ZACH, Jan (1713-1773) - Missa Sancti Thomae Aquinatis (1771)

Jan Zach (1713-1773) - Missa S[ancti] Thomae Aquin[atis] a Canto, Alto, Tenore, Basso, 2 Violini,

2 Traversi, obl., 2 Oboe, 3. Trombe [and] 2 Corni in D. Viola & Organo (1771)

Performers: Ingrid Kеrtеsi (soprano); Bernhard Landaսer (alto); Johannes Chսm (tenor); Wolf Matthias Friеdrich (bass) Kammerchor Collegium Vocale Innsbruck; Kammerorchester Bratislava; Bеrnhard Siеbеrеr (conductor)

Painting: Bernardo Bellotto (1722-1780) - Kosciol Sakramentek

Further info: Jan Zach (1713-1773) - Missa ex D à 4 (c.1755)

---

Jan (Johann, Giovanni) Zach [Zack, Zaah]

(Čelákovice, bap. 26 November 1713 - Ellwangen, 24 May 1773)

Bohemian composer and organist. The son of a wheelwright, he went to Prague in 1724 and began his career as a violinist at St Gallus and at St Martín. According to Dlabacž, he studied organ under Bohuslav Matěj Černohorský, who lived in Prague from 1720 to 1727. Zach's career as organist started at St Martín, and by 1737 he was also playing the organ at the monastic church of the Merciful Brethren and the Minorite chapel of St Ann. In 1737 he competed for the position of organist at St. Vitus Cathedral, but was not successful. Details of what happened next are unknown: he was reported to have left Bohemia, but apparently remained in Prague at least until 1740. By early 1745 he was living in Augsburg and then on 24 April 1745 he was appointed Kapellmeister of the Electoral orchestra at the court of Johann Friedrich Karl von Ostein, Prince-Elector of Mainz. He visited Italy in 1746 and, briefly, Bohemia in 1747. Zach evidently had a complex and eccentric personality, which led to numerous conflicts that plagued his life at Mainz. He was suspended from his position in 1750 and finally dismissed in 1756. From that point on it appears that Zach never again had steady employment. He traveled through Europe and supported himself financially by performing and selling copies of his works, teaching, dedicating his compositions, and so on. He visited numerous courts and monasteries in Germany and Austria, stayed in Italy in 1767 and between 1771 and 1772, and may have worked as choirmaster at the Pairis Abbey in Alsace. He stayed several times at the Stams Abbey at Stams, Tyrol, where he may have had connections, and served as music teacher at the Jesuit school in Munich, for several brief periods of time. The last mentions of Zach in contemporary sources indicate that in January 1773 he was at the Wallerstein court, and according to the Frankfurt Kayserliche Reichs-Ober-Post-Amts-Zeitung of 5 June 1773 he died on a journey, at Ellwangen. Zach was buried in the local church of St Wolfgang.

ZACH, Jan (1713-1773) - Missa ex D à 4 (c.1755)

Jan Zach (1713-1773) - Missa ex D à 4 (c.1755)

Performers: Mаyа Bοοg (soprano); Grаhаm Pushее (alto); Stеvе Dаvislim (tenor); Wοlf Mаtthiаs Friеdrich (bass); Kammerchor Collegium Vocale Innsbruck; Cappella Istrοpolitаnа; Bеrnhard Siеbеrеr (conductor)

Painting: Pier Leone Ghezzi (1674-1755) - Pope Benedict XIII Presiding over the Provincial Roman Synod

Further info: Jan Zach (1713-1773) - Concerto (ex F) per il Clavi-Cembalo (c.1770)

---

Jan Zach

(Čelákovice, bap. 26 November 1713 - Ellwangen, 24 May 1773)

