SU PER AU D I O CD

Randall ScaRlata baRitone company of muSic

tlzeR KnabenchoR choRuS Sine nomine

tonKnStleR-oRcheSteR
abSolute enSemble

KRiStjan jRvi

CHSA 5070(2)
 Don Hunstein/ Lebrecht Music & Arts Photo Library
Leonard Bernstein (1918 1990)

Mass
A Theatre Piece for Singers, Players and Dancers

Text from the Liturgy of the Roman Mass

Additional texts by Stephen Schwartz and Leonard Bernstein

Randall Scarlata baritone (Celebrant)

Company of Music (Street Chorus)
Johannes Hiemetsberger chorus master
Tlzer Knabenchor (Boys Choir)
Georg Drexel (solo boy soprano)
Gerhard Schmidt-Gaden chorus master
Chorus sine nomine (Chorus)
Johannes Hiemetsberger chorus master
Absolute Ensemble
Tonknstler-Orchester Niedersterreich
Alexander Gheorghiu concertmaster
Kristjan Jrvi

Leonard Bernstein, December 1975

3
 Don Hunstein/ Lebrecht Music & Arts Photo Library
Leonard Bernstein (1918 1990)

Mass
A Theatre Piece for Singers, Players and Dancers

Text from the Liturgy of the Roman Mass

Additional texts by Stephen Schwartz and Leonard Bernstein

Randall Scarlata baritone (Celebrant)

Company of Music (Street Chorus)
Johannes Hiemetsberger chorus master
Tlzer Knabenchor (Boys Choir)
Georg Drexel (solo boy soprano)
Gerhard Schmidt-Gaden chorus master
Chorus sine nomine (Chorus)
Johannes Hiemetsberger chorus master
Absolute Ensemble
Tonknstler-Orchester Niedersterreich
Alexander Gheorghiu concertmaster
Kristjan Jrvi

Leonard Bernstein, December 1975

3
 Company of Music
Chorus master Johannes Hiemetsberger

soprano
Barbara Achammer (solo)
Theresa Dlouhy (solo)

Ursula Pramberger
Ruth Kraus* (solo)
Claudia Meller
Absolute Ensemble
Elisabeth Wimmer
drums/percussion
Damien Bassman
alto
Heidemaria Gruber (solo)
bass guitar
Lenneke Willemsen* (solo)
Mat Fieldes
Susanne Katharina Hell
Birte Dalbauer-Stokkebaek
solo violin
Maja Wambersky
Vesselin Gellev
tenor
electric keyboard
Bernd Frhlich (solo)
Matt Herskowitz
Gernot Heinrich (solo)
Bernd Hemedinger (solo)
trombone
Reinwald Kranner* (solo)
Michael Seltzer
Dave Moskin* (solo)
Jean-Jacques Rousseau
clarinet/saxophone
Michiyo Suzuki
baritone/bass
Andr Bauer* (solo)
Company of Music
Gnter Haumer (solo)
Jrg Espenkott
Christoph Wiegelbeyer
Clemens Klbl
*guest artist
4 5
 Company of Music
Chorus master Johannes Hiemetsberger

soprano
Barbara Achammer (solo)
Theresa Dlouhy (solo)

Ursula Pramberger
Ruth Kraus* (solo)
Claudia Meller
Absolute Ensemble
Elisabeth Wimmer
drums/percussion
Damien Bassman
alto
Heidemaria Gruber (solo)
bass guitar
Lenneke Willemsen* (solo)
Mat Fieldes
Susanne Katharina Hell
Birte Dalbauer-Stokkebaek
solo violin
Maja Wambersky
Vesselin Gellev
tenor
electric keyboard
Bernd Frhlich (solo)
Matt Herskowitz
Gernot Heinrich (solo)
Bernd Hemedinger (solo)
trombone
Reinwald Kranner* (solo)
Michael Seltzer
Dave Moskin* (solo)
Jean-Jacques Rousseau
clarinet/saxophone
Michiyo Suzuki
baritone/bass
Andr Bauer* (solo)
Company of Music
Gnter Haumer (solo)
Jrg Espenkott
Christoph Wiegelbeyer
Clemens Klbl
*guest artist
4 5
 Tonknstler-Orchester Niedersterreich
first violin viola flute/piccolo trumpet drumset
Alexander Gheorghiu Gertrude Rossbacher Sonja Korak Josef Bammer Walter Schiefer
(concertmaster) Martin Fuchs Franz Schmidl Thomas Lachtner
Vahid Khadem-Missagh Maria Luisa Haybck Helmut Demmer electric guitar
(assistant concertmaster) Christian Knava oboe Rudolf Korp Goran Mikulec*
Elisabeth Frnschu Robert Stiegler Barbara Ritter Edi Khldorfer*
Susanne Masetti Peter Ritter Johannes Strassl trombone
Alfred Falch Susanne Stockhammer Erik Hainzl electric keyboard
Andreas Baksa Stefan Sinko clarinet Wolfgang Gastager Erwin Schmidt*
Tsuyuko Ichinohe Andreas Winkler Helmut Wiener
Dzema Kegl Odile Skarnes Ewald Wiedner tuba organ
Gerhard Fechner Stefan Vohla Michael Pircher Wolfgang Kogert*
Ines Miklin cello Anna Sushon*
Libor Meisl Orfeo Mandozzi saxophone harp
Teodora Sorokow Georgy Goryunov Horst Hausleitner* Anna Verkholantseva* *guest artist
Isabelle Reinisch Wolfgang Buxbaum Stefan llerer*
Barbara Puchegger* Toshiya Yanagida timpani
Wolfgang Pass bassoon Erwin Falk
second violin Michael Rachlin Christian Karcsonyi
Marie Suchy Ursula Erhart Tanja Bruncic percussion
Mario Gheorghiu Cecilia Sipos Gerald Fromme*
Rudolf Malina horn Josef Gumpinger*
Jelena Gamarnik double-bass Reinhard Wagner Berndt Thurner*
Junko Kanamaru Brigitta Hampel-Proksch Jan Jankovic Jrgen Barth*
Liselotte Murawatz Michael Seifried Hermann Ebner Manuel Hofsttter*
Gerald Hinterndorfer Bernhard Binder Michel Gasciarino Manfred Kossich
Judith Steiner Reinhard Hranac Franz Pickl
Thomas Hajek Franz Schaden
Chih-Yu Ou Mathias Kawka
Clara Zmrzlik
Mariella Schorn
6 7
 Tonknstler-Orchester Niedersterreich
first violin viola flute/piccolo trumpet drumset
Alexander Gheorghiu Gertrude Rossbacher Sonja Korak Josef Bammer Walter Schiefer
(concertmaster) Martin Fuchs Franz Schmidl Thomas Lachtner
Vahid Khadem-Missagh Maria Luisa Haybck Helmut Demmer electric guitar
(assistant concertmaster) Christian Knava oboe Rudolf Korp Goran Mikulec*
Elisabeth Frnschu Robert Stiegler Barbara Ritter Edi Khldorfer*
Susanne Masetti Peter Ritter Johannes Strassl trombone
Alfred Falch Susanne Stockhammer Erik Hainzl electric keyboard
Andreas Baksa Stefan Sinko clarinet Wolfgang Gastager Erwin Schmidt*
Tsuyuko Ichinohe Andreas Winkler Helmut Wiener
Dzema Kegl Odile Skarnes Ewald Wiedner tuba organ
Gerhard Fechner Stefan Vohla Michael Pircher Wolfgang Kogert*
Ines Miklin cello Anna Sushon*
Libor Meisl Orfeo Mandozzi saxophone harp
Teodora Sorokow Georgy Goryunov Horst Hausleitner* Anna Verkholantseva* *guest artist
Isabelle Reinisch Wolfgang Buxbaum Stefan llerer*
Barbara Puchegger* Toshiya Yanagida timpani
Wolfgang Pass bassoon Erwin Falk
second violin Michael Rachlin Christian Karcsonyi
Marie Suchy Ursula Erhart Tanja Bruncic percussion
Mario Gheorghiu Cecilia Sipos Gerald Fromme*
Rudolf Malina horn Josef Gumpinger*
Jelena Gamarnik double-bass Reinhard Wagner Berndt Thurner*
Junko Kanamaru Brigitta Hampel-Proksch Jan Jankovic Jrgen Barth*
Liselotte Murawatz Michael Seifried Hermann Ebner Manuel Hofsttter*
Gerald Hinterndorfer Bernhard Binder Michel Gasciarino Manfred Kossich
Judith Steiner Reinhard Hranac Franz Pickl
Thomas Hajek Franz Schaden
Chih-Yu Ou Mathias Kawka
Clara Zmrzlik
Mariella Schorn
6 7
 Time Page Time Page
Mass III. Second Introit 4:14
6 1. In nomine Patris (Pre-recorded Tape No. 3) 1:51 p. 51
COMPACT DISC ONE Members of Tlzer Knabenchor, Chorus sine nomine (Chorus) ,
Randall Scarlata (Celebrant) , Reinhard Wagner (horn)

I. Devotions before Mass 7:41

7 2. Prayer for the Congregation (Chorale: Almighty Father) 1:30 p. 52
1 1. Antiphon: Kyrie eleison (Pre-recorded Tape No. 1) 1:57 p. 49
Tlzer Knabenchor (Boys Choir) , Chorus sine nomine (Chorus)
Jennifer OLoughlin (high soprano) , Gnter Haumer (bass) ,
Barbara Achammer (second soprano) , Heidemaria Gruber (alto) ,
Gernot Heinrich (tenor) , Gnter Haumer (baritone)
8 3. Epiphany (Pre-recorded Tape No. 4) 0:52 p. 52
Barbara Ritter (oboe solo) , Randall Scarlata (Celebrant)
2 2. Hymn and Psalm: A Simple Song 4:33 p. 49
Randall Scarlata (Celebrant) , Sonja Korak (flute solo) IV. Confession 8:29
9 1. Confiteor 1:59 p. 52
3 3. Responsory: Alleluia (Pre-recorded Tape No. 2) 1:10 p. 50 Chorus sine nomine (Chorus)
Barbara Achammer (soprano 1) , Heidemaria Gruber (soprano 2) ,
Susanne Hell (alto) , Bernd Hemedinger (tenor) , 10 2. Trope: I Dont Know 1:29 p. 52
Bernd Frhlich (baritone) , Gnter Haumer (bass) Reinwald Kranner (first rock singer and descant) ,
Dave Moskin (second rock singer)
II. First Introit (Rondo) 5:35
4 1. Prefatory Prayers 4:58 p. 50
11 3. Trope: Easy 4:59 p. 53
Company of Music (Street Chorus) , Barbara Achammer, Andr Bauer (first blues singer) , Dave Moskin (second rock singer) ,
Heidemaria Gruber (soprano solos) , Ruth Kraus (solo soprano) , Lenneke Willemsen (second blues singer) , Bernd Frhlich (third rock singer) ,
Randall Scarlata (Celebrant) , Georg Drexel (solo boy soprano) , Andr Bauer (third blues singer) , Reinwald Kranner (first rock singer and descant) ,
Tlzer Knabenchor (Boys Choir) Randall Scarlata (Celebrant) , Chorus sine nomine (Chorus)

5 2. Thrice-Triple Canon: Dominus vobiscum 0:37 p. 51 12 V. Meditation No. 1 5:23 p. 55

Randall Scarlata (Celebrant) , Tlzer Knabenchor (Boys Choir) , Alexander Gheorghiu, Vahid Khadem-Missagh (violin solos)
Company of Music (Street Chorus)

8 9
 Time Page Time Page
Mass III. Second Introit 4:14
6 1. In nomine Patris (Pre-recorded Tape No. 3) 1:51 p. 51
COMPACT DISC ONE Members of Tlzer Knabenchor, Chorus sine nomine (Chorus) ,
Randall Scarlata (Celebrant) , Reinhard Wagner (horn)

I. Devotions before Mass 7:41

7 2. Prayer for the Congregation (Chorale: Almighty Father) 1:30 p. 52
1 1. Antiphon: Kyrie eleison (Pre-recorded Tape No. 1) 1:57 p. 49
Tlzer Knabenchor (Boys Choir) , Chorus sine nomine (Chorus)
Jennifer OLoughlin (high soprano) , Gnter Haumer (bass) ,
Barbara Achammer (second soprano) , Heidemaria Gruber (alto) ,
Gernot Heinrich (tenor) , Gnter Haumer (baritone)
8 3. Epiphany (Pre-recorded Tape No. 4) 0:52 p. 52
Barbara Ritter (oboe solo) , Randall Scarlata (Celebrant)
2 2. Hymn and Psalm: A Simple Song 4:33 p. 49
Randall Scarlata (Celebrant) , Sonja Korak (flute solo) IV. Confession 8:29
9 1. Confiteor 1:59 p. 52
3 3. Responsory: Alleluia (Pre-recorded Tape No. 2) 1:10 p. 50 Chorus sine nomine (Chorus)
Barbara Achammer (soprano 1) , Heidemaria Gruber (soprano 2) ,
Susanne Hell (alto) , Bernd Hemedinger (tenor) , 10 2. Trope: I Dont Know 1:29 p. 52
Bernd Frhlich (baritone) , Gnter Haumer (bass) Reinwald Kranner (first rock singer and descant) ,
Dave Moskin (second rock singer)
II. First Introit (Rondo) 5:35
4 1. Prefatory Prayers 4:58 p. 50
11 3. Trope: Easy 4:59 p. 53
Company of Music (Street Chorus) , Barbara Achammer, Andr Bauer (first blues singer) , Dave Moskin (second rock singer) ,
Heidemaria Gruber (soprano solos) , Ruth Kraus (solo soprano) , Lenneke Willemsen (second blues singer) , Bernd Frhlich (third rock singer) ,
Randall Scarlata (Celebrant) , Georg Drexel (solo boy soprano) , Andr Bauer (third blues singer) , Reinwald Kranner (first rock singer and descant) ,
Tlzer Knabenchor (Boys Choir) Randall Scarlata (Celebrant) , Chorus sine nomine (Chorus)

5 2. Thrice-Triple Canon: Dominus vobiscum 0:37 p. 51 12 V. Meditation No. 1 5:23 p. 55

Randall Scarlata (Celebrant) , Tlzer Knabenchor (Boys Choir) , Alexander Gheorghiu, Vahid Khadem-Missagh (violin solos)
Company of Music (Street Chorus)

8 9
 Time Page Time Page

VI. Gloria 6:42 2 IX. Gospel-Sermon: God Said 4:44 p. 58

13 1. Gloria tibi 1:35 p. 55 Bernd Frhlich (preacher) , Gernot Heinrich, Lenneke Willemsen,
Randall Scarlata (Celebrant) , Tlzer Knabenchor (Boys Choir) Bernd Hemedinger, Heidemaria Gruber, Christoph Wiegelbeyer
(solo voices) , Company of Music (Street Chorus)
14 2. Gloria in Excelsis 1:16 p. 55
Chorus sine nomine (Chorus)
X. Credo 8:00
3 1. Credo in unum Deum (Pre-recorded Tape No. 5) 0:58 p. 61
15 3. Trope: Half of the People 1:01 p. 55
Randall Scarlata (Celebrant) , Chorus sine nomine (Chorus)
Company of Music (Street Chorus) , Chorus sine nomine (Chorus)
4 2. Trope: Non Credo
16 4. Trope: Thank You 2:49 p. 56
Andr Bauer (baritone solo) , Company of Music (Street Chorus male group)
Ruth Kraus (soprano solo) , Company of Music (Street Chorus)

Crucifixus (Pre-recorded Tape No. 6) 2:10 p. 62

17 VII. Meditation No. 2 4:07 p. 56 Chorus sine nomine (Chorus)
Orfeo Mandozzi (cello solo)
TT 42:15 5 3. Trope: Hurry
Heidemaria Gruber (mezzo-soprano solo)

COMPACT DISC TWO Sedet ad dexteram Patris (Pre-recorded Tape No. 7) 1:16 p. 64
Chorus sine nomine (Chorus)

1 VIII. Epistle: The Word of the Lord 5:31 p. 56

Randall Scarlata (Celebrant) , Bernd Frhlich (voice 1) ,
Kristjan Jrvi (voice 2) , Dave Moskin (voice 3) ,
Suzanne Gassner (voice 4) , Company of Music (Street Chorus)

10 11
 Time Page Time Page

VI. Gloria 6:42 2 IX. Gospel-Sermon: God Said 4:44 p. 58

13 1. Gloria tibi 1:35 p. 55 Bernd Frhlich (preacher) , Gernot Heinrich, Lenneke Willemsen,
Randall Scarlata (Celebrant) , Tlzer Knabenchor (Boys Choir) Bernd Hemedinger, Heidemaria Gruber, Christoph Wiegelbeyer
(solo voices) , Company of Music (Street Chorus)
14 2. Gloria in Excelsis 1:16 p. 55
Chorus sine nomine (Chorus)
X. Credo 8:00
3 1. Credo in unum Deum (Pre-recorded Tape No. 5) 0:58 p. 61
15 3. Trope: Half of the People 1:01 p. 55
Randall Scarlata (Celebrant) , Chorus sine nomine (Chorus)
Company of Music (Street Chorus) , Chorus sine nomine (Chorus)
4 2. Trope: Non Credo
16 4. Trope: Thank You 2:49 p. 56
Andr Bauer (baritone solo) , Company of Music (Street Chorus male group)
Ruth Kraus (soprano solo) , Company of Music (Street Chorus)

Crucifixus (Pre-recorded Tape No. 6) 2:10 p. 62

17 VII. Meditation No. 2 4:07 p. 56 Chorus sine nomine (Chorus)
Orfeo Mandozzi (cello solo)
TT 42:15 5 3. Trope: Hurry
Heidemaria Gruber (mezzo-soprano solo)

COMPACT DISC TWO Sedet ad dexteram Patris (Pre-recorded Tape No. 7) 1:16 p. 64
Chorus sine nomine (Chorus)

1 VIII. Epistle: The Word of the Lord 5:31 p. 56

Randall Scarlata (Celebrant) , Bernd Frhlich (voice 1) ,
Kristjan Jrvi (voice 2) , Dave Moskin (voice 3) ,
Suzanne Gassner (voice 4) , Company of Music (Street Chorus)

10 11
 Time Page Time Page
6 4. Trope: World without End 12 XIV. Sanctus 5:07 p. 68
Ruth Kraus (mezzo-soprano solo) Randall Scarlata (Celebrant) , Bernd Hemedinger, Gernot Heinrich,
Bernd Frhlich (counter-tenors) , Tlzer Knabenchor (Boys Choir) ,
Et in Spiritum Sanctum (Pre-recorded Tape No. 8) 1:29 p. 64 Company of Music (Street Chorus)
Chorus sine nomine (Chorus) , Andr Bauer (solo 1) ,
Heidemaria Gruber (solo 2) , Ruth Kraus (solo 3)
13 XV. Agnus Dei 6:35 p. 69
7 5. Trope: I Believe in God 2:05 p. 65 Randall Scarlata (Celebrant) , Vesselin Gellev (violin solo) ,
Dave Moskin (rock singer) , Company of Music (Street Chorus) , Matt Herskowitz (keyboards) , Michael Seltzer (trombone) ,
Chorus sine nomine (Chorus) Mat Fieldes (bass guitar) , Damien Bassman (drum kit) ,
Company of Music (Street Chorus) , Chorus sine nomine (Chorus)
8 XI. Meditation No. 3 2:37 p. 66
(De profundis, Part 1) 14 XVI. Fraction: Things Get Broken 15:31 p. 72
Chorus sine nomine (Chorus) , Randall Scarlata (Celebrant) Randall Scarlata (Celebrant)

9 XII. Offertory 2:06 p. 67 15 XVII. Pax: Communion (Secret Songs) 9:28 p. 76

(De profundis, Part 2) Sonja Korak (flute solo) , Georg Drexel (solo boy soprano) ,
Tlzer Knabenchor (Boys Choir) , Chorus sine nomine (Chorus) Randall Scarlata (Celebrant) , Theresa Dlouhy (soprano solo 1) ,
Gernot Heinrich (tenor solo 1) , Claudia Meller (soprano solo 2) ,
Bernd Frhlich (tenor solo 2) , Barbara Achammer (soprano solo 3) ,
XIII. The Lords Prayer 5:07 Gernot Heinrich (tenor solo 3) , Company of Music (Street Chorus) ,
10 1. Our Father 1:44 p. 67 Chorus sine nomine (Chorus) , Philip Traugott (pre-recorded voice at end)
Randall Scarlata (Celebrant and piano) TT 64:52

11 2. Trope: I Go On 3:23 p. 68 In memory of Reinhard Wagner

Randall Scarlata (Celebrant)

12 13
 Time Page Time Page
6 4. Trope: World without End 12 XIV. Sanctus 5:07 p. 68
Ruth Kraus (mezzo-soprano solo) Randall Scarlata (Celebrant) , Bernd Hemedinger, Gernot Heinrich,
Bernd Frhlich (counter-tenors) , Tlzer Knabenchor (Boys Choir) ,
Et in Spiritum Sanctum (Pre-recorded Tape No. 8) 1:29 p. 64 Company of Music (Street Chorus)
Chorus sine nomine (Chorus) , Andr Bauer (solo 1) ,
Heidemaria Gruber (solo 2) , Ruth Kraus (solo 3)
13 XV. Agnus Dei 6:35 p. 69
7 5. Trope: I Believe in God 2:05 p. 65 Randall Scarlata (Celebrant) , Vesselin Gellev (violin solo) ,
Dave Moskin (rock singer) , Company of Music (Street Chorus) , Matt Herskowitz (keyboards) , Michael Seltzer (trombone) ,
Chorus sine nomine (Chorus) Mat Fieldes (bass guitar) , Damien Bassman (drum kit) ,
Company of Music (Street Chorus) , Chorus sine nomine (Chorus)
8 XI. Meditation No. 3 2:37 p. 66
(De profundis, Part 1) 14 XVI. Fraction: Things Get Broken 15:31 p. 72
Chorus sine nomine (Chorus) , Randall Scarlata (Celebrant) Randall Scarlata (Celebrant)

9 XII. Offertory 2:06 p. 67 15 XVII. Pax: Communion (Secret Songs) 9:28 p. 76

(De profundis, Part 2) Sonja Korak (flute solo) , Georg Drexel (solo boy soprano) ,
Tlzer Knabenchor (Boys Choir) , Chorus sine nomine (Chorus) Randall Scarlata (Celebrant) , Theresa Dlouhy (soprano solo 1) ,
Gernot Heinrich (tenor solo 1) , Claudia Meller (soprano solo 2) ,
Bernd Frhlich (tenor solo 2) , Barbara Achammer (soprano solo 3) ,
XIII. The Lords Prayer 5:07 Gernot Heinrich (tenor solo 3) , Company of Music (Street Chorus) ,
10 1. Our Father 1:44 p. 67 Chorus sine nomine (Chorus) , Philip Traugott (pre-recorded voice at end)
Randall Scarlata (Celebrant and piano) TT 64:52

11 2. Trope: I Go On 3:23 p. 68 In memory of Reinhard Wagner

Randall Scarlata (Celebrant)

12 13

Bernstein: Mass
The opening of the John F. Kennedy Center for
the Performing Arts in Washington, D.C. was
the culmination of an ambitious plan to create
a living memorial to the late US President.
Shortly after Kennedys assassination in
1963, Congress had set aside $23 million to
pump-prime the building of a National Cultural
Center; in the event, the total cost of the
Washington complex was some $70 million,
and on its completion the result was described
by the New York Times as a gigantic marble
temple to music, dance, and drama. The
venues opening was marked on 8 September
1971 by the gala premiere of Mass: a theatre
piece for singers, players and dancers by
Leonard Bernstein, his idiosyncratic response
to a request from Kennedys widow, Jacqueline
Onassis, for a work dedicated to her previous
husbands memory.
In a brief note in the gala programme,
Bernstein declared that his intention in
writing the piece had been to communicate
as directly and universally as I can a
reaffirmation of faith. This seemed very
necessary to the composer at the height of
the Cold War, deeply disturbed as he was by
both the horrific ongoing conflict in Vietnam
and the Soviet invasion of Czechoslovakia
14
in 1968. (As one prominent US politician
was quick to note, the cost of building
the Kennedy Center was somewhat less
than the cost of a single days fighting in
Vietnam, a war in which more than 58,000
American troops lost their lives.) Bernsteins
declaration of faith took the novel form of
an ironic dramatisation of the liturgical Mass
of the Catholic Church, a ritual in which as
a Jew he did not participate but one with
which he had long been fascinated. The
choice of subject seemed appropriate in a
work written in memory of the first Catholic
American president, but Bernsteins decision
to trope the Mass by interpolating interludes
(vernacular in both words and musical style)
that pass sometimes cynical comment on the
liturgical texts an idea that may have been
suggested by Benjamin Brittens War Requiem
(1962), with its designedly uncomfortable
juxtaposition of Wilfred Owens anti-war
English poetry and the Latin Requiem
Mass caused a storm of controversy. Both
President Nixon and Mrs Onassis failed to
attend the works premiere, Nixon apparently
acting on secret advice that the works
content was subversive, the suggestion
having arisen from Bernsteins visit to seek
spiritual advice from Father Philip Berrigan,
then incarcerated for his alleged involvement
in a plot to kidnap Henry Kissinger. J. Edgar
Hoovers FBI report on the subject implied
that senior US politicians would be too
stupid to understand the works allegedly
subversive subtext, and would unwittingly
embarrass themselves by applauding the
work enthusiastically.
The public and press greeted the
premiere warmly, nonetheless, though
Harold Schonberg brutally dismissed the
score as a combination of superficiality and
pretentiousness, and the greatest mlange
of styles since the ladies magazine recipe for
steak fried in peanut butter and marshmallow
sauce (New York Times, 12 September 1971),
and Stravinskys close associate Robert
Craft condescendingly said it should be
renamed Mass: The Musical a title which
he could scarcely have realised would in
fact later be adopted when the work was
performed at the Vatican City in June 2000 to
commemorate the World Jubilee for Migrants.
Effectively a Papal seal of approval, the
Vatican performance finally silenced Catholic
critics who had repeatedly taken Bernstein to
task for what they viewed as his large-scale
creative blasphemy. These had included an
archbishop who expressly forbade Catholics
to see a production at the Cincinnati May
Festival in 1972; some days later the cleric
in question was struck down by a fatal
stroke, and the Cincinnati run was a sell-out
succs de scandale. Not all Catholic clergy
were unenlightened, however: the Bishop of
New York, The Rt. Rev. Paul Moore Jr, wrote
to Bernstein in July 1972 to say he had
discussed the work in one of his sermons,
telling the composer:
I wanted you to know how deeply moved
I was by the creativity of the piece and
the deep insights which you showed
about the priesthood and the theology
of the Eucharist in many ways its the
story of my life. I could deeply identify
with the inordinate demands people make
upon the church and the priest and with
the deep revulsion one sometimes feels
toward the role.
Moore was alluding to the central dramatic
proposition of Mass: the shocking mental
and physical collapse of the Celebrant at
the climax. In a programme note written for
a performance by the Israel Philharmonic
Orchestra in May 1972, Bernstein described
his provocative scenario as follows:
The ritual is conducted by a young
man of mysterious simplicity (called
the Celebrant) who throughout the
drama is invested by his acolytes with
increasingly ornate robes and symbols
which connote both an increase in the
superficial formalism of his obligation
15

