Jan Fryček in the Inventories of the Premonstratensian Monastery in Nová Říše

The study focuses on the inventories of the musical collection of Premonstratensian Monastery in Nová Říše (Neureisch). The aim is to present the inventories stored in Moravské zemské muzeum (Moravian Land Museum) and Moravský zemský archiv (Moravian Land Archive) and mainly those inventories found directly in Nová Říše. The inventory could serve not only as an overview of the specific items stored in the collection at the specific time, but due to its nature, many inventories, in the course of time, served as the sorting materials and therefore allow us to understand the system and structure of a given collection even further. From the presented inventories the study chooses two of those stored in Nová Říše because unlike the rest of the inventories, these provide the most information of the evolution of the collection. The pencil-written notes give a significant amount of details about the missing compositions or wrong authorship of specific musical pieces. Although the studied inventories provide a lot of interesting data, it is only a tip of an iceberg and thus further research should be applied to all the other inventories of the musical collection.

Premonstratensian monastery in Nová Říše is located in the Bohemian-Moravian Highlands in Jihlava (Iglau) district nearby Telč (Teltsch), another culturally important town in the region. 1 Although the musical collection of the monastery with its 640 inventory numbers belongs amongst relatively smaller collections, its structure, content and overall evolution help to uncover the information not only about the musical life of the monastery, but also about the musical education in Moravia. 2 The musical collection began to emerge at the turn of the 18 th and 19 th centuries and its largest expansion occurred in the first half of the 19 th century. 3 In 1929, the collection was catalogued by the musicologist Robert Smetana. 4 The collection is divided into two approximately equally sized sections A and B. 5 The section A consists mainly of secular music and section B primarily of sacred music. 6 Regenschori, the double bassist and occasional composer Mainhard Schuberth (1800-1888) has a great deal of credit for expanding the music collection. From 1829 to 1848 he held the positions of cantor, 1 Insight into the history of the monastery from the point of view of one of its members: ŽÍDECKÝ, Cyril.  Around the year 1800, the abbot of the monastery Jan Nepomuk Pelikán established in Nová Říše a boarding school, a great amount of secular musical compositions surviving in the collection of the monastery could probably be attributed to this. Together with the boarding school a student's orchestra originated as well.

4
Robert Smetana  was an Austrian born Czech musicologist, collector of Moravian folk songs and university pedagogue. From 1924 to 1932 Smetana worked in the Musical archive (today Department of the History of Music) of Moravské zemské muzeum, for which he made the card catalogue (ranging from A17.654 to A18.294) of the musical collection of the monastery. For the convenience, the study uses primarily signatures from this catalogue.

5
A1-A354, B1-318. The attentive reader will probably not miss the fact that there are more of the signatures A and B (672) than there are signatures in Smetana's catalogue (640). The reason for this is that sometimes there are bundles of multiple compositions under one signature. For example, under sign. A17.947 we can find Liebesmelancholie and Les Glockes du Monastere (both by anonymous composer), labelled as A312 and A313, respectively.

