Rediscovered Documents from the Esterházy Collection (The Engraver's Copy of Pál

Esterházy's Harmonia Caelestis; The Libretto of Joseph Haydn's "Acide")

Author(s): Ágnes Sas
Source: Studia Musicologica Academiae Scientiarum Hungaricae, T. 34, Fasc. 1/2 (1992), pp.
167-185
Published by: Akadémiai Kiadó
Stable URL: http://www.jstor.org/stable/902366
Accessed: 16-11-2017 16:48 UTC

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 DOCUMENTA

Rediscovered Documents from

the Esterhazy Collection
(The engraver's copy of Pal Esterhazy's Harmonia caelestis;
the libretto of Joseph Haydn's Actde)

Agnes SAS

The foundations of the Esterhazy archives and family collection were laid
by Nikolaus Esterhazy (1583 1645), the first remarkable figure of the dynasty.
Though Nikolaus was already engaging professional musicians the first docu-
ments related to music were incorporated into the collection during the reign
of his son Pal Esterhazy (1635 1713). They included librettos of the operas
he saw performed in Vienna, copies of his own sacred song collection, the
compositions of his court musicians and scores of the works which formed the
repertory of his orchestra. Prince Paul Anton (1711 1762) enlarged the stock
by Italian, French and German operas he gathered during his trips to Europe
and his stay in Italy as well as by scores of instrumental works. His steadily
employed court orchestra was conducted by Johann Gregor Werner. Owing to
the employment of Joseph Haydn as conductor during the time of Prince
Nikolaus the orchestra achieved European fame and recognition. In order to
continuously supply the regular opera performances held at Eszterhaza with
scores, acquisitions were carried out on a large scale and with immense verve; for
the performances themselves librettos were printed. After a temporary break
in the 1790s the court music life received fresh impetus in the early 19th
century when Johann Nepomuk Hummel conducted the orchestra and when
the Palace in Eisenstadt gave home to operatic performances.
After having been enlarged for almost two centuries the collection was
first investigated thoroughly by Ferdinand Pohl in the 1860s who started
research into the documents held in one block in Eisenstadt.l Before 1930 part
of this material was transferred to the palace in the Tarnok street in Buda.2

l C. F. Pohl, Joseph Haydn, Berlin 1875 (reprint: Wiesbaden 1971), vol. i, pp.
Vii-Viii XiV7 XVi; D. Bartha and L. Somfai, Haydn als Opernkapellmetster, Budapest
1960, p. 19.
2 I. Bakacs, Az Esterhazy cealad hSercegt aganak leve'ltara [The archives of the
princely branch of the Esterhazy family]. Leveltari Leltarak 2, Budapest 1956, p. 4;
Bartha/Somfai, op. ctt., p. 21.

Studia MusicoloSica jlcademiae S¢ientiarum Bunaaricae 34, 1992

ilkademiai Ziade5, Budal)est

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168 -4. Sas: Redtscovered Documents from the Esterhazy Collectzon

The musical and theatrical documents, and the librettos and play-books sepa-
rated under heading Acta musicalia and Acta teatralia were detached after this
date.3 During the Second World War the library burned out4 and in 1949 the
rest of the surviving material was distributed, in agreement with the law of
trust fund, among the following institutions: the archival documents were
transferred to the National Archives while the musical and theatrical items,
the Haydn collection,5 the collection of more than 200 operas, the Michael
Haydn as well as the Sussmayr collection, etc. were incorporated into the
various departments of the National Szechenyi Library. It has long been a
widespread belief that all documents missing in the holdings after 1949 were
destroyed in the wa/r.
In the autumn of 1990 several documents once belonging to the Esterhazy
collection at the Buda palace were offered for sale to a second-hand book-shop
in Budapest. The transaction was carried out by an intermediary. He was
charged by a one-time member of the Esterhazy household in Buda who
claimed that this was a11 he had been able to rescue. The material consisting of
a manuscript part-book and a printed set of parts, 4 (+ 2) handwritten and
39 printed librettos (+ 1 play-book) was kept hidden since the Second World
War; the Esterhazy stamp on the cover revealing the provenance was cut off
but preserved within the individual volumes. Apart from this truncation the
material that has recently come to light is intact and faultless with the excep-
tion of a handwritten and a printed libretto, with no sign of burning whatsoever
and its damages do not necessarily stem from the vicissitudes of the war.
The above-mentioned stamps ("ESTERHAZY HERCEGI ll'l'3IZO-
MANY konyvtara ... leltari sz." [library of the ESTERHAZY TRUST
FUND shelf mark. . .]) and the fact that the earlier descriptions and inven-
tories of the collection include information on and registration of each volume

3 J.Harich, Inventare der Esterhazy-Hofmuszkkapelle tnEtsenstadt, Haydn Jahr-

buch 9 (1975), p. 67. See the inventories by J. Harich: Httbtzomanyt Konystar Budapest
[Library of the (Esterhazy) trust fund in Budapest]. Typescript [1932], Budapest,
National Szechenyi Library (henceforth H-Bn), Manuscript collection, Quart. Hung.
2912, vol. x, pp. 43-46: Opera- e's sztndarab szovegkonyeek [Librettos and play-books];
tdem, Szovegkonyvgyujtemeny [Text-book collection]. Typescript 1941, H-Bn, Music col-
lection, Ms. mus. th. 112; zdem, Esterhazy-Muszkgeschtchte zm Sptegel der zettgenosstschen
Textbucher, Burgerlandische Forschungen 19, Eisenstadt 1959; further K. Zolnai, A ma-
gyarorszagt olasz nyowtatvanyok (1699-1918) - Btbltografta della lttteratura ttaltana
d'Ungherza, Budapest 1932; A. Zador, Az eszterhazat sztnhaz [The theatre at Eszterhaza].
A Szinpad II (1936), pp. 247-256; M. Horanyi, Das Esterhazysche P7eenretch, Budapest
1957.
4 Harich, Esterhazy-zenetortenet [Esterhazy history of music]. Typescript 1946,
H-Bn7 Manuscript collection, Quart. Hung. 29137 vol. Vii7 p 14.
5 Cp. Haydn Composttzons tn the Mustc Collectzon of the Natzonal Szechenyt Lzbrary
Budapest, Budapest 19597 ed. J. Vecsey.

Studia MusicoloSica Jcademiae Sc?entiarutn HunSaricae 3d, 1992

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 =4. Sas: Redtscovered Documents from the Esterhazy Collectzon 169

prove unambiguously that the material had once formed part of the Esterhazy
collection, of the section entitled Musica on the one hand and of the so-called
play-book and libretto collection on the other. In-depth analysis and the
comparison of the recently discovered volumes with the material deriving
from the Esterhazy collection and held in the National Szechenyi Library
now have provided further evidence to support this presumption. It facilitates
comparison that the newly emerged works are also in possession of the National
Szechenyi Library: the scores were acquired by the Music Department and
the librettos went over to the property of the Department of the History of
Theatre.6

Printed and Manuscript Music

The printed volumes hold the first and contemporary editions of Haydn's
string quartets. The three booklets are in a common wine-red, paper-back
cover that has come apart by now. On the first page of the various part-books
handwritten references, shelf-marks can be found whereas the music text has
no entry whatsoever.

