Ravinia 2019, Issue 4, Week 7

BERNSTEIN Mass I. Devotions before Mass 1. Antiphon: Kyrie eleison 2. Hymn and Psalm: “A Simple Song” 3. Responsory: Alleluia II. First Introit (Rondo) 1. Prefatory Prayers 2. Thrice-Triple Canon: Dominus vobiscum III. Second Introit 1. In nomine Patris 2. Prayer for the Congregation (Chorale: “Almighty Father”) 3. Epiphany IV. Confession 1. Confiteor 2. Trope: “I Don’t Know” 3. Trope: “Easy” V. Meditation No. 1 VI. Gloria 1. Gloria tibi 2. Gloria in excelsis 3. Trope: “Half of the People” 4. Trope: “Thank You” VII. Mediation No. 2 VIII. Epistle: “The Word of the Lord” IX. Gospel-Sermon: “God Said” X. Credo 1. Credo in unum Deum 2. Trope: “Non Credo” 3. Trope: “Hurry” 4. Trope: “World without End” 5. Trope: “I Believe in God” XI. Meditation No. 3 (De profundis, part 1) XII. Offertory (De profundis, part 2) XIII. The Lord’s Prayer 1. Our Father … 2. Trope: “I Go On” XIV. Sanctus XV. Agnus Dei XVI. Fraction: “Things Get Broken” XVII. Pax: Communion (“Secret Songs”) There will be no intermission in this program. Supertitles by Jonathan Burton Presented by arrangement with Boosey & Hawkes, Inc., sole agent for Leonard Bernstein Music Publishing Company LLC, publisher and copyright owner. Ravinia expresses its appreciation for the generous support of Featured Sponsor Jennifer W. Steans and James P. Kastenholz and The Mass Consortium . The Mass Consortium comprises Megan P. and John L. Anderson, Winnie and Bob Crawford, Welz Kauffman and Jon Teeuwissen, Susan and Richard Levy, and John Snyder and Mignon Dupepe. LEONARD BERNSTEIN (1918–90) Mass : ATheater Piece for Singers, Players, and Dancers Scored for an orchestra in two parts, the Celebrant, a Street Chorus comprising singers and dancers, a mixed choir in robes, a children’s choir with soloist, a wind band, and a complement of dancers in hooded robes playing Acolytes who assist the Celebrant in the ritual of the Mass. The stage orchestra includes two flutes and two piccolos, two oboes and English horn, three clarinets, three saxophones, two bassoons and contrabassoon, four horns, four trumpets, three trombones, tuba, two trap sets, bongos, temple block, finger cymbals, glockenspiel, two tambourines, street percussion (claves, bottles, gourds, three steel drums, tin cans, tambourines), two electric guitars, bass guitar, and two electric keyboards. The pit orchestra includes harp, two Allen organs, timpani, celesta, vibraphone, glockenspiel, marimba, xylophone, chimes, snare drum, tenor drum, bass drum, bongos, four tuned drums, suspended cymbals, cymbals, triangle, temple block, tambourine, tam-tam, woodblock, anvil, two cowbells, strings, and pre- recorded tape. A decades-old vision of a National Cultural Center of the United States, one to rival simi- lar centers in the great European capitals, came closer to reality when President Dwight D. Ei- senhower signed the National Cultural Center Act into law in 1958. The Smithsonian Institution established a bureau headed by a Board of Trust- ees and an Advisory Committee on the Arts to construct a center in the District of Columbia along the Potomac River, financed by a combi- nation of public and privately raised funds, and to oversee its operations. The stated purposes of this center included the presentation of classical and contemporary music, dance, drama, poetry, lectures, programs for children and the elderly, and other civic activities. American architect Edward Durell Stone was selected in June 1959 to provide the design. President John F. Kennedy, a longtime, fervent supporter of the arts, continued the develop- ment of the center. In 1961, he selected real es- tate developer and Broadway musical producer Roger L. Stevens to serve as founding chairman of the board. President Kennedy and the First Lady, Jacqueline Kennedy, held several am- bitious events to raise $30 million in private funds, beginning with the November 29, 1962, black-tie event at the District of Columbia Na- tional Guard Armory—“An American Pageant of the Arts.” The evening’s Master of Ceremo- nies, Leonard Bernstein, headlined an all-star cast of artists including the National Symphony Orchestra, pianist Van Cliburn, and 7-year-old cellist Yo-Yo Ma accompanied by his 11-year- old sister, Yeou-Cheng Ma. Following Presi- dent Kennedy’s assassination on November 22, 1963, his successor, Lyndon B. Johnson, signed a bill renaming the facility the John F. Kennedy Center for the Performing Arts. President John- son broke ground, using the same ceremonial JULY 15 – JULY 21, 2019 | RAVINIA MAGAZINE 91