Ars Antiqua Austria / Gunar Letzbor

Viennese Lute Concertos

Price: € 12.95
Format: CD
Label: Challenge Classics
UPC: 0608917229127
Catnr: CC 72291
Release date: 01 April 2008
Buy
1 CD
✓ in stock
€ 12.95
Buy
 
Label
Challenge Classics
UPC
0608917229127
Catalogue number
CC 72291
Release date
01 April 2008
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

Wenzel Ludwig Edler von Radolt’s collection of lute music entitled ”To my most true and confiding friend”, inclined both to the merry and to the sad humours, herewith in the company of other faithful vassals of our innermost sensibility’ was printed in 1701 in Vienna by J(oh)ann Michael Nestler and bears a dedication to the then‚ Roman King’ Josef I.

Radolt was of Austro-Italian aristocratic descent. He was born and died in Vienna. According to his own account, he spent his life ”so allured by the beguiling countenance of most pleasurable music, as to dedicate the course of my life to her“. The ‘Most true and confiding friend’ is the only work of Radolt that survives today. Unusual in the part books are Radolt’s meticulous fingerings for the right hand (!) that give us a precise insight into the style of lute playing current in the imperial city of the period.

This extensive collection of 12 so-called ‘Concerti’ contains much that is remarkable about the Viennese Lute Concerto – a popular genre of the day comprising violins, lute and bass. The variety of scoring is striking: from four-part string writing with three obligato lutes of various sizes, to the relatively intimate combination of single violin, obligato viola da gamba (viol), lute and bass. In another concerto the composer suggests the addition of a wind instrument.
The codex represents the most extensive source of a neglected genre, that once enjoyed great popularity in the German speaking countries – including composers such as Esajas Reussner.

Niet eerder opgenomen Weense luitmuziek door het ensemble Ars Antiqua Austria
Een wel heel bijzondere opname van een verzameling Weense luitconcerten uit 1701, met de titel Die Aller Treüeste Freindin. De vrolijke, maar tegelijkertijd ook droevige muziek is gecomponeerd door de begenadigd amateur luitist Wenzel Ludwig Edler von Radolt. Ars Antiqua Austria onder leiding van Gunar Letzbor en met Hubert Hoffmann op de luit zorgen voor een prachtige balans tussen de instrumenten. Het is muziek die betovert en vrolijk stemt.

Gunar Letzbor, altijd op zoek naar nieuwe Oude Muziek (Oude Muziek of Musica Antiqua, is de verzamelnaam voor muziek uit de middeleeuwen, de renaissance en de barok) werd door Hubert Hoffmann op het bestaan van de enig overgebleven luitconcerten van de Oostenrijkse-Italiaanse edelman Von Radolt gewezen. De orkestpartijen waren her en der verspreid en de 1e vioolpartij was zoek. Gelukkig werd deze na lang zoeken teruggevonden en kon een selectie uit de overgebleven muziekverzameling van Von Radolt voor opname geschikt gemaakt worden.

De Oostenrijkse violist Letzbor richtte in 1989 Ars Antiqua Austria op, met als doel het publiek te laten kennismaken met de Oostenrijkse barokmuziek.

"Ars Antiqua Austria doet zijn reputatie als pleitbezorger van onbekende Oostenrijkse muziek alle eer aan", Klassieke Zaken magazine.

Ars Antiqua Austria' unter Gunar Letzbor widmet sich auf der ersten CD bei CHALLENGE CLASSICS einer ganz besonderen Musikgattung: dem sog. Wiener Lautenkonzert. Diese Auswahl aus Radolts Sammlung 'Der Aller Treuesten Freindin' besticht durch vielfältige Formen und Stile und erzeugt eine ganz eigene, aristokratische Klangwelt, die verzaubert und beglückt. Hubert Hofmann, der die Lautensoli übernimmt, hat diese Kleinode in Archiven entdeckt. Im ausführlichen Booklet erfahren Sie mehr über die spannende Geschichte dieser Wiederbelebung.