Bohemian composer and organist. The son of a wheelwright, he went to Prague in 1724 and began his career as a violinist at St Gallus and at St Martín. Later he became organist at St Martín and, by 1737, at the monastic church of the Merciful Brethren and the Minorite chapel of St Ann. According to Dlabač he was a pupil of B.M. Černohorský (who was in Prague, 1720-27) in organ playing and composition. In 1737 Zach competed unsuccessfully for the post of organist at St Vitus’s Cathedral. He is reported to have left Bohemia, but was in Prague until 1740. About 1745 he was at Augsburg, and on 24 April 1745 he was appointed Kapellmeister at the court of the Prince-Elector of Mainz, succeeding his countryman Jan Ondráček. On 4 October of the same year a mass by Zach was given at Frankfurt, at the coronation of Emperor Franz I. Zach visited Italy in 1746 and in autumn 1747 he spent about two months in Bohemia. At the Mainz court he was involved in various disputes, probably caused by his eccentricity. He was suspended in 1750, and in 1756 he was dismissed and succeeded by another Bohemian musician, J.M. Schmid. He sought appointments at the court of the Prince-Elector at Trier and later at Cologne, and apparently spent the rest of his life travelling, visiting various courts (Koblenz, Cologne, Darmstadt, Dillingen, Würzburg, Werhammer, Wallerstein) and monasteries (Seligenstadt, Amorbach, Eberbach, Stams). In 1767 and between 1771 and 1772 he again visited Italy, staying for two months at Bressanone on his return journey. He earned his living by selling and dedicating copies of his works and by teaching; he also performed as a soloist on the harpsichord and the violin and conducted performances of his compositions. He appears to have had close contact with the Cistercian monastery at Stams, Tyrol, where he stayed several times; at various times he was music teacher at the Jesuit school in Munich and possibly choirmaster at the Pairis monastery in Alsace.

In January 1773 he was at the Wallerstein court; four months later, according to the Frankfurt Kayserliche Reichs-Ober-Post-Amts-Zeitung of 5 June, he died on a journey, at Ellwangen, and was buried in the local monastic church of St Wolfgang. Zach seems to have been a complicated personality both as man and as artist: his musical expression ranges from introverted melancholy to robust verve, with an intense rhythmic drive. A full chronology of his works has not been established. His output includes both instrumental and sacred music; both genres reflect a stylistic transition from the late Baroque to the pre-Classical. In his church music, retrospective polyphony and Venetian ‘mixed style’ (for example the Requiem in G minor k B18) co-exist with a more homophonic, concertante idiom of Neapolitan orientation, often pervaded with Czech dance rhythms. His best sacred works include the Requiem in C minor (k B17), abounding in melodic chromaticism and striving for dramatic expressiveness, the Stabat mater and the Missa solemnis. Zach’s sinfonias and partitas are scored for strings, solo or orchestral, or for strings and wind. Various types of pre-Classical formal organization are represented, notably the three-movement Italian overture form (sometimes expanded to four movements). Both the sinfonias and concertos use many devices of the galant style, such as periodic two- or four-bar structure, much passage-work and ornamentation, parallel 6ths and 3rds, Alberti bass and so on. The national character of Zach’s music was noted as early as 1774 by M. Gerbert: ‘qui praestantissimum suae gentis characterem sine peregrini Italiae styli admixtione egregie expressit’ (De cantu et musica sacra, ii, 371). Komma has shown that many of Zach’s engaging melodies and rhythms have their roots in Czech folksong and dance.

ZACH, Jan (1713-1773) - Concerto (ex F) per il Clavi-Cembalo (c.1770)

Jan Zach (1713-1773) - Concerto (ex F) per il Clavi-Cembalo (c.1770)

Performers: Gordon Murray (1948-2017, cembalo); Capella Istropolitana

Map: Matthäus Seutter (1678-1757) - Bohemia regnum juxta XII circulos divisum, cum comitatu glacensi et ditione Egrana, nen con consimibus provinciis in mapa geographica (1730)

Further info: Jan Zach (1699-1773) - Te Deum

---

Jan Zach

(Čelákovice, bap. 26 November 1713 - Ellwangen, 24 May 1773)

