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346:. While most settings of the "Kyrie" focus on the word "eleison" ("have mercy"), Bernstein focuses, through repetition and elongation, on the word "Kyrie" ("Lord"). The focus on the word "Kyrie" creates a percussive quality in the movement as each "k" is sounded. According to Bernstein's markings, the movement should slowly
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Bernstein leads the opening material from Gloria into the start of Agnus Dei. The opening chords are almost exactly the same. It tonally ventures from A major and A minor to F-sharp minor at the repetition found on measure 15. By measure 30, Bernstein dabs into the implementation of F-sharp major to
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chorus. Most of the percussion parts are optional, except for two sets of bells or chimes, to be placed on either side of the chorus. Several of the movements call for a countertenor soloist. The directions state that it may also be performed by a boy alto or even a female alto (unlike his
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Pasles, Chris. “Pacific
Chorale to Sing One of Leonard Bernstein's Last Works : Tribute: The famed conductor's Missa Brevis, a difficult and rhythmic piece, will debut in an expanded format Wednesday at the Orange County Performing Arts Center,” Los Angeles Times, (October 30,
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The harmonic language in this movement has been described as a blend of medieval and
Renaissance styles with the musical styles of mid-twentieth century America. The music has also been described as containing "vital rhythms" and "pungent harmonies" — a good general description of
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has received some favorable reviews as a
Bernstein composition. The work garners some attention as it is unique among Bernstein's choral works. The medieval and Renaissance blend in which Bernstein composed the work is not seen in his other works. The counterpoint in
943:
Edward
Greenfield. "Bernstein. Chichester Psalms. Missa Brevis (1988). Walton. Belshazzar's Feast. Derek Lee Ragin (alto); William Stone; Atlanta Symphony Chorus and Orchestra/Robert Shaw. Telarc/Conifer CD 808181 (66 min. DDD).” Gramophone, (March 1990):
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is one that the composer never performed or recorded; he died a year after its completion. The work was first recorded in 1989 by the
Atlanta Symphony Chorus under the direction of Robert Shaw on a CD that also contains performances of Bernstein's
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There are two sets of bells, one in each wing or on each side of the chorus, each having at least three different notes (any notes at all, but preferably covering a wide range). The notes should be sounded one at a time at the most rapid possible
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Jonathan A. Talberg. “A Conductor’s Guide to
Leonard Bernstein’s Chichester Psalms and an Introduction to and Analysis of Leonard Bernstein’s Missa Brevis.” DMA diss., University of Cincinnati, College-Conservatory of Music,
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Walton, W. and
Bernstein, L. Walton: Belshazzar's Feast; Bernstein: Chichester Psalms; Missa Brevis. Atlanta Symphony Orchestra and Chorus, Symphony Hall. Recorded 1988. Robert Shaw. Telarc Distribution 80181, 1989, compact
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In this first recording of the piece, certain passages of the liturgical text from the Gloria and Agnus Dei were not performed. These passages were later added for the score's publication by
Bernstein with the assistance of
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into a fluctuation of A major and A minor. The result lands the tonal center back to C major at measure 11. It is here that
Bernstein starts to use a six-note stepwise scale starting on C as the basis for melodic material.
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Although beginning a new set of text, Benedictus is a continuation of
Sanctus. This semi-movement proceeds to use the same structural format laid out in Sanctus. Much of it involves the countertenor soloist performing a
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Bernstein, Leonard. Kaddish, Chichester Psalms, Missa Brevis. The London Oratory School Schola, BBC Singers, BBC Symphony Chorus and Orchestra. Leonard Slatkin, cond. Recorded 2003. Chandos CHSA 5028, 2004, compact
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apart from the percussion, which provides little help in terms of pitch for the singers, who are often singing added non-chord tones. A combination of these factors can make it challenging to keep good
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and although not notated as such, appears to shift between 3/4 and 6/8. The percussion is also instructed to improvise its part, making each performance of the piece unique in timbre and texture.
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use of harmony followed by drones with florid melodic activity further perpetuates a medieval quality. Bernstein effectively creates an aesthetic reminiscent of music from the 14th century.
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Although the movement tonally centers on A, Bernstein’s frequent placement of non-resolving non-harmonic tones creates ambiguity in the tonality. The first eleven measures fluctuate between
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Lindsay Koob. "Guide to Records: Bernstein - "Kaddish Symphony"; "Chichester Psalms"; "Missa Brevis"." American Record Guide 67, no. 4 (2004): 87-88. Gale Student Resources In Context.
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incorporates four of the traditional five sections of the Ordinary, plus two extra sections added, "Benedictus" and "Dona Nobis Pacem". Bernstein chose to omit the
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that goes into the next movement. Bernstein’s focus on the word "Kyrie", combined with the slow but drastic dynamic contrast, creates a sense of intense pleading.
