J.C.F.Bach: Six Sonatas “für das Clavier mit Begleitung einer Flöte oder Violine” - a new recording on period instruments by Jochewed Schwarz (square piano) and Ashley Solomon (Baroque flute)

 

A recently-issued disc of Johann Christoph Friedrich Bach’s Six Sonatas “für das Clavier mit Begleitung einer Flöte oder Violine” (for the Clavier, with flute or violin accompaniment), performed by Ashley Solomon (flute) and Jochewed Schwarz (pianoforte), offers the listening public an opportunity to visit works of the lesser-known third of Johann Sebastian Bach’s four composing sons. Born in Leipzig, the sixteenth of J.S.Bach’s twenty children, and the ninth child born from the union with Anna Magdalena, J.C.F.Bach (1732-1795) received his musical education from his father and from a distant cousin Johann Elias Bach, who lived in the Bach house, serving as J.S. Bach’s personal assistant. Christoph Friedrich also served as his father’s copyist for a number of years and, like his brothers and father, was known as a virtuoso keyboard player. In 1750, the year of his father's death, Friedrich was offered the position of harpsichordist at the court of Count Wilhelm of Schaumberg-Lippe in Bückeburg, nine years later being promoted to Konzertmeister. (To avoid confusion with other members of the Bach family, he is often referred to as "Friedrich" or the "Bückeburg Bach".)  In 1778, Friedrich took leave of absence from his post, travelling to London to visit his brother Johann Christian. While in London, he was exposed to the music of Mozart and the burgeoning Classical style, the music he heard in London influencing his later works. Friedrich was a versatile composer, writing in a variety of forms, including symphonies, chamber music, keyboard music and vocal works. The number of printed compositions was limited, however, by the cost of printing and publishing and his music remained mostly in manuscript form. Sadly, a considerable part of it was lost in World War II.

 

Friedrich developed musically in keeping with the stylistic fashions of his time: his mature style is  hybrid, equally influenced by Italian and German characteristics, while his late works clearly belong to the Classical style. It was the Italianate tastes of Count Wilhelm that forced Friedrich Bach to assimilate the characteristics of that style in his middle period works, including the works on this recording, which attest to the galant style. Jochewed Schwarz spoke of this salon music as having been written not for professional- or virtuosic musicians (albeit not without challenges) but for the personal enjoyment and creativity of  players, the players, in this case, possibly including Count Wilhelm himself. Composed in the standard three-movement form some time before 1776 and published in Riga in 1777, the piano parts appeared in the C-clef. Indeed, to date, only three of the six have been published in modern notation.

 

In contrast to the title given to these sonatas, the melody instrument (the transverse Baroque flute here) does not accompany the harpsichord; different as they are in character and timbre, the two instruments perform as equal partners, their roles intertwining, commenting and imitating, at times, each busy with their own agendas. The artists' choice of instruments bears mentioning: Ashley Solomon chose to play a flute by Martin Wenner (2005) after Carlo Palanca (c.1750). In contrast to many other Baroque flutes, Turin bassoonist/instrument maker Palanca built his instruments with an oval embouchure, making for a more powerful sound, not rough in timbre, but rather offering diverse tonal shadings. Jochewed Schwarz plays a square piano by Johannes Zumpe and Gabriel Buntebart (1769). It seems that the oldest known square pianos were made in 1766 by Zumpe himself, a German instrument maker working in London and the first to inspire general interest in this instrument. Gabriel Buntebart, another of the numerous German piano makers settling in London during the mid-18th century, worked with the famous Johannes Zumpe until 1778. This square piano (housed in the Cobbe Collection) possesses a more metallic sound than Zumpe's later instruments, which were larger and fuller in sound.

 

