Posts by Xanaseb

    Frederic Kiernan (Melbourne University, Australia)

    2017 – Zelenka in Czech Literature
    This was a fascinating paper which discussed how Zelenka was perceived and portrayed in Bohemia during the nineteenth and early twentieth centuries. The key findings are that Zelenka was portrayed as a character by Czech national literary figure, Alois Jirásek in the early twentieth-century, and also later by Zdeněk Gintl in the mid-twentieth century, in a children’s novelette. Fred Kiernan showed how Zelenka was portrayed through the lens of various ideological purposes, in this case a national-Romantic one.

    2018 – Zelenka’s identity in the nineteenth century: dictionaries, encyclopedias, and other literature

    Fred Kiernan traces the various stages of musical criticism of Zelenka, from the glowing Romantic treatment of Johann Friedrich Rochlitz to the gloomy portrayal of Moritz Fürstenau. Kiernan shows categorically that, up to Furstenau, the idea of Zelenka dying an embittered man did not exist.
    For more on Frederic Kiernan’s research into Zelenka reception in the nineteenth-century, please see: https://www.academia.edu/26012…_century_Some_new_sources
    Unfortunately there are many details that I have been unable to include here, but hopefully will be available in the future through Fred's PhD research publications.

    Dr. Michael Driscoll
    (Boston, USA)

    2017 – Zelenka’s arrangements of ‘Dixit Dominus’ settings by other composers
    Dr. Driscoll presented his research on Zelenka’s arrangements of other composers’ settings of Dixit Dominus. These were ones that come from Zelenka’s ‘Psalmi variorum authorum’ (in the Inventarium), by the composers Guiseppe Ottavio Pitoni, Annibale Pio Fabri and Tomaso Ige[g]nieri. Driscoll showed how each had received considerable additions by Zelenka, particularly in terms of stringed orchestration. For more detailed information, you can find his thesis fully available here: https://open.bu.edu/handle/2144/19581

    Dr. Vacláv Kapsa (Prague)
    2018 – Sacred music in Prague in 1730s-1740s - Inventory of the Knights of the Cross with the Red Star
    Václav Kapsa presented a survey of the musical collection of the Knights of the Cross with the Red-star in Prague. He gave a ‘top 10 chart’, showing the most popular composers. Zelenka, however, is very low down on the list. Kapsa has identified a small handful of works which are kept there, and some of which are now lost. One interesting piece was a cantata which doesn’t seem to exist outside the catalogue, but is unfortunately not extant. Kapsa’s paper was very thorough, showing how archives can be well analysed.

    Maria Sawinkowa (Russia)
    2018 – Dresden Manuscript collection in Moscow
    Conductor Maria Sawinkowa showed gave an important glimpse into the manuscripts held in Moscow taken there at the end of the Second World War. This is a sad story which she outlined, whereby the Soviet army in 1945 ransacked Dresden and had sent boxes of cultural materials back to Russia. This was called off by Soviet HQ, but the command arrived to late to be executed. These materials were kept for a while, archived and studied, but were eventually dispersed across city archives of the former Soviet Union. The biggest portion of Zelenka-related materials which are missing from Dresden are the parts books for soloists and musicians.
    She presented her research, which looked at three manuscripts which she was granted access to. One of these was a copy of Allegri’s Miserere. She showed pictures which clearly showed Zelenka’s hand. This is very exciting, and hopefully more will be discovered in Russia!


    Kjartan Oskarsson (Reykjavik, Iceland)
    2018 - Zelenka and the Chalumeau
    This paper was a very interesting look at Zelenka’s writing for the Chalumeau. Oskarsson shared how he was immediately drawn to this subject after hearing it and thinking that it was comparable in its chromaticism to twentieth-century jazz! If I can recall correctly, Oskarsson speculates as to why the range is so large in Zelenka’s chalumeau-writing, and concludes that it may have been thanks to experimental instrumentation by a Viennese chalumeauist who was employed by the Dresden Court. Almost all of the chalumeau pieces have been recorded, other than Missa Eucharistica ZWV 15, the Qui Tollis of which he emphasised as being special.


    Libor Mašek (Prague, CZ)
    2017 - Hledání ideální podoby přepisu Zelenkových skladeb (Searching for the ideal way of transcribing Zelenka’s works)
    Mašek is one of Ensemble Inégal’s cellists, who shared his years of experience in approaching Zelenka’s writing in order to deliver performance copies for the musicians and singers of the ensemble. Mašek covered meticulously details in Zelenka’s style of writing that become evident after studying his manuscripts closely, which are essential in order to achieve the right musical scores and parts.

