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Jan Dismas ZELENKA (1679 - 1745): Vesper Psalms

[I] "Psalmi Vespertini I"
Lenka Cafourková, soprano^a; David Erler, alto^b; Tobias Hunger, tenor^c; Lisandro Abadie, bass^d
Ensemble Inégal; Prague Baroque Soloists
Dir: Adam Viktora
rec: Oct 4 - 8, 2015, Prague, [Church of the Holy Saviour]
Nibiru - 01612231 (Š 2015) (79'56")
Liner-notes: E/D/F/CZ; lyrics - translations: E/D/F/CZ
Cover & track-list
Spotify

Beatus vir (ZWV 75)^b; Confitebor tibi Domine (ZWV 72)^abcd; De profundis (ZWV 97)^bc; Dixit Dominus (ZWV 66)^abcd; In exitu Israel (ZWV 83)^abcd; Laudate pueri Dominum (ZWV 82)^d; Magnificat in D (ZWV 108)^a

[II] "Psalmi Vespertini II"
Lenka Cafourková^a, Gabriela Eibenová^b, soprano; Filippo Mineccia, alto^c; Tobias Hunger, tenor^d; Marián Krejcík^e, Jirí Miroslav Procházka^f, bass
Ensemble Inégal; Prague Baroque Soloists
Dir: Adam Viktora
rec: Oct 7 - 10, 2016, Prague, [Church of the Holy Saviour]
Nibiru - 01632231 (Š 2016) (65'29")
Liner-notes: E/D/F/CZ; lyrics - translations: E/D/F/CZ
Cover & track-list
Spotify

Beatus vir (ZWV 76)^bde; Credidi (ZWV 85)^bcde; De profundis (ZWV 96)^bcde; Dixit Dominus (ZWV 68)^bcdf; Laetatus sum (ZWV 88)^bc; Lauda Jerusalem (ZWV 104)^d; Magnificat in C (ZWV 107)^a; Nisi Dominus (ZWV 92)^bcdf

[III] "Psalmi Vespertini III"
Lenka Cafourková^a, Gabriela Eibenová^b, soprano; Pascal Bertin, alto^c; Virgil Hartinger, tenor^d; Marián Krejcík, bass^e
Ensemble Inégal; Prague Baroque Soloists
Dir: Adam Viktora
rec: April 27 - 30, 2017, Prague, [Church of the Holy Saviour]
Nibiru - 01642231 (Š 2017) (56'45")
Liner-notes: E/D/F/CZ; lyrics - translations: E/D/F/CZ
Cover & track-list

Beati omnes (ZWV 94)^acd; Confitebor Angelorum (ZWV 100)^bcde; Confitebor tibi Domine (ZWV 70)^bcde; Da pacem Domine (ZWV 167); Domine probasti me (ZWV 101)^acde; In convertendo (ZWV 91)^bcd; In exitu Israel (ZWV 84)^acde; Laudate Dominum (ZWV 87)^d; Memento Domine David (ZWV 98)^bcde

[IV] Psalmi Varii Separatim Scripti
Lenka Cafourková^a, Gabriela Eibenová^b, soprano; Filippo Mineccia, alto^c; Tobias Hunger, tenor^d; Marián Krejcík, bass^e
Ensemble Inégal; Prague Baroque Soloists
Dir: Adam Viktora
rec: May 3 & 5 - 7, 2018, Prague, [Church of the Virgin Mary under the Chain]
Nibiru - 01652231 (Š 2018) (57'52")
Liner-notes: E/D/F/CZ; lyrics - translations: E/D/F/CZ
Cover & track-list

Confitebor tibi Domine (ZWV 71)^e; Confitebor tibi Domine (ZWV 73)^acde; De profundis (ZWV 95)^acde; Dixit Dominus (ZWV 67)^acde; Ecce nunc benedicite (ZWV 99)^acde; Laetatus sum (ZWV 90)^bc; Lauda Jerusalem (ZWV 102)^{;
Laudate pueri (ZWV 81)^d

Scores

Jan Dismas Zelenka is pretty well represented on disc. Among his best-known pieces are the last six masses and the Lamentationes Jeremiae Prophetae, which are available in several recordings. However, a large part of his oeuvre is still unknown, which is not that surprising, given the size of what has been preserved. It is telling that half of the compositions which are included on the four discs under review here, are world premiere recordings. They bear witness to his activities as a composer of liturgical works for the Catholic chapel in Dresden as well as his brilliance and versatility in this department.

All the pieces, except one, are written for Vesper services. Several sequences exist for such services. The psalms for Vesperae de Confessore are Dixit Dominus, Confitebor tibi Domine, Beatus vir, Laudate pueri and Laudate Dominum, whereas the sequence of Vesperae Beatae Virginis Mariae is partly different: Dixit Dominus, Laudate pueri, Laetatus sum, Nisi Dominus and Lauda Jerusalem. All Vespers end with a setting of the Magnificat. The sequence could change according to the time of the ecclesiastical year. For instance, in the Vesperae de Confessore, Laudate pueri is replaced by De profundis in the Christmas octave. This explains the variety in the texts Zelenka set as part of his project of Vesper psalms, which he composed between 1725 and 1728.

