Lance Posted May 23, 2017 Share Posted May 23, 2017 15 hours ago, George Dixon said: Today Mass Canadienne? 2 Quote Link to comment Share on other sites More sharing options...
Terri Schehr Posted May 23, 2017 Share Posted May 23, 2017 15 hours ago, George Dixon said: show title image: I'm not going to make any assumptions about the show until I see it 6/22 but I have to say...this graphic is fantastic. I'm very impressed. 2 Quote Link to comment Share on other sites More sharing options...
Tobias Posted May 23, 2017 Share Posted May 23, 2017 3 hours ago, ZachDrumCorps said: I think once again, this will be a show that "bandos" (god, i hate that word) aren't able to connect with. Which is fine. I just hope it doesn't affect the overall response to what should be a powerful show Not sure. Maybe not the 12 year olds that go crazy for Crown but bandos tend to be music people and are not oblivious to Bernstein or Mass. Its not going down slides but it shouldn't be difficult to get the jist. Quote Link to comment Share on other sites More sharing options...
George Dixon Posted May 23, 2017 Share Posted May 23, 2017 43 minutes ago, Tobias said: Not sure. Maybe not the 12 year olds that go crazy for Crown but bandos tend to be music people and are not oblivious to Bernstein or Mass. Its not going down slides but it shouldn't be difficult to get the jist. All in the design and execution. We'll know a lot more about that soon. 2 Quote Link to comment Share on other sites More sharing options...
brassdude6171 Posted May 23, 2017 Share Posted May 23, 2017 So now that the cat's out of the bag, will we start to see some video from ST from Hopkins? Quote Link to comment Share on other sites More sharing options...
cowtown Posted May 23, 2017 Share Posted May 23, 2017 18 hours ago, George Dixon said: show title image: Lorde joined Cadets for Mass? I enjoy Mass and I enjoy Cadets doing Bernstein but 8 mins of a choir, last years show and 2009 take on Bernstein have tempered my expectations 1 Quote Link to comment Share on other sites More sharing options...
George Dixon Posted May 23, 2017 Share Posted May 23, 2017 MASS (formally, "MASS: A Theatre Piece for Singers, Players, and Dancers") is a musical theatre work composed by Leonard Bernstein with text by Bernstein and additional text and lyrics by Stephen Schwartz. Commissioned by Jacqueline Kennedy, it premiered on September 8, 1971, conducted by Maurice Peress.[1] The performance was part of the opening of the John F. Kennedy Center for the Performing Arts in Washington, D.C.[2] Mass premiered in Europe in 1973, with John Mauceri conducting the Yale Symphony Orchestra in Vienna.[3] Originally, Bernstein had intended to compose a traditional Mass, but instead decided on a more innovative form.[citation needed] The work is based on the Tridentine Mass of the Roman Catholic Church. Although the liturgical passages are sung in Latin, Mass also includes additional texts in English written by Bernstein, Broadway composer Stephen Schwartz,[4] and Paul Simon (who wrote the first quatrain of the trope "Half of the People"). The work is intended to be staged theatrically, but it has also been performed in a standard concert setting. Initial critical reception, including a review in the New York Times, was largely negative,[1] but the Columbia Records recording of the work enjoyed excellent sales.