Two new Zelenka articles are found in the next issue of Clavibus Unitis:
This includes Anselm Harasim’s fine study about the Magnificats ZWV 107+108. This was the paper he gave in the Zelenka conference last October as reported above. I am hoping that more papers from the conference will be added to this issue soon, especially Michael Maul’s report on the important document he uncovered in Pirna.
My co-written article with Jan Stockigt on the Te Deum performance in Bautzen in May 1733 is also included. This has been forever in the works so it is a big relief to have it out of the way. Some of the information is already in our big Zelenka article from last year, but here is the full story. It was such a great pleasure to work on this article and to walk in the footsteps of Zelenka in the St Petri Dom, and also to see the house where he stayed with the butchers wife. Enjoy!
Thanks very much for posting these. Really interesting reading.
On reading the Te Deum article, it reminded me about something I had been meaning to post on this forum for a while; the interpretation or best practice on allocating flute parts from Zelenka's scores. The Te Deum is an example of a score where flutes only appear in a couple of movements in the score, but in some Dresden works you will find that although flutes don't appear in the score there will be parts for them where they double the oboes in Tutti sections of the music. An big example of this is the score and parts for Hasse's Cleofide (although the parts in existence might not be the original first performance performing parts, I'm not sure). JS Bach's Dresden Mass is another example where the parts show the flutes doubling in movements other than those indicated in the score. But that doesn't always appear to be the case. There are also other examples, where the original flute parts only have the movements indicated in the score.
When I have been asked to transcribe a work for performance, I get round this issue by adding the Tutti movements into the flute parts (particularly where the ritornello of an aria is simply marked in the score as Tutti) but marking them as only an option for performance as this is not indicated in the score. But I like to set out the options for a director to make an informed choice. Likewise, I have in the past supplied idiomatic oboe parts which I have extracted from a violin line where the director is likely to have oboe players who don't want to just be given the violin line as written in the score (though usually baroque oboists can work out their part themselves from a violin line quite competently). Heinichen is another example where it would be fine to add the flutes to the Tutti lines in movements of a concerto where the score doesn't indicate their presence per se.
I have not carried out any formal research myself, so I don't claim to be an expert. But I was curious to know what research there might be out there to read or what other's opinions are on this from their experience of the Dresden archive. Perhaps the answer is that it's inconclusive as enough evidence for either way is not there? I don't know.
Apologies, this was quite long winded in the end. Maybe it needs a new thread if it turns out to be a big topic.