Bohemian composer and organist. The son of a wheelwright, he went to Prague in 1724 and began his career as a violinist at St Gallus and at St Martín. Later he became organist at St Martín and, by 1737, at the monastic church of the Merciful Brethren and the Minorite chapel of St Ann. According to Dlabač he was a pupil of B.M. Černohorský (who was in Prague, 1720-27) in organ playing and composition. In 1737 Zach competed unsuccessfully for the post of organist at St Vitus’s Cathedral. He is reported to have left Bohemia, but was in Prague until 1740. About 1745 he was at Augsburg, and on 24 April 1745 he was appointed Kapellmeister at the court of the Prince-Elector of Mainz, succeeding his countryman Jan Ondráček. On 4 October of the same year a mass by Zach was given at Frankfurt, at the coronation of Emperor Franz I. Zach visited Italy in 1746 and in autumn 1747 he spent about two months in Bohemia. At the Mainz court he was involved in various disputes, probably caused by his eccentricity. He was suspended in 1750, and in 1756 he was dismissed and succeeded by another Bohemian musician, J.M. Schmid. He sought appointments at the court of the Prince-Elector at Trier and later at Cologne, and apparently spent the rest of his life travelling, visiting various courts (Koblenz, Cologne, Darmstadt, Dillingen, Würzburg, Werhammer, Wallerstein) and monasteries (Seligenstadt, Amorbach, Eberbach, Stams). In 1767 and between 1771 and 1772 he again visited Italy, staying for two months at Bressanone on his return journey. He earned his living by selling and dedicating copies of his works and by teaching; he also performed as a soloist on the harpsichord and the violin and conducted performances of his compositions. He appears to have had close contact with the Cistercian monastery at Stams, Tyrol, where he stayed several times; at various times he was music teacher at the Jesuit school in Munich and possibly choirmaster at the Pairis monastery in Alsace. 

In January 1773 he was at the Wallerstein court; four months later, according to the Frankfurt Kayserliche Reichs-Ober-Post-Amts-Zeitung of 5 June, he died on a journey, at Ellwangen, and was buried in the local monastic church of St Wolfgang. Zach seems to have been a complicated personality both as man and as artist: his musical expression ranges from introverted melancholy to robust verve, with an intense rhythmic drive. A full chronology of his works has not been established. His output includes both instrumental and sacred music; both genres reflect a stylistic transition from the late Baroque to the pre-Classical. In his church music, retrospective polyphony and Venetian ‘mixed style’ (for example the Requiem in G minor k B18) co-exist with a more homophonic, concertante idiom of Neapolitan orientation, often pervaded with Czech dance rhythms. His best sacred works include the Requiem in C minor (k B17), abounding in melodic chromaticism and striving for dramatic expressiveness, the Stabat mater and the Missa solemnis (gs B3). Zach’s sinfonias and partitas are scored for strings, solo or orchestral, or for strings and wind. Various types of pre-Classical formal organization are represented, notably the three-movement Italian overture form (sometimes expanded to four movements). Both the sinfonias and concertos use many devices of the galant style, such as periodic two- or four-bar structure, much passage-work and ornamentation, parallel 6ths and 3rds, Alberti bass and so on. The national character of Zach’s music was noted as early as 1774 by M. Gerbert: ‘qui praestantissimum suae gentis characterem sine peregrini Italiae styli admixtione egregie expressit’ (De cantu et musica sacra, ii, 371). Komma has shown that many of Zach’s engaging melodies and rhythms have their roots in Czech folksong and dance.

ZACH, Jan (1713-1773) - Requiem (c.1769)

Obra de Jan ten Compe (1713-1761), pintor holandès (1)

- Recordatori de Jan Zach -

En el dia de la celebració del seu 305è aniversari de naixement

---

Parlem de Pintura...