Op. 54 (Tost) Quartet, volume 1, edition by Artaria ( ?), 1789/907 Quartetto

I, II, III [G, C, E]
The title-page of the four part-books (Vto7Sno prtmo, Vto7ino secundo,
Vtola and Vtotoncelto) folded into the cello part and surviving in good condi-
tion is missing, their plate number is 93. Among the various old shelf-marks and
handwritten titles8 the reference and the folio numbers of the Esterhazy inven-
tory written in the 1820s in black ink can be identified: VI. I: N 22. fol 87,
VI. II, Va, VIc.: N 22.9

6 The new acquisitions were provided with the following shelf-marks: Haydn
string quartets-ZR 3212-3213; Hartnonza celestts-Ms. mus. 10 062. The accession
numbering of manuscripts with words are: 2.068-- 2.071/1990 and 2.077-2.078/1990;
printed play-books and librettos: 2.072-2.2122/1990; the accession number of Actde:
2.067/1990.
7 Hob III: 58, 57, 59-op. 54-55. See Hoboken, vol. i, p. 412: (Artaria?) 1789/90:
Plate No. 93/77.
8 Violino primo: [at the top in red ink:] 0p. 54, [in indelible pencil:] 3. Qmlartetten
[v.] Jos. Haydn [underneath in red pencil:] N° 30 [in brown ink:] N° 56. [crossed out].
Violoncello [in pencil:] Jos. EIaydn [underneath in pencil:] 16.
9 The original inventory was not at my disposal, only the typescript copy of an
inventory made in 1858 after a list which had been prepared in the 1820s and now held
in Eisenstadt and Forchtenstein, respectively: Inventar Nr. 42. Inventartqltn qiber dte
hochfqiratltch Esterhazyschen Kammer- qlnd Theater Mqlstcal?,en zql Etsenstadt vom Jahre
1858 (H-Bn, Music collection). In it the folio numbers of both the 1820s and the 1858
inventory were introduced: fol 79 [and] 87 N. 22 Dqlodecz Qmlartettz v. Jos. Haydn. Vtoltn
second qlnvollstandzy. Partes 16. On the investigated printed editions the higher folio
numbers of the earlier inventory are indicated.

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170 A. Sas: Redtscovered Doctlments frorn the Esterhazy Collectzon

Op. 54, volume 2 Quartetto I, II, III-[A, f-F, B flat]

No title-page. Of the four parts provided with the plate-number 77 ( Vtoltno
prtmo, Vtoltno secundo, Vtota, Vtoloncello) the second violin part is defective
and the outer bifolio is missing. Written on the first page of the viola part
which holds the rest of the parts there is the serial number N 22 of the inventory
made in the 1820s.1°

Op. 76 (Erdo'dy) Quartet, Nos 4-6, first edition (?) by Artaria, 1799
Quartetto IV, V, VI-[B flat, D, E flat]
Title-page: TROIS / QUATUORS / pour / deux Vtolons Alto et Vtolon-
celle / Composes et dedtes / a son Excetlence Monsteur le Cowte / JOSEPH ERDI-
DY DE MONYOROKER1eK / Chambetlan et Consetller Intzme Actuel d'Etat
de S. Maj. / I' Empereur et Roy, Supreme Cowte du Comttat de Neuttr. / par /
JOSEPH HA YDN. / Oeurre [in ink:] 76. / a Vtenne chez Artarta et Comp. / 826.
837.-f 3. Seb. Mansfeld fec. (At the end of the cello part: Joh. Schdfer sc:)
In the upper margin of the title-page the identification number N 22 fol
87 entered in the course of the inventory taken up in the 1820s can be found.
The name written under the opus number in pencil is: Luzyt Tomastnz.t2
The plate-number of the four part-books (Vtotino prtmo, Vtoltno 2.°,
Vtola, Vtoloncello) is 837.
The entry N 97 fol 97. at the top of the Vtoltno prtmo part refers to another
item of the 1820s inventory; according to it the series of string quartets was
available in several copies, and the title-page and the parts discovered had
originally nothing to do with each other, the title-page was designated to
number 22 and the parts to number 97.13

Pal Esterhazy: Hclrmontcl cclelestts manuscript engraver's copy of the

printed edition
In literature the two manuscript sources of the sacred song collection
attributed to Pa1 Esterhazy and published in Vienna in 1711 had long passed
unheeded. They were first enumerated by Johann IIarich in his catalogue of

10 Further manuscript indications: Violino primo [at the top in red pencil:] N° 30f
[in pencil:] 3. Qmlartetten v. Haydn. Viola [in pencil:] 15.
11 Hob III: 78-80-op. 76/4-6. See Hoboken, vo]. i, p. 431: Artaria, Erstaus-
gabe? Plate No. 837, 1799/XII, the figure written in hand is: 76.
12 Further entries in Violino Primo [in pencil:] 17, in Violino 2.° [in inde]ible
pencil:] No: 17 Qmlartett v Haydn.
13 Several of the works enumerated in the relevant chapter of the inventory (Cc6.
Violin Terzetten, Qmlartetten qlnd Qmlintetten") can be found in H-Bn under the shelf-mark
cczs. They bear folio and seria] numbers belonging to the same system and entered in
an identical hand, the same kind of labels for the sehlf-marks or their traces.

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 A. Sas: Redwcovered Documents from theEsterhazy(7ollectzon 171

documents compiled in 1943.14 According to Harich the whereabouts of the

manuscripts had been unknown till 1943; they must have been emerged from
the documents transferred to the palace at Buda during the ordering of the
collection. Similar to the other musical documents they were removed from
their original place, the bundle containing the poetic works of Pa1 Esterhazy
which was deposited after 1949 in the Archives where it is still kept intact.
The only two items missing are these two volumes of score.15
In 1946 Harich made a detailed description of the two manuscript sources.
Since the work survives in typescript only it has not become generally known.16
The two manuscripts are said to have been written in 1699 and 1700, respec-
tively; the first did not include more than 34 pieces yet and was started by
the Prince himself. The volume is described as follows: "a small volume in
octavo bound in parchment" "containing 165 numbered and about same
amount of unnumbered pages". The autograph title reads as: Melodtae / pro
figurali choro tn / usum mustcorum per / totum annum deser / vtentes a / Paulo
Estoras / Sac. Rom. Imperii Princtpe / ac Reynz Hun. Palattno / anno MDCXIX:
[!J.17 The second version copied in an unknown hand and bearing the title
Harmonza caelestts already included almost the entire material that is 53
pieces. This volume was provided with two title-pages due to the drawn-out
publishing procedure the reasons of which are unknown: the first was made
in 1700 while the second in 1703. Esterhazy emended the date of publication
in 1709, then 1711 later on.18
In possession of the detailed description the recently emerged volume
could easily be identified as both the get-up and the contents agreed with it in
every respect.
The volume in upright format bound in red parchment and measuring
305 306x197 200 mm the spine bulks 40-42 mm consists of 10
unnumbered and 290, in some places erroneously numbered, altogether 300
pages.19 It is compiled from 14 larges fascicles (of 8 10-14 18 pages) and
glued bifolios inserted between them.

