Bohemian-born Baroque composer, Jan Dismas Zelenka (1679 --1745) and his music have been little known until recently. During his career in Dresden as a court church composer from 1710 until his death in 1745, Zelenka composed over150 sacred choral compositions.The three masses in the collection entitled Missae ultimae (ZWV 19 -- 21) were written toward the end of his life, between 1740 and 1741. Like his other masses, these three are cantata masses, in which the texts of the mass ordinary are divided, and set as separate movements.In each movement of each mass, Zelenka uses various forms, and compositional techniques in two different styles. Some movements are written in stile antico featuring imitative or fugal techniques. Other movements are written in stile moderno, and can be divided into two categories: choruses with orchestral ritornellos, and arias for solo voice or soli voices. Of great interest, however, is the skill with which Zelenka uses these two different styles within a complete setting of the mass ordinary, or even within single movements, creating stile misto in Missae ultimae by matching specific musical approaches to the character of the different texts.I will first discuss various musical forms and styles in the three masses of Missae ultimae. In Chapter 4, I will focus on the first mass, Missa Dei Patris (ZWV 19), since this work shows more stylistic contrast between movements than the other two masses. In Chapter 4, I will outline the compositional techniques of each movement. For the sake of consistency, the titles of each movement have been capitalized as published in Das Erbe Deutscher Musik -- Bands 93 (1985), 100 (1989), and 101 (1989) -- of Breitkopf und Hartel.
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机译：出生于波西米亚的巴洛克作曲家扬·迪马斯·泽伦卡（Jan Dismas Zelenka，1679年–1745年）和他的音乐直到最近才为人所知。 Zelenka在德累斯顿（Dresden）担任宫廷教堂作曲家的职业生涯（从1710年到1745年去世）期间创作了150多种神圣的合唱作品。该系列中的三个弥撒作品《终极小姐》（ZWV 19-21）写于他生命的尽头，在1740年至1741年之间。与他的其他弥撒一样，这三个都是颂赞弥撒弥撒，其中的弥撒大众文本被分开，并设置为单独的运动。在每个弥撒的每个运动中，Zelenka使用多种形式，将合成技术分为两种不同的风格。有些机芯是采用阶梯式防撞板书写的，具有模仿或熏蒸的技巧。其他乐章用现代风格写成，可以分为两类：管弦乐ritornellos的合唱，以及独奏或独奏的咏叹调。然而，引起人们极大兴趣的是，Zelenka在普通大众的完整环境中，甚至在单个动作中，运用这两种不同风格的技巧，通过将特定的音乐方法与不同文字的性格相匹配，在《最后的小姐》中创造了阶梯式错to。我将首先讨论最后三个密西西比群众中的各种音乐形式和风格。在第4章中，我将重点介绍第一个弥撒舞者Missa Dei Patris（ZWV 19），因为与其他两个弥撒者相比，这项工作显示出机芯之间的风格对比更加鲜明。在第四章中，我将概述每个乐章的合成技术。为了一致起见，每个乐章的标题均采用大写字母，如Breitkopf und Hartel的Das Erbe Deutscher Musik（乐队93（1985），100（1989）和101（1989））中所公开的那样。
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