Bernstein: Mass
The opening of the John F. Kennedy Center for
the Performing Arts in Washington, D.C. was
the culmination of an ambitious plan to create
a living memorial to the late US President.
Shortly after Kennedys assassination in
1963, Congress had set aside $23 million to
pump-prime the building of a National Cultural
Center; in the event, the total cost of the
Washington complex was some $70 million,
and on its completion the result was described
by the New York Times as a gigantic marble
temple to music, dance, and drama. The
venues opening was marked on 8 September
1971 by the gala premiere of Mass: a theatre
piece for singers, players and dancers by
Leonard Bernstein, his idiosyncratic response
to a request from Kennedys widow, Jacqueline
Onassis, for a work dedicated to her previous
husbands memory.
In a brief note in the gala programme,
Bernstein declared that his intention in
writing the piece had been to communicate
as directly and universally as I can a
reaffirmation of faith. This seemed very
necessary to the composer at the height of
the Cold War, deeply disturbed as he was by
both the horrific ongoing conflict in Vietnam
and the Soviet invasion of Czechoslovakia
14
in 1968. (As one prominent US politician
was quick to note, the cost of building
the Kennedy Center was somewhat less
than the cost of a single days fighting in
Vietnam, a war in which more than 58,000
American troops lost their lives.) Bernsteins
declaration of faith took the novel form of
an ironic dramatisation of the liturgical Mass
of the Catholic Church, a ritual in which as
a Jew he did not participate but one with
which he had long been fascinated. The
choice of subject seemed appropriate in a
work written in memory of the first Catholic
American president, but Bernsteins decision
to trope the Mass by interpolating interludes
(vernacular in both words and musical style)
that pass sometimes cynical comment on the
liturgical texts an idea that may have been
suggested by Benjamin Brittens War Requiem
(1962), with its designedly uncomfortable
juxtaposition of Wilfred Owens anti-war
English poetry and the Latin Requiem
Mass caused a storm of controversy. Both
President Nixon and Mrs Onassis failed to
attend the works premiere, Nixon apparently
acting on secret advice that the works
content was subversive, the suggestion
having arisen from Bernsteins visit to seek
spiritual advice from Father Philip Berrigan,
then incarcerated for his alleged involvement
in a plot to kidnap Henry Kissinger. J. Edgar
Hoovers FBI report on the subject implied
that senior US politicians would be too
stupid to understand the works allegedly
subversive subtext, and would unwittingly
embarrass themselves by applauding the
work enthusiastically.
The public and press greeted the
premiere warmly, nonetheless, though
Harold Schonberg brutally dismissed the
score as a combination of superficiality and
pretentiousness, and the greatest mlange
of styles since the ladies magazine recipe for
steak fried in peanut butter and marshmallow
sauce (New York Times, 12 September 1971),
and Stravinskys close associate Robert
Craft condescendingly said it should be
renamed Mass: The Musical a title which
he could scarcely have realised would in
fact later be adopted when the work was
performed at the Vatican City in June 2000 to
commemorate the World Jubilee for Migrants.
Effectively a Papal seal of approval, the
Vatican performance finally silenced Catholic
critics who had repeatedly taken Bernstein to
task for what they viewed as his large-scale
creative blasphemy. These had included an
archbishop who expressly forbade Catholics
to see a production at the Cincinnati May
Festival in 1972; some days later the cleric
in question was struck down by a fatal
stroke, and the Cincinnati run was a sell-out
succs de scandale. Not all Catholic clergy
were unenlightened, however: the Bishop of
New York, The Rt. Rev. Paul Moore Jr, wrote
to Bernstein in July 1972 to say he had
discussed the work in one of his sermons,
telling the composer:
I wanted you to know how deeply moved
I was by the creativity of the piece and
the deep insights which you showed
about the priesthood and the theology
of the Eucharist in many ways its the
story of my life. I could deeply identify
with the inordinate demands people make
upon the church and the priest and with
the deep revulsion one sometimes feels
toward the role.
Moore was alluding to the central dramatic
proposition of Mass: the shocking mental
and physical collapse of the Celebrant at
the climax. In a programme note written for
a performance by the Israel Philharmonic
Orchestra in May 1972, Bernstein described
his provocative scenario as follows:
The ritual is conducted by a young
man of mysterious simplicity (called
the Celebrant) who throughout the
drama is invested by his acolytes with
increasingly ornate robes and symbols
which connote both an increase in the
superficial formalism of his obligation
15
 and the burden that he bears. There
is a parallel increase in the resistance
of his Congregants in the sharpness
and bitterness of their reactions and
in the deterioration of his own faith. At
the climax of Communion, all ceremony
breaks down and the Mass is shattered.
It then remains for each individual
on the stage to find a new seed of
faith within himself through painful
Meditation, enabling each individual
to pass on the embrace of peace (Pax)
to his neighbor. The chain of embrace
grows and threads through the entire
stage, ultimately with the audience and
hopefully into the world outside.
At the moment of collapse, the Celebrant
is given a protracted mad scene in
which, following his violent smashing of
the Communion vessels, he disjointedly
recapitulates themes heard earlier in the work.
The device strongly recalls the mad scene
in Brittens opera Peter Grimes (the first US
performance of which had been conducted by
Bernstein at Tanglewood in 1946); apart from
the conceptual similarity to the War Requiem,
other distinct echoes of Britten are to be found
in Bernsteins music for boy trebles and the
indication that the audience should participate
in the dramatised liturgy where appropriate.
Unlike Britten, however, Bernstein assaults
his liturgical target with a dizzyingly varied
16
armoury of musical styles that constitute a
veritable temperature-check on the state of
both classical and popular music at the start
of the 1970s. At times the orchestral writing
is searingly intense and dissonant, and
occasionally avant-garde in its fragmented
textures; in contrast, much of the optimistic
dance-like music is infused with the catchy
Latin American additive rhythms so familiar
from the composers seminal musical West
Side Story (1957); meanwhile, the sharpest
conflict with the works serious manner
of writing comes from raw blues and rock
styles perfectly attuned to the contemporary
cynicism of the anti-Mass troping in the
interpolated vernacular segments, which are
mostly concerned with a crisis of faith. This
spectacular diversity of idiom is reflected in the
huge array of vocal and instrumental resources
required for performance: two orchestras, one
on stage and the other in the pit; two electric
guitars and bass guitar; a street chorus and
street percussion including tin cans, bottles
and steel drums; marching, blues and rock
bands; a sixty-strong conventional four-part
choir dressed in robes, with a boys choir
and dancers functioning as hooded acolytes;
and an impressive set of quadraphonic tape
recordings, recorded by CBS in New York,
which blare often virtuosic settings of portions
of the Latin Mass into the auditorium from all
sides.
The most compelling use of the tape
recordings comes at the works very opening
when, in complete darkness, the audience
is bombarded by a bravura treatment
of the Kyrie eleison (CD 1, 1 ) in which
unsynchronised music for four vocal groups
and percussion builds into a cacophonic
ensemble which, at its climax, is suddenly
truncated by the twang of the Celebrants
guitar. Revealed alone on stage, the Celebrant
sings his Simple Song 2 in front of a closed
curtain in a pure Copland-like diatonicism; its
memorable strain of praise (Singing Lauda,
Laude) is to become important later in the
work. The Alleluia responsory 3 features
pre-recorded singing, suggestive of joyful
bells and cast in a jauntily contrapuntal
cool-jazz idiom. This section concludes the
opening Devotions, and is followed by the
first of two Introits. The First Introit comprises
the Prefatory Prayers 4 , which see the stage
flooded with a street chorus as a marching
band plays energetically in a style poised
uneasily between the patriotism of Sousa and
the sardonic wit of early Shostakovich, and a
Thrice-Triple Canon 5 sung unaccompanied
by the Celebrant with boys and street chorus.
The Second Introit also falls into two parts:
a pre-recorded folk band and male voices
intoning In nomine Patris 6 followed by a
simple congregational prayer in the shape
of the unaccompanied chorale Almighty
Father 7 . The opening stages of the work
are concluded with Epiphany, a pre-recorded
oboe cadenza 8 which brings us to the
crucial confessional stage of the drama,
where things begin to go badly wrong.
The first part of the Confession,
Confiteor 9 , is highly rhetorical, the choir
chanting its Latin text ritualistically in the
manner of Stravinskys 1948 Mass, of which
Bernstein was a great admirer. Swinging
music for chorus and rock band (Mea
culpa) emerges as the Celebrant blesses the
acolytes relics. Then comes the first of the
works eight tropes, a song of confusion in a
rock style (complete with distorted electric
guitar) updating the idiom of West Side
Story 10 . The next trope, Easy 11 , is for a
succession of blues singers accompanied by
blues band; in the central section, the anxious
choral Latin chanting resumes, and the number
concludes with a hyperbolic return of the
blues as a singer directly challenges the Lord
to show him the way if youre so great. In
the greatest possible contrast, the ensuing
Meditation (the first of three) is an extended
and emotionally intense string-dominated
interlude 12 . Next, the Celebrant plays bongos
and is joined by the boys choir in a joyously
fast quintuple metre to celebrate the first part
of the Gloria 13 , before another distinctly
Stravinskian moment, Gloria in Excelsis 14 ,
in which the chanting becomes energetically
17
 and the burden that he bears. There
is a parallel increase in the resistance
of his Congregants in the sharpness
and bitterness of their reactions and
in the deterioration of his own faith. At
the climax of Communion, all ceremony
breaks down and the Mass is shattered.
It then remains for each individual
on the stage to find a new seed of
faith within himself through painful
Meditation, enabling each individual
to pass on the embrace of peace (Pax)
to his neighbor. The chain of embrace
grows and threads through the entire
stage, ultimately with the audience and
hopefully into the world outside.
At the moment of collapse, the Celebrant
is given a protracted mad scene in
which, following his violent smashing of
the Communion vessels, he disjointedly
recapitulates themes heard earlier in the work.
The device strongly recalls the mad scene
in Brittens opera Peter Grimes (the first US
performance of which had been conducted by
Bernstein at Tanglewood in 1946); apart from
the conceptual similarity to the War Requiem,
other distinct echoes of Britten are to be found
in Bernsteins music for boy trebles and the
indication that the audience should participate
in the dramatised liturgy where appropriate.
Unlike Britten, however, Bernstein assaults
his liturgical target with a dizzyingly varied
16
armoury of musical styles that constitute a
veritable temperature-check on the state of
both classical and popular music at the start
of the 1970s. At times the orchestral writing
is searingly intense and dissonant, and
occasionally avant-garde in its fragmented
textures; in contrast, much of the optimistic
dance-like music is infused with the catchy
Latin American additive rhythms so familiar
from the composers seminal musical West
Side Story (1957); meanwhile, the sharpest
conflict with the works serious manner
of writing comes from raw blues and rock
styles perfectly attuned to the contemporary
cynicism of the anti-Mass troping in the
interpolated vernacular segments, which are
mostly concerned with a crisis of faith. This
spectacular diversity of idiom is reflected in the
huge array of vocal and instrumental resources
required for performance: two orchestras, one
on stage and the other in the pit; two electric
guitars and bass guitar; a street chorus and
street percussion including tin cans, bottles
and steel drums; marching, blues and rock
bands; a sixty-strong conventional four-part
choir dressed in robes, with a boys choir
and dancers functioning as hooded acolytes;
and an impressive set of quadraphonic tape
recordings, recorded by CBS in New York,
which blare often virtuosic settings of portions
of the Latin Mass into the auditorium from all
sides.
The most compelling use of the tape
recordings comes at the works very opening
when, in complete darkness, the audience
is bombarded by a bravura treatment
of the Kyrie eleison (CD 1, 1 ) in which
unsynchronised music for four vocal groups
and percussion builds into a cacophonic
ensemble which, at its climax, is suddenly
truncated by the twang of the Celebrants
guitar. Revealed alone on stage, the Celebrant
sings his Simple Song 2 in front of a closed
curtain in a pure Copland-like diatonicism; its
memorable strain of praise (Singing Lauda,
Laude) is to become important later in the
work. The Alleluia responsory 3 features
pre-recorded singing, suggestive of joyful
bells and cast in a jauntily contrapuntal
cool-jazz idiom. This section concludes the
opening Devotions, and is followed by the
first of two Introits. The First Introit comprises
the Prefatory Prayers 4 , which see the stage
flooded with a street chorus as a marching
band plays energetically in a style poised
uneasily between the patriotism of Sousa and
the sardonic wit of early Shostakovich, and a
Thrice-Triple Canon 5 sung unaccompanied
by the Celebrant with boys and street chorus.
The Second Introit also falls into two parts:
a pre-recorded folk band and male voices
intoning In nomine Patris 6 followed by a
simple congregational prayer in the shape
of the unaccompanied chorale Almighty
Father 7 . The opening stages of the work
are concluded with Epiphany, a pre-recorded
oboe cadenza 8 which brings us to the
crucial confessional stage of the drama,
where things begin to go badly wrong.
The first part of the Confession,
Confiteor 9 , is highly rhetorical, the choir
chanting its Latin text ritualistically in the
manner of Stravinskys 1948 Mass, of which
Bernstein was a great admirer. Swinging
music for chorus and rock band (Mea
culpa) emerges as the Celebrant blesses the
acolytes relics. Then comes the first of the
works eight tropes, a song of confusion in a
rock style (complete with distorted electric
guitar) updating the idiom of West Side
Story 10 . The next trope, Easy 11 , is for a
succession of blues singers accompanied by
blues band; in the central section, the anxious
choral Latin chanting resumes, and the number
concludes with a hyperbolic return of the
blues as a singer directly challenges the Lord
to show him the way if youre so great. In
the greatest possible contrast, the ensuing
Meditation (the first of three) is an extended
and emotionally intense string-dominated
interlude 12 . Next, the Celebrant plays bongos
and is joined by the boys choir in a joyously
fast quintuple metre to celebrate the first part
of the Gloria 13 , before another distinctly
Stravinskian moment, Gloria in Excelsis 14 ,
in which the chanting becomes energetically
17
syncopated and punctuated with powerful
false-relation chords. (This movement, with
its eccentric setting of the revered Latin
text, must surely have influenced the British
composer David Fanshawe, whose perennially
popular African Sanctus (1972) followed
Bernsteins lead by pitting field recordings of
African music against an unorthodox modern
Mass setting that included popular Western
idioms.) The Gloria continues without a break
into the trope Half of the People 15 , based
on a witty text by Paul Simon, after which
a solo soprano sings a bitter-sweet trope
reflecting on meaningful emotional moments
she has experienced in the past 16 .
A second Meditation 17 takes the form of
a set of four intense orchestral variations on a
theme borrowed from the finale of Beethovens
Ninth Symphony the chromatic melody setting
the words Ihr strzt nieder, Millionen? (Have life recapitulation of the folk dance from the
you been cast down, O multitudes?) and
leads to the Epistle (CD 2, 1 ), in which the
Celebrants biblical reading is counterpointed
with the colloquial words of ordinary modern
letter-writers. In the Gospel-Sermon 2 , a pious
preacher jumps up onto a bench, accompanied
by a strutting band of trombones, banjo
and guitar; the dancing and singing of the
crowd, again in West Side Story style, is
interrupted by the Celebrants appearance
wearing more sumptuous robes than
hitherto.
18
A pre-recorded chorus chant, Credo
in unum Deum 3 , initiates a sequence
of no fewer than four tropes commenting
on the liturgical Credo, all linked by brief
recapitulations of the music on the tape
recording: the first is a cynical song for
male voices and rock band 4 , the next for
mezzo-soprano and blues band 5 , the
third featuring street chorus and Latin
American rhythms 6 , and the fourth a plea
by a rock singer for belief in the power of
the individual 7 . A third Meditation 8 , for
recorded chorus and searing brass, accompanies
the presentation of the Communion vessels to
the Celebrant, who says a prayer on behalf of
members of the cast, listing them by name.
The Offertory 9 sees the incantation of the
boys, who carry votive candles, constantly
interrupted by choral chanting; a larger-than-
Second Introit marks the disappearance of the
Celebrant from view, his absence encouraging
the assembly to dance with fetishistic passion
around the sacred vessels.
The orgy of celebration is suddenly
interrupted by the return of the caped
Celebrant. Left alone, he picks out the notes
of the Lords Prayer with a single finger on
a piano, singing along to the melody as he
does so 10 . He then sings his own trope
of resilience in the face of confusion and
disillusionment, I Go On 11 , before ringing
the Sanctus bell. The boys singing of the
Sanctus 12 dissipates into a phantom-like
mystical dance; as its volume increases, the
Celebrant is handed his guitar again and
sings a song (punning on sol-fa pitch
names) that turns into Hebrew (Kadosh!), a
strain taken up by the chorus as people ply
him with imaginary gifts until he is lost
from view. The energy is maintained by a
dynamic street-chorus rendering of the
Agnus Dei 13 , accompanied by rock band
and replete with off-beat foot stamping.
The Celebrant elevates the Monstrance but
is blocked by the acolytes as he attempts
to approach the altar; he takes hold of the
chalice at the moment he is about to lose
control of the crowd, and calls everyone to
prayer. As he attempts to climb a staircase
ascending from the stage to a symbolic
summit, the Celebrant becomes increasingly
weighed down and is struck dumb as he
elevates the sacred vessels. A powerfully
bluesy choral Dona nobis pacem gets louder
and louder, with rock-style instrumental
improvisations overlaid and the pre-recorded
Kyries from the start of the piece added
to the cacophony, until his mind suddenly
snaps and he dashes the sacraments to the
floor 14 . The company is frozen still in abject
terror at this ultimate blasphemy. During his
ensuing mad scene the Celebrant smashes
anything that comes to hand, even tearing
the altar cloth into streamers and dancing
on the altar to a silent-movie style organ
accompaniment, then tearing his vestments
and throwing them into the crowd. He grows
catatonic again and descends into the pit.
A flute cadenza, paralleling the oboe
cadenza at the earlier Epiphany, is followed
by a solo treble singing the Lauda, Laude
from the Celebrants opening song as the Pax
begins 15 . The onstage characters gradually
begin to embrace one another as this delicate
song progresses along its inexorable way.
The Celebrant reappears, now clad in simple
dress as he was at the commencement of
the drama. As the entire company sings the
Chorale Almighty Father, heard earlier in
the work, the boys move into the auditorium
and spread the touch of peace amongst the
audience.
2009 Mervyn Cooke
The baritone Randall Scarlata studied at the
Hochschule fr Musik in Vienna and holds a
masters degree from the Juilliard School; in
addition, he spent several summers studying
with the great French baritone Grard Souzay
in Nice and Salzburg. Known for his versatility
and consummate musicianship, he is the
recipient of numerous prizes and commands
a repertoire that spans four centuries and
fifteen languages. He enjoys a lively career
19
syncopated and punctuated with powerful
false-relation chords. (This movement, with
its eccentric setting of the revered Latin
text, must surely have influenced the British
composer David Fanshawe, whose perennially
popular African Sanctus (1972) followed
Bernsteins lead by pitting field recordings of
African music against an unorthodox modern
Mass setting that included popular Western
idioms.) The Gloria continues without a break
into the trope Half of the People 15 , based
on a witty text by Paul Simon, after which
a solo soprano sings a bitter-sweet trope
reflecting on meaningful emotional moments
she has experienced in the past 16 .
A second Meditation 17 takes the form of
a set of four intense orchestral variations on a
theme borrowed from the finale of Beethovens
Ninth Symphony the chromatic melody setting
the words Ihr strzt nieder, Millionen? (Have life recapitulation of the folk dance from the
you been cast down, O multitudes?) and
leads to the Epistle (CD 2, 1 ), in which the
Celebrants biblical reading is counterpointed
with the colloquial words of ordinary modern
letter-writers. In the Gospel-Sermon 2 , a pious
preacher jumps up onto a bench, accompanied
by a strutting band of trombones, banjo
and guitar; the dancing and singing of the
crowd, again in West Side Story style, is
interrupted by the Celebrants appearance
wearing more sumptuous robes than
hitherto.
18
A pre-recorded chorus chant, Credo
in unum Deum 3 , initiates a sequence
of no fewer than four tropes commenting
on the liturgical Credo, all linked by brief
recapitulations of the music on the tape
recording: the first is a cynical song for
male voices and rock band 4 , the next for
mezzo-soprano and blues band 5 , the
third featuring street chorus and Latin
American rhythms 6 , and the fourth a plea
by a rock singer for belief in the power of
the individual 7 . A third Meditation 8 , for
recorded chorus and searing brass, accompanies
the presentation of the Communion vessels to
the Celebrant, who says a prayer on behalf of
members of the cast, listing them by name.
The Offertory 9 sees the incantation of the
boys, who carry votive candles, constantly
interrupted by choral chanting; a larger-than-
Second Introit marks the disappearance of the
Celebrant from view, his absence encouraging
the assembly to dance with fetishistic passion
around the sacred vessels.
The orgy of celebration is suddenly
interrupted by the return of the caped
Celebrant. Left alone, he picks out the notes
of the Lords Prayer with a single finger on
a piano, singing along to the melody as he
does so 10 . He then sings his own trope
of resilience in the face of confusion and
disillusionment, I Go On 11 , before ringing
the Sanctus bell. The boys singing of the
Sanctus 12 dissipates into a phantom-like
mystical dance; as its volume increases, the
Celebrant is handed his guitar again and
sings a song (punning on sol-fa pitch
names) that turns into Hebrew (Kadosh!), a
strain taken up by the chorus as people ply
him with imaginary gifts until he is lost
from view. The energy is maintained by a
dynamic street-chorus rendering of the
Agnus Dei 13 , accompanied by rock band
and replete with off-beat foot stamping.
The Celebrant elevates the Monstrance but
is blocked by the acolytes as he attempts
to approach the altar; he takes hold of the
chalice at the moment he is about to lose
control of the crowd, and calls everyone to
prayer. As he attempts to climb a staircase
ascending from the stage to a symbolic
summit, the Celebrant becomes increasingly
weighed down and is struck dumb as he
elevates the sacred vessels. A powerfully
bluesy choral Dona nobis pacem gets louder
and louder, with rock-style instrumental
improvisations overlaid and the pre-recorded
Kyries from the start of the piece added
to the cacophony, until his mind suddenly
snaps and he dashes the sacraments to the
floor 14 . The company is frozen still in abject
terror at this ultimate blasphemy. During his
ensuing mad scene the Celebrant smashes
anything that comes to hand, even tearing
the altar cloth into streamers and dancing
on the altar to a silent-movie style organ
accompaniment, then tearing his vestments
and throwing them into the crowd. He grows
catatonic again and descends into the pit.
A flute cadenza, paralleling the oboe
cadenza at the earlier Epiphany, is followed
by a solo treble singing the Lauda, Laude
from the Celebrants opening song as the Pax
begins 15 . The onstage characters gradually
begin to embrace one another as this delicate
song progresses along its inexorable way.
The Celebrant reappears, now clad in simple
dress as he was at the commencement of
the drama. As the entire company sings the
Chorale Almighty Father, heard earlier in
the work, the boys move into the auditorium
and spread the touch of peace amongst the
audience.
2009 Mervyn Cooke
The baritone Randall Scarlata studied at the
Hochschule fr Musik in Vienna and holds a
masters degree from the Juilliard School; in
addition, he spent several summers studying
with the great French baritone Grard Souzay
in Nice and Salzburg. Known for his versatility
and consummate musicianship, he is the
recipient of numerous prizes and commands
a repertoire that spans four centuries and
fifteen languages. He enjoys a lively career
19
encompassing opera, recital and works
for voice and orchestra, and has appeared
on stages throughout Europe, North and
South America, and the Near and Far East.
He has been a soloist with the Philadelphia,
Minnesota and Ulster orchestras, and the
Pittsburgh, San Francisco, National and BBC
symphony orchestras, among others, and has
appeared at many of the worlds great music
festivals, including the Ravinia, Marlboro,
Edinburgh, Vienna, Salzburg, Aspen and
Spoleto (Italy) festivals. As a sought-after
interpreter of new music, he has given a
number of premieres, but he is equally
comfortable in Bachs Passions, Mozarts
operas, Schuberts song cycles, Mahlers
orchestral songs and American popular song.
Recently he gave the world premiere of Thea
Musgraves one-man opera The Mocking-Bird
in Boston, portrayed ikov in Janc eks From musical stages throughout Germany and
the House of the Dead at Lincoln Center,
and gave recitals in the US and Europe with
the pianist Richard Goode. Randall Scarlata
serves on the faculty of the College of
Visual and Performing Arts at West Chester
University.
The Vienna-based Company of Music, led by
its founder, Johannes Hiemetsberger, unites
trained solo singers into a vocal Sinfonietta
whose programmes are characterised by
both individuality and collective discipline.
20
The choir is dedicated to the performance of
thematically conceived concerts, presenting
a wide range of works primarily a cappella, in
up to sixteen parts, in unusual combinations
and contexts, often employing scenic
elements and the entire performance space.
The manner of performance emphasises
the alternation of solo and tutti passages
in order to highlight the flexibility and
ensemble skills of the individual members.
This performance philosophy has been
employed to exceptional effect also in such
early repertoire as Bachs B minor Mass,
Passions and Motets, performed with the
Bach Consort Wien.
Educated at the Stage School of Music,
Dance and Drama in Hamburg and the Felix
Mendelssohn Bartholdy Musikhochschule in
Leipzig, Ruth Kraus has sung on prominent
in Vienna, appearing, among others, in
Austria in such operettas and musicals as
Die Fledermaus, Aufstieg und Fall der Stadt
Mahagonny, City of Angels, The Rocky Horror
Picture Show, Jekyll and Hyde, Rebecca, and
Elisabeth in which she has also appeared on
tour in Italy and Japan.
Born in The Netherlands and educated at
the Academy of Dramatic Arts in Antwerp,
Belgium, Lenneke Willemsen has appeared
on television and in musicals across Belgium,
The Netherlands and Austria, among them
Chess, Fiddler on the Roof, Cyrano, Beauty
and the Beast, Dance of the Vampire and
Elisabeth.
Reinwald Kranner trained at the
Musikhochschule in Graz and the Konservatorium
der Stadt Wien as well as with Otto Edelmann.
As far afield as Hong Kong, Moscow and the
United States he has established himself as
both a performer and choreographer in musical
theatre, having appeared in Elisabeth, West
Side Story, Fiddler on the Roof, Romeo and
Juliet, Jesus Christ Superstar, Evita and
The Producers, besides shows of his own
devising for both children and adults.
Dave Moskin, born in New Jersey, grew
up in New York City and already as a child
gained acting experience on Broadway, on
television and in film. At nineteen he played
the New York club scene with his own band.
Since 1995 he has been an active performer
200 concerts and operatic performances
productions of Tommy, Footloose, Jesus Christ
Superstar, Hair and Jekyll and Hyde.
Born in Grlitz, Andr Bauer began his
vocal training at the Carl Maria von Weber
Hochschule fr Musik in Dresden, and earned
his diploma in Frankfurt. His career in German
and Austrian musical theatre has included
prominent roles in My Fair Lady, Fiddler on the
Roof, Hair, Romeo and Juliet, Les Misrables,
Miss Saigon, The Hunchback of Notre Dame,
Elisabeth, Jesus Christ Superstar and Sweeney
Todd, among others.
Since its founding in Bad Tlz, the Tlzer
Knabenchor, which celebrated its fiftieth
anniversary in 2006, has enjoyed the
uninterrupted artistic directorship of the
conductor and vocal pedagogue Gerhard
Schmidt-Gaden. More than 200 boys from
Munich and Upper Bavaria are presently
trained at the studios of the choir by
Professor Schmidt-Gaden and his six
assistants. Their teaching principles have
always been based first and foremost on
the joy of singing, the choir members being
stimulated to develop creativity, spontaneity
and self-discipline in addition to consummate
technique. As a consequence, the most gifted
members find themselves in due course
performing on international opera stages
and concert platforms. The various groups
and soloists of the choir appear in more than
around the world each year. Their repertoire
ranges from music of the middle ages to
contemporary works, not excluding folksong,
with a particular emphasis on baroque and
classical sacred music, and in all repertoire
an historically authentic style of performance.
Supported financially by the state of Bavaria,
the city of Bad Tlz and the Schrghuber
Unternehmensgruppe, the Tlzer
Knabenchor has performed under the most
renowned conductors and made numerous
distinguished recordings.
21
encompassing opera, recital and works
for voice and orchestra, and has appeared
on stages throughout Europe, North and
South America, and the Near and Far East.
He has been a soloist with the Philadelphia,
Minnesota and Ulster orchestras, and the
Pittsburgh, San Francisco, National and BBC
symphony orchestras, among others, and has
appeared at many of the worlds great music
festivals, including the Ravinia, Marlboro,
Edinburgh, Vienna, Salzburg, Aspen and
Spoleto (Italy) festivals. As a sought-after
interpreter of new music, he has given a
number of premieres, but he is equally
comfortable in Bachs Passions, Mozarts
operas, Schuberts song cycles, Mahlers
orchestral songs and American popular song.
Recently he gave the world premiere of Thea
Musgraves one-man opera The Mocking-Bird
in Boston, portrayed ikov in Janc eks From musical stages throughout Germany and
the House of the Dead at Lincoln Center,
and gave recitals in the US and Europe with
the pianist Richard Goode. Randall Scarlata
serves on the faculty of the College of
Visual and Performing Arts at West Chester
University.
The Vienna-based Company of Music, led by
its founder, Johannes Hiemetsberger, unites
trained solo singers into a vocal Sinfonietta
whose programmes are characterised by
both individuality and collective discipline.
20
The choir is dedicated to the performance of
thematically conceived concerts, presenting
a wide range of works primarily a cappella, in
up to sixteen parts, in unusual combinations
and contexts, often employing scenic
elements and the entire performance space.
The manner of performance emphasises
the alternation of solo and tutti passages
in order to highlight the flexibility and
ensemble skills of the individual members.
This performance philosophy has been
employed to exceptional effect also in such
early repertoire as Bachs B minor Mass,
Passions and Motets, performed with the
Bach Consort Wien.
Educated at the Stage School of Music,
Dance and Drama in Hamburg and the Felix
Mendelssohn Bartholdy Musikhochschule in
Leipzig, Ruth Kraus has sung on prominent
in Vienna, appearing, among others, in
Austria in such operettas and musicals as
Die Fledermaus, Aufstieg und Fall der Stadt
Mahagonny, City of Angels, The Rocky Horror
Picture Show, Jekyll and Hyde, Rebecca, and
Elisabeth in which she has also appeared on
tour in Italy and Japan.
Born in The Netherlands and educated at
the Academy of Dramatic Arts in Antwerp,
Belgium, Lenneke Willemsen has appeared
on television and in musicals across Belgium,
The Netherlands and Austria, among them
Chess, Fiddler on the Roof, Cyrano, Beauty
and the Beast, Dance of the Vampire and
Elisabeth.
Reinwald Kranner trained at the
Musikhochschule in Graz and the Konservatorium
der Stadt Wien as well as with Otto Edelmann.
As far afield as Hong Kong, Moscow and the
United States he has established himself as
both a performer and choreographer in musical
theatre, having appeared in Elisabeth, West
Side Story, Fiddler on the Roof, Romeo and
Juliet, Jesus Christ Superstar, Evita and
The Producers, besides shows of his own
devising for both children and adults.
Dave Moskin, born in New Jersey, grew
up in New York City and already as a child
gained acting experience on Broadway, on
television and in film. At nineteen he played
the New York club scene with his own band.
Since 1995 he has been an active performer
200 concerts and operatic performances
productions of Tommy, Footloose, Jesus Christ
Superstar, Hair and Jekyll and Hyde.
Born in Grlitz, Andr Bauer began his
vocal training at the Carl Maria von Weber
Hochschule fr Musik in Dresden, and earned
his diploma in Frankfurt. His career in German
and Austrian musical theatre has included
prominent roles in My Fair Lady, Fiddler on the
Roof, Hair, Romeo and Juliet, Les Misrables,
Miss Saigon, The Hunchback of Notre Dame,
Elisabeth, Jesus Christ Superstar and Sweeney
Todd, among others.
Since its founding in Bad Tlz, the Tlzer
Knabenchor, which celebrated its fiftieth
anniversary in 2006, has enjoyed the
uninterrupted artistic directorship of the
conductor and vocal pedagogue Gerhard
Schmidt-Gaden. More than 200 boys from
Munich and Upper Bavaria are presently
trained at the studios of the choir by
Professor Schmidt-Gaden and his six
assistants. Their teaching principles have
always been based first and foremost on
the joy of singing, the choir members being
stimulated to develop creativity, spontaneity
and self-discipline in addition to consummate
technique. As a consequence, the most gifted
members find themselves in due course
performing on international opera stages
and concert platforms. The various groups
and soloists of the choir appear in more than
around the world each year. Their repertoire
ranges from music of the middle ages to
contemporary works, not excluding folksong,
with a particular emphasis on baroque and
classical sacred music, and in all repertoire
an historically authentic style of performance.
Supported financially by the state of Bavaria,
the city of Bad Tlz and the Schrghuber
Unternehmensgruppe, the Tlzer
Knabenchor has performed under the most
renowned conductors and made numerous
distinguished recordings.
21
Founded in 1991 by Johannes Hiemetsberger,
the Chorus sine nomine is the winner of
numerous prizes and counts today as one
of Austrias leading vocal ensembles. It
has performed at the Wiener Konzerthaus
and Wiener Musikverein, and participated
at the Styriarte, Salzburg Whitsun and
Baroque festivals, Brucknerfest in Linz,
Kammermusikfest in Lockenhaus and
Grafenegg Festival, among others. It has
enjoyed a particularly close relationship
with the concert series of the Musikalische
Jugend sterreichs (Jeunesse). Active also
internationally, the choir has appeared at
the Ravenna Festival, Thtre des Champs
lyses, Barbican Hall and Philharmonie in
Munich and has undertaken a cappella tours
through Asia and the United States. It has
appeared under conductors such as Jordi
Savall, Martin Haselbck, HK Gruber, Gidon
Kremer, Trevor Pinnock and Ulf Schirmer
in a repertoire that ranges from Cavalieris
Rappresentatione di anima e di corpo and
Monteverdis Vespers to Weills Aufstieg und
Fall der Stadt Mahagonny and Gubaidulinas
Sonnengesang. The Chorus sine nomine
also boasts numerous commissions and
premieres.
Since its inception in 1993, fans have slowly
witnessed something of a metamorphosis of
Kristjan Jrvis Absolute Ensemble. It began
22
in New York as another new music group, but
Jrvi seemed unable to quench his appetite
for music of all genres and transformed the
Ensemble into what he lovingly describes
as musical omnivores. Lending themselves
to the kind of performance usually foreign
to the classical breed, the members are
frequently called upon to improvise as well
as to arrange and compose. By integrating
rather than segregating music, the group
fuses its classical roots with everything from
jazz and rock to world music and hip-hop.
It has toured the globe and released eight
acclaimed albums, leading the American
Record Guide to suggest that it may be the the most distinguished guest conductors as
most alluring and virtuosic of todays new well as soloists of the first rank. In 1913 a
music groups. The Absolute Ensemble is
resident at the Musikfest in Bremen where,
in addition to performing, it hosts the annual
Absolute Academy at Bremen University
for Music and Art, and where, in 2007, it
received the prestigious Deutsche Bank Prize
for Outstanding Musical Achievement.
The Tonknstler-Orchester
Niedersterreich, the State Orchestra of
Lower Austria, is one of the most important
institutions of Austrian musical culture, but
has also been pursuing unconventional paths
into the orchestral future. On the one hand,
the orchestras repertoire and tonal culture
are based on a hundred years of history
and a solid interpretative tradition. On the
other, under the leadership of its dynamic
current principal conductor, Kristjan Jrvi,
the orchestra has taken a number of new
initiatives. It maintains residences in three
highly varied but at the same time high-
calibre venues: the Goldener Saal of the
Wiener Musikverein, the Festspielhaus in
St Plten and, since summer 2007, the new
festival location at the estate of Grafenegg
Castle. The orchestra counts Kurt Wss, Heinz
Wallberg, Walter Weller, Miltiades Caridis,
Isaac Karabtchevsky and Fabio Luisi among
its former principal conductors, and attracts
repertoire ranging from the classical period to
the twenty-first century. His flair for imaginative
forerunner of the present orchestra gave the
world premiere of Schoenbergs Gurrelieder,
and the Tonknstler-Orchester continues to
expand its repertoire by exploring new or
unfamiliar works of the past three centuries.
It became the first orchestra in Austria to
establish a department of music education,
which stages workshops that prepare classes of
school children to attend concerts and musical
theatre performances and also stimulate the
childrens musical sensibilities. The orchestra
has made numerous recordings and tours
regularly throughout the musical world.
The Estonian-born conductor Kristjan
Jrvi has forged a special connection with
audiences across the globe. Renowned
as one of the best communicators on the
international stage, he has been hailed by
The New York Times as a kinetic force on
the podium, like Leonard Bernstein reborn.
In his capacity as Chief Conductor and Music
Director of both the Tonknstler-Orchester
Niedersterreich, Vienna, with which he has
toured the UK, Spain, Germany, Japan and the
Baltic countries, and New Yorks celebrated
Absolute Ensemble, which he founded, he
is well known for his musical insight into
programming is reflected in his appointment as
Artistic Adviser to the Kammerorchester Basel.
In high demand among the top orchestras
of the world, including the Staatskapelle
Dresden, BBC Philharmonic, Sydney Symphony,
Tokyo Philharmonic Orchestra and Orchestre
national de France, Kristjan Jrvi maintains
regular relationships with the London
Symphony Orchestra, Leipzig Gewandhaus
Orchestra, Berlin Radio Symphony Orchestra,
WDR Symphony Orchestra Cologne, NDR
Radiophilharmonie and Royal Scottish National
Orchestra.
23
Founded in 1991 by Johannes Hiemetsberger,
the Chorus sine nomine is the winner of
numerous prizes and counts today as one
of Austrias leading vocal ensembles. It
has performed at the Wiener Konzerthaus
and Wiener Musikverein, and participated
at the Styriarte, Salzburg Whitsun and
Baroque festivals, Brucknerfest in Linz,
Kammermusikfest in Lockenhaus and
Grafenegg Festival, among others. It has
enjoyed a particularly close relationship
with the concert series of the Musikalische
Jugend sterreichs (Jeunesse). Active also
internationally, the choir has appeared at
the Ravenna Festival, Thtre des Champs
lyses, Barbican Hall and Philharmonie in
Munich and has undertaken a cappella tours
through Asia and the United States. It has
appeared under conductors such as Jordi
Savall, Martin Haselbck, HK Gruber, Gidon
Kremer, Trevor Pinnock and Ulf Schirmer
in a repertoire that ranges from Cavalieris
Rappresentatione di anima e di corpo and
Monteverdis Vespers to Weills Aufstieg und
Fall der Stadt Mahagonny and Gubaidulinas
Sonnengesang. The Chorus sine nomine
also boasts numerous commissions and
premieres.
Since its inception in 1993, fans have slowly
witnessed something of a metamorphosis of
Kristjan Jrvis Absolute Ensemble. It began
22
in New York as another new music group, but
Jrvi seemed unable to quench his appetite
for music of all genres and transformed the
Ensemble into what he lovingly describes
as musical omnivores. Lending themselves
to the kind of performance usually foreign
to the classical breed, the members are
frequently called upon to improvise as well
as to arrange and compose. By integrating
rather than segregating music, the group
fuses its classical roots with everything from
jazz and rock to world music and hip-hop.
It has toured the globe and released eight
acclaimed albums, leading the American
Record Guide to suggest that it may be the the most distinguished guest conductors as
most alluring and virtuosic of todays new well as soloists of the first rank. In 1913 a
music groups. The Absolute Ensemble is
resident at the Musikfest in Bremen where,
in addition to performing, it hosts the annual
Absolute Academy at Bremen University
for Music and Art, and where, in 2007, it
received the prestigious Deutsche Bank Prize
for Outstanding Musical Achievement.
The Tonknstler-Orchester
Niedersterreich, the State Orchestra of
Lower Austria, is one of the most important
institutions of Austrian musical culture, but
has also been pursuing unconventional paths
into the orchestral future. On the one hand,
the orchestras repertoire and tonal culture
are based on a hundred years of history
and a solid interpretative tradition. On the
other, under the leadership of its dynamic
current principal conductor, Kristjan Jrvi,
the orchestra has taken a number of new
initiatives. It maintains residences in three
highly varied but at the same time high-
calibre venues: the Goldener Saal of the
Wiener Musikverein, the Festspielhaus in
St Plten and, since summer 2007, the new
festival location at the estate of Grafenegg
Castle. The orchestra counts Kurt Wss, Heinz
Wallberg, Walter Weller, Miltiades Caridis,
Isaac Karabtchevsky and Fabio Luisi among
its former principal conductors, and attracts
repertoire ranging from the classical period to
the twenty-first century. His flair for imaginative
forerunner of the present orchestra gave the
world premiere of Schoenbergs Gurrelieder,
and the Tonknstler-Orchester continues to
expand its repertoire by exploring new or
unfamiliar works of the past three centuries.
It became the first orchestra in Austria to
establish a department of music education,
which stages workshops that prepare classes of
school children to attend concerts and musical
theatre performances and also stimulate the
childrens musical sensibilities. The orchestra
has made numerous recordings and tours
regularly throughout the musical world.
The Estonian-born conductor Kristjan
Jrvi has forged a special connection with
audiences across the globe. Renowned
as one of the best communicators on the
international stage, he has been hailed by
The New York Times as a kinetic force on
the podium, like Leonard Bernstein reborn.
In his capacity as Chief Conductor and Music
Director of both the Tonknstler-Orchester
Niedersterreich, Vienna, with which he has
toured the UK, Spain, Germany, Japan and the
Baltic countries, and New Yorks celebrated
Absolute Ensemble, which he founded, he
is well known for his musical insight into
programming is reflected in his appointment as
Artistic Adviser to the Kammerorchester Basel.
In high demand among the top orchestras
of the world, including the Staatskapelle
Dresden, BBC Philharmonic, Sydney Symphony,
Tokyo Philharmonic Orchestra and Orchestre
national de France, Kristjan Jrvi maintains
regular relationships with the London
Symphony Orchestra, Leipzig Gewandhaus
Orchestra, Berlin Radio Symphony Orchestra,
WDR Symphony Orchestra Cologne, NDR
Radiophilharmonie and Royal Scottish National
Orchestra.
23
 Bernstein: Messe
Richard McMichael
Die Erffnung des John F. Kennedy Center for
the Performing Arts in Washington D.C. war
der Hhepunkt eines ehrgeizigen Plans zur
Schaffung eines lebenden Denkmals fr den
verstorbenen amerikanischen Prsidenten.
Kurz nach der Ermordung Kennedys im
Jahre 1963 hatte das US-Abgeordnetenhaus
23 Millionen Dollar als Ausgangssumme fr
den Bau eines nationalen Kulturzentrums
bereitgestellt; wie es sich ergab, beliefen sich
die Gesamtkosten fr den Gebudekomplex
in Washington auf etwa 70 Millionen Dollar,
und bei seiner Fertigstellung beschrieben
die New York Times das Endergebnis als
gigantischen Marmortempel fr Musik,
Tanz und Drama. Eingeweiht wurde der
Veranstaltungsort am 8. September 1971 mit
der Galapremiere des Werks Mass: a theatre
piece for singers, players and dancers [Messe:
Ein Theaterstck fr Snger, Schauspieler
und Tnzer] von Leonard Bernstein, seiner
eigenwilligen Reaktion auf den Auftrag von
Kennedys Witwe Jacqueline Onassis, ein Werk
zum Gedenken an ihren ersten Gatten zu
schreiben.
Randall Scarlata
In einer kurzen Anmerkung im
Programmheft der Gala erklrte Bernstein, er
habe beim Verfassen des Stcks vorgehabt,
so direkt und universell, wie es mir mglich
war, eine Bekrftigung des Glaubens zu
vermitteln. Dies schien dem Komponisten
auf dem Gipfel des Kalten Krieges
besonders notwendig, denn er war zutiefst
verstrt vom schrecklichen andauernden
Konflikt in Vietnam ebenso wie vom 1968
erfolgten Einmarsch der Sowjetunion in
der Tschechoslowakei. (Ein prominenter
amerikanischer Politiker bemerkte sogleich,
dass die Baukosten des Kennedy Center
geringer waren als die Kosten fr einen
einzigen Tag des Vietnam-Kriegs, in dem
mehr als 58.000 US-Soldaten ums Leben
kamen.) Bernsteins Glaubensbekenntnis
nahm die neuartige Form einer ironischen
Dramatisierung der katholischen Messliturgie
an, an deren Ritual er als Jude nicht
teilnahm, von der er aber schon lange
fasziniert gewesen war. Die Themenwahl
schien angemessen zum Andenken an den
ersten katholischen Prsidenten der USA,
doch Bernsteins Beschluss, die Messe
zu aktualisieren, indem er (sowohl vom
Text wie vom Musikstil her volkstmliche)
Zwischenspiele einfgte, die teils zynische
Kommentare zu den Passagen der Liturgie
abgaben womglich angeregt von Benjamin
25
 Bernstein: Messe
Richard McMichael
Die Erffnung des John F. Kennedy Center for
the Performing Arts in Washington D.C. war
der Hhepunkt eines ehrgeizigen Plans zur
Schaffung eines lebenden Denkmals fr den
verstorbenen amerikanischen Prsidenten.
Kurz nach der Ermordung Kennedys im
Jahre 1963 hatte das US-Abgeordnetenhaus
23 Millionen Dollar als Ausgangssumme fr
den Bau eines nationalen Kulturzentrums
bereitgestellt; wie es sich ergab, beliefen sich
die Gesamtkosten fr den Gebudekomplex
in Washington auf etwa 70 Millionen Dollar,
und bei seiner Fertigstellung beschrieben
die New York Times das Endergebnis als
gigantischen Marmortempel fr Musik,
Tanz und Drama. Eingeweiht wurde der
Veranstaltungsort am 8. September 1971 mit
der Galapremiere des Werks Mass: a theatre
piece for singers, players and dancers [Messe:
Ein Theaterstck fr Snger, Schauspieler
und Tnzer] von Leonard Bernstein, seiner
eigenwilligen Reaktion auf den Auftrag von
Kennedys Witwe Jacqueline Onassis, ein Werk
zum Gedenken an ihren ersten Gatten zu
schreiben.
Randall Scarlata
In einer kurzen Anmerkung im
Programmheft der Gala erklrte Bernstein, er
habe beim Verfassen des Stcks vorgehabt,
so direkt und universell, wie es mir mglich
war, eine Bekrftigung des Glaubens zu
vermitteln. Dies schien dem Komponisten
auf dem Gipfel des Kalten Krieges
besonders notwendig, denn er war zutiefst
verstrt vom schrecklichen andauernden
Konflikt in Vietnam ebenso wie vom 1968
erfolgten Einmarsch der Sowjetunion in
der Tschechoslowakei. (Ein prominenter
amerikanischer Politiker bemerkte sogleich,
dass die Baukosten des Kennedy Center
geringer waren als die Kosten fr einen
einzigen Tag des Vietnam-Kriegs, in dem
mehr als 58.000 US-Soldaten ums Leben
kamen.) Bernsteins Glaubensbekenntnis
nahm die neuartige Form einer ironischen
Dramatisierung der katholischen Messliturgie
an, an deren Ritual er als Jude nicht
teilnahm, von der er aber schon lange
fasziniert gewesen war. Die Themenwahl
schien angemessen zum Andenken an den
ersten katholischen Prsidenten der USA,
doch Bernsteins Beschluss, die Messe
zu aktualisieren, indem er (sowohl vom
Text wie vom Musikstil her volkstmliche)
Zwischenspiele einfgte, die teils zynische
Kommentare zu den Passagen der Liturgie
abgaben womglich angeregt von Benjamin
25
Brittens War Requiem (1962) mit seiner
bewusst unbehaglichen Gegenberstellung
von Wilfred Owens Antikriegslyrik und
der lateinischen Requiem-Messe , lste
heftige Kontroversen aus. Sowohl Prsident
Nixon als auch Mrs. Onassis blieben der
Urauffhrung des Werks fern Nixon
reagierte damit anscheinend auf geheime
Hinweise, dass der Gehalt des Werks
subversiv sei, was auf Bernsteins Besuch
und Ersuchen um spirituellen Rat bei Pater
Philip Berrigan zurckging, der seinerzeit
wegen seiner angeblichen Beteiligung an
einem Komplott zur Entfhrung von Henry
Kissinger im Gefngnis sa. J. Edgar Hoovers
FBI-Bericht zum Thema deutete an, dass
wichtige US-Politiker zu dumm seien, den
angeblich subversiven Subtext des Werks zu
verstehen, und sich unwissentlich blamieren
wrden, indem sie der Auffhrung begeistert
applaudierten.
Publikum und Presse nahmen die
Urauffhrung nichtsdestoweniger positiv
auf, auch wenn Harold Schonberg die
Partitur brutal verurteilte, nmlich als eine
Kombination von Oberflchlichem und
Prtentisem, das grte Stil-Mischmasch
seit dem Frauenmagazin-Rezept fr Steak,
gebraten in Erdnussbutter mit Marshmallow-
Soe (New York Times, 12. September 1971),
und Strawinskys enger Mitarbeiter Robert
Craft herablassend meinte, man solle sie
26
umbenennen in Mass: The Musical obwohl
er kaum vorhergesehen haben kann, dass
man diesen Titel tatschlich verwenden
wrde, als das Werk im Juni 2000 im Vatikan
zur Feier des Welttags der Migranten und
Flchtlinge aufgefhrt wurde. Dies stellte
effektiv die offizielle ppstliche Anerkennung
dar und brachte endlich katholische
Kritiker zum Schweigen, die Bernstein
wiederholt fr das verurteilt hatten, was
sie als gro angelegte kreative Blasphemie
ansahen. Zu ihnen gehrte ein Erzbischof,
der Katholiken ausdrcklich verbot, eine
Produktion beim Cincinnati May Festival
von 1972 zu besuchen; einige Tage spter
wurde der betreffende Kleriker von einem
tdlichen Schlaganfall niedergestreckt, und die
Auffhrungen in Cincinnati waren als succs de
scandale samt und sonders ausverkauft. Doch
nicht alle Mitglieder des katholischen Klerus
waren so rckstndig: Der Bischof von New
York, Seine Exzellenz Paul Moore Jr., schrieb
im Juli 1972 an Bernstein, um ihm mitzuteilen,
er habe das Werk in einer seiner Predigten
besprochen:
Ich wollte Sie wissen lassen, wie tief
mich die Kreativitt des Stcks bewegt
hat und welch tiefe Einsichten in die
Priesterschaft und die Theologie der
Eucharistie Sie zum Ausdruck brachten
in mancher Hinsicht ist es die Geschichte
meines Lebens. Ich konnte mich zutiefst
identifizieren mit den unmigen
Anforderungen, die manche Leute an die
Kirche und den Priester haben, sowie mit
der tiefen Abscheu, die man manchmal
gegenber dieser Rolle hat.
Moore bezog sich auf die zentrale
dramatische Aussage der Messe: den
schockierenden psychischen und physischen
Zusammenbruch des Zelebranten am
Hhepunkt des Werks. In seiner Anmerkung
im Programm einer Auffhrung des Israel
Philharmonic Orchestra vom Mai 1972
beschrieb Bernstein sein provozierendes
Szenario folgendermaen:
Das Ritual wird von einem jungen Mann
von mysteriser Schlichtheit (dem
Zelebranten) durchgefhrt, der im Verlauf
des Dramas von seinen Ministranten
mit immer prunkvolleren Roben und
Symbolen versorgt wird, die sowohl
auf die Zunahme an oberflchlicher
Frmlichkeit seiner Pflichten verweisen
als auch auf die Last, die er zu tragen
hat. Parallel dazu wchst der Widerstand
seiner Gemeinde in der Schrfe und
Bitterkeit ihrer Reaktionen sowie der
Verfall seines eigenen Glaubens. Auf dem
Hhepunkt der Kommunion bricht das
ganze Zeremoniell zusammen, und die
Messe fllt auseinander. Es bleibt allen
Individuen auf der Bhne nichts anderes
brig, als durch schmerzliche Meditation
in sich einen neuen Keim des Glaubens
zu finden, so dass ihnen allen ermglicht
wird, die Umarmung des Friedens
(Pax) an ihre Nachbarn weiterzugeben.
Die Kette der Umarmungen wchst an
und setzt sich auf der ganzen Bhne
fort, um letztendlich das Publikum
und hoffentlich sogar die Auenwelt
einzubeziehen.
Im Moment des Zusammenbruchs wird
dem Zelebranten eine ausgedehnte
Wahnsinnsszene bertragen, in der er,
nachdem er gewaltsam die Kommuniongefe
zerschmettert hat, zusammenhanglos Themen
aufgreift, die zuvor im Verlauf des Werks zu
hren waren. Der Kunstgriff erinnert stark
an die Wahnsinnsszene in Brittens Oper
Peter Grimes (deren Erstauffhrung in den
USA von Bernstein 1946 in Tanglewood
dirigiert worden war); abgesehen von
der konzeptionellen hnlichkeit zum War
Requiem finden sich weitere deutliche
Anklnge an Britten in Bernsteins Musik
fr Knabensoprane und der Anweisung an
das Publikum, sich wo angebracht an der
dramatisierten Liturgie zu beteiligen.
Im Gegensatz zu Britten nimmt Bernstein
jedoch seine liturgische Zielscheibe mit
einem Schwindel erregend vielfltigen
Arsenal an Musikstilen aufs Korn, das eine
wahre Inventur sowohl der klassischen als
auch der populren Musik zu Beginn der
27
Brittens War Requiem (1962) mit seiner
bewusst unbehaglichen Gegenberstellung
von Wilfred Owens Antikriegslyrik und
der lateinischen Requiem-Messe , lste
heftige Kontroversen aus. Sowohl Prsident
Nixon als auch Mrs. Onassis blieben der
Urauffhrung des Werks fern Nixon
reagierte damit anscheinend auf geheime
Hinweise, dass der Gehalt des Werks
subversiv sei, was auf Bernsteins Besuch
und Ersuchen um spirituellen Rat bei Pater
Philip Berrigan zurckging, der seinerzeit
wegen seiner angeblichen Beteiligung an
einem Komplott zur Entfhrung von Henry
Kissinger im Gefngnis sa. J. Edgar Hoovers
FBI-Bericht zum Thema deutete an, dass
wichtige US-Politiker zu dumm seien, den
angeblich subversiven Subtext des Werks zu
verstehen, und sich unwissentlich blamieren
wrden, indem sie der Auffhrung begeistert
applaudierten.
Publikum und Presse nahmen die
Urauffhrung nichtsdestoweniger positiv
auf, auch wenn Harold Schonberg die
Partitur brutal verurteilte, nmlich als eine
Kombination von Oberflchlichem und
Prtentisem, das grte Stil-Mischmasch
seit dem Frauenmagazin-Rezept fr Steak,
gebraten in Erdnussbutter mit Marshmallow-
Soe (New York Times, 12. September 1971),
und Strawinskys enger Mitarbeiter Robert
Craft herablassend meinte, man solle sie
26
umbenennen in Mass: The Musical obwohl
er kaum vorhergesehen haben kann, dass
man diesen Titel tatschlich verwenden
wrde, als das Werk im Juni 2000 im Vatikan
zur Feier des Welttags der Migranten und
Flchtlinge aufgefhrt wurde. Dies stellte
effektiv die offizielle ppstliche Anerkennung
dar und brachte endlich katholische
Kritiker zum Schweigen, die Bernstein
wiederholt fr das verurteilt hatten, was
sie als gro angelegte kreative Blasphemie
ansahen. Zu ihnen gehrte ein Erzbischof,
der Katholiken ausdrcklich verbot, eine
Produktion beim Cincinnati May Festival
von 1972 zu besuchen; einige Tage spter
wurde der betreffende Kleriker von einem
tdlichen Schlaganfall niedergestreckt, und die
Auffhrungen in Cincinnati waren als succs de
scandale samt und sonders ausverkauft. Doch
nicht alle Mitglieder des katholischen Klerus
waren so rckstndig: Der Bischof von New
York, Seine Exzellenz Paul Moore Jr., schrieb
im Juli 1972 an Bernstein, um ihm mitzuteilen,
er habe das Werk in einer seiner Predigten
besprochen:
Ich wollte Sie wissen lassen, wie tief
mich die Kreativitt des Stcks bewegt
hat und welch tiefe Einsichten in die
Priesterschaft und die Theologie der
Eucharistie Sie zum Ausdruck brachten
in mancher Hinsicht ist es die Geschichte
meines Lebens. Ich konnte mich zutiefst
identifizieren mit den unmigen
Anforderungen, die manche Leute an die
Kirche und den Priester haben, sowie mit
der tiefen Abscheu, die man manchmal
gegenber dieser Rolle hat.
Moore bezog sich auf die zentrale
dramatische Aussage der Messe: den
schockierenden psychischen und physischen
Zusammenbruch des Zelebranten am
Hhepunkt des Werks. In seiner Anmerkung
im Programm einer Auffhrung des Israel
Philharmonic Orchestra vom Mai 1972
beschrieb Bernstein sein provozierendes
Szenario folgendermaen:
Das Ritual wird von einem jungen Mann
von mysteriser Schlichtheit (dem
Zelebranten) durchgefhrt, der im Verlauf
des Dramas von seinen Ministranten
mit immer prunkvolleren Roben und
Symbolen versorgt wird, die sowohl
auf die Zunahme an oberflchlicher
Frmlichkeit seiner Pflichten verweisen
als auch auf die Last, die er zu tragen
hat. Parallel dazu wchst der Widerstand
seiner Gemeinde in der Schrfe und
Bitterkeit ihrer Reaktionen sowie der
Verfall seines eigenen Glaubens. Auf dem
Hhepunkt der Kommunion bricht das
ganze Zeremoniell zusammen, und die
Messe fllt auseinander. Es bleibt allen
Individuen auf der Bhne nichts anderes
brig, als durch schmerzliche Meditation
in sich einen neuen Keim des Glaubens
zu finden, so dass ihnen allen ermglicht
wird, die Umarmung des Friedens
(Pax) an ihre Nachbarn weiterzugeben.
Die Kette der Umarmungen wchst an
und setzt sich auf der ganzen Bhne
fort, um letztendlich das Publikum
und hoffentlich sogar die Auenwelt
einzubeziehen.
Im Moment des Zusammenbruchs wird
dem Zelebranten eine ausgedehnte
Wahnsinnsszene bertragen, in der er,
nachdem er gewaltsam die Kommuniongefe
zerschmettert hat, zusammenhanglos Themen
aufgreift, die zuvor im Verlauf des Werks zu
hren waren. Der Kunstgriff erinnert stark
an die Wahnsinnsszene in Brittens Oper
Peter Grimes (deren Erstauffhrung in den
USA von Bernstein 1946 in Tanglewood
dirigiert worden war); abgesehen von
der konzeptionellen hnlichkeit zum War
Requiem finden sich weitere deutliche
Anklnge an Britten in Bernsteins Musik
fr Knabensoprane und der Anweisung an
das Publikum, sich wo angebracht an der
dramatisierten Liturgie zu beteiligen.
Im Gegensatz zu Britten nimmt Bernstein
jedoch seine liturgische Zielscheibe mit
einem Schwindel erregend vielfltigen
Arsenal an Musikstilen aufs Korn, das eine
wahre Inventur sowohl der klassischen als
auch der populren Musik zu Beginn der
27
1970er-Jahre darstellt. Zeitweise ist die
Orchesterfhrung von sengender Intensitt
und Dissonanz, gelegentlich avantgardistisch
in den bruchstckhaften Texturen; im
Gegensatz dazu ist ein erheblicher Teil
der optimistisch tnzerischen Musik von
den eingngigen zusammengesetzten
Taktarten Lateinamerikas durchdrungen,
die aus dem bahnbrechenden Musical
West Side Story (1957) des Komponisten
bekannt sind; der schrfste Konflikt mit
der ernsten Kompositionsform des Werks
entspringt jedoch den unverflschten
Blues- und Rock-Formen in den eingefgten,
meist mit Glaubenskrisen befassten
gemeinsprachlichen Segmenten, die
perfekt auf den modernen Zynismus der
messfeindlichen Wendungen abgestimmt
sind. Diese spektakulre Vielfalt von
Ausdrucksweisen spiegelt sich in der
ungeheuren Anzahl von Vokal- und
Instrumentalkrften wider, die fr
Auffhrungen ntig sind: zwei Orchester
(eines auf der Bhne, das andere im
Orchestergraben), zwei Elektrogitarren
und Bassgitarre, ein Straenchor und
Straenschlagzeug mit Blechdosen,
Flaschen und Fasstrommeln, Marschkapelle,
Blues- und Rockbands, ein sechzig Personen
starker konventioneller vierstimmiger Chor,
in Roben gekleidet, dazu in Kapuzen ein
Knabenchor und Tnzer als Ministranten,
28
des weiteren eine eindrucksvolle
Zusammenstellung quadrophonischer
Tonbandeinspielungen, aufgenommen
von CBS in New York, die oft virtuose
Vertonungen von Teilen der lateinischen
Messe von allen Seiten ins Publikum
schmettern.
Der berzeugendste Einsatz der
Bandaufnahmen erfolgt ganz am Anfang
des Werks, wenn das Publikum in vlliger
Dunkelheit mit einer bravoursen Umsetzung
des Kyrie eleison (CD 1, 1 ) bombardiert
wird, in der unsynchronisierte Musik fr vier
Gesangsgruppen und Schlagzeug zu einem
kakophonischen Ensemble zusammenkommt,
das an seinem Hhepunkt urpltzlich
vom Drhnen der Gitarre des Zelebranten
abgeschnitten wird. Der Zelebrant, nun
allein auf der Bhne zu sehen, singt seinen
einfachen Gesang [Simple Song 2 ] vor
geschlossenem Vorhang in reiner, an Copland
gemahnender Diatonik; dieser bemerkenswerte
Lobgesang (Singing Lauda, Laude) gewinnt
spter zustzlich an Bedeutung. Das
Alleluia-Responsorium 3 umfasst Gesang
vom Band, der an frohe Glocken erinnert
und in unbeschwert kontrapunktischem
Cool-Jazz-Idiom gehalten ist. Mit diesem
Abschnitt enden die einleitenden Weihen,
und es folgt der erste von zwei Introitus. Der
Erste Introitus besteht aus den Einleitenden
Gebeten 4 , bei denen die Bhne sich
mit einem Straenchor fllt, whrend die
Marschkapelle energisch in einem Stil spielt,
der unbestimmt zwischen dem Patriotismus
Sousas und dem bissigen Witz des frhen
Schostakowitsch angesiedelt ist; der
dreimal-dreifache Kanon [Thrice-Triple
Canon 5 ] wird unbegleitet vom
Zelebranten mit den Knaben und dem
Straenchor gesungen. Der Zweite Introitus
setzt sich ebenfalls aus zwei Abschnitten
zusammen: Auf eine Folk-Gruppe
vom Band und Mnnerstimmen, die
In nomine Patris 6 intonieren, folgt ein
schlichtes Gemeindegebet in Form des
unbegleiteten Chorals Allmchtiger Vater
[Almighty Father 7 ]. Die einleitenden
Abschnitte des Werks enden mit Epiphany,
einer Oboenkadenz vom Band 8 , die zum
entscheidenden konfessionellen Stadium
des Dramas berleitet, in dem alles schief zu
gehen beginnt.
Der erste Teil der Beichte, Confiteor 9 ,
ist hchst rhetorisch, wenn der Chor seinen
lateinischen Text ritualistisch in der Art von
Strawinskys Messe von 1948 skandiert, die
Bernstein sehr bewunderte. Schwungvolle
Musik fr Chor und Rockband (Mea culpa)
tritt in den Vordergrund, wenn der Zelebrant
die Reliquien der Ministranten segnet. Nun folgt
der erste Tropus von insgesamt acht, ein Lied
der Verwirrung im Rockstil (samt verzerrter
Elektrogitarre) 10 , in dem das Idiom der West
Side Story aktualisiert wird. Der nchste Tropus,
Easy 11 , ist fr eine Abfolge von Blues-
Sngern gesetzt, begleitet von einer Bluesband;
im Mittelabschnitt kehrt der bange lateinische
Chorgesang zurck, und die Nummer endet
mit der hyperbolischen Wiederkehr des Blues,
in dem ein Snger den Herrn direkt auffordert,
ihm den Weg zu weisen, wenn er wirklich
so mchtig ist if youre so great. Im
grtmglichen Kontrast schliet sich die erste
von drei Meditationen an, ein ausgedehntes
und emotional eindringliches, von Streichern
bestimmtes Zwischenspiel 12 . Dann spielt der
Zelebrant Bongos, und der Knabenchor stimmt
in frohem, schnellem Fnfertakt mit ihm den
ersten Teil des Gloria an 13 , gefolgt von einem
weiteren, eindeutig an Strawinsky orientierten
Moment, Gloria in Excelsis 14 , in dem der
Gesang in energische Synkopen bergeht,
unterbrochen von kraftvollen querstndigen
Akkorden. (Dieser Satz mit seiner exzentrischen
Vertonung des ehrwrdigen lateinischen Texts
drfte sicherlich den britischen Komponisten
David Fanshawe beeinflusst haben, dessen
stets populres African Sanctus (1972)
dem Vorbild Bernsteins folgte, indem es
Feldaufnahmen afrikanischer Musik gegen eine
unorthodoxe moderne Messvertonung setzte,
die populre westliche Idiome einbezog.) Das
Gloria geht ohne Unterbrechung in den
Tropus Die Hlfte des Volks ber [Half of the
People 15 ], auf einen geistreichen Text von
29
1970er-Jahre darstellt. Zeitweise ist die
Orchesterfhrung von sengender Intensitt
und Dissonanz, gelegentlich avantgardistisch
in den bruchstckhaften Texturen; im
Gegensatz dazu ist ein erheblicher Teil
der optimistisch tnzerischen Musik von
den eingngigen zusammengesetzten
Taktarten Lateinamerikas durchdrungen,
die aus dem bahnbrechenden Musical
West Side Story (1957) des Komponisten
bekannt sind; der schrfste Konflikt mit
der ernsten Kompositionsform des Werks
entspringt jedoch den unverflschten
Blues- und Rock-Formen in den eingefgten,
meist mit Glaubenskrisen befassten
gemeinsprachlichen Segmenten, die
perfekt auf den modernen Zynismus der
messfeindlichen Wendungen abgestimmt
sind. Diese spektakulre Vielfalt von
Ausdrucksweisen spiegelt sich in der
ungeheuren Anzahl von Vokal- und
Instrumentalkrften wider, die fr
Auffhrungen ntig sind: zwei Orchester
(eines auf der Bhne, das andere im
Orchestergraben), zwei Elektrogitarren
und Bassgitarre, ein Straenchor und
Straenschlagzeug mit Blechdosen,
Flaschen und Fasstrommeln, Marschkapelle,
Blues- und Rockbands, ein sechzig Personen
starker konventioneller vierstimmiger Chor,
in Roben gekleidet, dazu in Kapuzen ein
Knabenchor und Tnzer als Ministranten,
28
des weiteren eine eindrucksvolle
Zusammenstellung quadrophonischer
Tonbandeinspielungen, aufgenommen
von CBS in New York, die oft virtuose
Vertonungen von Teilen der lateinischen
Messe von allen Seiten ins Publikum
schmettern.
Der berzeugendste Einsatz der
Bandaufnahmen erfolgt ganz am Anfang
des Werks, wenn das Publikum in vlliger
Dunkelheit mit einer bravoursen Umsetzung
des Kyrie eleison (CD 1, 1 ) bombardiert
wird, in der unsynchronisierte Musik fr vier
Gesangsgruppen und Schlagzeug zu einem
kakophonischen Ensemble zusammenkommt,
das an seinem Hhepunkt urpltzlich
vom Drhnen der Gitarre des Zelebranten
abgeschnitten wird. Der Zelebrant, nun
allein auf der Bhne zu sehen, singt seinen
einfachen Gesang [Simple Song 2 ] vor
geschlossenem Vorhang in reiner, an Copland
gemahnender Diatonik; dieser bemerkenswerte
Lobgesang (Singing Lauda, Laude) gewinnt
spter zustzlich an Bedeutung. Das
Alleluia-Responsorium 3 umfasst Gesang
vom Band, der an frohe Glocken erinnert
und in unbeschwert kontrapunktischem
Cool-Jazz-Idiom gehalten ist. Mit diesem
Abschnitt enden die einleitenden Weihen,
und es folgt der erste von zwei Introitus. Der
Erste Introitus besteht aus den Einleitenden
Gebeten 4 , bei denen die Bhne sich
mit einem Straenchor fllt, whrend die
Marschkapelle energisch in einem Stil spielt,
der unbestimmt zwischen dem Patriotismus
Sousas und dem bissigen Witz des frhen
Schostakowitsch angesiedelt ist; der
dreimal-dreifache Kanon [Thrice-Triple
Canon 5 ] wird unbegleitet vom
Zelebranten mit den Knaben und dem
Straenchor gesungen. Der Zweite Introitus
setzt sich ebenfalls aus zwei Abschnitten
zusammen: Auf eine Folk-Gruppe
vom Band und Mnnerstimmen, die
In nomine Patris 6 intonieren, folgt ein
schlichtes Gemeindegebet in Form des
unbegleiteten Chorals Allmchtiger Vater
[Almighty Father 7 ]. Die einleitenden
Abschnitte des Werks enden mit Epiphany,
einer Oboenkadenz vom Band 8 , die zum
entscheidenden konfessionellen Stadium
des Dramas berleitet, in dem alles schief zu
gehen beginnt.
Der erste Teil der Beichte, Confiteor 9 ,
ist hchst rhetorisch, wenn der Chor seinen
lateinischen Text ritualistisch in der Art von
Strawinskys Messe von 1948 skandiert, die
Bernstein sehr bewunderte. Schwungvolle
Musik fr Chor und Rockband (Mea culpa)
tritt in den Vordergrund, wenn der Zelebrant
die Reliquien der Ministranten segnet. Nun folgt
der erste Tropus von insgesamt acht, ein Lied
der Verwirrung im Rockstil (samt verzerrter
Elektrogitarre) 10 , in dem das Idiom der West
Side Story aktualisiert wird. Der nchste Tropus,
Easy 11 , ist fr eine Abfolge von Blues-
Sngern gesetzt, begleitet von einer Bluesband;
im Mittelabschnitt kehrt der bange lateinische
Chorgesang zurck, und die Nummer endet
mit der hyperbolischen Wiederkehr des Blues,
in dem ein Snger den Herrn direkt auffordert,
ihm den Weg zu weisen, wenn er wirklich
so mchtig ist if youre so great. Im
grtmglichen Kontrast schliet sich die erste
von drei Meditationen an, ein ausgedehntes
und emotional eindringliches, von Streichern
bestimmtes Zwischenspiel 12 . Dann spielt der
Zelebrant Bongos, und der Knabenchor stimmt
in frohem, schnellem Fnfertakt mit ihm den
ersten Teil des Gloria an 13 , gefolgt von einem
weiteren, eindeutig an Strawinsky orientierten
Moment, Gloria in Excelsis 14 , in dem der
Gesang in energische Synkopen bergeht,
unterbrochen von kraftvollen querstndigen
Akkorden. (Dieser Satz mit seiner exzentrischen
Vertonung des ehrwrdigen lateinischen Texts
drfte sicherlich den britischen Komponisten
David Fanshawe beeinflusst haben, dessen
stets populres African Sanctus (1972)
dem Vorbild Bernsteins folgte, indem es
Feldaufnahmen afrikanischer Musik gegen eine
unorthodoxe moderne Messvertonung setzte,
die populre westliche Idiome einbezog.) Das
Gloria geht ohne Unterbrechung in den
Tropus Die Hlfte des Volks ber [Half of the
People 15 ], auf einen geistreichen Text von
29
Paul Simon, wonach eine Sopransolistin einen
bittersen Tropus singt, in dem sie ber
bedeutungsvolle emotionale Momente ihrer
Vergangenheit nachsinnt 16 .
Eine zweite Meditation 17 nimmt die Form
von vier eindringlichen Orchestervariationen
ber ein Thema an, das dem Finale von
Beethovens Neunter Sinfonie entliehen
ist die chromatische Melodie vertont die
Worte Ihr strzt nieder, Millionen? und berdimensionalen Reprise des Volkstanzes
geht ber in die Epistel (CD 2, 1 ), in der
die Bibel-Lesung des Zelebranten gegen die
umgangssprachlichen Worte gewhnlicher
moderner Briefschreiber gesetzt wird. In der
Evangeliumspredigt [Gospel-Sermon 2 ] springt
ein frommer Prediger auf eine Bank, begleitet
von einer stolzierenden Band [strutting band],
bestehend aus Posaunen, Banjo und Gitarre;
das Tanzen und Singen der Menge, wiederum
im Stil der West Side Story, wird unterbrochen
vom Erscheinen des Zelebranten, der nun in
ppigere Roben gekleidet ist.
Ein Chorgesang vom Band, Credo in unum
Deum 3 , leitet eine Abfolge von nicht weniger
als vier Tropen ein, die das Credo der Liturgie
kommentieren und alle verbunden sind durch
kurze Reprisen der Musik vom Tonband: zuerst
kommt ein zynisches Lied fr Mnnerstimmen
und Rockband 4 , dann eines fr Mezzosopran
und Bluesband 5 ; das dritte ist fr Straenchor
und lateinamerikanische Rhythmen gesetzt 6 ,
das vierte ist der Appell eines Rocksngers, an
30
die Macht des Individuums zu glauben 7 . Eine Chor bernommen wird, wenn ihn das Volk Ornat zerreit und die Stcke in die Menge
dritte Meditation 8 fr Chor vom Band und mit imaginren Geschenken berhuft, bis er wirft. Er verfllt wieder in Katatonie und
sengende Blechblser begleitet die bergabe aus dem Blickfeld verschwindet. Die Energie steigt in den Orchestergraben hinab.
der Kommunionsgefe an den Zelebranten, wird von einem dynamischen Straenchor Auf eine Fltenkadenz, eine Parallele
der ein Gebet fr die Mitglieder des Ensembles aufrechterhalten, der das Agnus Dei 13 zur Oboenkadenz der vorangegangenen
spricht, wobei er sie beim Namen nennt. Im darbietet, begleitet von der Rockband Epiphany, folgt ein einzelner Knabensopran,
Offertorium 9 wird die Beschwrung der und voller gegentaktigem Fustampfen. der das Lauda, Laude aus dem einleitenden
Knaben, die Votivkerzen tragen, stndig Der Zelebrant hebt die Monstranz empor, Lied des Zelebranten singt, und die Pax
von Chorgesang unterbrochen; mit einer wird jedoch von den Ministranten davon beginnt 15 . Die Figuren auf der Bhne
abgehalten, sich dem Altar zu nhern; er beginnen sich allmhlich zu umarmen,
aus dem zweiten Introitus verschwindet ergreift den Kelch in dem Moment, als er die whrend dieses zarte Lied sich unaufhaltsam
der Zelebrant aus unserem Blick, und seine Kontrolle ber die Menge zu verlieren droht, fortsetzt. Der Zelebrant tritt erneut auf, nun
Abwesenheit ermuntert die Versammlung, mit und ruft alle zum Gebet. Als er versucht, wieder in schlichter Kleidung wie zu Beginn
fetischistischer Leidenschaft um die heiligen eine Treppe zu ersteigen, die von der Bhne des Dramas. Whrend das gesamte Ensemble
Gefe zu tanzen. zu einem symbolischen Gipfel fhrt, fhlt er den Choral Allmchtiger Vater anstimmt, der
Die orgiastische Feier wird pltzlich vom sich zunehmend beschwert und verstummt schon zuvor im Werk zu hren war, begeben
Wiedererscheinen des Zelebranten im Ornat beim Emporheben der heiligen Gefe. Ein sich die Knaben in den Zuschauerraum und
unterbrochen. Allein zurckgeblieben, sucht er eindringlich Blues-bestimmter Choral Dona geben die Umarmung des Friedens an das
sich mit einem Finger die Noten des Vaterunser nobis pacem wird immer lauter, wenn sich Publikum weiter.
auf einem Klavier zusammen, wobei er zu Instrumentalimprovisationen im Rockmusik-
2009 Mervyn Cooke
der Melodie singt 10 . Dann singt er seinen Stil hinzugesellen und die Kyries vom
bersetzung: Bernd Mller
eigenen Tropus des Widerstands im Angesicht Band aus dem Anfangsabschnitt des Werks
von Verwirrung und Desillusionierung, zur allgemeinen Kakophonie beitragen, bis
Ich mache weiter [I Go On 11 ], ehe er sein Geist sich pltzlich verwirrt und er die Der Bariton Randall Scarlata studierte an
die Sanctus-Glocke lutet. Die Knaben Sakramente zu Boden schmettert 14 . Die der Hochschule fr Musik in Wien und an der
singen das Sanctus 12 , das sich in einen Versammelten erstarren in klglichem Schrecken Juilliard School New York (M.M.); darber
phantomartigen mystischen Tanz auflst; ob dieser ultimativen Blasphemie. Whrend hinaus nahm er ber mehrere Sommer
wenn dessen Lautstrke zunimmt, wird dem seiner folgenden Wahnsinnsszene zerschmettert hinweg Unterricht bei dem franzsischen
Zelebranten erneut seine Gitarre berreicht, der Zelebrant alles, was ihm in die Hnde Bariton Grard Souzay in Nizza und
und er singt ein Lied (ein Wortspiel auf die fllt, reit sogar das Altartuch in Streifen Salzburg. Als anerkannt vielseitiger und
Solmisationssilben), das ins Hebrische und tanzt zu einer Begleitung im Stil einer vollendeter Musiker ist er mit zahlreichen
bergeht (Kadosh!), bis der Gesang vom Stummfilmorgel auf dem Altar, ehe er sein Preisen bedacht worden und beherrscht
31
Paul Simon, wonach eine Sopransolistin einen
bittersen Tropus singt, in dem sie ber
bedeutungsvolle emotionale Momente ihrer
Vergangenheit nachsinnt 16 .
Eine zweite Meditation 17 nimmt die Form
von vier eindringlichen Orchestervariationen
ber ein Thema an, das dem Finale von
Beethovens Neunter Sinfonie entliehen
ist die chromatische Melodie vertont die
Worte Ihr strzt nieder, Millionen? und berdimensionalen Reprise des Volkstanzes
geht ber in die Epistel (CD 2, 1 ), in der
die Bibel-Lesung des Zelebranten gegen die
umgangssprachlichen Worte gewhnlicher
moderner Briefschreiber gesetzt wird. In der
Evangeliumspredigt [Gospel-Sermon 2 ] springt
ein frommer Prediger auf eine Bank, begleitet
von einer stolzierenden Band [strutting band],
bestehend aus Posaunen, Banjo und Gitarre;
das Tanzen und Singen der Menge, wiederum
im Stil der West Side Story, wird unterbrochen
vom Erscheinen des Zelebranten, der nun in
ppigere Roben gekleidet ist.
Ein Chorgesang vom Band, Credo in unum
Deum 3 , leitet eine Abfolge von nicht weniger
als vier Tropen ein, die das Credo der Liturgie
kommentieren und alle verbunden sind durch
kurze Reprisen der Musik vom Tonband: zuerst
kommt ein zynisches Lied fr Mnnerstimmen
und Rockband 4 , dann eines fr Mezzosopran
und Bluesband 5 ; das dritte ist fr Straenchor
und lateinamerikanische Rhythmen gesetzt 6 ,
das vierte ist der Appell eines Rocksngers, an
30
die Macht des Individuums zu glauben 7 . Eine Chor bernommen wird, wenn ihn das Volk Ornat zerreit und die Stcke in die Menge
dritte Meditation 8 fr Chor vom Band und mit imaginren Geschenken berhuft, bis er wirft. Er verfllt wieder in Katatonie und
sengende Blechblser begleitet die bergabe aus dem Blickfeld verschwindet. Die Energie steigt in den Orchestergraben hinab.
der Kommunionsgefe an den Zelebranten, wird von einem dynamischen Straenchor Auf eine Fltenkadenz, eine Parallele
der ein Gebet fr die Mitglieder des Ensembles aufrechterhalten, der das Agnus Dei 13 zur Oboenkadenz der vorangegangenen
spricht, wobei er sie beim Namen nennt. Im darbietet, begleitet von der Rockband Epiphany, folgt ein einzelner Knabensopran,
Offertorium 9 wird die Beschwrung der und voller gegentaktigem Fustampfen. der das Lauda, Laude aus dem einleitenden
Knaben, die Votivkerzen tragen, stndig Der Zelebrant hebt die Monstranz empor, Lied des Zelebranten singt, und die Pax
von Chorgesang unterbrochen; mit einer wird jedoch von den Ministranten davon beginnt 15 . Die Figuren auf der Bhne
abgehalten, sich dem Altar zu nhern; er beginnen sich allmhlich zu umarmen,
aus dem zweiten Introitus verschwindet ergreift den Kelch in dem Moment, als er die whrend dieses zarte Lied sich unaufhaltsam
der Zelebrant aus unserem Blick, und seine Kontrolle ber die Menge zu verlieren droht, fortsetzt. Der Zelebrant tritt erneut auf, nun
Abwesenheit ermuntert die Versammlung, mit und ruft alle zum Gebet. Als er versucht, wieder in schlichter Kleidung wie zu Beginn
fetischistischer Leidenschaft um die heiligen eine Treppe zu ersteigen, die von der Bhne des Dramas. Whrend das gesamte Ensemble
Gefe zu tanzen. zu einem symbolischen Gipfel fhrt, fhlt er den Choral Allmchtiger Vater anstimmt, der
Die orgiastische Feier wird pltzlich vom sich zunehmend beschwert und verstummt schon zuvor im Werk zu hren war, begeben
Wiedererscheinen des Zelebranten im Ornat beim Emporheben der heiligen Gefe. Ein sich die Knaben in den Zuschauerraum und
unterbrochen. Allein zurckgeblieben, sucht er eindringlich Blues-bestimmter Choral Dona geben die Umarmung des Friedens an das
sich mit einem Finger die Noten des Vaterunser nobis pacem wird immer lauter, wenn sich Publikum weiter.
auf einem Klavier zusammen, wobei er zu Instrumentalimprovisationen im Rockmusik-
2009 Mervyn Cooke
der Melodie singt 10 . Dann singt er seinen Stil hinzugesellen und die Kyries vom
bersetzung: Bernd Mller
eigenen Tropus des Widerstands im Angesicht Band aus dem Anfangsabschnitt des Werks
von Verwirrung und Desillusionierung, zur allgemeinen Kakophonie beitragen, bis
Ich mache weiter [I Go On 11 ], ehe er sein Geist sich pltzlich verwirrt und er die Der Bariton Randall Scarlata studierte an
die Sanctus-Glocke lutet. Die Knaben Sakramente zu Boden schmettert 14 . Die der Hochschule fr Musik in Wien und an der
singen das Sanctus 12 , das sich in einen Versammelten erstarren in klglichem Schrecken Juilliard School New York (M.M.); darber
phantomartigen mystischen Tanz auflst; ob dieser ultimativen Blasphemie. Whrend hinaus nahm er ber mehrere Sommer
wenn dessen Lautstrke zunimmt, wird dem seiner folgenden Wahnsinnsszene zerschmettert hinweg Unterricht bei dem franzsischen
Zelebranten erneut seine Gitarre berreicht, der Zelebrant alles, was ihm in die Hnde Bariton Grard Souzay in Nizza und
und er singt ein Lied (ein Wortspiel auf die fllt, reit sogar das Altartuch in Streifen Salzburg. Als anerkannt vielseitiger und
Solmisationssilben), das ins Hebrische und tanzt zu einer Begleitung im Stil einer vollendeter Musiker ist er mit zahlreichen
bergeht (Kadosh!), bis der Gesang vom Stummfilmorgel auf dem Altar, ehe er sein Preisen bedacht worden und beherrscht
31
ein Repertoire, das vier Jahrhunderte und
fnfzehn Sprachen umfasst. Er erfreut sich
einer lebhaften Karriere mit Opern-, Recital-
und Konzertverpflichtungen, die ihn durch
ganz Europa, Nord- und Sdamerika sowie den
Nahen und den Fernen Osten gefhrt haben.
Soloauftritte hatte er u.a. mit dem Philadelphia
Orchestra, Minnesota Orchestra und Ulster
Orchestra, dem Pittsburgh Symphony
Orchestra, San Francisco Symphony Orchestra,
National Symphony Orchestra und BBC
Symphony Orchestra. Auch bei vielen groen
Festivals der Welt war er zu Gast: Ravinia,
Marlboro, Edinburgh, Wien, Salzburg, Aspen
und Spoleto in Italien. Als gefragter Interpret
neuer Musik hat er an diversen Urauffhrungen
mitgewirkt, doch berzeugt er in Bach-
Passionen, Mozart-Opern und Schubert-
Liedern, den Orchesterliedern Mahlers und der
amerikanischen Unterhaltungsmusik ebenso
souvern. In jngster Zeit sang er in der
Welturauffhrung von Thea Musgraves Ein-
Mann-Oper The Mocking-Bird in Boston, spielte
Siskov in Janc eks Aus einem Totenhaus im
Lincoln Center New York und gab Recitals mit
dem Pianisten Richard Goode in den USA und
Europa. Randall Scarlata ist Fakulttsmitglied
am College of Visual and Performing Arts der
West Chester University (Pennsylvania).
Die Wiener Company of Music, geleitet von
ihrem Grnder Johannes Hiemetsberger,
32
vereint solistisch gebildete Snger zu einem
Klangkrper, dessen Programme gleichzeitig
von Individualitt und dem Kollektiv geprgt
sind. Einer vokalen Sinfonietta gleich
widmet sich das Ensemble in thematisch
konzipierten Konzertprogrammen
vorwiegend der A-cappella-Literatur in ihrer
ganzen Vielfalt: ein- bis sechzehnstimmige
Werke werden unter Nutzung szenischer
Elemente und Einbeziehung des
Konzertraumes in ungewohnter und
eigenartiger Weise kombiniert. Markant ist
das stndige Wechselspiel aus Soli und Tutti,
das die Snger sowohl in der Ausprgung
ihrer solistischen Strken als auch ihrem
Ensemblewirken fordert. Im Bereich der Alten
Musik findet diese Ensemblephilosophie auch
ihre auffhrungspraktische Rechtfertigung:
Chorwerke wie die Messe h-Moll, die
Passionen und die Motetten Bachs sind
mit der Company of Music und dem Bach
Consort Wien ungemein wirkungsvoll zu
erleben.
Ruth Kraus wurde an der Stage School geboren und wuchs im benachbarten New
of Music, Dance and Drama Hamburg und
der Musikhochschule Felix Mendelssohn
Bartholdy in Leipzig ausgebildet. Mit
Auftritten in Operetten und Musicals wie
Die Fledermaus, Aufstieg und Fall der Stadt
Mahagonny, City of Angels, The Rocky Horror
Picture Show, Jekyll and Hyde und Rebecca ist
sie inzwischen den Theaterbesuchern in ganz
Deutschland und sterreich ein Begriff. Die
Titelrolle in Elisabeth verkrperte sie auch in
Italien und Japan.
Lenneke Willemsen ist gebrtige
Niederlnderin. Seit ihrer Ausbildung an
der Hochschule fr dramatische Kunst in
Antwerpen (Belgien) ist sie im Fernsehen
und auf Bhnen in Belgien, den Niederlanden
und sterreich aufgetreten, so etwa in Chess,
Anatevka, Cyrano, Die Schne und das Biest,
Tanz der Vampire und Elisabeth.
Reinwald Kranner absolvierte seine
Ausbildung an der Musikhochschule Graz, am
Konservatorium der Stadt Wien und bei Otto
Edelmann. Im In- und Ausland mit Rufen nach
Hongkong, Moskau und USA hat er sich als
Interpret und Choreograph im Musiktheater
einen Namen gemacht. Er ist in Elisabeth, West
Side Story, Anatevka, Romeo & Julia, Jesus
Christ Superstar, Evita und The Producers
aufgetreten und prsentiert auch eigene
Shows fr Kinder und Erwachsene.
Dave Moskin wurde in New Jersey
Kreativitt, Spontaneitt und freiwillige
York auf. Bereits als Kind sammelte er
erste Bhnenerfahrungen am Broadway, in
TV-Shows und Filmen. Mit neunzehn Jahren
eroberte er die New Yorker Clubszene mit
einer eigenen Band. Seit 1995 wirkt er in
Wien, wo man ihn unter anderem in Tommy,
Footloose, Jesus Christ Superstar, Hair und
Jekyll and Hyde erlebt hat.
Der aus Grlitz stammende Andr Bauer
begann sein Gesangsstudium in Dresden
an der Hochschule fr Musik Carl Maria
von Weber und schloss es in Frankfurt-am-
Main erfolgreich ab. An den deutschen und
sterreichischen Bhnen folgten Rollen in
My Fair Lady, Anatevka, Hair, Romeo & Julia,
Les Misrables, Miss Saigon, Der Glckner
von Notre Dame, Elisabeth, Jesus Christ
Superstar, Sweeney Todd und anderen
Musicals.
Der Tlzer Knabenchor, der im Jahr 2006
sein fnfzig-jhriges Bestehen feierte, steht
nach wie vor unter der knstlerischen Leitung
seines Grnders Gerhard Schmidt-Gaden.
In den choreigenen Studios werden derzeit
ber 200 Knaben aus Mnchen und der
oberbayerischen Region von ihm und sechs
assistierenden Chorleitern und Stimmbildnern
betreut. Basis der musikalischen Ausbildung
ist dabei ein Konzept, dessen Grundelement
die Freude am Singen ist. Aber auch
Selbstdisziplin der Chormitglieder gehren
dazu. Bei besonders Begabten fhrt
dies zu der Fhigkeit, auf internationalen
Opernbhnen und Konzertpodien als Solisten
hervorzutreten. Die verschiedenen Gruppen
und Solisten des Tlzer Knabenchores
treten pro Jahr in mehr als 200 Konzerten
und Opernauffhrungen rund um die Welt
33
ein Repertoire, das vier Jahrhunderte und
fnfzehn Sprachen umfasst. Er erfreut sich
einer lebhaften Karriere mit Opern-, Recital-
und Konzertverpflichtungen, die ihn durch
ganz Europa, Nord- und Sdamerika sowie den
Nahen und den Fernen Osten gefhrt haben.
Soloauftritte hatte er u.a. mit dem Philadelphia
Orchestra, Minnesota Orchestra und Ulster
Orchestra, dem Pittsburgh Symphony
Orchestra, San Francisco Symphony Orchestra,
National Symphony Orchestra und BBC
Symphony Orchestra. Auch bei vielen groen
Festivals der Welt war er zu Gast: Ravinia,
Marlboro, Edinburgh, Wien, Salzburg, Aspen
und Spoleto in Italien. Als gefragter Interpret
neuer Musik hat er an diversen Urauffhrungen
mitgewirkt, doch berzeugt er in Bach-
Passionen, Mozart-Opern und Schubert-
Liedern, den Orchesterliedern Mahlers und der
amerikanischen Unterhaltungsmusik ebenso
souvern. In jngster Zeit sang er in der
Welturauffhrung von Thea Musgraves Ein-
Mann-Oper The Mocking-Bird in Boston, spielte
Siskov in Janc eks Aus einem Totenhaus im
Lincoln Center New York und gab Recitals mit
dem Pianisten Richard Goode in den USA und
Europa. Randall Scarlata ist Fakulttsmitglied
am College of Visual and Performing Arts der
West Chester University (Pennsylvania).
Die Wiener Company of Music, geleitet von
ihrem Grnder Johannes Hiemetsberger,
32
vereint solistisch gebildete Snger zu einem
Klangkrper, dessen Programme gleichzeitig
von Individualitt und dem Kollektiv geprgt
sind. Einer vokalen Sinfonietta gleich
widmet sich das Ensemble in thematisch
konzipierten Konzertprogrammen
vorwiegend der A-cappella-Literatur in ihrer
ganzen Vielfalt: ein- bis sechzehnstimmige
Werke werden unter Nutzung szenischer
Elemente und Einbeziehung des
Konzertraumes in ungewohnter und
eigenartiger Weise kombiniert. Markant ist
das stndige Wechselspiel aus Soli und Tutti,
das die Snger sowohl in der Ausprgung
ihrer solistischen Strken als auch ihrem
Ensemblewirken fordert. Im Bereich der Alten
Musik findet diese Ensemblephilosophie auch
ihre auffhrungspraktische Rechtfertigung:
Chorwerke wie die Messe h-Moll, die
Passionen und die Motetten Bachs sind
mit der Company of Music und dem Bach
Consort Wien ungemein wirkungsvoll zu
erleben.
Ruth Kraus wurde an der Stage School geboren und wuchs im benachbarten New
of Music, Dance and Drama Hamburg und
der Musikhochschule Felix Mendelssohn
Bartholdy in Leipzig ausgebildet. Mit
Auftritten in Operetten und Musicals wie
Die Fledermaus, Aufstieg und Fall der Stadt
Mahagonny, City of Angels, The Rocky Horror
Picture Show, Jekyll and Hyde und Rebecca ist
sie inzwischen den Theaterbesuchern in ganz
Deutschland und sterreich ein Begriff. Die
Titelrolle in Elisabeth verkrperte sie auch in
Italien und Japan.
Lenneke Willemsen ist gebrtige
Niederlnderin. Seit ihrer Ausbildung an
der Hochschule fr dramatische Kunst in
Antwerpen (Belgien) ist sie im Fernsehen
und auf Bhnen in Belgien, den Niederlanden
und sterreich aufgetreten, so etwa in Chess,
Anatevka, Cyrano, Die Schne und das Biest,
Tanz der Vampire und Elisabeth.
Reinwald Kranner absolvierte seine
Ausbildung an der Musikhochschule Graz, am
Konservatorium der Stadt Wien und bei Otto
Edelmann. Im In- und Ausland mit Rufen nach
Hongkong, Moskau und USA hat er sich als
Interpret und Choreograph im Musiktheater
einen Namen gemacht. Er ist in Elisabeth, West
Side Story, Anatevka, Romeo & Julia, Jesus
Christ Superstar, Evita und The Producers
aufgetreten und prsentiert auch eigene
Shows fr Kinder und Erwachsene.
Dave Moskin wurde in New Jersey
Kreativitt, Spontaneitt und freiwillige
York auf. Bereits als Kind sammelte er
erste Bhnenerfahrungen am Broadway, in
TV-Shows und Filmen. Mit neunzehn Jahren
eroberte er die New Yorker Clubszene mit
einer eigenen Band. Seit 1995 wirkt er in
Wien, wo man ihn unter anderem in Tommy,
Footloose, Jesus Christ Superstar, Hair und
Jekyll and Hyde erlebt hat.
Der aus Grlitz stammende Andr Bauer
begann sein Gesangsstudium in Dresden
an der Hochschule fr Musik Carl Maria
von Weber und schloss es in Frankfurt-am-
Main erfolgreich ab. An den deutschen und
sterreichischen Bhnen folgten Rollen in
My Fair Lady, Anatevka, Hair, Romeo & Julia,
Les Misrables, Miss Saigon, Der Glckner
von Notre Dame, Elisabeth, Jesus Christ
Superstar, Sweeney Todd und anderen
Musicals.
Der Tlzer Knabenchor, der im Jahr 2006
sein fnfzig-jhriges Bestehen feierte, steht
nach wie vor unter der knstlerischen Leitung
seines Grnders Gerhard Schmidt-Gaden.
In den choreigenen Studios werden derzeit
ber 200 Knaben aus Mnchen und der
oberbayerischen Region von ihm und sechs
assistierenden Chorleitern und Stimmbildnern
betreut. Basis der musikalischen Ausbildung
ist dabei ein Konzept, dessen Grundelement
die Freude am Singen ist. Aber auch
Selbstdisziplin der Chormitglieder gehren
dazu. Bei besonders Begabten fhrt
dies zu der Fhigkeit, auf internationalen
Opernbhnen und Konzertpodien als Solisten
hervorzutreten. Die verschiedenen Gruppen
und Solisten des Tlzer Knabenchores
treten pro Jahr in mehr als 200 Konzerten
und Opernauffhrungen rund um die Welt
33
auf. Das Repertoire reicht vom Mittelalter
bis in die Moderne, unter Einbeziehung
von Volksliedern und mit besonderem
Schwerpunkt auf der Kirchenmusik des
Barock und der Wiener Klassik. Dabei wird
eine konsequent historisch informierte
Auffhrungspraxis gepflegt. Der Tlzer
Knabenchor wird durch den Freistaat Bayern,
die Stadt Bad Tlz und die Schrghuber
Unternehmensgruppe finanziell untersttzt.
Die berhmtesten Dirigenten haben mit dem
Tlzer Knabenchor zahlreiche preisgekrnte
Schallplatten aufgenommen.
1991 von Johannes Hiemetsberger
gegrndet, zhlt der vielfach preisgekrnte
Chorus sine nomine heute zu den fhrenden
Vokalensembles sterreichs. Er ist im Wiener
Konzerthaus und beim Wiener Musikverein,
der Styriarte, den Salzburger Festspielen
Pfingsten + Barock, dem Brucknerfest
Linz, dem Kammermusikfest Lockenhaus
und dem Festival Grafenegg aufgetreten.
Besonders eng ist die Zusammenarbeit
mit den Konzertreihen der Musikalischen
Jugend sterreichs (Jeunesse). Darber
hinaus konzertiert der Chor auch auf
internationalen Podien (Ravenna Festival,
Thtre des Champs-lyses, Barbican Hall ihr klassisches Erbe mit Elementen aus
London, Philharmonie Mnchen u.a.) und
hat A-cappella-Tourneen durch Asien und
die USA unternommen. Gemeinsam mit
34
Dirigenten wie Jordi Savall, Martin Haselbck,
HK Gruber, Gidon Kremer, Trevor Pinnock und
Ulf Schirmer realisiert der Chor ein denkbar
breit gefchertes Repertoire: von Cavalieris
Rappresentatione di anima e di corpo ber
Monteverdis Marienvesper bis zu Weills
Aufstieg und Fall der Stadt Mahagonny und
Gubaidulinas Sonnengesang. Der Chorus sine
nomine profiliert sich auch mit zahlreichen
Auftragswerken und Urauffhrungen.
Seit seiner Grndung im Jahre 1993
ist Kristjan Jrvis Absolute Ensemble
aus sich herausgewachsen. Es begann,
wie viele andere auch, in New York mit
dem Schwerpunkt auf neuer Musik,
doch verwandelte Jrvi mit seinem
unersttlichen Appetit auf Musik aller
Genres die Gruppe bald in etwas, was er
liebevoll als musikalische Allesfresser
beschreibt. Aufgeschlossen gegenber
Formen der Darbietung, die klassischen
Musikern normalerweise fremd sind, haben
die Mitglieder des Ensembles oft selbst
zu komponieren, zu arrangieren und zu
improvisieren. Stilistische Strmungen
werden dabei nicht getrennt, sondern
integriert, und oft verschmilzt die Gruppe
Gelnde von Schloss Grafenegg. Chefdirigenten
dem ganzen Spektrum vom Jazz und Rock
bis zur World Music und zum Hip-Hop. Das
Ensemble ist in aller Welt aufgetreten und
hat acht erfolgreiche Alben aufgenommen;
die Zeitschrift American Record Guide
konstatierte deshalb: eines der heutzutage
vielleicht faszinierendsten und virtuosesten
Ensembles fr neue Musik. Das Absolute
Ensemble tritt in Residenz beim Musikfest
Bremen auf und prsentiert an der dortigen
Hochschule fr Knste darber hinaus die
jhrliche Absolute Academy. Im Jahr 2007
erhielt es fr seine herausragende Leistung
den begehrten Musikfest-Preis.
Das Tonknstler-Orchester Niedersterreich
zhlt als Landessinfonieorchester
zu den wichtigsten Institutionen der
sterreichischen Musikkultur, beschreitet
aber auch unkonventionelle Wege in die
Zukunft. Einerseits grnden sich sein
Repertoire und seine Klangkultur auf eine
einhundertjhrige Geschichte und eine solide
Interpretationstradition. Andererseits haben
die Tonknstler unter der Leitung ihres
dynamischen Chefdirigenten Kristjan Jrvi eine
Reihe neuer Initiativen ergriffen. Das Orchester
unterhlt drei grundverschiedene, profilstarke
Residenzen im Goldenen Saal des Wiener
Musikvereins, im Festspielhaus St. Plten und
seit Sommer 2007 auf dem neuen Festival-
mit dem er Grobritannien, Spanien,
wie Kurt Wss, Heinz Wallberg, Walter Weller,
Miltiades Caridis, Isaac Karabtchevsky und
Fabio Luisi haben den Taktstock gefhrt,
und die Tonknstler musizieren weiterhin
mit renommierten Gastdirigenten und
Spitzensolisten. 1913 gab ein Vorlufer des
heutigen Orchesters die Welturauffhrung
von Schnbergs Gurreliedern, und das
Tonknstler-Orchester erweitert sein
Repertoire mit neuer Musik und unvertrauten
Werken aus den letzten drei Jahrhunderten.
Als erstes Orchester in sterreich richteten
die Tonknstler eine Abteilung fr
Musikvermittlung ein; Orchestermitglieder
bereiten Schulklassen in Workshops auf
Konzerte und Musiktheaterauffhrungen
vor und frdern die musikalische
Sensibilitt. Das Orchester hat zahlreiche
Schallplattenaufnahmen vorgelegt und geht
regelmig auf internationale Tourneen.
Der in Estland geborene Dirigent
Kristjan Jrvi gilt als einer der besten
Kommunikatoren der internationalen
Musikszene und versteht es, weltweit das
Publikum in Bann zu halten. Die New York
Times beschrieb ihn als eine kinetische Kraft
auf dem Podium, wie Leonard Bernstein
in neuer Gestalt. Er ist Chefdirigent
und musikalischer Leiter des Wiener
Tonknstler-Orchesters Niedersterreich,
Deutschland, Japan und die baltischen
Staaten bereist hat, und profiliert sich auch
mit dem von ihm in New York gegrndeten
35
auf. Das Repertoire reicht vom Mittelalter
bis in die Moderne, unter Einbeziehung
von Volksliedern und mit besonderem
Schwerpunkt auf der Kirchenmusik des
Barock und der Wiener Klassik. Dabei wird
eine konsequent historisch informierte
Auffhrungspraxis gepflegt. Der Tlzer
Knabenchor wird durch den Freistaat Bayern,
die Stadt Bad Tlz und die Schrghuber
Unternehmensgruppe finanziell untersttzt.
Die berhmtesten Dirigenten haben mit dem
Tlzer Knabenchor zahlreiche preisgekrnte
Schallplatten aufgenommen.
1991 von Johannes Hiemetsberger
gegrndet, zhlt der vielfach preisgekrnte
Chorus sine nomine heute zu den fhrenden
Vokalensembles sterreichs. Er ist im Wiener
Konzerthaus und beim Wiener Musikverein,
der Styriarte, den Salzburger Festspielen
Pfingsten + Barock, dem Brucknerfest
Linz, dem Kammermusikfest Lockenhaus
und dem Festival Grafenegg aufgetreten.
Besonders eng ist die Zusammenarbeit
mit den Konzertreihen der Musikalischen
Jugend sterreichs (Jeunesse). Darber
hinaus konzertiert der Chor auch auf
internationalen Podien (Ravenna Festival,
Thtre des Champs-lyses, Barbican Hall ihr klassisches Erbe mit Elementen aus
London, Philharmonie Mnchen u.a.) und
hat A-cappella-Tourneen durch Asien und
die USA unternommen. Gemeinsam mit
34
Dirigenten wie Jordi Savall, Martin Haselbck,
HK Gruber, Gidon Kremer, Trevor Pinnock und
Ulf Schirmer realisiert der Chor ein denkbar
breit gefchertes Repertoire: von Cavalieris
Rappresentatione di anima e di corpo ber
Monteverdis Marienvesper bis zu Weills
Aufstieg und Fall der Stadt Mahagonny und
Gubaidulinas Sonnengesang. Der Chorus sine
nomine profiliert sich auch mit zahlreichen
Auftragswerken und Urauffhrungen.
Seit seiner Grndung im Jahre 1993
ist Kristjan Jrvis Absolute Ensemble
aus sich herausgewachsen. Es begann,
wie viele andere auch, in New York mit
dem Schwerpunkt auf neuer Musik,
doch verwandelte Jrvi mit seinem
unersttlichen Appetit auf Musik aller
Genres die Gruppe bald in etwas, was er
liebevoll als musikalische Allesfresser
beschreibt. Aufgeschlossen gegenber
Formen der Darbietung, die klassischen
Musikern normalerweise fremd sind, haben
die Mitglieder des Ensembles oft selbst
zu komponieren, zu arrangieren und zu
improvisieren. Stilistische Strmungen
werden dabei nicht getrennt, sondern
integriert, und oft verschmilzt die Gruppe
Gelnde von Schloss Grafenegg. Chefdirigenten
dem ganzen Spektrum vom Jazz und Rock
bis zur World Music und zum Hip-Hop. Das
Ensemble ist in aller Welt aufgetreten und
hat acht erfolgreiche Alben aufgenommen;
die Zeitschrift American Record Guide
konstatierte deshalb: eines der heutzutage
vielleicht faszinierendsten und virtuosesten
Ensembles fr neue Musik. Das Absolute
Ensemble tritt in Residenz beim Musikfest
Bremen auf und prsentiert an der dortigen
Hochschule fr Knste darber hinaus die
jhrliche Absolute Academy. Im Jahr 2007
erhielt es fr seine herausragende Leistung
den begehrten Musikfest-Preis.
Das Tonknstler-Orchester Niedersterreich
zhlt als Landessinfonieorchester
zu den wichtigsten Institutionen der
sterreichischen Musikkultur, beschreitet
aber auch unkonventionelle Wege in die
Zukunft. Einerseits grnden sich sein
Repertoire und seine Klangkultur auf eine
einhundertjhrige Geschichte und eine solide
Interpretationstradition. Andererseits haben
die Tonknstler unter der Leitung ihres
dynamischen Chefdirigenten Kristjan Jrvi eine
Reihe neuer Initiativen ergriffen. Das Orchester
unterhlt drei grundverschiedene, profilstarke
Residenzen im Goldenen Saal des Wiener
Musikvereins, im Festspielhaus St. Plten und
seit Sommer 2007 auf dem neuen Festival-
mit dem er Grobritannien, Spanien,
wie Kurt Wss, Heinz Wallberg, Walter Weller,
Miltiades Caridis, Isaac Karabtchevsky und
Fabio Luisi haben den Taktstock gefhrt,
und die Tonknstler musizieren weiterhin
mit renommierten Gastdirigenten und
Spitzensolisten. 1913 gab ein Vorlufer des
heutigen Orchesters die Welturauffhrung
von Schnbergs Gurreliedern, und das
Tonknstler-Orchester erweitert sein
Repertoire mit neuer Musik und unvertrauten
Werken aus den letzten drei Jahrhunderten.
Als erstes Orchester in sterreich richteten
die Tonknstler eine Abteilung fr
Musikvermittlung ein; Orchestermitglieder
bereiten Schulklassen in Workshops auf
Konzerte und Musiktheaterauffhrungen
vor und frdern die musikalische
Sensibilitt. Das Orchester hat zahlreiche
Schallplattenaufnahmen vorgelegt und geht
regelmig auf internationale Tourneen.
Der in Estland geborene Dirigent
Kristjan Jrvi gilt als einer der besten
Kommunikatoren der internationalen
Musikszene und versteht es, weltweit das
Publikum in Bann zu halten. Die New York
Times beschrieb ihn als eine kinetische Kraft
auf dem Podium, wie Leonard Bernstein
in neuer Gestalt. Er ist Chefdirigent
und musikalischer Leiter des Wiener
Tonknstler-Orchesters Niedersterreich,
Deutschland, Japan und die baltischen
Staaten bereist hat, und profiliert sich auch
mit dem von ihm in New York gegrndeten
35
Absolute Ensemble. Er ist bekannt fr
seinen musikalischen Einblick in ein weit
gespanntes Repertoire, das von der Klassik
bis in unser Jahrhundert reicht. Mit seinem
Flair fr einfallsreiche Programmgestaltung
wurde er unlngst auch zum knstlerischen
Berater des Kammerorchesters Basel
ernannt. Spitzenorchester in aller Welt, wie
Staatskapelle Dresden, BBC Philharmonic,
Tlzer Knabenchor
36
Sydney Symphony, Tokyo Philharmonic
Orchestra und Orchestre national de France,
haben ihn gerne zu Gast. Eine regelmige
Zusammenarbeit verbindet Kristjan Jrvi
mit Orchestern wie London Symphony
Orchestra, Gewandhausorchester Leipzig,
Rundfunk-Sinfonieorchester Berlin, WDR
Sinfonieorchester Kln, NDR Radiophilharmonie
und Royal Scottish National Orchestra.
Michael Schilhansl
Bernstein: Messe
Linauguration du Centre John F. Kennedy cela semblait particulirement ncessaire en
pour les arts du spectacle, Washington, pleine guerre froide, tant il tait boulevers
fut le point culminant dun projet ambitieux la fois par leffroyable conflit qui faisait
visant crer un lieu de mmoire vivant rage au Vietnam et par linvasion de la
en lhonneur de lancien prsident des Tchcoslovaquie par les Sovitiques en 1968.
tats-Unis. Peu aprs son assassinat en (Comme le fit promptement remarquer un
1963, le Congrs avait rserv 23 millions de homme politique amricain de premier plan,
dollars comme mise de fonds initiale pour la le Centre Kennedy cota un peu moins quune
construction dun Centre culturel national; en seule journe de combats au Vietnam, guerre
dfinitive, le complexe culturel de Washington au cours de laquelle plus de 58 000 soldats
cota quelque 70 millions de dollars au total amricains perdirent la vie.) La dclaration
et fut dcrit par le New York Times, aprs son de foi de Bernstein prit la forme novatrice
achvement, comme un gigantesque temple dune dramatisation ironique de la messe
en marbre de la musique, de la danse et du liturgique de lglise catholique, rituel auquel
thtre. Linauguration donna lieu une il ne prenait pas part lui-mme, en tant que
soire de gala, le 8 septembre 1971, marque juif, mais qui le fascinait depuis longtemps.
par la cration de Messe: uvre thtrale Le choix du sujet semblait appropri pour
pour chanteurs, acteurs et danseurs de une uvre crite la mmoire du premier
Leonard Bernstein, rponse trs personnelle prsident catholique des tats-Unis, mais une
du compositeur la requte de Jacqueline gigantesque controverse clata propos des
Onassis, veuve de Kennedy, dune uvre interludes que Bernstein dcida dintroduire,
ddie la mmoire de son premier mari. la manire de tropes, dans la messe. Ces
Dans un bref texte inclus dans le interludes, vernaculaires aussi bien sur le
programme de cette soire, Bernstein plan de la langue que du style musical, se
dclarait que son intention, en crivant cette prsentent comme des commentaires parfois
pice, avait t de communiquer de manire cyniques des textes liturgiques ide peut-
aussi directe et universelle que possible une tre suggre par le War Requiem (1962)
raffirmation de la foi. Pour le compositeur, de Benjamin Britten, qui juxtapose de faon
37
Absolute Ensemble. Er ist bekannt fr
seinen musikalischen Einblick in ein weit
gespanntes Repertoire, das von der Klassik
bis in unser Jahrhundert reicht. Mit seinem
Flair fr einfallsreiche Programmgestaltung
wurde er unlngst auch zum knstlerischen
Berater des Kammerorchesters Basel
ernannt. Spitzenorchester in aller Welt, wie
Staatskapelle Dresden, BBC Philharmonic,
Tlzer Knabenchor
36
Sydney Symphony, Tokyo Philharmonic
Orchestra und Orchestre national de France,
haben ihn gerne zu Gast. Eine regelmige
Zusammenarbeit verbindet Kristjan Jrvi
mit Orchestern wie London Symphony
Orchestra, Gewandhausorchester Leipzig,
Rundfunk-Sinfonieorchester Berlin, WDR
Sinfonieorchester Kln, NDR Radiophilharmonie
und Royal Scottish National Orchestra.
Michael Schilhansl
Bernstein: Messe
Linauguration du Centre John F. Kennedy cela semblait particulirement ncessaire en
pour les arts du spectacle, Washington, pleine guerre froide, tant il tait boulevers
fut le point culminant dun projet ambitieux la fois par leffroyable conflit qui faisait
visant crer un lieu de mmoire vivant rage au Vietnam et par linvasion de la
en lhonneur de lancien prsident des Tchcoslovaquie par les Sovitiques en 1968.
tats-Unis. Peu aprs son assassinat en (Comme le fit promptement remarquer un
1963, le Congrs avait rserv 23 millions de homme politique amricain de premier plan,
dollars comme mise de fonds initiale pour la le Centre Kennedy cota un peu moins quune
construction dun Centre culturel national; en seule journe de combats au Vietnam, guerre
dfinitive, le complexe culturel de Washington au cours de laquelle plus de 58 000 soldats
cota quelque 70 millions de dollars au total amricains perdirent la vie.) La dclaration
et fut dcrit par le New York Times, aprs son de foi de Bernstein prit la forme novatrice
achvement, comme un gigantesque temple dune dramatisation ironique de la messe
en marbre de la musique, de la danse et du liturgique de lglise catholique, rituel auquel
thtre. Linauguration donna lieu une il ne prenait pas part lui-mme, en tant que
soire de gala, le 8 septembre 1971, marque juif, mais qui le fascinait depuis longtemps.
par la cration de Messe: uvre thtrale Le choix du sujet semblait appropri pour
pour chanteurs, acteurs et danseurs de une uvre crite la mmoire du premier
Leonard Bernstein, rponse trs personnelle prsident catholique des tats-Unis, mais une
du compositeur la requte de Jacqueline gigantesque controverse clata propos des
Onassis, veuve de Kennedy, dune uvre interludes que Bernstein dcida dintroduire,
ddie la mmoire de son premier mari. la manire de tropes, dans la messe. Ces
Dans un bref texte inclus dans le interludes, vernaculaires aussi bien sur le
programme de cette soire, Bernstein plan de la langue que du style musical, se
dclarait que son intention, en crivant cette prsentent comme des commentaires parfois
pice, avait t de communiquer de manire cyniques des textes liturgiques ide peut-
aussi directe et universelle que possible une tre suggre par le War Requiem (1962)
raffirmation de la foi. Pour le compositeur, de Benjamin Britten, qui juxtapose de faon
37
dlibrment inconfortable des pomes
anglais de Wilfred Owen, hostiles la guerre,
et la messe de requiem en latin. Le prsident
Nixon et Mme Onassis sabstinrent lun et
lautre dassister la cration de luvre, de luvre au Vatican, pour commmorer
Nixon ayant apparemment t secrtement
averti du caractre subversif prsent par
le contenu de luvre, aprs que Bernstein
se fut rendu auprs du pre Philip Berrigan
pour lui demander des conseils spirituels,
alors que le prtre, souponn davoir considraient comme un blasphme grande
tremp dans un complot pour lenlvement
de Henry Kissinger, tait incarcr. Le
rapport du directeur du FBI, J. Edgar Hoover,
laissait entendre que les hommes politiques
amricains de haut rang seraient trop
stupides pour percevoir la teneur soi-disant
subversive du texte, et se mettraient dans
lembarras en applaudissant luvre avec
enthousiasme.
Le public et la presse nen rservrent pas
moins un accueil chaleureux cette uvre
nouvelle, mme si Harold Schonberg, dans
le New York Times du 12 septembre 1971,
dcrivit brutalement la partition comme un
mlange de superficialit et de prtention, et
le plus grand mli-mlo de styles depuis la
recette du steak frit au beurre de cacahute
et la sauce aux marshmallows parue
dans un magazine fminin. Robert Craft,
collaborateur intime de Stravinsky, dclara
pour sa part avec condescendance que
38
luvre aurait d plutt sintituler Messe:
la comdie musicale ne pouvant alors
imaginer que ce titre serait en fait adopt
en juin 2000, loccasion de linterprtation
leffondrement mental et physique du
le Jubil mondial des migrants. Marque
indniable de lapprobation de luvre par le le programme dun concert de lOrchestre
pape, cette reprsentation au Vatican fit enfin
taire les critiques catholiques, qui avaient
mainte fois reproch Bernstein ce quils
chelle. Parmi eux figurait un archevque qui
avait expressment interdit aux catholiques
dassister une production au Festival de mai
de Cincinnati, en 1972; quelques jours plus
tard, cet homme dglise succombait une
attaque, ce qui valut un succs de scandale
ces reprsentations, qui se jourent guichet
ferm. Tout le clerg catholique navait
cependant pas lesprit aussi troit: Mgr Paul
Moore Jr, vque de New York, crivit
Bernstein en juillet 1972 pour linformer quil
avait parl de son uvre dans lun de ses
sermons:
Je tenais vous dire combien jai t mu
par la crativit de cette pice et par la
profonde comprhension dont vous faites
preuve propos de la prtrise et de la
thologie de lEucharistie [] cest de
bien des faons lhistoire de ma vie. Jai
pu midentifier profondment aux attentes
excessives des gens lgard de lglise
et du prtre, et la profonde rvulsion puis au public et finalement, esprons-le,
que lon ressent parfois pour ce rle. au monde extrieur.
Moore faisait allusion lpisode Au moment o le Clbrant seffondre, il
dramatique central de Messe: le choc de interprte une longue scne de la folie au
cours de laquelle, aprs avoir violemment
Clbrant, au climax. Dans un texte crit pour bris les vases sacrs de la Communion, il
rcapitule de manire dcousue des thmes
philharmonique dIsral, en mai 1972, entendus dans les sections prcdentes. Ce
Bernstein dcrivait son scnario provocateur procd rappelle fortement la scne de la
comme suit: folie dans Peter Grimes, lopra de Britten
Le rituel est clbr par un jeune homme dont Bernstein dirigea la cration amricaine
dune mystrieuse simplicit (appel Tanglewood, en 1946; en dehors des
le Clbrant) qui, tout au long de la similarits conceptuelles avec le War
pice, est revtu par ses acolytes dun Requiem, on trouve dautres chos trs nets
costume et dornements sacerdotaux de de Britten dans la musique de Bernstein pour
plus en plus riches, symbolisant la fois voix denfants et dans sa manire dindiquer
laccroissement du formalisme superficiel que le public doit prendre part la liturgie
de ses obligations et le fardeau quil dramatise, aux endroits appropris.
porte. Paralllement, les rsistances la diffrence de Britten, cependant,
de la congrgation saccroissent Bernstein attaque sa cible liturgique avec une
marques par lacuit et lamertume tourdissante diversit de styles musicaux,
de leurs ractions et sa propre foi se dressant un vritable tat des lieux de la
dgrade. Lors du point culminant de la musique classique et populaire au dbut des
Communion, tout crmonial disparat annes 1970. Lcriture orchestrale est par
et la messe vole en clats. Il ne reste moments dune dissonance et dune intensit
plus aux diffrents individus prsents brlantes, et parfois avant-gardiste de par
sur scne qu trouver en eux-mmes ses textures fragmentes; en revanche, la
un nouvel embryon de foi, grce une musique optimiste proche de la danse est en
mditation douloureuse, ce qui permet grande partie habite par les rythmes additifs
chacun de transmettre le baiser de paix entranants de lAmrique latine, si familiers
(Pax) son voisin. Cette chane du baiser depuis West Side Story (1957), comdie
crot et stend tous les interprtes, musicale dterminante dans la carrire du
39
dlibrment inconfortable des pomes
anglais de Wilfred Owen, hostiles la guerre,
et la messe de requiem en latin. Le prsident
Nixon et Mme Onassis sabstinrent lun et
lautre dassister la cration de luvre, de luvre au Vatican, pour commmorer
Nixon ayant apparemment t secrtement
averti du caractre subversif prsent par
le contenu de luvre, aprs que Bernstein
se fut rendu auprs du pre Philip Berrigan
pour lui demander des conseils spirituels,
alors que le prtre, souponn davoir considraient comme un blasphme grande
tremp dans un complot pour lenlvement
de Henry Kissinger, tait incarcr. Le
rapport du directeur du FBI, J. Edgar Hoover,
laissait entendre que les hommes politiques
amricains de haut rang seraient trop
stupides pour percevoir la teneur soi-disant
subversive du texte, et se mettraient dans
lembarras en applaudissant luvre avec
enthousiasme.
Le public et la presse nen rservrent pas
moins un accueil chaleureux cette uvre
nouvelle, mme si Harold Schonberg, dans
le New York Times du 12 septembre 1971,
dcrivit brutalement la partition comme un
mlange de superficialit et de prtention, et
le plus grand mli-mlo de styles depuis la
recette du steak frit au beurre de cacahute
et la sauce aux marshmallows parue
dans un magazine fminin. Robert Craft,
collaborateur intime de Stravinsky, dclara
pour sa part avec condescendance que
38
luvre aurait d plutt sintituler Messe:
la comdie musicale ne pouvant alors
imaginer que ce titre serait en fait adopt
en juin 2000, loccasion de linterprtation
leffondrement mental et physique du
le Jubil mondial des migrants. Marque
indniable de lapprobation de luvre par le le programme dun concert de lOrchestre
pape, cette reprsentation au Vatican fit enfin
taire les critiques catholiques, qui avaient
mainte fois reproch Bernstein ce quils
chelle. Parmi eux figurait un archevque qui
avait expressment interdit aux catholiques
dassister une production au Festival de mai
de Cincinnati, en 1972; quelques jours plus
tard, cet homme dglise succombait une
attaque, ce qui valut un succs de scandale
ces reprsentations, qui se jourent guichet
ferm. Tout le clerg catholique navait
cependant pas lesprit aussi troit: Mgr Paul
Moore Jr, vque de New York, crivit
Bernstein en juillet 1972 pour linformer quil
avait parl de son uvre dans lun de ses
sermons:
Je tenais vous dire combien jai t mu
par la crativit de cette pice et par la
profonde comprhension dont vous faites
preuve propos de la prtrise et de la
thologie de lEucharistie [] cest de
bien des faons lhistoire de ma vie. Jai
pu midentifier profondment aux attentes
excessives des gens lgard de lglise
et du prtre, et la profonde rvulsion puis au public et finalement, esprons-le,
que lon ressent parfois pour ce rle. au monde extrieur.
Moore faisait allusion lpisode Au moment o le Clbrant seffondre, il
dramatique central de Messe: le choc de interprte une longue scne de la folie au
cours de laquelle, aprs avoir violemment
Clbrant, au climax. Dans un texte crit pour bris les vases sacrs de la Communion, il
rcapitule de manire dcousue des thmes
philharmonique dIsral, en mai 1972, entendus dans les sections prcdentes. Ce
Bernstein dcrivait son scnario provocateur procd rappelle fortement la scne de la
comme suit: folie dans Peter Grimes, lopra de Britten
Le rituel est clbr par un jeune homme dont Bernstein dirigea la cration amricaine
dune mystrieuse simplicit (appel Tanglewood, en 1946; en dehors des
le Clbrant) qui, tout au long de la similarits conceptuelles avec le War
pice, est revtu par ses acolytes dun Requiem, on trouve dautres chos trs nets
costume et dornements sacerdotaux de de Britten dans la musique de Bernstein pour
plus en plus riches, symbolisant la fois voix denfants et dans sa manire dindiquer
laccroissement du formalisme superficiel que le public doit prendre part la liturgie
de ses obligations et le fardeau quil dramatise, aux endroits appropris.
porte. Paralllement, les rsistances la diffrence de Britten, cependant,
de la congrgation saccroissent Bernstein attaque sa cible liturgique avec une
marques par lacuit et lamertume tourdissante diversit de styles musicaux,
de leurs ractions et sa propre foi se dressant un vritable tat des lieux de la
dgrade. Lors du point culminant de la musique classique et populaire au dbut des
Communion, tout crmonial disparat annes 1970. Lcriture orchestrale est par
et la messe vole en clats. Il ne reste moments dune dissonance et dune intensit
plus aux diffrents individus prsents brlantes, et parfois avant-gardiste de par
sur scne qu trouver en eux-mmes ses textures fragmentes; en revanche, la
un nouvel embryon de foi, grce une musique optimiste proche de la danse est en
mditation douloureuse, ce qui permet grande partie habite par les rythmes additifs
chacun de transmettre le baiser de paix entranants de lAmrique latine, si familiers
(Pax) son voisin. Cette chane du baiser depuis West Side Story (1957), comdie
crot et stend tous les interprtes, musicale dterminante dans la carrire du
39
compositeur; quoi quil en soit, le plus grand
conflit avec lcriture srieuse de cette Messe
provient de lintroduction de passages de
pur blues ou de rock, parfaitement adapts
au cynisme contemporain des tropes, ou
segments vernaculaires interpols, hostiles
la messe, et les plus directement lis la
crise spirituelle. Cette diversit phnomnale
du langage musical se reflte dans le vaste
effectif vocal et instrumental ncessaire
au spectacle: deux orchestres, lun sur
scne, lautre dans la fosse; une basse
et deux guitares lectriques; un chur
et des percussions (botes de conserve,
bouteilles, tambours dacier) de la rue;
fanfare, groupes de blues et de rock; chur
traditionnel SATB de soixante chanteurs en
vtements sacerdotaux, tandis quun chur
denfants et des danseurs encapuchonns
servent la messe; et un ensemble
impressionnant de bandes magntiques en
quadriphonie, enregistres par CBS New
York, hurlant de tous les coins de la salle des
passages de la messe en latin, souvent mis
en musique de faon virtuose.
Lutilisation la plus fascinante de ces
bandes magntiques survient ds le dbut
de luvre lorsque le public, plong dans le
noir absolu, est bombard par un traitement
virtuose du Kyrie eleison (CD 1, 1 ), dans
lequel une musique non synchronise pour
quatre groupes vocaux et percussions aboutit
40
peu peu un ensemble cacophonique qui, La premire partie de la Confession, par de puissants accords jouant sur les
son point culminant, est soudain interrompu Confiteor 9 , est minemment rhtorique, fausses relations. (Ce mouvement, avec son
par le Clbrant grattant sa guitare. Paraissant le chur psalmodiant le texte latin de faon habillage musical excentrique dun texte latin
seul sur scne, le Clbrant entonne Simple rituelle, comme dans la Messe de 1948 de rvr, a srement influenc le compositeur
Song 2 devant un rideau ferm, utilisant Stravinsky, que Bernstein admirait beaucoup. britannique David Fanshawe, dont African
un diatonisme typique de Copland; le thme Une musique trs rythme, pour chur et Sanctus (1972), au succs jamais dmenti,
mmorable de la louange (Singing Lauda, groupe de rock (Mea culpa) se fait entendre a suivi lexemple de Bernstein en opposant
Laude) devient par la suite un lment pendant que le Clbrant bnit les reliques des enregistrements de terrain de musique
important de luvre. Le rpons Alleluia 3 prsentes par ses acolytes. Puis vient le africaine une version moderne et non
fait appel un chant prenregistr, voquant premier des huit tropes de luvre, chant de conventionnelle de la messe, faisant appel
un joyeux carillon, et crit dans un type de cool confusion adoptant un style rock (sonorits aux musiques populaires occidentales.)
jazz contrapuntique et enjou. Cette section satures de la guitare lectrique), actualisant Le trope Half of the People 15 , bas sur
conclut les Dvotions initiales, et est suivie par le langage de West Side Story 10 . Le trope un texte humoristique de Paul Simon, est
le premier des deux Introts. Le Premier Introt suivant, Easy 11 , est crit pour une succession enchan sans interruption au Gloria avant
comprend les prires de la Prface 4 pour de chanteurs de blues accompagns par un quune soprano soliste chante un autre trope
lesquelles un chur de la rue (street chorus) orchestre de blues; dans la section centrale, doux-amer o elle se remmore dimportants
envahit la scne tandis quune fanfare joue lanxieuse psalmodie chorale en latin reprend, moments mouvants de son pass 16 .
avec nergie, dans un style hsitant entre le et cette section se conclut par un retour Une deuxime Mditation 17 se
patriotisme de Sousa et lhumour sardonique hyperbolique du blues, tandis que le chanteur prsente sous la forme de quatre variations
du jeune Chostakovitch ; et un Thrice-Triple met le Seigneur au dfi de lui montrer la orchestrales intenses sur un thme emprunt
Canon 5 chant a cappella par le Clbrant, voie si tu es si merveilleux. Offrant au finale de la Neuvime Symphonie de
le chur denfants et le chur de la rue. Le un maximum de contraste, la premire Beethoven la mlodie chromatique sur
Second Introt est lui aussi bipartite: une bande Mditation (sur trois) est un long interlude les paroles Ihr strzt nieder, Millionen?
folk prenregistre et des voix dhommes motionnellement intense, domin par les (tes-vous genoux, myriades?) et conduit
psalmodient In nomine Patris 6 , suivi par une cordes 12 . Puis le Clbrant se met aux lptre (CD 2, 1 ), au cours de laquelle
simple prire de la congrgation en forme de bongos et le chur denfants se joint le langage familier dauteurs ordinaires de
choral non accompagn, Almighty Father 7 . lui dans une mesure cinq temps dune lettres daujourdhui vient en contrepoint
Les premires pages de luvre sachvent joyeuse vlocit, pour clbrer la premire de la lecture de la Bible par le Clbrant.
avec Epiphany, cadence de hautbois partie du Gloria 13 , avant un nouveau Dans le Gospel-Sermon 2 , un prdicateur
prenregistre 8 qui nous amne au stade passage distinctement stravinskien, Gloria fervent saute sur un banc, accompagn dune
confessionnel crucial du drame, o les choses in Excelsis 14 , dans lequel la psalmodie fanfare compose de trombones, dun banjo
commencent vraiment se gter. devient nergiquement syncope et ponctue et dune guitare; les danses et chants de la
41
compositeur; quoi quil en soit, le plus grand
conflit avec lcriture srieuse de cette Messe
provient de lintroduction de passages de
pur blues ou de rock, parfaitement adapts
au cynisme contemporain des tropes, ou
segments vernaculaires interpols, hostiles
la messe, et les plus directement lis la
crise spirituelle. Cette diversit phnomnale
du langage musical se reflte dans le vaste
effectif vocal et instrumental ncessaire
au spectacle: deux orchestres, lun sur
scne, lautre dans la fosse; une basse
et deux guitares lectriques; un chur
et des percussions (botes de conserve,
bouteilles, tambours dacier) de la rue;
fanfare, groupes de blues et de rock; chur
traditionnel SATB de soixante chanteurs en
vtements sacerdotaux, tandis quun chur
denfants et des danseurs encapuchonns
servent la messe; et un ensemble
impressionnant de bandes magntiques en
quadriphonie, enregistres par CBS New
York, hurlant de tous les coins de la salle des
passages de la messe en latin, souvent mis
en musique de faon virtuose.
Lutilisation la plus fascinante de ces
bandes magntiques survient ds le dbut
de luvre lorsque le public, plong dans le
noir absolu, est bombard par un traitement
virtuose du Kyrie eleison (CD 1, 1 ), dans
lequel une musique non synchronise pour
quatre groupes vocaux et percussions aboutit
40
peu peu un ensemble cacophonique qui, La premire partie de la Confession, par de puissants accords jouant sur les
son point culminant, est soudain interrompu Confiteor 9 , est minemment rhtorique, fausses relations. (Ce mouvement, avec son
par le Clbrant grattant sa guitare. Paraissant le chur psalmodiant le texte latin de faon habillage musical excentrique dun texte latin
seul sur scne, le Clbrant entonne Simple rituelle, comme dans la Messe de 1948 de rvr, a srement influenc le compositeur
Song 2 devant un rideau ferm, utilisant Stravinsky, que Bernstein admirait beaucoup. britannique David Fanshawe, dont African
un diatonisme typique de Copland; le thme Une musique trs rythme, pour chur et Sanctus (1972), au succs jamais dmenti,
mmorable de la louange (Singing Lauda, groupe de rock (Mea culpa) se fait entendre a suivi lexemple de Bernstein en opposant
Laude) devient par la suite un lment pendant que le Clbrant bnit les reliques des enregistrements de terrain de musique
important de luvre. Le rpons Alleluia 3 prsentes par ses acolytes. Puis vient le africaine une version moderne et non
fait appel un chant prenregistr, voquant premier des huit tropes de luvre, chant de conventionnelle de la messe, faisant appel
un joyeux carillon, et crit dans un type de cool confusion adoptant un style rock (sonorits aux musiques populaires occidentales.)
jazz contrapuntique et enjou. Cette section satures de la guitare lectrique), actualisant Le trope Half of the People 15 , bas sur
conclut les Dvotions initiales, et est suivie par le langage de West Side Story 10 . Le trope un texte humoristique de Paul Simon, est
le premier des deux Introts. Le Premier Introt suivant, Easy 11 , est crit pour une succession enchan sans interruption au Gloria avant
comprend les prires de la Prface 4 pour de chanteurs de blues accompagns par un quune soprano soliste chante un autre trope
lesquelles un chur de la rue (street chorus) orchestre de blues; dans la section centrale, doux-amer o elle se remmore dimportants
envahit la scne tandis quune fanfare joue lanxieuse psalmodie chorale en latin reprend, moments mouvants de son pass 16 .
avec nergie, dans un style hsitant entre le et cette section se conclut par un retour Une deuxime Mditation 17 se
patriotisme de Sousa et lhumour sardonique hyperbolique du blues, tandis que le chanteur prsente sous la forme de quatre variations
du jeune Chostakovitch ; et un Thrice-Triple met le Seigneur au dfi de lui montrer la orchestrales intenses sur un thme emprunt
Canon 5 chant a cappella par le Clbrant, voie si tu es si merveilleux. Offrant au finale de la Neuvime Symphonie de
le chur denfants et le chur de la rue. Le un maximum de contraste, la premire Beethoven la mlodie chromatique sur
Second Introt est lui aussi bipartite: une bande Mditation (sur trois) est un long interlude les paroles Ihr strzt nieder, Millionen?
folk prenregistre et des voix dhommes motionnellement intense, domin par les (tes-vous genoux, myriades?) et conduit
psalmodient In nomine Patris 6 , suivi par une cordes 12 . Puis le Clbrant se met aux lptre (CD 2, 1 ), au cours de laquelle
simple prire de la congrgation en forme de bongos et le chur denfants se joint le langage familier dauteurs ordinaires de
choral non accompagn, Almighty Father 7 . lui dans une mesure cinq temps dune lettres daujourdhui vient en contrepoint
Les premires pages de luvre sachvent joyeuse vlocit, pour clbrer la premire de la lecture de la Bible par le Clbrant.
avec Epiphany, cadence de hautbois partie du Gloria 13 , avant un nouveau Dans le Gospel-Sermon 2 , un prdicateur
prenregistre 8 qui nous amne au stade passage distinctement stravinskien, Gloria fervent saute sur un banc, accompagn dune
confessionnel crucial du drame, o les choses in Excelsis 14 , dans lequel la psalmodie fanfare compose de trombones, dun banjo
commencent vraiment se gter. devient nergiquement syncope et ponctue et dune guitare; les danses et chants de la
41
foule, de nouveau dans le style de West Side
Story, sont interrompus par lapparition du
Clbrant portant un costume sacerdotal
encore plus somptueux quauparavant.
Une psalmodie prenregistre du chur,
Credo in unum Deum 3 , marque le dbut
dune squence comportant pas moins de
quatre tropes commentant le Credo de la
liturgie, tous lis par de brefs rappels de la
musique sur bande magntique: le premier
est un chant cynique pour voix dhommes
et groupe de rock 4 , le deuxime, pour
mezzo-soprano et orchestre de blues 5 , le
troisime fait appel un chur de la rue et
des rythmes latinos 6 , et le quatrime est
un appel dun chanteur de rock croire dans
le pouvoir de lindividu 7 . Une troisime
Mditation 8 , pour chur enregistr
et cuivres tonitruants, accompagne la
prsentation des vases sacrs de la
Communion au Clbrant, qui dit une
prire au nom des artistes du spectacle,
citant chacun de leurs noms. Dans
lOffertoire 9 , lincantation des enfants,
portant des bougies votives, est
constamment interrompue par une psalmodie
chorale; une rexposition dmesure de
la danse folk du Second Introt marque
la disparition du Clbrant, son absence
encourageant lassemble danser avec parole tandis quil lve les vases sacrs. Un
une passion ftichiste autour des vases
sacrs.
42
Cette orgie de clbration est soudain plus fort, la cacophonie tant renforce par Le baryton Randall Scarlata a fait ses tudes
interrompue par le retour du Clbrant des improvisations instrumentales de style la Hochschule fr Musik de Vienne et a
portant une cape. Laiss seul, il joue dun rock et les Kyrie prenregistrs du dbut remport un master la Juilliard School;
seul doigt les notes du Notre Pre au piano, de luvre, jusqu ce que le Clbrant perde en outre, il a travaill pendant plusieurs
tout en chantant 10 . Il chante ensuite son tout coup lesprit et jette violemment les ts avec le grand baryton franais Grard
propre trope de rsistance face la confusion sacrements au sol 14 . Lassemble se fige, prise Souzay Nice et Salzbourg. Connu pour
et la dsillusion, I Go On 11 , avant de dune terreur abjecte devant ce blasphme sa souplesse et la perfection de son talent
sonner la cloche du Sanctus. Le chant du suprme. Pendant la scne de folie qui suit, musical, il a reu de nombreux prix et
Sanctus par les enfants 12 se dissipe en une le Clbrant brise tout ce qui lui tombe sous matrise un rpertoire qui couvre quatre
danse mystique fantomatique; alors que la main, dchirant mme en lambeaux la sicles et quinze langues. Il mne une
le volume sonore augmente, le Clbrant nappe de lautel et dansant sur celui-ci, sur carrire bien remplie qui englobe lopra,
retrouve sa guitare et se met chanter (en un accompagnement dorgue digne dun film le rcital et le rpertoire avec orchestre; il
jouant sur le nom des notes sol et fa), son muet, puis lacrant son costume sacerdotal se produit sur scne dans toute lEurope,
chant devenant de lhbreu (Kadosh!), et le jetant la foule. Il revient ensuite un en Amrique du Nord et du Sud, ainsi quau
thme repris par le chur tandis que la foule tat de stupeur et descend dans la fosse Proche-Orient et en Extrme-Orient. Il a
accumule les prsents imaginaires jusqu dorchestre. chant en soliste avec les orchestres de
ce quon ne le voie plus. Linterprtation Une cadence de flte, parallle de la cadence Philadelphie, du Minnesota et de lUlster,
dynamique de lAgnus Dei 13 par le chur de hautbois dEpiphany, laisse la place un et avec les orchestres symphoniques de
de la rue accompagn par un groupe de garon soprano solo chantant le Lauda, Laude Pittsburgh et de San Francisco, le National
rock, ponctue de tapements de pieds emprunt au Simple Song du Clbrant, Symphony Orchestra et le BBC Symphony
contretemps, entretient lnergie. Le tandis que dbute Pax 15 . Les personnages Orchestra notamment. Il sest produit dans
Clbrant lve lostensoir, mais ses acolytes sur scne se mettent streindre les uns les de nombreux grands festivals de musique,
lempchent de sapprocher de lautel; il autres tandis que ce chant dlicat progresse sur notamment ceux de Ravinia, Marlboro,
sempare du calice au moment o il est sur le sa voie inexorable. Le Clbrant reparat, vtu dimbourg, Vienne, Salzbourg, Aspen et
point de ne plus contrler la foule, et invite simplement comme au dbut du drame. Tandis Spoleto (Italie). Interprte recherch dans le
chacun prier. Alors quil essaie de gravir que lassemble tout entire chante le choral domaine de la musique nouvelle, il a donn
un escalier slevant depuis la scne vers Almighty Father, entendu prcdemment, les plusieurs crations, mais il est tout aussi
un sommet symbolique, le Clbrant a de enfants descendent dans la salle et distribuent laise dans les passions de Bach, les opras
plus en plus de mal se mouvoir et perd la le baiser de paix parmi le public. de Mozart, les cycles de lieder de Schubert,
les lieder avec orchestre de Mahler et les
choral aux puissants accents de blues, Dona 2009 Mervyn Cooke chants populaires amricains. Rcemment, il
nobis pacem, se fait entendre de plus en Traduction: Jose Bgaud a particip Boston la cration mondiale de
43
foule, de nouveau dans le style de West Side
Story, sont interrompus par lapparition du
Clbrant portant un costume sacerdotal
encore plus somptueux quauparavant.
Une psalmodie prenregistre du chur,
Credo in unum Deum 3 , marque le dbut
dune squence comportant pas moins de
quatre tropes commentant le Credo de la
liturgie, tous lis par de brefs rappels de la
musique sur bande magntique: le premier
est un chant cynique pour voix dhommes
et groupe de rock 4 , le deuxime, pour
mezzo-soprano et orchestre de blues 5 , le
troisime fait appel un chur de la rue et
des rythmes latinos 6 , et le quatrime est
un appel dun chanteur de rock croire dans
le pouvoir de lindividu 7 . Une troisime
Mditation 8 , pour chur enregistr
et cuivres tonitruants, accompagne la
prsentation des vases sacrs de la
Communion au Clbrant, qui dit une
prire au nom des artistes du spectacle,
citant chacun de leurs noms. Dans
lOffertoire 9 , lincantation des enfants,
portant des bougies votives, est
constamment interrompue par une psalmodie
chorale; une rexposition dmesure de
la danse folk du Second Introt marque
la disparition du Clbrant, son absence
encourageant lassemble danser avec parole tandis quil lve les vases sacrs. Un
une passion ftichiste autour des vases
sacrs.
42
Cette orgie de clbration est soudain plus fort, la cacophonie tant renforce par Le baryton Randall Scarlata a fait ses tudes
interrompue par le retour du Clbrant des improvisations instrumentales de style la Hochschule fr Musik de Vienne et a
portant une cape. Laiss seul, il joue dun rock et les Kyrie prenregistrs du dbut remport un master la Juilliard School;
seul doigt les notes du Notre Pre au piano, de luvre, jusqu ce que le Clbrant perde en outre, il a travaill pendant plusieurs
tout en chantant 10 . Il chante ensuite son tout coup lesprit et jette violemment les ts avec le grand baryton franais Grard
propre trope de rsistance face la confusion sacrements au sol 14 . Lassemble se fige, prise Souzay Nice et Salzbourg. Connu pour
et la dsillusion, I Go On 11 , avant de dune terreur abjecte devant ce blasphme sa souplesse et la perfection de son talent
sonner la cloche du Sanctus. Le chant du suprme. Pendant la scne de folie qui suit, musical, il a reu de nombreux prix et
Sanctus par les enfants 12 se dissipe en une le Clbrant brise tout ce qui lui tombe sous matrise un rpertoire qui couvre quatre
danse mystique fantomatique; alors que la main, dchirant mme en lambeaux la sicles et quinze langues. Il mne une
le volume sonore augmente, le Clbrant nappe de lautel et dansant sur celui-ci, sur carrire bien remplie qui englobe lopra,
retrouve sa guitare et se met chanter (en un accompagnement dorgue digne dun film le rcital et le rpertoire avec orchestre; il
jouant sur le nom des notes sol et fa), son muet, puis lacrant son costume sacerdotal se produit sur scne dans toute lEurope,
chant devenant de lhbreu (Kadosh!), et le jetant la foule. Il revient ensuite un en Amrique du Nord et du Sud, ainsi quau
thme repris par le chur tandis que la foule tat de stupeur et descend dans la fosse Proche-Orient et en Extrme-Orient. Il a
accumule les prsents imaginaires jusqu dorchestre. chant en soliste avec les orchestres de
ce quon ne le voie plus. Linterprtation Une cadence de flte, parallle de la cadence Philadelphie, du Minnesota et de lUlster,
dynamique de lAgnus Dei 13 par le chur de hautbois dEpiphany, laisse la place un et avec les orchestres symphoniques de
de la rue accompagn par un groupe de garon soprano solo chantant le Lauda, Laude Pittsburgh et de San Francisco, le National
rock, ponctue de tapements de pieds emprunt au Simple Song du Clbrant, Symphony Orchestra et le BBC Symphony
contretemps, entretient lnergie. Le tandis que dbute Pax 15 . Les personnages Orchestra notamment. Il sest produit dans
Clbrant lve lostensoir, mais ses acolytes sur scne se mettent streindre les uns les de nombreux grands festivals de musique,
lempchent de sapprocher de lautel; il autres tandis que ce chant dlicat progresse sur notamment ceux de Ravinia, Marlboro,
sempare du calice au moment o il est sur le sa voie inexorable. Le Clbrant reparat, vtu dimbourg, Vienne, Salzbourg, Aspen et
point de ne plus contrler la foule, et invite simplement comme au dbut du drame. Tandis Spoleto (Italie). Interprte recherch dans le
chacun prier. Alors quil essaie de gravir que lassemble tout entire chante le choral domaine de la musique nouvelle, il a donn
un escalier slevant depuis la scne vers Almighty Father, entendu prcdemment, les plusieurs crations, mais il est tout aussi
un sommet symbolique, le Clbrant a de enfants descendent dans la salle et distribuent laise dans les passions de Bach, les opras
plus en plus de mal se mouvoir et perd la le baiser de paix parmi le public. de Mozart, les cycles de lieder de Schubert,
les lieder avec orchestre de Mahler et les
choral aux puissants accents de blues, Dona 2009 Mervyn Cooke chants populaires amricains. Rcemment, il
nobis pacem, se fait entendre de plus en Traduction: Jose Bgaud a particip Boston la cration mondiale de
43
lopra de Thea Musgrave The Mocking-Bird,
un ouvrage conu pour un seul personnage.
Il a interprt le rle de Siskov dans De la
Maison des morts de Janc ek au Lincoln
Center, et a donn des rcitals aux tats-Unis
et en Europe avec le pianiste Richard Goode.
Randall Scarlata enseigne au College of
Visual and Performing Arts lUniversit de
West Chester.
La Company of Music, base Vienne
et dirige par son fondateur Johannes
Hiemetsberger, forme des chanteurs
solists dans un Sinfonietta vocal dont les
programmes se caractrisent la fois par
lindividualit et la discipline collective. Le
chur se consacre des programmes de
conception thmatique, prsentant un large
ventail duvres avant tout a cappella, qui
va jusqu seize voix, dans des combinaisons
et des contextes inhabituels, employant
souvent des lments scniques et la totalit
de lespace dexcution. Lalternance de
passages solistes et tutti est valorise afin
dinsister sur la souplesse et les comptences
densemble de chacun des membres. Cette
philosophie de lexcution sapplique aussi,
avec un rsultat exceptionnel, dans le
rpertoire de musique ancienne comme
la Messe en si mineur, les passions et les
motets de Bach, interprts avec le Bach
Consort de Vienne.
44
Aprs des tudes lcole scnique de N dans le New Jersey, Dave Moskin a dabord et avant tout sur la joie de chanter,
musique, de danse et dart dramatique de grandi New York et, ds son enfance, il a les membres du chur tant encourags
Hambourg et la Musikhochschule Felix acquis une exprience dacteur Broadway, dvelopper la crativit, la spontanit
Mendelssohn Bartholdy de Leipzig, Ruth la tlvision et au cinma. dix-neuf ans, et lauto-discipline en mme temps quune
Kraus sest produite sur dimportantes scnes il jouait dans des botes de nuit New York technique parfaite. Les membres les plus
musicales allemandes et autrichiennes dans avec son propre groupe. Depuis 1995, il joue talentueux de ce chur peuvent donc, le
des oprettes et comdies musicales comme beaucoup Vienne, se produisant notamment moment venu, se produire sur des scnes
Die Fledermaus, Aufstieg und Fall der Stadt dans des productions de Tommy, Footloose, lyriques et dans des salles de concert
Mahagonny, City of Angels, The Rocky Horror Jesus Christ Superstar, Hair et Jekyll and internationales. Les divers groupes et solistes
Picture Show, Jekyll and Hyde, Rebecca et Hyde. du chur donnent plus de deux cents
Elisabeth, ouvrage quelle a galement chant N Grlitz, Andr Bauer a commenc concerts et reprsentations lyriques par an
en tourne en Italie et au Japon. travailler le chant la Hochschule fr Musik dans le monde entier. Leur rpertoire stend
Ne aux Pays-Bas et forme lAcadmie Carl Maria von Weber de Dresde; il a obtenu de la musique du Moyen-ge aux uvres
des arts dramatiques dAnvers, en Belgique, son diplme Francfort. Sa carrire dans contemporaines, sans exclure les chants
Lenneke Willemsen se produit la tlvision le thtre musical allemand et autrichien traditionnels, avec un accent particulier sur
et dans des comdies musicales dans toute comprend des rles importants notamment la musique sacre baroque et classique,
la Belgique, aux Pays-Pays et en Autriche, dans My Fair Lady, Fiddler on the Roof, et, dans tout le rpertoire, sur un style
notamment dans Chess, Fiddler on the Roof, Hair, Romeo and Juliet, Les Misrables, dexcution historiquement authentique.
Cyrano, Beauty and the Beast, Dance of the Miss Saigon, Le Bossu de Notre-Dame, Soutenu financirement par le land de
Vampire et Elisabeth. Elisabeth, Jesus Christ Superstar et Sweeney Bavire, la ville de Bad Tlz et le Schrghuber
Reinwald Kranner a fait ses tudes Todd. Unternehmensgruppe, le Tlzer Knabenchor
la Musikhochschule de Graz et au a chant sous la baguette des chefs les plus
Konservatorium der Stadt Wien ainsi quavec Depuis sa fondation Bad Tlz, le Tlzer clbres et fait de nombreux enregistrements
Otto Edelmann. Il sest affirm la fois Knabenchor, qui a clbr son cinquantime importants.
comme interprte et chorgraphe dans le anniversaire en 2006, a toujours t dirig
domaine du thtre musical aussi bien par le chef dorchestre et professeur de Fond en 1991 par Johannes Hiemetsberger,
Hong Kong et Moscou, quaux tats-Unis. Il chant Gerhard Schmidt-Gaden. Aujourdhui, le Chorus sine nomine a remport de
sest produit dans Elisabeth, West Side Story, plus de deux cents jeunes garons de nombreux prix et compte aujourdhui parmi
Fiddler on the Roof, Romeo and Juliet, Jesus Munich et de Haute Bavire sont forms les plus importants ensembles vocaux
Christ Superstar, Evita et The Producers, en dans les studios du chur par le professeur dAutriche. Il sest produit la Wiener
dehors de ses propres spectacles conus Schmidt-Gaden et ses six assistants. Les Konzerthaus et au Musikverein de Vienne; il
pour les enfants comme pour les adultes. principes denseignement ont toujours repos a particip notamment au Festival Styriarte,
45
lopra de Thea Musgrave The Mocking-Bird,
un ouvrage conu pour un seul personnage.
Il a interprt le rle de Siskov dans De la
Maison des morts de Janc ek au Lincoln
Center, et a donn des rcitals aux tats-Unis
et en Europe avec le pianiste Richard Goode.
Randall Scarlata enseigne au College of
Visual and Performing Arts lUniversit de
West Chester.
La Company of Music, base Vienne
et dirige par son fondateur Johannes
Hiemetsberger, forme des chanteurs
solists dans un Sinfonietta vocal dont les
programmes se caractrisent la fois par
lindividualit et la discipline collective. Le
chur se consacre des programmes de
conception thmatique, prsentant un large
ventail duvres avant tout a cappella, qui
va jusqu seize voix, dans des combinaisons
et des contextes inhabituels, employant
souvent des lments scniques et la totalit
de lespace dexcution. Lalternance de
passages solistes et tutti est valorise afin
dinsister sur la souplesse et les comptences
densemble de chacun des membres. Cette
philosophie de lexcution sapplique aussi,
avec un rsultat exceptionnel, dans le
rpertoire de musique ancienne comme
la Messe en si mineur, les passions et les
motets de Bach, interprts avec le Bach
Consort de Vienne.
44
Aprs des tudes lcole scnique de N dans le New Jersey, Dave Moskin a dabord et avant tout sur la joie de chanter,
musique, de danse et dart dramatique de grandi New York et, ds son enfance, il a les membres du chur tant encourags
Hambourg et la Musikhochschule Felix acquis une exprience dacteur Broadway, dvelopper la crativit, la spontanit
Mendelssohn Bartholdy de Leipzig, Ruth la tlvision et au cinma. dix-neuf ans, et lauto-discipline en mme temps quune
Kraus sest produite sur dimportantes scnes il jouait dans des botes de nuit New York technique parfaite. Les membres les plus
musicales allemandes et autrichiennes dans avec son propre groupe. Depuis 1995, il joue talentueux de ce chur peuvent donc, le
des oprettes et comdies musicales comme beaucoup Vienne, se produisant notamment moment venu, se produire sur des scnes
Die Fledermaus, Aufstieg und Fall der Stadt dans des productions de Tommy, Footloose, lyriques et dans des salles de concert
Mahagonny, City of Angels, The Rocky Horror Jesus Christ Superstar, Hair et Jekyll and internationales. Les divers groupes et solistes
Picture Show, Jekyll and Hyde, Rebecca et Hyde. du chur donnent plus de deux cents
Elisabeth, ouvrage quelle a galement chant N Grlitz, Andr Bauer a commenc concerts et reprsentations lyriques par an
en tourne en Italie et au Japon. travailler le chant la Hochschule fr Musik dans le monde entier. Leur rpertoire stend
Ne aux Pays-Bas et forme lAcadmie Carl Maria von Weber de Dresde; il a obtenu de la musique du Moyen-ge aux uvres
des arts dramatiques dAnvers, en Belgique, son diplme Francfort. Sa carrire dans contemporaines, sans exclure les chants
Lenneke Willemsen se produit la tlvision le thtre musical allemand et autrichien traditionnels, avec un accent particulier sur
et dans des comdies musicales dans toute comprend des rles importants notamment la musique sacre baroque et classique,
la Belgique, aux Pays-Pays et en Autriche, dans My Fair Lady, Fiddler on the Roof, et, dans tout le rpertoire, sur un style
notamment dans Chess, Fiddler on the Roof, Hair, Romeo and Juliet, Les Misrables, dexcution historiquement authentique.
Cyrano, Beauty and the Beast, Dance of the Miss Saigon, Le Bossu de Notre-Dame, Soutenu financirement par le land de
Vampire et Elisabeth. Elisabeth, Jesus Christ Superstar et Sweeney Bavire, la ville de Bad Tlz et le Schrghuber
Reinwald Kranner a fait ses tudes Todd. Unternehmensgruppe, le Tlzer Knabenchor
la Musikhochschule de Graz et au a chant sous la baguette des chefs les plus
Konservatorium der Stadt Wien ainsi quavec Depuis sa fondation Bad Tlz, le Tlzer clbres et fait de nombreux enregistrements
Otto Edelmann. Il sest affirm la fois Knabenchor, qui a clbr son cinquantime importants.
comme interprte et chorgraphe dans le anniversaire en 2006, a toujours t dirig
domaine du thtre musical aussi bien par le chef dorchestre et professeur de Fond en 1991 par Johannes Hiemetsberger,
Hong Kong et Moscou, quaux tats-Unis. Il chant Gerhard Schmidt-Gaden. Aujourdhui, le Chorus sine nomine a remport de
sest produit dans Elisabeth, West Side Story, plus de deux cents jeunes garons de nombreux prix et compte aujourdhui parmi
Fiddler on the Roof, Romeo and Juliet, Jesus Munich et de Haute Bavire sont forms les plus importants ensembles vocaux
Christ Superstar, Evita et The Producers, en dans les studios du chur par le professeur dAutriche. Il sest produit la Wiener
dehors de ses propres spectacles conus Schmidt-Gaden et ses six assistants. Les Konzerthaus et au Musikverein de Vienne; il
pour les enfants comme pour les adultes. principes denseignement ont toujours repos a particip notamment au Festival Styriarte,
45
aux Festivals Pentecte et Baroque de
Salzbourg, la Brucknerfest de Linz, la
Kammermusikfest de Lockenhaus et au
Festival de Grafenegg. Il entretient une
relation privilgie avec les concerts de la
Musikalische Jugend sterreichs (Jeunesse).
galement actif sur le plan international, ce
chur sest produit au Festival de Ravenne,
au Thtre des Champs-lyses, au Barbican tournes dans le monde entier et a publi
Hall de Londres et la Philharmonie de
Munich. Il a effectu des tournes a cappella
en Asie et aux tats-Unis. Il a chant sous
la direction de chefs dorchestre tels Jordi
Savall, Martin Haselbck, HK Gruber, Gidon
Kremer, Trevor Pinnock et Ulf Schirmer dans
un rpertoire qui va de la Rappresentatione
di anima e di corpo de Cavalieri et des
Vpres de Monteverdi Aufstieg und Fall der
Stadt Mahagonny de Weill et Sonnengesang
de Goubadulina. Le Chorus sine nomine
senorgueillit aussi de nombreuses
commandes et crations.
Depuis les dbuts de lAbsolute Ensemble
de Kristjan Jrvi en 1993, ses admirateurs
ont vu soprer lentement une sorte de
mtamorphose. Il a vu le jour New York
comme un groupe de musique nouvelle
supplmentaire, mais Jrvi semblait incapable
dtancher sa soif de musique en tout genre
et il a fait de cet ensemble ce quil appelle
avec tendresse des omnivores musicaux.
46
Appels aussi bien improviser qu arranger
et composer, ses membres se prtent des
pratiques dexcution quignore gnralement
lespce classique. En favorisant lintgration
plutt que lexclusion, ce groupe fait
fusionner ses racines classiques avec tout
ce qui se prsente, du jazz et du rock aux
musiques du monde et au hip-hop. Il fait des
Caridis, Isaac Karabtchevsky et Fabio Luisi
huit albums succs, ce qui a permis
lAmerican Record Guide de laisser entendre
que ce pourrait tre le plus attrayant et
le plus virtuose des groupes de musique
nouvelle daujourdhui. LAbsolute Ensemble
est en rsidence la Musikfest de Brme
o, outre les concerts, il anime chaque
anne lAbsolute Academy lUniversit des
arts de Brme et, o, en 2007, il a reu le
prestigieux Prix de la Deutsche Bank pour
des ralisations musicales exceptionnelles.
Le Tonknstler-Orchester Niedersterreich,
lOrchestre dtat de Basse-Autriche, est lune
des institutions les plus importantes de la
vie culturelle musicale autrichienne tout en
poursuivant des voies non conventionnelles
dans le futur orchestral. Dune part, le
rpertoire et la culture tonale de lorchestre
se fondent sur cent ans dhistoire et une
solide tradition dinterprtation. Dautre part,
sous la direction de son dynamique chef
principal actuel, Kristjan Jrvi, lensemble
a pris un certain nombre dinitiatives
nouvelles. Il maintient trois rsidences dans
des cadres trs varis et trs prestigieux:
la Goldener Saal du Musikverein de Vienne,
le Festspielhaus St Plten, et depuis lt
2007 le nouveau lieu de festival au chteau
de Grafenegg. LOrchestre compte Kurt Wss,
Heinz Wallberg, Walter Weller, Miltiades
parmi ses anciens chefs principaux, et attire
les chefs et les solistes les plus distingus.
En 1913, un prcurseur du prsent orchestre
donna la premire mondiale des Gurrelieder
de Schoenberg, et le Tonknstler-Orchester
continue dtendre son rpertoire en
explorant des uvres nouvelles ou peu
familires des trois derniers sicles. Il est
devenu le premier orchestre en Autriche
crer un dpartement consacr lducation
musicale, organisant des ateliers prparant
les lves des coles assister des
concerts et des reprsentations de thtre
musical, et stimulant leur sensibilit musicale.
LOrchestre a ralis de trs nombreux
enregistrements, et effectue rgulirement
des tournes travers le monde entier.
Le chef estonien Kristjan Jrvi a tabli un
rapport spcial avec les publics du monde
entier. Renomm pour son exceptionnel
sens de la communication sur la scne
internationale, The New York Times la salu
comme une force cintique sur le podium,
un nouveau Leonard Bernstein. En sa qualit
de chef principal et de directeur musical
du Tonknstler-Orchester Niedersterreich
de Vienne avec lequel il a effectu des
tournes en Grande-Bretagne, en Espagne,
en Allemagne, au Japon et dans les pays
baltes et du clbre Absolute Ensemble
de New York quil a fond, il est bien connu
pour sa comprhension musicale dun
rpertoire allant des uvres de la priode
classique celles du vingt-et-unime
sicle. Son don pour des programmes plein
dimagination est reflt par sa nomination
au poste de conseiller artistique du
Kammerorchester de Ble. Trs demand
par les orchestres les plus prestigieux du
monde, incluant la Staatskapelle de Dresde,
le BBC Philharmonic, le Sydney Symphony,
lOrchestre philharmonique de Tokyo et
lOrchestre national de France, Kristjan
Jrvi se produit rgulirement la tte du
London Symphony Orchestra, de lOrchestre
du Gewandhaus de Leipzig, de lOrchestre
symphonique de la Radio de Berlin, de
lOrchestre symphonique du WDR de Cologne,
de la Philharmonie de la Radio du NDR et du
Royal Scottish National Orchestra.
47
aux Festivals Pentecte et Baroque de
Salzbourg, la Brucknerfest de Linz, la
Kammermusikfest de Lockenhaus et au
Festival de Grafenegg. Il entretient une
relation privilgie avec les concerts de la
Musikalische Jugend sterreichs (Jeunesse).
galement actif sur le plan international, ce
chur sest produit au Festival de Ravenne,
au Thtre des Champs-lyses, au Barbican tournes dans le monde entier et a publi
Hall de Londres et la Philharmonie de
Munich. Il a effectu des tournes a cappella
en Asie et aux tats-Unis. Il a chant sous
la direction de chefs dorchestre tels Jordi
Savall, Martin Haselbck, HK Gruber, Gidon
Kremer, Trevor Pinnock et Ulf Schirmer dans
un rpertoire qui va de la Rappresentatione
di anima e di corpo de Cavalieri et des
Vpres de Monteverdi Aufstieg und Fall der
Stadt Mahagonny de Weill et Sonnengesang
de Goubadulina. Le Chorus sine nomine
senorgueillit aussi de nombreuses
commandes et crations.
Depuis les dbuts de lAbsolute Ensemble
de Kristjan Jrvi en 1993, ses admirateurs
ont vu soprer lentement une sorte de
mtamorphose. Il a vu le jour New York
comme un groupe de musique nouvelle
supplmentaire, mais Jrvi semblait incapable
dtancher sa soif de musique en tout genre
et il a fait de cet ensemble ce quil appelle
avec tendresse des omnivores musicaux.
46
Appels aussi bien improviser qu arranger
et composer, ses membres se prtent des
pratiques dexcution quignore gnralement
lespce classique. En favorisant lintgration
plutt que lexclusion, ce groupe fait
fusionner ses racines classiques avec tout
ce qui se prsente, du jazz et du rock aux
musiques du monde et au hip-hop. Il fait des
Caridis, Isaac Karabtchevsky et Fabio Luisi
huit albums succs, ce qui a permis
lAmerican Record Guide de laisser entendre
que ce pourrait tre le plus attrayant et
le plus virtuose des groupes de musique
nouvelle daujourdhui. LAbsolute Ensemble
est en rsidence la Musikfest de Brme
o, outre les concerts, il anime chaque
anne lAbsolute Academy lUniversit des
arts de Brme et, o, en 2007, il a reu le
prestigieux Prix de la Deutsche Bank pour
des ralisations musicales exceptionnelles.
Le Tonknstler-Orchester Niedersterreich,
lOrchestre dtat de Basse-Autriche, est lune
des institutions les plus importantes de la
vie culturelle musicale autrichienne tout en
poursuivant des voies non conventionnelles
dans le futur orchestral. Dune part, le
rpertoire et la culture tonale de lorchestre
se fondent sur cent ans dhistoire et une
solide tradition dinterprtation. Dautre part,
sous la direction de son dynamique chef
principal actuel, Kristjan Jrvi, lensemble
a pris un certain nombre dinitiatives
nouvelles. Il maintient trois rsidences dans
des cadres trs varis et trs prestigieux:
la Goldener Saal du Musikverein de Vienne,
le Festspielhaus St Plten, et depuis lt
2007 le nouveau lieu de festival au chteau
de Grafenegg. LOrchestre compte Kurt Wss,
Heinz Wallberg, Walter Weller, Miltiades
parmi ses anciens chefs principaux, et attire
les chefs et les solistes les plus distingus.
En 1913, un prcurseur du prsent orchestre
donna la premire mondiale des Gurrelieder
de Schoenberg, et le Tonknstler-Orchester
continue dtendre son rpertoire en
explorant des uvres nouvelles ou peu
familires des trois derniers sicles. Il est
devenu le premier orchestre en Autriche
crer un dpartement consacr lducation
musicale, organisant des ateliers prparant
les lves des coles assister des
concerts et des reprsentations de thtre
musical, et stimulant leur sensibilit musicale.
LOrchestre a ralis de trs nombreux
enregistrements, et effectue rgulirement
des tournes travers le monde entier.
Le chef estonien Kristjan Jrvi a tabli un
rapport spcial avec les publics du monde
entier. Renomm pour son exceptionnel
sens de la communication sur la scne
internationale, The New York Times la salu
comme une force cintique sur le podium,
un nouveau Leonard Bernstein. En sa qualit
de chef principal et de directeur musical
du Tonknstler-Orchester Niedersterreich
de Vienne avec lequel il a effectu des
tournes en Grande-Bretagne, en Espagne,
en Allemagne, au Japon et dans les pays
baltes et du clbre Absolute Ensemble
de New York quil a fond, il est bien connu
pour sa comprhension musicale dun
rpertoire allant des uvres de la priode
classique celles du vingt-et-unime
sicle. Son don pour des programmes plein
dimagination est reflt par sa nomination
au poste de conseiller artistique du
Kammerorchester de Ble. Trs demand
par les orchestres les plus prestigieux du
monde, incluant la Staatskapelle de Dresde,
le BBC Philharmonic, le Sydney Symphony,
lOrchestre philharmonique de Tokyo et
lOrchestre national de France, Kristjan
Jrvi se produit rgulirement la tte du
London Symphony Orchestra, de lOrchestre
du Gewandhaus de Leipzig, de lOrchestre
symphonique de la Radio de Berlin, de
lOrchestre symphonique du WDR de Cologne,
de la Philharmonie de la Radio du NDR et du
Royal Scottish National Orchestra.
47
 Victor Jouvert
Mass
A Theatre Piece for Singers, Players and
Dancers
Text from the liturgy of the Roman Mass
Additional texts by Stephen Schwartz and
Leonard Bernstein
The Setting
There is a continuous path that originates
in the pit and rises as stairs onto the stage
apron. This path leads to a central playing
area which, in turn, leads to a raised
circular Altar space and then continues as
stairs that ascend to a distant summit.
During the third sequence (Second
Introit), choir pews appear upstage left and
right, abutting the stair path, and remain
there throughout the rest of the work.
The orchestra is divided into two parts:
a pit orchestra of strings and percussion,
plus two organs; a stage orchestra of brass,
woodwinds, electric guitars, keyboards and
percussion. These stage instrumentalists are
in costume and act as members of the cast.
The chorus of street people consists of
as many as forty-five singers and dancers.
Also on this part of the stage is the boys
choir of about twenty voices. Filling the
upstage pews is a sixty-voice mixed choir
in robes. A complement of dancers in
Dress rehearsal of Bernsteins Mass at the Festspielhaus St Plten, hooded robes plays Acolytes who assist the
15 February 2006 Celebrant in the ritual of the Mass.
48
COMPACT DISC ONE
I. Devotions before Mass
1 1. Antiphon: Kyrie eleison
Track One. In total darkness, pre-recorded
sound is heard coming from the four
speakers placed in the four corners of the
house.
High Soprano and Bass Solo
Kyrie eleison.
Second Soprano and Alto Soli, Tenor
and Baritone Soli
Christe eleison.
(The Celebrant with guitar is alone on
stage, before the closed curtain. His guitar
chord wipes out pre-recorded sound, which
fades immediately.)
2 2. Hymn and Psalm: A Simple Song
Celebrant
Sing God a simple song:
Lauda, Laude
Make it up as you go along:
Lauda, Laude
Sing like you like to sing.
God loves all simple things,
For God is the simplest of all.
I will sing the Lord a new song
To praise Him, to bless Him, to bless the
Lord. 49
 Victor Jouvert
Mass
A Theatre Piece for Singers, Players and
Dancers
Text from the liturgy of the Roman Mass
Additional texts by Stephen Schwartz and
Leonard Bernstein
The Setting
There is a continuous path that originates
in the pit and rises as stairs onto the stage
apron. This path leads to a central playing
area which, in turn, leads to a raised
circular Altar space and then continues as
stairs that ascend to a distant summit.
During the third sequence (Second
Introit), choir pews appear upstage left and
right, abutting the stair path, and remain
there throughout the rest of the work.
The orchestra is divided into two parts:
a pit orchestra of strings and percussion,
plus two organs; a stage orchestra of brass,
woodwinds, electric guitars, keyboards and
percussion. These stage instrumentalists are
in costume and act as members of the cast.
The chorus of street people consists of
as many as forty-five singers and dancers.
Also on this part of the stage is the boys
choir of about twenty voices. Filling the
upstage pews is a sixty-voice mixed choir
in robes. A complement of dancers in
Dress rehearsal of Bernsteins Mass at the Festspielhaus St Plten, hooded robes plays Acolytes who assist the
15 February 2006 Celebrant in the ritual of the Mass.
48
COMPACT DISC ONE
I. Devotions before Mass
1 1. Antiphon: Kyrie eleison
Track One. In total darkness, pre-recorded
sound is heard coming from the four
speakers placed in the four corners of the
house.
High Soprano and Bass Solo
Kyrie eleison.
Second Soprano and Alto Soli, Tenor
and Baritone Soli
Christe eleison.
(The Celebrant with guitar is alone on
stage, before the closed curtain. His guitar
chord wipes out pre-recorded sound, which
fades immediately.)
2 2. Hymn and Psalm: A Simple Song
Celebrant
Sing God a simple song:
Lauda, Laude
Make it up as you go along:
Lauda, Laude
Sing like you like to sing.
God loves all simple things,
For God is the simplest of all.
I will sing the Lord a new song
To praise Him, to bless Him, to bless the
Lord. 49
 I will sing His praises while I live II. First Introit (Rondo) Soprani and Celebrant Street Chorus and Boys Choir
All of my days. 4 1. Prefatory Prayers Vidi aquam egredientem Alleluia!
(The stage is suddenly flooded with people, De templo latere dextro.
Blessed is the man who loves the Lord, light, and music.) 5 2. Thrice-Triple Canon: Dominus vobiscum
Blessed is the man who praises Him. Rest of Street Chorus Celebrant, Boys Choir and Street Chorus
Lauda, Lauda, Laude, Street Chorus Alleluia! Dominus vobiscum.
And walks in His ways. Kyrie eleison! Et cum spiritu tuo.
Christe eleison! Soprani and Celebrant
I will lift up my eyes Gloria Patri et Filio, Et omnes ad quos pervenit III. Second Introit
To the hills from whence comes my help. Et Spiritui Sancto! Aqua ista salvi facti sunt, 6 1. In nomine Patris
I will lift up my voice to the Lord, Sicut erat in principio Et dicent: Celebrant (speaking)
Singing Lauda, Laude. Et nunc et semper, In the name of the Father, and the Son, and
(A solo boy from the Boys Choir enters.) Et in saecula saeculorum. Tutti the Holy Ghost.
For the Lord is my shade, Amen. Alleluia!
Is the shade upon my right hand, Track Three
And the sun shall not smite me by day Basses Boys Choir (The Celebrant kneels.)
Nor the moon by night. Introibo ad altare Dei. Kyrie eleison. (The Acolytes enter, carrying ritual objects,
Blessed is the man who loves the Lord, relics, etc.)
Lauda, Lauda, Laude, Tutti Street Chorus
And walks in His ways. Ad Deum qui laetificat juventutem meam. Christe eleison. Boys Choir and Choir (Men)
(Solo boy takes Celebrants guitar. Altar In nomine Patris, et Filii,
boys invest him with a simple robe.) Women Solo Boy and Boys Choir (The Choir files into the pews and sits.)
Lauda, Lauda, Laude, Asperges me, Domine, Here I go up to the altar of God. Et Spiritus Sancti.
Lauda, Lauda di da di day Hyssopo, et mundabor. In I go, up I go Amen.
All of my days. Emitte lucem tuam, To God who made me young,
Et veritatem tuam. To God who made me happy, (The Celebrant stands and raises his arms.)
3 3. Responsory: Alleluia Ostende nobis, Domine To God who makes me happy to be young.
Track Two Celebrant (speaking)
Basses Solo Boy, Boys Choir and Street Chorus Let us rise and pray.
Six Solo Voices Domine. Kyrie eleison. Almighty Father, bless this house.
Du bing, du bang, du bong, etc. Christe eleison! And bless and protect all who are assembled
Alleluia! Alleluia! etc. Women in it.
Misericordiam tuam.
50 51
 I will sing His praises while I live II. First Introit (Rondo) Soprani and Celebrant Street Chorus and Boys Choir
All of my days. 4 1. Prefatory Prayers Vidi aquam egredientem Alleluia!
(The stage is suddenly flooded with people, De templo latere dextro.
Blessed is the man who loves the Lord, light, and music.) 5 2. Thrice-Triple Canon: Dominus vobiscum
Blessed is the man who praises Him. Rest of Street Chorus Celebrant, Boys Choir and Street Chorus
Lauda, Lauda, Laude, Street Chorus Alleluia! Dominus vobiscum.
And walks in His ways. Kyrie eleison! Et cum spiritu tuo.
Christe eleison! Soprani and Celebrant
I will lift up my eyes Gloria Patri et Filio, Et omnes ad quos pervenit III. Second Introit
To the hills from whence comes my help. Et Spiritui Sancto! Aqua ista salvi facti sunt, 6 1. In nomine Patris
I will lift up my voice to the Lord, Sicut erat in principio Et dicent: Celebrant (speaking)
Singing Lauda, Laude. Et nunc et semper, In the name of the Father, and the Son, and
(A solo boy from the Boys Choir enters.) Et in saecula saeculorum. Tutti the Holy Ghost.
For the Lord is my shade, Amen. Alleluia!
Is the shade upon my right hand, Track Three
And the sun shall not smite me by day Basses Boys Choir (The Celebrant kneels.)
Nor the moon by night. Introibo ad altare Dei. Kyrie eleison. (The Acolytes enter, carrying ritual objects,
Blessed is the man who loves the Lord, relics, etc.)
Lauda, Lauda, Laude, Tutti Street Chorus
And walks in His ways. Ad Deum qui laetificat juventutem meam. Christe eleison. Boys Choir and Choir (Men)
(Solo boy takes Celebrants guitar. Altar In nomine Patris, et Filii,
boys invest him with a simple robe.) Women Solo Boy and Boys Choir (The Choir files into the pews and sits.)
Lauda, Lauda, Laude, Asperges me, Domine, Here I go up to the altar of God. Et Spiritus Sancti.
Lauda, Lauda di da di day Hyssopo, et mundabor. In I go, up I go Amen.
All of my days. Emitte lucem tuam, To God who made me young,
Et veritatem tuam. To God who made me happy, (The Celebrant stands and raises his arms.)
3 3. Responsory: Alleluia Ostende nobis, Domine To God who makes me happy to be young.
Track Two Celebrant (speaking)
Basses Solo Boy, Boys Choir and Street Chorus Let us rise and pray.
Six Solo Voices Domine. Kyrie eleison. Almighty Father, bless this house.
Du bing, du bang, du bong, etc. Christe eleison! And bless and protect all who are assembled
Alleluia! Alleluia! etc. Women in it.
Misericordiam tuam.
50 51
7 2. Prayer for the Congregation Et vobis, fratres: I dont know why evry time Second Rock Singer
(Chorale: Almighty Father) Quia peccavi nimis cogitatione, verbo et I find a new love I dont know where to start.
Choir opere: I wind up destroying it. Theres so much I could show
Almighty Father, incline thine ear: (The Celebrant blesses the relics of the I dont know why Im so crazy-minded If I opened my heart
Bless us and all those who have gathered Acolytes.) I keep on kind of enjoying it. But how far, Lord, but how far can I go?
here. Mea culpa, Why I drift off to sleep I dont know.
Thine angel send us, Mea maxima culpa. With pledges of deep resolve again,
Who shall defend us all. Ideo precor, Then along comes the day Second Blues Singer
And fill with grace Beatam Mariam semper Virginem, And suddenly they dissolve again. If you ask me to join you in some real good
All who dwell in this place. Beatum Michaelem Archangelum, I dont know vice,
Amen. Beatum Joannem Baptistam, Now that might be nice
Sanctos Apostolos Petrum et Paulum. First Rock Singer and Descant Once or twice.
(The Celebrant gestures all to sit.) Omnes Sanctos, What I say I dont feel, But dont look for sacraments or sacrifice,
Et vos, fratres: What I feel I dont show, Theyre not worth the price.
8 3. Epiphany Orare pro me What I show isnt real, Its easy to have yourself a fine affair.
Track Four Ad Dominum Deum nostrum. What is real, Lord, I dont know, Your bodys always ready, but your souls
Oboe solo No, no, no not there.
10 2. Trope: I Dont Know I dont know. Dont count on trust,
Celebrant (speaking) Street Chorus (Men) Come love, come lust.
I confess to Almighty God, to blessed Confiteor, confiteor 11 3. Trope: Easy Its so easy when you just dont care.
Mary ever Virgin, to blessed Michael the First Blues Singer
archangel, to blessed John the Baptist, to First Rock Singer Well, I went to the holy man and I confessed, Third Rock Singer
the holy apostles, Peter and Paul Lord, I could go confess Look, I can beat my breast What I need I dont have,
Good and loud, nice and slow, With the best. What I have I dont own,
IV. Confession Get this load off my chest, And Ill say almost anything that gets me What I own I dont want,
9 1. Confiteor Yes, but how, Lord, I dont know. blessed. What I want, Lord, I dont know.
Choir What I say I dont feel, Upon request.
Confiteor Deo omnipotenti, What I feel I dont show, Its easy to shake the blame for any crime Third Blues Singer
Beatae Mariae semper Virgini, What I show isnt real, By trotting out that mea culpa pantomime: If you ask me to sing you verse thats
Beato Michaeli Archangelo, What is real, Lord, I dont know, Yes, yes, Im sad. versatile,
Beato Joanni Baptistae, No, no, no I sinned, Im bad. Ill be glad to beguile you
Sanctis Apostolis Petro et Paulo, I dont know. Then go out and do it one more time. For a while.
Omnibus sanctis,
52 53
7 2. Prayer for the Congregation Et vobis, fratres: I dont know why evry time Second Rock Singer
(Chorale: Almighty Father) Quia peccavi nimis cogitatione, verbo et I find a new love I dont know where to start.
Choir opere: I wind up destroying it. Theres so much I could show
Almighty Father, incline thine ear: (The Celebrant blesses the relics of the I dont know why Im so crazy-minded If I opened my heart
Bless us and all those who have gathered Acolytes.) I keep on kind of enjoying it. But how far, Lord, but how far can I go?
here. Mea culpa, Why I drift off to sleep I dont know.
Thine angel send us, Mea maxima culpa. With pledges of deep resolve again,
Who shall defend us all. Ideo precor, Then along comes the day Second Blues Singer
And fill with grace Beatam Mariam semper Virginem, And suddenly they dissolve again. If you ask me to join you in some real good
All who dwell in this place. Beatum Michaelem Archangelum, I dont know vice,
Amen. Beatum Joannem Baptistam, Now that might be nice
Sanctos Apostolos Petrum et Paulum. First Rock Singer and Descant Once or twice.
(The Celebrant gestures all to sit.) Omnes Sanctos, What I say I dont feel, But dont look for sacraments or sacrifice,
Et vos, fratres: What I feel I dont show, Theyre not worth the price.
8 3. Epiphany Orare pro me What I show isnt real, Its easy to have yourself a fine affair.
Track Four Ad Dominum Deum nostrum. What is real, Lord, I dont know, Your bodys always ready, but your souls
Oboe solo No, no, no not there.
10 2. Trope: I Dont Know I dont know. Dont count on trust,
Celebrant (speaking) Street Chorus (Men) Come love, come lust.
I confess to Almighty God, to blessed Confiteor, confiteor 11 3. Trope: Easy Its so easy when you just dont care.
Mary ever Virgin, to blessed Michael the First Blues Singer
archangel, to blessed John the Baptist, to First Rock Singer Well, I went to the holy man and I confessed, Third Rock Singer
the holy apostles, Peter and Paul Lord, I could go confess Look, I can beat my breast What I need I dont have,
Good and loud, nice and slow, With the best. What I have I dont own,
IV. Confession Get this load off my chest, And Ill say almost anything that gets me What I own I dont want,
9 1. Confiteor Yes, but how, Lord, I dont know. blessed. What I want, Lord, I dont know.
Choir What I say I dont feel, Upon request.
Confiteor Deo omnipotenti, What I feel I dont show, Its easy to shake the blame for any crime Third Blues Singer
Beatae Mariae semper Virgini, What I show isnt real, By trotting out that mea culpa pantomime: If you ask me to sing you verse thats
Beato Michaeli Archangelo, What is real, Lord, I dont know, Yes, yes, Im sad. versatile,
Beato Joanni Baptistae, No, no, no I sinned, Im bad. Ill be glad to beguile you
Sanctis Apostolis Petro et Paulo, I dont know. Then go out and do it one more time. For a while.
Omnibus sanctis,
52 53
 But dont look for content beneath the All Six Solo Singers and Descant 12 V. Meditation No. 1 Laudamus te,
style, What I say I dont feel, Orchestra alone Adoramus te,
Sit back and smile. What I feel I dont show, Benedicimus te,
Its easy for you to dig my jim jam jive, What I show isnt real, VI. Gloria Glorificamus te.
And, baby, please observe how neatly I What is real, Lord, I dont know, 13 1. Gloria tibi Gratias agimus tibi propter magnam gloriam
survive. No, no, no Celebrant and Boys Choir tuam:
And what could give I dont know. Gloria tibi, Domine Deus,
More positive Gloria tibi, Rex caelestis,
Plain proof that living is easy when youre First Rock Singer Gloria! Deus Pater omnipotens.
half alive. Come on, Lord, if youre so great Gloria Patri, Domine Fili unigenite, Jesu Christe;
Show me how, where to go. Gloria Filio, Domine Deus, Agnus Dei, Filius Patris:
All Three Rock Singers Show me now, I cant wait, Et Spiritui Sancto. Qui tollis peccata mundi, miserere nobis;
If I could Id confess, Maybe its too late, Lord. Laudamus te, Suscipe deprecationem nostram;
Good and loud, nice and slow, Lord. I dont know. Adoramus te, Qui sedes ad dexteram Patris, miserere
Glorificamus te, nobis.
All Three Blues Singers First Blues Singer Benedicimus te! Quoniam tu solus Sanctus,
Easy, easy. Confiteor. Gloria Patri, Tu solus Dominus,
Gloria Filio, Tu solus Altissimus, Jesu Christe,
Choir Celebrant (speaking) Et Spiritui Sancto. Cum Sancto Spiritu; in gloria Dei Patris.
Beatam Mariam semper Virginem, God forgive you. Gloria! Amen.
Precor,
Beatum Michaelem Archangelum, All (speaking) Celebrant (embracing Boys, in shout of 15 3. Trope: Half of the People
Ideo precor God forgive us all. praise) *This quatrain was a Christmas present
Beatum Joannem Baptistam, Glory to God in the Highest and Peace on from Paul Simon. Gratias. L.B.
Sanctos Apostolos Petrum et Paulum. Celebrant (speaking) Earth to Men of Good Will!
Omnes sanctos, God be with you. Street Chorus (jumping to their feet)
Et vos, fratres, (He is interrupted by the Gloria in Excelsis.) Amen!
Orare pro me All (speaking) Half of the people are stoned
Ad Dominum Deum nostrum. And with your spirit. 14 2. Gloria in Excelsis And the other half are waiting for the next
Choir election.
Celebrant (speaking) Gloria in excelsis Deo, Half the people are drowned
Let us pray. Et in terra pax hominibus bonae voluntatis. And the other half are swimming in the
wrong direction.*
54 55
 But dont look for content beneath the All Six Solo Singers and Descant 12 V. Meditation No. 1 Laudamus te,
style, What I say I dont feel, Orchestra alone Adoramus te,
Sit back and smile. What I feel I dont show, Benedicimus te,
Its easy for you to dig my jim jam jive, What I show isnt real, VI. Gloria Glorificamus te.
And, baby, please observe how neatly I What is real, Lord, I dont know, 13 1. Gloria tibi Gratias agimus tibi propter magnam gloriam
survive. No, no, no Celebrant and Boys Choir tuam:
And what could give I dont know. Gloria tibi, Domine Deus,
More positive Gloria tibi, Rex caelestis,
Plain proof that living is easy when youre First Rock Singer Gloria! Deus Pater omnipotens.
half alive. Come on, Lord, if youre so great Gloria Patri, Domine Fili unigenite, Jesu Christe;
Show me how, where to go. Gloria Filio, Domine Deus, Agnus Dei, Filius Patris:
All Three Rock Singers Show me now, I cant wait, Et Spiritui Sancto. Qui tollis peccata mundi, miserere nobis;
If I could Id confess, Maybe its too late, Lord. Laudamus te, Suscipe deprecationem nostram;
Good and loud, nice and slow, Lord. I dont know. Adoramus te, Qui sedes ad dexteram Patris, miserere
Glorificamus te, nobis.
All Three Blues Singers First Blues Singer Benedicimus te! Quoniam tu solus Sanctus,
Easy, easy. Confiteor. Gloria Patri, Tu solus Dominus,
Gloria Filio, Tu solus Altissimus, Jesu Christe,
Choir Celebrant (speaking) Et Spiritui Sancto. Cum Sancto Spiritu; in gloria Dei Patris.
Beatam Mariam semper Virginem, God forgive you. Gloria! Amen.
Precor,
Beatum Michaelem Archangelum, All (speaking) Celebrant (embracing Boys, in shout of 15 3. Trope: Half of the People
Ideo precor God forgive us all. praise) *This quatrain was a Christmas present
Beatum Joannem Baptistam, Glory to God in the Highest and Peace on from Paul Simon. Gratias. L.B.
Sanctos Apostolos Petrum et Paulum. Celebrant (speaking) Earth to Men of Good Will!
Omnes sanctos, God be with you. Street Chorus (jumping to their feet)
Et vos, fratres, (He is interrupted by the Gloria in Excelsis.) Amen!
Orare pro me All (speaking) Half of the people are stoned
Ad Dominum Deum nostrum. And with your spirit. 14 2. Gloria in Excelsis And the other half are waiting for the next
Choir election.
Celebrant (speaking) Gloria in excelsis Deo, Half the people are drowned
Let us pray. Et in terra pax hominibus bonae voluntatis. And the other half are swimming in the
wrong direction.*
54 55
 (During this sequence, the Acolytes place And now, its strange, A Young Man It made the heavens and the earth and set
an elaborate stole on the Celebrants Somehow, though nothing much has really Dearly Beloved: Do not be surprised if the them spinning,
shoulders.) changed, world hates you. We who love our brothers And for several million years
They call it I miss the Gloria, have crossed over to life, but they who do Its endured all our forums and fine ideas.
Glorious Living, I dont sing Gratias Deo. not love, abide in death. Everyone who Its been rough but it appears to be winning!
And, baby, where does that leave you, I cant say quite when it happened, hates his brother is a murderer. There are people who doubt it and shout
You and your kind? But gone is the thank you it out loud,
Another Young Man Oh they bellow and they bluster til they
Choir Street Chorus Dear Mom and Dad: Do not feel badly or muster up a crowd.
miserere nobis; Half the people are drowned worry about me. Nothing will make me They can fashion a rebuttal thats as subtle
Suscipe deprecationem nostrum. And the other half are swimming in the change my mind. Try to understand: I am as a sword,
wrong direction. now a man. But theyre never gonna scuttle the Word
Street Chorus of the lord.
you and your youth and your mind? Celebrant (speaking) Celebrant
Nowhere, nowhere, nowhere. Let us pray. You can lock up the bold men, Celebrant and Street Chorus
Half of the people are stoned Go and lock up your bold men and hold No, theyre never gonna scuttle the Word
And the other half are waiting for the next (Everybody quietly sits or kneels.) men in tow, of the Lord!
election You can stifle all adventure
17 VII. Meditation No. 2 For a century or so. An Older Man
16 4. Trope: Thank You (on a sequence by Beethoven) Smother hope before its risen, Dear Brothers: I think that God has made
Soprano Solo Orchestra alone Watch it wizen like a gourd, us apostles the most abject of mankind.
There once were days so bright, But you cannot imprison We hunger and thirst, we are naked, we
And nights when evry cricket call seemed The Word of the Lord. are roughly handled, and we have no fixed
right, COMPACT DISC TWO abode. They curse us and we bless. They
And I sang Gloria, Celebrant and Street Chorus persecute us and we suffer it They treat
Then I sang Gratias Deo. 1 VIII. Epistle: The Word of the Lord No, you cannot imprison us as the scum of the earth, the dregs of
I knew a glorious feeling of thank you and Celebrant (reading from the Book) The Word of the Lord. humanity, to this very day.
Thank you Dear Brothers: This is the gospel I
preach; and in its service I have suffered Celebrant A Young Girl
The bend of a willow, hardship like a criminal; yea, even unto For the Word was at the birth of the Dear Folks: Jim looked very well on my first
A friend and a pillow, imprisonment; but there is no imprisoning beginning, visit. With his head clean-shaven, he looked
A lover whose eyes the word of God about nineteen years old. He says the
Could mirror my cries of Gloria
56 57
 (During this sequence, the Acolytes place And now, its strange, A Young Man It made the heavens and the earth and set
an elaborate stole on the Celebrants Somehow, though nothing much has really Dearly Beloved: Do not be surprised if the them spinning,
shoulders.) changed, world hates you. We who love our brothers And for several million years
They call it I miss the Gloria, have crossed over to life, but they who do Its endured all our forums and fine ideas.
Glorious Living, I dont sing Gratias Deo. not love, abide in death. Everyone who Its been rough but it appears to be winning!
And, baby, where does that leave you, I cant say quite when it happened, hates his brother is a murderer. There are people who doubt it and shout
You and your kind? But gone is the thank you it out loud,
Another Young Man Oh they bellow and they bluster til they
Choir Street Chorus Dear Mom and Dad: Do not feel badly or muster up a crowd.
miserere nobis; Half the people are drowned worry about me. Nothing will make me They can fashion a rebuttal thats as subtle
Suscipe deprecationem nostrum. And the other half are swimming in the change my mind. Try to understand: I am as a sword,
wrong direction. now a man. But theyre never gonna scuttle the Word
Street Chorus of the lord.
you and your youth and your mind? Celebrant (speaking) Celebrant
Nowhere, nowhere, nowhere. Let us pray. You can lock up the bold men, Celebrant and Street Chorus
Half of the people are stoned Go and lock up your bold men and hold No, theyre never gonna scuttle the Word
And the other half are waiting for the next (Everybody quietly sits or kneels.) men in tow, of the Lord!
election You can stifle all adventure
17 VII. Meditation No. 2 For a century or so. An Older Man
16 4. Trope: Thank You (on a sequence by Beethoven) Smother hope before its risen, Dear Brothers: I think that God has made
Soprano Solo Orchestra alone Watch it wizen like a gourd, us apostles the most abject of mankind.
There once were days so bright, But you cannot imprison We hunger and thirst, we are naked, we
And nights when evry cricket call seemed The Word of the Lord. are roughly handled, and we have no fixed
right, COMPACT DISC TWO abode. They curse us and we bless. They
And I sang Gloria, Celebrant and Street Chorus persecute us and we suffer it They treat
Then I sang Gratias Deo. 1 VIII. Epistle: The Word of the Lord No, you cannot imprison us as the scum of the earth, the dregs of
I knew a glorious feeling of thank you and Celebrant (reading from the Book) The Word of the Lord. humanity, to this very day.
Thank you Dear Brothers: This is the gospel I
preach; and in its service I have suffered Celebrant A Young Girl
The bend of a willow, hardship like a criminal; yea, even unto For the Word was at the birth of the Dear Folks: Jim looked very well on my first
A friend and a pillow, imprisonment; but there is no imprisoning beginning, visit. With his head clean-shaven, he looked
A lover whose eyes the word of God about nineteen years old. He says the
Could mirror my cries of Gloria
56 57
 prison food is very good, cafeteria-style.
For the first few days he is not allowed any
books except his Bible. We sat and talked
about our marriage and about how we
would grow through this. When I hugged
him he smelled so good, a smell of clean
plain soap; he smelled like a child when
you put him to bed.
Celebrant
All you big men of merit who ferret out
flaws,
You rely on our compliance with your
science and your laws.
Find a freedom to demolish while you
polish some award,
But you cannot abolish the Word of the
Lord.
Celebrant and Street Chorus
No, you cannot abolish the Word of the
Lord.
Celebrant
For the Word created mud and got it going,
It filled our empty brains with blood and
set it flowing,
And for thousands of regimes
Its endured all our follies and fancy
schemes.
Its been tough, and yet it seems to be
growing!
58
O you people of power, your hour is now.
You may plan to rule forever, but you never
do somehow!
(Celebrant closes the book.)
So we wait in silent treason until reason is
restored,
And we wait for the season of the Word of
the Lord.
We await the season of the Word of the
Lord.
We wait, we wait for the Word of the Lord
2 IX. Gospel-Sermon: God Said
(The Preacher jumps on a bench, surrounded
by his congregants.)
Preacher (pious)
God said: Let there be light.
And there was light.
Street Chorus
God said: Let there be night.
And there was night.
Preacher
God said: Let there be day.
And there was day
Street Chorus
day to follow the night.
Preacher
And it was good, brother
Preacher and Street Chorus
And it was good, brother
Preacher
And it was good, brother
Preacher and Street Chorus
And it was goddam good.
Preacher
God said: Let there be storms.
Storms to bring life
Street Chorus
life in all of its forms,
Forms such as herds
Preacher
herds and gaggles and swarms,
Swarms that have names
Street Chorus
names and numbers and norms.
Preacher
And it was good, brother
Preacher and Street Chorus
And it was good, brother
Preacher
And it was good, brother
Preacher and Street Chorus
And it was goddam good.
Preacher (a little less pious)
God said: Let there be gnats.
Let there be sprats
Street Chorus
sprats to gobble the gnats
So that the sprats
Preacher
sprats may nourish the rats,
Making them fat
Street Chorus
fat, fine food for the cats.
Preacher
And they grew fat, brother
Preacher and Street Chorus
And they grew fat, brother
Preacher
All but the gnats, brother
Preacher and Street Chorus
They all grew fearful fat.
Preacher (always a bit nastier)
And God saw it was good.
59
 prison food is very good, cafeteria-style.
For the first few days he is not allowed any
books except his Bible. We sat and talked
about our marriage and about how we
would grow through this. When I hugged
him he smelled so good, a smell of clean
plain soap; he smelled like a child when
you put him to bed.
Celebrant
All you big men of merit who ferret out
flaws,
You rely on our compliance with your
science and your laws.
Find a freedom to demolish while you
polish some award,
But you cannot abolish the Word of the
Lord.
Celebrant and Street Chorus
No, you cannot abolish the Word of the
Lord.
Celebrant
For the Word created mud and got it going,
It filled our empty brains with blood and
set it flowing,
And for thousands of regimes
Its endured all our follies and fancy
schemes.
Its been tough, and yet it seems to be
growing!
58
O you people of power, your hour is now.
You may plan to rule forever, but you never
do somehow!
(Celebrant closes the book.)
So we wait in silent treason until reason is
restored,
And we wait for the season of the Word of
the Lord.
We await the season of the Word of the
Lord.
We wait, we wait for the Word of the Lord
2 IX. Gospel-Sermon: God Said
(The Preacher jumps on a bench, surrounded
by his congregants.)
Preacher (pious)
God said: Let there be light.
And there was light.
Street Chorus
God said: Let there be night.
And there was night.
Preacher
God said: Let there be day.
And there was day
Street Chorus
day to follow the night.
Preacher
And it was good, brother
Preacher and Street Chorus
And it was good, brother
Preacher
And it was good, brother
Preacher and Street Chorus
And it was goddam good.
Preacher
God said: Let there be storms.
Storms to bring life
Street Chorus
life in all of its forms,
Forms such as herds
Preacher
herds and gaggles and swarms,
Swarms that have names
Street Chorus
names and numbers and norms.
Preacher
And it was good, brother
Preacher and Street Chorus
And it was good, brother
Preacher
And it was good, brother
Preacher and Street Chorus
And it was goddam good.
Preacher (a little less pious)
God said: Let there be gnats.
Let there be sprats
Street Chorus
sprats to gobble the gnats
So that the sprats
Preacher
sprats may nourish the rats,
Making them fat
Street Chorus
fat, fine food for the cats.
Preacher
And they grew fat, brother
Preacher and Street Chorus
And they grew fat, brother
Preacher
All but the gnats, brother
Preacher and Street Chorus
They all grew fearful fat.
Preacher (always a bit nastier)
And God saw it was good.
59
 Street Chorus Soloist and Street Chorus
God made it be good And it was good.
Preacher Second Solo and Street Chorus
Created it good (antiphonally)
God said take charge of my zoo,
Street Chorus I made these creatures for you;
Created the gnats So He wont mind if we
Wipe out a species or two.
Preacher
gnats to nourish the sprats Soloist and Street Chorus
And it was good.
Street Chorus
sprats to nourish the rats Third Solo and Street Chorus
(antiphonally)
Preacher God said to spread His commands
And all for us big fat cats. To folks in faraway lands;
They may not want us there,
Street Chorus But, man, its out of our hands.
us cats!
Soloist and Street Chorus
Preacher (stomping) and Street Chorus And it was good.
Yow!
Fourth Solo and Street Chorus
Street Chorus (antiphonally)
And it was good. God said that sex should repulse
Unless it leads to results;
First Solo and Street Chorus And so we crowd the world
(antiphonally) Full of consenting adults.
God said its good to be poor,
Good men must not be secure; Soloist and Street Chorus
So if we steal from you, And it was good.
Its just to help you stay pure.
60
Fifth Solo and Street Chorus
(antiphonally)
God said its good to be meek,
And so we are once a week;
It may not mean a lot
But oh, its terribly chic.
Soloist and Street Chorus
And it was good.
Preacher (with rising arrogance and
delight) and Street Chorus (antiphonally)
God made us the boss.
God gave us the cross.
We turned it into a sword
To spread the Word of the Lord.
We use His holy decrees
To do whatever we please.
Street Chorus
Yeah!
Preacher and Street Chorus
And it was good! Yeah!
And it was goddam good!
(They dance, drunk with power.)
(The dance suddenly halts at the appearance
of the Celebrant, who is now even more
elaborately robed.)
Preacher (suddenly pious again)
God said: Let there be light.
And there was light.
Street Chorus
God said: Let there be night.
And there was night.
Preacher
God said: Let there be day.
And there was day
Street Chorus
day to follow the night.
Preacher (retreating)
And it was good, brother
Preacher and Street Chorus (retreating)
And it was good, brother
And it was
X. Credo
3 1. Credo in unum Deum
Track Five
Celebrant (declaiming)
I believe in one God, the Father Almighty,
maker of heaven and earth, and of all things
visible and invisible. And in one Lord
(He is interrupted by the recording.)
61
 Street Chorus Soloist and Street Chorus
God made it be good And it was good.
Preacher Second Solo and Street Chorus
Created it good (antiphonally)
God said take charge of my zoo,
Street Chorus I made these creatures for you;
Created the gnats So He wont mind if we
Wipe out a species or two.
Preacher
gnats to nourish the sprats Soloist and Street Chorus
And it was good.
Street Chorus
sprats to nourish the rats Third Solo and Street Chorus
(antiphonally)
Preacher God said to spread His commands
And all for us big fat cats. To folks in faraway lands;
They may not want us there,
Street Chorus But, man, its out of our hands.
us cats!
Soloist and Street Chorus
Preacher (stomping) and Street Chorus And it was good.
Yow!
Fourth Solo and Street Chorus
Street Chorus (antiphonally)
And it was good. God said that sex should repulse
Unless it leads to results;
First Solo and Street Chorus And so we crowd the world
(antiphonally) Full of consenting adults.
God said its good to be poor,
Good men must not be secure; Soloist and Street Chorus
So if we steal from you, And it was good.
Its just to help you stay pure.
60
Fifth Solo and Street Chorus
(antiphonally)
God said its good to be meek,
And so we are once a week;
It may not mean a lot
But oh, its terribly chic.
Soloist and Street Chorus
And it was good.
Preacher (with rising arrogance and
delight) and Street Chorus (antiphonally)
God made us the boss.
God gave us the cross.
We turned it into a sword
To spread the Word of the Lord.
We use His holy decrees
To do whatever we please.
Street Chorus
Yeah!
Preacher and Street Chorus
And it was good! Yeah!
And it was goddam good!
(They dance, drunk with power.)
(The dance suddenly halts at the appearance
of the Celebrant, who is now even more
elaborately robed.)
Preacher (suddenly pious again)
God said: Let there be light.
And there was light.
Street Chorus
God said: Let there be night.
And there was night.
Preacher
God said: Let there be day.
And there was day
Street Chorus
day to follow the night.
Preacher (retreating)
And it was good, brother
Preacher and Street Chorus (retreating)
And it was good, brother
And it was
X. Credo
3 1. Credo in unum Deum
Track Five
Celebrant (declaiming)
I believe in one God, the Father Almighty,
maker of heaven and earth, and of all things
visible and invisible. And in one Lord
(He is interrupted by the recording.)
61
 Chorus Baritone Solo (grim) But when I go Baritone Solo
Credo in unum Deum, And you become a man. Then You chose to die, and then revive again.
Patrem omnipotentem, You, God, chose to become a man. Will I become a god again? You chose, you rose alive again.
Factorem caeli et terrae, To pay the earth a small social call. But I,
Visibilium omnium et invisibilium. I tell you, sir, you never were Male Group I dont know why I should live
Et in unum Dominum Jesum Christum, A man at all. Possibly yes, probably no If only to die.
Filium Dei unigenitum. Why? Well, Im not gonna buy it!
Et ex Patre natum ante omnia saecula. You had the choice when to live, Baritone Solo
Deum de Deo, lumen de lumine, When Yes, probably no. Male Group
Deum verum de Deo vero. To die, Possibly yes, probably no
Genitum, non factum, consubstantialem And then Give me a choice,
Patri: Become a god again. I never had a choice. Baritone Solo
Per quem omnia facta sunt. And then a plaster god like you Or I would have been a simple tree, Ill never say credo.
Qui propter nos homines et propter A barnacle in a silent sea, How can anybody say credo?
nostram salutem descendit de caelis. Male Group Anything but what I must be: I want to say credo
Et incarnatus est de Spiritu Sancto A God like you too A man,
Ex Maria Virgine: et homo factus est. A man, Track Six
Baritone Solo A man! (The Acolytes dance.)
(The Celebrant kneels.) Has the gall to tell me what to do
To become a man, Male Group Choir
4 2. Trope: Non Credo To show my respect on my knees Possibly yes, probably no Crucifixus etiam pro nobis sub Pontio Pilato,
Male Group (interrupting tape) Passus, et sepultus est.
Et homo factus est. Male Group Baritone Solo Et resurrexit tertia die, secundum Scripturas.
Be like a man. You knew what you had to do, Et ascendit in caelum:
Baritone Solo You knew why you had to die. Sedet ad dexteram Patris,
And was made man Baritone Solo Et iterum venturus est cum gloria judicare
Go genuflect, but dont expect guarantees. Male Group vivos et mortuos.
Male Group Oh, Man,
And was made man. Just play it dumb, Man.
Play it blind,

