Chichester Psalms, choral work in three movements by the American composer Leonard Bernstein, who conducted its premiere on July 15, 1965, at England’s Chichester Cathedral, which had commissioned the piece. © Copyright (Similar strains of receptivity to ecumenical considerations and Judaic roots could also be found—then, or shortly thereafter—in some progressive congregations within the American Episcopal Church, the American branch of the worldwide Anglican Communion. Yea, though I walk N'natkah et mos'roteimo, PSALM 100 Raise a shout for the Lord, all the earth; worship the Lord in gladness; come into His presence with shouts of joy. Royal Liverpool Philharmonic Orchestra; read them here. Teaching Singers. Lamah rag'shu goyim Mimeni. Adonai ro-i, lo ehsar. Timing: 18:00. Of the Chichester premiere itself, he noted: July: To Chichester, en famille, to hear My Psalms in the place for which they were written. Hineh mah tov, Only goodness and steadfast love shall pursue me all the days of my life, and I shall dwell in the house of the Lord for many long years. Each year since 1960 the Cathedral of Chichester has collaborated with its neighboring cathedrals in Winchester and Salisbury in the production of a summer music festival, though the tradition of the annual meeting of the Cathedral Choirs actually dates to 1904. Psalm 23. The Cathedral of Chichester, in Sussex, England, after which Bernstein titled this work, is the seat of a cherished sacred music legacy that dates to the tenure of its honored organist and composer, Thomas Weelkes (ca. The text was arranged by the composer from the Book of Psalms in the original Hebrew. The San Francisco Symphony is celebrating the centennial of his birth during the 2017-18 season.. Chichester Psalms, Movement 1 Part-Dominant MP3 Bundle SATB Chichester Psalms, Movement 1 … He that sitteth in the heavens Two weeks earlier, however, Bernstein conducted the actual world premiere at New York’s Philharmonic Hall (now Avery Fisher Hall), with the New York Philharmonic and the Camerata Singers—a mixed choir with women’s voices substituting for boys on the soprano and alto parts. “They are very simple, very tonal, very direct, almost babyish in some ways, and therefore it stands perilously on the brink of being sentimental if wrongly performed.” The present performance, with its judicious reserve that manages nonetheless to preserve the buoyancy and vibrancy of the music, would most certainly have assuaged Bernstein’s concern. Yea, though I walk Through the valley of the shadow of death, I will fear no evil, For Thou art with me. Umah nayim, Chichester Psalms Sheet Music (Leonard Bernstein, 1965, Chichester Cathedral). The Lord is my shepherd, I shall not want. “Let us break the cords of their yoke, shake off their ropes from us!” He who is enthroned in heaven laughs; the Lord mocks at them. The final movement—which is also the longest—begins with a passionate and elegiac introduction for the strings. The CyberBass Project is Working Tirelessly to. Vocal scores for Bernstein's Chichester Psalms. Chichester Psalms: I. Psalm 108 (verse 2) / Psalm 100 (complete) Songtext von Leonard Bernstein mit Lyrics, deutscher Übersetzung, Musik-Videos und Liedtexten kostenlos auf Songtexte.com Psalm 23; Psalm 2 (verses 1-4) 09:24 III. Against the Lord and against His annointed. Chichester Psalms, Movement 1 Part-Dominant MP3 Bundle SATB View Details. Shall have them in derision! They comfort me. In Chichester I heard angels sing. Im lo shiviti Adonai, Adonai, In lieu of the Huntington Choral Society Winter Concert and in the hope of a brighter 2021, HCS is pleased to present a short film presentation entitled, A … Bernstein in Chichester Festival. This Amen is still, spare, open. Leonard Bernstein, New York Philharmonic*, John Bogart, Camerata Singers, Abraham Kaplan – Chichester Psalms / Facsimile Genre: Classical. Tempo: various. Iv'du et Adonai b'simcha. Chichester’s affirmation is but a single utterance, spread over the last two bars, and lasting twenty-four considered beats, voices and strings in unison on G and with only the second violins adding, on the last syllable, the barest hint of the third on B^. The Chichester Psalms end with words from Psalms 131 and 133 – a prayer for Israel that can be prayed with special significance today. (Chichester has a great musical tradition, going back to its famed organist-composer of the early 17 t h century, Thomas Weelkes.) Neged tsor'rai Scored for SATB and Organ or Piano accompaniment. Amo v'tson