Janácek/Kodály: Choral Works [CD]

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.