Posts by l'infastidito

    Congratulations to Ensemble Inegal for their latest addition to the project of recording all Jan Dismas Zelenka's remaining Psalm settings, and my deepest respect for their willingness to take upon themselves this Herculean task. Zelenka and Ensemble Inegal deserve each other!

    While the performances both in volume I and the recent volume II are exactly as outstanding as we can expect from an ensemble which by now has an intimate aquaintance with Zelenka's music, the overall impression of the musical contents of the two Psalm cycles is quite varied.
    In the first cycle, longer and more thorough musical explorations of the Davidian Psalm texts dominate, with detailed number settings. In the second group, the typical feature is shorter, through-composed settings with more concise textual interpretations and likewise a more economical use of the musical resources. But these external limitations do not in any way impoverish the quality of the musical results. My personal favourite in cycle II, the Zwv 92 "Nisi Dominus" is the perfect example of how a demand for a more compact composition turns out to become a strengh rather than a weakness in the right artist's hands.
    Throughout this compressed 5 1/2-minutes typical showcase of JDZ's art at its best, the passionately melancolic voices are floating divinely above the turbulent basis (or waters, ground) of Zelenka's vivid and inventive bass line, thus offering a subtle musical interpretation of the Psalm text "Nisi Dominus ædificaverit domum (...)".

    The eagerly awaited third cycle will apparently also be dominated by more economical settings, equally intelligently and creatively interpreted within the limitations expected from JDZ by his employers. I regret so much that I cannot be present at the world premiere concert of the Psalmi Vespertini III in Prague on the 23rd of March 2017!

    On their website Ensemble Inegal now explicitly confirms this to be a four-year project, including as well the more varied fourth cycle, the "Psalmi varii", in which the composer lists various Psalms created after the three more regular cycles. Not surprisingly, the characteristic feature of the final group of Psalms is precisely their great variation in lenght, style and, probably, performance occasions. While those listed first, like the "Dixit" (Zwv 67) and "Confitebor" (Zwv 73) seem to be more compact like in cycle II, "Laetatus sum" (Zwv 90) and the sadly lost "Laudate pueri" (Zwv 80) are extensive number settings like in cycle I, but nevertheless more virtuosic in style and instrumentation, in order to satisfy the changing musical taste in Dresden around 1730.
    After Zwv 90 and Zvw 80, JDZ seems to have composed only one more setting of a Davidian Psalm to my knowledge, Psalm number 134 (Vulgata 133), the "Ecce nunc benedicite" (Zwv 99) dated c.1739. Here Zelenka apparently returns to the short through-composed approach dominating in the cycles II and III, for one last time - but the musical style ought to be more like that of the well-known late Masses from the same period, and Zwv 99 is one of only a couple of works from his final style that haven't been recorded yet. Of course JDZ didn't include Zwv 99 in cycle IV because he had stopped updating his inventories by 1739, but it logically fits into the heterogenous nature of the last Psalm group, and would be a very fitting final statement of Zelenka's almost lifelong musical committment to the Davidian Psalms. In my opinion it could therefore make sense to extend the 4th and final Psalm recording by adding his last David Psalm setting and the only one in his late manner, the "Ecce nunc benedicite" (Zwv 99), to the "Psalmi varii"-list and to the CD.

    Independently of how Ensemble Inegal's great undertaking ends up, however, its scale and quality guarantees that their work will be remembered as long as Jan Dismas Zelenka will be remembered.

    Thanks for this information. I hadn't heard of it. Presumably it will be on the Accent label, like most of their other recordings.

    From the information on the CD-cover (see below) one has reason to believe that Accent and Enseble Tourbillon Will release the first ever Complete recording of Zelenka's eight Italian arias :)…58344.666639115&source=48


    According to a newsletter I got from Ensemble Inegal today, they are going to record Zelenka's first psalm cycle anno 1725 (if my PC translation from Czech doesn't betray me). The CD follows the first ever complete concert performance of this set of psalms (ZWV 66+72+75+82+83+108+97). Tickets for the concert in Prague on 20 April are also available now, see newsletter: http://ensembleinegal.onquanda…6d66dbf8485e03c0b2ae57df/


    Zelenka's psalms got some attention in the earlier phases of the modern JDZ revival during the 1970s and early 1980s, but have been strangely neglected by the original instruments ensembles that have dominated from the 1990s and later - until now. Only the "Magnificat" is commercially distributed in adequate interpretations today. Apparently Adam Victora & co. plan to record the more fragmentary 2nd and 3rd cycles as well. And several psalms from those two sets seem never to have been performed at all.

