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been given in the literature that
Zelenka was in direct competition with Hasse for the Kapellmeister position, but this is a misunderstanding. It was very clear to Zelenka at that time that his colleague Hasse was, and would remain, senior Kapellmeister. This led the Dresden court to create the official position of church composer (essentially Vice-Kapellmeister), which Zelenka held from 1734 onwards, along with his student Tobias Buz and, from November 1736 onwards, J.S. Bach, who received a "titular" position.
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cantata scores, which partly still exists in
Dresden and are individually numbered in Zelenka's own hand. This suggest that he wrote down a complete inventory of the secular works in his possession, and by referring to the numbers he assigned each work it was possible to reconstruct the now missing inventory. This included a number of arias of Hasse, who arrived in Dresden in July 1731 with his famous wife,
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428:(court orchestra) as a double bass player. In any event, he entered the service of the Dresden court with a salary of 300 thalers in 1710/11. The conditions for music making there added impetus to his creativity, particularly with respect to the composition of sacred music for the Catholic court church. His first major work in Dresden was a
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and other sacred vocal compositions, which have, ever since the revival of his music, experienced a surge in reputation and veneration. According to
Susanne Oschmann, "Jan Dismas Zelenka has of late been recognized as one of the most original composers of a musical epoch that was long thought to have
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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
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had been decided and later put in motion. Pisendel, one of the greatest violinist of the baroque era, was officially appointed
Konzertmeister. Eleven new musicians were hired for the orchestra on 28 November of the same year. On that same day, Zelenka was awarded a handsome salary increase of 37.5%,
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moved swiftly and signed Hasse and
Faustina to an extraordinary contract worth an astonishing 6,000 thalers annually, while their travel expenses were also paid for by the court. At that time, Hasse was already one of the most famous composers in Europe and it was a major coup for the Dresden court
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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
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in
October 1733, servants from all departments of the Dresden court sent in petitions for unpaid salaries or promotions. Zelenka was one of those who petitioned. It was only natural for the composer to wish to attain official recognition from the newly elected Polish king. The impression has often
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travelled to Moscow in the end of 1730, Zelenka, as the senior composer at the court, became responsible for supplying secular vocal music for the chamber concerts at the royal palace in
Dresden. It is at this point in time when he began to assemble his fascinating collection of Italian opera and
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position. The fact is that before the death of
Heinichen in 1729, the Dresden court was already actively looking for a well-established opera composer to take Heinichen's place. This was a part of a long-term project to re-establish the Italian opera in Dresden. In 1724, the Dresden court began
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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
979:, 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.
1278:, "It seems essential to me, that Zelenka (like Bach) obviously has absorbed the total compositional knowledge of the previous generations, and, by virtue of his most individual personality exposes it to a breaking test, thus setting free a critical element opposing the tradition."
1366:(ZWV 16, his last mass to include brass instruments) and his final five pieces (ZWV 17–21), commonly called "High Mass" compositions, written between 1736 and 1741 and considered as Zelenka's compositional peak. The last three were also called "Missae ultimae" (Last Masses).
387:'s royal orchestra. Baron von Hartig was a well-known connoisseur of music and a virtuoso musician. He corresponded with many important Italian composers, and amassed a great music library to which Zelenka would later have access, including notably
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name. Zelenka's father Jiří was a schoolmaster and organist in Louňovice, and was likely his first music teacher. Nothing more is known with certainty about Zelenka's early years, except that he received his musical training at the
438:(c. 1711). Zelenka's music must have impressed the court, because only a few months after his arrival in Dresden his salary was increased to 350 thalers. This placed him among the most highly paid musicians in the
834:'s assistance, tried unsuccessfully to publish Zelenka's "Responsoria." On 17 April 1756, he wrote that "the complete manuscript will be at the Dresden court, kept under lock and key as something very rare."
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to have secured his and Faustina's services. Confirmation of Hasse's position is seen in the libretto to his Siroe which was performed in Bologna in May 1733, where the composer was awarded the title of
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and was buried on Christmas Eve. He never married and had no children, and his compositions and musical estate were purchased from his beneficiaries by the Electress of Saxony and the Queen of Poland
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1082:), clarity, and part-writing (especially in his fugues) earned him the respect of some of the most renowned contrapuntists (composers and performers who practice the art of counterpoint).
