Bohemian-born Baroque composer, Jan Dismas Zelenka (1679 --1745) and his music have been little known until recently. During his career in Dresden as a court church composer from 1710 until his death in 1745, Zelenka composed over150 sacred choral compositions.The three masses in the collection entitled Missae ultimae (ZWV 19 -- 21) were written toward the end of his life, between 1740 and 1741. Like his other masses, these three are cantata masses, in which the texts of the mass ordinary are divided, and set as separate movements.In each movement of each mass, Zelenka uses various forms, and compositional techniques in two different styles. Some movements are written in stile antico featuring imitative or fugal techniques. Other movements are written in stile moderno, and can be divided into two categories: choruses with orchestral ritornellos, and arias for solo voice or soli voices. Of great interest, however, is the skill with which Zelenka uses these two different styles within a complete setting of the mass ordinary, or even within single movements, creating stile misto in Missae ultimae by matching specific musical approaches to the character of the different texts.I will first discuss various musical forms and styles in the three masses of Missae ultimae. In Chapter 4, I will focus on the first mass, Missa Dei Patris (ZWV 19), since this work shows more stylistic contrast between movements than the other two masses. In Chapter 4, I will outline the compositional techniques of each movement. For the sake of consistency, the titles of each movement have been capitalized as published in Das Erbe Deutscher Musik -- Bands 93 (1985), 100 (1989), and 101 (1989) -- of Breitkopf und Hartel.

Johann Gottlob Schuchardt was papermaker at the Dresden papermill from 1717 until 1739. He made solid paper of good quality that musicians and composers like Zelenka and his contemporaries used very often. In the middle of the 1730s, there was a very special form of the writing „J G Schuchart“ noticeable in that watermark. By comparing the dated manuscripts with wide dated manuscripts, that have the same form of the writing „J G Schuchart“, we are now able to date more precisely. Besides, there is a very different looking Schuchardt-watermark, which only appeared from 1733 until 1739 as far as we know. Schuchardt seems to have made this paper in a short time, because there are only a few examples found, some in Dresden, one in Berlin (according to WZIS), but all of them appearing in the 1730s. In Zelenka’s lifetime paper was precious and rare, so it was mostly used within a very short time after it was produced. The sieves for hand papermaking were in use only 1 to at most 4 years. After that time they were wasted and damaged. These facts give us some good possibilities to date the paper precisely, as the examples of the paper will show. / Johann Gottlob Schuchardt war von 1717 bis 1739 Papiermacher in der Dresdner Papiermühle. Er stellte solides Papier von guter Qualität für Musiker und Komponisten wie Zelenka und seine Zeitgenossen her, die es sehr häufig verwendeten. Mitte der 1730er Jahre findet sich eine spezielle Form der Schreibart „J G Schuchart“ im Wasserzeichen. Beim Vergleich von datierten Manuskripten mit nur in einem weiten Zeitraum datierten Manuskripten mit derselben Schreibart von „J G Schuchart“ sind wir nun in der Lage, viel genauer zu datieren. Des Weiteren existiert ein Schuchardt-Wasserzeichen, das sich sehr von dem oben genannten unterscheidet und nur zwischen 1733 und 1739 aufzutauchen scheint. Schuchardt muss dieses Papier in einer kurzen Zeitspanne hergestellt haben, denn all die wenigen Beispiele, die gefunden wurden (manche in Dresden, eines in Berlin, laut WZIS), tauchen nur in den 1730ern auf. Zu Zelenkas Lebzeiten war Papier ein wertvolles Gut, das für gewöhnlich innerhalb kürzester Zeit nach der Herstellung verbraucht wurde. Die Siebe für dieses Papierschöpfen hatten eine Lebensdauer von nur etwa ein bis höchstens vier Jahren. Nach dieser Zeit waren sie beschädigt und wurden zerstört. Diese Indizien ermöglichen es, Papier präzise zu datieren, wie der folgende Aufsatz zeigt.

No description available.

No description available.

No description available.

At the turn of the eighties' and nineties' of the 20th century, correspondingly to the whole social scale, significant changes happened on the domestic music scene. The musical and the creative elite were confronted with the Anglo-American production, and were forced, in a number of cases, to come up with the alternative ways of expressing themselves under the new circumstances. The goal of this thesis is to compare and contrast the situation on the domestic scene during the period right before the November 1989 and the period to follow; based on the various testimonies of popular Czechoslovakian musicians. The research aims to collect the information regarding contemporary popularity of the Czechoslovakian modern music and authors from the eighties'. I'm trying to verify if the critique perspective of one part of the public experts on the allegiance of the musical elite and the ideology of the pre-November regime is justified or not. At the same time, the thesis follows the fortune of the music stars in relation to the changing social order and, in addition to it, establish the basis for the study of the further research in the field.

