Bruckner’s monumental third Mass setting, in F minor, is justifiably known as the ‘Great Mass’. With a duration of over an hour, it was clearly intended for concert performance rather than in a liturgical setting and is regarded as a transitional landmark in his sacred output and a ‘gateway to the symphonies’.

Although it bears many hallmarks of the mature Bruckner, it is clearly indebted to Haydnesque, Mozartian and Beethovenian models, especially the latter’s Missa solemnis, with which it shares a tendency to prolixity. The allegro section of the Sanctus owes a good deal to the ‘Recordare’ in Mozart’s Requiem. Although it was composed in 1867-68, Bruckner continued to tinker with the Mass for a further quarter of a century, mostly making academic ‘corrections’ to the 20-minute Credo.

The choir and orchestra have to work hard, in particular the sopranos (with many taxing high passages) and the violins, who are rewarded with typically beautiful weaving countermelodies. However, despite the heaviness of the scoring and big block textures of much of the choral writing, Janowski achieves a lightness and transparency throughout. Helped by the choice of flowing tempi, his overall timing of 62 minutes is not much more than Jochum’s 58 minutes and is considerably less than Celibidache’s 77-minute procession to eternity.

The serene Benedictus owes the greatest debt to Wagner and is a beautiful vehicle for the solo quartet, who are gently ‘backed’ by the chorus. The greatest plaudit here goes to the bass, Franz Josef Selig, who is warmly resonant. This flawless performance is of the highest quality.