Bernstein, L.: Mass

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Mass (more info)
Performed by: Lower Austrian Tonkunstler Orchestra Baltimore Symphony Orchestra
Composed by: Leonard Bernstein
Conducted by: Marin Alsop Kristjan Jarvi
Randall Scarlata, baritone
Jubilant Sykes, baritone
Asher Edward Wulfman, boy soprano


1.   Devotions before Mass: Antiphon: Kyrie eleison (High Soprano, Bass, Soprano 2, Alto, Tenor, Baritone) - 02:01
2.   Devotions before Mass: Hymn and Psalm, "A Simple Song" (Celebrant) - 04:11
3.   Devotions before Mass: Responsory, "Alleluia" (Soprano 1, Soprano 2, Alto, Tenor, Baritone, Bass) - 01:09
4.   First Introit: Prefatory Prayers (Street Chorus, Soprano 1, Soprano 2, Soprano, Celebrant, Boy Soprano, Boys' Choir) - 05:00
5.   First Introit: Thrice-Triple Canon: Dominus vobiscum (Celebrant, Boys' Choir, Street Chorus) - 00:42
6.   Second Introit: In nomine Patris (Boys' Choir, Chorus, Celebrant) - 01:58
7.   Second Introit: Prayer for the Congregation, "Almighty Father" (Chorus) - 01:22
8.   Second Introit: Epiphany (Celebrant) - 00:55
9.   Confession: Confiteor (Chorus) - 02:10
10.   Confession: Trope, "I Don't Know" (First Rock Singer and Descant, Second Rock Singer, Male Street Chorus) - 01:41
11.   Confession: Trope, "Easy" (First Blues Singer, Second Rock Singer, Second Blues Singer, Third Rock Singer, Third Blues Singer, First Rock Singer and Descant, Celebrant, Chorus) - 04:51
12.   Meditation No. 1 - 05:10
13.   Gloria: Gloria tibi (Celebrant, Boys' Choir) - 01:55
14.   Gloria: Gloria in Excelsis (Chorus) - 01:16
15.   Gloria: Trope, "Half of the People" (Street Chorus, Chorus) - 01:00
16.   Gloria: Trope, "Thank You" (Soprano, Street Chorus) - 02:46
17.   Meditation No. 2 - 03:39
18.   Epistle: "The Word of the Lord" (Celebrant, A Young Man, Another Young Man, Street Chorus, An Older Man, A Young Woman) - 05:50
19.   Gospel-Sermon: "God Said" (Preacher, Street Chorus, 5 Solo Voices) - 04:22
20.   Credo: Credo in unum Deum (Celebrant, Chorus) - 01:08
21.   Credo: Trope: "Non Credo" (Street Chorus Male Group, Baritone) - "Crucifixus" (Chorus) - 02:17
22.   Credo: Trope, "Hurry" (Mezzo-soprano) - Sedet ad dexteram Patris (Chorus) - 01:20
23.   Credo: Trope, "World without End" (Street Chorus, Mezzo-soprano) - Et in Spiritum Sanctum (Chorus, 3 Solo Voices) - 01:39
24.   Credo: Trope, "I Believe in God" (3 Solo Voices, Street Chorus, Rock Singer, Chorus) - 02:07
25.   Meditation No. 3 (De profundis, Part 1) (Chorus, Celebrant) - 02:31
26.   Offertory (De profundis, Part 2) (Boys' Choir, Chorus) - 02:13

Mass (more info)
Performed by: Lower Austrian Tonkunstler Orchestra Baltimore Symphony Orchestra
Composed by: Leonard Bernstein
Conducted by: Marin Alsop Kristjan Jarvi
Randall Scarlata, baritone
Jubilant Sykes, baritone
Asher Edward Wulfman, boy soprano


1.   The Lord's Prayer: Our Father … (Celebrant) - 01:18
2.   The Lord's Prayer: Trope, "I Go On" (Celebrant) - 02:25
3.   Sanctus (Celebrant, Boys' Choir, Chorus, Counter-tenors, Street Chorus) - 05:10
4.   Agnus Dei (Soloists of Street Chorus, Street Chorus, Celebrant, Chorus) - 06:30
5.   Fraction: "Things Get Broken" (Celebrant) - 14:22
6.   Pax: Communion, "Secret Songs" (Boy Soprano, Bass, Soprano 1, Soprano 2, Tenor 1, Tenor 2, Street Chorus, Celebrant, Chorus) - 09:06

Reviews

Alsop aces the Bernstein Mass (Oct 1, 2009)
Reviewer:musicbizkid
Marin Alsop's reading of the controversial Bernstein Mass is precisely what we've come to expect from the Baltimore Symphony's outstanding maestro: fresh, vibrant, cathartic, and empathic.

The mass itself, more vernacular and theatrical than liturgical, is a hit-or-miss piece, but for those who love Bernstein and/or his famous Mass, you will find this to be a top-quality... Marin Alsop's reading of the controversial Bernstein Mass is precisely what we've come to expect from the Baltimore Symphony's outstanding maestro: fresh, vibrant, cathartic, and empathic.

