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TAGE ALTER MUSIK REGENSBURG PFINGSTEN 2018 Wir suchen wieder Studentinnen und Studenten, die bei uns mitarbeiten wollen. Deine Tätigkeit: Platzanweisen, Textausteilen, Einlassdienst ... Dein Lohn: Du hörst kostenlos eines oder mehrere Konzerte der Tage Alter Musik Regensburg Konzert 1 Freitag, 18. Mai 2018, 20.00 Uhr Dreieinigkeitskirche, Am Ölberg 1 REGENSBURGER DOMSPATZEN & CONCERTO KÖLN (Deutschland) Felix Mendelssohn Bartholdy (1809-1847) - „Lobgesang" Symphonie-Kantate op. 52 Konzert 2 Freitag, 18. Mai 2018, 22.45 Uhr (Nachtkonzert) Schottenkirche St. Jakob, Jakobstraße 3 ALAMIRE & THE ENGLISH CORNETT & SACKBUT ENSEMBLE (Großbritannien) The Spy's Choirbook - Petrus Alamire & the Court of Henry VIII. Konzert 3 Samstag, 19. Mai 2018, 11.00 Uhr (Matinee) Schottenkirche St. Jakob, Jakobstraße 3 HANA BLAŽ ĺKOVÁ & BRUCE DICKEY : Breathtaking - Stimme und Zink musikalisch verflochten Konzert 4 Samstag, 19. Mai 2018, 14.00 Uhr Neuhaussaal, Theater am Bismarckplatz EUROPEAN UNION BAROQUE ORCHESTRA & FIGURENTHEATER „FAVOLETTA“: Das Märchen von der tausendjährigen Eiche in drei Akten und zwölf musikalischen Sätzen zur Musik von Antonio Vivaldis "Vier Jahreszeiten" Konzert 5 Samstag, 19. Mai 2018, 16.00 Uhr St.-Oswald-Kirche, Engelburgergasse 2 INALTO (Belgien) : La Liberazione di Venezia - Venezianische Musik des 16. und 17. Jahrhunderts Konzert 6 Samstag, 19. Mai 2018, 20.00 Uhr Dreieinigkeitskirche, Am Ölberg 1 LA FOLIA BAROCKORCHESTER: "In Bearbeitung" - Re-Formationen bei Johann Sebastian Bach Konzert 7 Samstag, 19. Mai 2018, 22.45 Uhr (Nachtkonzert) Schottenkirche St. Jakob, Jakobstraße 3 TENEBRAE CONSORT (Großbritannien) :Das goldene Zeitalter Spaniens - Tomás Luis de Victoria Konzert 8 Sonntag, 20. Mai 2018, 11.00 Uhr (Matinee) Reichssaal, Rathausplatz 1 LES PASSIONS DE L'AME (Schweiz) : Biber pur - Harmonia Artificiosa Ariosa (1712) Konzert 9 Sonntag, 20. Mai 2018, 14.00 Uhr Minoritenkirche, Dachauplatz 2-4 LA CAMERA DELLE LACRIME (Frankreich) : Le Livre vermeil de Montserrat Konzert 11 Sonntag, 20. Mai 2018, 20.00 Uhr Dreieinigkeitskirche, Am Ölberg 1 FINNISH BAROQUE ORCHESTRA (Finnland) : Suiten - Concerti grossi - Soloconcerti Konzert 14 Montag, 21. Mai 2018, 11.00 Uhr (Matinee) Reichssaal, Rathausplatz 1 STYLUS PHANTASTICUS (Deutschland) : La carte de tendre oder die Geographie der Gefühle Konzert 15 Montag, 21. Mai 2018, 14.00 Uhr Minoritenkirche, Dachauplatz 2-4 Florenz um 1350 - Musik zur Blütezeit des Humanismus Konzert 16 Montag, 21. Mai 2018, 16.00 Uhr Basilika U. L. Frau zur Alten Kapelle, Alter Kornmarkt ENSEMBLE BAROQUE ATLANTIQUE (Frankreich): Johann Sebastian Bach - Instrumentalwerke Konzert 17 Montag, 21. Mai 2018, 20.00 Uhr Dreieinigkeitskirche, Am Ölberg 1 PRAGUE BAROQUE SOLOISTS (Tschechien) : Jan Dismas Zelenka - Psalmi Vespertini Konzert 10 BEREITS BELEGT; Konzert 12 BEREITS BELEGT, Konzert 13 BEREITS BELEGT Weitere Informationen: www.tagealtermusik-regensburg.de Anmeldung bei Franz Maier Telefon: 0941/6400034, Email: [email protected] .

