1963
Supraphon 50517
1963
Supraphon 50517
A
Antonín FILS
1 - Missa Solemnis in C
B
Christmas Carols of European Nations
1 - Michael PRAETORIUS: Es ist ein Ros' entsprungen
[1:32]
Deutschland
2 - Het was een maget uyt vercoren – Kerstlied [1:38]
Vlamen
3 - Rajske strune zadonite [1:11]
Jugoslavija
4 - Καλην η μέρα άρχοντες – Τα καλαντα των Χριστουγεννων
[1:09]
Ελλάδα
5 - Nous étions trois bergerettes [1:17]
France
6 - Los animales ante el Nacimiento [1:21]
España
7 - Dormi, dormi bel Bambin [2:07]
Italia
8 - Израсло ми, Гъорге – Българска коледна песен [1:03]
България
9 - Pásli ovce Valaši [1:09]
Československo
10 - Entre le bœuf et l'âne gris [1:36]
France
11 - Nu är det jul igen [1:16]
Sverige
12 - Jeg er så glad hver julekveld [2:15]
Norge
13 - Jezus malusieńki [1:41]
Polska
14 - Der Heiland ist geboren [2:58]
Österreich
15 - Good King Wenceslas [2:03]
England
16 - Gloria, Gloria in excelsis [1:03]
Československo
A/1
Czech Philharmonic Chorus
Prague Symphony Orchestra
Josef Veselka
Helena Tattermuschová • soprano
Marie Mrázová • alto
Zdeněk Švehla • tenor
Zdeněk Kroupa • bass
Miroslav Kampelsheimer • organ
B/1-16
Beno Blachut • tenor (solo #9, 15, 19)
Milan Šlechta • organ
Instrumental Chamber Ensemble
(New Madrigal and Consort Singers with Instrumental Group)
Prague Madrigal Singers
Miroslav Venhoda
Soprano:
Milada Boublíková (solo #3, 5, 7, 13, 15, 21, 23)
Růžena Karlová
Hana Legerová (solo #2, 5, 7, 14)
Hana Semschová
Alto:
Jaroslava Kolganová (solo #2, 3, 5)
Marie Němcová (solo #6, 7, 25)
Vlasta Pecháčková (solo #2, 7, 23)
Tenor:
Angel Jankov (solo #8)
Dr. Jiří Raizl
Soběslav Raizl (solo #12)
Miloslav Somol
František Schneiberg
Bass:
Pavel Jurkovič (solo #2, 4, 8, 12)
Miloslav Rabas (solo #11, 23, 24)
Jaroslav Srb (solo #12)
Josef Života
Side B: #1-16
Christmas Carols
LP, 1964
Side B: #1-16
Christmas Carols of European Nations
CD, 1988
Antonín FILS: Missa Solemnis
Christmas Carols of European Nations
Whereas formerly say the
period of baroque understood very little about the Gothic age and took
little interest in folk or primitive art, our time endeavours to grasp
all forms of artistic expression. We find beauty alike in modern art
and in folklore, we explore affinities between the art of Europe and of
other parts of the globe, we admire with equal warmth the art of
ancient Crete and of mediaeval Madonnas. And this is because we take as
our yardstick man's creative activity, regardless of time or place.
The recordings on this disc, too, have something in common. It is their
folk character which is only natural in the carols of
different nations, whether they be those of Spain or Iceland,
of England or Bohemia, but which also irradiates Fils's Festive Mass.
And both are linked up with the religious mood of Christmas, with the
harmonies of a band of instruments or the singing human voices. There
can be no doubt that both were close to the congregation of
worshippers. Besides, the folk or popular quality of a work of art is
not so easily definable as one might suppose. For instance, just in
this connection: carols are certainly a product of Christianity, but
who knows how many of these melodies were sung in more remote times as
an accompaniment to heathen rites and observances - for Christmas time,
the time of the Winter Solstice was undoubtedly celebrated by the
people as far back as in the Stone Age. And what is more: when we say
that the people sing, it is possibly the echo of still more ancient
traditions, reaching back to the very beginnings of music, to those
mythical times when music was first born from the song of the wind in
the treetops or from the surge and fall of the waves or from the
nightingale's serenade and the choral music of bird song. Or again, if
we speak about tradition, may it not well be, on the contrary, a song
moulded and shaped by the character, temperament and customs of the
people of a certain country or region? On the weft of a traditional
pattern, the people continually weave a new design.
Such are the thoughts that may run through the mind in listening to
this old music. At the close of the year, the ground in Bohemia was
usually covered with snow. Young and old, in sheepskin coats and carp,
reflected the festive mood in the expression of their faces. The night
watchman made his round of the village with his horn calling out the
hours. Little carol-singers were taken into hospitable cottages and
rewarded with eggs, apples and nuts. The spirit of peace and good
fellowship brightened up the short and gloomy winter days. And maybe
one or other of these rose-cheeked carol-singers grew up to be a
teacher who taught a new generation to play the fiddle and sing in the
church choir, or be the leader of a band of village musicians who
played at weddings and on feast days, or maybe one out of many soared
higher and made a name for himself as a composer in whose works there
are ever-recurring reminiscences of the songs heard and sung in
childhood. Such a fortunate one was the author of the Missa solemnis of
our recording – Antonín Fils.
Fils was born in Bohemia, but at the age of twenty-four he emigrated to
Germany, where he developed his musical talent as a violoncellist and
especially as a composer. He was a member of the famous Stamic
orchestra maintained at the ducal court in Mannheim. He died, thirty
years of age, in 1760, but left behind him a large body of works,
including thirty sinfonias. His music was performed all over the world
– in England, in France, even in America, and, of course, most
frequently in Germany and in his native Bohemia, where to this day
there is doubtless still many a still undiscovered copy of Fils's
compositions among the dusty manuscripts of church choirs. The German
writer on music, Schubart (1739-1791), did not hesitate to call Fils
'the best symphonist who ever lived'. Is it not strange? The melodies
absorbed by the Czech boy in his childhood, fertilized by the creative
individuality of a gifted artist make an original contribution to world
music, finally returning home where they had their roots.
Nor can it be otherwise. Behind and beyond all is the sometimes hidden,
sometimes clearly evident creative force in which all artistic
expression has its roots – the people. From the people arises the
outstanding individual, the artist of genius; but individuals come and
go, what remains is the people – and the work of art.
Kamil Bednář
Karl van Mander: Nativity
National Gallery, Prague