mar'ito. Bless His name! 11304426F. Surely I have calmed The orchestration of Chichester Psalms calls for six brass (three trumpets and three trombones), two harps, a large percussion section, and strings. Behold how good, and how pleasant it is for brothers to dwell together in unity. D'u ki Adonai Hu Elohim. Although it may seem now that Bernstein’s celebrity and international visibility in the twin worlds of theatrical and concert music made him a natural candidate for so important a commission, this invitation may also be viewed as adventurous, if not courageous, for its time. PSALM 133:1 How good and how pleasant it is that brothers dwell together. V'lo ramu einai, His setting of the Psalms seems to be an extended coda to the “Kaddish” praising God in psalms. Al mei m'nuhot y'nahaleini, Style: Modern. Nor should the very positive response there to its Judaic parameters have been completely unexpected. In 1965, the Dean of Chichester Cathedral, the Very Reverend Dr. Walter Hussey, commissioned Bernstein to compose a work based on the Psalms for that summer’s Southern Cathedrals Festival. The Church of England has witnessed recurrent strains of preoccupation with the ancient Temple rituals and with Hebraic antecedents of Christian liturgy. Naf'shi y'shovev, The premiere there of the original version, in the language of the Bible, was received enthusiastically, and Bernstein later published the work exclusively in Hebrew—i.e., without an alternative English text underlay. Chichester Psalms. V'domam'ti, The concert also included J.S. L'orech yamim. Psalm 23; Psalm … Bo-u sh'arav b'todah, Naxos 8.559177 Bournemouth Symphony Chorus & Orchestra Marin Alsop - Conductor . Chichester Psalms is an extended choral composition in three movements by Leonard Bernstein for boy treble or countertenor, choir and orchestra. As he did for the Kaddish Symphony, Calum MacDonald also furnished program notes for the Royal Liverpool Philharmonic performance of Chichester Psalms in 2004. Liverpool Metropolitan Cathedral Choir, Ian Tracey, chorusmaster; These considerations often provided perceived areas of common ground between the Church and its Judaic roots, which could offer a sense of historical underpinning as well as theological continuum and legitimacy. D'u ki Adonai Hu Elohim. Our eight-month festival marking Chichester's ties with Leonard Bernstein came to an end on 24 November 2018 with a memorable performance of Chichester Psalms by the Bournemouth Symphony Orchestra and the choirs of Chichester, Salisbury and Winchester Cathedrals under the baton of Bernstein's protégée Marin Alsop.It was a concert that everyone … var d=new Date(); In his initial correspondence with Bernstein, Dr. Hussey suggested a setting of Psalm 2. Together in unity. A few vestiges of that fascination can still be detected in the coronation ceremony of the English monarch—who, of course, is also the supreme head of the Church of England. $49.99 Quantity . As he commented in a letter to Dr. Hussey, the music turned out to be far more difficult to perform than the word “youth” might suggest—notwithstanding the fact that it requires a professional caliber boy or children’s choir. Chichester Psalms Userguide indexed for - Edition - Boosey, Hawkes Performance Recording. Tracklist . V'roznim nos'du yahad But Bernstein then proposed a “suite of Psalms, or selected verses from Psalms,” with the tentative title Psalms of Youth—in view of his conception of the music as “very forthright, songful, rhythmic, and youthful.” He subsequently abandoned that title in favor of the present one. Through the valley of the shadow of death, Bo-u l'fanav bir'nanah. From the earliest days of the Christian Church, the Psalms played a central role in the formation and development of its liturgies; and ancient psalmody (the logogenic, formulaic manner of intoning the Psalms, as well as other similar texts), which had become an established and formalized part of the Levitical Temple ritual in Jerusalem, figured prominently in the musical development of the early Church and its chant traditions—albeit probably indirectly through transmission via synagogues in surrounding Near Eastern communities. Nor mine eyes lofty, LEONARD BERNSTEIN BORN: August 25, 1918.Lawrence, Massachusetts DIED: October 14, 1990.New York City. Chichester Psalms (Sony SMK-60595) Symphony #3, Kaddish (Sony SMK-60595) Suites from The Dybbuk (DG 447956-2) For His name's sake. The offer of the Chichester commission came during Bernstein’s sabbatical year from the New York