A striking original and significant Baroque muical voice who is slowly being recognised. Extraordinary to think we had to wait until the 1950's for this composer to gradually emerge from an unjustified obscurity! Somehow he seems to avoid every Baroque compositional cliche in the book with music of real distiction.
Amazing that this great musician gets no mention in the Pan book of great composers, the classic FM guide or the Penguin Dictionary of music. 24.56 sounds like Bach's oratorio style
Handel and Vivaldi, of course were great opera composers, and Bach perhaps would have been as well, had there been an opera in Leipzig. But, frankly, I cannot but feel that Bach is a separate category; an unapproachable ultimate the likes of whom rarely occur in an entire age. This is an opera in all but name (sacred subject), and worthy of comparison to Handel and Vivaldi indeed.
JAN DISMAS ZELENKA ( LOUNOVICE 1679-1745 DRESDE ). SUB OLEA PACIS ET PALMA VIRTUTIS MÉLODRAMA DE SANCTO WENCESLAO ZWV 175. ORCHESTRA MUSICA FLOREA CONDUCTOR MAREK STRYNCL CZECH BOY' CHOIR. Une merveille soprano ténor bass sont grandiose orchestre grandiose bravo d'un dès grand compositeur baroque tchèque apprécier de BACH et de TELEMANN.Merci pour ce concert qui est sublime.
Eternel grandiose la musique baroque 1580-1750 ) Campra Delalande Charpentier Lully Couperin Bach Vivaldi Haendel Telemann Purcell Monteverdi Pergolesi Rameau Scarlatti Albinoni Allegri Schutz Caldara Mouret Marais Corelli Praetorius Leclair Du Mont Pachelbel Geminiani Frescobaldi Biber Buxtehude Carissimi Zelenka Patino Carerols Torelli Tartini Mondoville Muffat Rebel Soler Sainte-Colombe Fiocco et tant d'autres merci RU-vid pour ses moments de musique baroque qui reste ETERNEL.
El aria del minuto 1:05:48 es realmente muy bella y su interpretación en una voz blanca resulta verdaderamente sobrecogedora de emociones muy intensas. Sin duda, Zelenka merece un reconocimiento mayor en la música occidental. Gracias Xanaseb por compartir tanta belleza que enriquece el espíritu.
Such a shame that this is basically the only recording of this magnificent work. Recording is ok and realy beautiful in some parts, but I would love to hear whole thing with some other singers...
I can't wait until I complete my arranging of the manuscript to create a score video of this masterpiece; then I (and others) can study it proper, as it deserves.
@@Xanaseb I have done the opening Symphonia (or did) quite a while back, and made good progress on this music drama so far: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Vm0lEjEZatA.html
@@Xanaseb I have finally finished the project, after over a month's hard work, currently processing the video, splitting the movements individually and timestamping them. Will edit this comment with a link once it is live.
@@Xanaseb Here it is, to premiere tomorrow morning, finally! Also working on all of his other great large scale works - Gesu al Calvario (ZWV 62), Serenata il Diamante (ZWV 177), Il Serpente di Bronzo (ZWV 61), and finally, I Penitenti al Sepolchro del Redentore, (ZWV 63): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-4sklUXLKmAo.html
my pleasure! Be sure to hear the Vaclav Luks, Collegium 1704 performance (which is not available for purchase) as well, for a more recent comparison: Tage Alter Musik in Herne 2013, J.D. Zelenka, Melodrama de Sancto Wenceslao, ZWV 175 Collegium 1704
@@Xanaseb The link is broken sadly - did you have any other sources on this performance and how I could possibly get access to it..? I would love to hear Luks' interpretation of this, Zelenka's masterpiece.
albi cortella Interestingly enough, though, this was written almost eighteen years before Handel wrote the Messiah, indeed, before he (Handel) even became a naturalised Briton.
+Viktor Ivan Vavřínek But it was written after Handel's Oratorios for Italy (eg. La Resurrezione, 1708 (see this awesome live performance by Collegium 1704 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-XbwyLlX__BU.html ). I do see slight similarities in Z & H, largely in their great melodic quality and some fugal similarities too, but I don't think it goes much further than that.
Ha! Indeed! If I recall correctly, Marek Štryncl chose to bring out those sounds for extra lyrical/dramatic effect ;) (it works!). It sounds like something they would have done at the original performance - extravagant and a tad over the top.
