Leonard Bernstein 1918-1990

Started by vandermolen, May 13, 2009, 03:20:23 AM

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Mirror Image

Quote from: San Antone on March 04, 2020, 04:22:35 PM
A new recording of Mass - and it is GOOD, very good.



Company of Music
Dennis Russell Davies
Vojtěch Dyk
Vienna Radio Symphony Orchestra
Vienna State Opera Children's Choir
Wiener Singakademie


Despite this being an all European roster (D.R. Davies is, of course, British), they produce as very idiomatic performance.

Do not delay - get this, it is well worth it.

Dennis Russell Davies is an American conductor, San Antone. :)

San Antone

Quote from: Mirror Image on March 04, 2020, 06:02:43 PM
Dennis Russell Davies is an American conductor, San Antone. :)

Noted, my mistake.

Is that all you have to say about this new, very good, recording of Mass?

8)

Mirror Image

Quote from: San Antone on March 04, 2020, 06:37:53 PM
Noted, my mistake.

Is that all you have to say about this new, very good, recording of Mass?

8)

I'm not a huge fan of the Mass and have always had problems with it. :) I will agree with your statement in the 'Listening' thread that the Bernstein performance on Columbia is the one to own.

San Antone

Quote from: Mirror Image on March 04, 2020, 07:26:11 PM
I'm not a huge fan of the Mass and have always had problems with it. :) I will agree with your statement in the 'Listening' thread that the Bernstein performance on Columbia is the one to own.

Since Mass is among my ten favorite works (at least in on my list in that thread) you can understand why I think differently, i.e. I would never limit myself to just one recording, even if I think the original is "the best".  I will go back and listen to all of them again so I can get an idea of where this new one stands in my mind, but I was immediately impressed.

Karl Henning

Quote from: San Antone on March 05, 2020, 03:37:26 AM
Since Mass is among my ten favorite works (at least in on my list in that thread) you can understand why I think differently, i.e. I would never limit myself to just one recording, even if I think the original is "the best".  I will go back and listen to all of them again so I can get an idea of where this new one stands in my mind, but I was immediately impressed.

High praise. After I get my April program set, I shall at last break out my recording for a listen.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Mirror Image

Quote from: San Antone on March 05, 2020, 03:37:26 AMSince Mass is among my ten favorite works (at least in on my list in that thread) you can understand why I think differently, i.e. I would never limit myself to just one recording, even if I think the original is "the best".  I will go back and listen to all of them again so I can get an idea of where this new one stands in my mind, but I was immediately impressed.

It's true that different interpretations bring out different elements in the music that weren't quite tapped into before. This is the advantage (as far as I can see) of having a large collection. It's kind of like I wouldn't want to be limited to just one Le sacre. There are so many great ones out there it's unbelievable. Yes, I'm quite aware of how much you love Bernstein's Mass. This was quite apparent from your initial posts on this thread. :)

San Antone

Cross-posted from the WAYL2N thread

Bernstein : Mass
Kristjan Järvi, Randall Scarlata,  Tölz Boys Choir,  Lower Austrian Tonkünstler Orchestra,  Absolute Ensemble



QuoteFor a work that was derided by some as much as it was adored by others upon its premiere, Bernstein's Mass seems now to be a modern classic. This new recording is likely to be a powerful advocate in its widespread reassessment. Kristjan Järvi conducts his many and varied forces with high-octane energy, while Chandos delivers thrillingly clear and immediate sound.

Even at this early stage it's clear that Järvi has transformed Mass from a piece of seventies tat into something much more substantial and less time-bound. Those who cringe at Bernstein's own reading will surely respond to this more symphonic reading. I certainly found myself revelling in details and rhythms as yet only hinted at, marvelling also at the coherence of Bernstein's hastily assembled creation. Yes, the Alleluias are heavily accented but goodness, the Ivesian rumty-tumty of the First Introit (tr. 4) has never sounded so uproarious. Perhaps the Austrian oompah-pah tradition is the secret ingredient here, the Company of Music (the Street Chorus) and Tölz boys in fine form as well. Surely even the ever-critical Bernstein would have been captivated by the verve of this performance.

