Home / History of Music / Music in the Tyrol / Music in Monasteries

Music in Parish Churches

Besides the monastery schools, Latin or parish (parochial) schools were sought-after educational institutions. In these schools “singing pupils” (Singschüler) were trained to serve in the choir in the parish churches, but less musically talented children were trained as well. The schoolmaster, known from the beginning of the 16th century on as the Latin schoolmaster because of the rise of German schools around that time, who often had a Master of Arts degree and was the principal of the school, he led the choirsinging during divine services. Depending on the size of the school he was assisted by a Junkmeister(a teacher lower in rank, responsible for teaching singing; later known as a cantor), and if necessary by an assistant (Astant) or an underling (Schulgeselle). A separate musician was called in as the organist. For one man to be the choirmaster(Chorregent) and organist in one was common up to the 19th century only in smaller churches in the Tyrol.[36]
One of the oldest parish schools of the Tyrol is in Meran, documented as far back as 1295. A collection of rules governing church life, belief and worship dated 1559 mentions the existence of an organist, a Latin schoolmaster as the plainchant singer, and singing Latin school pupils there.[37] In Bozen a collection of school regulations dated 1424 contains directives for the parish school pupils’ lessons and church singing. They were to have singing lessons every Saturday from five in the morning until one in the afternoon, with additional ones for important feast days. The curate intern Zehentner, in office from 1525 to 1545, required the schoolmaster to “provide figured melodies” for the major feasts of the church year, and to do the same “when high-ranking ladies and gentlemen are here.” Outstanding personalities among the Latin schoolmasters in Bozen included Peter Treibenreif (1508-1511), Benedikt Debs (1511-1515), and Adam Haslmayr (1588-1602).[38] Treibenreif (born about 1465 in Bozen, died probably in Hall in 1525) called himself by the Humanist name of Petrus Tritonius. He had studied in Vienna, Ingolstadt and Padua and belonged to the circle of pupils and friends around Conrad Celtis. Heinrich Isaac might have been one of his music teachers; at least he was in contact with him as well as with Ludwig Senfl and Paul Hofhaimer. Besides Bozen, he also worked as a Latin schoolmaster in Brixen and Hall. His four-part musicalizations, particularly those setting Horace’s Odes to music, were composed at the suggestion of Celtis. Their first edition was published in 1507 in Augsburg (Melopoiae sive Harmoniae [...], RISM A/I T 1249) as the first German printed music with movable type and as the first printed work of musical Humanism.[39] Master (of Arts) Benedikt Debs (†1511) of Ingolstadt is first mentioned in 1511 as the Latin schoolmaster in Bozen. He played and sang the “Savior” in the Bozen Passion Play of 1514 and was an acquaintance of the Sterzing painter and theatrical director (Spielleiter) Vigil Raber (†1552). Debs bequeathed him his collection of plays, including several Easter plays and Marian laments dating from the 15th century with musical notation, later known as the Debs Codex.[40]
The Latin schoolmaster Adam Haslmayr (about 1555 - about 1630) took up employment in Bozen in 1588. Trained by the organist of Brixen cathedral, Andreas Andre commonly known as “Casletanus” (†1592) of France, he also knew how to compose music. In addition, he worked as an imperial notary (“Notarius caesareus”). He did a great service by setting up a new organ in the parish church of Bozen and strove to regulate the lessons for music students. Valentin Schönig of Augsburg printed his Neuer Teutscher Gesang [...](RISM A/I H 2235) in 1592, remarkable compositions of four- to six-part German songs. Haslmayr pursued theological, philosophical, medical and alchemical studies. The non-Catholic attitude of his Theophrastisch Puechlin (1603) resulted in his dismissal from the teaching profession. Under the protection of Archduke Maximilian (known as the “Deutschmeister,” i.e. German Master of the Teutonic Order) he moved to Hall, but was again persecuted for spreading non-Catholic teachings – for instance, Hippolyt Guarinoni called him a Calvinist – and sent to the galleys in 1612.[41]
About the middle of the 17th century, the choirmaster conducting the voices and orchestra (Chorregent) in Bozen took over the training of the choirboys for church music from the Latin schoolmaster. The position of schoolmaster was a separate one from then on.[42] A new choirboy institution was founded in 1823 at the parish church in Bozen. The boys attended the municipal elementary school and had lessons in singing and “church functions” from a teacher of their own. The first new singing teacher, Josef Brenner of Vienna, was assisted in his efforts by the curate Anton Preiß with what were at first six boys.[43]
The parish school of Sankt Jakob in Innsbruck, which existed as early as 1358, was run until 1635 by a Latin schoolmaster supervised by the municipal council, church provost and parish priest. Several school and church regulations specified how he and his assistants were to make the pupils fit for singing in church. According to a decree of 1545 he was for instance to provide figured music for all high Church feasts. On these occasions multi-part music was usually performed in collaboration with court musicians, for St Jakob was also the court church until 1562. Educating the boys “to fear God, for honor and for art” was the principal aim. The repertoire of hymns was determined by the parish priest and church provost. The school regulations of 1564 ruled, among other things, that of the 50 boys in the parish school, ten each in rotation on weekdays but all of them on days off and Sundays must show up for choral service in the church, without neglecting their general education. The ducal court and the townspeople helped to provide for the keep of the “poor pupils,” who also had to earn extra money for their livelihood by door-to-door carolling, Epiphany carol singing, other serenading and carolling customs, and performing plays. With the rise of Jesuit schools and German schools at the beginning of the 17th century, the Innsbruck parish singing school was limited to a pure singing school under the direction of choirmasters (Chormeistern), who no longer collected school fees but a church benefice instead, and of priests. In the centuries to follow the number of choirboys diminished. By taking on salaried musicians the Pfarrkantorei, which emphasized plainchant sung a capella or with organ accompainiment, changed into the Pfarrmusik, which featured more figured music and an orchestra. Finally, the choirboy insitution of St Jakob gradually came to an end in the 19th century. A singing school did remain, to which girls were now also admitted. They sang in the parish church choir with other female voices.[44]
An Innsbruck schoolmaster of supraregional importance for the history of music was Master (of Arts) Nikolaus Leopold (he was a canon in Brixen from 1515 on). A choir-book bearing his owner’s inscription documents him as being in the city in 1511; it has been preserved in the Bayerische Staatsbibliothek in Munich (Mus. ms. 3154) since 1874. Its individual parts were copied from about 1468 to 1511 by many copyists, probably including members of the Innsbruck court orchestra and singers (Hofkapelle). This manuscript codex represents one of the most excellent sources on music around 1500 in German-speaking regions and has therefore been the subject of music historical research again and again for the last sixty years. About 180 mostly sacred pieces of music are recorded in it. Among others, there are masses and motets as well as German songs by outstanding composers of the period, such as Heinrich Isaac, Josquin Desprez, Jakob Obrecht and Heinrich Fink. There are also great numbers of anonymous works, whose authors are thought to include, importantly enough, members of the circle around the Innsbruck court orchestra. Approximately half of the works preserved in this manuscript have been found to be unique exemplars worldwide; in cases of parallel transmission, its readings often turn out to be the better ones. Whether Nikolaus Leopold owned only four separate quires of this Tyrolean manuscript or whether he compiled it in today’s form himself has not yet been determined.[45]
Sankt Nikolaus parish church in Hall also had future choristers trained in its Latin school. The schoolmasters responsible, again including outstanding men such as Petrus Tritonius (1512-1519, 1524), are known by name right back to 1342. Junkmeister and assistants (Astanten) also sang in the parish choir and instrumental ensemble (Pfarrkantorei). At the end of the 18th century Father Emanuel Jäger OFM was still teaching the pupils at the parish singing school of Hall music and grammar for six hours a day.[46]
Before the first documentary evidence of a Latin schoolmaster in Schwaz – Matthäus Weiß of Breslau 1507 – there are reports of collaboration by Latin school pupils in church music in Schwaz. For example, they had supplied the choral singing in the late autumn of 1506 at a requiem for Philipp the Fair. As elsewhere, the singing pupils who often came from poor families supported themselves with grants and by going carolling. After the Latin school was closed in 1685 a separate choirmaster was in charge of training the choirboys for the parish church who were now educated at the German school.[47]
The cathedral school in Brixen was already supplying the next generation of clerics and singers around the turn of the first millennium. Schoolmasters, Junkmeister, “Chorales” and “other helpers” for example sang the figural music for the mass offered by the Brixen cathedral provost Gregor Angerer 1535. Among the twenty-two pupils taught at the cathedral school of Brixen around 1810 were “8 ‘Choralists’ strictly obliged to serve in the choir.”[48] The Cassianeum grew out of the cathedral school in 1751. Besides secondary school studies for the pupils, its statutes of 1836 called for music lessons by the school’s own “choral master” and music teacher. The boys also had to sing in the cathedral at divine services.[49]
For a long time the church music depended on the schoolmaster’s contribution in smaller places as well. Church and school regulations in Bruneck in the 16th century, for instance, obliged him to perform a multi-part mass in the parish church on feast days or when there were high-ranking visitors. In Matrei in the eastern Tyrol in 1647 the schoolmaster G. Molzpüchler was responsible for the hymns and had to look after the keep of “an able boy who could sing.”[50] In Steinach on the Brenner Pass the schoolmaster was paid “for leading the singing at mass,” as documented in 1662 and 1686. In Girlan the schoolmaster was also the sexton and organist in one. While the schoolmasters in Schwaz, for example, often changed annually or every two years and often came from far away, such as Bavaria, Württemberg or even Poland, their colleagues in Girlan stayed on for several decades.[51]
Cardinal Luigi d’Aragona traveled from Rome through the Tyrol to Germany in 1516 and admired the excellent church music in Trent, Bozen, Brixen and Innsbruck.[52] The church choir of Kaltern, “with many schoolboys” was praised in a visitation protocol of 1538 as the best in the diocese of Trent, exemplary for plainsong and figural singing.[53] While only one boy and two curates sang – presumably plainsong – in Margreid near Bozen at mass and vespers on high feast days in the 16th century, a parish church choir in 1565 in Sterzing was able to entertain the Duke of Bavaria, visiting on his way through, “with pieces by the Munich directors of music Orlando di Lasso and Ludwig Daser.[54] In Matrei in eastern Tyrol from 1590 to 1600, the sexton J. Zabernig and the baker L. Raiacher were remunerated for singing in the parish church. A divine service was celebrated there as early as 1589 on the feast of the dedication of the church with the cathedral provost of Salzburg “with singers and musical instruments.” Two “Vorsinger” are mentioned as intoning the music in the church choir at Girlan in 1646. Women can generally be found in church choirs in Tyrolean towns from about 1800 on, although in 1670 three of the six salaried singers at the parish church in Untermais were already women. Castrati from Tyrolean villages often sang in the churches of Innsbruck, Hall, Brixen, Bozen and Meran. Only men and boys were allowed to sing in the Zirl parish church. The female singers, tolerated only much later, still had to be single around 1900. Although in the second half of the 19th century many town and country churches in the Tyrol had respectable choirs at their disposal, four priests sang a mass by Peter Piel at the dedication of the church of Sankt Nikolaus in Eggen in 1870. Perhaps there was no functional church choir, at least in the sense of Cecilianism, at the time.[55]
The parish church of Meran already had an organist at work in 1396. There was probably also an organ in the parish church of Hall around this time.[56] At St Jakob in Innsbruck in 1503 the chamberlain of Philipp the Fair, Antoine de Lalaing, marveled: “the town’s parish church has the most beautiful and select organ that I have ever seen. There is no instrument in the world that it does not play, for they are all inherent in it; and it cost over 10,000 gulden to build it.”[57] Lalaing’s comments probably refer to the instrument built in 1484 by Burkhard Dinstlinger, a master of the art of organ building.[58] The Schwaz parish church also acquired its first organ towards the end of the 15th century. Ecclesiastics often served as organists there at first. Johann Schachinger the Elder (1485 - about 1558), a pupil of Paul Hofhaimer, and who later worked as the court organist in Munich and organ builder in Passau, was the parish organist in Schwaz from 1506 to 1508. One of his successors was the Fugger beneficiary Johann Georg Tschortsch (about 1680-1737), who was the third generation of his family to have the office of parish organist in his hometown. His opus 1 (“Sacerdos musicus concertans [...],” 12 litanies of the Blessed Virgin, Augsburg: Johann Jakob Lotter 1724) was published in a second edition only a year later (Augsburg: Matthias Wolf 1725). Johann Georg Tschortsch created masterpieces of sacred music, particularly with his opus 3 (“Incensum mysticum [...],”14 offertories in honor of the Mother of God, Augsburg: Johann Jakob Lotter 1733).[59] His brother, P. Angelus Tschortsch OFM (about 1676-1740) was also a composer and worked in the Franciscan monastery of Schwaz.[60]
By around 1500 the larger parish churches in the Tyrol had organs of their own. Imposing instruments had been set up by Burkhard Dinstlinger and his assistants not only in Innsbruck but also in Brixen (1483/84), Bozen (1485-1488) and Sterzing (1490). He even built two organs for Bozen, a large chair organ on the north wall of the church and a smaller one in front of the high altar. They were examined and approved by Paul Hofhaimer.[61]
Smaller instruments were often available in country churches: a positive was used in Kaltern in the 16th century. At the end of the 17th century in Deutschnofen, where there was still a “very small mechanism” in the 18th century that could be carried “through any normal indoor doorway without having to be taken apart,” one man was in charge of the offices of priest, teacher and organist at the same time. Only at the beginning of the 18th century was the work of the organist seen to separately and by a layman. In Kaltern however, the “noble-minded scholar” Maximilian Achaz Schuldheiß, was hired expressly as the parish church organist as early as 1603, even with a contract; he had held the post of parish organist in St Pauls earlier. The “noble-minded and highly skilled” organist Johann Chrisostomus Schodeler was given an employment contract in Kaltern in 1647, according to which, besides playing organ, he also had to sing plainsong and stand in for the schoolmaster in his absence as the director of the choir (Chorleiter). In the 17th and 18th centuries it was common in many places in the country for the teacher to also be the organist and sexton in one (e.g. in 1674 in Telfs, 1770 in Ehrwald) or the organist and choirmaster (Chorregent, e.g. in Leutasch in the 17th century). Long into the 19th century this kind of combination of duties, in the end usually of schoolteacher and organist or sexton and organist, continued to characterize the status of countless church musicians in the Tyrol. One peculiarity existed in the 19th century in Deutschnofen, where female bellows treaders were paid to make the organ able to sound.[62] The musicians at the parish churches in the South Tyrol were mostly German. In 1551 for instance, the application of an organist from Mantua was rejected in Bozen because “it would not be suitable to use an Italian organist here with the German ‘Cantorey’.”[63] Nevertheless, parish musicians of Italian origin were employed later in Bozen too, especially when instrumental music became increasingly common in churches in the early 17th century. Members of the Bozen parish church music ensemble of 1645 are known by name: they included the “Rector chori” Johann Adam Gall († Bozen 1672), two treble singers, one alto, three tenors, the Latin schoolmaster and the Junkmeister (probably basses), six instrumentalists and an organist. At the end of the 17th century for example, string and wind instrument players joined in at divine services on feast days in Meran; instruments and sheet music for them were bought in Venice.[64]
Many rural parishes also had a church orchestra in the 18th century: the parish priest’s office in Wattens bought instruments and music at the beginning of the 18th century. As documented in Ehrwald in 1770, choral singing in church was accompanied by an orchestra, whose members are however unidentified. In Zirl “festive music with trumpets and timpani, violins, etc.” to accompany a high mass is first mentioned in 1778. As the Matrei parish in eastern Tyrol commissioned masses by Johann Anton Kobrich in 1769, for example, orchestral musicians must have been available to perform it. From September 1787 to January 1788 the use of orchestral instruments was banned in Matrei in eastern Tyrol by a decree by Emperor Josef II. In Außervillgraten the organist alternated with woodwind and brass players to accompany the singing in the first half of the 19th century. In Innervillgraten a choir with four male and two female voices had been singing for worship since 1858, accompanied by bowed stringed instruments. The curate Johann Troyer had taught the singers and musicians. When he was transferred in 1862 and took the bowed stringed instruments in his possession with him, a “9-part brass band” conducted by a teacher took over the church music. The parish priest’s office in Kaltern remunerated several musicians for playing in church around 1800; the following church orchestra played there around 1820: one first and second violin each, viola, double-bass, and woodwind and brass players. In Prutz a string and wind band appeared on the chancel in the first half of the 19th century. Last but not least, there was assiduous music making on the chancels in the Außerfern area in the 18th and 19th centuries.[65]
