It is probable that Zelenka wrote this brilliant solo work for Easter Sunday, 17 April 1729. The score bears the partially destroyed date: "13 April […]". Originally the composition was written for a tenor with obbligato trumpet. The technical demands of the vocal part suggest that Zelenka was thinking of Mattheo Lucchini, the solo tenor of the court who finally left Dresden in 1731 after the arrival of the young castrati. At a later time Zelenka revised this work by giving the original tenor part to a soprano. The singer Zelenka probably had in mind was the male soprano Venturio Rochetti, known as ‘Venturini’. The original obbligato trumpeter would have been a member of Dresden’s ensemble of twelve court trumpeters and timpanists, possibly Ober-Hof-Trompeter Christian Becke. Zelenka’s Laudate pueri, whose final Allegro is composed in the manner of a Polonaise, reflects the high Baroque tradition of motet composition for solo voice in three movements (quick - slow - quick) with da capo arias for the outer movements. An interesting point of comparison is the similarity of scoring and writing of Laudate pueri of circa 1729 to Bach’s cantata Jauchzet Gott in allen Landen /BWV 51/, a work thought to have been performed in Leipzig in 1730 on the 15th Sunday after Trinity.
Other Psalm, Magnificat, and Hymn Settings (Z. 66-120) > ruclips.net/p/PLBbL1YJd7_Wq4sFE0tQRirOplJ1VwCJy7
Glorioso! 💖🙏😍
It is probable that Zelenka wrote this brilliant solo work for Easter Sunday, 17 April 1729. The score bears the partially destroyed date: "13 April […]". Originally the composition was written for a tenor with obbligato trumpet. The technical demands of the vocal part suggest that Zelenka was thinking of Mattheo Lucchini, the solo tenor of the court who finally left Dresden in 1731 after the arrival of the young castrati. At a later time Zelenka revised this work by giving the original tenor part to a soprano. The singer Zelenka probably had in mind was the male soprano Venturio Rochetti, known as ‘Venturini’. The original obbligato trumpeter would have been a member of Dresden’s ensemble of twelve court trumpeters and timpanists, possibly Ober-Hof-Trompeter Christian Becke. Zelenka’s Laudate pueri, whose final Allegro is composed in the manner of a Polonaise, reflects the high Baroque tradition of motet composition for solo voice in three movements (quick - slow - quick) with da capo arias for the outer movements. An interesting point of comparison is the similarity of scoring and writing of Laudate pueri of circa 1729 to Bach’s cantata Jauchzet Gott in allen Landen /BWV 51/, a work thought to have been performed in Leipzig in 1730 on the 15th Sunday after Trinity.