Caldara / Mol / Oltremontano - Baroque Consolation - COMPACT DISCS [CD]
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The Habsburg dynasty was one of the most powerful in Europe from the early 13th to the early 19th century. It was also a major power in cultural artistic matters and attracted the best musicians and composers to serve at it's courts. The musical life at the imperial court in Vienna had a strong Italian flavor Italians held the position of court Kapellmeister, with but one short break, from 1619 to 1715, and the position of court composer continued to be dominated by Italians. The Catholic Church music began to take on an Italian flair, with obbligato instrumental parts accompanying solo portions of the Mass and other liturgical items. In the second half of the 17th century oratorios became an important feature of musical and religious life at the Habsburg court. Oratorios were customarily presented only during Lent, when the court opera was closed. During Holy Week, however, a variant of this genre, the sepolcro, was often performed. The trombone, though hardly known in some parts of Europe at this time, flourished in Vienna. More than 40 arias with trombone obbligatos appeared in sacred dramatic works between the 1680s and the 1740s. This body of repertoire stands out in the history of the trombone for it's florid writing, replete with trills, and with rapid passagework that often rivals that of the voices and the strings. Antonio Caldara figures prominently in this program with three arias, but the includes also music by lesser-known or even unknown composers as the Ziani brothers, F. B. Conti and the emperor Joseph I himself.
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- GenreClassicalDescriptionThe Habsburg dynasty was one of the most powerful in Europe from the early 13th to the early 19th century. It was also a major power in cultural artistic matters and attracted the best musicians and composers to serve at it's courts. The musical life at the imperial court in Vienna had a strong Italian flavor Italians held the position of court Kapellmeister, with but one short break, from 1619 to 1715, and the position of court composer continued to be dominated by Italians. The Catholic Church music began to take on an Italian flair, with obbligato instrumental parts accompanying solo portions of the Mass and other liturgical items. In the second half of the 17th century oratorios became an important feature of musical and religious life at the Habsburg court. Oratorios were customarily presented only during Lent, when the court opera was closed. During Holy Week, however, a variant of this genre, the sepolcro, was often performed. The trombone, though hardly known in some parts of Europe at this time, flourished in Vienna. More than 40 arias with trombone obbligatos appeared in sacred dramatic works between the 1680s and the 1740s. This body of repertoire stands out in the history of the trombone for it's florid writing, replete with trills, and with rapid passagework that often rivals that of the voices and the strings. Antonio Caldara figures prominently in this program with three arias, but the includes also music by lesser-known or even unknown composers as the Ziani brothers, F. B. Conti and the emperor Joseph I himself.ArtistCALDARA / MOL / OLTREMONTANOTitleBaroque ConsolationFormatCDLabelAccent Records
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How and why Johann Melchior Molter came to Karlsruhe is one of the secrets of his otherwise well-documented life. Molter was a Inchperfect capellmeisterInch in the sense of the eponymous famous treatise of the Hamburg music scholar Johann Mattheson. In his early years, Molter became familiar with the style of French music of his time; in Italy, where he drew it a second time during his time in Eisenach, he became acquainted with the current Italian style. Stylistic versatility was the craftsmanship with which Molter moved in all major genres. Although large parts of his vocal works are lost or were destroyed during the Second World War, the surviving cantatas and other works for vocal Molter as a composer, who knew exactly how the human voice comes to it's best advantage. In contrast, the manuscripts of many of Molter's instrumental works have been handed down in large numbers. In addition to about 170 symphonies, solo concertos for various instruments are the largest group of works within Molter's instrumental works. Most of these concerts may have been written for virtuoso court musicians in Karlsruhe and Eisenach and have been performed within the framework of court music practice. All concerts are documents of a Kapellmeister, who mastered the compositional standards of his time on a very high level. That Molter occupies an important place in the history of the instrumental concert, he owes the fact that he was one of the first composers who composed concertos for the clarinet. This instrument was invented at the beginning of the 18th century by Johann Christoph Denner, but it did not prevail until the end of the 18th century in the orchestras. This production commemorates (for the 300th birthday of Karlsruhe) the most important composer of the fan city.
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