6
Trios, quartets, and partitas from various composers both famous and local occupy an important position in the Section A of the musical collection. An equally significant and interesting segment of the music collection are the piano and guitar arrangements of various operas. E.g. Ouverture from Don Juan by W. A. Mozart for fortepiano (CZ-Bm: A17.812) and so on. The collection also contains several complete operas, e.g. W. A. Mozart (Don Giovanni -A17.968, Die Zauberflöte -A17.972, Le nozze di Figaro -A17.970), Salieri (La Grotta di Trofonio -A17.971, Armida -A17 859) or for example P. A. Guglielmi (La pastorella nobile -A17.969). regenschori and librarian. 7 He also worked as a professor of mathematics and physics in Brno. 8 Although he composed himself, his works appear only marginally in the collection. Apart from his Graduale and Motteto in G, the collection also preserves his harmony textbook, which could shed more light on the music education in the monastery. From the first half of the 19 th century, the names of several cantors and composers who also participated in the expansion of the collection are known: until 1829, the composer Josef Kallina (1760-1829) 9 taught in Nová Říše, Jan Mach 10 was another local teacher and organist who expanded the collection. Probably the most interesting of all the teachers active in Nová Říše was the cantor, composer, and organist Jan Fryček . 11 This interesting figure of the musical life in Nová Říše was the most prolific composer of all the cantors at the time in Nová Říše. 12 There are at least 28 surviving compositions (both liturgical and secular) of his and some of the missing ones might probably still be in the depths of the musical collection in Nová Říše.
13 Jiří Fukač provides an important methodological and historical insight into the research of inventories. Fukač compares different approaches to inventories (and to listed items) at the medieval times, renaissance and in the more recent years: FUKAČ, Jiří. Zur inneren Systematik musikalischer Verzeichnisgattungen. In VYSLOUŽIL, Jiří (ed.). Sborník prací Filozofické fakulty brněnské univerzity. Brno: Universita J. E. Purkyně, 1967, roč. 16, č. H2, pp. 21-30. Thought on further development of the historical research of the inventories also provides a paper by Vladimír Maňas: MAŇAS, Vladimír. K problematice hudebních inventářů: několik Premonstratensian monastery in Nová Říše. Firstly, there are inventories stored in Moravský zemský archiv (Moravian Land Archive). There is an inventory of sheet music received by Josef Kallina on 31 st October 1826. 14 A part of it comes from the collection of resigned Fryček. 15 The same date of 31 st October 1826 may be found on the inventory of musical instruments and music belonging on the choir loft, made and signed by Josef Kallina once again. 16 Jan Mach based his inventory of musical instruments 17 and his inventory of musical compositions 18 on these two inventories. In his inventories, Machhe combined the musical pieces from both Kallina's inventories. The last inventory dates to 12 th March 1832 and was made by Pater Mainhard Schuberth. 19 The inventory mentions the musical pieces formerly belonging to Josef Kallina that were bought and added to the collection of the monastery after his death in 1829. The copies of all these inventories (except for CZ-Bsa: E 58, k. 252, f. 12-13) can be found in the Department of the History of Music of Moravské zemské muzeum (Moravian Land Museum). 20 In the archive of the Monastery and even in the same cabinet where the musical compositions are located, is a folder Inventář kůrních hudebnin při pralátském (sic!) chrámu Páně v Nové Říši (Inventory of the choir loft's sheet music at the prelate's temple of the Lord in Nová Říše). 21 In this folder, there are three inventories, their transcriptions 22 and two documents concerning the moving of the collection from the Moravské zemské muzeum, where it was stored since 1950, back to Nová Říše between 1993 and 1995. The most recent is the inventory no. 3 made in 1914. It comes from the hands of regenschori Filip Pořiska , who came to Nová Říše in 1893. 23 Due to its size and the date of its origin, it is far beyond the scope of this study and it will be a subject of a separate study and further research.
This article focuses primarily on the two other inventories preserved in the folderinventory no. 1 and inventory no. 2. 24 Both inventories were signed by Jan Mach and Mainhard Schuberth on 30 th July 1829 and in the course of time used quite extensively, as they are filled with pencil-written notes which proven to be more than helpful to identify specific compositions of Jan Fryček, the key figure of the current research. doplňujících poznámek k heslu Katalog Jiřího Fukače ve Slovníku české hudební kultury. Musicologica Brunensia. 2016, roč. 51, č. 2, pp. 81-94.

