Just for kicks, look at the very last pages of Poppe's "Missa S. Antonii Paduani":
http://digital.slub-dresden.de…8_tif/jpegs/448849178.pdf
Take a look at the Benedictus (it's at the very end, after Dona nobis pacem!). Again, sopran doubles the alto, while the strings have something like an ostinato... but the basso and tenor sing two imitative lines also!
edit: wasn't it Zelenka who copied Poppe's manuscript?
Congratulations on the score!
If we look at what's written with black ink (?), then in bar 13 there should be a d-a fifth between the alto and the soprano. This is an obvious mistake due to the A Minor chord in the BC and violin. It probably results from Zelenka thinking "I need to write the same note in both voices here" and forgetting for that instant that the second voice is in a different clef (it would be unison otherwise!). The penciled 'a' in that bar is a correction. Interesting that it suggests an e-g third in the next bar 
I don't see any musical / rhetorical reasons for that and I'd suggest it's again a mistake.
I'll modify the thread title accordingly 
edit: Unfortunately I don't know how to do that...
Fantastic! There are certainly too few recordings of Ristori, great to see some more.
Guys,
I'm working also on the single surviving work by Tobias Bu(t)z, the Mass written so that the sins of his youth would be forgotten ;). I'm now working on the figured bass to the Kyrie. But the rest of the (big!) movement is ready. It's a nice prelude & double fugue:
That Benedictus is one the truly immortal bits of the Missa! It'd be great to see it in a modern score.
Now, I was really surprised with Notenschreiber's information. Really, stuff published in 1989 is Public Domain? As far as I know, according to the EU laws the editor's rights are protected until 70 years after his or her death. I'd be very glad if I was mistaken, of course!
It's a disgrace that one cannot easily gain access to the score of one of Zelenka's masterpieces. I went to a few sheet music stores in Europe and was always given an offer of trying to order a score for a few hundred Euros, but no guarantee (i.e., I'd have to wait and see if it's even possible at all.) The options I found myself online suggested I can try to 'rent' performance material, for an undisclosed price. Any sensible person will refuse to participate in such a nonsensical practice.
The manuscript has been made freely available. The project is, then, to prepare an open access score of the Missa Omnium Sanctorum. I have no illusions I'll be able to complete the project in a reasonable amount of time, since I'm just a hobbyist who is also preparing scores of other composers for choral performances. (And it's all but guaranteed the amateur choir I'm in will never attempt anything like the M.O.S.) But perhaps some parts of the Missa can be useful for someone.
I will be using Lilypond. If any fellow Zelenka typesetters would like to help, please post in this thread! (I want to typeset Kyrie 2 and the Credo next, so I'm calling dibs on that.)
So, without further ado, here's Kyrie eleison 1 from the Missa Omnium Sanctorum: https://www.dropbox.com/s/hzfzgss2r3t6e7i/01_Kyrie1.pdf?dl=0
I created a topic at the IMSLP specifically about the list: http://imslpforums.org/viewtopic.php?f=7&t=8206
Was that you who created the list in the first place? It's a splendid idea and we need such lists to be readily viewable from the composer pages!
Fantastic about the ZWV 2!
That list is missing my scores of ZWV 140 (http://imslp.org/wiki/Salve_Re…140_(Zelenka,_Jan_Dismas)) and ZWV 124 (http://imslp.org/wiki/Alma_Red…124_(Zelenka,_Jan_Dismas).
edit: It turns out I was able to edit that page.
Rnkt, please don't read this
I got the CD yesterday by mail and have already listened to it three times. I't marvellous and would be worth full price just for the concluding fugue of Confitebor (world premiere recording). Tobias Hunger is fantastic, especially in his section of Dixit. The music and performance are very energetic I have one small quibble: namely the intonation in the tenors in the choir in Dixit on the word 'dominare', where they are alone for a moment and well, should be dominating : the're quite weak and almost flat! It's very interesting to listen to the De Profundis without the brass, I agree it suddenly is not Requiem-like, but fit for the vespers.
