See Verse (ii). See alsoAlternatim; Organ hymn; and Organ mass.
(bprobably at Rome, c1585; d Raciborowice, nr Kraków, 5 July 1629). Italian composer, partly active in Poland. He entered the Collegio Germanico, Rome, as a soprano on 7 July 1594. In 1606 he took minor orders there and in 1610 became a deacon. From early 1607 he studied metaphysics and theology at the Seminario Romano. In due course he became maestro di cappella at Avellino. He was still there on 10 April 1613, but by 12 October 1613 he had returned to the Collegio Germanico as maestro di cappella, and he held this post until 16 May 1619. He then moved to Poland, where in the same year he became choirmaster of the newly founded instrumental and vocal ensemble at Wawel Cathedral, Kraków, a position he held until his death. From June 1628 he held the additional post of director of the Capella Rorantistarum at the cathedral, in spite of certain regulations restricting the post to Polish musicians. He was also priest of the church at Raciborowice. In the second half of 1628 he visited Italy. He was one of many Italian emigrants to Poland in the first half of the 17th century (among them G.F. Anerio, Asprilio Pacelli and Marco Scacchi) who helped to determine the character of Polish musical culture in the Baroque period. His Sacrarum cantionum … liber primus (Venice, 1619), a volume of motets for four to eight voices and continuo, contains all his known music from his years in Italy. Two four-part motets are all that survive from his years in Poland, Vir inclite Stanislae (PL-Kpa; two parts also in Kk), dated 26 September 1626, and Deus noster, cuius gratis beatus Martinus (Kk, inc.), dated 15 June 1628. They are for equal voices and were thus clearly intended for the Capella Rorantistarum; they are conservative works, imitative in style and based on a cantus firmus in equal notes in the tenor. An ode he wrote to commemorate those killed at the Battle of Chocim in 1622 is lost.
MGG1 (H. Feicht)
R.Casimiri: ‘“Disciplina musicae” e “mastri di cappella” dopo il Concilio di Trento nei maggiori istituti ecclesiastici di Roma: Seminario Romano – Collegio Germanico – Collegio Inglese (sec. XVI–XVII)’, NA, xv (1938), 1–14; xix (1942), 102–29
A.Szweykowska: ‘Początki krakowskiej kapeli katedralnej’ [The beginnings of the Kraków Cathedral chapel], Muzyka, iv/2 (1959), 12–21 [with Eng. summary]
F.Burkley: ‘Priest-Composers of the Baroque: a Sacred–Secular Conflict’, MQ, liv (1968), 169–84
T.D.Culley: Jesuits and Music, i: A Study of the Musicians Connected with the German College in Rome during the 17th Century and of their Activities in Northern Europe (Rome, 1970)
E.Zwolińska: ‘Twórczość kompozytorów włoskich z I połowy XVII wieku dla kapeli rorantystów wawelskich’ [The works of Italian composers of the first half of the 17th century for the Wawel Capella Rorantistarum], Polsko-włoskie materiały muzyczne/Argomenti musicali polacco-italiani: Warsaw 1971 and Bardolino 1972 [Pagine, ii (1974), 203–16]
Z.M.Szweykowski, ed.: Musicalia vetera: katalog tematyczny rękopiśmiennych zabytków dawnej muzyki w Polsce [Thematic catalogue of manuscript treasures of early Polish music], i/2 (Kraków, 1972); i/4 (Kraków, 1974)
A term sometimes used to refer to the organ revival of the early 20th century. SeeOrgan, §VII.
Orgéni, Aglaja [Görger St Jörgen, Anna Maria von]
(b Rimászombat, Galicia [now Rimavská Sobota, Slovakia], 17 Dec 1841; d Vienna, 15 March 1926). Hungarian soprano. She studied with Pauline Viardot at Baden-Baden, and made her début in 1865 at the Royal Opera House, Berlin, as Amina in La sonnambula. In 1866 she sang at Covent Garden in La traviata, Lucia di Lammermoor and Flotow’s Martha. Leaving Berlin, she sang in Leipzig, Dresden, Hanover and other cities. In 1872 she appeared in Vienna and the following year in Munich, where she sang Leonora (Il trovatore), Amina, and Valentine (Les Huguenots). Her repertory also included Agathe (Der Freischütz) and Marguerite (Faust). In 1879 she retired from the stage, but continued to sing in concert until 1886, after which she taught at the Leipzig Conservatory, becoming the first female professor at that establishment. In 1914 she moved to Vienna. She had style and great technical proficiency, especially in coloratura.
A.Ehrlich [A.Payne], ed.: Berühimte Sängerinnen der Vergangenheit und Gegenwart (Leipzig, 1895)
E.Brand: Aglaja Orgeni (Munich, 1931)
SeeReinagle family, (6).
(b Vicenza, c1650; d Vicenza, Dec 1725). Italian composer and priest. Having received his musical training in Vicenza, he spent the 1680s in the service of Torrismondo della Torre, Count of Duino (Trieste), to whom he dedicated Il Dioclete (1687). On 24 August 1688, and with the count's assistance, he became a mansionario at Aquileia Cathedral, retaining this position until 4 April 1692. He was elected maestro di cappella of Udine Cathedral on 14 July 1690 and, a few days later, singing master to the girls at the Hospital di S Maria della Misericordia, Udine. In December 1692 the Aquileia Cathedral chapter requested the repayment of 100 ducats he had had several years earlier for the acquisition of an organ. He made several journeys away from Udine, including three months at the beginning of 1692 ‘for matters of great urgency’, and in August 1696 he was called to the imperial court at Vienna. He was not always given formal permission to travel, and in July 1704 he was strongly criticized by the chapter for his absences and for the negligence with which he had attended to his duties. In 1703 he renounced the post of maestro di cappella offered to him at Il Santo in Padua. On 14 December 1711 he left Udine for the last time, and three days later took up the direction of the chapel of Vicenza Cathedral, a post he retained until his death, along with other musical duties in the city.