View Full Version : Second year of Zelenka Festival Prague, 13-16 October 2015

24-09-2015, 09:28 AM
This will be the second year of the Zelenka Festival Prague, 13-16 October 2015.

See http://www.zelenkafestival.cz/en/program/

Part of this (15 October) is a one-day meeting on Zelenka, with the foremost experts!

See http://www.zelenkafestival.cz/en/zelenka-conference-prague/

This was announced rather late, but I hope that some of you can be there!

02-10-2015, 12:08 AM
Sounds brilliant! Maybe there'll be some great surprises in store. Fingers crossed for a third year too :)

02-10-2015, 06:59 AM
As a follow up on Alistair Kidd’s announcement of the Zelenka Festival Prague 2015, I am hoping that the many readers of the Forum will join us for what promises to be a great time in the Czech capital. The programme looks very exciting and indeed, there is a nice surprise in store for those who will attend. It will also be interesting to see what the speakers at the conference will reveal, following their research on all things Zelenka.

With your support, this festival has the chance to grow into something truly special. So see you there!

07-10-2015, 10:52 AM
I am unable to go, so hopefully someone might report back.

07-10-2015, 01:17 PM
can somebody tell me about conference? I really need some infomation *maybe somevhere iv a texts of this findings, or maybe somebody will make video of this conference?

09-10-2015, 06:45 PM
Unfortunately I have teaching duties on these days :-( Maybe next year? (Fingers crossed something like this will be organised next year ;))

13-10-2015, 04:01 PM
My ramshackle translation of the press-reveal was slightly off - see djdresden's 23/10/2105 posts, found in this thread, describing the festival & conference

'unknown' should have been 'unheard'; the '3 weeks' was reported incorrectly.

I apologise for stirring up the extra-excitement!! ;) :o

OK - I think the main surprise has been revealed!
This sounds SUPER-exciting!:


Adam Viktora:

"...in case this wasn't enough, we've prepared a stunt in the form of a few world premieres of pieces by Zelenka [previously] totally unknown [EDIT: unheard], and even of one which, up till 3 weeks ago, was considered lost. At which concerts these will occur, we have left for our visitors as a surprise."


Sebastian {definitely wishing that he could have come along...}

14-10-2015, 09:23 PM
Intriguing .... they've unearthed the requiem he wrote for his dad perhaps?

15-10-2015, 12:03 AM
It's tempting to speculate!!

A significant 'lost' work could also be:

- 'Via Laureta' School play of 1704, Zelenka's earliest known piece (the text exists) which is Collegium 1704's namesake.
- A concerto? Zelenka's comment found with these might suggest that we don't have all of the ones he wrote 'in haste' in Prague 1723.
- ZWV5 Missa Spei, the only one out of the '21 Masses' unnacounted for. (But there is also the intriguing Missa Theophorica ŕ 2 Cori which he clearly lists in his Inventarium as his own)
- The last remaining Magnificat, ZWV106? In the Inventarium it's listed as 'ŕ 5' (2 Sopranos) in A minor

Then there's the many many other 'missing' possibilities, especially Psalm settings (would be nice to have the Vespers cycles more complete), Marian antiphons, hymns and motets.

Only time will tell! (And I guess, not too long at all)


16-10-2015, 09:54 AM
Oh boy! Can't wait for more info!

19-10-2015, 09:21 PM
No news?

19-10-2015, 10:38 PM
We can only wait in anticipation!
I've been Google-searching "Jan Dismas Zelenka" on 'Last 24hrs', at least a few times everyday ;)


19-10-2015, 11:30 PM
... presumably there are reviews of the concerts in the Czech press. There must be some Czech-speakers on this forum who can sniff them out?!

22-10-2015, 08:33 PM
Was there *really* a Zelenka Festival and Conference last week or did we just dream it? Considering the lost-manuscripts hype in the run-up, the subsequent media blackout is rather odd.

23-10-2015, 08:39 AM
I will ask the conference organizers whether a press release has been issued and whether materials of the conference could be made public.

23-10-2015, 11:57 AM
Fellow Zelenkians: finally here’s my report of the Festival that was held in Prague last week. Please accept my sincere apologies for not having posted earlier and having kept you waiting for further news. After my return to Iceland earlier this week, and the workload that did await me, today is the first opportunity I have to write up what took place.

