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.