Printed Music and Music Publishers

The Tyrol’s oldest continuously operating printing press was founded in 1521 by the mining managers Hans and Jörg Stöckl. In 1524, it printed the Hymnarius: durch das ganntz Jar verteutscht nach gewondlicher Weyß vnnd Art zw synngen [...] in Verlegung des Edln vnnd Vestn Goergen Stoekhls [...] (RISM B/VIII/1 152406) published by Josef Piernsieder at Sigmundslust Castle near Schwaz. Each of the 131 hymns it contains, translated from Latin into German, has four stave lines ruled above the text, yet no notes were ever entered in any of the exemplars preserved. The author of the Hymnarius is neither named nor known. Petrus Tritonius (Peter Treibenreif) was possibly the editor or translator.[1]
Another sacred songbook was the first printed music printed in Innsbruck, namely in 1588 by Rupert Höller, who had been the court printer since 1554: Euangelischer Christlicher Bericht vnd Ermanung [...] in Gesangs Weys [...] (RISM B/VIII/1 155808).[2] The Junkmeister (music master) and schoolmaster Johannes Weinzierl working in Innsbruck since about 1555 at St Jakob had the Preces matutinae, Motetten, Kirchengebet nach dem Brauch Catholischer Kirchen des Hochwirdigen Stiffts zu Brichsen [...] Newlich verteutscht [...] printed by Höller in 1564, again a book of sacred songs and prayers.[3]
Innsbruck was a music printing center in the 17th century, not only for Austria. Hans Paur“Agricola” (†1602), in Innsbruck since 1572, acquired the funding in 1584 to purchase music type in his capacity as the printer of the governor of the Tyrol. In 1588 he published the so-called Innsbrucker Gesangbuch (RISM B/VIII/1 158805: Catholisch Gesangbuechlein bey dem Catechismo auch fuernembsten Festen [...] zu gebrauchen [...]), in the following year in another edition, and in 1588 a collection of Marian motets by the director of music at the Innsbruck court Jakob Regnart (about 1540-1599), with the title of Mariale (RISM A/I R 733). His son Daniel Paur“Agricola” (†1639) returned to Innsbruck in 1603 and took over his father’s printing press, which had been run by his mother in the interim. As the court printer, he published, for example, in 1614 and 1618 Marian songs by the director of music at the Innsbruck court Johann Stadlmayr (about 1575-1648) (RISM A/I S 4286 Magnificat: Symphoniae variaeand RISM A/I S 4288 Cantici Mariani), in 1621 the Ecclesiastici concentus by the director of music at Brixen cathedral Christoph Sätzl (1592/93-1655) (RISM A/I S 301), in 1629 a ceremonial procedure with music for the investiture and profession of the Benedictine nuns of Sonnenburg, and in 1609 two volumes of Geistlich[e] schön[e] neu[e] Lied[er] by the poet Adam Purwalder (about 1588-1651) of Sillian. In 1622 he began to produce song broadsheets with sacred songs about saints, with Christmas carols, and the like. Commissioned by the Cardinal of Brixen Christoph IV Andreas von Spaur, he published a new Sacerdotale for the diocese with plainsong notation in 1609. By direction of his relative the Vicar-General of Brixen, Hieronymus Otto Agricola Paur, in 1627 he printed “alt[e]s geistliches Weynachtsgesang, in aigner Melodie zu singen.” Hieronymus Paur (†1665) had set up a branch of the printing press in Brixen in 1638, but after the death of his father Daniel he returned to Innsbruck. Drey schöne Weyhnacht-Lieder were printed by him around 1656.[4]
Besides Daniel Paur, Johann Gäch (†1639) of Hötting opened a printing enterprise in Innsbruck in 1626, which he also set up for printing figural music and plainsong. Johann Gäch printed several works of church music by local composers, such as Johann Stadlmayr’s Hymni quibus totius anni (RISM A/I S 4291) in 1628, and Coronis Parthenia (RISM A/I 16291) in 1629, a collection of Salve Reginas complied by the director of music at the Damenstift in Hall Bartholomäus Lutz (about 1595-1668). It contained, besides settings by Gregor Aichinger, Christian Erbach, Rudolph di Lasso and others, not least his own, as well as others by Johann Stadlmayr, Christoph Sätzl, the Innsbruck court organist Georg Piscator (†about 1650) and the Innsbruck Servite P. Johannes Maria Mändl (1602-1652). Another miscellany printed by Johann Gäch appeared in 1629 under the title of Moduli symphoniaci (RISM A/I 16294) with mainly Christmas music by Johann Stadlmayr, Jakob Regnart, Lodovico Grossi de Viadana, and Charles Luython besides anonymous works. In the following years Johann Gäch published other works by Johann Stadlmayr (e.g. RISM A/I 16382), Christoph Sätzl, Ambrosius Reiner and Georg Piscator. Gäch’s printed song broadsheets also included secular songs, many of them with political content. Already in 1639, the year of his death, his widow married his journeyman Michael Wagner, who had immigrated from Württemberg, Germany.[5]
