Leonard Bernstein's "Mass"
The environment inside the van, interestingly (I'm talking about our girls' demeanor and disinterest in hearing any voice other than their own), uncannily synchronized with Bernstein's avant-garde chaos.
Regardless of the challenges, all in all it was a positive experience. Bernstein obviously put together a musical narrative with great professionalism.
Whatever Bernstein's "Mass" is, though, it is not a Mass.
A Mass is worship. The "audience" is God alone. There is focus, coherence, and yes, drama, but it is glorious in both its parts and whole. Again, "Mass" was no Mass.
I've returned the CD to its owner awhile ago, and so must speak from imperfect memory in my critique. Although "Mass" failed to embody its name, there is plenty of room to consider it biblically-informed and spiritual. It seemed to me it could be considered a "psalm" (instead of a Mass) in that there was a dramatic searching for answers that can be found throughout the Psalter: "Why O Lord...?! I'm confused.... I've been abandoned... This doesn't make sense... Why?!" (e.g. Psalm 77).
And it is spiritual in the beauty of the voices, in the excellence of the composition, and emphatically in the reconcilation and restored hope of the finale--even as the despair of Psalm 77 turns to hope in the end.
Of course Bernstein was affected by the 60's and its questioning. He gives voice to the questions. Indeed, they are central; but he is not a postmodern artist of indifference. He is not a youth of the 60's, he is mature. He thus ends with hope, not despair, not ambiguity (at least not too much!).
I also wonder how much Bernstein's faith (Jewish) affected the work. Specifically, although there were points of spirituality attributable to the Psalter (and Job, by the way), perhaps he was simply "out of his element" in trying to embody the New Testament Mass. If you listen to it, you'll know what I mean (Amazon and Itunes, etc. have sound clips). It's not as cacophanous as the pre-concert tuning of an orchestra, but parts of it are a bit wild. What rubbed me the wrong way when I first listened, is that NOTHING FITS. Bernstein repeatedly applies the holy God-centered words of the liturgy with music that is existentially self-focused on the human condition and not at all on God's person. I don't have the music vocabulary to describe much of the work, but it is a man-centered aching for redemption, reunion, wholeness. And consistent with my preceding thoughts, Bernstein's "Mass" is not enjoyable as a "Mass", but if instead, it's received as a "Prelude to Mass", that makes all the difference! When listened to in this light, my theological objections disappear, and moreover, most selections (that is, the music and voices apart from the selection titles and lyrics) can actually be savoured when this work is taken as man's search for the person of Christ Jesus, to be conveyed to the faithful in the true Mass of God.
Then, if you're looking for a faithful climax to Bernstein's work, get thee to a good traditional church and worship God in spirit and in truth. With the Blessed Sacrament and historic liturgy of Holy Communion you will receive Christ himself.
