"In the early 18th century, Prague experienced a period of relative
peace and prosperity. The city's grandiose Baroque redevelopment was
virtually at an end and the unprecedent events linked with the
coronation of Charles VI (1732) and the canonisation of St John Nepomuk
(1792), which were to occur soon, only represented apexes of Baroque
glory that was also present on many other occasions. Music of a new
style originating in Italy was played in the new built palaces and
churches. New musical genres, the aria and the solo concerto, emerged
and quickly became domesticated in the creation of the local composers. (...)
the works of local composers - primarily formed by the repertoire of
aristocrats' orchestras which stood at the threshold of its greatest
bloom - are a great rarity indeed. In point of fact, the only preserved
compositions are those that had the fortune to cross the borders of the
Czech lands at the time of their origin. These include almost twenty
instrumental pieces of Antonín (Anton) Reichenauer (...)"
[Václav Kapsa in the booklet]
Antonín Reichenauer (c.1694-1730):
Concerto in C major for Bassoon, Strings and Basso continuo
Concerto in B flat major for Oboe, Basson, Strings and Basso continuo
Concerto in C minor for Violin, Strings and Basso continuo
Concerto in G major for Oboe, Strings and Basso continuo
Concerto in G minor for Bassoon, Strings and Basso continuo
Overture in B flat major for 2 Oboe, Bassoon, Strings and Basso continuo
Sergio Azzolini - baroque bassoon
Xenia Löffler - baroque oboe
Lenka Torgersen - baroque violin
Collegium 1704
Václav Luks - direction
