Enhanced descriptions from Syndetics:

The Glagolitic Mass, written between 1926 and 1927, is not only one of Janácek's most important works: it is also a masterpiece of the twentieth-century choral repertoire. In this fascinating account of the work and its history, Paul Wingfield brings together material from early articles and reviews, letters and manuscripts which form a comprehensive account of the work's genesis and performance history. The author also provides a thorough revision of the Old Church Slavonic text along with English translation, and reconstructs Janácek's 'ideal' version of the work - far more exciting than the less adventurous rearrangement currently performed. Chapters on the music itself offer a full synopsis of the Glagolitic Mass, an in-depth discussion of its musical organisation and a selection of key interpretations of the piece by Janácek and others.

Table of contents provided by Syndetics

• Acknowledgements
• Note on musical examples, bar numbers, abbreviations and translations
• Introduction
• 1 Genesis and reception
• 2 The (Old?) Church Slavonic text
• 3 The authentic score
• 4 Synopsis
• 5 Introduction to the musical organisation
• 6 Literature 1927-30
• Notes
• Principal sources of the Glagolitic Mass
• Bibliography
• Index

Reviews provided by Syndetics

CHOICE Review

After tracing the origins and reception of the Glagolitic Mass (1926; revised 1927), Wingfield offers a rather tedious account of Church Slavonic and problematic aspects of the text of the Mass. ^D["The Authentic Score^D]" is the most helpful chapter, identifying revisions in the music, the reasons behind these changes (Jan^D'acek made some reluctantly), the musical consequences of these alterations, and performance suggestions. Wingfield's analysis, largely descriptive and formalistic, gives more attention to details than overall concepts. In one interesting conclusion, he links large- and small-scale musical ambiguities in the Veruju (Credo) with Jan^D'acek's agnosticism; yet, no significance is ascribed to other passages built on tonal conflicts. Unlike authors of earlier studies, Wingfield considers Jan^D'acek's ^D["progressive^D]" tonal scheme an important organizational element and assumes a more flexible approach toward motivic unity than did Hans Hollander, Karl W^D"orner, or Jaroslav Vogel. Wingfield's analysis, however, continues to emphasize the identification and interrelationship of 51 main motives. The final chapter presents English translations of reviews and Jan^D'acek's writings, all originating from the period 1927-30. This book is primarily useful for specialists or those conducting this mass.