Chichester Psalms
The Chichester Psalms are a three-part choral work by the American composer Leonard Bernstein (1918–1990) based on Hebrew psalms . Bernstein composed the work in Connecticut (USA) in the spring of 1965 on behalf of Walter Hussey, the dean of Chichester Cathedral . It was to be performed at the Southern Cathedrals Festival , which alternates annually at the Chichester, Salisbury and Winchester cathedrals in southern England. The text (Psalms 100, 23 and 131 in full, plus individual verses from Psalms 108, 2 and 133) was put together by the composer himself. The performance lasts about 20 minutes.
World premieres
Although it was a commissioned work for the Southern Cathedrals Festival , the first performance of the work in the version for mixed choir and countertenor took place before the festival performance on July 15, 1965 in New York City in the Philharmonic Hall (since 1973 Avery Fisher Hall ) under Bernstein's direction with "his" New York Philharmonic Orchestra . In the version preferred by Bernstein for mixed boys 'choir and boys' alto, it was then performed for the first time on July 31, 1965 under the direction of John Birch at the Chichester Festival. The criticism was positive about both premieres, but the quality of the performance in Chichester suffered from the short rehearsal time.
occupation
The line-up is for boy alto (alternatively countertenor ), solo quartet, boys and men's choir (alternatively mixed choir) and orchestra (three trumpets, three trombones, timpani, large drums, two harps and strings). Bernstein also created a chamber music version in which the instruments are reduced to an organ, a harp and percussion. The composer stipulated that the solo role should only be sung by a boy altar or a countertenor, but not by a female voice. The use of the Hebrew language is also compulsory. Both guidelines were intended to underline the liturgical character of the work.
Compositional background
Materials, reference to Judaism
Some of the compositional material comes from early sketches of Bernstein's West Side Story as well as an unfinished musical version of Thornton Wilder's The Skin of Our Teeth ("We Got Away Again"). The Chichester Psalms were Bernstein's first major composition after the 3rd symphony "Kaddish" ( Kaddish = Jewish funeral prayer), a work full of sadness and despair that Bernstein composed in memory of JF Kennedy , who was murdered in 1963 . Despite all conflicts, the Psalms contrast the Kaddish with a confident, conciliatory and positive basic tendency. With these two works, Bernstein made the most clear reference to his Jewish origins and religion.
Tonal versus atonal
Bernstein had a sabbatical in 1964/65 , which released him from his duties with the New York Philharmonic Orchestra and which he used to compose. He reports: “Back then I only wrote twelve-tone music and even more experimental things for most of the year. I was happy to be able to bring out these new sounds; but after about six months of work I threw it all away. That wasn't my music; she wasn't sincere. And as a result of this came the Chichester Psalms - surely the catchiest B flat major tonal piece I have ever written. ”Elsewhere it says:“ If you look for the contrast between optimism and pessimism in my music, you will most likely to find it in the field of tension between tonality and atonality . "
Number symbolism
The Chichester Psalms are considered musically difficult by choir singers, with the introduction often considered to be one of the toughest tests for choristers ever written (extreme range, rhythmic complexity, long-lasting diminished seventh chords for the bass part). The frequent use of the seventh is an allusion to the special meaning of the number “7” in the Judeo-Christian tradition. The main part of the 1st movement is written in 7/4 time, that of the 3rd movement in 10/4 time (10 = 7 + 3).
The two harps
As in other choral works by Bernstein, the harp is particularly emphasized in the psalms, with double solo scoring. The harp parts were completed before the rest of the orchestration and also before the choirs were composed, which emphasizes their special importance. During rehearsals under his direction, Bernstein insisted that singers and orchestra musicians first listen to the harp parts.
Work structure
The first movement, introduced by a large choir (“Wake up, Psalter and harp”, Ps 108.3 EU ), has the character of a cheerful song and dance (“Shout to the Lord, all the world”, Ps 100 EU ). In the 2nd movement, a gentle melody (“The Lord is my Shepherd”, Ps 23 EU ), sung by the (boy) soloist and the high voices of the choir, contrasts with the rhythmically driving low choir voices (“Why do the Heiden ", Ps 2 EU ). In the 3rd movement, an instrumental introduction is followed by a contemplative flowing chorus ("Lord, my heart is not haughty", Ps 131 EU ), which ends in the peace prayer of the final choir ("See how good and lovely", Ps 133.1 EU ).
