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Home , Amarus, Bergen Cathedral, Glagolitic Mass, Rieger Orgelbau, Sinfonietta (Janáček), Thomas Trotter

Lebrecht Music & Arts Photo Library / © T.P.

Leoš Janáček, left, with , September 1927 Leoš Janáček (1854 – 1928)

Orchestral Works, Volume 3

Glagolitic Mass, JW III / 9 (1926 – 27)* 39:26 (Glagolská mše) 1 I Úvod (Introduction). Moderato – Adagio – Tempo I (Moderato) 3:00 2 II Gospodi, pomiluj ( eleison). Moderato – Presto – Tempo I (Moderato) – Un poco più mosso – Tempo I (Moderato) – Adagio 3:25 3 III Slava (Gloria). [ ] – Allegro – Tempo I – Moderato – Maestoso – Maestoso – Un poco mosso – Allegro – Presto – Allegro 6:17 4 IV Věruju (). Con moto – Un poco meno mosso – Tempo I – Meno mosso – Andante – Più mosso – Un poco più mosso – Allegro – Presto – Maestoso – Andante – Allegro – Moderato – Maestoso – Un poco più mosso – Tempo I 11:02 5 V Svet (). Moderato – Con moto – Meno mosso – Allegro 5:55 6 VI Agneče Božij (Agnus Dei). Adagio – Un poco più mosso – Tempo I – Un poco più mosso – Tempo I 4:46 7 VII Varhany solo (Organ solo). Allegro – Un poco più mosso – Presto – Prestissimo – Adagio 2:57 8 VIII Intrada. Moderato 1:37

3 9 Adagio, JW VI / 5 (1890?)† 5:47 for Adagio – Andante – Poco meno – Poco agitato – Agitato – Adagio

10 Zdrávas Maria, JW II / 14 (1904)‡ 4:13 (Hail Mary) for Soprano (or Tenor) Solo, Four-part Chorus, , and Organ (or Piano) David Stewart violin Karstein Askeland organ Andante

Otče náš, JW IV / 29 (1901, revised 1906)§ 14:36 (Our Father [The Lord’s Prayer]) Tableaux vivants to paintings by Jósef Męcina-Krzesz (1860 – 1934) for Tenor Solo, Four-part Chorus, and Piano Revised version for Tenor Solo, Four-part Chorus, Harp, and Organ Johannes Wik harp Karstein Askeland organ 11 ‘Otče náš’ (Our Father). Andante – Con moto – Tempo I – 5:06 12 ‘Buď vůle tvá’ (Thy will be done). Moderato – 2:57

4 13 ‘Chléb náš’ (Give us this day). Con moto – 1:35 14 ‘A odpusť nám’ (And forgive us). Adagio – 3:17 15 ‘Neuvoď nás’ (And lead us not). Energico moderato – Con moto 1:38 TT 64:30

Sara Jakubiak soprano*‡ Susan Bickley mezzo-soprano* Stuart Skelton tenor*§ Gábor Bretz bass* Thomas Trotter organ* Philharmonic * Håkon Matti Skrede chorus master Choir of Collegiûm Mûsicûm* Håkon Matti Skrede chorus master Edvard Grieg Kor*‡§ Håkon Matti Skrede chorus master Bergen Choir‡§ Kjetil Almenning chorus master Bergen Philharmonic Orchestra*† David Stewart leader Edward Gardner

5 Specification of Organ, 1997, by Rieger Orgelbau, in Bergen Cathedral

Hauptwerk (Manual I: C – g3) Positiv (Manual II: C – g3) Principal 16’ Principal 8’ Bourdon 16’ Gedackt 8’ Principal 8’ Salicional 8’ Flûte harmonique 8’ Quintade 8’ Gamba 8’ Principal 4’ Hohlflöte 8’ Rohrflöte 4’ Octav 4’ Nasat 2 2 / 3’ Spitzflöte 4’ Gemshorn 2’ Quint 2 2 / 3’ Terz 1 3/5’ Superoctav 2’ Larigot 1 1 / 3’ Mixtur major V 2’ Sifflet 1’ Mixtur minor IV 1 1 / 3’ Scharff IV 1’ Cornet V 8’ Clarinette 8’ Trompete 16’ Cromorne 8’ Trompete 8’ Tremulant

6 Schwellwerk (Manual III: C – g3) Pedal (C – f1) Bourdon 16’ Untersatz 32’ Principal 8’ Principal 16’ Doppelflöte 8’ Subbass 16’ Bourdon 8’ Violon 16’ Gambe 8’ Principal 8’ Voix céleste 8’ Gemshorn 8’ Octave 4’ Choralbass 4’ Flûte 4’ Flachflöte 2’ 4’ Rauschpfeife IV 2 2 / 3’ Nasard harmonique 2 2 / 3’ Kontrafagott 32’ Flageolet 2’ Bombarde 16’ Tierce harmonique 1 3 / 5’ Fagott 16’ Plein Jeu V – VI 2’ Posaune 8’ Basson 16’ Zinke 4’ Trompette harmonique 8’ Hautbois 8’ Normalkoppeln – 8 x 32 Setzer – Clairon 4’ Sequenz < • > crescendo Walze – Voix humaine 8’ Remo-card Tremblant

7 Oddleiv ApnesethOddleiv

Bergen Philharmonic Orchestra, at Grieg’s home, Troldhaugen, in Bergen Janáček: Orchestral Works, Volume 3

Adagio for Orchestra, JW VI / 5 this short work has all the trappings of a When after the success of Jenůfa in late-romantic tragic piece: the slow pace, a in 1916 Leoš Janáček (1854 – 1928) suddenly clear D minor (not a key usually associated became famous, his pupils began turning out with Janáček), a mournful opening theme the contents of the decorated peasant chest for the amid other subdued in which the master kept older, discarded orchestral colours – , tremolo , compositions. Out tumbled pieces such and funeral-march ‘drum’ beats from the as The Diary of One who Disappeared and pizzicato double-basses. Although the gloom Janáček’s first , Šárka. Another was a lifts in a more hopeful middle section (this short, untitled piece for orchestra, copied is where the motif from Šárka is heard), the out by the Šárka copyist and in much the sombre mood resumes in the final section same musical idiom as the opera. Initially with a return of the opening tune, which, it was taken to be an extra overture for the after a statement by the full orchestra, is opera although its thematic connections reduced to a plangent against to it (unlike the overture written into the the funeral-march beat, now on the , score of Šárka) were limited to a single, and a final version for solo horn. If Janáček possibly co-incidental motif. A more plausible indeed wrote the piece in late 1890 it would explanation came from the conductor have been an understandable interruption of Jaroslav Vogel, a biographer of Janáček, who his intensive five years of folk-music-based suggested that the piece had been written activities. Apart from his arrangements as an immediate reaction to the death of of folk dances for orchestra it is his first the Janáčeks’ two-year-old son, Vladimír, surviving independent orchestral work and of streptococcal meningitis on 9 November is testimony of the late-romantic idiom that 1890 (significantly, in his autobiography characterises his earliest pieces. Janáček suggested ‘1890’ as the date of the work’s composition). Now known as Otče náš, JW IV / 29 ‘Adagio’ after the initial tempo indication, In 1901, a few months before he resumed

9 work on his stalled opera, Jenůfa, Janáček reproduced, together with a long article composed a strange and unique stage about them, in the Warsaw illustrated weekly work to raise funds for the Women’s Tygodnik illustrowany of 28 October 1899, a Shelter. The Janáček family had participated copy of which reached the committee of the the previous year in a fundraising event for Women’s Shelter and seems to have set this the shelter, the ‘Slavonic Beseda’, in which curious composition in motion. The original performers presented dances from various paintings have disappeared, so the black and Slavonic nations and for which Janáček white reproductions in Tygodnik illustrowany had written three new pieces (Moravian, are all that is left today of Janáček’s initial Russian, and Serbian). While the ‘Slavonic inspiration. Beseda’ was a purely musical affair, given Męcina-Krzesz’s cycle consists of eight in the Czech concert hall in Brno, the event paintings: a portrait of Christ, followed by that took place in the Czech National Theatre seven paintings depicting rather Russian- in Brno on 15 June 1901 presented two short looking peasants in moments of religious plays, performed by the amateur theatre awe, all presided over by an ethereal figure group ‘Tyl’, together with a work by Janáček. of Christ (providing daily bread, forgiving This was billed on the manuscript and on the trespasses, leading sinners away from poster as Moravský Otče náš (Moravian Our temptation, and so on). As a staunch non- Father) and was a fifteen-minute setting for believer, Janáček would hardly have been solo tenor, four-part chorus, and piano of attracted by the religious message of the the words of the Lord’s Prayer. Conveniently paintings, nor perhaps by the pictures making use of the ‘Tyl’ actors, the piece themselves (undistinguished examples of presented a series of tableaux vivants, late nineteenth-century sentimentalised a popular nineteenth-century theatrical religious art), but the Polish provenance genre in which actors silently portrayed may have appealed to Janáček the fervent scenes (often famous paintings) to musical Pan-Slavist. It could be argued that, after the accompaniment. In this case the paintings three Slavonic dances of the previous year, came from a cycle by the Polish artist Jósef Janáček expanded a purely Polish-inspired Męcina-Krzesz (1860 – 1934), illustrating the venture into something more Pan-Slavonic words of the Prayer. The pictures had been by working into his music allusions to exhibited in and Warsaw in 1899 and various Slavonic styles. A more apt title for

