Zelenka: Il Serpente di Bronzo (豆瓣)

表演者: Ensemble Inegal
流派: 轻音乐
专辑类型: 专辑
介质: CD
出版者: Nibiru
唱片数: 1
条形码: 8595056601469

豆瓣评分

8.5

73人评价

5星

43.2%
4星

37.8%
3星

18.9%
2星

0.0%
1星

0.0%

想听在听听过

评价:

简介 · · · · · ·

　　Among the Czech composers of the first half of the 18th century, Jan Dismas Zelenka stands out as a personality of truly European dimensions - as regards both his significance and his fortunes. As to his stature he occupies a place next to Each, Handel or Vivaldi, as to his roots he is anchored in his native Bohemia, as to his career and the most productive period, however, h... (展开全部) 　　Among the Czech composers of the first half of the 18th century, Jan Dismas Zelenka stands out as a personality of truly European dimensions - as regards both his significance and his fortunes. As to his stature he occupies a place next to Each, Handel or Vivaldi, as to his roots he is anchored in his native Bohemia, as to his career and the most productive period, however, he belongs to Saxonia.
　　It was as if his career is a composer was only beginning when as a mature man who had just turned thirty he left Prague to serve with the royal court band in Dresden where he then spent the rest of his life. There is evidence of only two works he had composed before he left Prague, though he must have written more there. But he would hardly have reached such a level of accomplishment as a composer without the stimuli offered to him by the eventful musical life in Dresden and by his studies with Johann Joseph Fux in Vienna, studies financed by his new superior. True, in the end Zelenka failed to reach a position corresponding to his undeniable talent. His works, though, were appreciated by all the authorities who came to know him, including Johann Sebastian Bach. Zelenka never lost touch with the Prague scene and so his
　　compositions were familiar in his home country, too. While in Dresden, soon after his death, Zelenka's work became relatively soon well nigh forgotten, in the Bohemian church choirs his compositions could be heard perhaps till the end of the 18th century.
　　Jan Dismas Zelenka's gradual emergence from oblivion can be traced back co the 1830s. On the German side, this slow comeback is associated with the names of music historians and publicists Friedrich Rochlitz and Moritz Furstenau, in the Czech Lands, the first to write about Zelenka, clearly inspired by Rochlitz, was 19th century historian Frantisek Palacky. Later on, Bedrich Smetana himself set out on a journey to Dresden in search of Zelenka's compositions, and thanks to the material brought back from this journey, Prague was able to hear Zelenka's Overture in F major in the year 1863. Yet it took another one hundred years for the true greatness and significance of Zelenka's work to re-emerge. Thanks to musicologist Camillo Schoenbaum, the composer's instrumental works were then published in print. Subsequently, Zelenka's trio sonatas found in Swiss oboist Heinz Holliger an interpreter, whose outstanding recordings helped the half-forgotten composer embark on the road to celebrity. The wave of interest raised in the early 1970s then brought forth a number of research, publishing and recording projects undertaken by musicians and musicologists all over the world. Looking back at those works dedicated to Zelenka's magnificent heritage, one cannot help feeling that Zelenka's own
　　fellow-countrymen still owe quite a few things to their master. Let the present recording, appearing 260 years after the composer's death, be just an installment in repaying the debt.