| Chichester Psalms | |
|---|---|
| Choral composition byLeonard Bernstein | |
 First page of the vocal score,Boosey & Hawkes edition | |
| Occasion | 1965Southern Cathedrals Festival atChichester Cathedral |
| Text | Psalms 100,108,2,23,131,133 |
| Language | Hebrew |
| Performed | 15 July 1965 (1965-07-15):New York City |
| Movements | three |
| Scoring |
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Chichester Psalms is an extended choral composition in threemovements byLeonard Bernstein forboy treble orcountertenor, choir and orchestra. The text was arranged by the composer from theBook of Psalms in the originalHebrew. Part 1 usesPsalms 100 and108, Part 2 uses2 and23, and Part 3 uses131 and133.[1] Bernstein scored the work for a reduced orchestra, but also made a version for an even smaller ensemble of organ, one harp, and percussion.
The work premiered at thePhilharmonic Hall in New York City on 15 July 1965, conducted by the composer. That was followed by a performance atChichester Cathedral as part of theSouthern Cathedrals Festival, for which it was commissioned, on 31 July that year, conducted byJohn Birch.
The work was commissioned for the 1965Southern Cathedrals Festival atChichester Cathedral by the cathedral's Dean,Walter Hussey.[2] However, the world premiere took place in thePhilharmonic Hall,New York, on 15 July 1965 with the composer conducting, followed by the performance at Chichester on July 31, 1965, conducted by the cathedral's Organist and Master of the Choristers,John Birch.[3][2]
The first performance in London took place on 10 June 1966 in the Duke's Hall of theRoyal Academy of Music. Conducted byRoy Wales and performed by the London Academic Orchestra and London Student Chorale, it was paired with Britten'sCantata academica.
Chichester Psalms was Bernstein's first composition after his 1963Third Symphony (Kaddish). These two works are his two most overtly Jewish compositions. While both works have a chorus singing texts in Hebrew, theKaddish Symphony has been described as a work often at the edge of despair, whileChichester Psalms is affirmative and serene at times.
On 24 November 2018, as the finale of theBernstein in Chichester celebrations to mark the centenary of Bernstein's birth, the choirs of Chichester Cathedral,Winchester Cathedral andSalisbury Cathedral again joined forces to singChichester Psalms in Chichester Cathedral. They were accompanied by theBournemouth Symphony Orchestra conducted byMarin Alsop, a former pupil of Bernstein.[4] The treble solo was sung by the Chichester Head Chorister, Jago Brazier. Alexander Bernstein, Bernstein's son, was in the audience, as he had been in 1965.[4]
Bernstein made his own selection from the psalms, and decided to retain the original Hebrew for an ecumenical message, focused on the "brotherhood of Man".[5]
Psalm 108 (verse 2 in theKing James Version; verse 3 in Hebrew)
עוּרָה, הַנֵּבֶל וְכִנּוֹר; | Urah, hanevel, v'chinor! | Awake, psaltery and harp: |
The introduction (presented in the score as part of movement one) begins gathering energy.Word painting is used in that the dissonant sevenths present in every chord sound like clanging bells, indicating that we are being told to awaken in a deep and profound way. In the first measure, Bernstein also introduces aleitmotif in the soprano and alto parts consisting of a descending perfect fourth, ascending minor seventh, and descending perfect fifth. The motif is also found with the seventh inverted as a descending major second. It conjures up images of tuning the harp and psaltery (especially the use of perfect fourths and fifths). This leitmotif is found elsewhere in the work, including the end of the first movement ("Ki tov Adonai," m. 109–116), the third movement prelude, and in the soprano part of the final a cappella section of movement three ("Hineh mah tov," m.60), with a haunting reintroduction of the material in the harp on unison G's during the "Amen" of m. 64.