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Jan Dismas Zelenka's Missae Ultimae
Jan Dismas Zelenka's Missa Dei Patris (1740): The Use of stile misto in Missa Dei Patris (ZWV 19) Item Type text; Electronic Dissertation Authors Cho, Hyunjin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 20:42:28 Link to Item http://hdl.handle.net/10150/195489 JAN DISMAS ZELENKA‟S MISSA DEI PATRIS (1740): THE USE OF STILE MISTO IN MISSA DEI PATRIS (ZWV 19) by HyunJin Cho ______________________ Copyright © HyunJin Cho 2010 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2010 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by HyunJin Cho entitled Jan Dismas Zelenka‟s Missa Dei Patris (1740): The Use of stile misto in Missa Dei Patris (ZWV 19) and recommend that it be accepted as the fulfilling requirements for the degree of Doctor of Musical Arts ___________________________________________________ Date: 07/16/2010 Bruce Chamberlain ___________________________________________________ Date: 07/16/2010 Elizabeth Schauer ___________________________________________________ Date: 07/16/2010 Robert Bayless Final approval and acceptance of this document is contingent upon the candidate‟s submission of the final copy of the document to the Graduate College.
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Zelenka I Penitenti Al Sepolchro Del Redentore, Zwv 63
ZELENKA I PENITENTI AL SEPOLCHRO DEL REDENTORE, ZWV 63 COLLEGIUM 1704 COLLEGIUM VOCALE 1704 VÁCLAV LUKS MENU TRACKLIST TEXTE EN FRANÇAIS ENGLISH TEXT DEUTSCH KOMMENTAR ALPHA COLLECTION 84 I PENITENTI AL SEPOLCHRO DEL REDENTORE, ZWV 63 JAN DISMAS ZELENKA (1679-1745) 1 SINFONIA. ADAGIO – ANDANTE – ADAGIO 7’32 2 ARIA [DAVIDDE]. SQUARCIA LE CHIOME 10’08 3 RECITATIVO SECCO [DAVIDDE]. TRAMONTATA È LA STELLA 1’09 4 RECITATIVO ACCOMPAGNATO [MADDALENA]. OIMÈ, QUASI NEL CAMPO 1’21 5 ARIA [MADDALENA]. DEL MIO AMOR, DIVINI SGUARDI 10’58 6 RECITATIVO SECCO [PIETRO]. QUAL LA DISPERSA GREGGIA 1’38 7 ARIA [PIETRO]. LINGUA PERFIDA 6’15 8 RECITATIVO SECCO [MADDALENA]. PER LA TRACCIA DEL SANGUE 0’54 4 MENU 9 ARIA [MADDALENA]. DA VIVO TRONCO APERTO 11’58 10 RECITATIVO ACCOMPAGNATO [DAVIDDE]. QUESTA CHE FU POSSENTE 1’25 11 ARIA [DAVIDDE]. LE TUE CORDE, ARPE SONORA 8’31 12 RECITATIVO SECCO [PIETRO]. TRIBUTO ACCETTO PIÙ, PIÙ GRATO DONO RECITATIVO SECCO [MADDALENA]. AL DIVIN NOSTRO AMANTE RECITATIVO SECC O [DAVIDDE]. QUAL IO SOLEVA UN TEMPO 2’34 13 CORO E ARIA [DAVIDDE]. MISERERE MIO DIO 7’07 TOTAL TIME: 71’30 5 MARIANA REWERSKI CONTRALTO MADDALENA ERIC STOKLOSSA TENOR DAVIDDE TOBIAS BERNDT BASS PIETRO COLLEGIUM 1704 HELENA ZEMANOVÁ FIRST VIOLIN SUPER SOLO MARKÉTA KNITTLOVÁ, JAN HÁDEK, EDUARDO GARCÍA, ELEONORA MACHOVÁ, ADÉLA MIŠONOVÁ VIOLIN I JANA CHYTILOVÁ, SIMONA TYDLITÁTOVÁ, PETRA ŠCEVKOVÁ, KATERINA ŠEDÁ, MAGDALENA MALÁ VIOLIN II ANDREAS TORGERSEN, MICHAL DUŠEK, LYDIE CILLEROVÁ, DAGMAR MAŠKOVÁ VIOLA LIBOR MAŠEK, HANA FLEKOVÁ CELLO ONDREJ BALCAR, ONDREJ ŠTAJNOCHR
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Ons-Tafelmusik.Pdf
