The monumental Missa Salisburgensis was composed for the  1682 commemoration of the 1100th anniversary of the Salzburg archbishopric. The piece was created for 53 voices divided into two large vocal choirs (each for eight vocal parts comprising two soprano, alto, tenor and bass) and four instrumental choirs with a diverse choice of instruments (string or brass). These choirs are complemented by two ensembles, each including trumpets and timpani, accompanied by basso continuo. The composer employs redoubling and dialogue between said groups, but significant sections of the piece are notably and truly polychoral, for most of the time leading eight voices, only at times limited to “just” four.
Who was the master that knew how to control such a multitude of performers? Back in the 1960s, it was widely believed that the work was composed by Orazio Benevoli, but the development of research techniques made it possible to verify this prevailing opinion. When the manuscript (supposedly rediscovered in 1870 on a greengrocer’s market stall) was put under close scrutiny, it was confirmed beyond doubt that the composer of the Salzburg Mass was Heinrich Ignaz Franz von Biber. The polychoral work was thus written by a master known for his Rosary Sonatas cycle for solo violin, equally monumental, but infinitely more modest  in terms of number of musicians.
Biber’s exceptional talent makes both the Austrians and the Czechs want him for themselves. No wonder that in Wrocław the Mass will be performed by Collegium 1704 founded by Václav Luks, an ensemble known for promoting baroque Czech music.
The program will be complemented by a comprehensive selection from the Selva morale e spirituale collection by Claudio Monteverdi.