    Dear all,


    This is a long overdue summation of the latest in Zelenka-related research, as given at the Prague Conferences 2017 & 2018. As I am relying mostly on my memory, please forgive its rough & cursory nature. I have done this in no particular order. Where possible, I have included links to theses and research papers which go into fuller detail.
    As you will see, the past two years have seen a well-spring of information for Zelenka studies which hopefully will keep going into the future. I write this to try and inform and inspire people with this fascinating field of research.

    I hope it will prove satisfactory, but, nothing can compare with the real thing - I warmly encourage anyone particularly interested in Zelenka to come along for next year's Festival and Conference. Each year is a very special gathering in itself, but next year's will be extra-special, as it is the 340th anniversary of his birth.


    I may update this in the future, as I have been just relying on my memory (my notes have ashamedly gone walkabouts...). If you would like to correct anything, please PM me. And, of course, if you find something of particular interest here, please reply below to start a discussion!


    Best wishes,


    Seb


    ****


    Registers of Lounovice pod Blaníkem - 2017 & 2018 conferences


    Seb Sanyal (2017)
    In my paper, I showed some of my findings from the parish baptismal registers of Zelenka's home town. The most surprising element to come out of this was that Zelenka's father, Jiří, must have had a fascination with Astrology. This was already discovered in the 1950s by Czech historian Jan Palecek. Jiri Zelenka was the author of the registers from the mid 1675 till up to around 1712. Very occasionally he adds a note describing the zodiacal moon sign under which the child was born ('rozena' or 'rozen'). Our Jan Lukáš' birth was "on Aquarius" ('na vodnáří'). Knowing this, by looking at astrological calculators, the actual day of his birth can be narrowed down to either the 13th or 14th of October - most likely 14th, because he was baptised on the 16th, and this would be as soon as possible after his birth. I thank Johannes, djdresden, for his help with this.
    The key conclusion of my paper is that the Zelenka family maintained connections with the nobility of the surrounding area. This may have provided the eldest son, our composer, to go onto Prague and serve under the Hartig family. The big question mark is how and when this occurred. We know that Zelenka must have already developed connections to the Prague Jesuits by 1704, as this was the date of the school play, Via Laureta. In my paper I have speculated that connections with local nobility may have been the natural first step for the young Zelenka. I point to one local noble family, especially, the 'Malovec z Malovic' family. They certainly were close to the Zelenkas by the fact that the head of the family, the widow Marie Veroníka neé Svihovský z Rýzmberka was Godmother to Zelenka's sister born in 1685, Marie Veroníka - named after the noblewoman. She purportedly had a residence in Prague, and there was a castle south of Lounovice pod Blaníkem which was their central abode. Was this the family which helped to financially support Zelenka's musical talent? At the moment this is purely speculation, and needs more research in order to come to any proper conclusions.

    Lukáš Vokřínek (2018)
    This year a paper was presented on ‘godparenthood’ in the mid-late seventeenth-century, and more specifically on the network of names as they appeared in the Lounovice registers in connection to the Zelenka family. Mr. Vokřínek has done extremely thorough genealogical work, going deeply into the source material, including also the Marital and Death registers. He presented tables tallying up the number of times various individuals in the community were noted down as Godparents or witnesses (Godparenthood came in three different levels of involvement / importance). The Zelenka family came out high up on the frequency chart. Vokřínek finished his presentation by including the Godparents of the Zelenka family, a few names cropped up as potentially being of some importance.
    It is hoped that the research into these registers could eventually provide clues into how, when and where Zelenka went on to develop his musical talents. It is a great field to work with, seeing as almost nothing is known about the first 30 years of his life.


    Dr. Jiří Kroupa (Prague)


    2017 – A new interpretation of Zelenka’s dedication formulae
    Last year’s paper by Dr. Kroupa was the most amazing surprise for me. He completely re-interpreted JDZ's dedication formulae (O.A.M.D.G B.V.M OO. SS. and its variations), and blew out of the water the idea, unchallenged till now, that 'P.I.R' or ‘PP I R’ meant a reference to the commissioning patrons (ie. the Saxon Royal couple). Kroupa’s alternative explanation was that Zelenka was using the ending as was typical amongst seventeenth-century and early eighteenth-century Jesuit writings in Bohemia. I cannot remember the exact details to his theory, but it involved ‘i H.’ meaning ‘in Honorem’, and ‘i. R.’ meaning ‘in Reverentiam’. He gave several examples of similar dedication formulae from Bohemian Jesuit publications which use, more or less, the same formulae. Kroupa delivered the paper with great boldness, and I personally found it thoroughly convincing. It remains to be seen if he was correct and if it is to be accepted by other academics.

