Bernstein: Chichester Psalms - LEONARD BERNSTEIN (Complete)
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- เผยแพร่เมื่อ 15 ก.ย. 2024
- Leonard Bernstein (1918-1990)
CHICHESTER PSALMS (1965)
00:06 I. Psalm 108 (verse 2); Psalm 100
03:43 II. Psalm 23; Psalm 2 (verses 1-4)
09:24 III. Psalm 131; Psalm 133 (verse 1)
Soloist from the Vienna Boys' Choir
Wiener Jeunesse-Chor
Israel Philarmonic Orchestra
Leonard Bernstein
Live, 1978
![[Full Score] Bernstein - Chichester Psalms (for boy treble, choir and orchestra)](/img/n.gif)
I did this over 35 years ago as a junior in High School with orchestration. I still know it by heart. Once you sing this, it never leaves your soul. Leonard Bernstein is an outstanding composer. My music director was leaps above her peers in selection of great cantatas.
+Karen Marsh My experience was almost exactly the same--sang it as a HS sophomore and it has never left me. Still my favorite piece ever to have sung. Winter, 2017 in Seattle it will be masterfully performed by Seattle Pro Musica. Cant wait!
Karen L. Marsh zgz
I sang this in my university choir and still know it by heart as well.
I sang it as a freshman in high school about 4 years ago and I still know every line
I sang this somewhere between 4-6 years ago. Hadn't touched the piece much since then. I can't say the words came back, but the music came back to me as if I had heard it yesterday. Especially, the harp playing along with the boy soprano, my favorite moment of the piece.
I was about 15 years old when I sang this, and, now, 32 years later, after having been through another choir in emigration, done a CD with them there, and back in my home country, like all others who posted, remember all by heart word by word. Bernstein was a genius of a brain.
I was part of chorus in college and we performed this and I absolutely loved it. It is difficult and complicated but once you learn the music it is the most memorable performance we ever did. So worth listening to and appreciating.
Did you go to Kent State?
This is surely the most beautiful and expressive psalmic music ever written! Especially when you listen to it while comparing to the lyric, contemplating the theology expressed through the psalmic arrangement, it's beauty beyond words! Thanks for posting with the lyric.
Had the honor of doing the boy solo in Samara Russia in January 1994 with the Samara Philharmonic Symphony Orchestra. I was actually the tenor soloist and boy alto understudy, well, he got sick. I was freaking nervous, but had a blast!!!
The chorale at the end gives me chills
I consider it one the greatest moments in music. Akin to the last page of the Durufle Requiem.
Very moving...thanks for putting up the text in various forms.
This is healing music
Truly
This is certainly the best orchestral version I have heard. Thanks very much for posting.
I'm twelve and I'm doing this for a summer course, it sounds like so much fun!
You’re so lucky :) enjoy it!
Bernstein is King, this music is just so amazing, love it so much
I played the upright bass in high school and I remember being asked to play with the choir for this piece - I didn't know it, but when we played together for the first time... it was magnificent.
Our chorale at Cornell is practicing this piece right now. Beautiful.
Crackerjack musician. Wonderful performance. I sang the Shepherd Boy solo in Leeds U.K. 1968 to great acclaim. Had a personal message from Mr Bernstein himself. Very happy memories.
I'm currently in a hastily thrown together summer group that will never do this justice to say the least, lol. Listening to this makes me laugh - with delight and awe. Stunning. So looking forward to mangling it in rehearsal tonight. :p
I sang this with Zamir Chorale of NY some years ago at Lincoln Center. One definitely gets a better appreciation of this piece after rehearsing it. It is an amazing piece of music - complex, yet it makes perfect sense musically.
Thank you for the upload! We are preparing it at my Conservatory (i'm a student in Composition, but i also sing in the Conservatory's Choir) and having the opportunity of listening the Work performed under his own composers' direction by a Choir which has intimate familiarity with the original Language is of great help.
Thanks for sharing this! We performed it when I was 16 or 17, with the Peabody Preparatory Orchestra and two other high schools. Hadn't seen the Hebrew translation written down since then, and that was 1984 or 1985!!
Ha! I performed this at the same age in 1995 or 96 with a group of mixed schools too! This must be a favorite for conductors of advanced youth groups.
CitizenScribbler My high school is practicing for this now! It's fun.
I'm 15 and my high school Choir is doing it with our orchestra and show choir...