For all its shortcomings Bernstein's recording will always have a special one. It's a unique reflection of the prevailing zeitgeist, and for that reason alone it deserves a place on your shelves. Järvi's reading is altogether more thoughtful, a mature, 21st-century take on the fading flower culture of the early seventies. We readily accept that performing styles change in other genres, so it's entirely appropriate that we have a new – and refreshing – perspective on Mass as well.

Listening again, more closely, to this recording which kind of fell through the cracks of my Mass traversal.  I think Dan Morgan, the reviewer quoted on the Arkiv Music site, is unfair (e.g., Mass was not hastily assembled, Bernstein worked on it for two years) in his appraisal of the original Bernstein recording, but he does say some positive things about Jarvi's interpretation and cast.

QuoteAs a convert I exhort all those who don't believe in Mass to buy this recording and recant. I didn't expect to be as moved and thrilled by this performance as I was; indeed, it sets new standards for this most underrated work, both musically and sonically. Add to all these virtues a chunky, well-written booklet – including texts – and you have the makings of a modern classic.

-- Dan Morgan, MusicWe International [5/2009]

San Antone

I am preparing an extensive blog article about Mass; I've gotten much of the overview written and am now listening to all of the recordings and making notes.  Although I've listened to them out of order, I am beginning fresh with the original before working my way through the others in chronological order.



I have spent a lot of time listening to various recordings of this work and am convinced that it is one of the masterpieces of the 20th century.

Re: the above Jarvi recording, here's my notes:

In his recording, Kristjan Järvi has fundamentally reconceptualized Mass.  This something of a gutsy interpretive act which was only possible now that enough time has passed, and enough performances have occurred, for Bernstein's Mass to be viewed anew liberated from the context of its time.

Järvi leads with confidence, producing a rich, tight sound, while at the same time creating transparency of the complex orchestration.  The execution is sharp and convincing, fueled by aggressive percussion and some surprising quick tempos.  His knowledge of jazz and rock have helped him knead the disparate elements into a convincing whole.

If Bernstein emphasized the contrasting elements from which he assembled Mass as if to celebrate its eclecticism, Järvi blurs transitions between some sections, thus helping to unify the opposing styles. He even re-cut the prerecorded tapes to better reflect his overall blended aural image. His command of the music is obvious, his direction is best with the orchestral forces and blending the rock instruments in with the traditional timbres.  But the boy choir sounds ragged in sections.

Randall Scarlata's Celebrant leans in an operatic direction and overall sounds a bit stiff to me.   But he does bring a sense of stability to the protagonist, who is not so much buffeted by social forces as trying to shape them into rational meaning. The other, presumably German, soloists do not mangle American pronunciation, although the nuances of the American idioms (both in the text and music)  may not have been entirely within their grasp. 

Not the worst recording by far, and Järvi's take is valuable for an alternative interpretation.  None of its flaws overwhelm an overall positive impression.

Mirror Image

Quote from: San Antone on March 09, 2020, 03:51:41 PM
I am preparing an extensive blog article about Mass; I've gotten much of the overview written and am now listening to all of the recordings and making notes.  Although I've listened to them out of order, I am beginning fresh with the original before working my way through the others in chronological order.



I have spent a lot of time listening to various recordings of this work and am convinced that it is one of the masterpieces of the 20th century.

Re: the above Jarvi recording, here's my notes:

In his recording, Kristjan Järvi has fundamentally reconceptualized Mass.  This something of a gutsy interpretive act which was only possible now that enough time has passed, and enough performances have occurred, for Bernstein's Mass to be viewed anew liberated from the context of its time.