62 63
 Chorus Baritone Solo (grim) But when I go Baritone Solo
Credo in unum Deum, And you become a man. Then You chose to die, and then revive again.
Patrem omnipotentem, You, God, chose to become a man. Will I become a god again? You chose, you rose alive again.
Factorem caeli et terrae, To pay the earth a small social call. But I,
Visibilium omnium et invisibilium. I tell you, sir, you never were Male Group I dont know why I should live
Et in unum Dominum Jesum Christum, A man at all. Possibly yes, probably no If only to die.
Filium Dei unigenitum. Why? Well, Im not gonna buy it!
Et ex Patre natum ante omnia saecula. You had the choice when to live, Baritone Solo
Deum de Deo, lumen de lumine, When Yes, probably no. Male Group
Deum verum de Deo vero. To die, Possibly yes, probably no
Genitum, non factum, consubstantialem And then Give me a choice,
Patri: Become a god again. I never had a choice. Baritone Solo
Per quem omnia facta sunt. And then a plaster god like you Or I would have been a simple tree, Ill never say credo.
Qui propter nos homines et propter A barnacle in a silent sea, How can anybody say credo?
nostram salutem descendit de caelis. Male Group Anything but what I must be: I want to say credo
Et incarnatus est de Spiritu Sancto A God like you too A man,
Ex Maria Virgine: et homo factus est. A man, Track Six
Baritone Solo A man! (The Acolytes dance.)
(The Celebrant kneels.) Has the gall to tell me what to do
To become a man, Male Group Choir
4 2. Trope: Non Credo To show my respect on my knees Possibly yes, probably no Crucifixus etiam pro nobis sub Pontio Pilato,
Male Group (interrupting tape) Passus, et sepultus est.
Et homo factus est. Male Group Baritone Solo Et resurrexit tertia die, secundum Scripturas.
Be like a man. You knew what you had to do, Et ascendit in caelum:
Baritone Solo You knew why you had to die. Sedet ad dexteram Patris,
And was made man Baritone Solo Et iterum venturus est cum gloria judicare
Go genuflect, but dont expect guarantees. Male Group vivos et mortuos.
Male Group Oh, Man,
And was made man. Just play it dumb, Man.
Play it blind,

