KONIGSPERGER, Marianus (1708-1769) - Concerto à Cembalo Principali

Marianus Königsperger (1708-1769) - Concerto (G-Dur) à Cembalo Principali aus

'CERTAMEN MUSICUM | COMPLECTENS | VI. | CONCERTA | COMMUNIA | & | II. PASTORITIA | AD FACILEM CUJUSVIS USUM | ACCOMMODATA. | Organo Principali | 2. Violinis & Alto Viola necessariis, | 2. Clarinis vel Cornibus & Violoncello ad libitum | Modulatore | R. F. Mariano Königsperger, | Ord. S. P. Benedicti, in Exempto | Monasterio Priflingensi Professo. | OPUS XVIII. | AUGUSTÆ-VINDELICORUM, | Sumptibus JOANNIS JACOBI LOTTERI Hæredum. MDCCLIV' (1754)

Performers: Consortium Musicum Passau; Markus Eberhardt (harpsichord)

Painting: Anoniem - Herrenporträt und Justitia vor der Ansicht von Regensburg (c.1750)

Further info: Donaubarock II

---

Marianus (Johann Erhard) Königsperger

(Roding, nr Regensburg, 4 December 1708 - Prüfening, nr Regensburg, 9 October 1769)

German monastic composer and organist. The son of an instrument maker, he went to the Benedictine abbey of Prüfening as a choirboy. Although he was the son of a music instrument maker, he intended to enter the priesthood as a teacher of theology. In 1734 he entered the Benedictine monastery at Prüfening, becoming regens chori and eventually Kapellmeister. His main musical focus was on the development of suitable church music for smaller churches in Bavaria, and he partnered with the firm of Lotter in Augsburg to publish sets of works that could be performed with limited musical forces. His music thus gained tremendous popularity throughout the region. His works include a number of sacred Singspiels (now lost), 59 Masses, five Requiems, 33 sacred odes, six Stabat maters, over 30 offertories, 12 litanies, numerous Marian antiphons, several Te Deums, and other sacred music, almost all of which was published.

FIORE, Andrea Stefano (1686-1732) - Venite exultemus

Andrea Stefano Fiorè (1686-1732) - Venite exultemus

Performers: Cyrille Gerstenhaber (soprano); Roberto Balconi (1967-2025, alto); Chœur départemental de Haute-Savoie; Orféo orchestra Budapest; Bernard Spizzi (conductor)

Painting: Unknown artist (18th Century) - Andrea Stefano Fiorè

Further info: Musiques pour le Saint Suaire

---

Andrea Stefano Fiorè [Fiore, Fiori, Gierosa]

(Milan, 1686 - Turin, 6 October 1732)

Italian composer. Son of Angelo Maria Fiorè (1660-1723), he was a child prodigy: in the dedication of his 'Sinfonie da chiesa' (1699) he explained that the pieces 'are the last squalls of my infancy, and the first expressions of my boyhood, I having just turned 13'. The title-page of this collection of 12 trio sonatas indicates that he was 'musico di camera' of the dedicatee, Vittorio Amedeo II, Duke of Savoy, a member of the Bolognese Accademia Filarmonica (which he joined with his father in 1697), and Milanese by birth. The royal account books in the Turin State Archive show that the duke sent Andrea Stefano with Giovanni Battista Somis, to study in Rome. An opera composed for Carnival 1707, 'La casta Penelope', was well received, and the Duke of Savoy soon thereafter appointed Fiorè his maestro di cappella on 13 June 1707. Until his death in 1732 he was in charge of the 30 to 36 musicians at the Turin court and the singers at the cathedral. 16 scores of sacred music in the cathedral chapter archive testify to his direction of the choir there. Johann Joachim Quantz, who visited Turin in June 1726 and praised Fiorè’s orchestra and its leader Somis, wrote that he regarded Fiorè one of the best Italian composers of church sonatas. Until more scores of his operas come to light, modern judgment of Fiorè’s music must be based chiefly on his published trios, a handful of solo cantatas and his surviving choral music.

ORSCHLER, Johann Georg (c.1698-1777) - Trio con Violini e Basso

Johann Georg Orschler (c.1698-1777) - Trio (f-moll). | co Violini e Basso. | 3. St.[immen]

Performers: Collegium 1700

Engraving: Ichnographica Urbis Wratislaviensis Delineatio, Praeter Alia Exactissime

Etiam Repraesentans Singula Templa et Monasteria (1752)

Further info: Sonata in f-moll

---

Johann Georg (Giovanni) Orschler [Orsler, Urschler, Orschel]

(Breslau [now Wroclaw], c.1698 - Vienna, 4 October 1777)

