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1:36 Allusion to ZWV 53/1?

Incredibly beautiful aria! Thank you

Wow, heaven on earth right here!

This is simply amazing, a crazy original baroque style! 😮 thank you so much for this upload ❤

Great! Thank you

Name your top 5 Baroque composers.

Love the fuga! Thank you

Did... did Zelenka count up all the bars at the end?

9:27 Ich bin vergnügt

Hello Zeno! How are you these days? Just checking (Czech-in) in

Does anyone know Zelenka's life dates? I know he was a contemporary of Bach; in fact, he and Bach knew each other.

Zelenka is a very underrated composer. His work deserves to be better known.

I love all of Zelenka's orchestral works, but this one is my all-time favorite.

Precioso.

❤❤❤❤❤

Happy birthday to Zelenka!

I love this wonderful music but could you please write the names of the performers? I am sure the counter tenor must be Jakob Orlinsky?

Hi, dou you know what the m.s. comment may refer to 19:07 in the third bar, below the Vl part?

I love this music 😭 GOD IS PERFECT ❤

fantastic job thanks

💐💐👏🌺🌺🌺👍👍

у меня тыща семпатей

An astounding masterpiece, and what a marvelous autograph! In my opinion this work is on the same level of Bach's Passions.

Other Psalm, Magnificat, and Hymn Settings (Z. 66-120) > ruclips.net/p/PLBbL1YJd7_Wq4sFE0tQRirOplJ1VwCJy7

The autograph score to De Profundis, /Z. 96/, a more extended and complex setting than Zelenka's earlier /Z. 95/ version. Composed rather late in 1727, it is in three movements, 2 slow with a invigorating allegro finale. The writing for the tenor and bass soloists in De profundis suggest that fine male singers were available to Zelenka at the time of composition. The final page of this work bears Zelenka’s basic dedication formula: "A M D G V M OO SS H AA P J R" /or ‘P i R’/, a sequence of letters honoring God /A M D G-"Ad Majorem Dei Gloriam’/, the Viržin Mary /V M-"Virgini Mariae"., saints /OO SS H-"Omnibus Sanctis honor"/, and Zelenka’s patron[s], the electoral prince /AA P J R-‘Augustissimis Principibus in reverentia.’/

if only propaganda were this breathtaking in the modern day!

This dude is working with 5/6 voices with ease while I have trouble with 3/4 voices 😭😭 I need to know how they did this

Zelenska and his art of making the music keep going!! I love it!!!

Beautiful work, bless you for sharing!

Senior Muchas Gracias por esta hermanos musica grabacuion interpretacion tambien a Alla Colaborades de esta composicion coro solistas director Joachim Ehlers aus Costa Rica

oratorio?

