Zelenka (CZH) (1 janv. 1679 – 1 janv. 1745)

Description:

• In early Masses 1711 to 1732, ZWV 1-14 (ZWV 14: Missa Sancti Josephi , 1732, without credo)
o Confined all early Masses to the five traditional Ordinary texts; but, sectionalized each of Ordinary text divisions to make multiple musical mvts. see score. o All works are in a major key with almost in D major.
o All works are composed with Neapolitan style:
▪ The Neapolitan school of composition was one of the main influences on church music during the 18th century. The Neapolitan school describes
operatic composers in Naples during the 17th and 18th centuries. Their
compositional techniques in Masses have sectionalization of the Mass text into independent mvts, including solo arias and choruses and doubled
colla parte.
o Employed clear motives or themes with the use of repeated pitches in a dotted rhythm to allow the text to receive prominent focus and with a short motive fugally.
▪ Motives often developed via augmentation, diminution, or stretto.
o Masterful fugal technique, also other compositional Techniques. emphasizing motives
o Considered text to be of prime doctrinal importance. To emphasize important texts, moving from counterpoint to a more unified homophony for clarity in choral declamation, also employing unison.
• Harmony was less complexity than his later masses. Using text-painting, chromaticism, and suspentions.
• Influenced by Czech folk music. Especially syncopated rhythm. (ex: WV 11, Cum Santo Sprirutu)


• All late Masses (ZWV 15-21, 1733~1741)
o were scored for mixed soloist, mixed choir, 1st and 2nd Vn, Viola, two oboes, and Basso continuo; this force allowed greater flexibility in terms of tonality. ▪ The timpani and trumpets used in his early Masses
o More complexity in harmony than early period.
o In his late Masses, not only used still Neapolitan techniques, such as expressive vocal writing in choruses and arias, independent instrumental parts, diatonic harmonies, increasing use of homophonic textures, and memorable melodies but also employed homophonic choruses, declaiming the text, fugal choruses with colla parte and independent instrumental accompaniment, virtuosic solo arias, Gregorian chant.
• His orchestral and vocal pieces are works that require virtuosity, a great deal of practice and effort.
• Especially masses toward the end of his life are very powerful expressive, comprising great choral movements with powerful ritornellos, arias in the Galant style. ex) Missa votiva (ZWV 18) 1739: His evolution of compositional techniques was culminated in the Mass
• Bold compositional structure
o Inventive setting of fugal themes
• Inventive and expressive contrapuntal mastery
o He admired contemporaries (Bach, Telemann, Pisendel, Mattheson, and Mizler) • The use of cantus firmi and the repeated musical-rhetorical figures and structural traits of refrain and ostinato followed the practices of Monteverdi’s era.
• Brilliant use of harmony and high-difficulty counterpoint (suddenly changing harmony progression)
• Sometimes virtuosic (technical) and difficult to play. In particular, the difficulty of works for low-pitched instruments is high.
o There are many fast and dynamic continuo bass passages. (Because he himself is a violone player?)

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