Poslední vydání / Last update 23.01.2003


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Collegium Marianum

Melantrichova 19, 110 00  Praha 1, Czech Republic

Phone: 00420-2-24229462, Fax: 00420-2-24233417

e-mail: marianum@tynska.cuni.cz, http://tynska.cuni.cz/




Collegium Marianum

cultural-educational centre of Early arts, Prague


Since early history the Latin Tyn School and Recek College Collegium sanctissimae Mariae has ranked among the most important educational organizations in the Old Town of Prague. The Tyn School (founded in the 13th century) was a preparatory school educating members of the bourgeosie and future students of the Charles University. The Recek College was founded in 1438 by the Old Town citizen Jan Recek of Ledec to raise the spiritual and educational level of Prague University. Recek College had an extensive library and was famous for its theatre performances.


Since 1990 the renewed Collegium Marianum institution provides, in co-operation with the Pedagogical and Philosophical Faculties of Charles University in Prague, education in the fields of music and fine arts. Apart from educational activities the institution organizes cultural and educational events (Early Music festival, concert series, music-dance performances, interpretation workshops, exhibitions, etc.). An Early Music concert series are a continuation of the tradition of regular music-life in Prague in the 18th century. Since June 2000 the institute has been organizing the Summer Festivities of Early music, whose successful second year formed a part of the National Gallery project, The Glory of the Baroque in Bohemia.




Collegium Marianum

music-dance ensemble, Prague


The Collegium Marianum music and dance ensemble (artistic leader Jana Semerádová) represents the institution Collegium Marianum. The main purpose of the ensemble is to rediscover the forgotten musical and dance treasures of Central Europe Baroque music. Its members are outstanding young Czech and foreign interpreters, who regularly appear in this country and abroad. They are also active as scholars, and as a result of their academic research they have introduced modern premieres of works that had been long unknown to modern audiences.


Apart from regular concert series Collegium Marianum (CM) puts on extensive projects with leading artists, conductors and choreographers and appears regularly at leading international music festivals. In May 1999, the ensemble staged the opera  Scylla et Glaucus  by J -M. Leclair under the guidance of  British violinist and conductor Simon Standage and choreographer Dorothée Wortelboer at the Ball-Game Hall of the Prague Castle. In June 2000, the CM gave a scenic performance of the same opera during the Festival at the Baroque Castle in Jaromerice nad Rokytnou. In September 2000, the CM performed under the baton of Peter van Heyghen (Belgium) at the Moravian Autumn festival in Brno and in November the same year it introduced in Prague the oratorio Maddalena ai piedi di Christo by A. Caldara in collaboration with the Swiss violinist Chiara Banchini. At the Summer Festivities of Early Music 2001 the CM won particular acclaim for its staged performance of Schmelzer's serenata Hercules und Onfale under the guidance of choreographer Sigrid T'Hooft. In August the ensemble made a successful debut at the Mitte Europa festival. Among the highlights of the last season is a November project with  Andrew Parrot , presenting the Church Music of Baroque Prague.


The CM maintains regular collaboration with Czech TV (Leclair – Jaromerice 2000 ; Bach, Zelenka – Brno 2000;  Caldara – Prague 2000 ; Baroque Pilgrimage – Prague 2001).  In February 2000 the ensemble recorded a CD of  the Concerti Op. 7 by J. H. Albicastro for the Swiss label Pan Classic.



Jana Semerádová was born in Prague. During her elementary school years she obtained several first prizes in National Competitions. In 1990 she entered the Conservatoire in Prague to study flute with Jan Riedlbauch, and in 1996 received her diploma. While studying there she formed the Prague Conservatoire Wind Quintet which performed worldwide (USA, UK, Germany, Austria, the Netherlands etc.), and in 1994 she stayed at the Birmingham Conservatoire. In 1999 she graduated from the Faculty of Philosophy at the Charles University where she specialized in the discipline of Theory and Practice of Early music organized by the Department of Musicology in co-operation with the Collegium Marianum – Tyn school. At the same time she also studied Baroque traverso with Wilbert Hazelzet at the Royal Conservatory in The Hague. She currently leads the ensemble Collegium Marianum, devoting herself to musicology research of the forgotten Czech music in our archives and composing the dramaturgy of the concerts and cycles of baroque music of the ensemble. Jana Semerádová regularly performs solo concerts and joins ensembles such as Musica Florea, Musica Aeterna, and records for Archiv Produktion among others. She has a serious interest in baroque dance and Renaissance music.