    Although I don't know the time schedule, it seems safe to assume that we now can look forward to receiving TWO beautiful Zelenka CD gifts next Christmas - one from Collegium 1704 and one from Ensemble Inegal. I'm sooo excited!!!

    PS: My personal favourite among the 1st cycle of Psalms is "Confitebor" ZWV 72, seen as a whole, and the mighty opening chorus from "In exitu Israel" ZWV 83, when speaking about single movements. But the set is also filled with several hauntingly beautiful "Amen" - endings. Does anyone else want to share their personal opinion on this?



    In the course of the last week 3 different concerts including Zelenka compositions have been broadcasted on radio, and two of
    them are still available on the radio channels' homepages:

    1) The most substantial is the all-Zelenka concert from the Klara Festival in Belgium on 16 March. It is a shortened but
    nevertheless 100% coherently organized program containing selections from JDZ's music for Holy Week, the Responsoria (ZWV 55) and Lamentationes (ZWV 53) plus his later Miserere (ZWV 57). We find 3 of the 6 laments, one for each voice type (bass, tenor, alto), each preceeded by the 3 responsoria that are connected with it, or totally 9 of the 27 responsoria. ZWV 57 ends the liturgically structured concert. The Soirée Musique Ancienne 2015-03-24 sound file opens with other music. Collegium 1704's Zelenka concert stars after about 1 hour:…onId=5372&date=2015-03-24 , or - directly:

    2) Collegium 1704 held 3 concerts in Utrecht in August/ September 2014. The opening concert contained the well-known European premiere of Missa Divi Xaverii (ZWV 12). The second was with a performance of a Caldara oratorio that regrettably remained unrecorded. The third was a program of instrumental music by various composers connected to Prague around 1723 - and this last was fortunately recorded. Among the works here are Zelenka's two triosonatas ZWV 181/III and ZWV181/V. Link:…3-12&month=0&detail=76901

    3) The Schloss Ettlingen Concert in Germany 25 January 2015 was broadcasted 23 March by ,but unfortunately it seems to be inavailable for re-listening. It presented another performance of ZWV 181/III in addition to instrumental and vocal works by other composers. Hana Blazikovà was that evening's singer.
    However, as an extra bonus number after the official concert C1704 added the so-called angel's aria "Ave Deus" from "Sub olea pacis" (ZWV 175). Wouldn't it have been wonderful to hear how the "Ave Deus" sounds like when sung by Hana Blazikovà's angelic soprano voice??...Well, here you are:
    (File in .flac format which might not open in all media players. German introduction first).

    Happy Easter and happy listening to everybody!


    There is nog much time left to make this cowdfunding project successful

    Yes, now we have about 3 days left from the crowdfunding part of Collegium 1704's pioneering CD project, so let's hope for a couple of generous last-minute donors!
    I believe every single Euro counts, giving Collegium 1704 more freedom to make the best possible artistical and musicological
    choices during the process.
    However, don't forget that the IBAN bank account numbers found on their homepage always remain open as an alternative funding possibility:

    Finally I offer you another small sample from the included ZWV 156 litany (for the rest you'll have to wait ;) ). Maybe this
    makes you just as curious as it made me? Isn't the "auxiliator naufragantium"/ "fugator daemonum" part here strikingly similar to
    the seastorm-motif in the ZWV 47 "Invitatorum" composed for the 1733 funeral 3 years and 3 months later? I've put the mentioned ZWV 47 excerpt directly in front of the relevant ZWV 156 part in my last sample for comparison: 47 + 156_samples.wma



    Happy New Zelenka Year to everybody! And that's a very good point you've got, dear Xanaseb.
    This "Litaniae de Sancto Xaverio" ZWV 156 was in fact the last musical component in Zelenka's total work of art for the Xaverian celebrations in Dresden in 1729. While JDZ signed the kyrie section of "Missa Divi Xaverii" ZWV 12 already on 3 September 1729, the final Agnus Dei section was completed almost 3 months later, on 26 November. ZWV 156 is dated 9 December that year. Thus he must have started composing the litany immediately after the ZWV 12 Agnus Dei for a performance towards the end of the 1729 Xaverian festivities. Therefore the ZWV 12 + 156 on the CD fall into the category of JDZ's musically independent compositions united by the same performance context, very much like ZWV 46 + 47 for Augustus the Strong's funeral rites in 1733, or ZWV 53 + 55 + 56 for the Holy Week in 1722/23.

