Boston Conservatory Choirs Present: A Walter Hussey Retrospective
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The Boston Conservatory choirs celebrate the legacy of Rev. Walter Hussey, who commissioned works that include Benjamin Britten’s Rejoice in the Lamb and Leonard Bernstein’s Chichester Psalms. Bookended by these works, the program also will examine other commissioning projects led by Hussey, and will celebrate those who uphold major choral music commissioning as an important component of our art.
Rev. Walter Hussey was an Anglican priest whose greatest legacy was an effort to position art as central to the mission of the Church of England. Among his earlier commissions was Britten’s monumental Rejoice in the Lamb (1943). Nearly a quarter century later, he commissioned Bernstein’s Chichester Psalms. Join the Boston Conservatory choirs and orchestra as we celebrate Hussey’s legacy, and honor those who inspire the creation of new art.
Program Information
Repertoire
Jordan Conover, conductor
HERBERT HOWELLS: “Like as the Hart”
Slava Kozlenko, conductor
GRADUATE CONDUCTOR’S CHORUS
BENJAMIN BRITTEN: Rejoice in the Lamb
Emma Rogers, soprano
Adela Holahan, mezzo-soprano
Landon Staley, tenor
Jovanni Ferrer, bass
COMBINED CHOIRS
LEONARD BERNSTEIN: Chichester Psalms
I. Psalm 108, v. 2; Psalm 100, vv. 1–3
Olivia Pike, Sarah Mesibov, Zach de Besche, Alec House-Baillargeon
II. Psalm 23, complete; Psalm 2, vv. 1–4
Kathleen Kelly, soprano
III. Psalm 131, complete; Psalm 133, v. 1
Emma Rogers, Madeline Lee, Jordan Conover, Jonathan Motes
Program Notes
Felix Mendelssohn (1809–1847) was a German composer, conductor, and pianist recognized for his significant contributions to the early Romantic period. Born into a prominent Jewish family in Hamburg, Mendelssohn converted to Christianity as a child. He demonstrated extraordinary musical talent from a young age, composing and performing with remarkable skill. Mendelssohn gained early recognition for works such as his Octet in E-flat Major, op. 20, and A Midsummer Night’s Dream overture. As conductor of the Leipzig Gewandhaus Orchestra, he played a key role in reviving the music of Johann Sebastian Bach, especially through his 1841 performance of the St. Matthew Passion.
“Verleih uns Frieden” (Grant Us Peace), composed in 1831, is a setting of a German text paraphrasing the Agnus Dei. Mendelssohn composed it during a time of political unrest in Europe, and the work’s gentle yet pleading harmonies reflect the era’s longing for peace. Originally written for SATB choir and organ or orchestra, the piece exemplifies Mendelssohn’s lyrical and expressive choral writing. It remains one of his most beloved sacred works.
HERBERT HOWELLS: “Like as the Hart”
Herbert Howells (1892–1983) was a central figure in twentieth-century English choral music, known for his rich harmonic language and deeply expressive sacred works. Trained at the Royal College of Music under Charles Villiers Stanford and later serving as its professor, Howells composed extensively for the Anglican liturgy, leaving a lasting imprint on the cathedral tradition.
“Like as the Hart” was composed in 1941, during the early years of World War II. A setting of verses from Psalm 42 in the language of the Book of Common Prayer, the anthem reflects both spiritual longing and emotional restraint. Its serene yet searching harmonies and subtle dynamic shifts evoke the quiet desolation and hope captured in the text. Though relatively brief, the piece is considered one of Howells’s most poignant anthems and exemplifies his ability to blend personal expression with liturgical function.
BENJAMIN BRITTEN: Rejoice in the Lamb
Rev. Walter Hussey was an Anglican priest whose greatest legacy lies in his efforts to position art at the heart of the Church of England's mission. Among his early commissions was the monumental Rejoice in the Lamb (1943). This cantata, written by Benjamin Britten (1913–1976) for organ and SATB choir, sets 10 sections of Christopher Smart’s poem “Jubilate Agno,” which shares the same meaning as Britten’s title. The poem can be interpreted in an antiphonal format, where each verse of the call sections starts with “Let” and each verse of the response beginning with “For.” This structure allows a performance in an antiphonal style or the “Let” and “For” sections to be performed as separate units— the approach Britten chose for his setting.
