Thursday, September 13, 2018

The upcoming Abu Gosh Vocal Music Festival offers a host of concerts for many tastes

Revital Raviv, Tal Feder, Ari Erev (photo: Dana Friedlander)

The Abu Gosh Vocal Music Festival takes place twice a year in and around Abu Gosh, a town located 16 kilometers west of Jerusalem on the Tel Aviv-Jerusalem highway. The 54th Abu Gosh Festival will run from September 29th to October 1st 2018, with a program of 18 concerts suited to a variety of musical tastes. Events take place in two churches - the spacious Kiryat Ye’arim Church, sitting high up on the hill, and the Crypt below the 12th century Benedictine Crusader church, set in a magical, exotic garden in the lower quarter of Abu Gosh. The Abu Gosh Festival has existed in its present format since 1992. People come from far and wide to attend concerts, sit in on the more informal outdoor musical events, picnic in the open, buy trinkets at the stalls set up near the Kiryat Ye’arim Church and relax in the surroundings of the Judean Hills. The festival features many Israeli artists and groups, also hosting overseas choirs. As of 1995, Hannah Tzur has served as musical director. A contralto who has soloed with major Israeli orchestras and conductors, Ms. Tzur has been directing the Ramat Gan Chamber Choir for 19 years.


Several major works of classical choral repertoire - mostly sacred - will be presented at the Kiryat Ye’arim Church.. Bach’s St. Matthew Passion (Concert No.2) will feature the Kibbutz Artzi Choir, conducted by Yuval Benozer, with Austrian tenor Gernot Heinrich in the role of the Evangelist. Ron Zarhi will conduct Gluck’s opera “Orpheus and Eurydice” (Concert No.1), in which Israeli soloists will be joined by the Upper Galilee Choir. On completing his “Petite Messe Solennelle”, Rossini asked himself: “Have I just written sacred music or rather sacrilegious music?” This exuberant work (Concert No.5) will be performed by the Tel Aviv Collegium Singers (conductor: Yishai Steckler) and soloists. Directed by Avner Itai, Concert No.4 will feature sacred works of Mendelssohn, Bach and Mozart, with a work by Israeli composer Yehezkel Braun. In its original setting for choir, soloists and two pianos, Brahms’ “German Requiem” (Concert No.6) will be performed by Stanley Sperber and the Jerusalem Academy of Music Choir. Concert No.8 will present the Tel Aviv Chamber Choir (conductor: Michael Shani) in Mozart’s “Requiem” and sacred pieces by Rachmaninoff. The Barrocade Ensemble, directed by Yizhar Karshon, will perform sacred works of Bach as well as Telemann’s Concerto for two flutes and calchedon (an instrument of the lute family) in Concert No.9. Festival director Hannah Tzur will conduct the Ramat Gan Chamber Choir in the original version of Dvorak’s “Stabat Mater” - choir, soloists and piano (Concert No.7).The Sukkot Abu Gosh Festival’s guest choir will be the Lira Women’s Choir (Bulgaria); joined by the Israeli Naama Ensemble (Concert No.3) they will present Gabriel Fauré’s “Messe des pêcheurs de Villerville”, Bizet’s “Agnus Dei” and, of course, a selection of Bulgarian folk songs.


For festival-goers who prefer a more intimate setting, the ancient Crypt will be the venue for them. With its director Myrna Herzog, Ensemble PHOENIX, on period instruments, will offer a delightful program of Haydn-, Mozart- and Beethoven songs, sung by mezzo-soprano Karin Shifrin (Concert No.14). In Concert No.13, countertenor David Feldman and guitarist Uri Bracha will present songs of Dowland and Purcell but also some lighter modern repertoire. Those with a taste for Cuban music might be drawn to Concert No.12, whereas those preferring Russian music can hear soprano Shirelle Dashevsky accompanied by accordionist Uzi Rosenblatt.(Concert No.11). Or would you like to take a flying visit to Cyprus with Ensemble Mezzo (Concert No.15)? And for a little nostalgia for some of us above a certain age, soprano Revital Raviv will take you to Hollywood with some Doris Day numbers (Concert No.16).


Tickets: , 02-6237000

Bravo: *3221, 072-2753221


Tuesday, September 11, 2018

Pavol Breslik and Amir Katz in an engrossing performance of Schubert's "Winterreise" at the Schubertiade, Hohenems (Austria)

Amir Katz and Pavol Breslik (Courtesy Munich Festspiele)
Slovakian tenor Pavol Breslik and Israeli pianist Amir Katz are no new faces to the Schubertiade that takes place in Schwarzenburg and Hohenems (Vorarlberg, Austria). I had the privilege of attending an event of the Schubertiade to hear these two outstanding artists performing Franz Schubert’s “Winterreise” at the Markus-Sittikus Hall, Hohenems, on September 6th 2018.


It was close to the end of 1826, that Schubert discovered a cycle of twelve poems by the Prussian poet Wilhelm Müller (1794-1827), entitled “Die Winterreise” (The Winter Journey) in the 1823 “Urania” literary periodical; he set the cycle to music perhaps in early 1827. However, the composer soon discovered twelve more poems, adding them to the song cycle, reshuffling the order and removing the “Die” from its title - now simply “Winterreise” - to create a starker effect. With Schubert (as was his contemporary, Müller) now facing heightened suffering and impending death, the Romantic theme of the alienated, isolated wanderer on a journey into the wintry depths of the soul in search of self-knowledge, as represented by the rejected lover setting out alone in the friendless icy European landscape, was indeed a courageous parallel to the composer’s own situation. After his close friend Joseph von Spaun had remarked on Schubert’s melancholic state, the composer invited him to hear the work, referring to it as a “cycle of horrifying (schauerlicher) songs” that “have cost me more effort than any of my other songs.”  Those present at the first hearing, which took place at a private venue, were left speechless by the dark mood of the songs as Schubert sang them with great emotion; he then broke down and wept, concluding that “I like these songs more than all the rest, and you will come to like them as well”.  On his deathbed in November 1828, Schubert's last focus was the correction of the proofs of Part II of “Winterreise”, then to be published posthumously.