In June the Collegium Marianum ensemble appeared at the first year of The Summer Festivities of Early Music... In Troja Chateau the CM introduced a modern premiere of the Giovanni Bononcini serenata  La Nemica d’Amore fatta Amante (1693)... this project certainly ranks among the best early music events produced in this country. This Bononcini could well be snatched up by important European festivals.

HARMONIE  10/2000, Michaela Freemanová


To place a choreographed performance with dance and music of the 17th and 18th century, during which the viewers become a part of  period noble festivities, into the Vrtba Garden, is on its own a cultural deed. The lightness of the dance steps and gracefulness of the protagonists’ movements, compositions, which showed to advantage the period instruments, the use of space of the garden terraces, but also of its bottom part with salla terrena..., all this contributed to the deserved success of the opening performance  of  the Summer Festivities of Early Music.

TTG Czech Republic  14/2000


Summer Festivities of Early Music... at Troja Chateu took place a modern premiere of  pastoral serenata La Nemica d’Amore fatta Amante by Giovanni Bononcini. The half-scenic performance with dance and three vocal soloists   (Hana Jonášová, Markus Forster, and Roman Janál), supported by the extended Collegium Marianum orchestra, was, also judged from the ardent applause, the peak of the festival and a first class cultural event.



The exclusive atmosphere of the evening was enhanced by both the surprisingly beautiful Leclair’s music and the performance on the highest level of perfection. The Collegium Marianum - Týn School  Recek College body, who produced this event, has become the most distinct link between Bohemia and the realm of historical music and dance. There has not been so far a project so well organized and interpreted. What is more is that it has proved that Czech vocalists and instrumentalists are apt to be equal musical partners  to international stars.

HARMONIE 6/1999, Lucie Chvátilová  (J-M Leclair - Scylla et Glaucus in Ball Game Hall, Prague Castle)


The Summer Festivities of Early Music produced by the Collegium Marianum present the type of professional musical event that Prague has been lacking for a long time;  the remarkable choice of  repertoire, wedded with first-class interpretation, and a genuine, careful approach both to the music material and the venue, make the festival into an event that one hopes will continue for many more years.  

HUDEBNI ROZHLEDY 9/2001,  Michaela Freemanová.


This "mini-festival' proved to be one of the most successful music events connected with the National Gallery project The Glory of the Baroque in Bohemia. 

LISTY PRAHY 1 9/2001,  Jana Buchtová


The splendour of historical Prague locations, together with first-rate performance of early music form a combination that can help Prague to retain its status of a unique city.

TTG Czech Republic 14/ 2001, Marta Jedlicková


This young festival is still unrewardingly little known; its exceptionally high artistic standard and original dramaturgy deserve a far greater attention from  the media. During the summer months many of the top Prague orchestras and their agencies empty the musical scene in the capital city to mostly shallow tourist productions and, in that respect, The Summer Festivities help to save the reputation of the city.

HARMONIE  8/2001, Lubos Stehlík


The summer project of  Collegium Marianum undoubtedly can boast daring programme offerings and young, enthusiastic, energetic performers...

HARMONIE 6/2001, Dina Snejdarová


The Summer Festivities of Early Music produced by the Collegium Marianum,  which is on the way to becoming an important European centre of early ancient music, have become a credit to the city of Prague and have offered a number of unique performances of  newly discovered musical treasures.

TTG Czech republic 12/2001 , Marta Jedlicková



Johann Heinrich Schmelzer


Hercules und Onfale

Serenata performed in 1676 at the Court of the Emperor Leopold II



Balletto di 4 Elementi, Balletto di Ninfe, 2 Balletti di Trittoni (1677)



