IV / 2015 II Clavibus unitis / 4 2015 Hlavní redaktor: Jiří K. Kroupa Jako on-line revue pro kulturněhistorická studia v českých zemích vydává Nadace pro dějiny kultury ve střední Evropě (association for Central European Cultural Studies), Husova 20, CZ-110 00 praha 1, [email protected] http://www.acecs.cz/?f_idx=4 ISSN 1803-7747 published by © association for Central European Studies, 2015 all rights reserved; no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. 1 Clavibus unitis 4 (2015) C C U U UC © Association for Central European Cultural Studies 3 Jan Dismas Zelenka’s Life and Music Reconsidered (Zelenka Conference Prague 2015) Edited by Jiří K. Kroupa CONTENT introduction . 5 Janice B. STOCKIGT – Jóhannes ÁGÚSTSSON: reflections and recent findings on the life and music of Jan Dismas Zelenka (1679-1745) . 7 Wolfgang HORN: opera, arias and Zelenka: remarks on a special relationship . 49 Michaela FREEMANOVÁ: prague 1734: Jan Dismas Ze- lenka and Leonardo Leo . 71 Claudia LUBKOLL: Watermarks in Zelenka’s auto - graph scores in the Saxon State and university Library Dresden (SLuB) . 75 Jana VojtěškoVá: The works of Jan Dismas Zelenka in the eighteenth and nineteenth centuries in prague . 85 Frederic KIERNAN: Zelenka reception in the nine- teenth century: Some new sources . 91 © Association for Central European Cultural Studies Clavibus unitis 4 (2015), pp. 3-158 4 A R T I C U L I 5 Jan Dismas Zelenka’s Life and Music Reconsidered (Zelenka Conference Prague 2015) © Association for Central European Cultural Studies Clavibus unitis 4 (2015), pp. 5-6 6 Úvodem A R T I C U L I Clavibus unitis 4 (2015), pp. 5-6 © Association for Central European Cultural Studies 7 t a time when digitization projects of the Sächsi- sche Landesbibliothek – Staats- und universitäts- bibliothek Dresden (D-Dl; SLuB) have made im- aportant music collections of the Dresden court available online,1 it is fitting to reconsider a major contributor to the sacred music once held in the Catholic court church JaNice B. STockigt of Dresden: Jan Dismas Zelenka. Whilst acknowledging (university of Melbourne) Jan Dismas Zelenka’s Life and Music Reconsidered (Zelenka Conference Prague 2015) the firm foundations laid by many musicologists, edi- tors, and performers whose publications, editions, and JóHannes ÁGústssoN interpretations have appeared over the past fifty years (iceland) and more, it now is possible to fill certain gaps in our knowledge of Zelenka’s life, compositions, and the musi- cal context in which he worked. in chronogical order we report additional biographical, contextual, and selected Reflections and recent findings source information. on the life and music of 1709-1719 it now is well established that Zelenka’s long-time patron Jan Dismas Zelenka and composition teacher in Bohemia was Johann Hubert (1679-1745) Hartig and not, as previously supposed, the younger brother Joseph Ludwig Hartig.2 in Zelenka’s petition ad- dressed in 1712 to august ii, Elector of Saxony and King of poland, ‘Baron von Hartig’ was the exact title given * The authors acknowledge with gratitude the assistance of romy Hartmann and Sabine Engler at the Sächsisches Staats- archiv – Hauptstaatsarchiv Dresden (D-Dla), and Dr Karl W. Geck and the librarians at the Sächsische Landesbibliothek – Staats- und universitätsbibliothek (D-Dl; SLuB) for their gener- ous assistance. Dr Birgit Mitzscherlich of the Zentralabteilung, archiv-Bibliothek Kunst, Bischöfliches ordinariat Bautzen (D- Baud) also is thanked for her continuing help. We are indebted to the following friends and colleagues who have helped with translations and good advice: Brian Clark, Dr David Fairservice, Susanne Haring, Shelley Hogan, Frederic Kiernan, Dr Saman- tha owens, Dr Barbara reul, professor Michael Talbot, and Dr Jana Vojtěšková. Special thanks is due to the staff of the following institutions for granting permission to publish the reproductions seen in this article: ragna petrak (D-Dla), Ma- at a time when digitization projects of the Sächsische rina Lang (D-Dl), Bettina Erlenkamp at the Deutsche Fototek Landesbibliothek – Staats- und universitätsbibliothek (D-Dl), Maren May at the plansammlung of the Landesamt für Dresden have made important music collections of the Denkmalpflege Sachsen, and Yvonne Brandt anda ndreas pisch- Dresden court available online, it is timely to recon- el at the Kupferstich-Kabinett, Staatliche Kunstsammlungen sider a major contributor to the music once held in the Dresden. Catholic court church of Dresden: Jan Dismas Zelenka. 