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Alme Ingrate: Imperial Arias By Emperor Joseph I, Ziani, Fux & Caldara

Fux / Zari / Caldara / Emperor Joseph I
Release Date: 11/19/2013 
Label:  Coviello Classics   Catalog #: 21311   Spars Code: n/a 
Composer:  Marco Antonio ZianiJohann Joseph FuxAntonio CaldaraKaiser Joseph I,   ... 
Performer:  Lydia TeuscherHenning Wiegrabe
Conductor:  Henning Wiegrabe
Orchestra/Ensemble:  Capricornus Ensemble Stuttgart
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 8 Mins. 

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Notes and Editorial Reviews



ALME INGRATE Henning Wiegräbe (tbn, cond); Lydia Teuscher (sop); Capricornus Ens Stuttgart (period instruments) COVIELLO 21311 (67:44 Text and Translation)


Music of CALDARA, FUX, JOSEPH I, ZIANI


When most people think of Vienna during the 18th century, the immediate thought is of Mozart or Haydn, or perhaps even others of their generation. It is more or less general knowledge that these composers owed much in their Read more training to the late Baroque tradition of Antonio Caldara and the contrapuntal lessons of Johann Joseph Fux, and while both of these composers are becoming more recognized, their functioning within the Imperial court context is often glossed over or downplayed. The works written for earlier Holy Roman Hapsburg Emperors Leopold I, Joseph I, and Charles VI, a time during which Vienna was a Mecca for the arts, have been done sort of piecemeal, and indeed with some degree of distance. Thus the music has not been as widespread or available as one might believe. Still, this is slowly emerging from the historical shadows, though with some hesitant steps, as a review of court music with trombones (a favorite instrument of the time apparently) on Ramée by my colleague Barry Brenesal noted in his review in Fanfare 37:4. He took considerable issue with aspects of this disc, which contained music by the same composers as this one.


Here, instead of focusing on the use of the trombone as the musical glue, attention is turned towards the various obbligato arias from operas during this period 1700–1730. One might characterize this as the “High Baroque,” but it does demonstrate that Viennese opera and instrumental music was a nice blend of German and Italian styles. The aria “Quel semiante” from Marc’Antonio Ziani’s Il mistico Giobbe , an oratorio from 1704, is a nice duet between the trombone and soprano above a smoothly flowing continuo, reminding one of a Bach cantata aria more than anything else. The two interweave their lines smoothly, with the ornamentation and coloratura restrained by the lyricism. The Emperor Joseph I, himself no mean composer, reformed and strengthened the court musical establishment, and while his death in 1711 prevented further plans from eventuating, he set the stage for the ascendency of the musical Kapelle of his successors. He is represented here by two arias, “Tutto il pianto,” an aria inserted into Ziani’s Chilonida , and “Alme ingrate” (from which the title of the disc is taken), which belongs to an Easter oratorio. The former features a solo chalumeau, played with smooth deliberation by Christian Leitherer, and is a beautiful, lyrical lament. The latter is rather more conventional, with the solo trombone line that meanders nicely, being more soloistic than the sedate vocal line. Caldara, of course, is one of those Baroque composers whose star is now in the ascendant, as his music is rediscovered. He apparently wrote fourscore operas and about half that many oratorios, from which the four arias on this disc are excerpted. Two are from the Easter oratorio Maddalena al piedi di Cristo from 1713. As such, it is not surprising to find Alessandro Scarlatti in the background, as the moving aria “Pompe inutili” demonstrates. The continuo outlines the admonition against pomp and arrogance, above which the voice soars in gentle waves. The second section, “Ite a terra” interrupts this with a brief scurry, banishing the “torments” of this temptation. In the later “Dio, qual sa” from Naboth of 1729, the trombone solo has a wonderfully chromatic solo which then devolves into an echo duet with the soprano. Fux’s contributions include three instrumental sonatas that feature the trombone, sometimes as solo and sometimes as bass line support. The texture of these brief pieces, really church sonatas, shows their dependency upon Corelli, with the suspensive counterpoint that seems to be omnipresent. The Alma redemptoris mater , on the other hand, is positively Handelian. There the trombone weaves virtuoso sequences above a nicely textured string accompaniment. When the voice enters, its lines intertwine with the trombone in a series of musical pirouettes.


The performance of the Capricornus Ensemble of Stuttgart is nicely done, unlike that apparently of the Ramée disc. The strings are a softer filler to the lyrical and clear voice of Lydia Teuscher, while the trombone playing of conductor Henning Wiegräbe is smooth and seemingly uncomplicated, even in some of the more gnarly virtuoso passages. When combined with the voice, the effect is salutary. All of this is held together by a flowing continuo group that is a good foundation but never overshadows what goes on above it. The recording is clear and the intonation of the instruments is excellent, even that of the notorious slippery trombone. It is precisely such discs as this that are tantalizing glimpses into the realm of the Viennese court of the period. Hopefully, these will inspire groups such as the Capricornus Ensemble to attempt full-length works so that we don’t just get the excerpts. Until such time, this is a disc well worth obtaining.


