Janacek: Msa Glagolskaja & Sinfonietta / Varady, Doufexis, Prolat, Rose, Gast; Imbal

On this CD:

1. Mass (Msa glagolskaja) for soloists, double chorus, orchestra & organ ("Glagolitic Mass"), JW 3/9
Composed by Leos Janacek
Performed by Berlin Symphony Orchestra with Peter de Rose, Julia Varady, Stella Doufexis, Arvid Gast
Conducted by Eliahu Inbal

2. Sinfonietta for orchestra ("Military," "Sokol Festival"), JW 6/18
Composed by Leos Janacek
Performed by Berlin Symphony Orchestra with Peter de Rose, Julia Varady, Stella Doufexis, Arvid Gast
Conducted by Eliahu Inbal

Editorial Reviews
Amazon.com
Here's a word one wouldn't normally use to describe a performance of this music: transparent. Eliahu Inbal and Denon's engineers make every detail of Janácek's complex orchestration and rhythmic interplay audible. Such clarity could show up the performers' weaknesses, but they have none. Especially good are the soloists: in strenuous parts that reduce many singers to wobbly shouting, this quartet is as easy on the ear as you'll find. While Inbal's slowish tempos and attention to detail reveal passages of surprising tenderness, they don't bring out the music's full cathartic savagery. This performance is satisfying intellectually and aurally, but if you want your Janácek with a dose of good healthy frenzy, try the recordings on Supraphon: Charles Mackerras for the Mass, Karel Ancerl or Vaclav Neumann for the Sinfonietta. --Matthew Westphal

Janacek: Msa Glagolskaja & Sinfonietta / Varady, Doufexis, Prolat, Rose, Gast; Imbal, Music, Leos Janácek, Eliahu Inbal, Julia Varady, Stella Doufexis, Deutsches-Symphonie Orchester Berlin, Valentin Prolat, Peter Rose, Arvid Gast, Choral, Classical, Classical Composers, Classical Music, Orchestral, Romantic Mass, Sinfonietta
Janacek; Dvorak: Glagolitic Mass; Te Deum, Op. 103
Average customer rating: 5 out of 5 stars
  • Buy It For the Janacek
Janacek; Dvorak: Glagolitic Mass; Te Deum, Op. 103

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003CXZ
Release Date: 2003-05-27

Tracks:

  1. I. Uvod (Introduction)
  2. II. Gospodi Pomiluj (Kyrie)
  3. III. Slava (Gloria)
  4. IV. Veruju (Credo)
  5. V. Svet (Sanctus)
  6. VI. Agnece Bozij (Agnus Dei)
  7. VII. Organ Solo
  8. VIII. Intrada
  9. I. Te Deum Laudamus
  10. II. Tu Rex Gloriae
  11. III. Aeterna Fac
  12. IV. Dignare, Domine

Customer Reviews:

5 out of 5 stars Buy It For the Janacek.......2001-03-02

The Janacek gets five stars and takes up two-thirds of the CD. If you don't mind my characterizing the Dvorak as filler, I guess I could be excused for being a little disingenuous by giving the Te Deum only three stars and not factoring it into the above rating.

For those not familiar with his music, Janacek is a unique composer. His music is full-sounding but actually relatively sparse in content, relying on repetitions of thematic fragments to build up a mood. (I wonder how many of today's minimalists bow in the direction of this Moravian composer's grave every day.) Written late in life (1926; died 1928), the Glagolitic Mass is Janacek at his boldest and most self-assured.

Shaw's realization of the Mass is de facto definitive. The chorus is never allowed to lose sight of the larger structure of the work; its phrasing is carefully molded to enhance the cumulating of tension so important to this piece. By the end you are drained, as you should be. This is precisely the kind of choral music-making that has made Robert Shaw the kind of almost mythical colossus he is.

Not so, unfortunately, with the Dvorak filler. I've become convinced over the years that the Te Deum is one of Dvorak's greatest pieces of music (hailing from Dvorak's final, American period), but I have yet to find a good, powerful recording of it, including this one. But this tepid rendition, with its frustrating lack of commitment (especially from the orchestra) and its non-stimulating, non-animated, downright boring final two pages, can nevertheless serve as a placeholder until a better one comes along.
Janacek: Sinfonietta/Glagolitic Mass - Felicity Palmer, Malcolm King, Sir Simon Rattle, Philharmonia Orchestra
Average customer rating: 4.5 out of 5 stars
  • A more lyrical approach to Janacek's "mass for atheists"
  • two masterworks
  • Thrilling and powerful - the best of Janacek
Janacek: Sinfonietta/Glagolitic Mass - Felicity Palmer, Malcolm King, Sir Simon Rattle, Philharmonia Orchestra
Leos Janácek , Simon Rattle , Felicity Palmer , Malcolm King , John Mitchinson , Ameral Gunson , Jane Parker-Smith , City of Birmingham Symphony Chorus & Orchestra , and Philharmonia Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000K4FH
Release Date: 1999-09-14

