Marc' Antonio Ziani (ca. 1653-1715):
1 Quel sembiante cosi bello from - aus Il mistico Giobbe (1704) 04:21

Johann Joseph Fux (1660-1741):
2 Sonata a 3 E 68 05:59
3 Alma Redemptoris Mater K 186 (ca. 1728) 08:59

Antonio Caldara (ca. 1670-1736):
4 Dio, qual sia from - aus Naboth (1729) 07:29

Johann Joseph Fux:
5 Sonata a 3 K 373 03:12

Emperor Joseph I (1678-1711):
6 Tutto in pianto il cor struggete Insertion aria to - Einlagearie zu Chilonida (1709) 06:05
7 Alme ingrate Insertion aria to a - Einlagearie zu einem Sepolcro (1705) 04:41

Antonio Caldara:
8 In un bivio e il mio volere from - aus Maddalena ai piedi di Cristo (1713) 02:58

Johann Joseph Fux:
9 Sonata a 3 K 365 02:28
10 Vedi che il Redentor from - aus Il fonte della salute (1716) 05:24

Antonio Caldara:
11 Sonata No. 12, op. 2 (Ciaccona) 04:24
12 Pompe inutili from - aus Maddalena ai piedi di Cristo (1713) 06:18
13 Dovunque il guardo giro from - aus La Passione di Gesu Cristo Signor Nostro (1730) 05:26

Among the musical dilettantes on European thrones, the Habsburgs were unquestionably exceptional in view of their artistic professionalism, their abiding passion for music, and their active support of outstanding musicians. The Emperors Leopold I (1660–1705), Joseph I (1705–1711), and Charles VI (1711–1740), in particular, established a golden age of music at the Viennese court which was characterized by a strong Italian component and perfected an imperial style with European radiance and dominated by political Catholicism and tradition-conscious composition. Whereas Leopold I’s lifetime musical achievements brought him esteem and, concerning the “golden age of the court orchestra” under Charles VI (Eleanor Selfridge-Field), it is even known that the Emperor conducted Johann Joseph Fux’s opera Costanza e Fortezza [Constancy and Fortitude] himself at his coronation in Prague in 1723, the personality of Joseph I is somewhat eclipsed by that of his father and brother. Despite Joseph’s early death and a regency overshadowed by wars, his lofty ambitions should not be overlooked, however. He strengthened the musical legacy and raised the combination of virtuosity and solidness characteristic of Vienna to a new level – even with significant compositions of his own.