Music collection of the Benedictine monastery in Mariastein

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The music collection of the Benedictine monastery Mariastein includes music manuscripts and music prints that have been composed or stored in the Mariastein monastery from the late 17th century to the present day .

history

The music collection of the Mariastein Monastery documents the musical life of the Benedictines of Mariastein from the late 17th century to the present. It consists of historical sources (music archive) and the current music library of the Mariastein convent. The history of the music collection reflects the recent history of the monastery and the two-fold secularization of the monastery: in 1792 as a result of the French Revolution, in 1874 in the course of the culture war in Switzerland . Following Chapter 16 of the Rule of Saint Benedict Seven times a day I sing your praises , the Benedictines of Mariastein cultivated a varied musical life since they moved from Beinwil to Mariastein in 1648, in which they composed, wrote down and performed. The two-fold secularization put an end to this musical life. The inventory history of the Mariasteiner Musiksammlung is therefore a history of loss and rebuilding.

The Mariasteiner Musiksammlung was affected for the first time in 1798 by the occupation and looting of the monastery by French revolutionary troops and by the establishment of the Helvetic Republic. After the abolition of the monastery between 1798 and 1802, the 22 music purchases of works by the Franconian Benedictine father Johann Valentin Rathgeber (1682–1750) documented in the abbey's household books were missing from the Mariasteiner Musiksammlung . This loss is documented by the Catalogus Musici Chori Beinwilensis ad Petram BM Virginis : The handwritten inventory of the Mariasteiner music collection from 1816 was made by the conventuals Trupert Fehr (1784–1820) and Ignaz Stork (1799–1855) during the term of office of Abbot Placidus Ackermann (1765–1841) created. In addition to the losses from the turmoil of the revolution between 1798 and 1802, the catalog is also evidence of the rebuilding of the Mariastein music collection after 1804.

Under the aegis of Abbot Placidus Ackermann, the Mariasteiner music collection was gradually expanded through the activities of composers, musicians and copyists P. Edmund Kreuzer (1793–1858) and P. Aemilian Gyr (1807–1879) and Leo Stöcklin (1803–1873): The Mariastein Abbey contributed to an early reception of the works of Joseph Haydn with copies of the works by Joseph Haydn, such as the oratorio The Creation (copy P. Edmund Kreuzer, 1832) or the string quartets op.8 (copy P. Aemilian Gyr, 1831) at. P. Leo Stöcklin copied works by Wolfgang Amadeus Mozart , Conradin Kreutzer and Johann Nepomuk Hummel and added them to the Mariastein music collection. After 1850, P. Leo Meyer (1822–1906), a former conventual of the abolished Cistercian monastery of St. Urban, steered the building up of the collection in a new direction: the Mariasteiner Musiksammlung owes its copywriting work to arrangements of operas by Vincenzo Bellini and Gaetano Donizetti.

P. Leo Stöcklin exercised the greatest influence on the history of the Mariastein music collection in the 19th century . In addition to numerous sacred works, the Mariastein music collection also contains operettas by P. Leo Stöcklin, which were mostly composed for the monastic school theater during the carnival season: The most famous work is Die Alpenhütte (undated), for which he also wrote the text. As the editor of the periodicals “Recueil de musique pour l'Eglise et l'Ecole” (Strasbourg: Noiriel from 1855) and the “Journal de Musique religieuse” (Mulhouse: 1860–1864), Stöcklin ensured that the Mariastein music collection would grow of music prints of Alsatian provenance that were not published in famous publishing houses. The publishing house André (Offenbach) is excluded from this. Through Leo Stöcklin's acquaintance with the organist and organ expert Julius André (1808–1880), the son of the publisher Johann Anton André (1775–1842), the autograph of the Kyrie fragment in G major, KV 73x by Wolfgang Amadeus Mozart came into the Property of the Mariastein music collection.

The Mozart autograph has survived the second turning point in the history of the Mariastein music collection unscathed. In 1874 the Solothurn Cantonal Council and the majority of the population decided to "reorganize" the Mariastein Monastery: it guaranteed the pilgrimage; for this purpose, fathers were allowed to remain in the monastery. The monastic life came to a standstill with the expulsion of the convent on March 17, 1875. The losses of the second turning point in the history of the Mariastein music collection are great: of the 300 editions of the works of Abbot Leo Stöcklin listed in Mariastein's book of professions, only 49 manuscripts and 20 prints have survived in today's music collection.

The Catalogus Musici Chori Beinwilensis ad Petram BM Virginis of 1816 lists 106 mostly sacred works by the Mariastein monastery composer Ambros Stierlin (1767–1806); 78 of them have survived in today's inventory. The works by Stierlin are followed in the catalog by a listing of 25 symphonies by composers of the Mannheim school such as Carl Stamitz (1745–1801), Franz Ignaz Joseph Fränzl (1736–1811) and Joseph Touchemoulin (1727–1801). These sources from the Mannheim school are no longer available in the Mariasteiner music collection.

After the expulsion, the Mariasteiner convent settled in Delle (F) and founded the Ecole libre St-Benoît in autumn 1875 . In it the pupils received a comprehensive musical education. With the founding of the Fanfare du Collège St-Benoît , a wind orchestra under the long-standing direction of P. Anselm Rais (1864–1904), the musical life of the exiled convent took on a specific direction that found its way into the music collection: the repertoire of fanfare is available in the collection through handwritten sources and printed music.
The music collection does not contain any documents from the convent's second station in exile in Dürrnberg (Hallein / A).

