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Philipus Jacobus Rittler, Missa Carolina à 24 Philipus Jacobus Rittler, Missa Carolina à 24 (1675) Born ca. 1637- Died February 19, 1690 in Olomouc, Moravia Philipus Jacobus Rittler, Missa Carolina …More
Philipus Jacobus Rittler, Missa Carolina à 24
Philipus Jacobus Rittler, Missa Carolina à 24 (1675)
Born ca. 1637- Died February 19, 1690 in Olomouc, Moravia
Philipus Jacobus Rittler, Missa Carolina à 24 (1675)
First modern performance presented in concert on period instruments by the FSU Early Music Ensembles and Cantores Musicæ Antiquæ, Jeffery Kite-Powell, director. March 4, 1994 at the St. Thomas More Co-Cathedral, Tallahassee, Fl. Photos from dress rehearsal.
The Ensembles:
Cantores Musicæ Antiquæ (Concertino Group)
Rebecca Lister, soprano
Alice Tillotson, soprano
Patman Lester, countertenor
Shawn Bartels, tenor
Steven Zielke tenor
David Childs, bass
Cantores Musicæ Antiquæ (Ripieno Group)
Solfeig Fretheim, soprano
Janet Edwards, soprano
Brian Black, countertenor
Tim Watkins, tenor
James Lease, tenor
Jeffery Ames, bass
Instrumental Ensembles (Strings)
Karen Clarke, violin
Melissa Brewer, violin
Philip Chang, viola da gamba
Jennifer Bell, viola da gamba
Dennis Hutchison, viola da gamba
Natural trumpets:
Darin Obrecht
Julie Nease
Sackbuts:
Ben Pringle, tenor
Mike O'Connor, tenor
Angeleeta Sosnowski, bass sackbut
Continuo:
Charles E. Brewer, organ
Reeves Ely, regal
Mark Chambers, baroque cello
Kevin Lay, violone
Martha Bishop, bass viola da gamba
Jerry Cain, contrabass racket
Transcribed into modern notation by Charles E. Brewer
Rittler was both a priest and a talented, though somewhat uneven, composer active in Austria and Moravia in the second half of the seventeenth century. It is unclear exactly where Rittler was born, but he may have received his early training in Graz, where between 1669 and 1673 he was a priest and court chaplain to Prince Johann Seyfried von Eggenberg. In addition to his time in Graz, he may have attended the Jesuit university at Opava in Moravia where he met his future colleague in Kromeriz, Pavel Vejvanovsky and possibly even Heinrich Biber. In 1675 he became chaplain at the court of the Bishop of Olomouc, Karl Liechtenstein-Castelcorno, at Kromeriz. However, it was a musical appointment that he really craved, and after much persistent canvassing and rejection he finally received the title of honorary vicar and conductor of the choir at Wenceslas Cathedral in Olomouc, where he remained the rest of his life.
Rittler's music circulated throughout the Habsburg Empire and a substantial amount of it survives. Like many of his other colleagues at Kromeriz and Olomouc, he composed music for virtuosos and to judge by his surviving compositions he must have been a formidable violinist. The inventory of his possessions at the time of his death reveals an impressive collection including, among other instruments, five violins (including one by Austrian master Jacob Stainer), a viola da gamba, and two clavichords. Rittler was also a fluent writer (and presumably speaker) in the Czech language and owned a copy of one of the first German-Latin-Czech dictionaries.
His output is divided into two periods: before 1675 he composed primarily instrumental music and after this time he composed mainly music for the church. His instrumental pieces are distinguished by their inventive orchestration and demanding solo parts. Some pieces make reference to aspects of daily life, including the tolling of the church bells and the sound of a village wind band in Graz. In some ways Rittler is emblematic of many Habsburg musicians of the time; with his experiences ranging from one corner of the Empire to another, he was aware of the latest musical trends sweeping Europe yet steeped in daily life and vernacular of smaller towns as well as cities. Rather astonishingly, his music is yet to receive the full recognition it deserves, though several enterprising publishers and ensembles are endeavoring to set this right.
