American pianist Richard Goode to give a recital and master classes in Jerusalem

On Saturday March 6th 2010, the illustrious American pianist Richard Goode will be presenting his first Israeli recital. The concert will take place at 8:30 at the Henry Crown Auditorium of the Jerusalem Theatre. Goode will be the guest of the Edward Aldwell Center of the Jerusalem Academy of Music and Dance and the Arthur Rubinstein Society. Born in New York in 1943, Richard Goode studied with several great musicians, among them pianists Rudolf Serkin, Claude Frank, Nadia Reisenberg, Mieczyslaw Horszowski and Karl Ulrich Schnabel; he made his New York debut in 1962. Goode’s repertoire is broad – he plays much chamber music, concerti, solo recitals and accompanies singers. He records extensively. Together with Mitsuko Uchida, he now serves as co-musical director of the Marlboro Music School and Festival.

Richard Goode’s approach to performing goes well beyond brilliant technique and musical ability: music-making, for him, revolves around the musical score, observation of constructional dimensions of a work, listening, the character and style of the composer and communicating both the composer’s- and his own ideas. He is a highly respected Beethoven interpreter, having performed and recorded the whole cycle of Beethoven sonatas, recently recording all five Beethoven Concertos. Insightful and open-minded, Goode’s modesty and generosity are ever present in his playing and teaching. The artist is performing his Jerusalem recital as a benefit concert for the nurturing of outstanding young pianists in Israel. The concert program will include works by W.Byrd, J.S.Bach, Chopin and Schumann.

In addition to his recital, Goode will be conducting master classes at the Edward Aldwell Center and at the Jerusalem Music Centre. Goode and the distinguished American pianist, scholar and teacher Edward Aldwell were colleagues – several Israeli pianists have been students of both Aldwell and Goode at the Mannes College of Music (New York). I talked to Yuval Cohen, the Edward Aldwell Center’s associate artistic director, who, when studying with Edward Aldwell, also took lessons with Goode. Cohen spoke of the “Young Piano Artists” program, whereby the Aldwell Center trains gifted young pianists from age 12 to 18 from all over Israel, several of whom will be taking part in the Goode master classes. The Edward Aldwell International Center for Piano Performance and Musicianship was established in Jerusalem by Lea Agmon, also a former student of Aldwell, who today serves as its artistic director.

Yuval Cohen, who teaches piano, jazz and theory at the Jerusalem Academy of Music and Dance and at the Conservatory, spoke of Goode as a teacher. Goode has a great sense of commitment to his teaching, requiring his students to inform him ahead of time as to what work they will bring to the lesson for study. A session usually lasts for a solid three hours and consists of Goode and the students exploring ideas together. For Goode, the student’s suggestions are discussed along with his own. The lesson will often end with the teacher lending the pupil one of the many books piled up in his music room, books not necessarily on the subject of music! Goode is passionate about literature and the arts in general.

Tickets for the March 6th concert can be purchased from the Jerusalem Theatre box office (02-5605755, or on-line). Students can buy tickets at greatly reduced prices.

For more information, contact Yuval Cohen (054-9439593) or Shuly Haberman of the Arthur Rubinstein Society (03-6856684).

"From the Depths" - works of J.S.Bach and Heinrich Schutz performed by The New Israeli Vocal Ensemble and the Barrocade Collective

The New Israeli Vocal Ensemble (musical director Yuval Ben Ozer) joined the Barrocade Collective Tuesday January 26th 2010 at St Andrews Scots Memorial Church in Jerusalem for a concert of mostly Bach works titled “From the Depths”. Guest conductor was Frieder Bernius. Born in Germany in 1947, Bernius has become one of the leaders of the historically informed performance movement, focusing on the balance between vocal and instrumental forces.

The concert opened with J.S.Bach’s (1685-1750) Motet BWV 226 “Der Geist Hilft” (The Spirit Comes to Aid our Weakness) composed for the funeral of the Thomasschule rector J.H.Ernesti in 1729. Composed for double choir, Bach’s scoring calls for strings doubling the first choir and reeds doubling the second. In this performance, however, we heard mostly strings, with Amir Backman on Baroque oboe, with the continuo part (Yizhar Karshon-organ, Alon Portal-violone) providing a solid bass for the motet. The New Israeli Vocal Ensemble’s singing was fresh and flexible, with detached notes making for more articulate enunciation (no mean feat in the acoustics of Scottish Church.)