[5] Contents [hide] 1Cast of characters 2Synopsis 3Movements 4Instrumentation 4.1Pit orchestra 4.2Onstage groups 5Genesis 6Recordings 7Video 8FBI warning 9Other major performances and 40th anniversary performances 10References Cast of characters[edit] The original cast consisted of a Celebrant, three choirs, and altar servers. A full classical orchestra performed in the pit, while onstage musicians—including a rock band and a marching band—performed and interacted onstage. The Celebrant – The central character of the work, a Catholic priest who conducts the celebration of the Mass. Formal Choir – A mixed choir (SSAATTBB) in upstage choir lofts who sing the Latin portions of the Mass. Boys Choir – A children's choir (SSAA) that processes on and off stage various times, performing alone, in antiphon, or in concert with the Formal Choir and the Street Singers. Street Singers – Downstage and often performing around the Celebrant and the stage instrumentalists, a broad group of female and male singers representing the congregation (and occasionally the musicians), who variously participate in the prayers of the Mass, or alternately counter those prayers in a modern context. Acolytes – Assistants to the Celebrant, who perform dances and altar assistance throughout the Mass. Synopsis[edit] In the beginning all of the performers are in harmony and agreement. During the course of the Mass, however, the street choir begins expressing doubts and suspicions about the necessity of God in their lives and the role of the Mass itself. At the play's emotional climax, the growing cacophony of the chorus' complaining finally interrupts the elevation of the Body and Blood (the consecrated bread and wine). The celebrant, in a furious rage, hurls the sacred bread, housed in an ornate cross-like monstrance, and the chalice of wine, smashing them on the floor. At this sacrilege the other cast members collapse to the ground as if dead while the Celebrant sings a solo. This solo blends the chorus's disbelief with his realization that he feels worn out and wonders where the strength of his original faith has gone. At the end of his song, he too collapses. A bird-like (Holy Spirit) flute solo begins, darting here and there from different speakers in the hall, finally "alighting" in a single clear note. An altar server, who was absent during the conflict, then sings a hymn of praise to God, "Sing God a Secret Song[6]". This restores the faith of the three choirs, who join the altar server, one by one, in his hymn of praise. They tell the Celebrant "Pax tecum" (Peace be with you), and end with a hymn asking for God's blessing. The last words of the piece are: "The Mass is ended; go in peace." Movements[edit] Antiphon: Kyrie Eleison Hymn and Psalm: "A Simple Song" Responsory: Alleluia Prefatory Prayers (Kyrie Rondo) Thrice-Triple Canon: Dominus vobiscum In nomine Patris Prayer for the Congregation (Chorale: "Almighty Father") Epiphany Confiteor Trope: "I Don't Know" Trope: "Easy" Meditation no. 1 Gloria tibi Gloria in excelsis Deo Trope: "Half of the People" Trope: "Thank You" Meditation no. 2 Epistle: "The Word of the Lord" Gospel-Sermon: "God Said" Credo Trope: "Non Credo" Trope: "Hurry" Trope: "World Without End" Trope: "I Believe in God" Meditation no. 3: De profundis, part 1 Offertory: De profundis, part 2 The Lord's Prayer, Our Father Trope: "I Go On" Sanctus Agnus Dei Fraction: "Things Get Broken" Pax: Communion ("Secret Songs") Instrumentation[edit] Bernstein scored Mass for a large orchestra and choir, and also included an onstage groups (street musicians). Bernstein divided the orchestra into two parts: the strings, keyboards, and percussion are in the pit; while the woodwinds, brass, guitars, synthesizers and percussion are onstage. The instrumentation is as follows: Pit orchestra[edit] Percussion instruments (at least 4-5 players): timpani, bongos, snare drum, tenor drum, bass drum, 4 tuned drums, cymbals, suspended cymbal, triangle, 2 cowbells, chimes, tam-tam, anvil, temple blocks, wood block, tambourine, xylophone, glockenspiel, marimba, and vibraphone Keyboards: celesta, piano, and 2 Allen organs (small and large) Strings: harp, first and second violins, violas, violoncellos and double basses Onstage groups[edit] Stage orchestra: Woodwinds: 2 flutes (both doubling on piccolos), 2 oboes (second doubling on