High quality upload of this score-video, the finished product which will remain forever hopefully, should there be no copyright issues in the future. Other Selection of Lost, Doubtful, or Falsely Attributed Works /Z. 200-247/ > ruclips.net/p/PLBbL1YJd7_Wr89b1M2hJPFvJF_qzhECUN
Composed circa 1730, the purpose of Sollicitus fossor is not clear, /Zelenka scholar Wolfgang Reich suggests that the text might deal with the finding of the Cross/. The text of this motet, comparable with other motets of the 1730s /such as Barbara dira effera, Z. 164, and the secular composition Qui nihil sortis, Z. 211/, is regarded as being somewhat unsophisticated. Each of these works however, features strong and interesting writing for a solo bassoon, suggesting the availability of an outstanding player to Zelenka at an unknown time in the 1730s. In Sollicitus fossor the obbligato bassoon is paired with a solo violoncello. Until recently, this motet, which is set up as a da capo aria, was categorized as one of the "doubtful" works in Zelenka's inventory, mainly because it was not entered into his "Inventarium". Nor does the autograph score conclude with Zelenka's usual dedication /with variations/, of "A M O G V M OO SS H AA P J R "Ad majorem Dei Gloriam Virgin Mariae Omnibus Sanctis honor /and possibly Augustissimis Principibus in reverentia/. Moreover, the music catalogue of the Dresden Catholic court church assembled in 1765 recorded it as being an anonymous work. Upon hearing Sollicitus fossor however, there can be little doubt that, on stylistic grounds alone, Zelenka is the composer!
High quality upload of this score-video, the finished product which will remain forever hopefully, should there be no copyright issues in the future.
Other Selection of Lost, Doubtful, or Falsely Attributed Works /Z. 200-247/ > ruclips.net/p/PLBbL1YJd7_Wr89b1M2hJPFvJF_qzhECUN
I love how he already gets the violas to start "digging", right in the first bar.
Composed circa 1730, the purpose of Sollicitus fossor is not clear, /Zelenka scholar Wolfgang Reich suggests that the text might deal with the finding of the Cross/. The text of this motet, comparable with other motets of the 1730s /such as Barbara dira effera, Z. 164, and the secular composition Qui nihil sortis, Z. 211/, is regarded as being somewhat unsophisticated. Each of these works however, features strong and interesting writing for a solo bassoon, suggesting the availability of an outstanding player to Zelenka at an unknown time in the 1730s. In Sollicitus fossor the obbligato bassoon is paired with a solo violoncello.
Until recently, this motet, which is set up as a da capo aria, was categorized as one of the "doubtful" works in Zelenka's inventory, mainly because it was not entered into his "Inventarium". Nor does the autograph score conclude with Zelenka's usual dedication /with variations/, of "A M O G V M OO SS H AA P J R "Ad majorem Dei Gloriam Virgin Mariae Omnibus Sanctis honor /and possibly Augustissimis Principibus in reverentia/. Moreover, the music catalogue of the Dresden Catholic court church assembled in 1765 recorded it as being an anonymous work. Upon hearing Sollicitus fossor however, there can be little doubt that, on stylistic grounds alone, Zelenka is the composer!