Artist(s)

ARS ANTIQUA AUSTRIA,
Ensemble for new Baroque Music
director: Gunar Letzbor

Ars Antiqua Austria was founded in Linz in 1989 with the aim of introducing audiences to the roots of specifically Austrian baroque music played on period-instruments. The music performed at the imperial court in Vienna at this period shows the strong influence of Italy and later of French forms, while Spanish court ceremonials also shape the character of the works. The typical Austrian sound of the period also betrays the influence of the many Crownlands. The political and social boundaries of Austria in the baroque era were far wider than in the 20th century. Elements of Slav and Hungarian folk music mingle with alpine sounds and can be heard in the art music of the period. The Austrian sound also reflects the temperament and character of the Austrians of that period - a unifying element in the melting-pot of many different cultures: the joie de vivre of the South, Slav melancholy, French formality, Spanish pomp and the Alpine character of the German-speaking regions. This fusion of court- with folk music and a strong element of dance music form the typical Austrian sound.
The core of Ars Antiqua Austria comprises 8 musicians directed by Gunar Letzbor. The ensemble is readily augmented to accommodate a still wider repertoire..
During its early years ARS ANTIQUA AUSTRIA gave numerous concerts while researching the achievements of Austria`s baroque composers in depth. Thanks to Gunar Letzbor's unflagging commitment, many works received their first performance in modern times. Enthusiastic reviews welcomed CDs of music by Weichlein, Biber, Conti (together with the mezzosoprano Bernarda Fink), Viviani, Mealli, Arnold, Caldara, Aufschnaiter, Vilsmayr, Vejvanovsky, Schmelzer, Muffat, Hochreither, Mouthon, Radolt, Aumann and of course J.S.Bach.

In 2002 Ars Antiqua Austria commenced a cycle of concerts in the Vienna Konzerthaus on the theme of Austrian Baroque music, since 2008 also in the Brucknerhaus Linz. Beginning in 2001 the ensemble is playing a leading part in a concert series with more than 90 concerts called "Sound of Cultures - Culture of Sound". Ten different programmes will being repeated in Vienna, Prague, Bratislava, Cracow, Venice, Ljubljana, Mechelen, Budapest and Lübeck.

Recent tours have taken the ensemble to the Festival de la Musique Baroque at Ribeauville; Berlin Festival of Ancient Music; Festival Printemps des Arts at Nantes; Mozartfest at Würzburg with an opera production together with Michael Schopper; Tage alter Musik at Herne; Festival de Musique de Clisson et de Loire Atlantique; Folles Journées de Nantes and Tokyo; Musée d'Unterlinden Colmar; Monteverdi Festival Cremona; Festival Baroque du Sablon; Salzburger Festspiele; Vlandern Festival; Festival Bach de Lausanne; Bologna Festival; Vendsyssel Festival; Concerti della Normale Pisa; Resonanzen Wien; Klangbogen Wien; Mafestivall Brügge…
ARS ANTIQUA AUSTRIA's recording of Viviani's "Capricci Armonici" received a Cannes Classical Award.

GUNAR LETZBOR, baroque violin
Amongst the year's finest issues we must mention Gunar Letzbor's interpretation of Biber's Rosary Sonatas. His intonation is impeccable, the sound is warm and generous, whilst his utter technical security and above all musicality is in evidence both in the devilish rapid passages and in those of heart-rending cantabile.
CD Classica

Letzbor contributes dazzling violin playing in performances that are appropriately sombre yet pleasantly stylish.
Gramophone

Biber's vision could not find a more sympathetic interpreter than Letzbor, blessed with vivacity, virtuosity and fiery expressiveness, but also capable of making his instrument sing in Biber’s touching melodies.
Amadeus

Letzbor's performance is simply exceptional. He has added lustre to a composition (Biber) that has no equal in the history of western music.
La Stampa

Gunar Letzbor studied composition, conducting and violin at Linz, Salzburg and Cologne. His encounters with Nicolaus 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. Many of these CDs have received major record awards, including the Cannes Classical Award and Amadeus' Disco dell'Anno. Particulary remarkable was his world's premiere recording of Sonate for violin solo by J.J.Vilsmayr and J.P.Westhoff.