Has anyone noticed the massive quotation (in the first movement) from Beethoven's Pastoral Symphony? Bernstein used to say, 'If you're gonna steal, steal classy!'
I remember another thing that Maestro Bernstein told us in master class: "When you steal from one person, it's plagiarism. When you steal from many, it's research"
is it 3:18?
+Mark omg that's great
I notice that the opening is just like Mahler 8's.
17:05 is a spine tingling chord change the likes of pop musicians will never accomplish nor understand! Outstanding.
+Robert Denton I agree that it's an ingenious moment, but in truth, a jazz-aware musician, as Bernstein and many other classical musicians are, might explain it using a vernacular-music term: It basically starts as a G major dominant 7th with a flatted fifth, spelled upward as G, F-natural, B-natural, C-sharp, though in this case Bernstein spells the upper two pitches as C-flat and D-flat (the solo voices spelling out a D-flat scale with a lowered 7th). The F-natural and D-flat then resolve upwards to form a simple G major triad, i.e., G, B-natural and D-natural. This is a striking aural deception, the sustained G-natural in the bass notwithstanding, because "normal" resolution would have been to G-flat, B-flat and D-flat. Interestingly, the equivalent F-sharp major had been heard in the choir's opening phrase in this movement, as a sort of "falling back" from G major. Was Bernstein perhaps secretly commenting, at this moment, on the hope of humanity not "falling back," i.e., staying in G major? You and I may disagree on the mechanics, but clearly we agree that this is a great musical idea.
+Robert Denton Yes, it's a good one. I arranged this movement for one of my piano pupils, but by ear rather than from the score. I spelled the bar before the resolution in sharps. From that I could see that two pitches of the final chord already sound in the previous bar in their correct tessitura - G and B - meaning that only a D needs to be supplied for the final G major! Playing around with the clash of chord functionality results in a beautiful 'trompe l'oreille'. Schoenberg would have called this a 'weak' progression - meaning simply that the bass note of the final chord is already present in the previous chord. I've heard Sondheim do something similar in 'A Little Night Music'. A comparable level of harmonic sophistication is present in David Bowie's 'Life on Mars?' I got my university students to analyse the chord functions of 'Life On Mars?' but it was completely beyond them! (Which was an object lesson for me.)
The change itself -- not the chords leading up to it -- sound to me, without looking at the score, very much like a change Berlioz uses to great effect (several times) in the Sanctus movement of his Requiem.
Anyone asks me what my favorite moments as a choral singer consisted of, one of them will be singing that last choral section of this piece. Just listening to it gives me goose bumps!
Magic 💖 just beautiful
131.zsoltár : Uram,nem fuvalkodik fel a szívem,nem kevély a tekintetem.Nem törekszem arra,ami túl nagy és elérhetetlen nekem.Inkább csitítottam, csendesítettem lelkemet,mint anya a gyermekét.Mint a gyermek olyan most a lelkem.Bízzál ,Izráel az Úrban most és mindörökké. 133.zsoltár: Ó,. mily szép és gyönyörűséges,ha a testvérek egyetértésben élnek!!
sublimes, excelentes voces, gracias a Lorenzo, pude ver texto en hebreo e inglés y así lo podré entonar mejor, estoy preparándolo en coro del conser. Gracie
This is being performed at Nottingham Albert hall on 28 June 2015!
My most memorable solo as a treble.
grazie
This performance sets the standard.
Name a more iconic key change than 17:06,,, I dare you sweaty
Bernstein new his Mahler very well.
Mind the channel, I performed this last year. Weird, we did this a bit slower actually.
This is reminiscent of a movie about an Hasidic girl who cuts her hair and finally gets her freedom from her husband's family.
I think I see or hear an all boy choir that would make this performance acceptable for an Orthodox attended performance. Soloist is of course boy soprano with an extremely difficult and lengthy solo. The Orchestra? Co ed if using a standard symphony orchestras. But I have seen and heard some excellent all chasid male orchestras. I played this a number of times in school as a female and a co ed setting, and it is very moving to play. With all men and boys singing , sorry, I still do feel left out. Recording a women's ensemble on an added studio sound track, while likely difficult could pull it off, if enough talented woman go into a studio, and it can be mixed with singers and synced at an orthodox performance, with live men and boys, and the recorded or simulcasted studio women instrumental accompaniment . Interesting idea.
Beautiful but I cringe listening to that poor child butcher the Hebrew
Sounds like his voice was changing….