FANFARE: Bertil van Boer
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Works on This Recording

1. Il mistico Giobbe: Quel sembiante così bello by Marco Antonio Ziani
Performer:  Lydia Teuscher (), Henning Wiegrabe (Trombone)
Conductor:  Henning Wiegrabe
Orchestra/Ensemble:  Capricornus Ensemble Stuttgart
Period: Baroque 
Written: 1704 
Length: 4 Minutes 21 Secs. 
2. Sonata à 3, for 2 violins, trombone & continuo, E 68 by Johann Joseph Fux
Performer:  Henning Wiegrabe (Trombone)
Conductor:  Henning Wiegrabe
Orchestra/Ensemble:  Capricornus Ensemble Stuttgart
Period: Baroque 
Length: 5 Minutes 58 Secs. 
3. Sinfonia a quattro No. 11 in D minor ("Naboth") by Antonio Caldara
Performer:  Lydia Teuscher (), Henning Wiegrabe (Trombone)
Conductor:  Henning Wiegrabe
Orchestra/Ensemble:  Capricornus Ensemble Stuttgart
Period: Baroque 
Written: 1729 
Length: 7 Minutes 29 Secs. 
4. Sonata à 3, K. 373 by Johann Joseph Fux
Performer:  Henning Wiegrabe (Trombone)
Conductor:  Henning Wiegrabe
Orchestra/Ensemble:  Capricornus Ensemble Stuttgart
Period: Baroque 
Length: 3 Minutes 11 Secs. 
5. Tutto in pianto by Kaiser Joseph I
Performer:  Lydia Teuscher (), Henning Wiegrabe (Trombone)
Conductor:  Henning Wiegrabe
Orchestra/Ensemble:  Capricornus Ensemble Stuttgart
Period: Baroque 
Written: 1709 
Length: 6 Minutes 4 Secs. 
6. Alme Ingrate, aria by Holy Roman E. Joseph I
Performer:  Henning Wiegrabe (Trombone), Lydia Teuscher ()
Conductor:  Henning Wiegrabe
Orchestra/Ensemble:  Capricornus Ensemble Stuttgart
Period: Baroque 
Length: 4 Minutes 40 Secs. 
7. Maddalena ai piedi di Cristo, oratorio: In un bivio è il mio volere by Antonio Caldara
Performer:  Henning Wiegrabe (Trombone), Lydia Teuscher ()
Conductor:  Henning Wiegrabe
Orchestra/Ensemble:  Capricornus Ensemble Stuttgart
Period: Baroque 
Written: 1698; Italy 
Length: 2 Minutes 58 Secs. 
8. Trio Sonata for 2 Violins and Basso Continuo in A minor, K 365 by Johann Joseph Fux
Performer:  Henning Wiegrabe (Trombone)
Conductor:  Henning Wiegrabe
Orchestra/Ensemble:  Capricornus Ensemble Stuttgart
Period: Baroque 
Written: Austria 
Length: 2 Minutes 27 Secs. 
9. Il Fonte della salute, aperto dalla grazia nel calvario, oratorio: Vedi che il Redentor by Johann Joseph Fux
Performer:  Lydia Teuscher (), Henning Wiegrabe (Trombone)
Conductor:  Henning Wiegrabe
Orchestra/Ensemble:  Capricornus Ensemble Stuttgart
Period: Baroque 
Written: 1716 
Length: 5 Minutes 24 Secs. 
10. Sonatas (12) da camera, Op. 2: Chiacona by Antonio Caldara
Performer:  Henning Wiegrabe (Trombone)
Conductor:  Henning Wiegrabe
Orchestra/Ensemble:  Capricornus Ensemble Stuttgart
Period: Baroque 
Written: by 1699; Venice, Italy 
Length: 4 Minutes 23 Secs. 
11. Maddalena ai piedi di Cristo, oratorio: Pompe inutili by Antonio Caldara
Performer:  Henning Wiegrabe (Trombone), Lydia Teuscher ()
Conductor:  Henning Wiegrabe
Orchestra/Ensemble:  Capricornus Ensemble Stuttgart
Period: Baroque 
Written: 1698; Italy 
Length: 6 Minutes 17 Secs. 
12. La Passione di Gesù Cristo Signor Nostro, oratorio: Dovunque il guardo giro by Antonio Caldara
Performer:  Lydia Teuscher (), Henning Wiegrabe (Trombone)
Conductor:  Henning Wiegrabe
Orchestra/Ensemble:  Capricornus Ensemble Stuttgart
Period: Baroque 
Written: 1730 
Length: 5 Minutes 26 Secs. 
13. Alma Redemptoris Mater, for voice, trombone & continuo, K. 186 by Johann Joseph Fux
Performer:  Henning Wiegrabe (Trombone), Lydia Teuscher ()
Conductor:  Henning Wiegrabe
Orchestra/Ensemble:  Capricornus Ensemble Stuttgart
Period: Baroque 
Length: 8 Minutes 59 Secs. 

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