Composed 1726, this larger festive setting in D Major with trumpets and timpani, only surviving in parts and not included in the autograph manuscript. Between mid 1725 and late 1728 the Bohemian-born, Dresden-based court musician Jan Dismas Zelenka /1679-1745/ composed three cycles of thirty-three psalms and Magnificat compositions for Vespers. Each cycle begins with a setting of the psalm Dixit Dominus and it then develops to serve one or more sequences of psalms to serve almost every Vespers service of the liturgical year. /Psalms for Saturday Vespers before the four Sundays of Advent, Saturday Vespers before Septuagesima, and Vespers of Wednesday of Holy Week, were not set by Zelenka/. Composed in three movements, of which a figuration contained in the fugal subject of the concluding Amen which is also used in the Laetatus sum, /Z. 88/ of circa 1726, composed for the same Psalmi Vespertini cycle, an indication the two works are thematically linked.
Other Psalm, Magnificat, and Hymn Settings (Z. 66-120) > ruclips.net/p/PLBbL1YJd7_Wq4sFE0tQRirOplJ1VwCJy7
Composed 1726, this larger festive setting in D Major with trumpets and timpani, only surviving in parts and not included in the autograph manuscript.
Between mid 1725 and late 1728 the Bohemian-born, Dresden-based court musician Jan Dismas Zelenka /1679-1745/ composed three cycles of thirty-three psalms and Magnificat compositions for Vespers. Each cycle begins with a setting of the psalm Dixit Dominus and it then develops to serve one or more sequences of psalms to serve almost every Vespers service of the liturgical year. /Psalms for Saturday Vespers before the four Sundays of Advent, Saturday Vespers before Septuagesima, and Vespers of Wednesday of Holy Week, were not set by Zelenka/.
Composed in three movements, of which a figuration contained in the fugal subject of the concluding Amen which is also used in the Laetatus sum, /Z. 88/ of circa 1726, composed for the same Psalmi Vespertini cycle, an indication the two works are thematically linked.
Love the largo section starting at 2:56, especially the chord in measure 134
Thanks! 🙏🙏
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