Over recent years, Pavol Breslik and Amir Katz have been engaging in performance of Schubert and Schumann Lieder. Their recent “Winterreise” presentation in Hohenems was carried out with no break between the two parts, thus maintaining the audience’s candid involvement throughout. Enlisting his beautifully anchored tenor voice and rich, flexible palette of timbral colours, and eying his audience with each gesture, Breslik’s language is that of emotion, of theatre - his outpourings of warm tenderness and occasional naiveté shift seamlessly to grief and to sudden, gut-felt dramatic outbursts of unabashed, unleashed anger, gregarious and up-front, as he leaves no emotion unaddressed. Katz invites the listener into the poetic world of subtlety - of both lyrical melodiousness but also of Schubert’s enigmatic, separate emotional reserve and objectiveness in certain of the songs, in others, weaving through them and endorsing dramatic ideas. If in Müller’s monodrama the wanderer searches for answers; we hear the pianist offering some to the listener, answers unavailable to the wanderer himself.  Katz is a master of articulate filigree detail as he addresses the text’s myriad of gestures - warnings (Frühlingstraum), the elegant cantering of horses (Die Post), teardrops (Gefrorne Tränen), the marvellously evocative image of the crow soaring weightlessly high above in the sky (Die Krähe), the growling of dogs (Im Dorfe), viscious, spiralling, stormy winds (Der stürmische Morgen), the protagonist’s frantic running and sudden stops to look back (Rückblick) etc. And within a canvas that depicts winter, snow, death, tears, despair, anguish, journeying, loneliness and fate, Katz and Breslik give expression to the drama and urgency written into this unique work. But their artistry is also poignantly displayed in Schubert’s eerie, icy static effects, moments where time seems to have stood still (as in Gefrorne Tränen, Auf dem Flusse, Irrlicht, Einsamkeit and the atmospheric illusion and hopelessness of Die Nebensonnen.)  The artists also provide lush relief from the work’s soul-searching gloom to delight the listener with moments of heartening Viennese songfulness (Der Lindenbaum, Frühlingstraum). With despondency setting in deeper towards the end of the song cycle, Katz and Breslik punctuate the final song’s sparse phrases with silence to outline the haunting image of the figure of the hurdy-gurdy-playing beggar standing barefoot on the ice; here is the work’s final terrifying question for which there is no answer, only the echoing silence of a forlorn and hesitating repetitive hurdy-gurdy melody over a bare fifth drone, dying away into nothingness.


Today, Schubert’s “Winterreise” remains as gripping, remaekable and shocking as it was at its first performance. Pavol Breslik and Amir Katz’ memorable performance of it strikes a fine balance between profound reading into the musical- and verbal texts and conviction of their own emotions as they ride the song cycle's wave of life’s uncertainties.  


Thursday, August 30, 2018

Sounding Jerusalem 2018 - "Idealism": the Grazissimo Brass Quintet, the Galatea String Quartet and friends in a concert of outstanding performance

Rainer Auerbach with members of the Grazissimo Brass Quintet (Christian Jungwirth)
Taking place on August 27th in the inspiring surroundings of the Dormition Abbey, Mount Zion, Jerusalem, “Idealism”, a concert of the 2018 Sounding Jerusalem Festival, featured two very different ensembles.

The program opened with a selection of pieces performed by the Grazissimo Brass Quintet. Formed in 2014, its members - Karner Stefan , Lukas Hirzberger (Trumpets) Matthias Singer (horn), Wolfgang Haberl (trombone), Tobias Weiss (tuba) and Bernhard Richter (percussion) - met as students of Reinhard Summerer at the Graz University of the Arts. The ensemble opened with a dance of Antony Holborne, one of the most acclaimed and prolific dance composers of the English Renaissance. Remaining in the Renaissance, we heard five dances from Tilman Susato’s “Danserye”, music probably written for wealthy Netherlands amateur musicians rather than professional dance musicians and still delighting early music ensembles today. Here, in festive or melodious legato dances, the young artists’ polished presentation highlighted contrasts of character, using a variety of dynamics, register and colour as they juxtaposed the concept of “tutti” sections with more pared-down textures. The artists’ reading of the Largo from Handel’s opera seria “Xerxes”, beautifully shaped and tender, was indeed a highlight. German trumpeter Rainer Auerbach then joined four of the quintet members to perform the second movement of Trumpet Concerto in E-flat major (for strings and continuo) by Johann Baptist Georg Neruda (1707-1780), a little-known Czech Classical composer who had moved to Dresden in 1750 to join the court orchestra there. In this movement, the ensemble offers the first statement of the main theme, to be followed by the solo trumpet with an elaboration and extension of the same material. A cadenza precedes the second orchestral section of the movement and the soloist leads the way back to the original key and to a second cadenza. Auerbach’s steady, genial and warmly singing tone, subtle inflections and nimble facility gave noble expression to this charming pre-Classical work. The Grazissimo Brass Quintet concluded the first half of the concert with one Contrapunctus from J.S.Bach’s “Art of Fugue”, the members’ playing rich in fine articulation, well delineated lines and inspired by the excitement generated by Bach’s profuse counterpoint.

Following a short intermission, the prestigious Swiss Galatea Quartet - violinists Yuka Tsuboi and Sarah Kilchenmann, violist Hugo Bollschweiler and ‘cellist Julien Kilchenmann - were joined by Israeli violist Tali Kravitz and ‘cellist Erich Oskar Huetter (Austria), founder and director of the Sounding Jerusalem Festival, for a performance of Antonin Dvořák’s String Sextet in A-major. Written within two weeks in May 1878, the String Sextet was written between the composer’s work on the first and second Slavonic Rhapsodies, in the middle of his so-called Slavic period, a time when the composer was intent on to introducing Slavic folk elements into his music. Here, he extends the traditional quartet ensemble to including a second viola and cello in order to create the rich tone colour and vibrant sound of the highly-coloured thematic material. A work characterized by its sunny atmosphere and spontaneous appeal on the concert platform, the Jerusalem performance, (unlike so many “muscular” performances of the work), led by Yuka Tsuboi’s exquisitely expressive playing, shone in freshness and warmth of sound, delicacy and elegance. Without detracting from the buoyancy and high spirits of the stream of Slavic folk dances, the subtlety displayed by all six artists guaranteed transparency of textures, highlighting the numerous filigree melodic lines, their strategic timing and collaboration resulting in beguiling expression of Dvořák’s inventive contrapuntal treatment and imaginative harmonies and reminding the listener that this colourful, vigorous folk idiom does also give a voice to occasional dreaminess and languor.