In this period, Zelenka composed three cycles of Vesper psalms. Each begins with a setting of the Dixit Dominus, which is followed by pieces for one or several Vesper sequences. In 1726, he started to include his settings in a personal inventory, under the title Inventarium rerum Musicarum Ecclesiae servientium. Following this project, Zelenka composed an additional eight Vesper psalms, listed separately in the inventory under the title Psalmi varii J.D.Z. Separatim Scripti. Unlike the three cycles, they are not listed in liturgical order. The four discs under review here include the complete extant Vesper psalms. Unfortunately, some of the psalms have been lost. As they are included in the catalogue of his works, the liner-notes sometimes refer to a work that was originally part of a cycle, but has not come down to us.

These Vesper psalms were intended for performance in the Catholic chapel at the court in Dresden. Janice B. Stockigt (University of Melbourne), who wrote the liner-notes to these recordings, points out that the vocal forces who were to perform the music, were different. On the one hand, Zelenka had the Kapellknaben at his disposal, who sang the tutti and took care of the lesser-demanding solo parts. In her analysis of the various psalms, she suggests that in some cases the music seems to indicate a performance by the boys of the chapel. On the other hand, Zelenka could rely on the Hofkapelle, an ensemble of virtuosos, who were attracted in the first place to sing in opera performances, a major part of music life at the court. They were engaged in 1724 and Zelenka may well have explored their qualities in the demanding solo parts of the Vesper psalms of his first cycle. Stockigt mentions the male soprano Andrea Ruota, the male alto Nicolo Pozzi, the tenor Matteo Luchini and the bass Cosimo Ermini. There was also a choir, but little about that is known.

In these works, we note the common features of Zelenka's music, which we know from other compositions, such as his masses. Among them are sometimes original constructions of the text, a meaningful alternation of tutti and solo episodes, a full command of counterpoint, and an expressive and often daring use of harmony. Obviously, Zelenka never misses an opportunity to illustrate the text. It is impossible to go into detail about every single piece. It may suffice to point out some notable aspects.

The first disc includes the pieces from the cycle of 1725. One of them has become rather well-known: the Magnificat in D (ZWV 108) is available in several recordings. It is an elaborate setting for four voices - with solo parts for soprano and alto - and orchestra. The last item is a setting of Psalm 129 (130), De profundis. Zelenka's setting of this psalm of 1724 (ZWV 50) has become rather well-known: Zelenka wrote this work at the occasion of the death of his father. The poignant opening verse was set for three basses and three trombones, whereas the common doxology was replaced by the doxology for funeral exequies (Requiem aeternam dona eis, Domine, et lux perpetua luceat eis). In this revised version, the trombone parts were removed, and the common doxology replaced the one in the first version. Even so, it doesn't lose anything of its expression. It was quite common in the baroque period to return to the opening of a piece on the words "sicut erat in principio" (as it was in the beginning) in the doxology. This not only had a symbolic meaning, but could also serve as a way to create a sense of coherence. Sometimes this return was confined to a motif, but also an entire section could be repeated, as here in Dixit Dominus (ZWV 66). Another way to achieve that, is the repetition of a single text throughout the entire work, as is the case in Laudate pueri Dominum (ZWV 82), in which the bass soloists repeats the opening words.

The Vesper music of 1726 and 1727 is generally more concise than that of the first year. Many of the pieces included here in Volumes II and III are considerably shorter. A striking example is Confitebor tibi Domine: ZWV 72 takes 16 minutes, ZWV 70 just seven. The number of sections is also much more limited. In Dixit Dominus (ZWV 66), the text of the Psalm is divided into four sections; the fifth is the second half of the doxology (Sicut erat). In the setting ZWV 68 the entire text is through-composed, whereas the last two sections are settings of the second half of the doxology and the 'Amen' respectively. The orchestral score includes parts for two trumpets (here with additional timpani). Beatus vir (ZWV 76) is an example of a pretty long text which is set in a concise manner. Janice Stockigt calls it "telescoped": "[One] or more verses are distributed throughout the vocal parts to be sung at the same time". This technique is also used in In exitu Israel (ZWV 84). Laetatus sum (ZWV 88) includes solo parts for soprano and alto; the latter's is quite operatic. Nisi Dominus (ZWV 92) is based on an ostinato pattern of eight bars. In Lauda Jerusalem (ZWV 104), Zelenka makes use of a 'rhythmic ostinato': a triadic figure of three notes. Whereas Zelenka seldom uses plainchant as a cantus firmus, he does so in the Magnificat in C (ZWV 107). It appears five times in the opening section, sung by the tutti sopranos. In Lauda Jerusalem (ZWV 104) we find an eloquent example of text illustration as the tenor's coloratura depicts the words "fluent aquae" (the waters flow).