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Despite his posthumous neglect, Zelenka was highly regarded during his own career and was respected by significant composers of the day, such as Telemann, Bach (as aforementioned), and
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Several analyses of the composer's sacred and instrumental compositions (particularly fugues and other counterpoint) have contributed to his popularity, due to the efforts of both
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court document of 1715 records a royal cash advance for a trip to Italy by Zelenka with his fellow musicians and composers Pierre Gabriel Buffardin, Johann Christian Richter and
1171:. They were three trio sonatas in 1958–60, Sinfonia concertante in 1963 and the exquisite interpretation of "Lamentationes Jeremiae prophetae" with the soloists Karl Berman,
473:. New documents confirming the arrival of the oboist Richter and violinist Pisendel in Italy have now surfaced but neither Zelenka nor Buffardin were travelling with them.
1887:
533:, Zelenka gradually took over the direction of the sacred music. In January 1726, he began entering his own works and those of others he collected into a register called
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was founded and commemorated with the memorial plaque on his house. Since then, performances of Zelenka's music have regularly taken place in and around his birthplace.
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which brought his wages up to 550 thalers. This might have enabled him to purchase 24 opera arias, one duet, eight secular cantatas and two sacred motets in score from
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gave birth to a number of outlandish theories on Zelenka's position at the Dresden court, and especially around his petitions from October/November 1733 for the
1134:, who rewrote some scores from the archives in Dresden and introduced one of the composer's orchestral suites in Prague's New Town Theatre festivals in 1863.
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Back in Dresden in 1719, he remained there except for an extended stay in Prague in 1722-3, when he conducted the première of one of his major secular works,
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Following the arrival of the five young singers in Dresden in April 1730, Zelenka played an important role in their continuing education. After the "
524:(ZWV 53). His compositions still constitute an important part of the repertoire of the Catholic court church. Following the frequent illnesses of
1153:. Some are certainly missing, but this probably happened gradually – and the lost scores represent only a small proportion of his total works.
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only, which suggests that he was no longer playing the double bass. Instead, he most likely directed the music in his capacity as a singer.
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403:'s copy of the same Mass might also have been acquired through Zelenka. When Johann Hubert died in Prague in 1741, Zelenka dedicated his
1440:(Studi pergolesiani – Pergolesi studies 8), ed. C. Bacciagaluppi, H.-G. Ottenberg and L. Zoppelli, Bern, Peter Lang, 2012, pp. 315-316.
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More than half of Zelenka's works have now been recorded, mostly in the Czech Republic and Germany. Such recordings include the masses
1793:- various resources including a searchable worklist, CD recordings database and recommendations, information on scores, timeline, etc.
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1343:. Zelenka also wrote a number of purely instrumental works – six trio or quartet sonatas, five capricci, one "Hipocondrie" and other
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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
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Das Instrumentalrepertoire der Dresdner Hofkapelle in den ersten beiden Dritteln des 18. Jahrhunderts, Überlieferung und Notisten
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of Prussia's longtime court flautist and flute teacher) and J. G. Roellig. His close friends included eminent composers such as
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Interest in Zelenka's music has grown, especially since the end of the 1950s with the revival of interest in Baroque music.
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By the late 1960s and early 1970s all Zelenka's instrumental compositions and selected liturgical music were published in
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figures, and unusually long phrases full of varied musical ideas. He is sometimes considered Bach's Catholic counterpart.
