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Florilegium Primum 1695
Georg Muffat

Ensemble Salzburg Barock

Florilegium Primum 1695

Price: € 19.95
Format: SACD hybrid
Label: Challenge Classics
UPC: 0608917267822
Catnr: CC 72678
Release date: 09 October 2015
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Label
Challenge Classics
UPC
0608917267822
Catalogue number
CC 72678
Release date
09 October 2015

"luister - juni 2016"

luister, 01-6-2016
Album
Artist(s)
Composer(s)
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About the album

Georg Muffat was born in Megève, Duchy of Savoy, in 1653. We learn about his early training in the preface to his Florilegium primum (Augsburg, 1695), where he states that “for six years, alongside other musical studies” he acquired the French style before “returning to Alsace from France”: he lived in France from 1663 until 1669, studying not only string instruments, but also organ and composition. In his Florilegium secundum (Passau, 1698), he provides detailed instructions regarding performance practice in the French style as it was observed at the court of Louis XIV under Jean-Baptiste Lully. Muffat surmises that he is probably the first composer to have brought the French “ballet compositions and their flowing and natural gait, entirely shunning all other art, intemperate runs as well as frequent and ill-sounding jumps” to Austria and Bohemia, Salzburg and Passau. Transferring from Salzburg to Passau had evidently not been a long-intended aspiration. In the preface to Florilegium primum, a sense of disappointment regarding his Salzburg employer becomes apparent: he expresses his gratitude towards the Passau Prince-Bishop all the more.
Muffat issued the preface to his Florilegium primum in four languages, reflecting his Alsatian origins, the different stages of his life (in Paris, Salzburg, Passau and Rome), as well as his education at the Jesuit Latin schools. The multilingualism, however, also expresses Muffat’s personal avowal to unite the nations with his music: “The weapons of war and their causes are far away from me: notes, strings and lovely musical sounds are my exercise, and since I combine the French manner with the German and Italian styles, I do not incite war, but perhaps help to achieve a desirable concord between with these peoples, playing for dear peace.”
Florilegium primum consists of fifty individual flowers (mostly dance movements), making up seven flower bushes (fascicles, suites), combining into one bouquet (florilegium). Muffat probably composed the suites, possibly even the individual dance movements, independently of each other, combining them only for the printed edition.
The Latin titles of course attract attention. The learnedness of a Jesuit-taught composer provokes thought about their significance. Muffat delivers his music to the listener not only for “amusement” but also for “judgement”: apart from its function as entertainment in the chamber and at the table, as well as providing rhythm for dancing, his music was also intended – on another level – to inspire peace.
The three major key fascicles provide the key to a possible interpretation. With regard to both form and content, Eusebia and Constantia (consistency) constitute a bracket. Emperor Constantius II (337-361) and his second wife, Flavia Eusebia (d.360 AD), were followers of Arianism, a Christian theological teaching which, in contrast to the catholic doctrine of the trinity, only recognised the father as God. Accordingly, Jesus Christ was considered as similar, but not equivalent, to God. Impatientia can be considered a central concept of Greek Stoicism. Thus, alongside the purely secular character of ballet music, theological and philosophical layers are also included. The remaining titles, Sperantis Gaudia [expecting pleasure], Gratitudo, Sollicitudo and Blanditiae [indulgence] broaden the spectrum of a human “frame of mind” and demonstrate that music, of course, is much more than mere diversion. It remains open as to what consequences considering these titles may have for interpreters and listeners. However, ignoring them would be wrong and would not do justice to the universal thinking of the modern era, or to Georg Muffat’s intentions.

Een boeket van dansen uitgevoerd door een entousiast ensemble
Dit debuutalbum van Ensemble Salzbürg Barock bevat een opname van Florilegium Primum van Georg Muffat. Daarnaast heeft het ensemble in samenwerking met Salzburg Universität een nieuwe editie van dit werk uitgebracht.