Since this website does not allow for posts over 10000 characters, my report is in two parts, first the concerts and later the conference.

The first concert saw the fine Italian countertenor Filippo Mineccia sing the motets Solicitus fossor and Barbara dira effera. The highlight for me was the modern premiere of Zelenka’s secular motet Qui nihil sortis, which Mineccia sang with Gabrieal Eibenová. Once again Zelenka took me by complete surprise – the motet was a pure opera duet, and an absolutely brilliant one, with concertante solo parts for oboe, bassoon and cello. It is one of the most pleasant Zelenka works in his canon, and urgently calls for a recording.

In the second evening Ensemble Inégal played with modern instruments. This might bother some but not me – when I arrived at the concert I had completely forgotten they intended to this and frankly I did not notice until the second part of the concert because the music was so well played. As in the previous night the orchestra was in excellent form and they had the phenomenal horn player Radek Baborák playing the most difficult horn parts. He did well.

The highlight this evening was the first performance in modern times of three works: two Ave Regina settings from 1737, ZWV 128, nr. 5 and 6, both in the edition of the Australian Zelenka scholar Fred Kiernan, who is the student of Janice Stockigt. The first setting was a short choral piece, but the second, with three soloists and choir was truly brilliant, and resembled some of the music and thematic material used in the vocal trios of the late masses.

The third vocal work was the one which had been announced as the newly discovered piece. There was a misunderstanding in Adam Viktora’s interview which had been cited here in the Forum: he said that it had been found only three weeks ago but this is not correct. While doing research in the Dresden library (SLUB) in 2013, I ordered a piece of music which in the card catalogue had been attributed to another composer, because I found the name and this attribution to be somewhat dubious. And indeed, inside the envelope I received were unknown materials in the hand of Zelenka and some of his copyists. I instantly suspected that I had found at least one of the missing Zelenka hymns. A few months later, Jan Stockigt confirmed my suspicions on our visit to the library. The hymn, Iste Confessor ZWV 236, was then edited for performance by Fred Kiernan. Hearing this little hymn was a nice moment for the three of us. I do not wish to go into further details, because Jan Stockigt has written an article about this discovery, and this will be published soon. I ask for your understanding and patience. But the great story is, that there is still hope in finding unknown, or missing works of our composer.

The last night of the Festival saw Ensemble Marsyas perform three of Zelenka’s Trio Sonatas. This was an elegant reading of these ever fascinating works. I especially liked the tempi – the music did breath in a very natural way. This was a fitting end to four days devoted to our composer. All this was made possible by Adam and Gabriela. Their devotion to Zelenka is admirable. And this is just the start. Make sure to book your tickets in advance for next year.

23-10-2015, 11:58 AM
The conference was held on Thursday. It was dedicated to the memory of Dr. Wolfgang Reich, who passed away in the summer. Before the papers were given, Jan Stockigt and Wolfgang Horn spoke about their friendship with Dr. Reich.

In my paper I gave some of the worst examples of the commonly held view, i.e. the myth that surrounds Zelenka, namely that he was a miserable low life creature at the court of Dresden. It is quite easy to dismiss the things that have been written about his personality, because there are no contemporary sources to back up all the bullshit (pardon my expression!). It was somewhat typical that the day before I gave my paper, I received a google-alert about a short piece in the New York Times on Zelenka, who was described as being an unhappy and unpleasant guy... Ah, OK! Anyway, those who have read some of my posts in the Forum know my strong feelings on this issue. My point is, we can all speculate till kingdom come about what kind of a person he was, but this should be kept out of professional discussion. But old habits die hard, and in the general discussion at the end of the conference, one attendee said that because Zelenka’s late music was so „melancholic", he must have had a „dark side to him”. How can one respond to such personal perceptions in a scholarly debate? Ah.. erm… is it possible that he had „a bright side to him?!” We simply do not know, and this kind of talk will get us nowhere – all it has done is to damage to the reputation of Zelenka’s personality. The purpose of my paper was really to address this situation, and the reaction I received afterwards from some of the Czech’s in attendence was both heartfelt and touching. They are (at least some of them) truly grateful that someone is now finally speaking up for their composer.