Philipus Jacobus Rittler, Missa Carolina à 24 (1675)
Born ca. 1637- Died February 19, 1690 in Olomouc, Moravia
Philipus Jacobus Rittler, Missa Carolina à 24 (1675)
First modern performance presented in concert on period instruments by the FSU Early Music Ensembles and Cantores Musicæ Antiquæ, Jeffery Kite-Powell, director. March 4, 1994 at the St. Thomas More Co-Cathedral, Tallahassee, Fl. Photos from dress rehearsal.
The Ensembles:
Cantores Musicæ Antiquæ (Concertino Group)
Rebecca Lister, soprano
Alice Tillotson, soprano
Patman Lester, countertenor
Shawn Bartels, tenor
Steven Zielke tenor
David Childs, bass
Cantores Musicæ Antiquæ (Ripieno Group)
Solfeig Fretheim, soprano
Janet Edwards, soprano
Brian Black, countertenor
Tim Watkins, tenor
James Lease, tenor
Jeffery Ames, bass
Instrumental Ensembles (Strings)
Karen Clarke, violin
Melissa Brewer, violin
Philip Chang, viola da gamba
Jennifer Bell, viola da gamba
Dennis Hutchison, viola da gamba
Natural trumpets:
Darin Obrecht
Julie Nease
Sackbuts:
Ben Pringle, tenor
Mike O'Connor, tenor
Angeleeta Sosnowski, bass sackbut
Continuo:
Charles E. Brewer, organ
Reeves Ely, regal
Mark Chambers, baroque cello
Kevin Lay, violone
Martha Bishop, bass viola da gamba
Jerry Cain, contrabass racket
Transcribed into modern notation by Charles E. Brewer
Rittler was both a priest and a talented, though somewhat uneven, composer active in Austria and Moravia in the second half of the seventeenth century. It is unclear exactly where Rittler was born, but he may have received his early training in Graz, where between 1669 and 1673 he was a priest and court chaplain to Prince Johann Seyfried von Eggenberg. In addition to his time in Graz, he may have attended the Jesuit university at Opava in Moravia where he met his future colleague in Kromeriz, Pavel Vejvanovsky and possibly even Heinrich Biber. In 1675 he became chaplain at the court of the Bishop of Olomouc, Karl Liechtenstein-Castelcorno, at Kromeriz. However, it was a musical appointment that he really craved, and after much persistent canvassing and rejection he finally received the title of honorary vicar and conductor of the choir at Wenceslas Cathedral in Olomouc, where he remained the rest of his life.
Rittler's music circulated throughout the Habsburg Empire and a substantial amount of it survives. Like many of his other colleagues at Kromeriz and Olomouc, he composed music for virtuosos and to judge by his surviving compositions he must have been a formidable violinist. The inventory of his possessions at the time of his death reveals an impressive collection including, among other instruments, five violins (including one by Austrian master Jacob Stainer), a viola da gamba, and two clavichords. Rittler was also a fluent writer (and presumably speaker) in the Czech language and owned a copy of one of the first German-Latin-Czech dictionaries.
His output is divided into two periods: before 1675 he composed primarily instrumental music and after this time he composed mainly music for the church. His instrumental pieces are distinguished by their inventive orchestration and demanding solo parts. Some pieces make reference to aspects of daily life, including the tolling of the church bells and the sound of a village wind band in Graz. In some ways Rittler is emblematic of many Habsburg musicians of the time; with his experiences ranging from one corner of the Empire to another, he was aware of the latest musical trends sweeping Europe yet steeped in daily life and vernacular of smaller towns as well as cities. Rather astonishingly, his music is yet to receive the full recognition it deserves, though several enterprising publishers and ensembles are endeavoring to set this right.