Georg Muffat (1653-1704) was een barokcomponist, die vooral bekend stond om zijn informatieve richtlijnen voor de uitvoering van zijn collecties met werken voor strijkers, Florilegium Primum uit 1695 en Florilegium Secundum uit 1698. Florilegium Primum bestaat uit vijftig individuele bloemen (voornamelijk dansstukken), die samen zeven bossen (suites) vormen. De bossen worden op hun beurt weer gecombineerd in één boeket, ofwel florilegium. Muffat heeft de suites waarschijnlijk los van elkaar gecomponeerd. Ze werden pas in de uitgave van Florilegium Primum met elkaar gecombineerd. De Latijnse titels van de stukken trekken de aandacht, ook al heeft Muffat zelf aangegeven dat hij ze toevallig had gekozen. Er zou een diepere betekenis achter de titels kunnen zitten. Niet alleen omdat hij onderwijs volgde op scholen van de Jezuïeten, maar ook omdat hij met zijn muziek de luisteraar zowel wilde vermaken als laten oordelen.

Ensemble Salzbürg Barock bestaat uit zes ervaren musici, die graag met muziek experimenten. Het ensemble heeft als doel om de prachtige muziek uit de Zuid-Duitse hoog-barok uit te voeren. Kennis van de theoretische en praktische context van de werken wordt gecombineerd met gepassioneerd spel en onbedwingbaar enthousiasme. Het ensemble heeft de aandacht getrokken met programma’s zoals Violinisssimo en Salzburger Nachtmusik, en met ongewone projecten zoals Marimba/Bach Concertos.

Die MusikerInnen von Salzburg Barock wecken großartige Musik aus ihrem Dornröschenschlaf. Im Reichtum weltlicher und kirchlicher Fürsten sind im Süddeutschen Hochbarock Ende des 17. Jahrhunderts prächtige Werke entstanden. Fundiertes Wissen um praktische und theoretische Zusammenhänge dieser Musik gepaart mit glühender Spielfreude und unbändigem Enthusiasmus, werden dieser affektgeladenen Musik zum treuen und aussagekräftigen Partner.

In ihrer ersten Aufnahme für Challenge Classics widmen sie sich dem Florilegium Primum von Georg Muffat. Das Florilegium primum besteht aus fünfzig einzelnen Blumen (überwiegend Tanzsätze), die in sieben Blumenbüschen (Faszikel, Suiten) einen Blumenbund (Florilegium) ergeben. Eine gewisse Aufmerksamkeit erwecken natürlich die lateinischen Titel, auch wenn Muffat selbst sagt, dass diese eher zufällig „nach gehabter Gemüths-Verfassung“ gewählt wurden. Die Gelehrtheit eines jesuitisch gebildeten Komponisten fordert allerdings gerade deshalb zum Nachdenken über deren Bedeutung auf.
Georg Muffat pubblicò la prefazione del suo Florilegium primum in quattro lingue, un riflesso delle sue origini alsaziane, delle diverse fasi della sua vita (tra Parigi, Salisburgo, Passau e Roma) nonché della sua educazione alla scuola di latino dei Gesuiti. Il multilinguismo, tuttavia, esprime anche la sua personale ambizione di unire le nazioni attraverso la musica: «Le armi delle guerre e le loro ragioni sono lontane da me: le note, gli archi e le belle sonorità musicali rappresentano il mio esercizio quotidiano, e siccome combino la maniera francese con gli stili tedesco e italiano, io non incito alla guerra, ma forse contribuisco al raggiungimento di un’auspicabile concordia tra questi popoli, suonando per la pace.»
Florilegium primum consiste in 50 singoli fiori (perlopiù movimenti di danza), che compongono 7 mazzi di fiori (suites) che a sua volta si combinano in un florilegium. È probabile che Muffat abbia composto le suites, probabilmente anche i singoli movimenti di danza, indipendentemente gli uni dagli altri, combinandoli appositamente per l’edizione a stampa.

