MES CHICHESTER PSALMS (in Three Movements) BOOSEY (oj HAWKES Bernstein, Leonara Chichester Psalms [Full Version] SET A104 Locarron:4 665 = 3 1 Boosey & Hawkes Musie Publishers Limited Hire Library 05 Regent Street, London W1R BH. “Telophone +44 {6120 7560 2060. Fa O20 7201 7100 JALNI PUBLICATIONS, INC. BOdsavestawkleLEONARD BERNSTEIN CHICHESTER PSALMS (in Three Movements) For Mixed Choir (or Male Choir), Boy Solo and Orchestra Go be sung in Hebrew) Full Score JALNI PUBLICATIONS. INC. BooseveisvAl Be wee — 149233 - 20ItFOREWORD Bvery summer the Cathedral of Chichester, in Sussex, England, joins choral orees with its neighbors, Winchester and Salisbury, to produce a music festi- ‘al, (Chichester has a great musial tradition, going back to itsfemed organist- ‘Composer of the early 17th century, Thomas Weelkes.) For its 1965 Festival, Leonard Bernstein was commissioned to write these Psalms, which were completed on May 7, 1965, The world premiere took place on July 15, 1965, in Philharmonic Hall, New York, with the composer conducting the New York Philharmonic, with the Camerata Singers, Abraham Kaplan, conductor, and with John Bogatt, alto, The first performance of the original version, fa conceived by Mr. Bernstein for all-male choir, was heard on July 31, 1965, at Chichester. 3G (COMPOSER'S NOTE ‘The soprano and alto parts are written with boys’ voices in mind. Tt is possible, though not preferable, to substitute women's voices. There are & Fow pascages for solo voices, which may be sung by individuals of the chott. However, the long male-alto solo in the second movement must not be sung by a woman, but either by a boy or # counter-tenor. se LEONARD BERNSTEIN® is registered trademark of dani Publications, Ine. te paper we in he publi meet the minim ot Areas Nana Stina © Pe dibrnan Seed tertormanc Sy Ra ted iby ate, ANGI 299 48-1984.Commissioned by the Very Rev. Walter Hussey, Dean of Chichester Cathedral, Sussex, L ri mm. Tor its 1965 Festival, and dedicated, with gratitude, to Cyril Solomon Psalm 108, vs. 2 Psalm 100, entire ~ ‘Psalm 23, entire Palm 2,5. 14 °° Psalm 131, entice Psalm 183, vs. 1 cee BH 32Ps, 108, v8.2: Ps, 100, entire: Ps. 23, entire: Ps. 2, v5.14 Urab, banevel, o'cbinor! ‘Avinab sbabarl Haviu Adonai kol baarets. otdu et Adonai b'simba. ‘Bo-ul'fanao bir'nanab. Div ki Adonai Hu Elobim. Hu asanu, 010 anabnu. ‘Amo v'tson mato. Bo-u sb'arav b'todab, Hatseirotao bit bilab, Hod lo, bar'chu sb'mo. ‘Ki tov Adonai, Volam bas'do, V'ad dor vador emunato. 0 Adonai roi, lo ebsar. Bin’ot desbe yarbitseini, Al mei m'nubot y'nabaleini, Naf sbiy'sbover, Yan'beini b’ma‘aglei tsedek, Lima'an sb’mo. Gam ki eilech Bigei tsalmavet, Lo iran, Ki Atab imadi, ‘Shiv't'cha wmisban'techa ‘Hemab y'nabamuni ‘Ta‘aroch I'fanai shulchan Neged tsor'ai Disbanta vasbemen rosbi Cosi r’sayab. ‘Ach tov sabesed YVird'funi Rol y'mei bay, Visbav't b'veit Adonat Lorech yamim. Lamab rag'sbu goyiim. Ul ami yeb'gu rik? Yit'yats’ou malcheierets, Viroznim nos'du yabad Al Adonai val m’sbibo. N’natkab et mos'roteimo, Vinasblichab mimenu avoteimo. Yosbee bashamayim: Yis'pak, Adonai Yil'ag amo! “Awake, psltery and harp: will rouse the dawn! Make a oytl noise uno the ica ye ands sent Lard with glade Fee eee is presence wih singing come teeth Lod, He's Gods Know gach made and forwe outehes vce His people snd the sheep ofa pe, ner int Hates thanks annette tort with praise. ga sgl unto Him, an Bless Hename, Fete itard is good, His merey isereiasing “And His truth endureth to all enero’ “The Lord is my shepherd, I shall ‘not want. 