10 the work might have been a ‘Slavonic Our unison writing for organ, the typical Father’. (When, a few years later, the work motifs, and the abrupt ending on a peal of was given in Prague in a revised form, the ‘Amens’ suggest a much later (and similarly piano replaced by harp and organ, the original Pan-Slavonic) Janáček – that of the Glagolitic ‘Moravian’ epithet was dropped altogether.) Mass. Janáček reduced the seven potential scenes to five (by taking together the Zdrávas Maria, JW II / 14 first two and the last two paintings), all Although Janáček was for many years the carefully contrasted, and interspersed with conductor of the choir at the Augustinian substantial instrumental interludes to allow Monastery where he himself had been a for new stage groupings to form. The first, chorister, and had founded and presided ‘Otče náš’ (Our Father), is a sober two-part over the Brno Organ School to train church canon, concluding with an effective repeated musicians, he is not usually associated unison setting of the phrase ‘posvěť se with liturgical or sacred music. As a student jméno tvé’ (hallowed be thy name). Slavonic he wrote motets based on Latin liturgical styles are heard in several of the following texts, and as a teacher he composed part sections, including ‘Buď vůle tvá’ (Thy will of a demonstration mass for his students be done), set as a melancholy Russian at the Organ School, but his other pieces song in a minor key, with a stressed second with religious texts, such as the Otče náš beat and a Tchaikovskian counter-melody and , included on this disk, in the accompaniment, and ‘A odpusť nám have a theatrical or at least a concert aspect naše viny’ (And forgive us our trespasses), that overshadows any spiritual dimension. suggesting Dvořák in his pentatonic vein, So his Czech setting of the familiar Marian but with typically Moravian ‘mirror rhythms’. prayer Ave Maria (Hail Mary) is unusual in its The final section of the piece, ‘Neuvoď nás simplicity and pious intensity – essentially a v pokušení’ (Lead us not into temptation), threnody for solo voice with obbligato violin, adopts the rhythm of the best known of all organ accompaniment, and, in the middle Bohemian Hussite chorales, ‘Ktož jsú boží and at the end, interventions by four-part bojovníci’ (Those who are warriors of God). chorus (mostly single-note repetitions of the This is, however, overshadowed by the word ‘Amen’, echoing the opening repeated sheer energy of the conclusion: the loud octaves on the violin).

11 The earliest reference to the piece is found my Daughter Olga, JW IV / 30, that Janáček in a letter from Countess Leopoldina Serényi, was still much preoccupied with this family dated 22 July 1904, thanking Janáček for this tragedy. There is a striking moment towards work, dedicated to her and sent to her (sadly the end when the words ‘v hodinu smrti naší’ too late) for her charity concert. The Serényi (at the hour of our death), set, recitative-like, family originally owned Luhačovice spa and on a single note and marked ‘feverishly’, it is possible that when he was holidaying interrupt the lyrical Andante flow – a sudden there in May 1904 (a few months after reminder of the death of Janáček’s surviving the Brno première of Jenůfa) Janáček was child at the age of twenty-one. approached by the Countess and asked for a piece. Perhaps the attempts of the Countess Glagolitic Mass, JW III / 9 (a German speaker) to address him in Czech As the year 1925 drew to an end Janáček had charmed Janáček (her thank-you letter completed his eighth opera, The Makropulos is written in barely intelligible broken Czech), Affair. It was his most demanding opera – for and he obligingly produced a little piece for singers and especially for the orchestra – and modest forces with a thoughtful alternative instead of launching into another opera, as for even more modest forces in case the was his habit, he waited anxiously to see how Countess was unable to provide a chorus, its stage production would go a year later. a tenor, or an organ. Instead he got on with other things. These While ostensibly an occasional and included the composition of two of his finest commissioned piece, it had a deeper non-operatic works, the and the personal resonance for Janáček. The main Glagolitic Mass. tune is virtually identical with that used in Janáček would have been aware of the ‘The Frýdek Madonna’ from the piano suite existence of the Old Church Slavonic Mass On the Overgrown Path, JW VIII / 17. If this text (originally written in Glagolitic script, earlier piece recalled a pilgrim hymn familiar an early version of Cyrillic) from at least from a family expedition to Frýdek, then this 1907, when a former pupil, Láďa Kožušníček, setting of the Ave Maria was yet another sent him a copy of his Misa glagolskaja for commemoration of the same event and yet unaccompanied mixed chorus. However, another indication, like the revision a few it was only in 1920, when a papal edict months earlier of his Elegy on the Death of allowed celebration of the Roman rite in

12 Church Slavonic in certain Czech churches The fact that Janáček was dealing with a on major feast days, that the text received liturgical text (essentially a Church-Slavonic greater currency in Czechoslovakia. The text version of the familiar Catholic Mass) seems was published that year in the church- to have had little impact on his normal music journal Cyril and set by several Czech compositional instincts. His version uses the . Judging from surviving sketches, full resources of the orchestra and, like his Janáček also toyed with it about then, but only first major choral work, , JW III / 6, is set got round to serious composition some years within an outer frame of purely instrumental / later, during an exceptionally rainy summer orchestral movements (a solemn introduction, holiday in Luhačovice, in July 1926. He went on and, at the end, an exuberant solo for organ working on it after he returned to Brno and by followed by a jaunty orchestral Intrada to 15 October 1926 had produced a version that bring the work to a festive close). The vocal was copied out neatly by his copyist. However, dispositions are similar to those of Janáček’s he went on tinkering with it for months, so previous large-scale works for chorus and that it needed copying out again before it orchestra, Amarus and The Eternal Gospel, went into rehearsal, the following autumn. JW III / 8, making full use of the chorus and Janáček was now an international star and with solo parts for tenor and soprano. Here, the Brno première of the Glagolitic Mass, on however, the two solo parts are rather 5 December 1927, attracted many foreign grudgingly complemented by parts for bass music critics; like the Sinfonietta, given a and alto: the bass is heard for the first time year earlier, the work was a huge success. only at the end of ‘Věruju’ (I believe); the alto Janáček’s pupil Jaroslav Kvapil conducted the has to wait until ‘Svet’ (Holy), the penultimate choir of the Brno Beseda and the orchestra vocal number. of the Brno National Theatre. The soloists The opening movements emphasise the included Alexandra Čvanová (the first Emilia static and hieratic aspects of a liturgical Marty in Makropulos) and the tenor Stanislav piece, for instance in the repeated phrases Tauber, veteran of many Janáček concert of ‘Gospodi, pomiluj’ (Lord, have mercy), and premières. The same team (though now the ostinato fanfares (a reminder of Janáček’s with the Orchestra) was recent Sinfonietta) of the Introduction. In assembled when it was given again, four contrast, the central ‘Věruju’, the longest months later, in Prague. movement by far, is full of drama, especially

