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The Mystery of Sign. Mouthon

Ars Antiqua Austria / Gunar Letzbor

The Mystery of Sign. Mouthon

Format: CD
Label: Challenge Classics
UPC: 0608917233629
Catnr: CC 72336
Release date: 29 January 2010
1 CD
 
Label
Challenge Classics
UPC
0608917233629
Catalogue number
CC 72336
Release date
29 January 2010
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

It is not sure if lutenist Mouton and composer Mouthon where the same people. What we do know is that this music from the 17th century is unknown music from Austria, played by the early music specialist ensemble Ars Antique Austria (a group of musicians that plays music from the wealth of pieces that has been handed over to us from Austria and which is now uncovered bit by bit). This is enchanting music, a richness uncovered!

Charles Mouton was born in 1626 and died around 1699. ...What strikes us about Mouthon as astoundingly modern and actually indicative of a much later period are his melodies. They recall Handel, not only as regards the musical figures, but there are also similarities in the rarefied harmonies and the frequently schematic formation of the cadences. The collection not only shows the astonishingly high standard of musical culture in Austrian monasteries at the turn of the century, it also underscores the melting-pot character of the cultural attitude shared by Austrian cultural sponsors and patrons. By combining elements from the most diverse cultures they fostered the progress that led to the international Wiener Klassik - Viennese Classicism. We invite you to form an opinion whether this work is part of the collection of the lutenist of the 17th century Charles Mouton, whether it concerns another up to now unknown composer with the name Mouthon or whether the writing up is simply faulty." (Gunar Letzbor in the linernotes)
Concerto’s van Mouthon: levendig en virtuoos
Op dit album brengt het Oostenrijkse ensemble Ars Artiqua Austria onder leiding van Gunar Letzbor oude muziek uit de 17e eeuw, van Charles Mouthon, weer tot leven. De concerto’s zijn geschreven in de stijl van de Italiaanse ensemblemuziek, in een vijfstemmige bezetting met twee violen, twee altviolen en een basso continuo. Ars Artiqua Austria vertolkt de muziek van Mouthon zo levendig, virtuoos, overtuigend en goed ingestudeerd, dat het lijkt alsof je de muziek eerder hebt gehoord. "Ars Antiqua Austria vertoont het gebruikelijke vurige spel, dat betekent een duidelijke klanktaal, met overtuigende uithalen, goed gemarkeerde accenten en intense contrasten, een hoekige taal die heel goed voelt." Pablo J. Vayón Diverdi, oktober 2010.

De muziek van de 17e eeuwse Franse componist Charles Mouthon klinkt erg modern voor zijn tijd en doet zelfs denken aan Händel. Mouthon's concerto’s vertonen niet alleen het verbazingwekkend hoge niveau van de muziekcultuur in de Oostenrijkse kloosters aan het eind van de 17e eeuw, maar karakteriseren ook de culturele smeltkroes, die de Oostenrijkse geldschieters en beschermheren vormden.

Het is niet zeker of luitist Mouton en componist Mouthon een en dezelfde waren. Wie het weet mag het zeggen. Wat we wel weten is, dat deze muziek uit de 17e eeuw, onder de naam Mouthon, gevonden is in de bibliotheek van het Kremsmünster klooster in Oostenrijk. Die naam lijkt op de naam van Charles Mouton, een Franse componist, die ook goed met de luit overweg kon, en die in het laatste kwart van de 17e eeuw leefde. Wellicht zal het altijd een mysterie blijven, niet voor niets heet dit album The Mystery of Sign. Mouthon.