Director ( choreography: Sigrid T'Hooft

Choreography: Hana Barochová

Manuscript consultant: Jirí Sehnal

Dramaturgy: Pavla Semerádová

Costumes: Markéta Stormová

Masks: Václava Kresadlová

Scene: Iva Veselá



Onfale – Anna Hlavenková

Hesperia – Irena Houkalová

Istria – Pavla Jansová

Hercules – Radek Prügl

Himen – Vojtech Safarík



Music-dance ensemble


Flauto traverso + flauto dolce, 2 Violons, 2 Violas,

Viola da gamba, Harpsichord, Double-bass


4 dancers



Besides their entertaining function, court festivities were also used to demonstrate the power and majesty of aristocracy. Most festive occasions were accompanied by music and theatre performances, including opera and ballet. Schmelzer’s serenata Hercules und Onfale was written for the occasion of the 1676 marriage settlement between Leopold I’s daughter Marie Antonie with the Spanish king Carlos II in Hofburg, Vienna. The story of Hercules in the Lydia Queen’s service was taken from Ancient mythology; Onfale was sung by the eight-year-old princess and Hercules was rendered by the Spanish King, older by seven years. The theme of marriage is presented allegorically as the linking of two branches of Habsburg dynasty – the Spanish, personified by Hesperia and the Austrian, embodied by Istria. Using Himen, the Ancient God of Marriage, as a messenger, Hercules sends Onfale the Imperial Apple and offers her Hesperia. Istria, together with Hesperia, sing a duet about eternal unity of Austria and Spain. The serenata is closed by a final licenza, where all the characters pay tribute to Hercules and Onfale.


The work is interspersed with Schmelzer’s dances: Baletto di ninfe, tritoni e 4 elementi. Baletti were included in practically all court festivals, most notably in operatic productions, and they also belonged to homage ceremonies, celebrating the emperor or a member of the royal family. Serenata with baletti was a typical non-scenic musico-dramatic form performed on the occasion of important events called applauso per musica.




Sigrid T'Hooft received classical ballet training and studied musicology at the University of Leuven, where she graduated in 1987 specializing in 16th century French dance music, namely the Balet Comique de la Royne, Paris 1581 by Baltasar de Beaujoyeux. Her academic research in the area of 15th to 18th-century Italian Baroque dance, dance music and Baroque gesture – done in collaboration with such experts as Andrea Francalanci, Angene Feves, Barbara Sparti,  Francine Lancelot, Anna Yepes and Adriano – brought her international recognition. Sigrid T_Hooft is a co-founder and artistic director of the PassOstinato (1988) and Fontainebleau (1991) ensembles. She has performed with a large number of other dance companies, including Ris & Danceries, LaCaDance Barocktanztheater, European Early Dance Company and L_Autre Pas. She is regularly invited to teach Early Dance, dance music and Baroque gesture at the Royal Music Conservatory Brussels and The Hague, as well as the Institut für Historische Tanz in Berlin. She is a member of the European Association of Dance Historians (London-Paris), and has given lectures at the International Early Dance Conference as well as the European Science Foundation. Sigrid T_Hooft has appeared at festivals in Flanders, Utrecht and Thun. Her projects have been broadcast on TV and she has recorded for the Vanguard-Classics label (Phalesiusí). As a choreographer and stage director Sigrid T'Hooft collaborated on the productions of Don Quichote / Telemann, La Liberazione / Caccini, Hmoll-suite/ Bach, and others.


Music of Baroque Prague

the music scene in the capital of the Kingdom of Bohemia around 1723



Johann Joseph Ignaz Brentner                   Concerto I. Vigil Nocturnus

      (1689 - 1742)                                           from Horae Pomeridianae, op. 4 (Prague, 1720)


J. J. I.  Brentner                                            II. Aria „Ubi Jesu“ from Harmonia

Duodecatometria Eccelsisastica, op. 4 (Prague, 1717)


Guiseppe Tartini                                         Triosonata in G No. III

       (1692-1770)                                            per Flauto, Violino e Continuo


Antonio Vivaldi                                           Sonata in d RV 51

      (1678 - 1741)                              


A. Caldara                                                    Aria of Magdalena „In lagrime stemprato“

       (1670-1736)                                            from oratorio „Maddalena ai piedi di Cristo“, (cca 1700)


Johann Joseph Fux                                     Sinfonia per flauto e oboe con basso



Carlo Tessarini                                            Triosonata II.



J. J. I. Brentner                                            XI. Aria „Si quid est cor meum“ from Harmonia

                                                                       Duodecatometria Ecclesiastica, op. 1 (Prague, 1717)


Jan Dismas Zelenka                                    Aria of Angel from Coronation melodrama

        (1678-1741)                                          „Sub olea pacis et palma virtutis“, (1723)


Antonio Lotti                                                Triosonata in G

       (1667 - 1740)      


J. J. I. Brentner                                             Concerto I. in A minor 

                                                                       Horae Pomeridianae, op. 4 (Prague, 1720)


František Antonín Tùma                            Sinfonia XII. in D

      (1704 - 1774)                              