It was viol-player Amit Tiefenbrunn’s idea to have the Barrocade Ensemble perform a number of J.S.Bach’s fifteen Three-Part Inventions (Bach actually called them Sinfonias), his reason being that they could be played by whatever different instrumental combinations there were present for any given concert. Composed for keyboard for pedagogical use, the Three-Part Inventions first appeared in 1722 together with the Two-Part Inventions in the Clavier Buechlein compiled for Bach’s then young son Wilhelm Friedemann Bach, composed for the purpose of teaching the mastering of the “cantabile style” and as studies in counterpoint, motivic writing and more. Not merely for students, these small gems are worth hearing at the hands of professional musicians. We heard five of them played on strings, theorbo, organ and oboe; articulately drawing out each melodic voice, the play of timbres, textures and light ornamentation created colors and dynamics in elegance and good taste.

In Heinrich Schutz’ (1585-1672) Motet SWV 37, “An den Wassern zu Babel” (By the Waters of Babylon) Psalm 137,for double choir and basso continuo, we heard beautifully crafted phrases and a nice juxtaposition of sections, a reminder that Schutz’s profound approach to sacred texts rides on emotional fervor.

Two J.S.Bach cantatas formed the centerpiece of the concert. The funeral cantata “Actus Tragicus” BWV 106 (God’s Time is the Very Best Time), one of the best known of Bach’s early cantatas, was probably composed in 1707 in Muhlhausen, where the composer served as organist for two years. The texts, consisting of Bible verses and chorale strophes, were drawn together by an anonymous compiler. Bach’s scoring for four-part chorus, two recorders (Katya Polin, Reuvena Hod), two viola da gambas and basso continuo create the soul-searching (but not continuously tragic) soundscape for this unique work. Bernius produced a pleasing and moving performance of the cantata, the intertwining of vocal solos and choral phrases articulate, expressive and richly colored, choir and instruments wedded in a fine balance. David Nortman’s golden vocal color and musicality go hand in hand. Soprano Avigail Gortler’s delightful, stable vocal performance glittering with a touch of ornamentation pleased the audience, as did Noa Doron’s rich, bright alto voice. Outstanding Israeli baritone Yair Polishook, a versatile singer and musician with good stage presence, gave an impressive and compelling reading of the texts. (Polishook’s German pronunciation needs some work.)

Bach’s Cantata BWV 131 “Aus der Tiefen” (Out of the Depths Have I Called), also composed in 1707 or 1708, was composed at the request of Georg Christian Eilmar, the Archdeacon of St. Mary’s in Muhlausen, and a close friend of the composer. It is thought that Eilmar may have been the author of the texts, which are based on Psalm 130 and which include a chorale by Bartholomaus Ringwaldt. Bernius’ tempi allow for word-painting and clear expression of all melodic strands, with languishingly haunting superimposed chorale passages set against arias. Tenor Tal Koch, an musician involved in theatre, composition and original performance, was convincing in expressing the soul’s yearning for the morning.
‘My soul waits for the Lord
From one morning watch until the next.’

The New Israeli Vocal Ensemble is attractive to the listener in that it balances blend with individual vocal color. Frieder Bernius, working with the NIVE and the creative, high quality Barrocade Collective as well as with young Israeli soloists, produced a Baroque concert of beauty and meaning. Baroque oboist Amir Backman’s performance throughout the evening was impressive.

The Jerusalem Baroque Orchestra with conductor and viol player Roberto Gini

“In the Flames” was the title given to the third concert of the Jerusalem Baroque Orchestra’s 2009-2010 season January 20th 2010 at the Mary Nathaniel Hall of Friendship of the Jerusalem YMCA. Viola da gamba player Roberto Gini (Italy), no newcomer to the JBO, Israeli audiences and early music instrumentalists, was both soloist and conductor in a concert that included works by Telemann, Handel and Sammartini. Gini was playing a viol made by Pierre Bohr (Milan). Dr. David Shemer, the JBO’s founder and musical director, was at the harpsichord. The vocal role in Handel’s cantata “In the Flames” was performed by Israeli soprano Anat Edri.