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Bernstein, Leonard. Missa Brevis. Southwest Radio Vocal Ensemble Stuttgart. Marcus Creed, cond. Recorded 2014. Haenssler Classics B00HZOY0TG, 2014, compact disc.
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Gottlieb, Jack. “The choral music of Leonard Bernstein; reflections of theatre and liturgy.” American Choral Review 10. 4 (1968): 155
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Performances of the revised version take about 11½ minutes; Shaw's recording of the original version runs about 9½ minutes.
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Stearns, David P. The Philadelphia Inquirer, “Performing Bernstein music from a 1955 Joan of Arc Play.” (March 1, 2011).
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Bernstein employs several modes in Sanctus, an engrossing movement in terms of tonality. Much of it shifts between
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Choruses from "The Lark," by Jean Anouilh. For Full Chorus of Mixed Voices (Or Septet of Solo Voices) A Cappella
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A continuation of Agnus Dei, Dona Nobis Pacem starts as the previous section of the movement settles from
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set in G. The countertenor solo is a main feature in this movement. After the first four measures, marked
200:. It is also Bernstein's last complete choral work, due to his death a year after its completion in 1989.
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Teachout, Terry. "Recordings in Review: Walton / Bernstein." Musical America 110, no. 5 (1990): 85-85.
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The next twenty-five measures set the text "laudamus te". Here, Bernstein modulates from E minor to
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Jack Gottlieb. “Choral Works” in Working with Bernstein, 198-210. New York: Amadeus Press, 2010.
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finish on the text "qui tollis peccata mundi" ("who takes away the sins of the world").
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in this part of the work is quite extensive and there is frequent movement between
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requirement brings out the medieval overtones and gives the work a "modern tang".
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in measure twelve. This serves as an introduction to the countertenor soloist.
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Most of the material from this movement is directly derived from the chorus in
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has been described as excellent. It has been called a "compact jewel" by the
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is still performed frequently. Its length makes it suitable to be used in a
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The dynamics could be described as explosively contrasting. The use of
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and her trial. This led Bernstein to compose the choral music to sound
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Bernstein lays out the instructions for the bell playing as follows:
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768:"Boosey & Hawkes Composers, Classical Music and Jazz Repertoire"
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setting, and it is substantial enough to be used as a set piece in
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for the sopranos, tenors, and basses. Like all other movements of
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titled Gloria. It is however lengthened in the published score of
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Songfest: A Cycle of American Poems for Six Singers and Orchestra
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followed by a choral response on the text "osanna in excelsis".
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in 1988. Shaw later premiered and recorded the work with the
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Becker, William (1956). "Some French Plays in Translation".
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Rorem, Ned (1990). "Leonard Bernstein (An Appreciation)".
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The first recording of the revised work was made by the
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in honor of Shaw's retirement as music director of the
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in 1955. The play's plot covers the events surrounding
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in quality and texture to suit the play's atmosphere.
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1825:Leonard Bernstein Festival of the Creative Arts
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1830:New York Philharmonic concert of April 6, 1962
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490:, Bernstein creates what is reminiscent of an
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212:that Bernstein composed for an adaptation of
16:Leonard Bernstein's last complete choral work
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445:Gloria is not only the longest movement in
415:for roughly fourteen measures. Settling in
1300:A Party with Betty Comden and Adolph Green
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975:Poston, Elizabeth (1964). "Choral Music".
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1840:The Unanswered Question (lecture series)
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306:The work is scored primarily for mixed
620:Other recordings include those by the
318:which prohibits all female soloists)
181:is a musical setting of parts of the
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565:Rhythmically, this final section of
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208:The origin of the piece lies in the
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672:stated that the work’s particular
585:Unlike many of Bernstein's works,
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1890:Compositions by Leonard Bernstein
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1803:Academy for the Love of Learning
1819:Inside Pop: The Rock Revolution
987:Musical Times Publications Ltd.
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396:before settling to a sort of
338:of C, with extensions beyond
642:SĂŁo Paulo Symphony Orchestra
1414:Slava! A Political Overture
359:at measure eight, and then
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898:Cambridge University Press
693:Jackson, Richard (1966). "
258:Atlanta Symphony Orchestra
246:Atlanta Symphony Orchestra
78:Atlanta Symphony Orchestra
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1620:Music for the Dance No. 2
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709:Music Library Association
573:-like. It employs triple
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1451:Prelude, Fugue and Riffs
1316:1600 Pennsylvania Avenue
1845:Young People's Concerts
697:by Leonard Bernstein".
613:under the direction of
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262:Atlanta Symphony Chorus
210:incidental choral music
1835:Pacific Music Festival
1813:Bernstein–Mahler cycle
1429:Concerto for Orchestra
607:BBC Symphony Orchestra
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1594:My Twelve Tone Melody
1303:(1958, collaboration)
871:Hyperion 67929, 2015.
