FUX, Johann Joseph (1660-1741) - Serenata in C-Dur (1701)

Johann Joseph Fux (1660-1741) - Serenata in C-Dur aus 'Concentus | musico-instrumen- | talis | in septem partittas, | ut vulgo dicimus, divisus | dedicatus | Iosepho Primo | Romanorum Regi.' (1701)

Performers: Les Passions de l'Âmе; Mеrеt Lüthі (conductor)

Painting: Filippo Gagliardi (c.1607-1659) & Filippo Lauri (1623-1694) - Carousel in the courtyard of the Palazzo Barberini in honour of Christina of Sweden on 28 February 1656

Further info: Missa pro Gratiarum Actione

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Johann (Johannes, John, Giovanni) Joseph (Giuseppe, Gioseffo) Fux [Feux, Fuchs]

(Hirtenfeld, 1660 - Vienna, 13 February 1741)

Austrian composer and music theorist. His exact date of birth is unknown. According to his death certificate he was 81 when he died. His father, Andreas Fux (c.1618-1708), married twice, and Johann Fux may have been his eldest child. Although a peasant, Andreas Fux was a parish official attached to the church at St Marein and came into contact with a number of musicians, among them the Graz organist Johann Hartmann Peintinger and the Kantor Joseph Keller, who probably influenced his son's early musical development. In 1680 he enrolled as a ‘grammatista’ at Graz University, and in 1681 he entered the Jesuit Ferdinandeum as a student of grammar and music. By August 1685 he had taken a position as organist at St Moritz in Ingolstadt. Fux's movements between the beginning of 1689, when a new organist was appointed at St Moritz, and his marriage in 1696 remain uncertain. Although Fux's employment as court composer in Vienna dates officially from April 1698, he himself was ambiguous about his length of service in this capacity. In various documents, he implied that he began to work for the imperial household in 1695, or even 1693. Together with the recently appointed composers Carlo Badia, Giovanni Bononcini and Marc’Antonio Ziani, Fux effectively began to introduce elements of late Baroque style into the sacred and secular genres cultivated at court. After the death of Leopold I in 1705 and the accession of his son Joseph I, he retained the office of court composer. In the same year he was appointed deputy Kapellmeister at the Stephansdom, where in 1712 he succeeded Johann Michael Zacher as first Kapellmeister. He retained this office until the end of 1714, and during the same period he also directed services at the Salvatorkirche. His duties as deputy Kapellmeister at the Stephansdom centred on the music performed before the statue of Our Lady of Pötsch, which the emperor had had placed on the high altar of the cathedral in 1697. After the unexpected death of Joseph I on 17 April 1711, the empress-regent Eleonora dissolved the Hofmusikkapelle, and many of its personnel.

By October 1711 he had been appointed deputy Kapellmeister to the court. In January 1715 Charles VI appointed him as Hofkapellmeister, a position he held for the rest of his life. As a composer who served three emperors, he undertook an especially taxing combination of duties. His coronation opera, 'Costanza e Fortezza', nominally in celebration of the Empress Elisabeth Christine's birthday but effectively written to mark the coronation of Charles VI as King of Bohemia, represents the peak of his public office. The publication of the 'Gradus ad Parnassum' in 1725 has been compared in importance with the publication of Fischer von Erlach's 'Entwurf einer Historischen Architektur' (1721). Both works embody the concept of Habsburg style selfconsciously, and persuasively relate their author's achievements to a coherent past. On 8 June 1731 Fux's wife died, and some seven months later the composer drew up his will (5 January 1732). His activities at court notably decreased, with many of his responsibilities being assigned to Antonio Caldara and others. He had complained of serious illness at the close of the Gradus, and by the late 1720s his rate of composition had sharply declined. His last testimonial is dated 10 March 1740. On 13 February 1741 he developed a ‘raging fever’ and died. He was much mourned at court. The most outstanding of his many students were Gottlieb Muffat, Georg Christoph Wagenseil and Jan Dismas Zelenka. According to Carl Philipp Emanuel Bach, Johann Sebastian Bach placed him first among those contemporary composers whom he most admired. Fux represents the culmination of the Austro-Italian Baroque in music. His compositions reflect the imperial and Catholic preoccupations of the Habsburg monarchy no less than does the architecture of Fischer von Erlach or the scenic designs of the Galli-Bibiena family. His 'Gradus ad Parnassum' (1725) has been the most influential composition treatise in European music from the 18th century onwards.

FUX, Johann Joseph (1660-1741) - Ouverture à 6

Johann Joseph Fux (1660-1741) - Intrada aus 'Pulcheria' & Ouverture (C-Dur) à 6 oblig: C ♮, K 334

Performers: Neue Hofkapelle Grаz; Lucia Frοihοfer (conductor)

Painting: Faustino Bocchi (1659-1742) - Grotesque scene with dwarves, cat and guineapigs

Further info: Johann Joseph Fux (1660-1741) - Missa pro Gratiarum Actione

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Johann (Johannes, John, Giovanni) Joseph (Giuseppe, Gioseffo) Fux [Feux, Fuchs]

(Hirtenfeld, 1660 - Vienna, 13 February 1741)

Austrian composer and music theorist. His exact date of birth is unknown. According to his death certificate he was 81 when he died. His father, Andreas Fux (c.1618-1708), married twice, and Johann Fux may have been his eldest child. Although a peasant, Andreas Fux was a parish official attached to the church at St Marein and came into contact with a number of musicians, among them the Graz organist Johann Hartmann Peintinger and the Kantor Joseph Keller, who probably influenced his son's early musical development. In 1680 he enrolled as a ‘grammatista’ at Graz University, and in 1681 he entered the Jesuit Ferdinandeum as a student of grammar and music. By August 1685 he had taken a position as organist at St Moritz in Ingolstadt. Fux's movements between the beginning of 1689, when a new organist was appointed at St Moritz, and his marriage in 1696 remain uncertain. Although Fux's employment as court composer in Vienna dates officially from April 1698, he himself was ambiguous about his length of service in this capacity. In various documents, he implied that he began to work for the imperial household in 1695, or even 1693. Together with the recently appointed composers Carlo Badia, Giovanni Bononcini and Marc’Antonio Ziani, Fux effectively began to introduce elements of late Baroque style into the sacred and secular genres cultivated at court. After the death of Leopold I in 1705 and the accession of his son Joseph I, he retained the office of court composer. In the same year he was appointed deputy Kapellmeister at the Stephansdom, where in 1712 he succeeded Johann Michael Zacher as first Kapellmeister. He retained this office until the end of 1714, and during the same period he also directed services at the Salvatorkirche. His duties as deputy Kapellmeister at the Stephansdom centred on the music performed before the statue of Our Lady of Pötsch, which the emperor had had placed on the high altar of the cathedral in 1697. After the unexpected death of Joseph I on 17 April 1711, the empress-regent Eleonora dissolved the Hofmusikkapelle, and many of its personnel. 

By October 1711 he had been appointed deputy Kapellmeister to the court. In January 1715 Charles VI appointed him as Hofkapellmeister, a position he held for the rest of his life. As a composer who served three emperors, he undertook an especially taxing combination of duties. His coronation opera, 'Costanza e Fortezza', nominally in celebration of the Empress Elisabeth Christine's birthday but effectively written to mark the coronation of Charles VI as King of Bohemia, represents the peak of his public office. The publication of the 'Gradus ad Parnassum' in 1725 has been compared in importance with the publication of Fischer von Erlach's 'Entwurf einer Historischen Architektur' (1721). Both works embody the concept of Habsburg style selfconsciously, and persuasively relate their author's achievements to a coherent past. On 8 June 1731 Fux's wife died, and some seven months later the composer drew up his will (5 January 1732). His activities at court notably decreased, with many of his responsibilities being assigned to Antonio Caldara and others. He had complained of serious illness at the close of the Gradus, and by the late 1720s his rate of composition had sharply declined. His last testimonial is dated 10 March 1740. On 13 February 1741 he developed a ‘raging fever’ and died. He was much mourned at court. The most outstanding of his many students were Gottlieb Muffat, Georg Christoph Wagenseil and Jan Dismas Zelenka. According to Carl Philipp Emanuel Bach, Johann Sebastian Bach placed him first among those contemporary composers whom he most admired. Fux represents the culmination of the Austro-Italian Baroque in music. His compositions reflect the imperial and Catholic preoccupations of the Habsburg monarchy no less than does the architecture of Fischer von Erlach or the scenic designs of the Galli-Bibiena family. His 'Gradus ad Parnassum' (1725) has been the most influential composition treatise in European music from the 18th century onwards.