Splendid salon music, the sonatas, although less elitist than some court repertoire of the time, are far from superficial. They invite players to be creative and spontaneous. Schwarz and Solomon's performance of the Six Sonatas vouches for well-oiled teamwork, their sense of rediscovery and fine-spun music-making giving splendid expression to J.C.F.Bach's wealth of lyrical melodies, his delicate textures and to the composer's refined sense of harmony, as the artists engage individually in a diversity of embellishments. The very different timbres of the two instruments do not hinder one's concept of the music; indeed, they make for a transparent texture, inviting the listener to choose how to listen to its various strands and textures at any given moment. As to dance forms, Minuets conclude five of the sonatas, with the Polonaise, evoking proudly-stepping couples, appearing (Andante alla Polacca) as the second movement of four of the sonatas. All the sonatas are in major keys except for Sonata No.1 in D minor, which the artists have strategically placed as the fifth item on the disc. Following the flowing, busy, spirited opening of Sonata No.1's Allegretto, the Andante presents a scene atypical of the works of this collection - sections of their elegiac, introspective joint playing are punctuated by recitative-type keyboard sections, with Schwarz' solos of an improvisatory- and harmonically audacious nature emerging as spontaneous, as each new moment of musical speculation asks to be probed. Then, whisking away any trace of the enigmatic Andante, the final Allegro takes us back to Friedrich's vibrant, ebullient music, its lengthy phrases enhanced by some inégal playing. 

 

Recorded in February 2023 at the Cobbe Collection Trust, Surrey, UK, a handsome property of the National Trust, this disc provides insight into both the constraints and breadth of Johann Christoph Friedrich Bach's writing in his employ at the court of Count Wilhelm of Schaumberg-Lippe. Enquiring deeply into this very specific repertoire and its cultural background, Jochewed Schwarz (Israel) and Ashley Solomon (UK) present the interplay of two fascinating period instruments, creating much interest for the listener. Recorded for the Meridian label, the CD's natural, clean sound zeroes in on the artists' mindfulness of fine detail, highlighting their understanding of the personal character of the music. 

Sheer delight!

 

Jochewed Schwarz & Ashley Solomon (Luisa Salomon)

Ensemble Nuria performs traditional Italian-Jewish music at the Umberto Nahon Museum of Italian Jewish Art, Jerusalem

 

Ensemble Nuria  (Ari Bloch)

Located in the building of the Italian Synagogue, Jerusalem, the Museum of Italian Jewish Art provided the ideal setting for a concert of Italian Jewish music performed by Ensemble Nuria (artistic director - Ayela Seidelman, original arrangements - Bari Moscovitz) on September 19th 2024. Welcoming the audience was Daniel Niv, curator of the Umberto Nahon Museum of Italian Jewish Art. Ruth Diskin, director of the Culture and Arts Projects department of the Jerusalem Foundation, spoke of the Jerusalem Foundation's support of local culture.

 

All the melodies performed in the program stemmed from the Jewish traditional music of Venice, Rome, Ferrara, Florence, Livorno and other Italian communities. Most were Hebrew liturgical songs and poems known as "Piyyutim". Following the annihilation of Italian Jewry in the Holocaust, this repertoire was in danger of being lost, were it not for the tireless effort of Italian-Israeli ethnomusicologist Leo Levi, who, following World War II, devoted decades to recording traditional melodies sung by 20 Italian-Jewish communities. It is due to him that this cultural legacy has been preserved. (Two of Levi's daughters were present at the concert.) Of Ensemble Nuria's contribution to this auspicious project, Ayela Seidelman writes: "The task of reviving these pieces and preserving them in the fuller context of the Italian culture they inhibited was fascinating, as the works revealed themselves in their unique beauty and spirit".

 

Ensemble Nuria comprises an impressive line-up of international singers and instrumentalists, the instrumental ensemble made up of an uncommon mix of instruments, the four singers taking part in this event being Keren Kedem, Yair Harel, David Lavi and Fr. Alberto Pari. Each item presented different timbral settings, highlighting the song texts as well as the versatility of the artists. To mention just a few: a rendition of "Ki Lo Naeh" (He is worthy of our praise), a Passover song from the community of Alessandria, opened with tenor/guitarist David Lavi's beautiful singing of the melody, its instrumental solos and hearty build-up of textures then to include all four singers. Issuing in an emotional setting of "Kol Nidrei" (All vows), the declaration opening the Day of Atonement, was Keren Kedem, followed by David Lavi, the unison singing of the vocalists subscribing to the significance of the Day of Atonement, emerging all the more compelling with the haunting sounds of tubular bells and Yair Harel's spiritual, richly-timbred and imposing treatment of the melody.

