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Christmas + Chanukah Ensembles

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Price: 19.95 EUR excl. shipping

Maoz Tsur (Rock of Ages) (arr. Ross Fishman)

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Price: 1.99 EUR excl. shipping

Maoz Tsur (Rock of Ages) (arr. Michael Levi)

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Price: 2.99 EUR excl. shipping

Edom

Maoz Eyal

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Mosaic

Max Stern: Mosaic (62:12) Conceived as a mosaic, this colorful disc fits together works of varied dimensions and textures. It was recorded by artists and ensembles who collaborated with the composer in their realization. It combines modern vision with desert inspiration and traditional folklore East and West. Bedouin Impressions (1989) (11:08) for solo violoncello 1. Pastoral (3:47) 2. Lament (3:17) 3. Goat Dance (4:04) Musical sketches of a nomadic neighbor, these are virtuoso pieces for solo cello. Through the window of my home on the edge of the desert I saw Bedouin herdsmen and women taking their herds of sheep, goats, and camels to pasture. I then encountered them in a strange but profoundly human way in a wadi. We offered them a waffle and they offered us a ride on their donkey. A popular work, they have been arranged and performed in multiple versions for solo violin, solo viola, string quartet, and string orchestra. Inbal Segev is one of the outstanding Israeli cellists of her generation. She has won numerous prizes and performed with the Israel Philharmonic Orchestra and other international ensembles as soloist. Terezin Songs (1969/2000)(12:32) for soprano, flute, oboe, guitar, and cello 1. From Tomorrow On (4:49) 'From Tomorrow on I will be sad, not today.' 2. Birdsong (4:00) 'He doesn't know the world at all who stays in his nest and doesn't go out.' 3. I Want to Go Away Alone (3:41) 'I want to go away where there are other nicer people.' These are profoundly moving songs are settings of poems by children of the Terezin concentration camp. 'At times when speech is stifled by darkness, song live on. In the imaginations of little children we celebrate the vision of man's goodness in an age of evil' (Albert H. Friedlander). Kristyna Valouskova is the foremost interpreter of contemporary music in the Czech Republic. Her exacting musicianship has been heard in international festivals and recordings. Musica Gaudeans (Katerina Kopecka-flute, Jiri Zelba-oboe, Pavel Ciboch-guitar, Jakub Dvorak-cello) are an innovative ensemble of Prague based soloists. Mosaic: Six Synagogue Tesserae (1999) (10:18) for flute, English horn, violin, cello, and synthesizer 1.North Africa (High Holiday liturgy)(0:47) 2. Morocco (study mode)(2:15) 3. Italy (litugical poem)(1:30) 4. Jerusalem (Sephardic song of rejoicing)(1:52) 5. Hassidic (Eastern European liturgy)(2:22) 6. Tunis (Song at the Sea)(1:30) Unisonal in color, heterophonic in texture, these archaic-like miniatures are based on Jewish ethnic sources. To Mean Electric is one of Italy's most exciting new music groups, blending acoustic and electric instruments. (Claudio Mordbo-is an outstanding conductor, opera director, organizer, and professor active in Northern Italy./ Francesca Lanza-flute, Andrea Chenna-English horn, Efix Pulco-violin, Margherita Monnet-cello, Paola Poncet-synthesizer) A traditional shofar blast (0:20) is source for and introduces ---- Yobel: Jubilee for Orchestra (1989)(13:08) Flowing in exultant euphony, Yobel is a rhythmically animated expression of freedom 'Thou shalt make proclamation with the blast of the horn and proclaim liberty throughout the land unto all the inhabitants thereof' (Lev. 25:9-10). It has been performed in Europe and Israel. Uri Mayer is the internationally celebrated conductor of the Toronto Philharmonic, who recorded this work as music director of one of Israel's finest chamber orchestra, the Negev based Israel Sinfonietta of Beer-Sheva. Three Pastorals (1984)(7:29) for flute, basson and piano Allegretto(3:14) Lento (2:18) Grazioso (1:57) Conversational, playful, inward, and jocund. This lyric trio projects a melodiocall pointillistic yet urban character. Trio Seneca ( Kaspar Zender-flute (Switzerland), Florin Carlejan-bassoon, Marta Nemes-piano) are prize winning soloists based in Cluj, Romania. They have recorded extensively in Western Europe. Motets on Chanukah Songs (1971)(6:30) for 3-part acappella women's or children's choir 1. Chanukah (1:49) 'Chanukah O' Chanukah, let's light the menorah.' 2. Maoz Tzur (3:26) 'Rock of Ages let our song praise thy saving power.' 3. Dreydl (1:14) 'I have a littler dreydl. I made it out of clay. When it's dry and ready, then dreydl I shall play.' Motets are based on tradional holidays songs for Chanukah the Jewish Festival of Lights. 'Chanukah O' Chanukah' celebrates the lighting of the 8-branched candelabrum. 'Maoz Tzur' or Rock of Ages is a classic hymn of thanksgiving. 'Dreydl' about the spinning top, is a children's game song. The Hebrew Union College Chorale are cantorial students from the USA studying at the Jerusalem campus of the HUC.

