Amandus Ivanschiz (1727-1758)
- Missa (ex C) à 4 voci (c.1755)
Performers: Cаtеrina Prеstеlе (soprano); Kаtаrzyna Holysz (alto); Piotr
Szеwczyk (tenor); Miroslаw Bοrczynski (bass); Accаdеmia dеll'Arcаdiа;
Vox humаnа; Bаrtlomiеj Stаnkowiak (conductor)
Further info: Amando Ivanschiz (1727-1758) - Missa in C
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Austrian composer of south Slav extraction. Only fragmentary information
about his life is available. He entered the Pauline order in his
hometown and choose the name of Amandus likely by the end of 1742. After
his novitiate in the Ranna monastery at the age of 16 (Dec. 25, 1743)
he took his monastic vows. He then studied in Maria Trost and Wiener
Neustadt, where he was ordained a priest on November 15, 1750. Between
1751 and 1754 he stayed in Rome as an assistant to the Procurator
General of the order, from where he returned to Wiener Neustadt. In 1755
he was sent again to the Maria Trost monastery, where he died in 1758,
at the young age of 31. He was evidently a prolific and popular
composer: there survive about 100 works by him in manuscripts, dating
mostly from 1762 to 1772 and scattered throughout the Habsburg Empire
and in south Germany. His music is characteristic of the transition from
late Baroque to early Classical style, and his best works are his
masses and symphonies. The masses are mostly scored for four soloists,
four-part choir, two violins and bass and a pair of trumpets; some are
of considerable dimensions, and they show distinct Neapolitan traits.
The symphonies, many of which have four movements, are scored for
strings, sometimes with a pair of trumpets or horns. The trios, entitled
variously ‘Divertimento’, ‘Nocturno’, ‘Sinfonia’, ‘Sonata’ and
‘Parthia’, are mostly in three movements in the same key; Ivanschiz’s
frequent use of the viola as the second solo instrument is a
forward-looking trait.
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