    Despite their occasional unity, the instrumentation of ZWV 156 differs from ZWV 12, but is certainly not less ambitious than the
    Mass finished just a few days earlier. The litany is written for natural horns and strings, and the virtuoso horn parts really stand
    out. Besides, the vocal parts (choruses & soloists) are demanding, and in ZWV 156, as opposed to the Mass (relatively speaking),
    especially the bass singer can show off. Just listen to the impressive horn + voices interaction in the "Tuba resonans" movement.
    Sound sample here: 156-Tuba resonans.wma
    As the functioning Kapellmeister Zelenka apparently had to consider that everyone among Dresden's star musicians should be kept employed and given their special opportunity to shine - but they clearly had to work and sweat for their money!

    In other words: ZWV 156 is yet another reason to be excited about and to support Collegium 1704's Xaverian recording. Remember that for example a 100€ donation includes a copy of the CD, sent to you before the public release date. Details:

    P.S.: Unfortunately I don't have any info on the ensemble or the performance of my ZWV 156 sample here. Maybe someone else in the forum can help us?


    Exclusive pre-Xmas pre-info for all you die-hard Zelenka fans in the forum:
    Today is December 3, the main feast day of the Jesuit saint Francis Xavier. In 1719 Princess Maria Josepha brought the Xaverian tradition with her from Vienna, and thereafter it was solemnly celebrated in Dresden as well. So the announcement exactly today of the news Collegium 1704 just revealed to me, that the ensemble will release the "Missa Divi Xaverii" ZWV 12 on CD in 2015, couldn't possibly have been more appropriate or better timed!

    Simultaneously Luks & company will make the ZWV 12 score publicly available through a collaboration with the publisher Bärenreiter. The plan is to build a proper Zelenka edition in the next years. A crowdfunding campaign for the CD will be launched very soon that the release depends on - so hopefully everyone reading this announcement is able to contribute (a donation will reward you with a true feeling of personal ownership to the resulting product).
    More details will be provided as soon as their crowdfunding campaign is launched.
    ...What a Xmas gift for all of us!

    And here's a link for both the ZWV 12 and the Fux "Te Deum" where the radio stream is digitally improved to CD-quality (.flac), and each work divided into its original set of movements (19 for MdXaverii). This is about as close one can get to a CD witout having a real CD:…270-Luks_2014_Utrecht.rar

    Two days after Collegium 1704's European concert premiere of ZWV 12 Missa divi Xaverii in Utrecht, I'm still unable to recover from the shock of joy
    the event gave me. My CD with the radio download has been spinning almost uninterruptedly the last 48 hours - and will continue to do so for many,
    many more days still.

    The Spanish radio channel has made the whole concert available. ZWV 12 starts around 01:34:00 here: Enjoy!…-verano-29-08-14/2733136/

    So, what about my maybe unrealistically high expectations both to ZWV 12 and C.1704's performance? They were actually surpassed! Despite the large
    variation in instrumentation between the numbers, Zelenka's transitions orchestral, solistic, vocal and choral parts ecc. seem effortless and
    natural, and Zelenka's effortless playfulness was perfectly reflected by an ensemble in top form! Although some of the remaining source material is
    ambivalent, Luks' choice of an oboe d'amore obbligato in Hana Blazikova's mysterious benedictus-aria, for example, totally seduced me!

    But what made this event truly unique is the fact that the triumph took place on so many levels simultaneously: The rediscovery of a major work that
    confirms JDZ's status among the most important composers ever, the privilege of having this work brought back to life by world-class performers with
    a special dedication for Zelenka, the demonstration beyond any doubt that collaborative, long-lasting scholarly labour with difficult source material
    pays off in the end - it can be both fruitful and enjoy appreciation by musicians and listeners alike. And, finally, the possibility to stage this
    perfect fusion of the factors mentioned in front of 2000 people during a prestigious concert broadcasted live. In short: Compositional quality,
    performance quality, scholarly quality and good publicity - they all come together in a rare, higher unit thanks to Collegium 1704's and Vaclav Luks'
    brave initiative.