14 Harich, Esterhazy Pal nador (1635-1713) ?,rata?, [Documents of Pa] Esterha%y

palatine (1635-1713)]. Typescript 1943, National Archives, P 125, 81.
National Archives, bundle 702, Nos 11901 and 11906.
16 Harich 1946, vol. iv, pp. 9-27.
17 Harich 1946 p. 11. See tbid. the enumeration of the title of all 34 items.
18 Ibq,d., pp. li-15-
19 See the engravers' agreement in which 300 pages are counted up (A. Valko, A
Harrnon?>a Coelest?>s rezrnetezo?>nek egykoru szarnadasa?> [Contemporary accounts of the ell-
gravers of the Harmonia caelestis]. Magyar Konyvszemle (1959), pp. 85-86).

Studia Musicoloca ilcademiae Scientiarum Hunaaricae 34,199^'

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172 ^4. Sas: Redtscovered Doctlments frorn theEsterhazyCollectzon

The contents of the volume:

f.lr-isblank:

f. 2r is the title-page [i]: [in the upper right-hang margin there is:] 1. / + /
HARMONIA / CAF.Tj1£STIS / SEV / MOELODIAE MUSICAE PER /
DECVRSVM TOTIVS ANNI ADHI / BENDAE AD VSVM MVSICORVM /
AVTHORE PAVLO SACRI ROMANI PRINCIPE / ESTORAS DE
GAT,ANTA REGNI / HUNGARIAE PALATINO ANNO / DOMINI
M:D:CCIII20 [underneath there is a pen-and-ink drawing with star, flower
and-bird's-eyed motives];
f. 2v is blank;
f. 3r-v Dedicatoria [i] as in the printed edition;
f. 4r: title page [ii]: HARMONIA CAE / LESTIS SEV / MOELODIAE
MUSICAE PER/ DECVRSVMTOTIVS ANNI AD/ HIBENDAE AD VSVM:
MVSICO / RVM. / AVTHORE / PAVLO SACRI ROMANI IM / PERY
PRINCIPE ESTORAS / DE GAT,ANTA REGNI HVN / GARIAE
PALATINO:ANNO: DOMINIM:D:CCTTTTXT2l[underneathpen-and-ink
drawing, a composition made up from star and bird's-eye patterns];
f. 4v is blank;
f. 5v-r Dedicatoria [ii]-xybxyd.;
f. 6r is blank ( page 11; this is where the original numbering starts with 9
because it dates from a time prior to the second title-page);
f. 6V the beginning of the music, the parts being written continuously on the
opposing verso-recto pages as in the printed edition.
The watermark of the paper shows a rearing deer on a wheel placed
within a shield. At the top the letter CIP [Comes Iohannes Palffy], at both
sides of the deer the initials M W can be seen. The paper was made at the
Palffy's papermill in Bazin between 1680 1682.22 The staves on the first
pages of the volume are ruled while from the actual page 37 onwards they are
drawn with a simple rastrum.23 An exception is only the item O, Marxya, gratqyosa
(No. 48 in the printed edition) where a ruled was applied again.
All items of this volume are in the hand of one scribe; an exception is
only the above-mentioned O, Marxya, yratqyosa, the voice part of which is the

20 The date was originally MDCC; the figures ,,III" are later addition.
21 Originally 1703, emended in 1709, then in 1711, see Harich 1946.
22V. Decker, Dej?>ny ruenej vyroby paptera na Slovenaku, Martin 1982, p. 172,
Nos 712b, 713-714 and 715---716, respectively, and pp. 15, 112. (The external orna-
ment of the shield shows similarities with the illustrations 712b-713 and contains at
the same time the monogram M W referring to the master Michael \ATetzel as we]l which
occurs in the catalogue only in the unframed or oval franaed illustrations 715a and
716ab.)
23 See the throughout thicker third line.

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 . Sas: Redtacovered Documents from the Esterhazy Collectzon 173

work of a second and the instrumental parts that of a third hand. The music
text is of a much better quality than that of the edition where the engravers,
evidently no connoisseurs of music, committed a considerable number of errors
and produced heaps of easily misunderstandable notes and rhythms. Here
the copyists who were probably musicians created a reliable music easy to
read.24 Apart from the copyists the handwriting of two additional persons per-
forming the emendation of the music can be distinguished; moreover, even
the succession of their activity can be established. The "corrector" writing
fainter and with a ticker pen emended some of the corrections made by the
first scribe in thin, scratchy writing.25 In addition to the emendations apparent
in the manuscript another collection phase can also be observed: the engraved
music contains slurs, etc. which are missing in the manuscript.26
Besides, the volume shows additional entries in ink and pencil by the
engravers such as remarks on each page stating the completion of the work:
factum est, est factum xysta pars, est factum usque ad scrxypturam, etc. or the portion
of the work to be done yet: xyst zu machen, etc. Notes by the engravers and
others (e.g. bxys hq>rher ales xyst corx>yxyrt, xynexypxyendo, NB Cornetus [ ?], XB alt
volta-e fato) may throw light not only on the phases of the engraving but
also orl the contents and the arrangement of the volume, as well as on the
more than ten-year long process of preparing the edition. (It may already
be established after the first investigation of the manuscript that the last
eight pieces of the new works placed at the end of the volume were engraved
twice which may account for the delay in publication.)
The design of the firlal printed form of the collection can be followed up
on the manuscript as in addition to the original (sometimes mistaken) page
numbers the future paginatiorl of the printed edition was entered into the
manuscript. An exception is only the piece which was later to become the initial
item so that the second work was preceded by the remark anfany.
In this volume 53 of the 55 pieces of the printed edition are notated. The
Cur fles, lesu and the Amorxys flamm?4la (items Nos 21 and 45 in print) are
still missing in the manuscript although they were already available.27 The first

24 Due to the evident nature of the errors of the printed edition they could easily
be corrected in the majority of the cases. Consequently, the new edition of the col]ection
does not follow the printed version it was based on but tried to reconstruct the manu-
script with the unknown whereabouts. (See Pal Esterhazy, Harmonza caelestze 1711, in:
Musica]ia Danubiana 10, Budapest 1989, ed. A. Sas.)
25 See piece "No. 15", p. 1lOff.
26 E.g. No. 24: C I, bar 29.
27 These two pieces appeared on pp. 99-108 and 235-- 238 of the edition and the
figures-and only these ones-are rnissing in the second numbering entered in the book
and referring to the printed edition.