Tracks:

  1. Sinfonietta: I: Allegretto (Fanfare) - Simon Rattle
  2. Sinfonietta: II: Andante (The Spilberg Castle, Brno)
  3. Sinfonietta: III: Moderato (The Queen's Monastery, Brno)
  4. Sinfonietta: IV. Allegretto (The Street Leading To The Castle)
  5. Sinfonietta: Andante con moto (The Town Hall, Brno)
  6. Glagolitic Mass: I: Introduction
  7. Glagolitic Mass: II: Kyrie
  8. Glagolitic Mass: III: Gloria
  9. Glagolitic Mass: IV: Credo
  10. Glagolitic Mass: V: Sanctus
  11. Glagolitic Mass: VI: Agnus Dei
  12. Glagolitic Mass: VII: Organ solo
  13. Glagolitic Mass: VIII: Intrada

Customer Reviews:

4 out of 5 stars A more lyrical approach to Janacek's "mass for atheists".......2006-05-18

The Glagolitic Mass is a barbaric yawp over the roofs of the world. It still has the power to shock, but once Janacek's fierce idiom sinks in, the shouting chorus, berserk organ obligatto, and spiky Slavic flavor become addictive. To be honest, one performance sounds about the same as another--there have been many fine Czech recordings over the years. I'm not sure that Rattle is preferable to Bernstein, Kubelik, or Chailly, just to mention three big-name conductors who have given us good versions (Chailly's is the most refined, slowest, and least Czech--a Viennese perspective that works).

Rattle's reading tends toward the lyrical, providing unexpectedly tender shading in the opening movement. His tenor and soprano must negotiate high-flying lines that verge on the grotesquerie of Carmina Burana, and they do well, although it's impossible for any singer to keep perfectly in tune. I suppose one could comb through every recording to find the best soloists (many of the Czech versions feature a curdled Slavic tonality), yet the strained vocal lines are true to the rough-hewn nature of the piece. The filler to this ungenerous CD is a good, if smoothed out, reading of the popular Sinfonietta.

5 out of 5 stars two masterworks.......2005-06-20

There are four Czech masters in music history: in chronological order - Smetana - Dvorak - Janacek - Weinberger. As you know, Smetana and Dvorak are romantics and masters of Czech national music. Jaromir Weinberger has a famous and one-hit-wonder opera "Svanda the Bagpiper". But third of them, Janacek is the most modern composer. He is a very succesful opera and orchestral work composer. His musical language is not similar to any composer. And his music is very amazing.

This CD is a very good choice for start to listen Janacek. It includes his landmark work "Sinfonietta". This work was dedicated to Czech army forces. It's famous opening fanfare, which written for huge brass, (including 12 trumpets, 4 trombones!) is very impressive. This work has favour of Czech national music.

Glagolitic Mass is one of the most beautiful and succesful 20th century choral music. This music is one of the latest works of Janacek. And it's not has favour of national music and not too religious, too. Rather than, it is majestic and it has the atmosphere of death, pessimism, dark colours. And it's very amazing, fantastic work which written for large ensemble, including terrific organ sound. And Czech language has a very interesting timbre at music.

The performers are excellent both conducted by Simon Rattle. Sinfonietta played by Philharmonia Orch., Mass performed by Birmingham Orch. and Chorus. This recording can compare only with Charles Mackerras (Janacek expert of our time).

Highly recommended for any Janacek admirers and other music lovers.

5 out of 5 stars Thrilling and powerful - the best of Janacek.......2001-05-13

One of EMI's great recordings, this was in fact the first completely digital recording of the "Glagolitic Mass" to be made. The young Simon Rattle does it and the "Sinfonietta" full justice.

What of the music? Both these works date from the last years of Janacek's life and show his creative maturity in full bloom. His "Sinfonietta" is possibly the apex of his ethnomusical work in that it is positively dripping with Moravian folk-style motifs, projecting the heart and soul of Brno and its people as seen by the composer through his early-century collecting and absorbing of real folk music. Its five movements take us on a pictorial tour of the city of Brno, where Janacek spent most of his life living and working. The opening fanfare could almost qualify as a Janacek signature theme, just as the bassoon solo at the start of "The Rite of Spring" and the flute solo at the opening of "Prelude a l'apres midi d'une faune" are the signature tunes of Stravinsky and Debussy respectively. Beyond it lie four further movements of memorable melodies and rich orchestral harmonies: busy clarinets and strings at the start of the second movement; the curiously subdued harmonic progressions in the third movement that also seem to ache with longing at times; the lively and charming interplay between woodwind and strings (with a cameo from a rather loud bell!) in the fourth movement; and finally the beautiful final movement with its extended build-up to a reprise of the fanfare and an unforgettable climax. It is one of the great orchestral works of the last century, and in it Janacek certainly does not make it easy for the players. Simon Rattle and the Philarmonia Orchestra take the bull by the horns, however - they make it all sound effortless, and really seem to be getting down to the heart of the music. A rivetting and spellbinding performance.

