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Chamber Music in the Abbey of St. Florian

Ars Antiqua Austria

Chamber Music in the Abbey of St. Florian

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917287622
Catnr: CC 72876
Release date: 07 January 2022
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Label
Challenge Classics
UPC
0608917287622
Catalogue number
CC 72876
Release date
07 January 2022

"The ensemble has put together a nice, and at times a bit fizzy, set of works for entertainment, though I would not concur that this might be acceptable music to accompany dinner; rather, satiated, this serves nicely as a musical dessert. Have fun! "

Fanfare, 01-4-2022
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Artist(s)
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About the album

Gunar Letzbor: Franz Josef Aumann was born in the Austrian town of Traismauer in 1728 and studied music in Vienna, where he came across many important musicians of his time. It has not yet been established why in 1753 he relocated to Sankt Florian. He must have been unusually talented, as two years later he became Regens Chori, one year before his ordination to the priesthood. From that point he remained in the service of the monastery until his death in 1797. He composed “entertainment” music of the highest quality – pieces that were played for the amusement of invited guests, on special occasions, or simply between the various courses of lavish banquets. In the archives of St Florian Monastery not many chamber works have survived – only a handful, but these are of outstanding quality. The quintets are remarkable. Here the master develops a particular style of chamber music: two violins are juxtaposed with two violas. Both groups of instruments have equal status and enter into a lively discourse. Aumann mastered all the compositional techniques of his time. We can, however, observe a particular preference for melodic lines reminiscent of the folk music that was practised in the region. For contrast, we have added the Cassatio in D, where the radiant sound of a flautello bestows a special aura upon the music. The concluding Parthia in C where trumpets symbolise the divinity or a high social position. Aumann must have been extremely innovative, not worrying too much about any rules within his environment.
Opnieuw een album van Gunar Letzbor en zijn ensemble Ars Antiqua Austria met prachtige muzikale vondsten die hij opdiepte uit de archieven van de abdij van Sankt-Florian in het bisdom Linz in Oostenrijk. Dit keer gaat het om de muziek van de Oostenrijker Frans Joseph Aumann. Een innovatieve 18e-eeuwse componist van levendige en kleurrijke muziek, die vaak verrassingen in petto had. Een openbaring dit album en fijn om naar te luisteren.

Gunar Letzbor gaf eerste uitvoeringen van tal van composities van Aumann. Zo leerde hij de musicus Aumann kennen en ging hij van zijn muziek houden. De componist moet uiterst innovatief zijn geweest en zich niet te veel zorgen hebben gemaakt over alle regels die in die tijd in zijn omgeving golden. Zijn positie als kanunnik van de Sankt-Florian abdij verleende hem ongetwijfeld bepaalde artistieke vrijheden. Talloze pareltjes die uit zijn pen vloeiden, sluimeren nog in de archieven van de abdij. Muziek die ligt te wachten om nieuw leven ingeblazen te worden. Het is de moeite waard

Franz Josef Aumann werd in 1728 geboren in de Oostenrijkse stad Traismauer. Hij studeerde muziek in Wenen, waar hij veel belangrijke musici uit zijn tijd ontmoette. Waarom hij in 1753 naar Sankt Florian verhuisde is niet bekend. Aumann moet ongewoon getalenteerd zijn geweest, want twee jaar later al werd hij kapelmeester, een jaar voor zijn priesterwijding. Vanaf dat moment bleef hij in dienst van het klooster tot aan zijn dood in 1797.

Aumann componeerde entertainment muziek van de hoogste kwaliteit. Muziek die de genodigden bij speciale gelegenheden moest vermaken, of die gewoon tussen de verschillende gangen van weelderige banketten werd gespeeld. In de archieven van de Sankt Florian abdij is slechts een handvol kamerwerken bewaard gebleven, maar die zijn wel van uitstekende kwaliteit. Opmerkelijk zijn de kwintetten, waarbij de meester een bijzondere stijl van kamermuziek hanteert: twee violen worden tegenover twee altviolen geplaatst. Beide groepen instrumenten hebben dezelfde status en gaan een levendig discours aan.

