilungen zur Geschichte des Beneditkinerordens und seiner Zweige, Suppl. 31), St. Ottilien 1988, p. 303ff;
Maurus KRAMER OSB, “Zur Musikgeschichte der Benediktinerabtei St. Georgenberg-Fiecht,” Singende Kirche 14 (1967) p. 164ff.
 Utto KORNMÜLLER OSB, “Die Pflege der Musik im Benediktiner-Orden,” Studien und Mitteilungen des Benediktiner-Ordens 2, no. 4 (1881) p. 210ff and 4, no. 3 (1885) p. 36 do not name any conventual in Tegernsee whose first name is Hieronymus.
 Primin LINDNER OSB, “Familia S. Quirini in Tegernsee: Die Äbte und Mönche der Benediktinerabtei Tegernsee,” Oberbayerisches Archiv für Vaterländische Geschichte 50 (1897 and 1898) lists the following: P. Hieronymus (Balthasar) Mareis (†1629) of Tuntenhausen, P. Hieronymus (Johann Paul) Gugler (†1650) of Brixen, P. Hieronymus Hoegg (†1697) of Munich. -
For Martin Goller as a music pedagogue, see Monika OEBELSBERGER, Die Musik in der Lehrerbildung Tirols von der Maria-Theresianischen Schulreform bis zum Reichsvolksschulgesetz (1774-1869) (Innsbrucker Hochschulschriften A/2), Anif, Salzburg 1999, p. 82ff.
 
[11] The antiphonary from St. Magdalena is now in the Universitätsbibliothek Innsbruck (Codex 21); see Walter NEUHAUSER, Katalog der Handschriften der Universitätsbibliothek Innsbruck, part 1, Codex 1-100, Vienna 1987, p. 99-103.
 
[12] Helene WESSELY-KROPIK, “Ein vergessener österreichischer Instrumentalkomponist des 17. Jahrhunderts,” Bericht über den Internationalen Musikwissenschaftlichen Kongreß Wien 1956, Graz, Cologne 1958, p. 692ff;
Othmar WONISCH OSB, Die Gründung der Benediktinerinnenabtei Säben (Schlern-Schriften 39), Innsbruck 1938, p. 18f, 32, 55;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 265;
Anton DÖRRER, “Der Glasteufel von Säben,” Der Schlern 21 (1947) p. 9ff.
 
[13] Quoted as in Rudolf HUMBERDROTZ, ed., Die Chronik des Klosters Sonnenburg (Pustertal) (Schlern-Schriften 226), Innsbruck 1963, vol. 1, p. 97, 100, 119, 165, 175, 248, 277, 331; vol. 2, Innsbruck 1964, p. 311, 319, 374.
 
[14] Raimund SCHLECHT, Musik Geschichte Eichstaett I, 2, manuscript, Eichstätt 1883, p. 133 (copy in the music department of the Bayerische Staatsbibliothek, Munich);
Franz MORGOTT, Raymund Schlecht, Donauwörth 1891, p. 11;
MUSICA sacra 9 (1876) p. 47;
CAECILIA 15 (1876) p. 72.
 