The first instrumentalist documented at the Hall parish church is a cornettist in 1596; string and wind instrument players came to be regularly employed around the middle of the 17th century. These were reinforced by the town’s tower watchmen and later by “dilettantes” (lay musicians). In order to spare expenses, the benefice was given mainly to ecclesiastics who were also musicians. The local church musicians who had gradually been replaced by townspeople in the course of the 18th century often remained in the church’s service for several generations. The number of the participants on the chancel rose to over thirty.[66]
Towards the end of the 16th century the tower watchmen of Hall and Schwaz assisted their colleagues in Innsbruck if necessary when the latter blew their cornets and trombones in the Innsbruck parish ensemble of the choir and instrumentalists (
Pfarrkantorei), e.g. in 1570, as they had “from earliest times” on festive occasions “obediently, willingly and to the best of their ability.” The instrumental parts became increasingly important to support the vocal parts; the latter were found to be “rather weak without the instruments” by the Innsbruck municipal council in 1645. At that time the Innsbruck parish choir and orchestra consisted of about ten singers and instrumentalists each.[67] In the 18th century the parish church music at St Jakob, separated from the court orchestra (Hofkapelle), regained its importance. The choirmaster Adam Tanzer, in office 1719-1759, the organists Johann Heinrich Hörmann (1694-1763) in office 1716-1724, Georg Paul Falk (1713-1778) in office 1746-1778, his son Josef Benedikt Falk (1757-1828) and others, all of them also highly regarded throughout the Tyrol as composers, were now predominant in the church music in Innsbruck. In the period to follow, more and more dilettantes replaced the professional church musicians at this parish church.[68]
Ecclesiastics had always been appointed as organists in Rovereto in the 16th century. In the first half of the 18th century San Marco had a musical ensemble of four singers and violinists each, one double bass and one organist. Under the director of music Domenico Pasqui (1722-1780) church music was given a new impetus from the time he took office in 1754, not only by his prolific production of sacred music compositions but also by the expansion of the ensemble.[69]
During the Council of Trent (1545-1547, 1551-1552, 1561-1563) a part of the papal music ensemble from Rome stayed in the city. Music with strings was introduced in the cathedral of Trent under the organist Simone Martinelli (in office from 1638 on, †1660) of Verona. After his death the cathedral music ensemble consisted of seven singers, two violinists and one organist in 1661. Francesco Antonio Bonporti (1672-1749), trained in Rome to be an ecclesiastic, a composer and an outstanding violinist (by Arcangelo Corelli among others), played violin in the cathedral choir of his native town. From 1724 to 1749 the priest Carlo Antonio Prati (1691-1749), a nephew of the organ builder Carlo Prati, was the director of the cathedral music, and from 1750 to 1791 the composer Giovanni Battista Runcher (1714-1791) of the Gadertal, who was first trained in Hall by Jesuits. His successor was Francesco Antonio Berera (1737-1813), who had already been a tenor singer at the cathedral since 1756; after him Marian Stecher directed the cathedral music. In the 19th century amateurs joined in to make church music on feast days in Trent.[70]
In the country, church choirswereoften joined by wind players. In Matrei on the Brenner Pass about ten woodwind players and one drummer took part in the church music in 1683. In the second half of the 18th century, the curate A. Walter in Telfs reinforced his church choir with four brass players and one timpanist and donated instruments to the church. In Mils near Hall brass players played at the divine service with a timpanist, as first documented in 1790. The Kiens parish priest’s office collected donations from the population in 1868 to buy a helicon, a “rotary valve trumpet,” a valve horn, and printed music. These instruments were the property of the church and, as the curate Plankl assured, were to be used “for the glory of God and for innocent entertainment.” The school principal of Kundl, J. Mayer, an “experienced organist,” introduced a harp, played along with trombones, trumpets and timpani, for musical worship in 1715.[71] Using a harp for church music is documented as early as 1501: when the sacred objects and relics of the Knight Florian Waldauf zu Waldenstein (about 1440-1510) were borne from his Castle of Rettenberg to the “Holy Chapel” in Hall in a magnificent procession, they were accompanied by “eighteen trumpeter[s] and one timpanist with their trumpets, trombones and an army drum,” as well as by “three minstrels (Spilleut) side by side, with positives, harps, lutes, pipes, shawms, violins and other stringed instruments.”[72]
In many rural parishes the Kirchensinger (church singers) executed their multi-part religious songs at the various divine services and processions. These singers were usually peasant farmers who handed down the melodies and traditional supporting voices orally to texts recorded in handwritten songbooks from one generation to the next. This peculiar custom of singing practice was considered uncouth (“Cantus ferus”) by adherents of the Cecilian movement, who therefore drove it out of the churches in the course of their efforts at reform. Only in the Pustertal in the South Tyrol and in a few of its lateral valleys did a relatively small part of what was once a superabundant repertoire of up to five-part, mostly German but also Latin, ecclesiastical folksongs survive past the 19th century. Mühlbach in the Tauferertal remains exemplary to this day.[73]
With episcopal patronage, Kirchensinger were active for instance in Kitzbühel in 1668. The first “German church singers” in Matrei in eastern Tyrol are documented around 1700. Around the middle of the 17th century the “singers” took part in penitential and Rogation day processions in Deutschnofen. The Kirchensinger of Sonnenburg wanted higher payment for their services in 1733. They gave emphasis to their demand by not performing any more songs for over a year at penitiential processions or in church. “But because the congregation likes to hear the church singers” it was decided to pay them one gulden and thirty kreuzer a year from the communal treasury, and to give them “a good-sized roast and Easter eggs at Easter, a drink of wine each, but not for more than 6 or at most 8 people,” among other things from the monastery. In Sankt Magdalena in Gsies the curate celebrated the Rosary “instead of a mass, for which the singers are not good enough” at Easter in 1804. Ladin Kirchensinger in Enneberg handed down and practiced a collection of mainly German songs until after the First World War.[74]
Responsorial Passions according to the Gospel of St Matthew from Prettau in the Ahrntal, Gummer in the Eggental and Stegen in the Pustertal (documented in 1746, for instance), which used to be sung by the Kirchensinger to the liturgy on Palm Sunday, were heard at the “Tiroler Passions- und Ostersingen” concerts held at the Tiroler Landesmuseum Ferdinandeum in Innsbruck from 1990 to 1992, after Manfred Schneider had tracked them down in fieldwork for his research around 1988.[75]
German hymns, favored by the Reformation, were common for congregational singing in the 16th and 17th centuries. In July 1519 the bishop was welcomed in the Sette Comuni(on the plateau of Asiago, province of Vicenza) with the hymn “Christ ist erstanden.” Among the hymns handed down from Innichen are “Gelobet seyst du Christe” and “Frew dich du werde Christenheit” complete with their texts and melodies.[76] Ecclesiastical and secular authorities tried to regulate the German hymns, especially in order to prevent the spread of Lutheran ideas. In the middle of the 16th century the parish priest of Meran, Haimerand Schweller complained about the “German sectarian psalms” sung in his church and popular with the faithful. German hymns with a Lutheran stamp were also popular in Kaltern. In Rattenberg in the winter of 1566/67, the Latin schoolmaster Thomas Ferholtz was accused of “singing the falsified German psalms in the church” and, although they were being “sung in the whole region of Rattenberg,” he was fired. The government wanted to tolerate “only the old sacred songs, such as the ‘Our Father,’ the ‘Apostles’ Creed,’ the ‘Ten Commandments’ and the like in the German and Catholic songs and chants traditionally used in festive processions and penitential processions.” It therefore commissioned the ecclesiastical authorities in 1569 to report on sacred song in Tyrolean churches. Judicial administrators (Pfleger) and judges had to hand in written copies of sacred songs to Innsbruck for assessment. Several of the songs then submitted, for instance by the judge of Villanders, were confiscated. Hymns such as “Aus tiefer Not” and “Wir glauben all” were no longer allowed. The parish priest of Vomp had to supervise the schoolmaster of Schwaz, who had taught the children “German psalms and suspect songs.” In Sand in Taufers and in Bruneck the schoolchildren actually sang Protestant songs in the street, which, in addition to the Anabaptist songs, finally caused the Bishop of Brixen, Cardinal Christoph III of Madruzzo (†1578) to prohibit Bruneck’s residents all German hymns whatsoever. The municipal council of Bruneck had resolved in 1561 and 1564 that “processions should be held with psalms and songs sung in German and understandable for everyone” to fend off threats such as plagues and uprisings. In Brixen in 1564 the princely counselors considered this “as being extremely contrary to the traditional Christian Catholic religion” and ordered “this nonsense to be stopped.” The mayor of Bruneck, C. Sell, along with the nobility and the congregation, justified the practice by saying that it was “not un-Christian or contrary to the Catholic religion […] to sing the psalms true to the text and in the language that those wanting or having to sing them can understand so that they know what they are asking or wanting from their Lord God”. After all, “even in this land and in the prince-bishop’s monastery [Brixen ...] German songs and psalms have always been sung besides the priest’s regular divine service.”[77]
Unlike the ecclesiastical prince in Brixen, Archduke Ferdinand II (†1595), at a time when secular rule was increasingly emancipating itself from the ecclesiastical one, enjoyed the German hymn and championed its preservation when brought into line with the old religion. After the first publication of a hymnbook: Gesangbuechlin, darinnen die alte catholische Gesäng und Melodeyen sampt derselben restituierten recht unverfälschten Texten zusammengezogen [...]
(Innsbruck: Hans Paur 1587, RISM B/VIII/1 158705), the ruler of the land of Tyrol initiated the printing of a hymnbook expressly designated as Catholic: Catholisch Gesangbuechlein [...] Der Jugend und allen Liebhabern catholischer Religion zu gutem in dise Ordnung zusamen gebracht (Innsbruck: Hans Paur 1588, RISM B/VIII/1 158805). Of the 69 songs it contains, partly based on hymnbooks from Munich (1586), Bautzen (Leisentritt/1567) and Cologne (Ulenberg/1582), 57 are printed with melodies.[78] Prince-Bishop Christoph IV Andreas von Spaur contributed to the preservation of the German hymn with his Sacerdotale Brixinense (Innsbruck: Daniel Paur “Agricola” 1609), in which some German songs such as “Christ ist erstanden” were included. In the Tannheimer Valley German hymns were not adopted until the beginning of the 19th century for it belonged to the Augsburg Diocese until 1816 and obeyed that diocese’s own liturgical ordinances.[79] The scholar Hippolyt Guarinoni (1571-1654) of Hall, who greatly appreciated “plainsong and figured music according to the old and glorious, as well as always commendable practice of the Catholic Church,” paid no heed to the “terrible little German songs” in the church, which seemed to him “no different from the cats on the rooftops at night or the dogs howling amongst themselves, like the practices among the Jews.”[80]
In the first decades of the 16th century Anabaptist hymns were widespread in the Lower Inn Valley, the Wipptal and the Pustertal. Around 1528 for example, Hans Probst in Schwaz wrote “Wo sol ich mich hinkehren” to the tune of “Ich het mir fürgenomen.” Georg Grünwald, burnt at the stake in Kufsteinin 1530, used to sing “Kommt her zu mir spricht Gottes Sohn” to the tune of the “Lindenschmiedweise” of about 1490.[81] Calvinists sang their own hymns in the early 18th century in Sankt Maria in the Münstertal under the direction of their preacher.[82]
German hymns sung by the congregation were reintroduced in the course of Emperor Joseph II’s church reforms, not least by way of compensation for the restrictions on instrumental music. In 1791 Emperor Leopold summoned the bishops to have new hymns written for devotions.[83]
A collection of 141 German hymns edited by the beneficiary of the Innsbruck parish (Pfarrbenefiziat) Josef Pegger (*1809) issued in five parts (Abtheilungen) was published by Carl Alexander Czichna in Innsbruck around 1848. For the course of the Church year, it contained pleasing settings of four-part songs with organ accompaniment that were easy to perform. They were by Tyrolean composers such as Johann Josef Kliebenschädl OFM (1811-1871), Michael Sebastian Pegger (1806-after 1883), Georg Benedikt Pichler (1800-1884), Stefan Stocker (1795-1882, pseudonym “L. B. Est”), Josef Gregor Zangl (1821-1897) and others. Announced and recommended in the Catholic paper, Katholische Blätter aus Tirol of 29 August 1848, this music was purchased by most of the parish choirs in the province. Some of these hymns are still widely known as folk songs (Volkslieder), such as “Ž”.
The decline of church music in the 19th century had been preceded by a long prime. This is documented for instance by the inventories of musical instruments and written and printed music of the parish churches. A list dating from 1669 of the printed music used at the parish church in Hall enumerates 98 items. The main repertoire was provided by Johann Stadlmayr. Besides works by other composers belonging to the cultural circles of Hall and Innsbruck, such as Ambrosius Reiner and Georg Piscator, there were several by others from monasteries and aristocratic and royal residences in southern German regions, as well as by many Italians, such as Giovanni Battista Buonamente, Ercole Porta, Giovanni Ceresini, Claudio Monteverdi, Giovanni Antonio Rigatti, Lodovico Grossi Viadana.[84] The music archive of the parish church of Schwaz, which had two hundred printed works alone, had similarly structured holdings. New acquisitions in the 18th century further increased the proportion of south German composers represented. The parish church in Meran in 1696 possessed, besides twelve string and eight wind instruments, including three “nun’s trumpets” (Nonnentrompeten, i.e. tromba marina) and one cornett, in addition to timpani and a drum, an impressive collection of written and printed music with which to make church music there. Vocal and instrumental masses by Giovanni Felice Sances, Giovanni Paolo Colonna, propers, psalms, hymns, antiphons and other pieces for liturgical use by Andreas Hofer, Georg Schmelzer, Ambrosius Reiner, Johann Stadlmayr, Christian Erbach, Gregor Aichinger, Giovanni Buonaventura Viviani, Maurizio Cazzati, Giovanni Battista Vitali, Giovanni Pierluigi da Palestrina and countless other representative masters were performed in the 17th century in St Nikolaus. Sonatas “serving both halls and altars” (tam aris quam aulis servientes) by Heinrich Ignaz Franz Biber, sonatas by William Young, Giovanni Buonaventura Viviani, Giovanni Battista Vitali, church sonatas by Giovanni Maria Bononcini and symphonies by Giuseppe Torelli were also represented, among others. Later lists of written and printed music dating from 1723 and 1823 demonstrate that church music in Meran continued to be oriented on contemporary musical production. In the 19th century Meran possessed works by the major local composers, such as Johann Baptist Gänsbacher, Martin Goller, Josef Alois Holzmann, “Ladurner,” Wilhelm Lechleitner CRSA, Matthäus Nagiller, Josef Netzer, Stephan Paluselli OCist., Jakob Schgraffer, Nonnosus Madlseder OSB (who was born in Meran), Stefan Stocker (pseudonym “L. B. Est”) and others, in addition to those by the great trendsetters of southern Germany, Vienna, Bohemia, the masters of Viennese classicism Joseph Haydn, Wolfgang Amadé Mozart, Ludwig van Beethoven and their contemporaries such as Anton Diabelli and Joseph Eybler.[85]
In the first half of the 19th century masses by Haydn and Mozart sometimes found their way to smaller country churches, for example in Kaltern. They were often adapted to the respective capacity for performance, that is, simplified to facilitate playing, given different instrumentation, or shortened. Around 1800, masses by Theodor Grünberger OESA, Johann Melchior Dreyer, Evermod Groll OPraem., Eugen Pausch OCist., and others were on the program in Kaltern. In Deutschnofen in the 19th century one could also hear pieces by the local organist Paul Prantner (1802-1880) at divine services, as well as parodies of Mozart, Rossini and Weber operas. In Vils sacred arias by Pasquale Anfossi, Domenico Cimarosa, Giovanni Paisiello, Antonio Sacchini and Giuseppe Sarti could be heard around 1800. These were probably all arrangements of operas and hence ultimately a stumbling block to adherents of the Cecilian movement.
Usually the choirmasters (Chorregenten) and organists saw to the acquisition of new music, either by copying it themselves or purchasing it. Hence, for instance in 1655, the Kitzbühel parish acquired “Christmas carols” (Weihnacht Gsänger) by Christoph Sätzl and probably also his collection of five-part German Christmas carols, Bethlehemitischer Jubel oder Catholische Weynacht Gesaenger [...], published by Michael Wagner in Innsbruck in 1640 (RISM A/I S 303), as well as motets by Maurizio Cazzati. The parish choir of Girlan, for example, bought various kinds of printed music in 1849 at Johann Thuille’s art and music shop in Bozen.[86]
