die Hexerei beshatten SabbathGerman; with Italian musicological phrasescomposed by Anonymous; “Shadlich Kirchen”1599 GC
Amidst the debauched ennui of the Renaissance Baroque Era, this concerto was composed as some part of theatrical and heretical black magick summoning ritual for gods far older than even the Babylonian Mythos. T he very notes and intonations themselves are the tones for the summoning to occur. Entitled “The Sabbath of Witch Shadows” (or “The Shadow of the Witches Sabbat” or “The Witches Sabbath of Shadows”), this suite is beautiful, haunting, alluring, and almost schizophrenic in its acoustic ambient counterpoint harmonies. Composed as a trio for oboe, cello, and piano-forte, its performance would be impossible to play with only six hands, sixty fingers. It is known to have been performed only once, as a quintet featuring a violin and clarinet added to the existing trio. That performance, on Twelfth Night A.D. 1600, ended in multiple tragedies; including the performance death of the flautist and pianist, as well as the poisoning murders of a royal couple in attendance for the performance.
Mozart was found to have a copy of this piece in his possession after his death in 1791 GC. That copy was almost certainly collected by his friend Saliari (who was not the conniving rival to Mozart that the wonderful film Amadeus portrayed). In October of 1808, Niccolo Paganini is known to have performed a section of this piece; mostly likely the Rondeau. The Godhead Himself, Beethoven, is known to have viewed a copy of the score, and most definitely played pieces of it to himself. It is said that Franz Lizst inherited that copy. [None of those three were the same edition.]
The opening movement, Rondeau (Adagio; Affannoso con Affannato) features the Cello introducing the melody, and a solo for the oboe. The length as written would be about nine and a half minutes. The second movement, Scherzo (Allegramente; Cello con Alla zoppa/Piano Staccato con Bizzaria/forte Plangevole con Smorzando) is introduced, and dominated by, the Piano-forte. This plays in counterpoint to the Cello, which continues with a variation on the melody of the first movement. he Piano-forte also solos in this movement as well. The length is about sixteen to seventeen minutes long. The third and final movement, Pavana (Grave; Disperazione con Amarezza, Decresendo), is a dance -- albeit a totentanz -- lead by the oboe, and a haunting dry solo by the Cello in the bridge of the dance. Its length is very nearly regimented to be thirteen minutes, thirty three seconds.
The manuscript of the score itself, handwritten on scarlet-dyed sheep vellum within a black velvet cover, stitched in gold silk, is in five parts. A complete score for each instrument, and two slightly differing copies of the full piece, perhaps included because the composer knew it was not able to be performed by the trio for which it was written. T he vellum sheets measure 17 cm high by 39 cm wide; 140 pages. This edition resides in a private archive of occult music in the Italian Alps. There are four known printed copies of this musik magna opus. They originate from a printing made the same year it was composed. The printer was Robert Gadling, of Sussex, England. Nine copies were printed, identical in virtually every facet to the hand-written original. The differences are only in cover and binding. The printed editions are hemp vellum (still scarlet) covered in dark purple suede and bound with hempen thread. Of these nine, three are known to have been destroyed, four verified to still be extant, and two unknown since circa 1600 GC. The copies having gone through Mozart/Salaiari, Paganini, and Beethoven/Lizst, are amoung the extant copies. The Mozart score has a few notional changes in Wolfgang's own hand. The effective change in summoning results are not known. The Paganini score has accentuation marks, apparently from Niccolo's own opinions. The most interesting personalised notes however, are on the Beethoven/Lizst score. They have markings in at least two other hands than Ludwig's and Franz's. One of which pre-dates Beethoven, and the other being from the recent owner of the manuscript. [Who inherited it in 1971 at the age of seventeen; an Irish punkrock bass player. He claims to have been in contact with the other five owners of the score -- musicians all -- and plans to have a double trio performance on 13 October 2000...]
[Rarity: 23 Contents: High Necromancy, Black Summoning, Musik of The Pavane.]
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