English horn), 3 clarinets in B-Flat (first doubling on soprano saxophone, second doubling on alto saxophone and clarinet in E-Flat, third doubling on tenor saxophone and bass clarinet in B-flat), and 2 bassoons (second doubling on contrabassoon) Brass: 4 horns in F, 4 trumpets, 3 trombones, and tuba Percussion (2 players): bongos, 2 drum sets, finger cymbals, temple blocks, 2 tambourines and glockenspiel Keyboard: 2 synthesizers (one for blues band, the other for rock band) Voice: high baritone solo (Celebrant), boy soprano solo, SSAATTBB choir (at least 60 singers, in robes), Boys' choir (SSAA) (at least 20 singers, doubling on kazoos) Strings: acoustic guitar, 2 electric guitars (second doubling on banjo), and 2 bass guitars (one for the stage orchestra, the other for the rock band) Bernstein included a note that the musicians in the stage orchestra are to be robed and also act as cast members. Bernstein also went so far as to include a footnote that the bassist and the keyboardist of the Blues band and the keyboardist, bassist and drummer of the Rock band are to be recruited as percussionists for the stage orchestra for the second movement. Street musicians: Percussion: 3 steel drums, claves, bottles, a tambourine, gourds, and tin cans Voice: at least 45 singers (20-30 soloists are used from this group) In his instructions, Bernstein indicated that the percussion should be played by members of the street musicians. Genesis[edit] The concept of the Mass derived from three sources: the experience of conducting at Robert F. Kennedy's funeral in 1968 in St Patrick's Cathedral, Manhattan; the Beethoven bicentenary in Vienna in 1970; and a small piece "A Simple Song" he wrote for Franco Zeffirelli's 1972 film Brother Sun, Sister Moon before withdrawing from that project after three months during which time he worked with Leonard Cohen.[7][7][8][9] Paul Simon was also approached for music and lyrics for Brother Sun, Sister Moon, but he too declined.[10] However, a quatrain he wrote while considering the commission was later presented to Bernstein for use in his Mass.[11] Recordings[edit] 1971: Alan Titus (Celebrant), Norman Scribner Choir, Berkshire Boy Choir, Studio Orchestra, Leonard Bernstein (Conductor) - Sony Classical 2004: Jerry Hadley (Celebrant), Rundfunkchor Berlin, Berlin Cathedral Chorus, Deutsches Symphonie-Orchester Berlin, Kent Nagano (Conductor) - Harmonia Mundi (The 2004 version is Grammy Nominated) 2008: Randall Scarlata (Celebrant), Tölzer Knabenchor, Chorus Sine Nomine, Tonkünstler-Orchester, Kristjan Järvi (Conductor) - Chandos 2009: Jubilant Sykes (Celebrant), Morgan State University Choir, Peabody Children's Chorus, Morgan State University Marching Band, Baltimore Symphony Orchestra, Marin Alsop (Conductor) - Naxos (The 2009 version is Grammy Nominated) Video[edit] Although several performances were televised, none are available commercially. There is one DVD version: 2004: "Leonard Bernstein Mass at the Vatican City (2000)" (ASIN: B0002S641Y) Douglas Webster (Celebrant) - Kultur Video FBI warning[edit] The FBI kept a file on Bernstein because of his leftist views. In the summer of 1971, the Bureau warned the White House that the Latin text of the Mass might contain anti-war messages, which could cause embarrassment to President Nixon should he attend the premiere and applaud politely.[12] Rumors of such a plot by Bernstein were leaked to the press. According to Gordon Liddy, White House counsel John Dean stated that the work was "definitely anti-war and anti-establishment, etc."[citation needed] Nixon did not ultimately attend the premiere; Nixon had this decision described in the press as an act of courtesy to Jacqueline Kennedy Onassis, because he felt the formal opening "should really be her night".