FUX, Johann Joseph (1660-1741) - Missa pro Gratiarum Actione

Johann Joseph Fux (1660-1741) - Missa (G-Dur) pro Gratiarum Actione

Performers: Cаppellа Novа Grаz; Ottο Kаrgl (leitung)

Painting: Jacob van Schuppen (1670-1751) - Portrait of Johann Joseph Fux (c.1725)

Further info: Johann Joseph Fux (1660-1741) - Kaiserrequiem (1720)

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Johann Joseph Fux

(Hirtenfeld, 1660 - Vienna, 13 February 1741)

Austrian composer and music theorist. Fux's exact date of birth is unknown. According to his death certificate he was 81 when he died. His father, Andreas (c.1618-1708), married twice, and Johann Joseph may have been his eldest child. Although a peasant, Andreas Fux was a parish official attached to the church at St Marein and came into contact with a number of musicians, among them the Graz organist J.H. Peintinger and the Kantor Joseph Keller, who probably influenced his son's early musical development. In 1680 Fux enrolled as a ‘grammatista’ at Graz University, and in 1681 he entered the Jesuit Ferdinandeum as a student of grammar and music. By August 1685 he had taken a position as organist at St Moritz in Ingolstadt. Fux's movements between the beginning of 1689, when a new organist was appointed at St Moritz, and his marriage in 1696 remain uncertain. Although Fux's employment as court composer in Vienna dates officially from April 1698, he himself was ambiguous about his length of service in this capacity. In various documents, he implied that he began to work for the imperial household in 1695, or even 1693. Together with the recently appointed composers Badia, Giovanni Bononcini and Marc’Antonio Ziani, Fux effectively began to introduce elements of late Baroque style into the sacred and secular genres cultivated at court. After the death of Leopold I in 1705 and the accession of his son Joseph I, Fux retained the office of court composer. In the same year he was appointed deputy Kapellmeister at the Stephansdom, where in 1712 he succeeded J.M. Zacher as first Kapellmeister. He retained this office until the end of 1714, and during the same period he also directed services at the Salvatorkirche. His duties as deputy Kapellmeister at the Stephansdom centred on the music performed before the statue of Our Lady of Pötsch, which the emperor had had placed on the high altar of the cathedral in 1697. After the unexpected death of Joseph I on 17 April 1711, the empress-regent Eleonora dissolved the Hofmusikkapelle, and many of its personnel, including Bononcini and Badia, were pensioned. 

By October 1711 Fux had been appointed deputy Kapellmeister to the court. In January 1715 Charles VI appointed Fux as Hofkapellmeister, a position he held for the rest of his life. As a composer who served three emperors, Fux undertook an especially taxing combination of duties. His coronation opera, Costanza e Fortezza, nominally in celebration of the Empress Elisabeth Christine's birthday but effectively written to mark the coronation of Charles VI as King of Bohemia, represents the peak of his public office. The publication of the Gradus ad Parnassum in 1725 has been compared in importance with the publication of Fischer von Erlach's Entwurf einer Historischen Architektur (Vienna, 1721). Both works embody the concept of Habsburg style selfconsciously, and persuasively relate their author's achievements to a coherent past. On 8 June 1731 Fux's wife died, and some seven months later the composer drew up his will (5 January 1732). His activities at court notably decreased, with many of his responsibilities being assigned to Caldara and others. He had complained of serious illness at the close of the Gradus, and by the late 1720s his rate of composition had sharply declined. His last testimonial is dated 10 March 1740. On 13 February 1741 he developed a ‘raging fever’ and died. He was much mourned at court. The most outstanding of his many students were Gottlieb Muffat, G.C. Wagenseil and J.D. Zelenka. According to C.P.E. Bach, J.S. Bach placed him first among those contemporary composers whom he most admired. Fux represents the culmination of the Austro-Italian Baroque in music. His compositions reflect the imperial and Catholic preoccupations of the Habsburg monarchy no less than does the architecture of Fischer von Erlach or the scenic designs of the Galli-Bibiena family. His Gradus ad Parnassum (1725) has been the most influential composition treatise in European music from the 18th century onwards.

FUX, Johann Joseph (1660-1741) - Kaiserrequiem (1720)

Obra de Giovanni Andrea Donducci 'Mastelletta' (1575-1655), pintor italià (1)

- Recordatori de Johann Joseph Fux -

En el dia de la commemoració del seu 175è aniversari de decés

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Parlem de Pintura...

Giovanni Andrea Donducci, dit 'Mastelletta' (Bologna, 14 de febrer de 1575 - Bologna, 1655) va ser un pintor italià conegut amb el nom de 'Mastelletta', degut a la professió paterna. Va començar la seva carrera com alumne dels Carracci, sobretot de Ludovico, a l'Accademia degli Incamminati. No obstant, i poc després, es va decantar per l'estil d'artistes com Pietro Faccini i Annibale Castelli. Després de la mort d'Annibale Carracci, Mastelletta va marxar a Roma, on es va integrar al cercle d'artistes format a l'entorn d'Adam Elsheimer, Carlo Saraceni i Agostino Tassi, tots ells especialistes en la realització de paisatges. El seu art va rebre la influència de mestres del passat, especialment d'artistes com Parmigianino, Bertoia i, sobretot, Niccolò dell'Abbate. Entre els anys 1613 i 1614 es va encarregar de la decoració de l'església de San Domenico de Bolonya. Els darrers anys la seva salut mental es va deteriorar i es va acabar aïllant del món i renunciant a la pintura. Finalment va ser acollit pels franciscans de Bolonya, ciutat on va morir el 1655

Font: En català: No disponible - En castellano: Giovanni Andrea Donducci 'Mastelletta' (1575-1655) - In english: Giovanni Andrea Donducci 'Mastelletta' (1575-1655) - Altres: Giovanni Andrea Donducci 'Mastelletta' (1575-1655)

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Parlem de Música...

Johann Joseph Fux (Hirtenfeld, 1660 - Wien, 13 de febrer de 1741) va ser un teòric i un compositor austríac, l'obra de qui va representar la culminació del barroc italo-austríac. Les seves composicions van ser el reflex de les preocupacions catòliques i imperials de la monarquia dels Habsburgs i el seu tractat Gradus ad Parnassum (1725) va ser la publicació teòrica més important d'Europa durant el segle XVIII. Procedent d'una família camperola, Johann Joseph Fux va iniciar els seus estudis musicals animat pels jesuïtes de la seva localitat natal d'Hirtenfeld. Es va matricular a la Universitat de Graz el 1680, ampliant els seus estudis a Itàlia abans de ser nomenat organista de la Schottenkirche de Viena. Després d'un nou viatge a Itàlia, on va estudiar amb Pasquini a Roma, va ser nomenat primer mestre de capella de la Catedral de Sant Esteve de Viena, càrrec que va desenvolupar abans de rebre el nomenament de mestre de capella de la cort imperial. La seva obra va representar un dels punts culminants del barroc austríac, si bé basada en un marcat tradicionalisme i una fidelitat ferma als principis polifònics de Palestrina. La seva òpera Constanza i Fortezza (1723), composta per a la coronació de l'emperador Carles VI, va acréixer la seva fama a tot Europa i va consolidar el seu estil més conservador, tot i que en obres posteriors s'aprecien influències de Lully i Corelli, així com de melodies populars hongareses i eslaves. Va ser, a més, un pedagog d'extraordinària vàlua i la seva obra Graus ad Parnassum (1725) va servir de base a molts dels tractats sobre contrapunt dels anys i segles posteriors, fins al punt que aquesta reputació ha enfosquit la seva excel·lència com a compositor. Entre les seves obres, majoritàriament dedicades a la música sacra, a més de l'esmentada òpera, s'hi inclouen 25 obres per a teclat, 63 sonates, 110 misses i fragments de misses, 20 òperes més i prop de 250 composicions religioses menors. En totes elles, a més de la polifonia vocal, Fux hi combina tant la monumental orquestració germànica com la lleugeresa d'altres llenguatges. Va morir a Viena el febrer de 1741.

OBRA:

Vocal religiosa:

Masses, I/i:
1, S Carlo (Messa canonica), C, SATB, k7;
2, Rorate, C, SATB, 2 vn, bc, e5;
3, C, SATB, 2 vn, 2 va, bc, e3;
4, C, SATB, 2 ob, 2 vn, va, bc, e15;
5, S Ioannis Nepomucensis, C, SATB, 2 trbn, 2 vn, va, bc, k34a;
6, C, SATB, 2 tpt, timp, 2 vn, bc, k46;
7, Missa solennis, C, SATB, 2 tpt, timp, 2 vn, bc, e157;
8, C, SATB, 2 tpt, timp, 2 vn, bc (Ky, Gl only);
9, Majestatis, C, SATB, 2 tpt, 2 vn, bc, e72, lost;
10, S Norberti, C, SATB, 2 tpt, timp, 2 vn, bc, e71, lost;
11, C, ?SATB, 2 tpt, 2 trbn, 2 vn, bc, e139, lost;
12, C, SATB, 2 tpt, 2 trbn, 2 vn, bc, k45;
13, S Fidelii, C, SATB, 2 tpt, timp, 2 trbn, 2 vn, bc, e13;
14, S Michaelis/Ariosa, C, SATB, 2 tpt, 2 trbn, 2 vn, 2 va, bc, k2, k36, l20;
15, S Ignatii, C, SATB, 2 tpt, timp, 2 trbn, 2 vn, 2 va, bc, l4;
16, S Conradi Episcopi, C, SATB, 4 tpt, timp, 2 trbn, 2 vn, bc, e153
17, S Leopoldi, C, S, A, T, B, SA, 2 tpt, 2 trbn, 2 vn, bc, e7;
18, Ne intres in iudicium, C, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, va, bc, k21;
19, Corporis Christi, C, S, A, T, B, SATB, cornett, 2 tpt, 2 trbn, 2 vn, va, bc, k10, F I/i;
20, Primitiva, C, S, A, T, B, SATB, 4 tpt, timp, 2 trbn, 2 vn, bc, k26;
21, Sancti Spiritus, C, S, A, T, B, SATB, 4 tpt, timp, 2 trbn, 2 vn, bc, k38;
22, Brevis solennitatis, C, S, A, T, B, SATB, cornett, 4 tpt, timp, 2 trbn, 2 vn, bc, k5, F I/iii;
23, Messe, C, 2 S, 2 A, 2 T, 2 B, SATB, cornett, 2 tpt, timp, 2 trbn, 2 vn, va, bc, k47;
24, C, lost;
25, Lachrymantis Virginis (Klosterneuburger Messe), c, SATB, 2 trbn, 2 vn, bc, e12, F I/ii;
26, Fuge perversum mundum, c, 2 S, 2 A, 2 T, 2 B, SATB, cornett, 2 trbn, 2 vn, va, bc, k16
27, Purificationis/Conceptionis, D, SATB, 2 trbn, bc, k28;
28, Neutralis, D, SATB, 2 vn, bc;
29, Fortitudinis, D, SATB, 2 vn, bc, l2;
30, S Mathiae/Bonae famae, D, SATB, 2 trbn, 2 vn, bc, k48;
31, S Josephi, D, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k35;
32, SS Trinitatis, D, SATB, SATB, 3 trbn, 2 vn, 3 va, bc, e113;
33, S Dionysii, D, S, A, T, B, SATB, 2 tpt, 2 vn, 2 va, bc, l3;
34, Quadragesimalis, d, SATB, k29;
35, d, lost;
36, d, SATB, 2 vn, bc, l11;
37, S Dominici, d, SATB, 2 vn, bc, e10;
38, S Remigii, d, SATB, 2 vn, bc;
39, d, SATB, 2 vn, bc;
40, Fiduciae, d, SATB, 2 vn, 2 va, bc, k15;
41, d, SATB, 2 trbn, violetta, bc, e6;
42, S Evermodi, d, SATB, 2 trbn, 2 vn, bc, l10;
43, S Ludmillae/S Arnoldi, d, S, A, T, B, SATB, 2 vn, bc, l9
44, S Sebasti[a]ni, d, S, A, T, B, SATB, 2 vn, 2 va, bc (2nd version SATB, 2 vn, bc), l5;
45, Humilitatis, d, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k17, F I/vii;
46, Post modicum non videbitis me, d, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k23;
47, Quid transitoria, d, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k30;
48, S Thomae, e Phrygian, SATB, 2 trbn, 2 vn, bc, k39;
49, Confidentiae, e, S, A, T, B, SATB, 2 vn, [bc], k8;
50, Una ex duodecim, e, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k42;
51, Septem dolorum Beatae Mariae Virginis, E , SATB, 2 vn, bc, e11;
52, Temperantiae, E , S, A, T, B, SATB, 2 trbn, 2 vn, bc, e73;
53, Vicissitudinis, F, SSATB, bc, k44,l14, l22;
54, Non erit in mora, F, SATB, 2 vn, bc, k39;
55, F, SATB, 2 vn, va, bc, l17
56, F, SATB, violetta, 2 vn, bc, e4;
57, Simplicis intentionis, F, SATB, 2 trbn, 2 vn, bc, k49;
58, F, ?SATB, 2 trbn, 2 vn, bc, e138, lost;
59, Matutina, F, SATB, cornett, 2 trbn, violetta, va, bc, k20;
60, Credo in unum Deum, F, SATB, 2 trbn, 2 vn, va, bc, k11;
61, In fletu solatium, F, SATB, cornett, 2 trbn, 2 vn, va, bc, k18;
62, S Bartholomaei, F, S, A, T, B, SATB, 2 trbn, 2 vn, bc, e8;
63, Benjamin, F, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k3;
64, Brevium ultima, F, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k6;
65, Tempus volat, F, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k41;
66, S Joannis, F, SATB Soli/Tutti, cornett, 2 trbn, 2 vn, 3 va, bc, k34;
67, G Mixolydian, SATB, 2 vn, bc, l1, lost;
68, Momentaneum, G, SATB, 2 vn, bc, e74, lost
69, S Ambrosii, G, SATB, 2 vn, bc, e152;
70, Pro gratiarum actione, G, SATB, 2 trbn, 2 vn, bc, k27, F I/iv;
71, Velociter currit, G, SATB, 3 trbn, 2 vn, bc, k43;
72, Bonae spei, G, S, A, T, B, SATB, 2 trbn, 2 vn, bc, k4;
73, Dies mei sicut umbra, G, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k12;
74, Temperantiae, G, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k40;
75, Audient mansueti, g, SATB, 2 vn, bc, l13;
76, Charitatis/Refrigerii, g, SATB, 2 trbn, 2 vn, bc, l12,l16;
77, Ipse reget nos in saecula, g, SATB, 2 trbn, 2 vn, bc, l15;
78, Ferventis orationis, g, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k14;
79, Preces tibi Domine, g, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k24;
80, Reconvalescentiae, g, S, S, A, T, B, SSATB, 2 cornett, 2 trbn, 2 vn, va, bc, k31
81, Non avertas faciem tuam, A, SATB, 2 vn, bc, e9;
82, A, SSATB, 2 vn, bc, e2;
83, A, ?SATB, 2 trbn, 2 vn, bc, e137, lost;
84, Lingua mea calamus scribae velociter scribentis, a, SATB, 2 vn, bc, k19;
85, a, SATB, 2 trbn, violetta, 2 va, bc, l23;
86, Constantiae, a, SATB, cornett, 2 trbn, 2 vn, 2 va, basso di viola, bc, k9;
87, a, S, A, T, B, SATB, 2 vn, bc, e1;
88, S Aloysii, a, SATB, 2 vn, 2 va, bc, l7;
89, S Caroli, a, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, va, bc, k33;
90, S Josephi, a, S, A, T, T, B, SATTB, 2 vn, 2 va, bc, l8;
91, S Philippi Neri, B , SATB, 2 vn, bc, l6;
92, Divinae gratiae, B , SATB, 2 trbn, 2 vn, bc, k13;
93, Precum/Conceptionis, B , SATB, 2 trbn, 2 vn, bc, k25, k50;
94, S Antonii de Padua, B , SATB, 2 trbn, 2 vn, bc, k32, l21;
95, B  ?SATB, 2 trbn, 2 vn, bc, e136, lost

Mass sections:
1, Cum Sancto Spiritu, d, SSATB;
2, Credo, Sanctus, Benedictus, Agnus Dei, SSATB, 2 vn, bc, l25;
3, Dona nobis pacem, F, SATB, bc, k236;
4, Kyrie, B , SATB, 2 vn, bc, e18

Requiems, I/ii
1, C, ?SSATB, 4 tpt, timp, 2 trbn, 2 vn, 2 va, bc, lost;
2, C, SATB, 4 tpt, timp, 4 va, bc, lost;
3, C, SSATB, 2 cornett/va, 2 tpt, 2 trbn, bc, e16;
4, c, SATB, 3 trbn, 4 va, bc, l30, lost;
5, c, S, A, T, B, SATB, 2 tpt, 2 trbn, 4 va, bc, k56, k57;
6, c, SSATB, 2 ob, 2 trbn, 2 vn/va, 2 va, bc, l24, l28, e17;
7, ‘Kaiserrequiem’, c, S, S, A, T, B, SSATB, 2 cornett, 2 trbn, 2 vn, va, bc, 1720, k51–3, F I/vi;
8, E , ?SATB, 2 tpt, 2 vn/2 va, bc, e140, lost;
9, F, ?1697, SATB, 2 trbn, 2 violetta, bc, k55, F I/v

Requiem sections:
1, Libera me, g, SATB, bc, k54;
2, Libera me, g, SATB, bc (2 versions), e150;
3, Sanctus, Benedictus, Agnus Dei, Lux aeterna, S, S, A, T, B, SSATB, 2 cornett, 3 trbn, 4 va, bc, l18

Litanies and sub tuum praesidium settings, I/iii
Litanies:
1, C, S, A, T, B, SATB, cornett, 2 trbn, violetta, 2 va, bc, k118;
2, Mater divinae gratiae, C, S, A, T, B, SATB, 2 tpt, timp, cornett, 2 trbn, 2 vn, bc, k122, F II/iv;
3, Sancti Dei genitrix, C, S, A, T, B, SATB, 2 tpt, timp, cornett, 2 trbn, 2 vn, bc, k120, F II/iv;
4, Sancta Maria, C, S, S, A, T, B, SSATB, 2 tpt, timp, cornett, 2 trbn, 2 vn, bc, k121, F II/iv;
5, Mater inviolata, c, S, A, T, B, SATB, 2 trbn, 2 vn, bc, k125;
6, D, SATB, unison vns, bc, k119;
7, d, SATB, 2 trbn, 2 vn, bc, e86, e103;
8, Mater Salvatoris, d, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k123;
9, e, S, A, T, B, SATB, 2 vn, bc, e87
10, E , SATB, 2 vn, bc, e141, lost;
11, F, SATB, violetta, bc, e35;
12, F, SATB, 2 va, bc, e156;
13, F, SATB, 2 trbn, 2 vn, bc, l50;
14, F, SATB, 2 trbn, 2 vn, bc, e129, lost;
15, G, SATB, 2 vn, bc, e31;
16, G, SATB, 2 vn, bc, e142, lost;
17, g, SATB, 2 trbn, 2 vn, bc, e34;
18, a, SATB, 2 va, bc, e32;
19, a, SATB, 2 trbn, 2 vn, bc;
20, a, SSATB, 2 trbn, 2 vn, bc, e30;
21, a, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k115;
22, a, S, A, T, B, SATB, 2 tpt, timp, cornett, 2 trbn, 2 vn, bc, k116;
23, B , SATB, 2 va, bc, e33; 24, Mater admirabilis, B , S, A, T, B, SATB, 2 trbn, 2 vn, bc, k124;
25, B , S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k117