 

No concert of Italian Jewish music would be complete without a work of Italian-Jewish violinist/court composer Salamone Rossi (Mantua). David Lavi's discerningly-phrased and cantabile singing of Rossi's setting of "Barechu" (Let us praise) from Rossi's "Songs of Solomon" (1623) was complemented by mellifluous playing on the part of the bowed instruments.  And from Catholic composer Benedetto Marcello's 13 transcriptions of piyyutim from Venetian synagogues, we heard the Passover song "Avadim Hayinu/Schiavi fummo" (We were slaves), featuring the warm, mellow tenor voice of  Fr. Pari (Franciscan Order, director of the Magnificat Music School, Jerusalem) singing in both Hebrew and Italian (the Hebrew text replacing the Latin used by Marcello), with instrumental "comments" featuring, among others, Adi Silberberg's imaginative and elaborate recorder-playing.

 

Formerly known as "Ensemble Bet Hagat", Ensemble Nuria, founded by Canadian-born 'cellist Ayela Seidelman, has assumed the important mission of keeping alive almost-forgotten treasures of early Jewish music, such as were heard at the Jerusalem concert. In his rich, subtle arrangements, Bari Moscovitz (lute/theorbo) mixes timbres of the (mostly) period instruments, (those including early percussion) with those of the singers in music-making that inspires both performers and listeners. The artists' polished performance and lush collaborative ensemble sound, together with their deep enquiry into this repertoire, invited the audience to experience the different sound worlds of each piece as well as the individual musical expression of each artist.  The Ensemble's debut album "Illumination - Italian-Jewish Spiritual Music" was selected by the American Record Guide as one of the best albums of 2020.

Mozart - the Girl Prodigy. Keyboard artist Gili Loftus gives a lecture-recital at the 2024 Witches? Festival in Jerusalem

Gili Loftus (SergioVeranesStudio)

 

The Witches? Festival (music director: David Shemer), an annual event under the auspices of the Jerusalem Baroque Orchestra, addresses the subject of women composers and performers in music. "Mozart: the Girl Prodigy", taking place in the conference hall of the Jerusalem International YMCA on September 17th, 2024, was presented by keyboard artist Gili Loftus (Canada-Israel), performing on a fortepiano by Chris Maene (Ruiselede Belgium, 2009), a copy of an instrument by Walter, 1790, Vienna. The lecture-recital shed light on W.A.Mozart's elder sister Maria Anna, usually referred to as Nannerl, their mother Anna Maria Walburga Mozart and on the close ties within the Mozart family.

 

Hearing readings on how Nannerl toured Europe with her father (Leopold) and younger brother Wolfgang, we understand that she was far from being in her brother’s shadow. In fact, in a letter, Leopold Mozart had written that "my little girl, although she is only 12 years old, is one of the most skilful players in Europe.” Nannerl also composed. In a painting by Johann Nepomuk Della Croce 1780/1781 showing the siblings at the keyboard, Leopold standing at the side, with a portrait of (the deceased) Anna Maria on the wall, we see that Wolfgang and Nannerl continued to engage in music-making into their late 20s. When Nannerl reached marriageable age, her father stopped taking her on tour. She carried on composing until her marriage in 1784. Sadly, no works of hers survive.

 

For the first musical item of the evening, Gili Loftus was joined by David Shemer to perform Mozart's Sonata for Piano Four-Hands in D major, K. 381/123a (1772), a piece Wolfgang and Nannerl played when touring Europe as child prodigies. (They would most likely have played it on the harpsichord, since the hammered fortepiano did not replace the former until the following decade. The lack of dynamic markings in the manuscript probably indicates that the piece was indeed written for harpsichord.) The artists addressed the work's large (somewhat orchestrally-conceived) range of gestures and textures in the effervescent outer movements, the Andante (second) movement's direct songfulness, with its effective use of low bass tones, enriched by some imaginative ornamenting, to be followed by the comic-opera-style repartee of the final Allegro molto. 

 

A far cry from Mozart's cheerful, spry sonata oeuvre composed up to that point, Piano Sonata No. 8 in A minor, K.310/300d, the first of only two Mozart piano sonatas in minor keys, was composed in the summer of 1778. At that time, the composer was visiting Paris and tending to his ailing mother. She would die there on July 3rd. Mozart was 22. (Although the sonata's darker "terrain" tends to be linked to the death of Mozart’s mother, and this cannot be ruled out, there is no authentic evidence that points to such a connection.) Following the energy generated by the bold, defiant gestures of the opening movement, Loftus' playing of the second movement (Andante cantabile) was poignant, reflective and resourcefully embellished, emerging with an air of spontaneity, then to be swept aside by her candid, energetic reading of the Presto, her meticulous finger-work producing each gesture with clarity. An outstanding performance!

