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Antonín Reichenauer (c.1694-1730)

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Antonín Reichenauer: Concertos

Antonín Reichenauer: Concertos


Reichenauer:

Suite in B flat major for two oboes, bassoon and strings

Bassoon Concerto in C major

Bassoon Concerto in G major

Oboe Concerto in G major

Violin Concerto in C minor

Concerto in B flat major for oboe, bassoon and strings


Sergio Azzolini (bassoon), Lenka Torgensen (violin), Xenia Löffler (oboe)

Collegium 1704, Václav Luks (artistic director)

New recordings from Supraphon’s Gramophone Editor’s Choice winning series “Music From 18th Century Prague”

Unlike the copiously preserved sacred music, instrumental works by Czech composers in the Prague of the first third of the 18th century are as scarce as hen’s teeth. The twenty or so instrumental pieces by Antonín Reichenauer are among the most significant.

Reichenauer was a musician in Count Morzin’s chapel, in which he assumed the role of in-house composer after Johann Friedrich Fasch. The ensemble’s superb quality is documented by the Count’s regular contacts with Antonio Vivaldi, whom he engaged as his “maestro di musica in Italia”. Among other pieces, Vivaldi dedicated to Morzin his Opus 8, containing the celebrated The Four Seasons. The rarity of Reichenauer’s virtuoso concertos is emphasised by their being extremely challenging in technical terms, which serves as evidence of the skills of the chapel’s members – even Vivaldi himself lauded them!

Many a contemporary musician would find these concertos extremely difficult. This, however, is certainly not the case of the “wizard” Sergio Azzolini and the other soloists featured on this recording. Together with Collegium 1704, an ensemble that gained renown with albums of Jan Dismas Zelenka’s paramount compositions, they perform Reichenauer’s concertos with a vivacity and energy this music requires.

“Reichenhauer's was a fluent, likeable, if not specially distinctive talent...All the soloists play with skill and spirit” Gramophone Magazine, September 2011

“The disc opens with the C major Bassoon Concerto. Its astonishingly florid solo line does not daunt the Baroque bassoonist Sergio Azzolini...[his] alert phrasing and sensitivity to his instrument's varied hues are most evident in the soulful Adagios of both concertos...Also impressive is the strikingly sweet-toned Baroque violinist Lenka Torgensen in her concerto, which demands both superior poetic imagination and agility from the soloist.” International Record Review, April 2011

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Supraphon Music From 18th Century Prague - SU40352

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Antonín Reichenauer: Concertos 2

Antonín Reichenauer: Concertos 2


Reichenauer:

Sonata in D major for 2 trumpets, timpani, cello, strings and basso continuo

Concerto in B flat major for oboe, strings and basso continuo

Concerto in D minor for cello, strings and basso continuo

Overture in B flat major for 2 oboes, bassoon, strings and basso continuo

Concerto in G major for flute, strings and basso continuo

arr. of Oboe Concerto in F major

Concerto in G major for violin, strings and basso continuo


Antonín Reichenauer (c. 1694–1730) – a few years ago a name virtually unknown, today mentioned by Baroque music lovers in the same breath as the greatest Czech Baroque masters, not to mention Antonio Vivaldi himself. Reichenauer assumed after Johann Friedrich Fasch the post of court composer in the service of Count Morzin, whose chapel Vivaldi called a “virtuosissima orchestra” and for which he wrote a number of concertos.

Following the previous – and first-ever – CD featuring Reichenauer’s concertos (SU40352), within its Music from Eighteenth-Century Prague series Supraphon is now releasing world premiere recordings of other concertante works as performed by Musica Florea. Twenty years ago among the Czech pioneers of authentic interpretation of early music, today Musica Florea is an ensemble of international renown with a discography of acclaimed and award-winning recordings (Cannes Classical Award, Diapason d’Or).

Their perfectly mastered playing on period instruments brings out to the full all the shades of colour, exquisite melodies and entrancing virtuosity of the concertos.

After centuries, Reichenauer’s music is now revived and, as these recordings prove, rightly so. From the archives a priceless treasure has been unearthed. Reichenauer – not some dusty museum piece but full-blooded music we have not known for three centuries.

