Posts by skiaouros


    There is a work that reminds me of JDZ, the Messa a Piu Voci (1739) by Leo (1714-1774).

    It is recorded on the CD "Musica per la Real Cappella di Napoli" by Chicago Galant Consort.
    You can listen the recording on their youtube page, and find a score on their web page

    Fluid, dreaming, light, silky, I feel a similar spirit and style in the Et in Terra Pax, Qui Tollis.



    I just discussed with our conductor, I'm authorized to post some excerpts of our recordings of ZWV4 and ZWV9,
    on our website of Ensemble Antiphona.

    I'm very happy to share this wonderful music with you, I hope you will enjoy it.

    I'll start to choose the excerpts soon, maybe I won't post the full masses,
    but if you have preferences about the pieces let me know.



    The Missa Corporis Domini ZWV9 will be performed at three dates in October by Ensemble Antiphona and Orquestra Barroca Catalana of Barcelone, directed by Rolandas Muleika.
    Other works performed: Te Deum - Prélude (Marc-Antoine Charpentier) and Flos Carmeli (Francesc Valls).

    The dates in October 2014:
    - the 9 in Onet-le-Château (Aveyron, France)
    - the 11 in Albi (Tarn, France)
    - the 12 in Tiana (Barcelone, Catalogne, Spain)


    The point of view of J.E. Gardiner in "Bach: Music in the Castle of Heaven":

    So far it has not proved possible to unravel the chain of influences in the Zelenka/Bach relationship, but it looks very much as though it were two-way traffic: Zelenka impressing Bach with his performances of large-scale Neapolitan Masses by Sarro and Mancini and of his own works in a similar style; Bach returning the compliment in the way he styled his own Missa along Dresden lines; Zelenka then reciprocating with his own tribute, the Missa Sanctissima Trinitatis of 1736, which manifestly owed a great deal to Bach’s Kyrie l.

    "We saw that Bach’s Symbolum might have owed something to Zelenka’s Masses. This is as nothing compared to the close dependence of Hasse on Bach – particularly in the opening of the Credo and in the Et incarnatus of his Mass in D."...

    "But there were other models by more recent composers, his immediate predecessors - Caldara, Durante, Lotti, Kerll and at least two by Zelenka*"

    "* It could have been Zelenka’s Missa votiva of 1739, with its chant-like melody given out in longnotes within his polyphonic setting of the opening Credo, which encouraged Bach to use plainchant so prominently in his setting. It could also have been Zelenka’s Missa Circumcisionis of 1728 which gave Bach the idea of how to approach the Et in unum, as well as the chromatic bridge-passage at the end of the Confiteor, when the instruments drop out at mention of mortuorum (‘the dead’). But, as we saw, it looks very much as though Zelenka had learnt from Bach’s example (Kyrie I) when he came to determine the chromatic and rhythmic outline of his Kyrie II in the Missa Sanctissima Trinitatis of 1736."

    Please find in E-Download, a nice Benedictus (ohne ZWV ?) from the manuscript Mus.2500-D-1 (SLUB), a mass of Giovanni Pisani with at the end p121-128 this autograph Benedictus.

    In seinen frühern Arbeiten, die seines Gebieters Aufmerksamkeit erregt, hatte Zelenka bloß seyn großes Naturtalent und frommes Herz sprechen lassen. Was eigentlich er gemacht und warum er's so gemacht: das wußte er nicht.
    Später tadelte er es sehr, (wahrscheinlich das Technische darin,) erbat sich die Werke zurück und mag sie wohl vernichtet haben."
    Rochlitz, Für Freunde der Tonkunst, Volume 4, 205-209

    In 2005, when I asked the EDM, the answer was: the transcriptions are not going to be published, should be studied in Kassel, Deutsches Musikgeschichtliches Archiv, or Tuebingen, and should not be copied.

    In 2011, Václav Luks did it right, see…CA%BCs-eve-collegium-1704
    "Over the years, the ink has faded, so many of the notes are missing"
    "Fortunately, Reinhard Kubik, a noted German musicologist, made a copy of the manuscript about 30 years ago, when it was still legible"


    Like you I'm expecting it, since 2000, as it is "in preparation" as written on the CD Carus 83.148.

    It would be faster to order from the Slub a digital copy of the original manuscript Mus. 2358-D-48,
    and edit it yourself.



    The conductor has been published by Bärenreiter Editio Supraphon Praha:
    Psalmi et Magnificat, Musica Antiqua Bohemica Seria II, n°5, H 4974.

    Carus Verlag has recorded a LP 63108 by the Marburger BachChor, Wolfram Wehnert.

    A modern interpretation would be nice !


    A very entertaining book I just discovered (free digital copy to download from the Bayerische Staatsbibliothek)

    "La Saxe Galante" by Karl Ludwig von Pöllnitz, 1734, in french.

    Everything about the love affairs of Augustus the Strong, in Madrid, Venise, Rome, Dresde, Leipzig, Varsaw...

    I knew he was very good in fox tossing, but I not in spanish bullfight.