Zelenka - Missa Dei Patris / M. Bach, D. Taylor, Brutscher, G. Schwarz, Bernius

Zelenka - Missa Dei Patris / M. Bach, D. Taylor, Brutscher, G. Schwarz, Bernius

Zelenka - Missa Dei Patris / M. Bach, D. Taylor, Brutscher, G. Schwarz, Bernius
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Composer: Jan Dismas Zelenka
Conductor: Frieder Bernius
Orchestra: Stuttgart Baroque Orchestra
Performer: Mechthild Bach
Performer: Markus Brutscher
Edition: Music CD
Format: Import
CD Release Date: 2001-07-24
Music Label: Carus
Soundtracks:
  1. Kyrie I
  2. Christe eleison
  3. Kyrie II
  4. Gloria
  5. Domine Deus
  6. Domine Fili
  7. Qui sedes
  8. Guoniam
  9. Cum Sancto Spiritu
  10. Credo
  11. Et incarnatus
  12. Crucifixus
  13. B00005N6MO Et ressurexit
  14. Et vitam venturi saeculi
  15. Sanctus
  16. Benedictus
  17. Osanna
  18. Agnus Dei
  19. Agnus Dei
  20. Dona nobis pacem

Free Music Notes for Zelenka - Missa Dei Patris / M. Bach, D. Taylor, Brutscher, G. Schwarz, Bernius

Free Music Review: a voice teacher and early music fan
Hit: 5 Stars

JAN DISMAS ZELENKA (1679-1745) IS ONE OF THE MOST SIGNIFICANT DISCOVERIES OF RECENT TIMES.
His instrumental works have been known about for some time, but his sacred and liturgical works, some 150 in number, have become known only since the late 1970's.

Zelenka intended to write towards the end of his life (1740/41) a cycle of six 'Missae ultimae', but only three works have come down to us: No l 'Missae Dei Patris' (Mass in honour of God the Father) on this recording - No 2 'Missa dei Filii'(Mass in honour of god the Son) and No. 6 'Missa Omnium Sanctorum' (Mass in honour of all the Saints). Evidently,Zelenka, who had been seriously ill since 1739, was able to complete only the three masses.

This work displays the typical 'Zelenkisms'- frequent alternation between immediatelly adjoining major and minor in the same chord, chromatics and contrasts such as orchestral unison as well as vocal unison; sequences of quickly moving descending scales ending in unexpected harmonies. These characterististics are carefully balanced and integrated into a translucent bar structure of heavy Italian influence (think of Scarlatti or Lotti), even though the specific personal elements are in no way reduced.

The important point to note is that these elements are not just of peripheral significance but they are used for defining the structure and creating the form. IN THIS WAY, ZELENKA SPEAKS AN ENLIGHTENED, INDIVIDUAL MUSICAL LANGUAGE FROM WHICH A DEEP RELIGIOUS COMMITMENT CAN BE DISCERNED.

Frieder Bernius, to my thinking, is one of the best interpreters and performers of Zelenka. His recording, that I have had for years, of the 'Missa Dei Filli' and the 'Litaniae Lauretanae' (1989)has provided me with many exciting and entertaining 'listens'. Bernius has chosen well for his soloists on both these recordings. Daniel Taylor, countertenor, provides us with a full-bodied sound as well as an eveness of tone quality. On the 'Missa Dei Filii' he uses Michael Chance as the counter-tenor who has one of the finest voices of that genre.

The Kammerchor Stuttgart is definitely one of the top Early Music performing ensembles and Tafelmusik on the 1989 recording is superb as is the Barokorchester on this recording. Great singing with buoyancy, expression, smooth phrasing, great vocal balance as well as clear precise diction. Skillful instrumentalists and a great conductor. GO FOR IT!!!

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