Dvořák

12PD22 Stabat Mater Antonín Dvořák
We have reissued a classic 1952 recording conducted by Václav Talich .
The strong cast reflects the best of Czech singers of the day. It includes:

• Karel Kalaš (bass)
• Marta Krásová (contralto)
• Beno Blachut (tenor)
• Drahomíra Tikalová (soprano)
• Prague Philharmonic Choir
• Kühn Children´s Chorus
• Czech Philharmonic Orchestra
• Jan Kühn (chorus master)
• Václav Talich (conductor)

Václav Talich(1883-1961)
Particularly noted for his interpretations of Czech composers such as Antonín Dvořák, Bedřich Smetana and Josef Suk, Talich also did much to bring the operas of Leoš Janáček into the standard repertoire. Talich also taught a good deal, with Charles Mackerras, Karel Ančerl or Milan Munclinger among his pupils.

"The oratorio, indeed, overflows with melody (with the words sometimes not well adapted to it and with a disregard for correct accentuation of the Latin) and it is superbly vocal. In the bass solo with chorus, Fac ardeat car meum (No. 4) in which the conductor has used children's voices to respond to the solo voice with touching effect, Dvotak, after a declamatory passage for the soloist, writes a melody that could have come from one of the slow Slavonic Dances, this being one of several pieces of eflective national colouring in the work. Two of the best movements are Eia, mater, for chorus (a funeral march of great pathos) and the contralto solo, Inflammatus et accensus (No. q) which is also in march tempo, but quicker and more urgent. The final chorus is a brightly coloured vision of Paradise (the flowing melody of the opening chorus is recapitulated in it) which is saved from triviality by a magnificently dramatic stroke after what appears to be the final Amen, The chorus, unaccompanied, again sing the last words of the Stabat Mater in massive harmony rising to a great climax (in which the orchestra joins) on Paradisi gloria, this being followed by a gradual decrease in volume over the orchestra and the solo soprano, with chorus, singing quiet repetitions of Amen. The music dies away on high woodwind chords. This is obviously a good performance, with excellent soloists and chorus, and the work is sung with a glow and fervour that is in welcome contrast to the paler style of our national tradition." Gramophone October 1953

12PD22 is currently only available as a download at [iTunes]
or as a high quality download at [Beulah Extra]