 | Zelenka, Jan Dismas - "Haec Dies" for Winds & Strings ZWV 169 Vents & Orchestre Cordes |
VoirPDF : "Haec Dies" (ZWV 169) for Winds & Strings (16 pages - 360.37 Ko)33x⬇ VoirPDF : Basson (126.15 Ko) VoirPDF : Violoncelle (65.8 Ko) VoirPDF : English Cor (58.57 Ko) VoirPDF : Flûte (66.58 Ko) VoirPDF : French Cor (60.34 Ko) VoirPDF : Hautbois (66.06 Ko) VoirPDF : Alto (63.48 Ko) VoirPDF : Violon 1 (74 Ko) VoirPDF : Violon 2 (66.64 Ko) VoirPDF : Conducteur complet (222.14 Ko) MP3 : "Haec Dies" (ZWV 169) for Winds & Strings 6x⬇ 42x
Vidéo :
![]()
![]()
| Compositeur : | Zelenka, Jan Dismas (1679 - 1745) | ||
| Instrumentation : | Vents & Orchestre Cordes | ||
| Genre : | Baroque | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 13 Déc 2022 Jan Dismas Zelenka (1679 – 1745), baptised Jan Lukáš Zelenka was a Czech composer and musician of the Baroque period. His music is admired for its harmonic inventiveness and mastery of counterpoint. He was raised in Central Bohemia, educated in Prague and Vienna, and spent his professional life in Dresden. The greatest success during his career was the performance of the extensive composition Sub olea pacis et palma virtutis in the presence of the Emperor Charles VI, shortly after his coronation as king of Bohemia in 1723. Zelenka's pieces are characterized by a very daring compositional structure with a highly spirited harmonic invention and complex counterpoint. His works are often virtuosic and difficult to perform, but always fresh and surprising, with sudden turns of harmony. In particular, his writing for bass instruments is far more demanding than that of other composers of his era. His instrumental works, the trio sonatas, capricci, and concertos are exemplary models of his early style (1710s –1720s). The six trio sonatas demand high virtuosity and expressive sensitivity from performers. As Zelenka was himself a violone player, he was known to write fast-moving continuo parts with driving and complicated rhythm. Zelenka was aware of the music in different regions of Europe. He wrote complex fugues, ornate operatic arias, galant-style dances, baroque recitatives, Palestrina-like chorales, and virtuosic concertos. Zelenka's musical language is closest to Bach's, especially in its richness of contrapuntal harmonies and ingenious usage of fugal themes. Nevertheless, Zelenka's language is idiosyncratic in its unexpected harmonic twists, obsession with chromatic harmonies, large usage of syncopated and tuplet figures, and unusually long phrases full of varied musical ideas. He is sometimes considered Bach's Catholic counterpart. Zelenka's music is influenced by Czech folk music. In this respect, he continues the tradition of the production of specific Czech national music initiated by Adam Michna z Otradovic and brought to its culmination by Bedřich Smetana and Antonín Dvořák in the nineteenth century and Leoš Janáček and Bohuslav Martinů in the twentieth century. In regard to his masses, Zelenka was not afraid to challenge the established traditions of his time. Furthermore, from his unorthodox, disjointed, and "bizarre" sounding fugal subjects (such as the Kyrie Eleison from ZWV 48) to his fiery orchestration, he presents fresh interpretations of established liturgical mass texts. The total number of Zelenka's known and attributed opus-numbered works is 249. The sacred vocal-instrumental music is at the center of his compositions and include over 20 masses, four extensive oratorios and requiems, two Magnificats and Te Deum settings, 13 litanies, many psalms, hymns, and antiphons. Zelenka also wrote a number of purely instrumental works – six trio or quartet sonatas, five capricci, one "Hipocondrie" and other concertos, overtures and symphonies. The most appreciated of Zelenka's sacred works are his masses, above all his Missa Purificationis (ZWV 16, his last mass to include brass instruments) and his final five pieces (ZWV 17–21), commonly called "High Mass" compositions, written between 1736 and 1741 and considered as Zelenka's compositional peak. The last three were also called "Missae ultimae" (Last Masses). Source: Wikipedia (https://en.wikipedia.org/wiki/Jan_Dismas_Zelenka) Although originally composed for Chorus (SATB), 2 Oboi, 2 Violini, Viola, Basso continuo, I created this Arrangement of "Haec dies quam fecit Dominus; exultemus et laetemur in ea. Alleluia" (This is the day which the Lord hath made) for Winds (Flute, Oboe, English Horn, French Horn & Bassoon) & Strings (2 Violins, Viola & Cello). | |||
Connectez-vous pour commenter
