TOMÁŠ ŠELC & JANA SEMERÁDOVÁ

In the music of Jana Dismas Zelenka, Tomáš Šelc seems to have found where he is most immanently at home. Therefore, the choice of Zelenka for his Supraphon debut was clear, just as was his collaboration with the renowned ensemble Collegium Marianum and its artistic director Jana Semerádová, who contributed a recording of a flute concerto by Giuseppe Tartini to the album’s programme. Before the issuing of the album Lacrimae, we asked both protagonists some questions.

What particular elements in the music of Jan Dismas Zelenka’s music appeal to you the most?

Tomáš Šelc: I see Zelenka’s music as a fascinating bridge between Baroque precision and profound emotional expression. His music inspires me with its original harmony and ability to arouse the deepest emotions within me. For me personally, Zelenka represents a challenge for finding the limits of my voice—his works make use of every bit of my vocal tessitura, and that always pushes me to within a step of my own limits.

Jana Semerádová: I deeply experience every encounter with the music of Jan Dismas Zelenka. Despite having been involved with his sacred music since the very beginning of my artistic career, I am always finding something new in his distinctive, highly expressive, and often technically difficult style.

And I get this feeling not only when performing Zelenka’s music, but also when copying it out from his own manuscripts, which are difficult to read. It is no coincidence that we and the ensemble put all of our ability and all of our hearts into performing and recording Zelenka’s Sepolcro and Lamentations.

What was the process like to prepare for your new album?

Jana Semerádová: It was Tomáš Šelc and his performance of Zelenka that absolutely thrilled me a few years ago, and that gave birth to the idea of recording his special approach to these highly personal compositions. It is like when you hear Tomáš’s interpretation of Zelenka’s Salve Regina, Lamentations, and Confitebor, his honest, heartfelt singing gives you the feeling that he must have been alive in those days, that he must have even met Jan Dismas, and that through his singing and declamation he is passing the composer’s message on to us… Perhaps it is the cry “Ad te clamamus”, an urgent plea to be heard, which is common to all three compositions. Or is it the words of consolation and hope that crown the conclusion?

Tomáš Šelc: Whilst working on the album Lacrimae, we focused on Zelenka’s liturgical compositions for solo bass, which reveal a unique link between dramatic expression and spiritual humility. The title, meaning “Tears”, refers not only to the psalm texts, but also to the emotional fragility we wished to emphasise in our interpretation. At the same time, we wanted the tears to be symbolic not only of sorrow, but also of ablution, reconciliation, and hope.

Jana, what is your view of Giuseppe Tartini’s music?

Tartini’s concerto is in G major, an amiable, radiant key, and the soaring flute solo accompanied by velvety violins creates something like a counterbalance to the “vale of tears” sung about in the compositions for bass. As was Tartini’s habit, again in this concerto he added an inscription of a motto to the slow movement: “Se per me sentite amore”, to which the flute responds with an ornate, hope-filled song of praise. Tartini played his concertos from the choir loft during Mass to the greater honour and glory of God; so just like Tomáš in Zelenka, I too would like to express my innermost feelings, cries of sorrow and also of joy, through this concerto, which is one of my most beloved.

Tomáš, how was collaboration with the ensemble Collegium Marianum?

The collaboration was intense and enriching. I appreciate their historically informed interpretation, colourful sound, enthusiasm, and the incredible musicianship of all of their members under the leadership of Jana Semerádová, who is the heart of the ensemble.