Photo: Christian Jungwirth

Friday, August 24, 2018

The 2018 Sounding Jerusalem Festival gets off to a lively start with "Poet Acts"

Photo: Gerald Rockenschaub

The Sounding Jerusalem Festival was established in 2006 and continues to be directed by Austrian ‘cellist Erich Oskar Huetter. A chamber music project of the highest level, its aims are to reach people living in Jerusalem and the surroundings, irregardless of ethnic-, social- or religious backgrounds, “to promote magnificent and dynamic chamber music within superb surroundings...fostering...respectful dialogue between people from Europe and the Middle East” in Huetter’s words. The 8th Sounding Jerusalem Festival, “Humanistic Instinct”, will include nine concerts that are free to the public as well as workshops and seminars for young musicians.

“Poet Acts”, the opening event of the 2018 festival, took place in the historic courtyard of the Lutheran Church of the Redeemer in Jerusalem’s Old City on August 21st.  Wolfgang Schmidt, provost of the Jerusalem Redeemer Church, extended a warm welcome to the audience, suggesting that holding the festival in the Old City was a symbol of sharing life, with music as a mediator. Also present at the concert were diplomatic representatives of Germany, Austria, Switzerland and Czechoslovakia. In Erich Oskar Huetter’s introduction, the director said he hoped these would be encounters whose memory we would take away with us. Referring to the festival as a “strong mid-European initiative”, he spoke of the concept of “humanistic instinct” as two ideas that might conflict with each other, but as coming together in the universal language of music.He alluded to the opening concert as “beginning a new journey”.

The program opened with flautist Vanessa Latzko (Austria), guitarist Armin Egger (Austria) and  Huetter performing Hans Neemann’s arrangement of Joseph Haydn’s Cassation in C-major. A term common in southern Germany, Austria and Bohemia in the mid-to-later part of the 18th  century, (the word 'cassation' is of disputed origin) there is no discerning specific formal characteristics that could distinguish the cassation from other serenade-like genres. Considering the fact that cassations were, however, intended primarily for entertainment and often for outdoor performance, here was the ideal occasion for such a work. Haydn termed several of his early chamber works cassations (or divertimentos.) A work of galant appeal, Viennese good humour and caressing melodies, Latzko soloed elegantly, at other times, engaging in dialogue with the guitar; Egger at times joined Huetter to form a more solid accompaniment for the flute, with Huetter taking care throughout not to mask the delicate timbres of the flute and guitar.

The Grand Trio by W.A.Mozart (K. 304) is the fourth of the “Palatine” Sonatas originally written for violin and piano in 1778 when the composer was living in Paris. The arrangement by French guitarist and music publisher Pierre Jean Porro (1750-1831) calls for violin, guitar and ‘cello. The form of this work is atypical, having only two movements, the opening Allegro non tanto followed by a Tempo di Minuet. It is one of the composer’s very few sonatas composed in minor keys, the reason for this endorsed by Dutch musicologist Marius Flothius, who wrote:  ”Mozart’s loneliness, indeed his feelings of despair in the great city, where he was largely neglected and where his mother fell ill and died, leave their mark on this work.” With the flute taking on the violin role, the piece assumes a more lyrical character in this scoring, presenting less of the work’s intense and painful message as heard when performed with violin. But the artists highlighted the work’s mysterious elements, as they presented pleasing solos and duets in attentive awareness and a strategic balance of sound.
Then to what Erich Oskar Huetter referred to as “opening up the concept”. Leaving the world of Classical chamber music, the artists went on to perform pieces by American composer Philip Glass (b.1937), beginning with Armin Egger’s very fine guitar solo from “Einstein on the Beach”, his playing intricate, articulate and beguiling as he guided the listener through the “additive process” that constitutes the rhythmic core of Glass’s style, but also through  its harmonic elements and melodic cells and giving the stage to the piece’s contrasting sections. “Facades”, referring to the facades of buildings on Wall Street, was originally written in 1981 to accompany a scene in the cult film “Koyaanishqatsi”. The scene, of New York’s Wall Street on a Sunday morning, was eventually cut from the film, but the piece later became movement no. 5 of “Glassworks”, Glass’s groundbreaking studio album that remains highly representative of his style. A meditative piece, Latzko and Egger’s performance of it was appealing and tranquil, with Glass’s dissonances appearing, disappearing and reappearing in the guitar role, as the Old City’s church bells outside added their voice to the composition. In “The Poet Acts” (whence  the concert’s title) Huetter’s haunting, warmly nostalgic playing of the work’s sweeping, Romantic melodies was complemented by Egger’s gently swayed rhythms.

Taking the concept in a different direction, we heard Aniada A Noar (Austria) in a selection of Austrian folk songs and dances as well as in performances of  their own original folk-style material. Formed 33 years ago, the trio displays remarkable versatility:  the members - Wolfgang Moitz, Bertl Pfundner and Andreas Safer - play the violin, button accordion, recorder, the pipes, guitar, bird whistles, Jew’s harp, etc; they all sing and harmonize well. Singing of winter, a musician’s life, trains and other subjects, their music-making bristled with joy, humour and colour as they conjured up scenes of Austrian nature, village life and merrymaking, together  with foot-stamping, whistles and the wink of an eye. To end the evening’s concert, all six artists joined to perform a folk-style piece that gradually spiralled into a hopping, carefree dance before signing out in winsome gestures.

Saturday, July 21, 2018

"Lady Huang's Album", a new CD of modern works for one or two harpsichords performed by Diana Weston and Michael Tsalka

Isabel Doraisamy © 2017

“Lady Huang’s Album” - music for one or two harpsichords - is a new and unique recording presenting new music of living composers from Australia, Italy and the Americas and performed by two renowned keyboard artists - Australian-born Diana Weston and Israeli-born Michael Tsalka. Several of the works were written for them.