Soprano solo


Flauto traverso + piccolo, Oboe, 2 Violins, Viola,

Violoncello, Harpsichord



Johann Joseph Ignaz Brentner was born and died in Dobøany near Pilsen but during his life he worked  as an organ player at the St. Nicolas Church in Prague. Judging by four of his collections being published by the Prague printer J. Labaun, Brentner was a popular composer there. His first work to be brought  out in print was a collection of sacred cantatas in the da capo form with a contrasting middle part, a style imported from Italy and very popular at the time. Brentner dedicated his Offertoria solemniora Op. 2  to his patron Sir Raymund Wilfert, the abbot of the Premonstratensian Monastery in Teplá. He wrote in the late Baroque concerto style employing frequent melodious motifs. Another fact documenting the popularity of Brentner’s music is that his works were performed at the Strahov Monastery in Prague until as late as 1840. The Horae pomeridianae collection, Brentner’s fourth printed publication, is unique in comprising solely instrumental compositions. There is no other collection with similar contents to be found among the Prague musical output of the period.


In 1723, cellist Antonio Vandini invited his friend of many years, the famous Italian violinist Giuseppe Tartini, to join him on his journey to Prague and take part in the splendid celebrations of the coronation  of Charles VI as the King of Bohemia. After the festival Tartini stayed on in Prague in the services  of the Counts Kinsky and Lobkowicz. He got to know a number of other famous composers and musicians residing in Prague, such as Fux, Caldara and Weiss. Unfortunately, however, the Prague climate undermined his health and caused him to return, „against his own will“, as he wrote in a letter, back to Padua in 1726. Tartini also studied composition with our Bohuslav Matej Cernohorsky in Assisi (both were monks of minorit order - known for its good music education).


According to period documents František Antonín Tùma was a pupil of Èernohorský in the Jesuit seminary in Prague. After 1722 Tùma moved to Vienna to work as a composer and Kapellmeister in the services of the Czech Chancellor František Ferdinand Kinsky. Although Kinsky recommended Tùma for the position of the choirmaster at the Prague St Vitus Cathedral, Tùma spent the rest of his life in Vienna working as the Empress Elizabeth’s Kapellmeister. He was also renowned for his viola da gamba and theorbo playing. In his Sinfonia in D Tùma aspires to a freer musical form; the common models of the Neapolitan sinfonia and of the sonata form are replaced by the style of a dance suite and by a well balanced cycle of movements, based on the principle of contrast. 


Around 1737, the Italian composer and violinist Carlo Tessarini worked in the services of the Cardinal Wolfgang Hannibal Schrattenbach in Kromeriz in Moravia. Before finally settling down in the Netherlands, Tessarini travelled extensively through most of the musical centres of the time. He dedicated all his work to instrumental music and although his sonatas and concertos bear the stamp of Vivaldi’s influence, there is no evidence that he would have studied with Vivaldi or Corelli. His sonatas full of syncopated and clear themes frequently of dance character anticipate the gallant style.


Like Tessarini, Josef Antonín Gurecký was a member of the household of the Kromeriz Cardinal Schrattenbach and stayed there to work in the services of his successor Jakob Ernest von Liechtenstein. Together with his brother Václav Matyás Gurecky he was educated at a Piarist college and after Václav Matyáš died he took over his position as a musical director at the Olomouc cathedral, composing mostly sacred music. His sonata for violin and basso continuo was probably written during his Dresden sojourn; together with his virtuoso violin concerto it is preserved in the Dresden library and the difficulty of the solo part signifies it was dedicated to the phenomenal German violinist Pisendel.


Italian operatic composer Antonio Lotti was famous in Prague mainly for his sacred music frequently performed at the galleries of the Prague churches and cathedrals. Lotti was born in Hannover but spent most of his life in Venice. In the early 1720s he worked occasionally for the  court in Dresden and some say that between 1718-1726 he travelled several times to Prague. The National Museum archives stores the manuscript of his vocal composition Miserere


The Golden Age of the Lute


Antonio Vivaldi                                Trio in sol minore

     (1678 - 1741)                                per sua Eccelenza Signor Conte Wrtbij (Vrtba)

                                                           Concerto in re minore per liuto, viola d_amore e archi


Václav Norbert Èervenka               Menuet

      (1677 - 1752)            


Jan Antonín Losy                              Rondeau, Chaconne

       (1660 - 1721)      