Het instrumentale ensemble Ars Antiqua Austria werd in 1989 opgericht door de Oostenrijkse violist Gunar Letzbor, met als doel het publiek te laten kennismaken met de Oostenrijkse barokmuziek. Dankzij zijn onderzoeken en inspanningen zijn tientallen composities voor het eerst in de moderne tijd uitgevoerd. Ars Antiqua Austria speelt op authentieke instrumenten en geldt als een hoogstaand ensemble in de wereld van de oude muziek. De bezetting van het gezelschap varieert, afhankelijk van het repertoire.
Ars Antiqua Austria spürt erweckt mit dieser Weltersteinspielung der Concerti von Mouthon erneut einen wertvollen Schatz der österreichischen Barockmusik zu neuem Leben. Diese Sammlung von präsentiert Concerti in der Form italienischer Ensemblemusik in fünfstimmiger Besetzung mit 2 Violinen, 2 Violen und Basso continuo. Es ist nicht klar, ob die Sammlung vom Lautenisten des 17. Jahrhunderts Charles Mouton stammt oder ob es sich um einen unbekannten Komponisten mit dem Namen Mouthon handelt oder ob die Zuschreibung einfach fehlerhaft ist. Ein großes Rätsel und die Wiederentdeckung einer erstaunlich hohen Musikkultur.

Artist(s)

Ars Antiqua Austria

Austrian Baroque music takes centre stage in the repertoire of this unusual Baroque ensemble. The music performed at the imperial court in Vienna at this time was initially heavily influenced by the music of Italy, later by that of France; Spanish court ceremonial also had important artistic effects in Vienna. The typical Austrian sound of this era was characterised by the impact of its many royal domains. The political and societal boundaries of Baroque Austria stretched much further than nowadays. Elements of Slavic, Hungarian and Alpine folk music styles had lasting effects on art music, making up its specific sound. But the Austrian sound also reflects the temperament and the character of the people of the time: placed within the...
more
Austrian Baroque music takes centre stage in the repertoire of this unusual Baroque ensemble. The music performed at the imperial court in Vienna at this time was initially heavily influenced by the music of Italy, later by that of France; Spanish court ceremonial also had important artistic effects in Vienna. The typical Austrian sound of this era was characterised by the impact of its many royal domains. The political and societal boundaries of Baroque Austria stretched much further than nowadays. Elements of Slavic, Hungarian and Alpine folk music styles had lasting effects on art music, making up its specific sound. But the Austrian sound also reflects the temperament and the character of the people of the time: placed within the melting pot of many diverse cultures, amalgamating Mediterranean zest for life, Slavic melancholy, French formalism, Spanish royal ceremony and the original Alpine elements of the German-speaking region. This mixture of court music and folk music with a dance-like character outlines the typically Austrian sound.
Alongside many concert performances, the early years of the ensemble Ars Antiqua Austria were dedicated to musicological research of Austrian Baroque composers. The abundance of rediscovered works led to several successful premiere recordings: albums featuring the works of R. Weichlein, H.I.F. Biber, F. Conti, G.B. Viviani, G.A.P. Mealli, G. Arnold, A. Caldara, B.A. Aufschnaiter, J.J. Vilsmayr, J.P. Vejvanovsky, J. Schmelzer, G. Muffat, W.L. Radolt, C. Mouthon, J.B. Hochreither, F.J. Aumann and J.S. Bach were met with enthusiastic approbation from the international music press.
Ars Antiqua Austria have been designing their own concert series at the Vienna Konzerthaus since 2002, and at the Brucknerhaus Linz since 2008. The ensemble is leading a cycle of performances arranged over several years entitled “Klang der Kulturen – Kultur des Klanges” (“Sound of the Cultures – Culture of Sound”), consisting of ninety concerts set to be performed in Vienna, Prague, Budapest, Bratislava, Krakow, Venice, Ljubljana, Mechelen and Lübeck.
Recent performances include concerts at the Festival de Musique Ancienne de Ribeauvillé, Berliner Tage für Alte Musik, Festival Printemps des Arts de Nantes, Mozartfest Würzburg (an opera production), Tage Alter Musik Herne, Festival de Musique de Clisson et de Loire Atlantique, Folles Journées de Nantes and Tokyo, Musée d’Unterlinden Colmar, Printemps Baroque du Sablon, Festival van Vlaanderen, Festival Bach de Lausanne, MAfestival Brugge, Bologna Festival, Vendsyssel Festival, Concerti della Normale di Pisa, Resonanzen Wien, Klangbogen Wien, Monteverdi Festival Cremona, Bayerische Staatsoper and the Salzburger Festspiele. The ensemble has also been welcomed in the USA and in Japan.
The CD recording with mezzo-soprano Bernarda Fink (four cantatas by Francesco Conti) was awarded a Diapason d’or only one week after being issued. Gunar Letzbor and his ensemble Ars Antiqua Austria were presented with the Cannes Classical Award 2002 for their recording of the Capricci Armonici by G.B. Viviani.