The mass itself, more vernacular and theatrical than liturgical, is a hit-or-miss piece, but for those who love Bernstein and/or his famous Mass, you will find this to be a top-quality interpretation and recording. The recording is sonically robust and clean, and features inspired performances from Jubilant Sykes (baritone); Asher Edward Wulfman (boy soprano); the Morgan State University Choir, under the direction and preparation of Dr. Eric Conway; and the Peabody Children's Chorus, directed by Doreen Falby.

Certainly a top-tier recording of this popular American work!
(read more)

Musical Jubilee (Sep 7, 2009)
Reviewer:E. Apuzzo
Leonard Bernstein’s Mass is a one of a kind experience. Before listening to it, the only work of Bernstein’s that I was really familiar with was West Side Story. I’m not sure what I was expecting, but I can safely say that this is not your grandmama’s mass. There are parts of the Mass that are almost like West Side Story meets a Sousa march. There is so much energy that you can’t help but... Leonard Bernstein’s Mass is a one of a kind experience. Before listening to it, the only work of Bernstein’s that I was really familiar with was West Side Story. I’m not sure what I was expecting, but I can safely say that this is not your grandmama’s mass. There are parts of the Mass that are almost like West Side Story meets a Sousa march. There is so much energy that you can’t help but perk up when you listen to it. Lyrically, there are tongue and cheek moments that may rattle some cages, but that’s what makes this piece unique. This particular performance of the Mass is really special. Baritone Jubilant Sykes is at the helm and brings such vibrancy to an already exciting piece. I really love how theatrical it is. The Morgan State University Choir and the Peabody Children’s Chorus also lend their voices to the musical jubilee. Every soloist does a wonderful job negotiating the multiple musical genres in this one work, so there is really something for everyone to enjoy! (read more)

Critical MASS Rises Up! (Sep 3, 2009)
Reviewer:Tym
Leonard Bernstein turned Catholic ritual into activist theatre with this crucial work.

But the grand themes hardly make this a mental slog. This music moves and soars, takes surprise tangents and playful turns. It flows with beauty and grace the whole way. Its abundant riches encompass classical chorals and solos, Broadway musicals, world musics, modern dissonance, and sauntering... Leonard Bernstein turned Catholic ritual into activist theatre with this crucial work.

But the grand themes hardly make this a mental slog. This music moves and soars, takes surprise tangents and playful turns. It flows with beauty and grace the whole way. Its abundant riches encompass classical chorals and solos, Broadway musicals, world musics, modern dissonance, and sauntering rock and soul styles. Reading the lyrics, which are sung in English as often as Latin, only enriches that smooth ride. Bernstein has made this amazingly accessible without sacrificing any sophistication or depth.

"Mass" reflects the social maelstrom of the counterculture uprisings of the late 60's and early 70's. In musical breadth and examination of belief it is a parallel of the rock musicals "Hair", "Jesus Christ Superstar", and "Godspell". Its themes of anger and confusion in the quest for self-divination also mirror The Who's rock opera "Tommy". Other contemporary spokes in this cycle include the baroque complexity that producer Charles Stephney brought to Rotary Connection's albums; the shining harmonies with tart lyrics of The Free Design; and producer David Axelrod's similar sonic explorations on The Electric Prune's "Mass In F Minor" and "Release Of An Oath" (1968).

Rock fans may also find common musical ground with recent work like Dead Can Dance or Anne Dudley & Jaz Coleman; the classical works of Elvis Costello and Paul McCartney; the adventurous pop work of Ute Lemper and Anne Sofie von Otter; and the rock interpretations of Trio Rococo, The Brodsky Quartet, and The String Quartet.

Bernstein didn't want to reitierate obedience to faith; he wanted to challenge it to prove itself worthy. "Mass" takes the ritual of Latin benediction chants and dissects them with the wit of Brecht and Weill. Its hero the Celebrant leads the congregation in prayer, until the crisis of faith of the increasingly critical masses reach critical mass and cause him to question his own belief. "Give us peace now and peace to hold on to/ And, God, give us some reason to want to." By extension the work questions the divine, the leadership of nations, and the choices of the individual. "Mass" is a confession of deep conflict, a rebellion against silent suffering, a dialogue of ideas. Some may consider the work's questioning of what is rote versus what is right as sacrilegious, but Bernstein succeeds in showing that soul-searching is what gives faith its relevance. The Celebrant's faith shatters when he flings the chalice to the floor: "It's odd how all my body trembles/ Like all this mass/ Of glass on the floor." But he is ultimately able to renew his belief as the simplicity of music shows him the reflection of divinity, and its eternal resonance within.

Infamously, in paranoia about Bernstein's progressive views, the FBI warned President Nixon to avoid the premiere performance. They were uncomfortable with its themes of questioning authority, street rebellions, and anti-war stances. "God said to spread His commands/ To folks in faraway lands/ They may not want us there/ But, man, it's out of our hands." Nixon skipped out. Its political relevency has only increased in recent years, both in anti-war and ecological concerns: "Whispers of living, echoes of warning/ World without end spins endlessly on/ Only the men who lived here are gone/ No one to oil the seas/ No one to anything at all." Naturally it has seen four revivals during the second term of Bush.

This is the one to get. Jubilant Sikes is a brilliant choice for the conflicted hero, with his versatile voice and equally supple delivery. All of the different choral groups and soloists also shine brightly. The music is always alive, flowing, surprising, and beautiful. And with 2 CDs for the price of 1, you can't lose! Viva, la revolucion. (read more)