Zelenka: Missa Dei Filii; Litaniae Lauretanae

1. Maurice for chorus Kyrie
Composed by Judith Dvorkin
Performed by Stuttgart Chamber Choir with Nancy Argenta , Michael Chance , Gordon Jones , Christoph Pregardien
Conducted by Frieder Bernius

2. Missa Dei Filii, ZWV 20 Gloria
Composed by Jan Dismas Zelenka
Performed by Stuttgart Chamber Choir with Nancy Argenta , Michael Chance , Gordon Jones , Christoph Pregardien
Conducted by Frieder Bernius

3. Litaniae Lauretanae, ZWV 152 "Salus Infirmorum"
Composed by Jan Dismas Zelenka
Performed by Stuttgart Chamber Choir , Tafelmusik Baroque Orchestra with Nancy Argenta , Michael Chance , Gordon Jones , Christoph Pregardien
Conducted by Frieder Bernius

Customer Reviews:

a voice teacher and early music fan.......2006-03-10

Jan Dismas Zelenka's (1679-1745) entire repertoire only runs to some 150 compositions and consists of a small number of instrumental selections, and a larger group of vocal sacred selections such as masses and requiems, psalms, magnificats,hymns and antiphons for vespers and a few secular vocal works. The 'Missa Dei Fili'ZWV20 recorded on this disc is a mass in honor of God, the Father.As was usual in the first half of the 18th century,Zelenka's masses and litanies are so-called "number works " in which the 5 parts of the ordinary of the mass(Kyrie,Gloria,Credo,Sanctus/Benedictus and Agnus Dei)are subdivided into smaller, musically independent single movements. The 'Litaniae Lauretanae' ZWVl52 recorded here, is subtitled "Salus infirmorum"-the welfare of the sick. I first heard Zelenka on a recording of "the Lamentations of Jeremiah" with soloists Michael Chance,Michael George and John Mark Ainsley. What a glorious recording is that one. This matches it in every way. That is,with excellent soloists and skilled choir and orchestra. It's difficult to believe that it took this long for Zelenka's music to surface,and I hope that more recordings of it are on the way.The "Missa Dei Filii", the second of his 3 final masses is not complete; it comes to an end at the Gloria. All the music as a whole demands excellent technique and brilliant virtuosity from all the singers and instrumentalists involved. Good example:"Quoniam tu solus sanctus II " as sung by Michael Chance in the Gloria.

Truly brilliant.......2005-12-11

Zelenka is a composer that needs to be heard. Although he was very underappreciated in his own time (and up to our own) he is a composer of the highest order, easily on par with Telemann, Handel, and even Bach. According to his obituary, J.S. Bach was an admirer of Zelenka's music, and not without reason.

Most of his church music has been neglected, and if I am not mistaken, the mass performed here was never even performed until Bernius did so in the late 20th century. That is a shame because it is a marvellous work. This is baroque church music at it's grandest and most ambitious. Every movement is notable, but the opening of the Gloria is required listening for anyone who loves music.

The litany included is not as grand, but is still excellent in every way. Zelenka was a great melodist, but with a quirky sense that often surprises with sudden harmonic shifts and rhythmic zig-zags.

These works are given a great performance here by Tafelmusik, who are always very good, and the Stuttgart Chamber Choir. It's a fairly large chorus, but very precise and accurate. The soloists are also without fault.

This really is an essential to any fan of early music, and you would be missing out on a masterpiece if you over-look this cd. I urge you most strongly to buy it and listen to it. If you like Bach and Handel's choral music, I almost guarantee you will enjoy this too. Do not pass this by!!

Zelenka: Missa Dei Filii; Litaniae Lauretanae

Average customer rating:

Another Underrated Bohemian Baroque Genius

Zelenka: Missa Dei Filii; Litaniae Lauretanae

Manufacturer: Deutsche H-Mundi
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

Zelenka - Requiem · Miserere / Kozená · Valek
Lamentations of Jeremiah

ASIN: B000026F82
Release Date: 1990-05-01

Tracks:

Kyrie (1-3)
Gloria (4-10)
(11-19) Litaniae Lauretanae

Customer Reviews:

Another Underrated Bohemian Baroque Genius .......2004-08-02

Jan Dismas Zelenka (1679 - 1745) ~ another splendid Bohemian baroque composer ~ was never much recognised during his lifetime professionally, serving as a court musician in Dresden for most of his career. He travelled little, and only to study or participate in music research, and played a rather obscure instrument ~ the double bass ~ in the Court Orchestra. As for his training, he may have been educated by the Jesuits in Prague. We do know that in 1717 Zelenka studied with Fux in Vienna, during which time he also taught counterpoint to Quantz; that same year he accompanied the Elector to Italy where he studied with Lotti.

Zelenka was awarded a title created especially for him by the Royal Court at Dresden, that of 'Court Composer of Church Music'; under this title he composed numerous sacred works for the Dresden Catholic Church. At that time Saxony was predominantly Lutheran and the staunchly Lutheran Bach had already been awarded with the title of 'Royal Court Composer', so Zelenka's title was little more than a political-social nod to those not of Martin Luther's persuasion.

Zelenka conducted the Court Orchestra for five seasons and assisted the Kapellmeister in his duties but never received the position after his demise. This oversight disappointed and disillusioned Zelenka, who went to his death feeling he'd not received a proper due for his achievements which indeed were many and numerous. In addition to several secular instrumental compositions (none of his keyboard works are known to survive), he penned some 30 masses, plus psalms and three oratorios with biblical subjects, totaling in all around 150 sacred works.

Certainly one might agree that Zelenka deserves his due if one were to judge solely by this particularly splendid disc of his sacred choral works. Zelenka, as Biber (another Bohemian), pushed the musical envelope ~ expect the unexpected. His music is crammed with catchy counterpoint and sparkling syncopation, it's full of creative, compelling harmony and demanding instrumentation. Zelenka was a stickler for dynamics and much fond of the crescendo. Perhaps one might dub these 'Zelenka Crescendos' as he tended to describe each progression in intensity, to the point where 'piano', 'forte' and 'piu forte' might be inscribed beneath one single instrumental note.

Both the Mass and the Litaniae are impressive works, intensely festive, glittering with runs and vocal fireworks. Surprisingly contemporary in sound, as opined one critic, 'to the uninitiated it is difficult to place Zelenka's place in time'. J.S. Bach greatly admired Zelenka, and Zelenka's contemporaries referred to him as a 'dreamily pious' man.

This rather ambiguous description suits Zelenka to perfection, as there remains a bit of a mystery surrounding the details of his life. He may have been in ill-health, as one title of his works attests : 'Hypochonria' which is scored for Zelenka's pet instrument, the oboe. It's a devillish work, almost unplayable for the average oboe and oboist, which further underscores Zelenka's intensly creative attitude toward his compositions. It is widely accepted that no picture of Zelenka is believed to exist, so thus in addition to a poor constitution it is speculated he may have suffered from some physical deformity which held him back socially, artistically, and professionally, and would certainly explain his aversion to having his portrait done.

Whatever the actuality of Zelenka's life, here is one reality that I can happily vouch for ~ this CD is a jewel, and the Canadian original-instruments ensemble 'Tafelmusik' and the soloists generally superb. The only weak link to the group, and this is purely subjective opinion, was the choice of Michael Chance as alto. I would have preferred a fuller, richer female voice as accompaniment to Argenta's pure, fluid, solid soprano as opposed to a countertenor ~ which is, incidentally, the more historically correct.

Introduce yourself to Zelenka through this disc and see where it leads you. Here is a most underrated and underappreciated composer, well worth exposure and exploration and a far wider audience.

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