Psalm 100
הָרִיעוּ לַיהוָה, כָּל־הָאָרֶץ. | Hari'u l'Adonai kol ha'arets. | Make a joyful noise unto the Lord all ye lands. |
The first movement is in a joyous7
4 meter, sung in a festive fashion, as is implored in the first verse of the psalm. Its last words, "Ki tov Adonai," recall the 7th interval presented as the main theme in the introduction. The music progresses in three asymmetrical beats, with the groupings shown by the composer as 2+2+3.
| "David" and sopranos (Psalm 23) |
|
The second movement begins with the Psalm of David set in a conventional meter (3
4) with a tranquil melody, sung by the boy treble (or countertenor), and repeated by the soprano voices in the chorus. This is abruptly interrupted by the orchestra and the low, rumbling sounds (again word painting) of the men's voices singing Psalm 2 (also notably featured inHandel'sMessiah). This is gradually overpowered by the soprano voices (with the direction—at measure 102 in the vocal score only—"blissfully unaware of threat") with David serenely reaffirming the second portion of Psalm 23. However, the last measures of the movement contain notes which recall the interrupting section, symbolizing mankind's unending struggle with conflict and faith.
The music for the beginning of the second movement is taken from sketches from Bernstein's unfinishedThe Skin of Our Teeth. The men's theme was adapted from material cut fromWest Side Story.
Psalm 131
יְהוָה, | Adonai, Adonai, | Lord, Lord, |
The third movement begins with a conflicted and busy instrumental prelude which recapitulates the chords and melody from the introduction, then suddenly it breaks into the gentle chorale set in a rolling10
4 meter (subdivided as2+3+2+3
4) which recalls desert palms swaying in the breeze.
Psalm 133, vs. 1
הִנֵּה מַה־טּוֹב, | Hineh mah tov, | Behold how good, |
The finale comes in from the third movement without interruption. The principal motifs from the introduction return here to unify the work and create a sense of returning to the beginning, but here the motifs are sung pianississimo and greatly extended in length. Particularly luminous harmonies eventually give way to a unison note on the last syllable of the text—another example of word painting, since the final Hebrew word, Yaḥad, means "together" or, more precisely, "as one". This same note is that on which the choir then sings the Amen, while one muted trumpet plays the opening motif one last time and the orchestra, too, ends on a unison G, with a tiny hint of aPicardy third.
In the score, Bernstein notes that the soprano and alto parts were written "with boys' voices in mind," and that it is "possible but not preferable" to use women's voices instead. However, he states that the male alto solo "must not be sung by a woman," but either by a boy or a countertenor.[6] This was to reinforce the liturgical meaning of the passage sung, perhaps to suggest thatPsalm 23, a "Psalm of David" from theHebrew Bible, was to be heard as if sung by the boyDavid himself.[7]
The orchestra consists of 3trumpets in B♭, 3trombones,timpani, a five-personpercussion section, 2harps, andstrings.[1][7] A reduction written by the composer pared down the orchestral performance forces toorgan, one harp, and percussion.
ThePsalms, and the first movement in particular, are noted for the difficulty they pose for the performers. For example, the opening is difficult for the tenors, owing to the unusually wide vocal range, rhythmic complexity, and the consistent presence of strange and difficult-to-maintain parallel 7ths between the tenor and bass parts. The interval of a seventh figures prominently throughout the piece because of its numerological importance in the Judeo-Christian tradition; the first movement is written in the unusual7
4 meter.
Chichester Psalms significantly features the harp; the full orchestral version requires two intricate harp parts. Bernstein completed the harp parts before composing the accompanying orchestral and choral parts, thus granting the harpists a pivotal role in realizing the music. In rehearsals, he is noted to have requested that the harpists play through the piece before the rest of the orchestra to emphasize the importance of the harps' role.
Chichester Psalms was published in 1965 byBoosey & Hawkes.[1]
Chichester Psalms was recorded in the 1970s by theChoir of King's College, Cambridge, in the version with only three instrumentalists. It was conducted byPhilip Ledger withJames Bowman as the countertenor soloist. The instrumentalists were David Corkhill (percussion),Osian Ellis (harp) andJames Lancelot (organ).WhenRichard Hickox recorded the work in the 1980s, the composer gave his approval for the solo part to be sung byAled Jones, then atreble.A 2003 recording was performed by Thomas Kelly (treble) and theBournemouth Symphony Chorus and Orchestra, conducted byMarin Alsop.[5]In 2018 another recording by the Choir of King's College, Cambridge was released, this time conducted byStephen Cleobury with George Hill as the treble soloist.[8]
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