    Let us hope that Collegium 1704 will choose to let their long and hard pioneering work on ZWV 12 take a more permanent form in the shape of a CD
    recording as well, maybe in combination with the horn litany ZWV 156 that originally completed Zelenka's musical program for the S. Francis Xavier
    celebrations in 1729 together with ZWV 12, or with Collegium 1704's maybe greatest Zelenka "hit", the ZWV 146 Te Deum?
    Personally I will be happy to contribute economically t a CD, if that's an issue.
    Whatever happens, though, we should remain forever grateful to Luks and his fabulous Collegium 1704 for this huge concert achievement.

    Great news about another Zelenka premiere! Just after Ensemble Antiphona's world premiere of "Missa Sancti Spiritu" (Zwv 4) in France, Collegium 1704 announced a new milestone in the ongoing Zelenka rediscovery adventure: Luks & co. are going to perform the "Missa Divi Xaverii" (Zwv 12) for the first time in Europe in Prague's Rudolfinum Concert Hall, both on 15 and 16 December 2014:…m-1704-in-rudolfinum.html . Thank you, Collegium 1704! I wonder if the double booking for this concert program could reflect the rapidly growing interest in "new" Zelenka compositions...

    Zelenka's Mass dedicated to S. Francis Xavier, the apostle of the Indies, is exceptional for several reasons, both musically and context-wise, and aria-wise it is probably the most accomplished of ALL his masses:
    FIRSTLY, the veneration of this Jesuit saint was exceptionally strong in the Dresden Court, and apparently for Zelenka himself.
    SEONDLY, Zwv 12 was the first Mass Zelenka composed after Heinichen's death in July 1729. He must have been quite optimistic regarding his chances to become the next Kapellmeister at this point.
    THIRDLY, unlike common procedure in the 1720s, JDZ did NOT have to compose this work "in great haste". The kyrie is dated 3 September 1729 and the final Agnus Dei 26 November 1729.
    FOURTHY, whether this can be seen in connection with the 3 points above or not, Zwv 12 is a work of abundance, confidence and joy from a musical point of view:The innovative choral writings show few signs of reworkings according to J. Stockigt, despite their complexity on many levels. It also seems to be the only occasion in which JDZ took time to add separate autograph parts for the trumphets.
    FIFTLY, "Missa Divi Xaverii" is Zelenka's aria Mass par excellance, not only because he found space for six arias (4 solos & 2 duets) in c. 40 minutes total, but even more so because of the great care and variation shown in the combination of the voice(s) with the accompanying obbligato instruments (oboes, flutes, violins, viola and/or violoncello, + b.c.). Actually, if we consider the attention given by Zelenka to the relationship between voice and obbligato instruments in the arias/ duets here, it seems that Zwv 12 has NO equal among his other c. 20 masses, including the missa ultimae.
    Particularly touching and even a bit strange is the "benedictus". Given that the well-known, popular visual and verbal imagery of S. Frans Xavier back then represented the saint, the apostle of the Indies, in the act of baptising exotic looking Indian "savages", isn't it tempting to interprete the aria's exotic sound as a musical variant of this mentality, i.e. as musical orientalism?

    Last, but not least, we must REALLY hope Collegium 1704 has planned to immortalize their performance achievements in a lasting CD recording with the ensemble's usually high artistic standard. It would be very sad if not, but fortunately Collegium 1704 & Luks seem to be aware of the importance, and the situation. A double concert at the Rudolfinum...

    FOR YOU: "Psalmi Vespertini totius anni"- anno 1725, Complete at last. See link "Info" for music, selected illustrations and more details:
    I realized that I would be able to compile a complete video presentation of Zelenka's intactly preserved first vesper Psalm cycle of seven compositions from september-november 1725 (Dixit Dominus (Zwv 66), Confitebor (Zwv 72), Beatus vir (Zwv 75), Laudate pueri (Zwv 82), In exitu Israel (Zwv 83), Magnificat (Zwv 108) & De profundis (Zwv 50/97)). All seven should be presented in the same order as Jan Dismas Zelenka wrote in his personal "Inventarium". (Read J. Stockigt (2000), pp. 161-174 for the relevant information).
    Probably for the first time in his life, the deeply religious Zelenka was in 1725 asked to compose a vesper Psalm set. In my opinion they reveal the energy and enthusiasm of someone who is finally able to pursue an interest for (maybe) the first time, and to really explore the musical possibilities in the timeless Psalm texts.
    The performances here may seem somewhat inhomogenous taken as a whole, but the main motivation is to attract attention to Zelenka's neglected (David) Psalm cycles, and perhaps encourage future recordings by today's very talented JDZ interpreters. An easy and musicologically reasonable solution would be to follow Zelenka's own "instructions": 4 Psalm cycles = 4 full CDs (+/- 80 min.)! Only the Magnificats (Zwv 107-8), Dixit (Zwv 68) & Laudate pueri (Zwv 81) are availabe in updated recordings, although several more got attention in old LPs from the 1970s & 1980s...