Four of the works on the recording are written for four hands (with Tsalka playing the primo part in pieces written for two harpsichords), the first being “Tilting at Windmills” (2017) by Australian composer and actress May Howlett (b.1931), a work inspired by Cervantes’ tale of Don Quixote and his squire Sancho Panza. Of the musical elements suggesting Howlett’s tongue-in-cheek but endearing description of the characters, the Spanish aspect - harmonic and rhythmic - is quite dominant (we even hear what a castanet effect). The composer refers to “the Don’s majestic chords and the squire’s erratic scale passages” in a colourful scene that alternates between gently appealing whimsy and intensity. Another work, this time strongly Australian in subject is “Crimson Rosella”, by musicologist/composer, broadcaster and writer Ann Carr-Boyd (b.1938); this was commissioned by Diana Weston for herself and Michael Tsalka, to be played on two harpsichords. Titled “in honour of one of Australia’s most spectacular and beautiful birds”, the piece consists for four sections, some of its material adapted from earlier works of Carr-Boyd. A mix of tonal and atonal modes, I think I heard the bird’s wing flutterings and bird call motifs. As the work progresses, the potpourri of dances and intensely loaded chords seems to move away from the bird, or does Boyd-Carr perhaps aim to describe the observer’s emotions on viewing the most splendid of parrots with its dramatic, eye-catching markings? Composed in 2016 and dedicated to Tsalka and Weston, “Toccata” by Mexican composer Leonardo Coral (b.1962), opens with small, separate jagged motifs, creating a “harsh dialogue”, in the composer’s own words. This is followed by a more pensive, introspective flowing section before returning to the feisty, teasing energy-infused ideas of the first section, thus to sign out of the masterful, quick-witted miniature.  In the last work for four hands is “3 Stukken a 4 main” (Three Pieces for Four Hands) by Argentinian-born composer, arranger, harpsichordist and organist Pablo Escande (b.1971), the first of the miniatures is a fiery, intense and joyfully brash Capricho. In contrast, the middle piece titled “Naive” mixes harpsichord registers in amiable, cantabile and wistful expression. The final Toccata is invigorating and entertaining in its driving, unrelenting Latin rhythms. I can only agree with Diana Weston, who claims that the skilfully written work “demonstrates the power, colour and vibrancy of the harpsichord supremely well.” In these works, the experience Weston and Tsalka have accrued in performing together is a major factor in what can only be referred to as uncompromising musical collaboration.


The pieces performed by Diana Weston here are all by Australian composers. “Green Leaf for Elke” by prolific composer Elena Kats-Chernin (b. Uzbekistan, 1957) is based on the first movement of her award-winning ballet “Wild Swans” (2002). Written in memory of opera director Elke Neidhardt, “Green Leaf for Elke”, a gently arpeggiated “poem”, touching and reflective in its tonal/modal mix, invites the listener to follow its relaxed harmonic process and join its elegiac course. It is surely no coincidence that recorder player Benjamin Thorn (b.1961), artistic director of the New England Bach Festival and arranger of works by such composers as Strozzi, Castello and Caccini, chose dance movements freely based on the same ground for “Underground Currents” (2010). Referring to the pieces somewhat based on tonality as “creating resonances of chaconnes and passacaglias”, Thorn’s writing comes across as improvisatory in character as it frequently veers off course to the unexpected with the wink of an eye. Originally from New Zealand, Diana Blom (b.1947) moved to Australia in 1969. The four pieces of “Lady Huang’s Album” (1984), from which the disc takes its name, are influenced by music of the ch’in, a seven-string long Chinese zither. In the work, the composer, whose time in Hong Kong and Malaysia has clearly provided the inspiration and background for writing in this style, introduces playing techniques idiomatic to the ch’in and Chinese scales. Blom’s writing is eloquent and sophisticated; Weston’s rendition of the four miniatures, so convincingly indicative of the plucked instrument, is descriptive, subtle and beguiling, enticing the listener into the evocative world of Chinese music and art. A real treat! The piece was dedicated to Mrs. Grace Wei Huang.


Eclectic in taste, an artist performing from the classical music tradition, through jazzy and tango styles to his own compositions and improvisations, Italian early keyboard player and award-winning composer Gabriele Toia (b.1967) has dedicated “Variations on a Ground” (2016) to Michael Tsalka “as well as to some of the composers who most influenced my music”, of whom he mentions Béla Bartók, Ligeti, Chick Corea, Ennio Morricone and Alban Berg. The 13 variations are based on a ciaccona bass from Vivaldi’s Concerto in G-minor RV 107. The sections, some more harmonic in emphasis, others exploring the countless textural possibilities offered by the harpsichord, form a rich kaleidoscope of musical ideas. In playing that is not simply virtuosic but strategic, sensitive, rich in detail, shapes and imagination, Tsalka inspires and moves as he gives expression to the particular character and mood of each variation of this outstanding piece of music. Harpsichordist and organist Max Yount (b.1938, USA) is well also known as a teacher and composer. Michael Tsalka, whose connection with Yount goes back several years, has premiered works of his. “Sonatine” (2014) is an intense and complex piece, its tripartite construction concluding with a rondo which is, in the composer’s words, “interspersed with jazzy episodes”. Tsalka’s reading of it is sincere, objective and erudite but it is also entertaining (we remain unaware of its original programmatic content) as its personal appeal grows on one with listening.


Recorded in 2017 for the Wirripang Label, Australia, listeners will appreciate the disc’s lively sound quality. Bristling with interest and variety, Diana Weston and Michael Tsalka present its selection of contemporary works in performance that is profound, discerning and insightful.


Tuesday, July 17, 2018

"Basso Ostinato - Passacaglias anf Chaconnes" recorded on harpsichord by Pieter-Jan Belder

Detail from harpsichord by Titus Crijnen after Blanchet, decorated by Elena Felipe after Huet. Photo: Pieter-Jan Belder
In the pieces recorded on “Basso Ostinato - Passacaglias & Chaconnes”, Dutch artist Pieter-Jan Belder presents a study of ostinato pieces of English and European composers of the 16th to 18th centuries. In his liner notes, Belder draws our attention to the fact that not all the pieces here are chaconnes or passacailles, “but all kinds of pieces that feature a certain obsessive repetition, usually on a harmonic basis” and that “all of these pieces are in fact dances”.

The disc opens with the artist’s vibrant and inspired playing of Giovanni Picchi’s sophisticated “Pass’e Mezzo” from “Intovalatura di Balli d’Arpichordo” (1621), with the occasional dissonant element gracing an ornamental phrase end and buoyant playing of its florid sections. The “Ciaconna” of another Italian, Bernardo Storace, from "Selva di varie compositioni d'intavolatura per cimbalo ed organo" (1664), the Sicilian composer’s only surviving body of work, features in the standard repertoire of today's keyboard players, and for a good reason! Belder’s reading of the virtuoso piece is bracing and stylish. One of Girolamo Frescobaldi’s greatest works is his “Cento Partite sopra Passacagli”. It happens to be both a newly composed piece as well as a pastiche of early compositions. In its lengthy but engaging musical tripartite study of the relationship of the passacaglia and chaconne, the work bristles with harmonic variety, daring and sometimes disturbing enharmonic- and meter changes, as well as changes of mode. Suggesting different moods, Belder’s playing of the hundred-or-so variations highlights the (often sudden) contrasts inherent in Frescobaldi's diverse and bold musical language.

