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Chamber music at the Abbey of Lambach

Ars Antiqua Austria

Chamber music at the Abbey of Lambach

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917291322
Catnr: CC 72913
Release date: 04 November 2022
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Label
Challenge Classics
UPC
0608917291322
Catalogue number
CC 72913
Release date
04 November 2022
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

Amandus Ivanschiz was baptised Matthias Leopold Ivanschiz on 24 December 1727 in the Austrian city of Wiener Neustadt. As early as 1742, at the age of fifteen, Matthias decided to join the Pauline Order and took the name Amandus. On 25 December 1743 Amandus took his vows and was then sent to Maria Trost and Wiener Neustadt to study for the priesthood. The extensive oeuvre of this master, who only lived to the age of 31, is astonishing. In total, more than 300 copies of his works can be found in Central and Eastern Europe. His modern style and great compositional mastery probably explain the wide dissemination of his music. Ivanschiz might therefore also have served as a model in the development of the young Mozart. Amadeus’ first visit to the monastery is documented on 12 September 1767, after which we know he returned at least another three times.
Gunar Letzbor en zijn ensemble Ars Antiqua Austria hebben weer pareltjes ontdekt. Dit keer zijn het werken van de Oostenrijkse componist Amandus Ivanschiz, behorend tot het enorme aantal componisten verbonden aan de benedictijner Abdij van Lambach in Oostenrijk, in het bisdom Linz. Lezbor en zijn musici selecteerden werken voor strijkers, waarvan een met de toevoeging van twee hoorns. Zoals we gewend zijn van Ars Antiqua Austria is het een heerlijk album geworden waarbij je prima kunt wegdromen.

Amandus Ivanschiz werd op 24 december 1727 gedoopt als Matthias Leopold Ivanschiz in de Oostenrijkse stad Wiener Neustadt. Zijn vader kwam uit de stad Baumgarten in de deelstaat Burgenland. Al in 1742, op vijftienjarige leeftijd, besloot Matthias zich aan te sluiten bij de Paulinische Orde en nam hij de naam Amandus aan.

Zijn novicejaar bracht Amandus door in het Neder-Oostenrijkse klooster van Ranna. Op 24 december 1743 schreef hij zijn testament, een gebruikelijke procedure voor een permanente inlijving in een klooster. Op 25 december legde Amandus zijn geloften af en werd vervolgens naar Maria Trost en Wiener Neustadt gestuurd om voor het priesterschap te studeren. In 1750 mocht hij het nieuwe orgel van de kathedraal inwijden en werd hij tot priester gewijd.

In datzelfde jaar, op zijn drieëntwintigste zag ook zijn eerste miszetting het licht. Vermoed wordt dat Amandus zijn eerste muzikale opleiding en orgellessen bij de cisterciënzers in zijn geboortestad volgde. In die tijd woonden er verschillende componerende priesters in Wiener. Tussen 1751 en 1754 verbleef Ivanschiz in Rome, als assistent van de procureur-generaal van de orde, waarna hij terugkeerde naar Wiener Neustadt. In 1755 werd hij opnieuw naar het Maria Trost klooster gestuurd, waar hij in 1758 stierf, op de jonge leeftijd van 31 jaar.

Ivanschiz' oeuvre trok de aandacht door zijn moderne muzikale taal, die duidelijk behoort tot de vroege klassieke en galante stijl. Amandus was een van de eerste Oostenrijkse componisten die consequent een vierdelige cyclus gebruikte in zijn symfonieën, een vorm die je terugvindt in de helft van zijn werken in dit genre. Hij was ook een van de eerste componisten die strijktrio's schreef voor viool, altviool en basso (cello), de karakteristieke bezetting van een klassiek strijktrio. Zijn instrumentale composities tonen een geleidelijke ontwikkeling naar de typische structuur van de sonate.

