[Sheet music] Anton Cajetan Adlgasser (1729-1777) - Lytaniae a 4 vocibus

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★ WORLD PREMIERE RECORDINGS ★
♫ Recovery project of sheet music by Johann Michael Haydn (1737-1806)
and by other neglected composers ♫

Composer: Anton Cajetan Adlgasser (1729-1777)
Work: Lytaniae (C-Dur) a 4 vocibus
World Premiere: Yes
Software: Sibelius + Instruments & Choir samples (soprano)
Sheet music (pdf): https://www.cpdl.org/wiki/images/a/a0/Mh-AdlLit-Partitur.pdf
Sheet music (xml): https://www.mediafire.com/file/4ywbjdspzt1x2ep/ADLGASSER-Litaniaelauretane.sib/file
Info about sheet music recovering project: https://i.ibb.co/hML4xyJ/HAYDN-M-3.jpg

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Anton Cajetan Adlgasser
(Niederachen, 1 October 1729 - Salzburg, 22 December 1777)

German composer and organist. His father, Ulrich Adlgasser (1704-1756), was a teacher and organist. On 4 December 1744 he registered in the ‘Grammatistae’ class at Salzburg University, and in the same year he became a chorister at the Salzburg court chapel. His brothers Joseph (b 1732), later organist at Laufen, and Georg (b. 1736) were also choirboys in Salzburg. While a student he sang and acted in several Schuldramen, including seven by J.E. Eberlin. He studied the organ and violin, and probably also received instruction in composition from Eberlin. Adlgasser became court and cathedral organist in 1750, shortly after Eberlin’s promotion to the post of Hofkapellmeister. According to Leopold Mozart’s account of the Salzburg musical establishment Adlgasser’s duties also included the accompaniment of court chamber music on the harpsichord and composing for both the court and the cathedral. After 1760 he was organist at both the cathedral and the Dreifaltigkeitskirche in Salzburg; he also gave keyboard lessons at the choir school. In 1764 Archbishop Schrattenbach sent Adlgasser to Italy for a year’s study to increase the composer’s knowledge of Italian music. During this trip he met Giuseppe Colla and G.B. Martini, who wrote a letter of recommendation on his behalf in May 1764; a letter of December 1764 to Martini from Adlgasser also survives. Adlgasser’s only opera, La Nitteti, received its première in 1766, the year following his return to Salzburg. In 1752 Adlgasser married Eberlin’s daughter, Maria Josepha (1730-1755). Their daughter Maria Victoria Caecilia (1753-1821) became one of Nannerl Mozart’s best friends; she is referred to as ‘Viktorl’ in Nannerl’s diaries. Adlgasser’s second marriage was to Maria Barbara Schwab in 1756; following her death in 1768, he married Maria Anna Fesemayr, a court singer who had accompanied him to Venice. All three weddings were witnessed by Leopold Mozart. Adlgasser’s death, which resulted from an apparent stroke while playing for Vespers at the cathedral, is described in detail by Leopold Mozart (1777). He was succeeded as cathedral organist by W.A. Mozart, and Michael Haydn took on his duties at the Dreifaltigkeitskirche.

Adlgasser was active in Salzburg during a period of transition between the older generation of Eberlin and Leopold Mozart and the younger generation of Michael Haydn and W.A. Mozart. Adlgasser was prolific as a composer of sacred music, which was widely disseminated during the 18th century. These works are similar in large-scale structure and instrumentation to the church compositions of the Mozarts and Michael Haydn and include movements in the modern Italianate and the ‘strict’ or contrapuntal styles. Several of these compositions continued to be performed in Salzburg well into the 19th century. His dramatic works, which were performed mainly at the Salzburg Benedictine University or at the residence of the Archbishop, include an Italian opera, oratorios, Latin Schuldramen, and Singspiele with sacred German texts. Many of the Latin stage works consist of musical dramas within spoken plays, sometimes with additional insertions of comic scenes and pantomimes. During the 1760s and 70s Adlgasser collaborated with Mozart, Michael Haydn and other Salzburg composers on several German oratorios and geistliche Singspiele, including Die Schuldigkeit des ersten Gebotes (1767); between 1766 and 1772 at least two of his dramatic works were performed in Salzburg annually. Adlgasser was respected during his time as an accomplished musician and composer. His theoretical treatises, one of which was written in collaboration with Michael Haydn, were used as teaching documents and form part of the Salzburg tradition of organ instruction. Leopold Mozart described him as a good organist and accompanist on the pianoforte, and in a letter to Martini (1776) Wolfgang Mozart praised him and Michael Haydn as ‘bravissimi contrapuntisti’. His mature works, which remain firmly rooted in the Salzburg traditions of the mid-18th century, display solid competence in both contrapuntal technique and soloistic vocal writing. #ClassicalMusic