13 in the instrumental passage in which much into the ‘classic’ version published in 1928. use of timpani conjures up ‘the noise and He argued that the 1927 version was more lightning flashes’ when the heavens were adventurous (making use of simultaneous rent. A quiet interlude provides a meditation multiple metres, chords for tuned timpani, on the Incarnation. This gradually develops etc.) and that the changes had been forced into a violent climax, at which (after a on Janáček because of the inadequacy of the furious organ solo) the choral voices come Brno forces: one should therefore perform the thundering in with the words ‘Raspet že version which Janáček took to the rehearsals. zany’ (Crucified for them). Equally distinctive This would be in line with the restoration of are the frequent, unifying references to the original versions of Janáček’s , for the haunting opening of the movement, instance Jenůfa and From the House of the the repeated ‘Věruju’, set for full, though Dead. In 1995 Wingfield’s edition of the 1927 pianissimo chorus against a trilling orchestra. version became available and was taken up Towards the end of the movement, after by Sir and others in the a general pause and the choral words ‘I v belief that this ‘authentic’ Glagolitic Mass jedinu svetuju’ (And in one holy), comes was the one that should be given. A crucial one of Janáček’s most thrilling moments. difference, however, is that the originally Against the surging figure in the orchestra, published versions of Jenůfa and From which forms the accompaniment for the the House of the Dead had been revised rest of movement, the solo tenor, very high by other hands, while the 1928 version of and exposed, declares his belief in the Holy, the Glagolitic Mass was Janáček’s alone. Catholic, Apostolic church. The movement It simply followed the normal production ends, as does that of ‘Slava’, in a peal of paths of his later operas, Káťa Kabanová, distinctive short ‘Amen’s’ for full chorus. , and The Makropulos For years the version published soon Affair, in the course of which the work was after the Prague première, in 1928, was brought into final shape in collaboration with the only version available, but in 1992 Paul a sympathetic and experienced conductor, Wingfield published a book on the work, Janáček sitting in on rehearsals, making in which he explained that Janáček had adjustments to what he heard, and taking made many changes during rehearsals for advice on tempos, etc. By then, too, the the Brno première, changes incorporated Brno theatre orchestra (which played at the

14 Glagolitic première) had been moulded by its the revisions went on even after the Brno conductor, František Neumann, into a well- première, right up to publication, which drilled force that was thoroughly conversant would seem to indicate further reflections with Janáček’s orchestral demands (having by the on the work rather than grappled triumphantly with Makropulos a desperate measures to simplify it for a year before). At the time it was in fact the third-rate orchestra. When the work was most experienced Janáček orchestra in the performed in Prague (8 April 1928) Janáček world. The choir, the Brno Beseda, was Brno’s made no attempt to reintroduce the original leading and long-established choral society, version and, moreover, approved this version well used to performing contemporary Czech for publication. Accordingly, this recording works, including all of Janáček’s choral- adopts the ‘classic’ (1928) version in its latest orchestral works. edition by Jiří Zahrádka – conceding from Unlike the Janáček of 1916, who, after a the 1927 version only the slightly extended twelve-year wait, had eagerly said yes to ‘Svet’ (which took the sopranos dangerously every change in Jenůfa demanded by the high) – as the version which Janáček wanted Prague conductor, Karel Kovařovic, simply audiences to hear. to get the work on to the Prague stage, © 2016 John Tyrrell the Janáček of 1927 was a supremely self-confident composer, who saw Jenůfa routinely given by many German opera The American soprano Sara Jakubiak has houses, and the recent Sinfonietta promoted been praised by The New York Times for her by Otto Klemperer in and America. He ‘plush-voiced, impressive soprano’ and by had recently confronted the grand Max Brod Opera News as a ‘talented, highly musical over his ‘creative’ German translation of singer’. Her career rapidly expanding in North Makropulos and insisted on (and got) many America and Europe, she has been seen on changes. One cannot really imagine this the stages of the Bayerische Staatsoper, Janáček being forced to do anything he did English National Opera, Semperoper Dresden, not want to. Oper Frankfurt, Opera, The editor of the new editions of both Opernhaus Graz, and De Nationale Opera the 1927 and 1928 versions, Jiří Zahrádka, in roles such as Marie (Wozzeck), Ariadne demonstrates in his introduction that (Ariadne auf Naxos), Polina (Prokofiev’s

15 The Gambler), Elsa (Lohengrin), Agathe Sir Andrew Davis, Christian Curnyn, and (Der Freischütz), Marie (Die tote Stadt), Mark Wigglesworth, she has recently made Eva (Die Meistersinger von Nürnberg), notable appearances at The Dallas Opera, and Rosalinde (Die Fledermaus). She has San Francisco Opera, English National Opera, appeared with some of the foremost Opéra national du Rhin, Opera Vlaanderen, conductors of her generation, including Opéra de , Glyndebourne Festival Opera, Christian Thielemann, Kirill Petrenko, Edward Staatsoper Berlin, Festival, and Gardner, and Zubin Mehta. On the concert The Royal Opera, Covent Garden. In concert stage, she has been heard with the Bergen she has performed with the Orchestra, Saint Paul Chamber Philharmonic under Gustavo Dudamel, Orchestra, Israel Philharmonic Orchestra, Orchestra dell’Accademia Nazionale di Santa Colorado Symphony, American Symphony Cecilia under Antonio Pappano, and the Hallé; Orchestra, and Staatskapelle Dresden. Sara in addition she has appeared at Carnegie Hall, Jakubiak is featured on an eight-volume the BBC Proms, and International CD collection of songs by Charles Ives and Festival. In recital, she has worked with on a recording of Der Freischütz with the Roger Vignoles, Iain Burnside, András Schiff, Staatskapelle Dresden under Christian Julius Drake, and Graham Johnson. A prolific Thielemann. recording artist, Susan Bickley has recorded works by John Eccles, Rossini, Britten, and Firmly established as one of the most Edmund Rubbra for Chandos Records. accomplished mezzo-sopranos of her generation, Susan Bickley masters a Performing on leading concert and operatic repertoire encompassing the baroque, the stages from Europe and the Americas to Asia great nineteenth- and twentieth-century and Australia, Stuart Skelton has emerged dramatic roles, and contemporary works. as one of the finest heroic tenors of his In 2011 she received the Singer Award from generation, acclaimed for a beautiful voice, the Royal Philharmonic Society, the highest outstanding musicianship, and intensely recognition for live classical music in the UK. dramatic portrayals. The Australian artist Having sung on many of the world’s great enjoys a rich relationship with the English stages with conductors such as Sir Mark National Opera where he has appeared Elder, Ingo Metzmacher, Trevor Pinnock, in productions of Fidelio, Peter Grimes,

16 Katya Kabanova, and Jenůfa. He is closely Viotti International Opera Singing Competition associated with the role of Siegmund in in 2004 and International Maria Callas Grand Die Walküre, which he has performed at Prix in Athens in 2005. He performs regularly The Metropolitan Opera, New York, Opéra with the Hungarian State Opera, where he has national de Paris, Seattle Opera, and sung roles such as Figaro (Le nozze di Figaro), Opernhaus Zürich, among many others. Leporello (Don Giovanni), Don Basilio (Il barbiere His performances in a new production of di Siviglia), Banquo (Macbeth), Don Carlos, Parsifal at the Opernhaus Zürich conducted Escamillo (Carmen), and Méphistophélès by Daniele Gatti, in Lohengrin at the Deutsche (Faust). He has performed Bluebeard Staatsoper Unter den Linden, Berlin under (Duke Bluebeard’s Castle) in , Sweden, the baton of Daniel Barenboim, and in Fidelio and , at Teatro alla Scala, Milan, De at Teatro Carlo Felice, Genoa with Lorin Nederlandse Opera, and Wiener Festwochen, Maazel have also been much heralded. Stuart and with the BBC Symphony Orchestra. Skelton maintains a rigorous symphonic Among other engagements, he has recently diary which includes collaborations with sung Escamillo at The Metropolitan Opera, Sir Antonio Pappano and the Orchestra New York and Philip II (Don Carlos) at dell’Accademia Nazionale di Santa Cecilia, Hamburgische Staatsoper. Gábor Bretz also and the San Francisco appears widely in concert, in a repertoire Symphony, Sir and the Berliner that includes J.S. Bach’s St John Passion Philharmoniker, Franz Welser-Möst and and St Matthew Passion, Janáček’s Glagolitic The Cleveland Orchestra, Mariss Jansons Mass, and Tippett’s A Child of Our Time. and the Symphonieorchester des Bayerischen For Chandos he has previously recorded Rundfunks, Vladimir Ashkenazy and the Szymanowski’s Stabat Mater. Sydney Symphony Orchestra, and Christoph von Dohnányi and the Boston Symphony One of Britain’s most widely admired Orchestra. www.stuartskelton.com musicians, Thomas Trotter was an organ scholar at King’s College, Cambridge, and Born in , the bass Gábor Bretz is a continued his studies with Marie-Claire Alain graduate of the Béla Bartók Conservatory of in Paris. He is City Organist in , Music and Franz Liszt Academy of Music, and based in the historic Town Hall, and Resident a winner of the Cesare Bardelli Prize at the Organist at the city’s Symphony Hall. He

