The early Flute concertos from the time of Maria Theresia as first recordings on historical instruments!

EUR 7’587

100% of EUR 7’534

100 %
This is how it worksä

The «all or nothing» principle applies: The project only receives the funds if the funding target is reached or exceeded.

58 backers

Successfully concluded on 18/7/2016

The Project

These first recordings of the Vienna Flute concertos represent an important contribution to an artistic approach to the forgotten or only little-known pulsating musical life in Vienna in Maria Theresia’s

In 1740, Emperor Karl VI. dies, leaving his successor Maria Theresia with highly indebted state finances. The new Empress, forced to undertake harsh budgetary cuts, first divests the Imperial Music Chapel, but soon moves to leasing it completely. The musicians of the Chapel, confronted with their suddenly precarious situation, however did not resign: set free from the previous necessity to align their efforts with the aesthetics favoured by the Court, they bravely turned to experimenting with new styles and means of expression. Thus, the artistic upheavals of this time of changes can be viewed as material precursors for the the First Viennese School, which was to become world-famous later on and still is to this present day.

It is furthermore in this specific time that the flute was developed to a fully capable Solo instrument both as part of an orchestra and in other concert settings. Only rarely used and applied only as an additional colouring layer in the Court Opera house before 1740, the flute now comes to the fore for the first time in Western history.

The CD

  • Flute concertos by Georg Christoph Wagenseil, Giuseppe Bonno, Florian Leopold Gassmann and Matthias Georg Monn
  • recording period: 30.8. - 4.9.2016 (including rehearsals)
  • Lapel: cpo, the exclusive label for classical music brought to you by jpc with world-wide distribution
  • expected date of realease: summer 2017

Why we need your support

  • new Ensemble photos
  • rental fees for the recording venue and rehearsal space
  • fees for the musicians (including travel and boarding costs)
  • transporting the harpsichord
  • tuning the harpsichord during the recording session
  • purchasing the manuscripts with the original Solo cadenzas
  • editing the manuscripts
  • co-financing of a pre-release concert in July

From our own pockets, we and cpo cover

  • the promotion video
  • the sound technician and the producer (including travel and boarding costs)
  • mixing and mastering
  • the liner notes as well as an English translation
  • graphics, covers, booklets and copyrights
  • CD production, distribution and sales
  • release and promotion

The Ensemble

Founded in 2009 Klingekunst represents a pool of artists gathered around the realisation of extraordinary projects. Based on firm exploration of historical performance practice, the lively presentation of music is in the spotlight of the ensemble’s work. Concerts on important festivals for early music in Austria, Switzerland an Germany.

The musicians for this recording are regular members of the most notable orchestras for ancient music, such as Concentus Musicus Wien, Barucco, L’orfeo Barockorchester, Bach Concert, Wiener Akademie, Münchner Hofkapelle, Capella Leopoldina, Neue Hofkapelle Graz, among others.

The musicians
Sieglinde Größinger, transverse flute
Maja Mijatović, harpsichord
Elisabeth Wiesbauer, baroque violin
Roswitha Dokalik, baroque violin
Martina Reiter, baroque viola
Pavel Serbin, baroque cello
Herwig Neugebauer, violone
David Bergmüller, lute