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In 2006 the composer Antony Pitts was inspired to begin sketching an oratorio that would tell, simply but powerfully, the Biblical story of Jerusalem—to audiences familiar with both great classical oratorios and popular musicals, and regardless of denomination or religious background, cultural perspective or political viewpoint. The result is an oratorio-musical with a libretto based on texts from the Tanakh (the 'Old' Testament) laid out in a narrative order, and with the ancient Hebrew names for familiar Biblical characters and places (e.g. Avraham)—thus the double-barrelled title Jerusalem-Yerushalayim. The Biblical story of the city is told through twelve windows or snapshots in which Jerusalem is either the subject or the background; mirroring the four quarters of Jerusalem’s ‘Old City’, these are divided into four sections of three movements:
(A) the city in patriarchal times;
(B) the city as the capital of Israel and then of Judah up to its destruction by Nebuchadnezzar in 586BC;
(C) the city rebuilt under occupation until its destruction by the Romans in 70AD;
(D) the city as prefigured by prophets and unfolded in history;
and a coda looking forward to Isaiah’s vision of the wolf living together with the lamb.
The libretto was compiled by the composer and is drawn as directly as possible, given the limitations of English translation and the musical setting itself, from Biblical texts—texts which are both historical and prophetic, full of archetypes and resonances, and are at the same time about real people with their dreams, tragedies, and hopes. The music is new, but has strong historical echoes including familiar Western musical references such as Tallis’s Lamentations, Purcell’s My Beloved spake, Handel’s Zadok the Priest, and Parry’s I was glad—as well as various resonances from far outside the classical canon. In terms of practicality and approachability, and even structure, Jerusalem-Yerushalayim is modelled on Handel’s Messiah, and designed for widespread use: by professional vocal ensembles or amateur choirs, or a mix of both—with SATB soloists and flexible accompaniment.
Unusually, the first part of the oratorio to be completed was the conclusion—the choral coda entitled The peace of Jerusalem. It was premiered by the Choir of London, conductor Jeremy Summerly, in Israel in April 2007, and has since had performances in the UK by Tonus Peregrinus at the London Festival of Contemporary Church Music, and by the Elysian Singers under the direction of the composer in the City of London. Tonus Peregrinus recorded the coda for Hyperion on an album called Alpha and Omega, and in June 2008 gave the world premiere of the complete oratorio at Opera Fringe in Down Cathedral, Downpatrick, Northern Ireland—to a standing ovation. The revised and expanded version of the oratorio was recorded in October 2011, followed by the U.S. premiere in May 2012 which was given by Choral Arts Cleveland under conductor Martin Kessler.
from notes by 1equalmusic © 2017
Jérusalem—inscrite en plein centre du monde sur les cartes médiévales—carrefour entre l'Asie, l'Europe et l'Afrique. Jérusalem—occupée par Babyloniens, Persans, Grecs, Romains, Britanniques,etc. Jérusalem—scène où se déroulent les événements principaux de l'histoire des Juifs et de l'Evangile chrétienne—et maintenant le foyer de sites religieux juifs, chrétiens et islamiques.
Tandis que les médias ne parlent que de conflit et de désespoir, la Sainte Bible raconte une histoire extraordinaire avec une perspective bien plus longue—histoire d'une espérance incroyable qui débute en Genèse avec les pérégrinations d'Abraham et s'étend de ces racines sémitiques jusqu'à une vision de paix éternelle pour tous les peuples, à commencer de Jérusalem.
En 2006 le compositeur, Antony Pitts, a eu l'inspiration de commencer à esquisser un oratorio qui raconterait en toute simplicité mais profondément l'histoire biblique de Jérusalem—à l'intention d'auditeurs connaissant bien et les grands oratorios classiques et les comédies musicales, sans distinction de secte, de milieu religieux, de perspective culturelle ou de point de vue politique. Il en résulte un oratorio/une comédie-musicale dont le libretto est basé sur des textes du Tanakh (l'Ancien Testament) disposés par ordre de la narration, et qui se sert des noms hébreux anciens pour les personnages et les endroits bibliques bien connus (par exemple: Avraham)—et ainsi le titre à rallonge Jérusalem-Yerushalayim. L'histoire biblique de la ville est racontée à l'aide de douze vitres ou photos dont Jérusalem est soit le sujet soit le fond; elles reflètent les quatre quartiers de la «vieille ville» de Jérusalem, et elles sont divisées en quatre sections comprenant chacune trois mouvements.
extrait des notes rédigées par 1equalmusic © 2017
Français: Rosemary Pitts
An oratorio-musical by Antony Pitts remixed with Biblical narration by David Suchet, 'Jerusalem-Yerushalayim' is an extraordinary cross between Handel’s 'Messiah', Bernstein’s 'Chichester Psalms', and classic rock anthems, and tells simply but pow ...» More
|Hyperion monthly sampler - January 2018|
This is the first recording of dynamic English composer Antony Pitts' largest work to date, and the first release in a new partnership between Hyperion and the label 1equalmusic. The expert vocal and instrumental ensemble Tonus Peregrinus is joine ...» More
|Pitts: Alpha and Omega|
There are few better examples of a composer’s style developing concurrently with the emergence of a vocal group than in the a cappella vocal music of Antony Pitts. The Tonus Peregrinus octet exists to perform ancient and modern works interspersed wit ...» More