Christopher Smart was an English poet of the Enlightenment who wrote Latin verses while studying at Pembroke College, Cambridge. In 1756, he began to show signs of mental illness, which was referred to by medical professionals at the time as “religious mania.” From 1756 to 1763, he was confined to a mental institution, where he wrote the “Jubilate Agno.” In this poem, Smart expresses a religious vision, referencing both the Old and New Testaments. He also interpolates comments on his personal life—such as his relationships with friends and family, and his views on political events—into a hymn of praise.
Britten was commissioned in 1942 to compose this work for the jubilee celebration of St. Matthew’s Church in Northampton. Rejoice in the Lamb can be divided into five sections: I. Opening Hymn, II. Animistic Praise, III. Lament, IV. Mystic Praise, and V. Closing Hymn. Each of these divisions can be further split into smaller sections. The first one is like a call to worship, where the choir sings in unison with a pedal note from the organ the text “Rejoice in God, O ye Tongues,” followed by one of the most iconic moments of this work, the Processional, where a long section of mixed meter is used to achieve a setting of a through text similar to a litany, citing an array of biblical characters alongside animals that are connected by their scriptural reference. This section ends with a hymn in which the choir sings, “Hallelujah from the heart of God,” written with dotted notes in the style of French overture, a Baroque style used by Henry Purcell, a composer Britten studied and admired (and with whom he shared a birthday, which also happens to be the Feast of St. Cecilia). This same music is repeated as a closure of the work. Britten uses text painting and alliterations to convey the meaning of the words, working in collaboration with the organ, which plays a crucial role in shaping the texture of each movement. The setting itself also depicts the drastic mood shifts, compulsive behavior, and “religious mania” Smart was experiencing while writing this poem.
Rejoice in the Lamb portrays in the solo section different animals, including “Jeoffrey,” Smart’s cat, a brave mouse, and flowers. All of them reflect the values of animism, a belief Smart held about life being produced by a spiritual force separate from matter and natural phenomena. Jeoffrey is depicted as a servant of the Living God, serving Him by simply being content and faithful in his existence. This particular solo is written for soprano, with the organ reflecting the playful, bouncy movement of a cat.
Perhaps the most striking moment in the composition occurs in the third section, the Lament, where the text states, “For I am under the same accusation with my Savior.” This is Smart’s reflection of anguish and fate. Here Britten incorporates the Shostakovich motif (D-Eb-C-B, a four note theme that spells Dimitri Shostakovich’s initials in German musical notation) in the organ part, which symbolizes Smart’s persecution, represented by the text “officers of the peace” and the “watchman.” The motive also conveys his sense of otherness and being unjustly accused of being “besides himself,” like his poem says.
Britten and Shostakovich shared a deep mutual admiration for each other’s work and developed a close friendship. Shostakovich, who also endured persecution under Stalin’s regime, served as the inspiration for Britten to highlight this particular excerpt from Smart’s text. Consider also Britten’s relationship to persecution as a gay man living during a time in which Alan Turing was chemically castrated because of his sexuality, despite having cracked the Nazi code that shortened World War II and saved millions of lives. Through the course of the composition, Britten’s mastery in portraying Smart’s poem carries the listener through swift changes in mood, always establishing a profound connection with Smart’s struggles with mental illness and a hostile environment.
LEONARD BERNSTEIN: Chichester Psalms
A composer of remarkable versatility, Leonard Bernstein (1918–1990) was a leading figure in twentieth-century music, known for his work in both classical and popular realms. His legacy spans symphonic, choral, and operatic works, alongside his groundbreaking contributions to Broadway with West Side Story and Candide. Bernstein’s ability to blend various musical genres and his deep understanding of both Jewish and American traditions make his work uniquely expansive.
Chichester Psalms was composed in 1965 for the Chichester Festival in England, marking Bernstein’s return to composing choral music. The work was commissioned—by Reverend Walter Hussey––for choir, orchestra, and soloists, and it sets five Psalms in Hebrew, a choice that gives the work an immediate spiritual and emotional depth. The piece is divided into six movements, each exploring different aspects of the Psalms’ themes, from joy and praise to meditative reflection.
What makes Chichester Psalms particularly interesting is Bernstein’s reuse of material. Some of the themes and ideas in the work are derived from discarded musical sketches intended for his Broadway musical West Side Story and his unfinished work, The Skin of Our Teeth. For Chichester Psalms, he repurposed these elements, giving them new life in a choral and orchestral context. This process reflects Bernstein’s characteristic creativity and his ability to transform and reinterpret his own musical ideas in different settings. The influence of Broadway rhythms and jazz, especially in the work’s energetic first movement, reveals Bernstein’s cross-genre mastery and the fluidity with which he integrated diverse styles.