bruv I wanna kiss you

*Sub olea pacis et palma virtutis* is the epitome of the baroque era's most flamboyant religious, historical, and political propaganda, all elegantly packaged in a three-act melodrama about a 10th-century saint, St. Wenceslaus, patron saint of Bohemia (and modern day Czechia). Premiered in September 1723, this grand production by the Bohemian composer *Johann Dismas Zelenka* wasn't just a musical celebration-it was a full-blown, multi-layered endorsement of imperial power, religious triumph, and dynastic continuity, all swirled together with a good dose of pomp. *Religious Significance: St. Wenceslaus and Christian Virtue* At its heart, the work celebrates the saintly figure of Wenceslaus, who was known as a pious, virtuous, and ultimately unfortunate ruler of Bohemia. While his life may have ended when his brother had him assassinated, the good news is that his life work and martyrdom won him sainthood. The cantata positions Wenceslaus as the epitome of Christian virtue, with “Piety” and “Fortitude” practically cheering him on from the sidelines throughout the performance. Through multiple recitatives and arias, we learn that Wenceslaus stood for all things good-righteousness, charity, and a refusal to bow to paganism. The religious element isn’t subtle. If you were unsure about how great Wenceslaus’ relationship with God was, the character _Zelus Eucharisticus_ (that’s "Eucharistic Zeal" to you and me) reminds you through booming declarations that Wenceslaus had a direct hotline to divine strength. Angels, divine justice, and providence show up to back this up, just in case you were wondering what God makes of all this. *Historical Significance: Wenceslaus the Martyr* Of course, the religious message isn't just there to fill the pews with devout believers-it’s steeped in nationalistic pride. In Bohemia, Wenceslaus isn't just a saint; he's the symbol of national unity and independence. Zelenka, being from Bohemia himself, was essentially writing a musical love letter to his homeland. This work celebrates Wenceslaus not only as a Christian martyr but also as the historical embodiment of Bohemia's glory days. In this musical drama, Wenceslaus' lineage is portrayed as continuing through the ruling Habsburg dynasty further connecting his sainthood to imperial glory [see footnote]. By highlighting Bohemia's royal heritage, Zelenka uses Wenceslaus to remind everyone that the region has a rightful place in the Habsburg Empire, if not a favored one. The divine right of kings? Check. A sacred royal bloodline? Double check. This work is dripping with these themes. *Political Significance: Long Live the Habsburgs!* Now, let’s not kid ourselves-this isn’t just a cantata about a long-dead saint. This melodrama is a full-on political performance, carefully timed for the coronation festivities of Emperor Charles VI as King of Bohemia. What better way to celebrate the emperor’s new crown than by linking him directly to the virtuous legacy of a sainted Bohemian king? Zelenka cleverly equates Wenceslaus’ divine approval with that of the Habsburgs, essentially suggesting that the empire is now under divine mandate. How convenient! Throughout the cantata, the House of Austria is praised with over-the-top fervor. The aria _Augusta domus Austriae_ ( 22:12 ), for instance, goes out of its way to declare that the crown should be an "hereditary pledge" for the Habsburgs, tying them to Wenceslaus' bloodline. It’s as if the entire work is a musical "thank you" note to the Habsburgs for their rule, set to an impossibly dramatic baroque score. Zelenka ensures that every listener walks away feeling that Emperor Charles VI is not just a ruler, but a divinely ordained protector of the Bohemian people. *Final Thoughts* So, in the grand tradition of Baroque allegory, *Sub olea pacis et palma virtutis* is more than just a musical tribute to St. Wenceslaus-it’s a political statement, a religious celebration, and a dynastic endorsement all rolled into one. A good saint, after all, can do wonders for your PR! *[Footnote]* : While the Habsburgs were eager to associate themselves with Wenceslaus' legacy, Bohemian nationalism had a complex relationship with the Habsburg monarchy. Many Bohemians, especially in the context of religious tensions (the Thirty Years' War wasn't ancient history in 1723), were wary of Habsburg influence, particularly given the dynasty's role in suppressing Bohemian Protestantism. Linking the pious St. Wenceslaus, a national hero, to a foreign dynasty with imperial ambitions may have raised eyebrows among certain segments of the Bohemian populace, who might have preferred a narrative of independence over one of divine endorsement for Habsburg rule. _Text prepared by ChatGPT-4o_

