I am unable to go, so hopefully someone might report back.
Very interesting article. It's something I've always experienced but much more so when I was younger. I've found, personally that in an age of recorded media having repeatedly played to death music that gives me chills the effect is now muted and only occurs when I hear something unique and new. I used to get this feeling equally with modern electronic music as much as baroque music. In fact, Vivaldi did this frequently and still does on occasion with the right performer (nod to Rachel Podger).
So that brings me on to Zelenka. For me, there are 2 types of 'chills'. There are the visceral hair on the back of neck ones that are a pure physical response to sound. Then there are those deeper reactions (but less physical for me) that are a combination of the visceral sound and some other deeper meaning in the music. Bach's mass in B minor for example does this. It's the combination of the physical and the intellectual, each one perfect and in sync. Zelenka also does this for me in a very similar manner to Bach. I don't get a strong physical reaction as much as I used to from Baroque music (including Zelenka), but I am completely transfixed and intensely engaged in the music.
When I first heard Zelenka it was the Miserere in C minor. I had an intense visceral reaction at the time. But I also get these kinds of deep chills from the Credo in Missa Omnium Sanctorum, and the opening of Officium defunctorum, ZWV 4 amongst others. I think there are different things that move people but for me it is often something related to a euphoric melancholy. Melancholy has always been something in all kinds of music that can create a powerful reaction in many people. The emotional reaction enhances a feeling of going on a journey.
I like the fact the article mentions enharmonic changes or shifts. They are very powerful and best used sparingly. Sorry to talk about Bach again but one of my favourite moments involving an enharmonic shift is just before the Et Expecto, the choir are singing intensely about death. The music almost drowns in sorrow and sighing. Then at one point there is an unexpected enharmonic shift that makes you feel like you have just passed the moment of death and moved through a door to an unknown magical place. It is a very musically clever moment that describes through sound the passing of a soul to the afterlife. Not only does an enharmonic shift create an emotional feeling of moving sideways to another place, but in combination intellectually with the text at that moment creates a very special connection to the music and an understanding of its message. Anyway, I'm trying to think of a moment like that in Zelenka, but I cant right now.
I think the article says 47% of non-musicians. I'd be really surprised if there are musicians who don't experience this.
The IMSLP uploads recently have been fantastic. In particularly, the upload of the Serenata Il Diamante is being utilized for upcoming performances. Typeset score and parts will probably be uploaded at some point once complete.
By extraordinary coincidence, another London group is performing the Sinfonia from Il Diamante as well in October.
The concert is Sunday 4th October at St' Peter's Church, Belsize Park.
Baroque Boom & Bust
Zelenka - Il Diamante
JS Bach - Concerto for 3 violins in D
JS Bach - Sinfonia in F BWV 1046a
Telemann - La Bourse Ouverture
Sounds like a bit of a Zelenka jamboree in London during October.
Further info here
Hello everyone, I thought I'd post an upcoming concert at Grosvenor Chapel, Mayfair that does include this popular work.
Baroque Music for Advent with the Choir of the Grosvenor Chapel
J.S.BACH Cantatas 61 & 62 Nun komm, der Heiden Heiland
JAN DISMAS ZELENKA Miserere
ANON (attrib. Buxtehude) Magnificat
The Choir of the Grosvenor Chapel
Richard Hobson - director
Saturday 29th November 2014 7.30pm
Tickets: £15 & £8 on the door or in advance from Grosvenor Chapel 020 7499 1684
Hello everyone, I wondered if anyone knew whether there was any likelihood that the score for this serenata will be published at some point? Or does anyone know how to get a copy of the autograph manuscript (I don't think it has been digitized as far as I know)