Zelenka - 6 Trio Sonatas, ZWV 181. {Autograph score + 4k HD}

Details

Description

#jan #dismas #zelenka #score #sheetmusic #zwv #181
The autograph score of Jan Dismas Zelenka's highly original masterpiece and arguably most famous work - a extremely difficult, virtuosic, but also beautiful set of 6 Trio Sonata's for Violin, 2 Hautbois /Oboes/, Fagotto /Bassoon/ and continuo /Violone/, /Z. 181/ in his catalogue of works.
Almost all of Zelenka's instrumental works were composed in the year 1723, during a visit to Prague "à praga 1723", as Zelenka in most cases signed the autographs of the /Z. 186-189/ set consisting of a concerto in G Major, hipocondrie in A Major, overture in F and simphonie in A Minor respectively - all composed during his visit to Prague whose main purpose for Zelenka was the composition, direction and conducting of his masterpiece, the melodrama "Sub olea pacis", /Z. 175/ for the coronation and festivities of Charles VI as the Holy Roman Emperor. The 6 legendary trio sonatas and the five capriccios /Z. 182-85, 190/ are the exception of which were possibly composed in Vienna, during the years 1717-1718, as the capriccios were designed as representative music to accompany Prince Elector Friedrich August III on his arrival to Vienna from Venice - the /Z. 190/ capriccio in G Major is a autonomous piece, possibly composed as a supplement to the "Viennese" capriccios. It is unknown whether any of his instrumental works were ever composed for anyone or any institution such as the Civic Musical Academy, or the orchestra of Zelenka's former patron, the Baron von Johann Hubert von Hartig to perform.
As for the trio sonatas, they are most probably as a result from the composer’s studies under the imperial Kapellmeister Johann Joseph Fux.
It is worth mentioning that the commentaries of most scholars about Zelenka’s Sonatas mention the influences of Czech /folk/ music. This supposedly involves, for example, the plentifully used
figures of two sixteenth notes and an eight note or of inserted triplets, such as are found in themes of the fourth movements of the First, Second, and Third Sonatas and in the first movement of the Fifth Sonata. Janice Stockigt even describes a polka rhythm in the theme of the last of the movements mentioned. The problem is that these figures either are not unique to Czech music or cannot be documented earlier than to the nineteenth century. Moreover, in spite of its irrepressible spontaneity, Zelenka’s music seems to have little in common with simplicity and innocence, i.e. with the properties attributed to Czech music /whether justifiably or not/.

F MAJOR:
I (I): Adagio ma non troppo - 00:00
I (II): Allegro - 3:19
I (III): Larghetto - 7:59
I (IV): Allegro assai - 11:07

G MINOR:
II (I): Andante - 16:21
II (II): Allegro - 20:09
II (III): Andante - 27:04
II (IV): Allegro assai - 31:01

B-FLAT MAJOR:
III (I): Adagio - 36:36
III (II): Allegro - 39:54
III (III): Largo - 43:59
III (IV): Tempo giusto - 46:43

G MINOR:
IV (I): Andante - 51:41
IV (II): Allegro - 54:42
IV (III): Adagio - 1:00:12
IV (IV): Allegro ma non troppo - 1:03:50

F MAJOR:
V (I): Allegro - 1:12:31
V (II): Adagio - 1:19:23
V (III): Allegro - 1:22:23

C MINOR:
VI (I): Andante - 1:28:53
VI (II): Allegro - 1:31:55
VI (III): Adagio - 1:36:12
VI (IV): Allegro - 1:39:05

Performer(s): https://www.youtube.com/watch?v=ztQzcL7FELs&t=0s