17 is also Organist at St Margaret’s Church, such as the Wiener Philharmoniker, Berliner Westminster Abbey, and Visiting Philharmoniker, San Francisco Symphony, Fellow in Organ Studies at the Royal Northern London Philharmonic Orchestra, Philharmonia College of Music, . A recipient Orchestra, and Royal Philharmonic Orchestra. of the Instrumentalist Award from the Royal Thomas Trotter has recorded commercial CDs Philharmonic Society, he won the International at Salisbury Cathedral, , Performer of the Year Award for 2012 from St Giles’ Church Cripplegate, Eton College, and the New York City Chapter of the American Merseburg Cathedral, . Guild of Organists. He has performed as soloist with conductors such as Sir Simon Although formally founded in 1919, the Bergen Rattle, , , and Philharmonic Choir may point to a history Sir Charles Mackerras, and given recitals in that dates back to 1765; legend has it that it the and Konzerthaus, actually began singing a month before the Gewandhaus Leipzig, Wiener Music Society Harmonien was established and Konzerthaus, and for the purpose of organising orchestral Royal Albert Hall, London, International concerts. The Choir flourished during the Performing Arts Centre, Moscow, and Palace tenure of Edvard Grieg as Music Director, of Arts, Budapest. He was consultant for the his choral works still holding a special place Marcussen organ in the Bridgewater Hall, in its repertoire. In the past decade, under Manchester and the Klais organ in Symphony its current director, Håkon Matti Skrede, it Hall, and gave the opening recital on the has reached a new summit of excellence, new or restored organs in Severance Hall, appearing regularly with the Bergen Cleveland, Princeton University Chapel, Philharmonic Orchestra in standard symphonic , Amsterdam, and St David’s repertoire, from Mozart to Britten, while also Hall, Cardiff. He performs regularly on the championing more unusual repertoire and historic instruments at the Church of St Ouen contemporary works. Highlights of its recent in Rouen, Cathedral of St Bavo in Haarlem, calendar include performances of Britten’s Weingarten Abbey in Germany, and Woolsey War Requiem, Elgar’s The Dream of Gerontius, Hall at . He has appeared Janáček’s Glagolitic Mass, Arne Nordheim’s at festivals and organ venues throughout Wirklicher Wald, and, together with several the world and performed with other , Schoenberg’s Gurrelieder.

18 Collegiûm Mûsicûm is one of the leading addition to its work with the orchestra, it musical ensembles in Bergen and a central provides the chorus for Bergen National meeting ground for professional and amateur Opera. A core of extremely versatile musicians. Established by Professor Jan a cappella singers provide the backbone Christensen in 1978, the ensemble consists for all the choir’s activities, which amount of a choir and orchestra totalling eighty to more than fifty performances annually, members, of which the former contributes including a regular series of concerts at to the present CD recording. The group’s Troldhaugen, a highly successful school repertoire primarily features the major concert touring project, and regular seminars classical choral works but extends to and concerts with amateur choirs throughout romantic, modern, and contemporary pieces. the region. The choir nurtures young talent It is concerned with renewing the tradition across Norway and is the mentor of the newly by promoting and commissioning new works, established Edvard Grieg Ungdomskor, whose most recently two works by the Norwegian eclectic work has included an appearance composers Knut Vaage and Torstein Aagaard- in concert with the Rolling Stones. The Nilsen. Collegiûm Mûsicûm enjoys musical Edvard Grieg Kor has recently participated in partnerships with a number of internationally performances of Schoenberg’s Gurrelieder high-profiled conductors and soloists. with the Berlin Philharmonic Orchestra conducted by Sir Simon Rattle, and Britten’s The Edvard Grieg Kor was established in War Requiem and Elgar’s The Dream of Bergen in 2002 under the name KorVest as Gerontius with the Bergen Philharmonic the professional vocal ensemble for Western Orchestra. Norway. Since then it has been a valued partner at all the choral performances of the Bergen Cathedral Choir (Bergen Domkor) Bergen Philharmonic Orchestra. In 2012 it was established in the autumn of 2009, became the country’s first vocal ensemble when Kjetil Almenning was named as its to employ singers in salaried positions; artistic leader and conductor. The steward soon afterwards it was re-launched under of a long and rich choral heritage, it is its current name and took up permanent committed to preserving and renewing residency as the a cappella ensemble at this heritage through quality performances Troldhaugen, the home of Edvard Grieg. In of the established repertoire while also

19 focussing on newer music by twenty-first- and Edvard Grieg Ungdomskor in 2013. He is century composers. It specialises in creating currently chorus master for Bergen National interesting and exciting programmes, its Opera and Bergen Philharmonic Choir and repertoire ranging across the centuries, conductor of Collegiûm Mûsicûm. Håkon Matti from Renaissance masses to commissions Skrede has conducted a number of operas by young Norwegian composers. Bergen with children and youths, such as Menotti’s Cathedral Choir gives frequent concerts Amahl and the Night Visitors, Gluck’s Orfeo all through the year, in Bergen, throughout ed Euridice, Weill’s Der Jasager, and Bock the diocese of Bjørgvin, and abroad, having and Harnick’s Fiddler on the Roof, as well as toured in , Germany, and . many large-scale sacred works for chorus It regularly collaborates with the Bergen and orchestra, including Handel’s Messiah, Philharmonic Orchestra, Bergen Barokk, the the Requiems of Mozart, Duruflé, Fauré, Staff Band of the Norwegian Armed Forces, and Brahms, and Britten’s The Company of Bergen International Festival, Stavanger Heaven. Cathedral Choir, and others. The Cathedral Choir sings during services in Bergen One of the world’s oldest orchestras, the Cathedral, often in chamber formations. Bergen Philharmonic Orchestra dates back to 1765 and thus in 2015 celebrated its Håkon Matti Skrede trained as a violinist 250th anniversary. Edvard Grieg had a close and singer at The Grieg Academy in Bergen. relationship with the Orchestra, serving as its As a chorister and student choirmaster of artistic director during the years 1880 – 82. the Drakensberg Boys Choir in , Edward Gardner, the acclaimed Music Director he decided to develop his skills as a choral of English National Opera, was appointed conductor. He has participated in master- Chief Conductor for a three-year tenure classes by Peter Schreier, Paul Hillier, Kiri Te from October 2015, in succession to Andrew Kanawa, Bob Chilcott, Njål Sparbo, and Robert Litton, Music Director of the Orchestra since Levine, appeared as a soloist in numerous 2003, and now its Music Director Laureate. sacred works, and taken part in several Under Litton’s direction the Orchestra operatic productions. He founded the Edvard raised its international profile considerably, Grieg Kor (formerly KorVest) in 2002, Bergen through recordings, extensive touring, and Guttekor in 2008, Bergen Pikekor in 2010, international commissions.

20 A Norwegian national orchestra, the artistic partnerships with some of the finest one-hundred-and-one strong Bergen musicians in the world, the Orchestra has Philharmonic Orchestra participates recorded with Leif Ove Andsnes, James Ehnes, annually at the Bergen International Festival. Gerald Finley, Alban Gerhardt, Vadim Gluzman, During the last few seasons it has played Stephen Hough, Freddy Kempf, Truls Mørk, in the Concertgebouw, Amsterdam, at Steven Osborne, and Lawrence Power, among the BBC Proms in the Royal Albert Hall, in others. the Wiener Musikverein and Konzerthaus, Having recently recorded Tchaikovsky’s in Carnegie Hall, New York, and in the three great ballets with Neeme Järvi, for Philharmonie, Berlin. In 2015 the Orchestra Chandos, the Orchestra has also recorded toured Germany, Sweden, The , orchestral works, including the symphonies, by Ireland, and England, giving concerts at Rimsky-Korsakov and four critically acclaimed the Concertgebouw and at the BBC Proms, volumes of works by Johan Halvorsen. A series among others. Forthcoming tours will include of the orchestral music of Johan Svendsen has the return to several of these prestigious met with similar enthusiasm. With Sir Andrew venues. Davis the Orchestra has recorded music The Orchestra has an active recording by Berlioz, Delius, Elgar, and Sibelius, and other schedule, at the moment releasing no fewer projects will follow. than four to six CDs every year. Critics The first collaboration on disc between worldwide acknowledge the transformation Edward Gardner and the Orchestra was a the Orchestra has undergone in recent recording of orchestral realisations by Luciano years, applauding the energetic playing Berio, which was released in 2011. A series style and the full-bodied string sound. devoted to orchestral works by Janáček is in Recent and ongoing recording projects the making, and two volumes have already include a Mendelssohn symphony cycle, been issued. www.harmonien.no Messiaen’s Turangalîla-Symphony, ballets by Stravinsky, and symphonies, ballet suites, Recognised as one of the most talented and concertos by Prokofiev. The Orchestra’s conductors of his generation, Edward recording of the complete orchestral music Gardner OBE was born in Gloucester in 1974 of Edvard Grieg remains the reference point and educated at the University of Cambridge in a competitive field. Enjoying long-standing and the Royal Academy of Music where he

