Bach's contemporary and friend, once-famous Jan Dismas Zelenka (1679-1745) isn't on top of the hit parade these days, especially in the U.S., except in Chora Nova programming. Paul Flight's 60-voice chorus is dedicating its next concert — on May 24, at First Congregational Church of Berkeley — to Zelenka's choral music, calling the event "Prague Baroque."
On the program: Zelenka's Litaniae de Venerabili Sacramento (Litany of the Venerable Sacrament), Regina Coeli, De Profundis in D minor, and Gloria from Missa Dei Filii. The chorus will be joined by soloists Jennifer Paulino, soprano; Clifton Massey, alto; Mark Bonney, tenor; and Sepp Hammer, baritone. A Baroque orchestra is accompanying the singers, using period instruments, including the sackbut (the predecessor to today’s trombone).
Born near Prague, Zelenka moved to Dresden in his early 30s and spent nearly all his remaining life there. His choral and instrumental compositions were daring for his time in harmony, rhythm, and overall structure, and they earned the well-documented admiration of J.S. Bach.
But Zelenka, who specialized in Roman Catholic masses and other sacred forms, fell out of initial favor with his financially important royal patrons when their tastes turned to more fashionable opera. Many of his compositions were neither published nor performed during his lifetime, and a revival of interest in his work did not begin until the mid-twentieth century. It continues, but nearly half of his surviving compositions remain unrecorded.
The concert selections highlight Zelenka’s many strengths: the counterpoint reminiscent of Bach, the cliff-hanger dissonances preceding churchly "amen"s, the surprise transitions from one key to another, and rhythms ranging from the stately to almost jazzy.