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537:, one of the most important documents of Dresden baroque music. In July 1729, Heinichen died and Zelenka became acting
494:. While in Prague he composed some of his highly original instrumental works, as seen in the autograph of the score of
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and, unrivalled and unchallenged, retained the position for the next 32 years. After the performances of his opera
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In 1709 in Prague, Zelenka served Baron von Johann Hubert von Hartig before his appointment as a violone player in
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in September 1731, Hasse and Faustina travelled back to Italy, but not before the future arrangements of the
347:. He was the eldest of eight children born to Marie Magdalena (née Hájek) and Jiří Zelenka. The middle name
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works is 249. The sacred vocal-instrumental music is at the center of his compositions and include over 20
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instruments is far more demanding than that of other composers of his era. His instrumental works, the
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547:, a term coined by Professor Wolfgang Horn. The first work that confirms Zelenka's new status is a
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Some remarks on the relationship of Bohemian aristocracy to Italian music at the time of Pergolesi
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1911:
1567:"Zelenka and the Combinative Impulse: Contrapuntal Techniques in the Miserere in D Minor, ZWV 56"
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dedicated to the dissemination of his work. The most analyzed of Zelenka's compositions are his
372:). His first works were probably written in Prague. His earliest known work is the school drama
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training five young Italian opera singers with some of the finest vocal teachers in Italy like
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Die Dresdner Hofkirchenmusik 1720-1745: Studien zu ihren Voraussetzungen und ihrem Repertoire
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in 1969. The music of Zelenka has become widely known and available since that time through
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684:. In that same month, Zelenka was also referred to as the elector's "well-born and virtuoso
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Stockigt, Janice B.; Stockigt, Research Fellow in the Faculty of Music Janice B. (2000).
1542:"CHRISTMAS IN DARMSTADT--GRAUPNER INSTRUMENTAL & VOCAL MUSIC VOL. 3 - Classics Today"
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a position he occupied in an unofficial capacity until 1734. This period is known as the
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395:. Zelenka copied this work from Hartig's collection around 1729, and later in the 1730s
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Reflections and Recent Findings on the Life and Music of Jan Dismas Zelenka (1679–1745)
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2011:
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on the mid-18th century baroque city of Dresden, the seat of the Elector and ruler of
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harmonies and ingenious usage of fugal themes. Nevertheless, Zelenka's language is
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Zelenka was aware of the music in different regions of Europe. He wrote complex
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which listed the members and servants of the Dresden court, listed Zelenka as a
498:— "Six concerti written in a hurry in Prague in 1723" (ZWV 186, 187, 188, 189).
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688:" in a letter written by the Superior of the Catholic court church in Dresden.
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were called to Dresden. There is hardly any coincidence that in the same week,
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1694:"Discover Zelenka: Music and Life of the Baroque Composer Jan Dismas Zelenka"
1666:"Discover Zelenka: Music and Life of the Baroque Composer Jan Dismas Zelenka"
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Zelenka's complete compositions are listed in the digitized database of the
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607:. In the first week of February 1730, the young singers, the castrato alto
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died in Warsaw on 1 February 1733, his son and successor as Saxon Elector
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In the early 1720s, Zelenka composed some of his finest works like the
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The Secular Vocal Collection of Jan Dismas Zelenka – A Reconstruction
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Giovanni Battista Pergolesi e la musica napoletana in Europa centrale
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826:. After his death, these were considered valuable court possessions.
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Sub olea pacis et palma virtutis conspicua orbi regia Bohemiae Corona
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Between the years 1716 and 1719, Zelenka studied under the guidance
942:. Statements consisting only of original research should be removed.
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668:, music he was then able to use both in the chamber and the church.
603:, a great composer in his own right and future teacher of the young
555:), which, as Janice B. Stockigt has established, was performed at a
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The Visit of Members of the Dresden Hofkapelle to Bautzen: May 1733
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https://www.jdzelenka.net/reading-frequently-asked-questions.php
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Jan Dismas Zelenka – A Bohemian musician at the court of Dresden
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to celebrate the birthday of the Saxon Elector and Polish king,
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Jan Dismas Zelenka: A Bohemian Musician at the Court of Dresden
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but in the basement of the Japanese Palace, north of the river
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The rediscovery of Jan Dismas Zelenka's work is attributed to
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in the editions of 1731 and 1732; in 1733, he is listed as a
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In 1716, Zelenka continued his education in Vienna under the
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in February 1945. However, the scores were not kept in the
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in Dresden commemorating Zelenka's last place of residence.