1 See: Examination of Jesuit documentation from the era of https://hofmusik.slub-dresden.de/en/themes/court-church- Saxon Electors Friedrich august i (august ii as King of and-royal-private-music-collection/ poland) and Friedrich august II (august III as King of https://hofmusik.slub-dresden.de/en/themes/schrank-ii/ poland) together with the rich sources of the Sächsisches https://hofmusik.slub-dresden.de/en/themes/opera-archive/ Staatsarchiv – Hauptstaatsarchiv Dresden (D-Dla) pro- https://hofmusik.slub-dresden.de/en/search-possibilities/ vides new information about the life and surroundings 2 on the Hartig family see KAPSA, Václav and MADL, Claire: of Zelenka at the court of Dresden. This leads to a re- ‘Weiss, the Hartigs and the prague academy Music academy: evaluation of certain opinions sustained in the Zelenka research into the “profound silence” left by a “pope of music”’, literature. Building upon research undertaken since the Journal of the Lute Society of America 33 (2000), pp. 47-85, and mid-twentieth century, and including more recent stud- KAPSA, Václav, PERUTKOVÁ, Jana and SpáčiloVá, Jana: ‘Some ies, in chronological order this paper reappraises and remarks on the relationship of Bohemian aristocracy to ital- expands upon aspects of Zelenka’s life, his patrons, com- ian music at the time of pergolesi’, in: BACCIAGALUPPI, Clau- positions, and the musical context in which he worked. dio – OTTENBERG, Hans-Günter – ZOPEllI, Luca (eds.): Giovanni Key words: Jan Dismas Zelenka; Baroque Music; prague; Battista Pergolesi e la musica napoletana in Europa centrale Vienna; Dresden; august ii; august iii; Maria Josepha [= Studi pergolesiani – pergolesi Studies, 8], Bern: peter Lang, Number of characters / words: 28 959 / 183 049 2012, pp. 313-341. See also VEVERKA, Karel: ‘Hudební mecenát Number of images: 12 hraběte Jana Huberta Hartiga u pražských křižovníků s červe- Number of tables: 1 nou hvězdou ve světle řádového listinného archivu’, Hudební Secondary language(s): Latin, German, italian, French věda 51 (2014), pp. 161-170. © Association for Central European Cultural Studies Clavibus unitis 4 (2015), pp. 7-48 8 J A NI ce B. S T O C K I G T – J Ó H A NN es Á G ús Tss ON by Zelenka to his former instructor.3 on more than one occasion the Diarium collegii Societatis Jesu ad sanctum Clementem Vetero-Pragae (Diarium Vetero-Pragae) specifically mentions the A musical involvement on the important Jesuit feast days of St ignatius Loyola (31 July) and St R Francis Xavier (3 December) of a member of the noble Hartig family: the illustrious and Excel- T lent Dominus de Hartig. For the feast of St Francis Xavier in 1709 it was reported that on 28 November Count de Hartig rehearsed an italian Mass for four choirs.4 perhaps this was orazio I Benevoli’s Missa In diluvio aquarum multarum. Zelenka, who once held a score of this work (now C water damaged), wrote this note at the conclusion of the title page: ‘à Zelenka Music: de | S: 5 U M: Le roy de pologne | Electeur de Saxe. 1719’. The prague performance of this setting, which involved 130 musicians, was noted on the feast day itself,6 while in 1712 the count offered a L new (unidentified) musical composition for the feast that lasted for two hours.7 Moreover, for I the feast of St ignatius Loyola in 1710 ‘ill. D. ab Hartig’ offered another new (also unidentified) musical composition.8 it is known that in 1709 Zelenka lived in the house of Johann Hubert Hartig, who must have promoted the compositions of his protégé through organising commissions for him to compose music to be played at the holy sepulchre in St Salvatore, the principal church of the Jesuit Clementinum college in prague’s old Town. This patronage resulted in three sepulchro oratorios: Immisit Dominus pestilentium (ZWV 58, 1709), commissioned by the Clementinum College, Attendite et videte (ZWV 59, 1712) and Deus Dux fortissime (ZWV 60, 1716), both com- missioned by Count Hubert Hartig.9 Some years later, on 9 February 1723, the final day of Shrovetide, an unidentified, newly-composed work of Zelenka was presented in the church of St Salvatore,10 and it was given in his presence.11 it long has been known that the prague copy of Zelenka’s late setting Litaniae Lauretanae Salus infirmorum (ZWV 152), a work intended to be performed upon the recovery of Queen Maria Josepha following her illness in 1744, was originally dedicated to the ‘Eccell. DD S:r:J: Comiti Joanni Huberto de Hartig S:C: regiae etc. Majes: Conciliario privato, nec non regio Boëmiae Locumtenenti.’12 The prague copy of this 3 ‘So habe doch, sowohl, der in der Music hochberühmte und überall bekannte Hr. Baron von Hartig zu prage.’ Zelenka’s original petition is kept in Vienna, a-Wn, Sign 15773. it is reproduced by HORN, Wolf- gang – KOhlhASE, Thomas – in association with LANDMANN, ortrun – REICH, Wolfgang (eds.): Zelenka- Dokumentation: Quellen und Materialen (ZD hereafter), 2 vols., Wiesbaden: Breitkopf & Härtel, 1989, v. 1, Dok. 2, p. 103, and STOCKIGT, Janice B.: Jan Dismas Zelenka (1679-1745): A Bohemian Musician at the Court of Dresden, oxford: oup, 2000, p. 307.