[13] Other major performances and 40th anniversary performances[edit] Much of the original cast reunited in a production at the Metropolitan Opera in New York City in July 1972. The European première of Mass was performed in July 1973 at Vienna's Konzerthaus with a cast consisting of students from Yale University, a choir from Vienna, and the Yale Symphony Orchestra, all conducted by John Mauceri. Mauceri, a protégé of the composer who studied at Tanglewood, was then a faculty member at the Yale School of Music and director of the student orchestra. He conducted the piece at Yale in the fall of 1972, at which time the composer elected to take the cast and orchestra abroad. Bernstein's Amberson Enterprises sponsored the production, which used amateur performers because of union restrictions on taking the Kennedy Center cast abroad. Michael Hume, the son of Washington Post music critic Paul Hume, sang the role of the Celebrant. Ted Libby, later a music critic for the New York Times and the Washington Post, was a member of the Street Chorus, as was the television actor Robert Picardo. The Yale/Vienna production was filmed for television by ORF, the Austrian broadcasting system, under the direction of Brian Large, a renowned producer of live music films. To date, this production has not been released on video, though it was broadcast several times in the United States by PBS, in its "Theatre in America" series. The producers of the PBS biography, Leonard Bernstein: Reaching for the Note, used clips from the film because no other high quality footage could be found. The design, direction and flavor of the production are redolent of the 1960s and 1970s, when Godspell, Hair, and Jesus Christ Superstar used similar anarchical styles to present counter-culture themes on stage. In 1981, the Kennedy Center mounted a tenth anniversary production, directed by Tom O'Horgan and conducted by John Mauceri, that was broadcast on September 19, 1981 ("Live from the Kennedy Center" )[14] In 1982, a production was mounted in Berlin's Deutschlandhalle conducted by Bernstein protegé David Charles Abell, directed by Wolfgang Weber and choreographed by William Milié. On November 19, 2002 with the Collegiate Chorale and the Orchestra of St. Luke's staged a production in New York City with the late Robert Bass conducting. The Celebrant was portrayed by Douglas Webster and the Boy Soprano was sung by James Burnett Danner. Soloists included Geoffrey Blaisdell, Peter Buchi, Charis Fliermans, D. Michael Heath, Jan Horvath, Andre McCormick, Warren Moore, Anika Noni Rose, Liz Queler, Lori Rivera and others. The New York Times gave the production a rave review recognizing that the production was an appropriate rebellion to the conflicts in Iraq and Afghanistan. Lighting design was created by Matthew Antaky. Michael Conley and Diego Tornelli musically prepared the production. 2011 saw several performances of the Mass commemorating the 40th anniversary of its premiere in 1971. Among these were a production presented by the Anchorage Concert Chorus, Alaska Children’s Choir, and Alaska Dance Theatre in the Atwood Concert Hall on March 18 and 20 in Anchorage, Alaska, and the University of Colorado at Boulder in the Boettcher Concert Hall (Denver) on April 26. A full-stage production was performed at the Benjamin and Marian Schuster Performing Arts Center in Dayton, Ohio, May 13 and 14, featuring the Dayton Philharmonic, conducted by Maestro Neal Gittleman, and actors, singers and dancers from Wright State University, directed by Greg Hellems, choreographed by Gina Walther, with musical direction by Hank Dahlman, as well as the Kettering Children's Choir, featuring John Wright as the Celebrant, and produced by W. Stuart McDowell.