Posts by skiaouros


    Here is how I searched the catalog:
    - to change the language to english : St George's Cross flag at the bottom left
    - Collections : Music department
    - About music department
    - catalogue of the collection of handwritings and old prints up to and including 1983
    - search "Zelenka"
    - You need Java installed. To have bigger pictures : Menü/Hilfe->Anzeigegröße ändern->...
    The cards can be printed with "Drucken", I printed all cards (von Bild Nr. bis Nr.) in one pdf.
    - advance 9 times +10, 3 times +1,
    - Here you should have 2358-D15, it is writen :
    the Gloria misses the "Gratias agimus" up to "Filius Patris amen"
    the end fugue of the Gloria "Cum Sancto spiritu", previously 2358-D-80, was put back in 1979

    Also :
    - if you have the opportunity, ask about any new Zelenka manuscript (from Moscow...).
    - at the Zentralbibliothek Mediathek there is a lot of material (search result # in general catalog SLUB-Katalog) :
    #138 un unpublished audio recording (Tonbandkassette) of the mass Purificationis ZWV16
    #147 ZWV20 to compare with the manuscripts and read the editor comments in German.
    #181 a Requiem
    - copies of transcriptions of unpublished works edited by (pages 70-73 of catalog) should be available.

    Never been there, lucky you !



    From 12/5 to 4/6 2010 :
    Sat 29, Musica Florea (Marek Stryncl conductor) :
    Program :
    * Jan Dismas Zelenka: Da Pacem Domine, ZWV 167
    * Jan Dismas Zelenka: „De Profundis“, psalm 130 in d, ZWV 50
    * Antonín Rejcha: Requiem

    At last a rare work ZWV167 !
    Let's hope the official radio Vltava ( will broadcast it.

    Radio Proglas is another partner. (…y-pro-letosni-rocnik.html)
    It seems that they participated to an International Choral Festival "Bohemia Cantat 2009" where Marek Štryncl conducted the psalm 125 "In convertendo" (ZWV91) (
    Both scores are published in the Editio Supraphon, 1990, and have mp3 mock ups in the repository.



    Interesting question that would require a full analysis of the harmony in the piece, (beginning very similar to prelude BWV847) here are some unsure points :

    1) Layout of the work (x : X minor, X : X major):
    1. Miserere I : c-v (v = dominant of c : g)
    2. Miserere II : C
    3. Gloria Patri I : e
    4. Gloria Patri II : Cv-v (Cv = G, ends on dominant = D)
    5. Sicut erat : C-v
    6. Miserere II : c-v

    2) The key has two flats (Dorian notation) as for G minor, although the C minor is the first established tonality. Two comments : first the theory of key notation wasn't fixed at that time, the number of accidents may vary. Also as G minor (dominant of C minor) is mainly used, the notation is more simple.

    3) The main cadences are on 'us' of Deus : ms 24, 29 : in C minor.

    4) In the bass, on most G, the figured bass includes the C in inverted chords.

    5) It seems to be an exploitation of the harmonic modulation between tonic and dominant, giving an expansion/elevation effect, like a long dominant pedal. Used inside the movement, and between the pieces.



    I uploaded some mockups at :

    - Mus.2455-O-1 : Concerto for oboe in Eb by Giovanni Alberto Ristori

    - Mus.2421-O-15 : Concerto in eb by Pisendel

    - Mus.2389-O-49 : Concerto for two violins RV508 by Vivaldi, re-scored by Pisendel who added oboes and bassoons.

    - Mus.2468-O-1 : Concerto in D for violin and bassoon by Francesco Maria Cattaneo
    - Mus.2468-O-2 : Concerto in A for violin by F.M. Cattaneo

    - Mus.3701-O-1 : Concerto in G for flauto traverso by Johann Adam

    - Mus.2375-R-1 : Sonata in A for violin by Franz (Francesco) Hunt


    Found in Understanding Bach, 3, 80-82 © Bach Network UK 2008
    New Perspectives on the Canons of Johann Sebastian Bach, ELISE CREAN
    "Another example of Bach’s innate skill in developing the compositional ideas of his
    predecessors and contemporaries to new levels of erudition and complexity is the series of
    interval canons in the Goldberg Variations (BWV 988). Yo Tomita has convincingly suggested
    that a manuscript belonging to Jan Dismas Zelenka, which contains a set of eleven interval
    canons by Johann Joseph Fux followed by nine of Zelenka’s own, may have provided the
    model for Bach’s work. Yo Tomita, ‘Bach and Dresden: A New Hypothesis on the Origin of
    the Goldberg Variations (BWV 988)’, in Music and Theology: Essays in Honor of Robin A. Leaver,
    ed. Daniel Zager (Lanham, Maryland: Scarecrow Press, 2007) pp. 169–92. Bach not only
    constructs a series that uses an organisational principle similar to that of their ‘fairly
    straightforward compositional exercises’ (Tomita, p. 177) but also generates a structural
    framework for the composition through the placement of an interval canon on every third

    I listened again the Lutheran masses by Bach (by Herreweghe), maybe there is something in the Gloria of BWV234, the Cum sancto spiritu of BWV236...

