DESCRIPTION:
The Westminster Williamson Voices at The Choral Institute at Oxford
Daniel Hyde, Conductor
The University Church, Oxford, England

Anna Lapwood, Harp
Richard Horne, Percussion
Matthew Martin, Organ

Featured:
Max Langdale, Boy Soprano Soloist

Isabella Burns, Soprano
Megan Pendleton, Soprano
Kathleen Dunn, Alto
David Lawn, Tenor
Austin Turner, Tenor
Conner Allison, Baritone
John Eric Roper, Baritone

Program Notes:
50 years ago to the day (July 15th, 1965),at Philharmonic Hall (now Avery Fisher Hall) in New York City,the first performance was given of a new piece by Leonard Bernstein. TheSouthern Cathedrals Festivalhad commissioned Bernsteinto compose a piece for the cathedral choirs of Chichester, Winchester and Salisbury, England. Chichester Psalms was the result.Bernstein’s Jewish faith was an integral part of his identity. It is no surprise to us, then, that the piece which would be delivered to this Anglican cathedral festival would be not just based on readings from the torah, but entirely sung in Hebrew. Bernsteineven made a clearlydeliberate decision not to include an English translation anywhere in the published score. This piece is rooted firmly in the Jewish faith, and a lack of English translation means that those performers who choose to perform this piece must intimately explore this text, this language, and these ideas.Written in three movements, Chichester Psalms opens with the choir emphatically proclaiming “Awake, psaltery and harp!” (Psalm 108: 2). The introduction quickly leads into Psalm 100 (Make a joyful noise unto the Lord), in an irresistibly joyous, jazzy dancing 7/4 rhythm that continues to the end of the movement. The mood changes abruptly with the beginning of the second movement. Peace and pastoral harmony are expressed by the strains of the beloved Psalm 23 (The Lord is my shepherd), sung by a solitary soprano soloist accompanied only by a harp, evoking the image of the shepherd/poet/king David. The mood is reinforced by the entry of the women of the chorus repeating the solo melody. However, this scene of pastoral bliss is suddenly and forcefully torn apart by two whiplashes of sound as the men and the orchestra loudly enquire, “Why do the nations rage so furiously together?” (Psalm2). The nations continue to rage, with the men at times almost shouting. Again the gentle voice of the shepherd is heard calling out above the tumult. The rage continues for a time, then gradually fades as the shepherd theme becomes dominant and the movement ends with the completion of Psalm 23 and the return of peace. The beginning of the third movement is a tense and anxious instrumental interlude expressing the angst and hopelessness of life in a Godless world. Melodies appear only to disappear, pulled down by the tearing dissonance of the interlude. Then the voices of chaos begin to fade leaving an uneasy sense of peace. The male voices enter bringing the humble yet lyrical message of Psalm 131, “Lord, Lord, my heart is not proud, my eyes are not haughty.” The rest of the chorus joins in and the strains swell as mankind again seeks peace and harmony. This sense of peace is reconfirmed as the chorus continues with a sublimely gentle intonation of Psalm 133: 1, “Behold, how good and how pleasant it is forbrethren to dwell together in unity!” Concord reigns as the music fades on a sustained “Amen” with the sound of a solo trumpet (from the organ tonight) soaring above. The work received its world premiere in New York on July 15, 1965 with the composer conducting the New York Philharmonic. The first performance of the original version, for all-male choir, was July 31, 1965 at Chichester Cathedral. It will be performed here in the composer’s own reduced version which calls for an accompaniment of organ, harpand percussion.