[15] Hildegard HERRMANN-SCHNEIDER, “Stams,” Die Musik in Geschichte und Gegenwart. 2nd rev. edn, part 8, Kassel etc. 1998, col. 1732ff;
Hildegard HERRMANN-SCHNEIDER, “Bemerkungen zur Musiküberlieferung,” Eines Fürsten Traum: Meinhard II. - Das Werden Tirols, exh. cat. Tiroler Landesausstellung 1995, Dorf Tirol, Innsbruck 1995, p. 491ff., 564, 566, 568ff;
Hildegard HERRMANN-SCHNEIDER, “Libretti in Tirol: Zu einem vernachlässigten Quellenbestand,” INFO RISM no. 9 (1998) p. 45f;
Hildegard HERRMANN-SCHNEIDER, “Tiroler Quellen: unverzichtbare Dokumente zur Musik in bayerischen Klöstern,” Musik in Bayern 57 (1999), p. 71ff;
Hildegard HERRMANN-SCHNEIDER, “Sinfonien im Stift Stams in der zweiten Hälfte des 18. Jahrhunderts: Bemerkungen zum Repertoire,” Im Dienst der Quellen zur Musik, Festschrift Gertraut Haberkamp zum 65. Geburtstag, ed. Paul Mai, Tutzing 2002, p. 75ff.
Hildegard HERRMANN-SCHNEIDER, “Zur Musikaliensammlung im Domkapitelarchiv Brixen,” Der Schlern 75 (2001) p. 951ff;
Hildegard HERRMANN-SCHNEIDER, “Vom ‘Tiroler Musikkataster’ zu ‘RISM’ [...] Landesleitung Westösterreich und Referat Südtirol,” Kulturberichte aus Tirol 423/424, Innsbruck 2002, p. 44ff and http://www.musikland-tirol.at;
Hildegard HERRMANN-SCHNEIDER and Manfred SCHNEIDER, Musik aus Stift Stams, I -, CD booklets for the series, Innsbruck: Institut für Tiroler Musikforschung, 1994-;
Hildegard HERRMANN-SCHNEIDER, Die Musikhandschriften der Zisterzienserabtei Stams: Thematischer Katalog, in preparation;
Walter SENN, “Mozartiana aus Tirol,” Festschrift Wilhelm Fischer (Innsbrucker Beiträge zur Kulturwissenschaft, Sonderheft 3), Innsbruck 1956, p. 55;
Walter SENN, “Einleitung,” Tiroler Instrumentalmusik im 18. Jahrhundert (Denkmäler der Tonkunst in Österreich 86), Vienna 1949, p. XIVf;
Emil BERLANDA, “Karwochenoratorien in Tirol,” Ostern in Tirol, ed. Nikolaus Grass (Schlern-Schriften 169), Innsbruck 1957, p. 347f;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 265. -
For Stefan Paluselli as a music pedagogue, see Herbert POST, Schuelmayster, Cantore und Singknaben im Landt im Gepirg: Ein Beitrag zur Geschichte des Schulgesanges in Tirol [...] (Innsbrucker Hochschulschriften A/1), Innsbruck, Neu-Rum 1993, p. 87ff.
 
[16] Hildegard HERRMANN-SCHNEIDER, “Vom Musikleben im Stift Wilten,” Kirchenmusikalisches Jahrbuch 72 (1988) p. 53ff;
Hildegard HERRMANN-SCHNEIDER, “850 Jahre Stift Wilten (1138-1988): Aus der Geschichte seiner Musikkultur,” Analecta Praemonstratensia 64 (1988) p. 201ff and 65 (1989) p. 5ff.
 
[17] Franz M. WEISS OSM, “Ein wiederentdecktes Inventar von Musikinstrumenten aus dem Innsbrucker Servitenkloster,” Tiroler Heimatblätter 61 (1986) p. 129ff;
Franz M. WEISS OSM, “Aus dem Musikarchiv des Servitenklosters Innsbruck,” Tiroler Heimatblätter 62 (1987) p. 77ff;
Franz M. WEISS OSM, “Verzeichnis der Regentes chori und Choralinstruktoren des Innsbrucker Servitenklosters,” Der Schlern 71 (1997) p. 275ff;
Emil BERLANDA, “Karwochenoratorien in Tirol,” Ostern in Tirol, ed. Nikolaus Grass (Schlern-Schriften 169), Innsbruck 1957, p. 338, 340;
Anton DÖRRER, Bozner Bürgerspiele (Bibliothek des Literarischen Vereins in Stuttgart 291), Leipzig 1941, p. 254;
Konrad FISCHNALER, Innsbrucker Chronik, vol. 2, Innsbruck 1929, p. 130;
Hildegard HERRMANN-SCHNEIDER, “Libretti in Tirol: Zu einem vernachlässigten Quellenbestand,” INFO RISM no. 9 (1998) p. 51.
 
[18] Johann Baptist GÄNSBACHER, Denkwürdigkeiten aus meinem Leben, ed. Walter Senn, Thaur 1986, p. 10.
 
[19] Johann Baptist GÄNSBACHER, Denkwürdigkeiten aus meinem Leben, ed. Walter Senn, Thaur 1986, p. 9.-
For the practice of music among the Servites in Maria Luggau, see Franz WEISS OSM, “Das Musikalien- und Instrumenteninventar des Servitenklosters Maria Luggau in Oberkärnten aus dem Jahre 1689,” Kirchenmusikalisches Jahrbuch 82 (1998) p. 105ff;
Franz M. WEISS OSM, “Ein liturgisches Bibliotheksverzeichnis aus dem Servitenkloster Maria Luggau (1689),” Singende Kirche 48 (2001) p. 194ff (with further references).
 
[20] Christian HUNGER, “Aus dem Fulpmer Musikleben,” Fulpmes, Fulpmes 1987, p. 194f.
 
