Bernstein: Mass
Philadelphia Orchestra, Westminster Symphonic Choir, Temple University Concert Choir, The American Boychoir, Temple University Diamond Marching Band, Yannick Nézet-Séguin
This extraordinary work is part-Roman liturgy, part-rock concert and part-happening. Bernstein’s notorious commitment to ‘radical chic’ sometimes hid his profound traditionalism. The writing...
Bernstein: Mass
Philadelphia Orchestra, Westminster Symphonic Choir, Temple University Concert Choir, The American Boychoir, Temple University Diamond Marching Band, Yannick Nézet-Séguin
Purchase product
This extraordinary work is part-Roman liturgy, part-rock concert and part-happening. Bernstein’s notorious commitment to ‘radical chic’ sometimes hid his profound traditionalism. The writing...
About
Jacqueline Kennedy commissioned Leonard Bernstein to compose this massive work for the inauguration of the Kennedy Centre in New York. It premiered on 8 September 1971. Bernstein decided to write an innovative Mass and what came out is, say, a Catholic Mass getting out of hand.
The Mass is seen through the eyes of a Jewish composer with an extraordinary palette of musical styles at his disposal, the work draws on influences from religious to popular and broadway musical genres.
Requiring two orchestras, rock band, marching band, multiple choirs and musical singers, for obvious reasons, the monumental work is rarely performed and even rarer on disc.
Born out of the political and social turmoil of the 60s, its main character experiences a roller-coaster of emotions and questioning of faith. On a wide variety of levels, this work is as relevant today as it was at its inception. Nixon, then President, refused to attend the premiere after an FBI warning for fear it could contain anti-war/anti-government sentiments.
Unified under his baton, Yannick Nézet-Séguin forges a powerfully emotional interpretation of this unique work – a cross-section of European and American Music.
Contents and tracklist
- E. Clayton Cornelious (tenor), Kent Overshown (baritone), Sarah Uriarte Berry (soprano), Timothy McDevitt (psalm singer), Pre-Recorded Tape (actor/singer), Nathaniel Stampley (baritone), Hilary Ginther (mezzo-soprano), Pearl Sun (vocals), Kevin Vortmann (tenor), Meredith Lustig (soprano), Morgan James (mezzo-soprano), Kevin Vortmann (voice), Benjamin Krumreig (tenor), Lyn Philistine (mezzo-soprano), Douglas Butler (boy soprano), Zachary James (bass), Bryonha Marie Parham (mezzo-soprano), Julia Burrows (soprano), J.D. Webster (tenor), Morgan James (soprano), Devin Ilaw (tenor), Lyn Philistine (soprano), Hilary Ginther (soprano), Temple University Diamond Marching Band (military band)
- Philadelphia Orchestra, Westminster Symphonic Choir, Temple University Concert Choir, Street Chorus Cast, The American Boychoir, Student Musicians from the School District of Philadelphia
- Yannick Nézet-Séguin
- Recorded: 2015-04-30
- Recording Venue: Verizon Hall, Kimmel Center, Philadelphia
Spotlight on this release
-
An error occurred.
Try watching this video on www.youtube.com, or enable JavaScript if it is disabled in your browser.
Awards and reviews
July 2018
This extraordinary work is part-Roman liturgy, part-rock concert and part-happening. Bernstein’s notorious commitment to ‘radical chic’ sometimes hid his profound traditionalism. The writing draws heavily on the Church Mass, as well as on African-American vernacular and white secular music. Amazingly, and thanks to a joyously committed ensemble, the piece hangs together, even as a purely audio event. The first CD can seem a little chaotic in places, but from the Credo onwards, the second disc slowly builds in power and presence, and the two closing sections – ‘Fraction: “Things Get Broken”’ and ‘Pax: Communion (“Secret Songs”)’ – are emotionally powerful, even cathartic. It is Bernstein’s centenary, but perhaps more significantly nearly 20 years since his death. Without his outsize presence, his work stands out ever more strongly.
