This post concerns Disc 1 only.

Bernstein’s Mass can seem intimidating to a newcomer. I know I certainly was when I was young. Mass exists on the fringe of musical theatre genre. It is musical theater in a literal sense but it’s subgenre or main concept is certainly outside of the traditional stage productions box. Bernstein has a way of writing music that draws me in a little at first. Then after the melody sticks to my skin after a first listens, I am drawn even closer, and the musical magnifying glass starts zooming in on new things. This piece of music is so unique and profound that I genuinely believe that each new time I listen I will learn something new about myself. If that doesn’t make sense, that’s okay. My understanding is that Bernstein’s Mass was supposed to tap into the religious part of the listeners brain that asks the big questions. I think that this is what Jackie Kennedy had in mind when she commissioned this piece. I will not to pretend to understand this piece of music in its entirety or original sense, but I can bring a fresh perspective of it. Having gone mostly unlisten-ed to for most of my life, 2021 brings us a new remastered version of the 1971 original cast recording. As I grow older my ear becomes more attuned to higher quality records and I am able to feel and experience the difference that the remastered recording has to offer.

I Devotions before Mass – II First Introit – III Second Introit – IV Confession 1, 2 , 3

“A Simple Song” is the first song (in a slightly more traditional sense) that we hear after a somewhat chaotic opening number. Bernstein makes an important point the land the audience safely onto the message at the beginning. Simple Song’s melody is haunting, unpredictable, and at very least incredibly beautiful. The orchestrations are soft and back-drawn over the simple strumming of a guitar. After the song is introduced and the vocalist, Alan Titus, sings a few lines:

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…

Ascending and descending plucked guitar motifs bring us into the heart of the song. The dynamics increase and more instrumental types are brought in throughout the rest of the track. The song has a stripped down (which develops over time) style and seemingly dedication to reflect the simplicity of God.

Bernstein does not let our ears rest for very long, however, as Prefatory Prayers has a marching band give-me-an-old-trombone before-the-parade-passes-by vibe. The volume is big and the percussion is no holds barred. “In nomine Patris” starts with in the name of the Father, Son, and Holy Ghost and jumps into a galloping 5/4 beat. I’m certain that Andrew Lloyd Webber took this track as inspiration for his Hosanna from Requiem. Bernstein commits to a bouncing tambourine for the entire In nomine track.

The next couple sections showcase the Mass’s diverse musical offerings. Elements of Jazz, Classical, Pop, Bernstein’s unique touch, and some finger-snapping bring us to a small gem: the Trope “I Don’t Know.” Bernstein evokes a sense of confusion from the listener using rapid-fire brass phrases and literal lyrics. This short number is followed by the more traditionally bluesy song “Easy.” At the end of “Easy” the preceding “I Don’t Know” themes are revisited and Titus says: Let Us Pray.

V Meditation No 1 – VI Gloria 1,2,3,4 – VII Meditation no 2 – VIII Epistle

The first Meditation brings an extended rest for the vocalists who are likely out of breath. At least, I am out of breath just listening to this piece. Although, by the time the Gloria section comes, my interest levels are high and I am eager to dip deeper and deeper into this tambourines-forever bring-me-closer-to-God conceptual work. The Gloria section does not disappoint in the least. Similar to the In nomine Patris from section II, this section has a driving beat with timpanis and tambourines galore. Also, a now revitalized and refreshed chorus gives us BIG energy. Holy Cow.

My favorite bit is the “Half of the People” section when, all of a sudden, the chorus is chanting radically in English and not Latin. The Rhapsody-in-Blue-jazzy-bouncey-slidey game the orchestra plays is delicious. It makes me just want to get up, raise my hands, and channel Alvin Ailey / Jesus through dance.

Amen! Half of the people are stoned!
And the other half are waiting for the next election!
Half the people are drowned!
And the other half are swimming in the wrong direction.
They call it glorious living and, baby, where does that leave you?
You and your kind

The first half of Bernstein’s Mass has enough enticing and delectable offerings that, as a listener, I certainly want more. Or rather, I am curious to see where this piece of music can go in the second half. Bernstein’s works are among the most original, authentic, and moving pieces in theater. Mass is no exception to this and I imagine JFK would have enjoyed it.

The bubbly efflorescence of electro-pop sounds leads into the 5-way harmonies of the female leads in KPOP. The song is admittedly catchy on the first listen. Sung in Korenglish, songwriters Vernon and Park take the listener on a whirlwind of KPOP melodies and trendy dance beats. The result is a beautiful bubble gum single that promotes the new Broadway show KPOP. What is this song about? I have no idea. Do I care? Not at all! I find myself humming this to myself, unaware of what I am saying, mesmerized, hypnotized, and delighted. The song is not perfect, as some of the vocal syncopation in the verses feels clunky and rushed (possibly as it’s a condensed version?), but the overall feeling of joy and euphoria that results from listening more than makes up for these imperfections.

To say the least, I’m looking forward to the final cast recording! It’s very exciting to see Broadway welcoming non-English books/librettos to the stage. Hopefully this show opens the door for more international representation in the industry.

(Thank you to all you who have reached out to me over the last year. I hope to get this blog back up and running soon! There are almost 20 unfinished posts siting in my drafts folder!)

Sondheim’s intricate, gay, and sometimes confusing score comes to life after 20 absent years from Broadway. With an All-Star cast and the complete (I think?) 14 minute Prologue, the album brings to life some nuances and moments that are absent from previous revivals/recordings.

Phillipa Soo, Sara Bareilles and Patina Miller hold down the roles of Cinderella, Baker’s Wife and the Witch. Bareilles entered the Broadway scene in a lateral move from Composer (Waitress 2015) to Actress (Waitress 2015, Jesus Christ Superstar 2018). Bareilles’ talent and acting skills are of top quality and she channels a bit of Joanna Gleason from the original Broadway cast. Her background is not in Sondheim musicals and as such she might not seem like an obvious casting choice. She brings velvety and pitch perfect tone to the role’s more melodic moments (listen to Children Will Listen). However, it is noticeable that she wavers slightly on note placement during some more complicated vocals runs (It Takes Two, Any Moment). In my opinion her take on the role adds a fresh, almost outsider, take and her lack of experience in Sondheim music does not detract from the quality of the performance.

Soo is perfection and I have nothing further to say about her. Soo as Cinderella is probably the best casting choice of the decade and it’s SUCH a gem to have the Prologue in it’s entirety with Soo singing the opening. Very nice.

Patina Miller is not a bad casting choice, but her dedication to the original vocalization of the Witch faulters, especially in Act II. Instead of letting the flow of Sondheim’s esoteric melodies lead her, it feels like she is being held back by their complexities. Like she wants to jump around and sing notes that were never meant to be improvised. The middle section of Last Midnight does not feel articulated in a precise way that I expect on a studio recording of a Sondheim score and, at times, I feel as if Miller is yelling at me. Or scolding me. The song seems to overpower her. Maybe that was the director’s decision. But relistening to Peters and Streep sing it I assume that Sondheim envisioned a little more control for the piece. Not sure. Miller is definitely a vocal powerhouse and there’s no denying her talent. Perhaps I need to open my mind to a different interpretation of the role.

This production marks one of the first major productions of a Sondheim musical following the composer’s death. Studio recordings of Sondheim musicals provide the audience with an uninterrupted and unobscured view into the madness of Sondheim’s musicality. As we continue to mourn his death, we look forward to future generations interpretations of his works. This album marks just the beginning of that journey.