Zelenka - Sonatas, Simphonie & Hipocondrie
Jan Dismas Zelenka

Zelenka - Sonatas, Simphonie & Hipocondrie

Pasticcio Barocco / Orchestre d'Auvergne

Label: Herisson
Format: CD
Barcode: 3770002538111
Catalog number: LH 16
Releasedate: 02-06-17

- the second volume of the complete Trio Sonatas ZWV 181 by Jan Dismas Zelenka by ensemble Pasticcio Barocco . The  first volume was published by Label-Hérisson under the opus number LH05.

- these sonatas are a summit of chamber music for winds of the baroque period, both in their originality and their incredible virtuosity.

- the Auvergne Chamber Orchestra has developed a great reputation (especially under the direction of Arie van Beek) 

In the text accompanying the previous volume of this anthology of Zelenka’s music (LH05: Sonatas 4, 5 & 6) by the Pasticcio Barocco Ensemble, I borrowed Pisendel’s metaphor of the almond as a guide to the music of this enigmatic composer. Upon transmitting a score to his friend Telemann, Pisendel expressed the wish that the former would “taste many, many of the sweet fruits of this almond tree”, thus creating a parallel between Zelenka’s music and the symbolism of “shell” and “kernel”; “secret” and “knowledge”. We know so little of Zelenka’s life that there is little one can add to the first text. Zelenka did not seem to want to be remembered other than by his music. The particularity of hermeticism is to keep a secret, not to reveal it.

It is probable that in using this analogy, Pisendel was hinting at alchemy. Many composers of the time practised the secrets of their art in the hermetic mode. It should be remembered that the only work printed in Zelenka’s lifetime was, in fact, an enigmatic canon (ZWV191). It is clear that historically, for a long time, reception of Zelenka’s work highlighted the idea of strangeness. How would he have responded to this? Carl Philipp Emanuel Bach for example, categorically refuted this label that had often been attached to him too. What is certain is that Zelenka was a demanding composer. At a time when the search for simplicity had arrived from Italy and taken hold in the Dresden community in which he lived, he made constant use of counterpoint. The length of certain movements is also unusual for the time: 216 bars for the finale of the first sonata, 246 for that of the second. The two sonatas, Sonata I in F major and Sonata II in G minor, conclude the recording of Zelenka’s complete sonatas for two oboes, bassoon and basso continuo by the Pasticcio Barocco Ensemble. The third sonata has been omitted because it is the only one for violin, oboe, bassoon and basso continuo and poses complex textual problems since Zelenka did not indicate a basso continuo part.

If the dating of these sonatas (between 1714 and 1723 depending on the author) and the place where they were composed (Vienna or Prague?) remain problematic, the same cannot be said of the two orchestral pieces on this CD: Hipocondrie à 7 con[certanti] ZWV187 and Simphonie à 8 Concer[tanti] ZWV189. The manuscript they are to be found in clearly states fatti in fretta à Praga 1723 (composed in haste in Prague). Since we know that Zelenka was present, we can imagine that the festivities surrounding the coronation of the Emperor Charles VI and the Empress Elizabeth Cristina as king and queen of Bohemia might have been the occasion for which they were written, which would explain the haste. Nevertheless, is a piece entitled Hipocondrie really suitable for a coronation? At the time however, “hypochondria” had a much broader meaning than it does today since it was applied to a spectrum of mental illnesses that also included the term “melancholia”. In form, it is a typical French-style overture with its classical instrumentation for two oboes, bassoon and strings and in three parts, slow-fast-slow. Could it be that this alternation, inherent in the French overture, between a slow introduction with dotted rhythms and a fast central fugal section, represents an invitation consider it, prompted by the title, as the two opposing poles of a single personality?

Pasticcio means in Italian a dish and originally a pâté composed of different flavors whose association sometimes surprising is yet succulent! The musicians of this ensemble have in common with this transalpine specialty a taste for originality and mix. Despite their differences in generation, nationality and musical path, they are united by a passion: baroque music. However with a particularity of size: an interpretation not on historical instruments, but on modern instruments!

Orchestre de chambre d'Auvergne
Created in 1981, the Chamber Orchestra of Auvergne is a group of 21 musicians that ensures both a mission of proximity and international influence. Since its inception, this citizen orchestra has been carrying out musical distribution and public awareness activities. He also plays a major role in the cultural life of its region, while being a brilliant national and international ambassador. It owes its exemplary unity and cohesion to the musical directions of Jean-Jacques Kantorow and Arie van Beek. In keeping with this spirit of excellence, the young Spanish chef Roberto Forés Veses was appointed Musical and Artistic Director of the orchestra in 2012.
The Orchestra of Auvergne repertoire ranges from baroque music to the present day, with an important investment in contemporary creation. He hosted in residence Kaija Saariaho and Oscar Bianchi, among others. His privileged relations with the musical world allowed him to play under the direction of the most prestigious conductors: Emmanuel Krivine, Ivor Bolton, Dmitry Sitkovetsky, Gilbert Varga, Leopold Hager and Fabio Biondi.
Great interpreters shared the great musical complicity of the ensemble, including Augustin Dumay, Yuri Bashmet, Barbara Hendricks, Nemanja Radulovic, Jean-Guihen Queyras, David Guerrier, Alexandre Tharaud, Cedric Tiberghien, Enrico Onofri.
On tour around the world, the orchestra regularly partners with renowned festivals in Japan, Scotland, Spain, the Netherlands and Brazil. It is also present in France at Prades, La Roque d'Anthéron, Auvers-sur-Oise, La Chaise-Dieu, Saint-Riquier, Festival of La Vézère, the Flâneries Musicales of Reims, La Folle Journée ...
Parallel to these prestigious concerts, the orchestra is present in its region with the same musical passion, producing concerts in the great regional seasons as in the most beautiful roman churches. Faithful to its mission of cultural mediation, the orchestra offers pedagogical actions in the four departments of its region, social actions for disabled audiences (hospitals, neighborhood houses, etc.) and a series of concerts open to a larger public: FRAC Orchestra, Baby Concert, Family Concert, Midnight Music ....
The Orchestra of Auvergne's eloquence, precision of interpretation and artistic inspiration have seduced major record labels - Olympia, Channel Classics, Bnl, Emi, Denon, Calliope and Zig-Zag Territories - Jean-Jacques Kantorow, Marielle Nordmann, Michel Lethiec, Marvis Martin, Svetlin Roussev, Philippe Bernold, Xavier de Maistre, Marc Desmons, Antoine Lederlin, Juliette Hurel, Edna Stern and Emmanuel Rossfelder, Romain Leleu and jazzman Bill Mobley. Sarasate, Piazzolla, Brahms and Monti, with Camille, winner of the program "Prodiges", an opus dedicated to the repertoire of the harp with Naoko Yoshino and the works of Debussy, Rodrigo, Turina, and Castelnuovo- Tedesco, as well as the Tchaikovsky Serenade and the Sibelius Quartet Voces Intimae, which appeared under the Aparté label.

