Customer Reviews

Zelenka - Missa Dei Patris / M. Bach, D. Taylor, Brutscher, G. Schwarz, Bernius

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The late masses of Jan Dismas Zelenka are generally regarded as being the high water-mark of his ouvre, if not the high point of all baroque masses. His individual style is very apparent in all of them, and the Missa Dei Patris does not disappoint. (the other masses are Missa Dei Filii, Missa Sanctissime trinitatis, Missa Omnia Sanctorum, and Missa Votiva, all except the last available in good HIP versions)

The quality of the music goes without saying to anyone familiar with Zelenka, and for those who aren't, suffice it to say that if you like the choral music of Bach, Handel or Vivaldi, Zelenka will almost definitely appeal. The choral fugues are stunning, and there are numerous delightful arias, especially the Agnus Dei which is a devastatingly beautiful, extremely slow triple time aria that seems almost static in its lugubrious pace and has the same Affekt throughout it's 8 minute duration. Sometimes I listen to it repeatedly in succession and time seems to slow down, and I realize I have just spent half an hour immersed in it. Fantastic!!

The performance is excellent, as usual with Bernius directing the Stuttgart Chamber Choir, one of the best choirs around. The soloists also impress, with my favorite being Dan Taylor who besides having one of the best alto voices in the world, gets some of the best music in the world to sing. He's a lucky guy. Buy this disc, and also seek out the other recordings of Zelenka's late masses, you cannot be disappointed.

JAN DISMAS ZELENKA (1679-1745) IS ONE OF THE MOST SIGNIFICANT DISCOVERIES OF RECENT TIMES.
His instrumental works have been known about for some time, but his sacred and liturgical works, some 150 in number, have become known only since the late 1970's.

Zelenka intended to write towards the end of his life (1740/41) a cycle of six 'Missae ultimae', but only three works have come down to us: No l 'Missae Dei Patris' (Mass in honour of God the Father) on this recording - No 2 'Missa dei Filii'(Mass in honour of god the Son) and No. 6 'Missa Omnium Sanctorum' (Mass in honour of all the Saints). Evidently,Zelenka, who had been seriously ill since 1739, was able to complete only the three masses.

This work displays the typical 'Zelenkisms'- frequent alternation between immediatelly adjoining major and minor in the same chord, chromatics and contrasts such as orchestral unison as well as vocal unison; sequences of quickly moving descending scales ending in unexpected harmonies. These characterististics are carefully balanced and integrated into a translucent bar structure of heavy Italian influence (think of Scarlatti or Lotti), even though the specific personal elements are in no way reduced.

The important point to note is that these elements are not just of peripheral significance but they are used for defining the structure and creating the form. IN THIS WAY, ZELENKA SPEAKS AN ENLIGHTENED, INDIVIDUAL MUSICAL LANGUAGE FROM WHICH A DEEP RELIGIOUS COMMITMENT CAN BE DISCERNED.

Frieder Bernius, to my thinking, is one of the best interpreters and performers of Zelenka. His recording, that I have had for years, of the 'Missa Dei Filli' and the 'Litaniae Lauretanae' (1989)has provided me with many exciting and entertaining 'listens'. Bernius has chosen well for his soloists on both these recordings. Daniel Taylor, countertenor, provides us with a full-bodied sound as well as an eveness of tone quality. On the 'Missa Dei Filii' he uses Michael Chance as the counter-tenor who has one of the finest voices of that genre.

The Kammerchor Stuttgart is definitely one of the top Early Music performing ensembles and Tafelmusik on the 1989 recording is superb as is the Barokorchester on this recording. Great singing with buoyancy, expression, smooth phrasing, great vocal balance as well as clear precise diction. Skillful instrumentalists and a great conductor. GO FOR IT!!!