This could be an interesting topic. Was Handel in Dresden in the 1730s? Did Quantz or Hasse, when they traveled to London, bring with them copies of some of Zelenka's masses? That's unlikely though given strict rules on church music back then. Perhaps the particular theme for the Crucifixus had been written earlier and "recycled" for ZWV13.
Posts by AlexK
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Thanks for pointing this out! It does look like a special issue in Janice Stockigt's honor. I've read the Miserere paper and learned about some old Italian masters whom Zelenka and Fux apparently studied very closely. I also learned that JDZ studied Michael Praetorius's treatises. A few other papers in the issue look quite interesting, too.
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Hi all,
I am sure everyone knows about the annual Prague Spring Festival. The 2020 is full of wonderful music, as usual with this event, and also features a Collegium 1704 performance of the so-called Missa 1724, following Handel's Dixit Dominus. Wish I could be there in person, but alas. Hopefully it will be streamed on YT and/or posted later on the web somewhere.
Cheers, -
What a find! If anything, this reminds me of Francesco Da Milano's ricercars for lute.
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This festival looks pretty good. May 15 Ensemble Inegal performs Zelenka's oratorio at a major venue in prime time. (Three years ago they performed Il Serpente di Bronzo at a relatively obscure church early in the evening. Still the church was packed.)
Plus, William Christie playing some French baroque.
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Do you mean J. Haydn?
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Has anyone noticed that there is a clear similarity between Kyrie's 2nd theme and the beginning of the 1st movement of Buffardin's concerto a 5? https://www.youtube.com/watch?v=GnYqB7taiTY (someone else on YT pointed this out)
I find this quite interesting for a number of reasons. We know that Buffardin was employed at Dresden at the same time with Zelenka, and they obviously overlapped professionally. And apparently, Buffardin wrote only a couple of pieces, including the concerto, that were probably not even meant for publication. According to the wikipedia, the concerto was written as an exercise for Quantz (!), which probably means he was still studying at the time. This suggests the timeframe of not later than the early 1720's.
The question is then, why would Zelenka quote Buffardin, of all people, as opposed to say Vivaldi who was widely imitated at the time, in his probably most intimate mass? Or maybe Zelenka had suggested the theme to Buffardin and then later reused it in his own work? Is there a missing piece by Zelenka from his early days where this theme appears?