In a very different vein is the popular and dazzling Fandango in D minor R146, attributed to Padre Antonio Soler and based on a 12-note repeating sequence in the left hand. Its challenging text, brimful with hand-crossing, trills and syncopations, is referred to by Belder as “one of the most technically demanding harpsichord pieces I know”. Belder takes on board the dance’s fiery Spanish character, its variety of ideas and its unrelenting, unleashed energy...certainly a puzzling piece coming from the pen of a priest. It also emerges as a strange bedfellow among the other works of a more aristocratic character represented on the disc.

Nowadays, we seem to be more familiar with some wonderful choral music of Thomas Tomkins, but, bearing the influence of his teacher William Byrd, Tomkins, the last of the English virginalists (actually, he was Welsh) has left quite a body of keyboard music. His Ground MB39 is based on a very small fragment, the inventive treatment and bravura demands of which being more interesting than its repetitive melodic content. As to Henry Purcell’s “A New Ground”, Belder gives poignant expression to its bittersweet quality, floating the soprano solo above the three-bar ostinato in touching, cantabile delivery.

Crossing the English Channel to France, Pieter-Jan Belder’s majestic performance of Louis Marchand’s Chaconne in D minor (1702) goes hand-in-glove with the style brisé of 17th century clavecin tradition, the artist’s reading graced with ample noble spreads and a touch of the Italianate style. If Louis Couperin’s unmeasured writing aimed to inspire the player to address the text, to dip into the palette of his imagination, yet in an orderly manner, this is indeed the result here. In Belder’s recording of Couperin’s Prélude and Passacaille he infuses his stately rendition of these true gems with clear direction, fantasy, personal expression, tranquil grace and a touch of reflective melancholy.

In his Passacaglia in G minor, from “Apparatus musico-organisticus” (1690), Georg Muffat, one of the Baroque’s most cosmopolitan composers, mingles French and Italian styles employing the French rondeau technique with variations which are structured around five repetitions of a basic refrain. Displaying its variety and invention, Belder’s masterful, noble and dazzling performance of the work is indeed in keeping with the composer’s own suggestion of performing the Apparatus pieces …”in connection with entertainments given by great princes and lords, for receptions of distinguished guests, and at state banquets, serenades, and academies of musical amateurs and virtuosi.” On this disc, Pieter-Jan Belder adds his name to the many who have made transcriptions for harpsichord and other instruments of J.S.Bach’s Chaconne for violin solo from Partita No.2, BWV 1004. Listening to Belder’s rendition, one becomes acutely aware of the artist’s rich vision of the piece through the prism of the harpsichord, its flexibility and its technical and emotional potential, as he takes his listener through ravishing, opulent, extraverted sections and into sections that are fragile and personal. Using such Baroque measures as 'notes inégales' and the gamut of ornamentation, Belder takes the liberty to enrich some of the many spreads with just a few more zestful notes than possible on the violin. Belder’s is a bracing, fresh, wholehearted presentation and one bristling with interest. I think Bach would really like it.

In his flourishing career as harpsichordist, clavichord player, organist, fortepianist and recorder player, Pieter-Jan Belder has so far made over 140 recordings. The works heard in “Basso Ostinato - Passacaglias & Chaconnes”, for the Brilliant Classics label, are performed on harpsichords by Cornelius Bom after Giusti (2003), Titus Crijnen after Blanchet (2013) and Titus Crijnen after Ruckers (2014).

Sunday, July 8, 2018

An event hosted by Swedish Ambassador Magnus Hellgren to honour the Erik Westberg Vocal Ensemble and the Israel Netanya Kibbutz Orchestra

H.E. Magnus Hellgren addresses guests (courtesy Israel Netanya Kibbutz Orchestra)

A festive evening was hosted by the H.E. Magnus Hellgren, the Swedish Ambassador in Israel at his Herzliya residence on Monday July 2nd 2018 to honour the Erik Westberg Vocal Ensemble and the Israel Netanya Kibbutz Orchestra. On arriving, guests and artists enjoyed the opportunity of meeting and talking over a glass of wine in the garden prior to a summer meal and the evening’s program. As to the NKO’s strong Swedish connection, renowned conductor, trombonist and composer Christian Lindberg is the orchestra’s musical director, with mandolin artist Shmuel Elbaz, present at the event, serving as the NKO’s principal conductor. The Erik Westberg Vocal Ensemble was in Israel to take part in the orchestra’s last concert for the season - “When the Public Decides”.


The event’s official proceedings began with greetings of welcome from the Ambassador himself. Deputy Mayor of Netanya Eli Dellal spoke of the importance the city of Netanya addresses to culture and to music, in particular. Maestro Lindberg also spoke. All were unanimous in the role that music plays in our lives - to bring people together. Maestro Westberg expressed his delight at being in Israel with his singers. They then performed a number of pieces, some unaccompanied, other accompanied either by Lindberg, or on the piano or by members of the NKO. The program presented guests with a delightful taste of the gentle melodies and velvety harmonies of Swedish music in arrangements of Swedish folk songs and works by Swedish composers. One interesting item on the program was a piece integrating “Hatikva”, the Israeli national anthem, with a similar melody of a beautiful Swedish folk song. Referred to by Maestro Lindberg as “one of the world’s best choirs”, the Erik Westberg Vocal Ensemble was founded in 1993 and consists of some twenty voices, bringing together experienced, top-class singers, all of whom hail from Sweden and Finland. Basically an a-cappella ensemble, its signature sound strikes a splendid balance between the singers’ individual vocal timbres and a well-blended choral sound. In addition to many overseas tours, it has recorded over twenty discs. As of 1990, Erik Westberg has mostly worked at the Luleå University of Technology/School of Music in Piteå as professor of musical performance.


The Israel Netanya Kibbutz Orchestra performs over 120 concerts yearly, with each program presented in eight locations the length and breadth of Israel. Throughout the 47 years of its existence, it has toured the USA, China, Mexico, Germany, Italy, France, South Korea, Germany, Belgium, Hungary, Croatia, Great Britain, Switzerland, Uruguay, Argentina, Colombia and Peru. It also retains a prestigious recording schedule. In addition to its concert activity, the NKO runs an extensive educational program, of which guests at the festive event were given a taste. We heard an ensemble of young Netanya string players in a well-coordinated and informed performance of a Vivaldi movement. The young, competent musicians were using Baroque bows, which had been supplied by Spiccato.


