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Partitions Orchestre ⮞ Vents & Orchestre Cordes ⮞ Jan Dismas Zelenka

Zelenka, Jan Dismas: Magnificat in D Major for Winds & Strings

Magnificat in D Major for Winds & Strings
ZWV 108
Jan Dismas Zelenka

Vents & Orchestre Cordes

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VoirTélécharger PDF : Magnificat in D Major ZWV 108 for Winds & Strings (45 pages - 1.14 Mo)43x⬇

VoirTélécharger PDF : Violoncelle (117.63 Ko)

VoirTélécharger PDF : Alto (120.04 Ko)

VoirTélécharger PDF : Basson (80.47 Ko)

VoirTélécharger PDF : English Cor (87.36 Ko)

VoirTélécharger PDF : Flûte (92.27 Ko)

VoirTélécharger PDF : French Cor (85.61 Ko)

VoirTélécharger PDF : Hautbois (92.96 Ko)

VoirTélécharger PDF : Violon 1 (126.47 Ko)

VoirTélécharger PDF : Violon 2 (121.39 Ko)

VoirTélécharger PDF : Conducteur complet (724.12 Ko)

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Télécharger MP3 : Magnificat in D Major ZWV 108 for Winds & Strings 35x⬇ 66x

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Compositeur	Jan Dismas Zelenka (1679 - 1745)
Instrumentation	Vents & Orchestre Cordes
Genre	Baroque
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - ) Suivre 101 Contacte Faire un don
Tonalité	Ré majeur
Droit d'auteur	Public Domain
Jan Dismas Zelenka (1679 – 1745) 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 172...(+) Jan Dismas Zelenka (1679 – 1745) 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. Bach held Zelenka in high esteem, and the two composers knew each other, as evidenced by a letter of 13 January 1775 from his son C.P.E. Bach to the Bach biographer Johann Nikolaus Forkel. Bach was trusted enough by Zelenka for his eldest son Wilhelm Friedemann to copy out the Amen from Zelenka's third Magnificat (ZWV 108) to use in the Leipzig's St. Thomas' Church, where J. S. Bach was cantor for the last two and a half decades of his life. In addition to composing, Zelenka taught throughout his life a number of prominent musicians of his time, like Johann Joachim Quantz (Frederick the Great of Prussia's longtime court flautist and flute teacher) and J. G. Roellig. His close friends included eminent composers such as Georg Philipp Telemann, Johann Georg Pisendel and Sylvius Leopold Weiss. 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 Source: Wikipedia (https://en.wikipedia.org/wiki/Jan_Dismas_Zelenka) Although originally composed for Chorus (SATB) & Organ, I created this arrangement of Magnificat in D Major (ZWV 108) for Winds (Flute, Oboe, English Horn, French Horn & Bassoon) & Strings (2 Violins, Viola & Cello).
	Ajoutée par magataganm, 10 Déc 2022