Kaddish – Music as Prayer

Jewish Cemetary in Krakow

The first time I heard the Kaddish, it struck me very deeply. I did not understand the language; I did not know what it was about. All I know is that it was the most beautiful melody I had ever heard. That opening phrase with its flattened second note of the scale was absolutely hypnotic. The language I did not know: strange and earthy. When it built to its climax, I was swept with it.

 Ritualistic and from the depths of the soul, the Kaddish has been part of my life since I was a child. A scratchy old record from the music section of the Bloemfontein Municipal library became a powerful conduit of things fo which it is hard to find terminology. Only years later would I learn that the actual words were a prayer, and what they meant. Having grown up in the dry formulaic asceticism of the Afrikaans Dutch Reformed Church, there was a definitely an element of “Orientalism” in my initial passion for this music. I responded to the unashamedly emotional expression of spirituality. As so often with Jewish music, not understanding the language or the context does not prohibit one from having a very strong emotional connection it. I would also be surprised to learn that the composer himself was not of the faith from which this prayer was drawn. And yet, the power of the music was strong enough to transcend these boundaries.

“For me, whenever I hear the end of the Ravel Kaddish—which uses a very clear motif from the High Holidays—an image always flashes in my mind of sitting next to my grandfather at High Holy Day services; I can almost taste the pickled herring my grandmother and I used to share at the end of our Yom Kippur fast. That’s the power of music—it can evoke associations above and beyond our understanding of the theological or liturgical significance of a particular service or holiday”. Cantor Andrew Bernard 

 

 

Maurice Ravel

Maurice Ravel’s “Jewish” works:

I first got to know the Kaddish in a setting by Maurice Ravel (1875 – 1937).  Written in 1914, just before he enlisted for service in World War I, his Kaddish forms the first of two songs of the Deux mélodies hébraïques. Ravel uses the Aramaic text from the Jewish prayer book for the Kaddish, and the second song, L’Énigme éternelle is based on a traditional Yiddish verse. They were first performed in June 1914 by Alvina Alvi – who had commissioned them – with Ravel at the piano. In 1919 and 1920 Ravel orchestrated the two songs. Ravel had earlier set a Yiddish text “Mejerke, main Suhn”  under the title Chanson hébraïque  as the fourth of the  Chants populaires (1910). Ravel’s mother was Basque, and Ravel is thought to have developed a certain affinity with Spain from her. His father was a Swiss clock-maker.

 While many critics claim Ravel was influenced by composer Claude Debussy, Ravel himself claimed he was much more influenced by Mozart and Couperin, whose compositions are much more structured and classical in form. Ravel and Debussy were, however, clearly the defining composers of the impressionist movement. Ravel was also highly influenced by music from around the world, including American jazz, Asian music, and traditional folk songs from across Europe. Ravel had left the Roman Catholic Church and was a self-declared atheist, although he was also a spiritualist like many sceptics of his generation. He disliked the overtly religious themes of other composers, and instead preferred to look to classical mythology for inspiration. While Ravel’s music has tonal centres that never dissolve into atonality, his melodies are often modal. It is easy to see how the traditional modal melody of the Kaddish would have appealed to him. Ravel also was trict in his musical arrangements of folk material to leave the melodies unaltered.

 Writer and critic Michel de Calvocoressi  (1877-1944) met Ravel in 1898, and after an initial period of mutual suspicion, they became lifelong friends. It was Calvocoressi who provided Ravel with the folk texts to the Cinq mélodies populaires grecques. (1904-1906), and some suspect, the texts to the Deux mélodies hébraïques. Born in Greece, but educated in France, Calvocoressi was a skilled linguist and wrote in several languages, publishing books on Liszt, Moussorgsky and Schumann. Ravel dedicated the Alborada del Gracioso from the suite Mirroirs to him.

 Significance and meanings of the Kaddish

The oldest version of the Kaddish is found in the Siddur of Rab Amram Gaon, c. 900.

"Kaddish" by Rex Sexton

Kaddish (קדיש Aramaic: “holy”) refers to an important and central prayer in the Jewish prayer service. The central theme of the Kaddish is the magnification and sanctification of God’s name. In the liturgy, several variations of the Kaddish are used functionally as separators between various sections of the service. The term “Kaddish” is often used to refer specifically to “The Mourners’ Kaddish,” said as part of the mourning rituals in Judaism in all prayer services as well as at funerals and memorials. When mention is made of “saying Kaddish”, this unambiguously denotes the rituals of mourning.

 The opening words of this prayer are inspired by Ezekiel 38:23, a vision of God becoming great in the eyes of all the nations. The central line of the kaddish in Jewish tradition is the congregation’s response “May His great name be blessed forever and to all eternity”, a public declaration of God’s greatness and eternality. This response is a paraphrase of part of Daniel 2:20.  The Mourners’, Rabbis’ and Complete Kaddish end with a supplication for peace, which is in Hebrew, and comes from the Bible. Along with the Shema and Amidah, the Kaddish is one of the most important and central prayers in the Jewish liturgy. Written in a mixture of Hebrew and Aramaic the Kaddish is about a half-page long text, primarily magnifying and glorifying God, as well as expressing a wish for a speedy coming of the Messianic era. It is recited primarily in the synagogue service after principal sections of the liturgy or at the beginning of such sections. 

Kaddish Candle

“There are four main types of the synagogue Kaddish [there is also a fifth type recited at the cemetery], each containing a slightly different version of the text. In most occasions the service leader sings the Kaddish, with some congregational responses. The two main exceptions are the Kaddish recited by people in mourning or observing a death’s anniversary (Kaddish Yatom), and the Kaddish recited after a study session (Kaddish Derabannan). On these occasions the Kaddish is normally not sung but rather spoken out loud by the mourners or those who finished a study session” ( Boaz Tarsi, “Observations on Practices of Nusach in America,” Asian music, Volume xxxiii-2, 2002). 

 

 

Marc Chagall "Violinist" (1913)

Ravel’s Kaddish:  Sacred or Secular?

Despite the mournful tone of the melody, Ravel’s is a setting of the Chatzi Kaddish, rather than the full Mourner’s Kaddish, making it’s placing in a service in the synagogue more problematic than at first expected. The Chatzi Kaddish is a shorter version of the prayer that is used to demarcate sections of the liturgy. Unlike many other pieces of liturgical music written for synagogue use in the twentieth Century, Ravel’s setting is designed purely as a solo performance piece. No section of the work lends itself to choral or congregational participation. Given its setting of a liturgical text, many Orthodox Jews would consider this Kaddish a prayer, with its only rightful place in a service, and would see no need for it to be performed outside of that context. Given the exquisiteness of the work, its delicate accompaniment and the way it allows great artistic expressive freedom for the soloist, many would argue that it has a rightful place in the concert repertoire.

 I encountered this work on an LP of Ravel’s orchestral works and have seen it in recital only once in my life. As a non-Jew I would have no other means of contact with this work. It is therefore ironic that I am trying to find an appropriate space within the Jewish High Holidays to perform this.

 Kaddish Original Text

Yithgaddal weyithkaddash scheméh rabba
be’olmà diverà ‘khire’ outhé
veyamli’kl mal’khouté’khön,
ouvezome’khôu ouve’hayyé de’khol beth yisraël
ba’agalâ ouvizman qariw weimrou, Amen.

Yithbara’kh Weyischtaba’h weyith paêr
weyithroman weyithnassé weyithhaddar
weyith’allé weyithhallal
scheméh dequoudschâ beri’kh hou,
l’êla ule’êla min kol bri’khatha weschi’ratha
touschbehata wene’hamathâ daamirân ah!
Be’ olma ah! Ah! Ah! We imrou. Amen.

Kaddish: Free English translation by Boaz Tarsi

Magnified and sanctified be the name of God throughout the world
which He has created according to His will.
May He establish His kingdom during the days of our life
and the life of all speedily and soon and let us say Amen.