If anything, the "Glagolitic Mass" is even more spellbinding. I have to admit I find it a constantly puzzling work: Janacek was an atheist, and surprised many contemporaries with this setting of the Mass in the old Slavic language. It exhibits youthful freshness in its exploration of the words: the "Kyrie" or "Ghospodi pomiluy" is by turns tender and anguished; "Slava" ("Gloria") begins with a wonderful, joyful evocation of what might be a Sunday morning scene with its opening soprano solo and fluttering accompaniment; "Veruju" is an extended Creed setting making full use of dialogue between chorus, soloists and players, punctuated by a recurring motif on the opening word ("I believe"); the "Svet" ("Sanctus") is pure bounce and playfulness, again presenting a melting dialogue between the forces. In "Agnece Bozhe" ("Agnus Dei") Janacek creates some otherworldly orchestral effects as a backdrop to a quietly passionate plea for mercy from the choir, developed into a dark and disturbing discourse by the soloists. Framing the work is a Prelude at the start and Intrada at the end, the one ushering the austereness of the work in from the opening bars whilst the other brings the work to a frantic conclusion. There is also a virtuosic movement for solo organ, reflecting Janacek's skill as an organist (he taught for many years at the Brno Organ School). The whole is a composition of symphonic power and textural poetry, and I find it fascinating and bewildering as a statement of faith from someone that did not believe in God, although he certainly believed in the strength of his native culture and did all he could to preserve it in the music. Here too, Rattle directs with energy, inspiring the City of Birmingham Symphony Orchestra and Chorus to meet the various challenges head on. It is to my mind a definitive performance, allowing the music to speak clearly for itself. Honourable mention also to the soloists: Felicity Palmer (soprano) and John Mitchinson (tenor) have the hardest parts and their interpretation is stunning, even moving in places despite the obvious strains placed on them - I cannot imagine any singer having an easy time with this piece! Jane Parker-Smith's organ playing is worth mentioning as well - she fits into the orchestral dialogues very smoothly in the "Slava" and "Veruju," and her reading of the difficult solo movement is nothing short of astounding. Strongly recommended to Janacek enthusiasts and newcomers alike.
Autobahn
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    Autobahn

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    Classical Blast
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    Manufacturer: Denon Records
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    Customer Reviews:

    5 out of 5 stars Powerful Classical.......2006-06-08

    This is a collectional of Powerful, Brassy, Percussive Classics. This collection is similar to Heavy Classix and Classical Thunder. The recordings are good and the performances wonderful. The liner notes however are practically non-existent. I have no idea who these performances are done by but they have a lot of bravura. This collection is good for those listeners who like their classical music loud!
    Janacek: Glagolithic Mass / Zemlinsky: Psalm 83
    Average customer rating: 5 out of 5 stars
    • Light and reverent--a different Glagolitic Mass
    • A definite must-have...
    • Makerras or Chailly?
    Janacek: Glagolithic Mass / Zemlinsky: Psalm 83

    Manufacturer: Polygram Records
    ProductGroup: Music
    Binding: Audio CD

    Janácek, LeosJanácek, Leos | ( J ) | Featured Composers, A-Z | Classical | Styles | Music
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    ASIN: B00000DBUQ
    Release Date: 1998-10-20

    Tracks:

    1. Msa glagolskaja (Glagolitic Mass): I. Uvod (Introduction)
    2. Msa glagolskaja (Glagolitic Mass): II. Gospodi pomiluj (Kyrie)
    3. Msa glagolskaja (Glagolitic Mass): III. Slava (Gloria)
    4. Msa glagolskaja (Glagolitic Mass): IV. Veruju (Credo)
    5. Msa glagolskaja (Glagolitic Mass): V. Svet (Sanctus)
    6. Msa glagolskaja (Glagolitic Mass): VI. Agnece Bozij (Agnus Dei)
    7. Msa glagolskaja (Glagolitic Mass): VII. Allegro (organ solo)
    8. Msa glagolskaja (Glagolitic Mass): VIII. Intrada
    9. Psalm 83
    10. Passover Psalm, Op.30

    Amazon.com essential recording

    Janácek's Glagolitic Mass straddles his various styles. There are the heavy, idiosyncratic treatment of rhythm and the fresh yet often complex treatment of melody--elements that can be found in the composer's popular instrumental works. But with its stunningly high tenor and soprano solo parts and its lush choral and orchestral scoring, this work also has the yearning and drama of such Janácek operas as Jenufa. It's a fascinating work, rendered powerfully here. The soloists Eva Urbanova, Marta Benackova, and, especially, Vladimir Bogachov, are outstanding. Along with the members of the Slovak Philharmonic Choir, they sing the Old Church Slavonic text with great interpretive clarity. The disc ends with Zemlinsky's Psalm 83, composed in 1900 and premiered in 1987, and Korngold's Passover Psalm op. 30, which was completed during the composer's Hollywood years, a commission from Rabbi Jacob Sonderling. --Gwendolyn Freed