CENTER FOR THE PERFORMING ARTS AT PENN STATE ONSTAGE Don Lee, The Banff Centre Banff The Don Lee, Today’s performance is sponsored by Gay D. Dunne and James H. Dunne COMMUNITY ADVISORY COUNCIL The Community Advisory Council is dedicated to strengthening the relationship between the Center for the Performing Arts and the community. Council members participate in a range of activities in support of this objective. Nancy VanLandingham, chair Mary Ellen Litzinger Lam Hood, vice chair Bonnie Marshall Pieter Ouwehand William Asbury Melinda Stearns Patricia Best Susan Steinberg Lynn Sidehamer Brown Lillian Upcraft Philip Burlingame Pat Williams Alfred Jones Jr. Nina Woskob Deb Latta Eileen Leibowitz student representative Ellie Lewis Jesse Scott Christine Lichtig CENTER FOR THE PERFORMING ARTS AT PENN STATE presents Tafelmusik Baroque Orchestra Jeanne Lamon, director The Galileo Project: Music of the Spheres Conceived, programmed, and scripted by Alison Mackay Glenn Davidson, production designer Marshall Pynkoski, stage director John Percy, astronomical consultant Shaun Smyth, narrator 7:30 p.m. Wednesday, November 5, 2014 Schwab Auditorium The performance includes one intermission. This presentation is a component of the Center for the Performing Arts Classical Music Project. With support from The Andrew W. Mellon Foundation, the proj- ect provides opportunities to engage students, faculty, and the community with classical music artists and programs. Marica Tacconi, Penn State professor of musicology and Carrie Jackson, Penn State associate professor of German and linguistics, provide faculty leadership for the curriculum and academic components of the grant project. sponsors Gay D. Dunne and James H. Dunne support provided by Nina C. Brown Endowment media sponsor WPSU The Center for the Performing Arts at Penn State receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania, and the National Endowment for the Arts, a federal agency.
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Zelenka Reception Since the Eighteenth Century: the Role of Emotions
2017 © Frederic Kiernan, Context 42 (2017): 99–103. RESEARCH REPORT Zelenka Reception since the Eighteenth Century: The Role of Emotions Frederic Kiernan Ever since Camerata Bern first released their recording of Jan Dismas Zelenka’s (1679–1745) trio and quadro sonatas in 1973 (Archiv 2708 027), something of a cult following has formed around the Bohemian composer and his music. An online forum (www.jdzelenka.net) keeps track of most new recordings and notable developments in research, and a regular Zelenka Festival (www.zelenkafestival.cz) now takes place in Prague, usually with a conference attached. Discussions about the composer in both scholarship and the media generally express a sense of admiration and curiosity about his quirky-yet-learned style, and the paucity of biographical sources has led to speculation about his personal life and character (for example, that clues about his alleged homosexuality are encoded into his compositions).1 Zelenka’s name, however, is hardly ever mentioned in standard music history textbooks. 1 Wolfgang Reich, Zwei Zelenka-Studien, Studien und Materialien zur Musikgeschichte Dresdens 7 (Dresden: Sächsische Landesbibliothek, 1987), especially ‘Die Triosonaten von Jan Dismas Zelenka: Untersuchungen zu ihrer Struktur und Semantik,’ 13–59. 99 100 Context 42 (2017) It was not until about 1980 that research on Zelenka gained serious traction, and most of this has taken the form of editions, or studies of his life and works. Zelenka spent much of his career composing sacred music for the Catholic court of Dresden, but relatively little is known about the posthumous fate of his music, and it has generally been assumed that there is no real transmission or reception history to write of; that is, until the ‘rediscovery’ of his music in the second half of the twentieth century.