62 63
5 3. Trope: Hurry Choir No one to help it happen faster. Bags packed, wings sewn
Mezzo-soprano Solo (interrupting tape) Sedet ad dexteram Patris. No one to expedite the fall, End of the world!
You said youd come again. Et iterum venturus est cum gloria judicare No one to soil the breeze, A man!
When? vivos et mortuos: No one to oil the seas, Wings sewn.
When things got really rough. Cujus regni non erit finis. No one to anything, Lord, dont you care?
So you made us all suffer No one to anything, You chose!
While they got a bit rougher, 6 4. Trope: World without End No one to anything at all. Hurry!
Tougher and tougher. Street Chorus (interrupting pre-recorded Lord, dont you care?
Well, things are tough enough. sound) (Recording interrupts.) You rose!
(almost whispered) Non erit finis Track Eight Hurry!
So whens your next appearance on the World without end
scene? Choir 7 5. Trope: I Believe in God
Im ready. Mezzo-soprano Solo Et in Spiritum Sanctum, Three Soli and Street Chorus
Hurry. Whispers of living, echoes of warning, Dominum et vivificantem: Amen! Amen! Amen!
Went to church for clearance and Im clean Phantoms of laughter on the edges of Qui ex Patre Filioque procedit.
And steady. morning. Qui cum Patre, et Filio simul adoratur, et Rock Singer
Hurry. World without end spins endlessly on, conglorificatur: Amen! Amen! Amen!
While Im waiting I can get my bags packed, Only the men who lived here are gone, Qui locutus est per Prophetas. I believe in God,
Flags flown, Gone on a permanent vacation, Et unam sanctam catholicam et apostolicam But does God believe in me?
Shoes blacked, Gone to await the next creation. Ecclesiam. Ill believe in any god
Wings sewn on. World without end at the end of the world. Confiteor unum baptisma in remissionem If any god there be.
Oh dont you worry: Lord, dont you know its the end of the peccatorum. Thats a pact.
I could even learn to play the harp. world? Et exspecto resurrectionem mortuorum. Shake on that.
You know it. Lord, dont you care if it all ends today? Et vitam venturi saeculi. No taking back.
Show it. Sometimes Id swear that you planned it Amen.
Hurry. this way I believe in one God,
Hurry and come again. Dark are the cities, dead is the ocean, Three Soli But then I believe in three.
Silent and sickly are the remnants of You chose Ill believe in twenty gods
Track Seven motion. Hurry and come again If theyll believe in me.
World without end turns mindlessly round, You rose Thats a pact.
Never a sentry, never a sound. World without end, end of the world! Shake on that.
No one to prophesy disaster, A man! No taking back.