De componist beheerste alle compositietechnieken van zijn tijd. Wel valt er een bijzondere voorkeur voor melodische lijnen vast te stellen, die doen denken aan de volksmuziek die in de regio werd beoefend. Als contrast is op dit album de Cassatio in D toegevoegd, waarbij het stralende geluid van een flautello (blokfluit) een speciaal aura aan de muziek verleent. In het afsluitende Parthia in C symboliseren de trompetten de goddelijkheid of een hoge maatschappelijke positie.

Ars Antiqua Austria werd in 1989 opgericht door Gunar Letzbor met als doel het publiek te laten kennismaken met de Oostenrijkse barokmuziek. Het ensemble staat bekend om zijn levendige en expressieve uitvoeringen. Het gezelschap speelt op authentieke instrumenten en geldt als een hoogstaand ensemble in de wereld van de oude muziek. Een van de vele reacties na een concert van Ars Antiqua Austria: "Dit ensemble is meer dan alleen maar een geheime tip voor de echte liefhebber van Barokmuziek."
Gunar Lezbor: Franz Josef Aumann wurde 1728 im österreichischen Traismauer geboren und studierte Musik in Wien, wo er auf viele bedeutende Musiker seiner Zeit traf. Warum er 1753 nach Sankt Florian übersiedelte, ist noch nicht geklärt. Er muss ungewöhnlich begabt gewesen sein, denn zwei Jahre später wurde er Regens Chori, ein Jahr vor seiner Priesterweihe. Von da an blieb er bis zu seinem Tod im Jahr 1797 im Dienst des Klosters. Er komponierte "Unterhaltungsmusik" von höchster Qualität - Stücke, die zur Belustigung geladener Gäste, zu besonderen Anlässen oder einfach zwischen den einzelnen Gängen eines üppigen Festmahls gespielt wurden. Im Archiv des Stiftes St. Florian sind nicht viele Kammermusikwerke erhalten - nur eine Handvoll, aber diese sind von herausragender Qualität. Bemerkenswert sind die Quintette. Hier entwickelt der Meister einen besonderen kammermusikalischen Stil: zwei Violinen werden zwei Bratschen gegenübergestellt. Beide Instrumentengruppen sind gleichberechtigt und treten in einen lebendigen Diskurs. Aumann beherrschte alle kompositorischen Techniken seiner Zeit. Wir können jedoch eine besondere Vorliebe für melodische Linien feststellen, die an die in der Region praktizierte Volksmusik erinnern. Als Kontrast haben wir die Cassatio in D hinzugefügt, wo der strahlende Klang eines Flautellos der Musik eine besondere Aura verleiht. Die abschließende Parthia in C, wo Trompeten die Gottheit oder eine hohe gesellschaftliche Stellung symbolisieren. Aumann muss äußerst innovativ gewesen sein und sich nicht zu sehr um irgendwelche Regeln in seinem Umfeld gekümmert haben.

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...
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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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Gunar Letzbor (violin)

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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Markus Miesenberger (viola)

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 (violone)

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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Peter Aigner (viola)

Nino Pohn (violone)

Composer(s)

Press

The ensemble has put together a nice, and at times a bit fizzy, set of works for entertainment, though I would not concur that this might be acceptable music to accompany dinner; rather, satiated, this serves nicely as a musical dessert. Have fun! 
Fanfare, 01-4-2022

The overall sound is relatively pleasant...The high recorder sounds splendid, piping and sustaining with bright joy.
Amercian Record Guide, 01-3-2022

Ars Antiqua Austria makes quite excellent music and leads us through a charming program that, so it looks, was recorded for the first time. It is not only the unveiling of an extraordinary treasure, but also an artistic and discographic success that can only be warmly recommended.
Pizzicato, 11-1-2022

Gunar Letzbor and his ensemble Ars Antiqua Austria are specialists in Austrian Baroque music. 
Stretto, 24-12-2021