21 studied under Colin Metters. After graduating and Orchestra of the Age of Enlightenment. in 2000 he assisted Sir Mark Elder at The Hallé Since 2011 he has been Principal Guest Orchestra for three years before serving as Conductor of the City of Birmingham Musical Director of Glyndebourne Touring Symphony Orchestra, with which he gave the Opera for three years from 2004. He began UK premiere of Weltethos by Jonathan Harvey his tenure as Music Director of English to mark the opening of the 2012 Cultural National Opera in May 2007 with a critically Olympiad, and in 2013 conducted Britten’s acclaimed new production of Britten’s Death Spring Symphony in Birmingham and War in Venice. Under his direction, the ENO has Requiem in St Paul’s Cathedral, London to presented stellar productions of Peter Grimes, celebrate Britten’s centenary year. Benvenuto Cellini, Fidelio, and, during his ninth Internationally, he has had prestigious and final season, Otello, The Mastersingers of conducting appointments with the Nuremberg, and The Queen of Spades, among Royal Concertgebouw Orchestra, others. He received the Royal Philharmonic Netherlands Radio Philharmonic Orchestra, Society Award for Best Conductor in Deutsches Symphonie-Orchester Berlin, 2008, the Olivier Award for Outstanding Gewandhausorchester Leipzig, Radio- Achievement in Opera in 2009, and in the Sinfonie-Orchester Frankfurt, Orchestre Queen’s Birthday Honours List in June 2012 national de France, Orchestra Filarmonica was made an OBE for his Services to Music. della Scala, Toronto Symphony Orchestra, Having been its Principal Guest Conductor Montreal Symphony Orchestra, Czech since August 2013, Edward Gardner took up Philharmonic Orchestra, Swedish Radio his appointment as Chief Conductor of the Symphony Orchestra, and Danish National Bergen Philharmonic Orchestra in October Symphony Orchestra, among others. He 2015, leading its 250th anniversary gala has also worked with the NHK Symphony concert. His many exciting planned projects Orchestra, Melbourne Symphony Orchestra, include recordings for Chandos Records Houston Symphony, Saint Louis Symphony, and national and international tours. He National Arts Centre Orchestra, Ottawa, enjoys a flourishing relationship with the BBC Mahler Chamber Orchestra, Rotterdams Symphony Orchestra and the BBC Proms and Philharmonisch, Orchestre philharmonique de also works closely with the Philharmonia Radio France, and Orchestra dell’Accademia Orchestra, London Philharmonic Orchestra, Nazionale di Santa Cecilia.

22 Edward Gardner works regularly with young Academy of Music. An exclusive recording musicians, including the CBSO and Barbican artist for Chandos, he has most recently orchestras and the Juilliard School of released critically acclaimed discs of works Music in New York, and in 2002 founded the by Lutosławski, Szymanowski, Bartók, Britten, Hallé Youth Orchestra. In September 2014 Verdi, Walton, Janáček, and Berio, and is he was appointed to the newly established engaged in an ongoing project to record Mackerras Chair of Conducting at the Royal orchestral works by Mendelssohn. Julie Kim Julie Lisa-Marie Mazzucco

Sara Jakubiak Susan Bickley

23 © John Wright

Stuart Skelton Gábor Bretz Janáček: Œuvres pour orchestre, volume 3

Adagio pour orchestre, JW VI / 5 date de composition pour cette œuvre). Quand Leoš Janáček (1854 – 1928) connut Aujourd’hui appelée “Adagio” en raison de subitement la célébrité, après le succès son indication de tempo initiale, cette œuvre de Jenůfa à Prague en 1916, ses élèves courte présente tous les attributs d’une commencèrent à vider le coffre de paysan pièce tragique de la fin du romantisme: décoré où le maître conservait des l’allure lente, un ré mineur clair (tonalité compositions antérieures mises au rebus. qui l’on associe rarement à Janáček), un Jaillirent en désordre des œuvres comme thème initial mélancolique pour les bassons Le Journal d’un disparu et le premier opéra au milieu d’autres couleurs orchestrales de Janáček, Šárka, ainsi qu’une courte pièce moroses – altos, violoncelles tremolo et pour orchestre sans titre, recopiée par le ponctuations des contrebasses pizzicato copiste de Šárka et à peu près dans le même comme des “tambours” dans une marche langage musical que l’opéra. Au départ, elle fut funèbre. Bien que l’atmosphère s’allège prise pour une autre ouverture de cet opéra, dans une section centrale plus optimiste (où même si ses relations thématiques avec ce l’on entend le motif de Šárka), l’atmosphère dernier (contrairement à l’ouverture écrite sombre s’impose à nouveau dans la section dans la partition de Šárka) se limitaient à un finale avec un retour du thème initial qui, seul motif, ce qui était peut-être fortuit. Le après une exposition par tout l’orchestre, chef d’orchestre Jaroslav Vogel, biographe se réduit à un cor anglais mélancolique de Janáček, donna une explication plus sur les battements de marche funèbre, plausible: selon lui, ce morceau aurait été confiés maintenant aux timbales, et une écrit par Janáček en réaction immédiate apparition finale pour cor seul. Si Janáček à la mort de son fils, Vladimír, alors âgé écrivit effectivement cette œuvre à la fin de deux ans, enlevé par une méningite à de l’année 1890, elle a dû constituer une streptocoques, le 9 novembre 1890 (fait interruption facile à comprendre dans les révélateur, dans son autobiographie, cinq années intensives d’activités basées Janáček avança l’année “1890” comme sur la musique traditionnelle. En dehors de

25 ses arrangements pour orchestre de danses opportunément appel aux acteurs de “Tyl”, traditionnelles, c’est sa première œuvre cette pièce présentait une série de tableaux orchestrale isolée qui nous soit parvenue vivants, un genre théâtral populaire au dix- et elle témoigne du langage de la fin du neuvième siècle où les acteurs mimaient des romantisme qui caractérise ses compositions scènes en silence (souvent des tableaux antérieures. célèbres) sur un accompagnement musical. Dans le cas présent, les tableaux provenaient Otče náš, JW IV / 29 d’un cycle de l’artiste polonais Jósef Męcina- En 1901, quelques mois avant de reprendre le Krzesz (1860 – 1934), illustrant les paroles du travail sur son opéra Jenůfa, qui était au point Notre Père. Ces tableaux avaient été exposés mort, Janáček composa une œuvre scénique à Vienne et à Varsovie en 1899 et reproduits, étrange et unique afin de lever des fonds avec un long article s’y rapportant, dans pour le refuge de femmes de Brno. La famille l’hebdomadaire illustré de Varsovie Tygodnik Janáček avait participé l’année précédente à illustrowany du 28 octobre 1899, dont un un événement de collecte de fonds pour ce exemplaire arriva au comité du Refuge refuge, le “Beseda slave”, où les exécutants de femmes et semble avoir inspiré cette présentèrent des danses de diverses nations curieuse composition. Les tableaux originaux slaves et pour lequel Janáček avait écrit trois ont disparu et les reproductions en noir et nouvelles pièces (morave, russe et serbe). blanc du Tygodnik illustrowany sont tout ce Si le “Beseda slave” fut une affaire purement qui reste aujourd’hui de l’inspiration initiale musicale, donnée dans la salle de concert de Janáček. tchèque de Brno, l’événement qui eut lieu au Le cycle de Męcina-Krzesz se compose Théâtre national tchèque de Brno, le 15 juin de huit tableaux: un portrait du Christ, suivi 1901, présentait deux courtes pièces jouées de sept tableaux représentant plutôt des par le groupe de théâtre amateur “Tyl”, ainsi paysans de type russe dans des moments qu’une œuvre de Janáček. Elle fut annoncée de crainte religieuse mêlée de respect, tous sur le manuscrit et sur l’affiche comme présidés par une figure éthérée du Christ Moravský Otče náš (Notre Père morave) et (distribuant le pain quotidien, pardonnant était une musique de quinze minutes pour les péchés, éloignant les pécheurs de la ténor solo, chœur à quatre voix et piano sur tentation, etc.). Non-croyant convaincu, les paroles de la prière du Notre Père. Faisant Janáček ne fut sans doute pas attiré par le