I discussed at length the circumstances leading up to Zelenka’s petitions for the post of the Kapellmeister. I presented a document from 1728 which shows the high regard Heinichen held Zelenka. I gave examples of Zelenka's co-working relationship with Hasse in the 1730s, and I argued that the 8 Italian arias of 1733 were composed as gratuation pieces for the young Italian operas singers that arrived in Dresden in 1730 and also the Bohemian bass singer Rietzschel (see also my article on Zelenka’s Secular Vocal Collection in Studi vivaldiani, 2013). These were all students of Zelenka. Finally, I discussed his activities in the 1740s and his role in compiling one of the key royal catalogues post-1743, and the reaction to his death in 1745. My conclusion is that Zelenka was highly regarded at the court of Dresden, and this can now be backed up by several new sources.

Jan Stockigt gave an important talk on the same notes as in Southampton in 2012 (see the relevant thread) and backed up my conclusions. She also discussed the Vesper psalms cycles of the 1720s, the first of which Adam Viktora and Ensemle Inegale has just finished recording for the next release on Nibiru. Jan is of that opinion that the great quality of these works has until now been generally overlooked by orchestras and in the literature (except in her own writings – she has long campaigned for the performance of these psalms), compared to the great works of the 1730s and 40s. The new CD should be out before Christmas.

Wolfgang Horn, one of the great scholars on the music of the Dresden church and a true pioneer when it comes to the study of this music, spoke about the rich diversity of the arias found in Zelenka’s music and especially their relationship to the music of Hasse. Having Horn back at the Zelenka research table is one of the great things that came out of the Festival in my opinion, and Adam Viktora should be thanked especially for this. Horn has much to give, he is extremely passionate about the music of Dresden from this period, and his understanding of the musical sources is second to none. After one the concerts I had the pleasure of hearing his extraordinary account of how he, as a young student in West Germany, went about to aquire microfilm copies of music from the Dresden libary, which then was of course in East Germany, at the hight of the Cold War. Through his hard work and great determination Horn was then able to publish one of the key books on the repertory of the Dresden Catholic court church in 1720-1745. I must add, that I do not agree with his opinion on Zelenka’s personality/status at the Dresden court – but I hope that now he has seen and heard of some of the new sources he might reconsider and reassess his earlier held views.

Claudia Lubkoll from the SLUB in Dresden spoke about the watermarks found in the autographs of Zelenka’s sacred music. This was an interesting paper which, for example, showed the various paper types used by Zelenka in one and the same work, revealing the different compositional layers. It is to be hoped that she will now incorporate the secular music into her findings, and then we have an invaluable tool for the research of Zelenka’s music, when it comes to dating some of the more problematic works, for example the Trio Sonatas.

Michaela Freemanová discussed the incerts of two of Zelenka’s motets, Solicitus fossor and Barbara dira effera, into Leonardo Leo’s oratorio Sant Elena al Calvario, which was performed in the Clementinum College in Prague in 1734. This was an important paper based on Freemanová’s co-written article with Jan Stockigt about this topic, which has just been published by Hudebni veda, the Czech musicology journal.

Karel Veverka spoke about the musical patronage of Jan Hubert Hartig, the former teacher and employer of Zelenka in Prague. It is well known that this Hartig was considered to be a great musician, who corresponded with many of the great Italian composers. He had an extensive and a famous musical library, which Zelenka had access to. Veverka has published an article on Hartig, which I think appears in the same issue of Hudebni veda, see above.

Jana Vojtěšková from the National Museum – Czech Museum of Music, gave a great paper which listed for example all the known Zelenka scores now kept in the Prague libraries and archives. She also discussed the revival of Zelenka’s music in Prague in the 19th century and argued that it was not Smetana who was responsible for the famous performance of one of Zelenka’s works in 1863, but rather, that he was acting on the wishes of other Czech’s, when he travelled to Dresden to aquire copies of Zelenka’s works from the then royal library. It is to be hoped we will hear more from Jana, whose knowledge of the sources in the Czech lands is unsurpassed. She presented a nice little new Zelenka document – a little slip of paper with Zelenka’s autograph and the date 7 January 1726, which is kept in a autograph collection in Prague.

The best paper was saved for last. Fred Kiernan gave a truly masterful presentation of his current research into the reception of Zelenka’s music in the 19th century. In short, he has found countless previously unknown 19th century manuscript copies of Zelenka’s works in libraries all over Europe and the US. What this tells us is, that already very early in that century, some of the great collectors of that time were actively trying to aquire the music of Zelenka, and that it was widely performed by some of the key musical societies that were dedicated to the music of the earlier times. It also tells us that the Zelenka’s music was really never forgotten as is generally believed – it was always being collected, performed and studied, all the way from his death and until our times. Fred has just begun to dip into a world which is still being discovered: this is the topic of his doctoral thesis and is due for completion in 2017.

