Search - Leos Janacek, Simon Rattle, Felicity Palmer :: Janacek: Sinfonietta/Glagolitic Mass - Felicity Palmer, Malcolm King, Sir Simon Rattle, Philharmonia Orchestra

Thrilling and powerful - the best of Janacek

Mark Swinton | 05/12/2001

(5 out of 5 stars)

"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."

Two masterworks

Sungu Okan | Istanbul, Istanbul Turkey | 06/19/2005

(5 out of 5 stars)

"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."

Reclaiming the Altar

Giordano Bruno | Wherever I am, I am. | 05/27/2008

(5 out of 5 stars)

"Critics have wondered why Leos Janacek, an avowed atheist, wrote a Mass at all, let alone one of his grandest and most original symphonic works, from his late-blooming apotheosis as one of the 20th Century's greatest composers. And why did he choose the Glagolitic language, a form of Old Church Slavic unintelligible by ear to modern Czechs and Slovaks except by way of familiarity with ritual? I have no authority for my impressions, but to me this Mass sounds thoroughly pagan, a celebration of some orgiastic pre-Christian rite involving springtime and vistory over the Huns and much consumption of barley brew and barbequed horse-flesh. If that's too subjective, then just get ready for exultant choruses, frenzied instrumental complexities, and ecstatic arias, culminating in an organ solo of drunken splendor and a triumphant "intrada" for a comclusion. Intrada last? Yup. And one has to gape in wonder at whatever it is that's entering.



Janacek is a composer who sounds like no one else, old or new. The closest comparison might be the Stravinsky of The Rite of Spring. The Sinfonietta prepares a new listener for Janacek's distinctively colorful instrumentation and splintered-stalactite rhythms. Then the Glagolitic Mass spills over you like the Moldau in flood. At the risk of attracting quibblers, I'll venture that this strange composition ranks with Mahler's Lied von der Erde and Beethoven's Ninth as monuments of choral symphonies.



The Missa Glagolitica is one of those pieces that need to be performed differently in concert and in recording. The full-throated eruption of voices and instruments is almost too "big" to be digitalized and compressed on a CD; the performances of conductors like Rafael Kubelik are stupendous in concert but distorted and muddy on your best home stereo. They rattle the box. So what to do? Why, Simon Rattle solves the problem with extreme British clarity and precise articulations. Likewise singer Felicity Palmer, reining in the savagery of her solos with British suavity. This is a Glagolitic Mass you can bear to listen to on your speakers.



Some people will feel that too much of Janacek's musical exaltation is sacrificed for clarity. Certainly the language sounds far too polite for Glagolitic, or even modern Czech, and Janacek was fiercely insistent on building his music on the sounds and rhythms of Czech. In that case, by all means choose one of the Kubelik CDs. Myself, I prefer to supply some of the passion from my imagination and to hear the beauty of the music without an aura of acoustic fuzz, and this performance is the one I find most satisfying."