[15] The Mass was performed on March 9 & 10, 2012 at the Adelaide Festival Theatre during the 2012 Adelaide Festival of Arts with Kristjan Järvi conducting. The celebrant was Jubilant Sykes, performing with the Adelaide Symphony Orchestra, Absolute trio, and the Adelaide Festival Chorus and Children’s Choir. Soloists included James Egglestone, Carolyn Ferrie, Leah Flanagan, Adam Goodburn, Lane Hinchcliff, David Linn, Nic Lock, Beau Daniel Loumeau, Samantha Mack, Libby O'donovan, Mark Oates, Kirsty-Ann Roberts, Gary Rowley, Danielle Ruggiero, Sally-Anne Russell, and James Scott. The director was Andy Packer and the chorus director was Carl Crossin. A very positive review in Limelight Magazine[16] described the production as " a brave production of a brave work that doesn’t shy away from exposing the contradictions and hypocrisy of life with or without religion". This performance was described in Festival publicity as the "Australian première"[17] but in fact several earlier Australian performances were held: in Sydney in 1987 by the NSW State Conservatorium of Music, with Peter Cousens as the Celebrant, conducted by Ronald Smart, in Brisbane in 1986 by the Brisbane Chorale,[18] in Melbourne in 1989 by the State Orchestra of Victoria,[19] and in Adelaide at the 52nd Intervarsity Choral Festival in 2001.[20][21] The Philadelphia Orchestra presented a staged version of Mass at the Kimmel Center for the Performing Arts, April 30-May 3, 2015.[22] Yannick Nézet-Séguin conducted and Kevin Vortmann sang the role of the Celebrant.[23] The Conservatorium of Music in Sydney again staged Bernstein's Mass at the Sydney Opera House, with Christopher Hillier as the Celebrant and Eduardo Diazmunoz conducting as part of the Conservatorium's Centenary. On November 13, 14, and 15, 2015, a full-staged production of the Mass was performed by the opera, orchestra, and choir departments of the Blair School of Music at Vanderbilt University, with Steven Fiske as the Celebrant.[24] The production was directed by Gayle Shay, the chorus was directed by Tucker Biddlecomb, and the conductor was Robin Fountain. References[edit] ^ Jump up to:a b Schonberg, Harold C. (September 9, 1971). "Bernstein's New Work Reflects His Background on Broadway". The New York Times. Jump up^ Schonberg, Harold C. (September 2, 1971). "Kennedy Hall Gets Acoustics Workout". The New York Times. Jump up^ Yale Symphony Orchestra - Our History Jump up^ The Official Leonard Bernstein Web Site page on Mass. Retrieved February 12, 2009. Jump up^ Peter Gutmann, Bernstein Mass, Inkpot #92, 24 January 2000 Jump up^ "Revisiting Bernstein's Immodest 'Mass'". NPR.org. 27 September 2008. ^ Jump up to:a b Allen Shawn, Leonard Bernstein: An American Musician. Retrieved 3 April 2015 Jump up^ Ira B. Nadel, Various Positions: A Life of Leonard Cohen. Retrieved 3 April 2015 Jump up^ Naxos. Retrieved 3 April 2015 Jump up^ Marc Eliot, Paul Simon: A Life". Retrieved 3 April 2015 Jump up^ R. Laird, The Musical Theatre of Stephen Schwartz: From Godspell to Wicked and Beyond. Retrieved 3 April 2015 Jump up^ "Leonard Bernstein". Retrieved April 24, 2014. Jump up^ Alex Ross, The Bernstein Files, The New Yorker News Desk, 10 August 2009 Jump up^ The New York Times, September 18, 1981 Jump up^ "DPO ready to take you on a few trips for its 2010-11 season," Dayton Daily News, 10 January 2010.[1] Jump up^ "Live review: Bernstein's Mass, Adelaide Festival". limelightmagazine.com.au. Jump up^ "Adelaide Festival // Mass". adelaidefestival.com.au. Jump up^ http://www.brisbanechorale.org.au/pastconc80s.html Jump up^ "The Age - Google News Archive Search". google.com. Jump up^ "AIV2001 - AICSApedia". aicsa.org.au. Jump up^ Review: Graham Strahle, “Aquarian Confusion: Bernstein, Mass”, Adelaide Advertiser, 13 Feb. 2001 Jump up^ Philadelphia Orchestra, Bernstein's Mass, from YouTube. Jump up^ "- The Philadelphia Orchestra". philorch.org. Jump up^ https://events.vanderbilt.edu/index.php?eID=69728 Categories: Compositions by Leonard Bernstein Quote Link to comment Share on other sites More sharing options...
