Josef Anton Singer (1810-1882) - Missa pastoralis (1860)

Alles Gute zum Geburtstag Josef Anton Singer! 🙏🏼🍷

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Composer: Josef Anton Singer (1810-1882)
Work: Missa pastoralis (1860)
Performers: Heike Heilmann (soprano) https://tinyurl.com/2e96m5bd
Julia Diefenbach (alto) https://tinyurl.com/ncpjsyk2
Johannes Puchleitner (tenor) https://tinyurl.com/mr6xhcb6
Markus Flaig (bass) https://tinyurl.com/ry5djern
Chor und Orchester der Akademie St. Blasius https://tinyurl.com/z5dcf22x
Karlheinz Siessl (conductor) https://tinyurl.com/udc66f28

Missa pastoralis (1860)
1. Kyrie 0:00
2. Gloria 1:56
3. Credo 5:25
4. Sanctus 11:24
5. Benedictus 12:58
6. Agnus Dei 15:31

Painting: August Fischbach (1828-1860) - Corpus Christi Procession in Aigen near Salzburg
HD image: https://flic.kr/p/2spK7SG
Drawing: Ferdinand Fellner (1799-1859) - Drei singende Mönche
HD image: https://flic.kr/p/2snpMMc

Further info: https://www.volkslied.at/tiroler-weihnachtskonzert-2017/
Listen free: https://klangraumtirol.musikland-tirol.at/Weihnachtskonzert/seite87.html

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(Josef Anton) Peter (Petrus) von Alcantara (Alkantara) Singer
(Unterhäselgehr, [now Häselgehr, Tyrol] 18 July 1810 - Salzburg, 25 January 1882)

Austrian composer, organist, music theorist, and instrument maker. The son of a miller, bell founder, and instrument maker, he attended the gymnasium in Hall in Tirol from 1824 to 1830 before entering the Franciscan Order in Salzburg in 1829, where he took his simple vows in 1830, solemn profession in 1833, and was ordained a priest in 1834. He pursued theological studies in Salzburg, Schwaz, and Bolzano until 1837, subsequently serving as organist and choir director in Bolzano and Innsbruck between 1837 and 1840. From 1840 onward, he resided at the Franciscan monastery in Salzburg, where he also held the position of master of novices. In addition to developing a harmonium and several physharmonica variants, he constructed the Pansymphonikon in 1845, a reed-based keyboard instrument designed to emulate a full orchestra that drew widespread admiration from notable contemporary figures, including Franz Lachner, Franz Liszt, and Richard Wagner. In his theoretical treatise 'Metaphysische Blicke' he drew upon the traditions of Jean-Philippe Rameau and Anton Reicha to argue that all music derives from the tonic triad, a concept he termed the "primal harmony" (Urharmonie) and associated with the Holy Trinity, alongside its auxiliary harmonies, namely the dominant seventh and the subdominant with an added sixth. As a composer, he adhered to the standard Franciscan scoring for organ and choir, occasionally utilizing vocal soloists; however, his orchestral style of organ accompaniment, rich harmonic language, and unconventional text setting (characterized by omissions and rearrangements) stood in stark contrast to the aesthetic tenets of the Caecilian movement. Conversely, his virtuosic organ performances, particularly his pedal technique, were highly acclaimed by both Franz Liszt and Anton Bruckner.