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Home , Alfred (Dvořák), Requiem (Dvořák), Rusalka (opera), Slavonic Dances, Stabat Mater (Dvořák)

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Dvořák COMPLETE SACRED CHORAL MUSIC

Sung texts available at www.brilliantclassics.com · · Mass · Te Deum · Svatá Ludmilla Born in Nelahozeves, 35km north of , on 8th September 1841, Dvorˇák was the when his patriotic feelings stirred him to compose a hymn commemorating the defeat of eldest of nine children. His father František was an innkeeper and butcher but – in Protestant Czech nationalists by Catholic Hapsburgs in 1620. It was through this piece – common with many other tradesmen – was also a proficient musician, playing the zither. based on The Heirs of the White Mountain, though published as Hymnus, Op.30 – that Dvorˇák learnt the while at primary school, before taking up the , piano and his name first became widely known. organ. When an uncle offered to provide the necessary funding, Dvorˇák’s father finally Dvorˇák composed his Requiem, Op.89, which occupied him throughout most of 1890, consented to his son’s pursuit of a musical career instead of following the butcher’s trade, for the Birmingham Music Festival. The work was premiered at this major cultural event beginning with a 2-year course at the Prague Organ School. He joined the Karel Komzák on 9th October the following year. In 1886 Dvorˇák had been asked by Harding Milward, Band as a viola-player, playing in some of Prague’s finest restaurants and inns. This acting on behalf of the festival, to compose “a great oratorio”. At that time a Father ensemble formed the nucleus of the Prague Provisional Theatre orchestra when it was of Birmingham Oratory had presented Dvorˇák with a copy of Cardinal Newman’s The formed in 1862. The following year, he played in a concert of Wagner’s compositions Dream of Gerontius (a tantalising might-have-been), but he was unable to give much conducted by the composer. This first encounter with Wagner’s music was a defining attention to the proposed new oratorio while he was still working on his St. Ludmila. moment in his life. By now Dvorˇák had composed a number of major works, including Birmingham had hoped for the new piece to be performed at the 1888 festival, but it a mass, a string quartet and a string quintet. By 1865 he had added two symphonies, was not until 1890 that they were informed of Dvorˇák’s plan to compose a Requiem in a concerto, a group of eighteen songs entitled Cypresses, his first , time for the festival of the following year. Dvorˇák had no deeply personal reason, such and three more string quartets - all revealing the potent influence of Wagner. Though as the death of a relative or close friend, to set the text of the Requiem Mass. Biographer obviously talented, the young Dvorˇák was no prodigy, and even as an adult he was slow John Clapham suggested that, as a devout Catholic, Dvorˇák probably was motivated by to reach musical maturity, but all of the major choral works recorded here date from his his innate spirituality “to testify to his faith in God … through his art”. As in his other late thirties onwards and are fully characteristic. Religious music appears at quite regular settings of Latin, he reveals a less than perfect grasp of the language, while also allowing intervals throughout Dvorak’s career. Even in his last years, not long before his death himself considerable freedom in his treatment of the words, rather than slavishly adhering in Prague in May 1904, he was considering fresh subjects for oratorios, including St. to a line-by-line setting of the text. Musically the work is generally restrained and awe- Adalbert (a 10th-century Bishop of Prague), Nazareth and Golgotha. inspiring, rather than shatteringly dramatic. To take the obvious example of the Dvorˇák was raised as a Catholic. In the words of biographer John Clapham, “He mirum section, in which Berlioz and Verdi achieve a hair-raising impact in their respective was a simple man who did not question the faith in which he was nurtured, and settings, Dvorˇák does not aspire to the same level of apocalyptic terror, but nevertheless consequently he did not probe deeply into the reality of God, the mystery of death and his own setting is majestic, deeply moving and equally convincing. This Requiem setting resurrection, and the nature of man’s sin. He knew all it was necessary for him to know, is a work of characteristic beauty and sincerity, ranking among the most eloquent and and he worshipped the Lord with a cheerful heart.” His uncomplicated faith is at the distinctive 19th-century compositions of this genre. As in Dvorˇák’s settings of religious heart of all Dvorˇák’s several sacred works. In this respect he may well be compared with texts generally (see remarks on the Mass in D below), purely musical considerations more Anton Bruckner. necessary in a symphony – development of themes or motives, for instance – sometimes Aged sixteen, Dvorˇák entered the Prague Organ School, where he composed a Mass in assume more importance than the formal treatment of the liturgical text. However, B flat major which he later destroyed. He did not return to the choral genre until 1872, Dvorˇák was fully aware of the inherent problem of reconciling the natural approach of