Artist(s)

Ensemble Salzburg Barock

The musicians of Salzburg Baroque arouse great music from their slumber. In secular and ecclesiastical princes wealth in the 17th century magnificent works were created in the South German High Baroque. Profound knowledge of practical and theoretical contexts of the music paired with ardent enthusiasm and unbridled enthusiasm to this highly emotional music for true and meaningful partners. The audience loves the grooving chaconnes alike, as the Heart continuous lamentations. With lively dances and melancholy arias Salzburg Baroque enchants with two violins, two violas and continuo swinging his listeners. An entertaining repertoire against the irrelevance - ask us! Salzburg Baroque has in recent years with concert programs such as 'Violinisssimo' or 'Salzburger Nachtmusik', numerous CD recordings for the label cpo CD or exceptional projects with Marimba...
more
The musicians of Salzburg Baroque arouse great music from their slumber. In secular and ecclesiastical princes wealth in the 17th century magnificent works were created in the South German High Baroque. Profound knowledge of practical and theoretical contexts of the music paired with ardent enthusiasm and unbridled enthusiasm to this highly emotional music for true and meaningful partners.
The audience loves the grooving chaconnes alike, as the Heart continuous lamentations. With lively dances and melancholy arias Salzburg Baroque enchants with two violins, two violas and continuo swinging his listeners. An entertaining repertoire against the irrelevance - ask us! Salzburg Baroque has in recent years with concert programs such as "Violinisssimo" or "Salzburger Nachtmusik", numerous CD recordings for the label cpo CD or exceptional projects with Marimba / Bach - Concerti made a talking point. Now we resound in a new and exclusive garment. Six musicians with international experience on the concert stages of the world, the desire to try and find files as baroque "String Quintet" for an exquisite ensemble together. Our detailed concert programs are carefully prepared and meticulously. A lot of joy with the news on this site and learn more about the personalities of the ensemble in the gallery!
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Jochen Grüner (violin)

After training in choral conducting and violin at the Vocational School for Music in Dinkelsbühl, he studied 'historical performance practice' at the Academy of Ancient Music / Hochschule für Künste in Bremen at Prof.Thomas Albert. Award by the Arts & Cultural Foundation of Sparkasse Bremen with the loan of a violin by Jacob Stainer, Absam 1680. Jochen Green as soloist and leader in the European music festivals present.
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After training in choral conducting and violin at the Vocational School for Music in Dinkelsbühl, he studied "historical performance practice" at the Academy of Ancient Music / Hochschule für Künste in Bremen at Prof.Thomas Albert. Award by the Arts & Cultural Foundation of Sparkasse Bremen with the loan of a violin by Jacob Stainer, Absam 1680. Jochen Green as soloist and leader in the European music festivals present.

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Kathrin Tröger (violin)

Kathrin Tröger studied modern violin at the Basel Music Academy under Adelina Oprean.  During her course, she was intensively committed to chamber music (under Walter Levin, Hatto Beyerle, Gérard Wyss and Jörg Wyttenbach). She was also already interested in historical performance practice and playing on historical instruments. After her graduation with distinction in Basel she received a grant from the German Academic Exchange Service (DAAD) to continue her studies under Erich Gruenberg (modern violin) and Simon Standage (Baroque violin) at the Royal Academy of Music in London. She rounded out her studies with masterclasses with Klaus Maetzel, Henry Meyer, the Vienna Schubert Trio, Sigiswald Kuijken, and others.  After completing her studies, Kathrin Tröger continued her chamber music activities on historical instruments in...
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Kathrin Tröger studied modern violin at the Basel Music Academy under Adelina Oprean. During her course, she was intensively committed to chamber music (under Walter Levin, Hatto Beyerle, Gérard Wyss and Jörg Wyttenbach). She was also already interested in historical performance practice and playing on historical instruments. After her graduation with distinction in Basel she received a grant from the German Academic Exchange Service (DAAD) to continue her studies under Erich Gruenberg (modern violin) and Simon Standage (Baroque violin) at the Royal Academy of Music in London. She rounded out her studies with masterclasses with Klaus Maetzel, Henry Meyer, the Vienna Schubert Trio, Sigiswald Kuijken, and others. After completing her studies, Kathrin Tröger continued her chamber music activities on historical instruments in sonata programmes with fortepiano, in piano trios and, finally, in a string quartet. She thus played in the Salagon Quartet from 2004 to 2008, which performed at the Festival Rencontres Musicales de Haute Provence, the Ludwigsburger Schlossfestspiele, the Fränkischen Sommer, and at the Festival de Saintes, among others. In early 2006 (for Joseph Martin Kraus’s 250th birthday) the Salagon Quartet presented a CD with five string quartets (including two first recordings) by J. M. Kraus on the Stuttgart label CARUS. In addition, Kathrin Tröger has played in various other historically informed ensembles, such as the Ensemble Explorations, the Baroque orchestras Anima Eterna, Concerto Köln and La Banda (in which she was also the Concertmistress), among others. Since 2013 she has also been playing consort music of the 17th century with the Ensemble Salzburg Baroque. Kathrin Tröger has played regularly with Freiburg Baroque Orchestra since 1997, and she has been an established member and Partner of this orchestra since 2008. She trained as a teacher using the Alexander technique from 2009 to 2012. In addition to her main activity as a violinist in the Freiburg Baroque Orchestra, since then she has been teaching Alexander technique – mainly to musicians – at a studio for Alexander technique & music in Freiburg.

