The music of Olomouc chapel masters came to life again

6 September 2021, 18:00
The music of Olomouc chapel masters came to life again

For two consecutive Saturdays, visitors to the Olomoucké barokní slavnosti (Olomouc Baroque Festival) had the opportunity to listen to works by lesser-known composers whose music not only in many respects far surpassed the standard of the time, but whose fates were also closely linked to Olomouc.

The first of the mentioned and reviewed concerts took place on 28 August in the festive hall of Klášterní Hradisko and featured Musica figuralis under the direction of Marek Čermák. The programme involved works by Joseph Puschmann, a Moravian composer and from 1777 a chapel master of the Olomouc cathedral. However, it would be a mistake to think that this was only a local compositional talent. Puschmann’s compositions can be found in many European music collections, and even before he accepted service at the cathedral, he worked in the service of Baron Skrbenský in Hošťálkovy or as a chapel master of Ignác Dominik Chorynský, the Silesian Governor in Opava.

The festival concert focused on Puschmann’s secular works. His Symphony in C minor, Violin Concerto in G major and Symphony in E flat major were performed. The first piece of the evening, Symphony in C minor, represents the only known minor symphony by the composer so far. It is remarkable, among other things, for its sudden melodic dynamic, rhythmic and expressive contrasts. The dark and brooding musical motif here can be transformed in an instant into an energetic and stirring musical surface with an almost jubilant character. Not only the composer, but especially the performers were able to work with these contrasts skilfully. The ensemble, led by Marek Čermák, moved between heated dynamics with thrilling precision and clear musical intent. The brass section, led by the horns, also deserves great praise, whose final “notches” perfectly underlined, for example, the natural gradation of the first movement. However, Puschmann’s music is not only energetic and dramatic; indeed, the composer also gives a great deal of space to lyrical moods, as can be seen, for example, in the second movement of the Symphony in C minor, or even more so in his Violin Concerto in G major. The violinist Martyna Pastuzska also performed in this piece with the ensemble Musica figuralis. Puschmann’s concerto makes extensive use of so-called artificial string harmonic techniques (artificial flageolets), from which he builds tender and almost pastoral surfaces. What I personally appreciate most about Puschmann’s work, however, is his sense of phrase construction, and especially his treatment of the soloist since the artist is not relegated to a mere virtuosic element (although it is true that the time of empty virtuosity was yet to come); the opposite is true – often, the soloist delivers seemingly simple musical phrases that gradually develop into melodic, rhythmic and expressive richness. The soloist completed her task excellently. The fragile motifs in pianissimo dynamics were “fluffy” and played with a “light hand”, while in the more escalated parts the artist was not afraid to take a step towards to a much harsher musical expression. The evening closed with the equally successful Symphony in G major, cleverly chosen, by the artistic director, to end the programme – its fast pace, exultant character and at times thrilling drama were the ideal endings to what was a successful concert.

The second Saturday in a row – 4 September 2021 – took festival visitors to the Church of Our Lady Helper of Christians. Here, in the staging of the ensemble Societas Incognitorum under the artistic direction of Eduard Tomaštík, Philipp Jakob Rittler’s Missa Carolina was re-instated at the world level. This Baroque composer has only recently received the deserved attention of both the professional public and performers. Until now, his chamber works have rather been known, so Missa Carolina represents a new milestone in our knowledge of Rittler’s compositional production. In addition to the instrumentalists, the soloists Kateřina Šujanová (soprano), Yvetta Fendrichová (soprano), Monika Jägerová (alto), Ondřej Múčka (tenor) and Jaromír Nosek (bass) performed.

The mass opened with a prelude (intrada) in the form of Sonata à 3, in which violinist Elen Machová and clarion player Petr Jurášek shone from the very beginning of the evening. After all, the brass section, which was well represented in the work, deserves great praise. Although at the beginning of the mass (after the chorale) the connection between the brass section and the rest of the orchestra was not entirely persuasive, very soon all rhythmic and intonation impurities disappeared. Ondřej Múčka gave an excellent rendition of the chorale, followed immediately by the Kyrie and Gloria. Rittler’s music is deep and serious in thought, yet full of joy – serious polyphonic work combines with melodic invention, and the richness of the instrumentation ensures a sound full of brilliance. The Graduale also featured Giovanni Legrenzi’s Sonata la Pia with a distressing ascending chromaticism at the end of the first part and also Georg Muffat’s Ciacona in g for organ, performed by Marek Čermák.

The singers also gave excellent achievements – especially the alto singer Monika Jägerová impressed with her beautiful voice and sensitive performance. Tenor Ondřej Múčka also dazzled with his excellent phrasing and work with the colour of his voice. Jaromír Nosek’s clear and solid bass was also a pleasure. However, the sopranos were a bit disjointed in the places they shared. While each of them could boast of a good staging and a nice colour of voice, in the joint parts it was as if the colours of the voices of both singers went against each other. However, it was certainly not a fundamental flaw and I believe that there are those in the audience who, on the contrary, enjoyed the harmony of the sopranos. Mention should also be made of the parts, in which Rittler’s music achieved a particular brilliance and dramatic effect.