[21] Hans SIMMERLE, Kleine Musikgeschichte: Deutschnofen - Eggen - Petersberg, Auer 1975, p. 9ff;
August LINDNER, “Die Aufhebung der Klöster in Deutschtirol 1782-1787: Ein Beitrag zur Geschichte Kaiser Joseph’s II.,” Zeitschrift des Ferdinandeums für Tirol und Vorarlberg 3rd series, no. 30 (1886) p. 219;
Peter STÜRZ, “Die Wallfahrtslieder von Maria Weißenstein,” Beiträge zur Volksmusik in Tirol, ed. Walter Deutsch and Manfred Schneider, Innsbruck 1978, p. 49;
For music in Weissenstein in the 18th century, see Hans SIMMERLE, 125 Jahre Musikkapelle Deutschnofen: Eine Chronik, Deutschnofen 1994, p. 10.
 
[22] Hildegard HERRMANN-SCHNEIDER, “Zur Werküberlieferung von Komponisten der tirolischen Franziskanerprovinz im 18. Jahrhundert,” Der Schlern 62 (1988) p. 92ff;
Hildegard HERRMANN-SCHNEIDER, Die Musikhandschriften des Dominikanerinnenklosters Lienz im Tiroler Landesmuseum Ferdinandeum: Thematischer Katalog (Beiträge zur Musikforschung in Tirol 1), Innsbruck 1984, p. 15ff, 166f;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939), p. 250f, 255, 264.;
Erich EGG, “Das kirchliche Musikleben im alten Schwaz,” Tiroler Heimatblätter 37 (1962) p. 43, 48;
Erich EGG, “Schwaz vom Anfang bis 1850,” Stadtbuch Schwaz: Natur - Bergbau - Geschichte, ed. Erich Egg et al., Schwaz 1986, p. 182;
Oskar EBERSTALLER, Orgeln und Orgelbauer in Österreich, Graz, Cologne 1955, p. 105;
Walter THALER, “Musikpflege, Volksschauspiele,” Telfer Buch (Schlern-Schriften 112), Innsbruck 1955, p. 296, 298f;
MUSICA sacra 10 (1877) p. 58.
Egon KÜHEBACHER, 150 Jahre Musikkapelle Innichen 1834-1984, Innichen 1984, p. 11ff. -
Cf. Wolfgang HOFFMANN, “Zur Werküberlieferung franziskanischer Komponisten im 17. und 18. Jahrhundert in der Provinz Tirol,” Musik der geistlichen Orden in Mitteleuropa zwischen Tridentinum und Josephinismus, proceedings of a conference in Trnava, 16-19 October 1996, ed. Ladislav Kačic, Bratislava 1997, p. 111ff.
 
[23] Erich BENEDIKT, “Der bedeutendste Komponist des Karmeliterordens hat in Lienz gewirkt,” Osttiroler Heimatblätter 61, no. 4 (1993) n.p.
 
[24] A[gapit] H[OHENEGGER] OFMCap., Historische Notizen über das ehemalige Klarissenkloster in Meran,n.p., n.d., p. 17 (repr. of Neue Tiroler Stimmen 1897, no. 128ff);
Clemente LUNELLI, “Le Celebrazioni religiose con musica nel Settecento a Trento,” Studi Trentini di Scienze Storiche 73 (1994) p. 145f.
 
[25] Anton DÖRRER, “Totentanz und Dominikanerspiel,” Österreichisches Jahrbuch für Volkskunde 51 (1948) p. 199;
August LINDNER, “Die Aufhebung der Klöster in Deutschtirol 1782-1787: Ein Beitrag zur Geschichte Kaiser Joseph’s II.,” Zeitschrift des Ferdinandeums für Tirol und Vorarlberg 3rd series, no. 29 (1885) p. 230;
Hildegard HERRMANN-SCHNEIDER, Die Musikhandschriften des Dominikanerinnenklosters Lienz im Tiroler Landesmuseum Ferdinandeum: Thematischer Katalog (Beiträge zur Musikforschung in Tirol 1), Innsbruck 1984, p. 10ff;
Egon KÜHEBACHER, “Prozessionen des Stiftes Innichen im frühen 17. Jahrhundert,” Der Schlern 60 (1986) p. 644.
[26] Egon KÜHEBACHER, 150 Jahre Musikkapelle Innichen 1834-1984, Innichen 1984, p. 9ff;
Egon KÜHEBACHER, “Prozessionen des Stiftes Innichen im frühen 17. Jahrhundert,” Der Schlern 60 (1986), p. 639ff;
Egon KÜHEBACHER, “Zur Geschichte der Stiftsschule von Innichen: Die Stiftsschule vor der Reformationszeit,” Der Schlern 44 (1970) p. 450ff;
Hildegard HERRMANN-SCHNEIDER, “‘Die letzten Zeugnisse kulturellen Lebens’: Aus dem Musikarchiv des Stiftes Innichen,” Gedenkschrift für Walter Pass, ed. Martin Czernin, Tutzing 2002, p. 757ff.
 
