Amandus Ivanschiz (1727-1758) - Missa (ex C) à 4 voci ()

★ Follow music ► Composer: Amandus Ivanschiz (1727-1758) Work: Missa (ex C) à 4 voci () Performers: Cаtеrina Prеstеlе (soprano); Kаtаrzyna Holysz (alto); Piotr Szеwczyk (tenor); Miroslаw Bοrczynski (bass); Accаdеmia dеll’Arcаdiа; Vox humаnа; Bаrtlomiеj Stаnkowiak (conductor) Missa (ex C) à 4 voci () 1. Kyrie 0:00 2. Gloria 9:45 3. Credo 23:43 4. Sanctus 36:48 5. Benedictus 38:10 6. Agnus Dei 42:10 Painting: Daniel Gran (1694-1757) - Admission of Diana to Mount Olympus (1732) Image in high resolution: Painting: Theodoor van Thulden (1606-1669) - Allegory of the Farewell of William III from Amalia van Solms following the transfer of Regency to the States General (1661) Image in high resolution: Further info: Listen free: No available --- Amandus (Matthias Leopold) Ivanschiz [Ivanschitz, Ivanschütz, Ivanscics, Ivančić, Ivančič] (Wien, bap. 24 December 1727 - Ort?, 1758) Austrian composer of south Slav extraction. Only fragmentary information about his life is available. He entered the Pauline order in his hometown and choose the name of Amandus likely by the end of 1742. After his novitiate in the Ranna monastery at the age of 16 (Dec. 25, 1743) he took his monastic vows. He then studied in Maria Trost and Wiener Neustadt, where he was ordained a priest on November 15, 1750. Between 1751 and 1754 he stayed in Rome as an assistant to the Procurator General of the order, from where he returned to Wiener Neustadt. In 1755 he was sent again to the Maria Trost monastery, where he died in 1758, at the young age of 31. He was evidently a prolific and popular composer: there survive about 100 works by him in manuscripts, dating mostly from 1762 to 1772 and scattered throughout the Habsburg Empire and in south Germany. His music is characteristic of the transition from late Baroque to early Classical style, and his best works are his masses and symphonies. The masses are mostly scored for four soloists, four-part choir, two violins and bass and a pair of trumpets; some are of considerable dimensions, and they show distinct Neapolitan traits. The symphonies, many of which have four movements, are scored for strings, sometimes with a pair of trumpets or horns. The trios, entitled variously ‘Divertimento’, ‘Nocturno’, ‘Sinfonia’, ‘Sonata’ and ‘Parthia’, are mostly in three movements in the same key; Ivanschiz’s frequent use of the viola as the second solo instrument is a forward-looking trait.