After the death of the childless Hieronymus Paur, Michael Wagner (†1669) also took over his operation and became the court printer in 1668. He published a substantial amount of church music by Johann Stadlmayr (RISM A/I S 4297 - S 4305), Christoph Sätzl (RISM A/I S 303 - S 309), Ambrosius Reiner (RISM A/I R 1075 - R 1079), Johannes Maria Mändl OSM (RISM A/I M ), and by Antonio Melani, the “archducal chamber musician” in Innsbruck, by Ingenuin Müller“Molitor” OFM (about 1610-1669), the organist of the Franciscans in Bozen, by Leopold von Plawenn OSB (about 1630-1682), born in Innsbruck and a Benedictine at Zwiefalten Monastery in Württemberg (RISM A/I P 2603 - P 2604), as well as by composers from abroad, such as Georg Arnold, organist in the service of the Bishop of Bamberg, Michael Kraf, composer and organist of Weingarten Abbey, Christoph Schimpf, director of music of the cathedral in Eichstätt, and Felizian Schwab OFM (*1611), in charge of musical affairs in the upper German province of the Franciscan Order. Opera libretti were also in Michael Wagner’s publisher’s catalog, as were broadsheets with sacred songs (RISM A/I 164011-15).
Jakob Christoph Wagner (†1701) carried on his father’s operation on a more modest scale. He printed several libretti and, for example, in 1695 the Encaenia musices [...] cum quinque et pluribus instrumentis (12 sonatas, opus 1) by the Benedictine Father Romanus Weichlein, who was the curate and music prefect of Säben Monastery (RISM A/I W 499).[6]
In 1770 the Trattner’sche printers founded in Innsbruck published Geistliche Gesänge, in welchen die christ-katholischen Glaubens- und Sittenlehren vorgetragen werden.[7] In 1817 Josef Grader (†1858?) established the music publishing house Lithographische Kunstanstalt, which published, for instance in 1821, the “Valse pour le Pianoforte à Madame la Baron[ne] Nanette de Taxis.”[8] Josef Schöpf (*1811) was a partner in Grader’s business until he obtained official permission in 1841 to run his own lithographic establishment in Innsbruck.[9] In 1834 Johann Nepomuk Kravogl (1803-1873) opened a lithography workshop, whose production included music besides other publications, as in the other enterprises. Rare exemplars have been preserved, for instance, of sheet music published by Kravogl in 1844 of separately printed sacred songs with piano or organ accompaniment by the Jesuit Franz Xaver Weninger (1805-1888), also resident in Innsbruck until 1848.
Carl (Senior) Alexander Czichna (1807-1867) was apprenticed under Kravogl and set up his own operation in 1841. His son Carl (Junior) Alfred Czichna (1842-1899) carried on the business, with the addition of an art dealer’s shop and photography studio.[10]
Josef Anton Möst had an art, music, map and stationery shop in Innsbruck in the second half of the 19th century. Besides selling wind instruments, equipment for string instruments and printed music, Möst worked as a music publisher. Dating from 1853 to 1906, part of his correspondence with Tyrolean composers such as Peter Dietrich (1810-1888), Odorich Krautschneider OFM (1818-1873), Josef Rieder (1823-1876), Georg Benedikt Pichler (1800-1884), Johann Obersteiner (1824-1896), Sigmund Perthaler OPraem. (1815-1875), and Josef Gregor Zangl (1821-1897) about the publication of their works has been preserved.[11] Möst’s successors were Lorenz Neurauter and E. Lorenz.
Johann Gross founded his enterprise in Innsbruck in 1833. At first he concentrated on selling and lending printed music, as his “Verzeichnis der vorzüglichsten Musikalien [...] welche [...] grösstentheils vorräthig sind, oder in kürzester Zeit bezogen werden können” (list of the most excellent music, which is largely in stock or can be supplied within the shortest time) of the year 1836 shows.[12] In 1850 Johann Gross opened a branch of his bookshop in Brixen. In 1857 he issued a publisher’s catalog in Innsbruck that offered mainly church music by Tyrolean composers, in addition to piano pieces and choral music, such as riflemen’s marches (Schützenmärsche) by the choirmaster (Chorregent) of the parish choir of Hall Alois Ballmann (1814-1882) and by the Bozen director of music and organist Jakob Schgraffer (1799-1859).[13]