Inventory No. 1
The first of the two inventories is very similar in its structure to the inventory of musical compositions written by Josef Kallina on the 31 st October 1826. 25 Both start with a note mentioning the part of the collection being from the property of Jan Fryček and both maintain basically the same layout. The major difference is the number of columns on the page.
The inventory no. 1 has a great number of pencil-written notes which not only help to identify music, but they also shed light on the evolution of the musical collection. The same numbers that are written in the inventory no. 1 were also written on every title page of a corresponding manuscript and probably served during the cataloguing of the collection or as a proof of availability.
A typical title page of a musical manuscript in Premonstratensian monastery in Nová Říše bears several different signatures. The most useful for the sorting are the 25 Above mentioned CZ-Bsa: E 58, k. 252, f. 11. above-mentioned pencil written numbers occurring in the inventories and on the title pages, these numbers allow for a quick and reliable recognition of almost any composition in the list. Another important signature for the understanding of the evolution of the collection is the signature sorting the manuscripts into two different groups -cabinet A and cabinet B. This signature consists of a letter indicating the cabinet and a number indicating a specific sheet music (e.g. B 295, A21, etc.). Over time, there were also added notes numbering the musical pieces, but without the information on the cabinet (e. g. "Čís. 295", etc.). Another very important signature comes from the catalogue of Moravské zemské muzeum sorting the compositions from A17.654 to A18.294. If the composition falls under a specific category (e.g. Missa Pastoralis), the title page also contains a number of the musical pieces in the category (e.g. No. 8. Missa Pastoralis). When exactly these notes came to be is unknown and it is impossible to say with certainty who made them right at this moment, but there is a possibility that these notes and figures were edited at least once. 26 Interestingly enough, the numbers in the inventory are writ-26 For example, two Trios of Fryček and one of Stamic (it is unclear which Stamic) have their respective numbers (19,20,13) next to the key (B, F, B), which means that at the time when these figure were written, the  ten by a pencil, although the column "Pos [ition]. N[umer]o." is pre-labelled by ink just like every other category. It means that for some reason the numbers of the position in the inventory were not written when the inventory was originated. 27 The aim of the transcription was to preserve the look and the form of the original as much as possible. The words and numbers in bold are the ones written by a pencil, the regular font is meant for ink. With a careful comparison of the numbers written in inventory no. 1 and on the title pages of Fryček's manuscript, it was possible to identify specific musical pieces and to provide them with a signature from Moravské zemské muzeum (CZ-Bm). 28 The CZ-Bm signature was chosen because it pairs with the catalogue made by Robert Smetana, which provides the most basic and important information about the pieces to anyone interested. These signatures were added to the transcription for a quicker identification and are written in italic type of font and as such are not to be found in the original source.