The evening’s program opened with Georg Philipp Telemann’s (1681-1767) Suite in D Major for Viola da Gamba and Strings TWV 55:D6. In his program notes, Shemer draws our attention to the uniqueness of this suite, mentioning that it is the only known orchestral suite with the viol as soloist, yet it is not a concerto. The Telemann suites would have doubled as individual instrumental works and overtures to operas. A late Telemann work, indeed the last preserved Telemann instrumental work, the Suite in D major for Viola da Gamba and Strings is, in its style, charm and wit, French in flavor; take, for example, the Ouverture, with its dotted figures, so reminiscent of French court music. The JBO’s performance of the work was rich in variety, each dance individual in expression, energy taking the form of imitation, virtuosity, majesty, delicately lilting moments and joy. Gini communicated with the orchestra as the players did with him.

Organist, choirmaster and teacher Giovanni Sammartini (1700-1775) was born in Milan and spent his life there, working as a maestro di cappella in 11 churches. He was the city’s most famous 18th century composer. Sammartini’s influence, however, was far spread, the composer publishing works outside of Italy and coming into contact with J.C.Bach, Mozart, Gluck and Boccherini. He began composing symphonies in 1772, laying the groundwork in leading the form from its function as an opera overture into its Classical (sonata form) entity, his development of the symphony including more wind instruments as time went on. Some 70 of his symphonies survive. (Sammartini’s symphonies were researched and published in a modern edition by Professor Bathia Churgin of Bar Ilan University together with American conductor Newell Jenkins, their order of the composer’s works known as the “JC List.”) Three of the early symphonies were heard at this concert, each chamber work having three movements, Gini reminding us that each of these short symphonies would have served as an overture to a cantata or other longer work.. Gini told the audience that Sammartini’s Symphony in A Major was first performed in Amsterdam with Vivaldi as soloist! The JBO’s performance of it brimmed with Italian effervescence, with Noam Schuss taking the solo violin role. In Symphony in D major JC15, Gini took the liberty of adding an oboe to the violin section and a bassoon to the basso continuo, claiming that not all was necessarily indicated in the score of these pieces. He referred to the work as “an explosion of brilliant ideas in 10 minutes”; performance of its second movement was a poignant, delicate treat. One senses Gini’s wholehearted involvement in this genre. The third symphony heard was Sammartini’s Symphony in G major JC 46, performed with elegance, shape and attention to contrast. Gini’s reading of the symphonies throws light on these small gems and was entertainment at its best.

And so, into the flames. Georg Friedrich Handel (1685-1759) traveled to Italy in 1706, spending four years there, during which time he wrote a number of cantatas for solo voice and instrumental ensemble. Dramatic portrayals, substituting for opera which was banned in Rome, these were mainly performed in private homes. “Tra le Fiamme” (In the Flames), probably written in 1708, is among the finest works of this genre and is unique in its prominent viola da gamba part. Written for Cardinal Pamfilj, who provided the text from Greek mythology, the story is that of Icarus, wearing the wings made for him by his father, who flies too near the sun, with dire consequences following. The allegorical text, however, is concerned with the luring deception of charm and beauty in love. Anat Edri (b.1989, Israel), a vocal student at the Jerusalem Academy of Music and Dance, is a singer to watch. With a definite bent for Handel, she has lovely vocal color, glides well through melismatic passages and combines musicality with fine technique. Using her text, she needs to take more chances with emotional content, taking gestures further in intensity – to fly just that bit closer to the flames. Gini’s virtuoso performance spices up the orchestra, the recorders (Drora Bruck, Adi Silberberg) adding color and interest, taking flight with the vocal line.
‘Let him who can fly, fly through the air,
Let him skim over the earth, the sea,
Set off, return; never be still’..

Conductor and artistic director Roberto Gini, born 1958 in Milan, is a virtuoso player and esteemed teacher of bass viol and Baroque ‘cello. He brings with him high performance standards, knowledge, energy and the joy of music-making. This concert was a celebration for those who have a taste for the best of Baroque music.