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Markus Miesenberger

The lyrical tenor Markus Miesenberger received his education as a singer in Vienna with KS Robert Holl, KS Artur Korn and Sebastian Vittucci as well as in the fields violin and baroque viola with Ernst Kovacic and Michi Gaigg in Salzburg, Linz and Vienna. Appearances as a concert and lied singer, in operas and as a musician led the artist through Austria, to important European music centres in Germany, France, Spain, Italy, the Netherlands, Belgium, Poland, Czech Republic, Slovakia, Switzerland, to Israel, to Mexico and to many more. Thus, it was and is beside regular appearances at the Viennese music association and at the Viennese concert hall to guest with numerous festivals (Instituto Nacional de Bellas Artes Mexico City, Festival Oude...
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The lyrical tenor Markus Miesenberger received his education as a singer in Vienna with KS Robert Holl, KS Artur Korn and Sebastian Vittucci as well as in the fields violin and baroque viola with Ernst Kovacic and Michi Gaigg in Salzburg, Linz and Vienna.
Appearances as a concert and lied singer, in operas and as a musician led the artist through Austria, to important European music centres in Germany, France, Spain, Italy, the Netherlands, Belgium, Poland, Czech Republic, Slovakia, Switzerland, to Israel, to Mexico and to many more. Thus, it was and is beside regular appearances at the Viennese music association and at the Viennese concert hall to guest with numerous festivals (Instituto Nacional de Bellas Artes Mexico City, Festival Oude Muziek Utrecht, MA Festival Brugge, Salzburger Festspiele, Styriarte, Carinthischer Sommer, Schubertiaden Schwarzenberg and Dürnstein, Brucknerfest Linz, Handel Festival Halle, Internationales Musikfest Hamburg, Musica antiqua of the bavarian broadcast Nürnberg, National forum of music Wroclaw, Settimana Musica Sacra di Monreale, Misteria Paschalia Krakow). He sings under the baton of famous conductors like Christian Thielemann, Pierre Andre Valade, Ralf Weikert, Andrés Orozco-Estrada, Jeffrey Kahane, Gunar Letzbor, Michi Gaigg and Rubén Dubrovsky with Staatskapelle Dresden, Vienna and Hamburg Symphonic Orchestra, Ars Antiqua Austria, L’Orfeo Baroque Orchestra, Bach Consort Vienna, Wroclaw Baroque Orchestra and Slovac Philharmonic Orchestra. There is also a strong artistic connection in the field of lied to his former teacher Robert Holl and the pianists David Lutz und Sir András Schiff.
On the opera stage Markus Miesenberger is to be experienced above all in roles of the Mozart’s and Haydn’s field, with baroque opera, with opera of the 20th century and with contemporary music. Engagements led him to the Neue Oper Wien, to the Theater an der Wien, to the Landestheater Linz, to the municipal theatre Bolzano and to the Tirol festival. He sang Ferrando in Mozart’s Cosi fan tutte at Opernfestspiele Bad Hersfeld, 2018 and 2019 Jack O’Brian in Kurt Weills Aufstieg und Fall der Stadt Mahagonny at Laeiszhalle Hamburg and Balthasar Zorn in Richard Wagners Die Meistersinger von Nürnberg with Staatskapelle Dresden under the baton of Christian Thielemann at Osterfestspiele Salzburg, also released on CD, and 2020 at Semperoper Dresden.
In 2011 he won the Franz Joseph Aumann Prize for new discoveries and innovative interpretation of baroque music at the international H.I.F. Biber competition.
Numerous CD productions and radio broadcasts also form a central focus of his artistic career, currently Arias for Silvio Garghetti with Neue Wiener Hofkapelle, Kriegsgeschichten and Liebesabenteuer with music from G.D. Speer with Ars Antiqua Austria (PANCLASSICS) and Psalms for Sacri Concentus 1681 (Challenge Classics).