Het omvangrijke oeuvre van Amandus Ivanschiz is verbluffend. In totaal zijn er meer dan 300 exemplaren van zijn werken te vinden in Midden- en Oost-Europa. Zijn moderne stijl en grote compositorische meesterschap verklaren waarschijnlijk de brede verspreiding van zijn muziek. Ivanschiz zou een voorbeeld geweest kunnen zijn voor de jonge Mozart, die het klooster op 12 september 1767 voor het eerst bezocht, waarna hij nog minstens driemaal terugkeerde. Muziek was en is nog steeds van groot belang voor de abdij van Lambach.
Amandus Ivanschiz wurde am 24. Dezember 1727 in der österreichischen Stadt Wiener Neustadt auf den Namen Matthias Leopold Ivanschiz getauft. Bereits 1742, im Alter von fünfzehn Jahren, entschied sich Matthias für den Eintritt in den Paulinerorden und nahm den Namen Amandus an. Am 25. Dezember 1743 legte Amandus seine Gelübde ab und wurde anschließend zum Priesterstudium nach Maria Trost und Wiener Neustadt geschickt. Das umfangreiche Oeuvre dieses Meisters, der nur 31 Jahre alt wurde, ist erstaunlich. Insgesamt finden sich in Mittel- und Osteuropa mehr als 300 Abschriften seiner Werke. Sein moderner Stil und seine große kompositorische Meisterschaft erklären wahrscheinlich die weite Verbreitung seiner Musik. Ivanschiz könnte daher auch als Vorbild für die Entwicklung des jungen Mozart gedient haben. Der erste Besuch von Amadeus im Kloster ist für den 12. September 1767 dokumentiert, und wir wissen, dass er danach noch mindestens dreimal zurückgekehrt ist.

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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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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Nina Pohn (violin)

Composer(s)

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01.
Divertimento in C-Dur für Violine, Viola und Violoncello: Adagio
04:05
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
02.
Divertimento in C-Dur für Violine, Viola und Violoncello: Menuetto - Trio
04:55
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
03.
Divertimento in C-Dur für Violine, Viola und Violoncello: Finale: Allegro
01:16
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
04.
Sinfonia in A Dur für Violine 1, Violine 2, Basso: Andantino
02:37
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
05.
Sinfonia in A Dur für Violine 1, Violine 2, Basso: Menuet
03:11
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
06.
Sinfonia in A Dur für Violine 1, Violine 2, Basso: Finale
01:21
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
07.
Sinfonia ex G: Violino Primo, Violino Secundo, Cornu Primo, Cornu Secundo, Viola con Basso: Allegro assai
03:10
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
08.
Sinfonia ex G: Violino Primo, Violino Secundo, Cornu Primo, Cornu Secundo, Viola con Basso: Andante
02:57
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
09.
Sinfonia ex G: Violino Primo, Violino Secundo, Cornu Primo, Cornu Secundo, Viola con Basso: Menuet-Trio-Menuet
02:51
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
10.
Sinfonia ex G: Violino Primo, Violino Secundo, Cornu Primo, Cornu Secundo, Viola con Basso: Allegro
02:02
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
11.
Concertino in Es: Violino, Alto Viola, Basso: Largetto
02:22
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
12.
Concertino in Es: Violino, Alto Viola, Basso: Menuet-Trio-Menuet
04:30
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
13.
Concertino in Es: Violino, Alto Viola, Basso: Allegro
01:27
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
14.
Sonata a 3 in B: Violino, Viola obligato e Basso: Adagio
03:17
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
15.
Sonata a 3 in B: Violino, Viola obligato e Basso: Menuetto-Trio-Menuetto
06:10
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
16.
Sonata a 3 in B: Violino, Viola obligato e Basso: Finale/Allegro
01:19
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
17.
Sinfonia in D a 4 Stromenti: Violino 1, Violino 2, Viola obligato e Basso: Entrada/Allegro
02:55
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
18.
Sinfonia in D a 4 Stromenti: Violino 1, Violino 2, Viola obligato e Basso: Menuetto-Trio-Menuetto
03:24
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
19.
Sinfonia in D a 4 Stromenti: Violino 1, Violino 2, Viola obligato e Basso: Andante
04:19
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
20.
Sinfonia in D a 4 Stromenti: Violino 1, Violino 2, Viola obligato e Basso: “Il Fabro ferraro”/Allegro
01:32
(Amandus Ivanschitz) Ars Antiqua Austria, Gunar Letzbor, Markus Miesenberger, Jan Krigovsky, Michael Söllner, Nina Pohn, Adalbert Heitzinger
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