Jerusalem-Yerushalayim / Mount Moriah

An oratorio by Antony Pitts telling the biblical story of Jerusalem in twelve movements.  This movement has already been commissioned.

Jerusalem – placed at the centre of the world on mediaeval maps, a crossroads between Asia, Europe and Africa; Jerusalem – occupied by Babylonians, Persians, Greeks, Romans, Crusaders, Ottomans, British etc.; Jerusalem – the scene of central events in Jewish history, in the Christian gospel, and now home to Islamic holy sites; more than any other city, Jerusalem has captured hearts and imaginations around the world and continues to reflect the turbulent emotions of our troubled times.

Just as the Old City of Jerusalem is now divided into four quarters, so the oratorio is divided into four sections of three movements each: (I) the city in patriarchal times; (II) the city as the capital of Israel up to its destruction by Nebuchadnezzar in 586BC/BCE; (III) the city rebuilt under occupation until its destruction by the Romans in 70AD/CE; (IV) the city as prefigured by prophets and unfolded in history ever since.

Using only texts from the Tanakh / Old Testament (apart from a final coda from the New Testament Book of Revelation), this oratorio by the young British composer Antony Pitts sets purely biblical references to Jerusalem within a logical narrative order without further political or religious layering.  A semi-chorus (or the quartet of soloists) meditates on the narrative with words from the Psalms (51:18; 79:1; 102, 122:2,3,6; 125:2; 126, 128:5; 137:5; 147:2,12).  One serious possibility under exploration is a dual libretto, with both standard English and Jewish English versions.

Modelled in terms of practicality and approachability on The Crucifixion by John Stainer, Jerusalem is designed for widespread use – equally by professional vocal ensembles and by amateur choirs and choruses, with SATB soloists, and organ/keyboard (plus optional instrumental) accompaniment. Musically, Jerusalem is aimed at audiences familiar with the great classical oratorios and/or more recent Lloyd Webber-type musicals, as well as incorporating some well-known musical references (Tallis’s Lamentations of Jeremiah, Parry’s I was glad etc.).

projected first performance: May 2008

THE GRAMOPHONE
"His is a compositional voice of real personality and imagination (no surprise to those of us who have admired Pitts's work as a truly original producer at BBC Radio 3)....new music that has immediate appeal without ever relaxing into the 'easy' or the saccharine"

THE INDEPENDENT
"a composer with a special love for all manner of dizzying textural pile-ups and naughty harmonic contradictions..."

INTERNATIONAL RECORD REVIEW
"it is enormously encouraging that every bar of his music is eminently singable....he is, undoubtedly, a serious and committed composer"

THE INDEPENDENT ON SUNDAY
"remarkable ways with music"

SOURCE TEXTS (KJV with Hebrew names) - not final libretto