“Reichenhauer's was a fluent, likeable, if not specially distinctive talent...All the soloists play with skill and spirit” Gramophone Magazine, September 2011

“Luise Haugk is a fine soloist, supple and nuanced in delivery and avoiding excessive mellowness of tone...Jana Chytilova and Musica Florea make the best possible case for [the Violin Concerto], steering what seems an ideal course between exaggerating its rough edges and smoothing them out.” International Record Review, July/August 2011

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Supraphon Music From 18th Century Prague - SU40562

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Musici da Camera

Musici da Camera


Fasch, J F:

Quartet in D major for Flute, Violin, Bassoon and Basso continuo (FaWV N:D1)

Concerto in C major for Flute, Violin, Bassoon and Basso continuo (FaWV L:C3)

Jiránek:

Trio sonata in B flat major for Two Violins and Basso continuo, Jk 27

Orschler:

Trio in F minor for Two Violins and Basso continuo

Postel:

Trio sonata in A major for Two Violins and Basso continuo

Reichenauer:

Quartet in G minor for Violin, Cello, Bassoon and Basso continuo, Rk 18


Sergio Azzolini (bassoon), Lenka Torgersen (violin) & Helena Zemanova (violin)

Collegium Marianum (on period instruments), Jana Semeradova (artistic direction)

Recorded in the Church of Our Lady, Queen of Angels in Prague, July 2012 (CD1), June 2003 and September 2005 (CD2).

Whereas Vivaldi needs no introduction whatsoever and other names (Caldara, Fasch, Tůma) are familiar to lovers of Baroque music, even specialists have only been getting to know the remarkable oeuvres of Reichenauer and Jiránek over the past few years, owing in large part to Supraphon’s Music From Eighteenth-Century Prague series.

Prague is that which all these composers had in common; for some of them the city represented a significant part of their career, for others a short episode or merely a way station. The Czech capital was a melting pot in which Dresden, Vienna, Naples and Venice came together and the influences of all the major European musical centres were recast. In aristocrats’ exquisite palaces, and to the delight of their masters, these superlative artists performed their own chamber music, whose originality and splendour we can rediscover today. The CD blends the refinement and spontaneous musicality of the renowned Collegium Marianum with the Italian vivacity of their special guest, the phenomenal bassoonist Sergio Azzolini.

The splendour and refinement of the music that resounded in Prague Baroque palaces.

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Supraphon Music From 18th Century Prague - SU41122

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Rorate Coeli: Advent and Christmas in Baroque Prague

Rorate Coeli: Advent and Christmas in Baroque Prague


Caldara:

Aria “ Quel pargoletto” (from Vaticini di pace)

Fasch, J F:

Sonata for Flute, Two Recorders & Basso continuo in G major

Reichenauer:

Cantata ad Montem Sanctum “Quc est ista”

Triosonata in D major

Aria de Adventu “ O coeli, rorate”

Rovenský:

Maria, thou lofty field

Oh God, how did I deserve

Mary, give your consent

Rorate coeli, when holy prophets

Oh my beloved

To little Jesus

A darling child

Zelenka:

Alma Redemptoris Mater

Succurre cadenti

Virgo prius – Larghetto piano sempre

Adeste fideles

Prague Loreto Carillon, arr. Radek Rejšek


Hana Blažíková (soprano), Kamila Ševcíková (alto) & Tomáš Král, Marián Krejcík (baritone)

Collegium Marianum (on period instruments), Jana Semerádová (artistic director)

In the rich musical life of early 18th century Prague, the Advent and Christmas seasons formed a chapter unto themselves. Their specific repertoire consisted not only of the themes of this liturgical season (including a strong element of the Marian cult), but also of special liturgical and musical forms. In both songs and figural music Czech suddenly appeared side by side with Latin, along with elements of folk religion and culture. These are most to be heard in the charming Advent and Christmas poeticism of the songs of Holan Rovenský.

Prague’s archives also hold whole troves of pieces with more sophisticated forms, both those by composers who worked in Prague (A. Reichenauer, J.F. Fasch) and those brought in from elsewhere (A. Caldara, Dresden-based J. D. Zelenka, and others). All the pieces on this new recording by the outstanding Collegium Marianum share the atmosphere of expectation of the Savior’s arrival and the spirit of peace and joy. And joy is precisely what shines through the thoughtful musicological and dramaturgical program of this “authentic” recording into the heart of the listener, whether during the seasons of Advent and Christmas or at any other time.

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Supraphon Music From 18th Century Prague - SU40022

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