Sub tuum praesidium:
26–37, C, c, D, e, E , F, G, g, A, a, B , h, SATB, 2 vn, bc, e36

Vesper settings, I/iv:
1, C, SATB, 2 vn, bc;
2, C, SATB, 2 tpt, timp, 2 trbn, 2 vn, bc, e24;
3, C, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, va, bc, k59;
4, c, ? SATB, 2 trbn, 2 vn, bc, e144, lost;
5, d, SATB, 2 trbn, 2 vn, bc, k69;
6, d, ? SATB, 2 trbn, 2 vn, bc, e146, lost;
7, d, SSATB, 2 trbn, 2 vn, bc, e20;
8, d, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k60, k71, k78, e27;
9, E , SATB, 2 vn, bc, e19;
10, F, SATB, 2 trbn, 2 vn, bc, e102;
11, F, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k61;
12, F, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k65, k106, k114;
13, F, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k67
14, G, ? SATB, bc, e133, lost;
15, G, ? SATB, bc (inc.);
16, G, SATB, 2 trbn, 2 vn, bc, e22;
17, G, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k66, k73, k96, k103, k111;
18, G, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k77, k93, k243;
19, g, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k62;
20, a, ? SATB, bc, e134, lost;
21, a, S, A, T, B, SATB, k68, k95, k108, k135, k136, k227, k230, k233;
22, B , SATB, 2 trbn, 2 vn, bc, e21;
23, B , ? SATB, 2 trbn, 2 vn, bc, e145, lost;
24, ?B , S, A, T, B, SATB, 2 vn, bc, e84, lost;
25, B , S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k58

Grouped items:
1, Beatus vir, Laudate pueri, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k82;
2, Confitebor, Beatus vir, Laudate pueri, Laudate Dominum, SATB, 2 trbn, 2 vn, bc, k63;
3, Confitebor, Beatus vir, Laudate pueri, Laudate Dominum, SATB, 2 vn, 2 va, bc, k64;
4, Dixit Dominus, Confitebor, S A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k76;
5, Laudate Dominum, Magnificat, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k94, F II/iii

Single items:
1, Beatus vir, D, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, va, bc, k80;
2, Beatus vir, G, ?S, trbn, 2 vn, bc, l48, lost;
3, Beatus vir, G, SSATB, 2 vn, bc, k83;
4, Beatus vir, g, SAB, 2 vn, va, bc, k81;
5, Confitebor, d, SATB, 2 trbn, 2 vn, bc, k79;
6, Credidi, a, 2vv, bc, lost;
7, Credidi, a, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k231;
8, De profundis clamavi, c, SATB, lost;
9, De profundis clamavi, d, SATB, l39;
10, Deus in adiutorium meum, d, SATB, 2 trbn, 2 vn, bc, e154;
11, Dixit Dominus, C, SATB, 2 tpt, 2 tpt, timp, 2 vn, bc, e85;
12, Dixit Dominus, C, S, A, T, B, SATB, cornett, 2 tpt, 2 tpt, timp, 2 trbn, 2 vn, bc, k70;
13, Dixit Dominus, C, S, A, T, T, B, B, SATB, cornett, 4, timp, 2 trbn, 2 vn, va, bc, k75
14, Dixit Dominus, G, S, S, A, A, T, T, B, B, SSATB, 2 cornett, 2 trbn, 2 vn, va, bc, k72;
15, Dixit Dominus, g, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k74;
16, Domine probasti me, g, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k234;
17, In convertendo Dominus, c, SATB, cornett, 2 trbn, 2 vn, bc, k242;
18, In exitu Israel, e, SATB, 2 vn, 2 va, bc;
19, Laetatus sum, C, SSAATTBB, 2 vn, va, bc, k105;
20, Laetatus sum, F, e135, lost;
21, Laetatus sum, G, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, va, bc, k102;
22, Laetatus sum, G, S, A, T, B, SATB, cornett, 2 trbn, 2vn, va, bc, k104;
23, Lauda Ierusalem, F, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k113;
24, Lauda Ierusalem, B , ? SATB, bc, lost;
25, Lauda Ierusalem, B , S, A, T, B, SATB, cornett, 2 trbn, 2 vn, va, vc, bc, k112
26, Laudate Dominum, C, SATB, 2 vn, bc, e29, F II/iii;
27, Laudate Dominum, C, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, va, bc,k91, F II/iii;
28, Laudate Dominum, D, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, va, bc, k92, F II/iii;
29, Laudate pueri, D, AT, 2 vn, bc, k85;
30, Laudate pueri, D, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k86;
31, Laudate pueri, d, SA, 2 vn, bc, e28;
32, Laudate pueri, F, B, 2 vn, va, bc, k84;
33, Laudate pueri, F, ? SB, 2 vn, bc, e147, lost;
34, Laudate pueri, F, ? SATB, lost;
35, Laudate pueri, F, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, va, bc, k87;
36, Laudate pueri, G, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k88;
37, Laudate pueri, g, SATB, 2 trbn, 2 vn, bc, e155
38, Laudate pueri, g, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k89;
39, Laudate pueri, B , S, 2 vn, bc, e25;
40, Magnificat, C, SATB, 2 tpt, timp, 2 trbn, 2 vn, bc;
41, Magnificat, C, S, A, T, B, SATB, cornett, 2 tpt, timp, 2 trbn, 2 vn, bc, k97, F II/iii;
42, Magnificat, C, S, A, T, B, SATB, cornett, 2 tpt, 2 trbn, 2 vn, va, vc, bc, k98;
43, Magnificat, C, S, A, T, B, SATB, cornett, 2 tpt, 2 trbn, 2 vn, 3 va, bc, k99;
44, Magnificat, d, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k100;
45, Magnificat, F, S, A, T, B, SATB, cornett, 2 trbn, 2 va, bc, k101;
46, Nisi Dominus, d, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, va, bc, k109;
47, Nisi Dominus, e Phrygian, SATB, bc, k110;
48, Nisi Dominus, A, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k107

Compline settings, I/v:
1, e, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k130–34;
2, F, S, A, T, B, SATB, k129;
3, G Mixolydian, SATB, k127;
4, G, SSATTB, bc, k126; 5, G, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k128

Te deum, I/vi:
1, C, SATTB, k272;
2, C, S, A, T, B, 2 tpt, timp, 2 vn, 2 va/trbn, bc, l34;
3, C, S, A, T, B, SATB, cornett, 4 tpt, timp, 2 trbn, 2 vn, va, vc, bc, 1723, k270, F II/ii;
4, C, S, S, A, T, B, SSATB, 2 cornett, 4 tpt, timp, 2 trbn, 2 vn, 2 va, basso di viola, bc, 1704, k271;
5, C, SATB, cornett, 2 tpt, timp, 2 trbn, 2 vn, bc, 1706, e37, F II/i;
6, C, S, S, A, A, T, T, B, B, SSAATTBB, 2 ob/cornett, 2 tpt, timp, 2 trbn, 2 vn, va, bc, l35

