Although Jan Zelenka didn’t get the “big” job in Dresden following the death of Kapellmeister Johann David Heinichen in 1729, his duties around the Saxon court (and in his journeys to Italy and Austria) allowed him to compose a substantial body of work–sacred and secular, choral and instrumental. And although it’s only been recently that his works have received more than passing attention from Baroque specialists, the evidence shows that Zelenka was an important and even uniquely gifted composer with a superb ear for melody, exceptional contrapuntal skills, and a sparing but effective penchant for surprising harmonic twists and unusual turns of phrase. While at times the music reminds us of Bach, just as often it takes its own path into less traditional (if also somewhat less profound) musical territory.
In this finely recorded volume from Hyperion’s “Bach’s Contemporaries” series, we’re treated to sacred works that show Zelenka at both his most exquisitely functional (the Litaniae) and most engaging and purely beautiful (Regina coeli and Salve Regina). The extended texts and repetitive phrases of the litany can be a trial of sorts for congregants, let alone for a composer seeking to set them in a reasonably interesting or compelling manner. Zelenka solves this problem by dividing the texts into separate movements, with highly varied vocal and instrumental treatments of each–a contrapuntal, full-chorus-and-orchestra setting here (Kyrie II), a duet with light accompaniment there (the Pater de coelis). The following choral Praecelsum et admirabile is forward-looking in its declamatory, homophonic style, but also for its astonishingly bold (and very un-Bach-like) harmonic statements.
Throughout this program, whose works cover a period of about six years, we easily can appreciate Zelenka’s keen sense of color–scoring for parts such as muted oboes, chalumeau, muted strings–and his affecting way with fitting text to texture and particular groups of instruments. Highlights include the abovementioned Pater de coelis duet, worthy of a place alongside one of Bach’s more inspired creations, the beautiful little choral Agnus Dei that concludes the Litaniae, and the Regina coeli and Salve Regina, which feature soloists Carolyn Sampson, Rebecca Outram, and Robin Blaze. All of the soloists deserve special mention for sensitive performances that are appropriately expressive and that add essential individual color, from Sampson’s unusually dark-toned soprano and Blaze’s gorgeously liquid and mellifluous countertenor to Peter Harvey’s warm, rich bass. Chorus and orchestra are solid and confident, performing like the veteran period stylists they are. If you’re not familiar with Zelenka–and especially if you love Bach–you must get to know this wonderful and very deserving composer. (For other Zelenka recordings, type Q3763, Q3767, and Q3768 in Search Reviews.)
