Susanne Bruns

Andreas Pevernage (1542/3–1591) is best remembered today as the choirmaster of Antwerp Cathedral and as the composer of several picture motets that are now classified as masterpieces of Flemish culture. Whilst Pevernage spent his entire professional career in Flanders, which may well have contributed to his music being less well known today, he was nonetheless considered as the equal of Orlandus Lassus, Clemens non Papa and Giaches de Wert during his lifetime: the quality of his music is in no wise inferior to the works of his more famous contemporaries. Pevernage adopted the innovations of the Italian madrigal and also breathed new life into the chansons of the Low Countries. This selection of works, mostly for five parts, is an invitation to discover his stylistic and creative diversity.

The compositions of this Italian organist were predominantly written in the dramatic vein. Operas dominated his work. Torri served as a master of the chapel for the Margrave of Beyreuth, probably traveled in Italy for about five years, and then found service with Max Emanuel in 1689. During the Wars of Spanish succession the Munich court traveled to many different places in Europe. Torri was usually in the company of Max Emanuel. The court eventually returned to Munich in 1715 and Torri acceded to the position of Hofkapell-Director. It was not until 1732 that he became the Hofkapellmeister. The operas which Torri composed, including "Gli oracolo di Pallade e di Nemesi," "Briseide," and "Amadis aus Griechenland" were in the style of Scarlatti.

Andreas Pevernage (1542/3–1591) is best remembered today as the choirmaster of Antwerp Cathedral and as the composer of several picture motets that are now classified as masterpieces of Flemish culture. Whilst Pevernage spent his entire professional career in Flanders, which may well have contributed to his music being less well known today, he was nonetheless considered as the equal of Orlandus Lassus, Clemens non Papa and Giaches de Wert during his lifetime: the quality of his music is in no wise inferior to the works of his more famous contemporaries.