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Hyperion Records

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Augustus Bridge and the Church of Our Lady on the bank of the River Elbe, Dresden (detail) (1748) by Bernardo Bellotto (1722-1780)
AKG London
Track(s) taken from CDH55424
Recording details: March 2002
Air Studios, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: March 2003
Total duration: 18 minutes 46 seconds

'Constantly fascinating to listen to. Especially when performed as beautifully and with such evident care and affection as it is on Robert King’s new CD … Zelenka’s curious music could scarcely have better advocacy' (Gramophone)

'Performances are sensitive and stylish in ways that we have come to expect from this group' (BBC Music Magazine)

'Robert King and his period forces give performances it would be hard to beat' (The Daily Telegraph)

'Robert King with his King’s Consort and Choir directs performances both moving and exhilarating' (The Guardian)

'A really first-rate release' (International Record Review)

'The performance is outstanding, capturing the startlingly original nature of the piece with singing and playing of such vitality and commitment' (Fanfare, USA)

'This CD of Robert King's stands high on the list of the best recordings of Zelenka's sacred music … for the characteristically exceptionally committed and supremely well-executed performances' (Goldberg)

'Eloquently presented by King and his first-rate accomplices' (Music Week)

'All of the soloists deserve special mention for sensitive performances that are appropriately expressive and that add essential individual color … you must get to know this wonderful and very deserving composer' (ClassicsToday.com)

Salve regina, mater misericordiae, ZWV135
composer
September 1730; Zelenka's arrangement of an anonymous original
author of text
Antiphon to the Virgin Mary from Trinity until Advent

Introduction  EnglishFrançaisDeutsch
The Marian antiphon Salve regina, mater misericordiae in A minor (Z135) was completed in September 1730. In the catalogue of his works, Zelenka entered the work as his own but in fact it is an arrangement of an anonymous piece which he had copied back in 1719. In the original version the voice is accompanied merely by two solo violins; in Zelenka’s arrangement the accompaniment is shared by a concertante flute, oboe and violin (muted in the first movement), and at times a larger ensemble. The result is a generously scored and substantial solo motet of five movements whose fine, elaborated composition is very much shaped by Zelenka’s personal style, especially in its splendid quirks of orchestration.

from notes by Peter Wollny © 2003
English: Viola Scheffel

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