Jan ten Compe (Amsterdam, 14 de febrer de 1713 - Amsterdam, 11 de novembre de 1761) va ser un pintor holandès, especialitzat en paisatges i vistes urbanes. Segons Jan van Gool, el seu biògraf, va ser seguidor de Jan van der Heyden i Gerrit Berckheyde. Alumne de Dirck Dalens III, la seva obra va ser habitualment sota demanda de patrons i aristòcrates com l'alcalde Rendorp d'Amsterdam i Mr. De Groot de la Haia. Ten Compe es va centrar en temàtica paisatgística rebent gran acceptació al seu temps. Va treballar també com a professor amb alumnes, entre altres, com Geerit Toorenburgh. Va morir a Àmsterdam el novembre de 1761.

---

Parlem de Música...

Jan Zach (Čelákovice, bap. 26 de novembre de 1713 - Ellwangen, 24 de maig de 1773) va ser un organista i compositor bohemi. Es desconeix la seva vida i formació inicials fins el 1724, any que es va traslladar a Praga on va iniciar la seva carrera com a violinista de les esglésies de St Gallus i St Martin. En aquesta darrera, va assolir el càrrec d'organista i a partir del 1737 va assolir el mateix càrrec a l'església de Merciful Brethren i a la capella minorita de Santa Ann. Segons Dlabač, va ser alumne de Černohorský en orgue i composició a Praga. El 1737 va postular, sense èxit, en el càrrec d'organista de la Catedral de Sant Guiu fet que va motivar el seu posterior viatge a Alemanya on va assolir una posició de Kapellmeister a la cort del príncep elector de Mainz. A partir del 1746 va viatjar a Itàlia i el 1747 va tornar a Bohèmia si bé va continuar en el seu càrrec a Mainz fins el 1750, any que va ser suspès en el seu càrrec per la seva "actitud excèntrica". Finalment, el 1756 va dimitir i va decidir viatjar per Alemanya a la cerca de noves oportunitats. El 1767 i el 1771 va visitar Itàlia on va treballar com a intèrpret, professor i venent còpies de les seves obres. En aquell temps va visitar regularment el Monestir de Stams on hi va treballar i representar diverses de les seves obres religioses. També va visitar Munich on va ser professor d'una escola jesuïta. El 1773 va començar a treballar a la cort de Wallerstein si bé poc temps després, i durant una visita a Ellwangen, va morir sobtadament.

Ansicht von Ellwangen an der Jagst (1818) (2)

OBRA:

Vocal religiosa:

29 masses, K B1–16, GS B1–11, 14–15;
4 masses, CZ-Pnm;
3 requiems, K B17–18, GS B12;
miscellaneous mass movts, incl. K B32–3, GS B13 [Cr of K B7];
other movts, Pnm;
8 offs, K B20–21, GS B 16–20, 41;
2 offs, G, D, Pnm;
4 motets, K B22–3, GS B34–5
6 arias, K B35, GS B24, 25, 31, 36, 39;
2 arias, E , F, Pnm;
Beatus vir, K B25;
Cant., GS B40;
4 Corpus Christi hymns, GS B29;
Christmas hymn, GS B28;
2 hymns, Pnm;
Komm Heiliger Geist, GS B23;
Litaniae Lauretanae, GS B26;
Mag, D, Pnm;
2 Miserere, GS B37–8;
Nisi Dominus, Pnm;
Pastorale [duet, S, A], GS B32;
Responsoria post Lamentationes, GS B30;
2 Salve regina, K B24, GS B27;
2 Salve regina, d, g, Pnm;
Stabat mater, K B19;
13 Tantum ergo, K B34;
2 Te Deum, GS B21–2;
Te Deum, D, Pnm;
7 vespers, K B26–31, GS B33;
2 vespers, C, D, Pnm;
4 musicae navales, opp.1–4, 1737–40, lost

Instrumental:

Sinfonias and partitas:
3 sinfonias a 3, 2 vn, bc, K C1–2, GS C12 [2 ed. in HM, cxlv (1956)];
6 sinfonias a 4, 2 vn, va, bc, K C3–5, 14, 19, ed. in MAB, xliii (1960, 2/1989), GS C10;
Ov. a 4, C, CZ-Bu (microfilm);
19 sinfonias, str, ww, K C6–12, 13 [ed. A. Gottron as ‘Sonate für Kammerorchester’, Kurmainzer Kammermusik (Würzburg, 1926)], 15–17, 20–22, GS C1–4, 11;
5 partitas, str, ww, GS C5–9, Parthia, D, 2 ob, 2 hn, 2 bn, Pnm

