The Four Seasons Ars Antiqua Austria & Gunar Letzbor

• Antonio Vivaldi (1678 - 1741): Violin Concerto in E Major "La Primavera", RV 269:
• 1Violin Concerto in E Major "La Primavera", RV 269: Allegro03:39
• 2Violin Concerto in E Major "La Primavera", RV 269: Largo02:30
• 3Violin Concerto in E Major "La Primavera", RV 269: Danza Pastorale03:58
• Violin Concerto in G Minor "Estate“, RV 315:
• 4Violin Concerto in G Minor "Estate“, RV 315: Allegro non molto05:57
• 5Violin Concerto in G Minor "Estate“, RV 315: Adagio02:21
• 6Violin Concerto in G Minor "Estate“, RV 315: Presto02:44
• Violin Concerto in F Major "Autumno", RV 293:
• 7Violin Concerto in F Major "Autumno", RV 293: Allegro I05:28
• 8Violin Concerto in F Major "Autumno", RV 293: Adagio molto03:01
• 9Violin Concerto in F Major "Autumno", RV 293: Allegro II03:44
• Violin Concerto in F Minor "L’Inverno", RV 297:
• 10Violin Concerto in F Minor "L’Inverno", RV 297: Allegro non molto03:57
• 11Violin Concerto in F Minor "L’Inverno", RV 297: Largo02:08
• 12Violin Concerto in F Minor "L’Inverno", RV 297: Allegro04:41
• Frantisek Jiranek (1698 - 1778): Concerto in D Minor:
• 13Concerto in D Minor: Allegro non molto06:19
• 14Concerto in D Minor: Grave03:04
• 15Concerto in D Minor: Allegro05:56
• Total Runtime59:27

Info for The Four Seasons

Austrian Baroque music takes center stage in the repertoire of this unusual Baroque ensemble. The music performed at the Imperial Court in Vienna at this time was initially heavily influenced by the music of Italy, later by that of France; Spanish court ceremonial also had important artistic effects in Vienna. The typical Austrian sound of this era was characterized by the impact of its many royal domains. The political and societal boundaries of Baroque Austria stretched much further than nowadays. Elements of Slavic, Hungarian and Alpine folk music styles had lasting effects on art music, making up its specific sound. But the Austrian sound also reflects the temperament and the character of the people of the time: placed within the melting pot of many diverse cultures, amalgamating Mediterranean zest for life, Slavic melancholy, French formalism, Spanish royal ceremony and the original Alpine elements of the German-speaking period. This mixture of court music and folk music with a dance-like character outlines the typically Austrian sound. The ensemble Ars Antiqua Austria is dedicated to musicological research of Austrian Baroque composers. The abundance of rediscovered works led to several successful premiere recordings, including albums featuring the works of R. Weichlen, H.I.F. Biber, G. Arnold, F. J. Aumann, and more. In the words of conductor Gunar Letzbor: It is almost impossible nowadays to perform Vivaldis music without any preconceptions, even if one engages with it only rarely. Vivaldis sound is ubiquitous There is so much to discover amongst his works, away from mainstream sounds. This recording and its preparation: practicing in peace and quiet, trying out sounds, receiving and discarding ideas, taking in the texts, rediscovering melodies, and if possible, never listening to any Vivaldi recordings.

Gunar Letzbor, violin
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.

In 2002 Ars Antiqua Austria commenced a cycle of concerts in the Vienna Konzerthaus on the theme of Austrian Baroque music, since 2008 also in the Brucknerhaus Linz. Beginning in 2001 the ensemble is playing a leading part in a concert series with more than 90 concerts called "Sound of Cultures - Culture of Sound". Ten different programmes will being repeated in Vienna, Prague, Bratislava, Cracow, Venice, Ljubljana, Mechelen, Budapest and Lübeck.

Recent tours have taken the ensemble to the Festival de la Musique Baroque at Ribeauville; Berlin Festival of Ancient Music; Festival Printemps des Arts at Nantes; Mozartfest at Würzburg with an opera production together with Michael Schopper; Tage alter Musik at Herne; Festival de Musique de Clisson et de Loire Atlantique; Folles Journées de Nantes and Tokyo; Musée d'Unterlinden Colmar; Monteverdi Festival Cremona; Festival Baroque du Sablon; Salzburger Festspiele; Vlandern Festival; Festival Bach de Lausanne; Bologna Festival; Vendsyssel Festival; Concerti della Normale Pisa; Resonanzen Wien; Klangbogen Wien; Mafestivall Brügge…

Ars Antiqua Austria's recording of Viviani's "Capricci Armonici" received a Cannes Classical Award.

Gunar Letzbor
Amongst the year's finest issues we must mention Gunar Letzbor's interpretation of Biber's Rosary Sonatas. His intonation is impeccable, the sound is warm and generous, whilst his utter technical security and above all musicality is in evidence both in the devilish rapid passages and in those of heart-rending cantabile. CD Classica

Letzbor contributes dazzling violin playing in performances that are appropriately sombre yet pleasantly stylish. (Gramophone)

Biber's vision could not find a more sympathetic interpreter than Letzbor, blessed with vivacity, virtuosity and fiery expressiveness, but also capable of making his instrument sing in Biber’s touching melodies. Amadeus

Letzbor's performance is simply exceptional. He has added lustre to a composition (Biber) that has no equal in the history of western music. (La Stampa)

Gunar Letzbor studied composition, conducting and violin at Linz, Salzburg and Cologne. His encounters with Nikolaus 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.

Letzbor has performed at every major baroque music festival in Europe, including the Festival de la Musique Baroque in Ribeauville, Festwochen der Alten Musik in Berlin, Festival Printemps des Arts in Nantes, Mozartfest in Würzburg, Tagen alter Musik in Herne, Folles Journees de Nantes and Tokyo, Musee d'Unterlinden Colmar, Flanders Festival, Festival Bach de Lausanne, Bologna Festival, Resonanzen Wien, Klangbogen Wien, Monteverdi Festival in Cremona, Mavestivall in Brugge, Vlandern Festival, at the Munich Staatsoper, the Salzburg Festival...

Gunar Letzbor teached at the Musikhochschule in Lübeck (Germany) and Vienna (Austria); he is a widely respected teacher, giving summer courses across Europe.

Letzbor's recording of Viviani's "Capricci Armonici" received a Cannes Classical Award.

This album contains no booklet.