Leopold KOŽELUCH Joseph der Menschheit Segen (Masonic Cantata) Simona Eisinger, Soprano Siegfried Gohritz, Speaker Filip Dvořák, Harpsichord Czech Boys Choir Czech Chamber Philharmonic Orchestra Pardubice Marek Štilec Leopold Koželuch (1747–1818) Leopold Joseph der Menschheit Segen As early as 1772 the English musician and music historian Koželuch, born in Velvary, a small town northwest of KOŽELUCH Dr Charles Burney described as ‘the imperial seat , may have begun his musical training in just this (1747–1818) of music as well as of power’, drawing his readers’ kind of environment, but his advanced education took attention to the presence there of a number of gifted and place in Prague where he studied counterpoint and vocal Joseph der Menschheit Segen, PosK XIX: 3 (c. 1783) 33:20 highly productive composers. Its rise in importance as a writing with his cousin, Jan Antonín Koželuch (1738– 1(Text: Leopold Föderl, 1748–1817) musical centre was due largely to a decision made in the 1814) and piano and instrumental composition with 2 Introduzione. Adagio – Allegro 5:40 late 16th century to transfer the court from Prague to František Xaver Dušek (1731–1799). Dušek, a former 3 Coro. Andante (Segen kam auf uns hernieder …) 3:13 Vienna. Where the court went the nobility followed, and pupil of Georg Christoph Wagenseil in Vienna, was the 4 Melodrama. Allegro (Einst goß sich Barbarei …) 4:44 Vienna soon eclipsed Prague as the greatest city in the leading keyboard teacher in Prague and a highly far-flung Habsburg dominions. Like any imperial city, accomplished composer of instrumental music. Under his 5 Aria. Andante (Von ihm quoll Segen auf uns nieder ...) 2:46 Coro. Allegro (Er schenkte Freiheit unsern Hallen …) 2:45 Vienna was a magnet for talented and ambitious artists guidance Koželuch (who changed his name to Leopold to 6 and musicians from all over Europe, but one group in avoid confusion with his cousin) developed into an Melodrama. Moderato (Heil Menschheit dir! …) 4:26 7 particular was unusually successful: the Bohemians. In the exceptional pianist and a composer of great promise. A 8 Aria. Adagio (Trockne sanft die heissen Zähren …) 4:25 middle decades of the 18th century, many of the leading flirtation with studying law was abandoned after the 9 Melodrama. Allegro maestoso (Wie herrlich schön …) 2:41 musical figures in Vienna were Bohemians, among them successful performance of his first ballets and Coro. Allegretto (Dem Maurer Bunde true zu handeln …) 2:40 Christoph Willibald Gluck (1714–1787), Florian Leopold pantomimes in Prague, and in 1778 he moved to Vienna 0 Gassmann (1729–1774), Johann Baptist Wanhal (1739– to pursue a career as a professional musician. Koželuch’s Aria in B flat ‘Umbra noctis orbem tangit’, PosK XXV: 5 (after 1783) 6:12 1813) and Leopold Koželuch, while in other European reputation as a pianist, teacher and composer was (Text: unknown) centres composers such as Josef Mysliveček (1737–1781) sufficiently well established by 1781 for him to decline the ! and Antonio Rosetti (c. 1750–1792) enjoyed deserved position as court organist to the Archbishop of Salzburg Aria in E flat ‘Quaeso ad me veni, sponse divine’, PosK XXV: 4 (c. 1782) 6:11 fame as composers of international stature. made vacant by Mozart’s dismissal. He began publishing (Text: unknown) Visitors to Bohemia were universally impressed by the his own works by 1784 and in 1785 he founded a music high quality of the musicians there. Burney observed that publishing house (the Musikalisches Magazin) which was Missa in C, PosK XXV: 1 (date unknown) 11:54 he ‘had frequently been told that the Bohemians were the later managed by his younger brother, Antonín Tomáš (Text: Ordinarium Misae) most musical people of Germany, or, perhaps, of all Koželuch (1752–1805). Koželuch also cultivated @ Europe’, but on visiting there he realised that this apparent publishers elsewhere in Europe and his works seem to # Kyrie. Andante 2:02 musicality was firmly rooted in excellent teaching: have been particularly successful in London. It is $ Gloria. Allegro moderato 1:40 testimony to Koželuch’s reputation that the Bohemian % Credo. Allegro moderato 2:08 I found at length, that, not only in every large Estates commissioned him to compose a cantata for the ^ Sanctus. Adagio 1:05 town, but in all villages, where there is a reading coronation in Prague of Leopold II as King of Bohemia. & Benedictus. Andante 2:15 and writing school, children of both sexes are The success of this work almost certainly played a part in * Agnus Dei. Adagio 1:41 taught music … I went into the school [in Čáslav], Koželuch’s appointment in June 1792 as Kammer Dona nobis pacem. Allegro 1:38 which was full of little children of both sexes, from and Hofmusik Compositor at the court of six to ten or eleven years old, who were reading, Leopold’s successor, Emperor Franz II. Klage auf den Todt Marien Theresien, PosK XIX: 1 (c. 1781) 9:51 writing, playing on violins, hautbois, bassoons, In 1797 Koželuch received a letter from the Scottish (Text: Michael Denis, 1729 –1800) and other instruments. The organist had in a song collector and publisher George Thomson inviting ( small room of his house four clavichords, with him to take over from the task of arranging ) Largo (Von meinem ersten Knabenalter …) 3:14 little boys practicing on them all: his son of nine the songs he had selected for inclusion in his ambitious A ¡ Andante (Er leiht sie nimmer länger …) 4:05 years old, was a very good performer. Select Collection of Scotish [sic] National Airs . Having Largo (Und nun herab, du falber Winterkranz! ...) 2:32 agreed on the terms, which also included a commission to as it did to non-Roman Catholic faiths. This important movements cast in the same key. In Joseph , this does not resemblance ends. The range of the soprano part write a series of accompanied sonatas incorporating change in status quickly led to a rapid expansion in happen: the overture is in G major and the final chorus is exceeds two octaves, employs frequent large intervallic Scots airs, Koželuch set to work with a purpose and numbers of professed members of the craft, and growing in B flat major. Instead of considering tonal relationships skips, but otherwise does not indulge in too many vocal proved in short order to be an excellent if at times rather somewhat alarmed, Joseph responded in 1785 by between the various movements in terms of musical fireworks. The mastery of compositional technique that testy collaborator. The scope of the project, which signalling a far-reaching reorganisation of the lodges. This structure, Koželuch chooses his keys according to their Koželuch displays in his is also evident in this expanded to include Welsh and Irish folksongs, and caused many lukewarm masons to resign or drift away expressive qualities. Thus, we see a sequence of work in which he maintains a skilful balance between Koželuch’s teaching and duties connected with his court from the craft and by the late 1780s, Freemasonry was no tonalities that carefully matches the structure of the text: expressive text-setting and larger structural concerns. position, inevitably had an impact on his own work and longer the political or social force it had been. G–E flat–C minor–D–B flat–E flat –G–B flat. Expressed as The second aria, Quaeso ad me veni, sponse divine, from around 1804 his productivity as a composer Koželuch’s Joseph der Menschheit Segen is a a series of key characteristics typical of those described PosK XXV: 4 , is a radical reworking of the cantata Quanta declined. masonic cantata and was performed for the first time on 1 by 18th-century musical theorists, the work progresses è mai tormentosa, PosK XIX: 2 , composed c. 1782. Koželuch was an influential figure as a pianist and September 1783 at three Viennese lodges: ‘Zu den drei from a feeling of true friendship and faithful love (G major) Koželuch’s original setting included obbligato parts for contemporary writers credited him with playing an Adlern’, ‘Zur gekrönten Hoffnung’ and ‘Zur Beständigkeit’. to aspiration for a better world (B flat major). Koželuch’s fortepiano and violin, which, in the present version, are important role in the development of an idiomatic style of Like Mozart’s masonic works, it was composed for placement of the two E flat movements is similarly careful. replaced by violin and clarinet. The work has a two-part piano playing at a time when the harpsichord was still performance within the masonic sphere rather than for a The key is heard first in the opening chorus where the structure: a Largo aria followed by a brisk, cheerful widely played. Like his compatriot Wanhal – and to a wider audience. The author of the text, Leopold Föderl number three is further emphasised by the three-part Alleluja chorus. The slow tempo of the aria rules out the certain extent, Mozart – Koželuch derived a significant (1748–1817), an ordained priest and professor of poesie choir, and returns in the second aria, a movement of great bravura passage-work that is all too often regarded as the proportion of