Timeless Classics from 18th Century Czech Masters

Music from 18th Century Prague
Zelenka: Sanctus et Agnus Dei
Tuma: Stabat mater
Collegium 1704
Vaclav Luks, conductor
Supraphon

The latest installment of Supraphon's long-running Music from 18th Century Prague series features mostly sacred music by two composers, and an instrumental work by a third. All three share a connection with J.J. Fux, whose highly influential teachings on composition and counterpoint left their mark on virtually all Czech composers of the period.

The album opens with a Stabat mater of Frnatisek Tuma, who spent most of his working life in Vienna, rather than Prague. Written in the stile antico, the Stabat mater follows the ideals of Fux (channeling Palestrina). Tuma's composition is a glorious work of church counterpoint.

Jan Dismas Zelenka was known as a daring and inventive composer. And while that's true of his instrumental music, his sacred works are more conservative, following the guidelines set out by Fux. Still, the counterpoint seems fresher and brighter than that of Tuma, with a strong sense of forward motion.

Johann Orschler's Sonata in F for two violins and basso continuo provide an instrumental interlude between the choral works of Tuma and Zelenka. His sonata sounds Italianate, although somewhat understated in the solo parts.

The Collegium 1704 directed by Vaclav Luks performs these works admirably. The choir's blend is a little sparse, and the voices sometimes have an edge to them. For these works, though, it works. The dense counterpoint of Tuma especially would be muddied with a more homogenous vocal blend.

Vivaldi: Return of Angels

Vivaldi: Return of the Angels 
 Ensemble Caprice
Matthias Maute, conductor
Analekta

“The Return of Angels” is billed as a collection of Vivaldi’s sacred music arranged in an attractive program. The Ensemble Caprice under Matthias Maute perform these works with a lightness and transparency that make for an enjoyable listening experience.

The disc starts with Juditha triumphans, one of Vivaldi’s four surviving oratorios. Originally, this music was performed by girls of the orphanage where he directed the music program. Ensemble Caprice also uses an exclusively female cast, giving the drama a serene, otherworldly feel. By cutting out the long stretches of secco recitative, the Ensemble pares this large work down to a compact and appealing suite.

The motet O qui coeli terraeque serenitas (RV 631) is a study in contrasts, both in vocal style and orchestral writing. Soprano Gabriele Hierdeis floats effortlessly above the busy ensemble, turning in an appealing performance.

In addition to some psalms and the Et in terra pax from the “Gloria” (RV 588), there are also some excerpts from the oratorio Gesu al cavario by Vivaldi’s colleague in Dresden, Jan Dismas Zelenka. Zelenka’s music compares favorably to Vivaldi’s – without looking at the program notes, the casual listener might not hear the difference.

Also included is a Vivaldi concerto for two recorders (RV 566) and another for Trumpet and Oboe (RV563). Both works are ably played by the Ensemble Caprice, and provide a nice contrast to the vocal selections.