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15 January 2020
15 January 2020 12:01 AM Jakov Gotovac (1895-1982) Symphonic Dance 'Kolo', Op 12 Zagreb Philharmonic Orchestra, Kazushi Ono (conductor) HRHRT 12:10 AM Johannes Brahms (1833-1897) Rhapsody for piano in B minor, Op 79 No 1 Steven Osborne (piano) USMPR 12:20 AM Jan Dismas Zelenka (1679-1745) De profundis (Psalm 129) in D minor Czech Chamber Choir, Virtuosi di Praga, Petr Chromcak (conductor) CZCR 12:29 AM Giuseppe Torelli (1658-1709) Sonata in D for Trumpet, Strings and Basso Continuo Sebastian Philpott (trumpet), European Baroque Orchestra, Lars Ulrik Mortensen (conductor) PLPR 12:37 AM David Popper (1843-1913) Hungarian rhapsody, Op 68 Shauna Rolston (cello), Calgary Philharmonic Orchestra, Mario Bernardi (conductor) CACBC 12:45 AM Silvius Leopold Weiss (1687-1750) Prelude, Toccata and Allegro in G major Hopkinson Smith (baroque lute) HRHRT 12:55 AM Franz Berwald (1796-1868) String Quartet No 2 in A minor (1849) Bernt Lysell (violin), Per Sandklef (violin), Thomas Sundkvist (viola), Mats Rondin (cello) SESR 01:14 AM Franz Schubert (1797-1828) Arpeggione Sonata for cello and piano (D.821) Erling Blondahl Bengtsson (cello), Katherine Jacobson Fleisher (piano) NONRK 01:36 AM Wolfgang Amadeus Mozart (1756-1791) Violin Concerto No 3 in G major, K 216 Nikolaj Znaider (violin), Danish Radio Chamber Orchestra, Adam Fischer (conductor) DKDR 02:01 AM Hector Berlioz (1803-1869) L'Enfance du Christ, op. 25 Stephanie D'Oustrac (mezzo soprano), Bernard Richter (tenor), Edwin Crossley-Mercer (baritone), Nicholas Teste (bass baritone), Orchestre National
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Jan Dismas Zelenka
63 /1 he first mass composed for the Dresden court by Jan Dismas Zelenka (1679-1745) was named in honour of St Cecilia, the Patron Saint of Musicians, and it Twas dedicated to Zelenka’s employer, the King of Poland and Elector of Saxony, August II (‘der Starke’). Today, the principal source of the work is kept at the Sächsische Landesbibliothek – Staats- und Universitätsbibliothek, Dresden (SLUB): D-Dl, Mus. 2358-D-7a. This complex auto- graph document is a concept score whose original work- Janice B. Stockigt ing shows many crossed-out passages and alterations either written into the score or onto slips of manuscript Faculty of Fine Arts and Music paper pasted throughout which, until recently, obliterat- The University of Melbourne ed many sections of the original.1 Certain movements have been reworked (the part for first violins in the opening ‘Kyrie’, for example, was revised), and newly composed additions are seen The genesis and evolution of throughout the score. The card catalogue of the former Missa Sanctae Caeciliae (ZWV 1), Sächsische Landesbibliothek of Dresden (now SLUB) re- corded that the score once was accompanied by seven- Jan Dismas Zelenka teen parts. These now are missing. Zelenka’s autograph contains at least three workings. The original version of circa 1711 first was altered by January 1712 – known because Zelenka’s petition to August II, dated 31 January Zelenka Prague Conference 1712, revealed that due to the king’s recent absence from Dresden the mass could be revised. Zelenka wrote: A musical work is laid at your feet which was ready some time ago to be produced before Your Abstract Royal Highness.