Silvius Leopold Weiss                     Tombeau sur la Mort du Mr. Losy, 1721

     (1686 - 1750)                                Suite in re minore


Johann Friedrich Fasch                   Concerto in re minore per liuto e archi

      (1688 - 1758)                              


Baroque lute




Silvius Leopold Weiss  (1686 Breslau-1750 Dresden) and Antonín Losy, count of Losinthal (1650 Strakonice-1721 Prague) were contemporaries and personal friends. Even though the majority of Losy_s  work belongs to the French Baroque lute tradition, his latest compositions bear considerable marks of the German galant style, whose most profilic example was, indeed, Weiss with his more than 600 lute pieces. Weiss was active at the court of the Polish Prince Alexander Sobiesky in Rome, and later at the court of Hessen-Kassel and Dusseldorf.  By 1717 he was listed  as a member of the chapel at the Saxon court in Dresden, and by 1744  he was the highest paid instrumentalist at the court. He visited Prague in 1717 and 1719, and later returned in 1723 together with other outstanding musicians of the time like Zelenka, Graun, Quantz and Caldara, to perform Fux_s opera Costanza et Fortezza.  Around 1700, the lute playing was such a common and popular matter  in Prague it made Balthasar Janowka say that all the roofs of the city could be covered with lutes. Both the composers’s work is an expression of mutual respect and admiration which culminated in Weisse’s work „Tombeau“ composed in the year of Losy’s death.


Antonio Vivaldi was one of the most frequently performed operatic composers in the Bohemia of the first half of the 18th century; a number of his operas were even written to a Prague commission (eg. La tirannia castigata-1726, Agrippo-1730 etc.). One    of the greatest Prague music patrons was the Count František Antonín Spork, whose private theatre saw in the latter 1420s and early 30s the performances of several operas by Vivaldi, written or adjusted by the composer specifically for this scene. Vivaldi maintained close connections with other Czech nobles as well, as for example with the Count of Vrtba, to whom Vivaldi dedicated a trio for lute, violin and basso continuo. It is worth mentioning that the collection Il Cimento dell_Armonia e dell_Inventione, comprising the famous Four Seasons set of violin concertos, was dedicated to the Czech nobleman, Count Václav Morzin.



Evangelina Mascardi was born in Buenos Aires, Argentina. She has a degree at music teaching from the J. P. Esnaola  National School of Music. She is the winner of several guitar competitions, such as Jóvenes Guitarristas Argentinos in 1995, or the Concurso Musical Universidad de Haedo in 1996. Since 1996, she has devoted herself to the performance practice of early music plugged instruments. She studied lute with Hopkinson Smith at the Schola Cantorum Basiliensis, and also with Jacob Lindberg and Eduardo Eguez. In 1997 she has been invited to perform as a baroque solo guitarist           at the Fringe Festival in Barcelona. She frequently appears as a soloist and a continuo player in many countries of Europe and South America. She has recently recorded a solo CD with lute music by Bach and Weiss for Sony Music.  



orchestral suites and overtures of the High Baroque period


Johann Caspar Ferdinand Fischer Ouverture  d moll

                        (from Le Journal du Printems)                       


Johann Joseph Fux                           Ouverture g moll                 

                                                                       (from Concentus musico-instrumentalis)


Georg Philipp Telemann                            Suita in e 

(from Tafelmusik)


Gerog Friedrich Händel                             Suita in F

(from Wassermusik)



2 Flauti traversieri, 2 Violins, 2 Violas, Violoncello,

Harpsichord, Double-bass




Johann Joseph Fux was known in Bohemia as the author of the festive opera Costanza e Fortezza written for the occasion of the coronation of Charles VI as Czech King. A number of scenic musical performances were premiered during the festival, featuring besides Fux such great composers of the time as Caldara, Conti and Porsilo. The whole event was opened by Fux’s grand opera performed under the baton of Antonio Caldara in front of some 4.000 people. The music written in the Venetian operatic style  was sung by the leading court singers, mainly castrates.


The important Czech composer Johann Caspar Ferdinand Fischer (c1670-1746) worked as a Kapelmeister at the Margrave of Baden’s castle in Ostrov nad Ohøí. The very first mention of Fischer’s sojourn in Ostrov is his own inscription on the front page of his first work, Le journal du Printems from 1695, where he describes himself as a Hofkapellmeister of the Baden margrave, to whom he dedicated this work. 


