Zelenka - Missa Sancti Spiritus, ZWV 4

#jan #dismas #zelenka #score #sheetmusic #zwv #4
Score / sheet music of Zelenka's Missa Sancti Spiritus, ZWV 4.
The Missa Sancti Spiritus occupies a special place among Zelenka’s mass settings because it is the first to feature the lavish scoring of trumpets and timpani and the festive key of D major that were to become hallmarks of his solemn masses over the next decade. However, the precise occasion of its first performance in Dresden is not known. The title suggests the Feast of the Holy Spirit-that is, Pentecost (Whitsun)-on 16 May 1723 as the most likely date. Unfortunately, the Diarium kept by the Jesuits reports only that a mass setting with trumpets and timpani by an unnamed composer was heard on this day. The Feast of Saint John of Nepomuk, Martyr Patron of Bohemia and Patron of the Saxon Mission, coincided with Pentecost Sunday in 1723 /and again in 1728/; it is therefore possible that the Jesuits’ account of the ‘Sung Mass’ that honored him also contains, by inference, a reference to the performance of /Z. 4/. Nonetheless, from the evidence currently available, it cannot be assumed that the Missa Sancti Spiritus was always intended as a Pentecost mass, and the original form of the work may not even have borne this title. One alternative hypothesis suggests that the piece was initially composed as a votive mass for an entirely different feast day, which would connect it stylistically with the 1725 Kyrie-Gloria mass Missa Fidei /Z. 6/ and possibly the now-missing Missa Spei /Z. 5/. This too, however, is debatable.
Zelenka’s autograph score of the Missa Sancti Spiritus, in two volumes, is today kept at the Sächsische Landesbibliothek - Staats- und Universitätsbibliothek Dresden. It is a very complex source that bears witness to a long and convoluted history: a variety of paper types, inks, handwriting styles and revisions, with many paste overs, are found throughout, indicating multiple layers of working that were made over a period of time. Although the sixty-four parts that accompanied this score are now missing from Dresden, these features nonetheless allow us to reconstruct the different stages of the work’s composition. The original version of the Missa Sancti Spiritus, as heard in 1723, consisted of the Kyrie and Gloria sections only. Sometime in late 1728 or early 1729, Zelenka decided to expand them into a complete mass setting by adding the Credo, Sanctus and Agnus Dei, and he also significantly reworked the existing sections. These alterations are clearly visible in the autograph and range from small changes in individual parts to the insertion of extra passages, as in the trumpet and timpani lines of the spectacular "Cum Sancto Spiritu" fugue. Most significantly, Zelenka added two flute parts, which were not present in the 1723 version.
I: Kyrie eleison I (Chorus, Fughetta) - 00:00
II: Christe eleison (Soprano, Alto, Tenore) - 2:20
III: Kyrie eleison II (Chorus, Double Fugue) - 4:11
IV: Gloria in excelsis Deo (Chorus) - 5:33
V: Qui tollis I (Chorus) - 9:30
VI: Qui tollis II (Soprano, Alto, Chorus) - 10:07
VII: Quoniam tu solus sanctus (Chorus + SATB soloists) - 14:13
VIII: Cum sancto spiritu, Amen! (Chorus, Double Fugue) - 15:54
IX: Credo in unum Deum (Chorus) - 18:49
X: Et incarnatus est (Soprano, Alto) - 20:11
XI: Crucifixus (Chorus) - 21:17
XII: Et resurrexit (Basso) - 22:09
XIII: Et unam sanctam (Soprano, Alto, Tenore) - 25:12
XIV: Et vitam venturi, Amen! (Chorus, Double Fugue) - 26:31
XV: Sanctus (Chorus) - 28:12
XVI: Benedictus (Tenore) - 29:29
XVII: Osanna in excelsis (Chorus, Fughetta) - 32:44
XVIII: Agnus Dei (Chorus + SATB soloists) - 33:44
XIX: Dona nobis pacem (Chorus, Double Fugue) - 36:11
Performer(s): • Zelenka - Missa Sancti...

[@TheOneAndOnlyZelenkaGuru]

First of several Zelenka masses remastered and uploaded on this channel, from the Zeno channel.
Other Masses (Z.1-23) > th-cam.com/play/PLBbL1YJd7_Wr4NRfNe9APKP147z9ok0sV.html

[@BohemianBaroque]

"the sixty-four parts that accompanied this score" ? For voices?

[@TheOneAndOnlyZelenkaGuru]

Instrumental + vocal

[@BohemianBaroque]

@@TheOneAndOnlyZelenkaGuru That's a lot.

[@TheOneAndOnlyZelenkaGuru]

@@BohemianBaroque I assume, but can't say for certain there would be additional copies, or perhaps Jan Stockigt didn't mention the parts were from several sources, not just one pile of parts.

[@BohemianBaroque]

@@TheOneAndOnlyZelenkaGuru That makes sense.

[@TheOneAndOnlyZelenkaGuru]

@@BohemianBaroque Sense is my middle name - some say