2 3 a born symphonist with the setting of a text. His command of such large-scale works as published as Op.79. Originally he scored the work for male voices, and orchestra, the Requiem, Stabat Mater and St. Ludmila is admirable, achieving balance and necessary for the Hlahol Choral Society of Prague, but eight years later he produced a new contrast of mood and emotional intensity. version for mixed choir, the form in which it was published. The text is in Czech, The chromatic 4-note phrase which opens the Requiem recurs throughout the work, taken from the Králíky Bible. A restrained orchestral introduction leads to a robust, but it does not function as a Wagnerian . Genuinely Wagnerian influence is straightforward and sustained song of praise. C major is the main key, but some evident only in some occasional harmonic progressions. There are many such moments contrast is provided by brief excursions into B flat major and A major. Generally this also in Dvorˇák’s symphonies and other orchestral works. The Requiem divides into two work is rather untypical of Dvorˇák. halves, the first comprising theIntroit, Gradual and Dies Irae, and imbued with sorrow, The Mass in D, Op.86 dates from 1887. Dvorˇák composed this work in about confession and humble supplication, while the second half - Offertory, Hostias, Sanctus three months for the consecration of a private chapel which his architect friend Josef and Agnus Dei – is in marked contrast, predominantly consolatory in mood. Hlávka had built for himself at Lužany Castle on his country estate. It is scored for Dvorˇák’s first surviving religious work was hisStabat Mater, Op.58, composed solo voices, choir and organ but Dvorˇák subsequently made an orchestral version. between February 1876 and November 1877. His baby daughter, only two days old, The premiere (with organ) was given in the chapel on 1st September 1887, when the had died in August 1875, but he suffered further tragedies in the deaths of his two solo and parts were sung by Hlávka’s wife and Dvorˇák’s wife Anna other children in August and September 1877. For him, therefore, the composition of respectively, with the composer conducting the Pilsen Hlahol Choir. The first public this 10-movement setting had a deeply personal resonance. At around ninety minutes’ performance was given in Pilsen in April of the following year. When Dvorˇák’s usual duration, it is the most extended Stabat Mater by a major composer, requiring a quartet publisher Simrock showed little interest, he approached the English firm Novello, but of vocal soloists, chorus, organ and orchestra. Although Dvorˇák numbered the work their main representative Alfred Littleton insisted on an orchestra replacing the organ. Op.28, his publisher Simrock sometimes gave a new publication a higher number to Completed in 1892, the orchestral version was first performed the following spring in suggest a more mature composition. Thus, misleadingly, the Stabat Mater is known London, conducted by August Manns. The original organ version remained unpublished as Op.58. Its premiere was given in Prague on 23rd December 1880 (conductor until 1963. This Mass in is utterly characteristic of Dvorˇák in its sincerity Adolf Cˇ ech) and two years later it was performed in under the 27-year-old, as and directness. He wrote to Hlavka: “I am supremely pleased with the result … Do yet relatively unknown, Leoš Janácˇek. On 13th March 1884 Dvorˇák conducted its not be surprised that I am so devout, but an artist who is not cannot achieve anything second London performance (Joseph Barnby had directed the first, in March 1883) like this.” For purely musical reasons, Dvorˇák sometimes employs formal procedures to an overwhelming reception. England’s strong tradition of choral music made for more usually found in large-scale instrumental or orchestral compositions, rather than an environment in which a major work by a celebrated composer would be keenly adhering to the line-by-line setting of the text. The work is, as originally intended, anticipated. Dvorˇák was invited to perform the same work at Worcester as part of suited to a rural parish church rather than the grandeur of a city cathedral. Dvorˇák the Three Festival later that year, and within two years there were further had already enjoyed tremendous successes in England and this latest work would also performances in such centres as Vienna, New York, Zagreb and Mannheim. prove to be very popular among both the general public and the critics. In common Early in 1879, the year in which he also wrote his Violin Concerto and the year with Mendelssohn, fifty years before him, and Grieg, who spent a total of six months in before the first set ofSlavonic Dances, Dvorˇák composed a setting of Psalm 149, England between 1862 and 1906, Dvorˇák was fêted by the British public during his nine