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Jan Krigovsky

Jan Krigovsky is a double-bass player, multi-instrumentalist, musical events organiser, promoter, art director, manager, producer, publisher, dramaturge and poet. He is well known and sought after interpreter of various musical styles. As a soloist Krigovsky expresses himself with noble, temperamental and technically perfect performance. As a soloist and chamber double bass, G-violone and Vienner Violine player Krigovsky collaborates with numerous ensembles specialising in historically – developed/learned interpretation of old music. He also performs in the ensembles for contemporary music like Catalá Ensamble Trio, Alea and Collegium Wartberg. As a concert master of double bass group he performed with several orchestras such as the London Symphony Orchestra, Moderntimes 1800 and Wiener Akademie. As a soloist, he also worked with orchestras under...
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Jan Krigovsky is a double-bass player, multi-instrumentalist, musical events organiser, promoter, art director, manager, producer, publisher, dramaturge and poet. He is well known and sought after interpreter of various musical styles. As a soloist Krigovsky expresses himself with noble, temperamental and technically perfect performance. As a soloist and chamber double bass, G-violone and Vienner Violine player Krigovsky collaborates with numerous ensembles specialising in historically – developed/learned interpretation of old music. He also performs in the ensembles for contemporary music like Catalá Ensamble Trio, Alea and Collegium Wartberg. As a concert master of double bass group he performed with several orchestras such as the London Symphony Orchestra, Moderntimes 1800 and Wiener Akademie. As a soloist, he also worked with orchestras under the baton of Yuri Bashmeta, Leoš Svárovský, Martin Haselbock, Jordi Savallla and Ewald Danel.
Jan presented/introduced himself as a soloist, but also as a member of chamber ensembles performing at some of the leading festivals like Bratislava Music Festival, Melos-Étos, Prague Spring International Music Festival, Wiener Fetspiele, Salzburger Festspiele, Festspielwochen Munchen, Dresdener gen Festspiele, Jehudi Menuhin Festival Gstaad, Boston Early Music Festival, Schleswig-Holstein Musik Festival and others.
He has recorded over 150 CD_DVD titles for companies such as Decca, SDBS production, Supraphon, CPO, WDR, NDR, ZDF, Winter&Winter, ORF, Challenge records, Institut fur Tyroler, Musikforschung Innsbruck, Pan Classics, Arcana Records, Symfonia as well as for radio and television. Among his artistic partners were for example Cecilia Bartoli, Sol Gabetta, Riccardo Minasi, Steven Isserlis, Maurice Steger, Nuria Rial, Avi Avital, Gunar Letzbor, Elizabeth Wallfisch, Jürger Essl, Helene Schmidt, Dalibor Karvay, Stano Palúch, Daniel Buranovský, Martin Babjak.
Jan worked as a teacher at the Conservatory in Žilina, the Conservatory of Dezidor Kardos in Topoľčany, the Church Conservatory in Bratislava, the Masaryk University in Brno and the Janacek Academy in Brno. Since 2002 he has been working at the Academy of Arts in Banská Bystrica. He has built wide base/foundation of amazing/outstanding double bass players in Slovakia, including Roman Patkoló, Vlado Žatko, Ján Prievozník, Filip Jaro, Romana Uhlíková and others. Krigovsky regularly teaches master classes in Russia, Poland, the Czech Republic, Slovakia, Austria, Switzerland, Brazil, Argentina, USA, Canada and Mexico.
In 2010, he founded together with his students the Slovak Double Bass Club within which were organised master courses called BassFest Banská Bystrica, International Double Bass Competition of Carl Ditters Von Dittersdorf and hundreds of concerts. In 2013, on his initiative, the double bass quartet named Bass Band was created. In 2012 he founded Musica Perennis Iuventutis, music festival held in Senec and Musica Perennis Sancti Benedecti in Hronský Beňadik. Festivals are dedicated to helping and supporting children in material need and children with disabilities in Slovakia and abroad. At his instigation, dozens of musical works were created for solo double bass and chamber ensembles. In 2012 he established his own ensemble known as Collegium Wartberg.