*Full Text (Actus III et Epilogus)* *Actus III* *XXIX. Aria* *1:13:23* *Alto* : Reviresce, effloresce, pads olea, ne sit infestus Bellonas aestus, expande folia. _Revive, blossom, olive tree of peace, let not the fever of war disturb, spread your leaves._ Felicibus auspiciis perfruere deliciis, felix Bohemia, sub umbris delitesce, his regibus quiesce. _Enjoy the delights under happy auspices, happy Bohemia, hide under the shadows, rest under these kings._ [This aria reflects the desire for peace under divine rule, with Bohemia prospering under the blessings of Wenceslaus’ lineage.] --- *XXX. Recitativo* *1:16:24* *Musicus* : Aptate tympana, fides et organa, hilares plausibus tubas adornate. _Prepare the drums, strings, and organs, decorate the trumpets with joyous applause._ Huc phonasci, huc choraulae, plectris et vocibus recreate penates aulae. _Here, bring singers, bring flutists, revive the halls of the household with plectra and voices._ [This recitative calls for a musical celebration, fitting for the grand tribute to Wenceslaus and his legacy.] --- *XXXI. Aria / Chorus* *1:16:57* *Musicus* : Vive, regna, Ferdinande, sceptri haeres adorande, princeps invictissime, virtute suprema protectus guberna, regum clementissime. _Live and reign, Ferdinand, heir to the scepter, most invincible prince, govern under supreme virtue, most merciful of kings._ [This aria celebrates Ferdinand as the heir to Wenceslaus’ spiritual and royal legacy, invoking divine protection.] --- *XXXII. Aria* *1:19:05* *Basso* : Nova gaudia, nova jubila intonate, decantate Pacis praeludia. _Sing new joys, sing new jubilees, declare the preludes of peace._ Nutrita Pietate, munita aequitate gens pia gaude, Czechia, plaude. _Nurtured in piety, strengthened in justice, the devout people rejoice, Bohemia, applaud._ [This aria celebrates the peace and joy that come with the reign of the just and pious kings of Bohemia.] --- *XXXIII. Aria* *1:21:27* *Soprano* : En duplo sole Czechia dies vivit serenos, annos inter hilaria Pacis adeptae plenos. _Behold, under the double sun, Bohemia lives in serene days, amidst years full of the joy of attained peace._ Civem amor, hostem Timor trahit in obsequium, tali rege stringi lege suave est delicium. _Love brings the citizen, fear brings the enemy to obedience; under such a king, to be bound by such a law is a sweet delight._ [This aria praises the peace and harmony under divine rule, with Wenceslaus as the model king.] --- *Epilogus* *XXXIV. Recitativo* *1:26:49* *Tenore* : Eja! Eja votivi omnia secundent plausus! Augusta Fortitudo et Constantia paganae tyranidis subvertit monimenta. _Hey! Let all vows be followed by applause! August Fortitude and Constancy overthrow the monuments of pagan tyranny._ [This recitative celebrates the destruction of pagan tyranny through the virtues of fortitude and faith, embodied by Wenceslaus.] --- *XXXV. Aria* *1:27:19* *Tenore* : Exsurge Martis Gloria pro Caesaris Victoria, ad Caroli imperium, Elisabeth obsequium. _Rise up, Glory of Mars, for the victory of the Emperor, for Charles' empire, for Elizabeth's homage._ [This aria calls for martial glory in support of the emperor and the royal family, reinforcing the divine authority of Wenceslaus' lineage.] --- *XXXVI. Chorus* *1:30:39* *Chorus* : Vos Oriens adoret et Occidens honoret. Augusti vivite et gubernate, felices regite et triumphate, Musas dementias Pragenas fovete, Augustas gratias Augusti favete. _Let the East adore you and the West honor you. Live and govern, August ones, rule happily and triumph, favor the grateful Muses of Prague, support the favor of the Emperor._ [The grand finale praises the universal reign of the Bohemian kings, encouraging their triumph and divine favor, bringing the work to a majestic close.]