Sources - Mandolin artists Alon Sariel and Jacob Reuven's new disc of European music

Background music? Most definitely not! “Sources”, a new disc of music performed on mandolin and mandola by Israeli artists Jacob Reuven and Alon Sariel, recorded at the Jerusalem Music Centre October 2009, will involve the listener from beginning to end and on various levels. The two artists, equally at home in both oriental- and western music, have chosen to play European works of three centuries, none originally written for plucked instruments. Take, for example, J.S.Bach’s Two-Part Inventions, five of which are performed here, pleasing in their individual entities and in the differences between them, are certainly not a far cry from how they would sound on harpsichord or clavichord.

French composer, violinist and dancer Jean-Marie Leclair’s (1697-1764) violin music, a paradigm of clarity, balance, harmony and good taste, makes for delightful listening in his Sonata no.1 in G major. Influenced by Italian style but clothed in French elegance, Reuven and Sariel contrast texture and timbre, presenting the lilting middle movement in a caressing, singing fashion placed between the energetic, joyful outer movements. Moving further into the Classical style, the artists play a Sonata by prolific French composer and pedagogue Michel Corette (1707-1795), one of whose instructional books was on mandolin technique. The performance of Corette’s sonata abounds in touching, delicate melodies and fine solo playing, with the final Presto intense and exciting.

For lovers of recorder repertoire familiar with G.Ph.Telemann’s Canonic Sonatas, do take the time to listen to Canonic Sonata no.1 in G major on this disc. Articulate, joyful and vivacious, Reuven and Sariel give its imitation youthful freshness with a smattering of ornamentation. The pensive Adagio movement is handled with fragility.

One of the most distinguished violinists and teachers of the Belgian school, Charles Auguste de Beriot (1802-1870) composed much music for the violin. His Twelve Easy Duos for Two Violins opus 87 (c.1845) can be heard on this disc. Reuven and Sariel’s reading of them is well crafted, emphasizing their singing quality, their small tonal contrasts, their Classical naivete, understatement and charm. Add to this dance-like rhythms and moments of bravura with tremolo replacing violin vibrato and you get a collection of tasty morsels.

Norwegian violinist, conductor and composer Johan Halvorsen (1864-1935) arranged the Passacaglia from G,F.Handel’s Harpsichord Suite no. 7 in G minor, scoring it for violin and viola. A highly demanding work, Reuven and Sariel’s virtuosic playing of it takes the variations through a gamut of emotions, textures and dynamics to create a brilliant performance.

Bela Bartok (1881-1945) wrote his Forty Four Duos for Two Violins” in 1932 for pedagogical purposes. Reuven and Sariel play 12 of these miniatures on the disc, most of them authentic folk tunes of a variety of ethnic origins. A celebration of complex folk rhythms and modes, feisty dissonances and bi-tonality, the artists wholeheartedly create a number of richly colored canvases, providing the best of entertainment and enjoyment to the listener. A disc of interest and artistic depth.

The Israel Camerata Jerusalem in the hands of The New Generation

The Israel Camerata Jerusalem presented “The New Generation”, an especially interesting concert in its Instrumental Plus Series at the Henry Crown Hall of the Jerusalem Theatre January 11th 2010. Conductor was Yoel Gamzou, with solo violinist Min-Jin Kym and Marianne Eva Lecler (harp).

American-Israeli conductor Yoel H. Gamzou (b.1981, USA) received his musical education at the Catherine Lewis Conservatory (Tel Aviv) and Tel Aviv University, going on to study in New York, Paris and Milan, distinguishing himself as a Mahler specialist. He directs the International Mahler Orchestra (London), which he founded. Gustav Mahler’s (1860-1911) Adagietto for strings and harp, the fourth of five movements from Symphony no.5 in C sharp minor, is frequently performed as a separate piece. Composed in 1902, the piece may have been sent to Mahler’s future wife, Alma, as a gesture of love. Gamzou, conducting without a baton, gave it a lush, fragile reading, his pianissimi breathtaking in their control and beauty. Floating the sound, Gamzou takes leave of the bar-line to weave the emotional intensity into uninterrupted melodic lines. French harp player Marianne Eva Lecler, a member of the IMO, added sparkle to the performance.