Works composed by inferior imitators often came to be performed in the church choirs of Tyrol after 1800. Above all, the “short and easy masses for rural choirs,” the masses in an “easy church style”and “country masses” (Landmessen) were often lacking in musical or liturgical value. Efforts to establish a St Cecilia’s Society had already begun in Innsbruck in 1855. Its objective was to improve church music in the province.[87] With the same aim in mind, the teacher and organist Alois Rieder (1836-1882), the cleric and composer Alois David Schenk (1839-1901) and the Bozen parish organist Franz Schöpf (1836-1915) jointly founded the St Cecilia’s Society in Gries in 1862. As the head of the society that was later transferred to Bozen, Alois Rieder had considerable influence on church music in the Tyrol. His easily realised compositions attracted attention in Cecilian circles beyond the Tyrol. From 1874 on Alois David Schenk directed the church choir at San Marco in Trent according to the new ideas of reform introduced by Anton von Mairl (1810-1860), a pupil of Caspar Ett in Munich. Franz Schöpf tried to attain a plain but not all too strict Cecilian style in his approximately 150 sacred compositions.[88] In Brixenthe foundation of a “Cäcilia”society followed in 1863. In 1867 Innsbruck was the wellspring of preparations for the foundation of the General German Society of St Cecilia.[89]
The decisive position of the Tyrol in the Cecilian movement is indicated by the many meetings of the society, including the international ones, that took place in the province afterwards. When Ignaz Martin Mitterer (1850-1924) was the director of the cathedral music in Brixen (1885-1917) the general meeting of the General German Society of St Cecilia was held there in 1889. Mitterer’s enthusiasm about the renewal of church music had been aroused by, among others, the Brixen cathedral organist and composer Josef Gregor Zangl (1821-1897), who was receptive to reform, as well as by his studies with Franz Xaver Haberl and Michael Haller in Regensburg (from 1876), which was the actual center of reform, his further education in Rome, and his position as the director of the cathedral music in Regensburg (1882-1885). With the Brixen cathedral choir he brought about a flowering of a cappella music and abolished the works of Viennese classicism as well as the female voices. As a composer however, he also composed masses with instrumental music, as did Zangl.
Mitterer arranged several works by the classic composers of vocal polyphony for the modern use of his day, including the “
Missa Papae Marcelli” by Giovanni Pierluigi da Palestrina, the Missa “Puisque j’ay perdu” by Orlando di Lasso, a requiem by Giovanni Francesco Anerio, and motets by Jacobus Gallus. He continued to tolerate the Kirchensinger in rural areas and thus represented the moderate line of Cecilianism.[90] Mitterer supported the municipal parish organist Wunibald Briem of Feldkirch, which belonged to the Diocese of Brixen, and his composer friend and music teacher at the Vincentinum in Brixen Johann Höllwarth (1852-1916) with the publication of the diocesan hymnbook, Brixener Diözesan-Gesangbuch (1st edn Felician Rauch, Innsbruck 1903; 2nd edn 1906). The reform of church music was a major concern at the Brixen Synod of 1900. The new hymnbook was now also to give new impetus to the singing of the congregation (Volksgesang) and to standardize it in all parishes throughout the diocese. Corresponding to the intentions of Cecilianism, the first part of the book contained plainsong (Choralgesänge) “as the fundamentals and basis of all Catholic church music.”[91]
Cecilian efforts had been at hand in the Tyrol as early as in the first decades of the 19th century. At that time the diocese had already wanted to issue a Volksgesangbuch, standardized for the whole bishopric, to improve church singing. For this enterprise, the clergymen of the province were summoned by Bishop Bernhard Galura in 1836 to submit “the hymns that are well liked and suitable for the people” to the diocesan authorities in Brixen. The councilor of the consistory, music pedagogue and composer Josef Alois Ladurner (1769-1851) was given the job of reviewing the pieces sent in. A brother of the pianist and composer Ignaz Anton Ladurner (1766-1839) working in Paris, Josef had studied counterpoint in Munich under Josef Graetz (1760-1826) besides philosophy and theology. The latter, who had striven for a kind of church music ennobled by simplicity long before the Cecilians, was the most sought-after teacher of composition in Munich. He may have been the source of the ideas of reform coming up in Josef Alois Ladurner – and hence in the diocesan authorities. Most of the hymns sent in came from the deaneries of Bruneck and Stilfes, usually with the text alone because no one was able to write down the melodies. They stemmed from the repertoire of the Kirchensinger and from manuscript copies of printed hymnbooks such as Der singende Christ by Wilhelm Hausen SJ. The printing of the new hymnbook never took place.[92]
At the 20th general meeting of the General German Society of St Cecilia in Innsbruck in 1911, the parish choir of St Jakob performed under its conductor Lambert Streiter (1869-1947) with a Cecilian program.[93]
Incorporated in the two Cecilian parent societies of the Brixen and Trent dioceses were district and local branches in the towns and in the country. Their activities, depending on the abilities of their executives and members, comprised regional meetings of the society, church music productions that served as guidelines, and pedagogical activities. The society in Brixen, which elected Josef Gregor Zangl as its Präses (head of the church assembly) in the spring of 1875, had the Musica ecclesiastica series comprising what he considered recommendable church music published by Boessenecker in Regensburg in this period. That same year the society in Bruneck under Präses Alois Rieder registered 54 members in its singing school alone. The choirs of Taufers, Mühlwald and Terenten were also associated with that branch. A society library in Bruneck provided printed music listed in the catalog of the Society of St Cecilia. Ratschings, too, had a singing school for a while. The parish choir of Sterzing, in 1875, confined itself to performing mass with vocal music at Advent and Lent.[94]
The district branch in Bozen (including Kaltern and Sankt Pauls) complained in 1875/76 that its efforts had stagnated. In the local Ritten branch around the same time there was “little vitality” as a result of the transfer of the teacher and executive member Alois Zöggeler to Hafling. Zöggeler successfully trained a choir in the latter, consisting of three sopranos and tenors each, four alto and five bass voices, although no St Cecilia’s Society had as yet been registered in the Burggrafenamt area (around Meran). In 1877 the reporter of the specialist musical journal Musica sacra commented on the music during Holy Week in the parish church of Meran with compositions by Franz Xaver Witt, the founder of the General German Society of St Cecilia: “The voices are not unusual, the Tyrolean dialect is very pronounced; but it is a well-trained choir withP. Magnus [Ortwein] in charge. I have never heard plainsong so subtly nuanced with the most detailed dynamics, not even in Regensburg.”P. Magnus Ortwein OSB (1845-1919) of Marienberg Abbey, himself a composer, adamantly defended the ideas of Franz Xaver Witt. He also gave music lessons at the Benedictine secondary school in Meran, e.g. to the future composer and music pedagogue Josef Lechthaler (1891-1948) of Rattenberg in 1902. On Maundy Thursday in 1877 “even the Italians were moved” by Witt’s “Stations of the Cross” [opus 32b?] performed in San Marco in Trent. The faithful had been given textbooks with German translations in order to facilitate comprehension. A “Popule meus” by Tomás Luis de Victoria and a “Christus factus” by Jacobus Gallus framed the performance that the parish priest of the nearby Peterskirche wanted repeated there on Good Friday, “a completely surprising request for the much maligned German choir.” Witt had been in Trent briefly himself in March and May 1870 to give a lecture on church music and hold choir rehearsals, as well as in Brixen and Bozen.[95]
The repertoire of the choirs of the district branch of Kastelruth (Kastelruth, Völs, Tiers, Steinegg) in 1875/76 included works by composers generally approved of by or committed to Cecilianism, such as Tomás Luis de Victoria, Giovanni Pierluigi da Palestrina, Caspar Ett, Karl Greith, Johann Evangelist Habert, [Johann Georg?] Mettenleiter, Heinrich Oberhoffer, Johann Gustav Eduard Stehle, Johann Georg Wesselack, Franz Xaver Witt, and not least by the Tyrolean representatives Ignaz Martin Mitterer, Alois Rieder, Franz Moll (about 1829-1908), and Franz Schöpf. The choirmaster (Chorregent) of Sankt Ulrich in Gröden, on the other hand, “still had,” according to the reformers, “very strange conceptions of true church music.” The choirs of the societies in Mals including Schleis, Burgeis, and Marienberg, tried to sing “in the liturgical sense as well as they could,” and in the choirs of Nauders, Graun, Schlinig and “Haid” (Sankt Valentin auf der Haide) “the ecclesiastical trend was evident,” whereby each of these towns maintained a singing school. The Mals society supported the first attempts at reform in the Vinschgau, where there was, however, in part a lack of able musicians: Laas had no organist, which is why “every organist passing through [...] would be picked up and sat on the ‘box’.” In Tschars the teacher and organist was already aged; the organist of Schlanders lacked the support of the clergy. The organist of Latsch took advantage of the opportunity of the reform to form a new choir because the “gang” of townspeople “went on strike.” When “the old bellowers” wanted to “force their way back into the choir” the diocesan authorities forbid it. From then on masses by Adolf Kaim, Johann Baptist Molitor, Felix Uhl and Franz Schöpf were heard, as were plainsong and falsobordone (faburden) settings at vespers.[96] As a rule the clergy played a prominent part in the implementation of the reforms: the St Cecilia’s Society of Hall, which had 106 members in 1875, was headed at the time by Benedikt Werndle (1830-1880), a Premonstratensian canon in Wilten Abbey, as its Präses, and the St Cecilia’s Society of Schwaz-Fügen by P. Martin Lutz OFM (*1842). The society of Matrei on the Brenner Pass was inspired by the pastoral authorities in Gschnitz and Sankt Jodok, as were the societies of Sillian-Lienz in Anras, Außervillgraten, Hollbruck, Luggau and in Prutz. Flaurling, Rum, Stans, Kufstein, Schattwald and others were venues of Cecilian church music in those days.[97]
Many of the Church feast days were celebrated with festive processions. Performed scenes, carved figures, guilds, rifle squads and marksmen (Schützen), and musicians enhanced the procession of the celebrating congregation. At Corpus Christi processions in Klausen in 1492, the schoolmaster and the Latin school pupils preceded the Most Holy Sacrament, singing “Homo quidam” and “Lauda Sion.” In 1559 on the same occasion the schoolmaster was a “Choralist at the same time.”At Innichen in the 17th century “the boys in surplices and cloaks with bells and cymbals” joined the Corpus Christi procession and sang “figured song and plainsong” (figuraliter seu choraliter) at the altars. At the subsequent high mass they were to “sound the bells and cymbals” during the Ecce panis sequence. From 1472 on, the Bozen parish church provost’s accounting lists the “Hofierer” (itinerant musician) who made music in front of the Sanctissimum. In the second half of the 17th century a Corpus Christi procession with 67 tableaux vivants took place in Bozen. They were accompanied by the usual musicians, with an additional two trumpeters and one timpanist escorting eight hussars. Several groups of two trumpeters and one timpanist each completed the Bible scenes staged in Innsbruck in 1747, in particular those showing the Three Magi and King Herod. Marching at the front of the train were the “required drummers (Trumblspiller)” and “other musicians.” In Kitzbühel in the 16th century the church provost regularly remunerated Vorsänger, singers and minstrels (Spielleute) for collaborating in the Corpus Christi procession. In 1561 three miners (Knappen), possibly from Jochberg, “who had sung the parts of the virgins” (“so den Junkfrauen vorgesungen haben”
), were paid 15 kreuzer “for provisions.” In 1565 violinists and boys took part to “strike the cymbal” (Zymbalschläger). The church provost of Partschins ordered two violinists for the Feast of Corpus Christi in 1578. In Prutz “the minstrels were paid a drink when they performed in the procession on the Feast of the Holy Blood.” In 1583 “three pipers (Pfeiffer) came from Döffereggen (Defereggen) to play (gepfiffen) before the Most Holy Sacrament” to Matrei in the eastern Tyrol for Corpus Christi. Pipe (Schwegelpfeifer) and tabor players joined the procession in Deutschnofen in 1804, with a reed-organ presumably serving to accompany the singers. A small organ was also taken along in Lienz in the 17th century, and a “little organ” in Sillian around 1869, complete with someone to operate the bellows.[98] The church invoices of Vils in the middle of the 19th century list separate expenses for “carrying the positive” and, for instance in 1825, a sum of 12 kreuzer for the “kettledrum carrier.”[99] A portative organ of the second half of the 18th century that used to be carried along in processions has been preserved in the parish church of Elbigenalp.
Besides the Corpus Christi processions there were others with similar formations of musicians on the occasion of saint’s days, translations of relics, pilgrimages, Rogation and Cross days, and at Easter and Ascension Day. Religious brotherhoods celebrated their commemoration days with processions of their own. Taking part at the foundation ceremony of the Marian Brotherhood of “Maria vom guten Rat” in Sankt Andrä in Lienz in 1767 were “several musicians with trumpets and kettledrums” and, mentioned separately, the town watchmen (Turner). For its procession on Rosary Sunday in the 18th century, the Confraternity of the Rosary in Kitzbühel hired, in addition to the local musicians, many others from Reichenhall and Mittersill. It was popular to insert sung rhymes instead of the decades of Aves in the devotions of the Rosary.[100] On Palm Sunday in Innichen in the 17th century the people processed with their neighbors from Sexten from the collegiate church to the parish church; the “Ludimoderator” (who directed the production) and the choirboys performed the responses and antiphons. Dramatic scenes with antiphonal choral singing around the carved figure of Christ riding the female donkey were staged in the collegiate church on the occasion. In the 19th century the choirboys went through Innichen after the service with the figure of Christ on the donkey, which had a slit where people could drop in money for them. The people were often presented Passion scenes in processions during Holy Week, for example on Good Friday in Brixen since 1609, where the solo and choral singing of the actors often attained theatrical levels. The laments of the flagellants moved the audience.[101] When the participants in the Good Friday procession in Innichen came back into the church, the clerics intoned the penitential psalm “Miserere” followed by the hymn “Rex Christe,” with alternating Latin verses sung by the priests and German verses by the people. The theatrical staging of processions with music also appears around the middle of the 18th century in Bozen, where the tableaux vivants and the litters carried in procession on Holy Saturday had additional “singing angels” or “singing virgins,” sometimes “triumphant” sometimes “lamenting,” as well as the Virgin Mary singing a lament and a choir with musicians (Musicantenchor).[102]
The dramatically elaborated liturgy grew into increasingly expanded performances of the teachings of the Church. They took on a dramatic life of their own. From the original venues such as churches and cloisters they were moved to stages. The Passions of Sterzing of 1486 and 1496 were accompanied by music. Songs underlined the expressive power of the individual actors and the subdivision of the play into scenes. Two Resurrection plays in Vigil Raber’s written copy of the Sterzing Passion of 1514 contain songs from the Easter Plays in the Debs Codex. Also contained in the Debs Codex is a song in the synagogue that appears in the Bozen Passion of 1495. Marian laments, angelic song, and the song of Christ on the Cross impressed the Lord’s act of redemption upon the audience. The Bozen Passion Play of 1514 took seven days to perform. The role of Mary was played by a young cleric, dressed and made up to sing the part of the Virgin.[103] Vigil Raber staged German Passion plays in 1514 in Cavalese and in Trent. The Brixen Passion of 1552 included melodies in the Easter scenes that have been written down complete with choral notation and precise text underlay.[104] The schoolmaster, pupils, singers and instrumental ensemble (Kantorei) usually participated as both singers and players. The Sterzing Passion Play of 1746, handed down as a fragment, begins with an “aria on David.” After the prohibition of Passion plays by Empress Maria Theresia in 1751, the beginning of the 19th century saw a revival of plays such as those in Thiersee and Erl. For Thiersee the choir master of Kufstein, Johann Obersteiner (1824-1896) wrote music to the text by Father Robert Weißenhofer OSB (1843-1900), first performed in 1885. For Erl the blacksmith Jakob Mühlbacher (1792-1876) revised the text and wrote the music for it. From 1812 to 1814 “the great sacrifice onGolgotha” was performed in Telfs with “musical persons” and “musical entr’actes.” A Resurrection hymn from the play revised by Wilhelm Lechleitner was sung in the parish church of Telfs on Easter Sunday long into the 19th century. The Passion Play Theatre in Erl, newly built from 1909 to 1912, was equipped with an organ.[105]
Christmas and Ascension Day provided further occasions for plays. The Sterzing Christmas Play of 1511 begins with angelic singing in Vigil Raber’s version. Baby Jesus introduces himself in song: “Jesu Christ pin ich genant” to the tune of the “Resonet.” The carol “In dulci jubilo” that already decorates an initial in the Neustifter Chorbuch (choir-book) of 1442 and the lullaby “Joseph lieber Gemahl mein” from this play still belong to the commonly known Christmas carols today. After the “Auffart Spill” (Ascension Play) in 1548 in the parish church of Sterzing the actors were given food, “complete with the musical ensemble (Canntterej) they were 16 people.”[106]