4 5 visits. In 1891 he travelled to Cambridge for the award of an Honorary Doctorate. intermittently been considering St. Ludmila as the subject of a large-scale musical Dvorˇák’s final liturgical composition, hisTe Deum, Op.103, dates from June/July work. When he actually devoted himself to what would become his Op.71, soon after 1892. In 1891 Mrs. Jeanette Thurber, a benefactress both wealthy and enlightened, completing his magnificent7th Symphony, he became seriously overworked. His son-in- invited Dvorˇák to become director of the National Conservatory of Music which she law, the composer Josef Suk, described him thus: “tired, agitated, with severe stomach had founded in New York, hoping that he would encourage a national style of music. problems … his family feared for his life.” Having occupied Dvorˇák from September Mrs Thurber had asked Dvorˇák to compose a choral piece for the 400th anniversary 1885 until May 1886, St. Ludmila, was premiered in Leeds about four months later celebrations of Columbus’ discovery of America. She promised to send him the text of – 15th October, Leeds Festival, conducted by the composer. The influence of Handel, Joseph Rodman Drake’s poem The American Flag as a potential basis for the new work, almost inescapable for any 19th-century composer writing for an English audience, is but when its arrival was delayed Dvorˇák began work on a Te Deum as a substitute work evident in Dvorak’s many choruses, which include more contrapuntal writing than one suitable for the festivities. Scored for soprano, , chorus and orchestra, the work was would anticipate. The has always been regarded as less than ideal, with a strain premiered in New York on 21st October 1892, with the composer conducting. Again he of religious fantaticism personified by the hermit Ivan. Dvorˇák aimed to temper this less adapts the text to his own purposes, in this instance ignoring the natural 3-part structure attractive aspect, but in so doing rather lessened the dramatic impact. Nevertheless, this of the Te Deum text in favour of an approximation of a 4-movement symphony: Allegro epic work contains a wealth of fine music from the composer’s maturity, the nationalist moderato, maestoso; Lento maestoso; Vivace; Lento – Poco più mosso – Ancora più aspects of the story in particular arousing Dvorˇák’s passionate feeling for traditional mosso. The opening section, with prominent , is overwhelmingly exultant. In Czech culture. Equally, to balance this potent Czech flavour, the essential Christian no other composition does Dvorˇák achieve such an elemental, open-air quality – surely element endows the oratorio with universal appeal. Typically, Dvorˇák’s instinct for influencing Janácˇek in works such as hisSinfonietta and Glagolitic Mass. Following orchestral colour enhances the music’s wide expressive range, while also contrasting with a slow section and gentle scherzo, the finale Benedicamus( Patrem) begins Lento but the impressive weight of the choral writing. The story tells how the hermit Ivan reveals concludes with a return to the mood of joyous celebration which opened the work. to the pagan crowd around Me˘lník Castle the presence of the one true God. In Part Two Following the phenomenal successes of the Stabat Mater (London, March 1884) and Princess Ludmila seeks out Ivan in the forest, wishing to be baptised. She meets Borˇivoj, the 3-part cantata The Spectre’s Bride (performed in Birmingham in August 1885 to who agrees to become a Christian convert on condition that he can take Ludmila as spectacular acclaim), Dvorˇák was asked by the publisher Henry Littleton of Novello his wife. In Part Three a grand ceremony at Velehrad is the setting for the baptism to provide a new choral work. “A sacred cantata not exceeding an hour and a half in of the entire Czech nation – including Ludmila and Borˇivoj – by Bishop Methodius. performance” was suggested, but Dvorˇák said that he wished to compose a cantata or Performances are fairly regular in his native country, but elsewhere St. Ludmila is almost oratorio which would occupy a whole morning or evening. forgotten, though Sir conducted a rare revival in Manchester in 2016. Littleton reported to the committee: “As he is distinctly proving himself to be one Clearly, neglect of this major work – along with the nine overshadowed by the of the greatest musical geniuses we have ever had, he must be allowed to decide for more frequently revived – restricts our appreciation of Dvorˇák’s diverse output. himself.” The resulting work was based on part of the life of the Bohemian St. Ludmila © Philip Borg-Wheeler (among the most important Czech saints and grandmother of St. Wenceslaus) and the arrival of Christianity in Bohemia c AD 873. For more than ten years Dvorˇák had

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