High quality re-upload of this score-video, the finished product which will remain forever hopefully, should there be no copyright issues in the future. Other short Liturgical and Spiritual Works (Z. 161-172) > ruclips.net/video/GIRISLNYK0o/видео.html
According to Wolfgang Horn, this work was composed in 1731, a work that Zelenka classifies as a "Gaude, laetare", which we would call a short sacred /cantata/, under the title of /Mottetti/ in his largely handwritten inventory of music. As with other Catholic composers of this period /for instance, with Hasse/, the difference is that a /cantata/ has a secular text in the Italian language, a /mottetto/, on the other hand, has a newly-written sacred text in the Latin language. Our piece was documented by Zelenka with the added note "de SS: Trinitate". The beginning of the text was erroneously written as "Gaude Plaude", but the key and instrumentation leave no doubt as to which piece was meant. It is not immediately obvious how such "Mottetti" were connected to the Liturgy. The following notes from the "Diarium" of the Dresden Jesuits /a continuous chronicle of notable religious events at the Court in Dresden/ are helpful. This source has nothing to say about Trinity Sunday 1731, but does have a note to the effect that Zelenka led the music four days later on Corpus Christi, which will also have been the case for Trinity Sunday. In the Diarium on the other hand there is a clear note for the Feast of the Holy Trinity, 8th June 1732: "Vesperae hora 3. musicam produxit D. Zelenka (...) post Vespe¬ras (...) cantulus in choro, et benedictio", "The Vesper took place at 3 o’clock; Mr. Zelenka led the music (...) after the Vesper a short sung piece was performed in the choir of the church, after which the blessing was given". That "in choro" does not mean "with choral singing" but indeed means the choir of a church can be seen from the entry for 31st May 1732: "Reparaverunt in choro musicorum scamna", "In the choir the musicians’ benches have been repaired". Finally we read about the Feast of the Holy Trinity 1728 /23rd May/: "Musicam produxit D. Zelenka (...) hora quarta concionem dixit R. P. Wolff. Post hanc motetta cantata in choro cum instru¬mentis et tandem benedictio", "Mr. Zelenka conducted the music (...) at four o’clock the Most Reverend Father Wolff held the sermon. After this a "motetta" /according to Zelenka’s terminology: a "mottetto"/ with instruments was sung in the choir and finally the blessing". From these quotations it seems that the "Motetto" with the text "Gaude, laetare" was very probably heard for the first time after the Vesper, perhaps even a sermon, on the afternoon of the Feast of the Holy Trinity in 1731. Afterwards the blessing was given. The almost opera-like production of the piece could have made the Jesuit chroniclers call a similar piece on Trinity Sunday 1732 rather pejoratively a "cantulus" or "little sung piece". The arias "Gaude, laetare" and "Alleluja" show Zelenka’s increasingly gallant style of composing in the years after 1730; the syncopated rhythms in the "Alleluia" stand out particularly. Something similar can indeed already be found in the work of Zelenka’s colleague Heinichen, who died in 1729; the influence of Johann Adolf Hasse, who only later came to Dresden, can be ruled out. On the other hand, there is a clear sign of Zelenka’s previous preference for changing rhythms in the striking mixture of duplets and triplets in instruments and voice in the introductory aria. While the music of the "Missa Sanctissimae Trinitatis" has a particularly serious nature on the whole, we hear in his Trinitatis motetto "Gaude, laetare" another side of Zelenka, cheerful and light-hearted, which, it must be admitted, is not typical of his work as a whole.
High quality re-upload of this score-video, the finished product which will remain forever hopefully, should there be no copyright issues in the future.
Other short Liturgical and Spiritual Works (Z. 161-172) > ruclips.net/video/GIRISLNYK0o/видео.html
According to Wolfgang Horn, this work was composed in 1731, a work that Zelenka classifies as a "Gaude, laetare", which we would call a short sacred /cantata/, under the title of /Mottetti/ in his largely handwritten inventory of music. As with other Catholic composers of this period /for instance, with Hasse/, the difference is that a /cantata/ has a secular text in the Italian language, a /mottetto/, on the other hand, has a newly-written sacred text in the Latin language. Our piece was documented by Zelenka with the added note "de SS: Trinitate". The beginning of the text was erroneously written as "Gaude Plaude", but the key and instrumentation leave no doubt as to which piece was meant.
It is not immediately obvious how such "Mottetti" were connected to the Liturgy. The following notes from the "Diarium" of the Dresden Jesuits /a continuous chronicle of notable religious events at the Court in Dresden/ are helpful. This source has nothing to say about Trinity Sunday 1731, but does have a note to the effect that Zelenka led the music four days later on Corpus Christi, which will also have been the case for Trinity Sunday. In the Diarium on the other hand there is a clear note for the Feast of the Holy Trinity, 8th June 1732: "Vesperae hora 3. musicam produxit D. Zelenka (...) post Vespe¬ras (...) cantulus in choro, et benedictio", "The Vesper took place at 3 o’clock; Mr. Zelenka led the music (...) after the Vesper a short sung piece was performed in the choir of the church, after which the blessing was given". That "in choro" does not mean "with choral singing" but indeed means the choir of a church can be seen from the entry for 31st May 1732: "Reparaverunt in choro musicorum scamna", "In the choir the musicians’ benches have been repaired". Finally we read about the Feast of the Holy Trinity 1728 /23rd May/: "Musicam produxit D. Zelenka (...) hora quarta concionem dixit R. P. Wolff. Post hanc motetta cantata in choro cum instru¬mentis et tandem benedictio", "Mr. Zelenka conducted the music (...) at four o’clock the Most Reverend Father Wolff held the sermon. After this a "motetta" /according to Zelenka’s terminology: a "mottetto"/ with instruments was sung in the choir and finally the blessing".
From these quotations it seems that the "Motetto" with the text "Gaude, laetare" was very probably heard for the first time after the Vesper, perhaps even a sermon, on the afternoon of the Feast of the Holy Trinity in 1731. Afterwards the blessing was given. The almost opera-like production of the piece could have made the Jesuit chroniclers call a similar piece on Trinity Sunday 1732 rather pejoratively a "cantulus" or "little sung piece".
The arias "Gaude, laetare" and "Alleluja" show Zelenka’s increasingly gallant style of composing in the years after 1730; the syncopated rhythms in the "Alleluia" stand out particularly. Something similar can indeed already be found in the work of Zelenka’s colleague Heinichen, who died in 1729; the influence of Johann Adolf Hasse, who only later came to Dresden, can be ruled out. On the other hand, there is a clear sign of Zelenka’s previous preference for changing rhythms in the striking mixture of duplets and triplets in instruments and voice in the introductory aria. While the music of the "Missa Sanctissimae Trinitatis" has a particularly serious nature on the whole, we hear in his Trinitatis motetto "Gaude, laetare" another side of Zelenka, cheerful and light-hearted, which, it must be admitted, is not typical of his work as a whole.
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