Zelenka: 6 Trio Sonatas - Heinz Holliger, Maurice Bourgue

Jan Dismas Zelenka
6 Trio Sonatas
Heinz Holliger, Maurice Bourgue,
Saschko Gawriloff, Klaus Thunemann
Archiv 423 937-2

How sensible of Archly to reissue this fine recording in a two-CD set. Zelenka was a Bohemian contemporary of Bach, Handel and Telemann. He held a post as court musician at Dresden from 1710 until his death in 1745; but he travelled, too, and studied in Vienna with Fux, and also in Italy. These six trio sonatas are the only known chamber ensemble pieces by Zelenka, though he contributed a canon with 14 inversions to Telemann's periodical, Der getreue Music Meister (1728-9). In five of the six sonatas Zelenka specifies two oboes and bassoon with two obbligato basses whilst in the remaining Sonata (No. 3) he requires the first oboe to be replaced by a violin. Zelenka's "two obbligato basses" have bewildered editors in the past. Oboe players will be familiar with the Barenreiter edition which is based on Zelenka's autograph score; but this is misleading in its combining of the two bass parts (bassoon and cello or double-bass) wherever both instruments seemed to have the same part to play. Since that edition was published individual parts for the Second, Fourth and Fifth Sonatas have come to light making Zelenka's intentions quite clear. These were that two bass obbligato strands should contribute throughout to the texture—the bassoon providing a true concertante with the cello or double-bass combining with the keyboard instrument in the realization of the basso continuo.

The present performances keep to Zelenka's scoring throughout with double-bass and harpsichord the preferred continuo instruments. I was filled with admiration for this playing when the LP album was released some 14 years ago; now, whilst I can and do still enjoy the virtuoso performances of the two oboists, Heinz Holliger and Maurice Bourgue, nevertheless, I find the comparatively strident timbre of modern instruments a little tiring after a while. These artists seem reluctant to reduce dynamic range from a pretty full and well-sustainedforte and this is further emphasized by the constant and assertive presence of the double-bass. A 16-foot texture does contrast with the bassoon but often that particular kind of contrast makes no particularly valid point; a cello would have proved equally and at times more effective. But still, this is brilliant and quite stylish ensemble playing which should win over many listeners. The music is seldom dull and, as often as not, reveals a distinctive personality of its own with plenty of barbaric touches doubtless inspired by the folk-music of Zelenka's native Bohemia. Good presentation and clear recorded sound.

N.A., Gramophone Magazine

Zelenka: The Orchestral Works - Camerata Bern, Wijnkoop

Jan Dismas Zelenka
The Orchestral Works
Camerata Bern, Alexander van Wijnkoop
Archiv 423 703-2

This three-CD package contains all the extant orchestral music by Zelenka. Here to a greater extent, even than in the six trio sonatas which are reviewed on page 1181, the individuality of this composer is vividly on display. The horn writing in the five Capriccios makes even Telemann sound conservative though there are plenty of stylistic traits common to both composers mainly deriving from the influence of a central European folk tradition. Evidence of this can be heard at once in movements such as "Paysan", "Canarie" and "Villanella" where folk-like melodies and characteristic dance rhythms abound. Each Capriccio is scored for pairs of oboes, horns, a bassoon and a string ensemble sometimes with and sometimes without viola. The horns have the best or, perhaps worst time of it with uncommonly high parts—the opening movement of the Capriccio No. 4 in A major is a notorious example—and a dominating role almost throughout. The music's originality is easily matched by its charm, at times, irresistible. The second movement "Canarie" of the Capriccio No. 2 in G major is enchanting as is its three-section opening movement which begins in an identical manner to the first movement of Handel's Organ Concerto in F major, Op. 4 No. 4. Few listeners will be disappointed either by the Capriccios themselves or by the performances which are crisp and invigorating.

The remaining works are in a mixture of forms: a sinfonia, an overture-suite with a markedly Handelian opening, a piece in three movements formally occupying territory somewhere between a suite and a concerto and eccentrically called Hipocondrie, and a concerto grosso for four concertante instruments and strings. There are interesting features in each of these works though occasionally, as in the Allegro finale of the Concerto in G major, recurring patterns are somewhat overworked. Zelenka can be repetitive in a way which Telemann usually though not invariably, avoided, but the initial ideas are often so fresh in their conception that a degree of forbearance is perhaps called for; but at his best, as he certainly is in the extended concerto-like Allegro opening movement of the Sinfonia in A minor, Zelenka can hold his own comfortably alongside most of his German and Italian contemporaries. The Italian influence, and that of Venice in particular is strong in this robust piece and not only the solo passages but also the tuttis are splendidly varied.

Berne Camerata and an impressive line-up of soloists present a vibrant portrait of Zelenka in this fascinating anthology. The playing is sympathetic and stylistically alert whilst unashamedly making use of instrumental refinements and interpretative gestures of our own time. A thoroughly estimable achievement well documented and pleasingly recorded.

Nicholas Anderson, Gramophone Magazine

Zelenka: Composizioni per Orchestra - Collegium 1704, Luks

Jan Dismas Zelenka
Composizioni per Orchestra
Collegium 1704, Václav Luks
Supraphone SU 3858-2

Jan Dismas Zelenka (1679-1745), the famous Czech composer who worked at the court in Dresden most probably wrote the pieces on this CD in Prague in 1723 for the local orchestra of Count Hartig. - Zelenka's music still surprises the listener more than 250 years later. It is truly unconventional even for audiences in the 21st century! - The recording was prepared according to the original manuscripts archived in the Landesbibliothek Dresden. - These compositions offer a glimpse into the world of one of the most original and noteworthy musical geniuses. Zelenka's Compositions for Orchestra - works by one of the most noteworthy musical geniuses.