The first two volumes of Janáček's orchestral works for Chandos from Edward Gardner and the Bergen Philharmonic Orchestra Janáček: Sinfonietta, Capriccio - Bavouzet / Gardner and Janáček: Violin Concerto, Taras Bulba - Ehnes / Gardner were spectacularly successful both in terms of performance and sonics. Gardner brilliantly demonstrated his command of Janáček's unique sound world and his ability to elicit idiomatic performances from his Bergen players. To this end he was aided by the efforts of the Chandos recording team who achieved matchless sound quality in the Grieghallen, Bergen. It is pleasing to report that in all respects Volume 3 matches or possibly even exceeds the exemplary standard of the previous two issues.

Though the main work on this latest volume is the much recorded 'Glagolitic Mass' the disc also includes three valuable and rarely heard fill-ups that devotees of the composer will definitely wish to acquire, especially when performed as splendidly as here.

Gardner uses the 'standard' version of the score in its latest published edition by Jiři Zahrádka rather than the arguably more authentic one that appeared in 1995 following research by Paul Wingfield into the work's genesis. Wingfield's version of the 'Glagolitic Mass' is based on the premise that the composer had been forced to make major revisions to the score during rehearsals for the premiere due to a lack of instrumental resources and limited rehearsal time and that some other questionable changes were made prior to the work's second performance in Prague. In his authoritative and invaluable liner notes John Tyrrell posits the view that by the time these alterations were made in 1928 Janáček was a confident and assured composer who would not have had unwanted changes forced upon him.

No matter which version is used, Janáček's 'Glagolitic Mass' remains a life-affirming work, full of buoyant energy and festive character – qualities that this performance has in abundance. Gardner's electrifying conducting of his keenly responsive Bergen Philharmonic Orchestra is powerfully focussed and the playing throughout is alert and incisive. The choral contribution from the four choirs is both enthusiastic and polished, a tribute to training from their respective chorus masters. The important organ solos were recorded on the magnificent organ of Bergen Cathedral and delivered with fearsome weight and crisp registration by Thomas Trotter.

A number of otherwise fine recordings of this Mass are let down by the singing of the four soloists so Gardner is fortunate in having engaged an outstanding team for his account of the piece.

The American soprano Sara Jakubiak possesses the power and vocal radiance required in the joyful third movement 'Slava' (Gloria), a far cry from some of the acidulous sopranos all too frequently preserved on disc. Janáček assigns the most important solo role to the tenor and Stuart Skelton's reputation as one of the finest Heldentenors of his generation stands him in good stead. He copes effortlessly with the high tessitura of his part and his beauty of tone in the reflective passages is matched with the thrilling ringing delivery of the affirmation of faith at the end of the 'Věruju' (Credo) section. The two smaller solo parts benefit from the warm sonorous tones of the young Hungarian bass Gábor Bretz and the ever reliable Susan Bickley.

The experienced Chandos recording team have once again produced a stunning 5.0 multi-channel recording (24-bit / 96 kHZ) that captures the warm ambience of the Grieghallen in Bergen in a manner that brings a sense of scale to the performance. From the opening brass fanfares similar to those found in the composer’s 'Sinfonietta' (written earlier the same year as the Mass) there is a thrilling immediacy to the sound that allows every detail to emerge with great clarity. Timpani are well defined and every organ passage is felt as well as heard. Given the beautifully open and spacious sound with its wide range and excellent balance there are no reservations regarding its quality.

The 'Adagio' for Orchestra that follows is believed to have been composed around 1890, possibly as a reaction to the death of the composer's baby son. Its character is sombre in tone though there is a more animated middle section. To these ears it could easily be mistaken for the work of Dvorak, as exemplified by its romantic gestures and warm lyricism. Though hardly an important piece, its inclusion on this SACD is certainly welcome.

The majority of Janáček’s sacred music was written early in his career and the two works, 'Zdrávas Maria' (Hail Mary) and 'Otče náš' (Our Father) date from 1901 and 1904 respectively. Unlike the Mass, both these pieces were recorded in Bergen Cathedral in an acoustic befitting the more devotional nature of the settings.

'Zdrávas Maria' is an exquisite setting for solo soprano, four part chorus, violin and organ. Sara Jakubiak sings it with much depth of feeling. She is accompanied by the ethereal obbligato violin of David Stewart – concertmaster of the Bergen Philharmonic – softly cushioned by the organ and interspersed by brief but telling contributions from the fine Bergen Cathedral Choir and Edvard Grieg Kor.

'Otče náš', a setting of the Lord's Prayer was inspired by a series of religious paintings by the Polish artist Józef Męcina-Krzesz. Stuart Skelton's fervent delivery of the solo part, the unusual but magical accompaniment of harp and organ and once again the ardent singing of the two choirs all make for a moving and uplifting experience.

This Janáček collection represent another major success for Edward Gardner and the continuing fruitful collaboration between him and his Bergen colleagues. While there are many alternative versions of the 'Glagolitic Mass' on disc for consideration by collectors this latest account can be confidently recommended and should be high on anyone's short list.

Copyright © 2016 Graham Williams and HRAudio.net

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