Trio Sonata No. 2 in g

Program Note:

Johann Sebastian Bach did not hide his esteem for another musician who merited attention, such as Jan Dismas Zelenka (1679-1745). 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. At the time Dresden had the best instrumental ensemble in Europe, and Zelenka composed daring, virtuosic music for its performers. For many years he assisted J. D. Heinichen, the influential kappellmeister at Dresden. And like Bach, he generally avoided secular vocal composition (i.e., opera) and focused instead on sacred and instrumental music. The brilliance and confidence in his instrumental writing have helped spark renewed interest in his life and works since the 1960s. In fact, the first stirrings of a resurgence may be credited to Smetana, who first programmed Zelenka’s music all the way back in 1863. Thus, once again Zelenka appears on concert programs as one of the brightest lights in the realm of European Baroque music.
As a bass string player himself, Zelenka is always attuned to the lowest parts. His continuo lines are intricate and dynamic, inspiring the treble parts to be even more brilliant. The well-known oboist Heinz Holliger has described Zelenka’s melodic writing as “utopian,” neatly capturing the sense of a man striving for a perfection and originality of sound not widely available at that time. His Trio Sonata No. 2 in G minor for oboes and continuo begins with a wonderful duet for the oboes; note how the second oboe glides into the texture on high sustained D. Zelenka clearly enjoys the opportunity to write close counterpoint between the matching treble parts. The faster second movement comes across much like a concerto with its lengthy, virtuosic episodes for oboes and bassoon sans harpsichord. Lasting seven minutes, it is also much more substantial formally speaking than contemporaneous examples.

(c) Jason Stell