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Cupido - Love Songs
Various composers

Markus Miesenberger | Erich Traxler | Christian Haimel

Cupido - Love Songs

Price: € 20.95 14.67
Format: SACD
Label: Challenge Classics
UPC: 0608917293623
Catnr: CC 72936
Release date: 03 February 2023
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20.95 14.67
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Label
Challenge Classics
UPC
0608917293623
Catalogue number
CC 72936
Release date
03 February 2023
Album
Artist(s)
Composer(s)
EN
NL
DE

About the album

The idea for this recording originated from a direct comparison of the two songs “Cupido” and “Kupido” by the famous composer Joseph Haydn and the lesser-known Viennese composer Johann Holzer. Although both masters use the same text, the musical settings differ considerably in both nature and form. While Haydn’s tunes present the content with a twinkle in the eye and a great deal of subtlety, Holzer’s piece invites the listener to dance along, sparkling with joie de vivre and musicality.

Joseph Haydn’s songs encompass a wide musical range and are of invaluable significance for the development of the genre: they represent a crucial part in the advancement of the Viennese lied, leading up to Franz Schubert.

Around the same time, between 1778 and 1791, a song collection of the highest quality was produced in Vienna, the importance of which has been completely forgotten over the centuries. Josef Anton Steffan, Johann Holzer, Carl Friberth, Leopold Kozeluch, Martin Ruprecht and Franz Anton Hoffmeister were only some of the many highly creative composers based in the Austrian imperial city. These composers prepared the ground for the accomplished art songs of Mozart, Beethoven and Schubert.

As with many Viennese characteristics, a wide variety of stylistic devices are intermingled: folk-like elements, characteristics of the Singspiellied and the North German lied are formed into a completely new musical genre with the additional influence of the Italian aria.

The connection to the nineteenth century is made by French songs, first issued in Vienna in 1810 by the Italian guitar virtuoso Mauro Giuliani. For this project, a historical string instrument was chosen to provide an even greater sense of intimacy.

Erich Traxler played on a historic 1815 Innsbruck fortepiano by Johann Georg Gröber, and Christian Haimel played a gut-strung guitar of around 1850, inspired by Johann Anton Stauffer and built by an anonymous maker.

All these special features are intended to breathe new life into the romantic songs about love, passion, tenderness, affection, loss, fidelity and infidelity, providing a genuine, unadulterated and natural character. They enchant and seduce us into an old Vienna full of longing, devotion, charm, wit and a musical zest for life!
De Oostenrijkse lyrische tenor Markus Miesenberg verwent de luisteraar met een originele cd vol zelden of nooit opgenomen vroeg-romantische liefdesliedjes uit Wenen. Hij wordt begeleid door twee specialisten die op historische instrumenten spelen, de fortepiano en de gitaar. Aan het album ligt gedegen musicologisch onderzoek ten grondslag, wat de opname absoluut ten goede komt. De authentieke en spontane inzet van de muzikanten zorgt voor een prachtige uitvoering en een opgewekte Weense sfeer.

Het idee voor deze opname ontstond uit een vergelijking van de twee nummers ‘Cupido’ van de beroemde componist Joseph Haydn en ‘Kupido’ van de minder bekende Weense componist Johann Holzer. Hoewel beide meesters dezelfde tekst gebruiken, is er een groot verschil in toonzetting, zowel in aard als in vorm. Terwijl Haydn zijn liedjes met een twinkeling in de ogen en veel subtiliteit presenteert, nodigt Holzer met zijn muziek de luisteraar uit om mee te dansen, vol sprankelende levensvreugde en muzikaliteit.

De liederen van Joseph Haydn omvatten een breed muzikaal spectrum en zijn van onschatbare waarde voor de ontwikkeling van het genre. Ze vertegenwoordigen een cruciale rol in de ontwikkeling van het Weense lied in de aanloop naar Franz Schubert. In ongeveer dezelfde periode waarin Haydn zijn liederen uitbracht, tussen 1778 en 1791, werd in Wenen een liederenbundel van de hoogste kwaliteit geproduceerd, die door de eeuwen heen volledig in vergetelheid raakte. Josef Anton Steffan, Johann Holzer, Carl Friberth, Leopold Kozeluch, Martin Ruprecht en Franz Anton Hoffmeister waren slechts enkele van de vele, zeer creatieve componisten die in de Oostenrijkse keizerstad waren gevestigd. Deze componisten legden de basis voor de vaardige kunstliederen van Mozart, Beethoven en Schubert.