Play album Play album
01.
Parthia ex G a 5 Stromenti Violino Primo, Violino Secondo, Viola Prima, Viola Seconda con Violone
03:41
(Franz Joseph Aumann) Ars Antiqua Austria, Gunar Letzbor, Nino Pohn, Michael Oman, Christian Simeth, Martin Mühringer, Stefan Reichinger, Markus Miesenberger, Jan Krigovsky, Peter Aigner
02.
Parthia ex G a 5 Stromenti Violino Primo, Violino Secondo, Viola Prima, Viola Seconda con Violone: Menuet
04:03
(Franz Joseph Aumann) Ars Antiqua Austria, Gunar Letzbor, Nino Pohn, Michael Oman, Christian Simeth, Martin Mühringer, Stefan Reichinger, Markus Miesenberger, Jan Krigovsky, Peter Aigner
03.
Parthia ex G a 5 Stromenti Violino Primo, Violino Secondo, Viola Prima, Viola Seconda con Violone: Andante
04:30
(Franz Joseph Aumann) Ars Antiqua Austria, Gunar Letzbor, Nino Pohn, Christian Simeth, Martin Mühringer, Stefan Reichinger, Michael Oman, Markus Miesenberger, Peter Aigner, Jan Krigovsky
04.
Parthia ex G a 5 Stromenti Violino Primo, Violino Secondo, Viola Prima, Viola Seconda con Violone: Finale
01:47
(Franz Joseph Aumann) Ars Antiqua Austria, Gunar Letzbor, Nino Pohn, Michael Oman, Christian Simeth, Martin Mühringer, Stefan Reichinger, Markus Miesenberger, Jan Krigovsky, Peter Aigner
05.
Cassatio in D a 2 Violini, Flautello concertato, Alto Viola e Violoncello: Allegro
01:25
(Franz Joseph Aumann) Ars Antiqua Austria, Gunar Letzbor, Nino Pohn, Martin Mühringer, Michael Oman, Christian Simeth, Markus Miesenberger, Stefan Reichinger, Jan Krigovsky, Peter Aigner
06.
Cassatio in D a 2 Violini, Flautello concertato, Alto Viola e Violoncello: Menuet - Andante
04:02
(Franz Joseph Aumann) Michael Oman, Nino Pohn, Gunar Letzbor, Ars Antiqua Austria, Jan Krigovsky, Markus Miesenberger, Christian Simeth, Martin Mühringer, Stefan Reichinger, Peter Aigner
07.
Cassatio in D a 2 Violini, Flautello concertato, Alto Viola e Violoncello: Andante - con sordino
03:56
(Franz Joseph Aumann) Ars Antiqua Austria, Nino Pohn, Gunar Letzbor, Martin Mühringer, Christian Simeth, Stefan Reichinger, Markus Miesenberger, Michael Oman, Jan Krigovsky, Peter Aigner
08.
Cassatio in D a 2 Violini, Flautello concertato, Alto Viola e Violoncello: Menuet - Allegro
04:35
(Franz Joseph Aumann) Nino Pohn, Christian Simeth, Stefan Reichinger, Markus Miesenberger, Michael Oman, Martin Mühringer, Peter Aigner, Jan Krigovsky, Ars Antiqua Austria, Gunar Letzbor
09.
Cassatio in D a 2 Violini, Flautello concertato, Alto Viola e Violoncello: Finale
01:45
(Franz Joseph Aumann) Ars Antiqua Austria, Michael Oman, Martin Mühringer, Jan Krigovsky, Gunar Letzbor, Nino Pohn, Christian Simeth, Stefan Reichinger, Markus Miesenberger, Peter Aigner
10.
Cassatio ex C a 2 Violini, 2 Viole e Basso: Divertimento - gustoso
02:16
(Franz Joseph Aumann) Ars Antiqua Austria, Gunar Letzbor, Nino Pohn, Michael Oman, Christian Simeth, Martin Mühringer, Stefan Reichinger, Markus Miesenberger, Jan Krigovsky, Peter Aigner
11.
Cassatio ex C a 2 Violini, 2 Viole e Basso: Menuet
04:32
(Franz Joseph Aumann) Ars Antiqua Austria, Gunar Letzbor, Nino Pohn, Michael Oman, Christian Simeth, Martin Mühringer, Stefan Reichinger, Markus Miesenberger, Jan Krigovsky, Peter Aigner
12.
Cassatio ex C a 2 Violini, 2 Viole e Basso: Andante - con sordini
03:55
