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MidAm International’s 2022 Residencies in Europe By Guest Conductor Alexander, Marina (The Arcadian Chorale / Richmond Choral Society): Vivaldi’s GLORIA IN D MAJOR, RV 589 (Athens & Syros, Greece: July 7-17, 2022) Bacon Jr., Brian J. (Bacon Choral Society): Forrest’s THE BREATH OF LIFE (London, United Kingdom: June 24-July 3, 2022) Brillhart, Jeffrey (Bryn Mawr Presbyterian / Sing City Children's Choir): Poulenc’s LITANIES À LA VIERGE NOIRE; Brahms’ NÄNIE (Paris, France: June 10-19, 2022) Brunner, David (composer and conductor): Music of David Brunner (Florence, Italy: June 3-12, 2022) Cei, Carol (Paoli Presbyterian Church): Schubert’s MASS NO. 2 IN G MAJOR, D 167 (Athens & Syros, Greece: July 7-17, 2022) Dala, Leslie (Vancouver Bach Choir): Mozart’s MASS IN C MAJOR, K. 317 (CORONATION MASS) (Florence, Italy: June 3-12, 2022) Davis, Trey (Louisiana State University): Lang’s THE NATIONAL ANTHEMS (Lisbon & Porto, Portugal: June 24-July 3, 2022) Douglas, Brent (Eckerd College Concert Choir): Mozart’s MASS IN C MAJOR, K. 317 (CORONATION MASS) (Paris, France: June 10-19, 2022) Glysson, Scott (Cal Poly San Luis Obispo): Vaughan Williams’ DONA NOBIS PACEM (Athens & Syros, Greece: July 7-17, 2022) Harden, Matthew (Madrigali et al.): Clausen’s MEMORIAL (Lisbon & Porto, Portugal: June 24-July 3, 2022) Harris, Quint (Vestavia Hills United Methodist Church): Thompson’s TESTAMENT OF FREEDOM (Florence, Italy: June 3-12, 2022) Jaber, Thomas (Rice University Shepherd School of Music): Fauré’s REQUIEM IN D MINOR, OP. 48 (Paris, France: June 10-19, 2022) Klaus, Kenneth (First United Methodist Church of Houma, LA): Mozart’s VESPERAE SOLENNES DE CONFESSORE, K.339 (Paris, France: June 10-19, 2022) Klement, David (University of Idaho): Lauridsen’s LUX AETERNA (London, United Kingdom: June 24-July 3, 2022) Lewis, Andrew (Elgin Master Chorale): Mozart’s MASS IN C MAJOR, K. 317 (CORONATION MASS) (Paris, France: June 10-19, 2022) Mitchell, Heather (Hopewell Valley Chorus / FIVE LINES): Lauridsen’s LUX AETERNA (Paris, France: June 10-19, 2022) Pu, Stephen (Hollywood Master Chorale): Beach’s FESTIVAL JUBILATE, OP. 17 (London, United Kingdom: June 24-July 3, 2022) Rivers, Earl (Knox Presbyterian Church, Cincinnati): Mozart’s VESPERAE SOLENNES DE CONFESSORE, K.339 (Lisbon & Porto, Portugal: June 24-July 3, 2022) Taylor, Jim (Letourneau Singers): Taylor’s CAMBRIDGE SONGS SUITE NO. 3 (Florence, Italy: June 3-12, 2022) Thomas, Christopher (Rowan University / Greater South Jersey Chorus): Poulenc’s GLORIA (London, United Kingdom: June 24-July 3, 2022) Watkins, Frank (University of Wisconsin, Eau Claire): Schubert’s MASS NO.2 IN G MAJOR, D 167 (Lisbon & Porto, Portugal: June 24-July 3, 2022) Wunsch Ryan, Hannah (University of Virginia’s College at Wise): Schubert’s MASS NO.2 IN G MAJOR, D 167 (Florence, Italy: June 3-12, 2022) 2.

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Oratorios by Amandus Ivanschiz in the Context of Musical Sources and Liturgical Practice1
MUSICOLOGICA BRUNENSIA 49, 2014, 1 DOI: 10.5817/MB2014-1-15 MACIEJ JOCHYMCZYK ORATORIOS BY AMANDUS IVANSCHIZ IN THE CONTEXT OF MUSICAL SOURCES AND LITURGICAL PRACTICE1 Fr. Amandus Ivanschiz was most likely born on December 24, 1727 which was the day he was baptized in Wiener Neustadt (Austria), with the names of Mat- thias Leopold.2 In December 1743 he entered the Pauline Order and took the name Amandus. After receiving his Holy Orders, the years 1751–54 he spent in Rome, where he served as a socius of the Procurator General of the Order. Soon after his return, in 1755, Ivanschiz was moved to the Maria Trost monastery near Graz, where he died in 1758, in the age of merely thirty-one. About one hundred compositions by Fr. Amandus have come down to us. His oeuvre includes both instrumental works, and vocal-instrumental sacred music. Apart from numerous manuscripts of doubtful attribution, the firs group comprises about 20 sympho- nies and 13 string trios. The second group is more extensive, and contains 17 masses, 13 litanies, 7 Oratorios, 9 settings of Marian antiphons, 8 arias and duets to non-liturgical texts, as well as vespers and Te Deum. Many of these works have survived in a few or even a dozen or so copies, which are now found in many, mainly Central European countries, such as Austria, Belgium, Croatia, Czech Re- public, Germany, Hungary, Poland, Slovakia, Slovenia, Sweden and Switzerland. It proves that Father Amandus’ music was known to a wide audience and places him among the most popular monk-composers of the 18th century.
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