In 1906 the exiled Mariastein convent moved its seat to Bregenz (A), in the same year the Fathers of the Mariastein convent took over the management of the college of Karl Borromäus in Altdorf (CH). From the time in Bregenz, the music collection contains numerous editions of the Antiphonale monasticum as well as masses and sacred works for four male voices and an organ from the second half of the 19th century. There was no systematic collection activity for the music collection in Bregenz.

In contrast, such a development developed in the Karl Borromäus college in Altdorf between 1906 and 1981. A rich repertoire of church music (orchestral masses, works for male choir), but also secular works have been collected in Altdorf and are now part of the Mariastein monastery music collection « College of Karl Borromäus Altdorf »handed down.

With the sale of the Gallus pen in Bregenz and the handover of the Karl Borromäus college to the canton of Uri, extensive music collections returned to the monastery in Mariastein in 1981. The music collection has been accessible again since 2014 after a comprehensive reorganization; the stocks can be queried via the online catalog.

Duration

The music collection of the Mariastein monastery includes the partial holdings

  • Music archive (music manuscripts and music prints up to approx. 1850)
  • Sheet music library (printed music from around 1850 to the present day)

The oldest source of the “Music Archive” part is Vespertinale per Festis, Quorum per Annum Vespera in D. Virgini's Petra Solennius celebrari solent , which was written down in 1683 on behalf of Abbot Augustin I. Reutte (1645–1695) and provided with illuminations for solemn festivals.

In 1720 P. Vinzenz Aklin (1676–1747) wrote down the 24 chorale masses of St. Gallen monk Valentin Molitor (1637–1713) on behalf of Abbot Augustin II Glutz von Solothurn (1675–1745) .
The extensive oeuvre of the Mariastein organist Father Ambros Stierlin (1767–1806) stands out from the last third of the 18th century: despite the historical losses, it is represented in the catalog of the music collection with 162 entries (mostly autographs).

With 218 manuscripts by Father Leo Stöcklin, the monastery’s own composition in the 19th century is documented in the catalog.

The numerous early copies of works by Joseph Haydn and Wolfgang Amadeus Mozart are just as important for the music collection as the sources of the monastery composers. In the abundance of historical sources, the works of Joseph Haydn take first place numerically; In addition to early sources of the oratorio The Creation , both the London symphonies and string quartets are documented in manuscripts from the early 19th century.

The “Music Library” sub-collection comprises three main areas:

  • Sacred music in sheet music editions of the late 19th and 20th centuries,
  • Music from the former Karl Borromäus college in Altdorf: church music and secular works from Johann Sebastian Bach to Giuseppe Verdi (symphonies, overtures, operas, chamber music, vocal works for soloists, works for male and boy choirs)
  • Estate of P. Martin Zieri (1892–1969): Sacred music and organ works

The three focal points represent the musical performance practice of the Mariastein Convention in the exile locations of Bregenz and Altdorf.

Mariastein monastery composers

  • Anton Kiefer (1627–1672)
  • Maurus Baron (1687–1734)
  • Ambros Stierlin (1767-1806)
  • Augustin Stierlin (1778-1832)
  • Edmund Kreuzer (1793-1858)
  • Leo Stöcklin (1803–1873)
  • Vinzenz Motschi (1839–1905)
  • Alphons Studer (1845-1894)
  • Ludwig Fashauer (1850-1916)
  • Anselme Rais (1864–1904)
  • Leopold Beul (1886–1955) OSB Engelberg; Organist and church musician in Mariastein
  • Maurus Zumbach (1891–1966)
  • Martin Zieri (1892–1969)
  • Vinzenz Stebler (1917–1997)

literature

  • Lukas Schenker: Exile and return of the Mariasteiner Konvent 1874–1981, Delle - Dürrnberg - Bregenz - Altdorf. Mariastein Abbey, Mariastein 1998.
  • Gabriella Hanke Knaus: The music collection of the Benedictine monastery Mariastein - evaluation as the key to successful reorganization. In: Information Science: Theory, Method and Practice, theses from the Master of Advanced Studies in Archival, Library and Information Science, 2010–2012. here + now, Baden 2014, pp. 75–91.
  • Gabriella Hanke Knaus: A lost repertoire - instrumental music in the Benedictine monastery Mariastein around 1815. In: Music - Space - Chord - Image. Festschrift for Dorothea Baumann's 65th birthday. Peter Lang, Bern et al. 2012, pp. 297–307.
  • Rudolf Henggeler : Profession books of the Benedictine abbeys St. Martin in Disentis, St. Vinzenz in Beinwil and UL Frau von Mariastein, St. Leodegar and St. Mauritius in the courtyard of Lucerne, All Saints in Schaffhausen, St. Georg zu Stein am Rhein, Sta. Maria zu Wagenhausen, Holy Cross and St. Johannes Ev. zu Trub, St. Johann im Thurtal. Train 1955.
  • Music for Mariastein through four centuries. Works by Thüring Bräm, Anton Kiefer, Ambros Stierlin, Martin Vogt, Leo Stöcklin. Ars Braemia, Meggen 2014 (music CD).

Individual evidence

  1. ^ Franz Krautwurst: News on the life and reception history of Valentin Rathgebers OSB (1682–1750). In: Musik in Bayern, half-yearly publication of the Society for Bavarian Music History , issue 50/1995, pp. 45–57-
  2. ↑ Catalogus Musici Chori Beinwilensis ad Petram B: M: Virginis ano Millesimo octingendesimo decimo Sesto par Fr. Trup Fehr profession. Spl: Joh. Nep: Storck OAMD Gl , [1816], [Ms.]; Music collection of the Benedictine monastery in Mariastein

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