ZWW 17 & ZWV 168 coming soon!

I would like to draw your attention to the recent update on the Nibiru page: Enseble Inegal just continues to spoil us! Both Missa Sanctissimae Trinitatis ZWV 17 and the motet for The Holy Trinity ZWV 168 are about to be released. In addition, the names of the performers, the complete tracklist and Wolfgang Horn's outstanding liner notes to the new CD have already been published digitally: http://www.nibiru-publishers.c…&St=0&ID=128&lang=English .
The way he supports his discussion with historical source references is exemplary (The standard of the articles seem to reflect the standard of the performances!). According to Horn, the hitherto unknown Gaude laetare ZWV 168 from 17th May 1731 shows signs of influence from the galante style in Jan Dismas Zelenka's music already before Hasse's arrival in Dresden. Secondly - and this will be equally interesting to listen for - ZWV 168 shows us the joyful and optimistic side of Zelenka's musical personality that is absent from late works such as Missa Sanctissimae Trinitatis ZWV 17. Unlike the motet, the Mass wasn't composed for the Trinity celebrations and the title is simply a dedication, but according to Stockigt (2000), p. 218, it may have been commissioned for another liturgical occasion in November 1736. Before WWII it was also accompanied by 25 performance parts.
Stockigt's book underlines the generally juyful nature of JDZ's works from the late 1720s to early 1730s, and Tomas Kral's impressive CD performance of the Czech motet Chvalte Boha Silneho ZWV 165 with Musica Florea is a convincing example of this light-hearted tendency. According to Stockigt again (pp. 141-160), the brilliant middle-period highpoint, Missa Divi Xaverii ZWV 12 (late in 1729) remains the most substantial example from this compositional phase. Despite all Zelenka discoveries recently, it's a bit strange that there's still no recording plans for this Mass (ZWV 12) that stands out in so many ways. The material, it seems, has been meticulously prepared in Melbourne, Australia already, for a performance some time ago. Thus, much of the time-consuming preparation work has been done, just see: http://trove.nla.gov.au/work/3…=music&versionId=40998399 . Apparently ZWV 12 was the only Mass where Zelenka found it necessary to include trumpet parts in his own hand. This score could, for example, be another dream collaboration project for Baroque trumpet expert - and fellow Zelenka lover - Hannes Rux together with Ensemble Inegal, to continue earlier triumphs (see this illuminating Youtube interview): http://www.youtube.com/watch?v=jv-A3Z0kqDo&feature=related ?
SVF

Quote from Xanaseb

What do you mean by this? Are all other instances of trumpet-scoring in other Masses not deemed by Zelenka as necessary to the performance? Or that the trumpet-scoring in Missa divi Xaverii is particularly outstanding?
Or both? :p

Hi,
The only thing certain here, is that we cannot be certain about anything:)

While most of Zelenka's draft scores are preserved in autograph, almost all their performance parts adapted for the concrete concert occasions are lost. In Zwv 12's case, however, we don't only have a set of trumpet parts, but these are even in JDZ's own hand. This might be just a lucky coincidence. But because this is an almost unique case, it's tempting to believe that there are intentions and details in the score instructions which JDZ considered so important that he preferred not to give the responsibility for transferring them to a copyist. Only a comparison of the two autographs (score and parts) can reveal what these intentions might be.

At least the separate parts are crucial in the reconstruction of the damaged main score. But I'm surprised that nobody, in our high-tech-era, seems to have discovered that modern technology can help us to decode scores unreadable to the naked eye. Machines have already been developed - and used with success - on other ancient documents in a bad state of conservation, machines that f.ex. illuminate the paper using light with a wavelenght that creates the maximum contrast between remaining traces of oringinal ink pigments from the text/ notes, and the surrounding materials in the paper.
Even though this last point is on the side of your question, I hope it is - illuminating...
SVF