his income from teaching. It was important at the Akademisches Gymnasium in Vienna, was a beauty. D major, the brightest key employed in the work hallmark of virtuosity, but it nonetheless demands a therefore that his output as a composer reinforced his dedicated mason who wrote a considerable number of and associated with ideas of victory and rejoicing, is singer who not only possesses a wide vocal range but reputation as a leading exponent of his instrument. masonic texts during the 1780s and was a member of the reserved for the first aria and chorus complex, a paean of also a voice suited to lyrical, expressive performance. The Unsurprisingly, he wrote a large body of works for the lodge ‘Zur Beständigkeit’. Composed in the golden period praise to Joseph himself. instrumentation of the aria is colourful and Koželuch piano including sonatas, piano trios and concertos, but he between the enaction of the Patent of Toleration and the One of the most unusual features of Joseph der cleverly exploits the timbral possibilities of the ensemble, also composed in other instrumental genres and also first signs of Joseph’s crackdown on the craft in late 1785, Menschheit Segen is its use of Melodrama, the technique but equally impressive is the way that he animates the produced a significant number of vocal works including Joseph der Menschheit Segen praises the emperor not of breaking up spoken text with short sections of musical texture with interesting figuration without in any oratorios, cantatas, arias, (only one of which just as the source of benevolence to mankind but to instrumental music which establish, reflect or intensify the way masking the voice. It is surprising that this sacred aria survives) and settings of liturgical texts. masons in particular. expressive quality of the text. While there are musical did not circulate more widely since the original version, Like a number of his musical colleagues in Vienna, Föderl’s text is not only explicitly masonic in reasons why Koželuch may have chosen to employ Quanta è mai tormentosa , enjoyed considerable success Koželuch was a Freemason. He was a member of the sentiment but provides a suitable vehicle for Koželuch to Melodrama in three of the nine movements, it is possible and was published in Vienna by both Artaria and Mollo lodge ‘Zum Palmenbaum’ in the early 1780s and later employ more subtle masonic imagery. Numbers play an that they took this form in order that Brother Föderl could and later, with a new text and in an arrangement for violin joined ‘Zu den drei Adlern’. ‘Zum Palmenbaum’, together important symbolic role in Freemasonry and Koželuch take part in the performance of the work. and piano, by Corri in Edinburgh. with the lodges ‘Zu den drei Adlern’ and ‘Zur Beständigkeit’, pays particular attention to the numbers three and nine. Although Joseph der Menschheit Segen contains its It is unclear when Koželuch composed the Mass in C were closely associated with ‘Zur wahren Eintracht’, the Although the individual movements of the cantata are not share of masonic arcana, the work is in every way or for what purpose. No copies are preserved outside the most intellectually distinguished of the Viennese masonic numbered, the work falls into nin4e discrete sections if the intelligible to the profane listener and indeed Koželuch and it is possible that it represents a lodges. Under the leadership of the brilliant Ignaz von first Aria – Chorus complex is countered as two later published the work with piano accompaniment. relatively early work. The scoring of the Mass , which Born, it viewed itself as an academy of enlightened movements. The Adagio Introduzione , in triple metre, Although this version did not describe the work as a includes pairs of clarinets, horns, trumpets, timpani, thought, establishing a library and a regular series of begins with three imposing chords and the closing chorus masonic cantata, the handsomely engraved title page, strings and organ, is unusually lavish and the more so in lectures. The flourishing state of Freemasonry in Vienna also ends with a thrice-repeated chordal pattern. The quite as much as Föderl’s text, would have left the such a small-scale work. Although it is not labelled as owed a great deal to Emperor Joseph II, who, though not chorus itself consists of three parts – two sopranos and purchaser in doubt about its origins. such, the work is clearly a Missa brevis and employs a mason himself and of the opinion that their mysteries bass – rather than the standard four parts and the key of The first of the two sacred arias featured on this textual telescoping – the simultaneous setting of multiple and ceremonies were pure charlantry, nonetheless E flat major (with its three accidentals) is of central recording, Umbra noctis orbem tangit, PosK XXV: 5 , was lines of text – in both the Gloria and the Credo in order to admired and was supportive of many of their nobler importance in the work. The tonal scheme of Joseph der probably composed after 1783 and the first phrase of the keep these movements compact. Nonetheless, although initiatives. His landmark Patent of Toleration, promulgated Menschheit Segen differs from that conventionally found solo part bears a striking resemblance to the opening these two movements are very brief, Koželuch succeeds in 1781, effectively gave state protection to Freemasonry in large-scale works of the period which have the outer chorus of Joseph der Menschheit Segen , but there the in creating the impression of text partition at the appropriate moments in the mass. In the Gloria , for is a Schubertian beauty about the setting, one that relies Joseph der Menschheit Segen Joseph, Mankind’s Blessing example, Koželuch achieves contrast and heightened for effect on noble simplicity rather than flashy brilliance, (Text: Leopold Föderl, 1748–1817) (Text: Leopold Föderl, 1748–1817) expression in setting the Qui tollis by touching on the but within that simplicity there is great subtlety and 1 1 relative minor; the Credo likewise sees important text masterful control. Koželuch does not set the entire text Introduzione Introduzione highlighted by various means including the Et since the second section runs to some 26 stanzas, but his 2 2 incarnatus/Crucifixus , through the introduction of the open-ended strophic structure in this movement allows Coro Coro minor mode and use of solo voices, and the setting of the the singer to perform all or a selection of stanzas. The word ‘ mortuorum ’. All of these small details show that work begins and ends in G minor, a suitably grave key for Segen kam auf uns hernieder, Blessings have come down to us, jeder Tag vermehrt die Brüder, every day multiplies the brothers Koželuch thoroughly understood both the conventions of such a work, but oddly the third movement, Und nun die der Weisheit huldigen. who worship wisdom. setting the text of the missa ordinarium and the herab, du falber Winterkranz! , opens in E flat major Mit der Zahl der Weisen mehre With the number of the wise requirements of the liturgy. (although the key signature suggests G minor) and only sich zu unsers Bundes Ehre may the number of the happy The final work on the recording is Koželuch’s gravely establishes the real tonic towards the end of the auch die Zahl der Glücklichen. be likewise multiplied, and honour our union. beautiful setting of Michael Denis’ lament, Klage auf den movement. The last two lines of the text are set to a falling 3 3 Todt Marien Theresien, PosK XIX: 1 , published by Artaria melodic line that finishes in the soprano’s lowest register, Melodrama Melodrama in Vienna in January 1781. At the time of its composition, lending the music a suitably dark, sepulchral quality. Denis (1729–1800), a Jesuit priest, was a professor in the Koželuch is thought of primarily as a composer of Einst goß sich Barbarei und Aberglaube Once barbarism and superstition flowed forth, Theresianum in Vienna, a Jesuit college, and instrumental music, but his setting of Klage auf den Todt gleich lang verdämmten Fluten wild heran hurling themselves at long-sealed torrents, internationally renowned for his translations of Ossian. A Marien Theresien and other works on this recording show und würgte die Vernunft und nährte sich vom Raube throttled reason, battened on rape and predation great admirer of bardic poetry, Denis published his own him to be a multi-faceted composer equally at home in the und zündete der Zwietracht Fackel an. and ignited the torch of discord. works in this style under the thinly disguised pseudonym, realm of vocal music. Sined. Koželuch’s setting of Denis’ poem is dominated Gehaßt, verfolget oft mit Schwert und Flammen, Hated, often pursued with sword and flames, entirely by the voice with the deceptively simple keyboard Allan Badley schlich selten da die Bruderschaft zusammen, seldom could the brotherhood unite, im Schoß des Ordens auszuruhn to rest in the bosom of the Order accompaniment supporting the exquisite vocal line. There und Hand in Hand Bedrängten wohlzutun. and hand in hand bring succour to the oppressed.

