Thanks for that, George.

I must say that my impression was that we would not be getting the plucky little Concertino but the goofy little Capriccio(?)

I'm sure opilec will be along soon to give chapter and verse (unless it's, ahem, not quite politic to do so! ), but as I understand it Paul Wingfield's 'reconstruction' is of a version that, interesting as it may be, was definitively rejected by Janacek. It's possible some of the changes he made before the work's premiere were motivated by expediency/practicality, but others were definite 'new preferences to supersede any earlier drafts', and Janacek never wanted to hear his original version.

It's also unlike, say, the 'original version' of Sibelius's Fifth Symphony - a version that was also superseded by the composer's later intentions - in that it was never performed in the composer's lifetime.

Both of those pieces are a bit Janacek à la Malcolm Arnold for my liking.

(runs for his life)

Golly! Are you sure that's not Peter Janacek's perky Cappuccino you are thinking of?

Gosh, I thought that was just me, being ignorant 

I thought it was rather terrific 

Absolutely, since my understanding was that Janacek revised down to the capabilities of the musicians available, and that further Bowdlerization by other hands preceded the posthumous publication of the simplified version. So come on opi, let's have the griff on this matter. Has Wingfield been leading the likes of Mackerras and Boulez up the overgrown path?

[Having now browsed through that part of Wingfield's text available online, it is clear that the version I had previously been given was rather far from reliable. I have now ordered the Wingfield tome. Should make interesting reading. I definitely prefer the Wingfield edition of the score.]

As one of the (several) boarders at the RAH for this Prom, I thought it worked well - it was, at least, interesting to hear the Wingfield "completion/reversion/revision" of the Glagolitic Mass,  although I'm not sure I'd want to hear it frequently.  The soprano was so shocking that the work was done a disservice - there was really no knowing what note she was supposed to be singing.  Wouldn't it have been better to get soloists from the Czech Republic for this work, rather than from France?  I thought the (New Zealand) tenor was excellent though, and had super pronunciation of the Glagolitic text (medieval Slavonic).  Janacek really hated mezzos, though, eh?

The Capriccio made a nice change of timbre and scale in the programme, although I'd never heard it before.

I somehow imagined the brass opening of the Sinfonietta should be more imposing and grand than it seemed from where I was standing?  The players were substantially "further up" than we were, and it might be that the unkind acoustics of the Royal Awful Hall favoured those further back, and on the same level?  How was it on R3?

I'm sorry I'll miss the concert performance of OSUD, though - I won't be around for that, and it's a work I admire enormously.