Jewish Liturgical Music

SKU: OT.23105

ISBN 9789655051155. 8.27 x 11.69 inches.

Daniel Akiva
Sephardic Anthology of Piyutim
for clarinet and guitar
clarinet edited with special fingerings by Guy Yehuda
42 miniatures

Sephardic Anthology of Piyutim for Clarinet and Guitar is a fabric of 42 short pieces based on prayers and piyutim that Daniel collected and researched over many years. He learned the basis of this tradition from his father, the paytan Yitzhak Akiva. Daniel also participated in various projects of the Israel Broadcast Authority in the field of Sephardic (Spanish) Jewish music, served as chazzan (cantor) in his community, and two years ago participated in the Illumination: Early Jewish Italian Spiritual Music project produced by Ayela Seidelman and Bari Moscovitz.
The anthology for clarinet and guitar is part of a large project which includes recordings of the original piyutim on which these compositions are based with various artists and paytanim. The project includes piyutim of the Jerusalem and Haifa Sephardic traditions, medieval Italian tradition, and Moroccan tradition.
Sephardic - Spanish. Jews descended from those expelled from Spain in 1492 and their traditions.
Piyut (pl. piyutim) - liturgical poems
Paytan (pl. paytanim) - a singer or composer of piyutim.

SKU: UT.APS-12

ISBN 9788881095216. 6.5 x 9.5 inches.

Essays by Steven J. Cahn, Marsha Dubrow. Diana R. Hallman, Jehoash Hirshberg, Mark Kligman, Cesar A. Leal, Rachel Orzech, Danielle Padley, Jesse Rosenberg, Laure Schnapper, Benjamin Wolf, Susan Wollenberg

The present book aims to describe 19th-century Jewish musical production in light of major social and historical events: a revolutionary process for the Jewish world resulting from its inclusion in European political and cultural secularization. The ferment that such assimilation brought resulted in the fragmentation of the Jewish religious identity into distinct liturgical currents. How much the 19th-century modernization of the Jewish world affect the Jewish identity of composers and their music, encompassing the following components: conversion, liturgy, synagogal chant and cantillation, musical form, opera, textuality, entrepreneurship and individuality? How many of these structural components were direct or corollary to both musical composition, and the concept of Jewishness?

SKU: BR.CHB-5345-00

The choice of the Psalms was determined by the traditional liturgical use in the synagogue. Thanks to their German language texts, these easily singable settings can also be performed by all church choirs during religious services or at concerts. In ma. Psalm; Romantic. Choral score. 76 pages. Breitkopf and Haertel #ChB 5345-00. Published by Breitkopf and Haertel (BR.CHB-5345-00).

ISBN 9790004412756. 9 x 12 inches. German.

The choice of the Psalms was determined by the traditional liturgical use in the synagogue. Thanks to their German language texts, these easily singable settings can also be performed by all church choirs during religious services or at concerts. In many of his works, Louis Lewandowski combined the practice of traditional Jewish synagogue music with romantic choral composition. World premiere recording with the Hungarian Radio Choir conducted by Andor Izsak.

SKU: CF.BF141

ISBN 9781491159989. UPC: 680160918584.

The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance.

The first movement, Prayer, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski's (1912-1991) now well-known setting of the High Holyday prayer Avinu Malkenu. This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both Prayer and Janowski's Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos.

The second movement, Supplication (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, Jewish Song, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience.

The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch's most celebrated work, Schelomo in 1917.

Though the popularity of Bloch's oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America's composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.
The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance. The first movement, Prayer, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski's (1912-1991) now well-known setting of the High Holyday prayer Avinu Malkenu. This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both Prayer and Janowski's Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos. The second movement, Supplication (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, Jewish Song, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience. The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch's most celebrated work, Schelomo in 1917. Though the popularity of Bloch's oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America's composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.
The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance.The first movement, “Prayer”, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, “The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski’s (1912–1991) now well-known setting of the High Holyday prayer Avinu Malkenu.” This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both “Prayer” and Janowski’s Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos.The second movement, “Supplication� � (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, “Jewish Song”, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience.The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch’s most celebrated work, Schelomo in 1917.Though the popularity of Bloch’s oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America’s composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.

SKU: OT.26114

ISBN 9789655051049. 8.27 x 11.69 inches.

