Bladmuziek
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Around 1721 or 1722 Jan Dismas Zelenka (1679-1745) wrote out a score containing six pieces which later became known as 'trio sonatas'. Zelenka himself, however, did not use this term; the pieces either bore no title at all or were called simply 'sonata' or 'suonata'. This 'neutral' term suggests that these works do not easily fit, neither in their formal design nor in their formal texture into the standard concept of a trio sonata, a concept which encompasses two melody instruments and a supporting bass part and which is, as such, historically questionable. Among the standard form and genre terminology one persues in vain to properly label many works or single movements.
These trio or 'quadro' sonatas first appeared in print three decades ago in the series Hortus Musicus, edited by Camillo Schoenbaum. This pioneering publication ushered in the 'Zelenka renaissance' of the present day, and its lasting merits are not diminished by the objections which from todays point of view have been levelled against the publication. Schoenbaum based his work primarily on the at times barely decipherable autograph score, but failed to give proper attention to the original sets of parts which exist for three of the sonatas. It is for this reason that the publisher has decided to issue a new edition of these six sonatas. Although two editors are responsible for the separate sonatas - Wolfgang Horn for nos. 1, 5 and 6, and Wolfgang Reich for nos. 2, 3 and 4 - they strove to find common solutions with regard to principal editorial questions and most problems of detail.
The character of the sources however prevented in many cases decisions modeled after a set scheme. The situation regarding the sources would seem to be unproblematical at first glance. There are only two authoritative sources: the autograph full score (in the music division of the Sächsische Landesbibliothek, Dresden, Mus. 2358-Q-1) and the original parts to sonatas nos. 2, 4 and 5 (Mus. 2358-Q-3). However, serious editorial problems arise from the discrepancies between score and parts. For example, the set of parts for sonata no. 2 contains a variant part for 'violone ò basso continuo' in addition to the 'fagotto concertato' (concertante bassoon) written in the score. At no point in the score is there a reference to this variant part. Moreover, compared to other baroque sources, both score and parts have a relatively large number of marks for dynamics and articulation which frequently, or seemingly, give rise to inconsistencies and discrepancies.
The relation between the sources and the musical text presented in this volume is discussed for each sonata in a detailed 'critical commentary'. This edition is intended to place the essential work of analysis and interpretation of these pieces on a sound scholarly foundation. It does not presume, however, to remove the ultimate responsibility for their interpretation from performers and analysts. Special attention should be given to the directions for scoring the continuo part. Zelenka indistinctly specified 'violone ò basso continuo' for the bass part of sonata no. 2 and 'violone ò tiorba' for those of nos. 4 and 5, where 'ò' should be understood in both cases to mean 'and'. The latter direction, though probably what Zelenka ideally had in mind, is difficult to fulfill today. We have therefore realized the figured bass of this sonata for harpsichord.
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HM275
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0
9790006005154
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45458
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