Customer Reviews

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

5 star:		(4)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

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.

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.

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.

Glagolitic Mass is amy be the most original choral work ever written. It has an ambigious beauty. There is no any little nonsense moment, everytime there is such a great orchestral effect, dramatic choral moments or terrific organ solos. This Mass written in not so religious senses, but more pantheistic, and the main theme as Janacek said "a church concentrated on death".

Glagolitic Mass, as we know it today actually revised version. The because of revision is, when th master written the first draft, in the rehearsals it was found so difficult, imprectable to play. In that recording, we have the original version! which is may be more amazing than revised version.

The differences are there: the Intrada section placed not only at last, but in the beggining too, this is just like we are going in the church and when the mass finished we are going out. And then, Introduction section coming. It is not 3/4 rhytm metre and so rhytmic as revised version, but there are more complex polyrhytmic details which sounds waving in the harmonies. The Kyrie (Gospodi pomiluj) was written in 5/4 rhytm and sounds more pompous than revised version. In Gloria (Slava) section there are som different timpani details, some solos and more heavy part. And then, the greatest diffrence coming in Credo (Veruju): in the crucifixion section, there is not just a terrific organ solo, but there are solos for 3 set timpani, some dramatic writing for strings which sounds spine-chilling. In Sanctus (Svet) section there are 14 bars plus, which includes some choral moments in the very high register for sopranos, that sounds so original too. Agnus Dei (Agnece bozij) which was not changed, is the most mysterious section, includes murmuring chorus and desolate string writing. And then suddenly with utmost power the Organ solo begins, which is a passacaglia written in virtuosic style. At last, we are exit from church, as for the last time we hear Intrada, with gorgeous 4 trumpets fanfare.

Sir Charles Mackerras, who is the expert of Janacek music, has done great work in that recording. The Danish National Radio Symphony Orchestra and Chorus sounds in that complex work at home, there is really devoted playing and feeling. As a couple, I recommend for the revised version, the amazing reading of Rafael Kubelik. These two performances are the greatest of that Mass.

This recording is highly recommended.

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.

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.

I'm not sure why the Amazon reviewer would want to credit "Sir Charles Mackerras" for all the hard work that, as already pointed out by another listener here, was done by Paul Wingfield. It is the latter whom we have to thank loud and clear for restoring for us listeners the original version of this great composition. (Which really is not a little know fact, either, having rather been a pretty big event at the time, so...) That sort of misinformation will only undermine the credibility of the Amazon in-house reviews, as it sure makes it look like not even the booklet notes were read before all that "reviewing" was done (was the music heard? is the next question that comes to mind).

As to the music itself, it's of course great, truly extraordinary in being so totally personal in style, unique in its sound world, and teeming with fascinating solutions deviating from everything that's standard; and going back to the earlier version of it gives greater pleasures still, though you might naturally disagree - such is the power of habituation and custom in listening. But to my ears adding the Intrada to the very beginning gives the work a balance much better suited to its nature as an at-times breathless supplication and entreaty constantly verging on virtually impossible and almost grotesque (and let's not forget for a moment that Janacek had no religious inspiration whatsoever to boost his creativity here [or anywhere else]). The rest of the changes are not equally striking, though you'll start really appreciating them upon repeated listening. The overall impression remains increased clarity and more primal power.

But the question remains as to why one would want to pay money for this particular disc when there is such a fabulous recording of it available as Boulez', with moreover the Chicago SO, caught in spectacular shape? (www.cso.org) Simply put, that one is so much better played, so much better sung, so much better recorded, and so much more thrilling than the in itself respectable Mackerras take here that the discussion doesn't even really get started. It's moreover recorded live, which you can't tell from the perfect playing but only from that extra electricity making the air vibrate with excitement and the drama of an unfolding event, just as befits the very essence of this work.

I do like Tina Kiberg, though; there is a certain very effective strain in her voice that I appreciate very much in this piece (she's not a peerless global superstar soprano, but why should we need one here anyway?), similar to the overall impression of Simon Rattle's recording of the standard performance version of this same work, making that Rattle/CBSO rendition so captivating and real, not just an exhibition piece or some re-enactment on stage (plus - and it's a big plus - he has the inimitable Felicity Palmer to work with, with her well-nigh amazing vocal and expressive resources).

The "Psalmus Hungaricus" here is interesting, though, enjoyable in its own way and all, but not really essential by any means.