Dies war des Ordens Los in finstern Zeiten, Such was the fate of the Order in dark times im Kampf mit so viel Fährlichkeiten. in the struggle against so many perils. Wie mochte da das kleine Maurer Chor How could this tiny crowd of Masons die ganz verlassne Menschheit retten? rescue all abandoned humanity, Wie helfen ihr aus ihren Nöten? help mankind in its plight? Nur flehen konnt’ es, flehn zum Ewigen empor. All they could do was pray, implore the Almighty above. Und sieh! Nach manchen sanftern Morgenröten And see! After many a gentle dawn tratt endlich Josephs Sonne schön hervor. Joseph’s sun shone forth at last in splendour.

Seit Er der Menschheit Genius geworden, Since he became mankind’s guardian spirit, kehrt Duldungsgeist, mit ihm der Menschheit Glück a spirit of tolerance has returned, as it were in triumph, in unser Vaterland, wie im Triumph zurück. to our homeland, and with it the joy of mankind. In dieser Sonne Strahl gedeiht der Orden In the radiance of this sun the Order thrives, und Haufen drängen sich heran and masses push themselves to the fore, und schwören ritterlich, was Maurer stets getan, to take the gallant oath, as Masons always have, an ihrem und der Menschheit Wohl zu bauen, to serve the welfare of themselves and mankind, um einst des Lichtes Quell im Heiligtum zu schauen. in order one day to see the wellspring of light in the holy sanctum. Doch – schwing dich Muse, kühn von Dank durchglüht, But Muse, boldly glowing with gratitude, Verwöhnet durch der Mönche süßes Schmeicheln, Indulged by the sweet flattery of the monks, zu Josephs Thron und Dank sei nun dein Lied. vault over to Joseph’s throne geblendet durch ihr frömmelnd Heucheln dazzled by their pious hypocrisy, and let us give thanks for your song. sah er des wahren Elends Träne nicht. he did not see the tears of true misery. 4 4 Aria Aria Doch – er wacht auf, trost euch, ihr Armen! But yes – he awakens, be comforted, you poor! Ausgelitten ist nun der lange Schmerz; The long sorrow is at an end; Von ihm quoll Segen auf uns nieder, From him poured blessings down to us, Idole sind bestritten, Idols are challenged durch ihn gehn friedlich Hand in Hand, thanks to him equal brothers of different faiths sie stürzen hin auf ihr beschämt Gesicht. and collapse on their own disgraced faces. verschiednen Glaubens gleiche Brüder, walk peacefully hand in hand, Auch dies ist Josephs Werk: auch hier wird Licht! This too is Joseph’s work: here too there is light! umschlungen von der Duldung Band. embraced together by the bonds of tolerance. 7 7 5 5 Aria Aria Coro Coro Trockne sanft die heißen Zähren; Gently dry your hot tears; Er schenkte Freiheit unsern Hallen, He gave freedom to our halls Menschheit, Deinem Leid zu wehren, mankind, every breast swells with pity, er schützet unsern Bruderkreis. and protects our circle of brothers. schwillt von Mitleid jede Brust. wanting to quell your pain. Ihm soll von Ost bis West erschallen May from East to West ring out Wahrer Armut schnell zu raten, It shall be the delight of even the profane des Maurerbundes Lob und Preis ... ! the praise and honour of the unions of Masons! was in Stillem Maurer taten, to tell the truly poor 6 6 wird auch des Profanen Lust. what Masons have done in silence. Melodrama Melodrama 8 8 Melodrama Melodrama Heil Menschheit dir! Hail, mankind! Der Mönche Dagon fällt, The monks’ deity Dagon has fallen, Wie herrlich schön auf Wiens erhabnen Mauern How gloriously the flag of peace zertrümmert vor der Bundeslade nieder; crushed by the Ark of the Covenant; die Friedens Fahne weht! flutters on Vienna’s noble walls! vom Lichte Finsternis zu scheiden lernt die Welt, the world learns from light to depart from the darkness. Aeonen durchzudauern You, Joseph, raised it yourself for humanity, Vernunft, Religion kehrt wieder, Reason and religion return, hast du sie Joseph selbst der Menschheit aufgesteckt. to last for ages to come. und prangt im alten Glanz. resplendent in their old glory. Auch in profaner Brust Even in the breast of the profane Vom Tand entwöhnt, vom langen Schlaf geweckt, Weaned off frippery, awakened from a long sleep, erwacht des klügern Wohltuns süße Lust. awakens delight in wiser benevolence. Eilt der Profane her und schwört in Freuden Zähren the profane man comes running, vowing in tears of joy ein redlicher Gehilf dem Elend mitzuwehren. to be an honest accomplice in the struggle against distress. Sieh! Wie der Laie staunt ob der Betörung Schande. See how the layman marvels at the shame of infatuation. Daß er Jahrhunderte die reiche Bettlerbande, That for centuries he raced to fatten up Auch ihr, gerührte Brüder, säumet nicht, You too, moved brothers, do not tarry; als hieß es Gott, zu mästen lief! that rich band of beggars, when God instructed! was Joseph wünschet sei dem Maurer Pflicht. Joseph’s wishes are a Mason’s command.