Motets, graduals and offertories, I/vii:
1, Accurite populi, SATB, 2 vn, 3 va, bc, lost;
2, Ad arma, B, 2 vn, va, vc, bc, e97;
3, Ad astra non negate, T, 2 vn, va, bc, l40;
4, Ad gaudia, ad festa, S, 2 vn, va, bc, lost;
5, Ad te Domine levavi, d, SATB,k153;
6, Ad te Domine levavi, a, SATB, 2 vn, bc, e107;
7, Aeterna rerum, ?3vv, lost;
8, Alleluia, SATB, 2 tpt, 2 vn, bc, e77, lost;
9, Angelis suis, SATB, k143;
10, Angelorum imperatrix, lost;
11, Ave Maria, SATB, k151;
12, Ave maris stella, e131, lost;
13, Ave mundi spes, SAT, cornett, 2 trbn, 2 vn, bc, k171;
14, Ave o puerpera, SAT, 2 vn, bc, k172;
15, Ave pia stella maris, S, SATB, cornett, 2 trbn, 2 vn, bc, k173, F III/i;
16, Ave salus mundi, SATB, bc, k163, F III/iii;
17, Bellae rosae, lost;
18, Benedicam Dominum, C, 2 vn, va, bc, lost;
19, Benedicta quae lilium es, SS, 2 vn, bc, k174;
20, Benedixisti Domine, SATB, k150
21, Celebremus cum gaudio, S, T, SATB, cornett, 2 trbn, 2 vn, bc, k181;
22, Christe, fili summi patris, SATB, cornett, 2 trbn, 2 vn, bc, k175, F III/iii;
23, Coelum gaude, SATBB, 7 tpt, timp, 2 vn, bc;
24, Coelum plaude, ? S, bc, lost;
25, Coelum plaude, SSATB, 2 vn, va, bc, l44, F III/iv;
26, Commendare, lost;
27, Concussum est mare, SATB, cornett, 2 trbn, 2 vn, bc, k177, F III/iii;
28, Confitamini Domino, ? SSA, bc, lost;
29, Confitebor, B, 2 vn, bc, e56;
30, Cuius vita, SATB, 2 trbn, 2 vn, bc, e79, lost;
31, Deus in adiutorium meum, SATB, 2 vn, bc, e99, F III/iv;
32, Deus tu convertens, SATB, k149;
33, Domine fac mecum misericordiam, SATB, k155;
34, Domine in auxilium meum, SATB, k154;
35, Ecce clara fulget, SB, 2 vn, bc, e57;
36, Ecce sacerdos magnus, TB, 2 vn, bc, k166;
37, Eia gaude, SATB, 2 vn, bc, e81, lost;
38, Eia gentes, SATB, 2 vn, bc, e143, lost;
39, Eius plore, lost;
40, Esto custos cordis, S, A, T, B, SATB, 2 trbn, 2 vn, bc, lost
41, Estote fortes, SATB, cornett, 2 trbn, 3 va, bc, k159, F III/iii;
42, Esto tutrix, lost;
43, Et mane videbitis, SATB, k142;
44, Excita potentiam, SATB, k140;
45, Ex Sion species decoris eius, SATB, bc, k139;
46, Exurge Domine, SATB, e40;
47, Fideles animae, S, A, T, B, SATB, 2 trbn, 2 vn, bc, e75, lost;
48, Flammis cor …, e132, lost;
49, Gaude et jubila, ? S, bc, lost;
50, Gaude Maria, B, 2 vn, va, bc, lost;
51, Gaudia et plausus date, ? S, bc, lost;
52, Gemma decens, lost;
53, Gloria tua est Domine, SATB, 2 tpt, timp, 2 vn, bc, e98, F III/iv;
54, Gratulemur in hac die, S, SATB, 2 tpt, 2 vn, bc, k162, F III/i;
55, Huc terra gigantes, SATB, 2 tpt, 2 vn, va, bc,l43, F III/iv;
56, In omnem, SATB, 2 vn, bc, e78, lost;
57, Intende voci orationis meae, SATB, k156;
58, Iste est sanctus, SAT, bc, k180;
59, Iste sanctus pro lege Dei, ATB, bc, k178;
60, Isti, qui amicti sunt, T, 2 vn, bc, k182
61, Jubilate, SATB, 2 tpt, 2 vn, bc, e46;
62, Justitiae Domini, SATB, e44;
63, Justum deduxit, SATB, bc, k179, F III/iii;
64, Laetare, T, 2 vn, bc, e80, F III/i;
65, Laetatus sum, SATB, e41;
66, Laudate Dominum, SATB, 2 vn, va, bc, e158;
67, Lingua mea, T, B, SATB, 2 trbn, 2 vn, bc, k161;
68, Lux perpetua, SATB, 2 vn, va, bc,l29;
69, Me habite excusatis, lost;
70, Mundi luxus, lost;
71, Non confundentur Domine, SATB, k137;
72, O admirabile commercium, SATB, 3 trbn, 2 vn, bc, l33;
73, O coeli, S, A, T, B, SATB, 2 trbn, 2 vn, bc, e83;
74, O cunctarum, lost;
75, Odorosae, charae rosae, AT, 2 vn, bc, e45;
76, O flos!, C, 2 vn, va, bc, lost;
77, O ignis coelestis, SATB, cornett, 2 trbn, 2 vn, bc, k170, F III/iii;
78, O Maria mater lucis, S, 2 vn, va, bc, e106;
79, O mi Jesu, SATB, 2 tpt, 2 trbn, 2 vn, bc, lost;
80, Omnibus qui invocant eum, SATB, cornett, 2 tpt, 2 trbn, 2 vn, 3 va, bc, k141
81, Omnis terra adoret te Deus, SSATB, cornett, 2 trbn, 2 vn, bc, k183, F III/iv;
82, O panis, o caro, T, ?insts, bc, lost;
83, Oravi, SATB, 3 trbn, unison vns, bc, e105, F III/iv;
84, O sancta benedicta, SS, 2 vn, bc; 85, O sancte, SATB, 2 tpt, 2 tpt, timp, 2 vn, bc, e100, F III/iv; 86, O ter fortunata, S, fl, 2 vn, bc, l47, lost;
87, O vos omnes, B, 2 vn, bc, lost;
88, Pia mater, fons amoris, S, 2 vn, bc, k176, F III/i;
89, Plaudite Deo nostro, S, 2 trbn, 2 vn, va, bc, k167, F III/i;
90, Plaudite, sonat tuba, T, tpt, 2 vn, va, bc, k165;
91, Ponis nubem ascensum, SST, cornett, 2 trbn, 2 vn, bc, k169;
92, Preciosa mors sanctorum, SATB, bc, e55;
93, Propter Evam, lost;
94, Quae est ista, B, 2 vn, va, bc, l41;
95, Quare Domine irasceris, SATB, 2 trbn, 2 vn, va, bc, lost;
96, Quem terra pontus sidera, SATB, 2 tpt, 2 vn, va, bc;
97, Quis est iste, S, S, A, T, B, ATB, 2 tpt, 2 vn, 2 va, bc, e101, F III/iv;
98, Quis est hic, SSATB, 2 vn, 3 va, bc, lost;
99, Quod capis, e130, lost;
100, Regem cui, SATBB (incl. Sicut cervus by Palestrina)
101, Reges Tharsis, SATB, cornett, 2 trbn, 2 vn, bc, k168, F III/iii;
102, Reparatrix, lost;
103, Requiem aeternam (grad), F, SATB, 3 trbn, violetta, bc, k146;
104, Requiem aeternam (grad), a, SATB, k147;
105, Sacris solennis juncta, SATB, cornett, 2 trbn, 2 vn, bc, k160, F III/iii;
106, Salve Maria, ? S, 2 vn, bc, lost;
107, Salve mater divina, B, 2 vn, va, bc, l42;
108, Sancti Dei, S, A, T, B, 3vv, 2 vn, bc, lost;
109, Surgat auster, B, ?insts, bc, lost;
110, Tollite portas, SATB, k152;
111, Tuba laetum, ? A, tpt, bc, lost;
112, Veritas mea, SATB, 2 vn, va, bc, l32;
113, Voces laetae, B, 2 vn, va, bc, e58;
114, ? De nomine Jesu, motet, B, 2 vn, bc, e76, lost;
115, ? De dedicatione, off, S, B, 4 tpt, timp, 2 trbn, 2 vn, bc, e82, lost;
116, ? Aria, ?S, ?insts, bc, e149, lost

Miserere, I/viii:
1, c, SATB, 2 trbn, 2 vn, bc, lost;
2, c, SATB, 2 ob, 2 vn, va, bc, k148;
3, d, SATB, 2 trbn, 2 vn, bc, lost;
4, g, S, S, A, T, B, cornett, 2 trbn, 2 vn, bc, e43;
5, a, SSATB, 2 vn, bc, e42;
6, a, ? SSATB, 2 vn, va, bc, lost

Marian antiphons, I/ix:
Alma Redemptoris mater:
1, C, SATB, bc, e51;
2, c, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k200;
3, d, ATB, bc, k197; 4, e, A, 2 vn, bc, k188;
5, e, SAT, bc, k195;
6, F, SA, bc, k192;
7, F, SA, bc, l46, lost (?=no.6);
8, F, SA, 2 vn, bc, k193;
9, F, SST, bc, k198;
10, F, SATB, bc, k202;
11, F, SATB, 2 va, bc, k201;
12, g, T, 2 vn, bc, k189;
13, g, SAB, 2 vn, bc, k196;
14, A, S, 2 vn, bc, k185, F III/i;
15, a, SS, bc, k191, F III/ii;
16, a, SSAT, bc, k199;
17, B , S, trbn, 2 vn, bc, k186;
18, B , S, 2 vn, bc, k187, F III/i;
19, B , B, 2vn, bc;
20, B , STB, 2 vn, bc, k194;
21, b, B, 2 vn, bc, k190

Ave regina:
22, C, SS, 2 vn, bc, k210, F III/ii;
23, C, ATB, bc, k217;
24, C, ATB, bc, k214;
25, C, SATB, k221;
26, c, S, bc, k206, F III/i;
27, d, SAT, bc, k216;
28, d, SATB, k222;
29, E , SA, bc, k213;
30, e, SATB, cornett, 2 trbn, 2 vn, va, bc, k223;
31, F, S, 2 vn, bc, k207, F III/i;
32, F, S, 2 vn, va, bc, k208, F III/i;
33, F, SS, bc, k211, F III/ii;
34, F, SAT, bc, k215;
35, F, SATB, k224;
36, G, SATB, bc, k225;
37, g, SS, bc, k212, F III/ii;
38, g, SATB, k219;
39, g, SATB, cornett, 2 trbn, 2 vn, va, bc, k226;
40, A, SS, bc, k209, F III/ii;
41, a, SATB, bc, k218;
42, B , S, 2 vn, bc, k205, F III/i;
43, B , SATB, bc, k220

