Dvořák - Requiem, Op.89

Antonín Dvořák composed the Requiem at the beginning of his peak creative period. This composition is one great reflection on generally alarming questions of human existence. The construction of the mass is not typical: the composition is divided in two basic parts, each of which begins with the original interconnection of several liturgical sequences. Likewise, Dvořák inserted between the "Sanctus" and "Agnus Dei" a lyrical movement "Pie Jesu," created on the base of the final text of the "Dies Irae" sequence. Its basic melodic motif is created by two ascending half-tones with an incorporated very sorrowful diminished third, which begins the opus and continues in many variations as the main motif running through the entire work. Dvořák's Requiem is a supreme opus of classicist-romantic synthesis. This composition inspired many other Czech composers, e.g. Josef Suk and Bohuslav Martinů. Performed by Czech Philharmonic Orchestra and Choir, conducted by Karel Ančerl, chorus master Markéta Kühnová; soloists: Maria Stader – soprano, Sieglinde Wagner – alt, Ernst Haefliger – tenor, Kim Borg – bass. This recording was awarded by most prestigious „Grand Prix du disque de l´Académie Charles Cros.“

DAR

Dvořák - Stabat Mater

Antonín Dvořák - Stabat Mater, op.58 for soli, choir and orchestra by Czech Philharmonic Orchestra, Prague Philharmonic Choir, conducted by Wolfgang Sawalisch, with soloists Gabriela Beňačková, Peter Dvorský, Ortrun Wenkel, Jan-Hendrik Rootering. The oratorio Stabat Mater was written by Antonín Dvořák in 1876 and the first performance took place on 23 December 1880 in Prague. The first movement is an extended sonata-form in symphonic style. It opens with a long orchestral introduction, then repeated with the chorus. A contrasting second theme is introduced by the soloists. A development section leads to the return of the opening material. The organ has an independent part accompanying the female semi-chorus in the fourth movement, and is not used otherwise. The final movement recalls the opening themes of the work, but then turns into the major key for a triumphant Amen fugue of considerable complexity. The work is scored for an orchestra of: 2 flutes, 2 oboes, cor anglais, 2 clarinets in A, 2 bassoons, 4 horns (two in F, two in D), 2 trumpets, 3 trombones, tuba, timpani, organ and strings. The solos are written for soprano, tenor, alto, bass, accompanied with the SATB choir.

DSM

Zelenka - Il Diamante

Il Diamante is the ultimate secular work of Jan Dismas Zelenka. Il Diamante is the only known contribution Zelenka made to the genre of serenata. Zelenka writing a great secular work for Dresden court society late in his life. His music as a part of a politically important ceremonial occasion at court - none of this corresponds with the traditional image of Zelenka as an overshadowed composer held in low esteem by the court; nothing can be more far from the truth according to newly found sources, one of which has a contemporary of Zelenka describing him as the "perfect Virtuoso", whose music gives a "foretaste of heavenly pleasure". With this in mind we can look forward to a new, revised way of looking at the greatest Czech baroque composer, considered as some "catholic counterpoint to J.S.Bach". Furthermore, we can enjoy his incredible music - and rejoice over the new diamond discovered amongst Zelenka's works.This recordings is performed by Ensemble Inégal, Prague Baroque Soloists, conducted by Adam Viktora.

ZID

Zelenka - Missa ultimarum sexta

Missa ultimarum sexta - Missa omnium sanctorum of Jan Dismas Zelenka belongs to his final five pieces (ZWV 17–21), commonly called "High Mass" compositions, written between 1736 and 1741 and considered as Zelenka's compositional peak. The last three incl.this one are also called "Missae ultimae" (Last Masses).

MUS

Janáček - Glagolitic Mass, Taras Bulba

Leoš Janáček´s "Glagolitic Mass"- Mass for Soloists, Mixed Choir, Organ and Orchestra - is a "mass of life". Janáček had determined to give expression to that belief in God which had not shown itself in his work before. He got back a tart postcard: "No old man, and no believer—till I see for myself." Janáček detested large churches: ". . . concentrated death; tombs under the floor, bones on the altar, pictures which are nothing but torture and dying". His cathedral was the Luhačovice forest, its incense the fragrance from the moist earth, its bells those from a flock of sheep. "I hear...in the choir the voice of our people. The candles—tall firs of the forest lit up with stars; and during the ceremony I see the vision of St. Wenceslas, and hear the language of the missionaries Cyril and Methodius". The Glagolitic Mass is certainly a visionary work, composer´s immaginatoion of raw roots of Christianity in Slavic people, mixed with paganic customs, inimitable opus, going to the origin of musical language. This recording is performed by L.Domanínská-soprano, V.Soukupová-contralto, B.Blachut-tenor, E.Haken-bass, J.Vodrážka-organ, Prague Philharmonic Choir, J.Veselka, Czech Philharmonic Orchestra with conductor Karel Ančerl. This recording was awarded by Grand prix du disque de L'Academie Charles Cros. Karel Ančerl (1908 - 1973) was, alongside Václav Talich, part of the tandem of two foremost Czech conductors of the 20th century. As he made an overwhelming majority of his recordings for Supraphon, and since we are approaching the thirtieth anniversary of his death, this company has decided to pay a special tribute to Ančerl´s memory by a grandly conceived project of reissues of his creations, under the common heading of Ančerl Gold Series. It is to comprise a total of 42 titles, each of which will undergo complex studio overhaul and streamlining.

