£16 post free World-wide

 


555 sonatas 9Cds mp3 files
Only £22


 


Benjamin: Written on Skin £16

Search
What's New
Previous CDs
Concerts
Jazz
Nostalgia
Composers
Resources
Announce
Labels index


Every day we post 10 new Classical CD and DVD reviews. A free weekly summary is available by e-mail. MusicWeb is not a subscription site. To keep it free please purchase discs through our links.

  Classical Editor Rob Barnett    



Some items
to consider


Shostakovich 14 Petrenko


Rachmaninov #3
Prokofiev #2

 


Dunedin Consort

Peter Grimes

Hymn of Jesus: Sea Drift

Complete Mozart Edition
Mozart complete edition

Vaughan Williams Symphonies 5 & 8 £11

Weiner, Klepper, Bloch, Schulhoff £12 post free


Available again

REVIEW
RECORDING OF THE MONTH



Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

Musicweb sells the following labels
Acte Préalable
Alto
Arcodiva
CDAccord
Centaur
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter

Subscribe to our free weekly newsletter
 

alternatively
CD: MDT AmazonUK
Sound Samples & Downloads

Jan Dismas ZELENKA (1679 - 1745)
Missa votiva in e minor (ZWV 18)
Joanne Lunn (soprano), Daniel Taylor (alto), Johannes Kaleschke (tenor), Thomas E. Bauer (bass)
Kammerchor Stuttgart, Barockorchester Stuttgart/Frieder Bernius
rec. 7-9 July 2008, Evangelische Kirche of Reutlingen-Gönningen, Germany. DDD
CARUS 83.223 [69:15]

Experience Classicsonline

Jan Dismas Zelenka was one of the best composers of his time, whose works were highly appreciated by Johann Sebastian Bach. His life was however touched with tragedy. In 1710 or 1711 he was appointed as a double-bass player in the court orchestra in Dresden, but soon he also became active as a composer. In the dedication of his first mass to the Elector August the Strong he asked for permission to go to Italy and France to broaden his musical horizons; this request wasn't granted. The Kapellmeister at the time was Johann David Heinichen, who in the 1720s often fell ill, and whose duties had to be taken over by Zelenka. When Heinichen died in 1729 Zelenka hoped to be appointed as his successor. But his hopes were dashed when in 1733 Johann Adolf Hasse got the job instead.

It is not known for sure why Zelenka was passed over, but it seems likely that his style of composing was considered old-fashioned, whereas Hasse was more modern and would be a better fit with the fashion of the time. The fact that Bach admired his music is an indication of Zelenka's preference for a 'learned' style, in which traditional German counterpoint played an important role. Zelenka's many compositions, in particular his religious works, impressively show how well he mastered counterpoint and how he was able to merge the tradition with modern concertante elements. There are even some traces of the galant idiom in his oeuvre.

In the 1730s Zelenka continued to compose religious music but it wasn't often performed during services. The Missa votiva was the first of six masses which Zelenka aimed to compose; only four were actually written. It is likely that these masses were not written for liturgical performance but rather for personal reasons, probably comparable to Bach's last works, like the Kunst der Fuge and the Mass in B minor. At the beginning of the Missa votiva Zelenka wrote a motto: "Vota mea Domino reddam" (I will fulfill my vows to the Lord). A postscript on the last page of the score says, again in Latin: "Jan Dismas Zelenka composed this mass to the greater glory of God because of a vow, after he had regained his health with the help of God".

Zelenka's music is always good for a surprise or two, and the audience is often set on the wrong track. The opening section of this mass, Kyrie eleison, for instance, begins in a surprisingly jubilant mood, but then suddenly takes a sour turn with a descending passage which is to return time and again. This section is parodied in the closing "Dona nobis pacem". Also notable is the lamento character of "Et incarnatus est" in the Credo, prefiguring of the following "Crucifixus". In the first section of the Credo the intonation of the opening words, "Credo in unum Deum", is embedded in the overall texture, and repeated several times through all the voices, from soprano to bass. In the episode "Et iterum verturus est" (and he shall come again with glory, to judge both the quick and the dead) the flow of the music suddenly comes to a halt, and after a general pause moves on very slowly on the words "et mortuos" (and the dead). At the end the same happens on "mortuorum" ([and I look for the resurrection] of the dead).

It seems unlikely that Bach knew this particular mass, but he would certainly have appreciated the symmetrical structure of the Gloria. It is divided into seven sections, beginning and closing with two tutti episodes. Two solo arias, for soprano and bass respectively, embrace the central section, again for the tutti. This section, "Qui sedes", is split into two contrasting episodes: "Qui sedes ad dexteram Patris", in a vivid rhythm, with a remarkable unisono passage, and "miserere nobis", which is full of dissonance and contains frequently repeated chords in the orchestral parts.

Several tutti sections have solo episodes; the tenor is only involved in these. The soprano has three solos: Christe eleison (Kyrie), Qui tollis peccata mundi (Gloria) and the Benedictus. Joanne Lunn sings them impressively, with excellent diction and a very precise delivery. Daniel Taylor gives a moving performance of "Et incarnatus est", and captures the Affekt of this episode perfectly. Thomas Bauer sings "Quoniam tu solus sanctus" (Gloria) alright, although he tends to go a little over the top, and uses a shade too much vibrato. That is also the case in his solo in "Et resurrexit".

The Stuttgart Chamber Choir is one of the best in the world, and that again shows in this recording. Consisting of eight sopranos, six altos, five tenors and five basses, it produces a beautiful, strong yet transparent sound, and the text is clearly audible. Zelenka's orchestral parts are always interesting, and the Stuttgart Baroque Orchestra performs them with flair and understanding.

Zelenka's music never disappoints, and I don't hesitate to label this mass a masterpiece. The performance displays this work in its full glory. Of all recordings of Zelenka's music this disc is one of the best.

Johan van Veen

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


EXPLORE MUSICWEB INTERNATIONAL

Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews

 

Discographies
   Composer
      Composer surveys
   National
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
.
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

Interviews
With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site

Nostalgia

Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Comment
Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure

Announcements

 

Community
Bulletin Board

Give your opinions or seek answers

Reviewers
Pat and present

Helpers invited!

Resources
How Did I Miss That?

Currently suspended but there are a lot there with sound clips


Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Publishers
Other links
Newsgroups
Web News sites etc

PotPourri
A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Questionnaire    
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Dictionary
Magazines
Newsfeed  
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools






Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.