George Dixon Posted May 23, 2017 Share Posted May 23, 2017 https://leonardbernstein.com/works/view/12/mass-a-theatre-piece-for-singers-players-and-dancers (snip): MASS begins in darkness with a pre-recorded 12-tone "Kyrie Eleison" played over four speakers placed in the corners of the house. The cacophony created by the overlapping voices and percussion is suddenly interrupted by the simple strains of a guitar, and the Celebrant appears in street clothes, joyfully singing of the pure praise of God ("A Simple Song") . A jazzy, pre-recorded responsory ("Alleluia") completes the Devotions before Mass. The stage is suddenly flooded with people as a festive Street Chorus enters with marching band to sing the prefatory prayers ("Kyrie Rondo"), joined by the Celebrant and Boys' Choir. After a dance, they complete the First Introit with the "Dominus Vobiscum" sung in a thrice-triple canon. The Celebrant recites "In the name of the Father" and a third pre-recorded tape features the Choir and Boys' Choir repeating the incantation ("In Nomine Patris") as the Acolytes enter, carrying ritual objects, and the Choir files into the pews and sits. A Prayer for the Congregation is sung by the Choir in a quiet chorale ("Almighty Father") followed by the pre-recorded instrumental "Epiphany." The Confession begins with an agitated "Confeitor" sung by the Choir, but the service is interrupted by the first trope ("I Don't Know"), accompanied by rock band, in which a Street Singer questions the value of confession. More Street Singers follow with another trope ("Easy"), a blues about how easy it is to feign piety when they "just don't care." The Acolytes adorn the Celebrant with more vestments as the Choir tries to continue the Confeitor, but the Street Singers reassert themselves. The Celebrant offers absolution and invites the congregation to pray; an orchestral interlude ("Meditation No. 1") offers time for reflection. A group of boys rush up to the Celebrant with bongo drums and sing an exultant "Gloria Tibi," followed by the Choir's "Gloria in Excelsis." The Street Chorus responds with a trope, questioning the relevance of the Church in the midst of so many lost souls ("Half of the People"). In the next trope ("Thank You"), a soprano sings longingly of a former time when she felt gratitude toward God. When the Street Chorus starts to reassert their cynicism, the Celebrant again invites them to pray, and all are silent during an instrumental meditation ("Mediation No. 2"). In the Epistle, the Celebrant reads a Bible passage ("The Word of the Lord"), followed by contemporary letters read by congregants. Together, they reflect on the notion that the powerful may imprison dissenters, but they "cannot imprison the Word of the Lord." Next, in the Gospel-Sermon ("God Said"), a Preacher and the Street Chorus parody the Creation story and contemporary human beings who distort God's commands to justify their own selfish needs and desires. They halt their dance when the Celebrant reappears, now even more elaborately robed. In "Credo," a recording of the Choir singing a dispassionate, mechanical recitation of the Credo is interrupted by the Street Chorus singing a series of tropes expressing their sense that God is absent from the world and has no understanding of them. The men vent their anger that God could choose when to live and die, but that they have no choice ("Non Credo)"; a woman implores Jesus to hurry and come again as he said he would ("Hurry"); another woman sings of the world falling apart ("World Without End"). Finally, an angry rock singer gives up on a seemingly absent God and instead, puts his faith in music ("I Believe in God"). The Celebrant resumes control of the service by imploring them to pray. The Choir sings a supplication to God in a setting of Psalm 130 ("Meditation No. 3: De profundis, Part 1"), as altar boys bring the Celebrant the vessels for Communion. For the Offertory, the Boys' Choir and Choir complete the psalm ("De profundus, Part 2"), singing of God's kindness and redemption, as the Celebrant blesses the sacred Communion objects. He exits, and the ensemble dance around the holy objects with fetishistic passion. The Celebrant re-enters wearing a cope, and the ensemble backs off in silence and exits. Alone, the Celebrant recites the Lord's Prayer a capella ("Our Father"), followed by his own trope ("I Go On"), in which he sings hauntingly of persevering through times of trouble and doubt. Two altar boys assist him in the washing and drying of his hands, and he rings the Sanctus Bell. The Boys' Choir rush on stage singing a laudatory "Sanctus," to which the Celebrant, Choir