Retiring to the garden following the concert, guests were presented with some spontaneous singing of more Swedish songs by ensemble members. Singing is joy! For most of the choir members it was their first trip to Israel.

The Erik Westberg Vocal Ensemble (photo:Tone Antonsson)

New music is alive and kicking in Israel: the Meitar Ensemble and friends perform their final concert for the 2017-2018 season in Tel Aviv

Photo: Culiner Productions
The Meitar Ensemble concluded its 2017-2018 concert season with a festive event at the Israel Conservatory of Music Tel Aviv on June 30th 2018. Founded in 2004 by artistic director Amit Dolberg, the Tel Aviv-based ensemble has commissioned and premiered over 200 works. The Meitar Ensemble also runs a unique educational youth program - the Tedarim Project - offering young musicians engaging in performance, conducting and composing an opportunity to learn, explore and perform new music and on the highest level. Some of the young project musicians took part in this concert alongside more established artists. Also taking part were participants of the Jerusalem Academy of Music and Dance’s Contemporary Music Workshop.


The program opened with Menachem Wiesenberg’s “Entrapped Bird” (1998) a setting of three poems by Yair Hurwitz for voice, piano, violin and clarinet (or oboe). The poems, from the poet’s last volume, all deal with his impending death. The entrapped bird is a metaphor of the poet’s soul as imprisoned in his sick body, waiting, in a sense, to be freed. In the composer’s own words: “I have tried to portray this dark and very painful atmosphere in my music, using a chromatic and expressive musical language.” Amit Dolberg (piano), Noam Lelior Gal (violin) and Roy Cohen (clarinet) gave personal expression to the work’s fragile, filigree textures, its reflective, intimate nature and to its many splendid solo sections. Dalia Besprozvany, with her delicate, articulate and understated singing, added subtle meaning to this mood piece.


We then heard “Scattergories” for flute, clarinet, bassoon, piano, violin, ‘cello and double bass by Omer Barash (b.1995). The ensemble was directed by young conductor Tom Karni. As its title implies, the work opened with a series of small gestures, punctuated by chords, then developing into a shifting, active screen texture, its fabric consisting of individual utterances. With much independent expression on the part of the players, the work moves through various moods and instrumental effects, on to a dialogue carried out in parallel semitones, then to a drone; the scattered chords continue to appear. The work tails off in a low repetitive note on the piano, taking time to fade away. A student at the Jerusalem Academy of Music and Dance, Omer Barash is pursuing his MMus degree in Composition under Prof. Ari Ben-Shabetai and his BMus in piano under Prof. Eitan Globerson. He was in attendance at the concert.


Premiered at the event was Yonatan Ron’s “Klaustrum” for string trio, composed end of 2015-January 2016. It was performed by Marco Fusi-violin, Moshe Aharonov-viola and Yoni Gotlibovich-’cello. The composer explains the agenda of his work as written at a time he was involved in "large-scale gradual transitions" within musical textures. The piece “starts with a cluster of a very strong Middle Eastern identity, from which I continue to develop the very same pitch material until it slowly reaches a point at which it explodes.” A piece composed as an almost uninterrupted continuum, it presents repetitions each embodying some slight variation; there are delicate “insect” textures, intense unison passages, glissando motifs and sections of flageolets interrupted by sudden outbursts, etc. The composer refers to each musical idea as “begging to emancipate itself”, to finally be freed by the end of the work. In finely balanced collaboration, the players gave the work a reading that was dedicated, sensitive and transparent. The composer, who was present at the concert, is presently a student at the Royal Conservatoire of The Hague.


We then heard “In Carne ed Ossa”, a quintet by Michele Sanna (Italy). This was the work that won the 2018 Matan Givol Competition for Composers. Amit Dolberg spoke of the competition, now in its third year, as a fitting way to remember violinist Matan Givol, who had been a member of the Meitar Ensemble. "In Carne ed Ossa" (In Flesh and Bone) was chosen out of 60 scores that were submitted to the competition from 24 countries. A work of lively, sometimes frenetic gestures, of intensity, of pared-down otherworldly moments, of timbral variety and some effects, its soundscape is characterized by the intermittent, shadowy use of a soft mallet striking the strings of the piano (Simone Walther). The piano also features in several of the work’s lyrical moments. Conducted by Ilan Volkov, the performance, profound and reflective, gave splendid expression to Sanna’s gripping and soul-searching score.


Following the intermission, Maestro Ilan Volkov conducted Italian composer Fausto Romitelli’s “Professor Bad Trip, Lessons I,II,III”, a work scored for eight players and electronics. The “Professor Bad Trip” cycle (1998—2000), blending distorted colorations of acoustic- and electric instruments as well as accessories, such as the mirliton and harmonica, was inspired by Henri Michaux’s writings under the influence of psychedelic drugs and by the comic artist Gianluca Lerici a.k.a. Professor Bad Trip and his psychedelic cartoons. The three separate movements recreate a hallucinatory sound world in which post-spectralism blends with psychedelia. The unique style that Romitelli developed is characterized by drones, glissandi and amplification with distortion, the combination of these elements resulting in highly expressive content of both great eloquence and violent sonic utterances of considerable formal complexity. Lesson I, doused with electric guitar, offering a rich timbral mix, is an exciting piece. Percussionist Lior Eldad’s skill and competence shone throughout. The music eventually becomes calm and the instrumentalists gradually exit, leaving only electronic “airport” sounds to bring the piece to an end. Lesson II is at times no less intense than its predecessor (its potency and rhythmic vehemence are endorsed by electric guitar-Nadav Lev and bass guitar-Dennis Sobolev); the piece also offers a virtuosic and poignant ‘cello solo (Yoni Gotlibovich), some breathy effects and eerie moments of spacey high string flageolet sounds, then to die down cushioned in a velvety screen of sound coloured by the knell of a haunting gong. Lesson III, bristling with effects and repetitions, sometimes referring to a kind of “tonal centre”, presents trippy sensations as well as stark, buzzy electronic sounds and strident guitar sounds. Flautist Roy Amotz moves from piccolo to flute to mirliton (a small, nasal-sounding instrument, its sound produced by a vibrating membrane) and back again. “Professor Bad Trip”, with its taste for the deformed and the artificial, for rock and electro-acoustic treatment of sound, certainly takes the listener along for the dare-devil ride, and an invigorating, shocking and spectacular trip it certainly was, too!