Concs., etc.:
Sinfonia, hpd solo, 2 vn, va, bc, K C18;
Conc., hpd, orch (Nuremberg, 1766), GS C13;
5 concs., hpd, orch, incl. Conc., C [ed. W. Höckner (Leipzig, 1949)], K C26, GS C14–16, 17 [ed. in NM, clxv (1947)];
Conc., fl, orch, K C23 [ed. in DCHP, cxvi (1958), 2nd, 3rd movts only], K C24–5, GS C19–21;
Conc., ob, orch, GS C22 [ed. in MVH, xxii (1969, 2/1980)];
Conc., vc, orch, GS C18

Sonatas:
Sei sonate, hpd, vn/fl (Paris, 1767);
2 trio sonatas, 2 vn, bc, GS C23–4;
Trio Sonata, D, 2 vn, bc [ed. in MAB, ix (1951, 2/1979)]

Hpd:
Partita, C, GS, C25;
Sonata, A, in Oeuvres mêlées, v/6 (Nuremberg, 1759), GS C26;
Capriccio, c, GS C27; 2 movts, A [no title, 1 identical with GS C26], GS C28

Org:
3 preludes, c, D, A , K A1–3 [ed. O. Schmid, Ausgewählte Orgelwerke altböhmischer Meister, i (Berlin, c1900); K A1 also ed. in MAB, xii (1953, 3/1973)];
2 fugues, c, a, K A4–5 [ed. O. Schmid, Ausgewählte Orgelwerke altböhmischer Meister, i (Berlin, c1900); K A4 also ed. in MAB, xii (1953, 3/1973); K A5 also ed. M. Šlechta, Organistae bohemici (Prague, 1970)];
Fugue, g, GS A1 [ed. R. Quoika, Orgelwerke altböhmischer Meister, iii (Leipzig and Wiesbaden, 1948)]

---

Informació addicional... 

INTERPRETS: Ingrid Kertesi (soprano); Bernhard Landauer (alt); Johannes Chum (tenor); Wolf Matthias Friedrich (bass); Reinhard Meyer (bass); Collegium Vocale Innsbruck; Kammerorchester Bratislava; Bernhard Sieberer
RECICLASSICAT: ZACH, Jan (1713-1773)

IMSLP: Jan Zach (1713-1773)

CPDL: Jan Zach (1713-1773)

SPOTIFY: No disponible



Tant si us ha agradat, com si no, opineu, és lliure i fàcil!

ZACH, Jan (1699-1773) - O Magnum Martyrium & Miserere

Obra de Jean-Baptiste Pillement (1728-1808), pintor francès (1)

- Recordatori de Jan Zach -

En el dia de la commemoració del seu 244è aniversari de decés

---

Parlem de Pintura...

Jean-Baptiste Pillement (Lyon, 24 de maig de 1728 - Lyon, 26 d’abril de 1808) va ser un pintor francès. Va néixer en una família d'artistes, es va formar primer a la seva ciutat natal amb Daniel Sarrabat, i va marxar posteriorment a París per treballar en la manufactura dels Gobelins. A la capital gala va adquirir un ampli coneixement del rococó a través de les escenes de gènere de Jean-Antoine Watteau i François Boucher. Va treballar amb tonalitats brillants, que va posar al servei d'una pintura preciosista i rica en detalls, de tècnica molt acabada i característiques pròpies també de la seva feina com a dissenyador i decorador. El 1745 va partir cap a Madrid, si bé posteriorment va treballar a Portugal i va viure, a més, a Anglaterra altres 10 anys. A Londres va gaudir d'un mecenatge fructífer i de contactes excel·lents amb gravadors i editors, que van publicar el 1767 una àmplia col·lecció de les seves escenes de gènere, dels seus paisatges i dels seus motius decoratius. Va dissenyar sèries per ornaments i adorns, va realitzar dissenys xinesos per a l'estampació de sedes i va decorar les residències de la noblesa. Va exposar durant la dècada de 1770 amb freqüència a Londres i a París, atenent al mateix temps diversos encàrrecs per Maria Antonieta a Versalles. El 1780 va viatjar a Portugal, on va tornar el 1783. L'èxit del pintor francès es va deure en gran part als seus paisatges, entre ells un nombre de representacions espectaculars amb vistes dramàtiques de naufragis. Influït per Claude-Joseph Vernet, els desastres marítims van ser un tema habitual entre els pintors d'aquest gènere, que van incloure al mateix Francisco de Goya. Va morir a Lyon l’abril de 1808.

