Tituly
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 in 1719 as Hymnodia divina, op. 3 in Prague. It further includes one aria and three solo motets composed later and known from manuscript sources. Unlike the first volume of sacred arias containing only compositions for soprano or alto, the second volume also includes pieces for male voices.
The last volume of the editorial project focused on the music of Joseph Brentner brings his second collection of twelve arias published in 1719 as Hymnodia divina, op. 3 in Prague. It further includes one aria and three solo motets composed later and known from manuscript sources. Unlike the first volume of sacred arias containing only compositions for soprano or alto, the second volume also includes pieces for male voices.
ed. Václav Kapsa
The Offertoria solenniora op. 2 of 1717 became the most widespread of Brentner’s printed collections. These pieces for four voices, two violins and basso continuo composed in various styles were very popular, being even played in the Jesuit missions in South America. Among the works by Brentner surviving in manuscript, the collection of pieces composed to the texts of the officium of St. Teresa of Ávila is quite remarkable. It seems to have originally been intended for the Carmelites in Prague. The present edition includes six of these as well as three other offertories surviving uniquely in the musical collections of Benedictine abbeys of Lambach, Göttweig and Kremsmünster. The volume coming out 300 years after the first publishing of Brentner’s second opus brings to light a not-so-well-known chapter in the history of Prague music print and provides insight into the local music production during the High Baroque era.
The Offertoria solenniora op. 2 of 1717 became the most widespread of Brentner’s printed collections. These pieces for four voices, two violins and basso continuo composed in various styles were very popular, being even played in the Jesuit missions in South America. Among the works by Brentner surviving in manuscript, the collection of pieces composed to the texts of the officium of St. Teresa of Ávila is quite remarkable. It seems to have originally been intended for the Carmelites in Prague. The present edition includes six of these as well as three other offertories surviving uniquely in the musical collections of Benedictine abbeys of Lambach, Göttweig and Kremsmünster. The volume coming out 300 years after the first publishing of Brentner’s second opus brings to light a not-so-well-known chapter in the history of Prague music print and provides insight into the local music production during the High Baroque era.
ed. Milada Jonášová
Sehling’s pastoral compositions represent a unique body of work in the field of Czech sacred music during the “pre-Brixi” period, which was a stylistically transitional period. As time went by, there were increasing numbers of compositions from the category of pastorellas, “natalitias”, or “adventualias”, and Sehling (1710–1756) was one of the composers of such pieces.
In terms of style, he is one of the composers who abandoned some elements of Baroque music, thereby laying the groundwork for the arrival of a new musical style. His four Pastorellas constitute a specific group of formally simple Latin-language sacred compositions.
Sehling’s pastoral compositions represent a unique body of work in the field of Czech sacred music during the “pre-Brixi” period, which was a stylistically transitional period. As time went by, there were increasing numbers of compositions from the category of pastorellas, “natalitias”, or “adventualias”, and Sehling (1710–1756) was one of the composers of such pieces.
In terms of style, he is one of the composers who abandoned some elements of Baroque music, thereby laying the groundwork for the arrival of a new musical style. His four Pastorellas constitute a specific group of formally simple Latin-language sacred compositions.
ed. Václav Kapsa
The goal of the edition is to make available all of the known instrumental works by Joseph Brentner. His collection of six four-voice concertos Horae pomeridianae op. 4 was published 1720 in Prague, and it represents the only locally produced printed title from that time that was devoted to secular instrumental music. Two similar concerti da camera have been preserved at the Vatican Apostolic Library. In the context of the given genres, the instrumental Pastorella and the Partita a 5 with the unusual instrumentation of viola d’amore, two oboes, horn, and bass are unique among the compositions of Bohemian origin that have been preserved.
The goal of the edition is to make available all of the known instrumental works by Joseph Brentner. His collection of six four-voice concertos Horae pomeridianae op. 4 was published 1720 in Prague, and it represents the only locally produced printed title from that time that was devoted to secular instrumental music. Two similar concerti da camera have been preserved at the Vatican Apostolic Library. In the context of the given genres, the instrumental Pastorella and the Partita a 5 with the unusual instrumentation of viola d’amore, two oboes, horn, and bass are unique among the compositions of Bohemian origin that have been preserved.
ed. Tomáš Slavický
The Requiem Solemne by Jan Zach is a representative example of music composed in Prague in the 1730s. Although it is one of the composer’s early works, it met with an extraordinarily varied reception during the nineteenth and twentieth centuries. At that time, the composition attracted attention mainly for its use of chromaticism, while from today’s perspective we can see it as an example of a large, stylistically diverse vocal-instrumental composition. The style range spans from retrospective counterpoint to dramatic resources, for which J. D. Zelenka and the Italian composers of Vivaldi’s generation were models.
The Requiem Solemne by Jan Zach is a representative example of music composed in Prague in the 1730s. Although it is one of the composer’s early works, it met with an extraordinarily varied reception during the nineteenth and twentieth centuries. At that time, the composition attracted attention mainly for its use of chromaticism, while from today’s perspective we can see it as an example of a large, stylistically diverse vocal-instrumental composition. The style range spans from retrospective counterpoint to dramatic resources, for which J. D. Zelenka and the Italian composers of Vivaldi’s generation were models.
ed. Václav Kapsa
The edition presents Brentner’s first collection published under the title Harmonica duodecatomeria ecclesiastica, op. 1, dated 1716 in Prague. This involves twelve arias for soprano or alto with instrumental accompaniment calling for varying forces. The volume also contains three Brentner arias from manuscript sources, which were composed to texts that are the same as or similar to texts of arias in the first collection.
The edition presents Brentner’s first collection published under the title Harmonica duodecatomeria ecclesiastica, op. 1, dated 1716 in Prague. This involves twelve arias for soprano or alto with instrumental accompaniment calling for varying forces. The volume also contains three Brentner arias from manuscript sources, which were composed to texts that are the same as or similar to texts of arias in the first collection.
ed. Markéta Kratochvílová
The present edition completes the series “Písně z mládí Otakara Ostrčila” (Songs from the Youth of Otakar Ostrčil) issued in the 1940s, and it documents the influence of the German Romantic lied on the composer’s early works. These are the only songs by Ostrčil in which the composer set texts in a language other than Czech to music, and they are the only of his songs that remained heretofore unpublished.
The present edition completes the series “Písně z mládí Otakara Ostrčila” (Songs from the Youth of Otakar Ostrčil) issued in the 1940s, and it documents the influence of the German Romantic lied on the composer’s early works. These are the only songs by Ostrčil in which the composer set texts in a language other than Czech to music, and they are the only of his songs that remained heretofore unpublished.