Janáček's Glagolitic Mass
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KEY RELEASES | November 2011 ANTONI WIT conducts JanáČek’s GlaGolitic Mass One of 20th Century’s Sacred Choral Masterworks Recorded in Spectacular 24-bit, 88.2 kHz Stereo and Surround Sound Simultaneously Released on CD and Blu-ray Audio Disc JanáČek Glagolitic Mass, sinfonietta ©Warsaw Philharmonic Orchestra ©Warsaw Christiane Libor, soprano • Ewa Marciniec, alto • Timothy Bentch, tenor Wojciech Gierlach, bass • Jarosław Malanowicz, organ Warsaw Philharmonic Choir & Orchestra • Antoni Wit Leoš Janáček’s dramatic Glagolitic Mass is set to a ninth century Old Church Slavonic text. With its highly individual synthesis of thunderous brass outbursts, rhythmic energy, radiant melodies and interludes of rapt contemplation, the work has established itself as a unique contribution to the choral repertoire. An avowed statement of his belief and patriotic pride in Czechoslovakian national independence, Janáček’s Sinfonietta uses spectacular large-scale orchestral forces. Both of these works belong to the composer’s last and most inspired decade, and represent his mature musical language at its most communicative. ‘This is a dream come true for me – Janáček’s non-operatic masterworks on one CD or Blu-ray Audio disc. The Mass is one of the most exciting pieces of sacred music ever written, with tremendous rhythmic energy and great melodies. 8.572639 (CD) The Sinfonietta, written for huge orchestral forces with a prominent brass section, is equally exciting and the performances and sound do full justice to both works.’ – Klaus Heymann 7 47313 26397 4 Listen to excerpts of Credo and Intrada from the Glagolitic Mass: PLAY About the Works The Glagolitic Mass has its origins in an unfinished Mass setting of 1907/8, though little of that is discernible in the present work, which pointedly eschews the Latin text in favour of the Old Church Slavonic devised in ninth century Moravia by missionaries Cyril and Methodius, and whose distinctive script gives the piece its title. Composed between October and December 1926, it was revised the following May and duly went into rehearsal that September, when the composer made numerous and sometimes far-reaching changes that toned down its often startling modernity. That ʻoriginalʼ version has latterly been reconstructed and performed, but the present recording is of the more familiar revision which received its successful première by the Brno Arts Society conducted by Jaroslav Kvapil in Brno on 5th December 1927 and which, despite some qualms as to Janáčekʼs unorthodox religious stance, has established itself as a unique contribution to the choral repertoire. If the Glagolitic Mass gives vent to Janáčekʼs often professed pan-Slavism, then the Sinfonietta is an avowed statement of belief in the Czechoslovak nation. Its origin came through the composerʼs hearing a military band in the town of Písek at the outset of 1926, soon after which he was commissioned to NBD0026 (Blu-ray Audio) write some fanfares for the opening of the Sokol Gymnastic Festival and responded with an initial version of what became the present workʼs initial movement. The piece as it then evolved was initially titled ʻMilitary Sinfoniettaʼ and dedicated to the Czech army, but this title had been altered by the time of the première by Václav Talich in Prague on 26th June 1926. Indeed, central to its conception 7 30099 00266 0 were Janáčekʼs responses to the buildings in Brno alluded to in the subheadings of the latter four Booklet notes in English movements: buildings which he had known from adolescence but whose more affirmative qualities he Total Playing Time: 63:05 had only come to realise in the years following Czech independence. © 2011 Naxos Rights International Limited Key Releases | 1 KEY RELEASES | November 2011 Christiane Libor Ewa Marciniec Timothy Bentch Wojciech Gierlach Christiane Libor was born in Berlin, where Ewa Marciniec has participated Tenor Timothy Bentch has established The Polish bass Wojciech Gierlach she received her first lessons in piano in important international master- himself in Hungary as one of the completed his studies at the Fryderyk and singing. Until 1996 she studied at the classes and has been a prizewinner in leading lyric tenors of his generation. Chopin Music Academy in Warsaw in Musikhochschule für Musik Hans Eissler competitions in Poland and abroad. He has an operatic repertoire of over 2001, and has won many international and completed her additional concert She has a repertoire ranging from the 35 roles, from Monteverdi to Stravinsky prizes, including the Caruso Prize in course of study in 1999. In 1997 she Baroque to the contemporary and has and Britten, and he has performed Milan. He has made guest appearances attended classes in Lieder interpretation appeared with leading orchestras in all the standard concert pieces from at notable houses, including the Teatr with Dietrich Fischer-Dieskau and Júlia Poland as well as Berlin, Saarbrücken, the Renaissance and Baroque to the Wielki and Warsaw Chamber Opera, and Várady, and also attended master- Belgium, Switzerland, Italy, Denmark, large works of Mahler and Verdi. In at theatres in Lisbon, Dublin, Capetown, classes with Edith Mathis, Hans Hotter, The Netherlands, France and Israel. 