ZELENKA, Gio. Dis.
Title
ZELENKA, Gio. Dis.
Description
ZELENKA, Jan (Lukáš Ignatius) Dismas (b Louňovice pod Blaníkem 1679–d Dresden 1745), Laetatus sum, III/Z/23/6
D-Dl
Missing
Composer
ZELENKA, Gio. Dis.
Uniform Composer
ZELENKA, Jan (Lukáš Ignatius) Dismas (b Louňovice pod Blaníkem 1679–d Dresden 1745)
Title (Catalogo)
Laetatus sum
Location (1765)
Schranck III; Fach 23; Lage 6
SFL_combination
III/Z/23/6
Scoring (1765)
‘a 2 Voci, Sopr. e Contr. con Stromenti’
Materials (1765)
Partitura; Parti
Uniform Title
Psalms (ps. 121)
Remarks
Missing in Dresden but a copy of a set of parts held in CZ-Pak, 1400. Štefan, ([1465] Sign. 1400), prov. Görbig.
This is the longest and the most galant of Zelenka’s extant psalm settings. It must have been composed for a particularly important Vespers. The length of this work (it is composed in six movements), the extremely wide vocal ranges used (seen especially in the soprano part), and the technical brilliance evident in the vocal writing leads to the conclusion that the work was intended to be sung by two of the castrati who arrived in Dresden from Venice in mid-1730. The dynamic shading required of the vocal soloists indicates new vocal techniques available to Zelenka. This work is operatic in style and, as with the previous listing, closer to Zelenka’s vocal solo motet compositions of the 1730s.
Two flutes (undoubtedly meant for Buffardin and Quantz) have an important role in this setting. An example of the Polish style is to be found in the first and fourth movements of the setting, the latter demonstrating stylistic attributes of a Mazurka. See Stockigt, Jan Dismas Zelenka, ch. 5, ex. 5.12. and ‘The Vespers Psalms of Jan Dismas Zelenka’, App. 1, ZWV 90. Also ‘Hinweise auf die Originalaufführungen von Zelenkas Vesperpsalmen’, Zelenka-Studien II, 101–43, and Zelenka-Dokumentation, 116–21, and Kohlhase, ‘Der Dresdener Hofkirchenkomponist’, 139.
In the ‘Catalogo della Musica di Chiesa’ (c1784) score and parts are listed under the heading Laetatus sum (III/Z/21/6).
This is the longest and the most galant of Zelenka’s extant psalm settings. It must have been composed for a particularly important Vespers. The length of this work (it is composed in six movements), the extremely wide vocal ranges used (seen especially in the soprano part), and the technical brilliance evident in the vocal writing leads to the conclusion that the work was intended to be sung by two of the castrati who arrived in Dresden from Venice in mid-1730. The dynamic shading required of the vocal soloists indicates new vocal techniques available to Zelenka. This work is operatic in style and, as with the previous listing, closer to Zelenka’s vocal solo motet compositions of the 1730s.
Two flutes (undoubtedly meant for Buffardin and Quantz) have an important role in this setting. An example of the Polish style is to be found in the first and fourth movements of the setting, the latter demonstrating stylistic attributes of a Mazurka. See Stockigt, Jan Dismas Zelenka, ch. 5, ex. 5.12. and ‘The Vespers Psalms of Jan Dismas Zelenka’, App. 1, ZWV 90. Also ‘Hinweise auf die Originalaufführungen von Zelenkas Vesperpsalmen’, Zelenka-Studien II, 101–43, and Zelenka-Dokumentation, 116–21, and Kohlhase, ‘Der Dresdener Hofkirchenkomponist’, 139.
In the ‘Catalogo della Musica di Chiesa’ (c1784) score and parts are listed under the heading Laetatus sum (III/Z/21/6).
Eitner
V. 10 (1904), 337: Zelenka, Johann Dismas [...] In Dresde. kath. Kirche [...] Psalmen
Status
Score and parts for a Laetatus sum setting for solo soprano and contralto missing from Dresden. Not catalogued by SLB
Identification
ZWV 90
Sort Order
03/23/06
Collection
Citation
“ZELENKA, Gio. Dis.,” Catalogue of the Music Collection of the Dresden Catholic Court Church 1765, accessed July 28, 2024, http://omeka.cloud.unimelb.edu.au/hofkirchecatalogo1765/items/show/4366.