Järvi leads with confidence, producing a rich, tight sound, while at the same time creating transparency of the complex orchestration.  The execution is sharp and convincing, fueled by aggressive percussion and some surprising quick tempos.  His knowledge of jazz and rock have helped him knead the disparate elements into a convincing whole.

If Bernstein emphasized the contrasting elements from which he assembled Mass as if to celebrate its eclecticism, Järvi blurs transitions between some sections, thus helping to unify the opposing styles. He even re-cut the prerecorded tapes to better reflect his overall blended aural image. His command of the music is obvious, his direction is best with the orchestral forces and blending the rock instruments in with the traditional timbres.  But the boy choir sounds ragged in sections.

Randall Scarlata's Celebrant leans in an operatic direction and overall sounds a bit stiff to me.   But he does bring a sense of stability to the protagonist, who is not so much buffeted by social forces as trying to shape them into rational meaning. The other, presumably German, soloists do not mangle American pronunciation, although the nuances of the American idioms (both in the text and music)  may not have been entirely within their grasp.

Not the worst recording by far, and Järvi's take is valuable for an alternative interpretation.  None of its flaws overwhelm an overall positive impression.

Hopefully, reading your article about it will change my mind, because right now, I'm afraid I don't share the same sentiments.

San Antone

I have published my overview of Mass with short reviews of the six recordings:

Leonard Bernstein's Mass : Newer Recordings



QuoteIf I were to rank the recordings, here's my list:

Bernstein
Alsop
Nézet-Séguin
Nagano
Järvi
Davies


Bottom-line: I hope this article will inspire people who up to now have been warned off from listening to Mass.  No matter which recording, you really can't go wrong with any of them despite my ranking, the work is a treat.

vers la flamme

^Nice. Thanks! I will read through it. I have been meaning to get my hands on a copy of Bernstein's Mass lately. I thought you really liked the Davies, though...? Did you have a change of heart after listening through to all of your other recordings?

San Antone

Quote from: vers la flamme on March 15, 2020, 04:25:39 PM
^Nice. Thanks! I will read through it. I have been meaning to get my hands on a copy of Bernstein's Mass lately. I thought you really liked the Davies, though...? Did you have a change of heart after listening through to all of your other recordings?

My first impression of the Davies was more positive.  But after spending time and close listening to all of them in order, his came off as much less effective than the others.  This is mainly because of his singers, with the exception of The Celebrant, they were pretty anemic sounding.

vers la flamme

Quote from: San Antone on March 15, 2020, 04:30:10 PM
My first impression of the Davies was more positive.  But after spending time and close listening to all of them in order, his came off as much less effective than the others.  This is mainly because of his singers, with the exception of The Celebrant, they were pretty anemic sounding.

Too bad. At least, as you wrote, there are several other great recordings out there. I'm torn between the Bernstein original and the Alsop. I actually just saw the Alsop at a local book and record store for $4 the other day, but I put it back because I figured I owed it to myself to check out the original first. After hearing the samples on your blog, I think I liked the original better.

Karl Henning

Quote from: San Antone on March 15, 2020, 04:18:14 PM
I have published my overview of Mass with short reviews of the six recordings:

Leonard Bernstein's Mass : Newer Recordings




Looking forward to reading this.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Mirror Image

Quote from: San Antone on March 15, 2020, 04:18:14 PM
I have published my overview of Mass with short reviews of the six recordings:

Leonard Bernstein's Mass : Newer Recordings



Very nice, San Antone. Nice looking article.

