1    Intrada für zwei Clarini, Streicher und Orgel (1683)  3:54

           Missa  Salvatoris für Soli, Chor, zwei Trompeten, drei Posaunen, Streicher und Continuo 
    2     Kyrie  3:57
    3     Gloria  6:36
    4     Credo  9:09
    5     Sanctus – Benedictus  3:46
    6     Agnus Dei  2:58

   7    De Venerabili: Ave sanctissimum Redemptoris nostris corpus  5:26
         Motette für Soli, Chor, drei Posaunen, Streicher und Continuo

   8    Sonata à 7 für zwei Clarini, Streicher und Orgel (1666)  4:09

   9    Motettum de Tempore: Benedicite gentes Deum nostrum (Ps. 65)  5:54
         Motette für Soli, Chor, drei Posaunen, Streicher und Continuo

         Balletti per il Carnuale für drei Oboen, zwei Trompeten, Streicher und Continuo (1688)            
  10     Intrada  3:24
  11     Minuet  1:40
  12     Gavotte  2:06
  13     Aria  2:07
  14     Intrada D.c.  3:23
  15     Ingressus  1:50

           Gesamtzeit · total  60:29

Sabine Goetz Sopran
Ingrid Alexandre Alt
Christian Cantieni Tenor
Michael Pavlu Bass
DRS Singers, Cappella Musica Antica, CHRISTOPH CAJÖRI

The music of Pavel Josef Vejvanovský numbers among the many as yet undiscovered treasures of the seventeenth century. Numerous works for the Catholic worship service have come down to us from his quill: nearly a dozen Masses, motets, litanies, antiphons, and vesper psalms. Moreover, he left behind an abundance of instrumental music for various formations and occasions, in which his own instrument, the trumpet, plays an outstanding role.

Between 1656 and 1660 he studied at the Jesuit college in Opava. He subsequently received an appointment as trumpeter in Kromeriz at the court of the Prince-Bishop of Olomouc, Leopold Wilhelm. Under Leopold Wilhelm’s successor, Karl Liechtenstein-Kastelkorn, the court of Kromeriz experienced a great musical blossoming. The new prince-bishop was erudite, and a connoisseur of art and music. He brought prominent musicians to his court, including Heinrich Ignaz Franz Biber, one of the greatest violin virtuosos of the time. The court chapel had thirty-eight singers and instrumentalists, and an inventory from the 1690s lists over sixty instruments. The court chapel’s prestige and area of activity reached far beyond the borders of the imperial-episcopal residence. As chapel-master, Vejvanovský was responsible for liturgical music in the Church of St. Maurice and for the secular musical offerings at court.

The bishop held his court musician in great esteem and rewarded him royally: with a years’ salary of 180 gulden, Vejvanovský was one of the best-paid musicians at the court and occupied one of the uppermost places on the payroll of the prince’s servants.