Album insights
Jan Dismas Zelenka, a peculiar figure, exhibited qualities that set him apart—an eccentric, introverted, and melancholic individual. His fervent religiosity, though often perceived as hypocritical, along with his utterly "rude" demeanor, made him an enigmatic presence. The Saxon court denied Zelenka, their longstanding musician, the coveted promotion to Kapellmeister, granting him only the honorary title of "Church Composer." This relegated position not only led to constant financial struggles for Zelenka but also hindered the proper recognition of his compositional talents.
Information about Zelenka's early life remains scarce. Born in 1679 as the son of a Bohemian village cantor, records of his first 25 years are nonexistent. Speculation suggests that his father provided his initial musical education, followed by attendance at the Jesuit Collegium Clementinum in Prague. Around 1710, he joined the Dresden court of Augustus the Strong, eventually gaining recognition as a composer. Despite his significant contributions to Dresden's church music in the 1720s, Zelenka's career faced a setback by 1730 due to the rising influence of Italian composer Johann Adolf Hasse. This shift marked the beginning of Zelenka's decline and withdrawal from composing, leading to his embittered and broken demise in December 1745.
Zelenka's significance was first highlighted in the 1820s by Leipzig music writer Friedrich Rochlitz. Rochlitz, guided by esteemed teachers who personally knew Zelenka, accessed the composer's long-withheld musical legacy. Rochlitz's appraisal lauded Zelenka's profound artistry, comparing it to the esteemed Johann Sebastian Bach. This acknowledgment laid the foundation for understanding the distinctiveness of Zelenka's harmonic language and intricate treatment of vocal lines, as showcased in this recording.
The recording presents four representative church music works by Zelenka, composed between approximately 1727 and 1733. These pieces confirm Rochlitz's admiration for Zelenka's harmonious style and complex vocal treatment. Zelenka's Litaniae de Venerabili Sacramento in C major (Z147) were completed in preparation for the Dresden Feast of Corpus Christi in June 1727. The Marian Antiphon Regina caeli laetare in F major (Z134) likely served as a repertoire piece for Marian celebrations. Zelenka's adaptation of the Marian Antiphon Salve regina, mater misericordiae in A minor (Z135) from September 1730 showcased his compositional finesse. Lastly, the recording includes excerpts from the Officium defunctorum (Z47), composed in 1733 for the funeral rites following Augustus the Strong's death, exemplifying Zelenka's mastery in handling instrumental textures and somber thematic elements.
Zelenka's musical legacy, encapsulated in these works, reveals a profound connection to his faith and a powerful expression of grief, resonating through every note and melody.