*Full Text (Actus II)* *ACTUS II* *XIX. Recitativo* *39:58* *Justitia Divina* : Quicunque glorificaverit me, glorificabo eum. _Whoever glorifies me, I will glorify him._ Quoniam in me speravit, liberabo eum. _For he trusted in me, I will deliver him._ [This movement emphasizes divine justice and protection, fitting for Wenceslaus, who trusted in God’s guidance and was ultimately rewarded.] --- *XX. Aria* *40:19* *Justitia Divina* : Angelicae mentes, adeste frequentes, veloces ite in Aulam Curiae et praepedite labem … injuriae. _Angelic minds, come swiftly to the Court, and stop the stain of injustice..._ Sceptris glorificabo, corona decorabo Zelotem meae gloriae. _I will glorify with scepters, I will crown with glory the zealot of my honor._ [This aria invokes angelic intervention to preserve justice, reflecting Wenceslaus' role as a defender of divine law.] --- *XXI. Chorus Angelorum* *45:12* *Chorus Angelorum* : En, prompti ad mandata praestamus imperata …, in thronum levamus depressam Pietatem, _Behold, ready to carry out the commands... we lift up fallen piety to the throne._ ad sceptra vocamus defensam Veritatem … _We call defended truth to the scepter..._ [The angelic chorus lifts up piety and truth, which were defended by Wenceslaus, to their rightful place of honor.] --- *XXII. Aria* *47:51* *Angelus* : Ave, Deus, ave, redite, ave, Deus recondite sub panis velamento. _Hail, God, hail, return, hail, God hidden under the veil of bread._ Ave, ave, Emanuel abscondite in tanto, tanto Sacramento. _Hail, hail, Emmanuel, hidden in this great, great Sacrament._ [This aria praises the presence of God in the Eucharist, a central theme in the religious devotion of Wenceslaus.] --- *XXIII. Recitativo* *55:23* *Tenore* : Proh! Quae aeris inclementia subitos noctis inducit moerores? Quam densa nubes Augustos inumbrat fulgores! _Alas! What harshness in the air brings sudden sorrows of the night? How dense is the cloud that overshadows the August brightness!_ [This recitative brings a moment of lamentation and reflection on the spiritual struggles that even the virtuous, like Wenceslaus, face.] --- *XXIV. Aria* *56:14* *Tenore* : Veni, Auster lux perennis, … subi Polum cito pennis; noctem elimina, orbem illumina … _Come, south wind of eternal light... rise quickly to the heavens; banish the night, illuminate the world..._ Jam Zephyris fecundis pelluntur nubila, tot radiis jucundis applaudant, jubila. _The clouds are driven away by the fruitful west winds, so many joyful rays of light applaud and rejoice._ [This aria speaks of the coming light that dispels darkness, symbolizing the role of divine grace in overcoming adversity.] --- *XXV. Recitativo* *1:01:01* *Sapientia Divina* : Per me Reges regnant, per me principes imperant. _Through me kings reign, through me princes rule._ *Providentia* : Omnes viae tuae paratae sunt et tua judicia in Providentia posuisti. _All your ways are prepared, and you have placed your judgments in Providence._ [Divine wisdom and providence guide rulers, as they did with Wenceslaus, who ruled through his faith in God’s plan.] --- *XXVI. Aria* *1:01:35* *Sapient ia* : Exurge ... Providentia, fac nostra de sententia... Sepone ... sceptrum regium pignus haereditarium Habspurgicae propagini, Venceslaiano sanguini. _Rise up... Providence, do as we say... place the royal scepter, the hereditary pledge, in the Habsburg lineage, in the bloodline of Wenceslaus._ [This aria emphasizes the divine selection of rulers, connecting the legacy of St. Wenceslaus with the Habsburg dynasty.] --- *XXVII. Recitativo* *1:05:48* *Providentia* : Corona Gloriae in manu Domini, haereditabunt earn electi mei. _The crown of glory is in the hand of the Lord, my chosen ones shall inherit it._ [Providence declares the inheritance of divine glory, linking Wenceslaus’ descendants with God's favor.] --- *XXVIII. Aria* *1:06:06* *Providentia* : Huc, coeli Principes, Divum municipes, festinate, sceptrum cum diademate Austriaco de stemmate Augustis nepotibus piisque zelotibus asservate. _Here, Princes of heaven, citizens of heaven, hurry, bring the scepter and diadem of Austria to the August grandchildren and pious zealots._ [This aria blesses the continuation of the Habsburg legacy with divine favor, ensuring its endurance through faith.]