Fussnoten

[36] Cf. Herbert POST, Schuelmayster, Cantores und Singknaben im Landt im Gepirg: Ein Beitrag zur Geschichte des Schulgesanges in Tirol [...] (Innsbrucker Hochschulschriften A/1), Neu-Rum near Innsbruck 1993. -
Cf. Monika OEBELSBERGER, “Zwischen Kirche, Wirtshaus und Schulstube: Musik im Leben der Tiroler Lehrer um 1800,” Musikpädagogik: Tradition und Herausforderung, Festschrift für Josef Sulz zum 65. Geburtstag, ed. Monika Oebelsberger et al. (Wort und Musik: Salzburger Akademische Beiträge 30), Anif near Salzburg 1996, p. 37ff (this collection includes a précis of Herbert Post’s study, p. 22ff).

[37] Walter SENN, Aus dem Kulturleben einer süddeutschen Kleinstadt: Musik, Schule und Theater der Stadt Hall in Tirol in der Zeit vom 15. bis zum 19. Jahrhundert, Innsbruck etc. 1938, p. 34;
Alois Baurschafter, “Von der Musikalität im Burggrafenamt,” Meraner Jahrbuch 7 (1948) p. 53.

[38] Walter SENN, “Richtigstellungen,” Der Schlern 23 (1949) p. 102ff;
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;
Lambert STREITER, “Die Innsbrucker Pfarrkantorei,” Pfarrblatt für Innsbruck, Hötting und Mühlau 10, no. 5 (1929) p. 8;
Jakob PROBST, Beiträge zur Geschichte der Gymnasien in Tirol, Innsbruck 1858, p. 16, 19, 21;
Anton NOGGLER, “Beiträge zu einer Geschichte der Volksschule in Deutschtirol bis zur Mitte des 18. Jahrhunderts,” Bericht der K. K. Lehrer- und Lehrerinnenbildungsanstalt zu Innsbruck über die Schuljahre 1882/83 bis 1884/85, Innsbruck 1885, p. 33ff;
Bruno MAHLKNECHT, “Kleine Musikgeschichte Südtirols,” Südtiroler Sängerbund, Festschrift zum VIII. Bundessingen, Bozen 1969, p. 93, 97;
cf. Klaus BRANDSTÄTTER, “Schulwesen,” Eines Fürsten Traum: Meinhard II. - Das Werden Tirols exh. cat. Tiroler Landesausstellung 1995, Dorf Tirol and Innsbruck 1995, p. 517ff.

[39] Walter SENN, “Pfarrschule und Kirchenchor: Die Musikkapelle des Damenstiftes,” Haller Buch (Schlern-Schriften 106), Innsbruck 1953, p. 450;
Walter SENN, “Maximilian und die Musik,” exh cat. Maximilian I. Innsbruck, Innsbruck 1969, p. 79;
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. 178;
Erich EGG, “Die Stöckl-Offizin in Sigmundslust bei Schwaz,” Veröffentlichungen des Tiroler Landesmuseum[s] Ferdinandeum 50 (1970) p. 24ff;
Konrad GLÖCKNER, “Das deutsche Hymnenbuch ‘Hymnarius-Sygmundslust 1524’,” Veröffentlichungen des Tiroler Landesmuseum[s] Ferdinandeum 50 (1970) p. 54ff;
Franz WALDNER, “Petrus Tritonius und das älteste gedruckte katholische Gesangbuch,” Monatshefte für Musik-Geschichte 27 (1895) p. 13ff;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 247;
Oswald SAILER, “Chor und Choralgesang in der Geschichte Südtirols bis 1876,” Der Schlern 50 (1976) p. 194;
Georg SCHÜNEMANN, Geschichte der deutschen Schulmusik, Leipzig 1928, p. 67ff.

[40] Walther LIPPHARDT, “Musik in den spätmittelalterlichen Passionsspielen und Osterspielen von Bozen, Sterzing, und Brixen,” Tiroler Volksschauspiel, ed. Egon Kühebacher, Bozen 1976, p. 128, 137ff;
For an edition of the Debs Codex, see Walther LIPPHARDT, ed., Die geistlichen Spiele des Sterzinger Spielarchivs [Debs-Codex] 1, Bern etc. 1981, p. 429ff, 459ff;
Walter SENN, “Richtigstellungen,” Der Schlern 23 (1949) p. 102f;
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. 173;
Oswald SAILER, “Chor und Choralgesang in der Geschichte Südtirols bis 1876,” Der Schlern 50 (1976) p. 194;
Rolf BERGMANN, Katalog der deutschsprachigen geistlichen Spiele und Marienklagen des Mittelalters, Munich 1986, p. 296-339, 457-459;
Andreas TRAUB, “Der Debs-Codex als musikalische Quelle,” Mittelalterliches Schauspiel, Festschrift für Hansjürgen Linke zum 65. Geburtstag, ed. Ulrich Mehler and Anton H. Touber, Amsterdam 1994, p. 339ff;
cf. Rainer GSTREIN, “Anmerkungen zu den Gesängen der Osterspiele des Sterzinger ‘Debs’-Codex,” Osterspiele: Texte und Musik, Acts of the 2nd Symposium on Sterzinger Osterspiele (12-16 April 1992), ed. Max Siller (Schlern-Schriften 293), Innsbruck 1994, p. 91ff (with further references).