German composer and violinist. He received his initial musical training from Michael Kirsten, the organist at the St. Mary Magdalene Church in Breslau. His early patron, the music-loving Count Zierotin of Falkenberg, appointed him as a page and funded his advanced education, enabling him to study the violin under Johann Otto Rosetter and composition in Vienna under the renowned composer and theorist Johann Joseph Fux. Orschler spent the late 1720s in Prague before serving as a violinist to the Archdeacon of Olomouc, Count von Thurn und Valsassina, around 1730. Between 1731 and 1736, he served as Hofmeister at Holešov Castle for Count Franz Anton von Rottal, a position later held by Ignaz Holzbauer, after which he worked as Kapellmeister to Prince Liechtenstein until roughly 1750. In his later years, he was a respected member of the Imperial Court Chapel (Wiener Hofmusikkapelle) in Vienna, where he spent his last years. As a composer, he left few works, among them, symphonies, divertimentos, chamber pieces as well as a Salve Regina in D and the motet 'Psallite pueri jubilate'.

HUBLER, Ignaz Aloys (fl. 1822-1832) - Missa brevis ex E (c.1825)

Ignaz Aloys Hubler (fl. 1822-1832) - Missa brevis ex E | a | Canto. Alto. | Tentore. Basso. |

Violino 1Imo | Violino IIIdo | et | Organo (c.1825)

Performers: Vocal ensemble SoLa; Solamente naturali; Miloš Valent (conductor)

Painting: Italien 18th century - Orthodox scene

Further info: Musica Nitriensis

---

Ignaz Aloys (Ignatz Alloys) Hubler

(fl. 1822-1832)

Moravian singer and composer, active primarily during the 1820s and 1830s. In January 1822, he married Anna Fingermann, also from Moravia, in Nitra, with whom he had a daughter named Maria Anna Hubler (1822-1831) and a son named Carl Johann Hubler (1825-?). Hubler's musical career in Nitra is documented by historic records: he sang bass in a cathedral ensemble on 3 October 1826, during the tuning of the organ at the Cathedral of St. Emmeram, and in July 1829 'Regens Chori' Joseph Vavrovits documented three of Hubler's new works. Tragic loss struck him in 1831 when a devastating cholera epidemic in Nitra claimed the lives of his wife and daughter, after which his documented activities in the city ceased. Nevertheless, his compositions, mainly sacred, with manuscripts bearing dates such as 1824, 1825, 1826, 1829, and 1832, spread widely across the region, surviving in the Diocesan Archive in Nitra, the Roman Catholic Parish Church in Nové Mesto nad Váhom, and the Music Museum of the Slovak National Museum from localities including Bratislava, Dubnica nad Váhom, Spišské Podhradie, Švedlár, and Trenčín.

TUMA, František Ignác Antonín (1704-1774) - Sinfonia Ex C

František Ignác Antonín Tuma (1704-1774) - Sinfonia Ex C | à | Violino Primo | Secondo |

Clarino Primo | Secondo | Tympanis | con | Basso

Performers: Czech Ensemble Baroque Orchestra; Roman Válek (conductor)

Drawing: Franz Josef Stanka (1765-1831) - Aufmarsch des Wiener bürgerlichen Artilleriecorps am Platz Am Hof am 12. März 1810 aus Anlass der Vermählung Napoleons und Marie-Louises (1810)

Further info: Tuma - Te Deum, Sinfonia, Missa

---

František (Franz, Franciscus) Ignác Antonín (Anton) Tůma [Thuma, Tuma, Tumma]

(Kostelec nad Orlicí, 2 October 1704 - Vienna, 30 January 1774)

Bohemian composer. He received his first musical training from his father, organist at Kostelec, and probably studied in Prague, at the Jesuit seminary. He likely sang as a tenor chorister under Bohuslav Matěj Černohorský at the Minorite Church of St. James the Great, and he is believed to have received musical instruction from him. He then went to Vienna, where he was active as a church musician; according to Marpurg he became a vice-Kapellmeister at Vienna in 1722. Tůma's name first appears in Viennese records in April 1727, when he got married. In 1731 he became 'Compositor und Capellen-Meister' to Count Franz Ferdinand Kinsky, who was the High Chancellor of Bohemia. Kinsky's patronage made it possible for him to study counterpoint with Johann Fux in Vienna. He participated in the premiere of Fux's opera Constanza e Fortezza along with Georg Benda and Sylvius Leopold Weiss. In 1734, Kinsky recommended him for the post of the Kapellmeister to Prague Cathedral, but his recommendation arrived too late and he may have remained in Kinsky's service until the latter's death in 1741. In that year he was appointed Kapellmeister to the dowager empress, the widow of Emperor Charles VI. On her death in 1750, Tůma received a pension. For the next 18 years he remained in Vienna and was active as a composer and as a player on the bass viol and the theorbo; he was esteemed by the court and the nobility, and at least one work may have been commissioned from him by the Empress Maria Theresa. After the death of his wife in about 1768, Tůma lived at the Premonstratensian monastery of Geras, but in his last illness he returned to Vienna and died in the hospital of the Merciful Brethren in the Leopoldstadt.