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Philippe Jaroussky Musica Florea Conducted by Marek Štryncl. Live recording on , Festival de Sablé, Eglise de Meslay. Jan Dismas Zelenka (1679 – 1745) Aria V. “En! Pietatis adamas“ from Prolusio of “Sub olea pacis et palma virtutis conspicua orbi regia Bohemiae Corona“ , Melodrama de Sancto Wenceslao . ZWV 175, 1723 . The opus was composed for the coronation of Charles VI in 1723. The work was commissioned in 1722 by Prague Jesuits who were involved in the grand preparation for the coronation act. The composer came to Prague in 1723 to complete, rehearse and perform his work. It was performed in the presence of the imperial couple at the Jesuit Clementinum in Prague in the afternoon of 12 September 1723, with Zelenka himself as conductor. Besides the eight soloists and musicians of the orchestra, a further 142 persons, including dancers and walk-on actors, were involved in that grandiose performance. Vocal soloists were selected from among native Czechs who attended Jesuit schools. This event was probably the social culmination of Zelenka's career, something he had not been able to achieve during is time in Dresden. The composition is a monumental allegorical opus, its character between melodrama, oratorio, stage play and contemporary opera, celebrating the memory of the greatest Czech saint and patron of Bohemia, Saint Wenceslas, one of founders of Czech state, who lived from c. 907 to 935. The libretto was written by Matouš Zill, a member of the Jesuit order in Prague. The drama begins with a dispute between Prince Václav (Wenceslaus) and the Prince of Kouřim in which Wenceslaus wins not by sword but the mind. The principal characters, who are allocated the majority of the musical numbers are allegorical figures that appear throughout all three acts of the drama. There is not any apparent plot in the play, this is rather a work in praise of religious devoutness and fortitude. The work opens with an orchestral Sinfonia scored for 3 instrumental groups comprising two trumpets with timpani, a pair of oboes with bassoon and string ensemble with continuo. The Baroque concertante principle is utilised in several numbers in the score, polyphonic writing is featured in two pieces. In many parts, we can find innovative elements, e.g. the use of cello as a solo instrument (in part no. 28), combination of two concertino recorders with a couple of flutes (in part no. 24), solo part of flute (which was still a very young component in the range of Baroque instruments) in aria no. 33 and chorus no. 36, that combines strict fugal with richly scored orchestral music. The ceremonial character of the composition is emphasized by the use of trumptes and timpani in many parts of the work. Pictures by Wladimir Krivoshey.
