Posts by skiaouros

    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


    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".