legoru
04-15-2014, 11:02 AM
On CD presented rare works of Leos Janacek for chorus and orchestra - very beautiful and atmospheric The Eternal Gospel, folk-cantata "Cartak on Solan" and sacred works. Supraphone, 1997.
Leos Janacek (1854-1928)
Vecne Evangelium (The Eternal Gospel) - Legend dor Soloists, Mixed Choir and Orchestra (1914)
01. I. Con moto (04:03)
02. II. Adagio (06:06)
03. III. Con moto (07:57)
04. IV. Andante (03:13)
05. Otcenas (Our Father) - Chamber Cantata for Tenor Solo, Mixed Choir, Harp and Organ (1906) (15:35)
06. Hospodine! (Lord Have Mercy) for Soloists, Mixed Choir, Organ, Harp and Brass Instruments (1896) (03:59)
07. Elegy on the Death of my Daughter Olga (1904) (07:29)
08. Na Solani "Cartak" (Cartak on the Solan) - Cantata for Male Choir and Orchestra (1911) (07:52)
Soprano � Jadwiga Wysoczansk� (tracks: 1 to 4, 6)
Tenor � Beno Blachut (tracks: 1 to 4, 6, 8), Ivo ��dek (7), Miroslav �vejda (5)
Bass � Dalibor Jedlička (tracks: 6); Contralto � Marie Mr�zov� (tracks: 6)
Prague Philharmonic Choir (tracks: 1 to 6, 8), Prague Radio Choir (tracks: 7)
Chorus Master � Josef Veselka (tracks: 1 to 6, 8), Jan Kasal (7)
Prague Symphony Orchestra
Conductor � Jiř� Pinkas
Lyrics By � Jaroslav Vrchlick� (tracks: 1 to 4), M. Kurt (tracks: 8), Maria Nikolajevna Veverica (tracks: 7)
Recorded at the Dvoř�k Hall of Rudolfinum, Prague, 1965 (1-4, 6, 8) and at Studio Domovina, Prague, 1958 (7)
https://mega.co.nz/#!8QEk2AwY!TfMYXhaz2w9xOlSc114ecQPktFBsDbdBQWwSQKa-xcw
Flac+covers, 250 mb
Jan�cek's Eternal Gospel comes close to an oratorio, though the composer never referred to it as such. Based on a poem by one of Jan�cek's favorite poets, Jaroslav Vrchlicky, the text's theme is universal love. Some of Jan�cek's closest associates believed that the war in the Balkans may have given impetus to the idealistic work, because of the pacifist attitude of the composer.The central character in Jan�cek's miniture drama is the prophet Joachim da Fiore, sung by a tenor. Fiore the prophet appears before the people (represented by a mixed chorus) to proclaim the dawning of a Golden Age told to him by an angel.The work is in four movements, and depict stages in human understanding. In the first movement, (con moto) the prophet simply intones the brightest day for all mankind is dawning, a phrase taking up only four bars. The orchestral part here i ntroduces a few key motifs and establishes a basic mood. In the second movement, (adagio), the prophet Fiore continues the revelation after a brief orchestral introduction. Who can see the Angel flying through the clouds? Spirit from above, he's hidden by stars. The chorus enters forcefully in response singing, the Angel flies over the bottomless depths, holding the Eternal Gospel in his hand. He will proclaim it over seas and mountains, in every language known to mankind. The prophet reenters to speak of the revelation in terms of a book. At midnight, my gaze rises to Heaven. I see the Book's clasp, flashing in the clouds. With the arrival of expanding consciousness comes a familiar restoration theme. Leaves that had withered are revived with new sap--a line that is repeated several times by the tenor and chorus.
