The Los Angeles Philharmonic has been aptly lauded for their commitment to innovation in classical music, and the orchestra served as a timely vessel of hope and encouragement with the premiere of Carlos Simon’s Good News Mass on Apr. 18. Taking its name from the etymology of the word “gospel,” the moving work is a Gospel reimagining of the mass ordinary with a Pentecostal throughline – which created an authentic portrait of Simon’s influences.
Leonard Bernstein’s lively and vibrant Divertimento set the tone for the overarching theme of American music and its varied palette. Though infrequently performed, this eight movement work of vignettes offers everything one might love about Bernstein: a huge orchestra, an engaging score, and remnants of the familiar while exploring new territory. From the 7/8 waltz movement to the brassy finale, Bernstein creates a lush and inviting atmosphere, most notably when soli are passed around throughout the sections. The woodwind section truly shined in this performance, particularly in the final movement when they stood up to add an exciting touch to the end that the audience loved.
Rising star Randall Goosby brought Florence Price’s second violin concerto to life with his luxuriant sound. The expansive, rich tuttis of this concerto in one movement were the perfect complement to Goosby’s technical ability as he soared above the orchestra; his ease and facility made experiencing this performance both inspiring and fulfilling. After three calls back to the stage, Goosby offered an encore performance of “Louisiana Blues Strut” by Coleridge-Taylor Perkinson, an homage to his Southern roots. The frequent use of open string double stops throughout, paired with funky Blues-like rhythms, brought a vernacular feel to the concert hall, and the complex chords and large leaps to the end of the fingerboard were a reminder of Goosby’s brilliance.
The premiere of Good News Mass invited a unique resetting of the stage that brought out a quartet of popular “church” instruments: the Hammond organ, piano, bass guitar, and drum set. The featured choir, The Samples, stood behind the orchestra in their usual spot, led by choirmaster Jason White. The presence of both White and LA Phil music director Gustavo Dudamel was a bit unconventional, but the two worked well both together and apart, focusing on their respective ensembles to be sure Simon’s vision was brought to life.
A hazy, almost brush stroked white cross was projected on the screen as Marc Bamuthi Joseph – the featured spoken word artist and co-librettist (alongside Courtney Ware Lett) – stepped onstage with his larger-than-life personality that was engaging and powerful from the very first word until his last. “Introit” was fiery and bombastic from both orchestra and poet; the gradual building, evolution, and repetition of “hallowed be thy name” to “hallowed holla” and then “hallelujah” provided a gripping and moving start to the piece. On the screen, the nuances of Black American life played in a stop motion fashion. Directed by filmmaker Melina Matsoukas, images of kids running, men speaking, people going to church, a man holding a “Jesus Saves” sign, and even sex workers moved across the screen.
It was almost unfathomable to experience this work in a concert hall; the beauty and uniqueness of this composition is its likeness to a church service – the richness and goosebumps a Gospel choir provides, the lively virtuosity of a soloist, and the unmistakable talent of the musicians – yet anyone regardless of faith could easily find inspiration in Good News Mass. “Oh, Give Thanks,” which included both choir and tenor soloist Zebulon Ellis, and “Lord, We Thank You,” which featured alto soloist Samoht, felt similar to “special selection” in a Pentecostal-inspired denomination in which a lively choir introduction is followed by a soloist who adlibs to the end.
Simon asserts that the good news is God is love. And while unapologetically religious and reverent to God throughout, Simon still provides something for every listener, whether it be complex and full orchestration gemmed with alluring brass solos, or the familiar sounds of Black church from the Hammond organ riffs, the inspiration that a powerful preacher can give, or the peace that an angelic Gospel choir can provide. Good News Mass is a masterful and sacred interpretation of a beloved genre, but beyond that, Simon’s work demonstrates the impact artists can have when they are free to lean into the full spectrum of what inspires them.
I CARE IF YOU LISTEN is an editorially-independent program of the American Composers Forum, and is made possible thanks to generous donor and institutional support. Opinions expressed are solely those of the author and may not represent the views of ICIYL or ACF.
You can support the work of ICIYL with a tax-deductible gift to ACF. For more on ACF, visit the “At ACF” section or composersforum.org.