663:American Record Guide
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185:in Latin for a mixed
1628:Sonata for the Piano
1327:(1979, contribution)
1108:List of compositions
880:Naxos 8559742, 2015.
815:Jonathan A. Talberg.
46:The composer in 1971
1264:One Hand, One Heart
1243:Gee, Officer Krupke
833:Jonathan A. Talberg
609:and Chorus and the
244:, conductor of the
59:for Anouilh's play
1716:(incidental music)
1705:Other compositions
1574:(song cycle, 1947)
1566:(song cycle, 1943)
1383:The Age of Anxiety
1271:Something's Coming
1173:New York, New York
1122:Opera and operetta
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599:Belshazzar’s Feast
340:functional harmony
1900:1989 compositions
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1130:Trouble in Tahiti
1097:Leonard Bernstein
1021:The Hudson Review
978:The Musical Times
622:SWR Vokalensemble
593:Chichester Psalms
353:until reaching a
314:Chichester Psalms
179:Leonard Bernstein
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1796:Related articles
1786:The Joy of Music
1743:Film adaptations
1571:La Bonne Cuisine
1558:(art song, 1935)
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1308:The Race to Urga
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1181:
1177:
1174:
1170:
1169:
1167:
1166:
1162:
1161:
1159:
1155:
1148:
1147:
1146:A Quiet Place
1143:
1140:
1139:
1135:
1132:
1131:
1127:
1126:
1124:
1120:
1114:
1111:
1109:
1106:
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1102:
1098:
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1086:
1084:
1079:
1077:
1072:
1071:
1068:
1062:
1059:
1055:
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1035:
1031:
1027:
1023:
1022:
1016:
1012:
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1004:
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988:
984:
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979:
973:
971:
968:
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962:
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940:
937:
931:
928:
923:
919:
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903:
899:
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883:
877:
874:
868:
865:
859:
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849:
846:
839:
836:
830:
827:
821:
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812:
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800:
796:
793:
787:
784:
773:
769:
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754:
752:
748:
742:
739:
734:
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718:
714:
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706:
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689:
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677:
675:
671:
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665:
664:
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643:
639:
635:
631:
627:
623:
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616:
612:
608:
603:
601:
600:
596:and Walton’s
595:
594:
588:
580:
578:
576:
572:
568:
563:
560:
559:F-sharp major
552:
550:
543:
541:
540:
536:
532:
527:
525:
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512:
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504:
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211:
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195:
191:
188:
184:
183:mass ordinary
180:
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148:
144:
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135:
121:
117:
106:
102:
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64:
63:
58:
54:
50:
43:
38:
35:
31:
27:
24:
20:
1877:
1850:
1817:
1784:
1766:
1758:
1750:
1730:
1722:
1713:
1711:
1692:
1686:Bridal Suite
1684:
1676:
1666:
1658:
1650:
1642:
1639:(1942—1988)
1634:
1626:
1618:
1610:
1584:
1569:
1563:I Hate Music
1561:
1539:Missa Brevis
1538:
1533:Olympic Hymn
1523:
1515:
1496:
1465:
1457:
1449:
1432:
1422:Divertimento
1420:
1412:
1404:
1392:
1382:
1372:
1349:
1341:
1322:
1314:
1306:
1298:
1212:
1195:
1187:
1163:
1144:
1136:
1128:
1025:
1019:
982:
976:
939:
930:
891:
885:
876:
867:
858:
848:
838:
829:
820:
786:
775:. Retrieved
771:
762:
741:
704:
698:
694:
688:
667:
661:
658:Missa Brevis
657:
653:Missa Brevis
652:
651:
626:Marcus Creed
619:
604:
597:
591:
587:Missa Brevis
586:
584:
567:Missa Brevis
566:
564:
556:
547:
538:
534:
530:
528:
516:
507:discant-like
500:
487:
483:
473:
458:
455:Missa Brevis
454:
447:Missa Brevis
446:
444:
442:as a whole.
440:Missa Brevis
439:
436:
431:
427:
420:
402:
387:
383:Missa Brevis
382:
378:
376:
367:half cadence
360:
354:
347:
333:
320:
312:
307:
305:
288:Missa Brevis
287:
286:Bernstein's
285:
281:George Steel
277:
272:
269:Missa Brevis
268:
266:
254:Missa Brevis
253:
250:missa brevis
240:
217:
214:Jean Anouilh
207:
194:countertenor
174:Missa Brevis
173:
172:
170:
156:countertenor
60:
30:Missa brevis
23:Missa Brevis
22:
1853:(2023 film)
1769:(2021 film)
1761:(1961 film)
1753:(1949 film)
1751:On the Town
1678:Four Sabras
1604:Piano music
1517:Hashkiveinu
1498:Dance Suite
1443:Concertante
1180:Lonely Town
1165:On the Town
638:Marin Alsop
611:BBC Singers
480:dorian mode
242:Robert Shaw
236:Renaissance
228:Joan of Arc
159:mixed choir
74:Robert Shaw
1884:Categories
1681:(ca. 1950)
1644:Seven Ann.