In the third movement, the prophet chronicles three Empires, each describing a stage in humanity. One Empire was the fear of the law, a reference to the Old Testament and Mosaic law. The second Empire is the Christian Empire, characterized as an epoch of faith, virtue and grace. The text says that, at this point, both Empires have passed, and now the third comes. It's glory in the East is already shining. This is the Empire of the Spirit, and is led by Francis, the rock of the Third Empire, who, according to the text was dedicated to the birds and to the beasts. The prophet exchanges lines such as these with the chorus. With each successive reference to the Empire of the Spirit, a series of alleluias bring the movement to a triumphant close, wherein the man with nothing will be rich in spirit. The fourth movement of Jan�cek's Eternal Gospel has the prophet Joachim Fiore officially announcing the inauguration of Love's Empire, the eternal or final empire of the human spirit. The work ends impressively after a series of shimmery chords, harking back to the first movement. The Eternal Gospel ranks as one of Jan�cek's finest accomplishments. In it can be seen traces of his Glagolithic Mass, which occupied a social place in Jan�cek's world view.
Na Solani Cartak, or Cartak on Solan was composed by Leos Jan�cek in 1911, around the same time he was working on his opera, The Excusions of Mr. Broucek. The work is best known in the west as There Upon the Mountain which is due to a marketing ploy by Panton Records to make the work better known. In any case, both titles refer to a certain mountain in Valachia called Solan. Within a clearing in Solan rests a sleppy little tavern called Cartak. This was the area chosen by writer Max Kurt to compose a love story that Jan�cek would later use in his work for male chorus and orchestra.
Just prior to composing Na Solani Cartak, Jan�cek located the building for his new organ school, and had moved into the cottage directly behind the school. A director of a well-known male chorus by the name of Vilem Steinman made an appointment with the composer in 1910 to discuss the fiftieth anniversary of his choir Orlice, and he proposed Jan�cek compose something new for the occassion. A number of texts were examined, but Jan�cek settled on Na Solani Cartak by Max Kurt, a civil servant, poet and playwright. Kurt was well-known in his time for his colorful descriptions of peasant life in Valachia, and his interest in social themes of the area interested Jan�cek. The story is basically about love lost, and new love found. A young man leaves his native homeland to find adventure in the highlands. Feeling disillusioned and lonely, he pines away for the girl he left behind. He hears some commotion in the tavern, investigates, and ends up finding love in happiness in the Valachian mountains. A simple enough story, but the story behind the performance history of the work is anything but simple.
Leos Janacek (1854-1928)
Vecne Evangelium (The Eternal Gospel) - Legend dor Soloists, Mixed Choir and Orchestra (1914)
01. I. Con moto (04:03)
02. II. Adagio (06:06)
03. III. Con moto (07:57)
04. IV. Andante (03:13)
05. Otcenas (Our Father) - Chamber Cantata for Tenor Solo, Mixed Choir, Harp and Organ (1906) (15:35)
06. Hospodine! (Lord Have Mercy) for Soloists, Mixed Choir, Organ, Harp and Brass Instruments (1896) (03:59)
07. Elegy on the Death of my Daughter Olga (1904) (07:29)
08. Na Solani "Cartak" (Cartak on the Solan) - Cantata for Male Choir and Orchestra (1911) (07:52)
Soprano � Jadwiga Wysoczansk� (tracks: 1 to 4, 6)
Tenor � Beno Blachut (tracks: 1 to 4, 6, 8), Ivo ��dek (7), Miroslav �vejda (5)
Bass � Dalibor Jedlička (tracks: 6); Contralto � Marie Mr�zov� (tracks: 6)
Prague Philharmonic Choir (tracks: 1 to 6, 8), Prague Radio Choir (tracks: 7)
Chorus Master � Josef Veselka (tracks: 1 to 6, 8), Jan Kasal (7)
Prague Symphony Orchestra
Conductor � Jiř� Pinkas
Lyrics By � Jaroslav Vrchlick� (tracks: 1 to 4), M. Kurt (tracks: 8), Maria Nikolajevna Veverica (tracks: 7)
Recorded at the Dvoř�k Hall of Rudolfinum, Prague, 1965 (1-4, 6, 8) and at Studio Domovina, Prague, 1958 (7)
https://mega.co.nz/#!8QEk2AwY!TfMYXhaz2w9xOlSc114ecQPktFBsDbdBQWwSQKa-xcw
Flac+covers, 250 mb