The catalog“Vollständige Verzeichnis des Musikalien-VerlagesJohann Gross (S[imon] A[lfons] Reiss),”printed by Oskar Brandstätter in Leipzig, must have appeared around 1905.[14] Church music still comprised most of the publisher’s production. Contemporary local composers, leading Cecilianists, furnished the titles. The first printed edition of Anton Bruckner’s first Mass in D Minor was published by Gross in 1894, in addition to six Tantum ergo and the Ave Maria he composed in 1856. Piano, chamber and choral music were joined by military music in the above catalog, and by zither music as well as songs for voice and piano, such as by the Innsbruck composer Ernst von Tschiderer (1830-1916). It also offered the “most popular songs of all Tyrolean singing societies,” including “Die Sternlan,” an “original composition” for voice and piano by the zither virtuoso Anton Egger (†1932), a native of Munich. Egger headed the Zillertal group of Nationalsänger (popular national singers) founded around 1880 by
Ludwig Rieser (1854-1891) and called the Egger-Rieser group after the latter’s death. Also featured was “’s Gamsgebirg,” a “solo song with an original Jodler” for voice and piano by Egger-Rieser.
In Brixen the leading music publisher was Weger, still in operation today. Thomas Weger was certified in 1773 by Prince-Bishop Leopold von Spaur as the court printer, after he had taken over the press from his uncle Johann Kassian Krapf in 1772. Thomas Weger was followed by his son Josef Weger in 1796. From 1828 to 1880 Josef’s son Alois Weger ran the printing and publishing business, succeeded by the von Mörl family, starting with his son-in-law Anton von Mörl.[15] In the 19th century it was the leading publisher for editions of church music.
Others publishing church music in Brixen were: around the mid-19th century the Theologische Verlagsanstalt, around 1875 the Verlag des Cäcilien-Vereins der Diözese Brixen and around 1900 the Katholisch-politische Preßverein. The latter was founded in 1889 by Aemilian Schöpfer and had its premises in the former bell caster’s house in Zinggen.[16]
The printer Carlo Girardi in Bozen furnished the printed précis of the Jesuits’ school play in Trent in 1664. Texts of the plays performed on the last day of the Dominicans’ school in Bozen were published around 1696 by Paul Nikolaus Führer in the town on the Talfer River. Michael Gaßmayr, a resident and printer in Bozen since 1714, provided liturgical books and, for example, a libretto for the Good Friday oratorio in the Bozen parish church in 1742. Karl Josef Weiß of Bregenz married Michael Gaßmayr’s granddaughter Marianne Gaßmayr and became the municipal printer of Bozen in 1747. His workshop issued many textbooks of Singspiele (spoken dialogue with interpolated songs), oratorios and school plays performed in Bozen and Meran. In January 1839 Johann Thuille, the father of Ludwig Thuille (1861-1907), the successful composer and friend of Richard Strauss in Munich, opened an art and music shop in Bozen. He offered “mainly church music for the rural districts” for sale and had a music publishing house attached.[18] Josef Wohlgemuth set up his printing establishment in Bozen in 1862. The Cecilianist and organist of Brixen cathedral Josef Gregor Zangl (1821-1897), for instance, entrusted his masses, opus 86 (E flat major) and opus 87 (D major), to him for publication in the Cyclus katholischer Kirchengesänge.[19]
Members of the Monauni family were printers in Trent in the 18th and 19th centuries: Gianbattista Monauni, for example, published the “Concerti a Quattro” opus 11 by the composer Francesco Antonio Bonporti (1672-1749) of Trent (RISM A/I B 3663, no date of publication). In 1849 the Regole principali del canto gregoriano by Nicolò Toneatti (1811-1877), liturgical scholar and plainsong specialist in Trent, were published by Monauni.[20] For the “Grosser Festmarsch zur Dritten Säcularfeier des Trienter Conciliums” opus 116 by the military bandleader Lodovico Stasny of Trent, Monauni produced the lithograph in 1863 for the publisher Johann Seiser of Trent.[21] Another publisher of Francesco AntonioBonporti’s compositions was Giovanni Parone in Trent in 1713 (RISM A/I B 3660). In the second half of the 19th century Zippel (and Godermaier) published printed music in Trent. Gianantonio Brunati, Giovanni Parone, Francesco Michele Battisti and Monauni published libretti of operas and cantatas in the 18th century.[22]