2005 he was awarded the Artijus Prize Klagenfurt, Bari, Oviedo, Pisa, Ravenna Peter Schreier and Joseph Protschka. In She has appeared in opera with in recognition of his contribution to and Cremona. He has taken part in the 1998 she received the O.E. Hasse-Prize the Teatro dellʼOpera di Roma, modern Hungarian music following festivals of Aix-en-Provence, Pesaro, La of the Berlin Academy of the Arts and was Teatro Comunale di Bologna, Teatro the première performance of Funeral Coruña and Klosterneuburg. His broad prize-winner of the 1999 VII. International Comunale Giuseppe Verdi di Trieste, Rites by Zoltán Jeney. He devotes operatic repertoire ranges from Handelʼs Mozart-Competition in Salzburg. Her and in Germany with Oper Frankfurt a significant amount of time to Imeneo (the title role and Argenio), to rôles have included the Feldmarschallinʼ and Staatstheater Oldenburg, and in teaching, notably each summer at the Mozartʼs Don Giovanni, Carnicerʼs (Der Rosenkavalier), Leonore (Fidelio) Austria at the Landestheater Linz. She Crescendo Summer Institute of the Il dissoluto punito (Commendatore), Senta (Der fliegende Holländer), Eva (Die has been a guest at a number of major Arts (www.hungary.crescendo.org) Rimsky-Korsakovʼs Mozart and Salieri Meistersinger) and Donna Anna (Don international festivals and collaborated which he founded in 2004. (Salieri) and Pucciniʼs La Bohème Giovanni) and her career has continued with a number of leading conductors. (Colline). His rôles in Rossini have with leading rôles in major opera houses included Mustafà in Lʼitaliana in Algeri, and concert appearances throughout Assur, Alidoro, Lord Sidney and Don Europe and in America. Profondo. He is also known as an oratorio singer and recitalist. Warsaw Philharmonic Orchestra The first performance of the Warsaw Philharmonic Orchestra took place on 5th November 1901 in the newly opened Philharmonic Hall under the artistic director and principal conductor, Emil Młynarski, with the world-renowned pianist, composer and future statesman Ignacy Jan Paderewski as soloist in a programme that included Paderewskiʼs Piano Concerto in A minor and works of other Polish composers, Chopin, Moniuszko, Noskowski, Stojowski and Żeleński. The orchestra achieved considerable success until the outbreak of war in 1939, with the destruction of the Philharmonic Hall and the loss of 39 of its 71 players. Resuming activity after the war, the orchestra was conducted by Straszyński and Panufnik, and in January 1950 Witold Rowicki was appointed director and principal conductor, organizing a new ensemble under difficult conditions. In 1955 the rebuilt Philharmonic Hall was re-opened, with a large hall of over a thousand seats and a hall for chamber music, recognised as the National Philharmonic of Poland. Bohdan Wodiczko, an outstanding musician and modern music enthusiast, took over the post of Witold Rowicki, and in 1958 Rowicki was again appointed artistic director and principal conductor, a post he held until 1977, when he was succeeded by Kazimierz Kord, serving until the end of thecentenary celebrations in 2001. In 2002 Antoni Wit became managing and artistic director of the Warsaw Philharmonic – The National Orchestra and Choir of Poland. Antoni Wit Antoni Wit, one of the most highly regarded Polish conductors, studied conducting with Henryk Czyz at the Academy of Music in Kraków, subsequently continuing his studies with Nadia Boulanger in Paris. He also graduated in law at the Jagiellonian University in Kraków. Immediately after completing his studies he was engaged as an assistant at the Warsaw Philharmonic Orchestra by Witold Rowicki and was later appointed conductor of the Poznań Philharmonic, collaborated with the Warsaw Grand Theatre, and from 1974 to 1977 was artistic director of the Pomeranian Philharmonic, before his appointment as director of the Polish Radio and Television Orchestra and Choir in Kraków, from 1977 to 1983. From 1983 to 2000 he was managing and artistic director of the National Polish Radio Symphony Orchestra in Katowice, and from 1987 to 1992 he was the chief conductor and then first guest conductor of the Orquesta Filarmónica de Gran Canaria. In 2002 he became managing and artistic director of the Warsaw Philharmonic Orchestra and since the 2010/11 season, he has been first guest conductor with the Orquesta Sinfónica de Navarra in Pamplona. His international career has brought engagements with major orchestras throughout Europe, the Americas and the Near and Far East. He has made over 200 recordings, including an acclaimed release for Naxos of the piano concertos of Prokofiev, awarded the Diapason dʼOr and Grand Prix du Disque de la Nouvelle Académie du Disque. In January 2002 his recording of the Turangalîla Symphony by Olivier Messiaen (8.554478-79) was awarded the Cannes Classical Award at Midem Classic 2002. In 2004 he received the Classical Internet Award.