(Here normally comes a congregational response, which is missing from Ravel’s setting).

Exalted and glorified, lauded and praised,
Acclaimed and honored be the name of the Holy One
Blessed be He, praised beyond all blessings and hymns,
beyond all tributes that mortals can express and let us say Amen.

 

 

 

Spring in the Jewish Cemetary

Kaddish: Some recorded materials

 Transliteration and pronounciation of the Aramaic, which proves that everybody speaks with an accent.

 

Baritone José Van Dam  gives a powerful performance which would please those in search of an “authentic” male voice version. In this clip the pianist is not acknowledged, but it is likely to be French pianist and Van Dam’s long-term collaborator  Jean-Philippe Collard. Belgian born, Van Dam was superb in French repertoire.

Soprano Montserrat Caballe sings a very finely crafted but perhaps overwrought Kaddish, although hampered by bad sound recording. She uses the sheetmusic through-out the entire recital. The pianissimi that were her stock in trade, takes one’s breath away.

A 1962 recording of Victoria de los Angeles presents the Kaddish in a rarely heard French version. Her singing always had a vulnerable human quality, which comes through in this recording.

 Yehudi Menuhin performing a violin transcription of Ravel’s version. The power of the melody communicates the esesence of the text even in the absence of the language of words.

A Violin and Organ version  by Alexander Skwortsow and  Bert Mooiman reveal that sensitive performers can reinvent a piece of music  

Ravel’s Kaddish is sung here in an orchestral version at the Nazi camp Auschwitz Birkenau. It is intended as a Mourner’s Kaddish, while technically it is a Chatzi Kaddish. To me this is of less importance, as the music speaks the text that might be “missing”. Daniel de Vicente – Tenor, Quadrivium Ensemble and Dan Rapoport – Conductor

 Huw Morgan plays a trumpet transcription accompanied by pianist Nicholas Oliver in concert setting, ive from the BBC Young Musician Wigmore Hall Series 2006. It is played so beautifully and movingly that it could happily be transposed into a synagogue.

A modern soprano recording: Barbara Hendricks with John Eliot Gardiner in 1988.

Chanson hébraïque (“Mejerke, main Suhn” ) the fourth of the  Chants populaires (1910) is sung here by Victoria de Los angeles accompanied by pianist Miguel Zanetti at the Teatro Real de Madrid (1980).

 

 

 

Jewish Memorial Berlin

Other aspects of the Kaddish:

 

 

Francis W. McBeth’s Kaddish for Band has received much attention from young bands and orchestras world wide.

An “artwork” of sorts is the “Mourner’s Kaddish“, using the context of the Kaddish as a means of coming to terms with the Holocaust. Joe Engel, a Holocaust surviver. It is very moving viewing.

 The Holocaust is close to the surface in the Jewish pshyche. Ofra Haza created this Holocaust Kaddish for the 1990 Montreaux Jazz festival

 An interesting meditation reflects on psychological impacts of the Kaddish .

Peter Pringle composed this Theremin Kaddish for Clara and performs it on the Theremin, an electronic instrument with surprisingly vocal quallities. 

Non-Jewish composers creating “Jewish Music”

While orchestral and operatic music works by Jewish composers would in general be considered secular, many Jewish (as well as non-Jewish) composers have incorporated Jewish themes and motives into their music. Sometimes this is done covertly, such as the klezmer band music that many critics and observers believe lies in the third movement of Mahler’s Symphony No. 1, and this type of Jewish reference was most common during the 19th century when openly displaying one’s Jewishness would most likely hamper a Jew’s chances at assimilation. During the 20th century, however, many Jewish composers wrote music with direct Jewish references and themes, e.g. David Amram (Symphony – “Songs of the Soul”), Leonard Bernstein (Kaddish Symphony, Chichester Psalms), Ernest Bloch (Schelomo), Arnold Schoenberg (see below), Mario Castelnuovo-Tedesco (Violin Concerto no. 2) Kurt Weill (The Eternal Road) and Hugo Weisgall (Psalm of the Instant Dove).

Jewish Cemetary in Krakow

However, even during the 20th century some Jewish composers often quoted Jewish music within non-Jewish contexts; for example, Gershwin used liturgical melodies and Hebrew songs for a few numbers in Porgy and Bess, and many also believe that the opening clarinet glissando in his Rhapsody in Blue is a reference to klezmer. Finally, many non-Jewish (mostly, but not all, Russian) composers have composed classical music with clear Jewish themes and inspiration, such as Max Bruch (Kol Nidre), Sergei Prokofiev (Overture on Hebrew Themes), Dmitri Shostakovich (Second Piano Trio, From the Jewish Folk Poetry and Symphony No. 13 “Babi Yar”) and Igor Stravinsky (Abraham and Isaac – used the Hebrew Masoretic text of a passage of Genesis, and was dedicated to the Jews and the State of Israel).

Manyoperatic works by non-Jewish composers show a direct connection with and sympathy for the Jewish people and history, like Saint-Saëns’ Samson and Delilah (incidentally, Saint-Saëns’ composition teacher was Halevy) and Verdi’s Nabucco.

From the “All-Knowing-God-Of-Wiki” comes the following list of Kaddish used in various artforms:

Kaddish in the Arts (from WIKIPEDIA KADDISH)

The Kaddish has been a particularly common theme and reference point for Jewish writers, especially since the Haskalah.

• “Kaddish” is the title of an episode of the television show The X-Files (season 4, episode 15), in which a Golem is avenging a murder.
• “Kaddish” is the title of an episode of the television show Homicide: Life on the Street (season 5, episode 17), in which detective John Munch (Richard Belzer), who is Jewish, investigates the rape and murder of his childhood sweetheart.
• The Mourner’s Kaddish can be heard being recited by Collins and Roger during the song “La Vie Boheme” in the musical Rent.
• In the television series Drawn Together, Toot recites the Mourner’s Kaddish in the episode “A Very Special Drawn Together Afterschool Special,” after saying that her son was (metaphorically) dead.
• In Rocky III, Rocky Balboa recites the Mourners’ Kaddish for Mickey.
• In Philip Roth’s novel The Human Stain, the narrator states that the Mourners’ Kaddish signifies that “a Jew is dead. Another Jew is dead. As though death were not a consequence of life but a consequence of having been a Jew.”
• In Final Fantasy VII Advent Children, one of the antagonists goes by the name of Kadaj, possibly a take on Kaddish, which keeps in line with the common use of religious symbolism throughout Final Fantasy VII (Jenova is another example of this.)
• In Tony Kushner’s play Angels in America (and the subsequent TV miniseries), the characters of Julius and Ethel Rosenberg say the Kaddish over Roy Cohn’s dead body.
• In the television show Everwood, Ephram Brown recites the Mourner’s Kaddish at his mother’s unveiling.
• The Kaddish can be heard in the opening credits of Schindler’s List.
• In Yentl, at her father’s burial, the rabbi asks who will say Kaddish (Kaddish is traditionally said by a son). Yentl replies that she will and, to the horror of those assembled, grabs the siddur and starts saying Kaddish.
• Kaddisch is the first of Ravel’s two songs Deux mélodies hébraïques.
• The fictional character Dan Turpin was killed by Darkseid in Superman: The Animated Series, and at his funeral, there was a Rabbi saying Kaddish. After the episode, there was a message that the episode was dedicated to Jack Kirby, a Jewish comic book artist, who influenced the entire comic book community.
• In Torch Song Trilogy, the main character Arnold Beckoff says the Mourner’s Kaddish for his murdered lover, Alan, much to the horror of his mother.
• Kaddish For Uncle Manny[6]” from the 4th season of Northern Exposure (first aired 5-3-93) relates to Joel’s (Rob Morrow) seeking out of ten Jews in remote Alaska to join him for Kaddish in memory of his recently departed Uncle Manny in New York City. Maurice Minnifield (Barry Corbin) takes to Alaska’s airwaves and offers a cash stipend for Jews in KBHR’s listening area to trek to Cicely in order to form a minyan, or the prerequisite ten adult males, to accompany his recital of the prayer. As strangers appear from nowhere, Joel realizes that his mitzvah to say Kaddish for his uncle is best accomplished through the presence of his new Cicely family, who although Gentile, are most near and dear to him as compared with ten ‘mercenary’ Jews who are unknown to him. The episode ends with Joel leading the townspeople through the service.
• Nobel Laureate Imre Kertesz’s “Kaddish for an Unborn Child“
• Zadie Smith’s novel “The Autograph Man” revolves around Alex-Li Tandem, a dealer in autograph memorabilia whose father’s Yahrzeit is approaching. The epilogue of the novel features a scene in which Alex-Li recites Kaddish with a minyan.
• In Frederick Forsyth’s novel The Odessa File, a Jew who commits suicide in 1960s Germany requests in his diary/suicide note that someone say Kaddish for him in Israel. At the end of the Novel, a Mossad agent involved in the plot, who comes into possession of the diary, fulfils the dead man’s wish

