Jan Dismas Zelenka Psalmi Iii Nibiru cd

Jan Dismas Zelenka - Psalmi Varii Separatim Scripti - Prague Baroque Soloists, Ensemble Inegal, Adam Viktora (2018) {Nibiru}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 290 Mb | MP3 @320 -> 139 Mb
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© 2018 Nibiru | 01652231
Classical / Baroque / Period Instruments / Sacred

A World Premiere recording of Zelenka's complete Psalmi Varii Separatim Scripti. They come from the fourth and last cycle of Psalm settings Zelenka made during his years in Dresden. Detailed notes on them and their texts in English come with the disc.

Zelenka was the most important Bohemian composer before Gluck. He wrote no operas and few instrumental works, but a great body of sacred music for the Catholic court at Dresden plus a few choice secular works. His music is characterized by passus duriusculus – chromatic descent. Another distinguishing characteristic is slow triplets – not infrequently used by Zelenka, though rarely heard in the works of better known late baroque composers.

Jan Dismas Zelenka - Complete Orchestral Works
Das Neu-Eröffnete Orchestre - Jürgen Sonnentheil
EAC+LOG+CUE | WV: 266+287+292 MB | Full Artwork | 5% Recovery Info
Label/Cat#: CPO # 999 897-2 | Country/Year: Germany 2002
Genre: Classical | Style: Baroque

…If you haven’t heard this music, let’s just say that Zelenka wrote some of the most enjoyable and colorful music of the Baroque era, and he is supremely well served by CPO’s engineers, conductor Sonnentheil, and his New-Eröffnete Orchestre.

Jan Dismas Zelenka - Missa Sanctae Caeciliae, Currite ad aras - Ensemble Inégal, Adam Viktora (2019) {Nibiru 016672231}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 282 Mb | MP3 @320 -> 127 Mb
Full Artwork @ 300 dpi (jpg) -> 14 Mb | 5% repair rar
© 2019 Nibiru | 016672231
Classical / Baroque / Vocal / Period Instruments

With this recording of Missa Sanctae Caeciliae (ZWV 1) and the motet Currite ad Aras (ZWV 166) two ‘firsts’ of Zelenka are presented: Missa Sanctae Caeciliae is his earliest mass composition, and Currite ad Aras is the first-known work written after Zelenka was sent to Vienna in 1716.

Jan Dismas Zelenka (1679-1745) Officium defunctorum ZWV 47 – Requiem in D ZWV 46 (Music for the funeral rites of Augustus the Strong) Jan Dismas Zelenka’s music for the funeral rites of Augustus the Strong – Officium defunctorum ZWV 47 (Invitatorium, Nocturno I-III) and Requiem ZWV 46 – reveals the most impressive face of the Baroque theatre of death. The man in the chief role of this spectacle follows the appeal in the 95th psalm of the introductory antiphon of the invitatorium “the King, in whom everything lives, let us worship Him”, and bows his head before God and the majesty of death.

We badly need a complete set of Zelenka's orchestra works, as Arkiv's edition has long vanished into the remainder bins, and this one (previously issued as three separate CDs) fits the bill nicely. Although the players use "authentic instruments", their sound is comparatively warm and gentle, though this doesn't mean that they don't handle with aplomb the insanely virtuosic horn parts in the Capriccios, or the bubbling wind writing in the Concerto. The inclusion of the overture from Melodrama de S. Wenceslao makes an interesting bonus, with its fascinating opposition of simultaneous duple and triple rhythms.

Extraordinarily well-written, prodigiously inventive, and relentlessly exciting–these aren't terms normally used to describe 18th-century Masses, but then there is nothing "normal" about this late work by Czech composer Jan Dismas Zelenka. Simply put, if you aren't acquainted with Zelenka (or if you've experienced a previous aversion to Masses), when you hear this piece–a substantial and powerful conception, from the first note of the Kyrie to the final chord of the Dona nobis pacem–you will wonder why this composer does not enjoy much greater esteem and popularity with performers, particularly alongside J.S. Bach (his contemporary) and Mozart.

Jan Dismas Zelenka's music for the funeral rites of Augustus the Strong - Officium defunctorum ZWV 47 (Invitatorium, Nocturno I-III) and Requiem ZWV 46 - reveals the most impressive face of the Baroque theatre of death.