Posts by skiaouros

    Thank you Sir for your judicious corrections.


    1. KYRIE I
    The instruments are derivated from the voices, except when indicated (W, Oboe, Fag, Org)
    1,2,3,6,10 : corrected (bug of the software)
    4 : added Solo like in bar 41, Solo in bar 33 not removed because of bar 43.
    5 : Solo is written for Alto too.
    Bar 43, I added indications for Alto "Viola 1" and Tenore "T: Viola 2",
    suggesting all voices are Tutti, also BC is Tutti.
    7. Soprano second note is A
    8. Nice, it fits with unclear manuscript
    9. Added Solo

    Bar 63, Alto/Viola 1, two first notes durations corrected (like Basso)

    Bar 1, BC, "7 6" is more likely assigned to the second note F#
    Bars 13-15/53-55, Violin. G.R. did corrections to these bars, but as it sounded special to me as well, I thought there were something worth to leave as it is, I took care to report in the score exactly the accidentals in the manuscripts. The bar 53 has more details (slurs), this suggests the F# is a more careful notation than in bar 13. In both bars 15 and 55, the C# is explicit.

    3. KYRIE II
    Instruments are derivated from the voices
    Bar 11, Soprano durations not readable but corrected like theme (dotted eighth, sixteenth)
    Bar 14, Alto, F -> F#
    Bar 36, Soprano, b indicated, B -> Bb
    Bar 37, Alto, B -> Bb

    4. GLORIA
    Bar 24 : Soprano, D -> E, note head no so ambiguous, solved by 9 in BC, good point

    1. b -> #
    Bar 20, Soprano, "Tutti" is written, Solo/Tutti added were appropriate, and in other bars

    9. QUONIAM
    Bar 20, Tenore/Viola "D B" -> "E C"
    Bar 34, Soprano, unclear note head B/A, likely B
    Bar 45, Alto, Seconde note clearly B. Yes, C fits better. I leave B for now.

    10. AMEN
    Here is What I can read in the manuscript :
    Bar 14,
    Soprano, part of E is visible
    Alto, 4th beat looks like an eighth E, then the text 'men' at 1st beat of bar 15
    Bar 15,
    Tenore, clearly a half A
    Basso, at the 3rd beat, part of an eighth G is visible

    None of the 3 proposals seems to fit perfectly :
    1) the Bass has a G
    2) the Soprano has a E
    3) yes E, but not a sixteenth

    Other things :
    1. Bar 14, 64 in BC but minor, yes, error in manuscript (?)
    2. Bar 36, yes the Basso and BC have a quarter C
    3. Bar 51, right, but the Tenore has clearly the sixteenth F, error in manuscript (?), the start of that motive has the two variants, Soprano has F, but G fits better with Alto, closer voice
    4. Bar 53, right, the Tenore has a quarter D
    5. Bar 61, yes natural sign in BC


    Quote from G.Reuss

    Alistair !

    Thank you for pointing this out. Zwv 4 we still have Credo, Sanctus and Agnus Dei to get our hands on.



    it appears that the Dresden Library has an audio CD of ZWV 4 Missa Sancti Spiritu of 2008 by Kapellknabeninstitut der Röm.-Katholischen Kathedrale Ss. Trinitatis zu Dresden.
    If anyone has access to the mediathek ...



    I have done the Litaniae Lauretanae ZWV 150.
    It is a short work with only voices à 4, the Kyrie/Christe and Agnus Dei.
    The Kyrie repeats declamations and responses,
    The Agnus Dei has intense expressions.



    I'm convinced too, it sounds nice now.
    It is very hard to read distinct signs in the digital copy.
    It seems no accidentals have been omitted, just key changes, I'm looking to place key changes in the score at right places.



    We are some people discussing the ZWV3 with in the end a performance project by Elwro. You will find a link to the scores in the "Free scores" thread.
    After some emails, and mp3s, we continue here to get any suggestion.
    The first posts on this subject are in the thread "Free scores".

    The main harmonical headaches are in bars 25-26 of the Et resurrexit.
    Here is my last answer to Elwro. I wrote this before new suggestions by Germund.

    Crucifixus : I added the figured bass and the alternate older bars 11-15.

    Et resurrexit:
    I noticed that the page starting with bar 31 has a sharp in the key, hence my added sharps to F seems ok.