  

Jewish Cemetery in Prague

Avinu Malkeinu – The voice that demands to be heard

My first encounter with the Jewish prayer Avinu Malkeinu was in the now famous version sung by Barbra Streissand on her album “Higher Ground”. Form the warm opening strains on the cello I knew I was in for something special. When she started singing in a hushed, reverent voice I was captivated. As the song rose to its climax, I had very intense emotional responses. I had no idea what the song was about. But it was clear that it was from the depths of the soul and meant to rise to the highest of the high.

Avinu Malkeinu, (Hebrew: אָבִינוּ מַלְכֵּנוּ‎), translating to Our Father, Our King, is a prayer that is recited during Jewish services from Rosh Hashanah (Jewish New Year) to Yom Kippur (Day of Atonement) and on certain public fast days at other times of year. Each line of the prayer begins with the words Avinu Malkeinu, followed by varying phrases for the remainder of the verse. It often has a slow, chanting, repetitive aspect to the melody to represent the pious pleading within the prayer.

Now, many years later, I have “performed” this work in various contexts, occasionally as a concert piece, and more recently, in its place in the synagogue service, as it was intended. I know two versions of  Avinu Malkeinu. A shorter traditional version is for congregational and public use and known by Jewish people around the globe.

Max Janowski

A more ambitious work is the version by Max Janowski (1912-1991). Berlin-born Janowski was a composer of Jewish liturgical music, a choir director, conductor and a voice teacher, who even taught piano in Japan before emigrating to the United States in 1937 where he served in the United States Navy during World War II. His singing students included the famous Baritone Sherrill Milnes. (New York Times)

Again, as with so much Jewish music, many arrangements of this work exists. Today even Rock and Club remixes – controversial as they are – can be found. While clearly written for cantor or soloist – in the original key would indicate a tenor or soprano – there are large choral sections, which are mainly repeats of the main part of the melody, especially recognisable on the opening phrase of Avinu Malkeinu. Marsha Edelman, writing on synagogue music in the modern era, alludes to a tension that developed between cantorial schools and congregants. In short, some cantorial schools (such as the Cantors Institute created in 1952) raised the art of the cantor to an enormously sophisticated level, but unfortunately left less opportunity for the congregation to sing as well. The time after World War II was one of tremendous adjustment and change for Jews throughout the diaspora. Composers such as Janowski and Max Wohlberg (1907-1996) included “singable refrains” into works that were written for cantor and/or chorus. Janowski’s Avinu Malkeinu does just that, allowing the congregants to join in the singing of parts of the prayer. While Orthodox Judaism prohibits accompaniment, Janowski’s is clearly for use with orchestral or organ accompaniment.

The many roles of the Hazzan (Cantor)

Over the centuries and across the diaspora, cantors took on a variety of religious and communal roles in addition to leading prayer services, including shohet (ritual slaughterer), mohel (performer of circumcisions), teacher and government official.

Dr. Scott Sokol, Associate Professor of Jewish Music and Psychology writes: “Although the roles have changed somewhat in the present time, the template of the cantor as a religious and cultural functionary has largely remained. It is common for professional hazzanim to serve many functions in the modern synagogue-community, including teacher, pastor, chaplain, choir director, and cultural impresario. And to this day, some of our most talented mohalim [plural of mohel] are still cantors!” Returning to the musical landscape of the cantor and synagogue, the most significant change to the modern cantorate has probably been the move from a congregation of listeners to a congregation of participants. Participation was always a part of the Jewish worship service, but now active participation is the rule rather than the exception for an increasing number of communities. As a result, today’s cantor is responsible for teaching and leading the congregation in song and for crafting a worship experience that invites communal singing for more of the service.

Avinu Malkeinu – Hewbrew Text and English Translation:

Avinu malkeinu sh’ma kolenu. Avinu malkeinu chatanu l’faneychaOur Father our King, hear our voice. Father our King, we have sinned before Thee

Avinu malkeinu chamol aleynu, Ve’al olaleynu vetapeinu
Our Father our King, have compassion for us, and also on our children

Avinu malkeinu Kaleh dever, vecherev vera’av mealeynu
Our Father our King, bring and end to pestilence, war and famine around us

Avinu malkeinu kaleh chol tsar Umastin mealeynu
Our Father our King, bring an end to all trouble and oppression around us.

Avinu malkeinu, Avinu malkeinu, Kat’veinu besefer chayim tovim
Our Father our King, Our Father our King, inscribe us in the book of life

Avinu malkeinu chadesh aleynu, Chadesh aleynu shanah tovah
Our Father our King, renew upon us, renew upon us a good year

Sh’ma kolenu, Sh’ma kolenu , Sh’ma kolenu
Hear our voice, hear our voice, hear our voice

Avinu malkeinu, Avinu malkeinu, Chadesh aleynu shanah tovah
Our Father our King, Our Father our King, renew upon us a good year

Avinu malkeinu, Sh’ma kolenu, Sh’ma kolenu, Sh’ma kolenu
Our Father our King, hear our voice, hear our voice, hear our voice

Saving the Torah after Hurricane Katrina (New Orleans) 2005

A liturgical analysis of the Avinu Malkeinuby Michael Koplow can be found HERE.

For an arrangement of Janowski’s Avinu Malkeinu, in a lower key for vocal soloist, organ and small chamber ensemble, click HERE.

Sheet Music of very userfriendly arrangement of Janowski’s Avinu Malkeinu is available HERE.

Sheet music of the traditional version of Avinu Malkeinu can be found HERE.

Avinu Malkeinu (Janowski): Some recorded materials

The famous version by Barbra Streissand, that brought this work to a wider public, as well as criticism that a liturgical work was sung by a woman on a commercial album. Be that as it may, it is a highly reverent version of the prayer, sung with great artistry and conviction and the orchestration is superb.

A humble but sincere version combines Hebrew and Arabic, much to the consternation of some.

Nora Dori created this version in a stage performance. Even removed from its liturgical context, the work has a powerful impact.

Russian singer Svetlana Portnyansky’s performance is accompanied by disturbing images of political conflict in Israel/Palestine.

The “Traditional” Avinu Malkeinu: Some recorded materials

A wonderfully charming discovery was this “Lyre Lesson”, which teaches the basic construction of the tune, identifying the mode as Ahavarava, with the notes E F G# A B C D E, which resembles the Phrygian mode (but with a raised third) or a Harmonic Minor, but using the Dominant note as a Tonic.

A traditional choral version with Benjamin Posnansky gives a fair impression of much that can be heard in schools and synagogues today.

An utterly unique and charming version by “Harold Vargas y Michel” performed on Flute and Recorder on the cliffs of the Jewish fortress Masada.