Regina coeli:
44, C, S, tpt, bc, e90, lost;
45, C, SATB, 2 trbn, violetta, bc, e50;
46, D, A, 2 vn, bc, e104;
47, F, SATB, 2 va, bc, l45;
48, G, A, 3 vn, bc, e88, lost;
49, G, SATB, bc, lost;
50, A, SATB, 2 vn, bc;
51, B , SATB, 2 trbn, 2 vn, bc, e89;
52, B , SATB, violetta, 2 va, bc, k256

Salve regina:
53, C, ?SATB, e148, lost;
54, C, SATB, 2 vn, bc,e47;
55, D, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k264;
56, E  S, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k259, l36;
57, F, SAT, ?insts, k262, lost;
58, F, SATB, violetta, va, bc, l49;
59, F, SATB, cornett, 2 trbn, 2 vn, va, bc, k265;
60, g Dorian, SAT, bc, k261;
61, G, SAT, bc, k260;
62, g, B, bn, 2 vn, bc,e48;
63, g, SS, bc, k257, F III/ii;
64, g, SATB, 2 vn, bc;
65, g, SATB, 2 violetta, bc, e49;
66, g, SATB, 2 trbn, 2 vn, bc, l37;
67, a, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k263;
68, B , SSA, bc, k258;
69, B , S, S, A, T, B, SSATB, cornett, bn, 2 trbn, 2 vn, va, bc, k266

Hymns, I/x:
1, A solis ortus, SATB, k203, k228–9, k235, k237–40;
2, Decora lux, 2vv, bc, lost;
3, Iam sol recedit, SATB, bc, k245;
4, Lucis creator, SATB, bc, k247;
5, Omni die dic Mariae, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, bc, k244, k248–52, k254, k274, k277–8;
6, Pange lingua, SATB, lost;
7, Veni creator, SATB, cornett, 2 trbn, violetta, va, bc, k275;
8, [title unknown], ?S, ?insts, bc, lost

Sequences, I/xi:
1, Stabat mater, S, A, T, B, SATB, cornett, 2 trbn, 2 vn, va, bc, k267–8;
2, Victimae Paschali, S, A, T, B, SATB, cornett, 3 tpt, timp, 2 trbn, 2 vn, bc, k276

Introits, I/xii:
1, Cantate Domino, SATB, violetta, va, bc, k283;
2, In civitate Dei, SATB, 3 va, bc, e38;
3, In justitia tua, SATB, cornett, 2 trbn, 2 vn, va, bc, k282;
4, Laudate pueri, SATB, violetta, va, bc, e39;
5, Polluerunt templum, SATB, bc, k253

Communion hymns, I/xiii:
1, Dicite pusillanimes, SATB, k286;
2, Dominus dabit, SATB, k285;
3, Ecce virgo concipiet, SATB, k287;
4, Revelabitur gloria Domini, SATB, k284

German sacred songs, I/xiv:
all lost
1, Frohlocke, mein Gemüt;
2, O christliches Herz;
3, O irriges Schaf, erwäg dein Tun;
4, O Jesu, du mein Vergnügen;
5, O Pein, o Reue

Other sacred, I/xv:
1, Lettioni da morto, S, A, T, T, B, SATB, cornett, 2 trbn, 2 va, bc, k288;
2, Mysteria gaudiosa, SATB, 2 vn, bc, k289;
3, Pastorella, SATB, tuba pastorica, 2 vn, 2 va, bc;
4, Domine ne in furore tuo, S, bc

Oratorios and sepolcri, II/i:
first performed in the Hofburgkapelle, Vienna
1 Santa Dimpna, Infanta d'Irlanda (G.A. Lorenzani), April 1702, only pt 2 extant; k300a
2 La Regina Saba (P.M. Ruggieri), April 1705; e96
3 La fede sacrilega nella morte del precursor S Giovanni Battista (P. Pariati), March 1714; k291, F IV/i
4 La donna forte nella madre de' sette Maccabei (Pariati), 4 April 1715; k292, F IV/ii
5 Il trionfo della fede (B. Maddali), 5 March 1716; k294, F IV/iii
6 Il fonte della salute aperto dalla grazia nel Calvario (Pariati), 10 April 1716; k293
7 Il disfacimento di Sisara, 18 Feb 1717; k295
8 Cristo nell'orto (Pariati), 12 April 1718; k296
9 Gesù Cristo negato da Pietro (Pariati), 7 April 1719;k297
10 La cena del Signore (Pariati), 26 March 1720; k298
11 Il testamento di nostro Signor Gesù Cristo sul Calvario (Pariati), 16 April 1726; k299
12 La deposizione dalla Croce di Gesù Cristo Salvator nostro (G.C. Pasquini), 23 March 1728; k299
13 Oratorium germanicum de Passione Domini, ?1731; e61, lost

Vocal secular:

Operas, II/ii:
in one act with licenza unless otherwise stated; first given in Vienna, Hofburg, unless otherwise stated
1 Il fato monarchico (festa teatrale), 16 Feb 1700; e95, lost
2 Neo-exoriens Phosphorus (Latin school drama, 3, licenza), Melk, 18 July 1701; lost
3 [title unknown] (comedy), Wiener Neustadt, 1702; lost
4 L'offendere per amare, overo La Telesilla (dramma per musica, 3, licenza, D. Cupeda), 25 June 1702; k302, lost
5 La clemenza d'Augusto (poemetto drammatico, P.A. Bernardoni), 15 Nov 1702; k301, lost
6 Julo Ascanio, re d'Alba (poemetto drammatico, Bernardoni), 19 March 1708; k304, F V/i
7 Pulcheria (poemetto drammatico, Bernardoni), Vienna, Favorita, 21 June 1708; k303, F V/ii
8 Il mese di Marzo consacrato a Marte (componimento per musica, S. Stampiglia), 19 March 1709; k306
9 Gli ossequi della notte (componimento per musica, Cupeda), Vienna, Favorita, 15 July 1709; k305, F V/iii
10 La decima fatica d'Ercole, ovvero La sconfitta di Gerione in Spagna (componimento pastorale eroico, G.B. Ancioni), Vienna, Favorita, 1 Oct 1710; k307, F V/v
11 Dafne in Lauro (componimento per camera, Pariati), 1 Oct 1714;k308
12 Orfeo ed Euridice (componimento da camera per musica, Pariati), Vienna, Favorita, 1 Oct 1715; k309
13 Angelica vincitrice di Alcina (festa teatrale, 3, licenza, Pariati), Vienna, Favorita, 14 Sept 1716; k310
14 Teodosio ed Eudossa [Act 1] (dramma per musica, 3, after V. Grimani), Wolfenbüttel, 1716; as Teodosio, Hamburg, 1718; e151, lost, collab. A. Caldara and F. Gasparini
15 Diana placata (festa teatrale per musica, Pariati), 19 Nov 1717; k311
16 Elisa (componimento teatrale per musica, 2, licenza, Pariati), Vienna, Favorita, 28 Aug 1719 (Amsterdam, 1719); k312
17 Psiche (componimento da camera per musica, A. Zeno), 19 Nov 1720; k313
18 Le nozze di Aurora (festa teatrale per musica, prol, 1, licenza, Pariati), Vienna, Favorita, 6 Oct 1722; k314
19 Costanza e Fortezza (festa teatrale per musica, 3, licenza, Pariati), Prague, Hradschin, 28 Aug 1723, ed. in DTÖ, xxxiv–xxxv, Jg.xvii (1910/R); k315
20 Giunone placata (festa teatrale per musica, I. Zanelli, 19 Nov 1725; k316
21 La corona d'Arianna (festa teatrale per musica, Pariati), Vienna, Favorita, 28 Aug 1726; k317
22 Enea negli Elisi, ovvero Il tempio dell'Eternità (festa teatrale per musica, P. Metastasio), Vienna, Favorita, 28 Aug 1731; k318

Instrumental:

III/i: 53 trio sonatas, 2 vn, bc (8 lost), k336, k338–42, k349, k360–93, k395–7, l53, e66, e69, e92, 10 ed. in F VI/iii;
1 sonata, va da gamba, bc

III/ii: 12 sonatas: 1, D, 2 vn, va, bc, k349;
2, d, 2 vn, trbn, bc, e68;
3, e, 2 vn, va, bc, e93, lost;
4, F, 2 solo vn, 2 vn, va, bc, k348;
5, G, 2 vn, va, bc, k343;
6, g, cornett, trbn, vn, bc, k347;
7, g, 2 vn, va, org, e91, lost;
8, g, 2 vn, va, org, lost;
9, A, 2 vn, violetta, bc, k350;
10, a, 2 vn, va, bc, k346;
11, B , 3 solo vn, 2 vn, va, bc, k344, k394;
12, vn piccolo, 2 vn, va, bc, lost