 

Georges Bizet, a virtuoso pianist himself, transcribed the entire "Don Givanni" opera for piano solo at the request of Heugel & Cie (published 1866). Loftus made a hearty reference to Mozart the opera composer with three movements from "Don Giovanni" (arr. Bizet/Loftus), her spirited, forthright and genial presentation of moments from this "dramma giocoso" emerging characterful, vividly conveyed and engaging the fortepiano's imposing timbral and dynamic palette. With Zerlina's sweetly coquettish aria "Vedrai carino" (You'll see, dear one) sandwiched between the zesty Overtura and the cheeky "Eh via buffone" (Go on, fool), this item made for vivid, entertaining concert fare.

 

The recital concluded on a personal note, with Gili Loftus' pensive, insightful rendition of the Largo from Sonata in A minor Wq 50/3 by Carl Philipp Emanuel Bach. 

 

Known for her expertise on fortepiano, modern piano and harpsichord, for her publications and for her solo- and collaborative performances, Gili Loftus today makes her home in Montreal.

"Schubert" - a recent release: Sivan Silver and Gil Garburg (Silver-Garburg piano duo) record late Schubert works for four hands

 

The tradition of composing music for piano four hands originated in the genial salons of the Austro-German upper class. No other prominent composer has left as many works for piano duet as Franz Schubert. His 54 works of the genre (one being his earliest work) would have provided the composer and his friends with many hours of enjoyable music-making, filled with energy and virtuosity, taking place in the lively atmosphere of salon gatherings. As of his early teens and until the final year of his life, Schubert wrote 4-hand works in various forms, those works including fantasias, dances, marches, variations, rondos, sonatas, and more. Several of Schubert's most significant works for four hands had their origins in his two visits to the summer residence of Count Esterházy at Zseliz, Hungary (1818, 1824) where the composer was employed to provide music for the family to play, in addition to giving piano and singing lessons to the two young countesses - Caroline and Marie. By the last years of Schubert's life, there was also an increase in households that could afford to buy pianos, motivating him to write piano duets remarkable in quality and quantity. In the Silver-Garburg Piano Duo's recently-issued two-disc album "Schubert", Sivan Silver and Gil Garburg explore some of Schubert's four-hand repertoire from the composer's latter years. 

On this recording, Silver and Garburg perform one of the major works of the second Zseliz visit - the Variations on an Original Theme in A flat major D.813, published in February 1825. From their plain-sailing, noble presentation of the Allegretto theme, the artists show the listener through the gamut of the variations' contrasting moods, gestures and textures, the cantabile shaping of melodies a constant reminder of Schubert the Lied composer, as the work concludes with a zesty Siciliano offering the primo a concerto-like display of virtuosity. 

As to Schubert's Grand Duo Sonata in C major (1824), the magnum opus of the composer's oeuvre for piano duo (also composed in Schubert's second visit to Zseliz) Silver and Garburg create a coherent stream seamlessly connecting gesture to gesture, unfolding the sudden unconventional shifts woven via the composer's new harmonic routes, with their playing constantly provoking fresh curiosity on the part of the listener. Following the splendid expression the artists give to the restless energy of the Allegro moderato, their reading of the second movement (Andante), carefully paced, empathic and introspective, seems to reflect Schubert's own personal soul-searching. From the Scherzo, ebullient and unbridled, juxtaposing the two main ideas propelling the convivial, zestful conversation between the two sets of hands, the Trio - suddenly sombre, plangent and indrawn - takes the listener once again into Schubert's wistful, ruminative inner world. Delivering the final movement (Allegro vivace) with clarity and vibrance, the artists present its kaleidoscope of splendid, richly dovetailed melodies (one drawing its inspiration from a Hungarian dance loved by the Esterházy patrons) with transitions played out with a touch of whimsy. Schumann had considered the Grand Duo a study for a symphony. Brahms arranged it for orchestra in 1855. Silver and Garburg's performance of it, however, speaks of pianistic expression, articulacy, poise, good taste and balance.

The year of Schubert’s death (he died November 19th 1828) was marked - particularly from its springtime - by an extraordinary burst of artistic creativity, propelled by a frenetic working pace. The four works from 1828 heard on this disc call to mind the diversity of Schubert's writing even in his last months. 

