Album
Czech Ensemble Baroque, Roman Válek
Tůma: Requiem
Digital services
Catalogue Number: SU 4300-2
Published: 15th October 2021
Genre: Chamber Music
Format: 1 CD
František Ignác Antonín Tůma (1704-1774) - Missa della morte in c (1742). Miserere in c
Markéta Böhmová, Romana Kružíková - soprano, Monika Jägerová, Lucie Karafiátová Netušilová - alto, Jakub Kubín - tenor, Jiří M. Procházka - bass. Czech Ensemble Baroque, conductor Roman Válek
František Ignác Antonín Tůma was one of the Czech composers to have considerably influenced 18th-century European music. Along with J. D. Zelenka and G T. Muffat, he has been named among the finest pupils of Johann Joseph Fux, and, just like Zelenka, he rubbed shoulders with the political and social elite of his time. He was highly esteemed in Vienna, with his sacred music even serving as a model for younger composers, including Joseph Haydn and W. A. Mozart. A dexterous theorbist and gambist, at the age of 19 Tůma most likely participated in the celebrations marking the coronation in Prague of Emperor Charles VI in 1723. Nineteen years later, in 1742, Tůma's Requiem in c accompanied the soul mass for the self-same monarch on the occasion of the transfer of his remains to the sarcophagus in the Capuchin Crypt in Vienna. At the time, Tůma worked as Kapellmeister of the music ensemble set up by Charles's widow, Empress Elisabeth Christine. The Requiem in D minor, whose instrumentation was commensurate to the significance of the event (the orchestra was enhanced by a cornett, two trombones, a bassoon and two natural trumpets), was again heard at the funeral of Elisabeth Christine herself, in 1750. Tůma enjoyed great respect on the part of Empress Maria Theresa, who probably personally commissioned from him the Miserere in c. It comes as no surprise that following four acclaimed recordings of F. X. Richter's works Czech Ensemble Baroque have focused on Tůma. His music definitely deserves our attention.
A requiem for an Emperor - a breath of new life to an Imperial Kapellmeister
Markéta Böhmová, Romana Kružíková - soprano, Monika Jägerová, Lucie Karafiátová Netušilová - alto, Jakub Kubín - tenor, Jiří M. Procházka - bass. Czech Ensemble Baroque, conductor Roman Válek
František Ignác Antonín Tůma was one of the Czech composers to have considerably influenced 18th-century European music. Along with J. D. Zelenka and G T. Muffat, he has been named among the finest pupils of Johann Joseph Fux, and, just like Zelenka, he rubbed shoulders with the political and social elite of his time. He was highly esteemed in Vienna, with his sacred music even serving as a model for younger composers, including Joseph Haydn and W. A. Mozart. A dexterous theorbist and gambist, at the age of 19 Tůma most likely participated in the celebrations marking the coronation in Prague of Emperor Charles VI in 1723. Nineteen years later, in 1742, Tůma's Requiem in c accompanied the soul mass for the self-same monarch on the occasion of the transfer of his remains to the sarcophagus in the Capuchin Crypt in Vienna. At the time, Tůma worked as Kapellmeister of the music ensemble set up by Charles's widow, Empress Elisabeth Christine. The Requiem in D minor, whose instrumentation was commensurate to the significance of the event (the orchestra was enhanced by a cornett, two trombones, a bassoon and two natural trumpets), was again heard at the funeral of Elisabeth Christine herself, in 1750. Tůma enjoyed great respect on the part of Empress Maria Theresa, who probably personally commissioned from him the Miserere in c. It comes as no surprise that following four acclaimed recordings of F. X. Richter's works Czech Ensemble Baroque have focused on Tůma. His music definitely deserves our attention.
