We are living in fortunate times for the lover of Zelenka; not
the zenith, yet, I suspect, but if we are to keep getting discs
such as this one and Accent’s recent recording of Officium
deferntorum and the Requiem in D, then not far short. I
mention the Accent disc in particular, not simply because it’s
a revelation — astonishing, really — but also because two of
the singers reappear in this disc; feisty soprano Hana Blažiková
and the smooth, evenly produced bass of Tomáš Král. One of Supraphon’s
recent secret weapons, Collegium Marianum directed as ever by
Jana Semerádová, is on hand, and to complete the good news the
recording venue is, again, the Church of Virgin Mary under the
Chain, in Prague, which offers a tremendous acoustic, one that
Supraphon’s engineers know well.
Should one add more? What about that all three of these Cantatas
for Holy Sepulchre are heard in their first ever recordings
or that the performances are, again, outstandingly good? It’s
true that these three works are relatively early, dating between
1709 and 1716 — which is to say between Zelenka’s thirtieth
and thirty seventh birthdays. But they do not lack for finesse,
nor do they lack affecting features such as to warrant the closest
interest.
Immisit Dominus pestilentiam is the earliest of the
three, a compact twenty minute cantata finely balanced between
arias, choruses and recitative. It offers numerous opportunities
for instrumental felicity; try the absolutely lovely chalumeau
playing - it’s by Igor Františák, and he should be name checked
- which is almost folk-like in its address. The string staccatos
are appropriately brusque in the Clamate, guttae sanguinis.
Male alto David Erler has a most pleasing voice but Blažiková,
always an incisive, powerful but never strident singer, shades
the honours. Attendite et videte possesses great amplitude
and breadth, once again illuminated by many subtle accompanying
touches — note here, for instance, the bassoon line in Deus
regit nos as it intertwines with the strings. Král sings
especially well in this movement. Confidence and subtlety mark
out these performances and when the organ and double bass are
as well balanced as they are in the Deus dux fortissime
we are assured of another splendid performance. The chorus is
incisive, rhythmically well sprung. In fact everything about
this disc is of the highest class.
This ‘Music from Eighteenth Century Prague’ series is shaping
up to be in the very best tradition of this label. I recall
their gorgeous LPs with vivid colour art work and pockets for
booklet notes, which restored performances of baroque music
conducted by the likes of Talich and Ancerl amongst more contemporary
practitioners.
I’m keen to hear more from Jana Semerádová and her forces.
Jonathan Woolf
Hana Blažiková (soprano): David Erler (alto): Tobias Hunger (tenor): Tomáš Král (bass)