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1387:(6th ed.). New York: Schirmer Books. p. 1940.
790:. Bach was trusted enough by Zelenka for his eldest son
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The most appreciated of Zelenka's sacred works are his
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On the Dresden Sources of Zelenka’s Instrumental Music
1470:, Kassel, Bärenreiter – Stuttgart, Carus, 1987, p. 89.
1078:. His music's innovative counterpoint (such as in the
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Dresden, Stadtkreis Dresden, Saxony (Sachsen), Germany
1487:: colloquium proceedings, Qucosa, 2010, pp. 192-207.
1099:(1697-1773) as one of his students. Zelenka also met
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Maestro di Cappella di S.A. R. l’Elettore di Sassonia
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Baron von Hartig may have recommended Zelenka to the
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Stockigt, Janice B. and Ágústsson, Jóhannes (2016),
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Stockigt, Janice B. and Ágústsson, Jóhannes (2015),
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Kapsa, Václav, Perutková, Jana and Spáčilová, Jana,
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and sparked the interest of other musicians such as
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Königl. Polnischer und Churfürstl. Sächsischer Hoff-
1303:The total number of Zelenka's known and attributed
442:. Three years later, it was raised to 400 thalers.
53:. Unsourced material may be challenged and removed.
1740:
1383:Slonimsky, Nicolas (1978). "Zelenka, Jan Dismas".
1274:been shaped by Bach and Handel", and according to
1014:in its unexpected harmonic twists, obsession with
1137:It was mistakenly assumed that many of Zelenka's
376:(ZWV 245), composed in 1704, from which only the
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1641:"The "Czech Bach": Who Was Jan Dismas Zelenka?"
257:(16 October 1679 – 23 December 1745), baptised
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691:Following the election of Friedrich August as
399:acquired a copy of it from Zelenka's library.
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1765:, Prague: Akademie múzických umění v Praze,
1385:Baker's Biographical dictionary of musicians
1239:In honor of Jan Dismas Zelenka, in 1984 the
876:. Unsourced material may be challenged and
738:. Unsourced material may be challenged and
551:(ZWV 190, 18 May 1729, previously known as
1862:
1848:
1288:List of compositions by Jan Dismas Zelenka
364:in Prague and that his instrument was the
3107:Burials at Old Catholic Cemetery, Dresden
1813:International Music Score Library Project
1409:"Jan Dismas Zelenka: a biographical note"
1382:
958:Learn how and when to remove this message
896:Learn how and when to remove this message
758:Learn how and when to remove this message
331:marked by a memorial plaque and a sundial
113:Learn how and when to remove this message
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240:Composer, Performer, Violonist, Musician
155:of all important aspects of the article.
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1029:Zelenka's music is influenced by Czech
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151:Please consider expanding the lead to
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818:On 23 December 1745, Zelenka died of
568:und Staats-Calender (Hof- from 1734),
405:Litaniae Lauretanae 'Salus infirmorum
292:, and spent his professional life in
1829:Discussions about Jan Dismas Zelenka
1506:, Studi vivaldiani 13: 3-52 (p. 31).
1498:
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874:adding citations to reliable sources
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736:adding citations to reliable sources
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506:View from the right bank of the Elbe
490:), at the time of the coronation of
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51:adding citations to reliable sources
22:
3082:18th-century musicians from Bohemia
1747:, Oxford: Oxford University Press,
1453:, Clavibus unitis 4: 7–48 (p. 12).
1107:(c. 1681–1732) in Vienna, Austria.
640:compositeur de la musique italienne
13:
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1241:Autumn Music Festival under Blaník
1070:Appreciation by his contemporaries
1037:and brought to its culmination by
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2902:historically informed performance
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1819:Free scores by Jan Dismas Zelenka
1809:Free scores by Jan Dismas Zelenka
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461:. It is unlikely that he visited
3067:18th-century classical composers
3062:17th-century classical composers
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1639:Reilly, Robert (21 March 2017).
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625:Maria Rosa Negri and Anna Negri
302:in the presence of the Emperor
269:. His music is admired for its
143:may be too short to adequately
38:needs additional citations for
3047:Czech male classical composers
1565:Collins, Denis (3 July 2019).
