Sonatae Tam Aris Quam Aulis Servientes (2015)

Biber

Ars Antiqua Austria, Gunar Letzbor

The title Sonatae tam aris quam aulis servientes suggests that these works can be used for both sacred and secular purposes. They represent the first of several collections of pieces for polyphonic instrumental ensembles (published in 1676, 1680 and 1682) in which Biber demonstrated his mastery in handling the most important forms of instrumental music of his time. In the turmoil of the Second World War, nearly all the original partbooks of the 1676 collection were lost. Currently, only the original prints of the pars secunda (second violin), pars terza (first viola) and pars sexta (third/fourth viola) are known to have survived: they are housed in the Archepiscopal Library Krom??íž. Fortunately, the editors of Denkmäler der Tonkunst in Österreich had already produced a score around 1900, following scholarly criteria, from the then fully preserved partbooks. Comparisons to the surviving original parts demonstrate the accuracy of that edition.

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Ars Antiqua Austria

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

 

Gunar Letzbor

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

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Sonatae Tam Aris Quam Aulis Servientes (2015)

Biber

Ars Antiqua Austria, Gunar Letzbor

Cables: Siltech
Digital Converters: dCS
Mastering Engineer: Bert van der Wolf
Mastering Equipment: Avalon Acoustic
Microphones: Sonodore
Producer: Bert van der Wolf
Recording Engineer: Bert van der Wolf
Recording location: Altomonte saal, Stift St. Florian (AT)
Recording Software: Merging
Recording Type & Bit Rate: DSD64

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CC72676: Sonatae Tam Aris Quam Aulis Servientes
02:18:00   Select quality & channels above
Tracks.
1.
Sonata I a otto
Biber
00:05:16   Select quality & channels above
2.
Sonata II a sei
Biber
00:04:51   Select quality & channels above
3.
Sonata III a sei
Biber
00:06:53   Select quality & channels above
4.
Sonata IV a cinque
Biber
00:05:11   Select quality & channels above
5.
Sonata V a sei
Biber
00:06:44   Select quality & channels above
6.
Sonata VI a cinque
Biber
00:05:09   Select quality & channels above
7.
Sonata VII a cinque
Biber
00:06:21   Select quality & channels above
8.
Sonata VIII a cinque
Biber
00:06:53   Select quality & channels above
9.
Sonata IX a cinque
Biber
00:05:37   Select quality & channels above
10.
Sonata X a cinque
Biber
00:05:44   Select quality & channels above
11.
Sonata XI a conque
Biber
00:04:43   Select quality & channels above
12.
Sonata XII a otto
Biber
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