III/iii: 12 partitas, 2 vn, bc, k319–29, k358;
1 partita, fl, ob, bc, e64, R 7

III/iv: other works:
1, ouverture, C, 2 vn, va, bc, k356, R 5;
2, Rondeau, C, vn piccolo, vn, 2 va, bc, e111;
3, sinfonia, C, 2 ob, 2 vn, va, bc, in A. Lotti: Costantino, 1716, k333;
4, Partie, C, 2 ob, 2 vn, va, bc, k334;
5, intrada, C, 2 ob, vn piccolo, 2 vn, va, bc, e62;
6, serenada, C, 2 ob, 2 tpt, 2 vn, va, bc, k352, R 1;
7, [Tafelmusik], C, 2 ob, 2 tpt, timp, 2 vn, va, bc;
8, ouverture, d, 2 vn, va, bc, k357, R 6;
9, sinfonia, d, 2 ob, 2 vn, va, bc, in G.B. Bononcini: Proteo sul Reno, 1703, k332;
10, ouverture, d, 2 ob, 2 vn, va, bc, k355, R 4;
11, ouverture, d, 2 ob, 2 vn, va, bc, e109;
12, ouverture (Der Frühling), d, 2 ob, 2 vn, va, bc;
13, ouverture, F, 2 vn, va, bc, k354, R 3;
14, sonata, F, ob/fl, 2 vn, bc, lost;
15, sinfonia, F, 2 ob, 2 vn, va, bc, in C.A. Badia: La concordia della Virtù e della Fortuna, 1702, e63;
16, ouverture, F, ob, 2 hn, 2 vn, va, bc, k335;
17, ouverture, F, 2 ob, 2 hn, 2 vn, va, bc, in M.'A. Ziani: Meleagro, 1706, e108;
18, ouverture, g, 2 ob, 2 vn, va, bc, k359;
19, Le dolcezze, e l'amerezze della notte, a, 2 ob, 2 vn, bc, e112;
20, Arie, B , 2 ob, 2 vn, bc;
21, sinfonia, B , 2 ob, 2 vn, va, bc, k353, R 2;
22, ouverture, B , 2 ob, 2 vn, va, bc, e110;
23, music cited in diary of P.I. Lovina, lost;
24, Furore carnevalesco, ? 2 ob, 2 bn, 2 vn, 2 vc, bc, lost

Keyboard, III/v:
1, Ciaccona, D, k403/2, F VI/i;
2–5, 4, Menuett, D, e118, e122, e125, e127, F VI/i;
6, Fuga, d;
7, Aria, F, e116, F VI/i;
8, Harpeggio, G, e114, F VI/i;
9–11, 3 menuett, G, e120–21, e128, F, VI/i;
12, Ouverture, G (2 versions), e70, F VI/i;
13, Capriccio, g, k404, F VI/i;
14–15, 2 menuett, g, e124, e126, F VI/i;
16, Partita, g, e117, F VI/i;
17, Aria, A;
18, Menuett, A, e123, F VI/i;
19, Partita, A, k405, F VI/i;
20, Partita, a, e115, F VI/i;
21, Menuett, B , e115, F VI/i

Canons, III/vi:
1, Sonata, 3 vn, e67;
2, 11 canons on a theme in semibreves

Literatura:

1, Gradus ad Parnassum (Vienna, 1725, 2/1742/R; Eng. trans., ?1767, as Practical Rules for Learning Composition; partial Eng. trans., 1943, as Steps to Parnassus: the Study of Counterpoint, 2/1965 as The Study of Counterpoint)
2, Singfundament, MSS in A-M, Wgm, Wn, Wwessely, D-Bsb, H-PH, SK-BRm; pubd as Gründlicher zur Gesangslehre unumgänglich nothwendiger Unterricht in der Solmisation (Vienna, ?1832)

Font: En català: Johann Joseph Fux (1660-1741) - En castellano: Johann Joseph Fux (1660-1741) - In english: Johann Joseph Fux (1660-1741) - Altres: Johann Joseph Fux (1660-1741) 

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Parlem en veu pròpia o en veu d'altri...

M'agradaria començar amb una dosis pertinent d'autocrítica perquè ni servidor es pot creure que prèviament a la d'avui, i després de les més de 1300 entrades publicades, només una d'elles hagi fet una fugaç referència a Johann Joseph Fux, mestre de mestres i compositor de manual. Me'n faig creus i demano disculpes perquè realment el seu nom, i especialment la seva enciclopèdica obra, mereixerien com a mínim un espai monogràfic. De fet, Fux va representar una de les culminacions del barroc a Àustria, comparable en importància a Johann Sebastian Bach a Alemanya, a Lully a França o a Vivaldi a Itàlia. Per tant, és celestialment injust el tracte que hem donat a una eminència de la música del seu nivell i que a diferència dels autors prèviament citats, es va centrar quasi en exclusiva, musicalment parlant, en la litúrgia. El repertori en aquest gènere va ser immens amb un mínim d'un centenar de misses, una dotzena d'oratoris i nou rèquiems més tota una diversitat d'obres 'menors' entre motets, salms, vespres, himnes, etc. Per tant, és imperatiu i d'aquesta manera que avui intentarem il·luminar una mica més la història a l'entorn d'un Fux que recordem va viure quasi en règim d'obligada permanència a Viena, on va ser mestre de capella imperial i director musical de la Catedral de Sant Esteve i a on probablement va coincidir, a l'entorn del 1740, amb un joveníssim cantant de nom Joseph Haydn. No obstant, anys abans, Fux va rebre un encàrrec de compondre un Kaiserrequiem en honor a l'emperadriu Eleonore Magdalena, viuda del magnànim Leopold I, mort l'any 1705. La proposta de rèquiem de Fux i la posada en escena següent va ser la d'una missa solemne, amb instrumentació en termes de stylus mixtus, és a dir, un grup extens d'instruments amb l'absència de trompetes i timbales alhora que va limitar els llargs passatges orquestrals, centrant-se en les veus. Una de les característiques pròpies de l'època va ser la de reciclar antigues partitures ja que en essència no es va tractar d'un rèquiem adhoc, sinó de la suma de vàries parts escrites en temps diferents. Això va permetre a Fux reutilitzar aquesta partitura en anys posteriors i per ocasions diverses (1729, 1731, 1735, 1737, 1739, 1740, 1741 i per darrera vegada el 1743). Aquesta 'llibertat' redunda en moviments com l'extens Miserere o el parell de Sonates instrumentals que incorpora. I pel que fa pròpiament a l'edició on el trobarem, res negatiu a comentar, ans el contrari, excel·lència i precisió en totes direccions motiu que ens satisfà en primera persona però que també ens permet celebrar, amb honor i admiració, al seu creador, l'extraordinari Johann Joseph Fux!

Gaudiu i compartiu! 

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Informació addicional... 

INTERPRETS: Musica Fiata; La Capella Ducale; Roland Wilson (conductor)
RECICLASSICAT: FUX, Johann Joseph (1660-1741)
AMAZON: Fux - Kaiserrequiem

IMSLP: Johann Joseph Fux (1660-1741)

CPDL: Johann Joseph Fux (1660-1741)

SPOTIFY: Fux - Kaiserrequiem



Tant si us ha agradat, com si no, opineu, és lliure i fàcil!

FUX, Johann Joseph (1660-1741) - Sacred Works

Obra de Leonardo da Vinci (1452-1519), pintor italià (1)

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Parlem de Pintura...

Leonardo da Vinci (Vinci, 15 d'abril de 1452 - Amboise, 2 de maig de 1519) va ser un artista polifacètic florentí i un dels grans mestres del renaixement, famós com a pintor, escultor, arquitecte, enginyer i científic. El seu profund amor pel coneixement i la investigació va ser la clau tant del seu comportament artístic com científic. Les seves innovacions en el camp de la pintura van determinar l'evolució de l'art italià durant més d'un segle després de la seva mort. Les seves investigacions científiques, especialment en les àrees d'anatomia, òptica i hidràulica, van anticipar molts dels avenços de la ciència moderna. Fill d'un ric notari florentí i d'una camperola, a mitjans de la dècada de 1460 la família es va instal·lar a Florència, on Leonardo va rebre la més exquisida educació que aquesta ciutat, centre artístic i intel·lectual d'Itàlia, li podia oferir. Leonardo va ser elegant, persuasiu en la conversa i un extraordinari músic i improvisador. Cap el 1466 es va formar al taller d'Andrea del Verrocchio, figura principal de la seva època en el camp de la pintura i escultura. Al costat d'aquest, Leonardo es va iniciar en diverses activitats, des de la pintura de retaules i taules fins a l'elaboració de grans projectes escultòrics en marbre i bronze. El 1472 va entrar a formar part del gremi de pintors de Florència i el 1476 encara se'l situa com a ajudant de Verrocchio, en l'obra El baptisme de Crist (c. 1470, Uffizi, Florència). 

El 1478 Leonardo va aconseguir la mestria. El seu primer encàrrec, un retaule per a la capella del Palazzo Vecchio, de l'ajuntament florentí, no va arribar a executar-se. La seva primera gran obra, L'adoració dels Mags (Uffizi), que va deixar inacabada, li van encarregar els monjos de Sant Donato de Scopeto, a l'entorn del 1481. Altres obres d'aquella etapa van ser Madonna Benois (c.1478, Ermitage, Sant Petersburg), el retrat de Ginebra de Benci (c.1474, Galeria Nacional, Washington) i l'inacabat Sant Jeroni (c.1481, Pinacoteca Vaticana). El 1482 Leonardo va entrar al servei de Ludovico Sforza, duc de Milà, després d'haver escrit una carta en què l'artista s'oferia com a pintor, escultor, arquitecte, a més d'enginyer, inventor i hidràulic i on afirmava que podia construir ponts portàtils, que coneixia les tècniques per realitzar bombardejos i el canó, que podia fer vaixells així com vehicles cuirassats, catapultes i altres màquines de guerra i que fins i tot podia realitzar escultures en marbre, bronze i terracota. De fet, va servir al duc com a enginyer en les seves nombroses empreses militars i també com a arquitecte. A més, va ajudar al matemàtic italià Luca Pacioli en la seva cèlebre obra La divina proporció (1509). Existeixen evidències que Leonardo tenia deixebles a Milà, pels quals probablement va escriure els textos que més tard agruparia en el seu Tractat de pintura (1651). 