Saturday’s concerts of the Olomouc Baroque Festival featured music – rendered by two different ensembles – of not yet well-known, but undoubtedly remarkable composers whose work could (and indeed should!) be a welcome enrichment of other music programmes and festivals. In the face of the undeniable quality of the compositions by Philipp Jakob Rittler and Joseph Puschmann, it seems almost unthinkable that such music should once again fall into oblivion. 

Tribute to Joseph Puschmann – 28 August 2021

Martyna Pastuzska – soloist, violin

Marek Čermák – artistic director

Musica figuralis


Oboe players: Małgorzata Kluźniak, Petra Karpíšková

Bassoon: Petr Budín

Horns players: Rudolf Linner, Juraj Ofúkaný

Clarion players: Petr Jurášek, Karel Beránek

Violin players: Martyna Pastuszka, Aleksandra Radwańska,

Bartłomiej Fraś, Dominika Małecka,

Antonina Krzyżowska, Vojtěch Zajíc

Viola: Martin Stupka

Cello: Petr Mašlaň

Violone: Ján Krigovský

Timpani: Lukáš Krejčí

Harpsichord: Marek Čermák

Concert programme:

Joseph Puschmann (1738–1794)

Symphony in C minor

Violin Concerto in G major

Symphony in E flat major


Missa Carolina – 4 September 2021

Praeludium: PJ Rittler (1639? – 1690) – Sonata à 3

Introitus: Statuit ei Dominus (Chorale)

Kyrie, Gloria: PJ Rittler – Missa Carolina

Graduale: Giovanni Legrenzi (1626–1690) – Sonata la Pia à 2

Credo: PJ Rittler – Missa Carolina

Ofertorium: Georg Muffat (1653–1704) – Ciacona in g (organo solo)

Sanctus: PJ Rittler – Missa Carolina

Communio: Fidelis servus (Chorale)

Agnus Dei, Dona nobis: PJ Rittler – Missa Carolina


Kateřina Šujanová – soprano

Yvetta Fendrichová – soprano

Monika Jägerová – alto

Ondřej Múčka – tenor

Jaromír Nosek – bass


Aneta Podracká Bendová – soprano

Linda Nepivodová – soprano

Tamara Kubandová – alto

Ivan Nepivoda – tenor

Martin Šujan – bass


Clarion players: Petr Jurášek, Jaroslav Kocůrek

Cornett: Richard Šeda, Barbora Mišoňová

Trombone players: Ondřej Sokol, Stanislav Penk, Pavel Novotný

Violin players Elen Machová, Eva Kalová

Viola: Veronika Svačinová, Braňo Larich, František Kuncl

Positive organ Marek Čermák

Cello: Dalibor Pimek

Violone: Lukáš Verner

Photo by Daniel Berka



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For two consecutive Saturdays, visitors to the Olomoucké barokní slavnosti (Olomouc Baroque Festival) had the opportunity to listen to works by lesser-known composers whose music not only in many respects far surpassed the standard of the time, but whose fates were also closely linked to Olomouc.  more

One of the biggest attractions of this year's Olomouc Baroque Festival was the performance of the oratorio David by the Austrian composer Karl Ditters. It was the perfect opportunity to do so, after all – this year the work celebrates 250 years since its creation. Ditters composed the oratorio to a text by Ignazio Pinto in 1771 and in the same year it had its premiere at the castle of Bishop Philipp Gotthard Schaffgotsch of Wrocław on the Jánský Vrch (John´s Hill) near Javorník. In the musical production of violinist and artistic director of Volantes Orchestra Veronika Manová and conductor Ema Mikešová the oratorio was first performed in concert in Brno at the Church of St. Johns (4 August), then on 7 August in Podzámecká zahrada – a garden of the Archbishop’s Chateau in Kroměříž, and, finally, on 12–14 August in the Ambit and Basilica of the Visitation of the Virgin Mary on the Svatý Kopeček (Holy Hill) near Olomouc. The event of 12 August was the performance I visited. In addition to Volantes Orchestra, there were members of other ensembles – Arte dei Suonatori (PL), Il Cuore Barocco (SK), Musica Aeterna (HU) and Societas Incognitorum (CZ). In this aspect, this is another event from the series of concerts organised under the auspices of the festival which bring together musical ensembles from the Visegrad Four. However, there are also performers from other countries – Slovenia, Northern Macedonia and Great Britain. The solo roles were performed by: Doubravka Součková (David), Aco Bišćević (Saul, King of Israel), Helena Hozová (Jonathan, son of Saul), Jiří Miroslav Procházka (Abner, warlord) and Aneta Petrasová (Eliab, David’s brother). The concert was directed by Rocc; the choreography was designed by Sanja Nešković Peršin and costumes were rendered by Borjan Litovski.  more

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