FONOFORUM 10/11 - Selten hat man in zwei Minuten so viel Melancholie gehört, die zudem kunstfertig-elegant in einen Fugensatz verpackt ist, wie im Eröffnungsstück der g-Moll-Partita.
musica Dei donum © 2011 - Fux's music is of fine quality, and contains much variety in content. Ars Antiqua Austria have done a excellent job here: I liked especially the relaxed style of playing, without any attempt to make it more dramatic than it is or excessive exploration of the theatrical effects.
AKIV MUSIC.com - Ars Antiqua Austria have done an excellent job here: I liked especially the relaxed style of playing, without any attempt to make it more dramatic than it is or excessive exploration of the theatrical effects.
FANFARE - For the subtlety and balance of the performances, as well as for the subtlety and balance of Challenge’s recorded sound, this introduction should make the collection of greater than academic interest. Highly recommended.
MUSIK AN SICH.com - Die konzertanten Momente werden mit virtuosem Feuer serviert, die langsamen Sätze erklingen in spannungsvoller Ruhe.
KLAVIER.de - In der Tat erweisen sich die Partiten als musikalische Perlen, deren teils effektvolle Wirkungen ganz aus den kompositorisch vielfältig gehandhabten und in zahlreichen kontrapunktischen Kniffen ausgearbeiteten Möglichkeiten des Triosonatensatzes mit seinen beiden dialogisierenden Oberstimmen über dem Bassgerüst heraus erdacht sind.
Classic Voice / maggio'12 - Fra i pregi della lettura di Letzbor, quello di saper controbilanciare quel certo insìto e talora eccessivo autocontrollo dello stile fuxiano con un piglio fosforico, fantasioso, entusiasta.
MILANO FINANZA / 9 Luglio 2011 - L’esecuzione di Ars Antiqua Austria, con strumenti originali, vivifica queste antiche musiche, ingiustamente dimenticate.
FONOFORUM 10/11
Mealli. Sonate a Violino solo op.4: Arcana/Note1 C08033891690434 (56')
Fux. Partite a 3; Challenge SM CD608917238129 (68');
beide CDs: Gunar Letzbor, Ars Antiqua Austria
Österreichisch
Gunar Letzbor ist ein Meister der österreichischen Violinmusik, und mit seinem Ensemble Ars Antiqua Austria beackert er den riesigen Fundus der habsburgischen Archive vom kaiserlichen Wien bis zum klösterlichen Lambach. Zuletzt hat Letzbor sogar einen Wettbewerb zur Pflege der österreichischen Barockmusik ins Leben gerufen. Seine beiden jüngsten Veröffentlichungen decken die Extreme dessen ab, was an Violin-Kammermusik im 17. und 18. Jahrhundert vorstellbar ist: die ungezügelten skizzenhaften Sonaten eines gewissen Giovanni Antonio Pandolfi Mealli, der zeitweise in Innsbruck wirkte, und die ebenmäßig ausgearbeitete Kunst des wiener Hofkapellmeisters Johann Joseph Fux. Beim unbefangenen Hören ist Pandolfi interessanter, weil er unserer Vorstellung vom romantisch genialischen Künstlertum entspricht, der im Streit einen Altkastraten erdolchte. Letzbor spielt seine Musik, die kaum je den Regeln des kunstvollen Satzes entspricht, geheimnisvoll, improvisierend, nachdenklich-fragend über den statuarischen Orgelsäulen wie im elf Minuten langen Adagio der dritten Sonate, oder lässt die Klänge in den 22 Sekunden eines Presto förmlich explodieren. Man fragt sich, warum diese Musik überhaupt aufgeschrieben wurde, so aus dem Augenblick heraus gespielt wirkt sie bei Letzbor. Ganz anders Fux: Selten hat man in zwei Minuten so viel Melancholie gehört, die zudem kunstfertig-elegant in einen Fugensatz verpackt ist, wie im Eröffnungsstück der g-Moll-Partita.