Drawing a large crowd, the Tel Aviv concert was a celebration of fascinating music and very fine, dedicated and discerning performance on the part of the musicians.

Dalia Besprozvany (Culiner Productions)
Roy Amotz  (Culiner Productions)

Moshe Aharonov (Culiner Productiobs)

Friday, June 29, 2018

The Jerusalem Baroque Orchestra presents the first Israeli performance of Handel's "Aci, Galatea and Polifemo"

Yizhar Karshon,Shaked Bar,Claire Meghnagi (photo: Maxim Reider)

The Jerusalem Baroque Orchestra (founder and musical director: David Shemer) concluded its 29th concert season with “Beauty and the Beast”, the first Israeli performance of G.F.Handel’s cantata, or serenata a 3, “Aci, Galatea & Polifemo”. Yizhar Karshon conducted from the harpsichord. Soloists were Shaked Bar - Galatea, Claire Meghnagi - Aci and Denis Sedov - Polifemo. This writer attended the performance at the Jerusalem International YMCA on June 27th 2018.


Somewhat overshadowed by his English pastoral mini-opera written in London in 1718, the young Handel’s little-known, unstaged dramatic cantata “Aci, Galatea & Polifemo” was composed for a ducal wedding in Naples in 1708. With an Italian libretto, the musically rich “Aci” offers early hints as to Handel’s instinctive affinity for Italian opera, also highlighting the 23-year-old Handel’s fully mature style, Both Handel works are based on Ovid’s “Metamorphoses”, in which a romance between a shepherd, Acis, and a sea nymph, Galatea, is hindered by a monstrous one-eyed giant, Polyphemus. The jealous Polyphemus hurls a boulder at Acis, killing him.  Galatea has her father, the sea god Nereus, transform Acis into a stream, so that he can flow into her embrace forever.


Handel’s ravishing, ebullient score calls for three superior singers. In the trouser role of Aci (it is presumed that Handel cast Aci as a high soprano castrato) soprano Claire Meghnagi’s supple voice, her wide, easeful and accessible range and empathy with the role made for a convincing performance. One of the work’s most delightful moments was “Qui l’augel da pianta in pianta” (Here the bird flies from tree to tree), in which violin (Noam Schuss), oboe (Shai Kribus) and Meghnagi imitate and ornament to present birdsong effects:
“Here the bird from tree to tree happily flies,
Sweetly singing to distract the heart that languishes.
But it becomes a cause of sadness for me alone
Who, afflicted and alone oh Lord, cannot find peace.”


Mezzo-soprano Shaked Bar portrayed Galatea’s plaintive charms admirably, singing with much feeling, her voice natural, easeful and rich in colours. Before Aci is killed, she and Meghnagi engaged in a tender duet of ample contrasts, with Shaked Bar’s performance culminating in a heartbreaking outpouring of grief and anger on Aci’s death. The role of Polifemo, one of the most challenging of the bass repertoire, requires an almost unbelievably wide range and some enormous leaps to boot, these representing Handel’s way of evoking the monstrous nature of Polifemo. The composer must have had at his disposal a unique voice, even by early 18th-century standards!  Of a suitably towering stature, Denis Sedov, singing several of the most virtuosic sections by heart, was confrontational, powerful and intense in the role. His singing of “Fra l’ombre e gl’orrori” (In darkness and horror), with its two-and-a-half octave compass, in which the giant cyclops describes a moth desperately looking for the light of an extinguished lamp, was effective and spine-chilling.


Not to be underestimated are the demands placed by the young Handel on the fine instrumental forces that were obviously available to him at the time. In his profound, detailed and inspiring reading of the score, Yizhar Karshon imbued the music with verve, eloquence and variety, making for much articulate and splendid playing on the part of the JBO instrumentalists, both in tutti and in the most delicate of pared-down scoring for the more intimate pieces, and for precise collaboration with the singers. An exciting event to see out the 2017-2018 concert season!

Denis Sedov (photo: Maxim Reider)


Wednesday, June 27, 2018

Kemp English has recorded the complete Kozeluch Keyboard Sonatas - a few words on Vol.11

Kemp English (photo: Helen English)
Like several other composers in music history, Bohemian musician Jan Antonín Koželuch (1747-1818) set his sights at studying Law. While at Prague University, he continued music studies with his older cousin (also Jan Antonín Koželuch) and with Mozart’s future friend František Dušek. But, due to  his immediate success in ballet- and pantomime music, Koželuch abandoned his legal studies, moving to Vienna in 1778 (some three years before Mozart) having changed his first name to Leopold to avoid being confused with his cousin. It was there that he produced more than half of his 49 piano sonatas in the 1780s, many received with great enthusiasm. Like Mozart, the pianist, composer and teacher delighted the music-loving Viennese aristocracy. He was so well regarded there that he was offered employment by the Prince-Archbishop of Salzburg. Koželuch began publishing his own works and in 1785 officially opened his own publishing house, also developing ties with many other European publishers. Having been a member of the team proofreading Christopher Hogwood’s Bärenreiter edition of the Koželuch keyboard sonatas, New Zealand keyboard specialist Kemp English completed the world premiere recording of the complete cycle of Koželuch solo keyboard sonatas in 2013. On KOŽELUCH Complete Keyboard Sonatas - 11, English plays three very early sonatas from the 1770s and two later works from 1809.


Kemp English plays Sonatas Nos. 44, 45 and 46, the earlier works, on an original 1785 harpsichord by Longman and Broderip, built for them by Thomas Culliford. Works bristling with freshness and Rococo charm, some movements more sophisticated than others, here is a fine sample of what able amateur players in Vienna and their guests enjoyed in the fashionable salons. In playing that is vivid, articulate in detail, sincere and tastefully ornamented, English takes his inspiration from the texts themselves and from the possibilities offered by the splendid, vigorous timbres of the instrument for which they were written.


Koželuch, however, lived at a time the harpsichord was being superseded by the more expressive fortepiano. He became an enthusiastic supporter of the newer instrument, using the fortepiano to express the clarity, delicacy, the light and shade he wished to be expressed in his music. He therefore would not accept students who did not wish to familiarize themselves with the fortepiano. The two first works on this disc are played on a fortepiano built around 1815 in Vienna by Johann Fritz. The zesty opening movement of Piano Sonata No.42 in F major, Op. 53, No.2 takes the listener into the richness and and variety of the Classical sonata style, with its fast flow of ideas and development of motifs. The hearty second movement (Rondo), with its small reminiscences of the opening movement, is also powered with a good measure of joie-de-vivre. Somewhat more understated, Piano Sonata No.43 in E flat major, Op. 53 No.3 makes for fine piano fare, its second (and final) movement also a Rondo Allegretto. In his highly informative program notes, Kemp English draws the listener’s attention to the bassoon stop engaged in this movement, producing a “charming buzzy effect”.


