Bernstein - Chichester Psalms - UBC Choirs & UBCSO

(this video adds subtitles. all rights belong to the UBC School of Music!)
"Chichester Psalms" (1965)
Leonard Bernstein
0:00 I. Psalm 108:2, Psalm 100
3:43 II. Psalm 23, Psalm 2:1-4
9:43 III. Psalm 131, Psalm 133:1

UBC Choral Union & University Singers with the UBC Symphony Orchestra
Dr. Hyejung Jun, conductor

Daniel Moody, countertenor
Denise Chung, soprano; Meruert Bestybay, alto; Carlo Santos, tenor; Matthew Mintsis, bass

Live from the Chan Centre for the Performing Arts on December 6, 2025.

This video adds English subtitles, which are based on the New Living Translation (NLT) of the Bible, matched to the original Hebrew that Bernstein used in this piece. The goal is to convey the meaning of the ancient texts accessibly and accurately to a modern audience.

PROGRAM NOTES
"Leonard Bernstein (August 25, 1918 – October 14, 1990) was an American conductor, composer, music educator, and humanitarian. Considered to be one of the most important conductors of his time, he was the first American-born conductor to receive international acclaim."
― Wikipedia

Chichester Psalms was commissioned by Walter Hussey, Dean of Chichester Cathedral, for the Southern Cathedrals Festival in Sussex, England. The piece was premiered by the NY Phil and Camerata Singers, led by Bernstein on July 15, 1965 in New York City. It was followed by a performance as the composer intended—with an all-male chorus—on July 31, at the festival it was written for.

The 1st movement opens in a rhythmic punch with wide melodic intervals. This yields to snazzy music that dances giddily in 7/4, strikingly reminiscent of Bernstein’s 'Candide'. Near the end falls an irresistible section with pizzicato strings, staccato brasses, and delicate percussion, an expanse of surpassing charm before a final statement from the solo vocal quartet and chorus.

In the 2nd movement, a countertenor (as the shepherd boy), sings the famous Psalm 23 to a harp accompaniment, just as David would have done. The sopranos and altos take up the melody but are interrupted by the savage tenors and basses. The sopranos/altos and the soloist return with their placid melody as the tenors/basses fade away, though the violent underpinnings get the last word.

The 3rd movement begins with a rugged, American spirit, juxtaposed with an allusion to 'Tonight' from 'West Side Story'. The extended orchestral prelude gives way to a song of comfort and tenderness, its warm embrace sung in 10/4. Near the end, the chorus sings a hushed prayer giving thanks for peace and unity, with the orchestra adding its gentle voice at the very conclusion.
― adapted notes from James M. Keller