Inventarium.
Über die am hiesigen Chor beym Abtretten des H. Johan Fritschek Theils von ihm hinterlassenen, und theils eigen thümlichen Musikalien. compositions were probably still available, but next to the composers' names are another pencil written notes ("chybí", missing) suggesting the manuscripts are no longer available.
30 Formerly "C". The inventory lists 30 solemn masses. There are 4 masses from František Xaver Brixi, 2 from unspecified Pokorný, 31 2 from Marian Königsberger and 2 from unspecified Novotný, 32 while all the other composers are present only once. There is a significant share of Czech composers in the collection, e.g. Pokorný, Novotný, Jáchym Štěpanovský, 33 or František Doležálek. 34 There are also 4 pastoral masses and 1 missing Credo Sanctus 31 Violinist and a composer as well as a member of Oettingen-Wallerstein court orchestra František Xaver Pokorný (1729-1794) seems to be the most probable composer of the masses as four of his litanies were also part of the Fryček's collection (A18.206, A18.209, A18.210, A18.211).
32 It is possible that the composer of the masses is Josef Ondřej Novotný (1778-1856) (more about the composer in: ŠTĚDROŇ, Bohumír. Novotný Josef Ondřej. In ČERNUŠÁK, Gracián -ŠTĚDROŇ, Bohumír -NOVÁČEK, Zdenko (eds.). Československý hudební slovník osob a institucí. Sv. 2., Praha: Státní hudební vydavatelství, 1965, pp. 207-208.) as there are his Pastoral motetto in G (A30.518) and six of his menuets (A17.816). It could also be more or less unexplored Josef Novotný whose sacred compositions are to be found in various places in Prague (Strahov, Břevnov) or in Brno. More about him: ČERNUŠÁK, Gracián. Novotný Josef, 1. In ČERNUŠÁK, Gracián -ŠTĚDROŇ, Bohumír -NOVÁČEK, Zdenko (eds.). Československý hudební slovník osob a institucí. Sv. 2., Praha: Státní hudební vydavatelství, 1965, p. 207.) 33 Jáchym Štěpanovský (1775-1801) was a Czech regenschori and a composer of sacred music. His compositions are quite widespread and are to be found in Prague, Velvary, Český Krumlov, Nepomuk, or Roudnice. More about him in: ČERNUŠÁK, Gracián. Štěpanovský Jáchym. In ČERNUŠÁK, Gracián -ŠTĚDROŇ, Bohumír -NOVÁČEK, Zdenko (eds.). Československý hudební slovník osob a institucí. Sv. 2., Praha: Státní hudební vydavatelství, 1965, p. 738. by Jan Fryček, 2 of the pastoral masses are from Jan Fryček as well. 35 There are 24 offertories with 6 of them from Augustin Šenkýř, 36 5 from Fryček, and 3 by František Xaver Brixi. There are only 3 requiems -one by Brixi, one by unknown author and one from Fryček. There is also a pencil-written note with numbers 39, 40, 45 but the note does not list any possible authors, nor key signatures. There are 46 arias, but not all of them have a pencil written number next to them and some of them are struck through. 37 There are 10 litanies -3 by Fryček, 4 by Fr. X. Pokorný and 2 by Brixi, the author of one of them is unknown. After the litany section comes the secular music divided into concertos (5) 38 , symphonies (14), divertimentos (19) 39 , quartets (12), trios (22), duets (4), and partitas (31). Works by the prominent composers of the end of the 19 th century, who spent a significant portion of their career at Vienna such as Franz Anton Hoffmeister, 40 Jan Křtitel Vaňhal, Joseph Haydn, Franz Asplmayr have the largest representation. Some of the musical pieces in the inventory came also from Karl Ditters von Dittersdorf or Amandus Ivanschitz, whose compositions are in the Czech musical archives and in the collections of monasteries and churches quite frequent. Sadly, as far as the Smetana's catalogue goes, there is not a single surviving manuscript of Ivanschitz in the collection of Nová Říše. Although there are not as many, Fryček's compositions are to be found in almost every category -1 concerto, 2 symphonies, 1 divertimento, 2 trios and 4 partitas. 36 Augustin Šenkýř (1736-1796) was a Czech composer and Benedictine from the Emmaus Monastery. He is said to be a great organist, violinist and also a performer on the viola da gamba. His pieces are to be found mainly around Prague, in Moravia primarily at the places close to the border with Bohemia. More on him: ČERNUŠÁK, Gracián. Šenkýř Augustin. In ČERNUŠÁK, Gracián -ŠTĚDROŇ, Bohumír -NOVÁČEK, Zdenko (eds.). Československý hudební slovník osob a institucí. Sv. 2., Praha: Státní hudební vydavatelství, 1965, pp. 686-687. 37 Fryček's Aria in B, his Aria in D minor or Werner's Aria in C minor. Supposedly Medek's Aria ex C (number 34) has struck through his name and written "ohne" (without) in the column of authors. Benedikt Medek was a regenschori (1782) and cantor in Nová Říše. It seems only his Aria in A (A18.087) survived in the musical collection. This aria does not however appear in the inventory no. 1.

The inventory does not specify for what instruments are specific concertos written.
Fryček's concerto is currently missing, although at the time of the editing it was probably available as there is a pencil written number and there are no other notes.
39 Three bundles, each with 6 pieces, by Pavel Vranický are sadly missing. It is interesting that although brothers Vranický were born in Nová Říše, only three string quartets (bundled under one sign.) by Pavel Vranický survived in the musical collection of the monastery -A17.914. A general insight into the lives of Vranický brothers can be found in: TESAŘ, Stanislav. Kapitoly z hudební topografie: Nová Říše. Opus Musicum, 1970, č. 3, pp. 88-89. 40 Franz Anton Hoffmeister (1754-1812) was a German composer and a music publisher who at the age of 14 went to Vienna, where he studied the law. He published his own compositions but also the musical pieces of the most famous composers of the time, great deal of them were active in the Viennese musical life (Joseph Haydn, W. A. Mozart, L. van Beethoven, Johann Georg Albrechtsberger and others). He later on became one of the celebrated composers of the city and was a friend of W. A. Mozart or L. van Beethoven.