[27] Walter SENN, Aus dem Kulturleben einer süddeutschen Kleinstadt: Musik, Schule und Theater in der Stadt Hall in Tirol in der Zeit vom 15. bis zum 19. Jahrhundert, Innsbruck etc. 1938, p. 131ff;
Walter SENN, “Pfarrschule und Kirchenchor: Die Musikkapelle des Damenstiftes,” Haller Buch (Schlern-Schriften 106), Innsbruck 1953, p. 448ff;
Walter SENN and Karl ROY, Jakob Stainer: Leben und Werk des Tiroler Meisters 1617-1683 (Das Musikinstrument 44), Frankfurt am Main 1986, p. 21;
Heidrun BERMOSER, Die Vokalmessen von Christoph Sätzl (ca.1592-1655) (Musikwissenschaftliche Schriften 11), Munich, Salzburg 1977, p. 7ff;
August LINDNER, “Die Aufhebung der Klöster in Deutschtirol 1782-1787: Ein Beitrag zur Geschichte Kaiser Joseph’s II,” Zeitschrift des Ferdinandeums für Tirol und Vorarlberg 3rd series, no. 29 (1885) p. 279f;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 255f;
Jakob PROBST, Beiträge zur Geschichte der Gymnasien in Tirol, Innsbruck 1858, p. 94f;
Emil BERLANDA, “Karwochenoratorien in Tirol,” Ostern in Tirol, ed. Nikolaus Grass (Schlern-Schriften 169), Innsbruck 1957, p. 348;
Alois FORER, Orgeln in Österreich, Vienna, Munich 1973, p. 29.
 
[28] August LINDNER, “Die Aufhebung der Klöster in Deutschtirol 1782-1787: Ein Beitrag zur Geschichte Kaiser Joseph’s II.,” Zeitschrift des Ferdinandeums für Tirol und Vorarlberg 3rd series, no. 29 (1885) p. 171, 178, 181, 243;
Franz M. WEISS OSM, “Klingendes Kloster begabter Nonnen, die musizierten und komponierten,” Innsbruck aktuell (9-15 February 1988) p. 6;
Franz M. WEISS OSM, “Zur Musikgeschichte des ‘Versperrten Klosters’,” Musik der geistlichen Orden in Mitteleuropa zwischen Tridentinum und Josephinismus, proceedings of a conference in Trnava, 16-19 October 1996, ed. Ladislav Kačic, Bratislava 1997, p. 81ff;
Hildegard HERRMANN-SCHNEIDER, “Vom ‘Tiroler Musikkataster’ zu ‘RISM’ [...] Landesleitung Westösterreich und Referat Südtirol,” Kulturberichte aus Tirol 423/424, Innsbruck 2002, p. 44ff and http://www.musikland-tirol.at;
The original manuscript is in the music collection of the Innsbruck Tiroler Landesmuseum Ferdinandeum (M 8200); titles are catalogued in the RISM Western Austria databank, no. 6672-6712.
 
[29] August LINDNER, “Die Aufhebung der Klöster in Deutschtirol 1782-1787: Ein Beitrag zur Geschichte Kaiser Joseph’s II.,” Zeitschrift des Ferdinandeums für Tirol und Vorarlberg 3rd series, no. 29 (1885) p. 219; no. 30 (1886), p. 46;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 265.;
Robert BÜCHNER, “Alltag und Festtag in Stams, Rattenberg und anderen Klöstern des Spätmittelalters,” Innsbrucker Historische Studien 7/8 (1985) p. 75, 77.
 
[30] August LINDNER, “Die Aufhebung der Klöster in Deutschtirol 1782-1787: Ein Beitrag zur Geschichte Kaiser Joseph’s II.,” Zeitschrift des Ferdinandeums für Tirol und Vorarlberg 3rd series, no. 30 (1886) p. 195.
 