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THE GALILEO PROJECT BACH · HANDEL · MONTEVERDI · PURCELL · RAMEAU · TELEMANN · VIVALDI Jeanne Lamon
TAFELMUSIK BAROQUE ORCHESTRA THE GALILEO PROJECT BACH · HANDEL · MONTEVERDI · PURCELL · RAMEAU · TELEMANN · VIVALDI Jeanne Lamon Conceived and Programmed by Alison Mackay THE GALILEO PROJECT: MUSIC OF THE SPHERES A co-production with The Banff Centre Programmed and scripted by Alison Mackay Stage Direction: Marshall Pynkoski Production Designer: Glenn Davidson Production Assistant: Raha Javanfar Narrator: Shaun Smyth Projection Co-ordinator: Ben Chaisson Astronomy Consultant: Dr. John Percy TAFELMUSIK BAROQUE ORCHESTRA On Period Instruments Jeanne Lamon, Music Director Violin I: Jeanne Lamon, Patricia Ahern, Geneviève Gilardeau, Aisslinn Nosky Violin II: Julia Wedman, Thomas Georgi, Christopher Verrette, Cristina Zacharias Viola: Patrick G. Jordan, Elly Winer Violoncello: Christina Mahler, Allen Whear Double Bass: Alison Mackay Oboe: John Abberger, Marco Cera Bassoon: Dominic Teresi Lute / Guitar: Lucas Harris Harpsichord: Charlotte Nediger (CD tracks 3, 5-8, 10-11, 14-16, 20-22, 24-25), Olivier Fortin (CD tracks 1, 9, 17) The Galileo Project received its premiere in January 2009 at The Banff Centre, where it was co-produced in a residency. One of Tafelmusik’s most successful international exports, The Galileo Project has been seen in China (in Mandarin), Malaysia, Mexico (in Spanish), Australia, New Zealand, Canada and the United States and continues to attract invitations from presenters around the world. 2 THE GALILEO PROJECT: Music of the Spheres The Harmony of the Spheres I Biagio Marini Chapter 1 Passacaglia, from Op. 22 Opening
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THE GALILEO PROJECT: Music of the Spheres
In-Store Release Information March 27, 2012 TAFELMUSIK BAROQUE ORCHESTRA Jeanne Lamon, Music Director THE GALILEO PROJECT: Music of the Spheres Programmed and Scripted by: Alison Mackay Stage Director: Marshall Pynkoski Production Designer: Glenn Davidson Narrated by: Shaun Smyth Booklet: English 1 DVD & 1 CD music soundtrack: full priced Total Time DVD: 1:26:47 Total Time CD: 56:54 Recording Date: May 2010 Picture Format: NTSC 0 Sound Format: Stereo AC3 “The musical performance, through it all, was of the In-Store: March 27, 2012 highest order … bursts of virtuosity were too Product Number: TMK1001DVDCD widespread and numerous to list.” UPC 8 80513 10015 8 - The New York Times (on the live concert of The Galileo Project) DVD and CD Soundtrack: Explore the fusion of the arts, science and culture in the 17th and 18th centuries in this imaginative DVD and CD commemorating Galileo's first public demonstration of the telescope. The Tafelmusik Baroque Orchestra performs music by Monteverdi, Vivaldi, Bach and Handel to a backdrop of high-definition images from the Hubble telescope, NASA and Canadian astronomers. Actor Shaun Smyth narrates a compelling script and the musicians, playing by memory, weave in and around a magical stage set. The Galileo Project was created, programmed and scripted by Alison Mackay, and filmed by the international award-winning 90th Parallel Productions. BONUS FEATURES: The DVD includes two bonus tracks of original animated films of Tafelmusik by director David New, and the package also includes a music-only CD soundtrack of the gorgeous baroque music featured in the film. Tafelmusik Media label: www.tafelmusik.org Distributed by: www.naxos.com The Galileo Project: Music of the Spheres CD Soundtrack Listing Antonio Vivaldi Concerto for 2 violins in A Major, op.
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Cndm.Mcu.Es DE DIFUSIÓN MUSICAL CENTRO NACIONAL
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Mito Book Torino
La quindicesima edizione di MITO SettembreMusica è dedicata a Fiorenzo Alfieri (1943-2020) Pedagogista e insegnante, in una parola maestro, viene eletto consigliere comunale a Torino per la prima volta nel 1975. Prima Assessore alla Gioventù, Sport, Tempo Libero e Turismo, poi Assessore al Sistema Educativo e infine Assessore alla Cultura dal 2001 al 2011, durante i primi incarichi dal 1976 al 1985 è stato l’artefice della nascita del primo Progetto Giovani in Italia, dell’Informagiovani e del Festival Cinema Giovani (oggi Torino Film Festival). Visionario ed entusiasta, amministratore illuminato e appassionato, è stato figura fondamentale per il rilancio della cultura torinese. L’ideazione di Luci d’Artista, la trasformazione di Settembre Musica in MITO, sono due esempi tra i tanti del segno che ha lasciato sulla sua città. /1 Torna MITO SettembreMusica con la sua carica di musica, di musicisti e di idee. Torna quell’asse tra le due città di Milano e Torino inteso a valorizzare il nostro patrimonio culturale, che finalmente riprendiamo a condividere e a fruire insieme. E dopo l’edizione dello scorso anno, tutta italiana, tutta volta a valorizzare e impiegare i talenti del nostro Paese, per troppo tempo rimasti fermi a causa della pandemia, quest’anno il festival riguadagna quella dimensione e quella vocazione autenticamente internazionali che lo hanno sempre caratterizzato. Il coinvolgimento di talenti dall’Europa diventa quindi simbolo di quell’apertura alla dimensione globale della cultura a cui siamo stati costretti a rinunciare nell’ultimo anno, ma della quale oggi sentiamo più che mai forte la necessità. Chiara Appendino Sindaca della Città di Torino Giuseppe Sala Sindaco della Città di Milano Presidenti onorari di MITO SettembreMusica /3 ISP_ON_AIR_140x240.indd 1 20/06/21 13:20 Ora è tempo di ripartire dopo mesi di difficoltà, dolori e privazioni.