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Choral Music of David Ludwig

Four Ladino Folk Songs (2012) for SATB Choir - 8' -written for the Choral Arts Society of Philadelphia 1. Durme durme mi alma donzella 2. Ven hermosa ven con mi 3. Camini por altas torres 4. Cuando veo hija hermosa Four Ladino Folk Songs was inspired by a work I wrote for Lara St. John of arrangements of Ladino songs for unaccompanied violin. I was so taken with these songs-with the richness of melodies and harmonies and wide range of emotional expression-that I decided to set four of them for unaccompanied choir. These songs are folk tunes arranged to compliment their texts, some with a gently rocking four-part texture, others with percussive sounds and effects that would be familiar to Ladino folk singers. The mood ranges from playful, to serene, from raucous to quiet despair, just as the original tunes do. I owe a debt of gratitude to the seminal scholarship of Isaac Levy, who transcribed most of these songs in his four-volume "Chant Judéo-Espagnols," a repository of this rich musical heritage from a dying language scattered across Europe, Africa, and Central Asia.Composer David Ludwig's music has been called "entrancing," and that it "promises to speak for the sorrows of this generation," (Philadelphia Inquirer). It has further been described as "arresting and dramatically hued" (The New York Times) and has been noted for "music supercharged with electrical energy and raw emotion" (Fanfare). The New Yorker magazine calls him a "musical up-and-comer" and the Chicago Tribune says that he "deserves his growing reputation as one of the up-and-comers of his generation." He has had performances in venues such as Carnegie Hall, Lincoln Center, and the Library of Congress, and has been played on PBS and NPR's Weekend Edition. NPR Music selected him as one of the Top 100 Composers Under Forty in the world in 2011. The New Colossus (2002) for choir - 3' (Lazarus) -SATB choir -Commissioned by Judith Clurman and the TODI Music Festival Choir "The New Colossus" was written for conductor Judith Clurman and the Todi music singers. Ms. Clurman recommended that I set the poem by Emma Lazarus that is at the site of the Statue of Liberty. On reading these words, I was very moved by the sentiment of welcome that Lazarus-herself an immigrant-conveys in the message: "give me your tired, your poor, your huddled masses..." And it is not just some people that the Statue welcomes, but everyone-even the "wretched refuse." This to me was the true spirit of the United States embodied in poetry: our strength in diversity and tolerance. I wrote the work soon after 9/11, and because of that, the words of the poet were particularly poignant to me. The piece begins in somber unison and remains in that setting, like chant, as the poet compares the Statue of Liberty to the Colossus of Rhodes from ancient Greece. It is not like the Colossus, she notes, in that it is not meant to be an imposing figure but instead the embracing "mother of exiles." At the most famous lines the music opens up into harmony until the end, repeating the words "I lift my lamp, beside the Golden Door"-to the port of entry of a nation of immigrants. Press "Ludwig's The New Colossus began in sober unison. As harmonies evolved to greater dissonance, the singers became more expressive, an effective dramatic device." -The Virginian Pilot Hanukkah Cantata (2007) - 24' (Trad. Hebrew and English) -SATB Choir + soloists, 0000 0130 percussion, organ, strings -Commissioned by the Choral Arts Society of Philadelphia -Premiered 2007 at Rodeph Shalom, Philadelphia The Hanukkah Cantata was written for the Choral Arts Society of Philadelphia and was funded by the Philadelphia Music Project. I wrote the cantata with a lot of help from some good friends and fabulous musicians, but my first word of thanks has to go to Cantor Dan Sklar who not only assembled and translated the texts for me, but also sang the wonderful Hannukah songs for me to hear. I remembered Dan's voice all the while I arranged these songs. When Choral Arts director