ensemble arcimboldo & Thilo Hirsch - Bogenhauser Künstlerkapelle (Forgotten Avant-Garde of Early Music) (2017) [Hi-Res]

Tracklist

01. Erchinger Jagd-Marsch
02. Ein Abend auf dem Priesberg
03. Der Schlaftrunk: Spinnlied
04. König-Ludwig-Lied
05. Walzerfantasie
06. Ave Maria
07. Der Tanz
08. Amalien-Polka
09. Polonaise
10. Rheinländer
11. Marsch
12. Scherrer-Ländler
13. Andantino
14. Der Ritter
15. Piano Sonata No. 2 in B-Flat Minor, Op. 35 "The Funeral March": III. Marche funèbre: Lento (Arranged by Bogenhauser Künstlerkapelle)
16. Chacone, Op. 62
17. Der Tantenmörder
18. L'Arlésienne Suite Nr. 1: II. Minuetto
19. Vorspiel Nr. 1
20. Quand mon mari allait à la guerre
21. Petersburger Marsch
22. Tyrolienne
23. Menuett
24. Concert-Polka
25. Corrente in D Minor, Op. 5, Nr. 7
26. Suite en La: III. Sarabande
27. Gottes Zeit ist die allerbeste Zeit, BWV 106 "Actus tragicus": I. Sonatina
28. Opera nova de balli: La mala vecchia (Bonus Track)



No less than fifty years before historical performance practice first rose to prominence, the Bogenhauser Künstlerkapelle (1899-1939) was already playing historical instruments - prompted not by academic interest, but by curiosity and the pure joy of music-making. Their unusual repertoire encompassed Bavarian folk music and street ballads together with works from the Renaissance, Baroque, Classical, and Romantic periods. Along with musicians from the Royal Bavarian Court Orchestra, the ensemble essentially consisted of visual artists and formed an integral part of Munich's cultural life in the early 20th century. During their concerts and radio appearances, the Bogenhausers regularly caused "a justified sensation in the Munich music world" (Bayerische Staatszeitung).

The works presented on this recording represent a cross-section of the varied repertoire contained in the original part books. Completely free of academic criteria, the Bogenhausers transcended stylistic boundaries in devoting themselves to whatever aroused their interest. We thus hear Chopin's Funeral March and minuets by Mozart and Bizet alongside Bach's Actus tragicus, compositions by Rameau, Corelli, and Arcadelt, alongside folk dances, and Frank Wedekind's Tantenmörder ("Aunt Killer").

The result is a unique document of the pioneering role played by the nearly-forgotten Bogenhauser Künstlerkapelle, which with its refreshing surprises that confound our expectations of the way early music is supposed to sound, is still highly compelling today. This rediscovery of the early music avant-garde is brought to life here by the ensemble arcimboldo with the original instrumentation.

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