Everything that arose in the era of so-called Viennese Classicism is not always classic, but it is definitely entertaining. On the program of the Concilium musicum Wien on Wednesday in the Brucknerhaus were works that could have sprung from a cabinet of curiosities and yet represent nothing other than the lively world of music off the lofty path of symphony and sonata. Christoph Angerer and his companions led us through the world of the late 18th century, when the courts liked to serve the extraordinary.
Jaw drummer Albin Paulus skilfully oscillated between serious art and tongue-in-cheek entertainment at the concert in E flat major by Johann Georg Albrechtsberger. He did the same with the Pastorella for billy goat, strings and harpsichord by Georg Wilhelm Weißmann. No cruelty to animals, just posthumous use of fur and skin to build a bagpipe.
The concerto for six timpani and orchestra by Jiri Drueck, who came from Bohemia in Austria, shows how much you can do with six timpani and therefore only six notes. Bernhard Winkler was a brilliant soloist. Before that, another aristocratically curious instrument that Haydn’s employer Nikolaus I. von Esterhazy played with passion. And so the obedient servant had no choice but to compose no less than 123 baryton trios. The divertimento for baryton, violin and cello sounded before the loud drum roll as a quiet curiosity, skilfully interpreted by Verena Kronseder, Paul Angerer and Ute Groh.
Source: Nachrichten