    Customer Reviews:

    5 out of 5 stars Light and reverent--a different Glagolitic Mass.......2005-11-03

    This is famously an atheist's Mass. Janacek didn't believe in God, so he composed a stark, rugged, barbaric yawp, an outcry of primal, pre-Christian emotion. In keeping with this intent, most performances contain a lot of shrieking--the choral and solo parts are fiendishly hard to sing without shouting--but here Chaily has given us a reverent Mass (insofar as that can be done), one where the jagged edges are blended and smoothed.

    The soprano and choir are especially light-voiced, although the tenor is quite thunderous, an odd anomaly. Chailly's tempos are occasionally slow, especially for the brass-dominated introitus. The Vienna Phil., needless to say, surpasses all other orchestras in this music for golden glow.

    If you want a plush, beautifully blended performance, this is probably unique in the field. The sonics ae full-bodied but not terribly clear--you can't make out what the choir is singing most of the time (for the one listener in ten thousand who knows the language). The organ, which plays a prominent part, is splendidly voiced. There are many more echt-Czech readings on CD, but to my knowledge only one other that is even more civilized than Chailly's: a terrific live performance from Chicago under Pierre Boulez (available on a 2-CD set from the CSO website).

    5 out of 5 stars A definite must-have..........2003-11-27

    Very original, full of stark contrasts and vibrant melodies, and not a single bungler in the cast! It's the sort of thing that will turn you into a Janacek fan. Amazon was even good enough to put some samples up, so listen to them.

    5 out of 5 stars Makerras or Chailly?.......2000-09-05

    I just picked up Decca's new Glagolitic Mass with Chailly and the Vienna Philharmonic. It's been fun lately to compare it with what I thought would be *the* recording of this particular mass: the Makerras on Chandos with the Danish National Orchestra. Makerras gives us the "modern" Janacek--it's fast and lean and the composer's inimitable soundworld is displayed in stark relief. Chailly & Co. deliver a performance from right out of the Austrian countryside--the brass sound is burnished and warm, the Vienna strings are weighty and glowing, and the woodwinds are wonderfully pungent throughout. Chailly takes things a bit slower--allowing more of Janacek's delectable harmonic progressions to come through than Makerras does--though without any loss of forward momentum. I find Chailly's Introduction especially gratifying. As for the soloists, the new Chailly wins hands down. In the Gloria, Eva Urbanova floats the high Bbs on the word "Bogu" beautifully, while Tina Kiberg, (for Makerras), is noticeably strained. Vladimir Bogachov nails the stratospheric solos towards the end of the Credo--he's the best I've heard in this section. Thomas Trotter absolutely revels in Janacek's outrageously wicked and quirky organ solos--in fact, he seems more in tune with Makerras' unapologetically modern vision of the Mass than that of Chailly's bucolic take.

    Percussion is not as pronounced in the Chailly, partially because Chailly uses the standard performing version, which simply employs less; and partially because of the recording: Decca's sound is more homogenous and resonant than the Chandos sound, which in this case is slightly harsh and brightly lit. Don't get me wrong though-- the Decca recording and performance provides plenty in the way of excitement and visceral impact. Usually Makerras is my unquestionable choice for Janacek, but this time around I think Chailly, London, and the Vienna Philharmonic have delivered a *great* performance.

    John Smyth
    Leos Janácek: Glagolitic Mass (Original Version) / Zoltan Kodály: Psalmus Hungaricus, Op. 13 - Sir Charles Mackerras / The Danish National Radio Symphony Orchestra & Choir
    Average customer rating: 4 out of 5 stars
    • Leos Janacek and Zoltan Kodaly
    • Horrid
    • Janacek's Glagolithic Mass
    • Wild Bohemian Music
    • Performances well-done and polished, but....
    Leos Janácek: Glagolitic Mass (Original Version) / Zoltan Kodály: Psalmus Hungaricus, Op. 13 - Sir Charles Mackerras / The Danish National Radio Symphony Orchestra & Choir
    Zoltan Kodaly , Sir Charles Mackerras , Ulrik Cold , Tina Kiberg , The Danish National Radio Choir , and The Danish National Radio Symphony Orchestra
    Manufacturer: Chandos
    ProductGroup: Music
    Binding: Audio CD

    Janácek, LeosJanácek, Leos | ( J ) | Featured Composers, A-Z | Classical | Styles | Music
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    ASIN: B000000AVF
    Release Date: 1994-10-25

    Tracks:

    1. Msa Glagolskaja: I. Intrada
    2. Msa Glagolskaja: II. Uvod
    3. Msa Glagolskaja: III. Gospodi pomiluj
    4. Msa Glagolskaja: IV. Slava
    5. Msa Glagolskaja: V. Veruju
    6. Msa Glagolskaja: VI. Svet
    7. Msa Glagolskaja: VII. Agnece Bozij
    8. Msa Glagolskaja: VIII.Varhany solo
    9. Msa Glagolskaja: IX. Intrada
    10. Psalmus hungaricus, Op. 13

    Amazon.com

    Sir Charles Mackerras has gone back to Janácek's original manuscripts and reinstated the music that was cut and rewritten after the piece's premiere on account of its (then considered) technical difficulty or impracticality. The result isn't all that different from the work we all know and love, other than a more extended and crazier setting of the Crucifixion sequence in the Credo. In this and all other respects, this excellent performance can be firmly recommended. Mackerras is the Janácek expert of our age, and all of his performances practically come with a guarantee of absolute musical integrity. This one is no exception, and the Kodály coupling is both apt and appealing. --David Hurwitz

    Customer Reviews:

    4 out of 5 stars Leos Janacek and Zoltan Kodaly.......2006-02-03

    Sir Charles Mackerras has done an excellent job with these two Slavic classics. Janacek's `Glagolitic Mass," played in its original (untamed) version, is a high-quality gem that should be more appreciated nowadays. The Intrada is loud & musically complex, and it's my favorite segment of this mass. The Varhany solo sounds creepy and unmelodic, but splendid on high levels. The Danish National Radio Symphony Orchestra and Choir must be tired out from recording this sophisticated piece of church music. They have the power and depth to interpret Janacek's final work as a bizarre calling to the invisible Almighty.

    I was a bit skeptical about Kodaly's 22-minute cantata called "Psalmus Hungaricus," because I didn't know whether it was going to be wickedly frightening or surprisingly calm. But when I did hear it, I had Goosebumps all around my skin. The music is enchanting and horrifically haunting at the same time. Tenor Svenson is perfectly cast as the main narrator, and the choir has seldom been better. The organ adds a nice touch in the last three-fourths of this energetic powerhouse. Overall, this work of genius reminds me of Sergei Taneyev's own cantata "John of Damascus."

    If you can't get enough of wild and exquisite slavic music, then I would suggest Russian-born Rachmaninov's "Capriccio Bohemien" ASIN: B000000APY, or any of Janacek's fine operas (The Cunning Little Vixen, Jenufa, etc.) through the baton of either Charles Mackerras or Vaclav Neumann.

    1 out of 5 stars Horrid.......2001-11-17

    I would like to say that this performance is absolutely horrid. Not only is it too fast paced, but the soprano is atrocious as well. Listening to her screeching in the "Slava" was nauseating. This is a total failure, as the singers somehow think they are singing opera and are infusing loads of vibrato and typical soprano and tenor swell-and-screech where it just doesn't belong.

    This beautiful piece is supposed to convey something altogether different from an opera. It is supposed to draw upon (we suppose) the Slavic liturgy of the 9th century or so (hence Glagolitic). The listener is to get a glimpse at the primeval. This is not even medieval Europe, it is the dark ages.

    The image you should be getting is a chorus and priests with long black robes singing perhaps in anything ranging from a wooden chapel to a grand cathedral like St. Vitus' in Prague. The chamber is spacious, dark, and lit up by candles and icons, and a soprano and tenor pour forth their song with simplicity and beauty. This is a people just a century ago converted from the depths of paganism, from faith in vampires, and werewolves, leshies, vilas and rusalkas to a belief in one god. These are a people recently brought to literacy by the missionaries Cyril and Methodius and who worship in a strange tongue and manner, unacceptable to Rome. The darkness of the piece sharply contrasts with the spiritual message conveyed by it.

    This is not an opera hall, it is the altar or the nave of an ancient Slavic church and the singers fail in conveying that. The orchestra and organ are not bad, albeit a bit too fast. Their problem lies in that they haven't realized that they are NOT orchestral accompaniment to a Slavic mass (as the then undifferentiated Slavs (hence Orthodox) never used instruments in their liturgy) but rather are another voice: it is they that transform the walls of the church, the darkness and heaviness of the air, the smell of incense and warm glow of candles into music.

    This is a pitiful failure. I recommend the Chailly-Vienna Philharmonic production instead; its worlds apart and comes closer to conveying the meaning outlined above. The diction (the singers are Czech, so that makes a difference), comparative reduction in vibrato, fluidity, and the upper ranges of both tenor and soprano are quite admirable. The orchestra is brilliant, heavy in tone, and convey the necessary ambiance. The Chailly version is a thorough success compared to this trash.

    The Mackerras recording conjures images of an orchestral rake dragging and slicing through the piece to quicken it up while an assortment of hags and baffoons shriek and belch mediocre quasi-operatic arias.

