Baroque Music in the Czech Lands
Heinrich Ignaz Franz BIBER (1644-1704) - Sonata IV in C Major for trumpet, oboe and organ 5:41
1. Allegro 1:14
2. Recitativo 1:03
3. Allegro 0:59
4. Presto 0:50
5. Adagio 0:47
6. Allegro 0:44
Jan ZACH (1713-1773)
7. Preludium in C Minor 2:47
8. Fuga in C Minor 5:04
Bohumír FINGER (1660?-1730) - Sonata in C Major for trumpet, oboe and organ 7:20
9. Andante 1:36
10. Adagio 1:02
11. Allegro 1:35
12. Adagio 1:44
13. Allegro 1:19
Pavel Josef VEJVANOVSKÝ (1640?-1693) - Balletti pro tabula (1670) for trumpet and organ (selection) 5:38
14. Allemande 2:01
15. Courante 1:10
16. Sarabanda 1:24
17. Canario 0:59
Josef Antonín PLÁNICKÝ (1691-1732) - Opella sexta de tempore (1723) for trumpet, oboe and organ 6:00
18. Recitativ 0:43
19. Aria 5:17
František BENDA (1709-1786) - Sonata in F Major for oboe and organ 10:02
20. Adagio 2:57
21. Allegro 3:55
22. Vivace 3:07
František Xaver BRIXI (1732-1771)
23. Seykorka / Titmou 2:19
24. Preludium in C Major 4:05
Johann Christoph PEZELIUS (1639-1694)- Bicinia variorum instrumentorum (1675) for trumpet, oboe and organ
25. Sonatina LXVIII 2:13
26. Sonatina LXIII 3:46
27. Sonatina LXIX 3:06
Total time 58:46
Pavel Hromádka trumpet, Dušan Foltýn oboe, Tomáš Thon organ in the Minorite Church of the Holy Spirit in Opava
As early as the Middle Ages, the Czech lands were a busy crossroads for musical styles, forms and motifs coming directly or indirectly from diverse geographical regions - from France, Germany, Italy, Austria, Silesia, and other countries. After 1600, the Italian influence grew more powerful, as did the Austro-German one, later on. The effect was not one-way, musicians from the Czech lands also considerably influenced music production in many European countries. These mutual influences were mostly considered beneficial and desirable, be it on the level of spreading the various compositions, or circulation of musicians and composers. This sort of activity, however, was not related to any "national" or "Czech" qualities - the point in question was purely musical - the Czech musicians and composers were convincingly asserting themselves on the "foreign" music market. Their "Czechness" was only perceived in relation to their origins and reflected in their attributes (Padre Boemo, Il divino Boemo), it had nothing to do with a specifically Czech musical element, form or style. Quite the opposite was true - even if they had acquired their musical education "only" in the Czech lands, it had such an "international" character and standard that they could use it to advantage in all European music centres, from Madrid to Petersburg... (from booklet text)
(Studio Matouš 2005)
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