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Amandus Ivanschiz (in Slovenian literature “Ivančič”) belongs to a group of today little known 18th-century composers. He was, however, in his own time all over Central Europe well known and largely copied monastic composer. Around 200 compositions survived to this date in various copies now preserved in Slovenian, Croatian, Austrian, Czech, etc. archives. However, only a few of his compositions are available to modern performers. In volume 3 of the Monumenta artis musicae Sloveniae series are published three “Simphoniae” for two violins and bass, i.e. triosonatas, typical for Viennese musical circles of the 1750s and 1760s. The music is accompanied by an introductory presentation of the composer’s works and Revision Report by Danilo Pokorn (1984).The digitized version of the edition (2020) includes a New Introduction as well as Corrigenda by Maciej Jochymczyk bringing to the reader’s attention new information on father Amandus and corrigenda of the earlier edition. Amandus Ivanschiz (Ivančič) sodi med danes manj znane skladatelje 18. stoletja, čeprav je bil v svojem času razmeroma močno prisoten v srednjeevropskem glasbenem prostoru. O tem priča ok. 200 njegovih skladb, ki so se v prepisih ohranile širom srednje Evrope: v slovenskih, hrvaških, avstrijskih in čeških arhivih. Izvajalcem in raziskovalcem glasbene kulture je še vedno dostopen le majhen del njegovega opusa. Tretji zvezek zbirke MAMS v sodobni notni izdaji prinaša tri Ivančičeve simfonije za dve violini in bas oz. triosimfonije, kakršne so bile značilne za dunajske skladateljske kroge 50-ih in 60-ih letih 18. stoletja. Zvezek je opremljen z uvodno študijo o življenju in delih patra Amandusa in revizijskim poročilom Danila Pokorna (1984).Digitalizirana po-izdaja iz leta 2020 prinaša dodatni Novi uvod in Corrigenda Macieja Jochymczyka s posodobljenimi podatki o skladatelju in popravki zgodnejšega vedenja.

Classical music (c 1750 to c 1830) --- instrumental music --- music --- symphonies --- glasba --- instrumentalna glasba --- simfonije

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Amandus Ivanschiz (in Slovenian literature “Ivančič”) belongs to a group of today little known 18th-century composers. He was, however, in his own time all over Central Europe well known and largely copied monastic composer. Around 200 compositions survived to this date in various copies now preserved in Slovenian, Croatian, Austrian, Czech, etc. archives. However, only a few of his compositions are available to modern performers. In volume 3 of the Monumenta artis musicae Sloveniae series are published three “Simphoniae” for two violins and bass, i.e. triosonatas, typical for Viennese musical circles of the 1750s and 1760s. The music is accompanied by an introductory presentation of the composer’s works and Revision Report by Danilo Pokorn (1984).The digitized version of the edition (2020) includes a New Introduction as well as Corrigenda by Maciej Jochymczyk bringing to the reader’s attention new information on father Amandus and corrigenda of the earlier edition. Amandus Ivanschiz (Ivančič) sodi med danes manj znane skladatelje 18. stoletja, čeprav je bil v svojem času razmeroma močno prisoten v srednjeevropskem glasbenem prostoru. O tem priča ok. 200 njegovih skladb, ki so se v prepisih ohranile širom srednje Evrope: v slovenskih, hrvaških, avstrijskih in čeških arhivih. Izvajalcem in raziskovalcem glasbene kulture je še vedno dostopen le majhen del njegovega opusa. Tretji zvezek zbirke MAMS v sodobni notni izdaji prinaša tri Ivančičeve simfonije za dve violini in bas oz. triosimfonije, kakršne so bile značilne za dunajske skladateljske kroge 50-ih in 60-ih letih 18. stoletja. Zvezek je opremljen z uvodno študijo o življenju in delih patra Amandusa in revizijskim poročilom Danila Pokorna (1984).Digitalizirana po-izdaja iz leta 2020 prinaša dodatni Novi uvod in Corrigenda Macieja Jochymczyka s posodobljenimi podatki o skladatelju in popravki zgodnejšega vedenja.

Classical music (c 1750 to c 1830) --- instrumental music --- music --- symphonies --- glasba --- instrumentalna glasba --- simfonije --- instrumental music --- music --- symphonies --- glasba --- instrumentalna glasba --- simfonije

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Simone Verovio was the first printer to produce a substantial number of musical prints using engraved copper plates. This intaglio printing technique not only allowed him to print on demand, but also to combine different kinds of notation on one page opening: voice parts with corresponding harpsichord and lute intabulations. This detailed comparison of intaglio and relief printing techniques in the editions associated with Verovio sheds light on the production of sheet music around 1600 and the comparison of the vocal and instrumental parts provides ground-breaking insights into historical performance practice.

Music --- Music History --- 16th Century --- 17th Century --- Partituren --- Musical Scores --- Musikgeschichte --- AVGC3 --- AVGC4 --- Baroque music (c. 1600 to c. 1750) --- Classical music (c. 1750 to c. 1830) --- Bass (voice type) --- Cadence --- Canzonetta --- Figured bass --- Harpsichord --- Intabulation --- Lute --- Rome

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Simone Verovio was the first printer to produce a substantial number of musical prints using engraved copper plates. This intaglio printing technique not only allowed him to print on demand, but also to combine different kinds of notation on one page opening: voice parts with corresponding harpsichord and lute intabulations. This detailed comparison of intaglio and relief printing techniques in the editions associated with Verovio sheds light on the production of sheet music around 1600 and the comparison of the vocal and instrumental parts provides ground-breaking insights into historical performance practice.

Music --- Music --- Music --- Music History --- 16th Century --- 17th Century --- Partituren --- Musical Scores --- Musikgeschichte --- AVGC3 --- AVGC4 --- Baroque music (c. 1600 to c. 1750) --- Classical music (c. 1750 to c. 1830) --- Bass (voice type) --- Cadence --- Canzonetta --- Figured bass --- Harpsichord --- Intabulation --- Lute --- Rome --- Music --- Music History --- 16th Century --- 17th Century --- Partituren --- Musical Scores --- Musikgeschichte --- AVGC3 --- AVGC4 --- Baroque music (c. 1600 to c. 1750) --- Classical music (c. 1750 to c. 1830) --- Bass (voice type) --- Cadence --- Canzonetta --- Figured bass --- Harpsichord --- Intabulation --- Lute --- Rome