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Clarissa Miller (viola)

Born in Seefeld, Clarissa Miller Viola studied with Jorge Sutil and chamber music with Urs Stiehler in Munich. Later she continued her studies with Nora Chastain continue in the artistic special class in Stuttgart. This was followed by a three-year master's program at the Peabody Conservatory of the Johns Hopkins University in Baltimore, USA. Viola with Paul Coletti and Roberto Diaz, chamber music with Earl Carlyss (Juilliard String Quartet) and Leon Fleisher. She graduated from the Graduate Performance Diploma. Since then she is free chamber musician and teaches viola / violin and orchestra in Munich. First you focus was on contemporary music, later on Tango. Since 2004 she has devoted herself especially of historical performance practice.
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Born in Seefeld, Clarissa Miller Viola studied with Jorge Sutil and chamber music with Urs Stiehler in Munich. Later she continued her studies with Nora Chastain continue in the artistic special class in Stuttgart. This was followed by a three-year master's program at the Peabody Conservatory of the Johns Hopkins University in Baltimore, USA. Viola with Paul Coletti and Roberto Diaz, chamber music with Earl Carlyss (Juilliard String Quartet) and Leon Fleisher. She graduated from the Graduate Performance Diploma. Since then she is free chamber musician and teaches viola / violin and orchestra in Munich. First you focus was on contemporary music, later on Tango. Since 2004 she has devoted herself especially of historical performance practice.

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Lothar Haass (viola)

Lothar Haass was born in 1962 in Darmstadt, studied at the Mozarteum in Salzburg with Jürgen Geise. Through various encounters he turned to meaningful performance practice, so-called 'early music' and now studied with Nikolaus Harnoncourt and attended classes with Ingrid Seifert, Reinhard Goebel, Monica Huggett and Jaap Schröder. To understand the music by movement, he studied historical dance with Margarida Basto da Silva Amaral and Sibylle Dahms at the Musicology Institute of the University of Salzburg. As a founding member of the ensemble 'La Follia Salzburg' he won the Early Music Competition in Bruges a second prize. Rasch began a busy concert schedule with major Central European ensembles (Freiburg Baroque Orchestra, Akademie für Alte Musik Berlin, Concerto Köln, Les Amis de Philippe, Musica Antiqua...
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Lothar Haass was born in 1962 in Darmstadt, studied at the Mozarteum in Salzburg with Jürgen Geise. Through various encounters he turned to meaningful performance practice, so-called 'early music' and now studied with Nikolaus Harnoncourt and attended classes with Ingrid Seifert, Reinhard Goebel, Monica Huggett and Jaap Schröder. To understand the music by movement, he studied historical dance with Margarida Basto da Silva Amaral and Sibylle Dahms at the Musicology Institute of the University of Salzburg. As a founding member of the ensemble 'La Follia Salzburg' he won the Early Music Competition in Bruges a second prize. Rasch began a busy concert schedule with major Central European ensembles (Freiburg Baroque Orchestra, Akademie für Alte Musik Berlin, Concerto Köln, Les Amis de Philippe, Musica Antiqua Köln, Stuttgart Baroque Orchestra, Cambini quartet, La Fontaine Switzerland, Concert Lorrain etc.) that him in the most important music centers of the world led. Numerous shots its activity is well documented as an orchestral and chamber musician.In the Spartierung, editing and publishing old works he has made as a touch Printmakers (consequentia Music Publishers Munich) a name.