Fischer wrote his instrumental pieces under the influence of French dance music; his collection Le journal du Printems presents one of the best examples of German orchestral suite. The five-part texture, interspersed with trios and enlivened by added trumpet parts, the choice of fashionable dances (minuet, gavotte, bourrée), the inclusion of rondeaux, chaconna, a passacailla, all these are obvious marks of Luly’s influence.




Sacred music by German-Bohemian

Composers around 1700



Johann Rosenmüller:           Sonata 11 a 5 in A aus der Sammlung

(um 1618-1684)                     „12 Sonate a 2,3,4, e 5 stromenti da arco e altri“



J. Rosenmüller                      Geistliches Konzert „Nisi dominus“

für Sopran, Alt, Tenor, Bass und Streicher in A


Samuel Capricornus            Motette „Ich bin schwarz“

(1628-1665)                            für Bass und Streicher in g



S. Capricornus                      Geistliches Konzert aus der Sammlung

„Geistliche Harmonien III“, 1664

„Clamavi“ für Alt,Tenor, Bass, 2 Violinen und B.c. in c


J. Rosenmüller                      Sinfonia seconda in D



J. Chr. Kridel                        Geistliche Konzertarie Nr. IV. aus der Sammlung

(1672-1733)                            „Neu-eröffnetes Blumen-Gärtlein“, Bautzen 1706

„Erlaube mir“ für Sopran, 2 Violinen und B.c.


J. Rosenmüller                      Sonata 9 a 5 in D



J. Rosenmüller                      Geistliches Konzert „De profundis“

für Sopran, Alt, Tenor, Bass und Streicher



T.T. cca 68'



Soprano, Alto, Tenor, Bass

2 Violins, 2 Violas, Viola da gamba, Organ, Theorbo, Double-bass








Johann Rosenmüller wurde 1619 in Ölsnitz (Vogtland) geboren und starb 1684 in Wolfenbüttel. Als Student der Universität Leipzig war er Stellvertere des Thomaskantors Botias Michael und wurde 1651 Organist an der Nikolaikirche, eine Stelle, die er vier Jahre später eines Skandals wegen verlassen musste. Für seine künstlerische Karriere war dieser Vorfall vermutlich ein Glücksfall, denn seine Wege führten ihn nach Venedig, wo er von 1658 bis zu seiner Berufung nach Wolfenbüttel 1682 steigendes Ansehen als Komponist erlangte. Spuren dieses italienischen Aufenthaltes schlagen sich natürlich auch in seinen Werken nieder, denn den geistlichen Konzerten, die Sie heute hören, merkt man den venezianischen Sinn für Farb- und Klangeffekte deutlich an. Der Wechsel von hohen und tiefen Lagen, ein später Anklang an Mehrchörigkeit, die wortgebundenen Kontraste zwischen langsamen und schnellen Bewegungen, ein der Monteverdischen und Schütz’schen Tradition entlehnter Sinn für Deklamation, all diese Elemente schöpften die Komponisten der nördlichen Hemisphäre aus der immer inspirierenden Welt Italiens.


Auch Samuel Friedrich Bockshorn, der seinen Namen in seiner latinisierter Form Capricornus führte, absorbierte die italienische Technik der emotionalen und symbolistischen Wortausdeutung. 1628 in der Nähe des heutigen Mladá Boleslav in Böhmen geboren, wo er im vom Dreißigjährigen Krieg verwüsteten Land eine ärmliche Kindheit verbrachte, wandte er sich nach verschiedenen, nicht gut bezeugten Zwischenstationen 1649 in Wien endgültig der Musik zu. Seine erfolgreiche Tätigkeit als „Director musices„ im benachbarten Bratislava (Preßburg) verließ er nach sechsjähriger Dienstzeit 1657, um in Stuttgart als Kapellmeister am Hof zu wirken. Dort allerdings widerfuhr ihm der Neid des eingesessenen Musikers Philipp Bödekker, mit dem er in einen mehrere Jahre dauerenden Streit geriet, der sich nicht zuletzt an musikalischen Fragen entzündete. Capricornus verteidigte dabei den monodischen italienischen Stil nach dem Vorbild Carissimis, den er wenigstens mittelbar gekannt haben musste, denn Carissimi führte ein Oratorium von Capricornus im berühmten San Appolinare in Rom auf, eine für einen deutschen Musiker sicher ungewöhnliche Ehrung. Auch Schütz äußerte sich lobend über seine Kompositionen.

