Fidicinium Sacro-Profanum (2013)

Biber

Ars Antiqua Austria, Gunar Letzbor

Gunar Letzbor

H.I.F. Biber
Fidicinium Sacro-Profanum
Ars Antiqua Austria
Gunar Letzbor

Gunar Letzbor Violine 1 & Leitung
Friedrich Kircher Violine 2 (Sonaten 1-6)
Barbara Konrad Viola 1 (Sonaten 7-12)
Markus Miesenberger Viola 1 (Sonaten 1-6) und Viola 2 (Sonaten 7-12)
Jan Krigovsky Violone
Hubert Hoffmann Laute
Wolfgang Zerer Orgel, Cembalo

H.I.F. BIBER: a genius, whose life story is for the most part unresearched, a violin virtuoso who raised the technique of violin playing in Austria to an incredibly high level, a man of incredible powers of imagination and the courage to venture on abstraction.
The complexity of his work is astonishing, his oeuvre encompasses a range from richly orchestrated church music, artfully elaborated chamber music, to virtuoso music for his personal solo instrument, the violin.Astonishingly, his work has only recently attained recognition on the professional concert scene. Moreover, the scientific and critical treatment of his works is limping far behind the significance of this remarkable Austrian musician.
Biber was born in 1644 in Wartenberg (Str.z) Bohemia. His baptismal certificate was issued on 12 August. His father, Martin Biber, worked as a hunter at the Wartenberg Court and was thus a subject of the dynasty of the Counts of Liechtenstein. This noble family originated in Tyrol (Castel Corn, near Bozen/Bolzano) and came to Bohemia and Moravia during the sixteenth century. We can only guess how and where Heinrich Ignaz received his first music lessons. During his schooldays, two teachers – which is to say musicians – were active in Wartenberg/Str.z. Wiegand Knüffel, a notorious drunkard and ruffian, was appointed cantor and organist in 1656. He died in Wartenberg in 1675 as “former cantor”. It is verified that Johann Georg Teifel had been invested as church musician since 1670; the date when he succeeded his bibulous predecessor can no longer be specified. Whatever, Biber must have been in the aforementioned Wiegand Knüffle’s tutorship for some time.

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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.

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.

 

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Fidicinium Sacro-Profanum (2013)

Biber

Ars Antiqua Austria, Gunar Letzbor

    Fono Forum

Biber wird daran Gefallen finden.

    Concerto

Mit hoher Transparenz und präziser Dramaturgie der Spielweisen, Temporelationen und Ausdrucksspären verleiht die prächtig präsent klingende Aufnahme just diesem Binnengeflecht der Werke eine geradezu theatralische Plastizität.

    BBC Music Magazine

Gunar Letzbor and his Ars Antiqua Austria are among pre-eminent artists in bringing to life the Austrian and Bohemian music of the 17th century. This disc leaves us in no doubt about their disciplined ensemble playing and their feeling for lively characterisation.

Fidicinium Sacro-Profanum (2013)

Biber

Ars Antiqua Austria, Gunar Letzbor

Cables: Siltech Mono Crystal
Digital Converters: dCS
Mastering Engineer: Bert van der Wolf
Mastering Equipment: Avalon Acoustic monitoring
Microphones: Sonodore
Producer: Bert van der Wolf
Recording location: St. Florian bei Linz an der Donau
Recording Software: Pyramix
Recording Type & Bit Rate: DSD64

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CC72575: Fidicinium Sacro-Profanum
01:32:46   Select quality & channels above
Tracks.
1.
Fidicinium Sacro-Profanum - Sonata I in B Minor
Biber
00:05:46   Select quality & channels above
2.
Fidicinium Sacro-Profanum -Sonata II in F Major
Biber
00:03:51   Select quality & channels above
3.
Fidicinium Sacro-Profanum -Sonata III in D Minor
Biber
00:02:50   Select quality & channels above
4.
Fidicinium Sacro-Profanum - Sonata IV in G Minor
Biber
00:04:30   Select quality & channels above
5.
Fidicinium Sacro-Profanum - Sonata V in C Major
Biber
00:03:36   Select quality & channels above
6.
Fidicinium Sacro-Profanum - Sonata VI in A Minor
Biber
00:03:35   Select quality & channels above
7.
Fidicinium Sacro-Profanum - Sonata VII in D Major
Biber
00:02:12   Select quality & channels above
8.
Fidicinium Sacro-Profanum - Sonata VIII in B Major
Biber
00:02:26   Select quality & channels above
9.
Fidicinium Sacro-Profanum - Sonata IX in G Major
Biber
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10.
Fidicinium Sacro-Profanum - Sonata X in E Major
Biber
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11.
Fidicinium Sacro-Profanum - Sonata XI in C Minor
Biber
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12.
Fidicinium Sacro-Profanum - Sonata XII in A Major
Biber
00:05:03   Select quality & channels above

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