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APPENDIX 1 Aloys Georg Fleischmann: An Annotated Catalogue of Compositions SÉAMAS DE BARRA 315 INTRODUCTION The catalogue is divided into the following categories: Stage Works; Orchestral Works (subdivided into music for Orchestra, Chorus and Orchestra and SoloVoice and Orchestra); Choral Music: Accompanied; Choral Music: Unaccompanied (subdivided into music for MixedVoices and Male Voices); Sacred Music; Vocal Music (subdivided into Lieder, Other Songs and works for Narrator and Piano); Instrumental Music (subdivided into music for Organ and Miscellaneous Instrumental); Arrangements (subdivided into Arrangements of Irish Folk Music and Other Arrangements). As most of Fleischmann’s MSS are undated, it has not been possible to establish a chronology for his work: the entries are therefore arranged in alphabetical order within each division and subdivision of the catalogue. Where there is more than one setting of the same text, the order in which these settings have been listed does not necessarily imply chronological order, although the listing does take into account the evident age of the MSS as well as the dates of composition where these are known. Certain features of this arrangement require, perhaps, a few words of explanation. The division of Vocal Music into the separate categories of Lieder and Other Songs highlights the uninterrupted importance of the German tradition in Fleischmann’s imaginative life after he moved to Cork in 1906 and his continued recourse to German texts for his work. Although the three pieces comprising Op. 26, for example, were published as songs in English by Augener in 1929, and are for that reason listed under Other Songs, they were all originally conceived as settings of German words. Similarly, the division of Fleischmann’s Arrangements into two categories serves to highlight his creative engagement with Irish folk music. A different problem was encountered in categorising the church music. The fine distinction between original work based on plainchant and arrangements of plainchant melodies can occasionally become blurred, and it is not always easy to determine where one ends and another begins. It was decided to list any work containing original material, however minimal, under Sacred Music, and relegate the rest (usually straightforward harmonisations) to Other Arrangements. In a few doubtful cases, however, the allocation remains tentative. Works with religious texts that are not liturgical are not listed in Sacred Music. The information for each entry is given in the following order: 1. Title: The title of a work is given either as it appears on the MS or on the existing copy of the music where the MS is lost. German (or occasionally Irish) titles are followed by English translations in square brackets. Where a German (or Irish) text has been provided with an English translation, the English title is as it appears on the MS; otherwise the translations of the titles are editorial. Titles of works in Latin are generally not translated as they refer to standard liturgical texts. Titles in square brackets are editorial. In the case of an arrangement of a work by a known composer, the composer’s name follows the title. Where a work comprises more than one separate movement, individual titles and, where relevant, their translations are similarly listed. 2. Text: Except where it is included in the title of a work, the name of the author is listed first. Doubtful attributions are indicated by a question mark, and unknown authorship (except in Sacred Music) is indicated by ‘Words?’. In the case of Arrangements, the source of both the musical material and the text (whether traditional or credited to a composer/author) is given where this is known; otherwise unknown or anonymous authorship is not generally specified. The original language of the text is given next, followed by language(s) of translation, with the name of the translator(s), where known, in brackets. Where a work comprises more than one separate movement and there is more than one author/translator, the relevant information is given after each individual item. In some cases, all or part of the above information may be given in the form of direct quotations from a programme note, a libretto or MS where this is of particular interest. The sources of all quotations are indicated. 3. Forces: Details of orchestral forces are given in the standard abbreviations . InVocal Music, all works listed are for solo voice and piano unless otherwise specified. 4. General notes: In some cases, brief descriptions of the extant MSS are given where these are of particular interest or relevance. All annotations and markings relating to...

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