Fussnoten

[1] Franz WALDNER, “Petrus Tritonius und das älteste gedruckte katholische Gesangbuch,” Monatshefte für Musik-Geschichte 27, no. 2 (1895) p. 18ff. Waldner does not explain why he thinks Treibenreif is the author.
Konrad GLÖCKNER, “Das deutsche Hymnenbuch ‘Hymnarius-Sygmundslust 1524’,” Veröffentlichungen des Tiroler Landesmuseums Ferdinandeum 50 (1970) p. 29f, 54, 62, 65ff;
Erich EGG, “Die Stöckl-Offizin in Sigmundslust bei Schwaz,” Veröffentlichungen des Tiroler Landesmuseums Ferdinandeum 50 (1970) p. 10, 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. 247ff;
David SCHÖNHERR, “Das älteste katholische Gesangbuch in Deutschland, die älteste Buchdruckerei und die älteste Papierfabrik in Tirol,” Archiv für Geschichte und Alterthumskunde Tirols 2 (1865) p. 200f;
Hans Joachim MOSER, Die Musik im frühevangelischen Österreich, Kassel 1954, p. 73;
Eleonore GÜRTLER, “Die Stöckl-Offizin auf Schloss Sigmundslust in Vomp - aus dem Geist des Humanismus entstanden,” Silber, Erz und weißes Gold: Bergbau in Tirol, exh. cat. Tiroler Landesausstellung 1990 in Schwaz, Innsbruck 1990, p. 374ff, 384f.
 
[2] Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 249f;
Hans Joachim MOSER, Die Musik im frühevangelischen Österreich, Kassel 1954, p. 73f;
Konrad FISCHNALER, Innsbrucker Chronik 3, Innsbruck 1930, p. 12;
Franz WALDNER, “Quellenstudie zur Geschichte der Typographie in Tirol bis zum Beginne des XVII. Jahrhunderts,” Zeitschrift des Ferdinandeums für Tirol und Vorarlberg 3rd series, no. 32 (1888) p. 76;
Eckart von SCHUMACHER, “Die Geschichte unserer Firma [Wagner],” Verlags-Katalog der Wagner’schen Universitäts-Buchhandlung in Innsbruck, Innsbruck 1904, p. III;
“Ein JUBILÄUM der Wagner’schen Firma,” Innsbrucker Nachrichten (28 June 1904) p. 6.
 
[3] Konrad FISCHNALER, Innsbrucker Chronik 3, Innsbruck 1930, p. 14;
An exemplar is in the Universitätsbibliothek Innsbruck (23.001).
 
