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Missa votiva ZWV 18

Urtext

By Jan Dismas Zelenka

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Soprano voice solo, alto voice solo, tenor voice solo, bass voice solo, mixed choir, piano (solos: SATB - choir: SATB - 0.2.0.1. - 0.0.0.0. - str - bc)
Urtext. Composed by Jan Dismas Zelenka (1679-1745). Edited by Reinhold Kubik. Arranged by Matthias Grunert. Edition Breitkopf.

The Missa votiva ranks among the later works of the composer Jan Dismas Zelenka. The piano vocal score is based on the score published by Reinhold Kubik in volume 108 of the series Das Erbe deutscher Musik, now available as PB 5577.

Vocal score. Breitkopf and Haertel #EB-8053. Published by Breitkopf and Haertel (BR.EB-8053).

Item Number: BR.EB-8053

ISBN 9790004185018. 7.5 x 10.5 in inches.

Zelenka's artistic personality, his biography and his compositional style are utterly distinctive. His style is highly experimental. Was Zelenka really one of the greatest composers of the 18th century, or only one of the most interesting? I think that he still has several surprises for us. (Schweizerische Musikzeitung)



Zelenka's Masses - fine specimens of Baroque choral literature, some parts of which are set even more colorfully than in the corresponding compositions by Bach. (Die Welt)

New version: Heidelberg January 23 1999 Duration: full evening
Text by the composer after Cervantes' novel of the same name
Place and time: Spain, early 17th Century
World premiere: Stuttgart, October 3, 1993
New version: Heidelberg, January 23, 1999


Characters: Don Quijote (baritone) - Sancho Panza (tenor) - Niece / Lucinde / Duchess/ Dulcinea I / Dame I (soprano) - Neighbor / Dorothea / Dulcinea II / Dame II /(Lady-in-waiting I) / (Angel) (mezzo-soprano) - Housekeeper / Oracle / Dulcinea III / Dame III / (Lady-in-waiting II) / (Queen) (alto) - Boy (metallic child's voice / speaking part) - Barber I / Lector I / Henchman I / (Devil) / (Don Pedro) (tenor) - Cardenio / Lion's keeper / (Soldier) / (1. Courtier) / (Sexton) / (Lector IV) (tenor) - Administrator / Barber II / Lector II / (Death) / (Swineherd) (baritone) - Lector III / Henchman II / 2. Courtier (bass baritone) - Don Fernando / Duke / (The Shadow) / (Notary (silent part)) (baritone) - Parish Priest / Landlord / Merlin / (Kaiser) / (3. Courtier) / (Lector V, Der Chef) (bass)
Further singers, supernumeraries, actors, Pantomimes, Doubles ad lib
The double casts in brackets can also be played by additional singers

Some of the pieces played by the live electronics can be produced before and performed on tape recording. The single pieces can be theoretically be played single or in an own assembled partial choice of pieces.

In this work, the composer has extended his structural concept to embrace the staging aspects as well. The form ensues from five basic elements, which he calls song (G), language (S), instrumental performance (I), stage setting (B) and action (A). Each of the 31 separate pieces is built from a varying combination of these five basic components; only one contains all five elements. Stage setting and action are incorporated into the musical form; they are temporally organized similarly to the traditionally musical elements. Stage setting here means a static scene as in the tableaux vivants that were so popular in Goethe's day. Action, in its turn, signifies a situation on stage where everything is in motion, including props and stage setting. Stage setting and action means that both elements are integrated in a way that is newly defined each time. If neither stage setting nor action are intended, there is no scene. All decisions regarding spatial organization are left up to the stage director or set designer. (Hans Zender)


Bibliography:

Schmidt, Dorte: ,,Die Bilder werden neu entdeckt, aber als Zeichen, die der Vergangenheit angehoren. Zenders Musiktheater und die Instanz der Geschichte, in: Hans Zender. Vielstimmig in sich, hrsg. von Werner Grunzweig, Jorn Peter Hiekel und Anouk Jeschke (= Archive zur Musik des 20. und 21. Jahrhunderts, Band 12), Hofheim: Wolke 2008, S. 77-89.

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