    1. Text "Surrexit": It seems to be intentional in order to synchronize the Tenore with the Alto. It may be an error, but I saw it in the Credo of ZWV9 : the Et resurrexit in bars 103 to 108 (page 45) uses "surrexit" in all voices, it is clearly written in the full score, moreover in each chorus parts.

    2. The Tenore is B, the Viola is closer to B than A.
    Changed for B.

    3. Bar 15. I did some errors in Viola and Alto :
    - Viola the first G is longer - Alto the entrance is like the others, excepted the first note which is a quarter, preceded by a quarter silence. It may avoid a clash with the Soprano.
    Fixed only my errors for now.

    4. Bar 19, Violini, only the sharp of F is indicated. In bar 20, Basso, all sharps are present.
    Changed G to G#.

    5. Bars 26,27
    1. Bar 26, 3rd beat, the score has in BC B and [#5, n3], and D natural in Sop. and Ob2.
    Changed my D# back to original D.

    2. Bar 26, Violini, F -> F#, ok

    3. Bar 26, Violini, G -> G#, ok
    Bar 27, Violini, C -> C#, ok

    6. Bar 24, Tenore is C but BC is E with 5, and S/Ob2 are B
    Changed Tenore C to B

    Best regards,


    Great thanks to Germund-Atle to let me edit scores of some of the masses.

    These are first drafts and needs a lot of corrections.

    If you follow the Gratias of ZWV16 on the CD, you will find that bar 6 is played between bars 1 and 2. There is an ambiguity in the manuscript (the staves crosses two pages), I choosed to read horizontally first, it seems more logical with similar events in other bars. (I found this case in another mass, the solution was to read vertically first, but generally continuity is horizontal).

    I like particularly the glorificamus in the gloria of ZWV10.

    There are also new mp3s of ZWV1.
    You have the autograph manuscript of bars 31-49 (slightly different instrument parts
    to the Walhall edition) of Kyrie here :…an/MiamiExhibit/music.htm

    Have nice festivities,


    I'm editing complete scores from manuscripts of the masses in the repository,
    pdf files will be available at the end of this month.
    If some are interested into proof reading them, please contact me.
    I hope to give them freely.


    Quote from Peter

    Hi all,

    I discovered three new masses on the public repository. Just downloaded them. I’m excited. Especially ZWV 9 and 10 sound highly interesting. Skiaouros and G. Reuss: thanks for this superb job!



    New things :
    - ZWV2 : revised version : ZWV30 (Kyrie, Sanctus)+ ZWV2 (Credo)+ ZWV26 (revised Gloria)
    - ZWV3
    - ZWV4 : Dresden could not digitalize the end of the mass from the autograph... If someone is motivated, there are complete copies in various places (Berlin...).
    - ZWV10,12
    - ZWV9,15,167 : new mp3s

    Other things coming :
    - ZWV 2 : unrevised Gloria
    - ZWV 5 : the single surviving bar (maybe someday a score from Russia ?)
    - ZWV 6 : Germund is working on it
    The trumpets 1 & 2 are mostly destroyed in some movements.
    Maybe if some one feels completely reconstructing them, just ask the score.
    - Ristori : Kyrie (bars 1-22) from Litaniae Xaverio, found in Zelenka Studien II
    - Later : ZWV 1 and others : mp3s with words

    If you have comments to improve the mp3s, please don't hesitate,


    I'm doing the other pieces of ZWV 3 Credo Sanctus...

    The mass seems to be a first version, in the style of the begining, more than ZWV1 and ZWV2 which were revised. The crucifixus has been copied and revised for the ZWV 2. One can hear many influences and already his original character with a touching Confiteor.
    More when finished...


    Diapason of Sept 2008 has published a critique of this record.
    It is judged better than the Thorofon, interpretation "enthusiastic with some weaknesses", conductor "competent with a good knowledge of the baroque style".



    In the download area of this site reposes many computer mock-ups of unpublished and/or unrecorded works : ZWV1,2,3,4,6,7,8,9,10,12,14,15,16 (ZWV5 seems lost), miserere ZWV56,
    De profundis ZWV96, Da pacem domine ZWV167...
    Most works are complete, the midi files can give you an idea of the scores, some have the lyrics included. These works were done by Germund and SK, from manuscript copies, microfilm or pdf, purchased at the Dresden and Berlin libraries.
    Janice B. Stockigt's book contains library references (German and Czech) of the manuscripts.

    At the beginning of september, the masses ZWV2, 4, 9, 10 and 15 will be complete and have new audio mp3s. Free scores can be prepared on request.