Font: En català: No disponible - En castellano: Jean-Baptiste Pillement (1728-1808) - In english: Jean-Baptiste Pillement (1728-1808) - Altres: Jean-Baptiste Pillement (1728-1808) 

---

Parlem de Música...

Jan Zach (Čelákovice, bap. 13 de novembre de 1699 - Ellwangen, 24 de maig de 1773) va ser un organista i compositor bohemi. Es desconeix la seva vida i formació inicials fins el 1724, any que es va traslladar a Praga on va iniciar la seva carrera com a violinista de les esglésies de St Gallus i St Martin. En aquesta darrera, va assolir el càrrec d'organista i a partir del 1737 va assolir el mateix càrrec a l'església de Merciful Brethren i a la capella minorita de Santa Ann. Segons Dlabač, va ser alumne de Černohorský en orgue i composició a Praga. El 1737 va postular, sense èxit, en el càrrec d'organista de la Catedral de Sant Guiu fet que va motivar el seu posterior viatge a Alemanya on va assolir una posició de Kapellmeister a la cort del príncep elector de Mainz. A partir del 1746 va viatjar a Itàlia i el 1747 va tornar a Bohèmia si bé va continuar en el seu càrrec a Mainz fins el 1750, any que va ser suspès en el seu càrrec per la seva "actitud excèntrica". Finalment, el 1756 va dimitir i va decidir viatjar per Alemanya a la cerca de noves oportunitats. El 1767 i el 1771 va visitar Itàlia on va treballar com a intèrpret, professor i venent còpies de les seves obres. En aquell temps va visitar regularment el Monestir de Stams on hi va treballar i representar diverses de les seves obres religioses. També va visitar Munich on va ser professor d'una escola jesuïta. El 1773 va començar a treballar a la cort de Wallerstein si bé poc temps després, i durant una visita a Ellwangen, va morir sobtadament.

OBRA:

Vocal religiosa:

29 masses, K B1–16, GS B1–11, 14–15;
4 masses, CZ-Pnm;
3 requiems, K B17–18, GS B12;
miscellaneous mass movts, incl. K B32–3, GS B13 [Cr of K B7];
other movts, Pnm;
8 offs, K B20–21, GS B 16–20, 41;
2 offs, G, D, Pnm;
4 motets, K B22–3, GS B34–5
6 arias, K B35, GS B24, 25, 31, 36, 39;
2 arias, E , F, Pnm;
Beatus vir, K B25;
Cant., GS B40;
4 Corpus Christi hymns, GS B29;
Christmas hymn, GS B28;
2 hymns, Pnm;
Komm Heiliger Geist, GS B23;
Litaniae Lauretanae, GS B26;
Mag, D, Pnm;
2 Miserere, GS B37–8;
Nisi Dominus, Pnm;
Pastorale [duet, S, A], GS B32;
Responsoria post Lamentationes, GS B30;
2 Salve regina, K B24, GS B27;
2 Salve regina, d, g, Pnm;
Stabat mater, K B19;
13 Tantum ergo, K B34;
2 Te Deum, GS B21–2;
Te Deum, D, Pnm;
7 vespers, K B26–31, GS B33;
2 vespers, C, D, Pnm;
4 musicae navales, opp.1–4, 1737–40, lost

