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| Name | Celestial Dialogues - by Ofer Ben-Amots |
| Video Uploader | Video From Chamber Orchestra of the Springs |
| Upload Date | This Video Uploaded At 12-11-2023 22:00:10 |
| Video Discription | Celestial Dialogues by Ofer Ben-Amots Performed October 14-15, 2023 | Broadmoor Community Church & First Christian Church Clarinet: Yuri Nemirovsky Tenor: Daveed Buzaglo Conductor: Thomas Wilson Audio/Video: Michael Lascuola Program Notes: Neil W. Levin Ofer Ben-Amots made his debut as a pianist at the age of nine, going on to study in Tel Aviv, Geneva, Detmold and finally at the University of Pennsylvania, after his emigration to the United States in 1987. A winner of composition prizes in Vienna, South Africa, and Japan, and in 1999 of the Aaron Copland Award and the Music Composition Artist Fellowship by the Colorado Council on the Arts. Ben-Amots is a Jerusalem Fellow of the Center for Jewish Culture and Creativity, and he has been its artistic director for North America since 1997. He is also an associate professor of music at Colorado College, where he serves as chair of the music department. The composer views this work as a "stylistic confrontation" between a klezmer clarinet solo — deriving from the haunting virtuoso sounds typical of traditional eastern European Jewish bands — and cantorial vocal passages that emanate from age-old Ashkenazi liturgical ritual. The piece also constitutes what he calls "a dichotomy between song and dance, which at the conclusion become one and the same expression: a prayer". The strings — which function simultaneously as collective participant, audience, and echo — for the most part represent a worshiping congregation experiencing what a congregation engaged in true prayer would: a process of spiritual purification. Am Kadosh (Holy Folk) is an introductory cadenza in which the two soloists make their initial entrances and musical statements. The movement's title refers to a traditional call to Jews to arise for morning prayers — "to serve the Creator". It echoes an old common practice among Jews, especially in small towns and villages, or in certain religious neighborhoods in Israel (and previously in Palestine), particularly during the period of the yamim nora'im (Days of Awe) — during the days immediately preceding Rosh Hashana and the "ten days of repentance" between Rosh Hashana and Yom Kippur — when the s'lihot liturgy (penitential prayers) is recited at the daily morning services (shaharit). The local shammash (beadle) would go from house to house at dawn, knocking on each door to awaken the inhabitants and calling on them to hasten to the synagogue to join the congregation for morning prayers. Thus did observant Jews begin each day in those traditional surroundings, as they still do. The focus in Uv'yom hashabbat (The Sabbath Day) is on the cantor's song. Its nusah hat'filla (the prescribed traditional musical formulas and modes for specific prayers, sections of services, and specific days or holydays in Ashkenazi ritual) here is centered around a single principal focal pitch (the reciting tone of the chant), which is given a continuous rumbling sound in the cellos and basses. In A gasn nign (A Street Song) the clarinet takes the lead in a purely instrumental tune reminiscent of Jewish bands in eastern European towns and villages — klezmorim — who typically played these types of melodies in the street, particularly when welcoming the guests as they arrived to participate in a wedding ceremony. Adonoi melekh (God, the King) is an emphatic proclamation of God's sovereignty, expressed by solid support from the entire ensemble. The marked, even exaggerated individuality of the solo parts, and the contrast between them, symbolize the individuality and uniqueness of each worshiper as a participant in the communal prayer. These three phrases affirming God's eternal sovereignty — past, present, and future — derive from the Bible and occur in this combination throughout the Hebrew liturgy. The instrumental peak of the entire work is this traditional eastern European Jewish wedding dance of joy, the freylekh. Celestial Freylekh begins with a solo recitative for the clarinet and continues with the orchestra as it becomes a perpetual-motion wedding dance, symbolizing a marriage between heaven and earth — between man and God, and between humanity and its Divine source. The composer describes Dinen (Serve!) as "a quietly ecstatic setting" based on a Hassidic melody attached to a piyyut (liturgical poem) recited in the Yom Kippur liturgy and, in some traditions, every Sabbath. This prayer traverses the entire Hebrew alphabet in the acrostic of its strophes, punctuated after each one by the refrain "To You whose life is eternal". Ben-Amots has employed this melody as an illustration of the way in which the major mode is often reserved in Hebrew liturgy "for the most serene and solemn moments". [xWwOj1yRQSs] |
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