    2018 –Zelenka’s library: Fiction or reality?
    Dr. Kroupa’s contribution at this year’s conference was a paper trying to address the question of whether Zelenka’s library could be reconstructed. Kroupa contends that we can approximate based on his hypothetical Jesuit education as to what kind of books he must have had in his collection. He focused in particular on Michael Praetorius’ Syntagma Musicum, a early seventeenth-century work on musical symbolism and rhetoric which, he argues, Zelenka most certainly would have read and kept in possession. Kroupa also presented a manuscript which contained a dedicatory formula similar to Zelenka’s, and also a signature ‘Zelenka’. It seemed to be very similar to Zelenka’s handwriting, however, this was then corrected by Prague musicologist, Tomislav Volek, who argued that this was more likely to have been one of the other confirmed students in Prague also under the name of Zelenka at the start of the eighteenth-century.


    Dr. Janice Stockigt (Melbourne, Australia)

    2017 – From Bohemia to Dresden: JDZ’s collection of sacred music
    Dr. Jan Stockigt presented a paper on the pattern of exchange of Zelenka's music across the Dresden-Bohemia border. She showed that Zelenka kept in contact with a few key Bohemian monasteries, churches, and their music directors by exchanging his own compositions with works from their music collections. The theory, proven convincingly by Stockigt, is that Zelenka in his Inventarium briefly denotes where he had obtained new music, for example with an ‘O.’ for the Cistercian monastery at Osek in Northern Bohemia and the letter ‘P’ for a person or a place (possible Prague). The conclusion is that Zelenka maintained many contacts in his homeland and that most copies of his music now kept in the Czech Republic were the result of such exchanges.

    2018 – Zelenka Monograph, launch of Czech edition
    This was a very special occasion whereby Professor Stockigt gave a brief talk on the writing of her 2000 book ‘Jan Dismas Zelenka: A Bohemian Musician at the Court of Dresden’. It has been translated into Czech by Vysehrad publishers. This edition seems to have garnished a lot of attention, and all the book copies were sold by the end of the conference! Janice Stockigt gave a very warm and touching speech, and personally signed many copies for people.


    Andrew Frampton (Oxford, UK)


    2017 – Zelenka’s reworking of a Palestrina mass as shown in a recently discovered manuscript
    Andrew Frampton presented a paper on the discovery of a previously unknown manuscript, which turned out to be Zelenka’s arrangement of the ‘Credo’ from one of Palestrina’s most famous Masses, Missa Papae Marcelli. Frampton focused on one page of parts for a soloist which, unusually, was incorrectly labelled in the SLUB archive. This was an interesting glimpse into how singers in the Dresden Catholic Court Church may have performed the great polyphonic work of Palestrina, with Zelenka’s expert arrangement.

    2018 – From Dresden to Berlin: the Missa Sancti Spiritus (ZWV 4) as a case study in eighteenth-century Zelenka source transmission
    In this paper, Andrew Frampton unpacked the complex transmission history of this fascinating Mass. He shows how it is possible, through a study of the copies and versions of this work, to piece together and approximate the final version that would have been performed in Dresden in the 1720s. The principal copy is by Johann Gottlob Harrer, Zelenka's student, who went on to the Thomasschule Leipzig after the death of J.S. Bach. It can be found today in the Staatsbibliothek zu Berlin. Because Harrer's version can be compared with the original autograph, which itself has many layers of addition and corrections to it, a number of conclusions can be made about orchestration and phrasing. Through a lot of painstaking work, Frampton has revealed the six-year history (1723-1729) of Missa Sancti Spiritus ZWV4. The Mass was premiered in Prague at the end of the festival with huge success. For more detailed information, you can see Andrew’s thesis here: https://minerva-access.unimelb.edu.au/handle/11343/56429

    The forum has been very quiet lately. Can someone please give us some feedback about the meeting in October? Thanks in advance.


    Alistair


    Yes, thanks Alistair. Indeed, I have been working on a much-needed 2017 & 2018 conference report, but I have been waylaid by poor health this past month or so - I will get on it ASAP. It goes without saying that there is a *lot* of information to cover! There are some good surprises that have come out of the past two years of research papers that I would love to share with all.


