Jan Dismas Zelenka: How blest is he

Jan Dismas Zelenka

How blest is he

ZWV 76


Neben den über zwanzig Messen Zelenkas, die zweifellos im Zentrum seines Schaffens stehen, sind wohl vor allem seine dreißig Psalmvertonungen von besonderer Bedeutung als in sich geschlossene, zum Teil mehrsätzige Zyklen. In ihnen spiegeln sich der ganze Reichtung und die Vielfalt von Zelenkas Kunst, ihn ihnen wender er alle Techniken und Satzweisen seiner Zeit an.


full score

24 pages, DIN A4, paperback
EUR9,50 / copies

choral score

8 pages, DIN A4, without cover
EUR3,60 / copies
Available from 20 copies
from 20 copies 3,60 EUR
from 40 copies 3,24 EUR
from 60 copies 2,88 EUR

set of parts, complete orchestral parts

DIN A4, without cover
EUR43,00 / copies
  • consisting of
    1 x full score (40.067/00)
    each: 9,50 €
    4 x individual part, violin 1 (40.067/11)
    each: 2,50 €
    4 x individual part, violin 2 (40.067/12)
    each: 2,50 €
    2 x individual part, viola 1 (40.067/13)
    each: 2,50 €
    2 x individual part, viola 2 (40.067/14)
    each: 2,50 €
    4 x individual part, violoncello/double bass (40.067/15)
    each: 2,50 €
    1 x individual part, oboe 1 (40.067/21)
    each: 1,50 €
    1 x individual part, oboe 2 (40.067/22)
    each: 1,50 €

Product information


Volker Kalisch Personal details

Continuo realisation by

Wolfgang Horn Personal details


Jan Dismas Zelenka Personal details


Beatus vir in C Major. Jan Dismas Zelenka (1679-1745)

Zelenka has enjoyed a remarkable revival in recent years. Although he wrote 20 masses, it is his 30 psalm settings that have been attracting considerable attention. This one, which is only about eight minutes long, has three movements. The Psalm itself is the bulk of the material, followed by a “Gloria Patri” for soprano, and then the final movement, which is a contrapuntal amen with choral doublings by the instruments. His music which seems to have the vitality of Telemann and Bach, is often somewhere between them in difficulty, making it very attractive to all kinds of choirs. “Beatus vir” begins with a long instrumental introduction leading to a bass solo. Later there are several tempo changes in brief subsections as Zelenka tries to capture the spirit of the tat. Both Latin and English versions are supplied.

Quelle: The Diapason 5/1995