    By the way, in this LP/ vinyl category there is an important avantguarde recording by Wolfram Wehnert & The Marburger Bachchor from 1979 on the Carus label (FSM 63 108 - Stereo) that clearly qualify for the "Rare recording" section, but accidentally seems to have passed under Alastair's radar (hint, hint!)

    This Marburger "Psalmen und Magnificat" LP contains the only registration known to me of the fabuolus, elaborate Confitebor Zwv 72 (c. 16 min.).
    Zwv 72 is compositin 2 here:


    Very very awesome!
    I was grinning throughout :)

    Enjoy everyone,


    Zelenka for the People! Their brave stunt shows that not only has Ensemble Inegal totally understood Zelenka's music, but more importantly (if possible..) what ALL music is about. I especially enjoyed watching the couples dancing on the world map!

    P.S. And here is a video link as well ;)


    Zwv 7 also works for Christmas!
    Again, there is only one thing to say, after several spellbinding listening experiences with "Missa paschalis" and "Litaniae omnium sanctorum" - and I know I speak for many others as well: Thank you Ensemble Inegal!
    One must agree with djdresden's views. ZWV 153 I knew would be wonderful, and that E.I.'s sophisticated string instrument playing and deep understanding of the vocal and choral elements of this music would finally do full justice to the composition. All soloists - vocal and instrumental - are world class.
    The Mass, on the other hand, was a true discovery in the sense that I didn't expect to like it as much as I did. Zelenka creates another masterpiece of musical architecture, repeating two movements, "amen" & "kyrie", without sounding repetitive. Still, another brass instrument movement, "et resurrexit", seems to be the nucleus of ZWV 7. JDZ appears to have used it as a musical reference both to the title of the mass and its intended liturgical use - something the cover painting captures perfectly. But apart from the Boss himself, Adam Viktora, these wonderfully uplifting effects are captured musically thanks to Hannes Rux and his incredible team of trumpet players. Ensemble Inegal is very lucky to have them. The intimate and reflective arias between offer the composition air and space to breathe in between the heavy elements, and also met the Dresden court's need to express religion as quiet personal devotion as well, and not merely as public display. Zelenka's employer must have been very satisfied!
    Stocigt's liner notes are wonderfully specific about details regarding the works and their context. The surviving source material is the condition for
    everything else. Interestingly, all the copies elsewhere are from the Mass' early version.
    After this CD I'm even more excited about what the future will bring us in the course of Ensemble Inegal's Zelenka discovery, probably the world's most important ongoing early music project now when all works by Zelenka's equals Bach and Händel are available.
    There's only one thing to criticize in my opinion: It's getting increasingly difficult to decide which is my favourite recording. Performancewise, the
    competition is now hard between Zwv 7 + 153, Zwv 17 + 168 and Zwv 16 + 151...

    Hi Peter & all members,
    I was NOT fortunate enough to visit the ZWV 175-concert, so thank you so much for your passionate eye(ear)witness report from the occasion! On the other hand I managed to record the internet radio stream, and it's impossible to disagree with your opinions. My ears are actually unable to detect anything but highpoints: A clear, transparent, yet dramatical chorus, an absolute dreamcast of solo singers, who nevertheless must compete with the exquisite instrumentalists in the many arias with obbligato instruments. But Vaclav Luks makes the whole become greater than the sum of the parts. The effortless interplay between chorus, orchestra and singers is marvellous. I considered uploading my recording om Youtube, but someone was faster than me. All you need to download it is f.ex. the free version og Realplayer:
    However, I still have the ZWV 175-file if you prefer that solution.

    "Da pacem domine" (ZWV 167) is particularly interesting because it cronologically belongs on the extremely short list of compositions Zelenka left us from around the years of his missae ultimae (ZWVs 19-21 + ZWV 29) and Zwv 18, from 1739. In addition comes the late Marian litanies (ZWVs 151 & 152), of course. But after having scrutinized Stockigt's Appendix A carefully, I have realized that there exists another - mysterious - composition, with the same instrumentation, dated 1739 which to my knowledge has neither been performed nor even mentioned in the Zelenka litterature. WHY? The work in question is "Ecce nunc benedicte" (ZWV 99), dated 1739, the same year as "Missa votiva". Just reflecting...

