Glagolitic Mass

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The Glagolitic Mass (also called Slavonic Mass; in Czech Glagolská mše and sometimes Mša glagolskaja) usually refers to a particular composition for soloists, chorus and orchestra by Leoš Janáček. The text is written in Old Church Slavonic. The term "Glagolitic" refers to the Glagolitic alphabet, the earliest alphabet used by the Slavs, and not to the texts used for the mass, as Janáček seems to have believed. The first performance was in Prague on 26 June 1926.

There are, however some other compositions of this genre in existence, most recently, in the 1950s by the Czech polymath Jan Křesadlo. There were several Glagolitic Masses written in the nineteenth and the twentieth century ( J.B.Foerster, Skuherský, Grečaninov, Prague organist Wiedermann). These Glagolitic Masses were written mainly as a romantic expression of so called pan-Slavism. Janáček was a strong supporter of pan-Slavism, and this mass has been viewed as a celebration of Slavic culture. It is also, unsurprisingly, connected to Kamila Stösslová, Janáček's great love.

Janáček had extensive experience working with choirs, as well as writing a large amount of choral music, and this work is his finest in the genre. It begins and closes with triumphant fanfares dominated by the brass. In between these sections lies particularly vibrant and rhythmic writing for voices (soloists as well as choir). Before the closing Intrada, Janáček introduces a dramatic organ solo of considerable originality -- a perpetuo moto of wild energy. Janáček's Glagolitic Mass is considered one of the century's masterworks and is frequently performed and recorded today.

Its eight movements are:

  • 1. Úvod [Introduction]
  • 2. Gospodi pomiluj [Kyrie]
  • 3. Slava [Gloria]
  • 4. Vĕruju [Credo]
  • 5. Svet [Sanctus]
  • 6. Agneče Božij [Agnus Dei]
  • 7. Varhany sólo (Postludium) [Organ solo]
  • 8. Intrada [Exodus]

Although this version is considered the "standard" version performed today, research into Janáček's manuscripts suggests that the Intrada was intended to be played at the beginning of the work as well, creating a symmetric nine-movement form with the Vĕruju at its center. In addition, several other sections of the work were revealed to have been simplified in meter and orchestration.

[edit] Example to listen

[edit] CD Recordings

Leonard Bernstein conducting New York Philharmonic, Sony, The Royal Edition