The Holy City - Jessye Norman
[Frederic E. Weatherly, Michael Maybrick - Arr. P. Hope]

Last night I lay a-sleeping, There came a dream so fair
I stood in old Jerusalem, Beside the Temple there
I heard the children singing, And ever as they sang
Methought the voice of angels, From Heaven in answer rang
Methought the voice of angels, From Heaven in answer rang

Jerusalem! Jerusalem! Lift up your gates and sing!
Hosanna in the highest! Hosanna to your King!

And then methought my dream was changed, The streets no longer rang
Hushed were the glad Hosannas, The little children sang
The sun grew dark with mystery, The morn was cold and chill
As the shadow of a Cross arose, Upon a lonely hill
As the shadow of a Cross arose, Upon a lonely hill.

Jerusalem! Jerusalem! Hark, How the angels sing!
Hosanna in the highest! Hosanna to your King!

And once again the scene was changed, New earth there seemed to be
I saw the Holy City, Beside the tide-less sea
The light of God was on its streets, The gates were open wide
And all who would might enter, And no one was denied
No need of moon or stars by night, Or sun to shine by day
It was the New Jerusalem, That would not pass away
It was the New Jerusalem, That would not pass away.

Jerusalem! Jerusalem! Sing for the night is o'er!
Hosanna in the highest! Hosanna forevermore!
Hosanna in the highest! Hosanna forevermore!


Jessye Norman - Sacred Songs
Royal Philharmonic Orchestra
© Philips CD - Digital Classics - 400 019-2
Recorded in London - May 1981
Conducted by Sir Alexander Gibson
Christopher Bowers-Broadbent - Organ

The Holy City was written in 1892. The song is recorded in the African Methodist Episcopal Church Review in 1911 as having been sung by an opera singer awaiting trial for fraud in his cell while a group of men arrested for drunk and disorderly conduct were before the judge. The men were said to have dropped to their knees as the song began 'Last night I lay a-sleeping, There came a dream so fair.', the lyrics contrasting with their previous night's drunkenness. The song's conclusion resulted in the judge dismissing the men without punishment, each having learned a lesson from the song. The song is mentioned in James Joyce's Ulysses (1922). It gained renewed popularity when it was sung by Jeanette MacDonald in the 1936 hit film San Francisco. The melody formed the basis of a Spiritual titled Hosanna, which in turn was the basis for the opening of Duke Ellington's "Black and Tan Fantasy". In the 1970s it was also translated into Afrikaans and sung by South African baritone Gé Korsten under the title 'Jerusalem'. That version is still popular in South Africa today.

свернуть