Posts by Elwro

Stunning! Thank you so much! These are some high violins on p. 6, I didn't realize they were that high

A small taste: Salve Regina ZWV 140: https://dl.dropboxusercontent.…Salve_Regina_ZWV_140.flac

And the front:zelcd1.jpg

The back of the CD:
zelcd2.jpg

It's produced Anyone who'd like a copy, write a PM to me please or post in this thread!

Congratulations on your work so far! The world needs a free edition of this magnificent mass! Fingers crossed that you will manage to complete the other movements Looking forward to reading through them!

A concert in a locomotive shed sounds lovely. In Krakow I went once to a concert in something which Google tells me is a 'rolling mill', a huge hall inside an unused factory quadrant. It was a smashing success.

Quote from Rene

Do you know of any available recording of this Litaniae? or other musical compositions for the Litaniae Xaverianae?

I have heard other baroque composer put music to the LX but I have find only Zelenka's.

And thank you a lot for your work with Ristori's music.

Thank you very much for the kind words! Unfortunately I know of no recording; I managed to make 2 conductors vaguely interested in it but so far nothing concrete has materialised.

I honestly thought Tuma or Heinichen wrote similar Litaniae but it seems my memory was playing tricks on me.

It doesn't seem that full scores are freely available. No one seems to have finished any attempt at creating and sharing a public domain score of the works. Looking at the manuscripts it's understandable why. You can attempt to buy the scores for outrageous prices; if it's for scientific work, maybe you can get some funding for this?

The German Consulate in Krakow has kindly decided to sponsor the CD release of a recording of Missa Fidei ZWV 6, Salve Regina ZWV 140 and Stoelzel's Missa in E Minor (as well as an organ piece by Bohm) made last year by Kantorei Sankt Barbara, L'Estate Armonico orchestra under the direction of W. Delimat. What I know now is that there'll be a concert on the 27th of November 2016 (in Krakow) when the CD will be officially presented. I don't know what pieces will be performed, but presumably parts of the recorded works.

Great to hear it was superb! It would be very nice if the transcriber put his work on the IMSLP so that more people would benefit from his or her work

Xanaseb, first, thanks very much for your work! But there's something more. You write "for violins I & II in bar 29 I have retained Zelenka's specified notes" but I think you have not. I just consulted the score. It is clear to me that bar 28 starts with an eighth note in both instruments and continues with the syncopated quarters. I think the syncopations are crucial for how the whole thing sounds. So bar 28-29, violin 2, are "c8 c4 c4 c4 c8~c8 c4 f8 f4 e8 d8", and for violin 1 they're "e8 c4 c4 c4 c8~c8 c4 c8 c4. c8".

Thanks again for making the score available to everyone!

Rik1, thanks for the very interesting ideas!

I don't agree with bar 28 in either Seb's or the Breitkopf edition Now I see there was already some discussion about it. But in my opinion it's better to keep the viola part as it is written, namely "g4 a2 g4". You cant really say that changing it to "g4 a4 g2" is "following the vocal parts". And the oboe's 3rd quarter note is clearly written as "a". In my opinion such a dissonance doesn't pose too much of a problem and in fact I think it's something that happens in Zelenka. If we really wanted to "follow the vocal parts" we should also change the next measure in Oboe 1, so that it would really follow the altos. But somehow no one is suggesting that In my opinion, if we're not doing it here, why do it one measure earlier, if the manuscript is clear?

edit: just noticed the soprano-alto parallel fifths in bar 27

Congratulations on finishing the next movement I'll try to examine bar 28 closely in the score and recordings in the coming days.

I now need to edit another cantata by G.A.Benda (for its probably first modern performance), but I am tinkering with the 2nd Kyrie from time to time. Myself, I could never figure out exactly what's going on purely by ear. So if anyone's curious, the exposition of the fugue in the choir is finished. The following is a link to the current version of the score (don't mind the orchestral 'parts', they'll appear some day ;)) https://www.dropbox.com/s/n33fwbowvwhm2ob/03_Kyrie2.pdf?dl=0

A review from Musicweb International:

http://www.musicweb-internatio…elenka_arias_ACC24306.htm

That site is generally competent, but I'm wondering about referring to Zelenka as a 'gamba player' and cringed at 'His music is finally commanding the recognition it deserves, mainly due to companies such as Carus, Supraphon and Passacaille'. How on Earth are the Nibiru recordings so invisible?

One of us! One of us!

Alright, finished. The link in the first post now refers to the finished typeset Kyrie / Christe. Boy, that figured bass was painful.

Just noticed the new mammoth score of 'reconstructed' ZWV 2, by Werner Jaksch of course :-), here: http://imslp.org/wiki/Missa_Ju…V_2_(Zelenka,_Jan_Dismas) (under 'arrangements and transcriptions').

Rik1, that's great to hear! I'm now swamped with work on some cantatas by G.A. Benda; then I'll finish the b.c. for the Kyrie from Tobias Butz's mass, and then I'll come back to this project, namely, Kyrie 2.

Who knows -- maybe someday we'll be have the full score / parts of the whole thing