[41] Walter SENN, “Adam Haslmayr: Musiker, Philosoph und ‘Ketzer’,” Innsbrucker Beiträge zur Kulturwissenschaft 11 (1965) p. 379ff;
Walter SENN, “Haslmayr, Adam,” Neue Deutsche Biographie, vol 8, Berlin 1969, p. 36f (with further references);
Walter SENN, “Pfarrschule und Kirchenchor: Die Musikkapelle des Damenstiftes,” Haller Buch (Schlern-Schriften 106), Innsbruck 1953, p. 451;
Hans Joachim MOSER, Die Musik im frühevangelischen Österreich, Kassel 1954, p. 75ff;
Anton DÖRRER, “Die Tragödie des Bozner Tondichters Adam Haslmair,” Der Schlern 20 (1946) p. 43ff;
Anton DÖRRER, “Guarinoni als Volksschriftsteller,” Hippolytus Guarinonius (1571-1654) (Schlern-Schriften 126), Innsbruck 1954, p. 140;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 250, 256;
Anton DÖRRER, Tiroler Umgangsspiele: Ordnungen und Sprechtexte der Bozner Fronleichnamsspiele und verwandter Figuralprozessionen [...] (Schlern-Schriften 160), Innsbruck 1957, p. 167f;
Anton DÖRRER, Bozner Bürgerspiele: Alpendeutsche Prang- und Kranzfeste I (Bibliothek des Literarischen Vereins in Stuttgart 291), Leipzig 1941, p. 212ff.
Walter SCHNEIDER, “Adam Haslmayr, ein Bozner Schulmeister, Musiker und Theosoph,” Der Schlern 70 (1996) p. 42ff. -
Cf. Carlos GILLY, Adam Haslmayr, Der erste Verkünder der Manifeste der Rosenkreuzer (Pimander: Texts and Studies published by the Bibliotheca Philosophica Hermetica 5), Amsterdam 1994.

[42] Walter SENN, “Richtigstellungen,” Der Schlern 23 (1949) p. 104. -
Cf. “Aus den alten Ratsprotokollen der Stadt Bozen,” Tiroler Volksblatt (23 December 1912) p. 1ff.

[43] Richard VOLLBRECHT, “Das Pfarr-Singknaben-Institut in Bolzano,” Dolomiten (25 April 1931) p. 1f;
Johanna BLUM, “Bozen als Musikstadt,” Jahrbuch des Südtiroler Kulturinstitutes 8 (1973) p. 411.

[44] Lambert STREITER, “Die Innsbrucker Pfarrschule,” Pfarrblatt für Innsbruck, Hötting und Mühlau 9 (1927/28) no. 1, p. 5ff; no. 2, p. 6ff; no. 4, p. 5ff; no. 5, p. 8f;
Lambert STREITER, “Die Singknaben von St. Jakob,” Pfarrblatt für Innsbruck, Hötting und Mühlau 11 (1930) no. 4, p. 8f; no. 5, p. 7ff; no. 6, p. 5ff;
Lambert STREITER, “Die Innsbrucker Pfarrkantorei,” Pfarrblatt für Innsbruck, Hötting und Mühlau 10 (1929) no. 4, p. 6f; no. 7, p. 7f; no. 9, p. 8;
Lambert STREITER, “Der Pfarrchor,” Die Pfarrei und die Pfarrkirche von St. Jakob, Festschrift zum 200jährigen Weihejubiläum, ed. Josef Weingartner, Innsbruck 1924, p. 82ff;
Peter WEBHOFER, “500 Jahre Kirchenmusik in der St. Jakobskirche zu Innsbruck,” Singende Kirche 14 (1967) p. 148ff. -
Cf. Wolfgang STEINER, “Die Lateinschule der St. Jakobs-Pfarrkirche in Innsbruck: ihr Aufstieg und Niedergang in der Zeit von 1420 bis 1634,” Stadt und Kirche, ed. Franz-Heinz Hye (Beiträge zur Geschichte der Städte Mitteleuropas 13), Linz 1995, p. 149ff.

[45] Bayerische Staatsbibliothek, Katalog der Musikhandschriften, 1: Chorbücher und Handschriften in chorbuchartiger Notierung, catalogued by Martin Bente, Maria Louise Göllner, Helmut Hell and Bettina Wackernagel (Kataloge Bayerischer Musiksammlungen 5/1), Munich 1989, p. 299ff;
Ewald FÄSSLER, “Zur Lebensgeschichte des Nicolaus Leopold aus Innsbruck,” Festschrift Walter Senn zum 70. Geburtstag, ed. Tiroler Landesmuseum Ferdinandeum, Munich and Salzburg 1975, p. 29ff;
Thomas L. NOBLITT, “Das Chorbuch des Nikolaus Leopold (München, Staatsbibliothek, Mus. Ms. 3154): Repertorium,” Archiv für Musikwissenschaft 26 (1969) p. 170ff;
Thomas L. NOBLITT, “Die Datierung der Handschrift Mus. ms. 3154 der Staatsbibliothek München,” Die Musikforschung 27 (1974) p. 36ff;
Hildegard HERRMANN-SCHNEIDER, “Musikalische Intermezzi,” Bayerisch-Tirolische G’schichten ... eine Nachbarschaft, exh. cat. Tiroler Landesausstellung 1993, vol. II, Beiträge, Innsbruck 1993, p. 118;
Edition: Der Kodex des Magister Nicolaus Leopold; Bay. Staatsbibliothek München Mus. ms. 3154, ed. Thomas L. Noblitt, Part One: no. 1-59 (Das Erbe Deutscher Musik 80/Abteilung Mittelalter 17), Kassel etc. 1987 (see “Vorwort” p. VIIff); Part Two: no. 60-99 (Das Erbe Deutscher Musik 81/Abteilung Mittelalter 18), Kassel etc. 1993; Part Three: no. 100-129 (Das Erbe Deutscher Musik 82/Abteilung Mittelalter 19), Kassel etc. 1994; Part Four: no. 130-174; and Kritischer Bericht (critical comments) and indexes of Parts 1-4 (Das Erbe Deutscher Musik 83/Abteilung Mittelalter 20), Kassel etc. 1996.

[46] Walter SENN, Aus dem Kulturleben einer süddeutschen Kleinstadt: Musik, Schule und Theater der Stadt Hall in Tirol in der Zeit vom 15. bis zum 19. Jahrhundert, Innsbruck etc. 1938, p. 33ff;
Walter SENN, “Pfarrschule und Kirchenchor: Die Musikkapelle des Damenstiftes,” Haller Buch (Schlern-Schriften 106), Innsbruck 1953, p. 456f;
Jakob PROBST, Beiträge zur Geschichte der Gymnasien in Tirol, Innsbruck 1858, p. 91.

[47] Erich EGG, “Das kirchliche Musikleben im alten Schwaz,” Tiroler Heimatblätter 37 (1962) p. 44ff;
Erich EGG, “Schwaz vom Anfang bis 1850,” Stadtbuch Schwaz: Natur, Bergbau, Geschichte, ed. Erich Egg et al., Schwaz 1986, p. 149, 164, 166, 183;
Paul KNERINGER, “Die Gedächtnisfeier für Erzherzog Philipp den Schönen (†25. September 1506) in Schwaz,” Forschungen und Mitteilungen zur Geschichte Tirols und Vorarlbergs 10 (1913) p. 74f.

[48] Anton NOGGLER, “Beiträge zu einer Geschichte der Volksschule in Deutschtirol bis zur Mitte des 18. Jahrhunderts,” Bericht der K. K. Lehrer- und Lehrerinnenbildungsanstalt zu Innsbruck über die Schuljahre 1882/83 bis 1884/85
, Innsbruck 1885, p. 7f;
Lambert STREITER, “Die Innsbrucker Pfarrkantorei,” Pfarrblatt für Innsbruck, Hötting und Mühlau 10, no. 5 (1929) p. 8;
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. 168. -
Cf. G. TINKHAUSER, Topographisch-historisch-statistische Beschreibung der Diöcese Brixen 1, Brixen 1855, p. 172. -
Cf. Herbert POST, Schuelmayster, Cantores und Singknaben im Landt im Gepirg: Ein Beitrag zur Geschichte des Schulgesanges in Tirol [...] (Innsbrucker Hochschulschriften A/1), Neu-Rum near Innsbruck 1993, p. 19ff.

[49] Jakob PROBST, Beiträge zur Geschichte der Gymnasien in Tirol, Innsbruck 1858, p. 122f;
Bruno MAHLKNECHT, “Kleine Musikgeschichte Südtirols,” Südtiroler Sängerbund, Festschrift zum VIII. Bundessingen, Bozen 1969, p. 91;
Philipp MAYER, “Musik und Volksmusik in Tirol und Vorarlberg,” Die österreichisch-ungarische Monarchie in Wort und Bild, vol.: Tirol und Vorarlberg, Vienna 1893, p. 379. -
Cf. Josef GELMI, Geschichte der Stadt Brixen, Brixen 2000, p. 98, 149, 164.

[50] Quoted as in Karl MAISTER, “Kirchenmusik zu Matrei i[n] O[sttirol] in alter Zeit,” Osttiroler Heimatblätter 1, no. 14 (1924) p. 4.

[51] Bruno MAHLKNECHT, “Kleine Musikgeschichte Südtirols,” Südtiroler Sängerbund, Festschrift zum VIII. Bundessingen, Bozen 1969, p. 97;
Hermann EGGER, Die Entwicklung der Blasmusik in Tirol, PhD Innsbruck 1952, p. 23;
Karl Franz ZANI, 150 Jahre Musikkapelle Girlan, Festschrift, Girlan 1983, p. 9.

[52] Franz WALDNER, “Daniel Herz, ein tirolischer Orgelbauer des XVII. Jahrhunderts,” Zeitschrift des Ferdinandeums für Tirol und Vorarlberg 3rd series, no. 59 (1915) p. 140f.

[53] Lambert STREITER, “Die Innsbrucker Pfarrkantorei,” Pfarrblatt für Innsbruck, Hötting und Mühlau 10, no. 5 (1929) p. 8;
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. 176;
Albert KOFLER, “Die Kirchenmusik in Kaltern nach der Errichtung der neuen Pfarrkirche im Jahre 1792,” Der Schlern 52 (1978) p. 560. -
For a facsimile of the original Latin quotation from the protocol, see Codex Clesianus, Acta Visitationum 1538 (Trent, Diocesan Archive): Festschrift 450 Jahre Pfarrchor Kaltern 1538-1988, ed. Pfarrchor Kaltern, Kaltern 1988, p. 5.

[54] Hans HEIDEGGER, “Orgeln und Orgelbauer in Margreid,” Der Schlern 47 (1973) p. 641;
Walter SENN, “Österreich/Tirol,” Die Musik in Geschichte und Gegenwart, vol. 9, Kassel etc. 1961, col. 1880.

[55] Karl MAISTER, “Kirchenmusik zu Matrei i[n] O[sttirol] in alter Zeit,” Osttiroler Heimatblätter 1, no. 14 (1924) p. 4;
Karl Franz ZANI, 150 Jahre Musikkapelle Girlan, Festschrift, Girlan 1983, p. 9;
Walter SENN, “Ein Orgelbau Eugen Casparinis: Zur Geschichte der Orgel in der Pfarrkirche Untermais/Meran,” Kirchenmusikalisches Jahrbuch 43 (1959) p. 73f;
Norbert PRANTL, Heimat Zirl: Ein Heimatbuch (Schlern-Schriften 212), Innsbruck 1960, p. 208;
Hans SIMMERLE, Kleine Musikgeschichte Deutschnofen - Eggen - Petersberg, Auer 1975, p. 49. -
For the history of church choirs in South Tyrol from the last decades of the 19th century to the present, see Hans SIMMERLE, Kirchenchöre Südtirols: Notizen, Berichte und Geschichten aus 125 Jahren, Bozen 1998.

[56] Renato LUNELLI, “Di alcuni inventari delle musiche già possedute dal coro della parrocchiale di merano,” Studien zur Musikwissenschaft 25 (1962) p. 347ff;
Walter SENN, Aus dem Kulturleben einer süddeutschen Kleinstadt: Musik, Schule und Theater der Stadt Hall in Tirol in der Zeit vom 15. bis zum 19. Jahrhundert, Innsbruck etc. 1938, p. 435.

[57] Quoted as in Ulrich CRÄMER, ed., “Eine Reise durch Schwaben, Tirol und die Rheinlande im Jahre 1503,” Alemannisches Jahrbuch (1956) p. 381. -
For the organ of the Innsbruck parish church of St Jakob (cathedral church since 1964), see
Lambert STREITER, “Der Pfarrchor,” Die Pfarrei und die Pfarrkirche von St. Jakob: Festschrift zum 200jährigen Weihejubiläum, ed. Josef Weingartner, Innsbruck 1924, p. 84f;
Alois FORER, Orgeln in Österreich, Vienna, Munich 1973, p. 28f., 182f;
Michael MAYR, “Orgeln und Orgelbauer in Tirol,” Singende Kirche 14 (1967) p. 155;
Gotthard EGGER, ed., Domorgel St. Jakob / Innsbruck: Festschrift zur Orgelweihe 1725 [...] 2000, Innsbruck 2000.

[58]Cf. Alfred REICHLING, “Burkhard Dinstlinger,” Die Musik in Geschichte und Gegenwart [...], 2nd rev. edn, Personenteil: 5, Kassel etc., col. 1085ff.