Daß er von schalen Wundern hingerissen That he, smitten by stale wounds O kehrt, dem Ewigen und Joseph zu gefallen, O, do not return from these happy halls – bei tausend marternden Gewissensbissen, and tormented by a thousand pangs of conscience erst dann zurück aus diesen frohen Hallen, do the bidding of the Almighty and of Joseph – von heil’gem Dunst betäubt so lange schlief’ – slept so long, numbed by holy mist – wenn ihr die Zahl der Glücklichen vermehrt till you have multiplied the sum of the happy und die Geretteten den Orden segnen hört. and heard the rescued ones bless the Order. Einst |: Mönche tatens :| ging er ohn’ Erbarmen, Once – monks did this – he went unpityingly mit weggewandten Blick den wahren Armen, to the truly poor, with gaze averted, Erneuert heute, was ihr einst geschworen, Renew today what you once did swear, drang gleich des Jammernden Geschrei surged past the screams of the wailers Da ihr zur heiligsten der Pflichten auserkoren. since you are chosen for the holiest of tasks. bis an die Wolken hin, mit schnellem Schritt vorbei. swiftly up to the clouds. Die Schürz’ empfingt die Kette in der Hand, You took up the apron, the chain in your hand, den sel’gen Bau des Menschen Wohls begann’t. began the sacred construction of mankind’s wellbeing. 0 0 Laut schalle nun durch alle Himmels Sphären, May now resound through the realms of heaven Aria in B flat Aria in B flat was wir dem Menschenfreunde Joseph schwören. what we have sworn to Joseph, friend of men. ‘Umbra noctis orbem tangit’ ‘The shadow of night touches the earth’ 9 9 (Text: unknown) (Text: unknown) Coro Coro Umbra noctis orbem tangit The shadow of night touches the earth, Solo Solo omne genus triste plangit every kind weeps in sadness Dem Maurerbunde treu zu handeln, To deal faithfully with the union of Masons, cessat umbra cessat planctus until shadow ceases, weeping ceases und still des Wohltuns Bahn zu wandeln: and silently to walk the path of benevolence: dum aurora oritur. and dawn rises. In voluto tenebrarum Wrapped in darkness, Tutti Tutti nube mundo redit numen in a cloud returns the spirit. Dies schwören wir durch dreimal drei, This do we swear by three times three, expotatum diu lumen Long desired light, until here beim Wohl der Maurerei. to honour the Masons’ weal. dum hic Sanctus nascitur. the Holy one is born.

Solo Solo Umbra noctis orbem tangit The shadow of night touches the earth, Zu lernen, was den Menschen adelt, To learn what ennobles man, omne genus triste plangit every kind weeps in sadness zu tun, was kein Gewissen tadelt. to do what no conscience condemns. dum aurora oritur. until dawn rises. In voluto tenebrarum Wrapped in darkness, Tutti Tutti nube mundo redit numen in a cloud returns the spirit. Dies schwören wir durch dreimal drei, This do we swear by three times three, expotatum diu lumen Long desired light, until here beim Wohl der Maurerei. to honour the Masons’ weal. dum hic Sanctus nascitur. the Holy one is born.