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Hubert Hoffmann

Like most musicians of his generation, Hubert Hoffmann, a member of Austria's leading early music ensemble Ars Antiqua Austria, pursues a wide-ranging career as a continuo player with numerous ensembles performing on period instruments all over the world. His fascination for the unique blend of lute music for the Habsburg Courts is reflected in his solo projects, in which he aims to shed light upon this undeservedly neglected niche in baroque lute music repertoire. His first solo CD of works by the Bohemian Count Johann Antonin Losy was received to wide critical acclaim. The second recording of music from the lute manuscript Ms.1255 in the monastery library at Klosterneuburg for the ORF Edition of Classical Music, the first ever recording...
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Like most musicians of his generation, Hubert Hoffmann, a member of Austria's leading early music ensemble Ars Antiqua Austria, pursues a wide-ranging career as a continuo player with numerous ensembles performing on period instruments all over the world. His fascination for the unique blend of lute music for the Habsburg Courts is reflected in his solo projects, in which he aims to shed light upon this undeservedly neglected niche in baroque lute music repertoire. His first solo CD of works by the Bohemian Count Johann Antonin Losy was received to wide critical acclaim. The second recording of music from the lute manuscript Ms.1255 in the monastery library at Klosterneuburg for the ORF Edition of Classical Music, the first ever recording of Wenzel Ludwig Radolt's important 1701 collection of lute concertos Die allertreueste Freindin for Challenge Classics, and the music of the Vienna lutenist Karl Kohaut, also for Challenge Classics, have now been issued.
In 2012, he was appointed curator of a long-term research project in the fields of lute music, lute playing and lute restoration at Kremsmünster Abbey in Upper Austria, producing an edition of the tablatures for lute and mandora, stored in the music library there. As a part of this work he has recently recorded music of Father Ferdinand Fisher, a lute playing member of this Benedictine Monastery, also for Challenge Classic.
From 2013 to 2015 he was active as chairman of the Austrian Lute Society "ÖLG". As artistic consultant, he is also engaged in establishing a new concert series with music from the Goess Manuscripts in the historic Fronmiller Hall at Ebenthal Castle in Carinthia.
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Fritz Kircher

Fritz Kirche, born in Carinthia, studied first in his hometown Klagenfurt with Alfred Lösch, later with Ernst Kovacic and Klara Flieder at the University of Music in Vienna. Studies with Wolfram König and Wilhelm Melcher at the University of Music in Stuttgart from where he graduated with distinction followed. He also had intensive chamber music coaching with members of the Melos Quartet. He has taken part in countless competitions and master classes among others with Franz Samohyl, Zacher Bron, Igor Oistrach, Gerhard Kosten, and Sergei Kratchenko. Fritz Kircher has performed numerous solo concerts in Germany, France and Austria and world premiered Christoph Cech’s violin concerto with the ensemble “die reihe”.
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Fritz Kirche, born in Carinthia, studied first in his hometown Klagenfurt with Alfred Lösch, later with Ernst Kovacic and Klara Flieder at the University of Music in Vienna. Studies with Wolfram König and Wilhelm Melcher at the University of Music in Stuttgart from where he graduated with distinction followed.
He also had intensive chamber music coaching with members of the Melos Quartet. He has taken part in countless competitions and master classes among others with Franz Samohyl, Zacher Bron, Igor Oistrach, Gerhard Kosten, and Sergei Kratchenko. Fritz Kircher has performed numerous solo concerts in Germany, France and Austria and world premiered Christoph Cech’s violin concerto with the ensemble “die reihe”.

