Zelenka Jan Dismas - Missa dei Filii / Missa Dei Patris (Frieder Bernius)

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Zelenka Jan Dismas - Missa dei Filii / Missa Dei Patris (Frieder Bernius)

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Jan Dismas Zelenka (16 October 1679, Louňovice pod Blaníkem, Bohemia - 23 December 1745, Dresden, Saxony), baptised Jan Lukáš Zelenka and previously also known as Johann Dismas Zelenka, was the most important Czech Baroque composer, whose music was notably daring with outstanding harmonic invention and mastery of counterpoint.

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Zelenka Jan Dismas - Missa dei Filii / Missa Dei Patris (Frieder Bernius)

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The late masses of Jan Dismas Zelenka are generally regarded as being the high water-mark of his ouvre, if not the high point of all baroque masses. His individual style is very apparent in all of them, and the Missa Dei Patris does not disappoint. (the other masses are Missa Dei Filii, Missa Sanctissime trinitatis, Missa Omnia Sanctorum, and Missa Votiva, all except the last available in good HIP versions)

The quality of the music goes without saying to anyone familiar with Zelenka, and for those who aren't, suffice it to say that if you like the choral music of Bach, Handel or Vivaldi, Zelenka will almost definitely appeal. The choral fugues are stunning, and there are numerous delightful arias, especially the Agnus Dei which is a devastatingly beautiful, extremely slow triple time aria that seems almost static in its lugubrious pace and has the same Affekt throughout it's 8 minute duration. Sometimes I listen to it repeatedly in succession and time seems to slow down, and I realize I have just spent half an hour immersed in it. Fantastic!!

The performance is excellent, as usual with Bernius directing the Stuttgart Chamber Choir, one of the best choirs around. The soloists also impress, with my favorite being Dan Taylor who besides having one of the best alto voices in the world, gets some of the best music in the world to sing. He's a lucky guy. Buy this disc, and also seek out the other recordings of Zelenka's late masses, you cannot be disappointed.

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Zelenka Jan Dismas - Missa dei Filii / Missa Dei Patris (Frieder Bernius)

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If Handel and Bach are the first two members of the Baroque Musical Trinity, then Jan Dismas Zelenka (1679-1745) must be the third. For this recording displays most of the attributes that define 'greatness'. It gave me seventy minutes of unending pleasure.
Zelenka's entire repertoire only extends to some one-hundred and fifty 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.
Zelenka's music is always fresh and creative, often surprising in its sudden harmonic turns and demanding instrumentations. Overall, his many compositions, both choral and instrumental, are marvelous examples of a subtle blend of Italian and French manners with a most distinctive personal style. Fluency of declamation and wide phrases with elegantly shaped melodies in his choral works are clearly Italianate. French influence is seen in the formal organization of the music into relatively short and contrasting sections.
The 'Missa Dei Filii'ZWV20 recorded on this disc is a mass in honor of the Son of God. As was usual in the first half of the 18th century, Zelenka's masses are so-called 'number works' in which the five parts of the ordinary of the mass (Kyrie,Gloria,Credo,Sanctus and Agnus Dei), are subidivided into smaller, musically independent single movements. Therefore, it is considered to be a 'short mass' because it contains only a 'Kyrie'(divided into three movements) and a 'Gloria' (divided into seven movements).
Zelenka left nine large scale settings of various litanae, the 'Litanae Lauretenae' subtitled 'Salus Infirmorum' (The healer of the infirm) was composed in 1744. It has nine movements with varied ensemble groupings:Trio (S.A.T.), quartet (S.A.T.B.), three arias, one each for soprano, alto, tenor and four choruses, all of which are very well sung on this disc and lovely to hear!
It's hard to believe that it took so long for Zelenka's music to surface, and I fervently hope that more recordings of it are on the way. All the music herein as a whole demands excellent vocal technique and brilliant virtuosity from all the singers and instrumentalists involved. Good example of this: 'Quoniam tu solus sanctus' as performed by Michael Chance, countertenor, in the 'Gloria'.
The performance of this music is impressive because the excitement never ceases at any time during the performance. Nancy Argenta, soprano, sings the best I have ever heard from her; Michael Chance, countertenor, is perfection with his flawless diction, wonderful flexibility and enchanting tone quality; Christopher Pregardien, tenor, has a warm and resonant sound and Gordon Jones, bass, sings with ease and 'lightness'. The Kammerchor Stuttgart, under the talented direction of Frieder Bernius, is very fine as per usual with a buoyant and 'yummy' sound. Tafelmusic: skillfully provides an excellent accompaniment; 'bravo' Jean Lamon. I can't imagine anyone into Early Music who would not welcome this recording.