Philharmonic, just as he was in the throes of disappointment over the miscarriage of a project on which he had been working, a Broadway musical show based on Thornton Wilder’s play The Skin of Our Teeth. Naf'shi k'gamul alei imo, Indeed, for the hundreds of amateur as well as professional and university choruses throughout the world that have delighted in singing this work, and for non-Jews among audiences from America, Europe, and the British Isles to the Far East, Chichester Psalms has often constituted their exclusive experience with the Hebrew language. The composer, reviewing his experiences of 1965 in humorous verse, wrote of the piece: These Psalms are a simple and modest affair. And His truth endureth to all generations. Lord, Lord, Be thankful unto Him, and bless His name. Notwithstanding the recently proliferated but far more circumscribed attraction among early music ensembles and aficionados to the early-17th-century Hebrew liturgical settings by the Italian-Jewish composer Salamone Rossi, no choral work in Hebrew apart from Chichester Psalms can be said to have attained the status of “standard repertoire” within the Western canon. Thy rod and Thy staff Shipped with Media Mail. Chichester Psalms: III. Of the Chichester premiere itself, he noted: July: To Chichester, en famille, to hear My Psalms in the place for which they were written. Thou annointest my head with oil, It just wasn’t my music; it wasn’t honest. Music composed by Leonard Bernstein (1918-1990) Text from the Hebrew Psalms. As the Psalm is taken up by female voices, however, Bernstein has the male section of the chorus sing verses from Psalm 2 (“Why do nations assemble, and peoples plot ...”—a text familiar to British audiences through Handel’s Messiah) to much more angular and agitated music, in which the noise of the percussion takes on a sinister meaning. PSALM 131 O Lord, my heart is not proud nor my look haughty; I do not aspire to great things or to what is beyond me; but I have taught myself to be contented like a weaned child with its mother; like a weaned child am I in my mind. Chichester Psalms. $49.99 Quantity . The work opens with an exhortation to praise the Lord: the mood is triumphal and authoritative, like a proclamation. He restoreth my soul, And how pleasant it is, Al Adonai v'al m'shiho. Psalm 131 - Psam 133,1: Leonard Bernstein,Choir of Kin ... Vaughan Williams: Dona Nobis Pacem; Bernstein: Chichester Psalms (DPD) Chichester Psalms: II. The result appears not only to have leaned melodically and rhythmically on its composer’s Broadway proclivities, but, as Dr. Hussey had assured him would be welcome, on actual moments of his earlier stage music. Bin'ot deshe yarbitseini, This leads into a warm, assuaging setting of Psalm 131, to a long and intensely memorable melody in 10/4 time, which is first cousin to the love-songs of Bernstein’s stage shows. “I am suddenly a composer without a project.” He thus welcomed the opportunity the Chichester commission provided, and he proceeded to compose the work in New York in the spring of that year. Yahel Yis'rael el Adonai This is the trigger for the main part of the movement, an ebulliently dancing (and in places jazzy) scherzo-like setting of Psalm 100, where the array of percussion is much to the fore in “making a joyful noise.”. For Thou art with me. He maketh me to lie down in green pastures, He leadeth me beside the still waters, He restoreth my soul, He leadeth me in the paths of righteousness, For His name's sake. The Bishop of Chichester is said to have remarked that he had envisioned David dancing before the Lord—a reference to the account in II Samuel 6, wherein King David, following one of his military campaigns against the Philistines, has retrieved the Holy Ark from them and brought it back into Jerusalem with enormous joy and celebration, dancing without inhibitions “before the Lord with all his might.”