A requiem for an Emperor - a breath of new life to an Imperial Kapellmeister
Reviews
“Beide Werke liegen nun – und man darf wohl sagen: endlich – in einer Weltersteinspielung vor. Das Czech Ensemble Baroque Orchestra unter Roman Válek spielt auf historischen Instrumenten und bringt auch die von Tůma vorgesehenen Barocktrompeten zum Einsatz. So entsteht ein nuancenreiches, dicht gewebtes Klangbild, das von dem sonoren Czech Ensemble Baroque Choir und einem engagierten Solistenensemble bereichert wird.”
Kulturabdruck, December 2021
“Both works are impressive examples of Tůma's capabilities. Válek uses his small forces to telling effect in these world premiere recordings, with stylish playing and singing that presents the music in a direct fashion.”
Choir & Organ, January / February 2022
“Tant pour sa contribution vocale qu’orchestrale, l’équipe tchèque de Roman Válek est un fervent ambassadeur de ces deux opus qui méritent la découverte autant que l’exhumation d’autres pages de ce compositeur…”
Crescendo, January 2022
“L'ensemble baroque fédéré par Roman Valek en réussit une touchante exhumation, opérant une impeccable synthèse entre rigueur d'écriture et souplesse d'expression.”
Diapason, February 2022
“Du délicat solo de flûte, apportant une touche française à l’Auditui meo dabis, aux interventions festonnées d’ornements des clarinos, les prodigies d’orchestration abondent dans ces deux révélations qui doivent beaucoup à la direction enthousiaste de Roman Válek. La mezzo mise à part (solo, plage 8), les interventions solistes, flattées par la captation, sont à verser au crédit de cette réussite.”
Classica, February 2022
“The singing of the vocal ensemble is outstanding, and those members who take care of the solos do a great job. The fact that they are part of the vocal ensemble guarantees that these pieces are treated as what they are: works for an ensemble of singers and players, not for solo voices, choir and orchestra. The instrumental ensemble is top-class as well; the obbligato parts are perfectly executed.”
Musica Dei donum, February 2022
“The Czechs bring everything off with complete conviction. The alto soloists, both women, do their best to sound like guys, which is a shame; but their colleagues are well cast. The choir sings brilliantly. The orchestra uses antiques, but plays them with deep feeling and commendable brio. The brass players are the stars of the show.”
American Record Guide, March 2022
|
František Ignác Antonín Tůma
Requiem. Missa della morte in c
|
|||
| 1. | Requiem aeternam I | 03:16 | |
| 2. | Te decet hymnus | 02:25 | |
| 3. | Requiem aeternam II | 03:16 | |
| 4. | Kyrie eleison I | 01:20 | |
| 5. | Christe eleison | 01:11 | |
| 6. | Kyrie eleison II | 01:30 | |
| 7. | Dies irae | 01:43 | |
| 8. | Tuba mirum | 04:29 | |
| 9. | Iudex ergo | 01:22 | |
| 10. | Rex tremende maiestatis | 00:41 | |
| 11. | Recordare, Jesu pie | 01:44 | |
| 12. | Iuste iudex | 03:59 | |
| 13. | Huic ergo parce, Deus | 01:34 | |
| 14. | Domine Jesu Christe | 01:54 | |
| 15. | Quam olim Abrahae | 02:32 | |
| 16. | Sanctus | 00:51 | |
| 17. | Benedictus | 01:46 | |
| 18. | Osanna in excelsis | 00:25 | |
| 19. | Agnus Dei | 02:09 | |
| 20. | Cum sanctis tuis | 02:16 | |
|
František Ignác Antonín Tůma
Miserere in c
|
|||
| 21. | Miserere mei, Deus | 02:15 | |
| 22. | Amplius lava me | 01:57 | |
| 23. | Tibi soli peccavi | 01:01 | |
| 24. | Ecce enim | 02:15 | |
| 25. | Auditui meo dabis | 03:36 | |
| 26. | Ne projicias me | 01:20 | |
| 27. | Domine, labia mea aperies | 02:07 | |
| 28. | Sacrificium Deo spiritus | 02:22 | |
| 29. | Benige fac, Domine | 02:12 | |