CPO has collected the three volumes of their Zelenka
orchestral series and released them in a handy three CD box, complete
with three individual booklets. The works covered are the five Capriccios,
the Concerto and Simphonie for eight instruments, the Ouverture and
Hipocondrie for seven and the Symphonia taken from Zelenka’s Prague
Melodrama on St Wenceslas.
The Prague born contemporary of Bach and Telemann was
one of the most cosmopolitan of composers. Whilst he lived in Vienna
and Prague he spent much of his adult life in Dresden and embodied the
westward drift of the Bohemian diaspora. The Instrumental Zelenka is
a much less known composer than the Choral; his instrumental works were,
in the main, though not exclusively, confined to a five-year period
around 1718-23, though the compositional origin and exact dating of
many of these works remains somewhat problematical. They have in any
case always been overshadowed - as have the exceptionally difficult
trio sonatas – by Zelenka’s standing as a leading composer of liturgical
music.
The most striking thing about his instrumental works
is a kind of textual agility. This is spiced with a highly personalized
sense of instrumental colour and to this can be added a sense of form
that admits widely diverse material. This produces sometimes astringent
sonorities and instrumental juxtapositions that are again both exceptionally
individual and characterful. He manages both to reflect contemporary
influence and also to exhibit a winning sense of adventure. If this
sometimes leads to severe demands on his players – the horn writing
in these Capriccios is famously taxing – he at least had a virtuoso
body of players to write for. It’s tempting to see him dovetailing sonority,
compass and technique to particular musicians; certainly he’s not quite
as startling in this regard as is Telemann but Zelenka’s instrumental
works are worth more than a mere detour as they contain compact but
expressive qualities that both entertain – a primary function of the
more utilitarian works written for performance – and also have the power
still to move.
Taking them in the order presented in the CD set, which
infiltrates the Capriccios amongst the other works, we therefore find
that Zelenka, notwithstanding his high position in setting liturgical
music, can also spin an affectingly plangent line here, as he does in
the Aria of the Second Capriccio. These works, as befits their title,
were inherently receptive to almost humorous expansion and Zelenka isn’t
afraid to populate them with widely differing stylistic and dance based
musics; if one thinks him formally slack or incapable of composing a
cohesive suite-like structure one is probably judging him by the wrong
standard. These are generously welcoming pieces in which Gavotte, Rondeau
and Canarie da Capo, for example, take their place in his scheme of
things. In this second Capriccio there is some merciless sounding exposed
horn writing and also some amusing dialogue for the instrumentation
of horns (Corni da caccia), two oboes, two violins, viola and basso
continuo. The sonority is especially appealing and fresh and Zelenka
is able to play off sections against each other; he keeps instrumental
textures alive through contrast and almost dichotomous abrasion and
ones interest is always piqued by those niceties of contrast he so naughtily
introduces.
The Hipocondrie whilst attractive is a two movement
nine-minute work that does tend toward the discursive whilst the Capriccio
for eight instruments (oboe, violin, two violins in ripieno, viola,
cello, bassoon and basso continuo) has an extensive series of parts
for solo instruments. Thus there is a big, strong part for solo violin
in the opening Allegro in which Zelenka constantly elongates and pulls
back phrase lengths to impart a sense of strain and expectancy to the
music; it seldom settles to a regularized metre. Beautiful bassoon cantilena
animates the Largo, with the oboe adding its own very particular plangency
and the heavy tread underscoring the music’s deepening textures. But
when Zelenka wants to he can certainly indulge an extensive Allegro
movement as he does here to conclude a work that flirts with quasi-concerto
formalities but manages to retain its independence through a compound
of rhythmic liveliness and colouristic imagination. The Third Capriccio
was written, as were the others, primarily to entertain – in this case
Prince Friedrich August who went to Vienna in 1717-18: a keen huntsman
Zelenka obligingly expands the horns’ part and opens the work with a
stately and gallant Overture – staccato e forte as marked. Those stentorian
horn flourishes in the Allegro are followed by the wandering charm of
an Allemande and conclude with a horn dominated Allegro, sturdy, manly,
taken here at a solid allegro and slyly taxing the two horn players
with some more ferocious demands.
The pattern thus set, most of the remainder of the
Capriccios and other pieces conform to Zelenka’s essential plan. Vaunting
horns animate the Allegro of No 5 in G Major and a superb series of
dynamics, most excellently conveyed by Das Neu-Eröffnete under
Jürgen Sonnentheil using original instruments, enliven the concluding
Villanella with its fresh air directness to which is added a sense of
almost directional "distance." The antiphonal writing of the
Simphonie for eight is notable, especially the expanded role for violin
and the athletic virtuosity of the oboes – often apt to be forgotten
when it comes to acknowledging the demands he makes on his players.
Whilst the horn writing is especially tricky Zelenka must have had a
most capable brace of oboists at his disposal if the writing here and
elsewhere is anything to go by. The entwining sonorities of the Andante
in this work are particularly pleasurable and it has something of a
vocal resonance to it as well. Affectionate lyricism accompanies the
finale and when it comes to the First Capriccio we find even more of
the splendidly florid horn parts, fluid elegant writing for the two
strings and an ascending line at a well-maintained andante in the opening
movement.
Admirable is the delightful gravity of the Ouverture
for seven instruments with its stream-flowing Siciliano and delicious
sonorities. The Symphonia from Zelenka’s Melodrama is a grand and spacious
sonorous one – it prefaced spoken Latin passages in performance, though
it wasn’t an oratorio in the conventional sense. The final Capriccio,
No 4 in A Major that concludes this CD set makes, if anything, even
more demands on the horns but counterbalances this with some attractively
lyrical intimacies for oboes in the Arias of the third movement. As
elsewhere with Zelenka’s orchestral works an equipoise between shameless
virtuosity and lyrical expressivity is realized which produces a whole
greater even than the sum of its parts. These apparently unwieldy and
loose structures are actually judged to perfection and are teeming with
instrumental felicities. The recordings are admirably faithful and the
musicians fluent and adept; they are splendid exponents and I recommend
their traversal with real enthusiasm.
Jonathan Woolf