Confitebor tibi Domine (ZWV 70 closes with an 'Amen', based on an ostinato bass pattern. In convertendo (ZWV 91) is notable for being set a cappella - the only such piece in the entire Vesper repertoire. Here the lower voices are accompanied by instruments, playing colla voce. Both Laudate Dominum (ZWV 87) and Beati omnes (ZWV 94) include tenor solos of an operatic nature. Janice Stockigt suggests Zelenka may have written them with the voice of Matteo Luchini in mind. Confitebor Angelorum (ZWV 100) is the fifth psalm required for Vespers II for feasts of Angels, Holy Custodian Angels, Dedication of St Michael and St Raphael. "A contemporary document stated that the feast of St Michael Archangel was especially honoured in the Dresden Catholic court church with nine days of prayers." (booklet) Memento Domine is a little-known text, and was part for the Vespers of Christmas season and Vespers II for the feast of a Bishop Confessor. It bears some galant traces, which we will also note on the last disc. Domine probasti me is a striking piece thanks to the phrase in the opening ritornello, which is repeated a number of times. It is the last piece of Zelenka's Vesper project. Janice Stockigt writes: "Perhaps it is significant and fitting that the deeply spiritual Zelenka chose psalm 138 to be the final setting of his great project: the opening verse, Domine probasti me et cognovisti me translates as "Lord, thou hast proved me, and known me"." This disc opens with a different piece: Da pacem Domine (SWV 167) may have been written for a special devotion held in Dresden at the occasion of the outbreak of the first Silesian War in 1740.

The fourth disc comprises pieces that Zelenka brought together without a specific order and which seem to have been written for a variety of occasions. Janice Stockigt suggests that the way some of them are written, can be explained by the arrival of singers from Italy. "In April 1730, a group of young singers arrived in Dresden. They had been trained in Italy during the 1720s for the revival of the opera, a project initiated by the Saxon electoral prince and his wife Maria Josepha. The male vocalists of this group were the sopranos Ventura Rochetti and Giovanni Bindi (...), and the altos Domenico Annibali and Casimiro Pignotti. One of their teachers, the male altist Antonio Campioli, also came with them. It is likely that Zelenka composed two of the virtuosic psalm settings and re-arranged one other for the singers from this group of castrati". The most brilliant work on this disc is Laetatus sum (ZWV 90), which is scored for soprano and alto solo and orchestra. The two solo parts are virtuosic and operatic, and the work as a whole is written in the modern galant idiom. That comes especially to the fore in the aria 'Fiat pax', in which the alto is accompanied by two transverse flutes (which elsewhere in Zelenka's Vesper music don't play any role). The solo parts were almost certainly intended for two of the castratos mentioned above. Another brilliant piece is Laudate pueri (ZWV 81), which has the texture of a motet in three arias. It was originally scored for tenor (and probably to be sung by Matteo Luchini), and Zelenka later adapted it for soprano. Here we hear the original version. Dixit Dominus is a very short setting of this psalm. Even so, Zelenka does not fail to use the stile concitato in some of the verses, as was customary at the time (see also Handel's setting, HWV 232). The oboe parts are ad libitum. Confitebor tibi Domine (ZWV 71) is for bass solo, whereas the other setting (ZWV 73) is a rather simple, through-composed work and probably a companion work to the the Dixit Dominus just mentioned. The last piece is Ecce nunc benedicite (ZWV 99), the fourth psalm for the Office of Compline. It is scored for four voices, strings and basso continuo.

In the latter piece, Zelenka made a small change in the text. That has been ignored in the English translation. Unfortunately, that is not the only shortcoming in the edition of the booklets. There are several inconsistencies in the writing of names. In Volume III, the text of Beati omnes is omitted, and so are the opening words of the aria 'Fiat pax' (Laetatus sum, ZWV 90). I also would have liked a table of the line-up of the individual pieces.

The importance of this recording project can hardly be overstated. First, as one may expect, the music by Zelenka is excellent. His many qualities, which we know from, for instance, his masses, are demonstrated in abundance here. There is no weak spot in any of these works. Second, these discs offer a most interesting insight into his development and his activities as a composer, his treatment of liturgical music, as well as the musical practice at the court in Dresden. The liner-notes by Janice Stockigt are of great help, especially where she points out the compositional techniques Zelenka makes use of, and the information about performance practice in Dresden. Overall, the singing and playing is outstanding. Choir and orchestra are first class, and Adam Viktora manages to make sure that the rhythmic pulse, which is so important in Zelenka's music, comes off to full effect. I am also quite happy with the contributions of the soloists. Filippo Mineccia would probably not be my first choice for the more demanding alto parts, but in general his performances are quite good. All the other soloists are doing a fine job. Some of them may be not that well known, but here they show their skills. I would like to mention in particular the two tenors, Virgil Hartinger and Tobias Hunger.

Being a great lover of Zelenka's music, I will return to these discs regularly. And let's hope for more Zelenka in the years to come.

Johan van Veen (Š 2020)

Relevant links:

Lisandro Abadie

David Erler

Virgil Hartinger

Filippo Mineccia

Ensemble Inégal & Prague Baroque Soloists

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