The precedings of the conference will be published. Further information will be given here when things become clear. But I have to say that we were all surpised by the great attendence to the conference. People came from all over the world, some even at very short notice, like Maria from Moscow, a Zelenka lover and choral director, who has performed his music in the Russian capital, and is currently working on a study of the masses. She flew in for only one day!! Wow. That is a true commitment to the cause. It was fantastic to meet such passionate lovers of Zelenka’s music, and we had many reasons to toast the old Bohemian afterwards.

23-10-2015, 01:07 PM
But the great story is, that there is still hope in finding unknown, or missing works of our composer.

... And this is just the start. Make sure to book your tickets in advance for next year.

It was so great to hear all this, thank-you, thank-you :D

It seems that the festival has totally met its goal to open up more interest and inquiry. The next pages for the book of Zelenka are there to be filled, and there is much scope & hope for the future.

Sebastian :cool:

23-10-2015, 03:59 PM
Many thanks for sharing this

23-10-2015, 08:50 PM
For the fantastically comprehensive write-up of last week's events we are truly indebted - thanks so much djdresden!! It's great to hear that Zelenka research is making leaps and bounds thanks to a truly international effort, no less. Specifically, it is nice to hear that you are tackling the "miserable old bastard" myth head-on. While I never really believed it because I know his music so well (how could a miserable old bastard compose such music?!) I am still at two minds as to whether the myth helps or hinders an increasing (public) awareness of Zelenka's work. Afterall, everyone loves an underdog and since we don't have his mugshot and we know not so many personal details about him, I think it is quite important for modern audiences to have some kind of human link to him. So, the myth that he was bitter about being repeatedly shafted by his superiors propagates extremely easily and captivates people much more than a simple "we know s0d all about him but he wrote brilliant music". That is why the work you are doing to uncover the real conditions and environment (which I guess we assume, since he was in Dresden for so long, shaped his personality in a major way) is so so important. I hope that some key online sources of information (where concert planners get ideas for their programme notes) will be updated. For example, how about a short section entitled "Myths about Zelenka" on the Wikipedia page (which anyway seems to include some factual errors e.g. the replacement of Zelenka by Bach as church composer!!!) along with a summary of the latest research findings which you have mentioned?

It is also fascinating to hear about the 19th century interest in Zelenka. Nevertheless, one can muse on why a large-scale Zelenka revival like the Bach-revival did not occur. As a keyboard player (see my other thread on my Zelenka keyboard project) I think the complete lack of Zelenka keyboard music probably can account to a certain extent for the only smaller-scale interest. On this point I am curious if researchers have found any 19th century keyboard transcriptions of Zelenka's work?

Thank's again for your inspiring write-up (also of the 3 concerts which sounded awesome - I've just bashed through that duet "Qui nihil sortis" from the autograph and it is indeed a gem and long overdue a recording!)


31-10-2015, 07:35 PM
Thank you guys – I am pleased to be able to rant and rave here about this topic which is so close to my heart, and to use foul language which is not allowed in the academic world or from the podium. I understand the point rnkt makes, about the "myth as a phenomenon" and how it can stimulate interest amongst the public: this was indeed one of the things that Jan Stockigt and I did discuss few years back, when we realized to our horror that things were not quite right when it came to the standard image of Zelenka. I had actually forgotten about our correspondence when it came to this, and when I revisit this now I see that we were wondering if the word „misinformation", instead of myth, would be more appropiate to describe the situation with Zelenka.

In general, I would have no problems with a „Zelenka myth”, let’s say if the composer was blind, had a wooden leg, or if he had a hook instead of a hand, just to take an extreme example, or if it was based on some factual evidence – I hope you know what I mean. A classic example is the „Beethoven myth”, which „...was helped by Wagner’s influential monograph of 1870, written for Beethoven’s centenary, in which he glorified Beethoven’s deafness as a trait of enhanced interiority — the deaf composer forced to listen inwardly. The turn inward is a leading characteristic of 19th-century subjectivity; in this cultural field, Beethoven’s deafness was initially understood as the tragic plight of the suffering artist and then as the guarantee of interiority, the sine qua non for the production of the highest art. This view reached its summit in the treatment by J.W.N. Sullivan, writing in 1927, for whom the late-period music marked a synthesizing vision of life in which all suffering is subsumed, ‘a final stage of illumination’ in the composer’s spiritual development.” (See the entry on Beethoven in New Grove).

