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• Musik am Dom zu Salzburg. Repertoire und liturgisch gebundene Praxis zwischen Hochbarocker Repräsentation und Mozart-Kult by Von Eva Neumayr, Lars E. Laubhold und Ernst Hintermaier
• Karina Zybina

The present book can be used in several ways. First and foremost, it is a self-standing study. The authors, Eva Neumayr, Lars E. Laubhold, and Ernst Hintermaier, take as their starting point Patrick Bircher's interdisciplinary study on architecture, art, liturgy, and music relationships in the seventeenth century Salzburg Cathedral, Ad Maiorem Dei Gloriam (Regensburg: Schnell & Steiner, 2015), but extend their chronological framework to 1841 (the formal establishment of the Salzburg Dom-Musikverein and the Mozarteum), and concentrate entirely on music, viewing it in its historical, liturgical, and ceremonial contexts. In a kaleidoscopic way, a sequence of essays continually shifts the reader's attention from one topic to another, systematically exploring a variety of non-musical factors behind the musical activities of the Salzburg Cathedral, meticulously recording all the details of the musical events that took place in the church, and eventually discovering their traces.

The seven essays can be grouped in three parts. The first part views all musical events as the integral components of a more comprehensive, centralised, and hierarchical system, and not just as the results of composers' creative processes. Its focus is on the dual function of the Salzburg Cathedral as a metropolitan church on the one hand (the first two essays: 'Der Dom als Metropolitankirche', and 'Geschichte der Musik an der Metropolitankirche'), and as a city parish church on the other hand (the third essay, 'Der Dom als Stadtpfarrkirche'). The second part is [End Page 374] centred around the music written specifically for the Cathedral. It explores several fundamental aspects of performance practice, musicians' placement, and the basic 'rules' of scoring, discusses the role of individual orchestral instruments, and outlines the repertoire constraints that impacted the reception history of the late Renaissance and Baroque traditions throughout the eighteenth century ('Aspekte der Aufführungspraxis'). It also pays tribute to the Salzburg 'cult figure', Wolfgang Amadeus Mozart, revising his Salzburg activities and stressing their significance for his entire career ('Sonderfall Mozart'). The focus of the third part is on the archival collection itself. It gives an overview of the significant milestones of its development from the beginning of the nineteenth century until the present day ('Die Sammlung Dommusikarchiv'), and detects its traces in Austrian, Swiss, and Italian libraries ('Der Salzburger Dom als Ausgangspunkt der Verbreitung musikalischer Quellen').

Secondly, the book can serve as a supplement to the catalogue that animates its records and turns them from preliminary sketches to colourful paintings. To show one random example, the litany De Venerabili Sacramento in D major by Joachim Joseph Fuetsch (catalogue no. 860, p. 350 of the catalogue volume) is tightly integrated in this book into the Forty Hours Devotion, traditionally performed 'in the evening around 7 o'clock on the great choir [of the Salzburg Cathedral] with a collaboration of numerous musicians' (p. 10). Its author is presented not only as a prominent composer, the student of Leopold Mozart and Michael Haydn (pp. 348–349), but also as one of the most important Salzburg scribes who was involved in the production of the 1822 inventory and the catalogue of the musical collection (p. 262)—a sample of documents preserving his handwriting is available for examination as well (p. 285).

Thirdly, one can benefit from all the additional information inserted within the essays: a number of tables listing key events (for example, the so-called Festa Pallii celebrated in the Salzburg Cathedral from 1693 to 1828), other lists of primary sources (bills, sheet music, and performance materials), and leading personalities (singers, musicians, and scribes). In several essays, one can also make use of such 'extras' as transcriptions of rare archival holdings from the so-called 'Old Fond' (Altbestand...

审核人：

• Musik am Dom zu Salzburg。剧集和古德邦人实践冯·伊娃·诺伊玛尔，拉斯·E·劳伯德和恩斯特·辛特迈尔的演绎和莫扎特-库尔特
• 卡琳娜（Karina Zybina）

本书可以以多种方式使用。首先，这是一项独立的研究。作者Eva Neumayr，Lars E.Laubhold和Ernst Hintermaier以帕特里克·伯彻（Patrick Bircher）对17世纪萨尔茨堡大教堂，艺术博物馆，Ad Maiorem Dei Gloriam的建筑，艺术，礼拜仪式和音乐关系的跨学科研究为出发点（Regensburg：Schnell＆Steiner，2015），但将其时间顺序框架扩展到1841年（萨尔茨堡大教堂和音乐厅的正式成立），并完全专注于音乐，并在其历史，礼仪和礼仪背景下进行欣赏。以千变万化的方式，一系列文章不断将读者的注意力从一个主题转移到另一个主题，系统地探索萨尔茨堡大教堂音乐活动背后的各种非音乐因素，并精心记录发生的音乐事件的所有细节在教堂里，最终发现了他们的踪迹。

七篇论文可以分为三个部分。第一部分将所有音乐事件视为更全面，集中和分级的系统的组成部分，而不仅仅是作曲家创作过程的结果。一方面着重于萨尔茨堡大教堂的双重功能（作为前两篇文章：“ Der Dom als Metropolitankirche”和“ Geschichte der Musik an der Metropolitankirche”），以及作为城市教区教堂的双重功能。另一方面（第三篇论文“ Der Dom als Stadtpfarrkirche”）。第二部分是[End Page 374]围绕着专门为大教堂而写的音乐。它探讨了表演实践，音乐家的位置以及计分的基本“规则”的几个基本方面，讨论了各个管弦乐器的作用，并概述了影响整个文艺复兴时期和巴洛克传统在整个18世纪的收录历史的曲目限制。世纪（“ Aspekte derAufführungspraxis”）。它还向萨尔茨堡的“邪教人物”沃尔夫冈·阿玛迪斯·莫扎特致敬，修订了萨尔茨堡的活动，并强调了其对他整个职业生涯的意义（“莫扎特桑德法尔”）。第三部分的重点是档案收藏本身。

其次，这本书可以作为目录的补充，使目录动画，并将其从初步的草图转变为色彩鲜艳的画作。举一个随机的例子，萨克拉曼多的德·维纳拉比（lit Venerabili Sacramento）约阿希姆·约瑟夫·富希（Joachim Joseph Fuetsch）的D大调（目录册第860页，目录350）与本书紧密地结合到了《四十小时的奉献》中，传统上是在大合唱团[晚上7点左右进行[萨尔茨堡大教堂]与众多音乐家的合作（第10页）。它的作者不仅是著名作曲家，莫扎特和迈克尔海顿（Leopold Mozart and Michael Haydn）的学生（第348-349页），而且是参与1822年目录和目录制作的萨尔茨堡最重要的抄写员之一。音乐收藏集（第262页）—保存其笔迹的文件样本也可供检查（第285页）。

第三，可以从本文中插入的所有其他信息中受益：大量列出重要事件的表格（例如，1693年至1828年在萨尔茨堡大教堂庆祝的所谓的Festa Pallii），其他主要来源清单（清单） ，乐谱和表演材料）以及主要人物（歌手，音乐家和抄写员）。在几篇文章中，也可以利用“额外”作为从“旧基金会”（Altbestand ...