The chamber works of A. Ivancic — unlike his symphonies — have not been published so far. The selection prepared for the present edition presents this part of the composer's output with five sonatas a tre for transverse flute (or violin), viola and bass. The presentation of the sonatas here is based on manuscripts kept in the musical collection of the Badische Landesbibliothek Karlsruhe; as already mentioned, they come originally from the musical archives of the Margraves of Baden. The manuscripts of the selected trio sonatas were made by three different copyists: the first sonata was copied by one hand; the second, the fourth and the fifth by another; and the third sonata by a third hand.
I. Trio Sonata in G
As basic text served Manuscript 235 which bears on the title page the following inscription: »Trio ex G/ Flauto Traverso/ Viola Obligato/ e/ Basso/ Del Sigr Ivanschiz«. This composition is extant in another four copies: one in the Musical Department of the Moravian Museum in Brno (A 12.614), two at the University Library, also in Brno (Skr 17-525.708 M 266, Skr 17-525.718 M 262), and one in the Helikon Museum at Keszthely in Hungary (No. 2077). All four are for violin, viola and bass. The first of them, of Rajhrad provenience, unfortunately incomplete (the bass part is missing) bears the year 1762. This manuscript has been used as subsidiary material concerning dynamic indications lacking in the Baden copy. The work is listed also in the Breitkopf catalogue (1767, Suppl II, p. 23) and in Waldburg-Zeil catalogue (1767, p. 40).
II. Trio Sonata in C
As source was used Manuscript 227 entitled: »Sonata/ a/ Flauto/ Viola/ col Basso/ Del Sigor Ivanschiz«. Another copy of this trio sonata is kept at the Benedictine Abbey at Lambach (No. 388), while on the inner sides of the covers of a manuscript of the composer’s Litanies in D kept in the Musical Department of the National Museum in Prague (XI A 163) the soprano part of all of the sonata's three movements is written down. It is to be found also in the Sigmaringen (1766, p. 31), Breitkopf and Waldburg-Zeil catalogues. In all these cases the first instrument is violin, and the composition is written in B flat.
III. Trio Sonata in C
Presentation based on Manuscript 230 bearing the title: »Sonata/ a/ Traverso o Violino/ Alto Viola/ e Violoncello/ Del Sige. Ivanczicz«. This might have been the composer’s most popular chamber composition. There are namely another five copies of it on record, the first at the Abbey at Lambach (No. 254), the second in the University Library in Brno (Skr 17-525.714 M 254), the third in the Literary Archives of Matica Slovenska at Martin (Dl-352), and two in the University Library in Münster (Ms. 437, Ms. 867). It is also mentioned in the Sigmaringen, Breitkopf and Ringmacher (1773, p. 96) catalogues, as well as in the musical inventory of the Rajhrad monastery (1771). In all these cases the soprano instru- ment is violin.
IV. Trio Sonata in G
Source: Manuscript 225, its title: »Sonata a Tre/ Flauto/ Viola/ Col Violoncello/ Del Sigor Ivanschiz«. This trio sonata is entered also in the Waldburg-Zeil catalogue as a work by Ivancic for two violins and bass in F. This manuscript did not survive. In this key and scoring the composition has been preserved in the Seitenstetten monastery in Lower Austria as »Divertimento Notturno« of Joseph Haydn (see Hoboken I, p. 500). The Breitkopf catalogue (1767, Suppl. II, P-16) lists it among trios by Franz Aspelmayr (1728—1786), but it is not on record among the so far known works of this Viennese composer.
V. Trio Sonata in D
As basic text was used Manuscript 229 bearing on its title page the inscription: »Sonata a Tre/ Flauto/ Viola/ Col Violoncello/ Del Sigor Ivanschiz«. As far as it is known this is the only extant copy. In the Breitkopf catalogue (1766, Suppl. I, p. 28; 1767, Suppl. II, p. 16) this composition is entered as Trio for two violins and bass in B flat by Franz Aspelmayr, nevertheless, it has not been found among his works.
In the reconstruction of the scores the editor has followed the principles generally applied in editions intended for study as well as performance. The notation, including the abbreviations for dynamics, signs for reiteration, appoggiaturas and placing the accidences, has been modernized, but the original text has been consistently preserved. Inasmuch as there are any changes they are indicated by square brackets, either these are corrections of errors made by copyists or editorial additions like signs for articulation, dynamics, ornamentation and cautionary accidences, given in the sources incompletely, inconsistently, in places unclearly. A few cases are discussed in detail at the end of the present report.
A special question represent appoggiaturas. As it is characteristic of the 18th century manuscripts, they are written in the sources inconsistently and with lacking distinction between short and long appoggiaturas. In preparing the basso continuo part this led sometimes to difficulties in the correct rhythmic distribution of chords for the cembalist’s right hand. Nevertheless, the editor has not touched appoggiaturas more than it was necessary to make the notation on identical places uniform.
Figures and other signs for basso continuo are not given in the sources at all, additionally the violoncello part is often not a model for it. In preparing the basso continuo this part has been consistently transferred into the cembalist’s left hand, except in the case of repetitions not characteristic of basso continuo or short pauses on the first beat. Chords have not been marked in the cembalo part in places written for unison or octaves. Insufficient motion in the flute and viola parts in the first trio sonatas called for a motion in the accompaniment, and in the realization of basso continuo this extends contrary to the practice of the 18th century in some places over the treble flute. In the fourth trio sonata the continuo for left hand is reduced since here there is no longer a case of the figured bass but rather of marked passages in the violoncello.
I. Trio Sonata in G
Adagio
b. 1, flute
in some copies this bar is written with a dotted second quarter and with triplet at the end.
Minuet-Trio
b. 60, viola
the last eight in the source by mistake c".
b. 64, bass
the third note in the source b; corrected into g by analogy with b. 66.
Allegro
b. 2 and 45 bass
in the source hence parallel octaves with viola. Probably not a mistake by copyist, on that account the correction merely a suggestion.
b. 1, flute
third eight in the source d", correction to b' considering b. 15 and 54: same in the manuscript of the Rajhrad provenience.
b. 11, viola
the last eight f sharp, b. 50, flute: the first four sixteenths written in the manuscript one octave lower.
b. 57. bass
in the source undoubtedly a mistake by the copyist, b. 60, flute: the basic text has on the first beat a' in the value of a fourth: adjusted to b. 17.
II. Trio Sonata in C
Allegro
b. 9, bass
in the source and so parallel octaves with flute and parallel fifths with viola: correction by analogy with b. 43.
b. 12. flute
the last eight in the source g" sharp.
b. 14, flute
the first eight on the third beat f” (with natural!), same also in b. 15; corrected with regard to corresponding points in the reca- pitulation (b. 46, 48, and 49).
Allegro molto
b. I flute
the fourth note in a fulltone relation with the preceding and the following one. so also in all identical bars (b. 2, 29, 30, 33, 34) in this part or in viola; a better relation would be a semitone one:
III. Trio Sonata in C
Allegro
b. 28, viola
in the source last eight e’.
IV. Trio Sonata in G
Largo:
b. 16, 17, bass
in the basic text transposed for an octave lower, as the basic text shows at this point in the recapitulation (b. 42, 43).
V. Trio Sonata in D
Adagio:
b. 8, viola
in the manuscript the first sixteenth g sharp; same at the corresponding point in b. 26 c' sharp, b. 11, bass: the half on the third and the fourth beat in the source g (with natural!); correction with regard to the corresponding point in b. 30.