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174 . Sas: Redtscovered Documents from the Esterhazy Collectzon

34 pieces are in the sequence of the first source as describedbyHarich; nev-

ertheless, they are intermingled with new pieces written for identical occa-
sions.28 The volume starts with Marian songs (Nos 35 43 in the printed edi-
tion); they are followed by works connected with the birth and life of Jesus
(Nos 2-18, 23-24, 25, 26, 27-28, 19, 30, 31 32, 1) and pieces for other
occasions (No. 33 Pange, lqyng?4a; No. 46 Trx>?4mphate, sanctae hqyerarchqyae; No.
54 Sanctz Dex>, trxyumphate). When writing down the last "early" work the
"recent ones" were already available just as well: the last page of the instru-
mental parts of Sanctt Dex>, trtumphate was notated on the first pavge of a
new, eight-page fascicle.
The pieces included subsequently in the collection follow in the sequence:29
O, mors (No.55), Vent, Creator Sptrttus (No.34), Salve, Paule (No. 52), Ltngua,
dxyc trophaea (No. 47), Totcl d?4loxys es, Marxycl (No. 44), Ascendxyt Deus xyn xyubxylo
(No. 29), Saule, Salue (No. 53), Iesum ardentq>bus (No. 20), O, Marza, gratqyosa
(No. 48), Ubt, gbt commorarts (No. 51), O, quem gustum sentto (No. 49),
Marxya, q?4M>d sentqyo (No. 50), and O, Iesu admxyrabxylqys (No. 22).
The various phases of the notation can be distinguished by means of the
degree of care with which it was written and by the colour of the ink used.
Thus e.g. the Ubx>, ?4bxy commorarxys entered at the end of the volume in yellow
ink is followed after an interruption bypieces taken over from Holan Roven-
sky's collection;30 the latter were notated continually in brown ink.

A. Librettos Manuscripts

The Esterhavzys had purchased and collected librettos from the mid-1670s
onwards and, starting with 176331 theyevenhadlibrettosprinted for purposes
of the more and more frequent operatic performances.32 A certairl portion of
them survives33 scattered in Eisenstadt, the National Szechenyi Library of

28 The new pieces are distinguished by figures in italics in the following enumer-
ation.
29 The figures in brackets coming after the titles indicate the sequence of the
original edition in 1711.
30 Capella regza mustcalts, Prague 1693-1694. See the preface to the modern edi-
tion of the Harmonta caelestts, pp. 67-68.
31 Prior to that date only sporadic cases are known of, such as e.g. the edition of
the words of Werner's oratorio in 1749, 1759 and 1762.
32 Presses and printers emploved repeatedly are: Mr and Mrs Giuseppe Siess,
Sopron (1776-1797), Joseph Edler von Kurzbock, Vienna (1777---1786), J. L. Stotz,
Eisenstadt (after 1804), etc.
33 A-Wgm (Harich 1959, No. 122), A-Wsa (?>b?>d. No. 127), A-Wbn (129), GB-
Lbl (bm) and D-DO (135), I-Rsc (142, 150)-see H. C. Robbins Landon: Haydn: Chron-
?,cle and B'orks, vol. 2: Haydn at Eezterhaza, 1766-1790, Bloomington-London 1978,
pp. 417, 436, 437, 460, 480 and 670.

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 . Sas: Redtacovered Documents from the Esterhazy Collectzon 175

Budapest and elsewhere.34The so-called"text-book(libretto) collection" con-

sisting of more than 200 items was, however, destroyed during the Second
World War in the Esterhazy palace of Buda, as born out by evidence available
so far.
(The denomination "text-book collection" is somewhat misleading as the
material thus registered had not emerged as the result of a systematic ac-
quisition and arrangement but during an inventory made of the volumes sur-
viving unto the 20th century. Prior to this and, due to the break in arranging
the archives, the library and the music collection, partly even thereafter the
libretto were held on the various locations of the collection.35)
The idea to establish a collection is linked with the name of Harich who
took the librettos out of the material transferred to Budapest and made an
index of the first 80 items in 1932.36 In the course of the further arrangement

34 Of the librettos with unknown whereabouts there emerged recently the libretto
of I,a locanda by Gazzaniga thought to be lost. (The kind information of Magdolna Both.
See H-Bn, shelf-mark 284.625, cp. Horanyi, op. cit., pp. 212, Bartha/Somfai, op. ctt.
pp. 202-203, Landon 2, p. 408-with a printing error in the title description. ) Accord-
ing to Harich (Harich 1959, p. 41) the title-page of the libretto and a new aria were
subsequently printed. No traces of it can, however, be detected in the copy surveyed
and the two insertion arias described by means of the surviving score and parts (H-Bn
Ms. mus. 68, see Bartha/Somfai, tbtd.) as well as the words of Guerina's cavattna con-
damned to omission by Haydn are also missing in the volume. In contrast, the cast is
enumerated on f. 2r which had not been published so far.
35The earlier condition of the Textbuchersammlung is reflected in Haydn's cata-
logue of librettos dating from 1804. (Wiener Stadt- und Landesbibliothek, Handschrif-
tensammlung, Ia 121.319, described in Landon, op. ctt., vol. 5, pp. 322-325). The list
comprises not only the works acquired during Haydn's time but some of the material
as well as that had been gathered from the 17th century onwards. Of the 14 librettos
entered into the 1941 catalogue by Harich from the time of Pal Esterhazy only 2 are
mentioned. Apart from and in addition to them at least 9 works are listed which have
probably become lost in the meantime. Beside the 8 pieces provided with a date see also
the opera La Fama by Draghi and the work entit]ed La Dea Rtconciltata by Badia -
which is left unmentioned in Grove's catalogue of works. (Harich claims that the librettos
purchased by Prince Pal were deposited together with the Prince's library at the Fran-
ciscan Friars of Eisenstadt and the respective volumes must have come to light after
searching through the library. See Harich 1941, preface. )
Similarly, a certain portion of the collection of Prince Paul Anton was taken
over by Haydn: 3 of them survive to our century (Majo, II sogno d'Oltmpta- Harich
1959 (66), Gluck, II re pastore (55), Bonno, L'eroe chtnese (73 or 79). Even on the basis
of the deficient and inprecise titles at least 6 additional librettos may be supposed to
come from this material: Porsile, Gtuseppe rtconosctto /premiere: 1733, Vienna/, Perez
Merope /1744, Genova/, Cafaro, L'Ipermestra /1751, Neaple) "La pace untrersale 751
in Roma", Cocchi, Sesostrz /1752, Neaple/, Garcia, La puptila /1755, Rome/. (Missing
both in Harich 1941 and Harich 1959.)
The later librettos ordered by the Esterhazys were not kept in same place either.
Landon lists about 20 librettos surviving in Eisenstadt, among them that of Isabella e
Rodrigo bi5r Anfossi. This involves that in addition to the new surfaced copy of Buda
there survives another one in Eisenstadt, the one time location of the Esterhazy archives.
(Landon 2, p. 436.)
36 Harich [1932], see footnote 3.

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 . Sas: Redtscovered Documents from the Esterhcizy Collectzon

176
of the archives and the events of war more and more librettos came to light
of which an additional catalogue37 and card-index files were made. The 1941
list contains the title description of 258 volumes, not only printed books but
35 manuscripts as well. The next, most detailed cataloguing which appeared
in print did not aim at being complete but at providing information in the
printed librettos in the first place.38 The publication edited along these criteria
and embracing the description of 216 titles was later supplemented by the
review of the 13 printed items found in the course of time whereas the majority
of the manuscripts were omitted from this version (librettos surviving in
manuscript, German translation of the printed words of Italian operas, prompt-
books and roles, plays).39
The emerged manuscript librettos were not explicitly written for operas
performed in Eisenstadt; they must have got into Esterha.zy collection through
donation or acquisition together with the music of these works.