26 message religieux de ces tableaux, ni par vůle tvá” (Que Votre volonté soit faite), mise les tableaux eux-mêmes (des exemples en musique comme une chanson russe médiocre de l’art religieux traité de façon mélancolique dans une tonalité mineure, avec sentimentale de la fin du dix-neuvième un second temps accentué et un contrechant siècle), mais leur provenance polonaise tchaïkovskien dans l’accompagnement, et l’attira peut-être, car c’était un fervent “A odpusť nám naše viny” (Pardonne-nous panslaviste. On peut supposer que, après les nos offenses), qui fait penser à Dvořák trois danses slaves de l’année précédente, dans sa veine pentatonique, mais avec des Janáček approfondit une expérience rythmes en miroir typiquement moraves. purement inspirée par la Pologne avec La section finale de cette pièce, “Neuvoď quelque chose au panslavisme accentué nás v pokušení” (Ne nous laissez pas permettant d’intégrer ses allusions musicales succomber à la tentation), reprend le rythme aux divers styles slaves. Un titre plus du plus célèbre de tous les chorals hussites approprié aurait pu être un “Notre Père slave” bohémiens, “Ktož jsú boží bojovníci” (Ceux qui (lorsque, quelques années plus tard, l’œuvre sont les guerriers de Dieu). Mais tout ceci est fut donnée à Prague sous une forme révisée, éclipsé par l’énergie pure de la conclusion: le piano fut remplacé par la harpe et l’orgue, la puissante écriture à l’unisson pour orgue, l’épithète “morave” fut aussi abandonnée). les motifs ostinato typiques et la fin abrupte Janáček réduisit les sept scènes sur un “Amen” retentissant font penser à potentielles à cinq (en réunissant les deux un Janáček beaucoup plus tardif (aussi premiers et les deux derniers tableaux), panslave) – celui de la Messe glagolitique. toutes soigneusement contrastées et entrecoupées d’interludes instrumentaux Zdrávas Maria, JW II / 14 substantiels pour permettre à un nouveau Même si Janáček fut pendant de nombreuses groupe de se former sur scène. La première, années chef de chœur au Monastère “Otče náš” (Notre Père), est un canon sobre augustinien où il avait lui-même été choriste, à deux voix qui s’achève sur un unisson et s’il avait fondé et présidé l’École d’orgue efficace répété de la phrase “posvěť se de Brno pour former des musiciens d’église, jméno tvé” (Que Votre nom soit sanctifié). d’habitude on l’associe rarement à la musique On entend les styles slaves dans plusieurs liturgique ou sacrée. Lorsqu’il était étudiant, des sections suivantes, notamment “Buď il écrivit des motets fondés sur des textes

27 liturgiques latins et, dans le cadre de ses Peut-être les tentatives de la comtesse activités pédagogiques, il composa une (germanophone) pour s’adresser à lui partie d’une messe à titre d’exemple pour ses en tchèque ont-elles séduit Janáček (sa élèves de l’École d’orgue, mais ses autres lettre de remerciements est écrite dans un pièces sur des textes religieux, comme l’Otče mauvais tchèque à peine intelligible) et il náš et la Messe glagolitique, enregistrées écrivit aimablement une petite pièce pour dans ce disque, ont un aspect théâtral ou au des effectifs modestes avec une prévenante moins de concert qui éclipse toute dimension alternative pour des effectifs encore plus spirituelle. Ainsi la musique qu’il a écrite modestes au cas où la comtesse serait dans pour l’Ave Maria (Je vous salue, Marie), la l’incapacité de disposer d’un chœur, d’un prière mariale en tchèque, est inhabituelle ténor ou d’un orgue. dans sa simplicité et sa pieuse intensité – Cette pièce, apparemment une œuvre de essentiellement une mélopée pour voix solo circonstance résultant d’une commande, avec violon obligé, accompagnement d’orgue avait une résonance personnelle plus et, au milieu et à la fin, des interventions d’un profonde pour Janáček. L’air principal est chœur à quatre voix (surtout des répétitions presque identique à celui utilisé dans “La de la même note du mot “Amen”, reprenant les Vierge de Frýdek” de la suite pour piano octaves initiales répétées au violon). Sur un sentier recouvert, JW VIII / 17. Si cette La plus ancienne référence à ce morceau composition antérieure rappelait un hymne se trouve dans une lettre de la comtesse de pèlerin connu d’une expédition familiale à Leopoldina Serényi, datée du 22 juillet Frýdek, cette mise en musique de l’Ave Maria 1904, remerciant Janáček pour cette était encore une autre commémoration du œuvre qui lui est dédiée et qu’il lui envoya même événement et montre à nouveau que, (malheureusement trop tard) pour son comme la révision, quelques mois plus tôt, concert de bienfaisance. La famille Serényi de son Élégie sur la mort de ma fille Olga, possédait à l’origine la station thermale de JW IV / 30, Janáček était encore très Luhačovice et il est possible, que lorsqu’il y préoccupé par cette tragédie familiale. Il y séjourna en vacances en mai 1904 (quelques a un moment frappant vers la fin lorsque mois après la première représentation à les mots “v hodinu smrti naší” (à l’heure Brno de Jenůfa), Janáček ait été approché de notre mort) mis en musique comme un par la comtesse qui lui demanda cette pièce. récitatif sur une seule note et marqués

28 “fébrilement”, viennent interrompre le flux du fut publié cette année-là dans le journal de lyrique Andante – rappel soudain de la mort musique religieuse Cyril et mis en musique de l’enfant survivant de Janáček à l’âge de par plusieurs compositeurs tchèques. À vingt-et-un ans. en juger d’après des esquisses qui nous sont parvenues, Janáček joua aussi avec Messe glagolitique, JW III / 9 ce texte vers cette époque, mais ne s’y Vers la fin de l’année 1925, Janáček acheva attaqua sérieusement que quelques années son huitième opéra, L’Affaire Makropoulos. plus tard, au cours de vacances d’été Ce fut son opéra le plus difficile – pour les exceptionnellement pluvieuses à Luhačovice, chanteurs et en particulier pour l’orchestre – en juillet 1926. Il continua à y travailler après et au lieu de se lancer dans un autre opéra, son retour à Brno et, dès le 15 octobre 1926, comme il en avait l’habitude, il attendit avec il avait réalisé une version qui fut recopiée impatience de voir comment sa production au propre par son copiste. Cependant, il scénique se porterait un an plus tard. À la continua à y faire des retouches pendant place, il se consacra à d’autres choses, des mois, si bien qu’il fallut à nouveau la notamment la composition de deux de recopier avant de la mettre en répétition, à ses plus belles œuvres non lyriques, la l’automne suivant. Janáček était alors devenu Sinfonietta et la Messe glagolitique. une vedette internationale et la création à Janáček devait connaître l’existence Brno de la Messe glagolitique, le 5 décembre du texte de la messe en slavon liturgique 1927, attira de nombreux critiques musicaux (écrit à l’origine dans un ancien alphabet étrangers; comme la Sinfonietta, donnée un glagolitique, première version du cyrillique) an plus tôt, cette œuvre remporta un grand au moins depuis 1907, où un ancien élève, succès. L’élève de Janáček, Jaroslav Kvapil, Láďa Kožušníček, lui envoya un exemplaire de dirigeait le chœur du Beseda de Brno et sa Misa glagolskaja pour chœur mixte sans l’orchestre du Théâtre national de Brno. Parmi accompagnement. Toutefois, c’est seulement les solistes figuraient Alexandra Čvanová en 1920, lorsqu’un édit papal autorisa la (la première Emilia Marty dans L’Affaire célébration du rite romain en slavon liturgique Makropoulos) et le ténor Stanislav Tauber, qui dans certaines églises tchèques les jours avait participé à de nombreuses premières de grandes fêtes, que le texte se répandit en concert de Janáček. La même équipe davantage en Tchécoslovaquie. Ce texte (mais alors avec l’Orchestre philharmonique