Richard Lorber
musica Dei donum
http://www.musica-dei-donum.org/cd_reviews/ChallengeClassics_CC72381.html
Johann Joseph FUX (1660 - 1741): "Partite a 3"
When I received this disc I checked how many recordings are devoted to the music of Johann Joseph Fux. My search identified little more than ten, most of which contain vocal rather than instrumental music. That is understandable in that the largest part of his oeuvre consists of vocal, and in particular religious, music. Fux also composed a number of operas, but as far as I know only one of these has been recorded. On balance one can say that Fux is not really well represented on disc, especially considering his historical importance.
It is mainly thanks to his treatise Gradus ad Parnassum which appeared in 1725 that he figures in history books. This book is referred to especially because of its extensive treatment of counterpoint, even though it has much more to offer. But there can be little doubt that it was this particular subject which made Johann Sebastian Bach greatly appreciate the Gradus. In his own music Fux also made extensive use of counterpoint. That was not only because of his own preference, but also that of his employers, the Habsburg emperors whom he served at the court in Vienna.
Fux was born into a family of peasants, and was sent to the seminary in Graz on the advice of the parish priest. Rather than following a vocation as a priest he aimed at being a musician. His first position was that of organist in Ingolstadt, but soon he moved to Vienna where he married in 1696.
Apparently his capabilities attracted attention, as it seems emperor Leopold I himself wanted Fux to become court composer in 1698. This is all the more remarkable as since the early 17th century musical life at the court was dominated by musicians from Italy. In 1711, after the death of Leopold, Fux was appointed vice-Hofkapellmeister, and in 1715 Charles VI appointed him Hofkapellmeister, a position he held until his death.
This position was one of the most prestigious in Europe, and it brought Fux considerable fame. He even earned praise from the German composer and theorist Johann Mattheson, who was no advocate of counterpoint and much more a representative of the new aesthetics emphasizing the importance of melody. He stated that in Fux's music "no part is without a function". The editor of the catalogue of Mozart's oeuvre, Ludwig Ritter von Köchel, has
done Fux a great favour by writing a book about him and cataloguing his compositions. The K in the track-list refers to his catalogue, the E (for Ergänzung) to the appendix.
A part of Fux's instrumental music comprises pieces which are most likely meant to be played by an orchestra with several instruments per part. That is especially the case with compositions written for liturgical use. He also composed a number of trio sonatas - of which some have been recorded by the Capella Agostino Steffani, directed by Lajos Rovatkay (EMI Classics, 1991). The Partite Ars Antiqua Austria have recorded have the same scoring of
two violins and bass. These pieces are likely meant to be played with one instrument per part as well. The bass part is here played on the violone rather than the cello. This was common practice in southern Germany and Austria in the late 17th and the 18th century.
The Partitas are in four or five movements, with the exception of the Partita ex D (K 326) which has six. The form is varied, and doesn't follow the model of the Italian sonata da chiesa or sonata da camera. The Partita ex b (K 319), for instance, begins with an 'introduzzione, allegro', which is followed by 'contraffatrice, un poco allegro', a menuet and trio, a bourrée and a gigue. There are some theatrical elements as well: the Partita ex C (K 323) opens with 'Les Cambattans' (the combatants), goes on with 'Les Vainqueurs' (the conquerors) which is followed by a 'perpetuum mobile'.
Especially interesting is the Partita ex C (K 331) which is an early example of what was to become fashionable in the second half of the 18th century: janissary-style music. The first movement is called 'Turcaria', the third 'Janitshara' and the piece closes with 'Post turcica'. In the first and last movement percussion is used. I don't know whether this was prescribed by Fux. The first movement has been recorded by Armonico Tributo Austria, directed by
Lorenz Duftschmid (Arcana, 1998), in a larger scoring. Here the percussion is a bit too dominant. Another question mark in regard to the scoring concerns the Partita (E 64) (no key given): according to New Grove this piece is written for flute (probably meaning: recorder) and oboe. It isn't mentioned in the liner-notes, and I don't know why it is played with violins instead.
I have very much enjoyed this disc. Fux's music is of fine quality, and contains much variety in content. Ars Antiqua Austria have done a excellent job here: I liked especially the relaxed style of playing, without any attempt to make it more dramatic than it is or excessive exploration of the theatrical effects.
In his notes Letzbor writes about "our first CD with music by Fux". This suggests more is to come. Let's hope so.