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Günter Holzhausen (cello)

Born in Munich Günter Holzhausen studied double bass at the Hochschule für Musik und Theater in Munich with Prof. Klaus Trumpf. Since 1996 he has been a regular continuo player of Tölzer boys' choir, connected to numerous concerts and recordings in Europe, Israel and overseas. Him combines an intensive collaboration with Emma Kirkby / London Baroque, the Taverner Consort Players London, Reinhard Goebel, the Hofkapelle Munich, Augsburg La Banda, the orchestra of the Ludwigsburg Castle Festival and give Salzburg Baroque. Günter Holzhausen deals intensively with various historical Violonestimmungen and its correct application in historical performance practice. Moreover, taught as a professor Günter Holzhausen contrabass and violone at the Hochschule für Musik und Theater in Munich. He also holds guest lectures in London (Royal Academy of...
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Born in Munich Günter Holzhausen studied double bass at the Hochschule für Musik und Theater in Munich with Prof. Klaus Trumpf. Since 1996 he has been a regular continuo player of Tölzer boys' choir, connected to numerous concerts and recordings in Europe, Israel and overseas. Him combines an intensive collaboration with Emma Kirkby / London Baroque, the Taverner Consort Players London, Reinhard Goebel, the Hofkapelle Munich, Augsburg La Banda, the orchestra of the Ludwigsburg Castle Festival and give Salzburg Baroque. Günter Holzhausen deals intensively with various historical Violonestimmungen and its correct application in historical performance practice. Moreover, taught as a professor Günter Holzhausen contrabass and violone at the Hochschule für Musik und Theater in Munich. He also holds guest lectures in London (Royal Academy of Music), Berlin (University of Arts) and Munich (University of Music and Theatre).

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Veronika Braß (harpsichord)

After her piano and music theory studies in Berlin, Veronika Braß dealt intensively with historical performance practice in general, and the harpsichord or fortepiano game in particular. She deepened her knowledge at Mitzy Meyerson in Berlin, with Jesper Christensen at the Schola Cantorum in Basel and at Christine Schornsheim in Leipzig; so she won the university competition in the subject 'Early Music Ensemble'. Engagements as a harpsichord-accompanist and chamber musician at international competitions and festivals followed. She is a lecturer in music theory and coaching specialist in historical performance practice at the Hochschule für Musik und Theater in Munich. Her chamber music partners include Peter Kooj and Christine Busch; with Christoph Poppen and the Munich Chamber Orchestra she joined a long cooperation. Furthermore, she guested with the...
more
After her piano and music theory studies in Berlin, Veronika Braß dealt intensively with historical performance practice in general, and the harpsichord or fortepiano game in particular. She deepened her knowledge at Mitzy Meyerson in Berlin, with Jesper Christensen at the Schola Cantorum in Basel and at Christine Schornsheim in Leipzig; so she won the university competition in the subject "Early Music Ensemble". Engagements as a harpsichord-accompanist and chamber musician at international competitions and festivals followed. She is a lecturer in music theory and coaching specialist in historical performance practice at the Hochschule für Musik und Theater in Munich. Her chamber music partners include Peter Kooj and Christine Busch; with Christoph Poppen and the Munich Chamber Orchestra she joined a long cooperation. Furthermore, she guested with the Potsdam Chamber Academy and the RIAS Chamber Choir. Since 2006 she has been a member of the Ensemble "Spirit of musicke" (www.spirit-of-musicke.com), which specializes in the performance of music by women composers. At the center of her artistic work for some years is the successful cooperation with her duo partner Jochen Green and the Baroque Orchestra Elbipolis that led them to several countries in Europe.

