L´orfeo

The opera L’incontro improvviso (The Unexpected Encounter), a work set in Egypt’s Cairo when it was under Ottoman dominion, was the main musical attraction during the four days of festivities held at Esterház Castle, near Süttör, at the end of August 1775 and hosted by Prince Nikolaus I Esterházy. The occasion was a visit from the Viennese imperial court led by Ferdinand Karl, Empress Maria Theresia’s second youngest son, the later Governor of Lombardy and the founder of the House of Austria-Este.

Famous for his innovative operas – Orfeo ed Euridice, Alceste, and Armide – Christoph Willibald Gluck is virtually unknown as a composer of instrumental music, and his attributed symphonies and overtures are among his most obscure works. Indeed, this 2011 release on CPO by Michi Gaigg and L'Orfeo Barockorchester almost stands alone in introducing these early symphonies, which show the fluidity of symphonic form as it developed out of the Baroque opera overture into the familiar Classical shape. With as few as two and as many as four movements,

The orchestral suites on this enchanting new disc of Telemann are beautiful works, considered by some as the most difficult pieces Telemann wrote for recorder and oboe. The music fascinates from the first to the last note with its originality and this is due to its Polish inflection. Telemann once wrote "a Polish tune makes the whole world jig."
South African soloist Carin van Heerden is a founding member of the Austrian L'Orfeo Baroque Orchestra and performs with this orchestra regularly. Various CD's with this orchestra have been released on CPO and have brought international acclaim.

Called 'Salve regina', this revealing new disc takes us back to Christian's early Italian period (1754-62). All three pieces are recorded here for the first time and testify to the composer's pragmatic conversion to the Catholic faith and his ability to transfer the extravagant vocal style of the opera house (where he was principally engaged) to the church. What would his father have said? The vocal duties here are fairly evenly shared between Emma Kirkby, who sings the Salve regina, and tenor Markus Schäfer, who takes the exuberant motet Si nocte tenebrosa; they share the limelight in the almost frivolous setting of Psalm 113, Laudate pueri Dominum. Kirkby is supremely secure in the high-wire acrobatics required in the Salve regina: there's a superbly controlled 11-second messa di voce at the very outset and she manages to make real music out of the outrageous vocal contortions demanded by the aria 'Ad te clamamus'.

Miriways met with enthusiasm when rediscovered after 284 years in 2012. 'That the score of Miriways…is such a…delight to hear owes…to the Austrian conductor Michi Gaigg and her L'Orfeo Baroque Orchestra…' (J. Gahre in Das Opernglas). Mir Wais was an Afghan tribal prince who led several revolts to liberate Kandahar from Persian rule, a very current political subject when staged in Hamburg in 1728, and now. Telemann's music is colorful, lavishly instrumented, and richly Oriental in color.

With the release of this second disc in violinist Elizabeth Wallfisch's survey of the complete violin concertos of Telemann, one thing is readily apparent: the Hamburg composer wrote a lot of really fine violin concertos. Taken altogether, the seven concertos on the first volume and now these eight concertos on the second volume form a wonderful body of work as remarkable for its consistency and its diversity. That is to say, all the works are not only superbly written to show off the virtuosity of the soloist and the composer, but they are all markedly different from each other.

For more than 25 years Ignaz Holzbauer (1711-83) was the music director of the Court of Mannheim. Although his fame (and his appointment to his prestigious position) was the result of his operas, he also composed more than 205 symphonies and concertos of different kinds, most of which have been lost. The present release offers an interesting sampling of Holzbauer's large output. The Symphony in D major is in the style of early Haydn, yet features innovative compositional techniques–specifically tempo and key relationships–that anticipate Mozart's late symphonic works.

The fourth volume of CPO’s set of Telemann’s “complete violin concertos” contains three overture-concertos, two works of which kind appeared in a previous volume (in D, TWV 55:D14; in A, TWV 55: colla parte , but woodwind highlights don’t distract from the sometimes brilliant solos that emerge not only in the fast sections of the first movements (ouvertures), but in the jaunty movements like the G-Major Concerto’s Bourée (these concertos usually consist of an ouverture followed by sets of dances, including entrées, bourées, loures, menuets, siciliennes, gigues, and rondeaus, mixed in various orders).