I am not sure how I feel about a Mass based on Latin American rhythms, and with obbligato decorations from a bandoneon, which is a kind of accordion (it is pictured in the notes), although at times it sounds rather more like a harmonica. Luis Bacalov is a composer of film music and his Mass setting is very eclectic indeed. The chorus open the Kyrie mysteriously, but the bandoneon makes its presence felt in the fifth bar. The Gloria is very jolly and rhythmically syncopated; both soloists participate, then the chorus join them spiritedly. The Credo is very Latin American (‘Tempo di Milonga’). The bandoneon introduces the Sanctus, followed by the cello, before the chorus enter with an ostinato very like Orff. The Agnus Dei is shared by soloists and chorus, and is the most extended movement. Here there are choral passages of touchingly serene intensity, and the closing cadence is very positive. The Mass is sung in Spanish, but a translation is provided.
Stylistically, this music works surprisingly well, and the writing is agreeably melodic. I think it might become very popular, but I’m not sure that I personally would want to return to it very often. The three tangos offered as encores are scored very sophisticatedly. Each uses a concertante piano, and Bacalov is a brilliant pianist. How can I sum up? This music occupies its own world, with many influences (even hints of Gershwin in the pianistic writing). It is very well performed, although it does not make great demands on its soloists. The recording too is first class, vivid and warmly atmospheric. But it’s a CD to sample before purchase.'