Revision Report

As sources for the present edition of Amandus Ivančič's three symphonies for two violins and bass the manuscripts kept in the Archiv der Gesellschaft der Musikfreunde in Vienna have been used. These manuscripts are copies of the parts, written by the same hand and of the same format. Their provenience is unknown, the archiv has acquired all three at the same time around the year 1820.

The first symphony, Symphony in G, has the classification number XIII 1325/gg and on the title page the inscription "Simfonia ex G/Violino Imo/Violino IIdo/e/Basso/ del Sigre Amando Ivanschiz". It is known only in this copy, but it is listed also in the musical inventory of the Rajhrad monastery in Moravia from the year 1771 (p. 186).

The manuscript of the second symphony. Symphony in A, bears the shelf mark XIII 8550/gg and the title "Simfonia ex A/Violino Imo/Violino IIdo/e/Basso / Del Sigre Amando Ivanschiz". According to what is known so far this work is extant only in this one copy.

The third symphony. Symphony in B flat, has the classifica- tion number XIII 8549/gg and the inscription "Simfonia ex B/Violino Iimo/Violino IIdo/e/Basso/ Del Sige Amando Ivanschiz". Another two copies of this symphony are known to exist. The first of them is likewise in the Archiv der Gesellschaft der Musikfreunde in Vienna (IX 1069) and is designated as Divertimento. The second is kept in the Fürstlich Fürstenbergische Hofbibliothek at Donaueschingen (Mus. Ms. 822), it is entitled Trio and written in C major. This manuscript bears on the front page the note "Roma 1765".

The text of the three symphonies is throughout faithful to the originals, but the notation is modernized, the mistakes of the copyist have been corrected and in part signs for dynamics, articulation and ornamentation have been added, in the sources these signs being defective, inconsistent, occasionally unclear. All such additions are in the musical text put in square brackets and here below explained in detail. Added is also the basso continuo. The part of the bass is not figured in the basic texts, but the time of the origin of these compositions and their comparatively modest texture speak in favour of accordal accompaniment or at least permit it. In the realisation principles followed by J. S. Bach and his period were observed. A skilled performer of continuo will know on harpsichord or on the piano with registers or with more dense stops how to — on the basis of the part presented in our edition — follow the dynamics of the compositions and pay due regard for a possibly stronger cast of the strings.

I. Symphony in G
b. 29, Ist violin
first note on the fourth beat noted in basic text as a quaver, likewise the first note on the second beat in b. 32.
b. 9, IInd violin
in the manuscript on the third beat instead of triplet two semi-quavers — d' and b.
b. 42, IInd violin
in the source the first quaver c".
b. 58, IInd violin
in the source the first quaver a'.
II. Symphony in A
b. 23, IInd violin
in the basic text first semiquaver f" sharp.
b. 16. Ist violin
second quaver in the source d" (with natural).
b. 26, Ist violin
in the manuscript first two notes written as crochets, last two as quavers; obviously a mistake by the copyist.
b. 17, Ist violin
first quaver on the second beat g" sharp.
b. 53, bass
crochet on the second beat f sharp.
III. Symphony in B flat
in the basic text this movement is in the Ist violin part designated as Andante, in other two parts as Andantino. Same in the copy IX 1069. In the manuscript kept in the Fürstlich Fürstenbergische Hofbibliothek at Donaueschingen the movement is consistently designatedas Andante.
b. 8, bass
last semiquaver on the first beat d.
b. 22, IInd violin
in the source the first quaver g'.
b. 3, IInd violin
quaver on the second beat c".