[31] Walter SENN, Musik und Theater am Hof zu Innsbruck, Innsbruck 1954, p. 197, 229, 282ff, 307, 322;
Max WITTWER, Die Musikpflege im Jesuitenorden unter besonderer Berücksichtigung der Länder deutscher Zunge, PhD Greifswald 1934, p. 38, 81, 135;
Jakob PROBST, Beiträge zur Geschichte der Gymnasien in Tirol, Innsbruck 1858, p. 73, 79f;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 263, 266;
Anton DÖRRER, “Spielbräuche im Wandel von 6 Jahrhunderten,” Tirol: Natur, Kunst, Volk, Leben 2nd series, no. 8 (1930) p. 10, 13;
Anton DÖRRER, “Guarinoni als Volksschriftsteller,” Hippolytus Guarinonius (1571-1654) (Schlern-Schriften 126), Innsbruck 1954, p. 184f;
Anton DÖRRER, Bozner Bürgerspiele (Bibliothek des Literarischen Vereins in Stuttgart 291), Leipzig 1941, p. 252ff;
Emil BERLANDA, “Karwochenoratorien in Tirol,” Ostern in Tirol, ed. Nikolaus Grass (Schlern-Schriften 169), Innsbruck 1957, p. 336f;
Franz Carl ZOLLER, Geschichte und Denkwürdigkeiten der Stadt Innsbruck und der umliegenden Gegend, vol. 1, Innsbruck 1816, p. 333ff, 353f; vol. 2, Innsbruck 1825, p. 79f, 186, 201;
Josef HIRN, Erzherzog Ferdinand II. von Tirol: Geschichte seiner Regierung und seiner Länder, vol. 1, Innsbruck 1885, p. 232;
Johann TROJER, “Gallicanus,” Osttiroler Heimatblätter 41, no. 5 (1973) n.p.
Hildegard HERRMANN-SCHNEIDER, “Libretti in Tirol: Zu einem vernachlässigten Quellenbestand,” INFO RISM no. 9 (1998) p. 45ff. -
Cf. Ellen Hastaba, “Theater in Tirol: Spielbelege in der Bibliothek des Tiroler Landesmuseums Ferdinandeum,” Veröffentlichungen des Tiroler Landesmuseums Ferdinandeum 75/76 (1995/96) p. 233ff. -
Cf. Emerich CORETH SJ, “Das Jesuitenkolleg Innsbruck: Grundzüge seiner Geschichte,” Zeitschrift für katholische Theologie 113, nos 2-3 (1991) p. 140ff.
 
[32] Walter SENN, Aus dem Kulturleben einer süddeutschen Kleinstadt: Musik, Schule und Theater in der Stadt Hall in Tirol in der Zeit vom 15. bis zum 19. Jahrhundert, Innsbruck etc. 1938, p. 360ff;
Walter SENN, “Pfarrschule und Kirchenchor: Die Musikkapelle des Damenstiftes,” Haller Buch (Schlern-Schriften 106), Innsbruck 1953, p. 450;
Max WITTWER, Die Musikpflege im Jesuitenorden unter besonderer Berücksichtigung der Länder deutscher Zunge, PhD Greifswald 1934, p. 21, 39;
Anton DÖRRER, “Spielbräuche im Wandel von 6 Jahrhunderten,” Tirol: Natur, Kunst, Volk, Leben 2nd series, no. 8 (1930) p. 10, 13. -
For Balthasar Kleinschroth, see Alois NIEMETZ, Stift Heiligenkreuz: 800 Jahre Musikpflege, Heiligenkreuz 1977, p. 52ff.
 
[33] Karl MUTSCHLECHNER, Das Jesuitentheater in Brixen im 18. Jahrhundert, PhD Università degli Studi di Padova, Facoltà di lettere e Filosofia 1975/76, p. 38. -
Cf. Amedeo SAVOIA, “La musica presso il Collegio dei Gesuiti di Trento, con particolare attenzione alla attività spettacolare (1625-1773),” Musica e società nella storia trentina, ed. Rossana Dalmonte, Trento 1994, p. 307ff.
 -
 
[34] Franz Carl ZOLLER, Geschichte und Denkwürdigkeiten der Stadt Innsbruck und der umliegenden Gegend,vol. 2, Innsbruck 1825, p. 122;
Anton DÖRRER, “Spielbräuche im Wandel von 6 Jahrhunderten,” Tirol: Natur, Kunst, Volk, Leben 2nd series, no. 8 (1930) p. 15;
Karl Magnus KLIER, “Innsbrucker Lied-Flugblätter des 17. Jahrhunderts,” Jahrbuch des österreichischen Volksliedwerkes 4 (1955) p. 56f.
 
[35] Franz HATTLER SJ, Missionsbilder aus Tirol: Geschichte der ständigen Jesuitenmission von 1719-1784, Innsbruck 1899, p. 49ff, 61ff, 200, 205, 267.
 
[36] Franz HATTLER SJ, Missionsbilder aus Tirol: Geschichte der ständigen Jesuitenmission von 1719-1784, Innsbruck 1899, p. 76, 221, 241ff, 278f.