1. Pavel Josef Vejvanovský (1633-1693) - Serenada 3:04
2. Filipp Jakob Rittler (1639-1690) - Sonata Campanarum Vulgo Glockeriana 3:55
3. Pavel Josef Vejvanovský - Regina Coeli (I.) 4:40
4. Heinrich Ignaz Franz Biber (1644-1704) - Sonata a 3 5:17
5. Pavel Josef Vejvanovský - Congregati Sunt Inimici Nostri 4:38
6. Pavel Josef Vejvanovský - Sonata Tribus Quadrantibus 2:43
7. Pavel Josef Vejvanovský - Regina Coeli (II.) 2:42
8. Pavel Josef Vejvanovský - Sonata Vespertina a 8 3:28
9. Filipp Jakob Rittler - Alma Redemptoris Mater 2:06
Pavel Josef Vejvanovský - Offertur ad Duos Choros 5:26
10. Offertur 2:04
11. Sarabanda 1:45
12. Allegro 1:36
13. Pavel Josef Vejvanovský - Sonata Sancti Petri et Pauli 4:56
14. Pavel Josef Vejvanovský - Salve Regina (III.) 4:12
15. Filipp Jakob Rittler - Ciaccona a 7 4:05
Pavel Josef Vejvanovský - Balletti per il Carnuale 10:38
16. Ingressus 1:37
17. Intrada 2:15
18. Minuet 1:17
19. Gavotte 1:58
20. Aria 1:44
21. Ingressus 1:38
total time 62:42
Musica Florea, conductor Marek Štryncl
soprano: Anna Hlavenková (5,7,9), mezzosoprano: Magdalena Kožená (5,7,9), tenor: Martin Prokeš (5), bass: Michael Pospíšil (3,5,9,14), Radim Vondráček (3)
recorders: Marek Špelina, Jan Kvapil, Alice Rychetníková (16-21), clarini: Jaroslav Rouček (1,3,6,8,13,15-21), Karel Mňuk (1,3,8,15-21), Josef Zámečník, Pavel Čermák, František Svejkovský (1), alto trombone: Stanislav Penk (3,5,8,13), tenor trombone: Pavel Čermák (3,5,6,8,13), bass trombone: Bohuslav Rattay (3,5,8,13), violins: Dagmar Valentová-Prokešová (2,5,6,8,10-21), Simona Pešková (1,2,4,5,7,10-13,15-21), Jiřina Doubravská (1,2,7,8,10-12,14), Martin Jirka (4,10-12), viola: Lýdie Cillerová (1,2,4,5,7,10-21), viola da gamba: Petr Wagner (2,5,10-12,14,15), cellos: Pavel Řezáč (1,3,5,7-14,16-21), Marek Štryncl (2,4,6,10-12,15), double bass: Jan Doskočil (1-3,5,7,8,10-21), theorbo: Přemysl Vacek (1-21), harpsichord: Iva Vedralová (1,2,4,6,10-12), Marek Štryncl (7,16-21), positive organ: Marek Štryncl (1,3,5,8,9,13,14), timpani: Libuše Šperková (1,16-21)
The anthology of works selected for this recording does not reveal their beauty and place in the refined system of baroque ceremony, as were the liturgical rites in the Church of St Maurice in Kroměříž or the Vyškov's balls. Short pieces linked together into a formally perfect whole, such as could only be achieved in that epoch, make for an entirely different experience of lustre and contemplation than a textbook selection.
Vejvanovsky is often regarded as a secular composer; this is mistaken. He was first and foremost a church musician and also composed for the church. A fine example are three St Mary antiphons, most often sung at the end of vespers: SALVE REGINA from 1666, while appearing to be cobbled together" from short themes, reveals Vejvanovsky's feeling for lovely melody.
(Studio Matouš)
| Property | Value |
| format | CD audio |
| original instruments | Yes |
