Georg Muffat - Giovanni Battista Buonamente - Antonio Bertali - Johann Joseph Fux - Massimalliano Neri - Johann Heinrich Schmelzer - Marco Antonio Ferro - Bartolomeo de Selma Y Salaverde

Schmelzer & Co - Music at the Habsburg Court

Caecilia-Concert

Label: Challenge Classics
Format: CD
Barcode: 0608917233926

Catalog number: CC 72339
Releasedate: 30-10-09

A highly interesting cd of wonderful music of an important period in time, where the House of Habsburg contributed to the flourish of music by having many talented composers working as hofkapellmeisters at this Court that supported the developement of music. Composer Johann Heinrich Schmelzer and his German and Italian composer-collegues (Schmelzer & Co) leave us a range of beautiful baroque works.

Highly virtuosic compositions for the ‘old-fashioned’ 17th Century instruments, and the icing on the cake for trombonists, cornetto- and dulcian players
The 18th Century was going to use more modern instruments (like the baroque oboe, the baroque bassoon, not to mention the violin and cello), so this is the last period in which these instruments where in the 'spotlight'
A range of German and Italian Baroque composers who worked at the Habsburg Court in the 17th Century, like Johann Heinrich Schmelzer, Johann Joseph Fux, Marco Antonio Ferro, Antonio Bertaliand others
Caecilia-Concert is a versatile, international ensemble, specialising in the performance of 17th century music for instruments and voices
Since a successful debut in Holland, Caecilia-Concert has enjoyed a succession of well-received concerts in many festivals, including the Utrecht Early Music Festival, Festival of Flanders, Ton Koopman’s Itineraire Baroque Festival in France, and the Brunnenthaler Konzertsommer in Austria.

The works included on this CD are among the last, highly virtuosic compositions for these ‘old-fashioned’ instruments, and are the icing on the cake for trombonists, cornetto- and dulcian players. In the 18th century, the leading role of these instruments was taken over by more ‘modern’ instruments such as the baroque oboe, the baroque bassoon, not to mention the violin and cello.

Schmelzer & Co. The meteoric rise to power of the House of Habsburg was mired in the battles, purges, and religious persecution surrounding the Counter-Reformation. In this devout, Jesuit, Counter- Reformist court, music had an important role. This can be seen in the importance and size of the Hofkapelle.

Each individual leader of the House of Habsburg contributed to the musical development of the court in some way. For instance Ferdinand II (1578-1637), a very devout leader who was one of the most resolute backers of the anti-Pro-testant Counter-Reformation, helped secure Vienna’s position as one of the centers of music in Europe after his accession to the Imperial throne. His son, Ferdinand III (1608-57), a great patron of music as well as an amateur composer, was active in employing Italian kapellmeisters such as Antonio Bertali (1605-1669). Leopold I (1640-1705), the second son of Ferdinand III, became head of the Austrian monarchy in 1657, and was crowned Holy Roman Emperor the following year. During his reign, musical life in the Viennese court was expanded. He also composed and was responsible for employing among many others, Johann Heinrich Schmelzer (c.1620/23-1680) and Johann Joseph Fux. (1660- 1741). Josef I (1678-1711), the eldest son of Leopold, was an amateur harpsichordist, singer, and composer.

The recruitment of musicians for the court hofkapelle was often undertaken by important contacts in Italy. During the period 1660-1740, primarily Italians filled the significant posts of hofkapellmeister and vice-hofkapellmeister, for instance Massimiliano Neri, Marco Antonio Ferro and others. The only two natives to hold the post were Schmelzer and Fux Interestingly, the positions of court and church organist were more than not occupied by natives, for instance by Georg Muffat 1653-1704) in Salzburg.

While court composers were naturally occupied with composing music for the Devine Service and courtly events, not all music produced was occasional or of minor significance. In Vienna, there arose a strong tradition of composing in the stile antico. Fux in particular considered it his duty to preserve this older style.

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