Composed in 1731-32, the nucleus of the instrumentation consists of two groups of string instruments: 2 violins, viola (occasionally 2 violas), and basso continuo. The two violins were frequently doubled with oboes. On high feast days, a trumpet choir was added that consisted of 2, 3, or 4 trumpets /in Zelenka’s works always tuned in D/ and timpani. The "Missa Sancti Josephi" /Z. 14/ has only been passed on in Zelenka’s autograph score, which is badly damaged but can be reconstructed with a little effort. No title page has been preserved, but from Zelenka’s handwritten catalogue of works that were performed in church services, which he had kept since 1726, it is possible to identify the title clearly. In Zelenka’s "Inventarium rerum musicarum Ecclesiae servientium" /Catalogue of musical pieces that serve the Church/, the following entry can be found under No. 42 /here somewhat simplified/: "D# [D-Dur]. Missa S. Josephi facta occasione annomastiae diei Serenissimae Nostrae Principessae ac Dominae nostrae. 4: C. A. T. B., Violini 2, Oboe 2, Traversieri 2, Corni 2, Tubae 2, Viole 2, Tympani 2, Fagotto, Violone e Basso Continuo. Zelenka". This entry can only relate to the Mass in D Major being described here. The large-scale ensemble that includes the flutes as well as the brass section and the usual oboes is not to be found anywhere else in Zelenka’s work. The title of the Mass also explains a further peculiarity of this particular Mass. The relevant words can be translated as follows: "Missa Sancti Josephi, written /or performed/ on the occasion of the name day of our Most Serene Highness, Princess and Mistress", by which is meant Maria Josepha, whose name day "Joseph" was apparently celebrated on the Feast of Saint Joseph, 19th of March. On saints’ days, however, the Credo is left out of the Ordinary of the Mass. The "Missa Sancti Josephi" has no Credo; because of the reason for its composition, however, it is still to be considered complete. If the mass for the name day "Maria" had been meant, which in Dresden was celebrated on 8 December /Feast of the Immaculate Conception/, Zelenka would have composed the Credo too. March 19th always falls in Lent, and sometimes even in Easter Week. During this time, church music is supposed to cast off its festive attire but contemporary indications show that some feast days could be celebrated even in these quiet times with musical brilliance; this can also be assumed to be the case for the Feast of St. Joseph and Zelenka’s Mass. The position of entry No. 42 in Zelenka’s catalogue, together with the style of handwriting and the style of the Mass - as well as the consideration of external circumstances - point to the year 1732 /or 1731/ for the creation and performance of the work; there will never be certainty about this. In Zelenka’s works, the "Missa Sancti Josephi" is the key piece of evidence for a change of style that the composer, already in his fifties, carried out around and after 1730, which cannot be understood without acknowledging the influence of the modern Italian opera in the style of Johann Adolf Hasse /1699-1783/. Hasse’s appearance in Dresden was documented for the first time in the late summer of 1731; in September of that year his opera "Cleofide" was performed in Dresden, arousing tremendous interest and demonstrating the new musical style that left clear traces with Zelenka. But only after Augustus the Strong had died on 1 February 1733 and after the national period of mourning was over was Hasse appointed by Frederick Augustus II to be his new Hofkapellmeister. The office had been vacant for four years since the death of the two older Kapellmeisters, Schmidt /died 13 April 1728/ and Heinichen /died 16 July 1729/. Zelenka’s Mass was created during this interval; it is possible that the composer wanted to recommend himself for the office of Hofkapellmeister through the modern musical language in this work.
Other Masses (Z.1-23) > ruclips.net/p/PLBbL1YJd7_Wr4NRfNe9APKP147z9ok0sV
Composed in 1731-32, the nucleus of the instrumentation consists of two groups of string instruments: 2 violins, viola (occasionally 2 violas), and basso continuo. The two violins were frequently doubled with oboes. On high feast days, a trumpet choir was added that consisted of 2, 3, or 4 trumpets /in Zelenka’s works always tuned in D/ and timpani.
The "Missa Sancti Josephi" /Z. 14/ has only been passed on in Zelenka’s autograph score, which is badly damaged but can be reconstructed with a little effort. No title page has been preserved, but from Zelenka’s handwritten catalogue of works that were performed in church services, which he had kept since 1726, it is possible to identify the title clearly. In Zelenka’s "Inventarium rerum musicarum Ecclesiae servientium" /Catalogue of musical pieces that serve the Church/, the following entry can be found under No. 42 /here somewhat simplified/: "D# [D-Dur]. Missa S. Josephi facta occasione annomastiae diei Serenissimae Nostrae Principessae ac Dominae nostrae. 4: C. A. T. B., Violini 2, Oboe 2, Traversieri 2, Corni 2, Tubae 2, Viole 2, Tympani 2, Fagotto, Violone e Basso Continuo. Zelenka". This entry can only relate to the Mass in D Major being described here. The large-scale ensemble that includes the flutes as well as the brass section and the usual oboes is not to be found anywhere else in Zelenka’s work.
The title of the Mass also explains a further peculiarity of this particular Mass. The relevant words can be translated as follows: "Missa Sancti Josephi, written /or performed/ on the occasion of the name day of our Most Serene Highness, Princess and Mistress", by which is meant Maria Josepha, whose name day "Joseph" was apparently celebrated on the Feast of Saint Joseph, 19th of March. On saints’ days, however, the Credo is left out of the Ordinary of the Mass. The "Missa Sancti Josephi" has no Credo; because of the reason for its composition, however, it is still to be considered complete. If the mass for the name day "Maria" had been meant, which in Dresden was celebrated on 8 December /Feast of the Immaculate Conception/, Zelenka would have composed the Credo too. March 19th always falls in Lent, and sometimes even in Easter Week. During this time, church music is supposed to cast off its festive attire but contemporary indications show that some feast days could be celebrated even in these quiet times with musical brilliance; this can also be assumed to be the case for the Feast of St. Joseph and Zelenka’s Mass.
The position of entry No. 42 in Zelenka’s catalogue, together with the style of handwriting and the style of the Mass - as well as the consideration of external circumstances - point to the year 1732 /or 1731/ for the creation and performance of the work; there will never be certainty about this. In Zelenka’s works, the "Missa Sancti Josephi" is the key piece of evidence for a change of style that the composer, already in his fifties, carried out around and after 1730, which cannot be understood without acknowledging the influence of the modern Italian opera in the style of Johann Adolf Hasse /1699-1783/. Hasse’s appearance in Dresden was documented for the first time in the late summer of 1731; in September of that year his opera "Cleofide" was performed in Dresden, arousing tremendous interest and demonstrating the new musical style that left clear traces with Zelenka. But only after Augustus the Strong had died on 1 February 1733 and after the national period of mourning was over was Hasse appointed by Frederick Augustus II to be his new Hofkapellmeister. The office had been vacant for four years since the death of the two older Kapellmeisters, Schmidt /died 13 April 1728/ and Heinichen /died 16 July 1729/. Zelenka’s Mass was created during this interval; it is possible that the composer wanted to recommend himself for the office of Hofkapellmeister through the modern musical language in this work.
Too handsome!