Composed at the beginning of his last year (January-March 1828) and dedicated to Caroline Esterházy (with whom it seems Schubert was deeply in love) the Fantasia in F minor D 940 Op. 103, a work of monumental structure, stands alone in musical repertoire. From the hauntingly beautiful opening melody, via its quicksilver major-minor shifts between journeys to unexpected tonalities, Silver and Garburg present the piece's enormous range of emotions - a stern, majestic section of trills, defiant double-dotted gestures, the playful, kindly “con delicatezza” section and finally a fugue that spirals into a massive structure, finally to invite back the opening melody. One of the subtler performances of the Fantasie I have heard, I feel these artists stand back in order to reveal what lies behind the written notes on the page, as they present the work's rich soundscape and poetry, always staying well clear of over-statement. 

Silver and Garburg create a richly crafted musical canvas in their playing of the magnificent Allegro in A minor Op. Posth.144 D.947 (May 1828), also known as "Lebensstürme" (“Storms of Life”, this sobriquet given posthumously by Anton Diabelli), a work offering insight into the emotional complexity of Schubert’s inner life. From the compelling clamour of the opening chords, through imposing sonorities, rhythmic energy and Schubert's harmonic daring set in the unsmiling key of A minor, to the enigmatic second subject, a somewhat otherworldly hymn-like chorale in the remote territory of A-flat major, the two players conjoin consummately to give voice to the work's electrifying drama and sublimity of expression.

The duo's playing of the Rondo in A major Op.107, D.951 (June,1828) gives delightful expression to the piece's sunny, flowing lyricism, its mood of contented innocence and freely treated decorative themes, their relaxed dialogue enhanced by shimmering statements from the Steinway & Sons piano's silvery descant register. 

The only work Schubert wrote for the organ, the Fugue in E minor, posth.152, D.952 (July, 1828), followed his personal encounter with the works of Georg Friedrich Händel, prompting the composer to endeavour to improve his own grasp of fugue and counterpoint writing, a weakness he perceived in himself. Silver and Garburg's unmannered and transparent reading of the piece proves otherwise, as their clean, uncluttered playing calls attention to every entry of the fugue subject (either true or false), the brilliant interconnecting of the work's thematic material leading to Bach-like sophisticated multi layering.

Israeli-born Sivan Silver and Gil Garburg, now residing in Berlin, have an impressive series of recordings to their names, this double album holding particular meaning for the duo: the first work they played together as students was Schubert's F minor Fantasia. Recorded in September 2021, a coproduction of Radio Bremen and Berlin Classics, the disc highlights the pianists' profound reading into each of the works, their insight, subtlety, aesthetic sense, their understanding of the Romantic musical salon environment and their flawless teamwork. Sivan Silver and Gil Garburg have dedicated the album to the memory of sound engineer Renate Wolter-Seevers, the duo's long-time collaborator and friend. 

 

 

At the concert opening its 87th season, the Jerusalem Symphony Orchestra hosts Omer Meir Wellber and Jacob Reuven in a program of music of Vivaldi and Dvorak

 

Jacob Reuven & Omer Meir Wellber (www.jso.co.il)

The Henry Crown Auditorium of the Jerusalem Theatre was alive with anticipation on September 5th 2024 for the opening concert of the Jerusalem Symphony Orchestra's 87th Classical Series. Conducting the concert was Omer Meir Wellber (also harpsichord, accordion) and Jacob Reuven (mandolin). Both artists were born in Be'er Sheva, Israel.

 