Als zo vaak in Wenen wordt een breed scala aan muziekstijlen vermengd. Volkse elementen, kenmerken van het Singspiellied en het Noord-Duitse lied worden samengevoegd tot een volledig nieuw muziekgenre met een vleugje van de Italiaanse aria. De verbinding met de negentiende eeuw wordt gelegd door Franse liederen, voor het eerst uitgegeven in Wenen in 1810 door de Italiaanse gitaarvirtuoos Mauro Giuliani. Voor deze opname werd gekozen voor een historisch snaarinstrument om een nog groter gevoel van intimiteit te creëren.

Erich Traxler speelt op een historische Innsbruck fortepiano uit 1815 van Johann Georg Gröber en Christian Haimel bespeelt een gitaar met darmsnaren van rond 1850, ontworpen door Johann Anton Stauffer en gebouwd door een anonieme maker.

Met deze opname is alles erop gericht om de romantische liederen over liefde, passie, tederheid, genegenheid, verlies, trouw en ontrouw nieuw leven in te blazen en ze een echt, onvervalst en natuurlijk karakter te geven. De liederen betoveren en verleiden ons en voeren ons terug naar het oude Wenen vol verlangen, toewijding, charme, humor en muzikale levenslust.
Die Idee zu dieser Aufnahme entstand aus dem direkten Vergleich der beiden Lieder "Cupido" und "Kupido" des berühmten Komponisten Joseph Haydn und des weniger bekannten Wiener Komponisten Johann Holzer. Obwohl beide Meister denselben Text verwenden, unterscheiden sich die Vertonungen sowohl in ihrer Art als auch in ihrer Form erheblich. Während Haydns Melodien den Inhalt mit einem Augenzwinkern und viel Feinsinnigkeit präsentieren, lädt Holzers Stück vor Lebensfreude und Musikalität sprühend zum Mittanzen ein.
Joseph Haydns Lieder umfassen ein breites musikalisches Spektrum und sind für die Entwicklung der Gattung von unschätzbarem Wert: Sie stellen einen entscheidenden Beitrag zur Weiterentwicklung des Wiener Liedes bis hin zu Franz Schubert dar.
Etwa zur gleichen Zeit, zwischen 1778 und 1791, entstand in Wien eine Liedersammlung von höchster Qualität, deren Bedeutung über die Jahrhunderte völlig in Vergessenheit geraten ist. Josef Anton Steffan, Johann Holzer, Carl Friberth, Leopold Kozeluch, Martin Ruprecht und Franz Anton Hoffmeister waren nur einige der vielen höchst kreativen Komponisten, die in der österreichischen Kaiserstadt wirkten. Diese Komponisten bereiteten den Boden für die vollendeten Kunstlieder von Mozart, Beethoven und Schubert.
Wie bei vielen Wiener Charakteristika vermischen sich verschiedenste Stilmittel: volkstümliche Elemente, Merkmale des Singspielliedes und des norddeutschen Liedes werden unter dem zusätzlichen Einfluss der italienischen Arie zu einer völlig neuen Musikgattung geformt.
Die Verbindung zum neunzehnten Jahrhundert wird durch französische Lieder hergestellt, die erstmals 1810 von dem italienischen Gitarrenvirtuosen Mauro Giuliani in Wien ausgegeben wurden. Für dieses Projekt wurde ein historisches Streichinstrument gewählt, um ein noch größeres Gefühl der Intimität zu erzeugen.

Erich Traxler spielte auf einem historischen Innsbrucker Hammerflügel von Johann Georg Gröber aus dem Jahr 1815, Christian Haimel auf einer von Johann Anton Stauffer inspirierten Darmgitarre aus der Zeit um 1850, die von einem unbekannten Hersteller gebaut wurde.
All diese Besonderheiten sollen den romantischen Liedern über Liebe, Leidenschaft, Zärtlichkeit, Zuneigung, Verlust, Treue und Untreue neues Leben einhauchen und ihnen einen unverfälschten, natürlichen Charakter verleihen. Sie verzaubern und verführen uns in ein altes Wien voller Sehnsucht, Hingabe, Charme, Witz und musikalischer Lebensfreude!