Matt Glandorf asked me to write a piece for the holiday, I immediately saw the challenge of writing a new work to commemorate an ancient tradition. It would need to be accessible to an audience whether or not they are familiar with the story of the holiday. I decided to integrate Hanukkah songs in their original Hebrew with the narrative taken from Scripture as translated into English. It was important for me that the piece be set in the "vernacular," so to speak, but to also preserve what is to me beautiful folk music. To that end I kept the music within the boundaries of functional sacred music, rather than attach it to a more abstract musical language or idiom. I also knew the piece would have to be in eight movements. I wanted to style it after the customary practice of including soloists in recitative and arias who would convey the thread of the story poetically. This made the arc of the piece clear to put together. The opening comes with a question from the traditional song "Mi Y'maleil": "who can recount the feats of the holy land?" The next two movements tell of the oppression of the Jews through the eyes of their ruler Mattathias, as well as the rise of his son Judas Maccabeus. After Judas is pronounced "blessed," in the fourth movement, the women of the chorus sing the traditional candle blessings sung while lighting the Menorah. The fifth movement opens the second half of the piece, and details the triumph of the Jews over their oppressors. Here, they find their most holy temple desecrated, and this is where the real heroism takes place. Rather than give up or give in, they decide to completely rebuild and rededicate the temple, replacing every defiled stone anew-even constructing a new altar like the previous one. The music turns to the triumphant "Al Hanisim" to commemorate the occasion. The seventh movement is instrumental dance music, a "dreydl dance" with a narration that is meant to capture both traditional sonorities of Jewish music and incorporate the importance of dance into the cantata. The narrator's part is to tell the how the story happened when the Jews decided to reconstruct the temple and the miracle that occurred when they found only enough oil to light their lamp for one day. They needed enough oil to last for eight days, or enough time to consecrate the next batch of fuel. As it so did, miraculously confirming the merit and holiness of their efforts. The final movement is another arrangement of the song "Maoz Tzur," which is a song that will be familiar to many. The medieval nature of the words conveys the unfortunate glorification of war (a matter I tried to avoid in arranging the text, given the state of our world. I see no reason to exalt the killing of anyone, including the "enemy," "foe," or "heathen.") But the story of the last song, and indeed the story of Hannukah is about oppression, loss, and overcoming that loss to move on with strength and love. The Jews defeat their oppressors and then grieve for their losses. The heroism of the story is in the rebuilding after that loss, and the power of the community unified to help the individuals of that community continue on. They construct a new altar after losing the old one, yet, significantly, it is not a "new" altar insofar as it acknowledges and never forgets the loss. My nephew, Michael Henry Ludwig, would have celebrated his tenth Hannukah this year passed away suddenly and unexpectedly just four days before writing this program note. He was a magnificent kid, always enthusiastic, beaming and smiling when I would bring him close and rub my knuckles on his head. The Choral Arts Society has graciously agreed to dedicate this performance to Michael-the premiere of this work will be in the temple of his great grandparents. Every day I didn't spend with him feels like time lost. I am honored to be able to remember him with this music. Kaddish (2006) -10' (Trad. Hebrew) -0000 4331 + 3 perc SAB choir and tenor so

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Price: 16.53 EUR excl. shipping

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