Text & Translations
Verleih uns Frieden gnädiglich,
Grant us peace graciously,
Herr Gott, zu unsern Zeiten;
Lord God, in our time;
es ist doch ja kein andrer nicht,
there is surely no one else
der für uns könnte streiten,
who could fight for us
denn du, unser Gott, alleine.
but you, our God, alone.
HERBERT HOWELLS: Like as the Hart
Like as the hart desireth the waterbrooks:
so longeth my soul after thee, O God.
My soul is athirst for God, yea, even for the living God:
when shall I come to appear before the presence of God?
My tears have been my meat day and night:
while they daily say unto me, Where is now thy God?
(Psalm 42:1-3)
LEONARD BERNSTEIN: Chichester Psalms
I. Psalm 108, verse 2:
Urah, hanevel, v’chinor!
Awake, psaltery and harp!
A-irah shahar!
I will rouse the dawn!
Psalm 100, entire:
Hariu l’Adonai kol haarets.
Make a joyful noise unto the Lord all ye lands.
Iv’du et Adonai b’simcha.
Serve the Lord with gladness.
Bo-u l’fanav bir’nanah.
Come before His presence with singing.
D’u ki Adonai Hu Elohim.
Know ye that the Lord, He is God.
Hu asanu, v’lo anahnu.
It is He that hath made us, and not we ourselves.
Amo v’tson mar’ito.
We are His people and the sheep of His pasture.
Bo-u sh’arav b’todah,
Enter into His gates with thanksgiving,
Hatseirotav bit’hilah,
And into His courts with praise,
Hodu lo, bar’chu sh’mo.
Be thankful unto Him, and bless His name.
Ki tov Adonai, l’olam has’do,
For the Lord is good, His mercy is everlasting,
V’ad dor vador emunato.
And His truth endureth to all generations.
II. Psalm 23, entire:
Adonai ro-i, lo ehsar.
The Lord is my shepherd, I shall not want.
Bin’ot deshe yarbitseini,
He maketh me to lie down in green pastures,
Al mei m’nuhot y’nahaleini,
He leadeth me beside the still waters,
Naf’shi y’shovev,
He restoreth my soul,
Yan’heini b’ma’aglei tsedek,
He leadeth me in the paths of righteousness,
L’ma’an sh’mo.
For His name’s sake.
Gam ki eilech
Yea, though I walk
B’gei tsalmavet,
Through the valley of the shadow of death,
Lo ira ra,
I will fear no evil,
Ki Atah imadi.
For Thou art with me.
Shiv’t’cha umishan’techa
Thy rod and Thy staff
Heimah y’nahamuni.
They comfort me.
Ta’aroch l’fanai shulchan.
Thou preparest a table before me.
Neged tsor’rai,
In the presence of mine enemies,
Dishanta vashemen roshi
Thou annointest my head with oil,
Cosi r’vayah.
My cup runneth over.
Ach tov vahesed
Surely goodness and mercy
Yird’funi kol y’mei hayai,
Shall follow me all the days of my life,
V’shav’ti b’veit Adonai
And I will dwell in the house of the Lord
L’orech yamim.
Forever.
Psalm 2, verses 1-4:
Lamah rag’shu goyim
Why do the nations rage,
Ul’umim yeh’gu rik?
And the people imagine a vain thing?
Yit’yats’vu malchei erets,
The kings of the earth set themselves,
V’roznim nos’du yahad,
And the rulers take counsel together
Al Adonai v’al m’shiho.
Against the Lord and against His annointed.
N’natkah et mos’roteimo,
Saying, let us break their bonds asunder,
’nashlichah mimenu avoteimo.
And cast away their cords from us.
Yoshev bashamayim
He that sitteth in the heavens
Yis’hak, Adonai
Shall laugh, and the Lord
Yil’ag lamo!
Shall have them in derision!
III. Psalm 131, entire:
Adonai, Adonai,
Lord, Lord,
Lo gavah libi,
My heart is not haughty,
V’lo ramu einai,
Nor mine eyes lofty,
V’lo hilachti
Neither do I exercise myself
Big’dolot uv’niflaot
In great matters or in things
Mimeni.
Too wonderful for me.
