Wydawnictwo: Herissons
Nr katalogowy: LH 16
Nośnik: 1 CD
Data wydania: czerwiec 2017
EAN: 3770002538111
Dostępność: w magazynie

52,00 zł
Zamów LH 16
Zamów

Nasze kategorie wyszukiwania

Epoka muzyczna: barok
Obszar (język): niemiecki
Rodzaj: sonata, symfonia

Zobacz także:

  • ACC 24319
  • CAR 83223
  • CDH 55106
  • KTC 1568
  • LWC 1118
  • ONYX 4179

Zelenka: Sonatas, Simphonie & Hipocondrie

Herissons - LH 16
Wykonawcy
Pasticcio Barocco
Orchestre de chambre d'Auvergne
Nagrody i rekomendacje
 
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Trio Sonata ZWV181:1
Trio Sonata ZWV181:2
Simphonie a 8 concer[tanti] ZWV189
Hipocondrie a 7 con[certanti] ZWV187
In the text accompanying the previous volume of this anthology of Zelenka’s music (LH05: Sonatas 4, 5 & 6) by the Pasticcio Barocco Ensemble, I borrowed Pisendel’s metaphor of the almond as a guide to the music of this enigmatic composer. Upon transmitting a score to his friend Telemann, Pisendel expressed the wish that the former would “taste many, many of the sweet fruits of this almond tree”, thus creating a parallel between Zelenka’s music and the symbolism of “shell” and “kernel”; “secret” and “knowledge”. We know so little of Zelenka’s life that there is little one can add to the first text. Zelenka did not seem to want to be remembered other than by his music. The particularity of hermeticism is to keep a secret, not to reveal it. It is probable that in using this analogy, Pisendel was hinting at alchemy. Many composers of the time practised the secrets of their art in the hermetic mode. It should be remembered that the only work printed in Zelenka’s lifetime was, in fact, an enigmatic canon (ZWV191). It is clear that historically, for a long time, reception of Zelenka’s work highlighted the idea of strangeness. How would he have responded to this? Carl Philipp Emanuel Bach for example, categorically refuted this label that had often been attached to him too. What is certain is that Zelenka was a demanding composer. At a time when the search for simplicity had arrived from Italy and taken hold in the Dresden community in which he lived, he made constant use of counterpoint. The length of certain movements is also unusual for the time: 216 bars for the finale of the first sonata, 246 for that of the second. The two sonatas, Sonata I in F major and Sonata II in G minor, conclude the recording of Zelenka’s complete sonatas for two oboes, bassoon and basso continuo by the Pasticcio Barocco Ensemble. The third sonata has been omitted because it is the only one for violin, oboe, bassoon and basso continuo and poses complex textual problems since Zelenka did not indicate a basso continuo part