Glagolitic Mass

1. Mass (Msa glagolskaja) for soloists, double chorus, orchestra & organ ("Glagolitic Mass"), JW 3/9
Composed by Leos Janacek
Performed by Czech State Philharmonic Orchestra (Brno) , Prague Philharmonic Choir with Gabriela Benackova , Jan Hora , Sergej Kopcak , Vilem Pribyl , Eva Randova
Conducted by Frantisek Jilek , Jaroslav Rybar

2. Amarus, cantata for soprano, tenor, baritone, chorus & orchestra, JW 3/6
Composed by Leos Janacek
Performed by Prague Philharmonic Choir , Czech Philharmonic Orchestra with Kvetoslava Nemeckova , Leo Marian Vodicka
Conducted by Sir Charles Mackerras

Glagolitic Mass,Janacek,Mackerras,Jilek,Supraphon,Classical

Janacek: Sinfonietta/Glagolitic Mass - Felicity Palmer, Malcolm King, Sir Simon Rattle, Philharmonia Orchestra
Average customer rating:

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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Tracks:

Sinfonietta: I: Allegretto (Fanfare) - Simon Rattle
Sinfonietta: II: Andante (The Spilberg Castle, Brno)
Sinfonietta: III: Moderato (The Queen's Monastery, Brno)
Sinfonietta: IV. Allegretto (The Street Leading To The Castle)
Sinfonietta: Andante con moto (The Town Hall, Brno)
Glagolitic Mass: I: Introduction
Glagolitic Mass: II: Kyrie
Glagolitic Mass: III: Gloria
Glagolitic Mass: IV: Credo
Glagolitic Mass: V: Sanctus
Glagolitic Mass: VI: Agnus Dei
Glagolitic Mass: VII: Organ solo
Glagolitic Mass: VIII: Intrada

Customer Reviews:

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.

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.

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.

Janacek; Dvorak: Glagolitic Mass; Te Deum, Op. 103
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Buy It For the Janacek

Janacek; Dvorak: Glagolitic Mass; Te Deum, Op. 103

Manufacturer: Telarc
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Release Date: 2003-05-27

Tracks:

I. Uvod (Introduction)
II. Gospodi Pomiluj (Kyrie)
III. Slava (Gloria)
IV. Veruju (Credo)
V. Svet (Sanctus)
VI. Agnece Bozij (Agnus Dei)
VII. Organ Solo
VIII. Intrada
I. Te Deum Laudamus
II. Tu Rex Gloriae
III. Aeterna Fac
IV. Dignare, Domine

Customer Reviews:

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.

Tracks:

Msa glagolskaja (Glagolitic Mass): I. Uvod (Introduction)
Msa glagolskaja (Glagolitic Mass): II. Gospodi pomiluj (Kyrie)
Msa glagolskaja (Glagolitic Mass): III. Slava (Gloria)
Msa glagolskaja (Glagolitic Mass): IV. Veruju (Credo)
Msa glagolskaja (Glagolitic Mass): V. Svet (Sanctus)
Msa glagolskaja (Glagolitic Mass): VI. Agnece Bozij (Agnus Dei)
Msa glagolskaja (Glagolitic Mass): VII. Allegro (organ solo)
Msa glagolskaja (Glagolitic Mass): VIII. Intrada
Psalm 83
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:

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).

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.

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.

Tracks:

I. Introduction - Chor Des Bayerischen Rundfunks
II. Kyrie - Chor Des Bayerischen Rundfunks
III. Gloria - Chor Des Bayerischen Rundfunks
IV. Credo - Chor Des Bayerischen Rundfunks
V. Sanctus - Chor Des Bayerischen Rundfunks
VI. Agnus Dei - Chor Des Bayerischen Rundfunks
VII. Organ Solo - Chor Des Bayerischen Rundfunks
VIII. Intrada - Chor Des Bayerischen Rundfunks
1. Traf Eine Junge Zigeunerin
. Ist Sie Noch Immer Da
3. Wie Der Gluhwurmchen Spiel
4. Zwitschern Im Nest Schon Die Schwalben
5. Heut' Ist's Schwer Zu Pflugen
6. Heissa! Ihr Ochselein
7. Wo Ist Das Pflocklein Hin
8. Seht Nicht, Ihr Ochselein
9. Sei Wilkommen, Jan
10. Gott Dort Oben, Sag
11. Von Der Heidin Wangen
12. Dunkler Erlenwald
13. Piano Solo
14. Sonn' Ist Aufgegangen
15. Meine Grauen Ochsen
16. Was Hab' Ich Da Getan?
17. Flieh, Wenn Das Schicksal Ruft
18. Nichts Mehr Denk Ich
19. Wie Die Elster Wegfliegt
20. Hab' Ein Jungferlein
21. Vater, Dem Tag' Fluch Ich
22. Leb Denn Wohl, Heimatland

