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Jan Josef Ignác Brentner

Bohemian composer Jan Josef Ignác Brentner (sometimes called by his Germanized name of Johann Joseph Ignaz) was created, and died, in Dobrány, Bohemia, where his dad once served as mayor, now in the Czech Republic. What we realize about him comes mainly from period he spent in Prague, from 1717 to about 1720, where he released at least three main quantities of music. Brentner’s opus 1 is usually a assortment of 12 sacred arias for tone of voice, strings, and continuo, Harmonica duodecatometria ecclesiastica seu (1717), well-known plenty of to demand another printing in the 1720s. Furthermore, Brentner released a assortment of six offertories for chorus, strings, and continuo entitled Offertoria solenniora (1717) as his opus 2 and a assortment of six chapel sonatas, Horae pomeridianae seu Concertus cammerales (1720) as his opus 4. If Brentner released an “opus 3,” it hasn’t been accounted for. Brentner’s patron was Raymond Wilfert, abbot from the Premonstratensian (Nobertine) monastery in Tepla, situated in Bohemia but administrated out of Austria. Scholars concur that the majority of Brentner’s music was initially performed in Tepla under Wilfert’s path, excepting his funeral motets, that have been written designed for the Brotherhood of St. Nicholas Cathedral in Prague. Although a great number of of Brentner’s functions are known dropped, a scattering of manuscript copies survive through the entire Czech Republic and a lot of them can be found in the Music Archive from the Bendiktinerstift in Göttweig, Austria. Still others possess resulted in, in modified variations, in Bolivia; nobody understands how Brentner’s music were able to travel to SOUTH USA. Registries of dropped collections owned by provincial churches in Eastern European countries bear see to Brentner functions that are no more extant; nevertheless, the collection at Tepla cathedral — the next largest historical collection in the Czech Republic — may contain music by Brentner up to now undiscovered, as its shop of music manuscripts stay uninvestigated. Brentner’s music fuses a straightforward and immediate melodic component, similar to contemporary Moravian methods, with a complicated and extremely ornamented instrumental accompaniment even more common of Bohemian music artists. Although Brentner hasn’t been a popular name, his music offers proved long lasting — it had been still becoming performed in Prague in the mid-nineteenth hundred years, and they haven’t halted playing it in Bolivia.

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