The event began with one of the earliest examples of the program music genre - Antonio Vivaldi's "Le quattro stagioni” (The Four Seasons) - four violin concertos published with accompanying poems (possibly written by Vivaldi himself) - the score replete with details and images relating to each season. At this festive concert, we were to hear the work in a different setting. There would be no violin soloist. Omer Meir Wellber's setting, calling for strings, continuo, accordion and mandolin, originated from Jacob Reuven's desire to perform the virtuosic violin solo role of "The Four Seasons" on mandolin (Reuven himself has done adaptations of several virtuosic works) together with Maestro Wellber's own wish to explore new contemporary approaches to continuo-playing. Seated next to Reuven at the front of the stage was Wellber at the harpsichord, facing the strings behind him, the accordion strapped to his back, allowing him both to conduct, to turn to Reuven and constantly to switch from accordion to harpsichord. The result was a vibrant, richly-timbred and deep inquiry into this highly familiar work, fired by the captivating detail and brilliance of Reuven's mandolin playing, in collaboration with Wellber's own quick-witted, articulate and well-shaped delivery and his guiding of the JSO string players. This sparkling, zesty musical setting, in keeping with how Vivaldi intended it to depict Nature's beauty and sound associations, offers tender dialogues between Wellber and Reuven, the duets and other ensemble moments also involving orchestral players. A bold, original artist, Wellber creates Vivaldi's marvellously contrasted soundscapes with his own palette of timbres, rendering idyllic, lush nature depictions, pulsating, forthright tutti wrought of Italian joie-de-vivre and a sense of spontaneity, down to the finest spun, gossamer-like pianississimo utterances. Adding the accordion and mandolin to the work opens up a new, beguiling mix of musical colours. Under the fingers of Wellber, with his innovative approach to continuo-playing, the accordion weaves finely-sculpted, mellifluous melodies, at times, manifesting a gripping, pivotal presence. Under Reuven's fingers, the mandolin's tremolo sings and serenades in subtle tones of elegant delivery, then to transform into an instrument capable of substantial, dense textures and dramatic expression despite its modest size! In an interview in 2022, Maestro Wellber summed up the project (which also includes Piazzolla's "Four Seasons of Buenos Aires") as resulting from "when musicians come together with a shared passion for pushing boundaries and creating something truly extraordinary." and "the joy of experiencing familiar music in an entirely new light". The audience at the Jerusalem Theatre was exhilarated and delighted to be part of this experiential revisiting of Vivaldi's "Four Seasons".  For their encore, Wellber and Reuven entertained listeners with a gently sentimental Venetian waltz, performed with charm and a touch of whimsy.

 

Of his Symphony No.8 in G major, Op.88, B.163 (1889), Antonin Dvořák had said that he wanted “to write a work different from my other symphonies, with individual ideas worked out in a new manner.” With the key of G major considered more appropriate to folk music and song than to symphonic works, the composer discloses the work's inspiration as deriving from the Bohemian folk music he so loved. Calling for a large orchestra, the work's heart-warming Czech melodies and symphonic mastery make for appealing concert fare. Communicating convincingly and overtly with his players, Maestro Wellber (sans baton) spares no energy in recreating the work's many moods swiftly flowing in a colourful and invigorating sequence of lyrical pastoral images, dance- and march temperaments as well as its moments of pathos and drama alongside passages reflecting Dvorak's poetic voice. With the 'cellos carrying much of the melodic weight, there was also much fine playing on the part of the woodwinds and some splendid solos.

 

The Jerusalem Symphony Orchestra saw in the 2024-2025 concert season with an evening brimming with dazzling sounds, interest, originality and the joy and optimism good music has to offer.

 

 

 

 

 

"Polyphony", a collaborative concert of Baroque music performed in Jerusalem by the Mezzo Ensemble, Ensemble Naya and the Jerusalem Vocal Consort. Vocal soloists: Yeela Avital, Yaniv d'Or

 

Claudio Monteverdi

Salamone Rossi manuscript

The Mezzo Ensemble (artistic director: Doret Florentin) hosted Ensemble Naya and the Jerusalem Vocal Consort in “Polyphony”, an evening of mostly Italian Baroque works at the Eastern Music Center, Jerusalem, on June 30th, 2024. Vocal soloists were Yeela Avital (soprano) and Yaniv d'Or (countertenor). Playing on Baroque period instruments were Doret Florentin (recorders), Noam Schuss (violin), Orit Messer-Jacobi ('cello), Gideon Brettler (guitar) and Aviad Stier (harpsichord). 