Johan van Veen (© 2011)
When I received this disc I checked how many recordings are devoted to the music of Johann Joseph Fux. My search identified little more than ten, most of which contain vocal rather than instrumental music. That is understandable in that the largest part of his oeuvre consists of music for voices, and in particular religious, music. Fux also composed a number of operas, but as far as I know only one of these has been recorded. Fux is not that well represented on disc, especially considering his historical importance.
It is mainly thanks to his treatise Gradus ad Parnassum which appeared in 1725 that he figures in history books. This book is referred to especially because of its extensive treatment of counterpoint, even though it has much more to offer. But there can be little doubt that it was this particular subject which made Johann Sebastian Bach greatly appreciate the Gradus. In his own music Fux also made extensive use of counterpoint. That was not only because of his own preference, but also that of his employers, the Habsburg emperors whom he served at the court in Vienna.
Fux was born into a family of peasants, and was sent to the seminary in Graz on the advice of the parish priest. Rather than following a vocation as a priest he aimed at being a musician. His first position was that of organist in Ingolstadt, but soon he moved to Vienna where he married in 1696. Apparently his capabilities attracted attention, as it seems emperor Leopold I himself wanted Fux to become court composer in 1698. This is all the more remarkable as since the early 17th century musical life at the court was dominated by musicians from Italy. In 1711, after the death of Leopold, Fux was appointed vice-Hofkapellmeister, and in 1715 Charles VI made him Hofkapellmeister, a position he held until his death.
This position was one of the most prestigious in Europe, and it brought Fux considerable fame. He even earned praise from the German composer and theorist Johann Mattheson, who was no advocate of counterpoint and much more a representative of the new aesthetics emphasizing the importance of melody. He stated that in Fux's music "no part is without a function". The editor of the catalogue of Mozart's oeuvre, Ludwig Ritter von Köchel, has done Fux a great favour by writing a book about him and cataloguing his compositions. The K in the track-list refers to his catalogue, the E (for Ergänzung) to the appendix.
A part of Fux's instrumental music comprises pieces which are most likely meant to be played by an orchestra with several instruments per part. That is especially the case with compositions written for liturgical use. He also composed a number of trio sonatas - of which some have been recorded by the Capella Agostino Steffani, directed by Lajos Rovatkay (EMI Classics, 1991). The Partite Ars Antiqua Austria have recorded have the same scoring - namely two violins and bass. These were likely meant to be played with one instrument per part. The bass part is here played on the violone rather than the cello. This was common practice in southern Germany and Austria in the late 17th and the 18th century.
The Partitas are in four or five movements, with the exception of the Partita ex D (K 326) which has six. The form is varied, and doesn't follow the model of the Italian sonata da chiesa or sonata da camera. The Partita ex b (K 319), for instance, begins with an 'introduzzione, allegro', which is followed by 'contraffatrice, un poco allegro', a menuet and trio, a bourrée and a gigue. There are some theatrical elements as well: the Partita ex C (K 323) opens with 'Les Cambattans' (the combatants), goes on with 'Les Vainqueurs' (the conquerors) which is followed by a 'perpetuum mobile'. Especially interesting is the Partita ex C (K 331) which is an early example of what was to become fashionable in the second half of the 18th century: janissary-style music. The first movement is called 'Turcaria', the third 'Janitshara' and the piece closes with 'Post turcica'. In the first and last movement percussion is used. I don't know whether this was prescribed by Fux. The first movement has been recorded by Armonico Tributo Austria, directed by Lorenz Duftschmid (Arcana, 1998), in a larger scoring. Here the percussion is a bit too dominant. Another question mark in regard to the scoring concerns the Partita (E 64) (no key given): according to New Grove this piece is written for flute (probably meaning: recorder) and oboe. It isn't mentioned in the liner-notes, and I don't know why it is played with violins instead.
I have very much enjoyed this disc. Fux's music is of fine quality, and contains much variety in content. Ars Antiqua Austria have done an excellent job here: I liked especially the relaxed style of playing, without any attempt to make it more dramatic than it is or excessive exploration of the theatrical effects.
The track-list in the booklet is sloppy: track-number 15 is followed by 18 to 30. The next page then begins with 29.
In his notes Letzbor writes about 'our first CD with music by Fux'. This suggests more is to come. Let's hope so.