64 65
5 3. Trope: Hurry Choir No one to help it happen faster. Bags packed, wings sewn
Mezzo-soprano Solo (interrupting tape) Sedet ad dexteram Patris. No one to expedite the fall, End of the world!
You said youd come again. Et iterum venturus est cum gloria judicare No one to soil the breeze, A man!
When? vivos et mortuos: No one to oil the seas, Wings sewn.
When things got really rough. Cujus regni non erit finis. No one to anything, Lord, dont you care?
So you made us all suffer No one to anything, You chose!
While they got a bit rougher, 6 4. Trope: World without End No one to anything at all. Hurry!
Tougher and tougher. Street Chorus (interrupting pre-recorded Lord, dont you care?
Well, things are tough enough. sound) (Recording interrupts.) You rose!
(almost whispered) Non erit finis Track Eight Hurry!
So whens your next appearance on the World without end
scene? Choir 7 5. Trope: I Believe in God
Im ready. Mezzo-soprano Solo Et in Spiritum Sanctum, Three Soli and Street Chorus
Hurry. Whispers of living, echoes of warning, Dominum et vivificantem: Amen! Amen! Amen!
Went to church for clearance and Im clean Phantoms of laughter on the edges of Qui ex Patre Filioque procedit.
And steady. morning. Qui cum Patre, et Filio simul adoratur, et Rock Singer
Hurry. World without end spins endlessly on, conglorificatur: Amen! Amen! Amen!
While Im waiting I can get my bags packed, Only the men who lived here are gone, Qui locutus est per Prophetas. I believe in God,
Flags flown, Gone on a permanent vacation, Et unam sanctam catholicam et apostolicam But does God believe in me?
Shoes blacked, Gone to await the next creation. Ecclesiam. Ill believe in any god
Wings sewn on. World without end at the end of the world. Confiteor unum baptisma in remissionem If any god there be.
Oh dont you worry: Lord, dont you know its the end of the peccatorum. Thats a pact.
I could even learn to play the harp. world? Et exspecto resurrectionem mortuorum. Shake on that.
You know it. Lord, dont you care if it all ends today? Et vitam venturi saeculi. No taking back.
Show it. Sometimes Id swear that you planned it Amen.
Hurry. this way I believe in one God,
Hurry and come again. Dark are the cities, dead is the ocean, Three Soli But then I believe in three.
Silent and sickly are the remnants of You chose Ill believe in twenty gods
Track Seven motion. Hurry and come again If theyll believe in me.
World without end turns mindlessly round, You rose Thats a pact.
Never a sentry, never a sound. World without end, end of the world! Shake on that.
No one to prophesy disaster, A man! No taking back.