Russian pianist, conductor and composer Anton Arensky’s (1861-1906) Variations on a Theme of Tchaikovsky for String Orchestra, opus 35a, began as the slow movement of his String Quartet no.2 opus 35 (1894.) Tchaikovsky died in 1893; his lyrical style of writing had been a strong influence on Arensky’s composition and the movement was dedicated to his mentor’s memory. The variation theme comes from Tchaikovsky’s children’s song “A Legend”. Arensky transcribed the movement for string orchestra in 1894. Gamzou, attentive to the most delicate details of voicing and expression changes, weaves the piece from many singing, fluid melodic strands, sweeping his audience from one variation into the next. He achieves an unusually pure quality of string sound.

W.A.Mozart’s Concerto no. 2 for Violin and Orchestra K211, one of five composed between April and December of 1775, at a time the 19-year-old composer was concertmaster of the Archbishop’s court orchestra in Salzburg. Mozart, himself, was a brilliant violinist and it is supposed he would have played the solo role. Korean-born violinist Min-Jin Kim (b.1978), a performer with a busy international schedule, gave a well thought-out reading of this work. In keeping with the work’s late Baroque references, she integrated her solo sections sympathetically into the orchestral ensemble, never tempted to take on a showy approach for this non-dramatic piece. Her emphasis lay in presenting Mozart’s myriad of melodies, some of them suggesting folk dances. In the Andante movement, balance, strategic pacing and a sense of well-being pervaded. Min-Jin Kim’s performance was polished, secure and intelligent. Her collaboration with Gamzou produced a Mozart performance of superbly good taste.

The concert ended with Carl Maria von Weber’s (1786-1826) Symphony no. 1 in C major, opus 19 (1806-1807). This symphony and his second, which followed soon after (Weber composed only two symphonies) were written when Weber was in the employ of Duke Eugen Friedrich Heinrich von Wurttemberg. It seems there were no clarinets at his disposal, an instrument so prominent in so many of the composer’s other works, but it is known that the duke himself played the oboe. Gamzou introduces the opening movement – Allegro con fuoco – with a burst of energy. Constructed of varied, short ideas, each of them is addressed by the conductor, each solo sounding in turn. The orchestra’s playing abounded with beautifully shaped phrases and charm. Gamzou reads a score through his senses, as a sound painter, whose orchestral palette offers many colors and dynamic choices. His conducting language is detailed and energetic. His music-making is refreshing and communicative. The New Generation has much to say. Let’s hear more!

The Jerusalem Symphony Orchestra plays an all-Schubert program

Concert no. 7 of the Jerusalem Symphony Orchestra’s Classical Series January 6th 2010at the Henry Crown Auditorium of the Jerusalem Theatre was devoted to works by Franz Schubert. Conductor was Maestro Leon Botstein, the JSO’s musical director, with soloists soprano Sharon Rostorf-Zamir and pianist Bishara Haroni.

The program opened with Franz Schubert’s (1797-1828) Rosamunde Overture, D.644 (1820). Never actually performed at the two only performances of “Rosamunde, Princess of Cyprus”, for which Schubert wrote the incidental music to Helmina von Chezy’s ill-fated third–rate play, the overture has survived as one of Schubert’s loveliest orchestral pieces. The JSO’s performance of it was warm-hearted and joyful, its contrasts and lush woodwind playing delighting the audience.

Of great interest were five Schubert Lieder with the piano parts arranged for orchestra. In his program notes, Maestro Botstein mentions “how much music adapts to different formats”… making “it speak in new ways to new audiences”. With the newly improved piano mechanism, Schubert was inspired to write piano parts to Lieder of unprecedented intensity and great difficulty, the dramatic results of which never cease to amaze and excite the listener. With some of the piano parts (I hesitate to call them “accompaniments”) sounding decidedly orchestral, the concept of orchestrating them was a logical one, actually beginning with Franz Schubert’s brother Ferdinand Schubert (1794-1859) orchestrating Erlkonig (The Earl King) in 1828. The orchestrated Lied meant more public performances (rather than those of the intimate “salon”), with the songs being performed by professional singers with heavier, more operatic voices. Some of the arrangements were actually commissioned by the singers themselves, wishing to perform Schubert Lieder at orchestral concerts and to larger audiences.

