Pavel Josef Vejvanowsky (1633–1693) Sonata in C “Sancti Mauritii”
edited by Charles W. Smith [2trp,str,bc]
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“SONATA SANCTI MAURITII” was written in 1666 by PavelJosefVejvanovsky (1633?-1693) for the feast day of the patron saint of St. Mauritius Church, Kremnier, which is now Kromefiz, Czechoslovakia. The date of the composition shows it to be an early work composed about two years after he joined Prince Bishop Karl Liechtenstein-Kastelkorn’s orchestra as trumpeter, composer and copyist.
The source for this edition is a manuscript in the Castle Archives, Kromeriz, C.S.S.R., call number Breitenbucher IV 9. The title page bears a scribbled signature followed by Sonata: Seti Mauritii/2: Viilini/2: Clarini/3: Violae/3: Tromb: ad lib/Composita die: 22: Septemb:/Ao 1666. The word 'composita' means the work was composed rather than merely copied (in which case the term ‘scripta’ would have been used). Although the title page does not bear Vejvanovskf s name, the manuscript is in his handwriting and does bear a signature which has been identified as his.
This sonata contains many features of interest to trumpeters and is an attractive piece in its own right. Two noteworthy points are 1) the use of mutes to raise the pitch of the trumpets from C to D and 2) the unusual key of g minor for the trumpets with a difficult move from the f-sharp to f-natural in the first trumpet part in measures 112-113. In the latter case, a fermata has been inserted editorially for musical as well as practical reasons.
In the original manuscript, the section where mutes are required (mm. 59-74) was written in C Major, although at that point the music is in D Major. The mute apparently raised the pitch of the trumpet by a whole tone. These measures are presented in this edition in concert pitch for the benefit of players using modern instruments. If natural trumpets are used, the section should be transposed to C Major and a D trumpet used in absence of a proper mute.
Tempo indications and figured bass in parentheses, as well as double barlines to demarcate sections, are editorial. Dynamics are left largely to the performers, although suggestions have been made in parentheses.
This piano reduction was prepared from a modern edition of the work with strings and continue available also from Musica Rara. The string parts are preserved here as much as possible in the sections marked Tutti. The sections marked B. C. (Basso Continua) appear here as realised in the orchestral edition.
Preparation of this edition was initiated by R. L. Minter who shortly thereafter lost his life in an airplane accident. I trust he would approve of what I have done to complete the project.
Charles W. Smith, Cape Girardeau, Missouri, U.S.A., 9th March 1985