64 65
 Who created my life?
Made me come to be?
Who accepts this awful
Responsibility?
Is there someone out there?
If there is, then who?
Are you listning to this song
Im singing just for you?
I believe my singing.
Do you believe it too?
I believe each note I sing
But is it getting through?
I believe in F sharp.
I believe in G.
But does it mean a thing to you
Or should I change my key?
How do you like A flat?
Do you believe in C?
Choir
Crucifixus etiam pro nobis sub
Rock Singer
Do you believe in anything
That has to do with me?
66
Street Chorus Ut cum reverentia serviatur tibi. Exspectet Israel Dominum,
I believe in God, Spero in Dominum, Quia penes Dominum
But does God believe in me? Sperat anima mea in verbum eius. Misericordia et copiosa penes eum
Ill believe in thirty gods Spero! redemptio:
If theyll believe in me. Sperat! Et ipse redimet Israel ex omnibus
Thats a pact. iniquitatibus eius.
Shake on that. (During the foregoing, four altar boys bring Gloria Patri!
No taking back. the Celebrant vessels for Communion:
Monstrance, Chalice, Lavabo-basin, and (With the exit of the Celebrant, the
Rock Singer Sanctus Bell.) ensembles are drawn to the holy vessels
Ill believe in sugar and spice, and dance around them with fetishistic
Ill believe in evrything nice; Celebrant passion.)
Ill believe in you and you and you Memento, Domine Remember, O Lord, (The Celebrant reappears wearing a cope.
And who Thy servants and handmaids (ad lib. There is a frozen silence, during which the
Wholl believe in me? Names of cast members) and all here ensemble slowly backs off and exits.)
present, whose faith is known to Thee,
Celebrant (speaking) and for whom we offer up this sacrifice. XIII. The Lords Prayer
Let us pray. We beseech Thee, in the fellowship of 10 1. Our Father
Let us pray! communion, graciously to accept it and (The Celebrant, left alone, goes to the
grant peace to our days. piano, picks out a melody with one finger,
8 XI. Meditation No. 3 searching it out, and sings along with it.)
(De profundis, Part 1) 9 XII. Offertory
Track Nine (De profundis, Part 2) Celebrant (as if improvising)
(The Boys Choir files in carrying lit votive Our Father, who art in heaven,
Choir candles. The Celebrant blesses the sacred Hallowed be Thy name.
De profundis clamavi ad te, Domine; objects held by the altar boys. The Acolytes Thy kingdom come,
Domine, audi vocem meam! receive them and carry them downstage to Thy will be done, on earth as it is in heaven.
Fiant aures tuae intentae the consecrated square. The Celebrant exits.) (One or two choir boys enter, watch and
Ad vocem obsecrationis meae. listen around the piano)
Si delictorum memoriam servaveris, Domine! Boys Choir and Choir (antiphonally) (a bit more motion and sonority)
Quis sustenebit? Exspectat anima mea Dominum Give us this day our daily bread
Sed penes te est peccatorum venia, Magis quam custodes auroram. And forgive us our trespasses
67
 Who created my life?
Made me come to be?
Who accepts this awful
Responsibility?
Is there someone out there?
If there is, then who?
Are you listning to this song
Im singing just for you?
I believe my singing.
Do you believe it too?
I believe each note I sing
But is it getting through?
I believe in F sharp.
I believe in G.
But does it mean a thing to you
Or should I change my key?
How do you like A flat?
Do you believe in C?
Choir
Crucifixus etiam pro nobis sub
Rock Singer
Do you believe in anything
That has to do with me?
66
Street Chorus Ut cum reverentia serviatur tibi. Exspectet Israel Dominum,
I believe in God, Spero in Dominum, Quia penes Dominum
But does God believe in me? Sperat anima mea in verbum eius. Misericordia et copiosa penes eum
Ill believe in thirty gods Spero! redemptio:
If theyll believe in me. Sperat! Et ipse redimet Israel ex omnibus
Thats a pact. iniquitatibus eius.
Shake on that. (During the foregoing, four altar boys bring Gloria Patri!
No taking back. the Celebrant vessels for Communion:
Monstrance, Chalice, Lavabo-basin, and (With the exit of the Celebrant, the
Rock Singer Sanctus Bell.) ensembles are drawn to the holy vessels
Ill believe in sugar and spice, and dance around them with fetishistic
Ill believe in evrything nice; Celebrant passion.)
Ill believe in you and you and you Memento, Domine Remember, O Lord, (The Celebrant reappears wearing a cope.
And who Thy servants and handmaids (ad lib. There is a frozen silence, during which the
Wholl believe in me? Names of cast members) and all here ensemble slowly backs off and exits.)
present, whose faith is known to Thee,
Celebrant (speaking) and for whom we offer up this sacrifice. XIII. The Lords Prayer
Let us pray. We beseech Thee, in the fellowship of 10 1. Our Father
Let us pray! communion, graciously to accept it and (The Celebrant, left alone, goes to the
grant peace to our days. piano, picks out a melody with one finger,
8 XI. Meditation No. 3 searching it out, and sings along with it.)
(De profundis, Part 1) 9 XII. Offertory
Track Nine (De profundis, Part 2) Celebrant (as if improvising)
(The Boys Choir files in carrying lit votive Our Father, who art in heaven,
Choir candles. The Celebrant blesses the sacred Hallowed be Thy name.
De profundis clamavi ad te, Domine; objects held by the altar boys. The Acolytes Thy kingdom come,
Domine, audi vocem meam! receive them and carry them downstage to Thy will be done, on earth as it is in heaven.
Fiant aures tuae intentae the consecrated square. The Celebrant exits.) (One or two choir boys enter, watch and
Ad vocem obsecrationis meae. listen around the piano)
Si delictorum memoriam servaveris, Domine! Boys Choir and Choir (antiphonally) (a bit more motion and sonority)
Quis sustenebit? Exspectat anima mea Dominum Give us this day our daily bread
Sed penes te est peccatorum venia, Magis quam custodes auroram. And forgive us our trespasses
67
 As we forgive those who trespass against (Two altar boys enter and assist the Mi sol All Voices Onstage
us. Celebrant in the washing and drying of his Means a song is beginning, Sanctus! Sanctus!
(then, similarly, three clarinettists and a hands.) Is beginning to grow,
guitarist.) Laude, Lauda, Laude, Take wing, and rise up singing 13 XV. Agnus Dei
(slowly again) Lauda, Lauda di da di day. From me and my soul. Soloists of Street Chorus
And lead us not into temptation, Kadosh, Kadosh, Kadosh! Agnus Dei, qui tollis peccata mundi,
But deliver us from evil. 12 XIV. Sanctus (a few more join them)
(leaves piano) (As he finishes singing, the Celebrant seizes (The Celebrant stands at the centre of the Miserere nobis!
Amen. the Sanctus Bell and rings it loudly.) altar circle. The ensemble brings imaginary (and a few more)
(The Boys Choir rush onstage.) gift-offerings to him. Each kneels, places Miserere nobis!
11 2. Trope: I Go On a gift, and then stands, until the entire
Celebrant Celebrant (shouting) company has surrounded him. He is no Street Chorus
When the thunder rumbles, Holy! Holy! Holy longer visible.) Agnus Dei, qui tollis peccata mundi,
Now the Age of Gold is dead Is the lord God of Hosts! Miserere nobis!
And the dreams weve clung to dying to Heaven and earth are full of Thy glory! Choir Agnus Dei, qui tollis peccata mundi;
stay young Kadosh, Kadosh, Kadosh Dona nobis pacem!
Have left us parched and old instead, Boys Choir I and II (antiphonally) Adonai tsvaot Pacem! Pacem!
When my courage crumbles, Sanctus, Sanctus, Sanctus Mlo chol haaretz kvodo.
When I feel confused and frail, Dominus Deus Sabaoth. Singing: Holy, Holy, Holy, (During the foregoing, the Celebrant has
When my spirit falters on decaying altars Pleni sunt coeli et terra Gloriae tuae. Lord God of Hosts. been trying to continue the consecration.
And my illusions fail, Osanna! All the heavens and earth He elevates the Monstrance.)
I go on right then, I go on again. Benedictus qui venit in nomine Domini. Are full of His glory.
I go on to say Osanna in excelsis! Celebrant (speaking)
I will celebrate another day Three to Six Counter-tenors (Choir only) Hoc est enim Corpus Meum.
I go on (The boys disperse.) Kadosh, Kadosh, Kadosh (He rises and goes toward the Altar. His
(The Celebrant joyously receives his guitar Adonai tsvaot way is barred by the Acolytes.)
If tomorrow tumbles from the Solo Choir Boy.) Mlo chol haaretz kvodo. (grasping the Chalice with his other hand)
And evrything I love is gone, Hic est enim Calix Sanguinis Mei!
I will face regret Celebrant (to the boy) Choir
All my days, and yet Mi Mi Mi alone is only me. Baruch haba (The Celebrant appeals to the ensemble.)
I will still go on on But mi with sol Bshem Adonai!
Me with soul,