Rabbi Shai’s controversial Club/Dance mix is bound to raise some eyebrows.

Soprano Beverley Chiat

The soloist in Janowski’s Avinu Malkeinu at Temple Israel in Green Point, Cape Town, will be sung during this year’s High Holidays by one of South Africa’s top sopranos, Beverley Chiat

Kol Nidrei – Music Infused with Memory

“A crowd of people slowly streams into the synagogue. Inside the sanctuary, the lights are dimmed to reflect the sun setting outside. A hush falls over the congregation as the clergy, robed in white, open the ark to reveal the white-cloaked Torah scrolls. The rabbi gently hands each scroll to a member of the congregation. Everyone on the bimah turns to face the community. And the cantor begins to sing. The melody is at once familiar, soothing, and chilling. As the music gradually builds, the distance between the current moment and the same moment in years past slowly melts away. The scene is set. The memories of all of our Yom Kippur days swell inside us as we sing the Kol Nidre prayer.” Cantor Elizabeth Sacks

I am not Jewish myself, and neither is the singer of the Kol Nidrei, Cape Town Baritone Mr. Thesele Kemane,  who will act as cantor this week during the High Holidays at Temple Israel in Greenpoint, South Africa. Both of us have been very deeply moved by this piece of music. Kol Nidrei is an Aramaic declaration which opens the Jewish service on Yom Kippur, the Day of Atonement. It is sung by the cantor and its melody is recognised by Jewish people around the globe. Although this text is in fact not a prayer, the musical content of the piece charges the text with great emotional power. Kol Nidrei has had an eventful history, both in itself and in its influence on the legal status of the Jews. Introduced into the liturgy despite the opposition of some rabbinic authorities, attacked in the course of time by some rabbis, and in the nineteenth century expunged from the prayer-book by many communities of western Europe, it has survived as an essential part of the Day of Atonement. The purpose of the Kol Nidrei in the service is to alleviate the congregation’s anxiety about unfulfilled or possibly forgotten vows, so that they can enter into the prayers of the Day of Atonement with a clear conscience. It is not clear exactly where the current ritual and text of Kol Nidrei originated. The first references to Kol Nidrei as a collective declaration are found in the writings of the Babylonian geonim (8-10th century scholars); the geonim vigorously opposed the practice of chanting the declamation, which they claimed originated in unspecified “other lands.” Although Palestine is an obvious candidate, none of the surviving ancient Palestinian prayer texts include Kol Nidrei.

Cantor Sacks of the New York Central Synagogue makes very interesting points about the relationship Jewish people have with the music of their culture: “Jewish music is infused with memory. Just as a particular scent or visual cue arouses specific memories, the music of our tradition links us to our Jewish experiences. A favorite tune can remind us of the camaraderie of Jewish summer camp, or the awe of a first trip to Israel, or the familiar warmth of Shabbat services. However, in addition to inspiring powerful individual memories, Jewish music also furthers our collective memory – the memory of our history and traditions as the People of Israel. This concept of collective memory manifests itself most clearly in our liturgical music through a series of melodies known as the MiSinai tunes. MiSinai tunes, melodies thought to have come down from God to Moses on Mt. Sinai, unite Ashkenazi Jews of all denominations. We sing them consistently, year after year, and though the arrangements may change, the essence of the melody never dies. Mainly heard during High Holy Day and Festival services, examples include the High Holy Day Mi Chamocha, the Great Aleinu, and the opening paragraphs of the N’ilah Amidah. The tunes are exceedingly simple yet profound. They are moving because they have endured and they have endured because they are moving. For many people, it is not a complete holiday until they have heard these melodies. The MiSinai tunes are our collective musical memory. We have named them such because no one can remember a time without them.” (Cantor Sacks)

Many different versions and arrangements of this piece exist. While Reform Judaism does allow women to sing the Liturgy, it is traditionally performed by a man. Temple Israel’s choir includes wonderful female singers such Beverly Chiat – a superb musician whose talents have been appreciated across the globe even more than they have in South Africa. Yet even she insisted that it would feel more “authentic” if this was sung by a man. One would think that a central part of the service, beloved and known by so many, could be found easily in printed form. But there are so many variants and arrangements of it that it is quite bewildering. The version I am currently using is an arrangement by Henry Russotto (Born Russia 1871; Died New York 1928) an arranger and publisher of a large number of liturgical settings, translations and arrangements. The present arrangement is for Male Voice Choir and Cantor. Which is ironic, since technically, Temple Israel have neither. The G minor setting appears to suit a baritone, but parts of the original embellishments go into the higher tenor range, which the choir takes up, in some cases splitting into 4 or 5 parts. Temple Israel uses the female choir to take these parts. So in effect, our Kol Nidrei is an arrangement of an arrangement of a chant that has been passed down orally though thousands of years. The music itself alternates between emotional states, occasionally heroic and ceremonial with march-like associations, and at other times painfully introspective and intensely personal. The rhythmic freedom within a tightly controlled structure reminds one of Puccini’s rubato and flexibility of the rhythm is key to a successful performance. Flexibility in the ornametaion is key to performing this work.

Kol Nidrei – Text and Translation

Text in Aramaic:

Kol Nidrei

Ve’esarei, Ush’vuei, Vacharamei, Vekonamei, Vekinusei, Vechinuyei, D’indarna, Ud’ishtabana, Ud’acharimna, Ud’assarna

Al nafshatana Miyom Kippurim zeh, ad Yom Kippurim haba aleinu letovah Bechulhon Icharatna vehon,

Kulhon yehon sharan Sh’vikin sh’vitin, betelin umevutalin, lo sheririn v’lo kayamin Nidrana lo nidrei,

V’essarana lo essarei Ush’vuatana lo shevuot.

Kol Nidrei text in English Translation

 All vows

 Prohibitions, oaths, consecrations, vows that we may vow, swear, consecrate, or prohibit upon ourselves -

from this Yom Kippur until the next Yom Kippur, may it come upon us for good -

regarding them all, we regret them henceforth.

They will all be permitted, abandoned, cancelled, null and void, without power and without standing.

Our vows shall not be valid vows; our prohibitions shall not be valid prohibitions; and our oaths shall not be valid oaths.

FURTHER LISTENING:

Here follows some versions of the Kol Nidrei in very different performances. Follow the links to Youtube.

Kantor Stephen Saxon and male choir, in a very similar arrangement to that by Henry Russotto -

An almost Jazzy version what appears to be a concert rather than a synagogue, by Mordechai ben David where the piano’s tremolos tries to create an orchestral colour in the absence of a choir.

 I was surprised to find so many Popular Singers taking up this work. Perry Como and Johnny Mathis (in 1958)  do not spring to mind in connection with this very serious part of Jewish consciousness.

Al Jolson's "The Jazz Singer" 1927

Perhaps too melodramatic but in their own way moving are two excerpts from the film “The Jazz Singer”. Firstly Jerry Lewis in the 1959 film  which in itself was a remake of the 1927 original by Al Jolson [né Asa Yoelson] (1886–1950), The story of Jakie Rabinowitz, the rabbi’s son who turned actor against the wishes of his father, became a sensation and remains a motion picture classic. Al Jolson starred in what was the first “talking” film. People came to associate the movie with Jolson’s own life, a myth that he encouraged and had even contributed to early in his career with songs like “Mammy.” This myth of the lonely man who had given up everything for the public was necessary for him – it was indeed reflected in his need for the audience’s love.

Neil Diamond starred in the 1980 remake of the film  in a powerful scene of reconciliation between father and son, which places the Chant in contemporary context. It is a pity that neither the film nor the released soundtrack has the chant in its complete form.

