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.