October 30, 2014

  • Fabulous New Janacek From Supraphon

     

    Janacek: Glagolitic Mass; Eternal Gospel
    Mass Soloists: Andrea DanKova, soprano; Jana Sykorova, contralto;
    Tomas Juhas, tenor; Jozef Benci, bass; Ales Barta, organ;
    Eternal Gospel Soloists: Alzbeta Plackova, soprano; Pavel Cernoch, tenor;
    Prague Philharmonic Choir, Prague Radio Symphony Orchestra/Tomas Netopil
    Supraphon 4150-2
    Total Time:  56:55
    Recording:   ****/****
    Performance: ****/****

    There seem to be a number of new releases these days bringing to light early sketches, or realized versions of a first stage composition.  In the case of the present recording, we have a performance from a scholar’s work exploring a first version of the Glagolitic Mass of Leos Janacek (1854-1928).  Composed at the height of the composer’s ability, Janacek’s setting of Slavonic Mass texts remains an amazing work incorporating some of the intensity of his more familiar Sinfonietta along with vocal writing more familiar to those who have hears his operatic work.

    Janacek’s own spiritual journey tended to be a unique form of naturalism and what we might call a transcendental “new age” approach that stems from aesthetics in line somewhat with nature-inspired pieces.  He adapted what is referred to as “Old Slavonic” thus connecting the work to other aesthetic movements looking “back” nationalistically, though not say as aligned with the “primitive” ideas one sees in more popular works of the time like Stravinsky’s Le Sacre du Printemps.  The Glagolitic Mass came together in 1926, though the original conception of the work as a “new” piece for liturgical use had been far outdone in this obvious large-scale concert adaptation.  The first performance took place in Brno in 1927.  During the course of rehearsals, Janacek made customary changes for performance.  Such alterations tend to be those followed in most modern performances of the score.  A far inferior final version tended to be used for many years until Charles Mackerras extensively reviewed and restored the work’s original intent recording it for Chandos in a landmark release back in 1994.  A few years later Riccardo Chailly recorded a vivid “polished” version with the Vienna Philharmonic (which featured some great fillers in music by Korngold and Zemlinsky).

    In Tomas Netopil’s new recording, however, he has chosen what is believed to be the restored “final” finished version of the score from September 1927 made by musicologist Jiri Zahradka.  In Mackerras’ recording, he restored the Intrada to bookend the work most notably.  That practice does not appear in this “world premiere” of a “September 1927 version.”  Again, what is most striking now is how we hear much more of the composer’s personal stamp in the writing of this work.  The strings are very much like what one hears in the Sinfonietta and the brass likewise often provide big intense fanfares much like in that work.  The “Intrada” is certainly takes the thrust of the Sinfonietta into this new context moving the piece to an exhilarating conclusion.  The massive expansiveness of the orchestra makes it possible to hear these extremes which the choir then sings “through” with delicate woodwind writing appearing for often beautiful contrast.  This is at its simple best in the “Credo”, the centerpiece of the work.  One gets the sense that Janacek’s religious view is one of ascent but not without a great deal of struggle into the next world unwillingly.

    Conductor Tomas Netopil has been gaining a great deal of recognition worldwide for his earlier Janacek recordings which are becoming new touchstones upon which every other recording of Janacek may be compared to in future.  His understanding of the music is on display throughout these pieces.  The Glagolitic Mass can feel a bit overblown and rather bland at times but here it has great emotional power that is also offset with an additional intensity even in the more quiet passages.  The blend of romantic and modernistic writing is allowed to just sit alongside one another within the context of Janacek’s mature style.  The soloists are also quite good tending toward a more Russian-style of vocalizing.  The texts are easily followed and the balance is quite good between soloists, orchestra, and chorus.

    While the mass is the highlight of the disc, the real discovery is in the rarely heard The Eternal Gospel.  Taken from texts by the poet Jaroslav Vrchlicky, the theme focuses a bit on universal love and follows a priest/prophet Joachim da Fiore who is given a vision of a Golden Age by an angel.  Some suggest that the inspirational drive for the work came out of the recent Balkan conflicts in the period.  There are four movements where the future for mankind are laid out.  In the first, the prophet proclaims that a new day is coming.  In the second movement, the Angel is “seen” flying about with this Eternal Gospel in his hand and the prophet’s solos speak of what is to come further in a dramatic slow movement.  The “three Empires” of the world are then described in the third movement moving to triumphant “Alleluias” before the final movement announces a final triumph of love and the human spirit.  The piece is not quite an oratorio, though the general concept of the work surely has one foot closely aligned with that genre.  This is another transcendental piece philosophically gazing into a world that is perhaps less one of religion than of man’s ability to overcome the ills of the world through love.

    The music for this work is clearly unlike some of the more familiar Janacek works, but there are those moments when motifs are repeated underneath textures in ways that are signatures of the composers and the dramatic shape of the work also seems to have one foot in two centuries at times.  The seeds of what would later find their way into the mass are also interesting to hear in this different context.  The piece is a real find and certainly deserving of a revival.  At just under 20 minutes, it makes for a great introduction to aspects of Janacek’s style as well.  Soloists acquit themselves well and the rapturous music sweeps the listener away.  Certainly a major early work worth rediscovering!

    While the Mackerras is still worth tracking down for Janacek lovers, this new disc also deserves a place in their collection not just for the historical curiosity, but for the powerful performance of the mass and the rare, and gorgeous performance, of the 1914 work.  The sound is superb with great balance that captures the full sound of the orchestra and chorus.  The accompanying booklet is mostly a “conversation” rather than real program notes, but all texts are included.  It may be time to track down Netopil’s earlier Janacek recordings while you pick this one up too!  Highly recommended!