 

 

A work perhaps better known in classical music circles is the Kol Nidrei by Max Bruch. Kol Nidrei, Op. 47, is a composition for cello and orchestra written by Max Bruch. Bruch completed the composition in Liverpool before it was first published in Berlin in 1881. It is styled as an Adagio on two Hebrew Melodies for Cello and Orchestra with Harp and consists of a series of variations on two main themes of Jewish origin. The first theme, which also lends the piece its title, comes from the Kol Nidre prayer which is recited during the evening service on Yom Kippur. In Bruch’s setting of the melody, the cello imitates the rhapsodical voice of the hazzan (cantor) who chants the liturgy in the synagogue.

The second subject of the piece is quoted from the middle section of Isaac Nathan’s arrangement of “O Weep for those that wept on Babel’s stream”, a lyric which was penned by Byron in a collection called Hebrew Melodies (which also included the famous poem “She Walks in Beauty”). Bruch was a Protestant and first became acquainted with the Kol Nidre melody when his teacher Ferdinand Hiller introduced him to the Lichtenstein family, the head of which served as the cantor-in-chief of Berlin. Cantor Abraham Jacob Lichtenstein was known to have cordial relations with many Christian musicians and supported Bruch’s interest in Jewish folk music.

While some commentators have criticized the dearth of Jewish sentiment in Bruch’s concert-hall Kol Nidrei, it must be remembered that Bruch never presumed to write Jewish music. He only wished to incorporate Jewish inspirations into his own compositions. Nonetheless, it is a powerful work which has remained popular with musicians and public. It exists in different versions as well. Both piano and orchestral accompaniments were done by Bruch .

Janos Starker performs Bruch’s Kol Nidrei with Antal Dorati conducting the London Symphony Orchestra 

 Jaqueline du Pre and Gerald Moore, the famous Lieder accompanist, perform the piano and cello version of Bruch’s Kol Nidrei .

Marc Chagall: "Le Juif a la Torah" c. 1959

Ständchen by Richard Strauss: Passion and Seduction in the Garden of Eden

The rustling and shimmering of the piano part which opens Strauss’ song Ständchen – which I should perhaps be practising for tomorrow’s concert, rather than writing about it – is one of those startling inventions by this composer that simply hooks the listener from the first note. The song tells the charming story of a secret lover’s tryst in the dark of night, the beloved ardently seduced into sneaking into the forest for a night of passion. Strauss responds to the vividly descriptive words with a song filled with passion and seduction.

 Strauss composed his Sechs Lieder Op.17 to poems by Adolf Friedrich von Schack between 1885 and 1887. At that time Strauss was the court music director in Meiningen and moved to Munich to become the Court Opera’s third conductor. Strauss’ early experience in the opera house not only stood him in good stead as an opera composer, but his songs often have an operatic sweep about them, and a clear sense of climax and dramatic pacing.

 Strauss’ music brings to life the expectation and excitement of the clandestine tryst  of Schack’s poem.

 Ständchen by Adolf Friedrich, Graf von Schack (1855-1894)

 Mach auf, mach auf, doch leise mein Kind,
Um keinen vom Schlummer zu wecken.
Kaum murmelt der Bach, kaum zittert im Wind
Ein Blatt an den Büschen und Hecken.
Drum leise, mein Mädchen, daß [nichts sich]1 regt,
Nur leise die Hand auf die Klinke gelegt.

 Mit Tritten, wie Tritte der Elfen so sacht,
[Die über die Blumen]2 hüpfen,
Flieg leicht hinaus in die Mondscheinnacht,
[Zu]3 mir in den Garten zu schlüpfen.
Rings schlummern die Blüten am rieselnden Bach
Und duften im Schlaf, nur die Liebe ist wach.

Sitz nieder, hier dämmert’s geheimnisvoll
Unter den Lindenbäumen,
Die Nachtigall uns zu Häupten soll
Von unseren Küssen träumen,
Und die Rose, wenn sie am Morgen erwacht,
Hoch glühn von den Wonnenschauern der Nacht..

Ständchen in free translation by Albert Combrink

 “Love Song”

 Open up, open up, but softly my child,
So as not to wake anyone from their sleep,
The stream is barely murmuring, the wind hardly causes quivers
 In a leaf on bush or hedge.
So, softly, my young girl, so that nothing stirs,
Just lay your hand softly on the door-latch.

 With steps as soft as the footsteps of elves,
that hop over the flowers,
Fly lightly out into the moonlit night,
Sneak to me in the garden.
Around us sleeps the blossoms along the trickling stream,
Fragrant in sleep, only love is awake. 

Sit down, here it darkens mysteriously
Beneath the linden trees,
The nightingale over our heads
Shall dream of our kisses,
And the rose, when it wakes in the morning,
Shall glow from the joyous showers of the night.

"Lovers in the garden" Paul Gustave Dore (1832-1883)

Early in his career Strauss was obviously taken with the poems of Von Schack – the son of a wealthy landowner – setting 16 of his poems in the songs which comprise his Opus 15, 17 and 19 sets, completed by the age of 24. As with most of Strauss’ choice of poets, Schack might not be regarded as a towering figure in the poetic landscape, so to speak. Yet his poems provide much suggestive imagery to stimulate the imagination – especially one as creative as Strauss. Schack’s moonlit forest shakes, trembles, quakes and quivers and in the morning the roses will be glowing form the night’s “Wonnenschauern” – a virtually untranslatable portmanteau suggesting the “joyous showers” of the night’s activities (perhaps one would be wise not to interpret it only literally). The grammar of the poem makes it hard to distinguish whether the poet is taking the beloved into the night, or merely singing a song of seduction and describing the delights that await them – as the title suggests.  The music however, tells a fuller story.

 Tonality is vitally important in the music of Strauss and he adhered loosely to a set of tonal symbols. C major is often regarded as his “Key of Creation”, of elemental power, the source of the Big Bang: note for example the opening of Also Sprach Zarathustra or the song Zueignung (Op. 10 No.1) – both powerful existential statements. A flat major is used for pious religious expressions such as those of John the Baptist in the opera Salome. Ständchen is in F Sharp major, a key it only shares with a single other song from his 205: Traum durch die Dämmerung. This is also the key of love at first sight in the “Presentation of the Rose” duet from Der Rosenkavalier. Often associated with love, dreaminess and intoxication, this key suggests two lovers “high” on love, the romance of the moment and the beauty of the surroundings. 

The house near the forest - anon.

Musically the first two verses are repeated verbatim. Verse one lures the beloved out the door. Verse two lures the beloved into the darkness of the Linden trees. Octave leaps, like an ardent but secret call and long passages in the same key suggest so beautifully the furtive seduction. The piano quakes and quivers in excitement and but also surrounds the voice in the night-sounds of the forest: the trembling, rustling and positively quaking leaves and the murmuring trickle of the ever-flowing but never dangerous stream. The excited frisson in the hearts of the lovers is expressed in the darting of the piano part. The figuration is more pianistic than it appears at first sight: The 4th finger falls naturally on the black notes and the short 5th finger feels comfortably in place on the adjacent white finger, making the rippling pianissimo a joy to play. Yet some sharp-shooters’ aim is required when the modulations move in between the black notes.

  Verse three gets down to the serious business of love-making. As the beloved is invited to “sink down” on the soft grass, the piano part sinks gently down to the key of D Major, the key of nature: Daphne in the garden; the garden of the “Vier Letzte Lieder. The flattened VI key is such a quintessentially Romantic musical symbol for the mysterious and the magical. Another magical use of the flattened sixth key occurs in Schubert’s rapturous Nacht und Träume (Night and Dreams, D. 827) of 1822, where the joy of the dreamers is expressed with breathtaking tenderness.

 The piano part of the third verse reveals some fussiness on the part of the composer. The little figurations, while remaining true to the original idea, change shape and inversions a few too many times, making it unnecessarily awkward for the pianist. I wonder if some have not cheated the odd beat or two. It is mainly pianissimo and the pedal hides a multitude of sins. As the piano part modulates downwards to B Major, the voice starts its ecstatic ascent to the climax, Strauss finding it necessary to repeat the words “Hoch glühn” (glowing on high) to sustain the excitement and extend the exquisite consummation. 

