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Jan Dismas ZELENKA (1679-1745) Trio Sonatas
Sonata No.1 in F major for two oboes, bassoon and bass continuo [17:43]
Sonata No.2 in G minor for two oboes, bassoon and bass continuo [20:55]
Sonata No.3 in B flat major for violin, oboe and bassoon, and bass continuo
[16:26]
Sonata No.4 in G minor for violin, oboe and bassoon, and bass continuo
[22:47]
Sonata No.5 in G minor for two oboes, bassoon and bass continuo [17:18]
Sonata No.6 in C minor for two oboes, bassoon and bass continuo [15:33]
Paul Dombrecht, Marcel Ponseele and Ku Ebbinge (oboes): Danny Bond (bassoon):
Chiara Banchini (violin): Richte van der Meer (cello): Robert Kohnen
(harpsichord)
rec. 1982/88, Protestant Church (the Chapel Royal), Brussels GLOSSA GCDC80014 [55:10 + 53:25]
Zelenka has long been on the audio-visual tourist trail for visitors
to Prague. His popularity on disc, and as a representative of Bohemian
music-making, seems indelible, and it’s an unusual record shop
that doesn’t fly the Zelenka flag in its store windows. But sometimes
it’s good to take stock of the composer’s recorded legacy
and listen again to performances that set a standard that, to some minds,
was usurped or even superseded by others. The star soloist here is Paul
Dombrecht and these are his simply splendid 1982-88 recordings of the
Trio Sonatas ZWV181 now making a reappearance on Glossa. I believe there
was a prior reissue on Accent, back in 1999 but that disc is long out
of print.
It was Heinz Holliger’s second recording on ECM, which followed
his earlier 1972 set, that seemed to corner the market in this repertoire
but that would be to underestimate the nuance, attention to detail,
tonal beauty and ensemble vitality cultivated by this group. Marcel
Ponseele and Ku Ebbinge prove distinguished oboists to share burdens
of solo responsibility in the two-oboe sonatas. Bassoonist Danny Bond
is hugely personable and dextrous, and the addition of violinist Chiara
Banchini, cellist Richte van der Meer and harpsichordist Robert Kohnen
ensures aerated textures.
This historically informed recording had a long genesis, completed over
six years after the first notes were set down. It’s almost impossible
however to detect any changes in acoustic and fortunately all the sonatas
were recorded in the Protestant Church in Brussels in the Chapel Royal.
This gatefold twofer holds much to enjoy. Those Zelenka clashes are
evoked in the finale of the first sonata, whilst his talent for elegantly
yearning melodic lines can best be appreciated in the Andante opening
of the Sonata in G minor – note how beautifully balanced the voicings
are. The mobile soloistic writing allows one to distinguish the particular
characteristics of the oboe players whilst Bond’s virtuosic burbling
enlivens the rumbling quotient engraved in the second movement Allegro
of No.3. These stylish, well textured, buoyant readings bring the music
triumphantly to life through resilient rhythmic crispness. But they
don’t neglect the aria-like beauty of the slow movement of No.4
or the more stentorian qualities of the opening of the three-movement
No.5. There’s nothing fussy here or didactic. As a sampler try
the elegance of the Allegro finale of No.6 or the winding bassoon lines
– but precise articulation - in the central movement of the same
sonata.
The two discs are housed in an elegant gatefold, with good notes. Still
a winner.