Works of Claudio Monteverdi constituted a major part of the evening's program, meaning that emotions would be running high as, within the course of just a few bars, Monteverdi's madrigals would take  performers and listeners through a whole realm of human experience. Yeela Avital and Yaniv d'Or, the vocal ensemble and instrumentalists opened with “Ardo, avvampo mi struggo” (“I burn, I burn, in flames I melt.”) in which love is, quite literally, a disaster as the singers urge to “tell everyone of the danger!” In “Et e pur dunque vero” (Is it then true), to an ostinato bass and affected by Monteverdi's use of dissonance, Avital, haughty yet vulnerable, was convincing in the role of the slighted, angry lover. Then, introduced by two solo singers, we heard a fresh, well-integrated performance of "Vago augelletto che cantando vai" (Pretty little bird, you that are singing), distinctive for its dance rhythms and changing moods and tempi. In "Si dolce è’l tormento" (So sweet is the torment), its wistful text telling of a broken heart leading it to the "victim" being suspended between hope and pain, we are reminded of how Monteverdi renders texts with a radically modern sense of human subjectivity. The song provided a fine template for d'Or's expressive facility, with hearty sonic interest added by the guitar (Brettler) and an embellished version of the melody played by Florentin. But that wasn't all: on stage, engaging in movement and some vocalization, three women dancers (choreography: Michal Grover-Friedlander) conveyed the text's theme of heartbreak and unreciprocated love. In "Lamento della Ninfa" (the Nymph’s Lament), written over the ground-bass pattern moving through a descending minor tetrachord ("lament emblem"), we hear the nymph (Avital) lamenting her fate in the middle section and the choir of pastori (male choir members) introducing, commenting and concluding the nymph's story in splendidly blended singing (note again the daring Monteverdi dissonances!) Prefacing this piece, the composer had specified that the soloist was "to sing according to her emotions" (al tempo dell’affetto del animo), while the pastori were expected to sing at a regular beat (al tempo della mano). Avital's interpretation gave poignant expression to the nymph's depth of despair.

When Claudio Monteverdi arrived at the court of Mantua, he was initially engaged there as a viol player (a fact often overlooked), where instrumental music played an important role. The latter was largely dominated by the violinist Salomone Rossi. Playing the upper parts of Rossi's "Sonata dialogo detta la Viena", Noam Schuss and Doret Florentin highlighted the piece's conversational nature, with the two parts taking turns, playing independently rather than sharing themes. Anchored onto a mostly harmonic bass line, the unique style of this trio sonata (Rossi was a pioneer of the trio sonata form) invited Schuss and Florentin to attest to the work's improvised nature, as each retained her individual style of performance. Rossi’s great claim to Jewish musical fame came with his publication in 1623 of "Ha-Shirim Asher li-Shelomo", a collection of 33 Psalms and other liturgical poems (with Hebrew texts) set for combinations of from three to eight voices and intended for use on festive synagogue occasions. There is little information as to the manner in which any of  Ha-Shirim were performed. In "Barekhu'' (Bless the Lord), the solo was sung by d'Or (the precentor), with sections sung by the vocal ensemble (congregation) and some instrumental solos, the harpsichord solo (Aviad Stier) concluding the piece. Rossi's "Kaddish" (a doxology sanctifying God’s name) was sung a-cappella. The singers gave lively expression to this strophic song written in the balletto style, colouring its joyous dancelike manner with dynamic-, textural and tempo variety and the use of a tambourine. 

 

 

 It is always a joy to revisit Tarquinio Merula's exuberant Ciaccona from the "Canzoni overo sonate concertate per chiesa e camera" (1637), its short bass ostinato pattern (here, introduced by Orit Messer-Jacobj) providing the treble instruments with the structure for variation and melodic invention.  Florentin and Schuss handled these roles with gusto and mastery. The final Italian work on the program was Antonio Lotti's 8-voiced "Crucifixus". Issued in by the lowest basses, the choral weave builds up with suspensions, the texture soaring into piercing intensity by the time the highest voice enters. The singers called attention to the motet's variety, incessant invention and outrageous, luscious harmonies, the work representative of music written for the Basilica of San Marco in Venice at a time when expense and extravagance were not spared!

 

The concert concluded with works of J.S.Bach, beginning with "Leget Euch dem Heiland" (Lay yourselves beneath the Saviour) from “Himmelskönig sei willkommen” BWV 182, the aria given a moving and profound rendering by d'Or, with Florentin's playing of the recorder obbligato elegantly shaped. Concluding the program was "Ich lasse dich nicht" (I will not let you go), Bach’s earliest known motet, written not later than 1712, and possibly his most unusual (leading scholars to be suspicious about it being from the pen of J.S. Bach). Both introspective and playful, the two-movement motet for double choir made for a rewarding and moving conclusion to the program. And there was one more offering - J.S.Bach's funeral chorale "Dir, Jesu, Gottes Sohn, sei Preis" (To you Jesus, God's son, be praise) performed by all singers and instrumentalists.