Georg Benda: Medea the Sibretto of the melodrama40

This volume in upright format measuring 240X190-191 mm which is
damaged in the upper right-hand corner is stitched together of four four-page
fascicles. The watermark is a horn in a shield with corwn; underneath C & I
HONIG, in the middle of the other half sheet also C & I HONIG appears.
The title-page inscription (on f. lr) reads: Medea. / E1,n / Melodrarna 1,n
e1,nem Akt / 1,n / M?l,s1,k gesetzt von H[errnX G. Benda. / Alle ?l,nterst1,chnen
Stellen, werden ?l,n- / ter der M?l,s1,k gesprochen.
The libretto belongs to the piano score held in the Esterhazy collection
although it is the work of another copyist.41 The text of the libretto agrees
with that of the music all through and shows deviations from it mostly in the
orthography (small and capital letters, interpunctuation). In some places dif-

37 Harich 1941.
38 Harich 1959-
39 This edition was incomplete in other aspects as well, the selection was inter-
rupted and unfinished. For example the printed ]ibretto of the opera Arzadne auf Naxos
by Benda can still be found in a common one-time collection together with the music
(see footnote 41). The written out roles made for Rossini's opera Der Barb?>er von Se-
vtlla that have just emerged were a]ready included in the libretto collection while the rest
remained in the opera collection placed into the parts (see later).
40 Harich 1941, No. 97.
41 H-Bn, shelf-mark Ms. mus. OK 42/a. In additiontothecopiedpianoscore the
co]lections ho]ds the orchestral parts of the piece and the parts and printed libretto of
another me]odrama by Benda as well (Ar1,adne auf Naxos, Gotha 1775). According to
Bartha/Somfai (op. cit., p. 143) the material of Medea was offered to the Prince by Fried-
rich Benda (see the letter dated 1787, Potsdam, in the H-Bn, A. M. 58). As the melo-
drama is the work of Georg Benda, a musician in the service of the Prince of Saxony
and not of the Prussian court musician this presumption does not prove valid -unless
Friedrich Benda sent his oncle's work to Eisenstadt as his own "opera".

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 . Sas: Redtscovered Documents from the Esterhcizy Collectzon 177

ferent use of words, denomination of parts as well as exchange of verses can

also be detected.42

Michael Haydn: Andromeda e Perseo43 (a) Italian libretto b) German

libretto
a) The volume in upright format measuring 231 234 X 190 191 mm and
comprising 17 pages is stitched in the upper left-hand corner with yellow
thread. It contains the full text of both acts of the work.
The original title on f. lr runs as: Andromeda, e Perseo. / Dramma per
Mqzeica. / Atto Primo. (Atto Secondo from f. llr onwards.)
Watermarks: (1) whale/ ADRIAAN ROGGE, (2) a mounted herald blow-
ing a horn, on a pedestal, with stylized leaf and flower patterns.44
It is fair copy agreeing a11 through with the text of the autograph score
of the first act.
b) Six fascicles of four pages and one bifolio consisting of pages of differ-
ent size (243 252 X 195 200 mm) in upright format stitched together, similar
to the Italian libretto with yellow yarn in the upper left-hand corner.
No title-page. The headingon f. lrruns as : AndromedaqEnd]Perse?s/ lrAkt.
The watermark is a horn placed in a coat-of-arms, underneath VI / C dr; I
HONIG can be found.45
The volume contains the full translation of the Italian text. It begins as
a fair copy but the script gets more and more sloppy by the end of the first
and second acts: on the last pages of these acts the number of emendations
increases and the colour of the ink changes from the end of the first act on-
wards. The words of the libretto were subsequently corrected on the basis of
the score in several places.46

42 Exchange of words: libretto, f. 6r: selbst s?>e m?>r aq4sdenken, score, p. 24: selbst
ste mtr ausqiben. Designation of part: ]ibretto, f. 9V: lter Knabe, 2ter Knabe, score, p. 34:
Der Junger, Der Alter. Exchanged verses: libretto, f. 5r: Schoner als am ersten Tag un-
serer Ltebe. / Majestatltch und s?>cher w?>e e?>n Gott!, score, p. 20: Maestatltch und s?>chyer
wte etn Gott / Schoner als am ersten Tag unserer L?>ebe, etc.
43Harich 1941, No. 173.
44 (1) A similar watermark occurs in E. Heawood, Watermarks, Ma?>nly ol the 17th
and 18th Centur?>es, Hilversum 21957, No. 4011: Netherlands, 18th century. Further
watermarks with the name of Adriaan Rogge mentioned in Heawood (No. 1859a) come
from Amsterdam, 1763 or later. (2) In Heawood's catalogue it cannot be found.
45 For the nearest analogy of the watermark see G. Eineder, The Anc?>ent Paper-
rn?>lls of the Ptormer Austro-Hungar?>an Emp?>re and thetr Wcaermarks, Hilversum 1960,
No. 1510: 1798, Lower Austria, Rehberg.
46 E.g. the libretto contained at the end of the first rec?>taMtro accompaynato "aber"
which was then corrected in "doch" (as in the score and the part); the last line of the first
aria of Andromeda originally ran as ?>ch soll unyluckl?>ch se?>n, was then crossed out and
written underneath as in the score and the part: nurichsoll elend seyn. Further substantial
emendations occur e.g. in Cefeo's aria (No. 7) of which two complete text variants are
available and in the terzet (three versions).

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12

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178 J. Sas: Red?>scovered Docurnents from the Esterhazy Collect?>on

The autograph score of the first act of the operol serZol47 first performed in
Salzburg on 14 March 1797 and purchased fromthecomposer'swidowtogeth-
er with about 120 manuscripts by Prince Nikolaus Esterhazy48 is presently
held ln the Esterhazy collection of the National Szechenyi Library.49 The
music was originally written to Italian words which were entered under the
vocal parts in the score. The German version was introduced later above the
vocal parts is not in the composer's50 but in an unknown hand (probably in
the hand of the German librettist)5l who carried out rhythmic and other modi-
fications corresponding to this second text as well. In the recttattro secco
sections just as in the copied parts of the first act of the opera52 the German
words are missing, thus the original German version of the recitatives with
harpsichord accompaniment is included in the libretto that has now come to
light.53
An interesting feature of the original Italian libretto by an unknown writer
is, apart from the watermark serving in all probability as a guide for identi-
fying the librettist and the provenance, that during composing the work Haydn
sketched out all recttattvt secct. He entered between the lines of text in pencil
all bass notes and the figuring (while in the score the bass is unfigured with
one exception)54 and wrote in the connecting bass passages and sometimes

47 In his typewritten list compiled in 1931 (Haydn M?>haly keztrata?>nak ternatzkus

katalogusa [Thematic catalogue of Michael Eaydn's autographs]. Manuscr?>pta Mus?>cal?>a
II) IStirich described both volumes of the autograph score: Andromeda and Perseus.
2 acts. Salzburg, 14. March 1787. 343 pages in two paper-back volumes, Ms. mus. II. 101.
(The article on and catalogue of works of Michael Haydn written by Reinhard G. Pauly
and Charles H. Sherman in T/e New Grove's do not mention that in Budapest only the
first act can be found.)
48 Hans Jancik, M?>chael Haydn. E?>n veryessener Me?>ster, Zurich-Leipzig-Wien
1952, p. 286; Harich 1959, p. 77; Bartha/Somfai, op. ctt., p. 46.
49Ms.mus.II.l()l.
50 See the autograph score of the work with German words, e.g. Der frohl?>che
'iederschetn (1791), Ms. mus. II. 110.
51 A comparison of the scripts makes it verisimilar that the scribe of the libretto
and of the German words of the score is one and the same person. This presumption is
supported by the change in the colour of the ink at the end of the first act both in the
libretto and the score; the trown ink used until then was replaced by black one in both
instances.
52 Ms. mus. OE 69.
53 They are as follows: scene 1, the beginning of the recitative after Andromeda's
aria, scenes 2 and 3 up to the choir (No. 3), scene 5 to Perseo's cavatina (No. 6), scene 6
to Cefeo's aria No. 7) and scene 7 to the concluding terzet (No. 8), see pp. 49, 63-65,
82-84, 137-139, 146-147 and 161-165 of the score.
54 The figuring in the libretto has only been compared to the pagination of the
score.