Ariel Lazarus
Guitarra Liturgia
Two pieces based on music from the Spanish and Portuguese tradition.
Contents:
Jerusalem de Sefarad - Suite for Guitar
Contrapunto Sefardi
The composer writes:
For many years I wanted to compose a piece for guitar which would inspire interested students to expand their repertoire in the direction of Jewish music. The most natural thing for me was to write a suite based on themes from the synagogue in which I grew up – the Spanish and Portuguese synagogue of Gibraltar. My beloved grandfather served all his life as hazzan (cantor) of this synagogue, and I always felt as a composer and educator that I had a special obligation to continue his tradition and pass it on to a new generation. In this composition, I let the guitar echo the piyyutim (semi-liturgical poems) that were part of my childhood: Adon Olam, Sh'charchoret, Achot K'tana, Yigdal, Borei ad Ana, all of which are sung in the Spanish and Portuguese tradition from Gibraltar to London, and from New York to Jerusalem. I let myself dream the piyyutim, take them apart and reconstruct them as a short suite for guitar, the results of which you are invited to hear here. As a conceptual idea for the suite, I choose to suggest about the cultural continuation between the Diaspora and the land of Israel by way of referencing the well-known melody of Naomi Shemer, which is also popular among the hazzanim.
Dr. Ariel Lazarus is a unique voice among Israeli composer-performers today. Brought up in a family with Jewish musical roots both in Gibraltar and Westphalia, he began composing and playing the guitar in his teens, and has been committed to developing his own compositional language ever since, always maintaining an open dialogue with his traditions.
Lazarus received his BMus and MMus degrees from Oklahoma City University in classical guitar performance and composition where he studied with American composer Dr. Edward Knight. He earned his PhD from Bar Ilan University, studying composition with Prof. Betty Olivero and Prof. Gideon Lewensohn and conducting research under the supervision of Prof. Edwin Seroussi from the Hebrew University. His symphonic works have been premiered by the Raanana Symphonette Orchestra, and his chamber works have been performed by various ensembles in the United States, Central Europe, Portugal, Gibraltar, Scandinavia and Israel. Lazarus performs regularly as Art Ambassador on behalf of the Israeli Ministry of Diaspora affairs Amiel BaKehila program.
His solo album A Hebrew Capriccio was released by the German boutique label SmoothFactor and was awarded critical acclaim, among others, in Haaretz, and Neue Westfalishe.
Dr. Lazarus is the musical director and co-founder of the Israeli Ladino Orchestra. His work with the orchestra has been recognized by the official Carta de España. He teaches at the Academic College for Education Givat Washington, and the Rimon School of Music. Lazarus’s work has been awarded by the Israeli Pais Art council and ACUM.

SKU: OT.22090

ISBN 9789655050738. 8.27 x 11.69 inches.

Daniel Akiva's Partita for violin solo consists of six movements based loosely on music of the Sephardic Jews. It was written for students as performance material, and dedicated to them.
Contents:
Liturgical Song
Prayer
Supplication
Dance
Kaddish
Supplication
Daniel Akiva is a composer, performer, and educator whose performances on guitar and lute have won great acclaim. Mr. Akiva graduated from the Rubin Academy of Music in Jerusalem in 1981, where he studied classical guitar with Haim Asulin and composition with Haim Alexander. In 1987 he completed his studies at the Geneva Conservatorium in Switzerland where he studied lute with Jonathon Rubin and composition with Jean Ballisa. For many years, he headed the Music Department at the WIZO High School for the Arts in Haifa, which he founded in 1986, and served as the Artistic Director of the Guitar Gems Festival from 2006-2019. As part of his work at WIZO High School, he has developed a method for teaching free improvisation that has been incorporated into the music program at the school.
Mr. Akiva has appeared in concert as a guitarist and lutist and given master classes in Israel, Europe, Russia, the United States, and Latin America. Daniel Akiva’s compositional output includes works for solo instruments, chamber ensembles, choir, voice and guitar, piano, and chamber orchestra. His works have been recorded on twelve CDs, the latest of which, Malchut, was issued by OR-TAV in 2014.
A native of Haifa whose family has lived in Israel for over five hundred years, he was steeped in the Sephardic (Jewish-Spanish) tradition from his youth. Much of his compositional output has been devoted to a dialogue with the music of the Sephardic Jews. Daniel Akiva has also maintained a creative dialogue over many years with the poets and writers Amnon Shamash, Rivka Miriam, and Avner Peretz.

SKU: BR.CHB-5375

ISBN 9790004413050. 7.5 x 10.5 inches. Hebrew.

With his Hebrew Choral Songbook, Ohad Stolarz presents a new collection of classics of the musical repertoire in Hebrew, arranged by him for mixed choir a cappella. Many of these pieces are published in Germany for the first time; almost all of them are first published as choral arrangements. The first volume contains ten sacred and paraliturgical songs that may be sung at various occasions. Among these are the feast of Passover, the Ten Days of Repentance in the month of Tishre and the Sabbath. The second volume contains ten secular songs that have become widely known in Israel during the 20th century. These songs are part of Israel's cultural history and belong to its core repertoire. All Hebrew lyrics appear in transliteration underneath the music, translations in German and English and comprehensive annotation texts are located in the appendix. This choral songbook therefore allows all interculturally interested choirs to take first steps into the world of Jewish and more generally Hebrew choral music.None of Stolarz's versions are strophic harmonisations; all are through-composed scores with enough variation of texture to satisfy the listener's ear while ensuring that the original words and melody are not obscured. They are anything but dull. (Jeremy Jackson, Choir & Organ).

SKU: BR.CHB-5376

ISBN 9790004413777. 7.5 x 10.5 inches. Hebrew.

With his Hebrew Choral Songbook, Ohad Stolarz presents a new collection of classics of the musical repertoire in Hebrew, arranged by him for mixed choir a cappella. Many of these pieces are published in Germany for the first time; almost all of them are first published as choral arrangements. The first volume contains ten sacred and paraliturgical songs that may be sung at various occasions. Among these are the feast of Passover, the Ten Days of Repentance in the month of Tishre and the Sabbath. The second volume contains ten secular songs that have become widely known in Israel during the 20th century. These songs are part of Israel's cultural history and belong to its core repertoire. All Hebrew lyrics appear in transliteration underneath the music, translations in German and English and comprehensive annotation texts are located in the appendix. This choral songbook therefore allows all interculturally interested choirs to take first steps into the world of Jewish and more generally Hebrew choral music.None of Stolarz's versions are strophic harmonisations; all are through-composed scores with enough variation of texture to satisfy the listener's ear while ensuring that the original words and melody are not obscured. They are anything but dull. (Jeremy Jackson, Choir & Organ).