68 69
 As we forgive those who trespass against (Two altar boys enter and assist the Mi sol All Voices Onstage
us. Celebrant in the washing and drying of his Means a song is beginning, Sanctus! Sanctus!
(then, similarly, three clarinettists and a hands.) Is beginning to grow,
guitarist.) Laude, Lauda, Laude, Take wing, and rise up singing 13 XV. Agnus Dei
(slowly again) Lauda, Lauda di da di day. From me and my soul. Soloists of Street Chorus
And lead us not into temptation, Kadosh, Kadosh, Kadosh! Agnus Dei, qui tollis peccata mundi,
But deliver us from evil. 12 XIV. Sanctus (a few more join them)
(leaves piano) (As he finishes singing, the Celebrant seizes (The Celebrant stands at the centre of the Miserere nobis!
Amen. the Sanctus Bell and rings it loudly.) altar circle. The ensemble brings imaginary (and a few more)
(The Boys Choir rush onstage.) gift-offerings to him. Each kneels, places Miserere nobis!
11 2. Trope: I Go On a gift, and then stands, until the entire
Celebrant Celebrant (shouting) company has surrounded him. He is no Street Chorus
When the thunder rumbles, Holy! Holy! Holy longer visible.) Agnus Dei, qui tollis peccata mundi,
Now the Age of Gold is dead Is the lord God of Hosts! Miserere nobis!
And the dreams weve clung to dying to Heaven and earth are full of Thy glory! Choir Agnus Dei, qui tollis peccata mundi;
stay young Kadosh, Kadosh, Kadosh Dona nobis pacem!
Have left us parched and old instead, Boys Choir I and II (antiphonally) Adonai tsvaot Pacem! Pacem!
When my courage crumbles, Sanctus, Sanctus, Sanctus Mlo chol haaretz kvodo.
When I feel confused and frail, Dominus Deus Sabaoth. Singing: Holy, Holy, Holy, (During the foregoing, the Celebrant has
When my spirit falters on decaying altars Pleni sunt coeli et terra Gloriae tuae. Lord God of Hosts. been trying to continue the consecration.
And my illusions fail, Osanna! All the heavens and earth He elevates the Monstrance.)
I go on right then, I go on again. Benedictus qui venit in nomine Domini. Are full of His glory.
I go on to say Osanna in excelsis! Celebrant (speaking)
I will celebrate another day Three to Six Counter-tenors (Choir only) Hoc est enim Corpus Meum.
I go on (The boys disperse.) Kadosh, Kadosh, Kadosh (He rises and goes toward the Altar. His
(The Celebrant joyously receives his guitar Adonai tsvaot way is barred by the Acolytes.)
If tomorrow tumbles from the Solo Choir Boy.) Mlo chol haaretz kvodo. (grasping the Chalice with his other hand)
And evrything I love is gone, Hic est enim Calix Sanguinis Mei!
I will face regret Celebrant (to the boy) Choir
All my days, and yet Mi Mi Mi alone is only me. Baruch haba (The Celebrant appeals to the ensemble.)
I will still go on on But mi with sol Bshem Adonai!
Me with soul,

