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Thread: C.1704 records zwv12 in 2015!

  1. #11
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    Default Re: C.1704 records zwv12 in 2015!

    Thanks

  2. #12

    Default Re: C.1704 records zwv12 in 2015!

    Finally! Recording of Zelenka's Missa Divi Xaverii has begun! Remembering the concerts with this piece from the last year, we can't wait for the result. Have a look on the video from the recording in the church of St Anne – Prague Crossroads.
    Last edited by kaufen; 16-03-2016 at 09:40 PM.

  3. #13
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    Default Re: C.1704 records zwv12 in 2015!

    Vaclav Luks has told me that this CD will be ready at the end of this year, but will officially appear in February/March 2016.

  4. #14
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    Default Re: C.1704 records zwv12 in 2015!

    CD advertised for sale:https://www.jpc.de/jpcng/classic/det...2/hnum/1042825

    Available 15-2-16

  5. #15
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    Default Re: C.1704 records zwv12 in 2015!

    Quote Originally Posted by Scott View Post
    CD advertised for sale:https://www.jpc.de/jpcng/classic/det...2/hnum/1042825

    Available 15-2-16
    Cool album cover. It's a Nautilus shell on beach sand - nice subtle link to the Indo-Pacific travelling St. Xavier, as well as of course the beautiful golden-ratio spiral reflecting Zelenka's music.

    Can't wait for mine go arrive

  6. #16
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    Default Re: C.1704 records zwv12 in 2015!

    operaplus.cz/jak-probiha-rekonstrukce-zapomenuteho-dila/?pa=1

    ^An article just out (in Czech) written by Václav Luks about his interpretation efforts with the score of ZWV 12. It's almost the same as the section written in the CD book notes. They were excellent, as per usual, as was the music recording from start to finish. Positively glowing with radiant energy and clarity. Luks says that the Benedictus aria was the most difficult because Zelenka's notation isn't entirely clear whether it is a viola or oboe (it starts out in the Alto C-Clef). It's also in B-minor and has lots of sharps, so they chose the Oboe D'Amore, more often heard elsewhere (ie.) in Bach and Graupner) and less so in Dresden. I really love the colour it brings to the Mass however, so I fully appreciate their decision.

    Jan Stockigt did the historiographical notes. I like her speculation that Zelenka was partly motivated to compose such lavish music with the intention of spiritually aiding Maria Josepha's fortunes - The previous heir, Joseph August, had died in 1728, and the only surviving male child, Friedrich Christian was crippled by poor health and lame legs. So, around 9 months later was born a new baby boy prince, which she named Franz Xavier(first name) Albert August Ludwig Benno, in tribute to her Jesuit patron saint, and Saint Benno of Meissen where the family had gone in the past year on pilgrimage. And as a celebration Mass, Zelenka composed Missa Gratias Agimus Tibi (titled 'Promissae Gloriae' in Prague). Stockigt hints that on top of his position as acting Kapellmeister post-Heinichen, perhaps Zelenka felt involved in this fortuitous turn of the Royal family's.

    A truly great few months for Zelenka releases!

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    Last edited by Xanaseb; 25-02-2016 at 05:09 PM.

  7. #17
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    Default Re: C.1704 records zwv12 in 2015!

    Yeah, my CD arrived a few days ago and I have been revelling in it on some long train journeys the last days! Altogether a fine disc, not to mention the cover design and sleevenotes, the latter being particularly illuminating as mentioned by Xanaseb

    Quote Originally Posted by Xanaseb View Post
    So, around 9 months later was born a new baby boy prince, which she named Franz Xavier(first name) Albert August Ludwig Benno, in tribute to her Jesuit patron saint, and Saint Benno of Meissen where the family had gone in the past year on pilgrimage.
    i have to admit I made a double-take here. Was Dr Stockigt implying some kind of divine influence of Zelenka's Xaverian works on the royal pair or maybe hinting at an aphrodisiac effect of his music? Apart from Sancti Josephi it is probably his second or third most romping mass setting (esp. the Gloria), so I am sure it got some pulses racing. Forget Mozart for babies, how about Zelenka for conception?!

    While the details in the booklet were really interesting, I felt they did miss a few things regarding the actual music. For instance, the origin of that great and really quite catchy motif which is worked in various ways into the Kyrie I, Christe and Kyrie II, not to mention the Dona Nobis Pacem. To have such a lyrical theme in the Kyrie is a little bit unusual for mid-career, full orchestra Zelenka - he normally went for a noisy, grand opening. I think he did it differently in ZWV 12 to a request, possibly from Josepha herself. It is possible that she was particularly fond of Zelenka's theme in the Quonium of Missa Circumcisionis Domini Nostri Jesu Christi (ZWV 11) which Zelenka composed a year earlier. The extension of that theme to the ZWV 12 theme in its various manifestations is pretty obvious I think.

    A further, less obvious and maybe rather more speculative aspect is the inspiration for the Benedictus Hosanna fugue. In 1729, shortly before his death, Heinichen composed a rather nice setting of the Magnificat (A major Seibel 90). Towards the beginning the chorus launches into an energetic fugue on the words "et exsultavit" to a theme which bears more than a passing resemblance to Zelenka's ZWV 12 Hosanna motif from later in the year. It is unclear if Heinichen ever heard his Magnificat performed and given his failing health it might have fallen to Zelenka to perform it, or not as may also have been the case (perhaps the Dresden scholars can comment!).

