new period music inspired by the Michna's famous baroque vocal collection (selection from the Czech Marian Music, 1647) composed by Jaroslav Tůma

sheet music for organ or another keyboard instrument
76 pages, A4 wide

Luboš Fišer: IV. Piano Sonata    
Luboš Sluka: Sonata per pianoforte     
Klement Slavický: Piano Sonata “Contemplation of Life”    
Antonín Jemelík: Three Melodramas   
Antonín Jemelík / Luboš Sluka: Lullaby for Voice and Piano

Barbora K. Sejáková: piano
Terezie Švarcová: soprano
​Marie Tomášová: narration

new period music inspired by the famous vocal collection by Adam Václav Michna (selection from the Czech Marian Music, 1647) 
composed and performed by Jaroslav Tůma 

organ from Kruh (1627) in the cathedral of St Stephen in Litoměřice

Štěpán Kaniak: fiddle, plucked string and wind instruments
Pavel Polášek: wind instruments, santur
Mario Mesany: wind instruments, hurdy-gurdy, bagpipes, artistic leader
Štěpán Mesany: wind instruments, organetto
Erika Reitschmiedová: harp, plucked string instruments
Libor Žídek: voice, percussion

guests – Šárka Langerová: voice, Ondřej Sokol: sackbut, Richard Šeda: cornett, Jan Linhart: percussion & children’s choir

The Court of Queen Elizabeth at London, The Court of the French King at Paris, Music consorts of the German nobility, Italian courtly music, Music of the Golden Age in Spain, Renaissance music in the Bohemian Lands

Hollan's hymnal CAPELLA REGIA MUSICALIS (1693/94) is unique in the world, for several important reasons. Its relatively large format (A4) was rarely used anywhere. It was so big that it required a music stand. It was not, however, meant only to remain standing in the church as a counterpart to the liturgical books on the altar; it was intended for use in processions, schools, at table in peoples' homes, and at the bedside (for morning, evening, and wedding songs). Some of the songs seem to have come running in from a small grove, park, garden, or field-path, or, conversely, running back to them. It contains songs for a small Bohemian Ordinary, next to evensongs, songs for the congregation, solo 'arias' for professionals - the acolytes. Some of the songs allow the accompanying organist to 'shine'; others have been furnished much less modestly with parts not just for the organ but for many other instruments as well. No other nation in the world can boast such an accomplishment.