Fortunately, the Zelenka myth/misinformation transmission is a recent phenomenon and it has not been allowed to fester for too long. It all began less than 30 years ago and can be traced directly to an explosive article published in 1987: this is the late Dr. Reich’s oft cited study „An unbeloved composer?”, which literally was a nuclear bomb thrown into the tranquil world of Zelenka. This is an extraordinarily pessimistic read, where every source and situation is interpreted in the most negative way possible for our composer, in order to create the romantic image of the suffering genius. We must, however, remember that Dr. Reich’s article appeared at a time when Europe was divided and when the idealogical battle between East and West was being fought on many fronts, and also in the literature on music. In DDR times everything that was royal, and that includes Zelenka’s employers, was considered decadent (check this DDR TV series out, it’s GROSS: https://www.youtube.com/watch?v=di6ruFiQBXA – I bought the 6 DVD set but it made me puke: to see all the truly great great men that ruled Saxony in the 18th century portrayed as freaks), and one has to partly judge Dr. Reich’s writings from this viewpoint. Also, we now have found new sources which Dr. Reich did not know about at the time, which refute some of the things he was saying. Dr. Reich’s biggest fault lies mainly in two things in my opinion. First, he did not discuss and assess the sources available to him in the necessary context. Second, and this is the more serious thing, his article was self-published and it did not go through the all-important peer-review-process. I know at least two musicologists who cited his article – without any questions or criticism – and now deeply regret having done so, knowing that the article was not reviewed at the time.

It is for this reason this cheap myth/misinformation should be tackled head on, as far as it is possible. I am quite sure that the music itself will do the talking, and that there is no need to prolongate a myth of the sort that is out there. The spirituality of the music will prevail. In my honest opinion, the current myth should be flushed down the toilet. If we really want to cook up a myth it can easily be done: why don’t we just suggest that he had a habit and was shooting up? But I realize that it will be hard to eradicate what has been written. I just hope that people will also be able to see the other side of the coin, and, eventually they might see that there is ony one side: the one where Zelenka is held in great respect by his contemporaries. The myth should be tackled through the sources, and after they have been presented and published there is a firm ground to work on. For some time (actually, for a few years now) I’ve been referring to an upcoming article, co-written with Jan Stockigt, which will discuss all the new things. But all my Zelenka research activity has been on hold for almost two years now, following my entrance into the musicology world of Vivaldi. However, I am pleased to say that our article is almost finished, and soon it should be sent to a journal for publication.

I’ve updated the Wikipedia entry. It still needs a complete overhaul but this is enough for now. I’ve taken out most of the crap!

31-10-2015, 09:39 PM
For some time (actually, for a few years now) I’ve been referring to an upcoming article, co-written with Jan Stockigt, which will discuss all the new things... I am pleased to say that our article is almost finished, and soon it should be sent to a journal for publication.

Thanks, Johannes. We look forward to reading the paper you refer to, and then we will finally be able to judge for ourselves!

According to Jan Stockigt's book, the painting of a negative image of Zelenka as a hard-done-to individual with personality issues stretches much further back than 1987. As far as I know, and from what he told me personally, Dr Reich was working entirely alone, so it is perhaps not surprising that he built his ideas on what had been written by scholars such as Fürstenau a century or more before. That's the beauty of progress in various academic fields, whether scientific, historical, or otherwise. What has just appeared in print can carry much more weight than what has gone before. So the sooner you publish the better!

01-11-2015, 12:31 AM
I’ve discussed this at length with Jan Stockigt for a number of years, when we were trying to get to the bottom of all this. And we have not been able to find any examples in the literature prior to 1987, that Zelenka suffered in any way or other in his position at the court or Dresden. It might exist in the Czech literature, but unfortunately we do not master that beautiful language. It takes a serious bend to try to twist the things Fürstenau wrote into any sort of negativity. Some of the things Dr. Reich stated are of a much more serious nature, for example his opinion that Zelenka was deliberately downgraded when he was appointed church composer, because the court did not like his music.

