Igor KULJERIĆ (1938-2006)
Croatian Glagolitic Requiem [57.12]
Jakov GOTOVAC (1895-1982)
Hymn to Freedom [4.08]
Kristina Kolar (soprano)
Annika Schlicht (mezzo-soprano)
Eric Laporte (tenor)
Ljubomir Puškarić (baritone)
Chor des Bayerischen Rundfunks
Münchner Rundfunkorchester/Ivan Repušić
rec. live, 12-14 February 2020, Herz-Jesu-Kirche & BR Studio 1, Munich
BR KLASSIK 900331 [61.20]
For most music lovers, the only experience of Glagolitic is Janáček’s Mass of 1926. Janáček’s composition was inspired by his intense pan-Slavism, and his work was intended as a celebration of that rather than as piece for liturgical performance. In Croatia, Glagolitic has more than historic significance – it is a living part of Croatin sensibility. Traditionalists in the Roman Catholic Church make claims about the centrality of Latin before the Second Vatican Council, pointing to its universal liturgical use. But Croatia, overwhelmingly Catholic, was the exception. It was for centuries the only nation permitted to celebrate Mass in the vernacular, though the relationship to Croat as the current vernacular, and Old Church Slavonic as represented in the church use of Glagolitic, is a question I am happy to leave to the scholars.
Igor Kuljerić was much taken by this tradition. Like many 20th century composers, he flirted with avant garde compositions before evolving to more traditional and accessible forms, often inflected by the echoes of Glagolitic chants and folk music. Several Glagolitic works resulted, including Croatian Mass. The Requiem is his largest work in the genre. Given the troubled and sometimes murderous history of Croatia in the last 80 years, such a plea for mercy may be the most appropriate gesture. Structurally, the work follows the familiar sections of the Latin Requiem, but – unlike Verdi or Mozart – also includes the brief Tract, before moving into the long Sequence, Dan gnjiva (Dies Irae).
All this would be of little interest if the music were no good. But it is very fine indeed. Dan gnjiva, is sometimes used by a composer to let rip and there is no disappointment here, but a quick move to a solo plaintive declamation and quietly murmuring hesitation in the chorus, is deeply moving. The familiar Tuba mirum, with its trumpet blasts quickly gives way to more solo work before the extended plea for mercy. Kuljerić is notably sensitive to text throughout. The result is a work satisfying at every level.
Jacov Gotovac’s Hymn to Freedom is a neat filler, setting a baroque text by the Dubrovnik poet Ivan Gundulić. The theme is patriotic, and the work pleasant.
Praise is due to BR Klassik for this adventurous release. Performances, captured live, are fine. Both choir and the four youthful soloists pay close attention to articulation, and recording quality is excellent. Useful notes and translations are provided.
Michael Wilkinson
