||Philip Legge (1972*)
||Choral Public Domain Library, 1 January 2008
||See Creative Commons Attribution Share Alike 2.5 Australia for precise copyright terms.|
Edited by Philip Legge from Denkmäler der Tonkunst in Österreich, Band 20, Missa Salisburgensis and Plaudite tympana (attributed to Orazio Benevoli), ed. Guido Adler (1855–1941), 1903.
Only the first movement, Kyrie eleison, is currently available from the editor. No further movements (Gloria, Credo, Sanctus & Benedictus, Agnus Dei) are planned to be typeset in the immediate future. The festal hymn composed for performance with the mass, Plaudite tympana, is however available.
||Missa Salisburgensis à 54
||Biber, Heinrich Ignaz Franz von
|Opus/Catalogue NumberOp./Cat. No.
||C App. 101
|Year/Date of CompositionY/D of Comp.
||MS dated to 1654–1696
||1682 – Salzburg
||Latin (and Greek, Kyrie)
|Average DurationAvg. Duration
|Composer Time PeriodComp. Period
||Voices: 4 sopranos, 4 altos, 4 tenors, 4 basses + 2 mixed choruses (SSAATTBB, SSAATTBB)|
Orchestra: 4 recorders, 2 oboes + 2 cornettos, 10 trumpets, 3 trombones + 2 timpani (4 drums) + 2 organs + 4 violins, 8 violas + continuo
Now thought to have been composed for the 1100th anniversary of the founding of the archbishopric of Salzburg in 1682, the colossal score of the Missa Salisburgensis (the folios are 82×57 cm in size!) was rediscovered in the late 19th century. Study of the watermarks in the manuscript dates the work to between 1654 and 1696, making for a plausible ascription of the work to Orazio Benevoli (1605–72) on chronological grounds only, and possibly Andreas Hofer (c.1629–1684) and Heinrich Biber (1644–1704) on stylistic grounds as well. The work could not appear to have been composed as early as 1628 for the consecration of Salzburg cathedral, as Guido Adler mistakenly presumed when publishing the first modern score in 1903.
Only as late as the 1970s did Ernst Hintermaier firmly link the composer of this mass to another similar work, the Missa Bruxellensis, the MS of which has been dated between 1696 and 1704 by similar study of its watermarks. Aside from numerous compositional traits observed by Eric Thomas Chafe that these two works share in common with Biber’s other firmly authenticated masses, the most probable ascription based on the chronology and documentary evidence for the Salzburg and Brussels masses points to Biber.
The layout of the performers is as follows:
- Choro I : “8 voci in concerto”, SSAATTBB soli and SSAATTBB ripieno, with first organ
- Choro II : 2 violins, 4 violas
- Choro III : 4 flauti (recorders), 2 oboes, and 2 clarini (high trumpets)
- Choro IV : 2 cornettos, 3 trombones
- Choro V : “8 voci in concerto”, SSAATTBB soli and SSAATTBB ripieno
- Choro [VI] : 2 violins, 4 violas
- I. Loco : 4 trumpets, with timpani in C and G
- II. Loco : 4 trumpets, with timpani in C and G
- Continuo, with second organ (for choir V)
|Masses by Heinrich Biber
- C 3, Missa Christi resurgentis à 20 (1674; in C)
- C 4, Missa ex B à 6 (in B♭)
- C 5, Missa quadragesimalis à 4 (in D minor)
- C 2, Missa catholica (after 1680; in C) incomplete
- C App. 101, Missa Salisburgensis à 54 (1682?; in C)
- C App. 98, Missa in contrapuncto à 4 (in D minor; also attrib. to Carl Biber)
- C App. 99, Missa in Albis (1668; in C; doubtful)