Hypochondria

Program Note:

J. S. Bach lived during a time of widespread and active musical culture, as both church and court vied to attract the brightest musical talents. Despite never leaving central Germany, he managed to stay current on trends developing as far away as Paris, Vienna and Italy. Bach did not hide his esteem for another musician who merited attention, such as the now forgotten Jan Dismas Zelenka. Born and educated near Prague, the Bohemian Zelenka eventually took positions in Dresden as string player and music director. He became an expert on the violone, Baroque cousin of the modern double-bass. Dresden had the best instrumental ensemble in all of Europe, and Zelenka composed daring, virtuosic music for such performers. His style, as captured in the intriguing Hypochondria (good title!), echoes J. S. Bach and foreshadows the harmonic fantasies of C. P. E. Bach. Dating from around 1720, Hypochondria seems to have been conceived as a suite. The broad Overture shows great contrapuntal skill; the central double fugue is filled with charm and spontaneity. It reminds us that the line diving Sebastian Bach from dozens of “minor masters” is not as distinct as history makes it seem. Two mysteries remain, however. What did Zelenka intend by the title? And why, after writing such a captivating Overture, did he not finish the suite? In the manuscript, the Overture is followed by six blank pages. Perhaps he caught a cold?

(c) Jason Stell