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1045:in the nineteenth century and
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1583:10.1080/08145857.2019.1703488
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1200:Missa Sanctissimae trinitatis
1119:Zelenka memorial site at the
621:Ventura Rocchetti 'Venturini'
410:(ZWV 152) to his old patron.
339:, a market town southeast of
318:
308:coronation as king of Bohemia
273:inventiveness and mastery of
265:composer and musician of the
3112:People from Benešov District
3087:Czech expatriates in Germany
1823:Choral Public Domain Library
1739:Stockigt, Janice B. (2000),
1645:The Imaginative Conservative
1502:Ágústsson, Jóhannes (2013),
1064:
417:Interior of the Court Chapel
327:Zelenka's place of birth at
7:
3117:17th-century male musicians
3072:18th-century male musicians
1618:. Oxford University Press.
1089:(1660-1741), the author of
1080:Miserere in D Minor, ZWV 56
938:the claims made and adding
563:. The official publication
10:
3133:
1731:
1722:https://www.jdzelenka.net/
1531:, Clavibus unitis 5: 1-12.
1285:
1053:in the twentieth century.
1018:harmonies, large usage of
693:August III, King of Poland
18:Czech composer (1679–1745)
2990:
2947:
2857:
2677:
2656:
2521:
2398:
2200:
2025:
1886:
1880:List of Baroque composers
1877:
1761:Smolka, Jaroslav (2006),
1212:, and his secular works "
518:Responsoria pro hebdomada
445:
244:
236:
225:
203:
181:
174:
1831:on Bach Cantatas Website
824:Maria Josepha of Austria
644:Giovanni Alberto Ristori
631:was offered the "primo"
623:and the sister sopranos
611:, the castrato sopranos
585:
496:Concerto à 8 Concertanti
3052:Czech Baroque composers
1234:Capella Regia Musicalis
1232:, Ensemble Inégal, and
1224:. The most popular are
1103:(1671-1736) as well as
1095:in Vienna and accepted
1035:Adam Michna z Otradovic
994:-style dances, baroque
786:to the Bach biographer
435:Missa Sanctae Caeciliae
313:
2955:Common practice period
1294:Petrucci Music Library
1143:firebombing of Dresden
1127:
805:Georg Philipp Telemann
788:Johann Nikolaus Forkel
779:
649:Faustina Bordoni-Hasse
561:Augustus II the Strong
531:Johann David Heinichen
513:
418:
401:George Frideric Handel
337:Louňovice pod Blaníkem
332:
329:Louňovice pod Blaníkem
280:Zelenka was raised in
189:Louňovice pod Blaníkem
3077:Czech Roman Catholics
2877:British Baroque music
1720:(Find/browse works),
1479:Stockigt, Janice B.,
1147:Katholische Hofkirche
1121:Old Catholic Cemetery
1118:
813:Sylvius Leopold Weiss
809:Johann Georg Pisendel
797:Johann Joachim Quantz
773:
535:Inventarium (1726-39)
504:
471:Johann Georg Pisendel
416:
397:Johann Sebastian Bach
326:
230:Old Catholic Cemetery
2295:Jacquet de La Guerre
2225:Bodin de Boismortier
1805:at Wikimedia Commons
1571:Musicology Australia
1413:www.baroquemusic.org
1364:Missa Purificationis
1296:, as well as on the
1210:Missa Sancti Josephi
1196:Missa Purificationis
870:improve this section
732:improve this section
700:Later life and death
380:has been preserved.