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. ‘Yea, though I walle ‘Through the valley of the shadow of death, 1 will fear n0 ev For Thou art with me. ‘Thy rod and Thy staff ‘They comfort me. ‘Thou preparest a table before me In the presence of mine enemi ‘Thou anointest my head with ‘My cup runneth over Surely goodness and mercy ‘Shall follow me all the days of my life, ‘And I will dwell in the house of the Lord Forever. ‘Why do the nations rage, ‘And the people imagine a vain thing? ‘The kings of the earth set themselves, ‘And the rulers take counsel rogether ‘Against the Lord and against His ‘anointed. saying, let us break their bands asunder, ‘And cast away their cords from us. He that sitteth in the heavens Shall laugh, and the Lord Shall have them in derision!4 | | Mm Ps.131,entire: Adonai, Adonai, Lord, Lord, Lo gavah lib “My heart is not haughty, Vito ramu einai, Nor mine eyes lofty, Yo bch Neither do l exercise myselt Bigidolot wv niflaot In great matters or in thi Mimeni. ‘Too wonderful forme. | Imo sbiviti Surely Uhave calmed | Vidomam'i, ‘And quieted myself, ‘ Naf shi k'gamul alei imo, ‘As a child that is weaned of his mother, Kagarea ala naf'3bi. My soul is even asa weaned child Yabel Yis'ael ef Adonai ‘Let Israel hope in the Lord ; Melatah vad olam, From henceforth and forever. | Ps, 133, ys. 1: Hineb mab tov, Behold how good, ‘And how pleasant itis, | For brethren to dwell ‘Together in unity. | PRONUNCIATION GUIDE (for the Hebrew transliteration) | 4. All vowels (and diphthongs) asin Italian. | 2, All consonants as in English, except: 1H —slightly guttural H, though not = as guttural as CCH, which is pronounced as in German (Buch). | R_— —rolled, it possible, as in Italian, \ + appearing after a consonant, asin Y" fr Lis to be regarded as a vowel, and given syllabic value whenever | indicated by a note or grace-note, It {sa "neutral" vowel, rather like the ‘mute Ein French, Where syllabic value {snot indicated, "is to be ignored.INSTRUMENTATION 8 Trumpets in Bb 3 Trombones Timpani. Percussion (5)* 2 Harps Strings sgockenspll, xylophone, chimes, tangle, ‘wood block, temple blocks, tambourine, snare drum, §bongos, bass dru, eymbals, ‘uspended evmbal, wip, a5) ‘Duration: 184 minutes Performance materials are available from the Boosey & Hawkes Rental Library ‘A voeal score (LCB-214) and pocket score (HPS-1201) are available for sale “Areduetion of the orchestration for organ, harp and percussion is avalable forsale (ENB-264) ‘The First Movement of Chichester Psalms is published separately for ‘SATB chorus with keyboard accompaniment (OCTB-6347) RECORDINGS Original Version: “John Bogart (boy alto), Camerata Singers (Abraham Kaplan, director), New York Philharmonic, Leonard Bernstein ‘Columbia ML 6192/MS 6792 (E,G,1) CBS 72374 Boy Alto from Wiener Stngerknaben, Wiener Jeunesse Chor (Ganther ‘Teuting, diector), Israel Philharmonic, Leonard Bernstein DG 2530968, DG 2709077 (with “Jeremiah” Symphony) DG CD 415985-2 (with “Songfest”) “Aled Jones (boy alto), London Symphony Chorus, Royal Philharmonic Orchestra, Richard Hickox 'RPO-MCA Classics MCAD-6199 Arranged for Organ, Harp and Percussion: "fhanes Bowman (counter-tenor), King's College Choir of Cambridge, Phillip Ledgers ‘Tames Lencelot, organ Osian Elis, harp; David Corkhill, percussion “Angel § 37119, (E) HMV ASD 8035to Cyril Solomon | | © “CHICHESTER PSALMS v2 Maestoso ma energico fstim 18 x LEONARD BERNSTEIN 1055 4 Trumpetin BY ff “3 : ¢ of ins awe ea Fe Sue reel id ae —_ E> | seeds neta op iy | 1 cepa if Mea tne. : wl | PasrRte ees Paiate. af ee | ‘posaey Havok, Inc Sole Agent Corrected Esition Febraary 1991 Printed in USA. International Copyright Secured.42 wt 1a rah (ah) ierahsha - bar sha - har a- i> » 5 i= aahsha = bar Sha- per a- i rahi (ah A ievahsha = ber Sa- hr sci - rahi » ‘" y= sg am ‘A+ ierahsha = tarl + > wr & Allegro motto d-d-t20¢¢+2) Allegro molto