Placidus von Camerloher (1718-1782) - Missa Solemnis ex C
Performers: Bеatе Hаriadеs (soprano); Nicholаs Hаriadеs (alto); Sebаstian Schäfеr (tenor); Johаnnеs Bаyеr (bass);
Frеisingеr Domchor; Dombеrg-Kammerorchester; Wolfgаng Kiеchlе (conductor)
Further info: Placidus von Camerloher (1718-1782) - Trio ex C
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German composer. The fourth of eight children of Joannis and Maria Anna
Camerloher, he was the younger brother of the Munich court composer
Joseph Anton Camerloher and the elder brother of Johann Gregor Virgilius
Camerloher (1720-1785), a cellist at the Munich court from 1747. After
schooling in Murnau, he attended the Ritterakademie in Ettal (1730-39).
He studied theology at the Wilhelmsgymnasium in Munich from 1739 to 1741
while also participating as a singer in Fastenmeditation performances
for the Congregatio Latina BV Mariae; he later composed 17
Fastenmeditationen for the congregation (1748-73). In 1745 Johann
Theodor, electoral bishop (later cardinal) of Freising, Regensburg and
Liège, appointed Camerloher Kapellmeister to the Freising court;
Camerloher was also his director of chamber music in Liège (1753-59).
Through his patron’s influence, Camerloher received the necessary
diploma of nobility to serve as prebendery and canon at the monasteries
of St Veit (1748-53) and St Andreas (1753-82) in Freising, and he
dedicated his symphonies op.1 to him. Johann Theodor’s death in 1763
brought an end not only to Camerloher’s travels (to Liège, Paris etc.)
but also apparently to his symphonic output: as Kapellmeister under the
next two bishops of Freising, he composed chiefly sacred works and
school dramas. Symphonies and sacred works comprise the majority of Camerloher’s
surviving music. 29 symphonies survive bearing his full name: three
printed sets of six (opp.1, 2 and 4) and 11 manuscript symphonies (ten
in D-Mbs, one in CH-E). Eight further symphonies can be assigned to him
with some confidence (others formerly attributed to him are now believed
to be by Joseph Anton Camerloher). The symphonies are mostly scored for
strings alone, and all but one are in three movements. The earlier
symphonies are short, but both the movements and the phrases of the
later ones show a progressive increase in length. The thematic areas are
quite clearly articulated, and those in later symphonies display
characteristic features; the many antecedent–consequent sentences look
forward to a later Classical style. Camerloher’s unquestionably
authentic sacred works include nine masses, which are large-scale works
employing strings, clarino trumpets, timpani, chorus and soloists. The
orchestral writing is primarily homophonic in texture, as in
Camerloher’s later symphonies, while more traditional elements, such as
counterpoint and an occasional fugue, are reserved for the chorus.
