Ingenuin Molitor ■ Johann Stadlmayr ■ Bernardin Wolk
01 MOLITOR Faelices Sancti, Motette 02 STADLMAYR, JOHANN Canzon in A minor 03 MOLITOR O anima, Motette 04 MOLITOR Fasciculus musicalis - Canzona II 05 MOLITOR Exaltabo te, Deus meus, Motette 06 MOLITOR Fasciculus musicalis - Canzona III 07 MOLITOR Bonum est confiteri Dominum, Motette 08 MOLITOR Canzona from 'Brixner Orgelbuch' 09 MOLITOR Magnificate Dominum mecum, Motette 10 MOLITOR Fasciculus musicalis - Canzona V 11 MOLITOR Ego dixi in abundantia mea, Motette 12 WOLK, BERNARDIN Canzon in G Major 13 MOLITOR Ave virginum gemma, Motette
Maria Erlacher & Gerlinde Saemann soprano, Markus Flaig baritone Vita & Anima, La Dolcezza, Peter Waldner organ
Ingenuin Molitor (1610-1669) was born in Habach in Swabia and was educated as an organist. His first position was that of organist at the Franciscan monastery in Bolzano. Here he spent almost his entire life as a monk. In 1669 he died and his obituary reads as follows: "In the year 1669 the venerable Father Ingenuin Molitor of Habach passed away in Bolzano: he who was novice master and vicar, and in life proved himself in devoutness, in his outstanding skill at playing instruments and in the art of composing melodiesm, surrendered himself to fate on 31st March, at the age of 58, in his 38th year in the Order."
Only one year before his death the collection of motets and canzonas which constitute the programme of this disc was printed in Innsbruck. The sacred concertos are written in the style which had become common at the time and had its origins in Italy. The scoring varies from one to three voices — two sopranos and bass — two violins, viola da gamba or violone and basso continuo. The texts are mostly free poetry, although several of them are closely connected to biblical passages, such as Ego dixi in abundantia mea, based on verses from Psalm 29 (Vulgata). Here are also some pieces written for a saint, like St. Catherine (Ave virginum gemma).
In a way the writing and printing of this music is rather surprising. That is not because it is written in the Italian style: that was quite common in Austria which was under strong Italian influence. The reason is that this kind of music was not in line with the Franciscan ideal of simplicity, modesty and poverty. When more elaborate music came into existence at the start of the 17th century the Franciscans at first resisted its introduction into their monasteries. Only the singing of chants and the playing of the organ were tolerated. Gradually some elements of the new style were accepted, such as the basso continuo practice. In time soloists and other instruments than the organ made their appearance in the Franciscan monasteries. From this perspective one could consider these sacred concertos by Molitor as groundbreaking which marks their publication as an event of considerable historical importance.
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