Solo Solo ! ! Dem Laster ritterlich zu wehren, To gallantly take arms against vice, Aria in E flat Aria in E flat die guten Bürger zu vermehren. to propagate the good citizen. ‘Quaeso ad me veni, sponse divine’ ‘I beg thee come to me, divine spouse’ (Text: unknown) (Text: unknown) Tutti Tutti Dies schwören wir durch dreimal drei, This do we swear by three times three, Quaeso ad me veni , I beg thee come to me, beim Wohl der Maurerei. to honour the Masons’ weal. sponse divine, cor sincerum, divine spouse, a sincere heart en recrea tum te semper create again then for ever Solo Solo sine fine mea colet anima. without end let my soul worship thee. Selbst unsern Wünschen zu entsagen, To renounce even our own desires Ubi degis ah reperiri, o benigne, Where thou lingerest, ah merciful one, um des Bedrängten Last zu tragen. to bear the burden of the oppressed. sinas te ab amato non frustare quivi. do not shun the one that loves thee. Eccur tardas, reddi ad me, Why dost thou delay? Return to me, Tutti Tutti ad me veni sponse divini come, thou spouse of the divine, Dies schwören wir durch dreimal drei, This do we swear by three times three, cor sincerum en recrea a sincere heart beim Wohl der Maurerei. to honour the Masons’ weal. tum te semper sine fine create again then for ever mea colet anima without end let my soul worship thee. English translation: Saul Lipetz tum te semper sine fine let my soul worship thee mea colet anima. for ever without end. Alleluja Alleluja Alleluja. Alleluiah Alleluiah Alleluiah. Qui propter nos homines et propter nostram salutem Who for us men and for our salvation, Missa in C Mass in C descendit de coelis. came down from heaven, (Text: Ordinarium Misae) (Text: Ordinarium Misae) Et incarnatus est de Spiritu Sancto ex Maria Virgine. and became incarnate by the Holy Ghost of the Virgin Mary, @ @ Et homo factus est. and was made man. Kyrie Kyrie Crucifixus etiam pro nobis, He was crucified also for us; sub Pontio Pilato passus et sepultus est. suffered under Pontius Pilate and was buried, Kyrie eleison. Lord, have mercy upon us Et resurrexit tertia And on the third day He arose again Christe eleison. Christ have mercy upon us die secundum Scripturas. according to the Scriptures. Kyrie eleison. Lord, have mercy upon us Et ascendit in coelum: And ascended into heaven, # # sedet ad dexteram Patris. and sitteth at the right hand of the Father. Gloria Gloria Et iterum venturus est cum gloria, And He is to come again, with glory, judicare vivos et mortuos: to judge both the living and the dead; Gloria in excelsis Deo Glory be to God on high, cuius regni non erit finis. Of whose kingdom there shall be no end. et in terra pax hominibus bonae voluntatis. and peace on earth to men of good will. Credo in Spiritum Sanctum, I believe in the Holy Ghost, Laudamus te, benedicimus te, We praise Thee, we bless Thee, Dominum et vivi cantem: the Lord and Giver of life, adoramus te, glori camus te. we adore Thee, we glorify Thee qui ex Patre Filioque procedit. Who proceedeth from the Father and the Son; Gratias agimus tibi propter magnam gloriam tuam. we give Thee thanks for Thy great glory. Qui cum Patre et Filio Who, together with the Father and the Son, Domine Deus, Rex coelestis, Lord God, heavenly King, simul adoratur et conglori catur: is adored and glorified; Deus Pater omnipotens. God, the Father Almighty. qui locutus est per Prophetas. Who spoke by the prophets. Domine Fili unigenite, Jesu Christe, Lord Jesus Christ, the only-begotten Son, Credo in unam sanctam catholicam I believe in one holy Catholic Domine Deus, Agnus Dei, Filius Patris. Lord God, Lamb of God, Son of the Father, et apostolicam Ecclesiam. and Apostolic Church. Qui tollis peccata mundi, miserere nobis. Thou, who takest away the sins of the world, Confiteor unum baptisma, in remissionem peccatorum. I confess one baptism for the remission of sins. Qui tollis peccata mundi, suscipe deprecationem nostram. have mercy upon us; receive our prayer. Et exspecto resurrectionem mortuorum And I expect the resurrection of the dead, Qui sedes ad dexteram Patris, O Thou, who sittest at the right hand of the Father, et vitam venturi saeculi. and the life of the world to come. miserere nobis. have mercy on us. Amen. Amen. Quoniam tu solus sanctus, For Thou alone art holy, tu solus Dominus, Thou alone art Lord, % % Sanctus Sanctus tu solus Altissimus, Jesu Christe, Thou alone art most high, Jesus Christ. cum Sancto Spiritu Together with the Holy Ghost, Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Holy, holy, holy Lord God of Sabaoth. in gloria Dei Patris. in the glory of God the Father. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy Glory Amen. Amen. Osanna in excelsis. Hosanna in the highest. $ $ Credo Credo ^ ^ Benedictus Benedictus Credo in unum Deum, Patrem omnipotentem, I believe in one God, the Father Almighty, Benedictus qui venit in nomine Domini. Blessed is he who cometh in the name of the Lord. factorem coeli et terrae, maker of heaven and earth, Osanna in excelsis. Hosanna in the highest. visibilium omnium et invisibilium. of all things visible and invisible. Credo in unum Dominum Jesum Christum, I believe in one Lord Jesus Christ, & & Agnus Dei Agnus Dei Filium Dei unigenitum. the only-begotten Son of God; Et ex Patre natum ante omnia saecula. and born of the Father before all ages. Agnus Dei, qui tollis peccata mundi: Lamb of God, that takest away the sins of the world, Deum de Deo, lumen de lumine, God of Gods, Light of Light, miserere nobis. have mercy upon us. Deum verum de Deo vero. true God of true God; Agnus Dei, qui tollis peccata mundi: Lamb of God, that takest away the sins of the world, Genitum, non factum, begotten, not made; dona nobis pacem. grant us peace. consubstantialem Patri: consubstantial with the Father, per quem omnia facta sunt. by Whom all things were made; English translations: Keith Anderson Klage auf den Todt