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Gunar Letzbor (conductor)

Gunar Letzbor studied composition, conducting and violin at Linz, Salzburg and Cologne. His encounters with Nikolaus Harnoncourt and Reinhard Goebel ignited a deep passion for period instruments and performance practice, leading him to perform extensively with Musica Antiqua Köln, the Clemencic Consort, La Folia Salzburg, Armonico Tributo Basel and the Wiener Akademie.  Gunar Letzbor founded his own ensemble, Ars Antiqua Austria, an instrumental ensemble of varying size dedicated in particular to the exploration of the rich, but neglected, baroque repertoire of his native country and its neighbours. Corollaries of this voyage of re-discovery have been not only the unexpected finds of musical masterpieces otherwise destined to languish in obscurity, but also the articulation of a uniquely central-European instrumental sound and its...
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Gunar Letzbor studied composition, conducting and violin at Linz, Salzburg and Cologne. His encounters with Nikolaus Harnoncourt and Reinhard Goebel ignited a deep passion for period instruments and performance practice, leading him to perform extensively with Musica Antiqua Köln, the Clemencic Consort, La Folia Salzburg, Armonico Tributo Basel and the Wiener Akademie. Gunar Letzbor founded his own ensemble, Ars Antiqua Austria, an instrumental ensemble of varying size dedicated in particular to the exploration of the rich, but neglected, baroque repertoire of his native country and its neighbours. Corollaries of this voyage of re-discovery have been not only the unexpected finds of musical masterpieces otherwise destined to languish in obscurity, but also the articulation of a uniquely central-European instrumental sound and its often deeply spiritual inspiration. As a soloist and with Ars Antiqua Austria, Letzbor has made numerous recordings (including several world premieres), featuring works by Mozart, Bach, Biber, Muffat, Aufschnaiter, Viviani, Schmelzer, Weichlein, Vejvanovsky, Vilsmayr and Conti. Particulary remarkable was his world's premiere recording of Sonate for violin solo by J.J.Vilsmayr and J.P.Westhoff.

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Composer(s)

