Jaroslav Brezina (tenor), Michael Pospisil (bass)
Musica Florea, Boni Pueri (Czech Boys´ Choir), Marek Stryncl
Dixit Dominus (Psalm 110)
Sonata vespertina, IV. 201, A 623
Confitebor (Psalm 111)
Sonata a 5, IV. 70, A 519
Beatus vir (Psalm 112)
Sonata laetitiae (A 5), IV. 11, A 471
Laudate pueri (Psalm 113)
Sonata a 7, IV. 69, A 518
Laudate Dominum (Psalm 117)
Sonata a 5, IV. 224, A 640
Magnificat (Cantium BVM)
Sonata à 8 'Sancti Petri et Pauli'
An Amazing collection of Brass, Instrumental, and Choral works from this Czech Baroque Master!
One can't be blamed if the name Pavel Josef Vejvanovsky does roll off the tongue with the same easy as Bach or Handel, but one can be blamed for not seeing the limitless inventiveness in this influential composer of the Bohemian baroque. Attached to the Court at Kromeriz (under the Bishop of Olomouc), Vejvanovsky composed in a wide variety of genres ranging from large-scale Mass settings and music for special feast days to more intimate sonatas and suites. In addition to his musical responsibilities, he also maintained the Bishop's music library and was the primary copyist of the collection, with his hand appearing in hundreds of manuscripts. His own compositions circulated throughout central Europe, appearing in other Czech collections as well as in Germany and Austria. He seems to have made at least one visit to Austria with the purpose of copying and collecting music and it is largely thanks to Vejvanovsky that so much central-European music from the time is preserved in what is widely regarded as one of the most important collections of late seventeenth century music on the Continent.
Vejvanovsky must have been one of the greatest trumpet virtuosos of the age and his numerous compositions attest to his virtuosity. One of his more remarkable talents was the ability to play certain chromatic passages on the trumpet, which is not normally possible on the largely diatonic natural trumpet. Under Vejvanovsky's direction the Bishop's ensemble saw its heyday. Other musicians at court included Philipp Jakob Rittler, Heinrich Franz Ignaz Biber, and Gottfried Finger, the latter two employing certain characteristics of Vejvanovsky's trumpet writing in their own compositions.