[59] Erich EGG, “Das kirchliche Musikleben im alten Schwaz,” Tiroler Heimatblätter 37 (1962) p. 42f;
Erich EGG, “Schwaz vom Anfang bis 1850,” Stadtbuch Schwaz: Natur, Bergbau, Geschichte, ed. Erich Egg et al., Schwaz 1986, p. 148;
Erich EGG, “Der Orgelbauer Maximus von Dubrau in Brixen,” Der Schlern 27 (1953) p. 280;
Manfred SCHNEIDER, Tiroler Tage für Kirchenmusik 1999 Pfarrkirche Schwaz: Johann Georg Tschortsch [op. 2/8 and op.3], CD booklet (CD: Klingende Kostbarkeiten aus Tirol 10), Innsbruck: Institut für Tiroler Musikforschung 2000. -
Heimatblätter - Schwazer Kulturzeitschrift no. 45 (2001) is a feature issue on Johann Georg Tschortsch with original articles.

[60] Ägidius FÖDINGER OFM, “Verschollene Komponisten unserer Provinz,” Spiritus et Vita Fratrum Minorum 7 (1927) p. 129 (P. Angelus Tschortsch: “ein naher Verwandter des [a close relative of] R. D. Johannes Georgius Tschortsch”);
Otto LARCHER, “Wer war Johann Georg Tschortsch?” Heimatblätter - Schwazer Kulturzeitschrift special issue 45 (2001) p. 7 (P. Angelus Tschortsch: “Bruder des [a brother of] Johann Georg Tschortsch”);
Wolfgang HOFMANN, “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 inTrnava, 16-19 October 1996, ed. Ladislav Kacic, Bratislava 1997, p. 114 (P. Angelus Tschortsch: without reference to his relationship to J. G. Tschortsch).

[61] Alfred REICHLING, “Burkhard Dinstlinger,” Die Musik in Geschichte und Gegenwart [...], 2nd rev. edn, Personenteil: 5, Kassel etc., col. 1085ff. -
For bibliography on the history of organs in the South Tyrol and Trentino, see Arnaldo MORELLI, “Storia dell’organo italiano: Bibliografia (1958-1992),” Le fonti musicali in Italia: Studi e ricerche, vol. 6 (1992) p. 62ff (by Clemente Lunelli).

[62] Albert KOFLER, “Die Kirchenmusik in Kaltern nach der Errichtung der neuen Pfarrkirche im Jahre 1792,” Der Schlern 52 (1978) p. 560;
Hans SIMMERLE, Kleine Musikgeschichte Deutschnofen - Eggen - Petersberg, Auer 1975, p. 6, 8, 14, 41;
Hubert FELDERER, “Organisten, Chorleiter und Schulmeister in Kaltern,” Festschrift 450 Jahre Pfarrchor Kaltern 1538-1988, ed. Pfarrchor Kaltern, Kaltern 1988, p. 13ff;
Walter THALER, “Musikpflege [und] Volksschauspiele,” Telfer Buch (Schlern-Schriften 112), Innsbruck 1955, p. 295;
Otto HAUDEK, “140 Jahre ‘Bürgerkapelle Ehrwald’,” Festschrift 140 Jahre Bürgerkapelle Ehrwald, Ehrwald 1948, p. 8;
Hans PEGGER, Chronik von Latsch mit Bilddokumenten von Alt-Latsch, ed. Hermann Theiner, [Latsch 1986], p. 100;
cf. Hermann LAMPACHER, 400 Jahre Kirchenchor Latsch (1589-1989), [Latsch 1989];
Hans HEIDEGGER and Gottfried MASONER, “Kirchenchor Deutschnofen,” Südtiroler Sängerbund [...] Festschrift zum VIII. Bundessingen Bozen 1969, [Brixen, Bozen 1969], p. 71;
Hans SIMMERLE, Kleine Musikgeschichte Deutschnofen - Eggen - Petersberg, Auer 1975, p. 49

[63] Quoted as in Walter SENN, “Richtigstellungen,” Der Schlern 23 (1949) p. 104. -
For a list of the (at this time German) musicians of the Bozen parish church from 1800 to 1859, see Giuliano TONINI, “ ‘Carissimo Giacomino ...’: il bolzanino Jakon Johann Schgraffer (1799-1859) allievo di composizione all’Imperial Regio Conservatorio di musica di Milano del maestro Vincenzo Federici (1764-1826),” La Musica a Milano, in Lombardia e oltre, vol. 2, ed. Sergio Martinotti, Milano 2000, p. 208f.

[64] Bruno MAHLKNECHT, “Die Zusammensetzung der Bozner ‘Pfarrmusica’ im Jahr 1645,” Der Schlern 56 (1982), p. 91ff (with lists of the names of parish musicians from 1645 to 1687);
Johanna BLUM, “Bozen als Musikstadt,” Jahrbuch des Südtiroler Kulturinstitutes 8 (1973) p. 410f;
Anton DÖRRER, Tiroler Umgangsspiele: Ordnungen und Sprechtexte der Bozner Fronleichnamsspiele und verwandter Figuralprozessionen [...] (Schlern-Schriften 160), Innsbruck 1957, p. 169f;
Anton DÖRRER, Bozner Bürgerspiele: Alpendeutsche Prang- und Kranzfeste I (Bibliothek des Literarischen Vereins in Stuttgart 291), Leipzig 1941, p. 215;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 266.

[65] Franz FRÖHLICH, “Kirchenmusik und Kirchenchor [in Wattens],” Wattner Buch, ed. Konrad Fichtl (Schlern-Schriften 165), Innsbruck 1958, p. 563;
Otto HAUDEK, “140 Jahre ‘Bürgerkapelle Ehrwald’,” Festschrift 140 Jahre Bürgerkapelle Ehrwald, Ehrwald 1948, p. 8;
Norbert PRANTL, Heimat Zirl: Ein Heimatbuch (Schlern-Schriften 212), Innsbruck 1960, p. 209;
Karl MAISTER, “Kirchenmusik zu Matrei i[n] O[sttirol] in alter Zeit,” Osttiroler Heimatblätter 1, no. 15 (1924) p. 3;
Josef OBBRUGGER, “Über Orgel und Kirchenchor von 1600-1900 in Außervillgraten,” Osttiroler Heimatblätter 22, nos 9-12 (1954) and 23, no. 1 (1955) n.p.
Hildegard HERRMANN-SCHNEIDER, “‘Mein Lebenslauf als Musiker’: Die Autobiographie des Josef Steidl (1864-1945) aus Innervillgraten,” Tiroler Heimatblätter 58 (1983) p. 53;
Albert KOFLER, “Die Kirchenmusik in Kaltern nach der Errichtung der neuen Pfarrkirche im Jahre 1792,” Der Schlern 52 (1978) p. 564;
Johann LORENZ, “Musikkapellen und Gesang im oberen Gerichte,” Tiroler Anzeiger no. 253 (1931) p. 5;
Hildegard HERRMANN-SCHNEIDER, “Kirchenmusik in Elmen im 19. Jahrhundert,” Tiroler Heimatblätter 65 (1990) p. 101ff.

[66] Walter SENN, Aus dem Kulturleben einer süddeutschen Kleinstadt: Musik, Schule und Theater der Stadt Hall in Tirol in der Zeit vom 15. bis zum 19. Jahrhundert
, Innsbruck etc. 1938, p. 225;
Walter SENN, “Pfarrschule und Kirchenchor: Die Musikkapelle des Damenstiftes,” Haller Buch (Schlern-Schriften 106), Innsbruck 1953, p. 442ff;
Walter SENN and Karl ROY, Jakob Stainer: Leben und Werk des Tiroler Meisters 1617-1683 (Das Musikinstrument 44), Frankfurt am Main 1986, p. 21f.

[67] Lambert STREITER, “Der Pfarrchor,” Die Pfarrei und die Pfarrkirche von St. Jakob, Festschrift zum 200jährigen Weihejubiläum, ed. Josef Weingartner, Innsbruck 1924, p. 83f;
Lambert STREITER, “Die Innsbrucker Pfarrkantorei,” Pfarrblatt für Innsbruck, Hötting und Mühlau 10 (1929) no. 8, p. 8f; no. 9, p. 7f;
Lambert STREITER, “Die ‘Turner’ von Innsbruck,” Pfarrblatt für Innsbruck, Hötting und Mühlau 12 (1931) no. 4, p. 6.

[68] For a list of the organists of St Jakob in Innsbruck from 1725 to 2000, see Reinhard JAUD, “275 Jahre Orgelgeschichte zu St. Jakob in Innsbruck,” Domorgel St. Jakob / Innsbruck, Festschrift zur Orgelweihe 1725 [...] 2000, ed. Gotthard Egger, Innsbruck 2000, p. 61. -
Eight preludes for organ by Josef Benedikt Falk are played by Franz Haselböck on the organ of the Schwaz parish church on the CD Orgellandschaft Österreich: Nordtirol, KKM-Records, Enzesfeld-Lindabrunn/Lower Austria n.d. (recorded in 1992).

[69] Clemente LUNELLI, “Rovereto,” Dizionario Enciclopedico universale della musica e dei musicisti, vol. 4, Torino 1984, p. 169;
Clemente LUNELLI, Catalogo delle musiche della Biblioteca Civica di Rovereto, Rovereto 1987, p. 6;
Renato LUNELLI, “Mozart nel Trentino,” Studi Trentini 5 (1924) p. 315ff;
Mario LEVRI [OFM], La cappella musicale di Rovereto, Trento 1972, p. 95ff;
Philipp MAYER, “Musik und Volksmusik in Tirol und Vorarlberg,” Die österreichisch-ungarische Monarchie in Wort und Bild, vol.: Tirol und Vorarlberg, Vienna 1893, p. 374.

[70] Clemente Lunelli, “Trento,” Dizionario Enciclopedico universale della musica e dei musicisti, vol. 4, Torino 1984, p. 581ff;
Oscar Mischiati, “Il Concilio di trento e la polifonia,” Musica e liturgia nella riforma tridentina, ed. Danilo Curti and Marco Gozzi, Trento 1995, p. 19ff. -
Cf. Edith Weber, Le Concile de Trente et la musique, Paris 1982. -
Clemente Lunelli, “Prefazione,” Giovanni Battista Runcher, Rei timoris: Mottetto per Soprano, archi e corni in re maggiore [...] Partitura, Rovereto 1987;
Clemente Lunelli, “Il musicista Giovanni Battista Runcher (1714-1791),” Ladinia 2 (1978) p. 93ff;
Clemente Lunelli, “Nuovi documenti e musiche di Giovanni Battista Runcher,” Ladinia 12 (1988) p. 191ff;
Helga Craffonara, Jan Batista Runcher (1714-1791), San Martin de Tor: Istitut Ladin ‘Micurá de Rü’ 1991 [with a list of complete works];
Renato Lunelli, “Contributi biografici sul musicista trentino F. A. Bonporti,” Estratto dal II volume degli atti della XIX riunione della società italiana per il progresso delle scienze [offprint of conference proceedings], Bolzano-Trento, 7-15 September 1930-IX;
cf. Franco Ballardini, “Storia e storiografia: il caso Bonporti,” Musica e società nella storia trentina, ed. Rossana Dalmonte, Trento 1994, p. 281ff;
Renato Lunelli, La musica nel Trentino dal XV al XVIII secolo: Part 1 (dal XV al XVII secolo), Part 2 (XVIII secolo) 2, Trento 1967, p. 7ff;
Danilo Curti, “La Cappella Musicale del Duomo di Trento,” Antonio Carlini et al., Ottocento musicale nel Trentino, Trento 1985, p. 95ff;
Mario Levri OFM, “La Cappella Musicale de Madruzzo e i Cantori del Concilio,” Il Concilio di Trento 2 (1943) p. 393ff;
cf. Clemente Lunelli, “Le Celebrazioni religiose con musica nel Settecento a Trento,” Studi Trentini di Scienze Storiche 73 (1994) p. 125ff.

[71] Hermann EGGER, Die Entwicklung der Blasmusik in Tirol, PhD Innsbruck 1952, p. 23f, 91f;
Walter THALER, “Musikpflege [und] Volksschauspiele,” Telfer Buch (Schlern-Schriften 112), Innsbruck 1955, p. 296.

[72] Josef GARBER, ed., Quellen zur Geschichte der kaiserlichen Haussammlungen und der Kunstbestrebungen des allerdurchlauchtigsten Erzhauses: Das Haller Heiltumbuch [von Florian Waldauf] mit den Unika-Holzschnitten Hans Burgkmairs des Älteren (Jahrbuch der kunsthistorischen Sammlungen des allerhöchsten Kaiserhauses 32/6), Vienna, Leipzig 1915, p. LXXIV.