Marien Theresien On the Death of Maria Theresa So scholls: Therese todt! aus Wiens erschrocknen Mauern its cry rang out: Theresa dead! from Vienna’s shocked walls (Text: Michael Denis, 1729–1800) (Text: Michael Denis, 1729–1800) Ins Runde durch der Fürstinn Erbe fort; out through the empress’s wide inheritance; ( ( Hier mit dem Schalle banges Schauern, here the sound is fearful shudders, Von meinem ersten Knabenalter an From the days of my earliest boyhood Und schnelles Beben dort, there a helpless trembling, War Sie die Größte, Beste, Weiseste, she was the greatest, the best, the brightest, Geliebteste, Bewunderteste Sie – most beloved, the most adored – Bis endlich, endlich aus zerrissnen vollen Herzen till at last, finally from our grief-filled, broken hearts In Aller Herzen, Augen, Munde Sie! acclaimed in all hearts, eyes and voices! Betäubend sich der Länder Klage go ß, deafening lamentation poured forth Das, was Sie war, das wünscht’ und hofft’ ich auch What she was, I dearly hoped and wished Der Völker ungezähmter Schmerzen and the untamed sorrows of the peoples Sie noch nach mir zu la ßen, bebte weg that she would remain after me, and shuddered away In Thränenbächen flo ß. flowed in streams of tears. Von jeder trüben Ahnung. Ach umsonst! – from any sombre presentiment. In vain! – O Menschenschmerz! gieb nur so lange Platz O human sorrow! grant me enough space Denn ach, was hatten wir! – Und stralte mir For, ah! what did we have! – And if, in my horror, Dem Bardenschmerze, bis ich dieses Spiel for my grief, till I have tuned the strings im Grauen from the past Zur Todesklage tief hinabgestimmt of my lament and take up my threnody Der Vorwelt auch ein sonnenhelles Licht, a light bright as the sun shone forth in my eyes, Mit matten Griffen einmal rühre noch; once more, with weary chords; Ich fände gro ße, seltne Frauen, I found great women, exceptional ones, Dann diesen falben Kranz und dieses Spiel, then set down this fallow wreath, these instruments, Theresen fänd’ ich nicht, But Theresa I did not find. Mit allen seinen Saiten schlaff geweint, that have wept till they droop Dort niederlege, wo Therese liegt. with all their fine strings, where Theresa lies. Theresen, von Geburt die Erbinn vieler Kronen, Theresa, from birth the heir to many crowns, Von Ihr beganns. Mit Ihr verstumm’ es auch! It began with her. May it fall silent with her too! Nach welchen Nationen lüstern sahn, inspiring the predatory gaze of many a nation, ) ) Die dennoch wider Nationen who still in defiance of those nations Er leiht sie nimmer länger! Unser hei ßes Flehen We shall see her no more! Once, our ardent pleas Ihr Eigenthum gewann; won what was rightly hers; Bog einst den Arm, der uns die Wunde schlug. could yet bend the arm that dealt us the blow. Dann lie ß er uns genug geschehen. Then His grace was at an end. Theresen, die Ihr Herz in erster Schönheitblühe Theresa, who in her first blossom of beauty Nun thut er Ihr genug. Now you have done enough. Dem würdigsten Gemahl’ auf ewig gab gave her heart to the worthiest consort, for ever Vor vierzehn Jahren rührten Gott der Kinder Zähren. Fourteen years ago, God was moved by children’s tears. (Auch diesen rief, ach viel zu frühe! (alas, heaven summoned him Die Mutter gab sich damal noch darein. Our mother accepted them at the time. Zu sich der Himmel ab), too early back to its realm), Nun überstimmt uns Ihr Begehren. Now your wish has overruled us – Wir müssen Waisen seyn! and we must be orphans! Mit ihm durch viele göttergleiche Liebepfänder with him, through many godlike pledges of love Ihr unvergesslich Bild der Erde lie ß, left her unforgettable image on earth; Wie mancher Freund war, wenn wir Muẗ ter einst verlohren, Like many a friend, who would comfort us Durch sie Beglückerinn der Länder, through them she brought joy to many lands Der uns in unsrem Leide Tröstung both! in our sorrow, after losing a dear mother; Und Göttermutter hie ß; and became a mother most divine; Nun liegt – Kein Trost quillt unsren Ohren – now – and there is no comfort to pour into our ears – Die Mutter Aller todt! the mother of us all lies dead! Theresen, wunderbar geprüft in Leid’ und Freude Theresa, prodigiously tested in joy and sorrow Bis in Ihr viermal zehntes Herrscherjahr, until her fortieth year of rule, Ach todt! Therese todt! So bricht aus Erdeklüften Dead! Theresa dead! From the chasms of the earth Die gro ß in Freude, doch im Leide which were great in joy, Der Stürme fürchterlichster plötzlich aus, the most terrible of all storms has broken forth; Noch immer grö ßer war; yet in sorrow greater still; Heult in den staubverdickten Lüften, it howls in skies thick with dust, Erschüttert Thurm und Haus, shakes house and castle, Theresen, die durch Ihre langen Herrscherjahre Theresa, who through all the long years of her reign Stäts zwischen Gott und Ihrem Volke stand, always stood between God and her people, Zerschmettert stolze Wipfel in bejahrten Wäldern, crushes proud treetops in aged forests, Zu Ihren Pflichten am Altare always found the strength and courage Bedeckt mit Schutt und Trümmern jede Flur, covers every field with wreckage and ruin, Stäts Muth und Stärke fand, to honour her duties pledged at the altar, Und lässt auf Bergen, Thälern, Feldern leaves on mountains, valleys, meadows Die jammervollste Spur; its woeful trace; Und diese Pflichten höher als ein Leben schätzte, and cherished those duties more dearly than her life, Den gro ßen Sohn, geprüft in schweren Todesleiden, The great son, tested in the grave pains of death, An dem das Wohl von Millionen hieng, on which the welfare of millions rested, So, wie die Vielgeliebten Gottes sind; as those are whom God loves most; Dem Laster Ernst entgegensetzte, set sobriety against vice, Aus seinen Armen sah Er scheiden from his arms he saw depart Die Tugend hold umfieng; embraced sin with meek virtue; Erzeuger, Gatten, Kind, father, husband, child,