and Street Chorus join in, singing in English, Latin and Hebrew. The ensemble brings imaginary gift-offerings to him, surrounding him. As the Celebrant tries to consecrate the bread and wine for the Eucharist, the Street Chorus interrupts, singing the "Agnus Dei" and becoming fixated on the phrase, " Dona nobis pacem" ("Grant us peace"). They take over the service, singing a full-blown rock-blues protest song, violently demanding peace, joined by the Choir and instrumentalists. The Celebrant tries to continue with the Eucharist but finally the anarchy is too much for him to bear; at the climax of their protest, he hurls the raised sacraments to the floor, breaking the Chalice and Monstrance. There is a stunned silence, and all but the Celebrant fall to the ground, petrified. In an extended aria ("Things Get Broken"), the Celebrant breaks down completely, scorning his beliefs, defiling the altar, and stripping himself of his vestments. He berates the congregation for their silence and inability to act without him, parodying back to them the "crying and complaining" of their tropes. Exhausted and embittered, he relinquishes his sacred office and leaves. After a sustained silence, a querulous flute is heard, followed by the pure and innocent sound of a boy soprano, intoning the earlier "Simple Song" of the Celebrant ("Pax: Communion (Secret Songs)"). One by one, the congregants discover a renewed sense of faith and join the boy's song, embracing one another. Gradually, the Street Chorus, Choir, and instrumentalists all join in and pass the peace throughout the ensemble. Finally, the Celebrant reappears, dressed simply as at the beginning, and joins the boy in a canon, reminded of the simple joy of gathering together in praise. The entire company reprises the lush chorale "Almighty Father," asking for God's benediction, as the Boy's Choir passes the peace to the audience. After all of the discord, the chorale ends with a unison "Amen" and the Mass concludes with the line, "The Mass is ended; go in peace." Quote Link to comment Share on other sites More sharing options...
Tobias Posted May 23, 2017 Share Posted May 23, 2017 15 minutes ago, brassdude6171 said: So now that the cat's out of the bag, will we start to see some video from ST from Hopkins? Honestly I hope they keep it to themselves and come out with the element of surprise. 2 Quote Link to comment Share on other sites More sharing options...
Tobias Posted May 23, 2017 Share Posted May 23, 2017 6 minutes ago, George Dixon said: https://leonardbernstein.com/works/view/12/mass-a-theatre-piece-for-singers-players-and-dancers (snip): MASS begins in darkness with a pre-recorded 12-tone "Kyrie Eleison" played over four speakers placed in the corners of the house. The cacophony created by the overlapping voices and percussion is suddenly interrupted by the simple strains of a guitar, and the Celebrant appears in street clothes, joyfully singing of the pure praise of God ("A Simple Song") . A jazzy, pre-recorded responsory ("Alleluia") completes the Devotions before Mass. The stage is suddenly flooded with people as a festive Street Chorus enters with marching band to sing the prefatory prayers ("Kyrie Rondo"), joined by the Celebrant and Boys' Choir. After a dance, they complete the First Introit with the "Dominus Vobiscum" sung in a thrice-triple canon. The Celebrant recites "In the name of the Father" and a third pre-recorded tape features the Choir and Boys' Choir repeating the incantation ("In Nomine Patris") as the Acolytes enter, carrying ritual objects, and the Choir files into the pews and sits. A Prayer for the Congregation is sung by the Choir in a quiet chorale ("Almighty Father") followed by the pre-recorded instrumental "Epiphany." The Confession begins with an agitated "Confeitor" sung by the Choir, but the service is interrupted by the first trope ("I Don't Know"), accompanied by rock band, in which a Street Singer questions the value of confession. More Street Singers follow with another trope ("Easy"), a blues about how easy it is to feign piety when they "just don't care." The Acolytes adorn the Celebrant with more vestments as the Choir tries to continue the Confeitor, but the Street Singers reassert themselves. The Celebrant offers absolution and invites the congregation to pray; an orchestral interlude ("Meditation No. 1") offers time for reflection. A group of boys rush up to the Celebrant with bongo drums and sing an exultant "Gloria Tibi," followed by the Choir's "Gloria in Excelsis." The Street Chorus responds with a trope, questioning the relevance of the Church in the midst of so many lost souls ("Half of the