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Composer: Janez Krstnik Dolar (1620-1673)
Work: Missa Viennensis a 32 (1667)
Performers: Chorus N'οmen; Grаzer Choral Schola; Orchestra Barocca di Bologna; Tomaž Faganel (conductor)
Missa Viennensis (1667)
1. Kyrie 0:00
2. Gloria 6:59
3. Sonata 18:20
4. Epistola 22:22
5. Credo 24:35
6. Sanctus 37:13
7. Benedictus 40:46
8. Agnus Dei 44:24
Painting: Domenico Cetto (17th Century) - Ansicht der Stadt Wien von der Josefstadt aus (1690)
HD image: flic.kr/p/2onrhPC
Map: Johann Baptist Homann (1663-1724) - Tabula Ducatus Carnioliae, Vindorum Marchiae et Histriae
HD image: flic.kr/p/2onvfMv
Further info: rism.online/sources/600172360
Listen free: No available
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Janez (Joannes Baptista) Krstnik Dolar [Tollar, Tolar]
(Kamnik, 1620 - Dunaj, 13 February 1673)
Slovenian composer. He studied at the Jesuit college in Ljubljana until 1639, when he was accepted as a novice in Vienna, where he studied philosophy. After 1645 he taught at the Jesuit high school in Ljubljana before continuing his theological studies in Vienna. He was ordained in 1652. From 1656 to 1658 he was musical director at the Jesuit college, Ljubljana, after which he was called to Passau. In 1659 he was listed as a regens chori in Györ, Hungary. In 1661 or 1662 he became director of the Jesuit seminary of St Ignites and Pancraties, Vienna, as well as musical director of the Kirche Am Hof. He held this post until his death. Dolar’s music apparently appeared in two printed editions, Musicalia varia (1665) and Drammata seu Miserere mei Deus (1666), but these have not survived. Transcriptions of his works are mentioned in the musical registers of monasteries in Bohemia and Moravia, Hungary and Austria, and in the register of a court chapel in Rudolstadt, Thuringia. The archives of the Prince-Bishop of Olomouc, Karl Lichtenstein-Castelcorn, preserve 13 compositions by Dolar, probably transcribed by Josef Vejvanovski: two masses, five psalms, an antiphon, two sonatas and three ballettos. The archive of the Benedictine abbey in Kremsmünster preserves the monumental Missa Viennensis, transcribed by Theophil Schrenk. The masses, psalms and antiphon are for four to 16 voices with instruments. The sonatas were undoubtedly written for church services, but the ballettos would have been used in seminary and monastery refectories. Dolar’s works all exhibit elements of Italian musical style, popular among Viennese court musicians in the second half of the 17th century.