Theresen, deren Herz umgreifender als Welten Theresa, whose heart was more encompassing than worlds Und itzt die Mutter – Ach nun stürzen Thränen wieder, And now the mother – ah, now my tears, Vom Wunsche zu beglücken überfloss, as it overflowed in its desire to create joy, Zu lange schon verhalten, auf das Spiel! too long restrained, are flowing into my music! Der Reue jener, welche fehlten, who never persisted for ever Der Mutter Scheiden ist für Lieder The departure of our mother is too much Sich niemal ewig schlo ß, in mourning absent friends, Und Saitenkraft zu viel! for the power of song and strings!

Bey Wittwenklagen schmolz, von vielen tausend Waisen who melted at windows’ laments, and graciously Nur bricht ein matter Abglanz jener hellen Fernen Now a pale reflection of those bright lights afar Die Mutterpflichten huldreich übernahm, took on the motherly duties of many thousand orphans, In meinem tropfenschweren Auge sich, breaks into my eyes heavy with tears, Und darbenden erlebten Greisen was moved and came to their succour Wohin umstralet von den Sternen of the place where Theresa’s spirit, Gerührt zu Hilfe kam; when she saw old men starving; Theresen Geist entwich. illuminated by stars, has gone.

Theresen, deren Blick und Anspruch Herzen raubte, Theresa, whose demanding gaze won over many a heart. Verklärter Geist! o blick’ aus Gottes Vollgenu ße, Blissful spirit! O gaze down from God’s benign grace, Und jede Seele so gewaltig band, bound every soul to it so strongly, Der werthre Kronen, als Du trugst, Dir gab, which gave you more valuable crowns than those you wore, Dass, wer sich vor der Fürstinn glaubte, so that any who thought they were in the presence Von Deines Franzen Engelku ße from the angel’s kiss of your Francis Sich vor der Mutter fand; of the empress, found themselves before their own mother; Blick auf Dein Volk herab, look down on your people,

Theresen – Doch genug! Im festesten Vertrauen Theresa – But enough! In the most steadfast confidence Und tröste, stärke Den, der itzt an Deiner Stelle and comfort and strengthen the man, who now in your place Beruff’ ich auf der Folgezeit Gericht. I call upon the judgement of the time to come. Der schweren Herrscherlast die Schultern beut! must bend his shoulders to the heavy burden of rule! O Vorwelt! unter deinen Frauen O world of the past! Among your women Sein Herrschen sey des Glückes Quelle May his reign be the source of happiness Find’ ich Theresen nicht. – I did not find Theresa. Der längsten göldnen Zeit! of the longest golden age! ¡ ¡ Und Die war unser! – Ach Sie wars! – O letzte Stunden, And she was ours! – oh, she was! – O last hours, Und nun herab, du falber Winterkranz! And now, come down, you fallow winter wreath! Gesegnet, ewig theuer, Welten werth! blessed, eternally cherished, worth worlds! Und du, o Spiel! von Ihr begnadet einst, And you, my music! once blessed by her, O lebt in jedes Volkes Kunden, O live on in the lore of every people Und jetzt mit allen Saiten schlaff geweint! now you have wept till your very strings are weary. Das wahre Tugend ehrt! that honours true virtue! Hier sollst du liegen, wo Therese liegt, Here shall you lie where Theresa lies, Wo Trauerflor die Kronen und den Prunk where black ribbon now silently winds round Religion! du erstes Kleinod an der Krone Religion! thou first jewel in the crown Der aufgethürmten Erdegrö ßen still the crowns and the splendour of the assembled Der irdischen beschränkten Majestät! - of earthbound majesty! great and good, Du wähltest dir zu deinem Throne, You chose Theresa’s deathbed Umschleichet, und beym Leichenfackelwähn and as the torches are lit to remember the dead Theresen Sterbebett. As your throne. Vergänglichkeit noch längre Schatten wirft, transience casts still longer shadows Wo tausend Herzen um Theresen ruhn, where a thousand hearts rest around Theresa, Da lag Sie, deine Freundinn, ruhevoll die Seele, There she lay, your friend, her soul at peace, Da weih’ und meng’ ich dich auch ins Gepräng. here shall I consecrate you and blend you Erwartend Gottes Winken, Ihren Lohn, waiting for God to beckon, her reward, in with the pageantry. Ertheilte Segen, Trost, Befehle, blessings granted, solace, commands, Von Ihr begannst, mit Ihr verstumm’ auch du! By her, my sounds, you were inspired, Vor Sich den gro ßen Sohn, and before her the great Son, and with her may you also fall silent!

English translation: Saul Lipetz Simona Eisinger Filip Dvořák

Simona Eisinger studied voice at the Music and Arts University of Filip Dvořák studied piano at the conservatory in Brno. He subsequently went on the City of Vienna and also completed a degree in international to study the harpsichord and authentic historical performance at the Academy of business at the Vienna University of Economics and Business. Performing Arts, and the University of Music and Theatre ‘Felix Mendelssohn The Austrian soprano, who has Slovakian heritage, has won Bartholdy’ in Leipzig . Dvořák is a sought-after basso continuo player and the

m several international singing competitions and received a founder of the orchestra Hipocondria ensemble. He collaborates with o c .

a scholarship from the Armin-Welter-Foundation of Zurich. Since many ensembles including Collegium 1704, , Ensemble Inégal and n i

d her debut in 2007 at the Stadttheater Baden, she has given guest the Haydn Ensemble, and often participates in the Arco Diva projects with the e e l

. performances at houses and theatres such as the conductor Marek Štilec. Dvořák also teaches at the conservatory in Teplice which w

w Volksoper Vienna, Theater an der Wien, Neue Oper Wien, has resulted in the creation of the Musica Filipika ensemble. w

: Theater in der Josefstadt, Landestheater Linz, Stadttheater o t

o Klagenfurt, Staatstheater am Gärtnerplatz in Munich and Theater h

P Luzern. Her repertoire comprises roles such as Pamina in Die Zauberflöte , Lauretta in Gianni Schicchi , Gretel in Humperdinck’s Hänsel und Gretel , Ninetta in La gazza ladra and Sylva in Kálmán’s Die Csárdásfürstin . She has performed concerts and recitals in prestigious international venues, such as the Philharmonie am Gasteig in Munich, the Konserthuset in Stockholm, the Musiikkitalo in Helsinki, and Tokyo Opera City Concert Hall among others. www.simona-eisinger.at