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 . Sas: Redtscovered Documents from the Esterhazy Collectzon 179

certain notes of the vocal parts as well.55 (In the through-composed section
he drew a vertical line in pencil to the left-hand side of the text.)56

The documents listed underneath had originally belonged to the supple-

ment of the opera collection and to the subsidiary material of the opera per-
formances and were incorporated into the libretto collection in the course of
the arrangement of the material:

Schenk: Der Dorfbarbier the prompt-book of the opera57

As the watermark-a large-scale Esterhazy coat-of-arms in the middle of
the folio, with O W WENKO underneath58 of the 12-page volume in up-
right format stitched together of pages measuring 234 X 181 184 mm bears
evidence of, the prompt-book was made in Eisenstadt.
The title on f. lr reads Der Dortbarbter / So?btle?br-Text. F. lv is blank, ff.
2r_llV contain the verses set to music, f. 12V is blank again.
Johann Baptist Schenk's most popular opera59 the premiere of which was
given on 30 October 1796 in the Hotburytheater of Vienna was played in 1805
and 1808 in Eisenstadt.60 For the 1805 performance a libretto was printed
that is now held in the National Szechenyi Library.61 The portion of the
Esterhazy collection kept also there includes the manuscript (copied) score and
the parts of the opera as well.62 When preparing the performance the score,
the printed libretto and the prompt-book were all used.63

55 See e.g. the vocal part at the first line of words of scene 8.
56 The small sized slips of paper in octavo and sextodecimo belonging to the ma-
terial contain additions to both librettos (and a letter addressed to Hummel, dated
1807, written by F. W. von Tescher). Written on an identical paper and in an identical
hand with the Italian libretto a ver#ion to two arias of the second act wa# made (1.
Perseo, "Sta pare yradtta", 2. Andromeda, "Ptu non pavento" -- to which Haydn even
sketched out a melody section with names of notes). The German translation of these
arias written on a paper identical with that of the bulk of the German libretto in the
handwriting of the translator of the full text. On additional cards the text of the chorus
of the fir#t act (No. 3), of three aria# from the #econd act as well a# an aria, Dein Tod
war schon beachleunigen which cannot be identified in the libretto i# written.
57 Harich 1941, No. 196.
58 See Bartha/Somfai, Op. Ctt., p. 436 and in the appendix the wateark No. 14
(1783-1789 or later) though it is its further variant: the external ornament of the coat-
of-arm# differs, in the name the two 8r-sign# are missing, etc.
59 Alfred Loewenberg, Annale of Opera, Genf 21955, col. 528.
60Eoranyi, op. cit., pp. 182 and 191-192.
6INotin Harich 1959, but #ee Horanyi, op. ctt., pp. 182 and 237, and Bartha/
Somfai, op. cit., p. 42, re#pectively. (Cp. H-Bn, #helf-mark IM 9471, acce##ion number:
V 614/1967.)
62 ME3. mu#. OK 13/a-c.
63 In contrast to the printed libretto which contain# the full text of the work
the prompt-book include# only #ection# in ver#e #et to music and all the text repetition#
which proved to be nece##ary in the cour#e of the #etting. Since the make-up of the
manu#cript agree# for the greater part with that of the printed libretto and all repeti-

12* Studu; BusicoWica Acad0miae Scientiarum Bunvaricae 34,1992

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 180 . Sas: Rediscovered Doc?lments from the Esterhxizy Collectior

Rossini: Der Barbier von Sevilla-(a) prompt-book, (b) two roles64

(a) The text on the cover reads: "Der/ Barbter von Sevtlla/ Soufltr Tenct."
The inner title bears more detailed information: "Der Barbter von Sevtlla. /
Komtsche Oper sn zwey Acten, / aus dem franzoztschen frey uybersetzt von Eoll-
mann / dte Mmbszk ist von Rosstnt. / 1820."65
On the back cover the cast was filled in in pencil:

Personen
Gfraf Almavtva
Doctor Bartolo Baader
Rosine, dessen Muyndel
Bastlio, Mmbsiimeister Stotz
Marcelltna, Freundtn der Rostne Dravetz
lFtgaro, Barbter, Prigler
lFtortllo, des Grafen BeClienter Holovitsch
Ein Offizier Kimberger
Ein Notar
Ambrosio
Alquazzl's Mmbsikanten

The prompt-book contains the full text including the prose sections and
the arias alike without repetition of words.
(b) The prose section of the two roles written on an identical paper with
the prompt-book (having the same measurements, watermark and size of 10
and 1 pages, respectively) were copied out in the same hand:
"Der Barbter von Sevtlla Oper tn 2 Act. / Doctor Bartolo. / Zter Act. Sc. 5.
Der Barbter von Sestlla. Oper tn 2 Act. / Etn Notar. / 2ten Act. Sc. 12."
The roles include the words of the scenes in prose. The performing directions
and the clues were distinguished by underlining while the arias were marked
by figuring and the respective first lines.
The premiere of the opera was in Rome in 1816; it was first performed in
Eisenstadt in 1820 by using the first German translation made for the 1819

tion# and text variants of the score are contained it i# po#sible that both were at the
prompt-book writer'# di#po#al. Identical marking#, emendation# and additions in red
pencil written perhap# in the same hand can be found in all three material#: in the
#core note# were changed and accidental# a# well a# dynamic# added, in the printed
libretto the #ection# in ver#e available in theprompter'# copy are marked by cro##ing
out (except No# 4 and 12) while in the prompt-book the mi##ing marking of the text re-
petition# are added.
64 Harich 1941, No. 244
65 A paper-back volume (upright format) bound in brown marbled paper and
containing 44 pages. The mea#urement# are 253 X 204 mm. Watermark: No/FS ( ?).