Johan van Veen, Music Web International
FUX Partitas a 3: K 319–23, 326, 331; E 64 • Gunar Letzbor (vn); Ars Antiqua Austria (period instruments) • CHALLENGE 72381 (68:12)
Johann Joseph Fux’s partitas share roughly the textures of trio sonatas—two violins suspended over figured bass—and in the case of violinist Gunar Letzbor and the Ars Antiqua Austria, they’re realized by two violins (Letzbor and Ilia Korol, with Korol playing the first part in the partitas K 322, E 64, K 326, while Letzbor takes the lead in the others), violone, organ, cembalo, lute, and percussion. The partitas vary in number of movements from four to six, ranging from dances to contrapuntal pieces—as well as, in the Partita K 323, some movements that are graphically descriptive (“Les Cambattans,” “Les Vainqueurs”). The first partita, K 319, displays this range (without the pictorialism) in its five movements, which comprise a sprightly leaping introduction, a Contraffattrice, and a concluding group of movements: a Minuet and Trio, a Bourrée, and a Gigue. If the writing isn’t brilliant instrumentally, it’s nevertheless bright and demanding (as in the Passacaglia from the Partita K 320); the booklet notes stress that Fux wrote for the cognoscenti but didn’t disregard those who knew little about music, and that he considered simplicity one of the most difficult challenges. Letzbor and the ensemble play this music with a rhythmic freshness and tonal crunch that should make it as highly accessible to today’s listeners as Fux hoped would be for his. The Partita K 320 begins with two movements, a Sonata and an Allegro, cast perhaps in the da chiesa mold, and follows them with a Sarabande and a relatively virtuosic—at least in Letzbor’s conception—Passacaglia.
The Partita K 321 bears a sort of title, Intrada in canone, in the booklet, and while the first movement, Allegro, bears the weight of this contrapuntal learning (although lightly), the flowing Largo provides some relief before the polyphony resumes in the following Allegro. A collection of minuets and a Rondeau bring the work to a close. Perhaps these performances make the counterpoint by the author of Gradus ad Parnassum especially digestible, and reading between the staves, the music itself seems highly ingratiating. The Partita K 322 begins with a crisp Ouverture and follows with a set of dances, the first of which, “Entrée,” continues with the same energetic bustle, but the performers introduce a sweetly flowing lyricism into the Siciliana. The two descriptive movements of the Partita K 323 consist of rushing and slashing passages (provided in these performances with accompanying percussion) and a sort of triumphal march, followed by a perpetuum mobile that, unlike similar movements in works by Arcangelo Corelli and Antonio Vivaldi, bears an explicit title.
The Partita E 64 opens with the longest of the movements in the collection, a Capriccio that lasts more than four and a half minutes and that at its outset pits rushing notes against longer-held ones (a disguised exercise in fifth-species counterpoint?) at the outset but contains at its center a solemn Grave. The Partita K 326 mixes three movements with tempo-like titles with three dances and some almost succulent eloquence in the Adagio. The program’s last Partita, K 331, consists of four movements with titles (among them “Turcaria,” “Janitshara,” and “Posta turcica”), the first of which opens with strong percussion strokes, and the second being a triple-time “Passa Gallia” (a pun?).
For those wishing to explore Fux’s chamber music, Letzbor’s exploratory collection will make an ingratiating introduction. For the subtlety and balance of the performances, as well as for the subtlety and balance of Challenge’s recorded sound, this introduction should make the collection of greater than academic interest. Highly recommended.
Robert Maxham
BÜHNENWIRKSAM
Fux, J. F. (Letzbor)
Partite a 3 (K 319-323, 326 & 326; 64)
VÖ: 07.03.2011
Bei Johann Joseph Fux' dreistimmigen Partiten muss man die Ohren spitzen! Es wäre zu schade, wenn einem beim Nebenbeihören die vielen schönen Einfälle und Details entgingen. Was nicht heißen soll, dass die insgesamt 38 Sätze, aus denen die acht Suiten bestehen, asketisch-vergrübelte Hörübungen sind. Im Gegenteil: Fux demonstriert auf kleinem und manchmal auch sehr kleinem Raum, was er an melodischem Einfallsreichtum besitzt und flott und eingängig oder auch in kunstvoll kontrapunktischer Manier entfalten kann. Fux hat anspruchsvolle Unterhaltungsmusik im besten Sinne komponiert. Handwerkliche Gediegenheit und Inspiration gehen dabei eine gelungene Verbindung ein. Angesichts der Dichte des Programms empfiehlt es sich aber, nicht einfach alle Partiten nacheinander abzuspielen und durchaus mal einzelne Sätze für ein vertieftes Hören herauszupicken.
