diumenge, 3 d’octubre del 2021

TUMA, František Ignác Antonín (1704-1774) - Te Deum Laudamus à 4 (1745)

August Querfurt (1696-1761) - Aufbruch zur Beizjagd


František Ignác Antonín Tuma (1704-1774) - Te Deum Laudamus à 4 (1745)
Performers: Musica Figurata

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Czech composer. He received his first musical training from his father, organist at Kostelec, and probably studied in Prague, at the Jesuit seminary. According to Dlabacž he was a tenor chorister under B.M. Černohorský at the Minorite church of St James, and he may have received musical instruction from him. Tůma then went to Vienna, where he was probably first active as a church musician; according to Marpurg he was a vice-Kapellmeister at Vienna by 1722. Tůma's name first appears in Viennese records in April 1729, when the birth of a son was recorded. By 1731 he was ‘Compositor und Capellen-Meister’ to Count Franz Ferdinand Kinsky, the High Chancellor of Bohemia, whose patronage he must already have enjoyed and who made it possible for him to study counterpoint with J.J. Fux. On J.C. Gayer's death in 1734, Kinsky recommended Tůma as his successor as Kapellmeister to Prague Cathedral, but his recommendation arrived too late and Tůma 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, widow of Emperor Karl VI; among his colleagues were G. Trani and G.C. Wagenseil. 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. From about 1768 he lived at the Premonstratensian monastery of Geras (Lower Austria), but in his last illness he returned to Vienna and died in the convent of the Merciful Brethren at Leopoldstadt. His son Jacob was a violinist in the dowager empress's band in 1750, and from 1767 until his death in 1784 was a member of the Viennese court orchestra. Tůma's output belongs mostly to the late Baroque. Many of his sacred works show affinity with the conservative quasi-Palestrinian counterpoint of his teacher Fux; 14 masses are in a cappella style. According to Kinsky's recommendation of 1734 Tůma was ‘the only [composer] capable of imitating … Fux and of following the latter's principles’. The idiom of Tůma's more modern-style church compositions is closer to that of Caldara. His sacred works, which were known to Haydn and Mozart, were noted by his contemporaries for their solidity of texture and their sensitive treatment of the text as well as for their chromaticism. His instrumental music includes trio and quartet sonatas, sinfonias and partitas, mostly for strings and continuo; some of them were clearly intended for orchestral use. Contrapuntal textures predominate, but some movements are in continuo-homophony with only slight contrapuntal touches. Occasional hints of the galant style – in the leaning towards simpler harmony, periodic two-bar structure, syncopations, melodic sighs, sudden turns to the opposite mode – do not affect the basic late Baroque character of Tůma's music.

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