Composer: Franz Joseph Aumann
Performer: Ars Antiqua Austria, Gunar Letzbor
Format: FLAC (tracks)
Label: Challenge
Catalogue: CC72876
Release: 2022
Size: 654 MB
Recovery: +3%
Scan: cover
Parthia ex G a 5 Stromenti Violino Primo, Violino Secondo, Viola Prima, Viola Seconda con Violone
01. –
02. Menuet
03. Andante
04. Finale
Cassatio in D a 2 Violini, Flautello concertato, Alto Viola e Violoncello
05. Allegro
06. Menuet – Andante
07. Andante – con sordino
08. Menuet – Allegro
09. Finale
Cassatio ex C a 2 Violini, 2 Viole e Basso
10. Divertimento – gustoso
11. Menuet
12. Andante – con sordini
13. Finale – Presto
14. Die Hex
Divertimento in B a 5 Stromenti Violini 2, Alto Viole 2 e Violone
15. Allegro
16. Menuet
17. Andante
18. Finale – Presto
Parthia in C a Violinis 2, Alto Viola, Clarinis 2, Basso* con Tympano
19. Presto
20. Menuet
21. Andante – sempre piano
22. Finale – Tempo di Menuetto
New discoveries from Gunar Lezbor and his St. Florian Abbey archive.
Franz Josef Aumann (1728-1797) was a free and innovative composer. His chamber music is really worth exploring as they provide a lively and interesting listening experience.
Franz Josef Aumann was born in the Austrian town of Traismauer in 1728 and studied music in Vienna, where he came across many important musicians of his time. It has not yet been established why in 1753 he relocated to Sankt Florian. He must have been unusually talented, as two years later he became Regens chori, one year before his ordination to the priesthood. From that point he remained in the service of the monastery until his death in 1797.
He composed “entertainment” music of the highest quality – pieces that were played for the amusement of invited guests, on special occasions, or simply between the various courses of lavish banquets. In the archives of St. Florian Monastery not many chamber works have survived – only a handful, but these are of outstanding quality. The quintets are remarkable. Here the master develops a particular style of chamber music: two violins are juxtaposed with two violas. Both groups of instruments have equal status and enter into a lively discourse. Aumann mastered all the compositional techniques of his time. It can be observed a particular preference for melodic lines reminiscent of the folk music that was practised in the region.
By contrast, the musicians of this recording have added the Cassatio in D, where the radiant sound of a flautello bestows a special aura upon the music. In the concluding Parthia in C, trumpets symbolise the divinity or a high social position. Aumann must have been extremely innovative, not worrying too much about any rules within his environment.