    Do you really have a sung version of ZWV 167? With instruments as well? I'm aware that Musica Florea performed it a couple of years ago, though an interpretation by less famous performers would also be wonderful. Now we are extremely curious.

    :DHappy days are soon here again!
    Not only are Ensemble Inegal's CD premieres with ZWV 7 & 153 expected in November. Collegium 1704 is going to perform both Zwv 175 "Sub olea pacis" and Zwv 19 "Missa Dei Patris" during the same month. The Zwv 175 - concert will even be broadcasted directly from the Herne Early Music Festival on 17.11. between 20.05 and 23.00 on German radio: . I'm looking forward to hearing C. 1704's alternative approach - with f.ex. a smaller chorus - to Musica Florea's 13-year-old performance. The four main soloists (Celine Sheen (S), Terry Wey (A), Krystian Adam (T) and Tobias Berndt (B)) are also first-rate. By the way, Terry Wey can be heard on the samples from the new Zwv 7/153 CD: . Then, everyone.: Be certain that you don't have anything less important to do that evening, and that you have a reliable streaming download program ready. No excuses, you have plenty of time to make plans!

    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 :)

    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...

    No, l'infastidito, I don't think differently. I totally agree with your judgements of ZWV 90 and ZWV 153. And the recordings from the Czech Republic that we have already are really too old.

    Ensemble Inegal's newest Zelenka-CD has now been announced on the Nibiru site. An unusually intimate and captivating version of Christ's Resurrection on Easter Sunday is already selected for the cover - their most beautiful since the Zwv 14 + 155 - illustration: http://www.nibiru-publishers.c…udba&Start=0&lang=English . We'll get the world premiere of the "Missa paschalis", of course, but also the worls premiere on original instruments of JDZ's first late-style masterpiece "Litaniae omnium sanctorum"! Everybody is undoubtedly eager and impatient, but I presume they'll take the time needed to correct errors like the missing -k- in the second tenor's surname, and to include the missing Zwv-numbers...

    Most of the performances of Zelenka's music on YouTube can now be reached through the "News" or "Works to hear" pages of the Discover Zelenka website.

    ZWV 139 + ZWV 71 VIDEOS FOR YOU!
    With regards to JDZ on Youtube, I just wanted to inform you fellow Zelenkists that the ultra-rare (so far, at least) "Salve Regina" (Zwv 139) for solo bass voice from 1724 now has been uploaded on my channel. I'll bet that those among you who have heard this before can be counted on one hand. The soloist is Harry van der Kamp, conductor is Simon Standage. Performed in Poland July 2012:
    It is a simple setting in terms of instrumentation, mainly limited to the expressive, humble voice and subtle violin playing. A good example of how masters often reveal their greatness in smaller details. The same thing can be said about another simple masterpiece dominated by bass voice and violins, the "Confitebor tibi Domine" (Zwv 71). I have also reuploaded this video - with Tomas Kral singing and Marek Stryncl conducting - for an interesting comparison:

    By now most Forum members are aware of Ensemble Inegal's recent concerts and upcoming recording of zwv 7 Missa Paschalis. Yesterday Czech TV broadcasted a 1,5 min short coverage about what seems to be the concert rehearsals before the world premiere in Prague last Friday. Unfortunately the sounds from the musical part and the interview part are not separated in the short video, but one catches glimpses of some movements like the "et resurrexit" intro after c. 50 seconds, see:…elenku-s-ensemble-inegal/

    And then there appears to be something else...something GREAT if my Google Translate doesn't betray me on the meaning of the very last phrase of the interview: "Nyní se soubor rozhodl nastudovat celé Zelenkovo dílo.": "Now we [i.e. Ensemble Inegal] have decided to study the complete works of Zelenka". Maybe the Czech speaking members have something to add here, but if a decision to study and record ALL Zelenka works can be confirmed, the Jan Dismas Zelenka studies are about to enter into a totally new era, almost like before and after Christ! Projects about recording the complete output of well-known composers like Bach and Vivaldi are impressive enough, but it REALLY takes guts and courage to make the same commitment to less famous composers like JDZ, although his production is smaller. I've said something similar before, but the circumstances seem to have changed: This is almost too big to understand. Ensemble Inegal's Zelenka initiative is so overwhelming that we need to take many steps away from it in time before we can find a distance or position which allows us to have a full view of this initiative's historical greatness.