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kauf des Theaters. / In Knt telversen. I Von J . . . . . . . . . . . . . * t, / dewb Verfas er des mit so
. Sas: P¢ediscovered Documents from the Esterhazy Collection 181

performance in Graz.66 The score and parts used for the performance survive,67
moreover even the role-boolus of identical layout with the roles described
above (written in identical paper in the same hand) -see the manuscripts
inserted in the parts of Count Almaviva, as well as of Figaro and Rosina.68

B. Librettos Printed Editions

In his last publication on the play-book and libretto collection Harich

listed 216 librettos. Horanyi and Landon enlarged this material by the descrip-
tion of 9 and 5 additional works, respectively, dating from years between 1776
and 1790.69 Of the 230 known play-books and librettos some 100 copies survive
65 copies of 41 works are held in the National Szechenyi Library (mainly
pieces of the 19th century, some in duplicates) and about 20 volumes can be
found in Eisenstadt.
The recently cropped up material includes 39 of the librettos thought to
be lost (and also a play) ° with the stamp "library of the ESTERHAZY TRUST
FUND, shelf mark . . ."on the inner title of 29 librettos. It is remarkable that
certain epoches are represented by an almost comprehensive material while,
in contrast, only two librettos emerged from the period of Haydn's engagement
with Esterhazy. No doubt one of them is most precious indeed as it is the
only surviving copy of the libretto of Haydn's Acide.

In the following an enumeration of the librettos will first be given which

were acquired by members of the Esterhazy family in Vienna, Dresden, the
various Italian town and elsewhere but not performed in Eisenstadt. Four

66 Loewenberg, op. cit., col. 643.

67 H-Bn, #helf-mark M#. mu#. OK - 68/a-d, see Bartha/Somfai, op. cit., p. 43.
68 Emendations and additions can be found in the score, the part# and the prompt-
book alike. (In the latter see e.g. the addition of missing line# and deletions in pencil.)
The text of the prompt-book agrees for the most part with that of the score (e.g. the
aria No. 5 was sung by Basilio instead of Bartolo) while the various arias were included
in the prompt-book and the score in a different translation each (such as Rosina's aria,
No. 4), and some arias are missing altogether in the score (Nos 8 and 10, Bartolo).
69 Horanyi, op. cit. Landon 2.
70 Theatralisches Gespraech / zwischen / Mozart und Schickaneder uber / den Ver-

vielem Beyfalle aufgenommenen / Dialoges, uber die Auffuhrung der Zauberflote im / Stadt-
Theater. / Accipe divitias, et vatuwb wbaxiwbus esto! / SIartial // Wien, / bey Joseph Riedl,
burgerl. Buchb?nder zm Schottenhof. / 1802. The author is Joachim Perinet and the other
work mentioned in the title is: Mozart ?nd Schikaneder. Etn theatralisches Gesprach uber
die A?ffuhr?ng der Zauberflote irn Stadttheater in Knittelversen. Wien: Alberti, 1801, cp.
R. Angermuller and O. Schneider, Mozart-Bibliographie, Mozart-Jahrbuch (1976), No.
4459. See IIarich 1941, No. 209.

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182 J. Sas: Red?wcovered Documents frorn the Esterhazy Collection

librettos sent home by Pal Esterhazy from Vienna have come light and 12
librettos dating from time of Prince Paul Anton Esterhazy:71

Draghi: II fthoco eterno, 1674 (2) 522

II Greco in Troia, 1688 (6)
Draghi: L'Arsace, 1698 (11) 2208 and 58. 2476
F. Richter: Hymenai. . .169972 (12) 511
Philidor: Le diable a quatre, 1761 (42) No 82/3 2402
Duni: La ve?bve indecise, 1761 (43) 84/4 2413
Galuppi: II Demetrio, 1747 (44)
Wagenseil: L'Olimpiade, 1749 (46) 2459
Jommelli: Achille in Sciro, 1749 (47) 32/2 2460
(Hasse:) X?bma al trono, 1760 (56) 2404
Majo: II sogno d 'Olimpia, 1747 (66) 100
Bonno: L'eroe Cinese, 1752 (73) ad 21/1 2360
Hasse: Demofoonte, 1752 (74) 2478
Jommelli: Didone abbandonata, 1753(75) No 40/2
Jommelli: La Reggia de' Fati, 1753 (77)
Hasse: Attilio regolo, 1750 (78) ad 38/2 2377

The following 15 items date from the late 18th century and the period
of Hummel's employment as conductor. Except for the first two works they
were made for the operatic performance in Eisenstadt. In the Esterhazy opera
collection mostly the score (and also the parts) survive while copies of the
librettos have been at our disposal even so far.

Handel: Die Wahl des Hercules, 1793 (183) 93 (blue)

2379
Weigl: Sefqbehle meines Herzens, 1798 (184) 94 (in ink)
2382
Henneberg: Die Waldmaenner, 180073 (188) 2208
2419
HAYDN: Die Schopf?bng, 180474 (189)
Hummel: Die beyden Genies, 180575 (193)
Benda: Das Xindelkind, 180576 (194)

71 The title is followed by numbers; according to their sequence enumerated they

are: the identification number of Harich's catalogue of 1959 (in brackets), the earlier
shelf-mark and the accession number of the Esterhazy Trust Fund library.
72 Score: A-Wbn, shelf-mark Ms. P. 16040, see U. Tank, Studten z?lr Esterhazy-
schen Hofrn?lszk von etwa 1620 bts 1790, Regensburg 1981, p. 93.
73 Further copies: H-Bn, shelf-marks IM 7203 and IM 9139. Score: tbtd. Ms.
mus. OK 15.
74 Five copies. See also H-Bn, 1250.
75 Further H-Bn, shelf-marks IM 7210 and 310.300.
76 H-Bn, IM 7212, IM 9135 and 307.125.

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 . Sas: Redtscovered Docurnents frorn the Esterhazy Gollectton 183

Schenk: Dos FaBbinder, 180577 (196) 2208 2385

Schenk: Arien a?bs dem Fal3binder, 180578 (197) 2399
Hummel: Die vereiteilten Raenke, 180679 (199)
Hummel: Mathilde von Ggise, 181080 (200)
Umlauf: Das X"t der Liebe, 180681 (203) 2208 2416
Dalayrac: Gglistan, 180682 (204) 2208 2409
Lebrun: Pachter Robert, 180683 (205) 2208 2401
Mehul: Der Schatzgraeber, 180784 (208) 2208 2445
(Cimarosa, Mozart): Theatralische
Abenthe?ber, 180785 (209)

Further librettos include Eybler's work which was probably not perform-
ed in Eisenstadt and operas by Sussmayr that remained definitely unperform-
ed there. Sussmayr's compositions are acquisitions from the composer's
estate similar to Michael Haydn's pieces.86

Eybler: Die vier letzten Dinge, 1810 (211) 103 and 124
Sussmayr: Der Spieyel von Arkadien, 1793 (213)
Sussmayr: Die edle Rache, 1795 (214)
Sussmayr: Der Marktschreyer, 1799 (215)
Sussmayr: Guelnare, 180M7 (216) 147.88

Of the about 70 librettos enumerated by Harich as dating from Haydn's

activity in Eisenstadt (among them the 51 librettos produced explicitly for
Eszterhaza)89 only two are available in the finding:

Haydn: Acide, 1763 (85) 2208 2364

Anfossi: Isabella e Rodriyo, 1781 (128) 2208 2453

77 Score: H-Bn, Ms. mus. OK 23.

78 H-Bn, IM 1251, IM 7204, 805.119, score: ibtd. OK 23.
79 H-Bn, IM 7205 and 309.878, score: ibid. OK 27.
80 Score: H-Bn, Ms. mus. OK 55.
81 H-Bn, IM 9134, IM 7206, score: ibtd. OK 33.
82 H-Bn, IM 7213, IM 9138 and 306.739, score: ibtd. OK 14.
83 H-Bn, IM 7214, IM 9140 and 317.564, score: tbid. OK 10.
84 H-Bn, IM 7201, IM 9143, score: tbtd. OK 12.
85 H-Bn, IM 7200, score: tbtd. OK 32.
86 Harich 1959, p 77
87 For the score of Sussmayr's works see H-Bn, shelf-marks Ms. mus. OK 17,
21, 16 and 20.
8810 mm-number written with a thich green pen on a slip of paper measuring
24X32-33 mm; this is the only libretto in the findings on that can be found the self-
mark indicated in Harich's catalogue of 1941. (A similar numbering dating from 1941
appears on the cover of Bertoni's Orfeo e E?rtdtce (162) with the stamp of the library
of the trust fund on its inside. This volume got from the text-book collection to the H-Bn
back in 1949 already. Shelf-mark: 182.000.)
89 BarthatSomfai, Op. Ctt., p. 23.

