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All four movements of In the mists involve the alternation and incremental modification of two contrasting groups of material, although the overlying structure of each movement is different from that of the others and none conforms to an established pattern. The work is unquestionably Janáček’s masterpiece in terms of its achievement of an astonishing expressive power through maximum economy of materials. As Thomas Adès puts it, ‘The greatness of In the mists lies in its very claustrophobia, and austerity of means affecting every aspect of the music. The solo piano becomes a narrow space with four solid walls’.
from notes by Paul Wingfield © 2020