Instrumental:

Sinfonias and partitas:
3 sinfonias a 3, 2 vn, bc, K C1–2, GS C12 [2 ed. in HM, cxlv (1956)];
6 sinfonias a 4, 2 vn, va, bc, K C3–5, 14, 19, ed. in MAB, xliii (1960, 2/1989), GS C10;
Ov. a 4, C, CZ-Bu (microfilm);
19 sinfonias, str, ww, K C6–12, 13 [ed. A. Gottron as ‘Sonate für Kammerorchester’, Kurmainzer Kammermusik (Würzburg, 1926)], 15–17, 20–22, GS C1–4, 11;
5 partitas, str, ww, GS C5–9, Parthia, D, 2 ob, 2 hn, 2 bn, Pnm

Concs., etc.:
Sinfonia, hpd solo, 2 vn, va, bc, K C18;
Conc., hpd, orch (Nuremberg, 1766), GS C13;
5 concs., hpd, orch, incl. Conc., C [ed. W. Höckner (Leipzig, 1949)], K C26, GS C14–16, 17 [ed. in NM, clxv (1947)];
Conc., fl, orch, K C23 [ed. in DCHP, cxvi (1958), 2nd, 3rd movts only], K C24–5, GS C19–21;
Conc., ob, orch, GS C22 [ed. in MVH, xxii (1969, 2/1980)];
Conc., vc, orch, GS C18

Sonatas:
Sei sonate, hpd, vn/fl (Paris, 1767);
2 trio sonatas, 2 vn, bc, GS C23–4;
Trio Sonata, D, 2 vn, bc [ed. in MAB, ix (1951, 2/1979)]

Hpd:
Partita, C, GS, C25;
Sonata, A, in Oeuvres mêlées, v/6 (Nuremberg, 1759), GS C26;
Capriccio, c, GS C27; 2 movts, A [no title, 1 identical with GS C26], GS C28

Org:
3 preludes, c, D, A , K A1–3 [ed. O. Schmid, Ausgewählte Orgelwerke altböhmischer Meister, i (Berlin, c1900); K A1 also ed. in MAB, xii (1953, 3/1973)];
2 fugues, c, a, K A4–5 [ed. O. Schmid, Ausgewählte Orgelwerke altböhmischer Meister, i (Berlin, c1900); K A4 also ed. in MAB, xii (1953, 3/1973); K A5 also ed. M. Šlechta, Organistae bohemici (Prague, 1970)];
Fugue, g, GS A1 [ed. R. Quoika, Orgelwerke altböhmischer Meister, iii (Leipzig and Wiesbaden, 1948)]

Font: En català: No disponible - En castellano: No disponible - In english: Jan Zach (1699-1773) - Altres: Jan Zach (1699-1773)

---

Informació addicional... 

INTERPRETS: Leigh Michelow (soprano); Bernhard Landauer (contratenor); Wilfried Rogl (tenor); Martin Gauglhofer (bass); Vokalensemble Novocanto; Tiroler Barockinstrumentalisten; Wolfgang Kostner
RECICLASSICAT: ZACH, Jan (1699-1773)
JPC: Zach - Musik fur die Karwoche

IMSLP: Jan Zach (1699-1773)

CPDL: Jan Zach (1699-1773)

SPOTIFY: Zach - Musik fur die Karwoche



Tant si us ha agradat, com si no, opineu, és lliure i fàcil!

ZACH, Jan (1699-1773) - Te Deum

Obra de Gregorio Preti (1603-1672), pintor italià.

