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Hyperion Records

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A procession of Swiss guards after Cuyck (1752).
The Trustees of the British Museum
Track(s) taken from CKD415
Recording details: August 2011
National Centre for Early Music, York, United Kingdom
Produced by Philip Hobbs
Engineered by Philip Hobbs & Robert Cammidge
Release date: September 2012
Total duration: 16 minutes 14 seconds

'The Ensemble Marsyas impresses me with their nimble fingers in the breakneck Sonata No 5, but it's the group's nuance that's transfixing. When textures become sparse, delivery intensifies; when the line expands, the tempo stretches; when counterpoint thickens, articulation is leavened. The players are audibly intelligent, at once humorous and illuminating. Non-interventionist engineering shows that less can be more when the artists are first rate … the players combine wit, taste and an earthy Bohemian wink to win the heart' (BBC Music Magazine)

Sonata in F major, ZWV181/5
composer

[Allegro]  [6'51]
[Adagio]  [3'06]
Allegro  [6'17]

Introduction
The parts for Sonata V in F are for two oboes (Hautbois 1 and Hautbois 2), bassoon (Fagotto), and a bass which could be played either by a violone, or a theorbo (Violone ò Tiorba, an instruction also seen on the bass part for Sonata VI). It is notable that a keyboard instrument is not specified for any one of Zelenka’s instrumental works, and figures on the bass line of the sonatas are either non-existent or sparse. Sonata V is the sole example among the six to be modelled upon the Vivaldian concerto structure: slow-quick-slow, and Zelenka’s use of ritornello form in the outer two movements could be seen as his homage to the Venetian master. The ritornello of the opening movement – a theme played in unison with reference to the polka rhythm – exhibits great strength. A series of harmonic surprises characterize the beautiful arioso-like slow movement, while the final Allegro which opens with a three-part fugal exposition, contains lengthy solos of intricate passage work that require extraordinary technique from each player.

from notes by Janice B Stockigt 2012

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