Bernstein: Mass | Baltimore Symphony Orchestra, Marin Alsop, ...

Bernstein: Mass | Baltimore Symphony Orchestra, Marin Alsop, ... | Jubilant Sykes - Amazing Voice

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Wondermints Conceptual Physics... Broadway Melody of... FINIAN'S RAINBOW: ... Bernstein: Mass

	Bernstein: Mass Baltimore Symphony Orchestra, Marin Alsop, ... NAXOS AMERICAN, 2009 average customer review:based on 20 reviews view larger image
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highly recommended

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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A Vibrant Masterpiece

I recall in 1971 when Leonard Bernstein's Mass had its premiere and the general poor reception of the work by music critics. This new recording by Marin Alsop provides us with a fresh look at Bernstein's Mass. Leonard Bernstein conceived Mass as a meditation about faith and the culture behind it. One foot is in the secular world and the other in the spiritual, so Mass is more an examination of religious faith than a setting of the Catholic Mass. Leonard Bernstein takes the introduction of poems in the Requiem Mass by Benjamin Britten and takes the Mass from the church to the stage. The structure of Mass loosely follows the outline of the Catholic Mass and adds to it texts by Stephen Schwartz (who wrote Godspell), the composer and even from Paul Simon. .

As the title reveals, Mass is a theater piece, populated with singers, dances and actors. It is not difficult to pick out the influence of West Side Story and Candide in the approach to the music. The music is a mixture of styles including symphonic band, jazz, rock, pop, Middle Eastern and hymn singing. For me, the section that sums up the self-interpreting of religions comes in Gospel_Sermon: "God Said," where ideas progress from creation to exploitation. The Agnus Dei section is certainly like no other and has a wild rhythm that builds and builds with energy.

Marin Alsop has does a fabulous job of holding together all the disparate elements of Mass. Her passion for this work of her teacher and mentor comes through. Jubilant Sykes is fabulous as the Celebrant, the pivotal figure of this work. The Baltimore Symphony Orchestra, the Peabody Children's Chorus and the Morgan State University Choir bring the music to life. In sum, Mass is a work that encompasses the widest variety of feeling and experience, touching on protest, disillusionment and spirituality. The questions being asked and the mix of musical styles will not appeal to everyone but, for me, it makes for an interesting journey.

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Jubilant Sykes - Amazing Voice

I am just discovering the beautiful voice of Jubilant Sykes, listening to the Bernstein Mass recording on WQXR. I never before heard of Jubilant, and had never heard this piece before. Sykes and the other soloists are marvelous, Sykes is a personal discovery for me, and I have always been impressed with Marin Alsop's conducting, especially in more modern music. The diction is perfect, especially Jubilant's key role, so necessary for appreciating the music. As for the Bernstein, the Mass is clearly related to other Bernstein, in places reminding me of Candide, and possessing what I call the familiar (2-3) "Bernstein Beat" in some segments. But after 1-1/2 hours and still going strong, I think Bernstein got a bit carried away by his own creativity. The sincerity of the music is manifest, but it could have been trimmed. It's also a bit overwrought emotionally. Bernstein seems rather confused theologically, too, with the juxtaposition of Gospel themes and Hebrew prayers. Glad I heard it, thanks to WQXR, and grateful to find a baritone of Jubilant Syke's beauty and power.

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A worthy new recording of MASS

I was in the original production of MASS at Kennedy Center, my big solo was "I believe in God." The singer who sings it on this new recording, conducted beautifully by Bernstein deciple Marin Asop puts me to shame, I only wish I had that kind of POWER on the upper reaches of that trope, and Bernstein wrote it with me in mind. The strength of this recording is Jubilant Sykes as the Celebrant, easily the best of the 3 who have recorded the part (discounting Kent Nagano's simply horrible recording with absolutely NOTHING to recommend it for). Alan Titus had a more solid technique, but I believe Lenny would have adored Mr. Sykes sound which has one foot in the black church and the other in American classical music. His opening Sing God a Simple Song is just what is advertised, a simple, folk like song. He is strong also on Word of the Lord and he simply breaks my heart on the double header Lord's Prayer and I Go On. Alan Titus can't touch him here, he sounds so emotionally tired that when the whole emotional thing comes tumbling down at the end of Agnes Dei you are there with him. A superlative performance in a difficult role. The other singers range from adequate to a few WOWS, but the whole of the performance hangs together well. Krisjan Jarvi's performance on Chandos blends the disparate elements better than Alsop and better than Bernstein (I'm sorry Lenny, but I believe this is true), so that his performance has a bette arc to it, but I don't care for his celebrant all that much and the solo singing has a few glaringly weak spots. All three of the recordings except Nagano have great merit. If I had to choose one recording, it would be Bernstein, it sizzles. For me, I love this piece like one of my children, I'll keep all three around for their different strengths.

