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American Record Guide: (01/2018) 
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Reviewer: Peter Loewen

Jan Dismas Zelenka (1679-1745) composed his Hipocondrie and Symphony in great haste to meet a deadline—probably for the coronation of Emperor Charles VI as king of Bohemia in 1723. Incidentally, Zelenka’s Melodrama de Sancto Wenceslao was performed on the same occasion. The entire program is fascinating, with a wonderful blend of nearly inscrutable humor and virtuosic genius. But this is often the case with Zelenka’s music. Hipocondrie is certainly a strange name for a concerto, but, as Mathieu Dupouy explains in his notes, hypochondria referred to a variety of emotional states, including melancholy. This orchestral work has the form of a French Overture, which alternates slow processional music in dotted rhythms with a quick B section characterized by imitative counterpoint. The unexpected harmonic shifts between major and minor seem to evoke the meaning behind the programmatic title. The Symphony, on the other hand, is really a concerto grosso for wind and string instruments consisting of a string of dance-inspired movements. The Capriccio is particularly striking for its exuberant rising scales in the oboes, echoed by the violins. The two Trio Sonatas for two oboes, bassoon, and continuo (181:1+2) were composed between 1714 and 1723. They are delightful pieces that display the full range of virtuosic skills the oboists in Dresden must have had. David Walter and Helen Gueuret’s playing is crisp and inventive.

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