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Composer(s)

Georg Muffat

Georg Muffat was born in Megève, Duchy of Savoy (now in France), and was of Scottish descent. He studied in Paris between 1663 and 1669, where his teacher is often assumed to have been Jean Baptiste Lully. This assumption is largely based on the statement 'For six years ... I avidly pursued this style which was flowering in Paris at the time under the most famous Jean Baptiste Lully. 'This is ambiguous (in all of the languages in which it was printed) as to whether the style was flourishing under Lully, or that Muffat studied under Lully. In any case, the style which the young Muffat learned was unequivocally Lullian and it remains likely that he had at least some contact with the man himself. After leaving...
more
Georg Muffat was born in Megève, Duchy of Savoy (now in France), and was of Scottish descent. He studied in Paris between 1663 and 1669, where his teacher is often assumed to have been Jean Baptiste Lully. This assumption is largely based on the statement "For six years ... I avidly pursued this style which was flowering in Paris at the time under the most famous Jean Baptiste Lully. "This is ambiguous (in all of the languages in which it was printed) as to whether the style was flourishing under Lully, or that Muffat studied under Lully. In any case, the style which the young Muffat learned was unequivocally Lullian and it remains likely that he had at least some contact with the man himself.
After leaving Paris, he became an organist in Molsheim and Sélestat. Later, he studied law in Ingolstadt, afterwards settling in Vienna. He could not get an official appointment, so he travelled to Prague in 1677, then to Salzburg, where he worked for the archbishop for some ten years. In about 1680, he traveled to Italy, there studying the organ with Bernardo Pasquini, a follower of the tradition of Girolamo Frescobaldi; he also met Arcangelo Corelli, whose works he admired very much. From 1690 to his death, he was Kapellmeister to the bishop of Passau.
Georg Muffat should not be confused with his son Gottlieb Muffat, also a successful composer.

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Press

luister - juni 2016
luister, 01-6-2016

"The Ensemble Salzburg Barock achieves a very plausible reading of the complete bouquet (Florilegium)..."
Fono Forum, 01-3-2016

["]..Its leader, Jochen Grüner, and the 5 other members, making up the core of ‘Salzburg Barock’, are all internationally confirmed soloists in their own right. Their experience in historically informed performances is reflected in their playing, which is impeccable."
HR Audio, 11-10-2015

While the musicians embellish Muffats keen harmonies and profuse polyphony soundsensually, they almost venture a percussive sharpness in the faster passages
Fono Forum, 01-10-2015