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Janice B. Stockigt (University of Melbourne)
“CATALOGO (THEMATICO) [SIC] DELLA MUSICA DI CHIESA (CATHOLICA [SIC] IN DRESDA) COMPOSTA DA DIVERSI AUTORI - SECONDO L’ALFABETTO 1765” 1: AN INTRODUCTION Janice B. Stockigt (University of Melbourne) usic catalogues provide valuable microcosms in which taste, transmission, and local traditions are disclosed. The “Catalogo (Thematico) della Musica di Chiesa … 1765,” the focus of this M article, reveals the development of Saxon Catholic musical taste in the mid-eighteenth century, in all its breadth and universality, coloured by regional liturgical and musical practices. This “Catalogo” is the earliest known thematic catalogue of the music library of the Dresden Catholic Hofkirche, compiled in three volumes after the Seven Years War when Johann Georg Schürer was Kirchencompositeur to the Dresden court. Within a few years a more detailed catalogue was assembled, of which only volume III is now available.2 Thus the “Catalogo” of 1765 is the only complete, currently accessible inventory of a most important collection of Catholic liturgical music assembled in Saxony between ca. 1708 and 1765. From 1908 much of the collection was deposited with the Königliche Öffentliche Bibliothek (KÖB)—today, the Sächsische Landesbibliothek—Staats- und Universitätsbibliothek Dresden (SLUB, formerly SLB).3 The physical organisation of this collection is reflected in the layout of the “Catalogo.” Three cupboards (Schränke), each representing one volume of the “Catalogo,” were divided into numerous compartments (Fächer), which were ordered into layers (Lagen). Works were stored (and entered) in alphabetical order of composers’ names. Each item was listed with position of storage (Fach and Lage), title, performance requirements (“à 4 voci, 2 VVni, Vla e Basso”), and music incipit.
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On the Dresden Sources of Zelenka's Instrumental Music
Janice B. Stockigt On the Dresden sources of Zelenka’s instrumental music Te hand of the Bohemian-born and Dresden-based church composer Jan Dismas Zelenka (1679– 1745) is one of the more distinctive to be seen among the music autographs held in Dresden today. Tis is particularly the case with his numerous sacred compositions written in the 1720s, most of which survive as concept scores. Te present discussion, however, is confned to the Dresden sources of Zelenka’s small number of instrumental works with a Cx number that came to be housed in the renowned “Schrank II” of the Dresden Hofirche at some time afer 1765. Excluded, therefore, are the orchestral overtures to Zelenka’s melodrama,1 to his oratorios of 1730, 1731–35 and 1736,2 and to the serenata of 1737 (titled Il Diamante);3 the six sonatas;4 and a set of six fanfares scored for four trumpets and timpani that remain classifed as “uncertain” in the Zelenka-Dokumentation.5 As the appended table with basic information on Zelenka’s „Schrank II“ instrumental works demonstrates (pp. 205–207), they fall into three clearly defned groups: 1. four capriccios composed in Vienna between c. 1717 and c. 1718/19;6 2. four works written in Prague during 1723; 3. a Sinfonia composed in Dresden (“18 Maji 1729”), categorized in the Zelenka-Dokumentation 1 Melodrama de S. Wenceslao: Sub olea pacis et palma virtutis (score; ZWV 175; D-Dl: Mus.2358-D-2). 2 Il Serpente di bronzo (score; ZWV 61; D-Dl: Mus.2358-D-74); Gesù al Calvario (score and parts; ZWV 62; D-Dl: Mus.2358-D-1a, …D-1b); I penitenti al sepulchro del redentore (score; ZWV 63; D-Dl: Mus.2358-D-73).
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