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Three Meditations from Mass

by Leonard Bernstein

Instrumentation
Cello, Piano
Composed
1977
Duration
19'
Publisher
Boosey & Hawkes

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About this piece

Bernstein drew these three Meditations from his 1971 theatre piece Mass, where the orchestra plays them at moments of extreme tension when the Celebrant says 'Let us pray'. The first two were arranged for cello and piano in 1971 and premiered by Stephen Kates with the composer; for Rostropovich he added a third, built on the 'Epiphany' fantasia, the dance 'In nomine Patris' and the chorale 'Almighty Father', and scored all three for cello with strings, keyboards, harp and percussion (1977). Boosey & Hawkes publishes the cello-and-piano version (about 19 minutes, rated Advanced +) and Hal Leonard the full score; orchestral material is on hire. Meditation No. 1 alone is also in The Boosey & Hawkes Cello Anthology.

Technical overview

Boosey rates the edition ‘Advanced +’; the sources give no further technical detail beyond the sustained first Meditation and the variation form of the second.

Level rubric

Advanced

Left Hand

  • Unrestricted fingerboard operation.
  • Effortless high‑register passages with thumb position.
  • Execute large leaps, rapid shifts & fast runs with precise intonation.
  • Render double stops with clarity and even vibrato.
  • Crisp, stylistically appropriate ornamentation (trills, turns, mordents).
  • Instinctive micro‑adjustments in intonation for expressiveness.
  • False harmonics in low positions

Right Hand

  • Complete command of all bow strokes at any tempo/dynamic.
  • Comfortable execution of virtuoso passages (sautillé, intricate ricochet).
  • Tone projection from whisper‑quiet to fortissimo.
  • Integrate advanced bow patterns with expressive phrasing.
  • Demonstrate technical precision with a broad dynamic range.

Rhythm & Musicality

  • Interpret large‑scale structures with nuanced pacing and rhythmic freedom.
  • Highly refined phrasing with subtle note grouping & expressive rubato.
  • Convey emotional depth and stylistic authenticity.
  • Incorporate personal interpretive choices while meeting stylistic demands.

Levels are approximate guides, not strict requirements.