Připravujeme - noty
ed. Tomáš Slavický
Thanks to several published selections (anthology by Otto Schmid, 1901), the Responsoria are rightfully considered to be Tůma’s masterpiece. His setting of 27 responsories of Easter Divine Office (Tenebreae) to music came into being simultaneously with the publishing of liturgical texts for the Holy Week in Vienna in 1759. Although the music bears many of the characteristics of classicism, it represents an interesting link between the baroque "stile antico" and the historicism of the 19th century.
Thanks to several published selections (anthology by Otto Schmid, 1901), the Responsoria are rightfully considered to be Tůma’s masterpiece. His setting of 27 responsories of Easter Divine Office (Tenebreae) to music came into being simultaneously with the publishing of liturgical texts for the Holy Week in Vienna in 1759. Although the music bears many of the characteristics of classicism, it represents an interesting link between the baroque "stile antico" and the historicism of the 19th century.
ed. Ondřej Maňour
Novotný’s Písně kosmické (Cosmic Songs), op. 8, composed in 1914 to poems from a collection with the same title by Jan Neruda, mark the beginning of his mature creative period, and while they were underappreciated by his contemporaries, they prefigured the further development of European music. To this day, the collection has been neither performed nor published, and this has undoubtedly deprived the development of Czech modern music of valuable impulses.
Novotný’s Písně kosmické (Cosmic Songs), op. 8, composed in 1914 to poems from a collection with the same title by Jan Neruda, mark the beginning of his mature creative period, and while they were underappreciated by his contemporaries, they prefigured the further development of European music. To this day, the collection has been neither performed nor published, and this has undoubtedly deprived the development of Czech modern music of valuable impulses.
ed. Václav Kapsa
The last volume of the editorial project focused on the music of Joseph Brentner brings his second collection of twelve arias published as Hymnodia divina, op. 3 in 1718 or 1719 in Prague. It will again be supplemented by a selection of sacred arias from manuscript sources. Unlike the first volume of sacred arias containing only compositions for soprano or alto, the second volume includes compositions for male voices as well.
The last volume of the editorial project focused on the music of Joseph Brentner brings his second collection of twelve arias published as Hymnodia divina, op. 3 in 1718 or 1719 in Prague. It will again be supplemented by a selection of sacred arias from manuscript sources. Unlike the first volume of sacred arias containing only compositions for soprano or alto, the second volume includes compositions for male voices as well.
ed. Milada Jonášová
The volume will comprise Sehling’s motets and offertories composed for the serving of liturgy for the dead. The compositions are written for soprano, alto, tenor and bass accompanied by the strings and three trombones, optionally with clarinos. In some of the pieces it was possible to identify for which mourning occasions they were intended. Same is in the publication of Sehling’s Latin pastorellas, this edition will be based on the extant autographs.
The volume will comprise Sehling’s motets and offertories composed for the serving of liturgy for the dead. The compositions are written for soprano, alto, tenor and bass accompanied by the strings and three trombones, optionally with clarinos. In some of the pieces it was possible to identify for which mourning occasions they were intended. Same is in the publication of Sehling’s Latin pastorellas, this edition will be based on the extant autographs.