Jan�cek's Eternal Gospel comes close to an oratorio, though the composer never referred to it as such. Based on a poem by one of Jan�cek's favorite poets, Jaroslav Vrchlicky, the text's theme is universal love. Some of Jan�cek's closest associates believed that the war in the Balkans may have given impetus to the idealistic work, because of the pacifist attitude of the composer.The central character in Jan�cek's miniture drama is the prophet Joachim da Fiore, sung by a tenor. Fiore the prophet appears before the people (represented by a mixed chorus) to proclaim the dawning of a Golden Age told to him by an angel.The work is in four movements, and depict stages in human understanding. In the first movement, (con moto) the prophet simply intones the brightest day for all mankind is dawning, a phrase taking up only four bars. The orchestral part here i ntroduces a few key motifs and establishes a basic mood. In the second movement, (adagio), the prophet Fiore continues the revelation after a brief orchestral introduction. Who can see the Angel flying through the clouds? Spirit from above, he's hidden by stars. The chorus enters forcefully in response singing, the Angel flies over the bottomless depths, holding the Eternal Gospel in his hand. He will proclaim it over seas and mountains, in every language known to mankind. The prophet reenters to speak of the revelation in terms of a book. At midnight, my gaze rises to Heaven. I see the Book's clasp, flashing in the clouds. With the arrival of expanding consciousness comes a familiar restoration theme. Leaves that had withered are revived with new sap--a line that is repeated several times by the tenor and chorus.
In the third movement, the prophet chronicles three Empires, each describing a stage in humanity. One Empire was the fear of the law, a reference to the Old Testament and Mosaic law. The second Empire is the Christian Empire, characterized as an epoch of faith, virtue and grace. The text says that, at this point, both Empires have passed, and now the third comes. It's glory in the East is already shining. This is the Empire of the Spirit, and is led by Francis, the rock of the Third Empire, who, according to the text was dedicated to the birds and to the beasts. The prophet exchanges lines such as these with the chorus. With each successive reference to the Empire of the Spirit, a series of alleluias bring the movement to a triumphant close, wherein the man with nothing will be rich in spirit. The fourth movement of Jan�cek's Eternal Gospel has the prophet Joachim Fiore officially announcing the inauguration of Love's Empire, the eternal or final empire of the human spirit. The work ends impressively after a series of shimmery chords, harking back to the first movement. The Eternal Gospel ranks as one of Jan�cek's finest accomplishments. In it can be seen traces of his Glagolithic Mass, which occupied a social place in Jan�cek's world view.
Na Solani Cartak, or Cartak on Solan was composed by Leos Jan�cek in 1911, around the same time he was working on his opera, The Excusions of Mr. Broucek. The work is best known in the west as There Upon the Mountain which is due to a marketing ploy by Panton Records to make the work better known. In any case, both titles refer to a certain mountain in Valachia called Solan. Within a clearing in Solan rests a sleppy little tavern called Cartak. This was the area chosen by writer Max Kurt to compose a love story that Jan�cek would later use in his work for male chorus and orchestra.
Just prior to composing Na Solani Cartak, Jan�cek located the building for his new organ school, and had moved into the cottage directly behind the school. A director of a well-known male chorus by the name of Vilem Steinman made an appointment with the composer in 1910 to discuss the fiftieth anniversary of his choir Orlice, and he proposed Jan�cek compose something new for the occassion. A number of texts were examined, but Jan�cek settled on Na Solani Cartak by Max Kurt, a civil servant, poet and playwright. Kurt was well-known in his time for his colorful descriptions of peasant life in Valachia, and his interest in social themes of the area interested Jan�cek. The story is basically about love lost, and new love found. A young man leaves his native homeland to find adventure in the highlands. Feeling disillusioned and lonely, he pines away for the girl he left behind. He hears some commotion in the tavern, investigates, and ends up finding love in happiness in the Valachian mountains. A simple enough story, but the story behind the performance history of the work is anything but simple.