Jan Dismas Zelenka

Jan Dismas Zelenka's music often features a rich interplay of voices and instruments. One notable piece is “Miserere, ZWV 57: I. Miserere I,” which captures a deep sense of reflection and devotion. The “Dixit Dominus, ZWV 66” series stands out as well, with tracks like “Dixit Dominus - After Psalm 109” and “Judicabit - After Psalm 109” showcasing his skill in setting sacred texts to music.

Other important works include “Miserere in C Minor Psalm 50, ZWV. 57” and “In exitu Israel, ZWV 83: In exitu Israel - After Psalm 113.” The “Sinfonia a otto, ZWV 189: V. Menuet I - II” adds a lively contrast to his choral works. Zelenka's compositions blend intricate melodies with harmonic depth, making them significant in the Baroque repertoire.

Jan Dismas Zelenka's recent works showcase a blend of traditional themes and intricate compositions. The latest album, "Jan Dismas Zelenka: Miserere," released in 2025, features a collection of sacred music that reflects his deep understanding of Baroque styles. Another album, "Scenes from Childhood," came out in 2024, presenting a different perspective through a more personal lens. Additionally, "Zelenka: Missa Gratias agimus tibi," also from 2024, offers listeners a glimpse into his choral settings and liturgical influences.

Among his recent singles, "Zelenka: Confitebor tibi Domine, ZWV 71 – I. Confitebor," released in 2025, stands out for its expressive depth. The 2024 single, "Zelenka: Missa Gratias agimus tibi, ZWV 13: IIIc. Crucifixus," provides a contemplative experience, reflecting the spiritual themes that permeate his work. Each piece contributes to an understanding of Zelenka's unique voice within classical and chamber music.

Jan Dismas Zelenka's music has found a place in various esteemed venues and festivals. His works were featured at the Muziekgebouw aan 't IJ, where audiences experienced the intricate textures of his compositions. Annenkirche Dresden also hosted performances highlighting Zelenka's unique style, creating a dialogue between the historic space and his rich musical language.

Further performances took place at the International Festival of Early Music in Prague, where Zelenka's pieces resonated with chamber ensembles. The festival attracted attention for its focus on lesser-known composers, allowing Zelenka's music to shine in a fitting context. In addition to these, chamber music concerts across Europe have included his works, bringing Zelenka's contributions to varied audiences. These events showcase his enduring influence and the continued interest in his music.

Jan Dismas Zelenka’s collaborations illustrate a blend of talent and musical exploration. In “Zelenka: Confitebor tibi Domine, ZWV 71: I. Confitebor,” he worked with Giuseppe Tartini, Collegium Marianum, Jana Semeradova, and Tomáš Šelc. This piece showcases a rich interplay of voices and instrumental textures, reflecting the depth of Zelenka’s composition style.

Another notable collaboration is found in “Missa Gratias agimus tibi, ZWV 13: IIb. Laudamus te,” featuring Hannah Morrison, David Allsopp, and Thomas Hobbs. Their performance brings a nuanced understanding of the choral elements, enhancing the sacred themes within Zelenka’s work.

Additionally, “Magnificat in D Major, ZWV 108: II. Suscepit Israel” sees David Allsopp alongside Barockorchester Stuttgart and conductor Frieder Bernius. This collaboration highlights a dynamic orchestral arrangement that complements the vocal lines effectively. Each partnership enriches the interpretation of Zelenka's music, making them significant in his artistic narrative.