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Josef Antonín Plánicky (1691-1732)


Opella Ecclesiastica, 1723


Opella prima               De Amore Erga Deum

Opella secunda          De Communione

Opella tertia                De Confessore

Opella quatra              De Tempore

Opella quinta              De Venerabili Sacramento

Opella sexta               De Tempore

Opella septima           De SS Martyribus

Opella octava             De Omni tempore

Opella nona                De Beata Virgine Maria

Opella decima            De Virgine et Martyre

Opella undecima        De Sacratissima Eucharistia

Opella duodecima      Funebris.


National Museum Prague  XVIII F 355,  No RISM listing

5 volumes of parts (1738):

1 Vox 13f

2 Organum 19f

3 Vox secunda instrumentalis, violini, oboe 19f

4 Vox tertia instrumentalis, violino 2, violetta vel brazza vel fagotto 1 concert. Tutti violini 12f

5 Vox quatra instrumentalis, alta viola, bassetto in concert., violetta vel brazza vel fagotto (?2) conc. 13f


Modern edition:  Musica Antiqua Bohemica, Series II/3 Ed. Racek, Sehnal, 1988


In this series of cantatas, apparently the only extant works by Planicky, the use of bassoon is unclear. In Opella quinta, both the 1738 and modern editions indicate two fagotto obbligato parts in the introductory sonata and the soprano aria “Crudelis dolor est”, each for “Violetta vel Brazzo vel Fagotto I/II concertante” together with a treble instrumental obbligato for violin or oboe. The paired alto obbligato parts are written in viola clef with range to e’’ flat. For fagotto, these parts would need to be played an octave lower, but that is not specified. The performance on CD, listed below, does not use bassoon in this movement.

In many introductory sonatas, recitatives and arias, both versions indicate a continuo instrument variously named bassetto, bassetto in concerto, bassetto concertante. It is unclear whether a wind instrument was intended.


CD ARTA LC 04789 

This performance on CD (1993, 2006) does not follow the instrumentation given in either edition, and uses bassoon in the movements shown in italics, i.e. in numbers 2, 3, 4, 6 and 12.