    5 out of 5 stars Janacek's Glagolithic Mass.......2001-08-19

    This is a wonderful recording of Janacek's Glagolithic Mass. According to the liner notes it restores Janacek's original score, which was simplified and edited for concert performance. I am familiar with the standard performance, which is wonderful, and this version definitely is superior. The restored rhythmic intricacies are captivating and the additional music in the "Veruju" section is both dramatic and appropriate. This is an essential addition to any Janacek lover's musical library.

    5 out of 5 stars Wild Bohemian Music.......2000-04-16

    Both of the works on this disk are considered standard choral/orchestral masterpieces, and Charles Mackerras and the Danish National Radio Symphony Orchestra and Chorus give a new, nearly wild and gritty, perspective on these great works.

    The 22-minute Psalmus Hungaricus by Zoltan Kodaly is an odd miniature choral/orchestral piece. Known for his collection of folk songs in his native country, Kodaly adapted the sounds of his homeland and instituted them into his classical compositions. The result is an exotic Bohemian kind of sound. Scored for orchestra, solo tenor, and chorus, the tenor is center-stage for much of the work. After an orchestral introduction, a cappella chorus members chant in an old orthodox church mode feel, a theme that will reoccur many times, each becoming grander, and in a sense, wilder. The text is an old Slavic version of Psalm 55, an old fire and brimstone reading that is, in the end, about redemption. After the choral chanting, the tenor sings; the part is tough throughout, and here Peter Svensson is wild enough to create an anguished performance. The choir and soloist trade on and off, each time, getting more and more frenzied, until a heavenly orchestral interlude interrupts with harp and strings only, and the outlook becomes sunnier; that is until the chorus erupts with the organ entrance in exultation. The work ends with mystic chanting by the chorus alone, extremely low voiced basses. The work is a huge crescendo of passion and excitement, with haunting orchestrations and colors. An excellent staple in the choral/orchestral literature pool.

    The Leos Janacek Glagolitic Mass has always held a special place for me, and an all-time favorite choral/orchestral work of mine. This premier of the original scored version has only fueled my love of the work. In most recordings, the piece suffers from pretentiousness; Mackerras' new version of Janacek's original design gives a wild and unleashed performance of a monumental work. The abundance of unique ideas are on the scale of Verdi's Requiem, with all of the subtlety of Orff's Carmina Burana. Janacek has a new and creative theme and orchestration at every page turn of the score, and it never tires or becomes stale. The form is very much the typical Mass with a few differences. Two introductory orchestral pieces: the first a whirlwind of brash, in your face athleticism; the second, a magisterial procession with trumpet fanfare. The Kyrie is scored for chorus and soprano soloist. The choir opens in chorale style, the soprano, a bit wild I warn you, impassionedly cries Christ have mercy. The Gloria and Credo are filled with so much imaginative and tuneful material, it would take too much to describe. Of note, the haunting recurrence of Veruje, Credo, ties the piece together, a wild solo tenor, and the inclusion of organ gives a powerful statement to the music. The Sanctus and Agnus Dei give all four soloists a chance to sing, a bit more lyrical, Janacek's gift of melody shines through. Before the repeat of the opening orchestral introduction (this time a postlude), an outstanding and virtuosic organ solo brings the work to a rousing conclusion, a whirlwind of pipe organ. A choral masterpiece.

    Sir Charles Mackerras and the Danish National Radio Symphony Orchestra and Chorus breathe new life into these works. Janacek's original intentions are put into place, not so stuffy, and a bit rougher around the edges. Mackerras chooses his soloists carefully (the parts are difficult), prepares the chorus and orchestra intelligently, and chooses a wild interpretation, given to him in performance. Excellent sonics and performances. The orchestra speaks very well, and exciting soloists (even the rarely heard bass and alto), and the chorus, the most important element, is balanced well enough; all together, make the atmosphere Mackerras asks for. Along with the Kodaly, a breathless CD; highest of recommendations.

    5 out of 5 stars Performances well-done and polished, but...........1999-11-24

    Leos Janacek (1854-1928) started his Glagolitic Mass by 1908, originally for chorus and organ, with the Kyrie, Agnus and much of the Credo completed. Janacek put the score aside until 1926, when he embarked upon a full-scale orchestral version of the score. Further revisions of the work occupied the composer until his death of 1928, a year after its premiere. Its publication of 1929 included revisions made without authorization and the 1927 version has been performed as Janacek's authentic score.

    It was Paul Wingfield, presumably a musicologist, who researched Janacek's score in Brno and Vienna and reconstructed the original score of the work. Unlike the infamous 1927 version, the orginal version contains the Intrada at the beginning and the end of the work. Also the rhythm changed in both 'Uvod' and 'Gospoli'(5/4 rather than 4/4 metre). Lastly, the organ solo prefacing the crucifixus section plays a more integrating part with the violins and three sets of timpani. The result is the work of greater coherence and drama and Paul Wingfield was right in proclaiming that "Janacek's greatest choral work deserves to be heard in all its fiery glory."