29 tchèque) fut réunie lorsqu’elle fut reprise, répétées de “Gospodi, pomiluj” (Seigneur quatre mois plus tard, à Prague. ayez pitié), et les fanfares ostinato (un rappel Le fait que Janáček ait traité d’un de la récente Sinfonietta de Janáček) de texte liturgique (il s’agit d’une version en l’Introduction. Par contre, le “Věruju” (Credo) slavon liturgique de la messe catholique central, de loin le mouvement le plus long, usuelle) semble avoir eu peu d’impact est profondément dramatique, surtout sur ses instincts habituels en matière dans le passage instrumental où un usage de composition. Sa version fait appel abondant des timbales évoque “le bruit et à toutes les ressources de l’orchestre la foudre” lorsque les cieux se déchirent. et, comme sa première œuvre chorale Un calme interlude offre une méditation sur majeure, Amarus, JW III / 6, elle s’inscrit l’Incarnation. Il se développe rapidement en dans un cadre extérieur de mouvements un violent sommet, où (après un solo d’orgue purement instrumentaux / orchestraux déchaîné) les voix chorales viennent tonner (une introduction solennelle et, à la fin, un sur les mots “Raspet že zany” (crucifié exubérant solo d’orgue suivi d’une Intrada pour nous). Les fréquentes références orchestrale enjouée pour mener l’œuvre à une unificatrices au début obsédant du conclusion festive). Les dispositions vocales mouvement, le “Věruju” répété, confié à tout sont identiques à celles des précédentes le chœur, mais pianissimo, sur les trilles de œuvres pour chœur et orchestre d’envergure l’orchestre, sont tout aussi caractéristiques. de Janáček, Amarus et L’Évangile éternel, Vers la fin du mouvement, après une pause JW III / 8, utilisant totalement le chœur et avec générale et les mots chantés par le chœur des parties solistes pour ténor et soprano. “I v jedinu svetuju” (Une, sainte), vient l’un Toutefois, ici, les deux parties solistes sont des moments les plus exaltants de Janáček. complétées, non sans quelque réticence, par Sur la figure ascendante à l’orchestre, qui des parties de basse et d’alto: la basse n’est sert d’accompagnement dans le reste entendue pour la première fois qu’à la fin de du mouvement, le ténor solo, très aigu et “Věruju” (Je crois); l’alto doit attendre jusqu’à exposé, déclare sa foi en l’Église sainte, “Svet” (Saint), l’avant-dernier numéro vocal. catholique et apostolique. Le mouvement Les mouvements initiaux soulignent les s’achève, comme celui de “Slava” (Gloria), aspects statiques et hiératiques d’une pièce sur un retentissement de courts “Amen” liturgique, par exemple dans les phrases caractéristiques pour tout le chœur.

30 Pendant des années, la version publiée de production de ses opéras ultérieurs, peu après la première exécution à Prague, Katia Kabanová, La Petite Renarde rusée et en 1928, fut la seule disponible, mais en L’Affaire Makropoulos, l’œuvre trouvant sa 1992, Paul Wingfield fit paraître un livre sur forme finale dans la collaboration avec un cette œuvre dans lequel il expliqua que chef d’orchestre sympathique et expérimenté, Janáček avait fait beaucoup de changements Janáček assistant aux répétitions, faisant des au cours des répétitions pour la première ajustements à ce qu’il entendait et suivant de Brno, changements incorporés dans des conseils pour les tempos, etc. En outre, la version “classique” publiée en 1928. Il l’orchestre du théâtre de Brno (qui jouait prétendit que la version de 1927 était plus lors de la création de la Messe glagolitique) novatrice (faisant usage de mètres multiples avait alors été modelé par son chef, František simultanés, d’accords pour les timbales Neumann, en un effectif bien préparé, très accordées, etc.) et que les changements versé dans les exigences orchestrales de lui avaient été imposés en raison de Janáček (il s’était triomphalement débattu l’insuffisance des effectifs de Brno: il fallait avec L’Affaire Makropoulos un an plus tôt). À donc jouer la version que Janáček avait mise l’époque, c’était en fait l’orchestre Janáček en répétition, ce qui s’inscrivait dans la ligne le plus expérimenté au monde. Le chœur, le de la restauration des versions originales Beseda de Brno, était la société chorale la plus des opéras de Janáček, par exemple importante de Brno, fondée très longtemps Jenůfa et De la maison des morts. En 1995, auparavant, bien habituée à exécuter l’édition de Wingfield de la version de 1927 des œuvres tchèques contemporaines, fut disponible et adoptée notamment par notamment toutes les œuvres symphoniques- Sir Charles Mackerras, croyant que cette chorales de Janáček. Messe glagolitique “authentique” était Contrairement au Janáček de 1916 qui, celle qu’il fallait donner. Toutefois, il y a une après une attente de douze ans, avait accepté différence cruciale: les premières versions avec enthousiasme tous les changements publiées de Jenůfa et De la maison des morts demandés dans Jenůfa par le chef d’orchestre avaient été révisées par d’autres mains, de Prague, Karel Kovařovic, juste pour que alors que la version de 1928 de la Messe l’ouvrage soit donné sur la scène pragoise, glagolitique était le fait du seul Janáček. le Janáček de 1927 était un compositeur très Elle suivait simplement l’évolution normale assuré, qui voyait Jenůfa donné régulièrement

31 dans de nombreux théâtres lyriques désespérées en vue de la simplifier pour un allemands et la récente Sinfonietta promue orchestre de troisième catégorie. Lorsque par Otto Klemperer à Berlin et en Amérique. Il l’œuvre fut donnée à Prague (8 avril 1928), avait récemment affronté le grand Max Brod Janáček ne chercha pas à réintroduire la sur sa traduction allemande “créative” de version originale et, en outre, il approuva cette L’Affaire Makropoulos et insisté sur (et obtenu) version pour la publication. En conséquence, beaucoup de changements. On ne peut cet enregistrement adopte la version réellement imaginer ce Janáček forcé de faire “classique” (1928) dans sa dernière édition par quelque chose qu’il ne voulait pas faire. Jiří Zahrádka – seule concession à la version L’éditeur des nouvelles éditions des de 1927, le “Svet” un peu plus développé versions de 1927 et de 1928, Jiří Zahrádka, (qui emmène les sopranos dans un aigu démontre dans son introduction que les dangereux) –, la version que Janáček voulait révisions continuèrent même après la création faire entendre aux auditeurs. à Brno, jusqu’à la publication, ce qui semblerait indiquer d’autres réflexions du compositeur © 2016 John Tyrrell sur cette œuvre plutôt que des actions Traduction: Marie-Stella Pâris

32 Hans Jørgen Brun

Thomas Trotter Håkon Matti Skrede , 28 October 1899 1934), as reproduced illustrowany in Tygodnik – Jósef Męcina-Krzesz (1860 Two of the paintings that inspired ‘Otče náš’ Glagolská mše Glagolitic Mass 1 I. Úvod I. Introduction

2 II. Gospodi, pomiluj II. Kyrie eleison Gospodi, pomiluj. Lord, have mercy. Chrste, pomiluj! Christ, have mercy! Gospodi, pomiluj! Lord, have mercy!

3 III. Slava III. Gloria Slava vo vyšnich Bogu Glory to God in the highest, i na zemľi mir člověkom blagovoľenija. and on earth peace to people of good will. Chvalim Te. Blagoslovľajem Te. We praise you. We bless you. Klańajem Ti se. Slavoslovim Te. We adore you. We glorify you. Chvaly vozdajem Tebě velikyje radi slavy We give you thanks for your great glory, tvojeje. Lord God, heavenly King, Gospodi Bože, Cěsarju nebeseskyj, O God, almighty Father. Bože, Otče vsemogyj. Lord, Only Begotten Son, Jesus Christ! Gospodi, Synu jedinorodnyj, Isuse Chrste! Lord God, Lamb of God, Son of the Father! Gospodi Bože, Agneče Božij, Synu Oteč! You take away the sins of the world. Vzemlej grěchy mira. Have mercy on us. Pomiluj nas. You take away the sins of the world! Vzemlej grěchy mira! Receive our prayer. Primi moľenija naša. You are seated at the right hand of the Sědej o desnuju Otca. Father. Pomiluj nas! Have mercy on us! Jako Ty jedin svet. For you alone are Holy. Ty jedin Gospod. You alone are the Lord. Ty jedin vyšnij, You alone are the Most High, Isuse Chrste, so svetym Duchom, Jesus Christ, with the Holy Spirit, vo slavě Boga Otca. in the glory of God the Father. Amin. Amen.

