Past workshops

May 2017: Tippett, A Child of Our Time

Our first workshop day in May 2017 featured Michael Tippett’s masterpiece, A Child of Our Time, under the direction of  Nick Houghton and John Hancorn,  and accompanied by pianist Nancy Cooley. Our guest soloists for the informal performance were Lucy Mair, Briony Lambert, Nicolas Chisholm and Andrew Robinson.

About the piece

Tippett’s great secular Oratorio was the composer’s response to a real-life incident, the persecution of Jewish people in the pogrom of 1938 known as Kristallnacht. Despite its portrayal of horror and despair the work is also one of redemption and hope. A Child of Our Time is inspired by the great Passion settings of Bach and Handel. Tippett, however, wanted his work to speak to atheists, agnostics and people of all faiths. He sets five Spirituals in place of Bach’s Lutheran Chorales and includes many short, dramatic and challenging choruses.

A Child of Our Time is one of the choral masterworks of the 20th century, rarely staged by amateur choruses but a truly exciting sing. Come and learn it (or refresh your knowledge of it) in a relaxed atmosphere with expert coaching and accompaniment. We welcomed 70 singers to the workshop day, concluding with an informal performance of parts of the piece.

May 2018: Igor Stravinsky’s Symphony of Psalms & Leonard Bernstein’s Chichester Psalms

Following the success of our 2017 workshop day on Tippett A Child of Our Time, our next workshop event in May 2018 was on Igor Stravinsky’s Symphony of Psalms and Leonard Bernstein’s Chichester Psalms.

About the pieces

In 1930 Stravinsky was commissioned by Serge Koussevitzky to write ‘something popular for orchestra alone’ to celebrate the 50th anniversary of the Boston Symphony Orchestra, and the result was the Symphony of Psalms for Chorus and a large orchestra omitting all the violins and violas! It is partly because of this unusual (and expensive) orchestral accompaniment that the piece is not often performed by amateur choruses.

Symphony of Psalms is one of the major pieces from Stravinsky’s Neo-Classical period. The second movement is a double fugue: the orchestra begins with one fugal theme and is then joined by the chorus, which sings in Latin, with a fugue on a completely different theme. The final movement is one of Stravinsky’s most popular, which ends with a beautiful, atmospheric and almost hypnotic setting from Psalm 150 of ‘Praise him with the well-tuned cymbals’ – with not a cymbal in sight on the stage!

The Rev. Walter Hussey during his lifetime commissioned an extraordinary amount of work from some of the finest artists of the day. Leonard Bernstein’s Chichester Psalms is just one of thirty or so pieces of music commissioned by Hussey, composed in 1965 for the Southern Cathedrals’ Festival. When approaching Bernstein, Hussey emphasised that the composer should not feel ‘hemmed in’ by the English Cathedral tradition in music –  ‘many of us would be delighted if there was a hint of West Side Story about it.’ Bernstein obliged, and his new piece was first performed in Chichester Cathedral in July 1965, during which time Hussey played host to Bernstein and his family — taking them on day trips to Stonehenge, Brighton and Bosham harbour.

Although written in Hebrew, the chorus parts of Chichester Psalms (which Bernstein called ‘perhaps the most tonal score I have ever written’) are helpfully transliterated. The opening movement, in a jaunty 7/4 metre, is a setting of Psalm 100 ‘Make a joyful noise unto the Lord’. The 2nd movement is a lovely setting of Psalm 23 ‘The Lord is my Shepherd’. And the final movement (Psalm 131) has a gently lilting melody.

2018 is the centenary of Bernstein’s birth, so a fitting time to be singing his music!

Our publicity material features the famous window by Marc Chagall at Chichester Cathedral because it links our two pieces rather nicely. The window was commissioned by the Rev. Hussey twenty years after the Chichester Psalms. Bernstein and Chagal were both Jewish, as are the Psalms of David. Chagall’s window is based on Psalm 150 and depicts all the musical instruments featured in that psalm, which also provides the text for the 3rd movement of Stravinsky’s Symphony of Psalms.