Album insights
Zoltán Kodály (1882-1967) is primarily remembered for his orchestral works such as the Suite from the opera "Háry János" (1926) and the "Peacock Variations" (1939), but his main body of work is focused on choral music. Kodály viewed singing as the foundation of all music, with a significant portion of his choral pieces being either liturgical or based on religious texts. His simplified style post-World War I made these works more accessible. Some commentators consider Kodály a key figure in the early 20th-century revival of church music.
Kodály originally wrote the "Missa brevis" as an organ mass, possibly during his summer stay in Galánta in 1943. It was first performed in the winter of 1944/45 under difficult conditions during the siege of Budapest. The piece was later orchestrated by Kodály and premiered in 1948 at the Three Choirs Festival. In addition to the usual six movements, the "Missa brevis" includes an introit at the beginning and an "Ite, missa est" at the end, both for organ only. Kodály's work shows influences from Gregorian chant, Palestrina, Bach, Handel, and Hungarian folk music.
Kodály's last completed work, "Laudes organi," commissioned by the Atlanta Chapter of the American Guild of Organists, is subtitled "Fantasy on a sequence from the 12th century." This piece integrates Lisztian chromatic harmony with earlier Western art music traditions. It serves as a fitting end to Kodály's career, showcasing his unmatched contribution to Hungarian choral tradition.
Leoš Janáček (1854-1928) wrote his unfinished "Mass in E-flat" for soloists, mixed choir, and organ around 1908. The composer revisited this work in his early drafts of the "Glagolitic Mass" (1926/27). Janáček had a limited focus on church music due to his atheism, with his choral works often displaying secular affinities. The "Mass in E-flat" represents his only significant mature work in church music.
This recording of the "Mass in E-flat" is based on the 1972 edition and early drafts of the "Glagolitic Mass." A new ending was created for the Credo to align more closely with Janáček's choral style. A Sanctus section was added, drawing directly from Janáček's initial draft for the "Glagolitic Mass," thus offering a glimpse into Janáček's creative process and transforming a fragment into a complete work suitable for both concert and liturgical purposes.