This is a conscious decision to suggest Zelenka's ties to Renaissance polyphony more than to the more colorful effects that he provided with the trombones. As such, it is an alternative to the other recording.
Apart from the obvious differences in the number of singers and size of ensemble, the two interpretations are not much different. Tempos are virtually identical, and both groups appreciate the way Zelenka's music fits into the solemn observance of Tenebræ. Each of these responsories is a meditation on the lamentations and lessons sung by soloists during the course of the office of Matins on the last three days of Holy Week (or commonly on the evening before each day). This is hardly the time for the display that French and Italian baroque composers elicited from the opera singers (unemployed during Lent), who were given solo roles in these traditionally choral parts of the office.
Even so, while Zelenka made use of contrasting tempos and vocal assignments, the solo phrases are never more than a part of the choral texture. This is a valid way of singing the music, enhanced by the eight lovely voices. I only regret that neither ensemble inserted brief parts of each lesson for contrast. JEROME F. WEBER
JAN DISMAS ZELENKA
Lumen Valo vocal ensemble
Alba NCD 14 1-2
1999 - 120:49 min.(2 CD)