Bernstein: Mass

Bernstein: Mass

Bernstein: Mass
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CD Details

Orchestra: Baltimore Symphony Orchestra
Conductor: Marin Alsop
Composer: Leonard Bernstein
Composer: Stephen Schwartz
Edition: Music CD
Audio: English (Unknown); English (Original Language)
CD Release Date: 2009-08-25
Music Label: NAXOS AMERICAN
Soundtracks:
Music CD 1
  1. Mass, theatre piece for singers, players & dancers: Part 1. Devotion before the Mass. Antiphon. Kyrie eleison (Pre-recorded tape no.
  2. Mass, theatre piece for singers, players & dancers: Part 1. Devotion before the Mass. Hymn and Psalm. A Simple Song
  3. Mass, theatre piece for singers, players & dancers: Part 1. Devotion before the Mass. Responsory. Alleluia (Pre-recorded tape no. 2)
  4. Mass, theatre piece for singers, players & dancers: Part 2. First Introit (Rondo). Prefatory Prayers
  5. Mass, theatre piece for singers, players & dancers: Part 2. First Introit (Rondo). Thrice-Triple Canon. Dominus vobiscum
  6. Mass, theatre piece for singers, players & dancers: Part 3. Second Introit. In nomine Patris (Pre-recorded tape no. 3)
  7. Mass, theatre piece for singers, players & dancers: Part 3. Second Introit. Prayer for the Congregation (Chorale. Almighty Father)
  8. Mass, theatre piece for singers, players & dancers: Part 3. Second Introit. Epiphany (Pre-recorded tape no. 4)
  9. Mass, theatre piece for singers, players & dancers: Part 4. Confession. Confiteor
  10. Mass, theatre piece for singers, players & dancers: Part 4. Confession. Trope. I Don't Know
  11. Mass, theatre piece for singers, players & dancers: Part 4. Confession. Trope. Easy
  12. Mass, theatre piece for singers, players & dancers: Part 5. Meditation No. 1
  13. Mass, theatre piece for singers, players & dancers: Part 6. Gloria. Gloria Tibi
  14. Mass, theatre piece for singers, players & dancers: Part 6. Gloria. Gloria in Excelsis
  15. Mass, theatre piece for singers, players & dancers: Part 6. Gloria. Trope. Half of the People
  16. Mass, theatre piece for singers, players & dancers: Part 6. Gloria. Trope. Thank you
  17. Mass, theatre piece for singers, players & dancers: Part 7. Meditation No. 2
  18. Mass, theatre piece for singers, players & dancers: Part 8. Epistle. The Word of the Lord
  19. Mass, theatre piece for singers, players & dancers: Part 9. Gospel-Sermon. God Said
  20. Mass, theatre piece for singers, players & dancers: Part 10. Credo. Credo in unum Deum (Pre-recorded tape no. 5)
  21. Mass, theatre piece for singers, players & dancers: Part 10. Credo. Trope. Non Credo / Crucifixus (Pre-recorded tape no. 6)
  22. Mass, theatre piece for singers, players & dancers: Part 10. Credo. Trope. Hurry / Sedet ad dexteram Patris (Pre-recorded tape no. 7)
  23. Mass, theatre piece for singers, players & dancers: Part 10. Credo. Trope. World without End / Et in Spiritum Sanctum (Pre-recorded t
  24. Mass, theatre piece for singers, players & dancers: Part 10. Credo. Trope. I Believe in God
  25. Mass, theatre piece for singers, players & dancers: Part 11. Meditation No. 3 (De profundis, Part 1)
  26. Mass, theatre piece for singers, players & dancers: Part 12. Offertory (De profundis, Part 2)
Music CD 2
  1. Mass, theatre piece for singers, players & dancers: Part 13. The Lord's Prayer
  2. Mass, theatre piece for singers, players & dancers: Part 13. The Lord's Prayer. Trope. I Go On
  3. Mass, theatre piece for singers, players & dancers: Part 14. Sanctus
  4. Mass, theatre piece for singers, players & dancers: Part 15. Agnus Dei
  5. Mass, theatre piece for singers, players & dancers: Part 16. Fraction. Things Get Broken
  6. Mass, theatre piece for singers, players & dancers: Part 17. Pax. Communion (Secret Songs)

Music reviews of Bernstein: Mass

Music Review: Critical MASS Rises UP!
Rating: 5 Stars

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.
More Bernstein: Mass free music reviews:
1 2 3 4 5

Description of Bernstein: Mass

When Leonard Bernstein was asked by Jacqueline
Kennedy Onassis to compose the inaugural work
for the opening of The John F. Kennedy Center
for the Performing Arts in Washington, D.C., he
wrote: 'The Mass is also an extremely dramatic
event in itself it even suggests a theater work.'
Premiered on September 8, 1971, with additional words by Stephen Schwartz of
Godspell fame, Mass is a remarkable, visionary work with a kaleidoscope of musical
styles that touches on themes of political protest, existential crisis and religious
faith lost and found. Featuring Marin Alsop conducting the Baltimore Symphony
Orchestra and soloist Jubilant Sykes.

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