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