- En record del 240è aniversari del decés de Jan Zach -

---

Jan Zach (1699-1773) compositor i organista bohemi nascut a Čelákovice. Geogràficament propera a Praga, Zach va començar a treballar precisament a la capital bohèmia com a violinista. Allà, i sota supervisió a l'orgue del grandíssim mestre bohemi Bohuslav Matěj Černohorský, va començar a orientar la seva carrera vers aquest monumental i solemne instrument. A partir d'aquí, alternaria successius càrrecs d'organista en les més diverses esglésies de la regió. Música instrumental però especialment música litúrgica es convertiria en el pa de cada dia de la seva literatura. Sembla ser, tanmateix, que el seu caràcter excèntric i poc ortodox va ser una llosa constant al llarg de la seva vida fet pel qual sovint se'l va relacionar amb disputes de diversa índole. En aquest sentit, la seva vida va ser un anar i venir per Bohèmia, Alemanya i, fins i tot, Itàlia. Suspès d'un dels càrrecs de mestre de capella a Mainz, va haver de tirar del seu repertori per tal de guanyar-se la vida. Alhora, impartia classes, dedicava les seves composicions i venia exemplars de les seves partitures. Fou en un dels inquantificables viatges en què Zach, l'any 1773, va trobar la mort accidentalment. Avui, així mateix, commemorarem aquesta efemèride per tal de fixar-nos en el seu repertori el qual és voluminós en quantitat però poc substanciós en qualitat, si més no, pel que fa a les edicions que fins ara se n'han fet de les seves obres ja que els poquíssims exemples editats al seu honor malviuen fruit d'una interpretació sensiblement deficient. 

Mapa de Bohèmia l'any 1743, obra d'Emanuel Bowen (1694-1767), cartògraf anglès.

Tot i això, i amb la determinació de recuperar el seu nom, haurem de fer cas omís a la ineptitud interpretativa per tal de recuperar els pocs exemples existents del seu llibre musical. D'entrada, i a mode introductori del Te Deum que dóna vida a l'entrada d'avui, una de les seves simfonies. Concretament, la Simfonia en La major número 3. Per a instruments de corda i baix continuo, és una amalgama de sonoritats italianes. Aquesta circumstància deriva del seu bon mestre Černohorský que va estudiar, viure i treballar a Itàlia durant uns bons anys. Correcte en la forma i en el discurs però inconsistent interpretativament fet que en dificulta la situació en context tan d'aquesta com de  la totalitat del seu treball simfònic. Preludi, com deia, del Te Deum per a cor, solistes i orquestra. Llàstima, novament, de la fluixa interpretació i d'una gravació enllaunada ja que de ben segur, si no fos així, la nostra percepció milloraria substancialment. Ara bé, que aquesta coincidència negativa a l'entorn del seu nom no desviï la nostra atenció per un personatge il·lustre del segle XVIII bohemi que va escriure gran quantitat de música. Concerts de tot tipus, sonates d'orgue i clavecí i gran quantitat de litúrgia vocal, entre ella, 33 misses de les quals, per ara, no se n'ha recuperat cap. Bé, no és del tot cert ja que en l'edició en què trobarem el Te Deum d'avui hi podrem escoltar, amb les restriccions que comentava, el seu Rèquiem Solemne en Do major. Partitures, complementades també, per una missa de Kozeluch. Per tant, autèntic drama el d'una edició brillant en repertori però incomprensiblement pobre d'execució. Esperem que la tercera sigui la bona, mentrestant, seguirem esperant!

La simfonia interpretada per la Camerata Rhenania sota direcció d'Hanspeter Gmür.

El Te Deum interpretat per el Choeur mixte et Orchestre de Chambre du FOK sota la direcció de Pavel Kühn (1938-2003).

Gaudiu i compartiu!

---

Font (on trobareu informació addicional així com dels discs on podeu trobar aquestes obres):

BIOGRAFIA: Jan Zach (baptized 13 November 1699 – 24 May 1773)

AMAZON: Zach: Symphonies 1, 3 & 5

AMAZON: Te Deum, Requiem, Messe

IMSLP: Jan Zach (1699-1773)

CPDL: Jan Zach (1699-1773)

SPOTIFY: Camerata Rhenania, Hanspeter Gmur – Zach: Symphonies 1, 3 & 5

Tant si us ha agradat com si no, opineu, és lliure i fàcil!