Gunnar Letzbor und die Ars Antiqua Austria gehen die Stücke detailbetont und zugleich schwungvoll an. Die konzertanten Momente werden mit virtuosem Feuer serviert, die langsamen Sätze erklingen in spannungsvoller Ruhe. Die kleinteilige, prononcierte Phrasierung und Artikulation dient dazu, jedem Stück ein individuelles Gesicht zu verleihen, ohne dass es gekünstelt wirkt. Letzbor und Ilia Korol setzen bei den Violinparts auf eine herzhafte, in wenigen Momenten etwas schroffe Tongebung und siedeln Fux dadurch an der Grenze zwischen Hoch- und Volksmusik an. Genussvoll werden die barocken Affektgesten und geradezu bühnenwirksamen Effekte serviert. Dass sich das Programm über die Dauer von rund 70 Minuten nicht totläuft, verdankt sich auch einer reich besetzte Bassgruppe, zu der neben Violone, Orgel, Cembalo und Laute gelegentlich auch etwas Schlagzeug treten kann, was dem tänzerischrhythmischen Drive der "Janitscharen-Musik" in der finalen Suite zu Gute kommt. So klingt die Musik trotz der angemessen kleinen Besetzung saft- und kraftvoll.Georg Henkel
Fux, Johann Joseph: Partite a 3
Barockes Ausnahmerepertoire
In einer Einspielung durch das Ensemble Ars Antiqua Austria erweisen sich die Partiten von Johann Joseph Fux als anspruchsvolles und ideenreiches Repertoire.
Mit den 'Partite a 3' von Johann Joseph Fux (1660-1741) hat das Ensemble Ars Antiqua Austria bei Challenge Classics ein bislang eher wenig beachtetes, aber nichtsdestotrotz wichtiges Repertoire eingespielt. Ludwig Ritter von Köchel hat sich diesen Werken in seiner Abhandlung über Fux aus dem Jahr 1872 – im Booklet in Auszügen wiedergegeben – gewidmet und angesichts der Musik Feststellungen getroffen, die man auch heute noch ohne Zögern unterschreiben kann. So habe der Komponist seine Werke ‚tüchtig geschulten ausübenden Kräften‘ zugedacht und ‚diesen mitunter keine leichten Aufgaben gestellt‘: ‚Hier beginnen breit angelegte fugierte Sätze, ganze Nummern in canone, Imitationen mit allen Künsten der Augmentation, Diminution, Inversion mit einer Fülle von schön erfundenen Motiven‘, die einerseits von einer ‚Bedeutung und Leichtigkeit der Erfindung‘ zeugen, sich andererseits aber auch durch ‚Kühnheit in der Harmonie‘ bemerkbar machen.
In der Tat erweisen sich die Partiten als musikalische Perlen, deren teils effektvolle Wirkungen ganz aus den kompositorisch vielfältig gehandhabten und in zahlreichen kontrapunktischen Kniffen ausgearbeiteten Möglichkeiten des Triosonatensatzes mit seinen beiden dialogisierenden Oberstimmen über dem Bassgerüst heraus erdacht sind. Dass die Anforderungen an die Musiker tatsächlich nicht gering sind, führt dazu, dass das Ensemble – allen voran die beiden Geiger Gunar Letzbor und Ilia Korol – den virtuosen Aspekt als besondere Nuance der Musik herausarbeitet und die daraus resultierende Brillanz durch eine abwechslungs- und farbenreiche Gestaltung der Continuogruppe (mit Jan Krigovsky, Violone; Norbert Zeilberger, Orgel und Cembalo; Hubert Hoffmann, Laute) unterstreicht. Schön ist vor allem der rhythmische Elan, der durch stark akzentuierten Vortrag in den raschen Werkteilen entsteht und über weite Strecken hinweg die Erscheinungsweise von Sätzen wie der abschließenden Passacaglia aus der Partita g-Moll K 320 prägt. Doch auch an anderer Stelle tritt die Arbeit mit (beispielsweise metrischen) Akzenten sowie mit stark artikulierten Einzelstimmen bis hin zu einem beinahe schon perkussiv aufgefassten Einsatz der Continuogruppe – vor allem der Laute – in den Vordergrund und sorgt für eine transparente Wiedergabe kontrapunktischer Linien.
