Zelenka Sonates en trio ZWV 181 Ensemble Berlin Prag - SU4239 - Supraphon - Classique

Holliger et ses amis (pour Archiv), puis Paul Dombrecht, Marcel Ponseele, Chiari Banchini et leur petite bande (Accent) se seront frottés avec bien des bonheurs à cette merveille d’inventions dansées, de sonnets poétiques, de fantaisies mathématiques que Zelenka écrivit vers 1720 pour ses virtuoses de l’Orchestra di Dresda. Auguste II le Fort s’en délecta probablement. Le cahier est devenu iconique de la musique « da camera » baroque, six chefs-d’œuvre, rien moins, dont la variété expressive se conjugue à je ne sais quoi d’abstrait qui évoque Johann Sebastian Bach. Reinhard Goebel aura inspiré et accompagné cette nouvelle version où les talents d’instrumentistes pragois et berlinois se conjuguent : ils y invitent d’abord la danse, faisant tout vif et allusifs, mais sans oublier de chanter, rendant les labyrinthes polyphoniques clairs, aillant les contrepoints, avec cette pointe de fantaisie que déjà Dombrecht et ses amis osaient, alors même que les nouveaux venus se réclament plutôt de l’esthétique et des instruments (modernes) utilisés par Holliger et sa petite compagnie : les progrès de l’interprétation historiquement informée empruntent des voix décidément impénétrables (Discophilia - Artalinna.com). (Jean-Charles Hoffelé)

Reinhard Goebel, an esteemed Baroque music connoisseur, ranks Zelenka (along with J. S. Bach and Handel) among the five best composers of the first half of the 18th century. In his accompanying text, he refers to him as “grandiose and fantastic”. And the cycle of six sonatas for two oboes, bassoon and continuo serves to prove that his assertion is far from being mere hyperbole, that it is a justified opinion worthy of being giving serious thought. Although for many years Zelenka performed all the duties of Kapellmeister and court composer of the Dresden Hofkapelle, de facto substituting for Heinichen during his ailment and after his death in 1729, he did not gain the appraisal he deserved – even some of the ordinary members of the orchestra received higher wages – and his applications for the post of Kapellmeister fell on deaf ears (by the way, J. S. Bach was turned down too). Zelenka’s sonatas are among his “free” works, which he wrote urged by innermost needs, above and beyond his official commitments. The pieces reach the very limits of musical possibilities – both as regards placing high technical requirements on the performers and the compositional methods and means of expression applied, including the striking architecture of the cycle as a whole. The result is magnificent and fascinating indeed; owing to its complexity and timelessness, the sonatas may perhaps only be compared with J. S. Bach’s six cello suites. And when these gems are undertaken by musicians as open-minded and of such superlative quality as members of the Berliner Philhamoniker, the listener can look forward to a great feast. The present recording is extraordinary due to the combination of the technical facilities of modern instruments and the profound insight into Baroque performance. Yet another opportunity to marvel at Zelenka’s genius.