Following the recent publication of the work of Karlmann Pachschmidt the Thematische Katalog Mathias Öttl honours another composer of the late Austrian Baroque. Baptized on 21 February 1675 at Lake Constance in Bodman, Öttl’s first documented musical appearance was as a participant in a Jesuit drama performance in Vienna on 31 July 1698. Activities as a tenor in Vienna’s St. Stephen’s cathedral, employment at the Schotten monastery as well as his appointment as Musicus and subsequently...

The Austrian composer Karlmann Pachschmidt was born in Eisenstadt in 1700 and entered the Benedictine Abbey Schottenstift in Vienna in 1721. There he was ordained as a priest in 1723 and gained the position of the choirmaster and conductor in 1725. He died in 1734 in Vienna. From 1721 onwards he composed more than 40 works, including masses, two Stabat Mater, three introitus, six motets, one Dixit Dominus, several psalms, and some arias. Among his instrumental works is a remarkable sinfonia ....

The first volume of the music collection catalogue of the Institute of Musicology, Karl-Franzens-University in Graz published the smaller parts of its collection (items from the parishes of Frohnleiten, Krieglach, Rottenmann and Weißkirchen, the former Piarist cloister of Gleisdorf, the monastery of the "Barmherzige Brüder" in Graz, the former theatre society of Radkersburg, as well as the collection of Friedrich Wastian). The second volume now includes the church music that is still extant...

The musical archives of the Vorau Monastery include approximately 1,500 printed and 1,500 handwritten pieces of music from the 18th through 20th centuries. The newly consolidated holdings contain church music that was used in the monastery's chapel as well as in some of the neighbouring parish churches. They also contain chamber music from the estates of monastery members, including original works or arrangements for one to five instruments. Two thematic catalogues from 1771 and about 1820/30,...

For many years Italian, German and Austrian literary historians failed to give the Italian court poets the recognition they deserved because their works did not fit into the 19th century concept of a national literature. Furthermore, the majority of the poets' work belonged to a genre, the Libretto, to which literary aesthetics principally ascribed only functional value. With the exception of Pietro Metastasio, there are consequently no catalogues of these authors' works, no critical editions...