[4] 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;
Karl M[agnus] KLIER, “Innsbrucker Lied-Flugblätter des 17. Jahrhunderts,” Jahrbuch des österreichischen Volksliedwerkes 4 (1955) p. 57ff;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 246, 252, 256;
FORM vnnd Weiß / der Einklaidung / und Profession der Nouitzinen / deß Fuerstlichen Stifts vnd Frawen Closters zu Sonnenburg nach brauch vnd gewonheit deß heiligen Benedictiner Ordens, Ynszprugg: Paur 1629;
Konrad FISCHNALER, Innsbrucker Chronik 3, Innsbruck 1930, p. 19f;
Anton DÖRRER, “Brixener Buchdrucker,” Gutenberg-Jahrbuch 12 (1937) p. 155f;
Norbert Hölzl, “Adam Purwalder, ‘Burger zu Sillian’,” Osttiroler Heimatblätter 37, no. 3 (1969).
 
[5] Karl M[agnus] KLIER, “Innsbrucker Lied-Flugblätter des 17. Jahrhunderts,” Jahrbuch des österreichischen Volksliedwerkes 4 (1955) p. 61ff;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 258f;
Josef TUMLER, “Buchdruckerei zu Hötting 1626,” Tiroler Heimatblätter 13 (1935) p. 233ff;
Eckart von SCHUMACHER, “Die Geschichte unserer Firma [Wagner],” Verlags-Katalog der Wagner’schen Universitäts-Buchhandlung in Innsbruck, Innsbruck 1904, p. VI;

[6] Karl M[agnus] KLIER, “Innsbrucker Lied-Flugblätter des 17. Jahrhunderts,” Jahrbuch des österreichischen Volksliedwerkes 4 (1955) p. 68ff;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 259f;
Anton DÖRRER, “Guarinoni als Volksschriftsteller,” Hippolytus Guarinonius (1571-1654) (Schlern-Schriften 126), Innsbruck 1954, p. 154;
Konrad FISCHNALER, Innsbrucker Chronik 3, Innsbruck 1930, p. 24;
Eckart von SCHUMACHER, “Die Geschichte unserer Firma [Wagner],” Verlags-Katalog der Wagner’schen Universitäts-Buchhandlung in Innsbruck, Innsbruck 1904, p. VIIff;
“Ein JUBILÄUM der Wagner’schen Firma,” Innsbrucker Nachrichten (28 June 1904) p. 7;
Anton DÖRRER, “Etschländer Buchwesen und Geistesleben,” Der Schlern 13 (1932) p. 522. -
Georg Arnold (1621-1676) did not come from “Welsberg im Pustertal,” as often reported in the literature (most recently by Ernst Knapp, Kirchenmusik Südtirols, Bozen 1993, p. 65), but from Valtice in southern Moravia, which was known as Feldsberg until 1920; see, among others, Gerhard Weinzierl, ed., Georg Arnold, Missa Quarta 1672 - Sacrae Cantiones 1661, intro. (Denkmäler der Tonkunst in Bayern, new series 10), Wiesbaden, etc. 1994, p. VII ff.
 
[7] Konrad FISCHNALER, Innsbrucker Chronik 3, Innsbruck 1930, p. 26.
 
[8] Konrad FISCHNALER, Innsbrucker Chronik 2, Innsbruck 1929, p. 130 (the author of the piece is not identified).
 
[9] Konrad FISCHNALER, “Aus der Frühzeit des Steindrucks in Innsbruck,” Konrad Fischnaler, Ausgewählte Schriften: Geschichts-, Kultur- und Naturbilder aus Alttirol, Innsbruck 1936, p. 113f, 118, 120;
P. [sic], “Aus dem schaffenden Leben heimischer Firmen,” Stimme Tirols (14 May 1947) p. 6.
 
[10] Rudolf GRANICHSTAEDTEN-CZERVA, Beiträge zur Familiengeschichte Tirols (Schlern-Schriften 131), Innsbruck 1954, p. 23. -
Six hymns by Weninger printed by Kravogl are in the music archive of the Benedictine Convent of St. Walburg in Eichstätt; see Hildegard HERRMANN-SCHNEIDER, Die Musikhandschriften in Eichstätt: 1. Benediktinerinnen-Abtei St. Walburg und Dom; Thematischer Katalog (Kataloge Bayerischer Musiksammlungen 11/1), Munich 1991, p. 426.
 