Im lo shiviti
Surely I have calmed
V’domam’ti,
And quieted myself,
Naf’shi k’gamul alei imo,
As a child that is weaned of his mother,
Kagamul alai naf’shi.
My soul is even as a weaned child.
Yahel Yis’rael el Adonai
Let Israel hope in the Lord
Me’atah v’ad olam.
From henceforth and forever.
Psalm 133, verse 1:
Hineh mah tov,
Behold how good,
Umah nayim,
And how pleasant it is,
Shevet ahim
For people to dwell
Gam yahad.
Together in unity.
Ensemble
Steve Spinelli
GRADUATE CONDUCTOR’S CHORUS
Grigori Balasanyan
Jayson Banton
Abby Kate Boeschen
Claire Burreson
Jordan Conover
Sophia Contratto
Cassie Davies
Zachary De Besche
Julian Dürr
Jovanni Ferrer
Nina Gojcaj
Liana Greger
Noah Gunn
Edith Mora Hernández
Alec House-Baillargeon
Adela Holahan
Kanisha Kellum
Slava Kozlenko
Rebecca Matte
Jon Motes
Erick Pico
Olivia Pike
Nur Pratama
Avery Richards
Emma Rogers
Erin Rute
Laura Santamaria
Melissa Scarpelli
Landon Staley
BOSTON CONSERVATORY CHOIR
Remi Bellemare
Ella Contreras
Ciara Cuneo
Edith Mora Hernandez
Kathleen Kelly
Kat Lutz
Isabella Napoli
Maisy Parker
Olivia Pike
Aylani Rodriguez
Emily Schmidt
Morgan Pay Staley
Lyndley Thurkins
Ellie Sawyer
Sedona Wissar
Demitra Ypsilantis
BOSTON CONSERVATORY CHORALE
Omar Ahmed
Noah Aiello
Jenny Baena-Brito
Justin Berg
Yifang Chen
Madeline Darigan
Jenny Malanche Diaz
Nicole DiPasquale
Austin Elkins
Eva Espinoza
Lumi Foster
Neenah Fuste
Alex Georgopoulos
Natalie Hansel
Kyle Huang
Grace Kang
JJ Klein
Klara La Guardia
Madeline Lee
Rachel London
Anthony Mattson
Timothy McReynolds
Oscar Medina
Sarah Mesibov
Owen Olson
Maisy Parker
Amanda Robertson
Avery Ross
Lourdes Ruiz
Jocie Schnee
Brooklyn Schroeder
Lucas Serna
Hanqing Sun
Yuruo Sun
Gloria Tang
Zizi Vargas Chaffa
Xinyue Wanyan
Shouzheng Wei
Xin Zheng
ORCHESTRA
TRUMPET
Charlotte Berube-Gray, BM '26
⧫Cal Richards, BM '25
Jackson Stahlman, BM '28
TROMBONE
Christian Haymon, BM '28
⧫Sum Ho Tsui, BM '27
Brooke Thomson, BM '26
TIMPANI
⧫William Shi, MM '25
PERCUSSION
Yuth Cañizalez, BM '28
Lily Cooper, BM '28
Yunni Fu, BM '28
⧫Tianyu Guo, MM '26
Penghe Liu, BM '28
Jack Tarpley, BM '28
Amy Weyand, BM '28
HARP
⧫Chanling Bai, MM '25
Yinong Zhang, BM '28
VIOLIN I
⧫Stella Feliberti, BM '27, concertmaster
Emily Tang, MM '26
Tess O.B. Reed, BM '28
Acadia Kunkel, BM '28
Adrian Atonya, BM '26
Tommaso Lorenzon, GPD '25
VIOLIN II
⧫Alexander Estrella, BM '25
Rose Barranco, BM '26
Caden Burston, BM '25
Serene Sung, BM '28
Leon Baker III, BM '25
VIOLA
⧫Lauren Wilson, BM '25
Lydia Tan, BM '27
Jocelyn Scully, BM '28
Julian Bernal, BM '27
Webb Hiaasen, BM '27
CELLO
⧫Adam Broce, MM '26
Hailey Brasser, BM '26
Davis Mann, BM '27
Will Rawlinson, BM '28
Zi Zeng, MM '26
BASS
⧫Zakar Basan, BM '27
⧫ Principal
Concert Services Staff
Coordinator, Concert Services – Matthew Carey
Concert Production Manager – Kendall Floyd
Performance Technology Technicians – Sara Pagiaro, Goran Daskalov
Performance Technology Specialist – Andrei Radu
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