Artist(s)

Markus Miesenberger (tenor)

The lyrical tenor Markus Miesenberger received his education as a singer in Vienna with KS Robert Holl, KS Artur Korn and Sebastian Vittucci as well as in the fields violin and baroque viola with Ernst Kovacic and Michi Gaigg in Salzburg, Linz and Vienna. Appearances as a concert and lied singer, in operas and as a musician led the artist through Austria, to important European music centres in Germany, France, Spain, Italy, the Netherlands, Belgium, Poland, Czech Republic, Slovakia, Switzerland, to Israel, to Mexico and to many more. Thus, it was and is beside regular appearances at the Viennese music association and at the Viennese concert hall to guest with numerous festivals (Instituto Nacional de Bellas Artes Mexico City, Festival Oude...
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The lyrical tenor Markus Miesenberger received his education as a singer in Vienna with KS Robert Holl, KS Artur Korn and Sebastian Vittucci as well as in the fields violin and baroque viola with Ernst Kovacic and Michi Gaigg in Salzburg, Linz and Vienna.
Appearances as a concert and lied singer, in operas and as a musician led the artist through Austria, to important European music centres in Germany, France, Spain, Italy, the Netherlands, Belgium, Poland, Czech Republic, Slovakia, Switzerland, to Israel, to Mexico and to many more. Thus, it was and is beside regular appearances at the Viennese music association and at the Viennese concert hall to guest with numerous festivals (Instituto Nacional de Bellas Artes Mexico City, Festival Oude Muziek Utrecht, MA Festival Brugge, Salzburger Festspiele, Styriarte, Carinthischer Sommer, Schubertiaden Schwarzenberg and Dürnstein, Brucknerfest Linz, Handel Festival Halle, Internationales Musikfest Hamburg, Musica antiqua of the bavarian broadcast Nürnberg, National forum of music Wroclaw, Settimana Musica Sacra di Monreale, Misteria Paschalia Krakow). He sings under the baton of famous conductors like Christian Thielemann, Pierre Andre Valade, Ralf Weikert, Andrés Orozco-Estrada, Jeffrey Kahane, Gunar Letzbor, Michi Gaigg and Rubén Dubrovsky with Staatskapelle Dresden, Vienna and Hamburg Symphonic Orchestra, Ars Antiqua Austria, L’Orfeo Baroque Orchestra, Bach Consort Vienna, Wroclaw Baroque Orchestra and Slovac Philharmonic Orchestra. There is also a strong artistic connection in the field of lied to his former teacher Robert Holl and the pianists David Lutz und Sir András Schiff.
On the opera stage Markus Miesenberger is to be experienced above all in roles of the Mozart’s and Haydn’s field, with baroque opera, with opera of the 20th century and with contemporary music. Engagements led him to the Neue Oper Wien, to the Theater an der Wien, to the Landestheater Linz, to the municipal theatre Bolzano and to the Tirol festival. He sang Ferrando in Mozart’s Cosi fan tutte at Opernfestspiele Bad Hersfeld, 2018 and 2019 Jack O’Brian in Kurt Weills Aufstieg und Fall der Stadt Mahagonny at Laeiszhalle Hamburg and Balthasar Zorn in Richard Wagners Die Meistersinger von Nürnberg with Staatskapelle Dresden under the baton of Christian Thielemann at Osterfestspiele Salzburg, also released on CD, and 2020 at Semperoper Dresden.
In 2011 he won the Franz Joseph Aumann Prize for new discoveries and innovative interpretation of baroque music at the international H.I.F. Biber competition.
Numerous CD productions and radio broadcasts also form a central focus of his artistic career, currently Arias for Silvio Garghetti with Neue Wiener Hofkapelle, Kriegsgeschichten and Liebesabenteuer with music from G.D. Speer with Ars Antiqua Austria (PANCLASSICS) and Psalms for Sacri Concentus 1681 (Challenge Classics).


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Erich Traxler (fortepiano)

As a harpsichordist and organist Erich Traxler mainly deals with music between around 1600 and 1800. His main focus in the interpretation is on the exploration of the 'musical craft' as a basis for music in the Baroque age as well as the immediate linguistic in the music into the 19th century. His concert career includes performances as soloist on harpsichord and organ as well as chamber musician with various formations (eg L'Orfeo Baroque Orchestra, Ars Antiqua Austria, Accentus Austria, Bach Consort Vienna, Venice Baroque Orchestra, Ensemble saitsiing, musica novantica vienna, Ensemble Castor) , Previous tours have taken him to most European countries as well as to the USA, South America, South Africa and Japan. Numerous CD and radio recordings (ORF,...
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As a harpsichordist and organist Erich Traxler mainly deals with music between around 1600 and 1800. His main focus in the interpretation is on the exploration of the "musical craft" as a basis for music in the Baroque age as well as the immediate linguistic in the music into the 19th century.