    Kodaly's Psalmus Hungaricus of 1923 also deserves to be heard (more often) in all its fiery glory. As Kodaly's first major successful work, Psalmus Hungaricus was written for the 50th anniversary of the union of the towns of Obuda, Pest, and Buda to form Budapest. But the work has an additional purpose. With the text being a free translation of Psalm 55 by Mihaly Kecskemeti Veg, 16th Century Hungarian poet, Psalmus Hungaricus is an outcry of the oppression and upheavals following the collapse of the Hapsburg Empire. Since Veg was himself persecuted under the Ottoman Empire, Kodaly related himself to the poet in his own persecution. The great Psalmus Hungaricus is therefore a work of defiance turning to hope. The first two movements are vehement expressions of bitterness and anger whereas the last two movements express hope, faith, and the affirmation of life.

    The Danish National Radio Symphony Orchestra and the Danish national Radio Choir under Sir Charles Mackerras gave both the well polished and committed performances and the organ soloist, Per Salo, played with warmth and upmost excitement. The Copenhagen Boys' Choir for Psalmus Hungaricus sang extremely well as did the soloists, such as Soprano Tina Kiberg, Tenor Peter Svensson, Alto Randi Stene, and Bass Ulrik Cold. With the singing polished, affectionate, and authoritative, the performances overall were well done and well prepared.

    However, for Kodaly's Psalmus Hungaricus, my inclination is to lean more towards the performance of Istvan Kertesz and the London Symphony Orchestra with the Wandworth Festival Chorus, the Wandsworth School Boys' Choir, and Lajos Kozma as tenor (under the London Decca CDs-reissued twice). Kertesz and his ensembles gave the performance of the work with a more sense of drama and purpose. They were more successful in depicting the anger, the despair, and finally the hope of this work as if they themselves went through the experiences Kodaly suffered and later overcame. Lajos Kozma gave a more dramatic singing than did Peter Svensson and the performance overall sounds more convincing than did the performance under Mackerras for this work.

    The Chandos recording is highly recommended, but go for the London Decca recording of Psalmus Hungaricus.
    Janacek: Glagolitic Mass & Poulenc: Gloria
    Average customer rating: Not rated
      Janacek: Glagolitic Mass & Poulenc: Gloria
      Leos Janacek , Francis Poulenc , Leonard Bernstein , Elaine Brown , George Gaynes , Nicolai Gedda , Janis Martin , Helga Pilarczyk , Bruce Prince-Joseph , Judith Blegen , New York Philharmonic , and The Westminster Choir
      Manufacturer: Sony
      ProductGroup: Music
      Binding: Audio CD

      Janácek, LeosJanácek, Leos | ( J ) | Featured Composers, A-Z | Classical | Styles | Music
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      ASIN: B0000027MN
      Release Date: 1992-11-17

      Tracks:

      1. Introduction
      2. Kyrie
      3. Gloria
      4. Credo
      5. Sanctus
      6. Agnus Dei
      7. Organ Solo
      8. Intrada
      9. (Gloria) Gloria
      10. (Gloria) Laudamus te
      11. (Gloria) Domine Deus
      12. (Gloria) Domine Fili unigenite
      13. (Gloria) Domine Deus, Agnus Dei
      14. (Gloria) Qui sedes ad dexteram Patris
      Music for Celebration
      Average customer rating: Not rated
        Music for Celebration

        Manufacturer: Denon Records
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        Binding: Audio CD

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        ASIN: B0009VI50W
        Release Date: 2005-07-12

        Tracks:

        1. I. Sehr Breit
        2. Jupiter, Bringer Of Joity
        3. Prelude
        4. Finale
        5. Figaro
        6. IV. Allegro
        7. Finale
        8. Overture
        9. Great Gate Of Kiev

        Tracks:

        1. Overture
        2. Intrada
        3. Furiant
        4. Toreasdor March
        5. I. The Hero
        6. Finale
        7. III. Rondo: Allegro Spirituoso
        8. IV. Presto/Allegro Assai

        Album Description

        Includes exuberant, joyous favorites including Beethoven, Mussorgsky-Ravel, Wagner, Bizet, and Tchaikovsky. And other favorites from Strauss, Rossini, Saint-Saens and more!
        Lease Breakers
        Average customer rating: 5 out of 5 stars
        • WOW!
        • Wow!
        Lease Breakers

        Manufacturer: Sony
        ProductGroup: Music
        Binding: Audio CD

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        ASIN: B0000029RJ
        Release Date: 1996-11-12

        Tracks:

        1. Also sprach Zarathustra: Introduction (Sunrise)
        2. Carmina Burana: 'O Fortuna'
        3. Die Walkure: 'Ride Of The Valkyries'
        4. William Tell Overture: Finale (Excerpt)
        5. Manzoni Requeim: 'Dies irae, dies illa'
        6. Toccata (And Fugue) In D Minor
        7. Pictures At An Exhibition: 'The Great Gate Of Kiev'
        8. The Rite Of Spring: 'Sacrifical Dance'
        9. Alexander Nevsky Cantata: 'Battle On The Ice' (Excerpt)
        10. Symphony No. 8 In C Minor: Finale. Feierlich, nicht schnell (Opening)
        11. Requiem: 'Tuba mirum'
        12. 1812 Overture: Finale. Largo - Allegro vivace
        13. Glagolitic Mass: Intrada. Moderato
        14. Ein Heldenleben: Battle Scene
        15. Symphony No. 4 In F Minor, Op. 36: Finale. Allegro con fuoco (Excerpt)
        16. Symphony No. 5 In D Minor, Op. 47: Allegro non troppo

        Customer Reviews:

        5 out of 5 stars WOW!.......2003-10-21

        Get it, just click the mouse and get it. All but one or two of the performances are exceptional. And those are still excellent. Each cut will make you want to go and buy the entire piece. Get it. What are you waiting for?

        5 out of 5 stars Wow!.......1999-04-15

        This CD is great! Each recording is of exceptional quality - don't be fooled by the low price. This is definitely NOT background music. Jarring at times. Good for someone who's sick of the sappy-sweet sort of classical music. The selection from Carmina burana is excellent- it's my favorite part of the work. The use of synthesizers is very dramatic. I think they fit in well with the work's theme and help the excitement build even more. Everything on here's great! :)
        Janácek: Msa Glagolskaja; Amarus
        Average customer rating: Not rated
          Janácek: Msa Glagolskaja; Amarus

          Manufacturer: Supraphon
          ProductGroup: Music
          Binding: Audio CD

          Janácek, LeosJanácek, Leos | ( J ) | Featured Composers, A-Z | Classical | Styles | Music
          GeneralGeneral | Classical | Styles | Music
          CantatasCantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music
          GeneralGeneral | Opera & Vocal | Styles | Music
          CantatasCantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
          ASIN: B000003517
          Release Date: 1996-10-15

          Tracks:

          1. Glagolitic Mass: l. Introduction - Gabriela Benackova/Eva Randova/Vilem Pribyl/Sergej Kopcak/Jan Hora
          2. Glagolitic Mass: ll. Gospodi pomiluj - Gabriela Benackova/Eva Randova/Vilem Pribyl/Sergej Kopcak/Jan Hora
          3. Glagolitic Mass: lll. Slava - Gabriela Benackova/Eva Randova/Vilem Pribyl/Sergej Kopcak/Jan Hora
          4. Glagolitic Mass: lV. Veruju - Gabriela Benackova/Eva Randova/Vilem Pribyl/Sergej Kopcak/Jan Hora
          5. Glagolitic Mass: V. Svet - Gabriela Benackova/Eva Randova/Vilem Pribyl/Sergej Kopcak/Jan Hora
          6. Glagolitic Mass: Vl. Agnece Bozij - Gabriela Benackova/Eva Randova/Vilem Pribyl/Sergej Kopcak/Jan Hora
          7. Glagolitic Mass: Vll. Postludium (Organ Solo) - Gabriela Benackova/Eva Randova/Vilem Pribyl/Sergej Kopcak/Jan Hora
          8. Glagolitic Mass: Vlll. Intrada - Gabriela Benackova/Eva Randova/Vilem Pribyl/Sergej Kopcak/Jan Hora
          9. Amarus Cant: l. Moderato - Kvetoslava Nemeckova/Leo Marian Vodicka/Vaclav Zitek
          10. Amarus Cant: ll. Andante - Kvetoslava Nemeckova/Leo Marian Vodicka/Vaclav Zitek
          11. Amarus Cant: lll. Moderato - Kvetoslava Nemeckova/Leo Marian Vodicka/Vaclav Zitek
          12. Amarus Cant: lV. Adagio - Kvetoslava Nemeckova/Leo Marian Vodicka/Vaclav Zitek
          13. Amarus Cant: V. Epilog - Kvetoslava Nemeckova/Leo Marian Vodicka/Vaclav Zitek

          Music Track:

          1. Jewish Songs from the Prague Ghetto
          2. Julius Reubke: Sonatas For Piano And Organ
          3. Lebendige Vergangenheit: Antonio Magini Coletti
          4. Lebendige Vergangenheit: Gerhard Hüsch, Vol. 4
          5. Les Organistes du Roy Soleil
          6. Lifestyles: Music for the Crossword
          7. Messiaen: Quatuor Pour La Fin Du Temps V.36 [Import]
          8. Mood Impressions & Reminscences Op 57 Part 1
          9. Mozart L: Symphonie Des Jouets V.58 [Import]
          10. Mozart: Symphonies No.27, No.28 & No.34

          Music Track

          music track

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