L'obra més important del període milanès van ser les dues versions de la Mare de Déu de les roques on va aplicar l'esquema compositiu triangular que tanca a la Verge, el Nen, Sant Joan i l'Àngel, i d'altra banda, va utilitzar per primera vegada la tècnica del sfumato. Entre els anys 1495-1497 va treballar en la seva obra mestra L'últim sopar, pintura mural per al refectori del monestir de Santa Maria delle Grazie de Milà. Malauradament, el seu ús experimental de l'oli sobre guix sec va provocar problemes tècnics que van conduir al seu ràpid deteriorament cap a l'any 1500. Des del 1726 es van dur a terme intents fallits de restauració i conservació i el 1977 es va iniciar un programa fent ús de millores tecnològiques, experimentat algunes millores. Durant la seva llarga estada a Milà, Leonardo també va realitzar altres pintures i dibuixos, la majoria dels quals no es conserven, escenografies teatrals, dibuixos arquitectònics i models per a la cúpula de la Catedral de Milà. El seu major encàrrec va ser el monument eqüestre en bronze a mida colossal de Francesco Sforza, pare de Ludovico, per la seva ubicació al pati del Castell Sforzesco. No obstant això, al desembre de 1499, la família Sforza va ser expulsada de Milà per les tropes franceses. Leonardo va deixar l'estàtua inacabada, i després destruïda pels arquers francesos que la van usar com a diana, i va tornar a Florència el 1500. 

El 1502 Leonardo va entrar al servei de César Borja, duc de Romanya, fill del papa Alexandre VI. En la seva qualitat d'arquitecte i enginyer major del duc, Leonardo va supervisar les obres de les fortaleses dels territoris papals del centre d'Itàlia. El 1503, ja a Florència, va ser membre de la comissió d'artistes encarregats de decidir sobre l'adequat emplaçament del David de Miquel Àngel (1501-1504, Acadèmia, Florència), i també va exercir d'enginyer en la guerra contra Pisa. Durant el seu segon període florentí, Leonardo va pintar diversos retrats, però l'únic que s'ha conservat és el de la Gioconda (1503-1506, Louvre, París), el retrat més famós de tota la història de la pintura, en identificar-la model amb l'esposa de Francesco del Giocondo, tot i que s'han considerat diverses hipòtesis sobre la seva veritable identitat. De l'obra cal destacar de forma especial l'enigmàtic somriure de la retratada. Sembla que Leonardo sentia una gran predilecció per aquesta obra ja que la va transportar en diversos dels seus viatges. El 1506 Leonardo va tornar a Milà al servei del governador francès Carles II Chaumon. A l'any següent va ser nomenat pintor de la cort de Lluís XII de França, que residia en aquells dies a la ciutat italiana. Durant els sis anys següents Leonardo va repartir el seu temps entre Milà i Florència, on sovint va visitar els seus germanastres i tenia cura del seu patrimoni. 

A Milà va continuar els seus projectes d'enginyeria i va treballar en el monument eqüestre de Gian Giacomo Trivulzio, comandant de les forces franceses a la ciutat. Tot i que el projecte no es va arribar a finalitzar, es conserven dibuixos i estudis sobre el mateix. D'aquesta mateixa època sembla ser la segona versió de la Verge de les roques i Santa Anna, la Verge i el Nen (c.1506-1513, Louvre, París). Entre els anys 1514 i 1516 Leonardo va viure a Roma sota el mecenatge de Giuliano de Médicis, germà del papa Lleó X. El 1516 es va traslladar a França a la cort de Francesc I, on va passar els seus últims anys al Castell de Clos, prop d'Amboise, en què va morir el maig del 1519. A causa que cap dels projectes escultòrics de Leonardo va ser finalitzat, el coneixement del seu art tridimensional només es pot fer a través dels seus dibuixos. Idèntiques consideracions poden aplicar-se a la seva arquitectura. No obstant això, en els seus dibuixos arquitectònics, demostra mestratge en la composició de masses, claredat d'expressió i, fonamentalment, un profund coneixement de l'antiguitat romana. En definitiva, va ser un creador en totes les branques del art, un descobridor en la majoria dels camps de la ciència, un innovador en el terreny tecnològic..., Leonardo mereix per la suma de circumstàncies i potser més que ningú altre el títol d'Homo universalis.

Font: En català: Leonardo da Vinci (1452-1519) - En castellano: Leonardo da Vinci (1452-1519) - In english: Leonardo da Vinci (1452-1519) - Altres: Leonardo da Vinci (1452-1519)

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Parlem de Música...

Johann Joseph Fux (Hirtenfeld, 1660 - Vienna, 13 de febrer de 1741) va ser un teòric i un compositor austríac. En sí mateix, va representar la culminació del barroc italo-austríac. Les seves composicions van ser el reflex de les preocupacions catòliques i imperials de la monarquia dels Habsburgs i el seu tractat Gradus ad Parnassum (1725) va ser la publicació teòrica més important d'Europa durant el segle XVIII. Procedent d'una família camperola, Johann Joseph Fux va iniciar els seus estudis musicals animat pels jesuïtes de la seva localitat natal d'Hirtenfeld. Es va matricular a la Universitat de Graz el 1680, ampliant els seus estudis a Itàlia abans de ser nomenat organista de la Schottenkirche de Viena. Després d'un nou viatge a Itàlia, on va estudiar amb Pasquini a Roma, va ser nomenat primer mestre de capella de la Catedral de Sant Esteve de Viena, càrrec que va desenvolupar abans de rebre el nomenament de mestre de capella de la cort imperial. La seva obra va representar un dels punts culminants del barroc austríac, si bé basada en un marcat tradicionalisme i una fidelitat ferma als principis polifònics de Palestrina. La seva òpera Constanza i Fortezza (1723), composta per a la coronació de l'emperador Carles VI, va acréixer la seva fama a tot Europa i va consolidar el seu estil més conservador, tot i que en obres posteriors s'aprecien influències de Lully i Corelli, així com de melodies populars hongareses i eslaves. Va ser, a més, un pedagog d'extraordinària vàlua i la seva obra Graus ad Parnassum (1725) va servir de base a molts dels tractats sobre contrapunt dels anys i segles posteriors, fins al punt que aquesta reputació ha enfosquit la seva excel·lència com a compositor. Entre les seves obres, majoritàriament dedicades a la música sacra, a més de l'esmentada òpera, s'hi inclouen 25 obres per a teclat, 63 sonates, 110 misses i fragments de misses, 20 òperes més i prop de 250 composicions religioses menors. En totes elles, a més de la polifonia vocal, Fux hi combina tant la monumental orquestració germànica com la lleugeresa d'altres llenguatges. Va morir a Viena el febrer de 1741.

OBRA:

Veure catàleg d'obres de la DEUTSCHEN NATIONALBIBLIOTHEK

Font: En català: Johann Joseph Fux (1660-1741) - En castellano: Johann Joseph Fux (1660-1741) - In english: Johann Joseph Fux (1660-1741) - Altres: Johann Joseph Fux (1660-1741)

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Parlem amb veu pròpia...

Fux va exemplificar, en sí mateix i de forma autònoma, el desenvolupament de l'estil barroc tardà a la cort imperial de Viena. Maduresa tardana com a compositor segons les seves pròpies paraules ja que les seves obres es van situar en un temps igual o posterior al 1700. La seva devoció religiosa, exemplificada en la descomunal producció en aquest sentit, va ser el reflex de l'obsessió catòlica de la dinastia dels Habsburg, la cort que el va protegir i promocionar durant la seva productiva carrera artística. El seu estil musical, durant molts anys perfectament delimitable i en part previsible, va ser així mateix el seu punt fort tant a nivell teòric com pràctic assolint una excel·lència i un domini quasi perfectes. El seu famós tractat teòric, una referència avui dia històrica però també musical, va causar un sisme de grans proporcions per la puresa del seu llenguatge, l'afinació de la seva ciència i la saviesa dels seus continguts. I si bé els darrers anys va mostrar símptomes d'obertura a nous models, especialment en la seva música instrumental, el cert és que en allò que compositivament es va fer conegut, la música religiosa, es va mantenir fidel i autocontingut en la seva estricte interpretació del que considerava havia de ser l'objecte i la forma musical litúrgica. Exemples no ens en falten i el seu repertori, ple de petites meravelles, així ens dóna fe del qui va ser i del que va fer l'austríac Johann Joseph Fux.

Gaudiu i compartiu! 

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Informació addicional...

INTÈRPRETS: Armonico Tributo Austria; Domkantorei Graz; Grazer Choralschola; Lorenz Duftschmid
AMAZON: Johann Joseph Fux - Música sacra

IMSLP: Johann Joseph Fux (1660-1741)

CPDL: Johann Joseph Fux (1660-1741)

SPOTIFY: Fux - Sacred Works

Tant si us ha agradat, com si no, opineu, és lliure i fàcil!