Reviewed by John Irvine

In 1926 Janacek completed a Mass setting in Old Church Slavonic - the 'Glagolithic' of the title refers to the original form of Slavonic writing. The version actually performed then and subsequent was the result of major revisions - some during rehearsals to take account of the availability and expertise of local musicians, other changes made upon publication of the piece after Janacek's death. What we have here is a reconstruction of Janacek's original intentions, a work which is far more adventurous and stunning than the altered version. Although a Mass setting, it is a piece for the concert hall rather than church, resting to a large degree on folk tunes and nationalistic sentiment. From the word go we are thrust headlong into the piece with the "Intrada": a remarkable chordal brass fanfare, stirring and gripping with an almost impossible to play trumpet line consisting of trills and arpeggios, backed by thundering drums. And this is only the opening number! Since it also appears at the end, it also provides a fitting conclusion to the work. "Gospodi Pamiluj" (Lord Have Mercy) starts with dark foreboding clouds and waves of anguish. An almost beatific choir calls for mercy, a cry which grows in intensity upon the entry of the soprano soloist. It's here that the only problem of this recording rears its head - in the voice of Tina Kiberg. She is too harsh, too strident, too overpowering; perhaps a fine voice for a concert performance, but to my mind inappropriate in a studio recording. An upbeat "Slava" (Gloria) leads us into a real pot boiler of the emotions, "Veruju" (the Credo). This is the core of the piece and the most substantial section at 12 minutes and contains an almost apocalyptic 'crucifixus' section. A sweet "Agneca Bozig" (Agnes Dei) paves the way for a blisteringly white hot organ solo before the return of the "Intrada". An incredible piece of music and an exceptional performance by the Danish Radio National Symphony Orchestra. Don't miss it.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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