Beginnings of text
- 1 sentence
- Psalm 108: 3 - Urah hanevel, v'chinor urah ("Wake up, psalter and harp")
- Psalm 100 - Hari ul Adonai kol ha'arets (" Shout to the Lord, all the world")
- 2nd movement
- Psalm 23 - Adonai ro-i, lo ehsar ("The Lord is my Shepherd")
- Psalm 2: 1-4 - Lamah rag'shu goyim ("Why do the Gentiles rage")
- 3rd movement
- Psalm 131 - Adonai, Adonai, lo gavah libi ("Lord, my heart is not arrogant")
- Psalm 133: 1 - Hineh mah tov ("See how fine and lovely it is when brothers live together in harmony")
Introduction and first sentence
The introduction (part of the first movement according to the score) begins with concentrated energy. Sound and word painting are used, dissonant sevenths sound like mighty bells that are supposed to wake you from a deep sleep. In the first bar, Bernstein introduces a fanfare-like five-note leitmotif in soprano and alto, which consists of a descending fourth, an ascending minor seventh, a descending fifth and an ascending major second. This leitmotif is formative for the whole work; it can also be found at the end of the 1st movement “Ki tov Adonai”, in the prelude of the 3rd movement and in the soprano of the a cappella part at the end of the 3rd movement “Hineh mah tov “, But there with a completely different, peaceful character. A first chorale-like section with multiple repetitions of the main motif is followed by an almost swinging, jazz-like, jubilant setting of the 100th psalm “Jauchzet dem Herrn alle Lande”, which gets its rhythmic finesse from the unusual 7/4 time. At the end of the first sentence, the wake-up call from the beginning is picked up again.
Second sentence
The 2nd movement begins with Psalm 23 “The Lord is my Shepherd, I will lack nothing” in ¾ time with a simple, calm melody sung by the boy altar or countertenor (David) and then recorded as an echo by the choir soprano and canon-like is continued. The extremely economical orchestral accompaniment (first only the two harps, later muted strings and trumpets) creates a very delicate, remote mood of confidence. This idyll is abruptly interrupted by the orchestra with hard use of the drums with sharp rhythms and deep, rumbling male voices that intone the 2nd Psalm (“Why rage the Gentiles”, cf. Handel's Messiah). The deep voices, however, are gradually displaced by the sopranos, who can reassert themselves with the 23rd Psalm. The threat seems to have been overcome, and David finally joins in (“Your goodness and grace”). But the end of the movement is not clearly peaceful, the motif sounds again from the threatening middle section, the movement ends with bangs in the forte. It is through these mood changes that humanity's never-ending conflict between sinful rebellion and confident faith is portrayed. Bernstein took the theme of David from his never completed Wilder musical “We got away with it again”; the theme of the male choir was originally intended for the West Side Story.
Third movement and finale
The third movement begins with a restless instrumental introduction that varies the main motif of the beginning sharply, dissonantly and chromatically; the heathen theme of the middle movement also appears again. The main part of the movement is a flowing choir with the 131st psalm "Lord, my heart is not haughty" in a "rolling" 10/4 time. The final continues without interruption. The main motif from the introduction appears here again (but in pianissimo and with long note values). Particularly luminous harmonies lead to the unison of the last text syllable, which belongs to the word yaḥad "in unity". On this note, the choir sings the amen while a muted trumpet repeats the opening motif one last time.
Hebrew Urtext - Transcription - Translation
The following compilation contains the original Hebrew Bible text in Hebrew dotted square script (read from right to left) and in a simplified transcription , which Bernstein used as the basis for the composition. The third column contains a line-to-line translation of the Hebrew original into German, which is based on the Luther translation, but is more precise where necessary.
introduction
Psalm 108, vs. 3
|
עוּרָה, הַנֵּבֶל וְכִנּוֹר; |
Urah, hanevel, v'chinor! |
Wake up, psalter and harp, |
First sentence
Psalm 100
|
הָרִיעוּ לַיהוָה, כָּל־הָאָרֶץ. |
Hariu l'Adonai kol hair sets. |
Shout out to the Lord in all the earth, |
Second sentence
Psalm 23 and 2, vs. 1-4
|
|
"David" and sopranos (Psalm 23) |
|
Third sentence
Psalm 131
|
יְהוָה, |
Adonai, Adonai, |
Lord, Lord, |
final
Psalm 133, vs. 1
|
הִנֵּה מַה־טּוֹב, |
Hineh mah tov, |
See how good |
literature
- Antje Müller: Chichester Psalms. In: Silke Leopold, Ullrich Scheideler: Oratorio Guide. Metzler, Stuttgart and Weimar, Bärenreiter, Kassel 2000.
- Hans Gebhard (Ed.): Harenberg Chormusikführer. From the chamber choir to the oratorio. Harenberg, Dortmund 1999.
- Werner Oehlmann, Alexander Wagner: Reclams choral music and oratorio guide. Reclam, Stuttgart 1999.
Web links
- Ernst Kausen, The Chichester Psalms by Leonard Bernstein. (The essay is the basis for this article; MS Word ; 82 kB)
Individual evidence
- ^ The Southern Cathedrals Festival
- ^ Leonard Bernstein: Report on a vacation year. In: ders .: From the infinite variety of music. Goldmann, Munich 1975, ISBN 3-442-33008-4 , pp. 133-141.
- ↑ Quoted from. Reinhold Dusella, Helmut Loos (ed.): Leonard Bernstein: the composer. Boosey & Hawkes, Bonn 1989, ISBN 3-87090-207-8 , p. 94.