Weniger bekannt und doch nicht weniger interessant sind Leben und Werk eines weiteren Komponisten des deutsch-tschechischen Kulturkreises: Johann Christoph Kridel wurde 1672 im nordböhmischen Rumburg (Rumburk) geboren und studierte 1685-90 im Jesuitenkolleg auf der Kleinen Seite in Prag. 1694 kehrte er ins väterliche Rumburk zurück, wo er bis zu seinem Tode eine Organistenstelle innehatte und als Lehrer arbeitete, was sich in seinem von ihm selbst angegebenen Titel „praeceptor„ niederschlug. Zu seinen Schülern gehörten die Prinzessin Karolina von Hessen-Rheinfels und die junge Marie Karolina von Liechtenstein, Tochter des Fürsten von Rumburk. Der Rumburger Organist unterhielt regelmäßigen Kontakt mit Bautzen, was sich in der Publikation der Concert-Arien ebendort niederschlug, von denen sie heute die vierte hören. Der deutsche Text der geistlichen Kantaten stammt von Kridel selbst und bezeugt dessen tief empfundene Frömmigkeit. Der vollständige Titel lautet: „Neu-eröffnetes Blumen-Gärtlein, worinnen Sechs das gantze Jahr durch blühende Musicalische Blumen zufinden oder Neu-verfertite Sechs Deutsche Concert-Arien, welche zu allen Zeiten des Jahrs zugebrauchen. Canto solo, II. violinis, cum Organo, Allen der Music zugethanen Liebhabern zu sonderbahren Nutzen componirt und verfertigt durch Joannem Christophorum Kridel, Organisten in Rumburg. Budissin (Bautzen) ... 1706„.



Rorate coeli

Czech Baroque music for Advent time


A. V. Michna z Otradovic                „Kdo by tì chváliti ?ádal“

  (1600-1676)                                     Interludium from LOUTNA ÈESKÁ  1653


V. K. H. Rovenský                             „Rorate coeli, kdy? svatí proroci“

 (1644-1718)                                      from CAPELLA REGIA MUSICALIS  1693


V. K. H. Rovenský                             „Ach, Bo?e, kterak jsem to zaslau?ila"

                                                           from CAPELLA REGIA MUSICALIS   1693


M. Uccellini                                       Aria sopra la Bergamasca (1642)    



J. J. Bo?an                                          „Maria pole vznešené“

(1644-1715)                                       from SLAVÍÈEK RAJSKÝ   1719

                                                           (instr. realization V.K.H. Rovenský)                      


A. V. Michna z Otradovic                „Archanjelské AVE“

                                                            from ÈESKÁ MARIÁNSKÁ  MUZIKA  1647


Sig. N. N. Romano                             Sonata decima

            from Scielta delle Suonate   1680  


V. K. H. Rovenský                             „Marya dej dovolení, ?ádám za audienci“

                                                           from CAPELLA REGIA MUSICALIS   1693


V. K. H. Rovenský                             „Hle, pøijde Pán, Spasitel náš“

                                                           from CAPELLA REGIA MUSICALIS   1693


A. Grandi                                           "Cantabo Domino"   



G. Legrenzi                                        Sonata a due violini

                        from La Cetra  1682         


A. Grandi                                           "Tota pulcra es"        

                                                           from Cantade ed Arie   1628


A. V. Michna z Otradovic                „Mariánský rytíø“

                                                            from ÈESKÁ MARIÁNSKÁ  MUZIKA   1647


J. J. Bo?an                                          „Maria tomu se tìším“

                                                           from SLAVÍÈEK RAJSKÝ   1719




Soprano, Alto, Bass


Flauto traverso + flauto dolce, Violin, Violin + viola,

Violoncello, Harpsichord


Venite pastores

Christmas dramatic motets from Kromìøí? archives


I. Sequentia sancti Evangelii secundum Lucam (2, 1 - 14)


II.  Introductio

                        Pavel Josef Vejvanovský (1639 - 1693)

                                    Sonata natalis (1674)


III. Invitatio ad praesepe

                        Johann Heinrich Schmelzer (1623 - 1680)

                                    Venito, venito ocyus

                        (De Nativitate Domini, c. 1670)


IV. Pastoral disputation about born Jesus

                        Václav Jan Rosa (c. 1620 - 1689)

                                    Èechoøeènost (1672)


V.        J. H. Schmelzer

                                    Sonata ad tabulam seu cunabulam (c. 1670)    