His concert career includes performances as soloist on harpsichord and organ as well as chamber musician with various formations (eg L'Orfeo Baroque Orchestra, Ars Antiqua Austria, Accentus Austria, Bach Consort Vienna, Venice Baroque Orchestra, Ensemble saitsiing, musica novantica vienna, Ensemble Castor) , Previous tours have taken him to most European countries as well as to the USA, South America, South Africa and Japan. Numerous CD and radio recordings (ORF, Gramola, WDR, Upper Austria organ organ) document his activity.

Erich Traxler received his musical education in Linz and Vienna u. a. Michael Radulescu, August Humer, Wolfgang Glüxam, Gordon Murray, Brett Leighton and Augusta Campagne. A postgraduate degree led him to Basel to the Schola Cantorum Basiliensis, where he got important impulses from musicians such as Andrea Marcon, Wolfgang Zerer, Jean-Claude Zehnder and Jesper Christensen. As organist he won 1st prizes at international competitions for organ (Goldrain / I 2003, Bochum / D 2005).

From 2013 to 2018 Erich Traxler worked as a professor for harpsichord at the Music and Art University of Vienna (MUK). Since 2018 he is at the University of Music and Performing Arts Vienna (mdw). He also taught at masterclasses in Belgrade, Notre Dame University, USA, and Stellenbosch University in South Africa.


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Composer(s)

Press

Play album Play album
01.
Cupido
02:57
(Joseph Haydn) Markus Miesenberger, Erich Traxler, Christian Haimel
02.
Die zu späte Ankunft der Mutter
02:50
(Joseph Haydn) Markus Miesenberger, Erich Traxler, Christian Haimel
03.
Dein su?ßes Bild
03:52
(Josef Anton Steffan) Markus Miesenberger, Erich Traxler, Christian Haimel
04.
Warnung an die Mädchen
01:42
(Carl Friberth) Markus Miesenberger, Erich Traxler, Christian Haimel
05.
She never told her love
03:03
(Joseph Haydn) Markus Miesenberger, Erich Traxler, Christian Haimel
06.
Eine sehr gewöhnliche Geschichte
02:41
(Joseph Haydn) Markus Miesenberger, Erich Traxler, Christian Haimel
07.
Trost unglu?cklicher Liebe
06:56
(Joseph Haydn) Markus Miesenberger, Erich Traxler, Christian Haimel
08.
Romance
03:03
(Mauro Giuliani) Markus Miesenberger, Erich Traxler, Christian Haimel
09.
Der erste Kuss
03:03
(Joseph Haydn) Markus Miesenberger, Erich Traxler, Christian Haimel
10.
Vogelstellerlied
02:02
(Leopold Kozeluch) Markus Miesenberger, Erich Traxler, Christian Haimel
11.
Mon coeur soupire
02:34
(Mauro Giuliani) Markus Miesenberger, Erich Traxler, Christian Haimel
12.
Zwei Augen
01:17
(Johann Holzer) Markus Miesenberger, Erich Traxler, Christian Haimel
13.
Das Mädchen am Ufer
02:42
(Josef Anton Steffan) Markus Miesenberger, Erich Traxler, Christian Haimel
14.
Kupido
02:37
(Johann Holzer) Markus Miesenberger, Erich Traxler, Christian Haimel
15.
Das ungetreue Mädchen
03:42
(Carl Friberth) Markus Miesenberger, Erich Traxler, Christian Haimel
16.
An die kleine Schöne
01:39
(Leopold Kozeluch) Markus Miesenberger, Erich Traxler, Christian Haimel
17.
Liebeslied
02:39
(Johann Holzer) Markus Miesenberger, Erich Traxler, Christian Haimel
18.
Romanze
02:13
(Martin Ruprecht) Markus Miesenberger, Erich Traxler, Christian Haimel
19.
Der Entschluss
02:15
(Franz Anton Hoffmeister) Markus Miesenberger, Erich Traxler, Christian Haimel
show all tracks

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