The Write Thing

The key difference between Gibert Jeune and Gibert Joseph lies in the fact that the latter is a wider experience to the thirsty mind. Only a few years ago, to be honest, did Joseph expand its array of books and fanciful stationery (I have fallen in love with oh so many calligraphy sets…) to include DVDs and CDs, in one of the most amazing musical and movie selections ever. Another great thing is that you can even get hold of used items there, which both reduces the budget and expands the opportunity of finding real treasures.

In my life, I have made two wonderful discoveries at Gibert Joseph: Brad Mehldau and Jan Dismar Zelenka. Mehldau happened first, back when he was relatively unknown to the inexperienced Jazz ear. It was on the occasion of the launch of his CD Songs: Art of the Trio III, which remains my favorite by far. I remember ambling around the Classical section of the store, putting on the headphones and transporting myself in time and space into wherever Brad took me. I bought the CD and listened to it hours on end as I was preparing myself for the big test of France.

The second discovery took place much later, in 2005. I was there for work reasons, having long got back to Buenos Aires. I entered Gibert, browsed through the DVDs (which is what I normally do, in that order), and headed for the Classical section at the end of the corridor. At first, I did not notice the peace and the magic around me. It was only minutes later that I was caught into the spell of the wondrous Zelenka. My first guess was Bach, of course. I would have even stretched it to Vivaldi. But there was something that seemed both unheard of and familiar in that work. It was the first time in my life I had felt that ambiguity. I mean, we have all listened to Baroque music, and it seems OK to work, cook, and even make love to it. But this…this was something different. There was a quiet hunger in those sounds.

I went to the counter, for the first time in my decades of music-loving indulgence, and asked the shop assistant to tell me what we were listening to. Zelenka was the name he gave me. I thought, at first, that he might be one of these modern freaks who decide they can compose like Bach. If it was the case, this was a good one, because he even sounded better than Bach — he was different. I decided to buy the set of three CDs with his Orchestral Works.

There are no photographs or drawings of Zelenka. He remains — to this day — an unknown virtuoso. In the 1960s, a group of people with an ear for passion decided to bring him back to life. It turns out to be that Zelenka is, as a matter of fact, a real genius, and musicologists worldwide dare to place him on a same level as Bach. He was probably unlucky, as fortuna does exist, much to the dismay of working souls. Some years from now he will be known for his unique talent. After more than 300 years, there is something new to emerge from Baroque music. Zelenka was just living in the wrong times.

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