Czech Ensemble Baroque, Roman Válek - Tůma: Requiem (2021) [Hi-Res]

Tracklist

01. Requiem. Missa della morte in C: No. 1, Requiem aeternam I
02. Requiem. Missa della morte in C: No. 2, Te decet hymnus
03. Requiem. Missa della morte in C: No. 3, Requiem aeternam II
04. Requiem. Missa della morte in C: No. 4, Kyrie eleison I
05. Requiem. Missa della morte in C: No. 5, Christe eleison
06. Requiem. Missa della morte in C: No. 6, Kyrie eleison II
07. Requiem. Missa della morte in C: No. 7, Dies irae
08. Requiem. Missa della morte in C: No. 8, Tuba mirum
09. Requiem. Missa della morte in C: No. 9, Iudex ergo
10. Requiem. Missa della morte in C: No. 10, Rex tremende maiestatis
11. Requiem. Missa della morte in C: No. 11, Recordare, Jesu pie
12. Requiem. Missa della morte in C: No. 12, Iuste iudex
13. Requiem. Missa della morte in C: No. 13, Huic ergo parce, Deus
14. Requiem. Missa della morte in C: No. 14, Domine Jesu Christe
15. Requiem. Missa della morte in C: No. 15, Quam olim Abrahae
16. Requiem. Missa della morte in C: No. 16, Sanctus
17. Requiem. Missa della morte in C: No. 17, Benedictus
18. Requiem. Missa della morte in C: No. 18, Osanna in excelsis
19. Requiem. Missa della morte in C: No. 19, Agnus Dei
20. Requiem. Missa della morte in C: No. 20, Cum sanctis tuis
21. Miserere in C: No. 1, Miserere mei, Deus
22. Miserere in C: No. 2, Amplius lava me
23. Miserere in C: No. 3, Tibi soli peccavi
24. Miserere in C: No. 4, Ecce enim
25. Miserere in C: No. 5, Auditui meo dabis
26. Miserere in C: No. 6, Ne projicias me
27. Miserere in C: No. 7, Domine, labia mea aperies
28. Miserere in C: No. 8, Sacrificium Deo spiritus
29. Miserere in C: No. 9, Benige fac, Domine



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.

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