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A restrained Mass

As a previous reviewer has said, the original Bernstein recording is still the best. I have that, this one, and the Kent Nagano (SACD) one. Look folks, you either like "Mass" or you don't so let's not quibble about the work itself. It's different than the "Kaddish Symphony #3", "Candide", and "Chichester Songs" among others. I am a Baltimore native, a former career classical musician, and a professional audio engineer. I really like Alsop's work and the BSO in general but I do find this a bit restrained.
Now, to be picky.
I find the engineering on the recording moderate to good. I know the piece well, but I don't think the balance engineer and maybe the producer knew it well enough. There are sections where the orchestra is in the distance and other places where it is in your face. Come on, let's be consistant. This is a very very difficult work to record. To do it in two days is really a miracle, but it could have been done better. The electronic stuff sometimes sounds like it is in mono, the electric bass obviously has a direct box on it and often doesn't blend well. And, I hesitate to say this, but maybe the dynamic range is a little too great. You need a really quiet room to listen to this. I have an extreme audio system, but I still found that some of the Celebrant vocalizing in the first movements was inconsistent. Listening in the car is impossible without having your hand on the volume knob.
I expect, knowing Naxos, that the recording was mostly done direct-to-two as most clasical is done. The Meyerhoff can be a tough hall. This work cries for a serious multi-track recording with extensive mixdown work. I would have done it in the classical style as Naxos appears to have down, but multi-tracked the various orchestra sections (WW, Brass, Percussion, Strings, )choruses, electronics, pre-recorded portions, and soloist so balances could be treaked in post. This may have been a budget decision.
It's too bad this had not been done in surround as it would be the definitive surround recording easily beating out the Nagano.

APK

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reviews: page 1, 2, 3, 4

Tracks
Mass, theatre piece for singers, players & dancers: Part 1. Devotion before the Mass. Antiphon. Kyrie eleison (Pre-recorded tape no. | Mass, theatre piece for singers, players & dancers: Part 1. Devotion before the Mass. Hymn and Psalm. A Simple Song | Mass, theatre piece for singers, players & dancers: Part 1. Devotion before the Mass. Responsory. Alleluia (Pre-recorded tape no. 2) | Mass, theatre piece for singers, players & dancers: Part 2. First Introit (Rondo). Prefatory Prayers | Mass, theatre piece for singers, players & dancers: Part 2. First Introit (Rondo). Thrice-Triple Canon. Dominus vobiscum | Mass, theatre piece for singers, players & dancers: Part 3. Second Introit. In nomine Patris (Pre-recorded tape no. 3) | Mass, theatre piece for singers, players & dancers: Part 3. Second Introit. Prayer for the Congregation (Chorale. Almighty Father) | Mass, theatre piece for singers, players & dancers: Part 3. Second Introit. Epiphany (Pre-recorded tape no. 4) | Mass, theatre piece for singers, players & dancers: Part 4. Confession. Confiteor | Mass, theatre piece for singers, players & dancers: Part 4. Confession. Trope. I Don't Know | Mass, theatre piece for singers, players & dancers: Part 4. Confession. Trope. Easy | Mass, theatre piece for singers, players & dancers: Part 5. Meditation No. 1 | Mass, theatre piece for singers, players & dancers: Part 6. Gloria. Gloria Tibi | Mass, theatre piece for singers, players & dancers: Part 6. Gloria. Gloria in Excelsis | Mass, theatre piece for singers, players & dancers: Part 6. Gloria. Trope. Half of the People | Mass, theatre piece for singers, players & dancers: Part 6. Gloria. Trope. Thank you | Mass, theatre piece for singers, players & dancers: Part 7. Meditation No. 2 | Mass, theatre piece for singers, players & dancers: Part 8. Epistle. The Word of the Lord | Mass, theatre piece for singers, players & dancers: Part 9. Gospel-Sermon. God Said | Mass, theatre piece for singers, players & dancers: Part 10. Credo. Credo in unum Deum (Pre-recorded tape no. 5) | Mass, theatre piece for singers, players & dancers: Part 10. Credo. Trope. Non Credo / Crucifixus (Pre-recorded tape no. 6) | Mass, theatre piece for singers, players & dancers: Part 10. Credo. Trope. Hurry / Sedet ad dexteram Patris (Pre-recorded tape no. 7) | Mass, theatre piece for singers, players & dancers: Part 10. Credo. Trope. World without End / Et in Spiritum Sanctum (Pre-recorded t | Mass, theatre piece for singers, players & dancers: Part 10. Credo. Trope. I Believe in God | Mass, theatre piece for singers, players & dancers: Part 11. Meditation No. 3 (De profundis, Part 1) | Mass, theatre piece for singers, players & dancers: Part 12. Offertory (De profundis, Part 2) | Mass, theatre piece for singers, players & dancers: Part 13. The Lord's Prayer | Mass, theatre piece for singers, players & dancers: Part 13. The Lord's Prayer. Trope. I Go On | Mass, theatre piece for singers, players & dancers: Part 14. Sanctus | Mass, theatre piece for singers, players & dancers: Part 15. Agnus Dei | Mass, theatre piece for singers, players & dancers: Part 16. Fraction. Things Get Broken | Mass, theatre piece for singers, players & dancers: Part 17. Pax. Communion (Secret Songs)

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