    Reading about Wilhelm Friedemann Bach (whose melodic line of the Fk 65 adagio was copied by W.A.Mozart and appear in his Requiem's Recordare), I found a citation of Zelenka in the booklet of CD Harmonia mundi 901772 :
    "W.F. Bach's professional career began in 1733 [to 1746] as organist of the Sophienkirche in Dresden, a badly paid post that was once disparagingly described by the violonist Johann Georg Pisendel as a place of penitence, but which did leave the composer time for a variety of activities of his own - such as appearances at musical soirées at the electoral court or in the houses of music-loving aristocrats. Amongst the works he wrote in Dresden is the Sinfonia in F major (Fk 67), whose capricious fast movements owe a debt to the instrumental style of Jan Dismas Zelenka, whilst the Andante recalls types of aria in the Dresden operas of Johann Adolph Hasse".

    Johann SK

    It inspire me that it requires better than a 'second couteau' oboist.
    I did the whole concerto, it should be very galant, forgive my oboist...

    Let's now see another manuscript... Pisendel Mus.2421-O-15, a nice concerto for Violin in e-moll.

    Thanks for the anecdote,

    The scores seems to be ZWV 182,183,186,188,189.

    I placed in the repository a mockup of the Concerto for oboe in E flat by Giovanni Alberto Ristori. It has been performed by Reinhard Goebel in 2000, but no CD since.

    About Pisendel, it is writen in his site : "In Vorbereitung: Dresden-Concerti by Pisendel, Dieupart, Buffardin, Ristori e.a."



    Excerpt from the book "Tonal space in the music of Antonio Vivaldi" by
    Bella Brover-Lubovsky :

    "The stimulating variety of Vivaldi's tonal strategies seems to have
    served as a possible source of inspiration for Joseph Riepel's original
    concept of key relationships and tonal procedures, as expounded in
    the second and third books of his monumental study of the elements
    of musical composition, Anfangsgründe zur musikalischen Setzkunst.
    There is no testimony to personal contact between the two musi-
    cians. Nevertheless, Riepel's long sejourn (1739-45) in Dresden, the
    center of Vivaldi's German followers, and his association with
    Zelenka (from whom he reportedly took daily lessons in 1745) puts
    his awareness of Vivaldi's music beyond mere speculation.
    As a vio-
    linist, moreover, Riepel must have become closely acquainted with
    the Dresden Hofkapelle repertory, in which Vivaldi's music occupied a
    prominent, though not a central, position."



    I report this about the ZWV 12 Missa Divi Xaverii / Francis Xavier Mass:

    It was performed at the Autumn Chamber Music Festival 2009 (31 may), Chapell of the Holy Spirit, Newmann College, Melbourne.

    The concert presents a reconstruction of Jan Dismas Zelenka’s
    stirring Francis Xavier Mass in the Dresden court chapel in
    1729. This performance will be the first of an edition specially
    prepared for this concert by Jan Stockigt and Richard Divall.
    The reconstruction brings to light Zelenka’s originality and
    spectacular orchestration, including four trumpets, timpani and
    several virtuoso wind solos, here played on period instruments.

    Soprano Jennifer Cook, Countertenor Dean Sky-Lucas
    Tenor Christopher Roache, Bass Matthew Champion
    The Choir of Newman College with The Newman Baroque Orchestra led by Cathy ShuggCollege.

    "The Australian Broadcasting Commission recorded the performance, which will be given again at the opening concert of a festival here and recorded again"
    So maybe a recording in 2010 (Past Echoes ?)



    There was also a ZWV18 Missa Votiva, available some time ago (on a P2P offspring of a male donkey and a female horse) :

    Susanna Pütters, Sopran
    David Cordier, Altus
    Eric Stokloßa, Tenor
    Henryk Böhm, Bass

    Dresdner Kammerchor
    Dresdner Barockorchester

    Leitung: Hans-Christoph Rademann

    2. Juli 2006, Georgenkirche Schwarzenberg, Abschlusskonzert
    Fest Alter Musik im Erzgebirge



    Some news :

    I just found a interesting article, half about JDZ :
    Theo of January 2008 (
    The Last Living Baroque Composer – František Xaver Thuri.

    There is an orchestra near me that project near July 2010 to perform the ZWV21 Omnium Sanctorum ( I talked to the conductor, he is now aware of the other masses, we'll see if there is any interest.

    I had the chance to access some manuscripts from St. Michael's College, Tenbury: Unpublished Continental Mss. 17th, 18th and 19th Centuries :
    - ZWV 7 Paschalis : complete copy except Benedictus, Osanna.
    - ZWV 16 a better Cum sancto autograph than the Dresden one.
    I have corrected my scores and work on new mp3s.

    I discovered on Youtube various videos of performances (Il serpente di bronzo, Magnificat,
    Jaroussky concerts...).

    I would like very much to work on other unpublished music, please let me know about composers (Fasch...) you like. Some libraries provide manuscripts online (like the Royal Library of Danemark