Siegfried Gohritz Born in Gehren, Gemany, lyric baritone Siegfried Gohritz has appeared at the Czech Boys Choir Boni Pueri Deutsches Nationaltheater Weimar and Komische Oper Berlin, and given recitals around the world. He is currently a vocal professor, and his students have Founded in 1982, the Czech Boys Choir Boni Pueri carries on achieved international success. He has given masterclasses at AMU Prague, the the tradition of a choir that has been active in the metropolitan Royal Academy of Music, and at universities in Shangai and Seoul among many chapter of St Vitus in Prague since 1252. The present others, and regularly lectures at the Escuela Superior de Música de Cataluña. He ensemble, which has 200 members ranging from 4 to 19 years is the director of the vocal department at the Hochschule für Musik Franz Liszt old, has performed more than 4,000 international concerts. Boni Weimar, and the head of Thuringian Opera Studio. www.siego.jimdo.com Pueri also performs at important state events, and has appeared alongside numerous distinguished artists. The choir has made recordings for media, and released over 30 albums. It is often invited to perform as a guest artist at festivals around k i the world, and also works closely with the z r

u Orchestra. The ensemble performs works by contemporary B

r composers, and has recorded contemporary film music. The e d

n choir is part of a unique arts school for boys’ voices, the first of a x

e its kind in the Czech Republic. It received the 2012 Award of the l A

: Czech Choirs Association, and in 2015 was given the title of Cultural Ambassador of Europe by the European o t

o Federation of Choirs. It is led by director and conductor Pavel Horák. www.bonipueri.cz h P Czech Chamber Philharmonic Orchestra Pardubice a z

n The Czech Chamber Philharmonic Orchestra Pardubice is valued e

R for its stylistic interpretations and the extraordinary quality of its

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e orchestral sound, and it is rightly ranked amongst the world’s s i t

n leading representatives of Czech musical culture. It often a r

F performs at the most prestigious festivals in the Czech Republic

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t and venues throughout Europe such as the Concertgebouw, o

h , the Grosses Festspielhaus, Salzburg, the Hercules P Hall and the Gasteig, Munich, the Musikverein Wien, the Brucknerhaus, Linz, and the Meistersingerhalle, Nürnberg among many others. Outside Europe the orchestra has performed in Japan and toured extensively around America. The first principal conductor, Libor Pešek, quickly raised the orchestra to a high standard, and subsequent principal conductors have included Marco Armiliato and Mariss Jansons. The orchestra has also welcomed numerous world-renowned soloists such as Isabelle van Keulen, Vladimir Spivakov, Ludwig Güttler, Radek Baborák, Gábor Boldoczki and Sergei Nakariakov. Aside from concerts, the orchestra regularly engages in operatic and theatre projects and has recorded dozens of successful albums on record labels including Naxos, ArcoDiva, Supraphon, Classico, Monitor-EMI and Amabile. www.kfpar.cz

Marek Štilec

Marek Štilec began his musical studies on the violin at the Prague Conservatory and studied conducting with Leoš Svárovský at the Academy of Performing Arts in Prague. Štilec is an alumnus of the International Järvi Academy and Jac van Steen’s Emerging Conductors Series, and has participated in the masterclasses of Michael Tilson Thomas and Jorma Panula, among others. He conducts a wide range of leading orchestras, including the New World , the Ulster Orchestra, Das Kurpfälzische Kammerorchester Mannheim, the Wiener Concertverein Orchester, the Orchestra of the Swan, the London Classical Soloists, the Berlin Camerata, the Kammerphilharmonie Graz and Sinfonietta Bratislava, as well as the top orchestras in the Czech Republic. a k

s www.arcodiva.cz/en/agency/instrumental-soloists/marek-stilec v o n i l a K

a i r a D

: o t o h P Vienna was a magnet for musicians across Europe in the 18th century, and among the most successful and influential were composers from Bohemia. Credited with developing idiomatic piano performance in the city, Leopold Koželuch also wrote choral music of considerable individuality. Joseph der Menschheit Segen (‘Joseph, Mankind’s Blessing’) is a powerful Masonic cantata that unusually includes Melodrama, where spoken text is followed by instrumental passages. The two sacred arias are masterful compositions and the Missa in C , though small in scale, is unusually lavish in its scoring. Klage auf den Todt Marien Theresien (‘On the Death of Maria Theresa’) possesses a grave and subtle beauty.

Leopold

KOŽ(17E47–L181U8) CH 1 9 Joseph der Menschheit Segen (‘Joseph, Mankind’s Blessing’) 33:20 – 0 (c. 1783) Aria in B flat ‘Umbra noctis orbem tangit’ 6:12 ! (after 1783) Aria in E flat ‘Quaeso ad me veni, sponse divine’ 6:11 @ * (c. 1782) Missa in C 11:54 (– ¡ (date unknown) – Klage auf den Todt Marien Theresien (‘On the Death of Maria Theresa’) (c. 1781) 9:51 WOrLD PrEMiErE rECOrDinGS 1 !( ¡ 1 9 Simona Eisinger, Soprano – – • Siegfried Gohritz, Speaker – Filip Dvořák, Harpsichord 1 9! * Czech Boys Choir Boni Pueri – – Pavel Horák, Choirmaster 1 * Czech Chamber Philharmonic Orchestra Pardubice – 1 * Marek Štilec – A detailed track list can be found inside the booklet. The German and Latin texts and English translations are included in the booklet, and may also be accessed at www.naxos.com/libretti/573929.htm Recorded: 10 –18 May and 29 August 2018 at The House of Music, Pardubice, Czech Republic

Producer: Jiří Štilec • Engineer: Václav Roubal • Book1le9(t note¡s: Allan Badley 0 * Publishers: Daniel Bernhardsson, Czech Masters in Vienna – – , Český rozhlas – Cover: Portrait of Emperor Joseph II (1741–1790) by an anonymous Austrian painter ൿ Ꭿ & 2019 Naxos Rights (Europe) Ltd