In this JSO concert, we heard the songs performed by Israeli-born soprano Sharon Rostorf-Zamir, a singer who performs widely, her repertoire covering opera, Baroque- to contemporary works. In “Standchen”(Serenade) (words: Ludwig Rellstab), orchestrated by the Austrian conductor and composer Felix Mottl (1856-1911), light, lyrical instrumental textures imitated the lilting “plucked’ accompaniment, the harp adding touches of silvery gloss; there was a happy balance of voice and orchestra, not always evident in some of the other songs. Orchestrated by Max Reger, we heard “An die Musik” (To Music) to words by Franz von Schober, with elegant use of woodwinds gracing the small imitations. Rostorf-Zamir’s performance of “Gretchen am Spinnrade (Gretchen at the Spinning Wheel) also set by Reger, was compelling in its immediacy of the dramatic moment. Equally intense was her performance and involvement in of Franz Liszt’s setting of “Die junge Nonne” (The Young Nun) to the pietistic verses of Jakob Nikolaus, Liszt’s orchestral description of the physical- and inner storm creating a powerful canvas at the hands of Maestro Botstein. Liszt, a deeply literary man, was fascinated by Schubert’s alliance of music and poetry and this led him to orchestrating some 60 Schubert songs. In his setting of Goethe’s “Der Erlkonig” (The Earl King), Liszt alternates the magical sparkle of the harp, adding decorative figures of his own, with the relentless galloping of horses and urgency of the plot to power the dramatic episode; Ms. Rostorf-Zamir depicted the impending tragedy, portraying the three characters of it. Seldom heard in this country, these arrangements of Schubert Lieder made for fascinating listening. What they lose in intimacy in these settings, they gain in dramatic breadth. Rostorf-Zamir, ever attentive to the orchestra, gave an impressive and exciting performance. A real treat!

Schubert was 25 years old when he composed his Fantasie in C major, “Wanderer Fantasy” D.760, opus15, for solo piano in 1822. Composed in a grand, flamboyant style rarely used by the composer, the work, in four uninterrupted movements, is full of bravura but also presents a gamut of emotions. Written for and dedicated to a nobleman Emanuel Karl, Schubert himself remarked “The devil take it; I can’t play it”. Fascinated by Schubert’s use of form and thematic transformation, Franz Liszt arranged the essentially monothematic “Wanderer Fantasy” for piano and orchestra some time around 1850, adding almost nothing of his own. Pianist Bishara Haroni gave a well-crafted, competent reading of this highly challenging piece, bringing out its play of light and darkness, its anguish and hope. Haroni, born in Nazareth, enjoys an international career, playing with many orchestras, he plays solo recitals and chamber music. As his encore, Haroni performed Liszt’s “La Campanella”, the third of the six Grande Paganini Etudes. His skilful execution of this virtuosic piece was brilliant, varied and “orchestral”, its delicate, crystal moments reminding the listener of the piece’s title (Campanella means “little bell”.)

The program ended with Schubert’s Symphony no.9 in C major, D.944, The Great (1825-1826). Robert Schumann, having discovered the manuscript in Ferdinand Schubert’s possession, wrote to Clara Schumann claiming he had “found a symphony of heavenly length”. In contrast to many “grand” interpretations of the work, Botstein’s reading of it was fresh, free of the heaviness often heard in the opening movement, energetic and abounding in charm, yet still noble. Articulate melodic lines and fine wind-playing gave the performance color and expressiveness.

The Alei Gefen Chorus, conductor Eli Gefen

Keren Telfed (R.A.) in association with Telfed – South African Zionist Federation (Israel) - held its annual Telfed Volunteer Awards ceremony at the Davey Family Fine Arts Auditorium of the American International School in Even Yehuda January 2nd 2010. It was an evening of recognition of the remarkable volunteer work and selflessness of members of the South African community in Israel, a tribute to those people who devote time and energy to helping South African immigrants and to Israeli society in general.

