Johann Joseph Fux, St Florianer Sangerknaben, Ars Antiqua Austria, Gunar Letzbor - Oratorium germanicum de Passione

Published Monday 29th April 2013
Johann Joseph Fux, St Florianer Sangerknaben, Ars Antiqua Austria, Gunar Letzbor - Oratorium germanicum de Passione
Johann Joseph Fux, St Florianer Sangerknaben, Ars Antiqua Austria, Gunar Letzbor - Oratorium germanicum de Passione

STYLE: Choral
RATING 6 6 6 6 6 6
OUR PRODUCT CODE: 138143-
LABEL: Pan Classics PC10285
FORMAT: CD Album
ITEMS: 1

Reviewed by Steven Whitehead

Johann Joseph Fux (1660-1741) was a hugely influential teacher whose study of counterpoint, 'Gradus ad Parnassum', was used by many, including Johann Sebastian Bach. However Fux's day job as court-composer and music-director for the Emperor Leopold I was the highest musical position in Europe and so it is clear that he was a well respected and talented composer of both sacred and secular music. The 'Oratorium germanicum de Passione' is Fux's only German oratorio (despite its Latin title). In it he uses the ancient Greek myth of Andromeda and Perseus as an allegory of the Passion of the Christ. The music, played here by Ars Antiqua Austria, is High Baroque and the singing is distinctly operatic. As a reviewer I often listen to new releases in the car. Sometimes I am tempted to switch to the radio "on the hour" to catch the news and sport but while listening to this CD I was more than happy to keep going. Not exactly the highest praise I can bestow but nevertheless a true response. However I have to admit that at the end of my journey I was struggling to remember much of what I had heard and the only notes I could come up with before a second listen have been included above: instrumentally this is High Baroque and vocally it is operatic. For me listening to a German score is sometimes a chore but not this time; I enjoyed the music while it was on but I admit that I had very little idea as to what it was all about. Perhaps I would follow a staged performance better (although not while driving, I hasten to add). The musicianship is excellent but there is little more I can say. Those interested in the more obscure byways of Austrian Baroque music will be pleased to hear this but the less specialised listener will probably pass it by.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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