Play album Play album
01.
Fasciculus I - Eusebia: Ouverture
03:05
(Georg Muffat)
02.
Fasciculus I - Eusebia: Air
01:56
(Georg Muffat) Ensemble Salzburg Barock
03.
Fasciculus I - Eusebia: Sarabande
01:31
(Georg Muffat) Ensemble Salzburg Barock
04.
Fasciculus I - Eusebia: Gigue 1
01:05
(Georg Muffat) Ensemble Salzburg Barock
05.
Fasciculus I - Eusebia: Gavotte
00:59
(Georg Muffat) Ensemble Salzburg Barock
06.
Fasciculus I - Eusebia: Gigue 2
00:43
(Georg Muffat) Ensemble Salzburg Barock
07.
Fasciculus I - Eusebia: Menuet
01:15
(Georg Muffat) Ensemble Salzburg Barock
08.
Fasciculus II - Sperantis Gaudia: Ouverture
03:07
(Georg Muffat) Ensemble Salzburg Barock
09.
Fasciculus II - Sperantis Gaudia: Balet
01:03
(Georg Muffat) Ensemble Salzburg Barock
10.
Fasciculus II - Sperantis Gaudia: Bourée
00:46
(Georg Muffat) Ensemble Salzburg Barock
11.
Fasciculus II - Sperantis Gaudia: Rondeau
02:47
(Georg Muffat) Ensemble Salzburg Barock
12.
Fasciculus II - Sperantis Gaudia: Gavotte
00:41
(Georg Muffat) Ensemble Salzburg Barock
13.
Fasciculus II - Sperantis Gaudia: Menuet 1
00:45
(Georg Muffat) Ensemble Salzburg Barock
14.
Fasciculus II - Sperantis Gaudia: Menuet 2 - Menuet 1 da capo
01:56
(Georg Muffat) Ensemble Salzburg Barock
15.
Fasciculus III - Gratitudo: Ouverture
03:03
(Georg Muffat) Ensemble Salzburg Barock
16.
Fasciculus III - Gratitudo: Balet
00:58
(Georg Muffat) Ensemble Salzburg Barock
17.
Fasciculus III - Gratitudo: Air
01:56
(Georg Muffat) Ensemble Salzburg Barock
18.
Fasciculus III - Gratitudo: Bourée
00:49
(Georg Muffat) Ensemble Salzburg Barock
19.
Fasciculus III - Gratitudo: Gigue
00:34
(Georg Muffat) Ensemble Salzburg Barock
20.
Fasciculus III - Gratitudo: Gavotte
00:49
(Georg Muffat) Ensemble Salzburg Barock
21.
Fasciculus III - Gratitudo: Menuet
01:24
(Georg Muffat) Ensemble Salzburg Barock
22.
Fasciculus IV - Impatientia: Symphonie
02:46
(Georg Muffat) Ensemble Salzburg Barock
23.
Fasciculus IV - Impatientia: Balet
01:21
(Georg Muffat) Ensemble Salzburg Barock
24.
Fasciculus IV - Impatientia: Canaries
00:21
(Georg Muffat) Ensemble Salzburg Barock
25.
Fasciculus IV - Impatientia: Gigue
00:20
(Georg Muffat) Ensemble Salzburg Barock
26.
Fasciculus IV - Impatientia: Sarabande
01:51
(Georg Muffat) Ensemble Salzburg Barock
27.
Fasciculus IV - Impatientia: Bourée
00:52
(Georg Muffat) Ensemble Salzburg Barock
28.
Fasciculus IV - Impatientia: Chaconne
01:25
(Georg Muffat) Ensemble Salzburg Barock
29.
Fasciculus V - Sollicitudo: Ouverture
03:41
(Georg Muffat) Ensemble Salzburg Barock
30.
Fasciculus V - Sollicitudo: Allemande
02:26
(Georg Muffat) Ensemble Salzburg Barock
31.
Fasciculus V - Sollicitudo: Air
01:24
(Georg Muffat) Ensemble Salzburg Barock
32.
Fasciculus V - Sollicitudo: Gavotte
00:42
(Georg Muffat) Ensemble Salzburg Barock
33.
Fasciculus V - Sollicitudo: Menuet 1
00:52
(Georg Muffat) Ensemble Salzburg Barock
34.
Fasciculus V - Sollicitudo: Menuet 2 - Menuet 1 da capo
01:36
(Georg Muffat) Ensemble Salzburg Barock
35.
Fasciculus V - Sollicitudo: Bourée
00:39
(Georg Muffat) Ensemble Salzburg Barock
36.
Fasciculus VI - Blanditiae: Ouverture
03:04
(Georg Muffat) Ensemble Salzburg Barock
37.
Fasciculus VI - Blanditiae: Sarabande
01:58
(Georg Muffat) Ensemble Salzburg Barock
38.
Fasciculus VI - Blanditiae: Bourée
00:48
(Georg Muffat) Ensemble Salzburg Barock
39.
Fasciculus VI - Blanditiae: Chaconne
00:55
(Georg Muffat) Ensemble Salzburg Barock
40.
Fasciculus VI - Blanditiae: Gigue
00:52
(Georg Muffat) Ensemble Salzburg Barock
41.
Fasciculus VI - Blanditiae: Menuet
01:34
(Georg Muffat) Ensemble Salzburg Barock
42.
Fasciculus VI - Blanditiae: Eccho
00:50
(Georg Muffat) Ensemble Salzburg Barock
43.
Fasciculus VII - Constantia: Air
02:07
(Georg Muffat) Ensemble Salzburg Barock
44.
Fasciculus VII - Constantia: Entrée des Fraudes
00:28
(Georg Muffat) Ensemble Salzburg Barock
45.
Fasciculus VII - Constantia: Entrée des Insultes
01:09
(Georg Muffat) Ensemble Salzburg Barock
46.
Fasciculus VII - Constantia: Gavotte
00:51
(Georg Muffat) Ensemble Salzburg Barock
47.
Fasciculus VII - Constantia: Bourée
00:43
(Georg Muffat) Ensemble Salzburg Barock
48.
Fasciculus VII - Constantia: Menuet 1
00:59
(Georg Muffat) Ensemble Salzburg Barock
49.
Fasciculus VII - Constantia: Menuet 2 - Menuet 1 da capo
01:53
(Georg Muffat) Ensemble Salzburg Barock
50.
Fasciculus VII - Constantia: Gigue
00:38
(Georg Muffat) Ensemble Salzburg Barock
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