Letzbor has performed at every major baroque music festival in Europe, including the Festival de la Musique Baroque in Ribeauville, Festwochen der Alten Musik in Berlin, Festival Printemps des Arts in Nantes, Mozartfest in Würzburg, Tagen alter Musik in Herne, Folles Journees de Nantes and Tokyo, Musee d'Unterlinden Colmar, Flanders Festival, Festival Bach de Lausanne, Bologna Festival, Resonanzen Wien, Klangbogen Wien, Monteverdi Festival in Cremona, Mavestivall in Brugge, Vlandern Festival, at the Munich Staatsoper, the Salzburg Festival...

Gunar Letzbor teached at the Musikhochschule in Lübeck (Germany) and Vienna (Austria); he is a widely respected teacher, giving summer courses across Europe.
Letzbor's recording of Viviani's "Capricci Armonici" received a Cannes Classical Award.

Press

Play album
01.
Concerto minor (transponiert): Ouverture
02:37
02.
Concerto minor (transponiert): Allemande
01:12
03.
Concerto minor (transponiert): Courente
01:15
04.
Concerto minor (transponiert): Sarabande
02:15
05.
Concerto minor (transponiert): Menuette
00:50
06.
Concerto minor (transponiert): Gigue
01:17
07.
Concerto minor (transponiert): Menuette
00:56
08.
Concerto minor (transponiert): Bourée
00:43
09.
Concerto minor (transponiert): Retirada
03:23
10.
Aria C Major: Aria
01:06
11.
Aria C Major: Allemande
00:53
12.
Aria C Major: Courente
01:03
13.
Aria C Major: Sarabande
00:58
14.
Aria C Major: Gavotte
01:05
15.
Aria C Major: Bourée
01:05
16.
Aria C Major: Menuette
01:07
17.
Aria C Major: Gigue
01:15
18.
Toccata F Major
07:50
19.
Concerto F Major: Ouverture
04:15
20.
Concerto F Major: Aria/Pastorale
01:24
21.
Concerto F Major: La Querelle des Amantes
01:20
22.
Concerto F Major: Menuette en canon
00:40
23.
Concerto F Major: Capricio en canon
00:59
24.
Concerto F Major: Gigue
01:05
25.
Concerto F Major: Menuette
01:18
26.
Concerto G Minor: Allemande et Gigue
03:17
27.
Concerto G Minor: Courente et Menuette
02:08
28.
Concerto G Minor: Sarabande et Aria
03:01
29.
Concerto G Minor: Gavotte et Bourée
01:27
30.
Symphonia G Minor
06:48
31.
Concerto C Minor: Ouverture
04:10
32.
Concerto C Minor: Allemande
02:40
33.
Concerto C Minor: Courente
01:33
34.
Concerto C Minor: Sarabande
02:16
35.
Concerto C Minor: Menuette
00:37
36.
Concerto C Minor: Gavotte
00:47
37.
Concerto C Minor: Menuette
01:00
38.
Concerto C Minor: Gigue
01:29
39.
Concerto C Minor: Bourée
00:40
40.
Concerto C Minor: Retirada
03:59
show all tracks

You might also like..

Chamber music at the Abbey of Lambach
Ars Antiqua Austria
Double Bass Concertos
Ján Krigovsky | Collegium Wartberg 430
Chamber Music in the Abbey of St. Florian
Ars Antiqua Austria
Sacri Concentus - Antiphone (1681)
Ars Antiqua Austria / Gunar Letzbor
Psalms from Sacri Concentus 1681
Ars Antiqua Austria / Gunar Letzbor
From Heaven on Earth - Lute Music from Kremsmunster Abbey
Hubert Hoffmann
The Four Seasons
Ars Antiqua Austria / Gunar Letzbor