VI. Pastores apud praesepe

                        Václav Karel Holan Rovenský (1644 - 1718)

                                    Ach, mùj Milý Je?íšku

                        Spanilé z Archy Holubièko

                                                (Capella Regia musicalis, 1693)

            J. H. Schmelzer

                                    Currite accurrite

                                    (De Nativitate Domini, 1670)


VII.  Interludium

                        Johann Rosenmüller (1619 - 1684)

                                    Sonata Nr. 11, A-dur


VIII. Chorus

                        V. K. Holan Rovenský (1644 - 1718)

                                    Usni, usni ctné poupátko

                                    (Capella Regia musicalis, 1693)

                        K Je?íškovi, miláèkovi pospìšte 

                                    (B. Bridel SJ - Jeslièky, 1658 ( Capella Regia musicalis, 1693)

                        Zavítej k nám dítì malé

                                    (Capella Regia musicalis, 1693)





Soprano, Alto, Tenor, Bass


2 flauti traversieri + dolci, 2 Violins, 2 Violas,

Violoncello, Double-bass, Organ





Concert Francais




Jean-Marie Leclair                           Deuxieme Récréation de Musique

       (1697-1764)                                Ouverture, Sarabande, Badinage, Tambourin


Michel Pignolet de Montéclair      V.me Cantate „La Bergere“ - Troisieme Livre



Gottlieb Muffat                                Allemande - La Francoise

      (1690 -1770)                               


Michel Blavet/Jean-Philipp Rameau                     

     (1700-1768)                                  Tambourins des Indes Galantes

                                                           I.re Recueil de pieces - Petits Airs et Brunettes



Martin Hotteterre.„le Romain“/M. P. de Montéclair/Michel Blavet   

                                                Brunette ancienne et moderne-„Feuillages verdes“


André Cheron                                  Sonate en Trio no. 7

  (1695-1766)                                      Prélude (Gravement, Vivement), Chaconne (Rondement)


M. P. de Montéclair                         IV.me Cantate „Pan et Sirinx“ - Second Livre





Soprano solo

Flauto traverso + flauto dolce, Violin,

Viola da gamba, Harpsichord


Baroque dance performance

Entertainment enjoyed at 17th and 18th century noble courts



A. Cheron: Sonate en Trio No. VII

            Prélude (Gravement, Vivement), Chaconne (Rondement)

La Bourgogne

            (dance suite from „Airs de Danse“, 1700

                        choreography M. Leclercq after R.A.Feuillet)

La Bretagne  - passepied ( rigaudon

            (hudba/music: A. Campra - Télemaque, 1700

                        choreografie/choreography H. Kazárová podle/after L. Pécour, 1704)

F. Couperin: Troisieme Concert Royal

                        Prélude, Allemande, Courante, Sarabande, Gavotte, Chaconne

Bourrée d_Achille

(music: P. Colasse - Achille et Polyxene, 1687,

choreography H. Kazárová after L. Pécour, 1704)

 Menuet a deux

                        (music: A. Campra - Les Fragments de M. de Lully, 1702)

choreography H. Kazárová after L. Pécour, 1704)

Menuet pour les Faunes ( les Dryades

(music: J. B. Lully, Les Amants Magnifiques, 1670,

choreography M. Leclercq after R. A. Feuillet)

G. Ph. Telemann:  Triosonate "Pastorale"

                         Pastorale (Moderato), Vivace (Corrente), Gavotta (Allegro), Grave, Vivace


(music: A. Campra - Le carneval de Venice, 1702

choreography H. Kazárová after L. Pécour, 1704)

Chaconne d_Arlequin

(music: M.-A. Charpentier - Le Malade Imaginaire, 1673,

choreography H. Kazárová after dance-master Rousseau, 1720)


            (music: J.-B. Lully - Le Bourgeois Gentilhomme, 1670

                        choreography H. Kazárová after R. A. Feuillet, 1700)

Les Folies d_Espagne   

(music: J.-B. Lully, 1672, choreography H. Kazárová after L. Pécour,

reconstruction of castagnetts part: Tatiana Krištùfková)

Gigue de Roland

(music: J.-B. Lully - Roland, 1685

choreography H. Kazárová after R. A. Feuillet, 1700)


            (music: A. Campra - Les Fragments de M. de Lully, 1702)

choreography H. Kazárová after L. Pécour, 1704)




music-dance ensemble


Flauto traverso + piccolo, Violin, Harpsichord, Violoncello


4 dancers



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