*Full Text (Prolusio et Actus I)* *I. Symphonia (Instrumental)* 00:00 --- *PROLUSIO* *II. Recitativo / Chorus* *6:13* *Fortitudo* : Fortitudo mea et laus mea Dominus factus est mihi in salutem. Iste Deus meus, glorificabo eum. _The Lord is my strength and my praise, He has become my salvation. This is my God, I will glorify Him._ *Chorus* : Dextera tua, Domine, percussit inimicum et in multitudine gloriae tuae deposuisti adversarios tuos. _Your right hand, O Lord, has struck down the enemy, and in the greatness of Your glory, You have laid low Your adversaries._ [This movement calls upon the theme of God's protection and strength, especially in the context of Wenceslaus, who embodies divine fortitude.] --- *III. Aria* *10:33* *Fortitudo* : Haec coeli est victoria causae, triumphat aequitas, Martis perennet Gloria, prostrata est Gentilitas. _This is the victory of the cause of heaven; equity triumphs, the glory of Mars endures, and paganism is laid low._ [This aria highlights the triumph of righteousness over pagan forces, symbolizing Wenceslaus' moral and spiritual victories.] --- *IV. Recitativo* *14:18* *Suspitio* : Hem! Quae ista? Fastus, an Pietas? Fortitudo? An Temeritas? Est, est Ambitio, est Aemulatio. Sed quam exuit, substitutio larvam Arrogantiae. _Hah! What is this? Pride, or piety? Strength or rashness? It is ambition, it is envy, but it wears the mask of arrogance._ *Zelus Eucharisticus* : Quo tendis, adversa Suspitio? Quo prodis, larvae indicio? Abscede, abscede, recede. _Where are you headed, false suspicion? Where are you going, with your mask of deception? Leave, leave, go away._ [This recitative contrasts negative traits like pride and envy with true piety and devotion, reflecting Wenceslaus' rejection of worldly ambition.] --- *V. Aria* *15:07* *Zelus Eucharisticus* : En! Pietatis adamas invicta Fortitudo, non praevalet adversitas, nulla vicissitudo. _Behold! The diamond of piety, unconquered fortitude; adversity does not prevail, nor does any change affect it._ [This aria emphasizes Wenceslaus' unshakeable faith and strength, despite opposition and changing circumstances.] --- *VI. Recitativo* *18:06* *Majestas* : Dura certamina honorum sunt praeludia. Premitur, non opprimitur Innocentia. Majestas coronet Virtutem, Virtus illustret Majestatem. _Tough battles are the prelude to honors. Innocence is pressed down, but not oppressed. Majesty crowns virtue, and virtue illuminates majesty._ [This recitative discusses the trials of virtue, leading to eventual honor, a reflection of Wenceslaus’ struggles before his recognition as a saint.] --- *VII. Aria* *18:33* *Majestas* : Huc palmas deferte, coronas afferte, huc palmas deferte, coronas, palmas, coronas, palmas deferte. Sceptra ministrate, ostrum adaptate, insigne potestatis infractae Pietatis. _Bring palms here, bring crowns, bring palms, crowns, palms, bring crowns._ _Bring scepters, prepare the purple, the sign of unbroken piety’s power._ [This aria symbolizes the divine rewards awaiting those of steadfast piety, reflecting on the sanctity of Wenceslaus.] --- *VIII. Recitativo* *21:27* *Fortitudo* : Haec summa Gloriae fugere Gloriam coronae. Si Honor Fortitudinis regnare nolle, cum possis; nec nisi aether condigne Virtutem praemiat. _The highest glory is to flee from the glory of the crown. If honor resides in fortitude, to refuse to reign when possible; only heaven can justly reward virtue._ *Providentia Divina* : Diadema regni in manu Domini … dabitur haereditas his, qui ei proximi sunt. _The crown of the kingdom is in the Lord's hand... the inheritance will be given to those close to Him._ [This recitative expresses the idea that true glory comes from heavenly virtue, not earthly crowns, fitting Wenceslaus' legacy as a saint.] --- *IX. Aria* *22:12* *Providentia Divina* : Augusta domus Austriae, nata posteritas de Venceslai sanguine, sit diadema regium pignus haereditarium, tuae Prosapiae... _The noble house of Austria, descendant of the blood of