    For the moment, I can tell you that the Festival & Conference Prague was once again a great success. The final concert of Missa Sancti Spiritus ZWV4 and Litaniae Lauretanae 'Consolatrix Afflictorum' ZWV15 was fantastic. The Mass was so good that it absolutely obliterated the notion that Zelenka's early Masses have nothing to offer. I will post separately on this, and invite others who went to it to post about your experiences of it too, if possible (Testudo & djdresden, thinking of you especially)

    Seb

    I am very pleased to say that as in the previous years, the Zelenka Conference 2018 is shaping up to be one of real importance and substance. I now see that two outstanding Czech scholars have been added to the list of speakers, namely Václav Kapsa (Prague) and Jana Perutková (Brno) and it will exciting to hear what they will bring to the Zelenka research. Also, the paper of their compatriot Lukas Vokrinek could turn out to be very interesting... But the best news is that the Zelenka choral director Maria Sawinkova (Moscow) will give a paper, for she has already seen some of the scores/parts from Zelenka’s collection that was taken from Dresden in 1945 and is currently located in the National Library in Moscow. When it comes to research into Zelenka music materials, Russia is the promised land. It is there where the focus must turn to in the coming years.


    In addition to Jan Stockigt’s paper, which will be interesting to hear as always, her students Andrew Frampton and Frederic Kiernan will no doubt enlighten us with new insights into our composer and his working methods and life. While I will not give a paper this year I am glad to say that Iceland will be well represented by Kjartan Óskarsson, who will deliver a paper of great interest for Zelenka studies.



    That is a pretty fantastic line-up. Looking forward to it! I am also over the moon to hear that there is even a chance of the Russian manuscripts coming to light. :cool:

    Dear all,


    Something of interest for those in Prague during the Zelenka festival week:


    I have just heard word about a special concert happening the day before the start of this year's Prague Zelenka festival, in Třeboň, south Bohemia. Capellia Regia Praha with Robert Hugo will be performing, and there will also be a talk by Dr. Jan Stockigt. This is a part of the renovations going on in the Monastery/Church, and the restoration of the 1737 baroque organ, in particular - so this is quite a special occasion. Here is the publicity material https://ufile.io/kawjy , which has a lot of interesting background information on the music held and performed in Třeboň, much of it from Stockigt herself.


    The music programme has some unusual works including anonymous sacred works from the Třeboň archives (which Stockigt states actually could have been the most protected gems in the monastery collections), sinfonias from Gassman and Brixi, a Mass by Kalous, and one Zelenka excerpt, the great early-period aria 'Ave Crucis, ave lignum' from his Sepulcro Oratorio Zwv 60 Deus Dux.


    Travel from Prague to Trebon is about 2-3 hours (but longer with a coach/bus), but well worth it with this music!


    Seb

    Hi,
    I have just booked the hotel and tickets for the "Missa Sancti Spiritus" :)
    Anyone else attending this concert, maybe we can organise a Zelenkians-Meeting before or after the concert?
    Best from Vienna,
    Roman


    Yes, I'm sure there will be. On the 20th and on previous days too. This would best be organised in PM/email.
    For anyone who is interested in meeting during this week, please message me on the forum PM.

    This is Zelenka's 1738 Miserere in C Minor and Alistair shares my immediate reaction that what Clemency has suggested cannot possibly be a main reason why Bach was so anxious "to get an appointment at the same court - (i.e. at Dresden) - just to be closer to his hero".


    That's great that Zelenka made the book. But, it would be a shame if new myths like this caught on because of a backlash to the previous ones - too often are opinions or general statements taken as fact rather than speculation. Part of the problem is that people researching on Zelenka don't know where to turn to without paying some extra time & effort. The newest version of the Wikipedia page (updated by djdresden a year or so ago) went some way to addressing this, but it is no where near perfect.


    I would speculate that, being one of the main people responsible for the Dresden Catholic Church music program during the late-1720s-30s, Zelenka would have in the very least indirectly affected J.S. Bach, due to the great contemporary and older pieces collected and kept by him for use by the Court. Does this mean that Bach would have at some point(s) attended Masses & services in Dresden...? Or would he have come across them in other ways? Where did he get is apparent enchantment with the Catholic Mass composition form (the book 'Exploring Bach's B-minor Mass' ed. Yo Tomita goes some way into discussing this - Dr. Stockigt's chapter, especially)? As for your speculation, Andrew, I reckon that that would make sense. Many of these top composers were in touch with each other. Telemann for eg.), a mutual contact. No doubt they would have had very interesting exchanges, indeed.