Roasted Swan

Quote from: San Antone on March 15, 2020, 04:18:14 PM
I have published my overview of Mass with short reviews of the six recordings:

Leonard Bernstein's Mass : Newer Recordings



Congratulations on the article and you are quite right - it is so valuable to have something like this written to provoke both adherents and "newbies" to the work.  So fascinating that the original really is unchallenged - I completely agree.  Of the rest, I don't know Nagano (I struggle a bit with Jerry Hadley's voice) and haven't heard the newest Davies yet but after that I'd personally put Jarvi ahead of Alsop or Nezet-Seguin.  With Alsop I simply cannot get past Sykes' simpering OTT "I'll make every word mean something" approach.  Its like lieder singing word painting comes to music theatre.  No complaints about the conducting/orchestra but I do feel quite a few of the vocal soloists lack bite/character.  Nezet-Seguin is badly let down by the downright odd engineering.  As bad a modern piece of recording - certainly on a 'great' label such as DG as I have heard.  Again no real complaints about the performance but this is a pale shadow of perhaps how effective it was in the hall on the night.  But you don't mention the engineering much if at all.  I would not have put myself down as being sound-led but I find the SA-CD sound for Jarvi a major plus and I like the way he is not too religious[!] in his following of the original in terms of tempi.  For sure it does not replace the original but I find it the most interesting/challenging of the new versions.

By the way - one little typo - you say Nagano was a student of Bernstein for 17 years from 84-91

vers la flamme

Quote from: Roasted Swan on March 16, 2020, 12:27:24 AM

By the way - one little typo - you say Nagano was a student of Bernstein for 17 years from 84-91

Also, Bernstein died in 1990, not 1991.

San Antone

Quote from: Roasted Swan on March 16, 2020, 12:27:24 AM
Congratulations on the article and you are quite right - it is so valuable to have something like this written to provoke both adherents and "newbies" to the work.  So fascinating that the original really is unchallenged - I completely agree.  Of the rest, I don't know Nagano (I struggle a bit with Jerry Hadley's voice) and haven't heard the newest Davies yet but after that I'd personally put Jarvi ahead of Alsop or Nezet-Seguin.  With Alsop I simply cannot get past Sykes' simpering OTT "I'll make every word mean something" approach.  Its like lieder singing word painting comes to music theatre.  No complaints about the conducting/orchestra but I do feel quite a few of the vocal soloists lack bite/character.  Nezet-Seguin is badly let down by the downright odd engineering.  As bad a modern piece of recording - certainly on a 'great' label such as DG as I have heard.  Again no real complaints about the performance but this is a pale shadow of perhaps how effective it was in the hall on the night.  But you don't mention the engineering much if at all.  I would not have put myself down as being sound-led but I find the SA-CD sound for Jarvi a major plus and I like the way he is not too religious[!] in his following of the original in terms of tempi.  For sure it does not replace the original but I find it the most interesting/challenging of the new versions.

By the way - one little typo - you say Nagano was a student of Bernstein for 17 years from 84-91

I don't know where my brain was - of course you are right, I knew he had been with Bernstein for six years, and just brain farted with a huge noise.   ;D

Your comments are very interesting, I felt that Jarvi was just over the top with his tempi, too fast and furious, and as I wrote, Scarlata could barely keep up in his most important section.  But you are right about the sound of the recording.  I usually discount engineering, especially for live performances, i.e. Nezet-Seguin, since I am listening to the performance above all.  But, many thanks for reading the article and such interesting comments.

Quote from: vers la flamme on March 16, 2020, 01:50:41 AM
Also, Bernstein died in 1990, not 1991.

Yep, my mind was on vacation ...

Thanks to you both for pointing out these mistake, which I've corrected.

8)

vers la flamme

Don't mention it. I'm sure you already knew as much.

Can someone tell me which orchestra plays on the Bernstein Sony original? It doesn't seem to be on the CD anywhere. Is it the NYPO?

San Antone

Quote from: vers la flamme on March 16, 2020, 07:32:31 AM
Don't mention it. I'm sure you already knew as much.

Can someone tell me which orchestra plays on the Bernstein Sony original? It doesn't seem to be on the CD anywhere. Is it the NYPO?

It is definitely not the NY Phil, and hasn't never been identified as an established orchestra.  My guess is that since the instrumental forces are unique to the work the ensemble was put together especially for the recording, culled from first-call studio and orchestral players who normally work in pit orchestras and ad hoc recordings/performances.