The Alei Gefen Chorus, conducted by its musical director Eli Gefen and with Anna Koroch at the piano, performed a program of songs. Founded in 1990 by Eli Gefen, the 22-member-strong choir consists largely of singers from the Former Soviet Union and performs widely in Israel and in Europe. With a repertoire including much devotional music, the choir sees its aim as using music as a means to tolerance and reconciliation between faiths.

Veteran Israeli journalist Freda Keet introduced the choir and its program, referring to the Alei Gefen Chorus as a musical symbol of tolerance among nations.

The program opened with Israel Goldfarb’s song “Shalom Aleichem” arranged for a cappella choir by Gil Aldema (b.1928.) Also arranged by Gil Aldema, we heard a sensitive, beautifully nuanced performance of David Zehavi’s “Eli, Eli” (words Hanna Senesh) and the traditional Sabbath song “Tsur mi shelo achalnu” (The Almighty from Whose Food we Have Eaten), the latter a mix of homophonic and contrapuntal textures, with Gefen using detached notes to bring out word rhythms. Aldema’s a cappella arrangement of “Jerusalem of Gold” by the great Israeli songwriter Naomi Shemer (1930-2004) is attractive and moves the melodic interest from voice to voice. The choir’s performance of it was delicate and introspective.

English composer John Rutter’s (b.1945) oeuvre consists mostly of choral music. His transparent writing, reflecting English- and French choral traditions of the early 20th century and influenced by American music, is direct and uncluttered, providing a clean, refreshing, accessible and communicative style, positive in message and bright in timbre. The Alei Gefen Chorus sang three of Rutter’s songs to piano accompaniment, opening with “For the Beauty of the Earth”, a joyful hymn of celebration based on a text by F.S.Pierpoint, followed by Rutter’s much-loved, gentle adaptation of the old Gaelic melody “Gaelic Blessing” presented by Gefen in pastel tones.
‘Deep peace of the running wave to you,
Deep peace of the flowing air to you,
Deep peace of the quiet earth to you,
Deep peace of the shining stars to you…’
Gefen dedicated the choir’s performance of “The Lord Bless You and Keep You” (Numbers 6,24), a poignant, meditative anthem typical of Rutter’s lucid style, to Gil’ad Shalit.

In July 1940, American composer and educator Randall Thompson (1899-1984) was commissioned by Serge Koussevitzky to write a joyful choral piece for the opening of the Berkshire Music Center. However, under the dark cloud of the war in Europe and with the fall of France, Thompson produced a very pensive 4-voiced piece. Thompson wrote of his piece “The music in my particular ‘Alleluia’ cannot be made to sound joyous…. It is comparable to the Book of Job, where it is written…” Gefen’s reading of the piece is fragile and delicately shaped; he takes his singers through the dynamic developments and emotional plot of this very fine piece, slowly building it up to its glorious climax and ending with the humility and resignation of the “Amen”. Randall Thompson’s “Alleluia” was surely a high point of the evening’s concert.

In a very different vein, we heard P.I.Tchaikovsky’s (1840-1893) Da Ispravitsia (Let My Prayer Arise), sung in Russian. Lending charm to the evening’s program, the piece moves back and forward from women’s voices only to mixed choir.

The Jewish composer, conductor and cantor Louis Lewandowsky (1821-1894), was born in Poland but spent most of his life in Germany. His 4-part settings of prayers and sacred texts formed a new genre of Ashkenazi synagogue music, becoming important for its direct appeal to congregations. Lewandowsky’s “Hallelujah” (c.1871) was given an uplifting and joyful performance by the choir.

“Tabernacle of Peace” by Cantor David Grosz, Eli Gefen’s father, has an interesting story behind it. One of Vienna’s finest cantors of the time, David Grosz was captured by the Nazis and died in Auschwitz. A few years ago, a research trust in Vienna located Gefen and mailed the original score of the song to him. This moving piece for cantor and mixed choir, typical of central European synagogue works, is now sung at every concert the Alei Gefen Chorus performs. In this performance, the soloist (cantor) was Vladimir Linetsky. Weaving his solo in between choral sections, his singing of it was expressive and spiritual.

The Alei Gefen Chorus’ program was varied and rich; their performance was a celebration of the expressive quality and delicacy of the human voice.