Wenceslaus, let the royal crown be the hereditary pledge of your lineage..._ [This aria links the Bohemian crown and Austria to the legacy of St. Wenceslaus, cementing his lineage's divine authority.] --- *ACTUS I* *X. Aria* *25:10* *Alto* : I, Phoebe, umbras pelle, in toedas ite, stellae, triumpho ministrate, caeli pulillae, lucis favillae, ignes festivos date. _Go, Phoebus, dispel the shadows; stars, light your torches and serve in triumph, little sparks of light from the sky, give festive flames._ [This aria invokes the imagery of light dispelling darkness, symbolizing the triumph of faith and virtue, themes central to the story of St. Wenceslaus.] --- *XI. Recitativo* *27:45* *Fides* : En, en Fidei aemula jacet superstitio, inimica pacis devicta tacet. In petra stat Religio, basim fundat in caelo. _Behold, behold, superstition lies defeated by Faith, the enemy of peace has been conquered and silenced. Religion stands on the rock and lays its foundation in heaven._ [Here, faith is portrayed as victorious over superstition, drawing parallels to the triumph of Christianity over paganism in Bohemia.] --- *XII. Aria* *28:18* *Fides* : Huc Virtutes festinate, huc fragmenta coaptate … Putatum lolium cedit in spolium nostrae Victoriae, perennis, perennis gloriae. _Hurry here, Virtues, put the pieces together... the useless chaff turns to spoils of our victory, an eternal, eternal glory._ [This movement calls for the virtues to assemble, celebrating the victory of goodness over evil, a reflection of Wenceslaus' moral fortitude.] --- *XIII. Chorus* *31:28* *Virtutes reliquae* : Eja, de figmentis Colossum paramus, Penatum fragmentis trophaeum levamus, jam Falsitas tacet, Impietas jacet. _Hey! We build a colossus from falsehood, from the fragments of household gods we raise a trophy; now falsehood is silenced, impiety lies low._ [The chorus celebrates the downfall of impiety and falsehood, reinforcing the victory of true faith, as exemplified by St. Wenceslaus.] --- *XIV. Recitativo* *32:47* *Pietas* : Eja, Pietati comes Religio fortunet iter Ducis in honorem. _Hey, may Religion accompany Piety and make the leader’s path fortunate in honor._ *Religio* : Tecum pedisequa Triumpho Clientis praestabo decorem. _I will accompany you as a handmaid and bring decorum to the client’s triumph._ [This recitative shows Piety and Religion walking hand-in-hand, symbolizing Wenceslaus' journey toward sainthood with divine guidance.] --- *XV. Aria* *33:12* *Pietas & Religio* : Jam calle secundo, honoris faecundo progredere, progredere, progredere, progredere Dux; _Ahead on the second path, rich in honor, advance, advance, advance, advance, Leader;_ Augusti favoris, Augusti splendoris exorere, exorere Lux. _August favor, August splendor, rise, rise O light._ [This aria emphasizes the fruitful path of honor and divine favor, reflecting the role of Wenceslaus as both a leader and a saint.] --- *XVI. Ritornello (Instrumental)* *35:21* --- *XVII. Recitativo* *36:35* *Pietas* : Nunquid non messis tritici est? _Is the wheat harvest not ready?_ *Religio* : Implebuntur areae frumento et redundabunt torcularia vino. _The barns will be filled with wheat, and the winepresses will overflow with wine._ [This recitative uses agricultural imagery to symbolize spiritual abundance, reinforcing Wenceslaus' role in bringing spiritual renewal.] --- *XVIII. Aria* *36:54* *Pietas* : Meto culmos, lego spicas … _I harvest the stalks, I gather the ears..._ *Religio* : … et in botros mitto sicas … _...and I place the sickles in the bunches of grapes..._ *Pietas & Religio* : … Divino pro mysterio, Theandri sacrificio. _...for the divine mystery, for the sacrifice of God and man._ *Pietas* : Hoc messilegium avitae Pietatis … _This harvest of ancestral piety..._ *Religio* : … fit in praefagium regalis dignitatis. _...becomes the prelude to royal dignity._ [Piety and Religion join in this aria to express the spiritual harvest, pointing to the divine legacy Wenceslaus passed down.]