1485:Piano Trio
1343:Fancy Free
1032:: 277–88.
777:2019-04-24
680:References
669:Gramophone
581:Recordings
524:recitative
513:Benedictus
503:homophonic
496:mixolydian
484:misterioso
464:intonation
459:a cappella
422:fortissimo
365:towards a
362:diminuendo
308:a cappella
292:liturgical
198:percussion
187:a cappella
162:percussion
1663:(1949–51)
1660:Five Ann.
1652:Four Ann.
1647:(1942–43)
1579:So Pretty
1556:Psalm 148
1406:CBS Music
1278:Somewhere
1189:Peter Pan
1046:0018-702X
1003:0027-4666
989:: 373–4.
914:1478-2286
725:1534-150X
648:Reception
640:with the
634:Polyphony
617:in 2003.
544:Agnus Dei
531:crescendo
451:tessitura
349:crescendo
325:Movements
234:to early
196:solo and
142:Movements
119:Performed
76:from the
55:based on
1869:Category
1714:The Lark
1596:" (1988)
1581:" (1968)
1535:" (1981)
1395:) (1963)
1375:) (1942)
1373:Jeremiah
1157:Musicals
985:(1455).
711:: 1317.
674:ensemble
569:is very
379:The Lark
344:measures
232:medieval
219:The Lark
216:'s play
204:Overview
104:Composed
94:Language
69:Occasion
62:The Lark
1851:Maestro
1694:Touches
1393:Kaddish
1284:Tonight
1229:America
1217:(1957)
1200:(1953)
1168:(1944)
1138:Candide
1054:3847370
900:: 6–9.
896:(175).
492:organum
476:G major
470:Sanctus
433:tempo."
417:C minor
413:F major
409:C major
405:E major
398:E minor
394:A minor
390:A major
302:Scoring
296:concert
150:Scoring
134:Atlanta
125: (
109: (
52:Related
1735:(1986)
1727:(1971)
1719:(1955)
1697:(1980)
1689:(1960)
1671:(1988)
1655:(1948)
1631:(1938)
1623:(1938)
1615:(1937)
1589:(1977)
1541:(1988)
1528:(1965)
1520:(1945)
1509:Choral
1501:(1989)
1493:(1942)
1487:(1937)
1470:(1981)
1462:(1954)
1454:(1948)
1425:(1980)
1417:(1977)
1409:(1976)
1401:(1961)
1354:(1974)
1351:Dybbuk
1346:(1944)
1335:Ballet
1319:(1976)
1311:(1968)
1192:(1950)
1149:(1983)
1141:(1956)
1133:(1951)
1113:Awards
1052:
1044:
1011:949962
1009:
1001:
965:1990).
922:944575
920:
912:
733:895248
731:
723:
636:; and
539:piano.
522:-like
373:Gloria
1778:Books
1549:Vocal
1467:Ḥalil
1257:Maria
1050:JSTOR
1028:(2).
1007:JSTOR
918:JSTOR
893:Tempo
853:disc.
843:disc.
791:2004.
729:JSTOR
707:(4).
700:Notes
632:with
575:meter
571:dance
535:forte
520:chant
488:piano
356:forte
330:Kyrie
273:Credo
192:with
190:choir
98:Latin
1724:Mass
1236:Cool
1205:Ohio
1042:ISSN
999:ISSN
910:ISSN
721:ISSN
537:and
505:yet
486:and
411:and
392:and
171:The
127:1989
123:1989
111:1988
107:1988
84:Text
1034:doi
991:doi
983:105
944:84.
902:doi
713:doi
336:key
177:by
145:six
32:by
1886::
1048:.
1040:.
1024:.
1005:.
997:.
981:.
916:.
908:.
798:^
770:.
750:^
727:.
719:.
705:22
703:.
644:.
628:;
425:.
298:.
283:.
264:.
131::
1592:"
1577:"
1531:"
1435:)
1391:(
1381:(
1371:(
1293:"
1289:"
1286:"
1280:"
1276:"
1273:"
1269:"
1266:"
1262:"
1259:"
1255:"
1252:"
1248:"
1245:"
1241:"
1238:"
1234:"
1231:"
1227:"
1224:"
1220:"
1207:"
1203:"
1182:"
1178:"
1175:"
1171:"
1089:e
1082:t
1075:v
1056:.
1036::
1026:9
1013:.
993::
957:´
924:.
904::
780:.
735:.
715::
351:,
316:,
129:)
113:)
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