335:Zelenka was born in
306:, shortly after his
62:"Jan Dismas Zelenka"
47:improve this article
2887:early music revival
2458:Frederick the Great
1092:Gradus ad Parnassum
801:Frederick the Great
465:as once thought. A
3057:Oratorio composers
2187:Torrejón y Velasco
1803:Jan Dismas Zelenka
1763:Jan Dismas Zelenka
1128:
986:, ornate operatic
923:possibly contains
792:Wilhelm Friedemann
780:
776:Kleine Brüdergasse
629:Johann Adolf Hasse
590:The period of the
514:
419:
333:
255:Jan Dismas Zelenka
176:Jan Dismas Zelenka
3102:Deaths from edema
3034:
3033:
2996:Renaissance music
2664:Baroque orchestra
1801:Media related to
1698:www.jdzelenka.net
1670:www.jdzelenka.net
1625:978-0-19-816622-1
1466:Horn, Wolfgang,
1311:, four extensive
1167:and his ensemble
968:
967:
960:
925:original research
906:
905:
898:
768:
767:
760:
609:Domenico Annibali
520:(ZWV 55) and the
459:Johann Joseph Fux
259:Jan Lukáš Zelenka
252:
251:
219:Holy Roman Empire
197:Holy Roman Empire
170:
169:
123:
122:
115:
97:
3124:
3024:
3014:
3013:
2929:polychoral style
2844:sonata da chiesa
2405:
2207:
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1800:
1789:Discover Zelenka
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1718:Discover Zelenka
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1489:Available online
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1455:Available online
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1419:
1405:
1399:
1398:
1380:
1362:, above all his
1298:Discover Zelenka
1249:
1165:Milan Munclinger
1051:Bohuslav Martinů
963:
956:
952:
949:
943:
940:inline citations
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351:is probably his
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2939:Galant Schemata
2853:
2752:concerto grosso
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2052:H. I. F. Biber
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1577:(2): 199–225.
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1286:Main article:
1283:
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1276:Heinz Holliger
1230:Collegium 1704
1214:Sub olea pacis
1185:Heinz Holliger
1161:Czechoslovakia
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1043:Antonín Dvořák
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601:Nicola Porpora
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539:Kapellmeister,
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284:, educated in
267:Baroque period
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147:the key points
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1054:
1052:
1048:
1044:
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1032:
1027:
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1021:
1017:
1013:
1012:idiosyncratic
1009:
1005:
1001:
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993:
989:
985:
980:
978:
974:
962:
959:
951:
941:
937:
933:
927:
926:
921:This section
919:
910:
909:
900:
897:
889:
879:
875:
871:
865:
864:
860:
855:This section
853:
849:
844:
843:
838:Musical style
835:
833:
829:
825:
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806:
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793:
789:
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741:
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733:
727:
726:
722:
717:This section
715:
711:
706:
705:
697:
694:
689:
687:
686:Kapellmeister
683:
678:
674:
669:
667:
662:
658:
654:
653:Kapellmeister
650:
645:
641:
636:
634:
633:Kapellmeister
630:
626:
622:
618:
615:(also called
614:
610:
606:
602:
597:
596:Kapellmeister
593:
583:
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573:
569:
566:
562:
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546:
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536:
532:
529:
528:
527:Kapellmeister
523:
519:
511:
507:
503:
499:
497:
493:
489:
488:St. Wenceslas
485:
481:
480:
474:
472:
468:
464:
460:
457:
456:Kapellmeister
453:
443:
441:
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436:
431:
427:
426:
415:
411:
409:
402:
398:
394:
390:
389:Antonio Lotti
386:
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237:Occupation(s)
235:
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226:Resting place
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64: –
63:
59:
58:Find sources:
52:
48:
42:
41:
36:This article
34:
30:
25:
24:
21:
16:
3001:
2994:
2965:Architecture
2914:Folk baroque
2909:Figured bass
2882:counterpoint
2858:Other topics
2730:18th-century
2725:17th-century
2384:
2350:D. Scarlatti
2167:A. Scarlatti
2137:J. Pachelbel
1888:Transitional
1825:(ChoralWiki)
1788:
1762:
1742:
1717:
1713:
1701:. Retrieved
1697:
1673:. Retrieved
1669:
1660:
1648:. Retrieved
1644:
1634:
1614:
1607:
1574:
1570:
1545:. Retrieved
1536:
1528:
1523:
1518:, pp. 38-40.