    Seb

    It is a joy to see Zelenka's name dominating the musical programmes at the Dresden Annenkirche this August through to December!
    https://www.musik-dresden.de/dresden/annenkirche-dresden/


    Concerts by Ensemble Polyharmonique (unknown) 09/08, Ensemble Inégal (ZWV 4, Missa Sancti Spiritus) 20/10 (for the Zelenka Festival), Collegium 1704 (ZWV 17 Missa S.Trinitatis)


    Collegium 1704 are also doing other concerts there throughout the year, as a part of their annual Prague-Dresden series.


    Best wishes,


    Seb

    Dear all,


    I bring news of the next festival concerts and conference:


    Tues 16/10 - Musica Florea (Zelenka's Orchestral music)


    Wed 17/10 - Musica Aeterna (Zelenka's Secular Vocal Collection III (continuing from previous years' installments))


    Fri 19/10 - 4th Annual Zelenka Conference Prague
    & Dresder Kammerchor and Ensemble Inégal - Missa Sancti Spiritus ZWV 4.


    Sat 20/10 (in Dresden) - Missa Sancti Spiritus ZWV4


    There will also be the special launch of the Czech edition of Dr. Janice Stockigt's monograph on Zelenka (2000).


    Exciting, as always!


    Seb

    That's awesome that they included Zelenka into this. It always irks me when he's overlooked... Very nice article, cheers for sharing Xanaseb.


    No problem. I thought that the article hits the mark well with the explosion of early-music ensembles in Europe nowadays, and was unusually detailed and lively.


    Welcome to the Zelenka forum!

    I did wonder if Bernius would be tempted to keep on going with his brilliant streak of recordings, the last installment being Missa Votiva in 2010! Looking forward to it.



    No word on what they are coupling with ZWV 14 on the CD. Presumably BWV 235 because they performed it too?


    It would be like having chalk & cheese. Which reminds me, after hearing it performed side by side with Missa Om. Sanct. ZWV21 in Prague in October last year (Coll 1704), someone told me that it "didn't stand a chance!". I personally do like the Bach Mass, though it's a bit clunky in places as Bach can sometimes be (IMO), although that's partly due to it being cantata parody.

    ...and I had such high hopes when she said 'well, we're putting Zelenka into rehab today' ... :( well what was the 2nd half of the show about then, eh?


    sigh... *drinks*


    Somehow, though, the most inexcusable thing though was the deliberate choice of the awfully slow Camerata Bern recording just after delivering a sob-story... It was an otherwise good selection of music (well, the Miserere Frescobaldi parody piece was questionable because it was passed off as Zelenka's own composition...)

    It's about time that the Early Music show put the spotlight on our man! There will be an hour long show this Sunday, 15 April, at 2PM, GMT.
    https://www.bbc.co.uk/programmes/b0b037kq


    Title description:


    Lucie Skeaping profiles the life, times and music of the 18th-century Czech composer Jan Dismas Zelenka, who won the admiration of many distinguished contemporaries, among them Johann Sebastian Bach. One of the most neglected figures of the late baroque, Zelenka composed some of the most sumptuous and glorious church music ever written.


    :cool:
    Seb

    My wish has been granted. Here's the full piece, side by side with a smashing performance of ZWV 68 Dixit, and Vivaldi's Nisi Dominus with the wonderful Lucile Richardot singing:


    http://www.ceskatelevize.cz/iv…1704-a-jan-dismas-zelenka


    ZWV 154 @ 37:40 . It starts with a rising layered/suspended vocal pattern almost exactly similar to the first Capriccio. This is contrasted with little sighing orchestral sections akin to Missa Nativitatis Domini ZWV8. Then it morphs into traditional a colle voce fugue. A very well crafted and uplifting first movement, followed by the rest of the work which I won't spoil, because I'm still chewing over it as much as I can :)

    In the past year Saed Haddad, a contemporary composer from Jordan put together a musical-theatrical programme which includes a staged performance of Il Serpente di Bronzo ZWV 61. He chose it to complement his new composition which is about the Arab Spring.


    Here's two articles about this interesting project:


    http://www.faz.net/aktuell/rhe…en-satt-hat-15459792.html
    http://www.die-deutsche-buehne…/Jammern+auf+hohem+Niveau


    Here is Haddad's website:


    http://www.saedhaddad.com/


    The tour with Ensemble Modern has already finished, but there is a concert version still to come in April.


    Seb