Considering the fact that Leopold Koželuch was a prominent figure on the robust Viennese musical scene populated by Haydn, Mozart and Beethoven, music history has not treated him favourably. Kemp English’s deep enquiry into the composer’s piano sonatas and his impeccable performance of them are a keen reminder to the listener that Koželuch, a transitional composer both admired and criticized, was nevertheless a major figure in the shaping of taste in keyboard music. Engaging in its buoyant recorded sound, Kemp English in KOŽELUCH Complete Keyboard Sonatas, Vol.11 (GRAND PIANO GP735) invites the listener to attend a fashionable late 18th century music salon in Vienna to hear music of the time performed in the most authentic manner.


Kemp English is one of New Zealand’s leading concert performers. Much in demand as a solo organist, collaborative pianist, and specialist fortepiano exponent, he enjoys performing music of a diverse array of styles and periods. Following a distinguished studentship at the Royal Academy of Music in London, he later completed a Master of Arts degree in music performance at the University of York. He took his doctoral studies at the University of Adelaide. In 2001 Kemp English was elected an Associate of the Royal Academy of Music – an honour recognising former students of the Academy who have achieved distinction in the profession. Four years later, after more than a decade as Executant Lecturer in fortepiano, organ and harpsichord performance at the University of Otago, he made the decision to freelance and concentrate on his performing and recording career. Dr. Kemp English continues to tour Australasia and Europe as both a solo and collaborative performer.


Saturday, June 23, 2018

Nicholas McGegan conducts the Jerusalem Symphony Orchestra, choirs and soloists in Handel's "Messiah"

Maestro Nicholas McGegan (photo: Steve Sherman)
Taking place on June 18th in the Henry Crown Auditorium of the Jerusalem Theatre, the final concert of the Jerusalem Symphony Orchestra’s 2018-2019 Vocal Series was a performance of G.F.Handel’s “Messiah”. Guest conductor Nicholas McGegan (UK) directed the performance, in which the Shahar Choir (conductor: Gila Brill), the Adi Choir (conductor: Oded Shomrony) and the Jerusalem Oratorio Capellate Choir (conductor: Naama Nazrathy) joined to form one choral body for the event. Soloists, under the auspices of the Israeli Opera, were Tal Ganor, Alon Harari, Oded Reich and Irish-born tenor Robin Tritschler, making his JSO- and Israeli opera debut.


Handel wrote the original version of “Messiah” in three to four weeks. Premiered in Dublin in 1742, with the composer now already established in London, the work drew such a large crowd that audience members were requested to leave their hoop skirts and swords at home for fear of overcrowding at the concert hall. In his libretto, Charles Jennens interspersed texts from both the Old Testament prophets and the New Testament, frequently using metaphor — rarely narrative -  to depict the story of the Messiah.  Although the oratorio is primarily contemplative, with no speaking characters and hardly any action, it falls into three parts: Part One deals first with the prophecies concerning Christ’s birth. Part Two, the dramatic pinnacle of the work, tells of Christ’s passion, crucifixion, resurrection and ascension, with Part Three consisting entirely of commentary, principally on the resurrection and the theme of Christian redemption.


No new face in Jerusalem, Nicholas McGegan has conducted the JSO in several productions of Handel works. From the very opening sounds of the Overture at this performance, one is acutely aware of Maestro McGegan’s eloquent, finely chiselled approach to Baroque music and to Handel’s masterful instrumental score (here achieved, nevertheless, on modern instruments), uniquely reflecting the rhythmic quality and detailed dynamics of the speech patterns. The performance was served by four very fine soloists. A recitalist, oratorio- and opera singer today in great demand worldwide, tenor Robin Tritschler gave a performance that was expressive and splendidly served throughout by his clean, easeful and mellifluous timbre, as in his sensitive and compassionate rendition of “Behold and see if there be any sorrow like unto His sorrow”. Countertenor Alon Harari’s ample, stable voice, his ornamenting, sense of contrast and drama gave credence to the texts, obvious, for example, in his strategically-timed, dolorous singing of “He was despised”. Baritone Oded Reich created the specific mood of each piece, from the gripping “...I will shake the heavens and the earth” to the eerie “...people that walked in darkness” to the triumphant “The trumpet shall sound”, the latter enhanced by the trumpet obbligato role. Soprano Tal Ganor’s signature sound is bright, delicate, precise and pleasing. In “Rejoice greatly”, she negotiated the rapid melismatic moments with agility, assuredness and exuberance.


But the performance was also a celebration of Handel’s choruses, as the singers here highlighted the work’s emotional agenda and messages, the dramatic potential of each text and the astonishing variety of Handel’s choral writing, whose course constantly shifts between a kind of “speaking” music, which declaims speech patterns in the text, and a more lyrical “singing” music, with key words emerging for all to hear. The singers were highly attentive of McGegan, as they displayed confidence, the three choirs singing as one, their diction articulate (and British!), their performance of contrapuntal sections, however complex, well delineated. Their buoyant singing bristled with dynamic- and textural variety, at times subtly restrained, at others, gregarious and arresting. As to the pivotal Hallelujah chorus, the audience showed its appreciation. When completed by Handel, following much anxiety and distress, the composer reportedly told his servant, “I did think I did see all Heaven before me, and the great God Himself seated on His throne, with His company of Angels.”


Following the first performance of “Messiah” in 1742, one critic referred to it as the “Sublime, the Grand and the Tender, adapted to the most elevated, Majestick and moving Words, conspired to transport and charm the ravished Heart and Ear.” In fact, “Messiah” is one of the few pieces in music history to enjoy popular success during its composer's lifetime and never fall out of favour since his death. Most of today’s audiences have heard the oratorio countless times, know it word for word and approach each presentation with just a touch of trepidation: will this be simply “another” performance of ”Messiah”? In the case of the Jerusalem Symphony Orchestra’s event, the answer was a definite “no”! Maestro McGegan pooled his forces into creating a production that was wholehearted, fresh, exciting and elegant.