... and the ease with which the choir goes through the concluding fugue from In Exitu Israel should bring them highest praise only!
Fantastic! Hopefully some day it will lead to new performances!
This is great news, thanks!
There have been cases of CDs with, somehow, over 85 minutes of playtime. I have no idea how this is possible
Case in point: this Taneyev box: http://www.musicweb-internatio…neyev_chamber_AE15004.htm
Thank you very much rnkt for your work! I'll try to play this though I'm a complete amateur. And also thanks djdresden for the scans, I had no idea these transcriptions existed... they seem really done with a grand piano in mind.
"A F# G# E G C# C "
OK, let me bite I believe that last 'C' is a mark of a daring composer of the late Baroque period. Let me attempt an amateur harmonic analysis
So, for starters, we are, of course, in the sombre Zelenkian mood, so after hearing 'A F# G# E' the simplest thing we can expect is to return to A Minor. What does the next 'G' say? It says 'nope guys, we're actually in A Major 7th, leading straight to D, most probably D Minor'. So far this is a pretty standard trick used by many: using the 7th step of a minor key frequently suggests the chord is actually the tonic major and we're going a fourth up. This hypothesis is partially confirmed by the 'C#', both G and C# belong to the A Major 7th chord, so we seem to be on firm ground, going into D (probably Minor). But then the 'C' appears. Of course, it can be interpreted as 'you thought I wouldn't repeat that trick? Let's go TWO fourths up!', that is, as the 7th step of D Major, going towards G. But in the course of the fugue Zelenka does many things with it
Alright, here's a Facebook event: https://www.facebook.com/events/526291687527927/
G.H. Stölzel - Missa in E minor – modern premiere
G. Böhm - Partita Jesu, du bist alzu schöne
J.S. Bach - Motet Komm, Jesu Komm BWV 229
J.D. Zelenka - Missa Fidei ZWV 6
Performers:
Jolanta Kowalska-Pawlikowska (soprano)
Łukasz Dulewicz (alto)
Piotr Windak (tenor)
Michał Staromiejski (basso)
Filip Presseisen (organ)
Ks. dr Krzysztof Wałczyk SJ - introduction
The Kantorei Sankt Barbara Choir
The L'Estate Armonico Orchestra
Wiesław Delimat – conductor
Entrance is free.
Oh boy! Can't wait for more info!
Unfortunately I have teaching duties on these days 
Maybe next year? (Fingers crossed something like this will be organised next year ;))
Guys,
on the 8th of November in Krakow there'll be a concert featuring the Missa Fidei ZWV 6 and, in what probably will be the first or one of the first modern performances, Stoelzel's Mass in E Minor. The choir will be the Kantorei Sankt Barbara. I'll post more details, including the venue, when I get them.
Sorry for being a tiny bit offtopic, but I'd like to draw attention to an unknown (that is, not known to such degree as its quality would suggests) fugue by Graupner inside his Concerto in e minor for two flutes, strings and bc. It's been recorded once:
https://youtu.be/d3YZQgfgNPI?t=59
Notice that the flute solo parts originate from the counterpoint.
I think that fugue would befit an organ, not necessarily a piano. If anyone would like to take a shot at a transcription, the manuscript is at the IMSLP: http://conquest.imslp.info/fil…P178292-Mus-Ms-411-35.pdf
Graupner is one of those who should be better known and I eagerly await some more releases of his music...
Transcribing unrecorded works is a great idea; some fugues are fantastic, even though they really seem to be vocal Have you taken a look at the ZWV 2 Credo: http://burrito.whatbox.ca:1526…1894-PMLP600603-ZWV_2.pdf ? With its triple fugue at the end? Skiaouros had made a pdf of it a few years ago, and it was downloadable from this site, but somehow I cannot find it here now.