Linden Tress abound in German Lieder

At this point there is a discrepancy between the piano-accompanied version of the song, and the orchestral arrangement of the song. In the orchestral version the high A sharp of the climax is held double the length. It is a glorious effect. I have heard various sopranos take the “long cut” in the piano version, with the pianist either left high and dry at the barline, or, in the case of some conductor-pianists such as Wolfgang Swallisch and Sir Georg Solti, they reversed the process of orchestration and rewrote the piano part, adding extra bars as per the orchestral version. The orchestral version also ends more abruptly, leaving out the piano’s brief but charming postlude.

 Strauss only wrote 15 of his 205 songs expressly for Voice and Orchestra. He himself orchestrated 25 of the piano accompaniments and sanctioned some by others. These orchestrations were done at various times in his career, often to provide concert material for his wife Pauline de Ahna and some of the various sopranos with whom he travelled after Pauline’s career started winding down, such as the creator of the title role in Arabella, Viorica Ursuleac whom Strauss called “die treueste aller Treuen” (“the most faithful of all the faithful”).

 Some recordings:

Walter Gieseking made a beautiful transcription of the song for solo piano. His own performance is unhurried and tender, a beautiful version giving a distilled ‘gestalt’, when the visceral excitement generated by a voice, is absent. FREE SHEET MUSIC  of Gieseking’s transcription of Ständchen is available.

An opera singer more famous for his Puccini than his Strauss, Jussi Björling’s Bel Canto brings a wonderful line to this song, in an orchestral version.

Lotte Lehman (recorded here in 1941) remains an authority in this repertoire, having performed many times with Strauss himself.

Dietrich Fischer-Dieskau, the Über-Guru of Lieder, performs here with his main collaborator in the autumn-years of his career – Hartmut Höll, piano. This is about as deffinitive as modern interpretations get.

Fritz Wunderlich, who performed so many of Strauss’ taxing tenor roles before his untimely death, here gives one of the performances of a lifetime, in an orchestral set of Strauss comprising: 1 Heimliche Auffforderung, 2 Ständchen   and 3 Zueignung.

Nicolai Gedda perhaps does not strike one immediately as primarily a lieder singer, but much of career was built around recital repertoire. Hs version is beautifully youthful and tender.

 Sir Georg Solti postively basks in the virtuosity of the piano part. Here he acompanies Kiri te Kanawa with whom he performed and recorded not only the piano and orchestral version of this song, but also recorded a glorious Vier Letzte Lieder.

While the sheer sweep and drama of many of Strauss’ songs have attracted many larger voices, two very different versions by two very different sopranos reveal how the material can translate well to either voice-type in the hands of an intelligent singer. The Wagnerian size of Birtgit Nilsson (accompanied by Janos Solyom – 1975) contrasts sharply with the lyric colloratura of Kathleen Battle (accompanied by Warren Jones – 1991) but both reveal different aspects of the beauty of this song.

Related material: Nacht und Träume by Franz Schubert

Renée Fleming and the Lucerne Festival Orchestra conducted by Claudio Abbado perform an unidentified orchstration in 2005.

A young Kiri te Kanawa and Richard Amner perform a radiant version at the Royal Opera House, Covent Garden in 1978.

Unlike the Linden Tree, the “Tree of Lovers” in German literature, Ständchen  is evergreen and beloved the world over.

Manuel de Falla: Siete canciones populares españolas (1914)

Manuel de Falla (1876-1946):  Siete canciones populares españolas (Seven Popular Spanish Songs) (1914)

Despite the undeniable “Spanishness” of most of de Falla’s music, this cycle of seven songs is one of the few to directly use pre-existing Spanish melodies. Written in Paris, toward the end of his seven-year stay, the songs have remained so popular as to have overshadowed most of his other vocal works. Their premiere occurred shortly after that of his opera La Vida breve. At the eve of a World War there is a certain naive quality to be found in these songs, a nostalgia for the folk-music of his homeland. An intense period of work produced a series of quasi-nationalist masterpieces. Incredibly the end of 1915 saw the first performances of both El amor brujo (a dance-work or “gitanería” in one act) and the tone poem (and piano concerto in all but name) Noches en los jardines de España.

Spanish Text	Free translations by Albert Combrink
El Paño Moruno Al paño fino, en la tienda, una mancha le cayó; Por menos precio se vende, Porque perdió su valor. ¡Ay!(Gregorio Martinez 1881-1947)	The Moorish Cloth On the fine cloth in the store a stain has fallen;  It sells at a lesser price,  because it has lost its value.  Alas!
Seguidilla Murciana Cualquiera que el tejado  Tenga de vidrio,  No debe tirar piedras  Al del vecino.  Arrieros semos;  ¡Puede que en el camino  Nos encontremos!  Por tu mucha inconstancia  Yo te comparo  Con peseta que corre  De mano en mano;  Que al fin se borra,  Y créyendola falsa  ¡Nadie la toma!	Seguidilla Murciana Who has a roof of glass  should not throw stones  to their neighbor's (roof).  Let us be muleteers;  It could be that on the road  we will meet! For your great inconstancy,  I compare you  to a [coin] that runs  from hand to hand;  which finally blurs, and, believing it false,  no one accepts!
Asturiana Por ver si me consolaba, Arrime a un pino verde, Por ver si me consolaba.  Por verme llorar, lloraba. Y el pino como era verde, Por verme llorar, lloraba.	Asturian To see whether it would console me,  I drew near a green pine,  To see whether it would console me.   Seeing me weep, it wept;  And the pine, being green,  seeing me weep, wept.
Jota  Dicen que no nos queremos Porque no nos ven hablar; A tu corazón y al mio Se lo pueden preguntar.  Ya me despido de tí, De tu casa y tu ventana, Y aunque no quiera tu madre, Adiós, niña, hasta mañana. Aunque no quiera tu madre...	Jota  They say we don't love each other because they never see us talking But they only have to ask both your heart and mine.  Now I bid you farewell your house and your window too and even ... your mother Farewell, my sweetheart until tomorrow.
Nana  Duérmete, niño, duerme,  Duerme, mi alma,  Duérmete, lucerito  De la mañana.  Naninta, nana,  Naninta, nana.  Duérmete, lucerito  De la mañana.	Nana Go to sleep, Child, sleep,  Sleep, my soul,  Go to sleep, little star Of the morning.  Lulla-lullaby,  Lulla-lullaby,  Sleep, little star of the morning.
Canción  Por traidores, tus ojos, voy a enterrarlos; No sabes lo que cuesta, »Del aire« Niña, el mirarlos. »Madre a la orilla Madre«  Dicen que no me quieres, Y a me has querido... Váyase lo ganado, »Del aire« Por lo perdido, »Madre a la orilla Madre«	Song  Because your eyes are traitors I will hide from them You don't know how painful it is to look at them. "Mother I feel worthless,Mother" They say they  don't love me and yet once they did love me "Love has been lostin the air Mother all is lost It is lost Mother"
Polo ¡Ay! Guardo una, ¡Ay!  Guardo una, ¡Ay!  ¡Guardo una pena en mi pecho,  ¡Guardo una pena en mi pecho, ¡Ay!  Que a nadie se la diré!   Malhaya el amor, malhaya,  Malhaya el amor, malhaya,  ¡Ay!  ¡Y quien me lo dió a entender!  ¡Ay!	Polo Ay! I keep a... (Ay!)  I keep a... (Ay!)  I keep a sorrow in my breast,  I keep a sorrow in my breast (Ay!) that to no one will I tell.   Wretched be love, wretched,  Wretched be love, wretched,  Ay!  And he who gave me to understand it!  Ay! (“Ay” can be translated as “alas” or as a cry of pain. In the context of this fiery song, “alas” is too mild an exclamation. Melismatic “Ay”s are a feature in Spanish gypsy-influenced cante hondo.)