It was an evening of fine collaboration and informed, high-quality performance.

A concert of works by Morton Feldman performed at the Tel Aviv Museum of Art. Conductor: Yuval Zorn

 

Morton Feldman (Feldman Edition 10)

The Lower Gallery of the Tel Aviv Museum of Art was the venue on June 25th 2024 for the final concert of a marathon held under the auspices of Hateiva. (Hateiva, an intimate performance hall in Jaffa, Israel, is a centre for experimentation in music, for concerts of contemporary- and other classical music, electronic sound art events, video exhibitions and screenings, multidisciplinary events and lectures on new music.) The evening's program consisted of two works of New York composer Morton Feldman (1926-1097), one of the most significant figures in the music of the second half of the 20th century.

 

 

The concert opened with "The King of Denmark" (1965) a short solo-percussion piece performed by multi-disciplinary musician Oded Geizhals. A study in instrumental colour, the score, notated graphically, consists of a three-part grid indicating high-, medium- and low pitches. It abounds in numbers, letters and symbols representing instruments and articulations. The actual choice of instruments, however, is left almost entirely to the performer and there is no use of sticks or mallets. The sounds are produced only by the performer’s hands or arms. Might one, therefore, consider this an anti-percussion piece?  A tempo runs throughout, but bearing no rhythmic coherence. From the work's first diaphanous, scarcely-audible sounds, Geizhals' gracile and unwavering delivery draws the audience into the intimate canvas of "The King of Denmark", as mostly-single gestures seem to float out, detached and weightless, the large instruments and small finding uncanny uniformity of volume. Adding to the sound world created by the artist's subtle handling of the many instruments surrounding him on three sides was the intriguing visual aspect of the making of music.

 

 

Morton Feldman’s "Rothko Chapel" (1971), a tribute to Mark Rothko, was named for the Houston, Texas multi-faith chapel, a place for meditation and inter-religious conferences. Built to house fourteen of Rothko's large paintings, the work had its première in the chapel in 1972, a year after its opening. Abstract Expressionist painter Mark Rothko (born Markus Rothkowitz in Dvinsk, Russian Empire), was a friend of the composer. Feldman had a deep understanding and appreciation of Rothko’s paintings. At the Tel Aviv concert, Feldman’s sonic meditation existing within a sparse soundscape, was performed by Imri Talgam (celesta), Oded Geizhals (percussion), Yoni Gartner (viola), Einat Aronstein (soprano), Ina Magril (alto) and 20 singers making up the Moran Singers Ensemble (conductor: Tom Karni; music director: Naomi Faran). Yuval Zorn conducted the performance. Tel Aviv Museum's Lower Gallery is a tall, imposing, stark space, devoid of artworks, devoid of colour and of distraction. With the singers lined along both sides of the hall, the instrumentalists located at the front and Zoran conducting from the back, it was as if the performers had physiologically recreated the chapel and that we, the attenders, were seated within this human sonic shell. Feldman had said that his "choice of instruments (in terms of forces used, balance and timbre) was affected by the space of the chapel as well as the paintings" and that he had wanted the music "to permeate the whole octagonal-shaped room and not be heard from a certain distance.”  Approachable, more structurally straightforward and explicitly tonal than much of his oeuvre, the economy of this music echoes the simplicity of Rothko’s imagery. Here, time is stretched. Silences are as much a part of the musical experience as the sounds. Maestro Zorn drew all these elements and the performers into a meticulously amalgamated realisation of the score. With articulacy, the singers, humming and singing wordless syllables, sometimes together, at others, in small groupings, gave finely-controlled expression to the work's static, fragile timbres, these punctuated by the occasional lush, gossamery cluster. Geizhals and Talgam's playing endorsed the piece's carefully-paced haunting beauty and reverence. In small gestures, then in melodiousness wrought of easeful leaps and, later, in her dialogue with Yoni Gartner, Einat Aronstein's pure, resonant vocalization coincided with the work's meditative aspect. Gartner's playing, poised, measured, elegiac and reflective, was a moving reminder that, in this piece, Feldman's Jewishness is never far removed; the closing lamenting viola melodies, set against repeated four-note patterns in the vibraphone and celesta, including a lonely melody which Feldman wrote when he was a teenager, are clearly Hebraic in origin. An eloquent, profound and imposing performance.