Jan Dismas Zelenka: Responsoria pro hebdomada sancta - Sheet music | Carus-Verlag

Jan Dismas Zelenka Responsoria pro hebdomada sancta

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“In accustomed manner, with this carefully prepared edi tion the publisher has once again made this magnificent polyphonic choral music accessible for the church music practice of today. This music is thematically and technically orient ed towards Palestrina and towards the Italian music of its time, but in harmony and texture it is entirely under the sign of the high ba roque. … Since separate editions of the motets are available, the way is open for the use of individual pieces in a liturgical context as well as for concertante performance.
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Full score, First edition Carus 40.466/00, ISMN 979-0-007-06922-3 232 pages, DIN A4, paperback
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60,00 € / copy
Full score, clothbound Carus 40.466/01, ISMN 979-0-007-06923-0 240 pages, DIN A4, clothbound
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79,00 € / copy
Individual part, basso continuo Carus 40.466/11, ISMN 979-0-007-21867-6 56 pages, 23 x 32 cm, without cover
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35,00 € / copy
Individual part digital (download), pdf file, basso continuo Carus 40.466/11-010-000, ISMN 979-0-007-42491-6 56 pages, 23 x 32 cm Provisionally available from 06/2026
  • 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

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Zelenka: Responsoria pro hebdomada sancta

Zelenka: Responsoria pro hebdomada sancta

„In gewohnt sorgfältiger Ausgabe hat der Verlag diese herrlich polyphone Chormusik, die in ihrer Thematik und Technik durchaus an Palestrina und der italienischen Musik seiner Zeit orientiert ist, in Harmonik und Satz aber ganz im Hochbarock steht, wieder der heutigen kirchenmusikalischen Praxis erschlossen... Da es auch Einzelausgaben der Motetten gibt, ist der Weg offen für eine liturgische Einbindung wie für eine konzertante Aufführung einzelner Titel.”

Quelle: Musica Sacra 9/1996

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