Jan Dismas Zelenka: How blest is he - Sheet music | Carus-Verlag

Jan Dismas Zelenka How blest is he

ZWV 76

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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.
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full score, First edition Carus 40.067/00, ISMN 979-0-007-06027-5 24 pages, DIN A4, paperback
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choral score Carus 40.067/05, ISMN 979-0-007-06028-2 8 pages, DIN A4, without cover Minimum order quantity: 20 copies
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set of parts, complete orchestral parts Carus 40.067/19, ISMN 979-0-007-21730-3 DIN A4, without cover
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  • 1 x full score, First edition (40.067/00)
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    4 x individual part, violin 1 (40.067/11)
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    4 x individual part, violin 2 (40.067/12)
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    2 x individual part, viola 1 (40.067/13)
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    2 x individual part, viola 2 (40.067/14)
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    4 x individual part, violoncello/double bass (40.067/15)
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    1 x individual part, oboe 1 (40.067/21)
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    1 x individual part, oboe 2 (40.067/22)
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full score digital (download), pdf file Carus 40.067/00-010-000, ISMN 979-0-007-26004-0 24 pages, DIN A4
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  • The Bohemian composer Jan Dismas Zelenka was a double bass player and church music composer at the Saxon court of the Elector August the Strong and his son Friedrich August II. In the years after 1721 he composed an extensive repertoire of Catholic church music together with the Kapellmeister Johann David Heinichen. These works, together with the Dresden operas composed by Johann Adolf Hasse in quick succession from 1731 onwards, established the reputation of the Saxon court as one of the most important musical centers of the late Baroque period. Personal details

Reviews

Beatus vir in C Major

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

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