Caldara-Zelenka - Missa Providentiæ, Jean-Joseph Cassanéa de Mondonville - Cœli Enarrant Gloriam Dei

11 декабря 2023 / Dec 11, 2023. «Соборная палата» - историко-культурный и просветительский центр ПСТГУ в Москве 0:11:56 - Antonio Caldara - Jan Dismas Zelenka - Missa Providentiæ 1:12:23 - Jean-Joseph Cassanéa de Mondonville - Cœli Enarrant Gloriam Dei Международный хор “Московская оратория“ / The Moscow Oratorio Society Московская Мужская Еврейская Капелла / The “Moscow Male Jewish Cappella“ Вокальный Ансамбль “Arielle”, художественный руководитель - Эльмира Дадашева Камерный оркестр “Quantum Satis”, художественный руководитель - Сергей Фильченко Художественный руководитель и дирижёр проекта – Александр Цалюк / Artistic director of project and conductor Alexander Tsaliuk Елизавета Пахомова, сопрано / Elizaveta Pakhomova, soprano Софья Алтухова, сопрано / Sofya Altuhova, soprano Юлия Гранат, альт / Julia Granat, mezzo Уриэль Гранат, тенор / Uriel Granat, tenor Алексей Тюхин, бас / Alexey Tyukhin, baritone ---------------------------------------------------------------------------------------------------------------- A. Caldara / J.D Zelenka - Mass in D Minor ’Providentiae.’ A Mass in D Minor by the Italian baroque composer Antonio Caldara (1670-1736), with additions by Jan Dismas Zelenka, the Czech (or Protestant) Bach. Missa Providentiae is a Kyrie–Gloria Mass in D minor composed by Antonio Caldara, which around 1728 was expanded into a Missa tota by Jan Dismas Zelenka: this composer derived a Sanctus and Agnus Dei from Caldara’s Kyrie and Gloria, and added a Credo, ZWV 31, of his own hand. Around 1738–1741, Johann Sebastian Bach made a copy of a Sanctus, BWV 239, which was based on the first section of the Gloria of Caldara’s Kyrie–Gloria Mass. The Mass is composed for soprano, alto, tenor and bass soloist singers, and a choir consisting of the four same voice types (SATB). The orchestra consists of strings (two violin parts and one viola part) and basso continuo, to which in some movements two oboes are added. The oboes are silent throughout Zelenka’s Credo, and the BWV 239 Sanctus only requires a four-part choir, strings and continuo. Zelenka composed and acquired several Kyrie–Gloria Masses for the court at Dresden, where he was employed from the early 1710s. Dresden was the capital of the Electorate of Saxony: Saxony was dominantly Protestant, but the elector, Augustus the Strong, had converted to Catholicism in order to become eligible as king of Poland. Initially, Augustus’s Catholicism was a private matter when in Saxony, with a court chapel within the palace building. In 1708, however, the former Opernhaus am Taschenberg, adjacent to the palace, opened as Hofkirche (court church), open to the general public. Kyrie–Gloria Masses were seen as a Protestant practice, and thus the musicians of the Dresden court started to transform these mass compositions into Missae totae. Between 1725 and 1733 Caldara’s Missa Providentiae was converted in such a Missa tota: Zelenka derived the music for the Sanctus and Agnus Dei of the Missa Providentiae from the Kyrie and Gloria composed by Caldara. Sanctus and Agnus Dei each have three sections. Further, around 1728, he added a Credo in four sections, ZWV 31, for SATB soloists and choir, strings and continuo. Antonio Caldara -------------------------- I: Kyrie I (Chorus) - II: Christe eleison (Soprano, Alto) - III: Kyrie II (Chorus, Fugue) - IV: Gloria in excelsis Deo (Chorus) - V: Laudamus te (Alto, Tenor) - VI: Adoramus te, glorificamus te (Chorus) - VII: Gratias agimus tibi (Soprano) - VIII: Domine deus, rex coelestis (Chorus, Fugue) - IX: Domine fili (Soprano, Bass) - X: Domine deus, Agnus Dei (Alto) - XI: Qui tollis (Chorus) - XII: Quoniam tu solus sanctus (Chorus) - XIII: Cum sancto spiritu (Chorus, Fugue) - Jan Dismas Zelenka --------------------------------- XIV: Credo in unum Deum (Chorus) - XV: Crucifixus (Chorus) - XVI: Et resurrexit (Chorus) - XVII: Et unam sanctam (Soprano, Alto, Tenor) - XVIII: Amen (Fugue) - XIX: Sanctus (Chorus) - XX: Benedictus (Alto, Tenor) - XXI: Ossana in excelsis (Chorus, Fugue) - XXII: Agnus Dei (Chorus) - XXIII: Dona nobis pacem (Chorus, Fugue) – Jean-Joseph de Mondonville: ’Coeli enarrant gloriam Dei’, Grand Motet I. Coeli enarrant gloriam Dei et opera manuum ejus annuntiat firmamentum. - II. Non sunt loquelæ, neque sermones, quorum non audiantur voces eorum. - III. In omnem terram exivit sonus eorum, et in fines orbis terræ verba eorum. - IV. In sole posuit tabernaculum suum, et ipse tanquam sponsus procedens de thalamo suo, - V. Exultavit ut gigas ad currendam viam : a summo coelo egressio ejus. Et occursus ejus usque ad summum ejus : nec est qui se asbcondat a calore ejus. Coeli enarrant gloriam Dei VI. Gloria Patri et Filio et Spiritui Sancto. VII. Sicut erat in principio et nunc et semper, Et in saecula sæculorum. Amen.