4 IV. Věruju IV. Credo Věruju v jedinogo Boga, I believe in one God, Otca vsemoguštago, the Father almighty,

35 tvorca nebu i zemľi, maker of heaven and earth, vidimym vsěm i nevidimym. of all things visible and invisible. Amin. Amen. I v jedinogo Gospoda Isusa Chrsta, [I believe] in one Lord Jesus Christ, Syna Božija jedinorodnago. the Only Begotten Son of God. I ot Otca roždenago prěžde vsěch věk. Born of the Father before all ages. Boga ot Boga, svět ot světa, God from God, Light from Light, Boga istinna, ot Boga istinnago, true God from true God, roždena, ne stvor’ena, begotten, not made, jedinosuštna Otcu, consubstantial with the Father, jimže vsja byše. through him all things were made. Iže nas radi člověk i radi našego spasenja. For us men and for our salvation. Snide s nebes. He came down from heaven. I voplti se ot Ducha sveta iz Marije Děvy, And by the Holy Spirit was incarnate of the Virgin Mary,

i večlověči se. and became man. Raspet že zany, For our sake he was crucified, pri Pontijscěm Pilatě under Pontius Pilate, mučen i pogreben byst. he suffered death and was buried. I voskrse v tretij den He rose on the third day po Pisaniju. according to the Scriptures. I vzide na nebo. He ascended into heaven. Sědit o desnuju Otca. Is seated at the right hand of the Father. I paky imat priti sudit živym, mrtvym so He will come again in glory to judge the slavoju; living and the dead; jegože cěsarstvju nebudet konca. his kingdom will have no end.

I v Ducha svetago, [I believe] in the Holy Spirit, Gospoda i živototvoreštago: the Lord and giver of life: ot Otca i Syna ischodeštago. who proceeds from the Father and the Son. S Otcem že i Synom kupno, Who with the Father and the Son poklańajema i soslavima. is adored and glorified. Iže glagolal jest Proroky. Who has spoken through the prophets.

36 I v jedinu svetuju, katoličesku [I believe] in one, Holy, Catholic, i apostolsku crkov. and Apostolic Church. I spovědaju jedino krščenje I confess one Baptism v otpuščenje grěchov. for the forgiveness of sins. I čaju voskrsenja mrtvych. I await the resurrection of the dead I života buduštago věka. and the life of the world to come. Amin! Amen.

5 V. Svet V. Sanctus Svet, svet, svet, Gospod, Bog Sabaot. Holy, Holy, Holy, Lord God of Hosts. Plna sut nebo, zem’a slavy tvojej! Heaven and earth are filled with your glory! Osanna vo vyšnich. Hosanna in the highest. Blagoslovľen gredyj vo ime Gospodńe. Blessed is he who comes in the name of Osanna vo vyšnich! the Lord. Hosanna in the highest!

6 VI. Agneče Božij VI. Agnus Dei Agneče Božij, vzemlej grěchy mira, Lamb of God, you take away the sins of pomiluj nas! the world, Agneče Božij, vzemlej grěchy mira, have mercy upon us! pomiluj nas! Lamb of God, you take away the sins of Agneče Božij, vzemľej grěchy mira, the world, daruj nam mir. have mercy upon us! Lamb of God, you take away the sins of the world, grant us peace.

7 VII. Varhany solo VII. Organ solo

8 VIII. Intrada VIII. Intrada

Text zvýrazněný kurzívou Janáček Italics mark sections of the text that were vynechal. omitted by Janáček.

37 10 Zdrávas Maria Hail Mary Zdrávas Maria, milosti plná. Hail Mary, full of grace. Pán Bůh s Tebou, The Lord is with thee, požehnána jsi mezi ženami, blessed art thou among women, a požehnaný plod života Tvého Ježíš. and blessed is the fruit of thy womb, Jesus. Amen. Amen. Svatá Maria! Matko Boží! Holy Mary! Mother of God! Pros za nás hříšné Pray for us sinners, nyní i v hodinu smrti naší. now, and at the hour of our death. Amen. Amen.

Otče náš Our Father [The Lord’s Prayer] 11 Otče náš, jenž jsi na nebesích, Our Father, which art in heaven, posvěť se jméno tvé. hallowed be thy name. Ó, přijď nám království tvé. Thy kingdom come.

12 Buď vůle tvá Thy will be done, jako v nebi, tak i na zemi. in earth as it is in heaven.

13 Chléb náš vezdejší dej nám dnes! Give us this day our daily bread.

14 A odpusť nám naše viny, And forgive us our trespasses, jakož i my odpouštíme našim viníkům. as we forgive them that trespass against us.

15 Neuvoď nás v pokušení, Lead us not into temptation; ale zbav nás všeho zlého. but deliver us from evil. Amen. Amen.

38 Rieger organ atBergenCathedral

Hans Knut Sveen Also available

Janáček Janáček Orchestral Works, Volume 1 Orchestral Works, Volume 2 CHSA 5142 CHSA 5156

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Chandos 24-bit / 96 kHz recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 24-bit / 96 kHz recording. In order to reproduce the original waveform as closely as possible we use 24-bit, as it has a dynamic range that is up to 48 dB greater and up to 256 times the resolution of standard 16-bit recordings. Recording at the 44.1 kHz sample rate, the highest frequencies generated will be around 22 kHz. That is 2 kHz higher than can be heard by the typical human with excellent hearing. However, we use the 96 kHz sample rate, which will translate into the potentially highest frequency of 48 kHz. The theory is that, even though we do not hear it, audio energy exists, and it has an effect on the lower frequencies which we do hear, the higher sample rate thereby reproducing a better sound.

A Hybrid SA-CD is made up of two separate layers, one carries the normal CD information and the other carries the SA-CD information. This hybrid SA-CD can be played on standard CD players, but will only play normal stereo. It can also be played on an SA-CD player reproducing the stereo or multi-channel DSD layer as appropriate.

Microphones Thuresson: CM 402 (main sound) Schoeps: MK22 / MK4 / MK6 DPA: 4006 & 4011 Neumann: U89 CM 402 microphones are hand built by the designer, Jörgen Thuresson, in Sweden.

41 This recording was made with support from

This performance and recording project has received generous financial support from Sir Vernon Ellis Michael Beverley DL Nicholas Snowman OBE Jake and Ewi Shafran

Many thanks also to the Assistant Conductor, Lars-Thomas Holm

Recording producer Brian Pidgeon Sound engineer Ralph Couzens Assistant engineers Gunnar Herleif Nilsen, Norwegian Broadcasting Corporation (NRK), and Jonathan Cooper Editor Jonathan Cooper A & R administrator Sue Shortridge Recording venue Grieghallen (Glagolitic Mass, Adagio) and Bergen Cathedral (Otče náš, Zdrávas Maria, organ part of the Glagolitic Mass), Bergen, Norway; 17 – 20 August 2015 Front cover ‘View towards the Petrov Cathedral and former Vlněna cloth factory, Brno’, photograph © Jozef Henzl Back cover Photograph of Edward Gardner © Benjamin Ealovega Photography Design and typesetting Cap & Anchor Design Co. (www.capandanchor.com) Booklet editor Finn S. Gundersen Publishers Bärenreiter, Prague (Glagolitic Mass, Zdrávas Maria, Otče náš), Universal Edition, Prague (Adagio) p 2016 Chandos Records Ltd c 2016 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Country of origin UK

42 © Benjamin Ealovega Photography©

Edward Gardner CHANDOS DIGITAL CHSA 5165 CHANDOS CHANDOS

Leoš JanáCˇ Ek (1854 – 1928) Orchestral Works, Volume 3 * 1 - 8 Glagolitic Mass, JW III / 9 (1926 – 27) 39:26 JANÁC (Glagolská mše) Soloists / Choirs BPO Gardner

9 adagio, JW VI / 5 (1890?)† 5:47 ˇ EK: ORCHESTRAL WORKS, VOL. 3 10 Zdrávas Maria, JW II / 14 (1904)‡ 4:13 (Hail Mary) This recording was made with David Stewart violin • Karstein Askeland organ support from 11 - 15 Otc�e náš, JW IV / 29 (1901, revised 1906)§ 14:36 (Our Father [The Lord’s Prayer]) Johannes Wik harp • Karstein Askeland organ p 2016 Chandos Records Ltd TT 64:30 c 2016 Chandos Records Ltd Chandos Records Ltd Sara Jakubiak soprano*‡ • Susan Bickley mezzo-soprano* Colchester • Essex • England Stuart Skelton tenor*§ • Gábor Bretz bass* • Thomas Trotter organ* Bergen Philharmonic Choir* Håkon Matti Skrede chorus master Choir of Collegiûm Mûsicûm* Håkon Matti Skrede chorus master Edvard Grieg Kor*‡§ Håkon Matti Skrede chorus master Bergen Cathedral Choir‡§ Kjetil Almenning chorus master CHSA 5165 CHSA 5165 Bergen Philharmonic Orchestra*† David Stewart leader Edward Gardner

All tracks available This Hybrid SA-CD SA-CD and its logo are in stereo and can be played on any trademarks of Sony. multi-channel standard CD player.