People"). In the next trope ("Thank You"), a soprano sings longingly of a former time when she felt gratitude toward God. When the Street Chorus starts to reassert their cynicism, the Celebrant again invites them to pray, and all are silent during an instrumental meditation ("Mediation No. 2"). In the Epistle, the Celebrant reads a Bible passage ("The Word of the Lord"), followed by contemporary letters read by congregants. Together, they reflect on the notion that the powerful may imprison dissenters, but they "cannot imprison the Word of the Lord." Next, in the Gospel-Sermon ("God Said"), a Preacher and the Street Chorus parody the Creation story and contemporary human beings who distort God's commands to justify their own selfish needs and desires. They halt their dance when the Celebrant reappears, now even more elaborately robed. In "Credo," a recording of the Choir singing a dispassionate, mechanical recitation of the Credo is interrupted by the Street Chorus singing a series of tropes expressing their sense that God is absent from the world and has no understanding of them. The men vent their anger that God could choose when to live and die, but that they have no choice ("Non Credo)"; a woman implores Jesus to hurry and come again as he said he would ("Hurry"); another woman sings of the world falling apart ("World Without End"). Finally, an angry rock singer gives up on a seemingly absent God and instead, puts his faith in music ("I Believe in God"). The Celebrant resumes control of the service by imploring them to pray. The Choir sings a supplication to God in a setting of Psalm 130 ("Meditation No. 3: De profundis, Part 1"), as altar boys bring the Celebrant the vessels for Communion. For the Offertory, the Boys' Choir and Choir complete the psalm ("De profundus, Part 2"), singing of God's kindness and redemption, as the Celebrant blesses the sacred Communion objects. He exits, and the ensemble dance around the holy objects with fetishistic passion. The Celebrant re-enters wearing a cope, and the ensemble backs off in silence and exits. Alone, the Celebrant recites the Lord's Prayer a capella ("Our Father"), followed by his own trope ("I Go On"), in which he sings hauntingly of persevering through times of trouble and doubt. Two altar boys assist him in the washing and drying of his hands, and he rings the Sanctus Bell. The Boys' Choir rush on stage singing a laudatory "Sanctus," to which the Celebrant, Choir and Street Chorus join in, singing in English, Latin and Hebrew. The ensemble brings imaginary gift-offerings to him, surrounding him. As the Celebrant tries to consecrate the bread and wine for the Eucharist, the Street Chorus interrupts, singing the "Agnus Dei" and becoming fixated on the phrase, " Dona nobis pacem" ("Grant us peace"). They take over the service, singing a full-blown rock-blues protest song, violently demanding peace, joined by the Choir and instrumentalists. The Celebrant tries to continue with the Eucharist but finally the anarchy is too much for him to bear; at the climax of their protest, he hurls the raised sacraments to the floor, breaking the Chalice and Monstrance. There is a stunned silence, and all but the Celebrant fall to the ground, petrified. In an extended aria ("Things Get Broken"), the Celebrant breaks down completely, scorning his beliefs, defiling the altar, and stripping himself of his vestments. He berates the congregation for their silence and inability to act without him, parodying back to them the "crying and complaining" of their tropes. Exhausted and embittered, he relinquishes his sacred office and leaves. After a sustained silence, a querulous flute is heard, followed by the pure and innocent sound of a boy soprano, intoning the earlier "Simple Song" of the Celebrant ("Pax: Communion (Secret Songs)"). One by one, the congregants discover a renewed sense of faith and join the boy's song, embracing one another. Gradually, the Street Chorus, Choir, and instrumentalists all join in and pass the peace throughout the ensemble. Finally, the Celebrant reappears, dressed simply as at the beginning, and joins the boy in a canon, reminded of the simple joy of gathering together in praise. The entire company reprises the lush chorale "Almighty Father," asking for God's benediction, as the Boy's Choir passes the peace to the audience. After all of the discord, the chorale ends with a unison "Amen" and the Mass concludes with the line, "The Mass is ended; go in peace." Well we need to shorten that to 11 minutes. 4 Quote Link to comment Share on other sites More sharing options...
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