Gunar Letzbor, Ars Antiqua Austria, Bernarda Fink - Francesco Bartolomeo Conti: Cantate con istromenti I-IV (2002)
EAC | FLAC | Image (Cue & Log) ~ 287 Mb | Total time: 68:44 | Scans included
Classical | Label: Arcana | # A 309 | Recorded: 2001
EAC | FLAC | Image (Cue & Log) ~ 287 Mb | Total time: 68:44 | Scans included
Classical | Label: Arcana | # A 309 | Recorded: 2001
A ubiquitous Viennese figure in the early 1700s, Francesco Conti was one of several gifted Italian Baroque composers who settled in foreign lands. If Caldara remains the most durable Italian figure in Vienna, Conti's star — on this evidence — deserves to be dusted down and given a second chance. These four cantatas from eight Cantate am istromenti probably date from the first decade of the century and feature the most delectable plethora of obbligato instruments imaginable. As a lutenist himself, Conti relishes the soft reflective timbre and bucolic admixture of a French lute (a rare commodity for an Italian, with its unusual indigenous tuning system), a chalumeau (a precursor of the clarinet) and selective use of an oboe, violins and flute. The results are striking almost immediately in the powdery ritornello of `Lontananza dell'amato', a piece which partly adheres to a Fuxian model of contrapuntal intensity but personalised by the leaping interval of the subject and a running string quasi-ostinato. It is a supremely evocative backcloth to the predictable but effective tale of Philomena's heartfelt pangs at her lover's absence. Such an elegant and atmospheric conflation of figurative and melodic elements is illuminated by the beguiling mezzo singing of Bernarda Fink. A mercurial turn of phrase and intensity of expression is carefully controlled and sensitively coloured. If each cantata boasts a significant 'set-piece' of doleful longing, then it also exploits the galant light-heart of an Arcadian pastorale where Fink's head-voice brings to it new realms of sensuality. In Ride il Prato, Ars Antigua Austria, under their able director Gunar Letzbor, provide uncomplicated and shapely accompaniments, while the framing arias of Con pin Lziddi Camlori reveal an Oratorian delight in concerted drama and an innovative use of the chalumeau as a lone obbligato partner to the voice in the central aria, 'I bei fi-egi'. This is an accomplished piece of writing and Fink responds to all the ardent high-Baroque tricks here and the full-throttle urgency of the fanfare finale.
There is a great variety of music and performance in this beautifully presented disc — both composer and singer beseeching for beauty in rarities of considerable merit as well as distinctive character.–Jonathan Freeman
Performer:
Bernarda Fink, mezzo-soprano
Ars Antiqua Austria
Gunar Letzbor, direction
Track List:
Lontananza dell'Amato:
01. I. Aria: Lontananza dell'Amato
02. II. Recitativo: Piangi amante usignolo
03. III. Allegro. Vola presto e lascia il canto
04. IV. Recitativo: Vola e quando ritrovi
05. V. Allegro. Provo hor si nel lieto
Ride il Prato:
06. I. Allegro. Ride il Prato e fra herbe
07. II. Recitativo: Si nobile vaghezza
08. III. É felice il cor che brama
09. IV. Recitativo: Là sublime decoro d'onor
10. V. Sorge amorosa
11. VI. Recitativo: Dunque ben degna
12. VII. L'aura dolce e il venticello
Con più lucidi candori:
13. I. Aria. Con più lucidi candori
14. II. Recitativo: Hoggi rinnuova il circolo solare
15. III. Adagio. I bei fregi
16. IV. Recitativo: Quindi tutti divoti Pastori e Ninfe
17. V. Aria. Allegro Assai. In placida calma
Vaghi Augelletti:
18. I. Vaghi Augelletti
19. II. Dolce amor
20. III. Recitativo: In Si vaga Staggione
21. IV. Adagio. Per dolce ardore
22. V. Recitativo: Or che dunque fiorisce
23. VI. Quel puro colore
Exact Audio Copy V1.5 from 20. February 2020
EAC extraction logfile from 26. December 2020, 21:02
Bernarda Fink, Gunar Letzbor, Ars Antiqua Austria / Conti - Cantate con istromenti I-IV
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Extraction speed 2.0 X
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