VEJVANOVSKÝ P.J., RITTLER F.J., BIBER H.I.F. VOCAL WORKS / M.Kožená, Musica Florea

1. Pavel Josef Vejvanovsky (1633-1693): SERENADA 3:04

2. Filipp Jakob Rittler: SONATA CAMPANARUM VULGO GLOCKERIANA 3:55

3. P.J.VEJVANOVSKÝ: REGINA COELI (I.) 4:40

4. H.F.I. BIBER?: SONATA a 3 5:17

5. P.J.VEJVANOVSKÝ: CONGREGATI SUNT INIMICI NOSTRI 4:38

6. P.J.VEJVANOVSKÝ: SONATA TRIBUS QUADRANTIBUS 2:43

7. P.J.VEJVANOVSKÝ: REGINA COELI (II.) 2:42

8. P.J.VEJVANOVSKÝ: SONATA VESPERTINA a 8 3:28

9. F.J.RITTLER: ALMA REDEMPTORIS MATER 2:06

P.J.VEJVANOVSKÝ: OFFERTUR AD DUOS CHOROS 5:26

10. Offertur 2:04

11. Sarabanda 1:45

12. Allegro 1:36

13. P.J.VEJVANOVSKÝ: SONATA SANCTI PETRI ET PAULI 4:56

14. P.J.VEJVANOVSKÝ: SALVE REGINA (III.) 4:12

15. F.J.RITTLER: CIACCONA a 7 4:05

P.J.VEJVANOVSKÝ: BALLETTI PER IL CARNUALE 10:38

16. Ingressus 1:37

17. Intrada 2:15

18. Minuet 1:17

19. Gavotte 1:58

20. Aria 1:44

21. Ingressus 1:38

TOTAL TIME 62:42

Musica Florea, conductor Marek Štryncl

soprano: Anna Hlavenková (5,7,9), mezzosoprano: Magdalena Kožená (5,7,9), tenor: Martin Prokeš (5), bass: Michael Pospíšil (3,5,9,14), Radim Vondráček (3)

recorders: Marek Špelina, Jan Kvapil, Alice Rychetníková (16-21), clarini: Jaroslav Rouček (1,3,6,8,13,15-21), Karel Mňuk (1,3,8,15-21), Josef Zámečník, Pavel Čermák, František Svejkovský (1), alto trombone: Stanislav Penk (3,5,8,13), tenor trombone: Pavel Čermák (3,5,6,8,13), bass trombone: Bohuslav Rattay (3,5,8,13), violins: Dagmar Valentová-Prokešová (2,5,6,8,10-21), Simona Pešková (1,2,4,5,7,10-13,15-21), Jiřina Doubravská (1,2,7,8,10-12,14), Martin Jirka (4,10-12), viola: Lýdie Cillerová (1,2,4,5,7,10-21), viola da gamba: Petr Wagner (2,5,10-12,14,15), cellos: Pavel Řezáč (1,3,5,7-14,16-21), Marek Štryncl (2,4,6,10-12,15), double bass: Jan Doskočil (1-3,5,7,8,10-21), theorbo: Přemysl Vacek (1-21), harpsichord: Iva Vedralová (1,2,4,6,10-12), Marek Štryncl (7,16-21), positive organ: Marek Štryncl (1,3,5,8,9,13,14), timpani: Libuše Šperková (1,16-21)

The anthology of works selected for this recording does not reveal their beauty and place in the refined system of baroque ceremony, as were the liturgical rites in the Church of St Maurice in Kroměříž or the Vyškov's balls. Short pieces linked together into a formally perfect whole, such as could only be achieved in that epoch, make for an entirely different experience of lustre and contemplation than a textbook selection.

Vejvanovsky is often regarded as a secular composer; this is mistaken. He was first and foremost a church musician and also composed for the church. A fine example are three St Mary antiphons, most often sung at the end of vespers: SALVE REGINA from 1666, while appearing to be cobbled together" from short themes, reveals Vejvanovsky's feeling for lovely melody.

(Studio Matouš)