Press

Play album Play album
01.
Concerto I B major: Grave
02:34
Jan Krigovsky, Ars Antiqua Austria, Gunar Letzbor
02.
Concerto I B major: Allegro
01:50
(Charles Mouthon) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
03.
Concerto I B major: Grave
00:52
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
04.
Concerto I B major: Allegro
02:01
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
05.
Concerto II F major: Allegro
01:01
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
06.
Concerto II F major: Grave
00:49
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
07.
Concerto II F major: Allegro
01:36
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
08.
Concerto II F major: Grave
01:00
(Charles Mouthon) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
09.
Concerto II F major: Allegro
01:49
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
10.
Concerto III D major: Allegro
00:47
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
11.
Concerto III D major: Adagio
00:37
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
12.
Concerto III D major: Allegro
01:55
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
13.
Concerto III D major: Grave
00:52
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
14.
Concerto III D major: Allegro
01:44
(Charles Mouthon) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
15.
Concerto IV G major: Allegro
00:44
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
16.
Concerto IV G major: Adagio
00:35
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
17.
Concerto IV G major: Presto
00:19
(Charles Mouthon) Gunar Letzbor, Pablo Bruna, Ars Antiqua Austria, Gunar Letzbor
18.
Concerto IV G major: Adagio
00:10
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
19.
Concerto IV G major: Allegro
02:03
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
20.
Concerto IV G major: Grave
00:27
(Charles Mouthon ) Gunar Letzbor, Hubert Hoffmann, Ars Antiqua Austria, Gunar Letzbor
21.
Concerto IV G major: Allegro
01:23
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
22.
Concerto V C major: Andante Cantabile
02:02
(Charles Mouthon) Gunar Letzbor, Hubert Hoffmann, Ars Antiqua Austria, Gunar Letzbor
23.
Concerto V C major: Adagio
01:00
(Charles Mouthon) Gunar Letzbor, Pablo Bruna, Ars Antiqua Austria, Gunar Letzbor
24.
Concerto V C major: Allegro
01:29
(Charles Mouthon) Gunar Letzbor, Jan Krigovsky, Hubert Hoffmann, Ars Antiqua Austria, Gunar Letzbor
25.
Concerto V C major: Adagio
00:46
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
26.
Concerto V C major: Allegro
01:44
(Charles Mouthon ) Gunar Letzbor, Pablo Bruna, Hubert Hoffmann, Ars Antiqua Austria, Gunar Letzbor
27.
Concerto VI a minor: Allegro
00:51
(Charles Mouthon ) Gunar Letzbor, Norbert Zeilberger, Ars Antiqua Austria, Gunar Letzbor
28.
Concerto VI a minor: Adagio
00:58
(Charles Mouthon ) Gunar Letzbor, Jan Krigovsky, Ars Antiqua Austria, Gunar Letzbor
29.
Concerto VI a minor: Allegro
01:30
(Charles Mouthon ) Gunar Letzbor, Jan Krigovsky, Ars Antiqua Austria, Gunar Letzbor
30.
Concerto VI a minor: Adagio
01:12
(Charles Mouthon ) Gunar Letzbor, Norbert Zeilberger, Ars Antiqua Austria, Gunar Letzbor
31.
Concerto VI a minor: Allegro
00:47
(Charles Mouthon ) Gunar Letzbor, Ars Antiqua Austria, Gunar Letzbor
32.
Concerto VII d minor: Allegro
00:38
(Charles Mouthon ) Gunar Letzbor, Pablo Bruna, Ars Antiqua Austria, Gunar Letzbor
33.
Concerto VII d minor: Adagio
00:32
(Charles Mouthon) Gunar Letzbor, Hubert Hoffmann, Ars Antiqua Austria, Gunar Letzbor
34.
Concerto VII d minor: Allegro
01:59
(Charles Mouthon) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor
35.
Concerto VII d minor: Grave
00:45
(Charles Mouthon) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor
36.
Concerto VII d minor: Allegro
01:12
(Charles Mouthon ) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor
37.
Concerto VIII A major: Allegro
00:36
(Charles Mouthon ) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor, Pablo Bruna, Hubert Hoffmann
38.
Concerto VIII A major: Grave
00:33
(Charles Mouthon ) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor, Norbert Zeilberger
39.
Concerto VIII A major: Allegro
02:12
(Charles Mouthon ) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor
40.
Concerto VIII A major: Grave
01:15
(Charles Mouthon ) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor
41.
Concerto VIII A major: Allegro
01:48
(Charles Mouthon ) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor
42.
Concerto IX b minor: Allegro
00:52
(Charles Mouthon ) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor
43.
Concerto IX b minor: Adagio
00:51
(Charles Mouthon) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor
44.
Concerto IX b minor: Allegro
01:22
(Charles Mouthon ) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor, Hubert Hoffmann
45.
Concerto IX b minor: Grave
00:50
(Charles Mouthon ) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor
46.
Concerto IX b minor: Allegro
01:33
(Charles Mouthon ) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor
47.
Concerto X e minor: Presto
00:38
(Charles Mouthon ) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor
48.
Concerto X e minor: Grave
01:08
(Charles Mouthon ) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor
49.
Concerto X e minor: Allegro
01:32
(Charles Mouthon ) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor, Norbert Zeilberger
50.
Concerto X e minor: Grave
00:44
(Charles Mouthon ) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor
51.
Concerto X e minor: Presto
01:13
(Charles Mouthon ) Ars Antiqua Austria, Gunar Letzbor, Gunar Letzbor
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Often bought together with..

Joseph Haydn, Karl Kohaut
Haydn's Lute Player
Ars Antiqua Austria / Gunar Letzbor

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