1515:
1511:
1503:
1484:
1480:
1475:
1467:
1462:
1450:
1445:
1437:
1433:
1428:
1416:. Retrieved
1412:
1403:
1384:
1378:
1363:
1357:
1302:
1297:
1291:
1282:Compositions
1252:
1238:
1209:
1205:Missa Votiva
1203:
1199:
1195:
1193:
1169:Ars Rediviva
1158:
1155:
1136:
1129:
1090:
1084:
1079:
1073:
1055:
1047:Leoš Janáček
1028:
1008:contrapuntal
981:
973:trio sonatas
969:
954:
948:January 2022
945:
922:
892:
886:January 2022
883:
868:Please help
856:
817:
781:
775:
754:
748:January 2022
745:
730:Please help
718:
690:
685:
681:
670:
660:
656:
652:
639:
637:
632:
616:
605:Joseph Haydn
595:
589:
579:
575:
572:Contra-Basso
571:
567:
564:
556:
552:
548:
542:
538:
534:
525:
522:Lamentations
521:
517:
515:
495:
477:
475:
449:
439:
433:
424:
420:
404:
392:
382:
373:
353:confirmation
334:
297:
279:
275:counterpoint
258:
254:
253:
209:(1745-12-23)
158:
142:
140:lead section
109:
100:
90:
83:
76:
69:
57:
45:Please help
40:verification
37:
20:
15:
3097:1745 deaths
3092:1679 births
2934:Style brisé
2870:Chamber pop
2865:Baroque pop
2809:grand motet
2782:passacaglia
2593:lautenwerck
2588:harpsichord
2558:double bass
2525:Instruments
2483:Mondonville
2315:A. Marcello
2245:F. Couperin
2192:Vejvanovský
2142:J. Playford
2122:J.-B. Lully
2087:Charpentier
2042:d'Anglebert
1927:Frescobaldi
1891:and early (
1321:Magnificats
1244: [
1222:Baroque era
1218:Il Diamante
1173:Nedda Casei
1111:Rediscovery
1097:J.J. Quantz
1061:mass texts
996:recitatives
784:C.P.E. Bach
592:Interregnum
580:Compositeur
576:Compositeur
544:Interregnum
374:Via laureta
362:Clementinum
161:August 2024
3041:Categories
2948:Background
2834:recitative
2742:concertato
2710:canzonetta
2573:fortepiano
2548:clavichord
2498:Sammartini
2478:Mysliveček
2438:Boccherini
2428:W. F. Bach
2423:J. C. Bach
2220:J. S. Bach
2147:H. Purcell
2067:Cabanilles
1982:Monteverdi
1957:Kapsberger
1947:O. Gibbons
1942:C. Gibbons
1937:V. Galilei
1917:J. Dowland
1907:G. Caccini
1703:4 November
1675:3 November
1650:4 November
1547:4 November
1418:4 November
1370:References
1353:symphonies
1181:recordings
1105:F.B. Conti
1101:A. Caldara
1059:liturgical
1031:folk music
1020:syncopated
1000:Palestrina
932:improve it
661:Hofkapelle
635:position.
492:Charles VI
440:Hofkapelle
425:Hofkapelle
319:Early life
304:Charles VI
103:March 2019
73:newspapers
2980:Sculpture
2897:ensembles
2892:festivals
2787:sarabande
2715:capriccio
2657:Ensembles
2488:L. Mozart
2390:de Zumaya
2325:Pergolesi
2305:Locatelli
2290:Heinichen
2275:Gorczycki
2270:Geminiani
2250:Delalande
2172:Stradella
2127:M. Marais
2107:Froberger
2072:Carissimi
2062:Buxtehude
2017:Sweelinck
1599:216609297
1591:0814-5857
1349:overtures
1345:concertos
1341:antiphons
1313:oratorios
1300:website.
1139:autograph
1065:Reception
1016:chromatic
936:verifying
857:does not
719:does not
673:August II
617:Porporino
553:Capriccio
484:melodrama
454:Imperial
310:in 1723.