Fryček's surviving manuscripts
The pencil-written notes were sufficient enough to identify Fryček's surviving compositions featured in the inventory no. 1. Some of them have dates of performances written on the last page of the sheet music. The following tables contain the signatures and basic information about all the compositions not only found in the inventory no. 1, but also surviving until this very day. Out of the surviving compositions, there is none that could not be found in this inventory. The names of the parts come from the labels of the parts themselves. If the specific part was missing, its name was taken from the title page of the manuscript. Ecce quomodo moritur (Tarde) 41 The part is probably supposed to be played by a violist, although the part itself is notated with a treble cleff and the music never goes below g (SPN: G3) and therefore could also be played by a violinist.
42 The Soprano solo is significantly more demanding than most of the solo parts in Fryček's different compositions.  49 Sadly, there is also a number of Fryček's compositions featured in the inventory no. 1 that cannot be traced and are currently lost. Some of them do not even have the pencilwritten number. 50 Most of the compositions do have a pencil-written number, which suggests that at least at the time of the sorting these compositions were available. We can count Credo Sanctus ex D, Aria Ex A, Aria ex F, Stationi festo Corp Xt G, Te Deum D, Litany in D, Concerto ex F, Rorate in G and two partitas in D and G among those compositions. Unfortunately, there are also two trios that have pencil written numbers but also a note "chybí" -missing. 51 Some of the compositions miss only the specific part, but there is a possibility that these parts will be found in the upcoming research, for there is also a unordered bundle of parts not belonging to any specific compositions and without any signatures in Nová Říše.

Inventory No. 2
The inventory no. 2, signed again both by Jan Mach and Mainhardt Schuberth, is also very similar to the older inventory made in 1826 by Josef Kallina, 52 (to the point of being based on) but unlike Kallina's inventory it contains also list of duets, trios, quartets, quintets, sextets, symphonies and even some operas. Other than that, the musical pieces in both inventories are divided into the following groups Graduale (5), Offerium (5), Requiem (3), Salve Regina (2), Alma Redemptoris (2) and Rorate (13). Outside these categories are Lauda Sion ex A from Šrámek, 2 lamentations, Oratorium in C minor from John and two choral books, all these musical pieces are present in both Kallina's inventory from 1826 and in inventory no. 2 from Mach. The inventory no. 2 provides interesting information about the musical instruments in Nová Říše. Also, the inventory sometimes comments on the quality of the instruments and, for specific pieces, also lists the instrument maker. The monastery owned a pair of good quality violins (made in 1800) from the Prague violin maker Karel Josef Hellmer (1739-1811) 56 as well as a pair of medium-quality violins from the same maker from 1800. However, there are also featured some old ordinary violins. The viola from 1801 also came from Karel Hellmer's violin workshop. There are also featured clarinets by Friedrich Hammling from Wien. 57 From the first half of the list of the musical pieces (the part featured both in Kallina's and in Mach's inventories) stands out Rorate d moll from Adam Rambousek. 58 In the part with the secular music stands out Quartet in F from Benedictine composer Marian Paradeiser, who spent most of his life at Melk Abbey. There are also two quartets (A minor -collection as well as on the former number of Fryček's composition. There is enough information to connect the names of the compositions written in the inventory no. 1 to specific musical pieces. It is an exceptional luck that most of the compositions not only by Fryček, but also by another local cantors are preserved and possible to study. However, the inventories serve not only as a list of Fryček's musical pieces, but they also help to understand the greater structure on the secular part of the collection. The categories and the number of compositions speak clearly in favour of chamber music, the most popular being partitas and trios. Quite favourite were also quartets and mainly symphonies. It is also principal to notice the preferred authors of the musical pieces which in many cases were the important figures of musical life in Vienna of the end of the 18 th century. Undeniably noteworthy is also a portion of the compositions by the authors from the Czech lands. Several of those are still almost unknown and will be addressed in the upcoming examination. Additionally, the covers of the sheet music contain a significant number of dates of performances and thus allow to at least partially evaluate the musical life in Nová Říše. 65 We might say that the music by the local cantors and composers was more than popular in Nová Říše. Another interesting part of the collection are the operas and their purpose in the monastery. Cursory research suggests that some arias of these operas were arranged for chamber ensembles (e.g. Gluck's Die Pilgrimme von Mecca or quartet labelled as by anonymous stored under sign. A17.945 which proven to be an arranged aria Non so più cosa son, cosa faccio from Mozart's Le nozze di Figaro). There are probably many more arranges labelled as anonymous that are in fact parts of famous operas. The authorship recognition is going to be a crucial part of the further research. The inventories also give an indisputable proof of the lively contact with the brotherhood in Telč. This study focuses solely on the work of Jan Fryček, but there is a great amount of information any interested person can harvest from these two relatively short, yet informative inventories.