Janáček's Glagolitic Mass, completed in 1926, has been called "one of the most remarkable and important sacred musical works of the twentieth century." But it is remarkable that Janáček wrote sacred music at all. He hated churches, which he saw as "concentrated death." As for religion, he remarked: "Not a believer - not until I see for myself." The reason he wrote such an vibrant setting of the Mass was a challenge: when he criticized the poor quality of music in a local church, he was told to write something worthwhile himself. And he did, with a vengeance...
Janáček's Mass is not in Latin, but in Old Church Slavonic, the first literary Slavonic language into which the Bible was translated by Byzantine missionaries in the 9th century. The Glagolitic alphabet was an early Slavic alphabet, the predecessor of the modern Cyrillic alphabet. The Catholic Church gave permission to celebrate Mass in Old Church Slavonic at a time when such liturgies were usually allowed only in Latin, resulting in the Glagolitic Mass.
Janáček was born in the old Kingdom of Moravia, an Austrian crown land in the 19th century and later part of the Czech Republic. It is located in the eastern part of the country and the regional capital is Brno, where Janáček was active and where this Mass was premiered. Janáček was a strong supporter of pan-Slavism, and this mass is considered a celebration and revival of ancient Slavic culture in a modern garb. One could also say that for Janáček, the Glagolitic Mass was more an expression of his romantic nationalism than a religious expression.
Janáček set five vocal movements that correspond to the Catholic Ordinary of the Mass, omitting "Dona nobis pacem" in the Agnus Dei. Janáček had extensive experience working with choirs and wrote a great deal of choral music. This work is his masterpiece in this field.
The five movements that set the text of the Mass are framed by three instrumental movements. It begins and ends with triumphant fanfares dominated by the brass, strongly reminiscent of Janacek's wonderful Sinfonietta. In between, there is particularly lively and rhythmic writing for solo voices and chorus. Curiously, the final movement is titled Intrada, which means entrance. Before this Intrada, Janáček introduces a dramatic organ solo of considerable originality - a moto perpetuo of wild energy.
The eight movements are:
Úvod – Introduction (orchestra)
Gospodi pomiluj – Kyrie
Slava – Gloria
Věruju – Credo
Svet – Sanctus
Agneče Božij – Agnus Dei
Varhany sólo (Postludium) – Organ solo
Intrada – Exodus (literally, entrance)
Incidentally, research into Janáček's manuscripts suggests that the Intrada was also intended to be played at the beginning of the work, creating a symmetrical nine-movement form with the Věruju in the center.
It's not easy to sing Janáček's work, not only because the music is difficult, but also because the language is difficult as well, especially for non-Czech singers - it's much easier to sing in Latin, which is not difficult to pronounce.
The Glagolitic Mass is full of energy and faith - perhaps not in God, but in life and nature.
Also see: "Radio Prague – The Glagolitic Mass, a celebration of Slavic culture".
Listen to: Bělohlávek, Česká filharmonie