Pasticcio désigne en italien un plat et à l’origine un pâté composé de différentes saveurs dont l’association parfois surprenante est pourtant succulente ! Les musiciens de cet ensemble ont en commun avec cette spécialité transalpine un goût pour l’originalité et la mixité. Malgré leurs différences de génération, de nationalité, de parcours musical, une passion les réunit : la musique baroque. Cependant avec une particularité de taille: une interprétation non pas sur instruments d’époque, mais sur instruments modernes !

Orchestre d'Auvergne
réé en 1981, l'Orchestre d'Auvergne est un ensemble de 21 musiciens qui assure à la fois une mission de proximité et de rayonnement international. Cet orchestre citoyen mène depuis sa création des actions de diffusion musicale et de sensibilisation auprès des publics. Il joue également un rôle majeur dans la vie culturelle de sa région, tout en étant un brillant ambassadeur national et international. Il doit son unité et sa cohésion exemplaires aux directions musicales de Jean-Jacques Kantorow et Arie van Beek. Dans la continuité de cet esprit d'excellence, le jeune chef espagnol Roberto Forés Veses a été nommé Directeur musical et artistique de l'orchestre en 2012.
Le répertoire de l'Orchestre d'Auvergne s'étend de la musique baroque jusqu'à nos jours, avec un investissement important dans la création contemporaine. Il a accueilli en résidence Kaija Saariaho et Oscar Bianchi, entre autres. Ses relations privilégiées avec le monde musical lui ont permis de jouer sous la conduite des chefs les plus prestigieux : Emmanuel Krivine, Ivor Bolton, Dmitry Sitkovetsky, Gilbert Varga, Léopold Hager, Fabio Biondi.
De grands interprètes ont partagé la grande complicité musicale de l'ensemble, parmi lesquels Augustin Dumay, Youri Bashmet, Barbara Hendricks, Nemanja Radulovic, Jean-Guihen Queyras, David Guerrier, Alexandre Tharaud, Cédric Tiberghien, Enrico Onofri.
En tournée dans le monde entier, l'orchestre noue régulièrement des partenariats avec des festivals renommés au Japon, en Ecosse, en Espagne, aux Pays-Bas, au Brésil. Il est également présent en France à Prades, la Roque d'Anthéron, Auvers-sur-Oise, La Chaise-Dieu, Saint-Riquier, Festival de La Vézère, aux Flâneries Musicales de Reims, à La Folle Journée…
Parallèlement à ces concerts prestigieux, l'orchestre est présent dans sa région avec la même passion musicale, produisant des concerts dans les grandes saisons régionales comme dans les plus belles églises romanes. Fidèle à sa mission de médiation culturelle, l'orchestre propose des actions pédagogiques dans les quatre départements de sa région, des actions sociales pour les publics empêchés (hôpital, maison de quartier, etc.) ainsi qu'une série de concerts ouverts à un plus large public : Orchestre en FRAC, Baby Concert, Concert Famille, Midnight Music….
L'éloquence, la précision des interprétations et l'inspiration artistique de l'Orchestre d'Auvergne ont séduit de grands labels du disque - Olympia, Channel Classics, Bnl, Emi, Denon, Calliope et Zig-Zag Territoires - et ont permis à ce jour la gravure de 30 enregistrements en compagnie de Daniel Marillier, Gordan Nikolitch, Jean-Jacques Kantorow, Marielle Nordmann, Michel Lethiec, Marvis Martin, Svetlin Roussev, Philippe Bernold, Xavier de Maistre, Marc Desmons, Antoine Lederlin, Juliette Hurel, Edna Stern et Emmanuel Rossfelder, Romain Leleu et le jazzman Bill Mobley. Les derniers enregistrements proposent des œuvres de Sarasate, Piazzolla, Brahms et Monti avec Camille, lauréate de l'émission "Prodiges", un opus consacré au répertoire de la harpe avec Naoko Yoshino et les œuvres de Debussy, Rodrigo, Turina, et Castelnuovo-Tedesco, ainsi que la Sérénade de Tchaïkovsky et le Quatuor Voces Intimae de Sibelius paru sous le label Aparté.