[11] The manuscript letters are in the library of the Tiroler Landesmuseum Ferdinandeum (FB 32.220). -
An issue of the Verzeichniss von Musikalien welche auf Bestellung zu erhalten sind durch Jos[ef] A[nton] Möst in Innsbruck (catalog of music available on order from Jos A Möst in Innsbruck) printed by J. N. Hartmann in Augsburg [about 1865?, 42 pages, 4°] is in the library of the Tiroler Landesmuseum Ferdinandeum (FB 50.051).
 
[12] INTELLIGENZ-Blatt zum k. k. priv. Bothen von und fuer Tirol und Vorarlberg (26 December 1833) p. 673;
An issue of the Gross catalog of 1836is in the library of the Tiroler Landesmuseum Ferdinandeum (W 4714/5).
 
[13] VERLAGS-Verzeichniss der Kunst- und Musikalien-Handlung des Johann Gross in Innsbruck und Brixen, Innsbruck 1857; in the library of the Tiroler Landesmuseum Ferdinandeum (FB 1932/3).
 
[14]  An exemplar is in the library of the Tiroler Landesmuseum Ferdinandeum (FB 31.742).
 
[15] Anton DÖRRER, “Brixener Buchdrucker,” Gutenberg-Jahrbuch 12 (1937) p. 163f;
See, e.g., the advertisement in: Cäcilia 15 (1876) p. 48 (“Praxis organoedi in ecclesia,” ed. Friedrich Riegel);
Josef GELMI, Geschichte der Stadt Brixen, Brixen 2000, p. 164.
 
[16] For editions of the Brixen publishing house of the St Cecilia’s Society, see, e.g., Hildegard HERRMANN-SCHNEIDER, Die Musikhandschriften in Eichstätt: 1. Benediktinerinnen-Abtei St. Walburg und Dom; Thematischer Katalog (Kataloge Bayerischer Musiksammlungen 11/1), Munich 1991, p. 435. -
For the katholisch-politischen Preßverein, see Josef Gelmi, Geschichte der Stadt Brixen, Brixen 2000, p. 243f;
Anselm SPARBER, “Dem Andenken des Prälaten Dr. Aemilian Schöpfer,” Der Schlern 32 (1958) p. 311ff.
 
[18] INTELLIGENZ-Blatt zum k. k. priv. Bothen von und fuer Tirol und Vorarlberg (10 January 1839) p. 16.
 
[19] Anton DÖRRER, “Bozener Buchdrucker,” Gutenberg-Jahrbuch 6 (1931) p. 228, 234, 236ff;
Anton DÖRRER, “Hundert Innsbrucker Notendrucke aus dem Barock: Ein Beitrag zur Geschichte der Musik und des Theaters in Tirol,” Gutenberg-Jahrbuch 14 (1939) p. 246;
Anton DÖRRER, “Etschländer Buchwesen und Geistesleben,” Der Schlern 13 (1932) p. 521; 14 (1933) p. 21, 72, 77.
 
[20] Antonio CARLINI and Clemente LUNELLI, Dizionario dei Musicisti nel Trentino, Trento 1992, p. 45ff, 310;
Clemente LUNELLI, Catalogo delle musiche della Biblioteca Civica di Rovereto, Rovereto 1987, p. 52.
 
[21] Antonio CARLINI and Clemente LUNELLI, Dizionario dei Musicisti nel Trentino, Trento 1992, p. 293.
 
[22] Clemente LUNELLI, Catalogo delle musiche della Biblioteca Civica di Rovereto, Rovereto 1987, p. 52;
Anton DÖRRER, “Ladinische Drucke,” Gutenberg-Jahrbuch 15 (1940) offprint, n.p.;
Clemente LUNELLI, “Libretti d’opera e cantate del settecento per Trento,” Studi Trentini di scienze storiche 64 (1986) p. 51ff.