This master thesis introduces Jiří Pilát (4. 4. 1921 - 7. 6. 2007), a native of Posázaví. He had been concerned with music on a non-professional level all his life, especially with liturgical music. In order to carry on his interest he created a rich archive, mostly by searching and transcribing the score material. The work aims to show his life and work with regard to both his lifelong musical focus and local activity, and his conceivable influence on the broader cultural awareness. It is comprised from five main chapters: the life of Jiří Pilát, his heritage, a choir and an orchestra in Poříčí nad Sázavou, efforts to re- reveal the work of Jan Dismas Zelenka and draw attention to it; and the musical legacy of Jiří Pilát. Keywords: Jiří Pilát, choirmaster, conductor, Jan Dismas Zelenka, Poříčí nad Sázavou, Louňovice pod Blaníkem, liturgical music

This thesis tackles the onset of normalisation in Czechoslovak Television between 1969-1975. Firstly the author introduces the reader to the subject through the historical context. Above all, the thesis focuses on dramatic changes that affected Czechoslovak Television in that era. Further, the thesis is dedicated to one of main players and representatives of normalisation in Czechoslovak media, general director of Czechoslovak Television Jan Zelenka, who remained in office between years 1969 and 1989. The author uses not only published sources, but also internal documents and databases of Czechoslovak Television and documents from the National Archive. In the analytical part of the thesis the author describes the function and structure of Ideological Thematic Plans which served as a foundation document for the TV broadcasting for one year to the next. Using the Ideological Thematic Plan of 1973 the author analyses their content. The author carries out an in-depth analysis of three TV programmes chosen from the Ideological Thematic Plan of 1973. These programmes represent three different genres - a broadcast targeting the young Through Young Eyes (Mladýma očima), a television series of nine episodes Mother (Matka), and a feature film, And Give My Love to the Swallows (…a pozdravuj vlaštovky)....

The music of the late baroque composer Jan Dismas Zelenka (1679- 1745) was not widely circulated during his lifetime. In the late twentieth century, Zelenka's music experienced a revival due to the rediscovery of his sonatas for double reed ensemble. The thesis examines the stylistic, generic, and historical context for Zelenka's Sonata V (ZWV 181, no. 5), tracing the development of the ensemble sonata for double reeds at the Augustan court. Chapter One focuses on Zelenka's life, as well as the purpose and dating of the six ensemble sonatas for obbligato double reeds (ZWV 181). The subsequent chapter surveys the national styles that were assimilated into the compositional traditions of the Dresden hofkapelle in the early 18th century. The role of the oboist within the court musical establishment and the social status of the hofmusicus are discussed. Chapter Three considers the precedents for and influences on Zelenka's Sonata V, particularly with respect to its inclusion in the little known genre of the sonata auf concertenart. These sonatas in the manner of a concerto adopt the formal outlines of Vivaldi's concertos and concerted sonatas while obscuring the distinctions of genre between the sonata and concerto through the treatment of scoring and texture. Zelenka's Sonata V follows the style of an early sonate auf concertenart of Vivaldi. Zelenka's concerted sonata departs from its model by confounding the identity of the initially distinct ritornello and solo material. The specific use of the oboe in Zelenka's sonatas, including playing techniques, and the degree of specialization are discussed. The conclusion speculates as to why Zelenka's music quickly fell out of favor and why even the composer himself was treated in a critical manner only a few generations after his time at Dresden. An understanding of the Dresden court not only provides a window on Zelenka's music, but also explains its almost immediate eclipse following his death. / text

Das Passionsoratorium „Gesù al Calvario“ („Der Leidensweg Jesu“), ZWV 62, komponierte Zelenka für die Aufführung am Karfreitag, dem 8. April 1735. Noch immer existiert keine vollständige moderne, kritische Notenedition dieses Werkes. Von der vorliegenden Ausgabe soll daher eine Anregung für die Herausgabe und die Aufführung weiterer Teile oder des gesamten Werkes ausgehen. Die Altarie des Gesù „S'una sol lagrima“ ist ein typisches Beispiel für Zelenkas Dresdner Kirchenstil zwischen 1721 und 1745, der offensichtlich auch Johann Sebastian Bach so beeindruckt hat, dass er in seiner h-Moll-Messe, die ausdrücklich für den Dresdner Hof komponiert wurde, diesen Stil Zelenkas anklingen lässt. Wie in allen kirchenmusikalischen Werken ist die adäquate Ausdeutung des geistlichen Textes für Zelenka von großer Bedeutung. Die Worte des Textdichters Michelangelo Boccardi beschreiben eindrücklich die inneren Qualen Jesu Christi. In Verbindung mit der einfühlsamen Interpretation des Textes durch Zelenka entstand so eine Arie, die auch für eine Aufführung außerhalb des Gesamtwerkes 'Gesù al Calvario', z.B. für eine geistliche Musik am Karfreitag, geeignet ist.