Janáček: Mša glagolskaja
Glagolitic Mass
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- Composer: Leoš Janáček (1854-1928)
- Format: Vocal Score
- Instrumentation (this edition): Piano Reduction, SATB Choir
- Originally for: Organ, Orchestra, Double Choir (SATB + SATB)
- Work: Mša glagolskaja (Glagolitic Mass), JW III/9
- Work Languages: English, Latin
- ISMN:
- Size: 9.1 x 12.0 inches
- Pages: 92
Description
1926 was a particularly successful and productive year for Leoš Janáček, who composed the opera The Makropulos Case, as well as Sinfonietta and the Glagolitic Mass, among other works.
Janáček wrote his Glagolitic Mass in just two and a half months, and it became one of the most important mass compositions. Distancing himself from all of the well trodden paths of the traditional genre, Janáček created a piece of sacred music that is so unique, it begs the question of whether it can be categorised as such at all. It can best be compared to Zoltán Kodály's powerful Psalmus hungaricus. Instead of using Latin, Janáček based his piece on a ninth century text written in Glagolitic (Cyrillic) script – Old Church Slavonic. When committing his work to paper, Janáček said: "I want to show people how to talk to our dear Lord." and he did so with a self-assurance that is a far cry from Catholic humility and contrition. His aim was to write a "joyful mass" because all of the masses composed thus far were so sad.
The composer was apparently forced to make Major revisions during rehearsals for the mass's première (5 Dec 1927) owing to a lack of instrumental resources and the limited rehearsal time available, and some additional questionable changes seem to have been made prior to the second performance in Prague (8 Apr 1928). Some of these revisions actually constitute cuts of music that ranks amongst the most arresting that Janáček ever wrote. To make matters worse, the composer died before the full score could be published. As a result, the edition of the work published after his death promulgated a score that is far less exciting and ambitious than the one Janáček originally composed.
After years of consulting various sources, the musicologist Paul Wingfield succeeded in reconstructing the original version. Sir Charles Mackerras then added valuable performance suggestions, after which this hitherto unknown version was presented to the public. The original final version was then subsequently revised, taking musicological and practical performance aspects into account. Performance material is available for both versions. Directors can choose their preferred version, each of which has its own merits. The Glagolitic Mass has also been published as part of the UE study score series (UE34298); an informative preface sets out the differences and similarities between the two versions, which can both be found in the study score.
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Janáček: Mša glagolskaja
