Search - Judith Dvorkin, Jan Dismas Zelenka, Frieder Bernius :: Jan Dismas Zelenka: Missa Dei Filii; Litaniæ Lauretanæ

A voice teacher and early music fan

George Peabody | Planet Earth | 12/05/2008

(5 out of 5 stars)

"'OH NO MY DEARS I AM NOT JSB, BUT PLEASE(ZELENKA UTTERS) LISTEN TO ME!'

If Handel and Bach are the first two members of the Baroque Musical Trinity, then Jan Dismas Zelenka (1679-1745) is the third. For this recording transported me to the celestial realm and kept me there for some 70 minutes. From its opening 'Kyrie' I was 'hooked'.



Zelenka's entire repertoire only runs to some 150 compositions and consists of a small number of instrumental selections, and a larger group of sacred vocal selections such as masses and requiems, psalms, magnificats, hymns and a few secular vocal works. The works on this disc are melodious, harmonically satisfying and very creative throughout both in the instrumental accompaniment and solos. His repeated use of ascending and descending scale passages is unique and pleasing to the ear as is his harmonic progressions.



The 'Missa Dei Fili'ZWV20 is a mass in honor of the Son of God. As was usual in the first half of the eighteenth century, Zelenka's masses and litanies are so-called 'number works' in which the five parts of the ordinary of the mass (Kyrie-Gloria-Credo-Sanctus/Benedictus-Agnus Dei)are subdivded into smaller, musically independent single movements.

The 'Litaniae Lauretanae' ZWV152 is subtitled: 'Salus Infirmorum'.



It's hard to believe that it took this long for Zelenka's music to surface, but I hope that more recordings of it are on the way. All the music herein, as a whole, demands excellent technical ability and brilliant virtuosity from all the singers and instrumentalists involved. Just one example of this: "Quoniam tu solus sanctus II" as sung by Michael Chance in the 'Gloria' requires great vocal flexibility and tremendous vocal control, as you will hear for yourself if you purchase the recording.



The overall performance of this 1989 recording is impressive because the excitement never ceases at any time during the recording: Nancy Argento (soprano) seems to be more involved emotionally than usual; Michael Chance (countertenor) is perfection exhibiting flawless diction, great flexibility and enchancting tone quality; Christopher Pregarden(tenor) has a warm and resonant sound; and Gordon Jones (bass)sings with ease and lightness. The Kammerchor Stuttgart is very fine with a buoyant and 'yummy'sound. Tafelmusic: great as usual 'Bravo' Jean Lamon. And all is brought together by that very excellent conductor Frieder Bernius!"

All but the chorus....

Giordano Bruno | Wherever I am, I am. | 02/24/2009

(4 out of 5 stars)

"... perform brilliantly. I ordered this CD on the review recommendation of Mr. Peabody. His comments can still be read, and I have nothing to add to his praise for the music, for the performance by Tafelmusik, and for the singing of the four soloists. The other reviewer's dog-in-the-manger criticism of alto Michael Chance is irrelevant.

Nevertheless, I'm not satisfied with the totality of this recording. The broad-band timbre and tuning of the Kammerchor Stuttgart distresses me. Choruses of 35 singers may have been available to Zelenka and other baroque composers, so the issue is not historical authenticity. It's acoustic recordability. To my ears, the sound of the coro sections on this CD is just a big white noise whoosh. If you don't happen to mind that sound, then you can adjust my rating to five stars. Even if you share my lack of enthusiasm for recordings of semi-professional choruses, you will be excited and delighted by all the rest."