(Franz Joseph Aumann, Franz Joseph Aumann) Ars Antiqua Austria, Gunar Letzbor, Nino Pohn, Martin Mühringer, Christian Simeth, Michael Oman, Markus Miesenberger, Stefan Reichinger, Peter Aigner, Jan Krigovsky
13.
Cassatio ex C a 2 Violini, 2 Viole e Basso: Finale - Presto
02:00
(Franz Joseph Aumann) Gunar Letzbor, Michael Oman, Nino Pohn, Ars Antiqua Austria, Christian Simeth, Peter Aigner, Jan Krigovsky, Markus Miesenberger, Stefan Reichinger, Martin Mühringer
14.
Die Hex
02:47
(Franz Joseph Aumann) Nino Pohn, Martin Mühringer, Jan Krigovsky, Ars Antiqua Austria, Gunar Letzbor, Michael Oman, Christian Simeth, Stefan Reichinger, Markus Miesenberger, Peter Aigner
15.
Divertimento in B a 5 Stromenti Violini 2, Alto Viole 2 e Violone: Allegro
02:44
(Franz Joseph Aumann) Ars Antiqua Austria, Gunar Letzbor, Nino Pohn, Michael Oman, Christian Simeth, Martin Mühringer, Stefan Reichinger, Markus Miesenberger, Jan Krigovsky, Peter Aigner
16.
Divertimento in B a 5 Stromenti Violini 2, Alto Viole 2 e Violone: Menuet
04:48
(Franz Joseph Aumann) Ars Antiqua Austria, Gunar Letzbor, Nino Pohn, Michael Oman, Christian Simeth, Martin Mühringer, Stefan Reichinger, Markus Miesenberger, Jan Krigovsky, Peter Aigner
17.
Divertimento in B a 5 Stromenti Violini 2, Alto Viole 2 e Violone: Andante
02:57
(Franz Joseph Aumann) Ars Antiqua Austria, Gunar Letzbor, Nino Pohn, Michael Oman, Christian Simeth, Martin Mühringer, Stefan Reichinger, Markus Miesenberger, Jan Krigovsky, Peter Aigner
18.
Divertimento in B a 5 Stromenti Violini 2, Alto Viole 2 e Violone: Finale - Presto
01:35
(Franz Joseph Aumann) Ars Antiqua Austria, Gunar Letzbor, Nino Pohn, Michael Oman, Christian Simeth, Martin Mühringer, Stefan Reichinger, Markus Miesenberger, Jan Krigovsky, Peter Aigner
19.
Parthia in C a Violinis 2, Alto Viola, Clarinis 2, Basso* con Tympano: Presto
03:28
(Franz Joseph Aumann) Ars Antiqua Austria, Gunar Letzbor, Nino Pohn, Michael Oman, Christian Simeth, Martin Mühringer, Stefan Reichinger, Markus Miesenberger, Jan Krigovsky, Peter Aigner, Szilárd Chereji
20.
Parthia in C a Violinis 2, Alto Viola, Clarinis 2, Basso* con Tympano: Menuet
02:36
(Franz Joseph Aumann) Ars Antiqua Austria, Gunar Letzbor, Nino Pohn, Michael Oman, Christian Simeth, Martin Mühringer, Stefan Reichinger, Markus Miesenberger, Jan Krigovsky, Peter Aigner, Szilárd Chereji
21.
Parthia in C a Violinis 2, Alto Viola, Clarinis 2, Basso* con Tympano: Andante - sempre piano
04:07
(Franz Joseph Aumann) Ars Antiqua Austria, Gunar Letzbor, Nino Pohn, Michael Oman, Christian Simeth, Martin Mühringer, Stefan Reichinger, Markus Miesenberger, Jan Krigovsky, Peter Aigner, Szilárd Chereji
22.
Parthia in C a Violinis 2, Alto Viola, Clarinis 2, Basso* con Tympano: Finale - Tempo di Menuetto
01:50
(Franz Joseph Aumann) Gunar Letzbor, Szilárd Chereji, Peter Aigner, Jan Krigovsky, Markus Miesenberger, Stefan Reichinger, Martin Mühringer, Christian Simeth, Michael Oman, Nino Pohn, Ars Antiqua Austria
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Markus Miesenberger | Erich Traxler | Christian Haimel
Chamber music at the Abbey of Lambach
Ars Antiqua Austria
Double Bass Concertos
Ján Krigovsky | Collegium Wartberg 430
Sacri Concentus - Antiphone (1681)
Ars Antiqua Austria / Gunar Letzbor