    Try to find second hand scores of the last masses (ZWV17-21),
    these Baerenreiter editions are expensive. You can always try to buy the manuscript and
    edit your own score, but beware, for example the last mouvement of Missa Dei Filii was
    not completed by the author and require lengthy conterpoint composition for the Alto and Tenore parts.

    Some reasonnably priced publishers :
    - Edition Walhall : ZWV1
    - Carus Verlag : ZWV13, Magnificats, many small works
    - Editio Supraphon : Requiem...
    - Ortus Musikverlag : ZWV56
    - Butz Verlag : ZWV8
    - Kunzelmann : ZWV11

    Best wishes,

    Quote from Peter

    Just to make our waiting a bit more pleasant: a few weeks ago I stumbled across the site of the Prague Cathedral Choir where you can download a complete recording of the Missa Nativitatis Domini (ZWV 8): (By the way: the Kasseler Bachchoir sings this mass on December 13 – see

    Best wishes,

    Peter, thank you very much for this link. The trumpet is having a hard time with high pitch.
    ZWV8 has been completed with several parts from ZWV10 (Sanctus, Benedictus, Osanna, Agnus Dei).
    Also that mass has been published by in 2007.

    Brian, thanks for the ZWV4 info.
    ZWV10 mp3s are almost finished, ZWV4 and 2 are next.


    Quote from Brian

    What wonderful news!

    I've been waiting patiently (as I'm sure many others have) for a second recording of the Missa Votiva to be recorded. After a little of googling, I also came accross a possible future recording of the Missa Sancti Spiritus by
    ZWV 4 by Capella Leopoldina (there was a ? after the title). I listened to the 2 instrumental sound samples on their website , and thought the ensemble were vigorous, competent, and very professional. Now, my interest is really stirred. Is it possible that we have yet another World Premiere of a great Zelenka Mass. I would be very curious if anyone knows more about this than I found on this website. I'm not adept at cutting and pasting (computer illiterate, what can I say!). The info is at

    Thank you for the information, as I'm currently working on ZWV4, with only the Kyrie done for now.
    Please let us know quickly if you learn more !


    Quote from pflight1

    Hello. I am interested to know who has published the Requiem in D minor ZWV 48. Does anyone know if a score and parts exist? Also, vocal scores?



    Hello Paul,

    I know of a full score :

    Requiem D Moll ZWV 48
    Musica Antiqua Bohemica, Serie II, 14
    Editio Supraphon Praha H7701 (1995)

    In the same Serie II you have :
    4 : Lamentationes Jeremiae prophetate
    5 : Psalmi et Magnificat
    12 : Sub olea pacis et palma virtutis


    First, great thanks to Germund for working on the manuscripts, it is fun
    to work on the mp3s.

    The 'Et in terra pax' (EITP) in ZWV14 is similar to my ears to three composers :

    - Lotti's Mass for Three Choirs written while in Dresden (1717-19) (CD Centaur CRC 2376) Listen the quietness and energy crescendo in the EITP.
    It is one of my favorite works (Kyrie & EITP), if you like JD Zelenka harmonies, you will love it. Lotti's manuscript is in Harvard and AFAIK not published, if anyone can help...
    Antonio Lotti has been a teacher to JDZ (according to Fürstenau cited by Stockigt), he worked at least in Venice (San Marco) and Dresden.

    - Another Venitian Antonio : Vivaldi with its beautiful Glorias RV588/589 and the descending motive of Pax on earth and heart.

    - Giovanni Maria Ruggieri (?/1690-?/1715), Gloria RV Anh 23, cited in Michael Talbot 'The sacred vocal music of A. Vivaldi', Vivaldi owned many scores of him and may have borrowed from his Gloria.

    That EITP form may have been a long tradition and offers an opportunity to compare the different developments and natures of feelings.
    Zelenka owned score copies of both Antonios.

    I would be glad to know about other similar examples.


    Hello Peter,

    Thank you for your comments !

    Eventually I finished the Kyrie II of ZWV7, Agnus Dei and Dona nobis of ZWV1.
    As far as I know the autograph of ZWV7 is unique and definitive.
    About the ZWV1, I used an edition that may not be definitive, some scholars (in New Zealand ?) may be working on a more complete edition.

    I did the ZWV9 too, for now the mp3s are quickly done.
    ZWV8 and ZWV14 are on the way, thanks to G. Reuss.

    And more works are programmed...