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Hyperion Records

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Augustus Bridge and the Church of Our Lady on the bank of the River Elbe, Dresden (detail) (1748) by Bernardo Bellotto (1722-1780)
AKG London
Track(s) taken from CDH55424
Recording details: March 2002
Air Studios, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: March 2003
Total duration: 20 minutes 40 seconds

'Constantly fascinating to listen to. Especially when performed as beautifully and with such evident care and affection as it is on Robert King’s new CD … Zelenka’s curious music could scarcely have better advocacy' (Gramophone)

'Performances are sensitive and stylish in ways that we have come to expect from this group' (BBC Music Magazine)

'Robert King and his period forces give performances it would be hard to beat' (The Daily Telegraph)

'Robert King with his King’s Consort and Choir directs performances both moving and exhilarating' (The Guardian)

'A really first-rate release' (International Record Review)

'The performance is outstanding, capturing the startlingly original nature of the piece with singing and playing of such vitality and commitment' (Fanfare, USA)

'This CD of Robert King's stands high on the list of the best recordings of Zelenka's sacred music … for the characteristically exceptionally committed and supremely well-executed performances' (Goldberg)

'Eloquently presented by King and his first-rate accomplices' (Music Week)

'All of the soloists deserve special mention for sensitive performances that are appropriately expressive and that add essential individual color … you must get to know this wonderful and very deserving composer' (ClassicsToday.com)

Litaniae de Venerabili Sacramento, ZWV147
composer
1 June 1727
author of text

Introduction  EnglishFrançaisDeutsch
The Litaniae de Venerabili Sacramento in C major (Z147) were, according to a note on the autograph, completed on 1 June 1727. They were written for the Corpus Christi procession on 12 June which, out of consideration for the Protestant public, did not take place out of doors but inside the Catholic court church. Two works by Heinichen were also performed at the same occasion. According to the Dresden tradition, Zelenka structured his litany into a series of single musical numbers in which he skilfully highlighted scoring and compo­sitional technique. The style of these eleven movements is predominantly old-fashioned, with contrapuntal craftsmanship interrupted by those occasional harmonic twists which create such individuality in Zelenka’s writing. Zelenka creates an overall framework by the reintroduction of the music of Kyrie II into the concluding Agnus Dei.

from notes by Peter Wollny © 2003
English: Viola Scheffel

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