During an unknown time in the 1730s Zelenka composed the "Motetto pro Resurrezione", Barbara dira effera! It is tempting to link this composition with the arrival in Dresden of a virtuoso bassoonist from Prague named Antonin Moser who, by circa 1738, had become a member of the Dresden court orchestra. As to the vocal soloist Zelenka had in mind, any one of the castrato contraltos of the musical establishment of the court during the 1730s might have sung Barbara dira effera!: Nicolo Pozzi, Antonio Gualandi (Campioli), or Domenico Annibali. Zelenka entered this motet into his Inventarium as "Mottetto. Barbara dira effera! A Contralto Solo, Violini 2, Oboe 2, Viola, Fagotto e Basso Continuo. Z". Th e motet is set for solo voice with instrumental accompaniment. The author of the Latin text remains unknown. Accompanying the entry of this work into the 1765 catalogue of the music kept in the Dresden Catholic court church is a remark that makes the purpose of this work clear: "Pro Resurrect[ione]. D[omi]ni". (In Dresden’s Catholic court church the Resurrection ceremonies began at 8 pm on the evening of Holy Saturday and continued throughout the following three days). Barbara dira effera! is constructed in three movements. It opens with a virtuosic and extended ‘rage’ aria marked "Allegro assai, e sempre fiero" scored for alto soloist, bassoon obbligato, accompanied by strings, double oboes, and basso continuo. Following a dramatic outpouring of anguished fury, a recitative moves from the horror of death to the triumph of life which, in turn, leads straight into the final aria - a joyous "Alleluja" setting. The autograph score of Barbara dira effera! was once accompanied by thirteen performance parts, but these are now missing from Dresden. /Original Latin + English translation/ I. Aria: Barbara dira effera Hebreae gentis rabies, quae lignum sacrum crucibus latronum confudisti! Hispida, saeva, horrida carnificum barbaries pignus dulce fossoribus anhelis invidisti! Mens metus plena fluctuat, quod lignum Redemptoris, cor inquietum dubitat quae crux salvatoris. II: Recitativo+aria: Vicit Leo de Tribu Juda. Cede, cede! Mors horrida, mors cruda Debellata nunc gemit tua barbaries infernus ipse tremit Frenatur rabies, Vicit Leo de tribu Juda. Cede, cede! Mors horrida, mors cruda! Homo redempte gaude et ad tantos triumphos Christo victori applaude. Alleluja. ---------- I: Aria: Barbarous, cruel and savage, the ferocity of the Jewish people Who confounded the holy rood With the crosses of the thieves Awful was the barbarity of the executioners Which begrudged the sweet pledge To the yearning seekers, awful it was, wild and monstrous The fear-filled mind hesitates "Which is the rood of the Redeemer?" The uneasy heart is in doubt "Which is the Cross of the Savior?" II: Recitativo+aria: The Lion of the tribe of Judah has vanquished. Yield, yield! Awful death, cruel death, Your barbarity has been overcome and now lies groaning. Weak man himself roars. Ferocity has been tamed and the Lion vanquished. Man, rejoice in the Redeemer, Victory applaud Christ for all His many triumphs Alleluia.
Other short Liturgical and Spiritual Works (Z. 161-172) > ua-cam.com/video/GIRISLNYK0o/v-deo.html
.. Strong lyrics set to super-challenging melody
Bad boy Zelenka
Thanks so much to you❤
During an unknown time in the 1730s Zelenka composed the "Motetto pro Resurrezione", Barbara dira effera! It is tempting to link this composition with the arrival in Dresden of a virtuoso bassoonist from Prague named Antonin Moser who, by circa 1738, had become a member of the Dresden court orchestra. As to the vocal soloist Zelenka had in mind, any one of the castrato contraltos of the musical establishment of the court during the 1730s might have sung Barbara dira effera!: Nicolo Pozzi, Antonio Gualandi (Campioli), or Domenico Annibali.
Zelenka entered this motet into his Inventarium as "Mottetto. Barbara dira effera! A Contralto Solo, Violini 2, Oboe 2, Viola, Fagotto e Basso Continuo. Z". Th e motet is set for solo voice with instrumental accompaniment. The author of the Latin text remains unknown. Accompanying the entry of this work into the 1765 catalogue of the music kept in the Dresden Catholic court church is a remark that makes the purpose of this work clear: "Pro Resurrect[ione]. D[omi]ni". (In Dresden’s Catholic court church the Resurrection ceremonies began at 8 pm on the evening of Holy Saturday and continued throughout the following three days). Barbara dira effera! is constructed in three movements. It opens with a virtuosic and extended ‘rage’ aria marked "Allegro assai, e sempre fiero" scored for alto soloist, bassoon obbligato, accompanied by strings, double oboes, and basso continuo. Following a dramatic outpouring of anguished fury, a recitative moves from the horror of death to the triumph of life which, in turn, leads straight into the final aria - a joyous "Alleluja" setting.
The autograph score of Barbara dira effera! was once accompanied by thirteen performance parts, but these are now missing from Dresden.
/Original Latin + English translation/
I. Aria:
Barbara dira effera Hebreae gentis rabies, quae
lignum sacrum crucibus latronum confudisti!
Hispida, saeva, horrida carnificum barbaries
pignus dulce fossoribus anhelis invidisti!
Mens metus plena fluctuat, quod lignum Redemptoris,
cor inquietum dubitat quae crux salvatoris.
II: Recitativo+aria:
Vicit Leo de Tribu Juda. Cede, cede!
Mors horrida, mors cruda
Debellata nunc gemit tua barbaries
infernus ipse tremit
Frenatur rabies, Vicit Leo de tribu Juda.
Cede, cede! Mors horrida, mors cruda!
Homo redempte gaude et ad tantos triumphos
Christo victori applaude.
Alleluja.
----------
I: Aria:
Barbarous, cruel and savage, the ferocity of the Jewish people
Who confounded the holy rood
With the crosses of the thieves
Awful was the barbarity of the executioners
Which begrudged the sweet pledge
To the yearning seekers, awful it was, wild and monstrous
The fear-filled mind hesitates
"Which is the rood of the Redeemer?"
The uneasy heart is in doubt
"Which is the Cross of the Savior?"
II: Recitativo+aria:
The Lion of the tribe of Judah has vanquished. Yield, yield!
Awful death, cruel death,
Your barbarity has been overcome and now lies groaning.
Weak man himself roars.
Ferocity has been tamed and the Lion vanquished.
Man, rejoice in the Redeemer,
Victory applaud Christ for all His many triumphs
Alleluia.