d=~| he -bt’ = N= lah, Ho- du— lo,——— Baer’ chush~ mo, POS Ba-r'-ehu sh mo——— bit = hi ah, Ho- du— lo,Harp _ Peon sioteur het THEOpon ees.x weBac = chu sh’ ~ mo, : f | |12 Tot hu. sh'= mo,(Go mad7 Ku 2 ee a "BO. wntDolce, tranquiltoVa — cor vawdor@ - mu may g PPwites we eiSUH ge (oh pW seieapatte ot ‘Andante con moto,ma tranquillo 4 Bi - fot Pes! de ~ she yarbitsel-nij ———— Smee ee STE Ne Meno mosso J=20 [35] bimatagleiie ihe STom Vmatansh’- mo. = do- nai 9] Tempo 1, con moto 4=96 Hddblif_ Toi be a ll cam Tempo 1,con moto J=96 co Po ted 25) Ye Ancora meno 4234) f=) bow" ‘Aedo-nai — r0-3 begetA+ ah ema - ai. SHE = ah mas 6id és c YM Ve 50) wes y ek ¢ tn uemi-sha-n'-te ~ ‘ ‘Ancora meno J=54 yes, Io. do = nai | PP, des pele Pomming Humming Ancora meno J =34 LI(69 non rit.r a) o SU nttegro teroce J=108 etme) Se ee Lamah ra-g'-shu? La-mah xa-g'-shu goyim,Lamah 55, Pay toc mor. afm ‘La-mah La-mah rag'-shy? _La-mah xa-g'-shu goyim, Lamah Nie Alara troeg div defo) y ebTren erase) nu goyimn,Lamah rarg'-shu, Larmah ra-g'-shu? shu goyiim,Lamahra-g'-shu, Lamah ra-g'-shua SP fas lots gen ek nen (KES PP. 1p t'-usmim yehgu sik? U-umim yeh, U-l'-umim yehign V-emim yeh, (Uct'-uenio yohiqusik?U-ucmim yee st" -wimimyehigu rik? I'-u- a] mim yehienuemim yeh gu. rik? Voumimyehigu, — Sf ma ‘mim yeh'gu ce Yiet'-yats"-vumal-cheie-rets, . limyehigu, *oe aaa: ye-had, yaad, yactad, ya-bad, ya ~badya ~hady | vinain ors A pel Veroonim —no-s'=du—— ya-had, A _— vis almtshi ~ bo: 6543 5: Yo!.. yee yet yaad yt, oe et mos'-zo-tei- mo, mi-me-nua-vo-tel-mo: —«..shev bas coe mt ot we 53Yiel'-agla-mo! pak, A-do-nal sho ba-shamayim sag la-mo: vies’ = bak, A-do-nai 5] shameyim, Yi-s'shak, Acdocnat Yi BP Yi-l'-og la-mo. yiet'- 9g. Jarmo! cliche oo 09)st a 2 da gitistesso tempo 4108 4“ “PPP sae {Sole (compre sor) ce Ge (rtoe ss) 7, Ardo-mai TakeYoel’ -ag la-mo, Yi-l-ag la-mo! Yi -1'-ag la-mo, Yi -1'-agla-mo! 105]“7 Ne-ged 50 = ‘s Leman xa-g'-shu? La-mah reg!shugoyim, Lamah rag:shu? Lamah ra-g'-shut ‘Laman rag'shygoyim, Lamah rag!shu? oeta va = she ~ [raven \ > Bo Tacmanragiahu? —_Lamahag'shugoyim, Laman Lamah sagt 3 arg: shugo won) 55] - shev bashamayim zag -shugoyyim, Lamah rarg-sbu? yim, Leman ra-g'-shu? Se eo 5]Yiel' - ag la-mo,iS o feng come prima dz80 i i P— Meno come prima 4=80 (ie dene)“ 23) hit ‘ancora meno, quasi adagio J ee 9 La Pe ace : NO yp os Sa be veit ‘A-do- nai |L— fos vinta Jor. stew (25) roll. [Ancora meno, quasi adagio 4=on A [rma c 25] i h ya~ mim.™ J ae \g2 Allegro come prima J:108 ‘és35 STK ye bole. ce a Sra Tine,quel 4) 6 56 " ® 2 ¥ fo ane m yam yuentin ‘PRELUDE Saat mom ee Sostenuto rite oh og dagio d=34 (A, fel fo \ ae oS 0 (il aaasiasd= 29 ar 2 Siegmagt Si: 7 4 & Cc pw 2 A tempo d= ‘subito senzagitozione RG} eo wa eS Sepak wee Ty etd WCig, Joy Neer cefully floing I=100 7 > Lo ga-vah = Jo remuel- ‘Adonai, A-do-nal,—Loga-vah It = 19 ra-muel- Peacetully flowing d=100 |) 4 inner baton Zand 4 (14 200,3 660alban Im to SHa (70K Na('shi kiga~ mul Nat?-shi k’-ga-mul_— Rashi k2ga = mul Im lo shi-vi = 1 Naf'-shi k'-ga~ mol Im lo shi-vi = th[ka-ga-mul-a = la, — 2 se 96 Kacga-mul_¢ ~ dai, : & ) Kavga-mul—a- lai,——6 de bs] dim erit, tempo, con moto J=108 1a to ove a= lei i= mo. dimerit. a tempo. con moto J=108Per *(2 baba gen ye TPT ee Ya - bel Vista. + Pam s ‘Ya -hel Vistra-66 to 12 chor et ela A- doen; Ya - pel Yistra el a A do~ nai 1 Me-tah, PP. Ya- pel Vis! ra-cl el As odo= mal Mesatah vad o E poco @ poco ral) Meca-tan viado = lam. Yael Yi tad 0 tam. 4X sreui soe PEE gt Sad 8+ lam. api fe ig IE eae ‘panes, Ya-bel Vipera! Pid lento J=96/ [53] Solew Jed gg avon rt)Ck Uo ‘ Wear 1 ~ ? « 2 tempo | woe (adage ) 2) »_~ [82] Lento possibit le ut aoye a Er yak & “. 0 ae Z a apt ae ee os iin ve] [Pome