Zelenka è fra i pochi barocchi che..mi emoziona perché mi trasmette in modo diretto la sua esperienza creativa! Bizzarro e percussivo perché per niente canonico?Piuttosto direi che è innamorato della Forma musicale, un po' di troppo, e quindi è ripetitivo...ma non stanca direi 🎉 L'arte è forma di un contenuto spirituale!/ S.42
This through-composed Laetatus sum /Z. 88/ was composed circa 1726 as part of Zelenka's second "Psalmi Vespertini" cycle, which opens with a figure used by Zelenka as the first fugal subject of the "Amen" movement from Dixit Dominus /Z. 68/, an indication that when conceived, these two works were thematically linked. This figure first appears at the opening of the ritornello where it is immediately treated canonically. Although this composition is set for soprano and alto vocal soloists, it is the alto who carries the main solo vocal burden.
Reminds me clearly of Caldara, he for sure was a big model to look after. Later Zelenka for me has a marked Hasse influence. Not trying to detract to him and his pronounced originality and compositional ability, even though I'm not usually a big fan of his music. I don't find it focused enough, too chaotic, quirky, percussive and bizzarre for my taste, especially his later works. I understand that it's trying to take an experimental pathway but I don't usually get it.
I will ask: How much of Zelenka's works were performed in his lifetime? Perhaps writing for himself, not for commission/performance, allowed him his experimental and often almost exhausting melodies. Singing Zelenka would put me in traction.
Other Psalm, Magnificat, and Hymn Settings (Z. 66-120) > th-cam.com/play/PLBbL1YJd7_Wq4sFE0tQRirOplJ1VwCJy7.html
Zelenka è fra i pochi barocchi che..mi emoziona perché mi trasmette in modo diretto la sua esperienza creativa! Bizzarro e percussivo perché per niente canonico?Piuttosto direi che è innamorato della Forma musicale, un po' di troppo, e quindi è ripetitivo...ma non stanca direi 🎉 L'arte è forma di un contenuto spirituale!/ S.42
This through-composed Laetatus sum /Z. 88/ was composed circa 1726 as part of Zelenka's second "Psalmi Vespertini" cycle, which opens with a figure used by Zelenka as the first fugal subject of the "Amen" movement from Dixit Dominus /Z. 68/, an indication that when conceived, these two works were thematically linked. This figure first appears at the opening of the ritornello where it is immediately treated canonically. Although this composition is set for soprano and alto vocal soloists, it is the alto who carries the main solo vocal burden.
Lactatus sum.
Reminds me clearly of Caldara, he for sure was a big model to look after. Later Zelenka for me has a marked Hasse influence. Not trying to detract to him and his pronounced originality and compositional ability, even though I'm not usually a big fan of his music.
I don't find it focused enough, too chaotic, quirky, percussive and bizzarre for my taste, especially his later works. I understand that it's trying to take an experimental pathway but I don't usually get it.
Not everyone has to like the same music, but also don't need to listen to it either if you don't "get it"
@@TheOneAndOnlyZelenkaGuru I would say that I'm fascinated by music I don't get, so that's why I'm listening 🙂
@@SimoneBattaglia94
I will ask: How much of Zelenka's works were performed in his lifetime? Perhaps writing for himself, not for commission/performance, allowed him his experimental and often almost exhausting melodies. Singing Zelenka would put me in traction.
@@BohemianBaroque , they'll be back eventually, one can hope