Sepolcri [Import]

THIS ROAST IS UNDERDONE, BUT STILL PALATABLE!

Three miniature oratorios composed early in Jan Dismas Zelenka's (1679-1745) compositional life (though in his early 30's), written in 1709, 1712 and 1716, while he was still in Prague writing for the Jesuits. Each was composed to be performed on Good Friday during the contemplation of the Holy Sepulchre at San Salvator Church in Prague. As of now 250 works are made available on discs which are derived mostly from liturgical compositions he wrote later when he was in the service of the royal court in Dresden.

The music of these early 'sepolchri' already manifests many traits typical of a later Zelenka: expressive frequent mournful sounding melodies, an inclination for elaborate fugues with remarkable themes and totally unexpected twists. Though early in his output, they do not in any way sound like a composer 'feeling' his way. Rather within the vocal writing is contained long intensely expressive melodic lines that are certainly characteristic of Zelenka's later instrumental writing. These oratorios are already singular pieces encompassing the traits of a creative compositonal style.

The Collegium Marianum, on period instruments, of which there are nine: violin, viola, violoncello, double bass, organ, bassoon, chalumeau, oboe and transverse flute, add considerable to the colorful accompaniment throughout these oratorios and all are played skillfully. The four soloists: soprano, Hana Blazikova; male alto, David Erler; tenor Tobias Hunger and Bass Tomas Kral; all performed adequately wtih good sounds, the Bass seeming to be the singer who provided the most dramatic excitement. Indeed if one did not first look at the text of these works,it would be difficult to ascertain what the mood was dramatically speaking. Granted these are sacred, but they are filled with passions of all kinds.

The first oratorio 'The Lord sent plague on Israel' is introduced by the soprano beautifully but rather blandly considering that God might destroy everyone with a plague! However, the bass enters and gives us some drama. This is followed by an aria that did seem to portray something 'Feriam pestilentia' sung by the countertenor, in which he asks God to remember His covenant and to spare them; a lovely Zelenka melody and Erler does something with it. This work was kept alive by the varied instrumental colors, particularly that of the chaluemau and the flute.

The second oratorio begins with 'Attend and Behold'; this is Jesus on the cross describing what has happened to Him; it's all about Passion, Penitence and Adoration on the part of the people. I don't get this from the delivery of it via the performance. It begins with a lengthy recitative by the countertenor 'Attend and Behold'; Jesus is talking about His mistreatment and his sorrow and reminding everyone that they are redeemed at a great cost. I could not believe how undramatic Erler sang this! He is really an accomplished singer, but he seemed to be holding back somewhat and one has to ask WHY? I kept wishing for a Michael Chance or a David Daniels to come along and sing it. How extraordinary it would have sounded!!!!The highpoint of this work was the very fine and passionately rendered violin solo along with the soprano aria; the violin showed so much more intensity than the voice.

Oratorio number three was militant in text and speaks of God, the mightiest commander, and asks that He give strength to the armies of Christians. Of the three works on this recording this one came alive and I am certain that Zelenka (wherever he may be)is grateful. It helped that it opened with a terrific bass solo that proved to be the dramatic highpoint of the work and it was sung wonderfully by Kral. The final three choruses were also well-done and exciting. I should mention that they are made up of not only the soloists, but a singer is added to each part and that does liven up things throughout the recording; each oratorio has at least two choruses.

My hope is that other groups will be recordings these and I would love to hear Frieder Bernius, Kammerchor Stuttgart do so, because he is definitely a Zelenka expert conductor. If you have not heard his 1989 recording of Zelenka's 'Missa Dei Filii' and 'Litaniae' you will hear how very excellent Zelenka can sound for he is indeed a great composer. Lest you think that I am 'trashing' this disc, erase that thought because I will listen to it many times and enjoy it. It comes with a 45 page booklet that inludes information as well as the text in English, German, French, Hungarian and of course, Latin.

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