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Cantate per Contralto con Violini

Ars Antiqua Austria

Cantate per Contralto con Violini

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917292527
Catnr: CC 72925
Release date: 05 January 2024
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Label
Challenge Classics
UPC
0608917292527
Catalogue number
CC 72925
Release date
05 January 2024

"In order to make the experimental Bononcini explode as a brilliant fireworker, some artist excellence is required. Sound homework that has been completed without errors is presented here. But nothing more."

Rondo Magazine, 27-1-2024
Album
Artist(s)
Composer(s)
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About the album

Under the rule of the enlightened Emperor Joseph I, many composers from the north of Italy took up appointments in Vienna. Antonio Bononcini was one of the most progressive composers of his time. We present here three cantatas by Bononcini from 1706. They were most probably first presented in musical academies. His amorous chamber cantatas captivate through their intimate, timeless beauty. The sensual violins engage in an entertaining competition with the longing, dreamy lines of the alto voice. The cantatas recorded here all concern themselves with the sorrows and longings of love for a distant partner.

They seem to have been conceived as a cyclic construction in which each piece exists in relationship to the others. Bononcini was a master of musical rhetoric and achieves a masterly combination of musical figures with poetic phrasing. These sensuous works were most probably performed on the occasion of noble academies. From the turn of the century, musical presentations were often designated as academies. With this new definition, academies were little by little also presented by lesser nobles and later even by the bourgeoisie.
Unter der Herrschaft des aufgeklärten Kaisers Joseph I. ließen sich viele Komponisten aus Norditalien in Wien nieder. Antonio Bononcini war einer der fortschrittlichsten Komponisten seiner Zeit. Wir stellen hier drei Kantaten von Bononcini aus dem Jahr 1706 vor. Sie wurden höchstwahrscheinlich zuerst in Musikakademien aufgeführt. Seine amourösen Kammerkantaten bestechen durch ihre intime, zeitlose Schönheit. Die sinnlichen Violinen liefern sich einen unterhaltsamen Wettstreit mit den sehnsüchtigen, verträumten Linien der Altstimme. Die hier eingespielten Kantaten beschäftigen sich alle mit den Sorgen und Sehnsüchten der Liebe zu einem fernen Partner. Sie scheinen als eine zyklische Konstruktion konzipiert worden zu sein, in der jedes Stück in Beziehung zu den anderen steht. Bononcini war ein Meister der musikalischen Rhetorik und versteht es meisterhaft, musikalische Figuren mit poetischer Phrasierung zu verbinden. Diese sinnlichen Werke wurden höchstwahrscheinlich im Rahmen von Adelsakademien aufgeführt. Seit der Jahrhundertwende wurden musikalische Darbietungen häufig als Akademien bezeichnet. Mit dieser neuen Definition wurden Akademien nach und nach auch von kleineren Adligen und später sogar von der Bourgeoisie veranstaltet.

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 (conductor)

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

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Composer(s)

Press

In order to make the experimental Bononcini explode as a brilliant fireworker, some artist excellence is required. Sound homework that has been completed without errors is presented here. But nothing more.
Rondo Magazine, 27-1-2024

All recording premieres, chosen by violinist Gunar Letzbor, who sympathetically accompanies the soloist with his ensemble Ars Antiqua Austria. 
De Volkskrant, 18-1-2024

The Ars Antiqua Austria ensemble under the direction of violinist Gunar Letzbor plays very energetically and accompanies Mühlbacher’s singing effectively.
Pizzicato, 03-1-2024

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01.
Lontananza - Cantata in contralto con VV. di Antonio Bononcini: Rez. Mentre al novo apparir
01:13
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
02.
Lontananza - Cantata in contralto con VV. di Antonio Bononcini: Aria Più barbaro martire
05:29
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
03.
Lontananza - Cantata in contralto con VV. di Antonio Bononcini: Rez. Miracolo è d´amor
00:40
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
04.
Lontananza - Cantata in contralto con VV. di Antonio Bononcini: Aria Colorita ho nel pensiero
04:57
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
05.
Lontananza - Cantata in contralto con VV. di Antonio Bononcini: Rez. In quelle chiome d'oro
00:41
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
06.
Lontananza - Cantata in contralto con VV. di Antonio Bononcini: Aria Quanto più cara
03:18
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
07.
Lontananza - Cantata in contralto con VV. di Antonio Bononcini: Rez. Così mentre dispera
01:06
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
08.
Lontananza - Cantata in contralto con VV. di Antonio Bononcini: Aria S´io ritorno
03:51
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
09.
Tanto avezzo - Cantata con violini: Aria Tanto avezzo
04:36
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
10.
Tanto avezzo - Cantata con violini: Rez. Dal dì che chiuse i rai
00:50
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
11.
Tanto avezzo - Cantata con violini: Aria Da primi nodi suoi
05:15
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
12.
Tanto avezzo - Cantata con violini: Rez. Ma nel di lei bel foco
00:33
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
13.
Tanto avezzo - Cantata con violini: Aria M´uccida Amore
04:23
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
14.
Sopra l´orme d´Irene - Cantata : Rez. Sopra l´orme d´Irene
00:47
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
15.
Sopra l´orme d´Irene - Cantata : Aria Uscite, o gemiti
04:37
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
16.
Sopra l´orme d´Irene - Cantata : Rez. Se dell´idol ch´adoro
01:11
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
17.
Sopra l´orme d´Irene - Cantata : Aria Più molesta è la tempesta
08:12
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
18.
Sopra l´orme d´Irene - Cantata : Rez. Torna, deh, torna, Irene
00:24
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
19.
Sopra l´orme d´Irene - Cantata : Aria Dal tuo rigor
05:06
(Antonio Bononcini) Alois Mühlbacher, Ars Antiqua Austria
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