Studta Mustcoloca Acodemtae SnenZiarum Hun¢aricae 3d, 1992

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184 . Sas: Redtecovered Doctzments from the Esterhazy Collectzon

(The libretto of The Seasons that has recently emerged does not date frotn
Haydn's time but was made in the 1820s or later.)9°

Haydn: Acide (1762) Hob. XXVlll:l9l

On the evidence of invoices 150 copies of the libretto were printed for
the 1763 performance and bound in three different ways: 12 copies received
a red plain weave, 24 copies were bound in hard tinfoil and the rest was only
glat iber zoyen [with a plain cover].92 The now emerged copy in blue, red and
yellow figured binding ("turkische Papierband") is of the latter kind.
The contents of the volume in upright format measuring 193X147.5 mm
and held originally together by stitches (of which only one has remained intact
by now) is as follows:

f. lrV is blank;
f. 2r has the first title-page: "ACIDE. / FESTA TEATRALE." (At the
top of the page a strip of paper about 24 28 mm high was cut off,
together with the stamp "library of the ESTERHAZY TRUST
FUND, shelf-mark 2364" and the shelf-mark 2208 written in the top
right-hand corner, but preserved among the pages.);
f. 3r contains the title in capital letters (with the exception of lines 15 and
17), see JHW, p. viii, first column;93
f. 3v is blank;
f. 4r,v shows the text of the dedication (the original printed signature is
pasted over with a slip of paper of 51 X 18 mm; written above it in
brown ink there is "Hayden con la / Musica, see JHW, ibid ;94
f. 5r: cast as in JHW, p. viii, second column. At the side of the roles
someone, probably Harich, wrote in the type of voice in pencil. ;95

90 D?e / Jahreeze?ten. / Nach Thomson. / In Mus?k gesetzt / von Joseph Haydn, /

Doctor der Tonkunst. / W?en. / Gedruckt bez Anton P?chler's sel. W?twe. Earlier accession
number: 2208, library of Esterhazy Trust Fund, accession number: 2363. See Harich
1941, No. 247. (The latest document attesting to the activity of Anton Pichler in Vienna:
he published the op. 3 by H. L. E. Dorn (op. 1: 1826), see MGG iii/col. 691). Even the
get-up of the libretto bears evidence of a later origin as it is made of manufactured
paper without watermark and wires.
91 See Joseph Haydn Werke, XXV, ]: Ac?de und andere :Fraymente, ed. Karl Gei-
ringer und Gunter Thomas, Miinchen 1985.
92 Harich 1959, p. 28.
93 The text in the JHW differs from the original in some place. The correspond-
ing places of the original text: ACIDE. / .................................. / TERESA D'ERDODI / .................... / A? 11.
del Gennaro dell'Anno 1763. / VIENNE, / Nella stamperta d? Ghelen.
94 JHW's text edition does not agree with the print at some points. The first
line of text after the greeting originally reads as Ptu che ma? superba va a compar?re . . .;
and in the continuation there is the original form (d'ungue) while in two additional in-
stances tlle form given as rectification can be found (eccellenttestmt and gl'altrz).
95 Harich 1959, p. 28.

Studia Musicolovica 94cademiae Scientiarum Hunsaricae 34,1992

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 J. Sas: Rediscovered Docurnents frorn the Esterhazy Collectzon 185

f. 5V Coro di Nereidi-title and lines referring to the scene and the authors
see JHW;
ff. 6r 15r the text of the opera on 21 printed pages;
f. 15v is blank.

One line of the second scene is missing in JHW's text edition.96 On the
verso of the folio marked A2 in the libretto (7V) the words spoken for the third
time by Polifemo are: Ma de' miei torti / Ma de' disprezzi suoi / Io sapro ven-
dicarmi. (The words printed in italic type have been omitted in the edition.)
The libretto shows markings in red and lead pencils relating to the auto-
graph manuscripts of the Esterhazy material held in Budapest. The beginning
of the five arias and the quartet was marked by a wedge written in pencil and
the first three arias were provided with Roman numerals in red pencil, the
other three items with numerals in lead pencil.97
This copy must be identical with the one which Pohl claimed to be un-
known in 1867 and which was then attached to the autograph score of the
surviving arias by Zsigmond Bubics in 1868.98 Pohl copied the libretto in 1867
or laterii and also tried to define the sequence of the arias.l°° After 1930 Harich
detached the libretto from the music again, studied the material and published
the description of the libretto as well.l°l It is most probable that the numbering
written into the libretto originates with Harich since Pohl identified the sequen-
ce of five arias only and even that erroneously.
The libretto of Acide was last recorded in 1941 in the play-book and libretto
collection;l02 after that date it vanished anew. Following the events of the
Second World War it was reported as missingl03 and since no copy survives
anywhere else either only Pohl's copy could be used for publishing the work
as mentioned above.

96 See p. 34.
97 (6V) I. Acide: La belta, che m'?nnamore; (7r) II Galatea: 2troppo fel?ce; (8r) III
Glauce: Perche stuptcz tanto; (8V) IV. Polifemo: Se men genttle; (14r) V. Tetide: Tergt z
vezzost raz; (15r) VI Galatea: Ah vedrat, bell'zdol mio.
98 See the supplement to Ms. mus. I. 8 in H-Bn, included in excerpts in col. 1,
p. 217 of JHW.
99 "Copirt nach einem Exemplar, durch Hv. Bubics erhalten" (JHW p. 223,
col. 1). For the copy see A-Wgm 10.957/Textbuch.
00 See the supplement to Ms. mus. I. 8.
101 Harich [1932], Harich 1941, Harich 1959. Further see the additions to the
cast in pencil in the libretto and the remark in pencil made to the aria in the supplement
mentioned and numbered 5 there: von der 2. Halfte des ersten Satztetles (IIIg) an Haupt-
thema & Rttornell fehlt.
102 Harich 1941, No. 89, shelf-mark 101.
l03Hoboken, vol ii, p. 348; Horanyi, op. ctt., p. 206; Landon 1, p. 439; JHW
SXV, 1 pp. viii and 223; and Giinter Thomas, Anmerkungen zum L?bretto von Haydns
Festa Teatrale "Ac?de", Haydn-Studien V, (1983) p. 118.

Studia MusicoloSica Mcademiae Sc*entiarum Eunvaricae 34,1992

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