Johann Simon Mayr
38 products
Mayr: Amor non ha ritegno
Mayr, J.S.: Tobia, O Tobiae Matrimonium [Oratorio]
Mayr: Amor ingegnoso (Live)
MAYR, R.I.: Confitebor tibi / Psalms / Motets
Mayr: Arianna a Nasso
Mayr: Venetian Solo Motets
Mayr: Demetrio, Redi Siria
Mayr: Medea in Corinto
Mayr: Vespri per il Corpus Domini
CONCERTO BERGAMASCO/PIANO CONC
MAYR: Amor coniugale (L')
AMORE NON SOFFRE OPPOSIZIONI
Mayr: I Cherusci
Mayr: Telemaco / Hauk, Concerto De Bassus
Mayr's Telemaco was a product of turbulent political times in the Republic of Venice, which had been occupied by Napoleon's troops in late 1796. Military elements, with incorporated marches, feature strongly in a score that brought to contemporary Venetian theatre many of the innovative elements that were in vogue on the operatic stages of Paris. Taking classical Greek mythological material, Mayr fashioned an opera full of colour, interweaving instrumental interludes and dances into his arias, cavatinas and choruses, and crafting his own very personal vision of the nwe Italian opera seria.
Mayr: Il sagrifizio di Jefte
Mayr: Jacob a Labano fugiens
Mayr: Il sogno di Partenope
Mayr: Stabat mater in F Minor, Eja mater in F Major & Ave ma
Mayr: Messa di Gloria in E Minor - Messa di Gloria in F Mino
Mayr: Messa solenne in D minor / Hauk, Concerto de Bassus
Franz Hauk has spearheaded the rediscovery of Johann Simon Mayr work’s during the last two decades. This latest premiere recording presents the substantial Messa solenne in D minor which sets the full ordinary. The Simon Mayr Chorus and Concerto de Bassus are joined by a team of stellar soloists.
Mayr: L'accademia di musica / Morace, Cortés, Pascoli, Passionart Orchestra
Johann Simon Mayr was among the most successful Italian opera composers prior to Rossini, and while he was long remembered as Donizetti’s teacher his excellent music is now gaining the recognition it deserves.
L’accademia di musica is a single-act farsa or comedy, its narrative a variation on the familiar situation of an elderly rich man trying to seduce and marry his young maid and the complications and intrigues that ensue, including ‘play within a play’ and a concert held as part of the opera. With its vaudeville finale and metaphorical touches, this opera simultaneously recalls 18th-century traditions and anticipates Rossini.
Simon Mayr: L'armonia, Etc / Hauk, Or, Piriu, Et Al
But rather than being tedious and predictable, Mayr treats us to some very appealing, expertly crafted music that handily combines some dramatic and very demanding Mozartian opera-style arias--beautifully sung by all three soloists--with choruses right out of the church works of Mozart and Haydn. The pacing is swift and conductor Franz Hauk keeps his forces tightly together most of the time--some ragged instrumental ensemble and choral intonation slips are only occasionally noticeable. Mayr also cleverly uses a harp at opportune moments to add color and for symbolic reference to the Bards, which are among the cantata's "characters".
And speaking of references, if you know Beethoven, you'll have fun picking out Mayr's nifty insertions of excerpts from some of the master's works in the Cantata for the Death of Beethoven. This 15-minute piece was basically cobbled together from original material and from existing works, and again, it's a very satisfying listen marked by strong vocal writing for the soloists and stylish orchestration. Once more I do have to mention the solo singers--soprano Talia Or, tenor Altin Piriù, and bass Nikolay Borchev--all first class and very solid in some very challenging music. They have a lot to do here, and they really carry the show. A pleasant surprise!
--David Vernier, ClassicsToday.com
Mayr: Samuele / Brown, Bernhard, Trost, Hauk, Ingolstadt Georgian Chamber Orchestra
Influential, popular and prolific in his day, Bavarian born Simon Mayr left his mark in providing a bridge between Northern classicism and the bel canto of Italy, his adopted country of residence. The oratorio Samuele deals with the calling of Samuel as a prophet, and was written in 1821 for the consecration of Pietro Mola as Bishop of Bergamo. Mayr set his oratorio to the Poesia of one of his pupils, Bartolomeo Merelli, the collaboration resulting in a fascinating work which combines theology with dramatic innovation such as the use of ‘melodrama’ or spoken text.
Mayr: Requiem / Hauk, Simon Mayr Chorus & Ensemble
Mayr: Overtures / Hauk
Simon Mayr was born in Bavaria but made his name in Italy. Although familiar with the Venetian two-part and Neapolitan three-part operatic overture traditions, he forged a style which at first mirrored the models of his Viennese contemporaries, then broadened out into large-scale and often virtuosic sinfonias filled with unexpected modulations and intervals and beautiful instrumental solots. Spanning a period of 25 years, the works on this recording include Raul de Crequi with its striking fugal opening, the dramatic Ercole in Lidia with its solo part for harp and Gli Americani which recalls Mozart and Beethoven.
