Ad Dominum Cum Tribularer

Composed by Johann Michael Haydn
Edited by Martin Banner
Voicing: SATB
Instrumentation: keyboard, opt. orchestral score *
Catalog number: AMP 1103
Price: $2.20

* Instrumental ensemble:
2 horns in C, 2 violins, cello, bass and continuo
Instrumental score and parts are available from the publisher
AMP 1103PS - parts and instrumental score ($50.00)
AMP 1103S - instrumental score only ($25)

EDITOR'S NOTE

Johann Michael Haydn (1737-1806) was an acclaimed and respected composer during his lifetime. Born in Rohrau, near the Austrian-Hungarian border, Haydn, the younger brother of Joseph Haydn, was a talented young singer who, like his older brother, sang in the famed Vienna Boys Choir. He was appointed Kapellmeister at the court of Grosswardein (now in present day Hungary) in 1757. Haydn served the Archbishop of Salzburg from 1763 until his death. A prolific composer, he wrote hundreds of compositions including a Requiem, which influenced the more famous setting by Mozart.

AD DOMINUM CUM TRIBULARER (MH 487) was composed on April 29, 1788, in Salzburg, Austria. This edition is based upon the autograph score, preserved in the music archive of the Bayerische Staatsbibliothek in Munich: Mus. mss. 368. The score is laid out over eight pages, eight staves per page. The first page of the autograph score reads: Graduale pro Dominica 2da post Pentecosten. à: 4 Voci, 2 VVni, 2 Corni e l'Organo diG.Mich Haydn mpia. This composition is scored for SATB choir, two horns in C, two violins, cello, bass and continuo. The Latin text, from Psalm 120:1-2, serves as the Gradual for the second Sunday after Pentecost.

Latin

Ad Dominum cum tribularer clamavi
et exaudivit me.

Domine libera animam meam a labiis
iniquis a lingua dolosa.
English

In my trouble I cried to the Lord
and he heard me.

Lord, deliver my soul from wicked
lips and a deceitful tongue.

The present edition adheres closely to the above-mentioned source, noting editorial markings in parentheses. Voice parts, where notated in moveable clefs, were rewritten in treble clef; phrase markings in the voice parts were added where two or more notes occurred for a single syllable of text; textual underlay, given generally only in the soprano and tenor parts, was added to the alto and bass parts.

Martin Banner

Click here to see a sample.

Click here to listen to a recording (MP3).



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