68 69
 Street Chorus Celebrant (hoarse whisper) Choir (The Choir has for some time [during the
Dona nobis pacem Let us pray! Agnus Dei, qui tollis peccata mundi! ascent of the Celebrant] been leaving
(The Celebrant climbs the staircase with the pews, and mixing with the Chorus
Celebrant (speaking) (The ensemble instantly kneels.) increasing difficulty, stumbling as if under a downstage. The whole stage is in increasing
Hostiam puram! great burden.) disarray and turmoil.)
Choir (timidly) Dona nobis pacem!
Street Chorus (Women) Agnus Dei, qui tollis peccata mundi Tenor Solo (harshly)
Dona nobis pacem. (The Celebrant moves to the Altar.) Celebrant (elevating the holy vessels) Were not down on our knees,
Miserere nobis. Corpus! Were not praying,
Celebrant (weakening) Were not asking you please,
Hostiam sanctam Celebrant Choir Were just saying:
Non sum dignus, Domine. Pacem! (One or two other men join him.)
Street Chorus (Women) Give us peace now and peace to hold on to.
Dona nobis pacem. (The Celebrant, still holding the Monstrance Celebrant And, God, give us some reason to want to!
and Chalice, moves to the upstage side of Calix! Dona nobis,
Celebrant (weaker) the Altar.) (and still more)
Hostiam immaculatam Choir Dona nobis.
Choir Pacem! Pacem!
Street Chorus Agnus Dei, qui tollis peccata mundi Dona nobis pacem! Tutti Male Soli
Dona nobis pacem. (The stage becomes gradually disorganised. You worked six days and rested on Sunday.
Pacem! Pacem! Musicians wander downstage, singers appear Celebrant We can tear the whole mess down in one
where instrumentalists should be, etc.) Panem! day.
Street Chorus and Choir Miserere nobis. Give us peace now, and we dont mean
Agnus Dei, qui tollis peccata mundi; Choir later,
Dona nobis pacem! (The Celebrant begins to climb the upstage Dona nobis pacem! Dont forget you were once our Creator!
Dona nobis pacem! staircase.) (The Celebrant reaches the summit. His lips Dona nobis,
Pacem! Pacem! move but no sound emerges. He stands (and a few women)
Celebrant motionless, the Monstrance and Chalice Dona nobis.
(In a desperate effort to regain control, the I am not worthy, Lord. elevated, until the end of the sequence.)
Celebrant elevates the Monstrance above Dona nobis, nobis pacem, pacem dona. Soli
his head.) Weve got quarrels and qualms and such
questions,

70 71
 Street Chorus Celebrant (hoarse whisper) Choir (The Choir has for some time [during the
Dona nobis pacem Let us pray! Agnus Dei, qui tollis peccata mundi! ascent of the Celebrant] been leaving
(The Celebrant climbs the staircase with the pews, and mixing with the Chorus
Celebrant (speaking) (The ensemble instantly kneels.) increasing difficulty, stumbling as if under a downstage. The whole stage is in increasing
Hostiam puram! great burden.) disarray and turmoil.)
Choir (timidly) Dona nobis pacem!
Street Chorus (Women) Agnus Dei, qui tollis peccata mundi Tenor Solo (harshly)
Dona nobis pacem. (The Celebrant moves to the Altar.) Celebrant (elevating the holy vessels) Were not down on our knees,
Miserere nobis. Corpus! Were not praying,
Celebrant (weakening) Were not asking you please,
Hostiam sanctam Celebrant Choir Were just saying:
Non sum dignus, Domine. Pacem! (One or two other men join him.)
Street Chorus (Women) Give us peace now and peace to hold on to.
Dona nobis pacem. (The Celebrant, still holding the Monstrance Celebrant And, God, give us some reason to want to!
and Chalice, moves to the upstage side of Calix! Dona nobis,
Celebrant (weaker) the Altar.) (and still more)
Hostiam immaculatam Choir Dona nobis.
Choir Pacem! Pacem!
Street Chorus Agnus Dei, qui tollis peccata mundi Dona nobis pacem! Tutti Male Soli
Dona nobis pacem. (The stage becomes gradually disorganised. You worked six days and rested on Sunday.
Pacem! Pacem! Musicians wander downstage, singers appear Celebrant We can tear the whole mess down in one
where instrumentalists should be, etc.) Panem! day.
Street Chorus and Choir Miserere nobis. Give us peace now, and we dont mean
Agnus Dei, qui tollis peccata mundi; Choir later,
Dona nobis pacem! (The Celebrant begins to climb the upstage Dona nobis pacem! Dont forget you were once our Creator!
Dona nobis pacem! staircase.) (The Celebrant reaches the summit. His lips Dona nobis,
Pacem! Pacem! move but no sound emerges. He stands (and a few women)
Celebrant motionless, the Monstrance and Chalice Dona nobis.
(In a desperate effort to regain control, the I am not worthy, Lord. elevated, until the end of the sequence.)
Celebrant elevates the Monstrance above Dona nobis, nobis pacem, pacem dona. Soli
his head.) Weve got quarrels and qualms and such
questions,

70 71
 Give us answers, not psalms and shattered; the Monstrance is smashed.
suggestions, There is a stunned silence; and throughout
(and more women) the entire sequence no one moves except
Give us peace that we dont keep on the Celebrant, who gradually moves down
breaking, the stairs.)
Give us something or well just start taking! (Entire company falls to the ground.)
Dona nobis, (catatonic)
(and all remaining voices) Look
Dona nobis. Isnt that
(snaps his fingers)
Street Chorus (Tutti) odd
Were fed up with your heavenly silence, Red wine isnt red at all
And we only get action with violence, Its sort of brown brown and blue
So if we cant have the world we desire, I never noticed that.
Lord, well have to set this one on fire! What are you staring at?
Dona nobis, Havent you ever seen an accident before?
Dona nobis. (He picks up a smashed fragment and
smashes it again.)
(A few Blues-shouters, male and female, Look
begin vocal improvisation [in highest register].) Isnt that
(snaps his fingers)
Track Ten (adds opening Kyrie [pre-recorded] odd
on house speakers) Glass shines brighter
When its broken
Celebrant I never noticed that.
Pa cem! How easily things get broken.
Glass and brown wine
14 XVI. Fraction: Things Get Broken Thick like blood
Celebrant Rich like honey and blood
Pacem! Pa cem! (parlato)
(On his last note he hurls the raised Hey dont you find that funny?
sacraments to the floor. The Chalice is I mean, its supposed to be blood
72
I mean, it is blood Come join in the fun:
(cantato) (He defiles the Altar.)
His Shatter and splatter,
It was Pitcher and platter,
How easily things get broken What do we care?
What are you staring at? We wont be there!
Havent you ever seen an accident before? (He picks up one Altar candle and smashes
Come on, come on, admit it, it against the edge of the Altar; then
Confess it was fun. smashes the other.)
Wasnt it? What does it matter?
You know it was exciting What does it matter
To see what Ive done. Our Father, who art in Heaven,
Come on, you know you loved it, Havent you ever seen an accident before?
Youre dying for more. (He smashes something else; then he stops
Wasnt it smashing suddenly.)
To see it all come crashing Listen
Right down to the floor? Isnt that
Right! (snaps his fingers)
You were right, little brothers, odd
You were right all along. We can be so still
Little brothers and sisters, So still and numb
It was I who was wrong. How easily things get quiet
So earnest, so solemn, (troncato)
As stiff as a column, quiet
(parodying himself) God is very ill
Lauda, Lauda, Laude. (troncato)
Little brothers and sisters, We must all be very still
You were right all along! His voice has grown so small,
Its got to be exciting, Almost not there at all
Its got to be strong. (He cradles the broken Monstrance.)
Come on! Dont you cry
Come on and join me, Lullaby
73
 Give us answers, not psalms and shattered; the Monstrance is smashed.
suggestions, There is a stunned silence; and throughout
(and more women) the entire sequence no one moves except
Give us peace that we dont keep on the Celebrant, who gradually moves down
breaking, the stairs.)
Give us something or well just start taking! (Entire company falls to the ground.)
Dona nobis, (catatonic)
(and all remaining voices) Look
Dona nobis. Isnt that
(snaps his fingers)
Street Chorus (Tutti) odd
Were fed up with your heavenly silence, Red wine isnt red at all
And we only get action with violence, Its sort of brown brown and blue
So if we cant have the world we desire, I never noticed that.
Lord, well have to set this one on fire! What are you staring at?
Dona nobis, Havent you ever seen an accident before?
Dona nobis. (He picks up a smashed fragment and
smashes it again.)
(A few Blues-shouters, male and female, Look
begin vocal improvisation [in highest register].) Isnt that
(snaps his fingers)
Track Ten (adds opening Kyrie [pre-recorded] odd
on house speakers) Glass shines brighter
When its broken
Celebrant I never noticed that.
Pa cem! How easily things get broken.
Glass and brown wine
14 XVI. Fraction: Things Get Broken Thick like blood
Celebrant Rich like honey and blood
Pacem! Pa cem! (parlato)
(On his last note he hurls the raised Hey dont you find that funny?
sacraments to the floor. The Chalice is I mean, its supposed to be blood
72
I mean, it is blood Come join in the fun:
(cantato) (He defiles the Altar.)
His Shatter and splatter,
It was Pitcher and platter,
How easily things get broken What do we care?
What are you staring at? We wont be there!
Havent you ever seen an accident before? (He picks up one Altar candle and smashes
Come on, come on, admit it, it against the edge of the Altar; then
Confess it was fun. smashes the other.)
Wasnt it? What does it matter?
You know it was exciting What does it matter
To see what Ive done. Our Father, who art in Heaven,
Come on, you know you loved it, Havent you ever seen an accident before?
Youre dying for more. (He smashes something else; then he stops
Wasnt it smashing suddenly.)
To see it all come crashing Listen
Right down to the floor? Isnt that
Right! (snaps his fingers)
You were right, little brothers, odd
You were right all along. We can be so still
Little brothers and sisters, So still and numb
It was I who was wrong. How easily things get quiet
So earnest, so solemn, (troncato)
As stiff as a column, quiet
(parodying himself) God is very ill
Lauda, Lauda, Laude. (troncato)
Little brothers and sisters, We must all be very still
You were right all along! His voice has grown so small,
Its got to be exciting, Almost not there at all
Its got to be strong. (He cradles the broken Monstrance.)
Come on! Dont you cry
Come on and join me, Lullaby
73
 Sleep (He throws them to the crowd.) (to the Acolytes) When?
Sleep Put it on, and youll see Why have you stopped praying? You said youd come
(He pauses.) Anyone of you can be (to the Choir) (swinging mindlessly)
Shh Anyone of me! Stopped your Kyrieing? Come love, come lust
Shh (He leaps off the Altar.) (to everyone, in full despair) Its so easy if you just dont care,
Pray, pray (hoarse) Where is your crying and complaining? Lord, dont you care
You sons of men What? Where is your lying and profaning? (barely singing; the voice is exhausted)
Dont let Him die again Are you still waiting? (advancing straight front, to the if it all ends today
(He walks.) Still waiting for me, audience.) (suddenly strong)
Stay, oh stay Me alone, Where is your agony? profundis clamavi,
DOMINE To sing you into heaven? Where is your malady? Clamavi ad te, Domine, ad Dominum, ad
Stay Well, youre on your own. Where is your parody Dom
(pauses at Altar) (bitter) (He kneels in front of the consecrated (weak again)
(He lunges at the Altar with a cry wreaks Come on, say it, square and becomes again catatonic, Adonai
violence upon it rips up the Altar cloths What has happened to ignoring everyone and singing only for and (in torment)
waving them like streamers.) All of your vocal powers? to himself to the end of the sequence.) dont know,
(He leaps onto the Altar and dances on it (stamps his foot) Of God said I dont nobis
like a madman possessed simultaneously Sing it, pray it, Let there be and there was Miserere nobis
by fury, pain and high glee.) Wheres that mumbo and jumbo God said: Let there (back to this catatonic trance. He seems to
(He begins to tear the vestments from his Ive heard for hours? (without nuances) be seeking his guitar.)
body.) (stamps his foot) Beatam Mariam semper Virginem, Mise mi
(with muted frenzy) (He runs to one, then another, of the solo Beatam miss the Gloria, Mi alone is only me
Why are you waiting? singers) I dont sing But mi with so
Just go on without me. Praying and pouting, Gratias agimus tibi (He cannot say it.)
Stop waiting. Braying and shouting litanies, (suddenly quite gay, clapping his hands on Me with s
What is there about me (to the Gospel Preacher) the off-beats, like an idiot) (Utterly fatigued, he sinks to the floor.)
That youve been respecting Chanting epistles, Propter magnam mi
And what have you all been Bouncing your missals Gloriam tuamen Oh, I suddenly feel evry step Ive ever
Expecting to see? On your knees Amen. taken,
Take a look, there is nothing (to the singer of the Non Credo) Amen. And my legs are lead.
(showing his torn vestments to everyone) Go on whining, (anxious) And I suddenly see evry hand Ive ever
But me under this, Pining, moaning, intoning, Im in a hurry shaken,
There is nothing youll miss! Groaning obscenities! And come again. And my arms are dead.
74 75
 Sleep (He throws them to the crowd.) (to the Acolytes) When?
Sleep Put it on, and youll see Why have you stopped praying? You said youd come
(He pauses.) Anyone of you can be (to the Choir) (swinging mindlessly)
Shh Anyone of me! Stopped your Kyrieing? Come love, come lust
Shh (He leaps off the Altar.) (to everyone, in full despair) Its so easy if you just dont care,
Pray, pray (hoarse) Where is your crying and complaining? Lord, dont you care
You sons of men What? Where is your lying and profaning? (barely singing; the voice is exhausted)
Dont let Him die again Are you still waiting? (advancing straight front, to the if it all ends today
(He walks.) Still waiting for me, audience.) (suddenly strong)
Stay, oh stay Me alone, Where is your agony? profundis clamavi,
DOMINE To sing you into heaven? Where is your malady? Clamavi ad te, Domine, ad Dominum, ad
Stay Well, youre on your own. Where is your parody Dom
(pauses at Altar) (bitter) (He kneels in front of the consecrated (weak again)
(He lunges at the Altar with a cry wreaks Come on, say it, square and becomes again catatonic, Adonai
violence upon it rips up the Altar cloths What has happened to ignoring everyone and singing only for and (in torment)
waving them like streamers.) All of your vocal powers? to himself to the end of the sequence.) dont know,
(He leaps onto the Altar and dances on it (stamps his foot) Of God said I dont nobis
like a madman possessed simultaneously Sing it, pray it, Let there be and there was Miserere nobis
by fury, pain and high glee.) Wheres that mumbo and jumbo God said: Let there (back to this catatonic trance. He seems to
(He begins to tear the vestments from his Ive heard for hours? (without nuances) be seeking his guitar.)
body.) (stamps his foot) Beatam Mariam semper Virginem, Mise mi
(with muted frenzy) (He runs to one, then another, of the solo Beatam miss the Gloria, Mi alone is only me
Why are you waiting? singers) I dont sing But mi with so
Just go on without me. Praying and pouting, Gratias agimus tibi (He cannot say it.)
Stop waiting. Braying and shouting litanies, (suddenly quite gay, clapping his hands on Me with s
What is there about me (to the Gospel Preacher) the off-beats, like an idiot) (Utterly fatigued, he sinks to the floor.)
That youve been respecting Chanting epistles, Propter magnam mi
And what have you all been Bouncing your missals Gloriam tuamen Oh, I suddenly feel evry step Ive ever
Expecting to see? On your knees Amen. taken,
Take a look, there is nothing (to the singer of the Non Credo) Amen. And my legs are lead.
(showing his torn vestments to everyone) Go on whining, (anxious) And I suddenly see evry hand Ive ever
But me under this, Pining, moaning, intoning, Im in a hurry shaken,
There is nothing youll miss! Groaning obscenities! And come again. And my arms are dead.
74 75
 I feel evry psalm that Ive ever sung
Turn to wormwood, wormwood on my
tongue.
And I wonder,
Oh, I wonder,
Was I ever really young?
Its odd how all my body trembles,
Like all this mass
Of glass on the floor.
How fine it would be to rest my head,
And lay me down,
Down in the wine,
Which never was really red
But sort of
(snaps his fingers)
brown
(He slowly stands and descends the pit
steps. He pauses at the bottom.)
And let not another word
Be spoken
Oh
How easily things get broken.
(He disappears into the pit.)
Laude, Deum, (Two chains of embraces begin to form, (The Boys Choir descends the steps on
Laudate Eum. one originating with the Boy, the other with either side and into the house. The Boys fill
the Man.) the aisles, bringing the touch of peace to
(The Boy crosses the stage slowly the audience.)
and stops beside a Man (Bass) of the Soprano Solo Two and Tenor Solo Two
Street Chorus.) Lauda, Lauda, Entire Company
Lauda, Laude Almighty Father, incline thine ear:
Bass Solo (misterioso) Bless us and all those who have gathered
Lauda, Laude, (Two more chains of embraces are formed, here.
Lauda, Laude, originating from Soprano and Tenor.) Thine angel send us,
Laude Deum, Who shall defend us all;
Laude Eum. Street Chorus (gradually joining in) And fill with grace
Lauda, Lauda, All who dwell in this place.
(The Boy and the Man embrace.) Lauda, Laude Amen.
Boy Solo and Bass Solo (Choir members and stage instrumentalists Voice (pre-recorded)
Lauda, Lauda, Laudate gradually join in.) The Mass is ended; go in peace.
1971 Amberson Holdings LLC and Stephen Schwartz
Soprano Solo (elsewhere on stage) Tutti Voices (whispering)
Leonard Bernstein Music Publishing
Lauda, Laude, Pax tecum. Company LLC, Publisher
Lauda, Lauda,
Reproduced by permission
Laudate Deum, (All turn toward the Celebrant who has
Lauda, Lauda, unobtrusively reappeared, at extreme stage
Laudate Eum. left, dressed simply as at the beginning.)

15 XVII. Pax: Communion (Secret Tenor Solo (at some distance from the Solo Boy Soprano (extreme stage right)
Songs) Soprano) Lauda, Lauda,
Solo Boy Soprano Lauda, Laude, Lauda, Laude
Sing God a secret song: Lauda, Lauda,
Lauda, Laude Laudate Deum, Celebrant
Lauda, Lauda, Laude. Lauda, Lauda, Lauda, Lauda,
Lauda, Lauda, Laudate. Laudate Eum. Lauda, Laude

76 77
 I feel evry psalm that Ive ever sung
Turn to wormwood, wormwood on my
tongue.
And I wonder,
Oh, I wonder,
Was I ever really young?
Its odd how all my body trembles,
Like all this mass
Of glass on the floor.
How fine it would be to rest my head,
And lay me down,
Down in the wine,
Which never was really red
But sort of
(snaps his fingers)
brown
(He slowly stands and descends the pit
steps. He pauses at the bottom.)
And let not another word
Be spoken
Oh
How easily things get broken.
(He disappears into the pit.)
Laude, Deum, (Two chains of embraces begin to form, (The Boys Choir descends the steps on
Laudate Eum. one originating with the Boy, the other with either side and into the house. The Boys fill
the Man.) the aisles, bringing the touch of peace to
(The Boy crosses the stage slowly the audience.)
and stops beside a Man (Bass) of the Soprano Solo Two and Tenor Solo Two
Street Chorus.) Lauda, Lauda, Entire Company
Lauda, Laude Almighty Father, incline thine ear:
Bass Solo (misterioso) Bless us and all those who have gathered
Lauda, Laude, (Two more chains of embraces are formed, here.
Lauda, Laude, originating from Soprano and Tenor.) Thine angel send us,
Laude Deum, Who shall defend us all;
Laude Eum. Street Chorus (gradually joining in) And fill with grace
Lauda, Lauda, All who dwell in this place.
(The Boy and the Man embrace.) Lauda, Laude Amen.
Boy Solo and Bass Solo (Choir members and stage instrumentalists Voice (pre-recorded)
Lauda, Lauda, Laudate gradually join in.) The Mass is ended; go in peace.
1971 Amberson Holdings LLC and Stephen Schwartz
Soprano Solo (elsewhere on stage) Tutti Voices (whispering)
Leonard Bernstein Music Publishing
Lauda, Laude, Pax tecum. Company LLC, Publisher
Lauda, Lauda,
Reproduced by permission
Laudate Deum, (All turn toward the Celebrant who has
Lauda, Lauda, unobtrusively reappeared, at extreme stage
Laudate Eum. left, dressed simply as at the beginning.)

15 XVII. Pax: Communion (Secret Tenor Solo (at some distance from the Solo Boy Soprano (extreme stage right)
Songs) Soprano) Lauda, Lauda,
Solo Boy Soprano Lauda, Laude, Lauda, Laude
Sing God a secret song: Lauda, Lauda,
Lauda, Laude Laudate Deum, Celebrant
Lauda, Lauda, Laude. Lauda, Lauda, Lauda, Lauda,
Lauda, Lauda, Laudate. Laudate Eum. Lauda, Laude

76 77
 Recording producer Philip Traugott
Executive producer Johannes Neubert
You can now purchase Chandos CDs online at our website: www.chandos.net
Co-producers sterreichischer Rundfunk (ORF) and Radio 1/ ORF Niedersterreich
To order CDs by mail or telephone please contact Liz: 0845 370 4994
Balance and Mixing engineer Josef Schtz
Surround mixer Josef Schtz
For requests to license tracks from this CD or any other Chandos discs please find application
Recording and Editing engineer Martin Todt
forms on the Chandos website or contact the Finance Director, Chandos Records Ltd, direct at
Assistant engineer Harald Dreher
the address below or via e-mail at srevill@chandos.net.
Additional editing Christian Gorz
A & R administrator Mary McCarthy
Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester,
Recording venue Festspielhaus St Plten, Austria (Reinhard Hagen, Technical director);
Essex CO2 8HX, UK. E-mail: enquiries@chandos.net
16 21 February 2006
Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201
Orchestra administration Joanna White
Recording session coordinator Antonia Schmidt-Chiari
Orchestra inspectors Leopold Schmetterer and Igor Chomca
Stage management Johann Decker (Chief), Werner Slamanig and Emil Zitarevic
Super Audio Compact Disc (SA-CD) and Direct Stream Digital Recording (DSD)
Orchestra librarian Wilfried Edlinger
DSD records music as a high-resolution digital signal which reproduces the original analogue
Rehearsal pianist Istvn Mtys
waveform very accurately and thus the music with maximum fidelity. In DSD format the frequency
Front cover Montage by designer
response is expanded to 100 kHz, with a dynamic range of 120 dB over the audible range
Back cover Photograph of Kristjan Jrvi by Peter Rigaud
compared with conventional CD which has a frequency response to 20 kHz and a dynamic range
Design and typesetting Cassidy Rayne Creative
of 96 dB.
Booklet editor Finn S. Gundersen
Copyright The Estate of Leonard Bernstein
A Hybrid SA-CD is made up of two separate layers, one carries the normal CD information and the
p 2009 Chandos Records Ltd
other carries the SA-CD information. This hybrid SA-CD can be played on standard CD players, but
2009 Chandos Records Ltd
will only play normal stereo. It can also be played on an SA-CD player reproducing the stereo or
Chandos Records Ltd, Colchester, Essex CO2 8HX, England
multi-channel DSD layer as appropriate.
Printed in the EU

78 79
 Recording producer Philip Traugott
Executive producer Johannes Neubert
You can now purchase Chandos CDs online at our website: www.chandos.net
Co-producers sterreichischer Rundfunk (ORF) and Radio 1/ ORF Niedersterreich
To order CDs by mail or telephone please contact Liz: 0845 370 4994
Balance and Mixing engineer Josef Schtz
Surround mixer Josef Schtz
For requests to license tracks from this CD or any other Chandos discs please find application
Recording and Editing engineer Martin Todt
forms on the Chandos website or contact the Finance Director, Chandos Records Ltd, direct at
Assistant engineer Harald Dreher
the address below or via e-mail at srevill@chandos.net.
Additional editing Christian Gorz
A & R administrator Mary McCarthy
Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester,
Recording venue Festspielhaus St Plten, Austria (Reinhard Hagen, Technical director);
Essex CO2 8HX, UK. E-mail: enquiries@chandos.net
16 21 February 2006
Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201
Orchestra administration Joanna White
Recording session coordinator Antonia Schmidt-Chiari
Orchestra inspectors Leopold Schmetterer and Igor Chomca
Stage management Johann Decker (Chief), Werner Slamanig and Emil Zitarevic
Super Audio Compact Disc (SA-CD) and Direct Stream Digital Recording (DSD)
Orchestra librarian Wilfried Edlinger
DSD records music as a high-resolution digital signal which reproduces the original analogue
Rehearsal pianist Istvn Mtys
waveform very accurately and thus the music with maximum fidelity. In DSD format the frequency
Front cover Montage by designer
response is expanded to 100 kHz, with a dynamic range of 120 dB over the audible range
Back cover Photograph of Kristjan Jrvi by Peter Rigaud
compared with conventional CD which has a frequency response to 20 kHz and a dynamic range
Design and typesetting Cassidy Rayne Creative
of 96 dB.
Booklet editor Finn S. Gundersen
Copyright The Estate of Leonard Bernstein
A Hybrid SA-CD is made up of two separate layers, one carries the normal CD information and the
p 2009 Chandos Records Ltd
other carries the SA-CD information. This hybrid SA-CD can be played on standard CD players, but
2009 Chandos Records Ltd
will only play normal stereo. It can also be played on an SA-CD player reproducing the stereo or
Chandos Records Ltd, Colchester, Essex CO2 8HX, England
multi-channel DSD layer as appropriate.
Printed in the EU

78 79
 SU PER AU D I O CD

Randall ScaRlata baRitone company of muSic

tlzeR KnabenchoR choRuS Sine nomine

tonKnStleR-oRcheSteR
abSolute enSemble

KRiStjan jRvi

CHSA 5070(2)
 CHANDOS DIGITAL CHSA 5070(2)

CHSA 5070(2)

CHANDOS
Leonard
(1918 1990)
Bernstein
Mass
Scarlata / Tonknstler-Orchester / Jrvi

A Theatre Piece for Singers, Players and Dancers

Text from the Liturgy of the Roman Mass
Additional texts by Stephen Schwartz and Leonard Bernstein

BERNSTEIN: MASS
SA-CD, DSD and their logos are
trademarks of Sony.
Randall ScaRlata baRitone (CelebrAnt)
company of muSic (Street CHoruS) All tracks available
in stereo and
johanneS hiemetSbeRgeR choRuS maSteR multi-channel
tlzeR KnabenchoR (boyS CHoir) This Hybrid CD can be played on
geRhaRd Schmidt-gaden choRuS maSteR any standard CD player.

choRuS Sine nomine (CHoruS)

johanneS hiemetSbeRgeR choRuS maSteR
abSolute enSemble
tonKnStleR-oRcheSteR niedeRSteRReich
KRiStjan jRvi
CHSA 5070(2)

CHANDOS
COMPACT DISC ONE COMPACT DISC TWO
TT 42:15 TT 64:52

p 2009 Chandos Records Ltd c 2009 Chandos Records Ltd

Chandos Records Ltd Colchester Essex England