I must also add, that today Jan Stockigt has a totally different view of how Zelenka’s persona was perceived at the Dresden court, than when she wrote her magnum opus, 15 years ago. She has changed her opinion because of the sources now available to us – and here the Virtuosen poem (see the relevant thread) played a key part: it made us question many of the things that had been written about Zelenka. It is for this reason, that I hope she will be able to update her book, as she so dearly wants to do.

Moritz Fürstenau's study (1861-62) on the Dresden Hofkapelle includes the first attempt to describe Zelenka's personality. According to unnamed contemporaries of the composer, Zelenka was said to be, quote "a reserved, bigotted Catholic, but also a respectable, quiet, unassuming man, deserving of the greatest respect", unquote. Now, is this really so bad? Whether Fürstenau was citing written accounts or if he was repeating rumour is not known, given that he was much too young to have come in contact with anyone who knew Zelenka personally. Thus, these report must be treated with caution, but not ruled out altogether, especially if we consider Fürstenau's postition as the custodian of the music library of the royal family – a position that Zelenka served during the last years of his life – and the fact that Fürstenau's father was also a long serving member of the Saxon Hofkapelle. But Fürstenau falls into the temptation of romanticizing his tale, when he speculates that Zelenka, quote, "seems to have lived a rather lonely and isolated life in Dresden", unquote. Since there were well over 100 years since the composer died, it is practically impossible for Fürstenau to have had any hard evidence for this kind of statement.

In 1944, the German priest Norbert Schulz wrote his fascinating doctoral thesis on Zelenka. And here we have another view of our composer. It is obvious from the way Schulz writes about his subject that he was impressed by Zelenka's piety, and what he sees as his serene, reflective, and calm character. Schulze comes to this conclusion by studying the handwriting of Zelenka, and the dedications in his works, for example to the Missa dei Patris. Again, such conclusions should be taken with a pinch of salt. What one reads from someone's handwriting might seem completely different to the next person. The fact that Schulz was Catholic might have coloured his judgement.

Most importantly, we should note that at no point in their discussion do Fürstenau or Schulz question or doubt the importance of Zelenka's role and status at the court of Dresden. On the contrary, they seem to agree that the composer and his music played an integral part in the fame and success of the Hofkapelle.

My point is this: as long as we do not have any hardcore contemporary sources, stating that Zelenka was, as so elegantly put by rnkt, "shafted by his employers” as is the core of Dr. Reich’s conclusion, the composer should be able to enjoy the benefit of the doubt. And this has unfortunately not been the case.

Finally, a snapshot from an earlier time, through a quote from the past. In 1848, an article about Zelenka was printed in the music periodical Caecilia. It ended with these words: Zelenka starb nach einer amtlichen Thätigkeit von fast 35 Jahren am 22. Decbr. 1745 zu Dresden, und hinterliess den Ruf eines edlen und braven Künstlers. (Zelenka died on 22 December 1745 in Dresden, after having served in his post for almost 35 years, and left behind a reputation of a noble and good artist.)

07-08-2016, 06:07 PM

here’s a late follow up to the numerous posts in this thread, now that the 3rd Zelenka Festival Prague is approaching: I am told that the dates are 19–23 October 2016. This needs a new seperate thread when the program has been finalized. Hopefully the organizers will do so in timely fashion so everyone can book their travels in advance.

Jan Stockigt’s article about the recently discovered hymn Iste Confessor ZWV 236, which received its modern-day premiere at the Festival last year, has just been published online in a Festschrift dedicated to the great Vivaldi scholar and Zelenka fan, Professor Emeritus Michael Talbot, see here:


Stockigt’s article, which includes Fred Kiernan’s edition of the hymn is found in the second PDF, pages 223–234.

My co-written article with Jan Stockigt, discussing the most recent archival finds and offering a reassessment of Zelenka’s position at the Dresden court, was finally delivered at the end of May and is now in the hands of the editors of the online journal Clavibus unitis (http://www.acecs.cz), where it will published as a part of the proceedings from last years Zelenka Festival Conference. Fate has it that this long-awaited article, eight years in the works, will be published in this beautiful online journal (also printed on demand), which allows for the use of numerous illustrations – a rare luxury in the world of musicology. We are hoping that this issue will be out soon, or at least before the Festival. As soon as there is more info on the publication I will post it here.