HYPOCHONDRIE

The unmistakable bass of Tomas Selc at the service of Jan Dismas Zelenka Tomas Selc devotes himself to the cantata and oratorio literature of the 18th through the 20th centuries, romantic lieder, and opera, collaborating with outstanding orchestras, ensembles, and conductors (Bamberger Symphoniker, Budapest Festival Orchestra, Orchestre National des Pays de la Loire, Collegium 1704, Collegium Vocale Gent, Taverner Consort etc.). It is, however, in the works of Jan Dismas Zelenka and of J. S. Bach that he seems to be most at home. Therefore, the choice of Zelenka for his Supraphon debut was clear, as was his collaboration with the renowned ensemble Collegium Marianum. The album presents three of Zelenka's great liturgical works for bass, composed in the milieu of the Dresden court ensemble within a span of seven years. The masterfully invoked atmosphere of gloom of the first Lamentation of Jeremiah (1722) for the Tenebrae liturgy, dignified praise of the Lord in the psalm Confitebor tibi Domine (1729), and pleading cries from this world's vale of tears in the Marian antiphon Salve Regina (1724) are brought to us with all their urgency by the silky colour of selc's voice. The Flute Concerto by Giuseppe Tartini reminds us that it is not only from the depths of darkness that we cry out; heights of gentle consolation are truly within reach as well. Those heights resound here in the tender and colourful tones of the flute played by Jana Semeradova, driving the clouds away and brings smiles to our faces. Depths of darkness and radiant lightness of being are two inseparable dimensions of life on this earth.

Jan Dismas Zelenka was born in Launowitz, Bohemia, in 1679 and died in Dresden in 1745. He had been a member of the court orchestra there since 1710, one of the best ensembles at the time, first as a double bassist and then as a church composer. From the 1720s, he stood in for the ailing court conductor Johann David Heinichen, who was then succeeded by the world-famous opera composer Johann Adolf Hasse. Zelenka's oeuvre - around 150 compositions have survived - includes symphonies, suites, overtures and, above all, sacred vocal music in addition to trio sonatas (which were written after studies with Johann Josef Fux in Vienna). Catholic church music in Dresden, with Zelenka as one of it's main representatives, is once again enjoying greater attention.

In the text accompanying the previous volume of this anthology of Zelenka's music by the Pasticcio Barocco Ensemble, Zelenka 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 is music. The particularity of hemeticism is to keep a secret, not to reveal it. It is probably 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. 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? C.P.E. 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.

Classical Music

Classical Music

It is the story of a rebirth. The music of Jan Dismas Zelenka, long completely forgotten, has regained it's place in concert life in recent decades thanks to new editions of sheet music and enthusiastic performers. Born in Bohemia, trained as a musician in Prague and matured into a master in Dresden, Zelenka developed his special personal style from the trends of the time, which earned him admiration even during his lifetime. Frieder Bernius is someone who has long since discovered Zelenka for himself and performs him time and again. At the centre of his recording is the festive Missa gratias agimus tibi from 1730 with trumpets and timpani. 17 short movements of this missa are examples of Zelenka's ingenuity and compositional artistry. The Stuttgart Chamber Choir, the Stuttgart Baroque Orchestra and soloists Hannah Morrison, Franziska Bobe, David Allsopp, Thomas Hobbs and Jonathan Sells will perform under the direction of Frieder Bernius.

The six trio sonatas recorded on this CD present the largest group of Zelenka's chamber music for a single ensemble. Despite their high quality they were forgotten for centuries; they were only rediscovered a few decades ago.�Our fascination for this rich and profound music has spurred us on to come closer on this CD to the special tonal language, evocative complexity, and audacious invention of Zelenka's music.

Sono Luminus proudly presents the first surround sound recording of Zelenka’s five Capriccios. The complex scores have been brought to life under the direction of conductor Daniel Abraham, who also crafted this new edition of the works. This sonic masterpiece of the Baroque is presented using all period instruments including natural horn for the virtuosic horn lines. This album is presented in a 2-disc package with 1 CD and 1 stunning Blu-ray Audio disc.

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music