JGM

Zelenka - The Lamentations of Jeremiah

Lamentationes pro hebdomada sancta, for soloists & chorus ("Lamentationes Jeremiae prophetae") of Jan Dismas Zelenka, perfomed by  Michael Chance (countertenor), John Ainsley (tenor), Michael George (bass) and Chandos Baroque Players

ZLJ

Martinů - Epic of Gilgamesh

Bohuslav Martinů's oratorio The Epic of Gilgamesh (1955) is unusual and, in a way, unique in all the international literature, as exciting and mysterious as the ancient tale on which it is based. The epic, one of the oldest extant examples of written culture, dates back to the beginning of Babylon, and Martinu devoted a number of years to the study of its philosophical basis before beginning to set to music Thompson's translation of its Neoassyrian version. Martinu's conception and execution are truly ingenious making use of early Baroque forms. Outstanding performances by Prague Symphony Orchestra and Choir, conducted by Jiří Bělohlávek enhance the unrepeatable atmosphere of this masterful work.

MEG

Dvořák - Te Deum, Mass in D major, Biblical Songs 1-5

"Te Deum" for soprano, bass, chorus & orchestra, B. 176 (Op. 103), Mass for vocal soloists, chorus orchestra in D major, B.175 (Op. 86) and  Biblical Songs (Biblické pésně) for voice & orchestra, B. 189 (Op. 99), no.1-5 of Antonín Dvořák by Czech Philharmonic Orchestra & Chorus. Conducted by Václav Smetáček.

DTD

Zelenka - Missa Sanctissimae Trinitatis

"Missa Santissimae Trinitis", (The Holiest Trinity Mass) in A-minor, ZWV 17 of Jan Dismas Zelenka was completed in 1736 as the first of five "High Mass" compositions he wrote in the last ten years of his life. The mass is divided into 19 individual parts. The orchestra parts are independent and often dominate over the simple homophonic chorus. The influence of the concerto structure is revealed in the contrast between solo vocal and choral parts. The opposite pole of the chorus concerto are the massive choral fugues - their dialogue here is not only demonstration of technical mastery of the composer, but also of intellectual depth and significance of the work. Performed by Musica Florea, Boni Pueri, conducted by Marek Štryncl. World premiere recording

ZMT

Zelenka - Magnificat, Psalm 129, Litanie Omnium Sanctorum, Salve Regina

The Magnificat, ZWV 108 of Jan Dismas Zelenka was performed for the first time by Johann Subastian  Bach in Leipzig 1729-1735. It is necessary to quote the liner notes its final "Amen" was copied by J.S. Bach's son Wilhelm Friedeman for use by the Thomaner Choir, at Bach's request. Psalm 129 was written to commemorate Zelenka's father's death. This recording is performed by Prague Chamber Orchestra, Czech Philharmonic Orchestra conducted by Pavel Kühn and Lubomír Mátl with soloists Stanislav Bogunia, Jan Hora, Jana Jonášová, Joachim Vogt, Miroslav Kopp et al.

ZMF

Zelenka - Il serpente di bronzo

Jan Dismas Zelenka´s the Cantata sacra "Il serpente di bronzo", composed in 1730, is sure to become a tidbit for all those in search of rediscovered compositions by the giants of Baroque music. The recording was made by world-acclaimed specialists in Baroque music using authentic period instruments. Performed by Ensemble Inégal, conducted by Adam Viktora with soloists Alex Potter - alto, Petra Noskaiová – alto, Hana Blažíková – soprano, Peter Kooij – bass, Jaroslav Březina - tenor. This recording record is a world premiere.

ZSB

Zelenka - Requiem in D minor, Miserere

Requiem in D minor, ZWV 48, Miserere in C minor, ZWV 57 of Jan Dismas Zelenka performed by Magdalena Kožená (Alto), Helena Pellarová (Soprano), Michal Pospišil (Bass), Ladislav Richter (Tenor), Anna Hlavenková (Soprano), conductor: Roman Válek, Czech Chamber Chorus and Ensemble Baroque in 1994.

ZRM