Customer Reviews:

Divine is the very nature of humanity.......2006-11-15

Janacek's music is extremely post-stravinskian with yet a constant reference to an old Slavonic tradition. The introduction is powerfully dominated by the wind instruments but is kind of dubitative, suspended, sad even, unsure for sure. The Kyrie reestablishes vibrant optimism. The soprano takes us into this mood and when the Gloria comes, neurotic, escaping an invisible and un-understandable danger, when it turns into a chase or maybe a procession rhythmically pushed forward by percussions and strings, we try to forget the choir that sounds more menacing than the solace of a great mass of helpful souls. The Credo then explodes like a confrontation to the impossible conquest of the faith and fate a Christian would like to have and control. In front of us we meet with power, strength, force and we either run away from or join the procession, the parade, the pilgrimage to conquer evil and hell, to sweep the earth into the pocket of God and his glory and pompous etiquette, the etiquette of more sobriety of male voices, of a bass that could be deeper but is very expressive of the dark depth of our mind, of our spirit, the dark suffering of our being. The orchestra relays the bass and makes us climb back to the surface, to the sky, note after note, grade after grade, degree after degree to reach a vast open space in which the choir becomes angelic. But this time the orchestra leads us slowly down to wrap us up in some powerful voice and instrument fabric that is both thick and supportive. The Sanctus could have been some peaceful moment but the voices take over and it becomes some impressive prodding along the way with sounds that could come from some lay and worldly feast or village maypole celebration. This Sanctus sounds definitely secular with a few extremely harmonic small musical sentences repeated slightly too many times to punctuate our world, or the vision we have of it. His Osanna is nearly a song of joy and victory. Victory upon our inner disturbed and uncertain world that comes back at the beginning of the Agnus Dei, but not for long. The sound straightjacket of the choir takes over and straps us up in a mass in which our own self can be kneaded till it dissolves in some kind of communion. But communion with what ? The organ then takes over and explodes like the voice of the living universe we have finally reached with our five or maybe, probably, six senses. Doubt has disappeared to give way to those deafening pipes that set us the example of a totally dominated neurosis that does not question or investigate anymore but enjoys the contradictions it feels as if they were a fulfillment, a privilege, an emblem if not an icon of our divine nature. The Intrada teaches us then the bliss of that communion with God that provides us with the equilibrium and balance of the antagons of the voices or the various instruments. Harmonic equilibrium is thus our divine fate in a life of stachotic psychotic distortion and dispersion.

Dr Jacques COULARDEAU, University of Paris Dauphine & University of Paris 1 Pantheon Sorbonne

A vintage Glagolitic Mass, and sitll one of the best.......2006-09-21

Stress and strain are built into Janacek's Glagolitic Mass, where much of the vocalism verges on the brink of screaming. Most recordings wander over the edge, but in this, one of the original versions in stereo, Kubelik chose world-class singers from Germany, Switzerland, and America, and they reduce the shrieks to a minimum. Evelyn Lear, in fact, accomplishes wonders staying in tune without shosuting, and tenor Ernst Haeflier is just as good. The chorus sits a bit too far back, as does the orchestra, but Kubelik has a sure hand, and this lyrical reading remains one of the best.

As a bonus we get Haefliger's vintage recording of The Diary of One Who Vanished, but it's consierably hampered by being sung in german instead of Czech. Otherwise, the singing and piano accompaniment are lovely, stylish, and just a bit too calm.

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Glagolitic Mass

Manufacturer: Denon / Supraphon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000NR9WPO

Product Description

Featuring : Elisabeth Soderstrom / Drahomira Drobkova / Frantisek Livora / Richard Novak / Prague Philharmonic Chorus - Chorus Master : Lubomir Matl - Jan Hora : Organ

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Autobahn

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Powerful Classical

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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!

Leos Janácek: Glagolitic Mass (Original Version) / Zoltan Kodály: Psalmus Hungaricus, Op. 13 - Sir Charles Mackerras / The Danish National Radio Symphony Orchestra & Choir

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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
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Binding: Audio CD

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ASIN: B000000AVF
Release Date: 1994-10-25

Tracks:

Msa Glagolskaja: I. Intrada
Msa Glagolskaja: II. Uvod
Msa Glagolskaja: III. Gospodi pomiluj
Msa Glagolskaja: IV. Slava
Msa Glagolskaja: V. Veruju
Msa Glagolskaja: VI. Svet
Msa Glagolskaja: VII. Agnece Bozij
Msa Glagolskaja: VIII.Varhany solo
Msa Glagolskaja: IX. Intrada
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:

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.

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.

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.

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.

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.