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Examples
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The word setting of The Eternal Gospel - an earthly and earthy response to the Book of Revelation invoking the 12th-century mystic Joachim of Fiore - is born of the same ecstatic primitivism that eventually fired Janacek's Glagolitic Mass and with its rough declamation - terrifically taken by the late replacement tenor Adrian Thompson - wonky crusading march, and vaulting soprano (Sofia Fomina) the effect was very much suggestive of pagans who've been Christian for about a week.
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The word setting of The Eternal Gospel - an earthly and earthy response to the Book of Revelation invoking the 12th-century mystic Joachim of Fiore - is born of the same ecstatic primitivism that eventually fired Janacek's Glagolitic Mass and with its rough declamation - terrifically taken by the late replacement tenor Adrian Thompson - wonky crusading march, and vaulting soprano (Sofia Fomina) the effect was very much suggestive of pagans who've been Christian for about a week.
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The word setting of The Eternal Gospel - an earthly and earthy response to the Book of Revelation invoking the 12th-century mystic Joachim of Fiore - is born of the same ecstatic primitivism that eventually fired Janacek's Glagolitic Mass and with its rough declamation - terrifically taken by the late replacement tenor Adrian Thompson - wonky crusading march, and vaulting soprano (Sofia Fomina) the effect was very much suggestive of pagans who've been Christian for about a week.
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The word setting of The Eternal Gospel - an earthly and earthy response to the Book of Revelation invoking the 12th-century mystic Joachim of Fiore - is born of the same ecstatic primitivism that eventually fired Janacek's Glagolitic Mass and with its rough declamation - terrifically taken by the late replacement tenor Adrian Thompson - wonky crusading march, and vaulting soprano (Sofia Fomina) the effect was very much suggestive of pagans who've been Christian for about a week.
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The word setting of The Eternal Gospel - an earthly and earthy response to the Book of Revelation invoking the 12th-century mystic Joachim of Fiore - is born of the same ecstatic primitivism that eventually fired Janacek's Glagolitic Mass and with its rough declamation - terrifically taken by the late replacement tenor Adrian Thompson - wonky crusading march, and vaulting soprano (Sofia Fomina) the effect was very much suggestive of pagans who've been Christian for about a week.
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The Pride of the River Wey (a programme of Janaček including the Glagolitic Mass - BBC Symphony Orchestra and Chorus, supplemented by the London Symphony Chorus, conducted by Pierre Boulez).
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