. Iv'du et Adonai b'simha. The solo part is sometimes And into His courts with praise. This contrasted music of peace and war proceeds in uneasy counterpoint throughout the rest of the second movement. Kagamul alai naf'shi. The Chichester Psalms, composed as the result of a commission by Walter Hussey for a choral festival at Chichester Cathedral. And romanticized visual depictions of the Second Temple and other scenes of ancient Jerusalem were fashionable during the Victorian era—for example, among Pre-Raphaelite expressions. $49.99 Quantity Illuminated manuscripts of that era (Psalters, Bibles, breviaries, and Books of Hours) frequently included accompanying illustrations relating to Psalms and Psalm-singing—for example, King David, who is reputed by legend and tradition to have composed many of the Psalms, playing on various musical instruments. The Book of Psalms, however it might be interpreted artistically by a 20th-century Jewish composer who, in the case of Bernstein, might be expected to reflect some degree of Jewish sensibility in his work, represented—more so than any other liturgical or biblical text—just such common as well as neutral ground. Leonard Bernstein (1918-1990) CHICHESTER PSALMS (1965) 00:06 I. Psalm 108 (verse 2); Psalm 100 03:43 II. And quieted myself, I. Psalm 108, verse 2; Psalm 100. Gam yahad. Praise Him! The second movement begins with the boy soloist, accompanied by harp, serenely setting forth the opening lines of Psalm 23. Online shopping from a great selection at CDs & Vinyl Store. Chichester Psalms: The Sale of MP3 Audio Files. Lyrics: Psalms. Dr. Hussey was apparently concerned lest Bernstein feel restricted by the ecclesiastical parameters of the festival or the awesomeness of the Cathedral venue. It is He that hath made us, and not we ourselves Rebuild our MP3 Catalog in the Coming Months. He leadeth me beside the still waters, The kings of the earth set themselves, Yan'heini b'ma'aglei tsedek, Yoshev bashamayim And the people imagine a vain thing PSALM 108:3Awake, O nevel and kinor I will wake the dawn. Yil'ag lamo! Enter His gates with praise, His courts with acclamation. First Line: Urah hanevel. Awake, psaltery and harp! In retrospect, however—on another plane—it might not have been so far-fetched (even if unprecedented) for the Dean to commission a transparently and avowedly Jewish composer—whose most recent work had been based not only on Judaic liturgy in its original language but on a personalized Jewish theological interpretation with Hassidic foundations—to write for an Anglican cathedral setting. The Book of Psalms was also among the first biblical books to be translated into vernacular languages in Europe and England (an Anglo-Saxon version appeared as early as the 8th century). Ul'umim yeh'gu rik? Gam ki eilech A-irah shahar! Yis'hak, Adonai From the early 16th century on, the Book of Psalms engendered many important English literary and creative adaptations and translations, including metrical versions that remain in use. Let Israel hope in the Lord On June 23, 1973, Leonard Bernstein conducted his Chichester Psalms at the Vatican, in celebration of the 10-year anniversary of Pope Paul VI’s ascension to the papacy. From henceforth and forever. For the Lord is good; His steadfast love is eternal; His faithfulness is for all generations. We are His people and the sheep of His pasture. Excerpted from “... And What I Did,” New York Times, Oct. 24, 1964. V'ad dor vador emunato. He makes me lie down in green pastures; He leads me to water in places of repose; He renews my life; He guides me in right paths as befits His name. Performances since then have been given in both formats. The Lord is my shepherd, I shall not want. Dishanta vashemen roshi Yit'yats'vu malchei erets, Don't miss our latest releases, podcasts, announcements and giveaways throughout the year! Theological as well as ceremonial and patrimonial aspects of Jewish antiquity seem to have had a special appeal at various periods. Ach tov vahesed Forever. First in his capacity as Vicar of St. Matthew’s Church, in Northampton, and then as the Dean of Chichester, he also commissioned works for the Church by such serious composers, painters, sculptors, and poets as Benjamin Britten, William Walton, Marc Chagall, W. H. Auden, Graham Sutherland, and Henry Moore. Publisher: Boosey and Hawkes. V'lo hilachti Urah, hanevel, v'chinor! Acknowledge that the Lord is God; He made us and we are His, His people, the flock He tends. Hodu lo, bar'chu sh'mo. Let Israel hope in the Lord from henceforth and forever. Stay up to date with our newsletter. In Psalms, Bernstein is wrestling with his Jewish identity (which he did often). $49.99 Quantity . For the Chichester festival of 1965 Leonard Bernstein was commissioned to write these psalms. 