How sensible of Archiv to reissue this fine recording in a two-CD set. Zelenka was a Bohemian contemporary of Bach, Handel and Telemann. He held a post as court musician at Dresden from 1710 until his death in 1745; but he travelled, too, and studied in Vienna with Fux, and also in Italy. These six trio sonatas are the only known chamber ensemble pieces by Zelenka, though he contributed a canon with 14 inversions to Telemann's periodical, Der getreue Music-Meister (1728–9). In five of the six sonatas Zelenka specifies two oboes and bassoon with two obbligato basses whilst in the remaining Sonata (No. 3) he requires the first oboe to be replaced by a violin. Zelenka's ''two obbligato basses'' have bewildered editors in the past. Oboe players will be familiar with the Barenreiter edition which is based on Zelenka's autograph score; but this is misleading in its combining of the two bass parts (bassoon and cello or double-bass) wherever both instruments seemed to have the same part to play. Since that edition was published individual parts. for the Second, Fourth and Fifth Sonatas have come to light making Zelenka's intentions quite clear. These were that two bass obbligato strands should contribute throughout to the texture—the bassoon providing a true concertante with the cello or double-bass combining with the keyboard instrument in the realization of the basso continuo.
The present performances keep to Zelenka's scoring throughout with double-bass and harpsichord the preferred continuo instruments. I was filled with admiration for this playing when the LP album was released some 14 years ago; now, whilst I can and do still enjoy the virtuoso performances of the two oboists, Heinz Holliger and Maurice Bourgue, nevertheless, I find the comparatively strident timbre of modern instruments a little tiring after a while. These artists seem reluctant to reduce dynamic range from a pretty full and well-sustained forte and this is further emphasized by the constant and assertive presence of the double-bass. A 16-foot texture does contrast with the bassoon but often that particular kind of contrast makes no particularly valid point, a cello would have proved equally and at times more effective. But still, this is brilliant and quite stylish ensemble playing which should win over many listeners. The music is seldom dull and, as often as not, reveals a distinctive personality of its own with plenty of barbaric touches doubtless inspired by the folk-music of Zelenka's native Bohemia. Good presentation and clear recorded sound.'