[73] For a cross section of the repertoire of the Tyrolean church singers and commentary, see the editions of the songs:
Manfred SCHNEIDER, Tiroler Weihnachtssingen 1988 [-1993], Institut für Tiroler Musikforschung, Innsbruck 1988 [-1993];
Manfred SCHNEIDER, Tiroler Passions- und Ostersingen 1989 [-1994], Institut für Tiroler Musikforschung, Innsbruck 1989 [-1994];
Manfred SCHNEIDER, Lieder für die Weihnachtszeit nach Tiroler Quellen, in cooperation with Hildegard Herrmann-Schneider (Corpus Musicae Popularis Austriacae 9), Vienna etc. 1998. -
See also Part VI.1: “Secular Folksong” of the present text. -
Cf. Wolfgang SUPPAN, “Das geistliche Lied im Ahrntal,” Quaestiones in musica, Festschrift für Franz Krautwurst, ed. Friedhelm Brusniak and Horst Leuchtmann, Tutzing 1989, p. 633ff. -
Cf. Egon KÜHEBACHER, Musik und Gesang in Vierschach, ed. Musikkapelle Vierschach im 75. Jahr ihres Bestehens, Vierschach 1996, p. 15ff. -
Cf. Hans SIMMERLE, Kirchenchöre Südtirols: Notizen, Berichte und Geschichten aus 125 Jahren, Bozen 1998, p. 33. -

[74] Manfred SCHNEIDER, “Musikethnologische Feldforschungen in Südtirol,” Der Schlern 61 (1987) p. 243ff;
Norbert WALLNER, “Volksgesang in Tirol,” Das Fenster 19 (1976/77) p. 1940;
Johannes BAUR, “Reste muttersprachlichen Singens beim lateinischen Hochamt in Südtirol,” Liturgisches Jahrbuch 6 (1956) p. 43ff;
Johannes BAUR, Volksfrommes Brauchtum Südtirols (Schlern-Schriften 192), Innsbruck, Munich 1959, p. 72, 122;
Johannes BAUR, ed., Das Kirchenbuch des Kuraten Franz Anton Sinnacher für die Kirche von St. Magdalena in Gsies (Schlern-Schriften 240), Innsbruck 1965, p. 43, 53ff;
Karl HORAK, “Tirol als Volkslied- und Volksmusiklandschaft,” Jahrbuch des österreichischen Volksliedwerkes 16 (1967) p. 23;
H. WASCHGLER, “Bäuerlicher Kirchengesang in Tirol,” Der Schlern 2 (1921), p. 303f.;
P. Johann Baptist BAUR, “Zum Aufsatz ‘Bäuerlicher Kirchengesang in Tirol’ (no. 15, p. 303f),” Der Schlern 2 (1921), p. 356f.;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 266;
Karl MAISTER, “Kirchenmusik zu Matrei i[n] O[sttirol] in alter Zeit,” Osttiroler Heimatblätter 1, no. 15 (1924) p. 3;
Hans SIMMERLE, Kleine Musikgeschichte Deutschnofen - Eggen - Petersberg, Auer 1975, p. 6, 8, 49. -
Quote on the church singers of Sonnenburg as in Rudolf HUMBERDROTZ, ed., Die Chronik des Klosters Sonnenburg (Pustertal) (Schlern-Schriften 226), vol. 1, Innsbruck 1963, p. 236f. -
Ursula STROHAL, “Sie singen zur Ehre des Herrn,” Tiroler Tageszeitung (7 June 1988) p. 11; (19 July 1988) p. 11;
Hildegard HERRMANN-SCHNEIDER, “Relikte des geistlichen Volksgesangs in Südtirol,” Der Trachtler 20, no. 58 (1992) p. 2ff;
Norbert WALLNER, Deutsche Marienlieder der Enneberger Ladiner (Südtirol) (Schriften zur Volksmusik 1), Vienna 1970.

[75] The idea, concept and design of the “Tiroler Passions- und Ostersingen” 1989-1994 are by Manfred Schneider. Editions of the music for all “Tiroler Passions- und Ostersingen” have been published, ed. Manfred Schneider (Institut für Tiroler Musikforschung, Innsbruck 1989-1994), and CD recordings are available of “Tiroler Passions- und Ostersingen” 1990-1992 (Institut für Tiroler Musikforschung, Innsbruck 1991, 1996). -
Cf. Bernhold SCHMID, “Passionstraditionen in Südtirol,” Sänger- und Musikantenzeitung 40 (1997) p. 65ff.

[76] Walter SENN, “Beiträge zum deutschen Kirchenlied Tirols im 16. Jahrhundert,” Innsbrucker Beiträge zur Kulturwissenschaft 2 (1954) p. 147;
Egon KÜHEBACHER, “Prozessionen des Stiftes Innichen im frühen 17. Jahrhundert,” Der Schlern 60 (1986) p. 670ff. -
The song “Christ ist erstanden” is repeatedly documented in Tyrol in the 16th century, for instance in a Brixen Emmaus play (before 1523; the manuscript is in the Brixen Diocesan Archive, without a ms. no.) and in a Brixen Passion play (before 1551; the manuscript is in Innsbruck in the library of the Tiroler Landesmuseum Ferdinandeum: FB 575), see Rolf BERGMANN, Katalog der deutschsprachigen geistlichen Spiele und Marienklagen des Mittelalters, Munich 1986, p. 82f, 156ff. -
The “Sette Comuni” were part of the Austro-Hungarian Monarchy until 1866 (see Maria HORNUNG, Deutsche Sprachinseln aus Altösterreich, 2nd rev. edn, Wien1986, p. 4 (typed manuscript in Innsbruck in the library of the Tiroler Landesmuseum Ferdinandeum: FB 64835).

[77] Quoted as in Hubert STEMBERGER, ed., J. N. Tinkhauser’s Brunecker Chronik 1834: ‘Geschichtliche Nachrichten von der k. k. Kreisstadt Bruneck und derselben Umgebung,’ Bozen 1981, p. 113f;
Walter SENN, “Beiträge zum deutschen Kirchenlied Tirols im 16. Jahrhundert,” Innsbrucker Beiträge zur Kulturwissenschaft 2 (1954) p. 149ff;
Lambert STREITER, “Die Innsbrucker Pfarrkantorei,” Pfarrblatt für Innsbruck, Hötting und Mühlau 10, no. 5 (1929) p. 8;
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. 176;
Hans Joachim MOSER, Die Musik im frühevangelischen Österreich, Kassel 1954, p. 7, 73;
Oswald SAILER, “Chor und Choralgesang in der Geschichte Südtirols bis 1876,” Der Schlern 50 (1976) p. 193;
Anton NOGGLER, “Beiträge zu einer Geschichte der Volksschule in Deutschtirol bis zur Mitte des 18. Jahrhunderts,” Bericht der K. K. Lehrer- und Lehrerinnenbildungsanstalt zu Innsbruck über die Schuljahre 1882/83 bis 1884/85, Innsbruck 1885, p. 50ff;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 253;
Lambert STREITER, “Der Gottesdienst in Alt-Innsbruck, 4: Das deutsche Kirchenlied,” Pfarrblatt für Innsbruck, Hötting und Mühlau
8, no. 7 (1927) p. 3.

[78] Walter SENN, “Beiträge zum deutschen Kirchenlied Tirols im 16. Jahrhundert,” Innsbrucker Beiträge zur Kulturwissenschaft 2 (1954) p. 151ff;
Lambert STREITER, “Der Gottesdienst in Alt-Innsbruck. 4. Das deutsche Kirchenlied,” Pfarrblatt für Innsbruck, Hötting und Mühlau 8, no. 7 (1927) p. 4;
Norbert WALLNER, “Volksgesang in Tirol,” Das Fenster 19 (1976/77) p. 1940;
Karl HORAK, “Tirol als Volkslied- und Volksmusiklandschaft,” Jahrbuch des österreichischen Volksliedwerkes 16 (1967), p. 11. -
Cf. Sonja ORTNER, Das Innsbrucker ‘Catholisch Gesangbuechlein’ von 1588: Das erste österreichische Kirchenliederbuch als Produkt der Gegenreformation und seine Bedeutung für die Liedgeschichte, PhD Innsbruck 2002.

[79] Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 253f (one exemplar of the “Sacerdotale Brixinense” 1609, for instance, is in the Innsbruck Universitätsbibliothek: 30.527);
Johannes BAUR, ed., Das Kirchenbuch des Kuraten Franz Anton Sinnacher für die Kirche von St. Magdalena in Gsies (Schlern-Schriften 240), Innsbruck 1965, p. 43;
Anton ANRANTER, “Rückblick über die Musikpflege im Tannheimertal,” Tiroler Heimatblätter 15 (1937) p. 363f.

[80] Hippolyt GUARINONI, Die Grewel der Verwüstung Menschlichen Geschlechts, Ingolstadt 1610, p. 189.

[81] Hans Joachim MOSER, Die Musik im frühevangelischen Österreich, Kassel 1954, p. 7f;
Anton DÖRRER, Tiroler Volksgut auf dem Heideboden: Unterinntaler Weihnachtsspiel in der Dreiländerecke des Neusiedlersees (Burgenländische Forschungen 17), Eisenstadt 1951, p. 32, 50;
Walter SENN, “Volkslieder in Tirol bis zum 17. Jahrhundert,” Innsbrucker Beiträge zur Kulturwissenschaft 3 (1955) p. 191f.

[82] Franz HATTLER SJ, Missionsbilder aus Tirol: Geschichte der ständigen Jesuitenmission von 1719-1784, Innsbruck 1989, p. 182.

[83] Walter SENN, “Pfarrschule und Kirchenchor: Die Musikkapelle des Damenstiftes,” Haller Buch (Schlern-Schriften 106), Innsbruck 1953, p. 445;
Jakob PROBST, Geschichte der Universität Innsbruck seit ihrer Entstehung bis zum Jahre 1860, Innsbruck 1869, p. 241.

[84] Walter SENN, Aus dem Kulturleben einer süddeutschen Kleinstadt: Musik, Schule und Theater der Stadt Hall in Tirol in der Zeit vom 15. bis zum 19. Jahrhundert, Innsbruck etc. 1938, p. 335;
Walter SENN, “Pfarrschule und Kirchenchor: Die Musikkapelle des Damenstiftes,” Haller Buch (Schlern-Schriften 106), Innsbruck 1953, p. 441;

[85] Renato LUNELLI, “Di alcuni inventari delle musiche già possedute dal coro della parrocchiale di merano,” Studien zur Musikwissenschaft 25 (1962) p. 347ff [lists the contents of the inventories].-
For Nonnosus Madlseder, cf. Robert MÜNSTER, “Thematisches Verzeichnis der erhaltenen Kompositionen von P. Nonnosus Madlseder OSB (1730-1797) aus der Abtei Andechs,” Musik in bayerischen Klöstern, vol 1, ed. Günter Weiß et al. (Schriftenreihe der Hochschule für Musik in München 5), Regensburg 1986, p. 225ff.-
Cf. Walter SENN, “Ein Musikalienverzeichnis der Pfarrkirche St. Nikolaus zu Meran aus dem Jahre 1682,” Symbolae historiae musicae: Hellmut Federhofer zum 60. Geburtstag, ed. Friedrich Wilhelm Riedel and Hubert Unverricht, Mainz 1971, p. 103ff. -
Hildegard HERRMANN-SCHNEIDER, “Zur Auffindung von Autographen des Komponisten Stefan Stocker (L. B. Est),” Der Schlern 64 (1990) p. 516ff.

[86] Albert KOFLER, “Die Kirchenmusik in Kaltern nach der Errichtung der neuen Pfarrkirche im Jahre 1792,” Der Schlern 52 (1978) p. 562ff;
Hans SIMMERLE, Kleine Musikgeschichte Deutschnofen - Eggen - Petersberg, Auer 1975, p. 14. -
Cf. Hans SIMMERLE, Bruckner-Klang und Bischofsstab: Komponist Wilhelm Prantner - Bischof Karl von Ferrari; Geschichte einer Lehrer- und Musikerfamilie im alten Tirol, [Deutschnofen 2001]. -
Karl Franz ZANI, 150 Jahre Musikkapelle Girlan, Festschrift, Girlan 1983, p. 20;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 266;
Hildegard HERRMANN-SCHNEIDER, Die Musikhandschriften der Pfarrkirche und der Musikkapelle Vils: Thematischer Katalog (Beiträge zur Musikforschung in Tirol 2), Innsbruck 1993, p. 12*.

[87] Konrad FISCHNALER, Innsbrucker Chronik 2, Innsbruck 1929, p. 131.

[88] Hildegard HERRMANN-SCHNEIDER, “Alois Rieder,” Österreichisches Biographisches Lexikon,vol. 9, Vienna 1985, p. 138f;
Hildegard HERRMANN-SCHNEIDER, “Alois David Schenk,” Österreichisches Biographisches Lexikon, 46th installment, Vienna 1990, p. 77f;
Hildegard HERRMANN-SCHNEIDER, “Franz Schöpf,” Österreichisches Biographisches Lexikon, 51st installment, Vienna 1995, p. 100. -
For Franz Schöpf, see also Giuliano TONINI, “‘Una vera famiglia di artisti’: i Busoni a Trento, Arco, Rovereto e Bolzano nel dicembre-febbraio 1878-1879,” La Musica a Milano, in Lombardia e oltre [1], ed. Sergio Martinotti, Milano 1996, p. 231f.;
Elmar TSCHÖLL, “Zum 150. Geburtstag des Komponisten Franz Schöpf aus Girlan,” Der Schlern 60 (1986) p. 601ff.

[89] Ernst KNOFLACH, “Von Gänsbacher bis Pembaur - Tiroler Musiker im 19. Jahrhundert,” Österreichische Musikzeitschrift 25 (1970) p. 720;
Walter SENN, “Pfarrschule und Kirchenchor: Die Musikkapelle des Damenstiftes,” Haller Buch (Schlern-Schriften 106), Innsbruck 1953, p. 445. -
Cf. Hildegard HERRMANN-SCHNEIDER, “Zur Musikaliensammlung im Domkapitelarchiv Brixen,” Der Schlern 75 (2001) p. 944ff.