Nicht immer zeitigt dies einen durchweg positiven Eindruck, denn in einigen Stücken wirkt die Tongebung der Musiker sehr exaltiert, oft bis ans Geräuschhafte grenzend, was die Werke dann überzeichnet wirken lässt und ihr eine übermäßig nervöse Spannung verleiht. In der Fux zugeschriebenen, aber höchstwahrscheinlich nicht von ihm stammenden C-Dur-Partita K 331 mit ihrer durch Perkussionsinstrumente (Jan Prievoznik) unterstützten Einbindung von Einflüssen aus der türkischen Janitscharenmusik, die sich an Satzbezeichnungen wie 'Turcaria', 'Janitshara' oder 'Posta turcica' ablesen lässt, mag dies noch als illustratives Element angehen; in den raschen Sätzen anderer Partiten hingegen wächst durch solche Schärfe dem spielerischen Element, das sich in der Fux’schen Beherrschung des Kontrapunkts verbirgt, eine gewisse Verbissenheit zu. Dieser Eindruck kann zwar durch wunderschön musizierte langsame Werkteile nicht immer adäquat aufgewogen werden; dennoch bleibt ein sehr positiver Gesamteindruck, der sich durch ein spannungsreiches Verhältnis der Einzelsätze untereinander auszeichnet und die kontrastreiche Wiedergabe der oft recht kleingliedrig angelegten Werke unterstützt.
Dr. Stefan Drees, 04.08.2011
Label: Challenge Records , VÖ: 29.04.2011
Spielzeit: 68:12 , aufgenommen 4/2010
Fux
PARTITE A 3
ARS ANTIOUA AUSTRIA
VIOLINO Gunar Letzbor
CD Challenge 72381
Se per i musici tornassero in voga i soprannomi, Gunar Letzbor potrebbe appellarsi "Il segugio": è infatti con fiuto sopraffino che da oltre vent'anni setaccia il repertorio del violino barocco (intorno a Corelli, intorno a Bach, intorno a Vivaldi) per ricucirne il tessuto che, in realtà, è molto più fitto di quanto le abitudini di repertorio facciano presague. Nella prospettiva offerta da Johann Joseph Fux (1660-1741) il panorama osservabile è patticolarmente ampio, giacché le Partite a 3 di costui (citato prevalentemente per un celebre quanto rigido trattato di contrappunto e fuga, il "Gradus ad Pamassum" 1725) sono suite curiose che realizzano per l'ennesima volta quell'ideale dei "goûts réunis" che ha immortalato il barocco tedesco come stile frammisto di francese e Italiano (qui anche con le turcherie), sempre e comunque cosmopolita. Fra i pregi della lettura di Letzbor, quello di saper controbilanciare quel certo insìto e talora eccessivo autocontrollo dello stile fuxiano con un piglio fosforico, fantasioso, entusiasta.
M I L A N O F I N A N Z A 9 Luglio 2011
Johann Joseph Fux
PARTITE A 3
In CUFFIA di Gabriele Formenti
Johann Joseph Fux è oggi ricordato soprattutto per la sua attività di teorico musicale e di grande contrappuntista. Una fama giustamente meritata che però non considera il resto della sua produzione, di notevoli proporzioni se si considerano la musica sacra, quella operistica e infine quella strumentale da lui composta. Il violinista Gunar Letzbor regala un bel programma di musica strumentale di Fux: una serie di Partite, ossia raccolte di danze, che evidenziano le innovazioni del compositore austriaco e i debiti nei confronti della tradizione strumentale viennese. L’esecuzione di Ars Antiqua Austria, con strumenti originali, vivifica queste antiche musiche, ingiustamente dimenticate.