Zelenka - Gloria, ZWV 30

#jan #dismas #zelenka #score #sheetmusic #zwv #30
Score / sheet music of Zelenka's "Gloria" setting, /Z. 30/. Composed February the 2nd of 1724, the origin of much of the music is found in one of Zelenka's earlier musical settings of the Ordinary of the Mass, the Missa Judica me, /Z. 2/, probably from the year 1714, which has not been preserved in it's entirety /only the Credo and the Gloria survives/.
It was a revised version of the Gloria from the early 1720s that became the basis for the separately composed Gloria, /Z. 30/ presented here. The original version from /Z. 2/ does not call for trombones, and only in the fugal Cum Sancto Spiritu do we find later instructions for the doubling of the vocal lines with trombones. In /Z. 30/, however, Zelenka explicitly calls for three trombones, and their role is not limited solely to doubling vocal lines. Instead, in the Qui tollis II he lets the special color of these instruments stand out in combination with the solo soprano and alto.
The Gloria, /Z. 30/, is not merely a parody of an older work - instead, it is a unique work in it's own right, with an entirely different structure from the Gloria in the Missa Judica me.
I: Gloria (Chorus) - 00:00
II: Laudamus te (Tenor) - 5:31
III: Gratias agimus tibi (Chorus) - 9:19
IV: Qui tollis peccata mundi (Chorus, Fugue) - 11:37
V: Qui tollis (Soprano, Alto) - 14:02
VI: Qui sedes ad dexteram Patris (Chorus) - 16:49
VII: Quoniam tu solus sanctus (Bass) - 18:09
VIII: Cum sancto Spiritu, Amen (Chorus, Double fugue) - 20:35
Performer(s): • Gloria, ZWV 30: I. Gloria

[@TheOneAndOnlyZelenkaGuru]

Other Mass Movements /Z. 26-39/ > ruclips.net/p/PLBbL1YJd7_WowrWJ7NYTLmRqeq9LHT02b

[@TheOneAndOnlyZelenkaGuru]

Composed February the 2nd of 1724, the origin of much of the music is found in one of Zelenka's earlier musical settings of the Ordinary of the Mass, the Missa Judica me, /Z. 2/, probably from the year 1714, which has not been preserved in it's entirety /only the Credo and the Gloria survives/.
It was a revised version of the Gloria from the early 1720s that became the basis for the separately composed Gloria, /Z. 30/ presented here. The original version from /Z. 2/ does not call for trombones, and only in the fugal Cum Sancto Spiritu do we find later instructions for the doubling of the vocal lines with trombones. In /Z. 30/, however, Zelenka explicitly calls for three trombones, and their role is not limited solely to doubling vocal lines. Instead, in the Qui tollis II he lets the special color of these instruments stand out in combination with the solo soprano and alto.
The Gloria, /Z. 30/, is not merely a parody of an older work - instead, it is a unique work in it's own right, with an entirely different structure from the Gloria in the Missa Judica me.

[@solcarzemog5232]

SPLENDID WORK! and also, a splendid interpretation. What a magnificent rendering! Zelenka, sometimes conventional, excells himself with this work, showing command, imagination and contraponctual skills in the very high range. Very challenging for the choir, which must be of top level to even think to dare to tackle this work. I'm greatly surprised.

[@Ed_UKation]

This work has so many highlights.... I mean gratias agimus is just electric.