145:summarize
3016:Category
2993: ←
2975:Painting
2839:ricercar
2814:madrigal
2794:fantasia
2762:courante
2747:concerto
2720:chaconne
2613:recorder
2538:carillon
2508:Telemann
2453:Corrette
2448:F. Brixi
2433:F. Benda
2365:Telemann
2330:Pisendel
2280:Graupner
2215:Albinoni
2152:Reincken
2117:Legrenzi
2102:Diletsky
2026:Middle (
1932:Gabrieli
1329:litanies
1317:requiems
1271:litanies
1267:requiems
1087:J.J. Fux
1076:Graupner
1004:chorales
977:capricci
832:Pisendel
828:Telemann
657:Cleofide
549:Sinfonia
452:Habsburg
423:Dresden
378:libretto
360:college
271:harmonic
3006:→
2960:Baroque
2829:prelude
2767:gavotte
2737:chorale
2705:canzona
2695:cantata
2648:violone
2628:trumpet
2623:theorbo
2618:sackbut
2553:cornett
2533:bassoon
2523:Musical
2463:Galuppi
2385:Zelenka
2375:Vivaldi
2360:Tartini
2335:Porpora
2320:Pepusch
2260:Fischer
2235:Caldara
2182:Torelli
2177:Strozzi
2097:Corelli
2077:Cavalli
2047:Bassani
2002:Scheidt
1952:d'India
1902:Allegri
1821:in the
1815:(IMSLP)
1811:at the
1791:website
1732:Sources
1331:, many
1325:Te Deum
1216:" and "
1125:Dresden
930:Please
878:removed
863:sources
830:, with
740:removed
725:sources
385:Dresden
366:violone
345:Bohemia
294:Dresden
248:Baroque
215:Dresden
193:Bohemia
87:scholar
3026:Portal
2919:monody
2777:minuet
2690:ballet
2643:violin
2578:guitar
2493:Quantz
2400:Galant
2355:Seixas
2345:Rameau
2340:Quantz
2285:Handel
2240:Campra
2157:Sabini
2132:Muffat
2092:Clarke
2037:Amodei
2012:Schütz
2007:Schein
1977:Merula
1972:Michna
1922:Franck
1912:Coelho
1769:
1751:
1622:
1597:
1589:
1483:, in:
1436:, in:
1391:
1360:masses
1339:, and
1333:psalms
1319:, two
1309:masses
1263:masses
1024:tuplet
1002:-like
992:galant
984:fugues
820:dropsy
671:After
574:&
510:Saxony
486:about
463:Venice
446:Vienna
432:, the
368:(bass
358:Jesuit
349:Dismas
341:Prague
290:Vienna
286:Prague
261:was a
89:
82:
75:
68:
60:
2970:Dance
2849:suite
2824:opera
2804:fugue
2799:folia
2772:gigue
2757:dance
2700:canon
2638:viola
2608:organ
2568:flute
2543:cello
2503:Soler
2468:Hasse
2443:Boyce
2406:1720)
2380:Weiss
2370:Vinci
2310:Lotti
2255:Fasch
2208:1700)
2112:Kerll
2082:Cesti
2030:1650)
1997:Rossi
1967:Lawes
1962:Landi
1895:1600)
1595:S2CID
1337:hymns
1248:]
988:arias
586:1730s
467:Saxon
407:'
343:, in
263:Czech
94:JSTOR
80:books
2819:mass
2685:aria
2633:viol
2603:oboe
2598:lute
2583:harp
2563:drum
2513:Zach
2413:Arne
2202:Late
2162:Sanz
2057:Blow
1987:Peri
1767:ISBN
1749:ISBN
1705:2021
1677:2021
1652:2021
1620:ISBN
1587:ISSN
1549:2021
1516:Ibid
1420:2021
1389:ISBN
1351:and
1323:and
1315:and
1257:and
1187:and
1175:and
1151:Elbe
1049:and
1041:and
1022:and
861:any
859:cite
811:and
723:any
721:cite
557:Gala
430:Mass
370:viol
314:Life
288:and
204:Died
182:Born
66:news
2265:Fux
1579:doi
1123:in
934:by
872:by
734:by
619:),
482:(a
391:'s
245:Era
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2206:c.
2028:c.
1893:c.
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1495:^
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