Musical Considerations 

In the music of De Falla, the world of Flamenco is never far from the surface. His accompaniments are inspired by guitar-figuration and his melodic material full of the flattened intervals and embellishments of the Flamenco style. A performance trend that has yielded interesting fruits has been to apply Flamenco performance tradition on what has essentially been regarded as a mainstream classical tradition.

Picasso: "The Old Guitar Player" 1903	Jason O'Donnell: "Picasso's Old Guitar Player" 2003

1. Vocal Style:

Operatic Mezzo-Soprano Jennifer Larmore sings a very idiomatic and passionate rendition of “Cancion del amor dolido” from the Theatre/Dance work (often referred to as his “ballet” “El amor Brujo”. Listen to Jennifer Larmore HERE. Another astonishing recording in the classical vein is that by Leontyne Price, excerpts of which can be heard HERE. Her voice is clearly a soprano, yet her strong lower register and the “chest” sounds so useful in her portrayals of Verdi heroines, is here put to dramatic use. Yet, it is still broadly operatic in conception.

Compare that classical style of performance with that of Ginesa Ortega, a Flamenco Singer. Or the cantaora in this clip with Pierre Boulez. I have not found any recordings of the Siete canciones in the Flamenco style, but it is clear that the melodies use Flamenco inflections. Lullabies with tranquil melodic lines share the stage with more fiery outbursts. In particular, the dark fury of the 7th song Polo reflects the Spanish “Duende” or “gravitas” in its melismatic writing. De Falla was clear that the melismas were not to be executed as coloratura in Italian opera, but rather as “extensive vocal inflections”  based on the flamenco style. (Martha Elliott: “Singing in Style: a giude to vocal performance practices” p.269)

2. Influences on the accompaniments:

 - De Falla and Riccardo Vines

While not achieving the fame as performer of his fellow Spaniards Granados or Riccardo Vines, De Falla nonetheless had an excellent reputation as a performer. In Paris he performed in the salons alongside the likes of Debussy. Vines in particular premierred many of his piano works and encouraged him to stretch his creative palet beyond his own abilities. The piano parts of the Siete canciones are virtuosic and remarkably pianistic,

 -  De Falla and Garcia Lorca

De Falla was an excellent pianist and performed as soloist and acompanist. It appears that he played a bit of guitar as well. In the 1920’s he worked with playwright Frederico Garcia Lorca (1898-1936), acting as a mentor and guide to the writer’s musical aspirations. By all accounts he became quite an expert pianist and guitar player under de Falla’s guidance. They perhaps did not overtly “colloaborate” on projects, but it is clear that works such as Lorca’s Canciones Españolas Antiguas were not only fashioned along the model of De Falla’s Siete canciones, but that in fact De Falla was the overseer of the process which led to their completion. Lorca was firstly a pianist and appeared to have made arrangements for guitar later such as the 12 Canciones. Lorca and de Falla shared a deep love for Flamenco and in 1922 organised a festival of Flamenco’s “Dark and Deep Song”, the Cante Jondo  at the Alhambra in Granada. Their musical relationship is explored on this Compact Disc Recording.

 -  De Falla and Andres Segovia

Siete cancioneswas composed for piano, but has been orchestrated and arranged for guitar accompaniment. Segovia brought the virtuosic abilities of the solo guitar to the attention of many composers of the day and comissioned many new works. Falla wrote a large number of guitar works for Segovia, and it appears that they collaborated on transcriptions. It is not clear if the Segovia transcription of the Siete cancioneswas done in collaboration with De Falla. What is clear however was that the guitar version was done much later. Guitar-like figurations abound in the piano part. Repeated tremolo-figures reminiscent of repeated plucking of the same string abound in the writing. Strummed chords are recreated in “apreggiated” figures. Repeated pedal notes reflect an imagined guitar.

A comparison of recorded versions of the different accompaniments

Here follows some links to Youtube of various recordings of this cycle all featuring famous Spanish Mezzo-Soprano Theresa Berganza.

With original Piano version by De Falla	With Orchestral arrangement made by Luciano Berio	With Guitar – version by Segovia
Full Cycle with Gerald Moore Part 1 Part 2	5. Nana only Full Concert part 1 Full Concert part 2 Full Concert part 3	1.  El Paño Moruno 2. Seguidilla Murciana 3. Asturiana 4. Jota 5. Nana 6. Canción 7. Polo
Theresa Berganza – Mezzo-Soprano Gerald Moore Piano London 1960	Theresa Berganza  – Mezzo-Soprano Paris 1987	Theresa Berganza  – Mezzo-Soprano Gabriel Estarellas – Guitar Edinburgh 1987

 The following link is to Amazon.com, featuring a disc by South African Soprano Andrea Catzel, giving a beautiful and idiomatic performance of this cycle with Thomas Rajna on the piano. The site has MP3 samples of the music. Andrea Catzel sings Falla et al.

A free copy of the Sheet Music in the original key can be downloaded HERE. A transposition of the entire set up a whole tone, was published by Boosey & Hawkes.

Cape Town Soprano Filipa van Eck and myself will be performing songs from the cycle Siete canciones populares españolas   in various upcoming recitals such as this one:

Lindbergh Arts Foundation – 18 Beach Road, Muizenberg

Thursday 17 September 2009

10.30 am

R50 including Tea and Refreshments

Bookings: 021 788 2795

Allerseelen (Richard Strauss)

Sixty years after his death, the music of Richard Strauss (11 June 1864 – 8 September 1949) remains loved and sung often, regarded as a gift to the voice. From his first Christmas song, written at the age of 6, to the final page of “Malven”, completed just after the “Vier Lezte Lieder”, over 200 songs reflect an ongoing love-affair with the voice. His operas reveal great lyrical gifts. The songs are performed often and have been sung by some of the greatest singers in history. “Allerseelen” forms part of a selection of Strauss songs Cape Town soprano Filipa van Eck and myself will be performing in various upcoming recitals .

“Allerseelen” op.10 no. 8 (Text by Hermann von Gilm zu Rosenegg (1812-1864)

Published in 1885 when Strauss was 21, but possibly written when he was as young as 18, this song forms part of an extra-ordinary set of songs mostly written by a man still in his teens.

“Allerseelen” aus “Letzte Blätter”  –  with free translation by Albert Combrink

Stell auf den Tisch die duftenden Reseden. Die letzten roten Astern trag herbei. Und laß uns wieder von der Liebe reden. Wie einst im Mai. – Place on the table, the fragrant heather. The last red Asters, draw them near. And let us again talk of love. As once in May.

Gib mir die Hand, daß ich sie heimlich drücke, Und wenn man’s sieht, mir ist es einerlei, Gib mir nur einen deiner süßen Blicke, Wie einst im Mai. – Give me your hand that I can give it a secret squeeze. And if anyone saw it, to me it would be neither here nor there. Just give me one of your sweet gazes. As once in May.

Es blüht und [funkelt] dufted heut auf jedem Grabe. Ein Tag im Jahr ist ja den Toten frei. Komm an mein Herz, daß ich dich wieder habe. Wie einst im Mai. – Today each grave blossoms and gives off fragrance. One day in the year the dead are free. Come to my heart, that I may have you again. As once in May.