    In any case, I speculate that Zelenka let himself be inspired by this motif of his former superior. Perhaps it was even a subtle nod towards the man who I like to think was also a close friend and collaborator of Zelenka. Very little seems to have been written about the Zelenka-Heinichen relationship, probably because there are no sources which shed much light on it. However, one simply has to compare the music of both men and one can see that these two were very much on the same wavelength. I dipped into a lot of the recorded Heinichen (sadly not enough) in recent months and was quite startled to find that several characteristics I considered as "Zelenkanisms" repeatedly crop up in Heinichen's music too. I mean, major/minor switches, sudden harmonic shifts (some even more bold and dramatic than the most scary Zelenka ones actually!) and also handling of the orchestra, not just as a bland accompaniment to the vocalists/choir but also bringing colour and energy. Of course there are differences and things which remain more unique to Zelenka - the use of syncopation, the dotted rhythms, the dark tones. But anyway, after this foray into Heinichen I ask myself the question - who actually influenced who? Or did they develop this style together? Certainly I think the evidently very devout catholic Zelenka might have been a useful religious guide for the lutheran Heinichen, advising him on appropriate settings of the catholic liturgy. On the other hand, Heinichen, I personally believe was up there with Handel and the other greats regarding showstopping vocal lines and this might have helped Zelenka learn the ropes in the opera department.

    Well, perhaps the Zelenka researchers can shoot down or otherwise comment on this Heinichen relationship thing. Or maybe it was already discussed in this forum but I did not find it. In which case, sorry.

    The second work on the new disc, the Xaverian litanies is also a premiere recording and a fine work. The setting for orchestra and a pair of horns is again very reminiscent of Heinichen and again I am wondering, given the Kappelmeister's death earlier in the year, and the fact that there does not seem to have been a setting of the litanies performed in 1728 (scholars, please correct me if I am wrong) whether Zelenka actually partially based his setting on sketches from Heinichen. Especially the opening section and quite brilliant alto aria "Cujus potestati" (totally nailed on the disk by Lucile Richardot) seem a little atypical of Zelenka of this period.

    Well, lots of speculation inspired by this fine disc - a perfect yin to complement the definitive yang of the recent Vespertini I disc from Inégal!

    - RNKT
    Last edited by rnkt; 26-02-2016 at 01:00 AM.

  8. #18
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    Default Re: C.1704 records zwv12 in 2015!

    Quote Originally Posted by rnkt View Post
    i have to admit I made a double-take here. Was Dr Stockigt implying some kind of divine influence of Zelenka's Xaverian works on the royal pair or maybe hinting at an aphrodisiac effect of his music? Apart from Sancti Josephi it is probably his second or third most romping mass setting (esp. the Gloria), so I am sure it got some pulses racing. Forget Mozart for babies, how about Zelenka for conception?!
    Haha, yes!

    Great thoughts on Heinichen-Zelenka. I've yet to give a proper listen to his stuff, but I have given a good read of a thesis on his Vespers music by Dr Margaret Williams, which I recommend if you want to delve into his musical history. Amazingly, the whole thing has been uploaded for free access via the University of Bristol website, with all her editions of his Magnificats (8!), Psalm settings, Hymns and Marian antiphons.
    I totally agree that they rubbed off on each other, and they did miss an opportunity to mention that on the sleevenotes. Zelenka's music reaches a stage in 1729-33 where his musical language sits/flows very comfortably and naturally (to my ear anyway!) - qualities admired and advocated by Heinichen in his writings (he calls it "good taste" in Der General-Bass in der Composition). I think this is no coincidence. It's as if Zelenka absorbed style from his former colleague. Now what about hearing Zelenka in Heinichen's music? It's something that calls out to be looked into. Liturgical & theological advice, indeed! Something that struck me from Dr Williams' thesis is that Heinichen's hymn-settings were all written contrapuntally and with a more antiquated feeling to them. She does say however that they all have a Baroque focus (so, concentrated on harmonic progression/direction) and don't have the cross-rhythms which we see in the Rennaisance/Early Baroque era (and in Zelenka's own music!). But what about Heinichen's spirited fugues?..

    Now:
    Well, perhaps the Zelenka researchers can shoot down or otherwise comment on this Heinichen relationship thing. Or maybe it was already discussed in this forum but I did not find it. In which case, sorry.
    I think djdresden will have something to contribute here. A number of times he's referred to a document discovered from 1728 which shows the reverence felt towards Zelenka by Heinichen! I guess that it'll be covered in the upcoming publications.

    As for the motif-inspirations, I think you're on to something. I even hear it in the lilting Sancte Francisce (I&II) horn-arias in ZWV 156, and the little two-horn flourish in Gloria Societatis Jesu (something you hear almost exactly in ZWV 177 "Cosi per la foresta" Amore's first aria). Or maybe all the wonderful Dresden horn music from the time sounds similar... Either way, I think there was a lot of musical influence from Heinichen on Zelenka.




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    Last edited by Xanaseb; 27-02-2016 at 12:22 PM.

  9. #19
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    Default Re: C.1704 records zwv12 in 2015!

    Amen to all above. And I’d like to think that Zelenka also had an influence on Heinichen. While the latter had much to give to the former when it came to sharing his experiences from his Italian soujourn and studies with some of the Italian masters, Zelenka would have shared with Heinichen his experiences of learning under Fux, and the finer details of the sacred music traditions of the Habsburgs. Heinichen must have thought well of Zelenka, with the former suggesting that the latter should receive a payment rise of 50% in 1728, see my article on the secular vocal collection of Zelenka, and my forthcoming aricle in the Prague conference proceedings, where this document will be published in full for the first time.

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