[REUPLOADED in noticeably higher quality] Other urtext scores > ruclips.net/p/PLBbL1YJd7_Wph9VNXzK0fyswsifQiatHj

Jan Dismas Zelenka's Melodrama: Sub olea pacis et palma virtutis conspicua orbi regia Bohemiae Corona: Melodrama de Sancto Wenceslao, English: Under the Olive Tree of Peace and the Palm Tree of Virtue the Crown of Bohemia Splendidly Shines Before the Whole World: Melodrama to Saint Wenceslaus, /Z. 175/. Composed by the Czech master for the Coronation of the Holy Roman Emperor Charles VI in Prague, 1723. This glorious music accompanied an extravagant display that was organized by the Prague Jesuits of the Klementinum, involving actors, dancers and of course, singers and musicians of up to 142 people. The 'Melodrama' is in effect an embellished oratorio following Jesuit School tradition. It is full of allegory and symbolism with the purpose of praising the Habsburg dynastical claim over the peoples and lands of Bohemia /Czechia/, via the bloodline of St. Wenceslas, their patron saint. The first half describes the story of St. Wenceslas, and the second asserts the Habsburg link to him. It is laden throughout with messages of Christian, Jesuit morality. The event was a huge success with the public and royal couple who attended, resulting in a further performance and numerous librettos purchased. The work opens with an orchestral sinfonia scored for 3 instrumental groups comprising two trumpets with timpani, a pair of oboes with bassoon and string ensemble with continuo. The Baroque concertante principle is utilized in several numbers in the score, polyphonic writing is featured in two pieces. In many parts, we can find innovative elements, e.g. the use of cello as a solo instrument (in part no. 28), combination of two concertino recorders with a couple of flutes /in part no. 24), solo part of flute (which was still a very young component in the range of Baroque instruments/ in aria no. 33 and chorus no. 36, that combines strict fugal with richly scored orchestral music. The ceremonial character of the composition is emphasized by the use of trumpets and timpani in many parts of the work. Zelenka was heavily involved musically with the coronation celebrations. He also speedily wrote three fine concertanti before he had to return to Dresden.

Section starting at 8:16 is SO good

This is simply amazing: such Beauty, such variety, such Technical Masters, such Deep devotion, such masterful Management of the liturgical text and such spiritual quality. NOTHING can be compared, Not Even the Best of Bach or Händel Equalizer it in quality and Most importantly, functionslity and emotional impact.

Thank you for this.

❤❤❤❤

Zelenka drew his bar lines with a ruler. Sth I didn't see in other autographs.

Other Psalm, Magnificat, and Hymn Settings (Z. 66-120) > ruclips.net/p/PLBbL1YJd7_Wq4sFE0tQRirOplJ1VwCJy7

Composed 1730 circa 1728 and required for Vespers I and II for the feast of Corpus Christi, this brief, tightly constructed through-composed setting of 101 bars is written for tenor soloist, SATB chorus, violins I and II, viola, oboes I and II, and continuo. According to Zelenka scholar Janice B. Stockigt, the writing for the tenor soloist suggests that Zelenka had the solo Italian singer of the Dresden court, Matteo Lucchini, in mind whereas the simplicity of the duet for soprano and alto to the text “Gloria Patri” hints that selected Kapellknaben might have sung these solo parts.

I had never never heard of these Zelenka Lamentationes. Genius, astonishing, otherworldly, my vocabulary is not enough! These pieces and recordings are fantastic! Thank you for the video Zeno!