“Allerseelen” – Some textual considerations:

When writing his operas, Strauss demanded the highest quality from librettists. His working relationship with Hugo von Hofmannsthal (1874-1929) is well-documented. Hofmannsthal and Strauss had debates, arguments, philosophical discussions and volumes of correspondence, revealing much about the way in which Strauss crafted the music to suit the drama. And in many cases, vice versa. Hofmannsthal wrote libretti for several of his operas, including Elektra (1909), Der Rosenkavalier (1911), Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1927), and Arabella (1933). Yet in each case, the composer had a handin the making of the text. “Strauss the song-maker” had a very different approach. Strauss found pre-made texts, often of variable quality. Austrian civil servant Hermann von Gilm zu Rosenegg (1812-1864) is today mainly remembered for his poetry set by Strauss – “Zueignung” Op.10 No.1 and “Die Nacht” Op.10 No.3 being the other famous examples.

1. Religious context

The poet uses the context of a religious ceremony to express a deep love and passion, tapping into sub-conscious depths of feeling that transcends mere romantic love. This is an ancient ceremony, both mythical and mystical. The dead are remembered by their loved ones with flowers and candles on their graves. Sometimes the dead are even invited to participate in meals, with dishes set out for them on the family table. “Allerseelen” or “All Soul’s Day” (sometimes called the “Day of the Dead”) always falls on November 2 (November 3rd if the 2nd falls on a Sunday). It is a Roman Catholic day of remembrance for friends and loved ones who have passed away. This comes from the ancient Pagan Festival of the Dead, which celebrated the Pagan belief that the souls of the dead would return for a meal with the family. Candles in the window would guide the souls back home, and another place was set at the table. Children would come through the village, asking for food to be offered symbolically to the dead, which would then be donated to feed the hungry. The Feast of All Souls owes its beginning to seventh century monks who decided to offer the mass on the day after Pentecost for their deceased community members. In the late tenth century, the Benedictine monastery in Cluny chose to move their mass for their dead to November 2, the day after the Feast of all Saints. This custom spread: in the thirteenth century, Rome put the feast on the calendar of the entire Church. The date remained November 2 so that all in the Communion of the Saints might be celebrated together.

William-Adolphe Bouguereau (1825-1905) - "The Day of the Dead" (1859)

Initially many Protestant reformers rejected “Allerseelen” Day because of the Theology behind the fest – in particular the concept of Purgatory, and the idea that human intercession on a particular day could affect the welfare of a soul. Intercession from the living is believed to free souls from their sins and hasten entry into heaven. All Soul’s Day lives on today, particularly in Mexico, where All Hallows’ Eve, All Saint’s Day and All Soul’s Day are collectively observed as “Los Dias de los Muertos” (The Days of the Dead). First and foremost, the “Days of the Dead” is a time when families fondly remember the deceased. But it is also a time marked by festivities, including spectacular parades of skeletons and ghouls. In one notable tradition, revellers lead a mock funeral procession with a live person inside a coffin. Many customs are associated with “The Day of the Dead” celebrations. In the home an altar is made with an offering of food upon it. It is believed that the dead partake of the food in spirit and the living eat it later. The ofrendas (offerings) are beautifully arranged with flowers such as marigolds (zempasuchitl), which are the traditional flower of the dead. There is a candle placed for each dead soul, and they are adorned in some manner. Incense is also often used, and mementos, photos, and other remembrances of the dead also adorn the ofrenda. Other traditions and customs include visiting the graveyard for a picnic, decorating the relatives’ graves, lighting candles while reciting a prayer for each departed soul, and leaving doors and windows open on “All Soul’s Night”. The modern commercialism of Halowe’en reflects the concept of the souls being “free from restraint” on this particular night.

The speaker of the song addresses the loved one, using the framework of spiritual freedom as an allegory for the freedom of their love, either to relive itself “as it once did in May”, or perhaps free from social restraint – “If anyone saw me squeeze your hand, it would make no difference to me”.

Aster Pomplona

2. Flowers

Flower imagery abounds: The first stanza calls for the strongly scented blossom spikes of resedas (Reseda odorata, sweet mignonette) and red asters are to be brought into the house and placed “on the table”. Red, both the colour of passion and autumn (November in the Northern Hemisphere) and asters are typical cemetery flowers of Central Europe.

3. The table and the inside of the house

The table or house is also a symbol of the grave in many poems, for example Emily Dickinson’s “Because I could not stop for Death”:

 We passed before a House that seemed A Swelling of the Ground-

  The Roof was scarcely visible – The Cornice – in the Ground.

Reseda lutea

4. Death

Death is ever-present in the song, but there is no morbidity. If anything, it is as if the sadness of death is made bearable by the connection with the dead made possible by the ceremony. It calls to mind Franz Schubert’s “Der Tod und das Mädchen” D531 to a text by Matthias Claudius. Death is the comforter. Here is an extraordinary performance by Christa Ludwig and Gerald Moore from 1961.

Musical treatment

The harmonic language is marked by quintessentially Straussian chromatic shifts. The modulations at the end of each strophe are quite dramatic, as if Strauss is trying to subvert the repeated strophic nature of the song by pushing it into a through-composed shape. Larger-scale tonal planning is obvious. On the words “deiner süßen Blicke” in the second strophe, a rather alarming shift to B Major, distantly related to the tonic of E Flat major, underlines the distance of the memory of the sweet glance of the beloved. Other Straussian trade-marks include the voice “creeping in” to the melodic material set out by the piano. At the entry of the voice at both the first and third strophe the voice seems to “complete” a thought started by the piano. In the great songs – “Morgen”, “Vier Letzte Lieder” – and great operatic scenes such as the closing scene of “Capriccio”, this technique creates tremendous unity of expression between the voice and its surroundings. The waves of graceful arpeggiated sweeps in the piano accompaniment throughout the song reinforce Gilm’s interpretation of All Souls’ Day, suggesting the yearning for the ideal springtime place where love is innocent and lovers are united in otherworldly bliss.

Useful links and recorded materials

Lotte Lehmann in a 1941 radio recital of the songs (1) Allerseelen, Op.10/8, (2) Zueignung, Op.10/1 and(3) Ständchen, Op.17/2 The uncredited pianist is possibly Paul Ulanowsky (1908-1968), her collaborator during this period.

Strauss first heard Lehmann (1886-1976) when she was the understudy for the heroine of his “Ariadne auf Naxos”. So impressed was he with her that she was entrusted with the world premiere. While never as comfortable in Liederas in the operatic repertory it is nonetheless valuable to hear a singer  who performed these songs with the composer at the piano. Strauss’s wife Pauline de Ahna inspired many of his later songs and performed them often. Lehmann is said to have had a similar voice.

Jonas Kaufmann and Helmut Deutsch gives the lie to the fear that the golden age of Lieder-singing might be over. From a superb recital comes a superb rendition with much of the operatic vocal gesture for which Strauss’ songs are so famous, but allied with a true Lieder singer’s responsiveness to the text. Strauss’ operatic tenor roles might occasionally be unrewarding, but here is a most valuable contribution to the history of Lieder performance.

Briggitte Fassbaender performs here with an uncredited pianist – probably Irwin Gage - who underlines the cross-rhythms and couterpoint in a style which reminds one of the accompaniments of Johannes Brahms. Fassbaender’s tendency to overshoot climaxes is present here as well, but her way with the language, in particular touches of magic such as the conversational tone in the seconds strophe, marks her out as one of the great interpreters. View her in two Masterclass Excerpts on “Allerseelen”: Masterclass 1. Masterclass 2.

Jesye Norman and long time accompanist Geoffrey Parsons show why her enormous voice and powers of interpretation made her an ideal Strauss heroine. From the “Vier Letzte Lieder” to “Salome”, Strauss has formed a cornerstone of her repertoire from her early days of study in Vienna. While it is a big, powerful voice, one is struck by the intimate nature of this performance and the great control of pianissimi.

Kathleen Battle and mentor James Levine produce a delightfully intimate performance. A young artist in total control of her vocal equipment. Levine is delightfully fluid and “un-ponderous” in this live recording from 1983.

“Allerseelen” in a free translation by Walter Aue

“Allerseelen” sheet music

Upcoming performance of "Allerseelen"