[90] Rupert CORAZZA, “Verzeichnis der musikalischen Werke des Propstes Ignaz Mitterer,” Der Schlern 35 (1961) p. 273ff;
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. 181f;
Johannes BAUR, “Reste muttersprachlichen Singens beim lateinischen Hochamt in Südtirol,” Liturgisches Jahrbuch 6 (1956) p. 44;
Ernst KNAPP, Südtiroler Kirchenkomponisten (An der Etsch und im Gebirge 27), Brixen 1974, p. 31ff. -
Cf. Josef KNAPP, “Der Cäcilianismus in Südtirol,” Der Kirchensänger 4, no. 4 (1963) p. 4ff;
Josef KNAPP, “Die Kirchenmusik Südtirols in den letzten 100 Jahren,” Musik in Südtirol, ed. Roland Kristanell (Arunda), Schlanders [1983], p. 72ff;
Ignaz MITTERER, “Gedanken über kirchliche Instrumentalmusik,” Cäcilienvereinsorgan 46 (1911) p. 39f. -
Cf. Hans SIMMERLE, Kirchenchöre Südtirols: Notizen, Berichte und Geschichten aus 125 Jahren, Bozen 1998, p. 21, 37. -
Cf. Ernst KNAPP, Ignaz Mitterer: Leben und Werk, Brixen 1996. -
Mitterer’s musical papers in the Brixen Diocesan Archive are currently being catalogued; see Hildegard HERRMANN-SCHNEIDER, Die Musikhandschriften im Domkapitelarchiv Brixen, in preparation.

[91] Brixener Diözesan-Gesangbuch, Innsbruck 1906 (2nd edn), p. IVf (preface);
Johannes BAUR, “Reste muttersprachlichen Singens beim lateinischen Hochamt in Südtirol,” Liturgisches Jahrbuch 6 (1956) p. 44.

[92] Notes on the musical papers of Norbert Wallner (19Ž-19Ž) in the Tiroler Volksliedarchiv in Innsbruck are from the Brixen Diocesan Museum. -
Walter DEUTSCH and Gerlinde HOFER, “Bericht über das 5. Seminar für Volksmusikforschung 1969,” Jahrbuch des österreichischen Volksliedwerkes 19 (1970) p. 156;
Franz Hieronymus RIEDL, “Josef Alois Ladurner, Hofkaplan und Komponist (1769-1851),” Der Schlern 43 (1969) p. 283ff;
Hildegard HERRMANN-SCHNEIDER, “Zur Musikaliensammlung im Domkapitelarchiv Brixen,” Der Schlern 75 (2001) p. 952. -
For Ignaz Anton Ladurner, see Gertrud SPAT, “Wie ein Tiroler Komponist in Paris unter Napoleon Karriere machte,” Das Fenster no. 25 (winter 1979/80) p. 2514ff;
Gertrud SPAT, “Ignaz A. Ladurner und Sylvio Lazzari,” Musik in Südtirol, ed. Roland Kristanell (Arunda), Schlanders [1983], p. 68f. -
An exemplar of Wilhelm Hausen’s songbook (Angenehme Arien, Oder Melodeyen Jener Geist- und Lehrreichen Gesaengeren, Welche Unter dem Titul: Der singende Christ, Joseph Antoni Schnabel, Dillingen 1763) is preserved in Munich, Bayerische Staatsbibliothek (8 Mus. pr. 6018). It has the owner’s stamp: “Sammlung des Ausschusses für das Deutsche Volkslied in Tirol” and in pencil on the flyleaf of the back endpaper: “Joseph Winkler hat im Jahr 1835 dieses Gesangbuch verkauft. Der Preis um 15xr. Schwaz am 13. Juni 1835.” This proves the presence of the songbook in the Tyrol.

[93] Lambert STREITER, “Der Pfarrchor,” Die Pfarrei und die Pfarrkirche von St. Jakob, Festschrift zum 200jährigen Weihejubiläum, ed. Josef Weingartner, Innsbruck 1924, p. 86;
Konrad FISCHNALER, Innsbrucker Chronik 2, Innsbruck 1929, p. 137. -
For reports, conference program, reprints of the papers given (Angelo de Santi SJ, Magnus Ortwein OSB, J. N. Salveni) and news in the Tyrolean daily press on the occasion of this conference, see: Cäcilienvereinsorgan 46 (1911) p. 81f, 98ff, 125, 153f, 158ff, 181ff.

[94] MUSICA sacra 9 (1876) p. 63f.

[95] MUSICA sacra 10 (1877) p. 6ff., 16, 114;
Anton WALTER, Dr. Franz Witt, Gründer und erster Generalpräses des Cäcilienvereines, Regensburg etc. 1889, p. 150, 256;
Ernst KNOFLACH, Die kirchenmusikalischen Werke Josef Lechthalers, PhD Innsbruck 1962, p. 4.

[96] MUSICA sacra 9 (1876) p. 64;
MUSICA sacra 10 (1877) p. 8.

[97] MUSICA sacra 9 (1876) p. 64;
MUSICA sacra 10 (1877) p. 24, 90, 125;
Anton ANRANTER, “Rückblick über die Musikpflege im Tannheimertal,” Tiroler Heimatblätter 15 (1937) p. 363f. -
Cf. Susanne BECKE, Die Archivbestände der Kirchenchöre des Dekanates Breitenwang, Dipl. thesis, Musikerziehung an der Philosophischen Fakultät der Universität Innsbruck 1977. -
Cf. Hildegard HERRMANN-SCHNEIDER, “Prägnante Zeugnisse des Cäcilianismus in Tirol - Musikalien aus der Pfarrkirche Sillian,” Osttiroler Heimatblätter 62, no. 2 (1994) n.p.

[98] Anton DÖRRER, Bozner Bürgerspiele: Alpendeutsche Prang- und Kranzfeste I (Bibliothek des Literarischen Vereins in Stuttgart 291), Leipzig 1941, p. 119ff, 209f, 215;
Jakob PROBST, Beiträge zur Geschichte der Gymnasien in Tirol
, Innsbruck 1858, p. 11;
Egon KÜHEBACHER, “Prozessionen des Stiftes Innichen im frühen 17. Jahrhundert,” Der Schlern 60 (1986) p. 666;
Adalbert SIKORA, “Fronleichnamsbräuche in Altbozen,” Zeitschrift des Ferdinandeums für Tirol und Vorarlberg 3rd series, no. 49 (1905) p. 309;
ORDNUNG der grossen Proceßion Corporis Christi, de A[nno] 1747: Für den Haubt-Director Herrn Marx Antoni Holzer des Raths (manuscript in Innsbruck Tiroler Landesmuseum Ferdinandeum: FB 10.870/12);
Franz Hieronymus RIEDL, “Josef Alois Ladurner, Hofkaplan und Komponist (1769-1851),” Der Schlern 43 (1969) p. 281;
Johann LORENZ, “Musikkapellen und Gesang im oberen Gerichte,” Tiroler Anzeiger no. 253 (1931) p. 5;
Karl MAISTER, “Kirchenmusik zu Matrei i[n] O[sttirol] in alter Zeit,” Osttiroler Heimatblätter 1, no. 14 (1924) p. 4.
Hans SIMMERLE, Kleine Musikgeschichte Deutschnofen - Eggen - Petersberg, Auer 1975, p. 44;
Johann STEINRINGER, “Die Fronleichnamsprozession in Osttirol,” Osttiroler Heimatblätter 19, no. 5 (1951) p. 5;
Johann STEINRINGER, Das Prozessionswesen in Osttirol, PhD Vienna 1941, p. 26.

[99] Hildegard HERRMANN-SCHNEIDER, “Von ‘Vorsängerinnen’ und ‘Herren Musikanten’ auf dem Pfarrchor - zur Kirchenmusik in Vils,” Durch Jahrhunderte getragen: 600 Jahre Pfarrgemeinde Vils, ed. Rupert Bader, Vils 1994, p. 189.

[100] E[lsbeth] ANGERLE, “Die Bruderschaft der Muttergottes vom guten Rate an der Lienzer Stadtpfarrkirche,” Osttiroler Heimatblätter 7 (1930), p. 73ff;
Konrad FISCHNALER, “Eine Rosenkranz- und Geißler-Bruderschaft in Nordtirol,” Zeitschrift für Volkskunde 4 (1933) p. 181f, 185. -
For music at festivities of the brotherhoods in Trent, see Clemente LUNELLI, “Le Celebrazioni religiose con musica nel Settecento a Trento,” Studi Trentini di Scienze Storiche 73 (1994) p. 135ff.

[101] Egon KÜHEBACHER, “Prozessionen des Stiftes Innichen im frühen 17. Jahrhundert,” Der Schlern 60 (1986) p. 651ff;
Norbert HÖLZL, “Die Gestalt des Todes im Südtiroler Volskschauspiel,” Der Schlern 40 (1966) p. 510;
Anton DÖRRER, “Spielbräuche im Wandel von 6 Jahrhunderten,” Tirol: Natur, Kunst, Volk, Leben 2nd series, no. 8 (1930) p. 15.

[102] Egon KÜHEBACHER, “Zur Gestaltung der Innichner Karfreitagsprozession um 1700,” Der Schlern 64 (1990) p. 208ff;
Josef NÖSSING, “Eine Ordnung der Bozner Karsamstagprozession aus dem Jahr 1741,” Der Schlern 72 (1998) p. 702ff;

[103] Walther LIPPHARDT, “Musik in den spätmittelalterlichen Passionsspielen und Osterspielen von Bozen, Sterzing, und Brixen,” Tiroler Volksschauspiel, ed. Egon Kühebacher, Bozen 1976, p. 127, 158ff;
Walther LIPPHARDT, “Editorischer Bericht,” Die geistlichen Spiele des Sterzinger Spielarchivs 1 [Debs Codex edn], ed. Walther Lipphardt (Mittlere Deutsche Literatur in Neu- und Nachdrucken 14), Bern, etc. 1981, p. 431; 2nd rev. edn, Bern, etc. 1986. -
For the edition of the Sterzing Passion Plays of 1486 and 1496, see Die geistlichen Spiele des Sterzinger Spielarchivs 2, ed. Hans-Gert Roloff; melodies ed. Andreas Traub (Mittlere Deutsche Literatur in Neu- und Nachdrucken 15), Bern, etc. 1988. -
Bruno KLAMMER [OFM], ed., Bozner Passion 1495: Die Spielhandschriften A und B [with the melodies edited by Walter Lipphardt], Bern etc. 1986, p. 88ff;
Anton DÖRRER, Tirol in Sterzing [!]: Volkskultur und Persönlichkeitsbilder, preprint (Schlern-Schriften 232), Innsbruck 1964, p. 26ff;
Anton DÖRRER, Bozner Bürgerspiele: Alpendeutsche Prang- und Kranzfeste I (Bibliothek des Literarischen Vereins in Stuttgart 291), Leipzig 1941, p. 210f, 221;
Anton DÖRRER, Tiroler Umgangsspiele: Ordnungen und Sprechtexte der Bozner Fronleichnamsspiele und verwandter Figuralprozessionen [...] (Schlern-Schriften 160), Innsbruck 1957, p. 165;
Anton DÖRRER, “Amazonentheater in Tirol,” Dolomiten (5 July 1952) p. 9;
Richard Norbert WOLF, “Die Bozner Passion von 1514: Die wiedergefundene Handschrift BH I,” Tiroler Volksschauspiel, ed. Egon Kühebacher, Bozen 1976, p. 380;
Bruno MAHLKNECHT, “Kleine Musikgeschichte Südtirols,” Südtiroler Sängerbund, Festschrift zum VIII. Bundessingen, Bozen 1969, p. 95;
Michaela PAOLI PODA, Suoni e musica a Bolzano nel XV secolo, Bolzano 1999, p. 69ff.

[104] Walther LIPPHARDT, “Musik in den spätmittelalterlichen Passionsspielen und Osterspielen von Bozen, Sterzing, und Brixen,” Tiroler Volksschauspiel, ed. Egon Kühebacher, Bozen 1976, p. 127, 158;
Bruno MAHLKNECHT, “Kleine Musikgeschichte Südtirols,” Südtiroler Sängerbund, Festschrift zum VIII. Bundessingen, Bozen 1969, p. 95. -
Cf. Ludwig STEUB, Herbsttage in Tirol, 2nd edn, Munich 1889, p. 348.

[105] Norbert HÖLZL, “Die Gestalt des Todes im Südtiroler Volksschauspiel,” Der Schlern 40 (1966) p. 509;
Adalbert SIKORA, “Zur Geschichte der Volksschauspiele in Tirol,” Zeitschrift des Ferdinandeums für Tirol und Vorarlberg 3rd series, no. 50 (1906) p. 343;
Anton DÖRRER, “Spielbräuche im Wandel von 6 Jahrhunderten,” Tirol: Natur, Kunst, Volk, Leben 2nd series, no. 8 (1930) p. 12, 24;
Anton DÖRRER, “Passionen und Passionsspiele in Tirol,” Deutsches Jahrbuch für Volkskunde 2 (1956) p. 324;
Gretl KÖFLER, “Passionsspiele in Thiersee/Tirol. Mai-Oktober 1988,” Tirol immer einen Urlaub wert (summer, 1988), p. 79;
Erwin THRAINER et al., Erler Heimatbuch, Erl 1988, p. 133ff (quoted from Anton DÖRRER, Das Erler Passionsbuch, Innsbruck 1912)
Walter THALER, “Musikpflege [und] Volksschauspiele,” Telfer Buch (Schlern-Schriften 112), Innsbruck 1955, p. 312f.

[106] Manfred SCHNEIDER, “Musik und Weihnacht in Tirol,” Ein Kind ist uns geboren, ein Sohn ist uns geschenkt: Weihnacht in der Tiroler Kunst, exh. cat. Innsbruck, Tiroler Landesmuseum Ferdinandeum on the occasion of the XII. Weltkrippenkongress, Innsbruck [1985], p. 73ff;
Franz Viktor SPECHTLER, “Lied und Szene im mittelalterlichen deutschen Spiel,” Tiroler Volksschauspiel, ed. Egon Kühebacher, Bozen 1976, p. 342ff;
Konrad FISCHNALER, “Die Volksschauspiele zu Sterzing im XV. u[nd] XVI. Jahrhundert,” Zeitschrift des Ferdinandeums für Tirol und Vorarlberg 3rd series, no. 38 (1894) p. 364f.

Music in Parish Churches

Fussnoten

German

Italiano