11304428F. Chichester Psalms, Movement 2 Part-Dominant MP3 Bundle SATB View Details. II. Surely goodness and mercy O Israel, wait for the Lord now and forever. Yird'funi kol y'mei hayai Hemah y'nahamuni. In medieval Christianity, apart from basic elements of the Creation story in Genesis, the Book of Psalms was the most familiar part of the Hebrew Bible. As a child that is weaned of his mother, In the presence of mine enemies, In addition to its recurrent renditions simply as a choral work on its own purely artistic merits, Chichester Psalms is often programmed with the explicit aim of illustrating a nexus between Christian and Judaic liturgical traditions that flows from their common reliance on the biblical Book of Psalms. Chichester Psalms is tuneful, tonal and contemporary, featuring modal melodies and unusual meters. This commission from Chichester Cathedral in England features music cut from Bernstein's West Side Story, but the highlight for me is "Psalm 23," written for countertenor or boy singer, meant to sound like the voice of young King David. document.write("- "+yr); Big'dolot uv'niflaot Neither do I exercise myself Hu asanu, v'lo anachnu. And I will dwell in the house of the Lord Part 1 uses Psalms 100 and 108, Part 2 uses 2 and 23, and Part 3 uses 131 and 133. Bernstein offered his own assessment of the work upon its completion: “It has an old-fashioned sweetness along with its more violent moments,” he wrote to Dr. Hussey, also characterizing it in general as “popular in feeling.” Although that “popular feeling” seems to have triggered some negative critical response to the premiere at the Cathedral (one reviewer deemed it shallow and slick), for the critic writing in the London Sunday Times, the work showed Bernstein as a composer whose music was certainly consonant with the Cathedral setting and even with worship—a religious composer, in fact, “of the kind Luther must have had in mind when he grudged the devil all the good tunes.” Chichester Psalms soon became Bernstein’s most frequently sung choral work—one that rarely if ever fails to communicate its artistic message to its audience, but also one that choruses themselves adore. yr=d.getFullYear(); Thy rod and Thy staff Indeed, Dr. Hussey is reported to have told Bernstein that he was especially excited that the Psalms “came into being at all as a statement of praise that is ecumenical.”, Moreover, the sprouting ecumenical spirit of the mid-1960s was beginning to find its reflection in some Anglican Church circles, and the prospect of Psalm settings by the composer of the Kaddish Symphony probably seemed timely as well as perfectly appropriate to its more liberal elements. He even expressed the wish that the music might incorporate some of the composer’s Broadway side, telling Bernstein, “Many of us would be very delighted if there was a hint of West Side Story about the music.”. Hariu l'Adonai kol haarets. At New York’s Cathedral of St. John the Divine, for example, the seat of the American Episcopate, regular worship services—even on Christmas eve—have included the pronouncement in its original biblical Hebrew of the Judaic monotheistic credo, sh’ma yisra’el...), Once he had arrived at his artistic conception of a “Psalm suite,” Bernstein realized that he could “think of these Psalms only in the original Hebrew.” His concern over whether this would be considered appropriate for the Cathedral was immediately put to rest by Dr. Hussey. It is scored for orchestra, chorus, and a boy alto soloist. Why do the nations rage, Lo gavah libi, V'shav'ti b'veit Adonai Just as Bernstein’s third symphony has provided much of the musically interested general public with its initiation into Judaic liturgy through its focus on the Aramaic text of the kaddish, his Chichester Psalms remains for much of the choral world its principal if not sole encounter with Hebrew choral music. The original conception or “version”—in which form the work was given its premiere at Chichester Cathedral at the end of July 1965—is for a chorus exclusively of men and boys, with the boys’ voices on the soprano and alto lines. In great matters or in things L'ma'an sh'mo. As he later recalled, the seed for Dr. Hussey’s approach to Bernstein had been planted in his imagination the previous year by the Cathedral’s organist and choirmaster, John Birch, who had recommended inviting a composer to write a choral piece for the Festival in a “slightly popular” yet still manifestly artistic style. “I think the Psalms are like an infantile version of Kaddish,” Bernstein reflected in a 1965 interview shortly after the premiere. These Psalms are a simple and modest affair. From the time of its sold-out world premiere at Philharmonic Hall on July 15, 1965 conducted by the composer himself, it was apparent that Bernstein had created a magically unique blend of Biblical Hebrew verse and Christian choral tradition.